Ægean archæeology; an introduction to the archæeology of prehistoric Greece . ience group of the snake-goddesses (PI. I), orthose of Greek art, but stare at the little ivory figuresof leapers ? (PL XXX, 2.) And in these two casesthe impressions given were diametrically opposed. Weknew before that Mycenaean religion seemed un-Hellenic enough in outward form ; the snake-goddessesmore than confirmed this idea. But we also had seenthat Mycenaean art, despite its constantly recurringcrudeiiess and hizarrerie, was possessed by a spirit thatwas above all things Greek in its freedom and its love ofbea
Ægean archæeology; an introduction to the archæeology of prehistoric Greece . ience group of the snake-goddesses (PI. I), orthose of Greek art, but stare at the little ivory figuresof leapers ? (PL XXX, 2.) And in these two casesthe impressions given were diametrically opposed. Weknew before that Mycenaean religion seemed un-Hellenic enough in outward form ; the snake-goddessesmore than confirmed this idea. But we also had seenthat Mycenaean art, despite its constantly recurringcrudeiiess and hizarrerie, was possessed by a spirit thatwas above all things Greek in its freedom and its love ofbeauty, and we could not but think that this spirit haddescended from the older to the younger art of Knossian discoveries deepened this feeling with-out question; the ivory leapers set the minds ofthe artists absolutely at rest. How could these twodiametrically-opposed impressions be reconciled ?They can easily be reconciled, as we shall see. Enough,and more than enough, was found in the first few yearsof the Knossian excavations to set the archaeologists PLATE IX.
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