Читать книгу The Glory That Was Greece: a survey of Hellenic culture and civilisation - J. C. Stobart - Страница 13

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Though there is so much to interest the architect in Cnossos, and though the finest ashlar masonry is to be found there, the ordinary student of ancient building will probably prefer to go for his examples, as of old, to the contemporary

Plate 7. BULL’S HEAD: LIFE-SIZE RELIEF IN PAINTED STUCCO. CNOSSOS, CRETE.

Citadel of Tiryns

palaces of Mycenæ and Tiryns. In Cnossos there was little or no fortification—another proof that the Minoan empire rested safe behind wooden walls. But on the mainland we have two magnificent fortresses and citadels, so well preserved and so cleverly excavated by Schliemann and Tsountas that the untrained eye can take in at a glance the essential features of the architecture. At Tiryns the builder has taken the fullest advantage of the natural strength of his position. The top of the hill has been levelled and the summit encircled with a gigantic wall seldom less than fifteen feet thick. In the wall there are galleries opening internally upon a series of magazines. Along it at intervals there are massive watch-towers. One such screens each of the gateways. The main gate on the east side is approached by a long ascending ramp, which is exposed all the way to attack from the wall that towers above. To reach the postern-gate on the west you had also to climb a long flight of steps. The hill-top, which is more than 900 feet long, consists of a lower plateau to the north, on which no traces of building have been found, possibly because there were only wooden erections there for the soldiers, or possibly because it was left bare as a place of refuge for the cattle. The higher plateau to the south contains the palace, with its great pillared megaron, or hall. In this there is a circular central hearth. Close behind is the hall of the women, with sleeping-chambers at hand, and a strong treasury partly built into the wall. There is an elaborate bathroom, with drain-pipes and water-supply, hot and cold, a little to the west of the megaron. The three inner courts are sumptuously paved with mosaic, and the walls were covered with frescoes. It appears that the buildings on the summit of the hill were all of a palatial description, and the conclusion is that the commons lived in the plain below, governed and protected by their citadel. Tiryns lies on the flank of the plain of Argos, and within a few miles of the sea. As this one small plain included also the other ancient fortresses of Mycenæ and Argos, the dominions of this king must have been very small. It has been plausibly suggested that these citadels principally existed to command the highways leading to the Isthmus of Corinth.

At Mycenæ the fortification work is similar. Our view of the Lion Gate[8] will give some idea of the massive, Cyclopean masonry. The great relief itself is clearly a heraldic device; some such grouping of animals is constantly seen upon seals and gems, and the lion (or lioness?) has always been a royal beast. But, heraldic though it be, this enormous group is far from lifeless conventionality. Some scholars believe that the pillar between the animals is a proof of the much-discussed pillar-worship of prehistoric Greece.

Beehive Tomb: Section

But the most interesting of the Mycenæan remains are undoubtedly the tombs. In the city itself there is a circular enclosure surrounded by a double series of paving-stones set into the ground on edge, thus forming a ring of shaft graves whose purpose was plainly shown by the objects and bones found in them. Down in the plain below were found other burying-places, also circular, but of a later date and much more striking. These subterranean “beehive” tombs have been found elsewhere in Greece, but nowhere of such splendour. It was one of these which Schliemann proclaimed to be the tomb of Agamemnon. Like the pyramids in Egypt, it contains an inner chamber, which forms the actual grave, outside it a circular “tholos,” probably a shrine for the cult of the departed, and a long “dromos,” or inclined approach. The tholos is of great interest to architects as providing a forerunner of the dome. But it is not built on the principle of the arch, with wedge-shaped masses and a keystone. This dome is contrived by laying ever-narrowing circles of masonry one upon the other concentrically, the interior being smoothed, plastered, and richly decorated. It is thought that the bee-hive shape reproduces the primitive bell-tent, for the tombs of the dead are generally copied from the abodes of the living. Such splendour in the tomb, such careful concealing of the dead underground in an inner chamber, unquestionably proves ancestor-worship.

The sixth city at Troy was of much the same style and date as these; larger, indeed, than all, and with its houses radiating from the centre like the spokes of a wheel. On the Athenian Acropolis too there are traces of a similar prehistoric settlement. We are probably to imagine the face of the Greek world in the second millennium B.C. as dotted with these citadel palaces.

Mycenæ has yielded many interesting treasures of a minor sort. It was especially rich in gold, and we notice with great interest the masks of thin gold laid upon the faces of the dead. Nor has Crete yet produced any object in gold to rival the famous pair of cups[9] found at Vaphio, in Laconia. These are of gold repoussé, and their designs of wild and tame cattle are incomparably living and natural. But Sir Arthur Evans is probably justified both on grounds of style and subject in claiming these superb treasures as exports from Crete. The palm-tree betrays a Southern origin. In Mycenæ, too, were found the finely inlaid dagger-blades[10] which give us a picture of the men and weapons of the Mycenæan or Late Minoan ages of Ægean culture. The men, we observe, are armed with long spears and huge figure-of-eight shields composed of wickerwork covered with bull’s hide and pinched in at the “waist” so as to encircle the body and provide a hand-grip. The warriors wear no clothing but

Plate VIII. THE LION GATE, MYCENÆ

English Photo Co., Athens

breeches or loin-cloths, and in this they resemble the men of the Cretan frescoes and gems.

Cretan Cup of Degenerate Style.

And what came of it all? Somewhere, it would seem, about 1400 B.C. Cnossos underwent its final catastrophe. The palace was sacked and burnt, the ateliers of its brilliant artists were destroyed, and the artists themselves slain or scattered. So the centre of illumination was darkened for the whole Ægean world. Elsewhere Ægean civilisation continued perhaps for two centuries more, and in Cnossos itself there is yet another period when the palace sites were partially reoccupied by a few stragglers of the old artistic race. But with the fall of his patron the inspiration of the craftsman vanishes, degeneration rapidly sets in. Even in the designs of the vases the bold, naturalistic drawing deteriorates into lazy formulæ, the brilliance of the glaze grows dull, the colours are flat and muddy. A good deal of Mycenæan art is of this decadent type, and a good deal more of it has been found in the neighbouring sites of Crete.

Among the relics of this period are objects which betray the cause of the downfall—weapons of iron. The Bronze Ages are passing away before the superior metal, as the Stone Ages had yielded to the Bronze.