Notes - VI. Space and Perspective in Minoan Art

2. Schäfer, Principles, esp. pp. 159-1948.

3. Ibid., p. 159-60.

4. Ibid., p. 169. See also A. Parrot, Mari. Mission Archéologique de Mari II. Le Palais. Peintures murales, Paris 1958, passim.

5. Wolf, Die Kunst Ägyptens, pp. 379-80.

6. See, for instance, E. Strommenger & M. Hirmer, 5000 Years of the Art of Mesopotamia, New York 1964, Pls. 204, 229, 246, 256 and 259; A. Parrot, Assur, Munich 1961, Figs. 46-52 and H. Schäfer & W. Andrae, Die Kunst des Alten Orients, Berlin 1925, Pls. 506-07, 534-35, 538-40.

7. W. S. Smith, Interconnections in the Ancient Near East, New Haven & London 1965, pp. 63-64 and passim.

8. Schäfer, Principles, p. 186.

9. Ibid., p. 184, Fig. 182.

10. Ibid., p. 118, Pl. 22.

11. Ibid., p. 246, Fig. 261.

12. Ibid., p. 249, Fig. 265 a-b.

13. Ibid., p. 268 and Wolf, Die Kunst Ägyptens, pp. 294-95.

14. J. Shaw, "Evidence for the Minoan Tripartite Shrine", AJA 82, 1978, pp. 429-48.

15. Thera VI, Pl. 112.

16. Marinatos & Hirmer, Fig. 115

17. PM III, PL XVIII

18. Wolf, Die Kunst Ägyptens, pp. 379-81

19. Beazley, ARV2, p. 601, no. 22

20. The "cavalier perspective" interpretation is also the basis for a theory presentd by Th. Corstens at the DAV-Colloquium, Cologne, July 7-8th 1984. Immerwahr has found several cases of diminishing size in the Thera Town Fresco and refers to this as a kind of "intuitive perspective" rather than conscious experimentation with optical illusions in her forthcoming book on Aegean Art.

21. PM III, Pl. XVIII and pp. 66-69.

22. Thera IV, PI. 118.

23. F. Matz, Göttererscheiinung und Kultbild im minoischen Kreta, Wiesbaden 1958, p. 429. See also Die Kretisch-mykenische Kunst, Die Antike II, 1935, p. 192.

24. W. Schiering, "Die Naturanschauung in der altkretischen Kunst", Antike Kunst 8:1, 1965, p. 3.

25. W. Smith, Interconnections in the Ancient Near East, pp. 73-77.

26. W. Schiering, Antike Kunst 8:1, 1965, p. 3.

27. Cf. The Saffron-Gatherer Fresco and the Partridge Fresco from Knossos, PM I, PI. IV and PM II, frontispiece.

28. W. Schiering, Antike Kunst 8:1, 1965, pp. 3-4.

29. N. T. De Grummond, "Some Unusual Landscape Conventions in Etruscan Art", Antike Kunst 25:1, 1982, pp. 3-14.

30. Ibid., p. 4.

31. Ibid., p. 6.

32. CMS I 167.

33. Thera IV, pp. 46-48, Pls. D, E.

34. Davis, The Vapheio Cups, p. 20-23.

35. W. Schiering, "Die Goldbecher von Vapheio", Antike Welt 2, 1971, p. 55 and Davis, The Vapheio Cups, p. 20.

36. Cf. N. Platon, Zakros. The Discovery of a Lost Palace of Ancient Crete, New York 1971, p. 167.

37. Marinatos & Hirmer, passim.

38. O. Walter, "Studie über ein Blumenmotiv als Veitrag zur Frage der kretisch-mykenischen Perspektive", Öjh XXXVIII, esp. pp. 17-19.

39. PM IV, p. 1002 and Marinatos & Hirmer, p. 136.

40. W. Schiering, Antike Kunst 8:1, 1965, p. 4.

41. PM II, p. 776.

42. J. Shaw, AJA 82, 1978, p. 440.

43. CS 220. I wish to thank Dr. Yule for drawing my attention to the seal.

44. See also P . P. Betancourt, "Perspective and the Third Dimension in Theran Painting", Temple University Aegean Symposium 2, 1977, pp. 19-22.

45. See, for instance, CS 201, CS 146a, CMS VII 42 and CMS VII 35.

46. Kamares Style, p. 19.

47. Kamares, p. 124.

48. W. Noll, "Anorganische Pigmente in Vorgeschichte und Antike", Fortschr. Miner. 57:2, 1979, pp. 234-35.

49. N. de G. Davies, "Mural Paintings in the City of Akhetaton", JEA VII, Pl. I.

50. This may reflect Mycenaean influence, but could also be the result of a Minoan change of approach. It is not necessary to see it as a result of inspsiration from the mainland, since the influence may have gone the opposite direction, from Crete to the mainland.