DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.12762#0144
PLATANOS
117
stone seals
At my request Sir Arthur Evans examined this cylinder, and has pub- the
lished a detailed description with a photograph of an impression.1 In his cemetery
view the cylinder is of great chronological importance,
for its place in Babylonian art is fixed to about the
year 2000 b.c. Such a date agrees with the clay vases
found with it in Tholos B (the polychrome vases shown
on Plate IX). Sir Arthur describes the goddess wearing
the cloak-like KawaK-qs as Ishtar, the equivalent of the
Sumerian mother-goddess Innini. She is in an attitude
of intercession and prayer addressed to the male
divinity in front of her on behalf of the wearer of 1098- Scalel/l-
the seal. The god in the short garment first appears on these seals at a date
later than the goddess, and does not become a frequent figure till the period
of Hammurabi. He has been identified with the Adad of Palestine who
was nearly related to the Jahveh of the Hebrews.2
This Babylonian cylinder is not unique in Crete. There are five others
in the Candia Museum : one of lapis lazuli set in gold from the Palace of Knossos,
a small one of haematite from Tylisos, and three more of haematite from
different parts of central Crete. These cylinders furnish perhaps the only
certain proof of communication between Minoan Crete and the Assyrian-
Babylonian civilisation.
A small silver cylinder, also Babylonian according to Mr. Seager, was
found at Mochlos, but it is too far oxidised for the design to be distinguishable.3
Of equal interest are the two scarabs (1075 and 1058) of white steatite. Scarabs
1075 (Plate XIV). This is an excellent representation of the beetle, placed 1075
on an elliptical base, on which a Minoan artist has engraved an Egyptian design.
The design has been published and interpreted by Sir Arthur Evans 4 as
a Minoan copy of the standing figure of the Hippopotamus Goddess Ta-urt or
Thueris, a frequent subject on early Egyptian scarabs, who is found, too, on
still earlier cylinders. She raises one hand in the adorant attitude and rests
the other on her characteristic knife-like implement. Behind her is an animal
of uncertain form, and in front spiral scrolls. Sir Arthur believes that in this
figure we have the origin of the active and beneficent genii, who appear in later
Minoan times, though their form has suffered change, and they have the faces
and claws of lions. Length -02 m.
1058 (Plate XV). The second scarab is smaller, and the beetle is cut with loss
less care and detail. The design on the oval base has been figured and described
by Sir Arthur Evans,5 who looks on it as ' a spiraliform pattern clearly
imitated from a design of a class found on a common type of twelfth dynasty
1 Evans, Palace, p. 198, fig. 146. 3 Seager, Mochlos, p. 111.
2 According to Professor L. Legrain, to whom 4 gvang paiace iqq fi 148
Dr. Chatzedakis sent an impression of the seal, V ' a aC6' ^'
the male figure is Martu (Adad) being worshipped 5 Ibid., p. 200, fig. 149.
by Aja.
117
stone seals
At my request Sir Arthur Evans examined this cylinder, and has pub- the
lished a detailed description with a photograph of an impression.1 In his cemetery
view the cylinder is of great chronological importance,
for its place in Babylonian art is fixed to about the
year 2000 b.c. Such a date agrees with the clay vases
found with it in Tholos B (the polychrome vases shown
on Plate IX). Sir Arthur describes the goddess wearing
the cloak-like KawaK-qs as Ishtar, the equivalent of the
Sumerian mother-goddess Innini. She is in an attitude
of intercession and prayer addressed to the male
divinity in front of her on behalf of the wearer of 1098- Scalel/l-
the seal. The god in the short garment first appears on these seals at a date
later than the goddess, and does not become a frequent figure till the period
of Hammurabi. He has been identified with the Adad of Palestine who
was nearly related to the Jahveh of the Hebrews.2
This Babylonian cylinder is not unique in Crete. There are five others
in the Candia Museum : one of lapis lazuli set in gold from the Palace of Knossos,
a small one of haematite from Tylisos, and three more of haematite from
different parts of central Crete. These cylinders furnish perhaps the only
certain proof of communication between Minoan Crete and the Assyrian-
Babylonian civilisation.
A small silver cylinder, also Babylonian according to Mr. Seager, was
found at Mochlos, but it is too far oxidised for the design to be distinguishable.3
Of equal interest are the two scarabs (1075 and 1058) of white steatite. Scarabs
1075 (Plate XIV). This is an excellent representation of the beetle, placed 1075
on an elliptical base, on which a Minoan artist has engraved an Egyptian design.
The design has been published and interpreted by Sir Arthur Evans 4 as
a Minoan copy of the standing figure of the Hippopotamus Goddess Ta-urt or
Thueris, a frequent subject on early Egyptian scarabs, who is found, too, on
still earlier cylinders. She raises one hand in the adorant attitude and rests
the other on her characteristic knife-like implement. Behind her is an animal
of uncertain form, and in front spiral scrolls. Sir Arthur believes that in this
figure we have the origin of the active and beneficent genii, who appear in later
Minoan times, though their form has suffered change, and they have the faces
and claws of lions. Length -02 m.
1058 (Plate XV). The second scarab is smaller, and the beetle is cut with loss
less care and detail. The design on the oval base has been figured and described
by Sir Arthur Evans,5 who looks on it as ' a spiraliform pattern clearly
imitated from a design of a class found on a common type of twelfth dynasty
1 Evans, Palace, p. 198, fig. 146. 3 Seager, Mochlos, p. 111.
2 According to Professor L. Legrain, to whom 4 gvang paiace iqq fi 148
Dr. Chatzedakis sent an impression of the seal, V ' a aC6' ^'
the male figure is Martu (Adad) being worshipped 5 Ibid., p. 200, fig. 149.
by Aja.