The palaces of Crete and their builders . ion are very evident in therepresentations of the bull from the dawn of art to the decadenceof the Mycen^an period, when Art enterson her second childhood. In the reliefs at Knossos ^ the modellingof the bulls head is perfect. The nostrilsdilate with a deep inspiration, the mouthhalf open, the eye furious and starting forthin the congestion of the rush—all give astrong impression of fighting. The bullfrom Gournia, discovered by Miss Boyd,-belongs to the third period of the primitiveepoch, and is contemporaneous with theVlth Dynasty in Egypt. In spite o
The palaces of Crete and their builders . ion are very evident in therepresentations of the bull from the dawn of art to the decadenceof the Mycen^an period, when Art enterson her second childhood. In the reliefs at Knossos ^ the modellingof the bulls head is perfect. The nostrilsdilate with a deep inspiration, the mouthhalf open, the eye furious and starting forthin the congestion of the rush—all give astrong impression of fighting. The bullfrom Gournia, discovered by Miss Boyd,-belongs to the third period of the primitiveepoch, and is contemporaneous with theVlth Dynasty in Egypt. In spite of theremoteness of the age to which it belongs,it is an admirable piece of work, andworthy to mark the advent of pre-Hellenicart. A terracotta head which I saw excavated by Dr. Pernier atPhsestos shows how the later Mycenasan artists gradually forsooknature (Fig. 128). This is a sacrificial vase, and would be filledwith wine through an opening between the horns, and the winecould then be poured from the mouth. A first sign of decadence. FIG. 127. — POLYPUSDESIGXED IN THELATEST MVCEN^ANPERIOD. Evans, Knossos, Annual oj the British School at Athens^ vol. vi. p. 52. ^ Harriet Boyd, Gournia Transactions^ University of Pennsylvania, vol. 1, p. 43, 1904. No further illustrations of bulls are given, as those inChapter XI. show in how life-like a manner the bulls are represented in thetaurokathapsia. 266 PALACES OF CRETE AND THEIR BUILDERS is apparent in the two ridges above the nostrils. This is not anattempt at rendering a cord tied round the muzzle, for the artisthas not continued this cord round the mouth. The same is seenabove the eyelids, where one ridge would be sufficient to form the
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