Page:History of Art in Primitive Greece - Mycenian Art Vol 2.djvu/300

 The Lions Gate. 247 order, and above it appears the entablature. Remembering the small scale of the object, we cannot expect to find here the several members as clearly marked as they are in the Lions Gate ; yet we think we can make out the heads of the cross-beams, and the cornice enframing the flat roof above. The attitude of the animals, whether about the altar or the Lions Gate, is identical ; save that in the one instance we have lions, and griffins in the other. Comparison of the engraved stone with the bas-relief brings out the fact that the details, taken singly, are dissimilar ; yet in a general way the two compositions are so alike as to lead to the conclusion that they are replicas of a subject hallowed by tradition. The same design, though in a modified form, re- appears on other objects of the same nature, on two engraved stones, the one from Crete, and the other from Mycenae (PI. XVL II, 20). The column has been omitted, and on one of the intaglios a star has been put in its place ; but the altar and the lions preserve their original posture. The bodies, like those of the griffins, are shown in profile, and the heads thrown back. The movement is somewhat forced, because it does not quite interpret the original intention of the artist. He started with the idea of having the animals' heads turned towards the spectator, as we conceive those of the Uons over the gateway to have been ; but his heart misgave him when he tried to solve the problem between a view in profile and one facing ; he did not know how to place the heads in so narrow a space. The problem was solved in true arbitrary fashion in the second intaglio, where we find a single head, squarely facing us, somewhat above life-size, stuck on a double body. But the modelling is bold, and the protuber- ance of the muscular masses which furrow the forehead of great feline animals is rightly given. Despite trickery, the head bears so brave a look as to disarm criticism. Glyptic art does not by any means keep the monopoly of the type to itself; we divine a replica of it on an ivory handle (F'g- 368).^ The ornament, which occurs towards the tail end of the handle, consists of a double row of spirals, whereon rests an altar shaped like those of the Lions Gate, except that here the surface is seamed with horizontal and parallel lines. Visible on the upper face of the altar are the paws of two animals face to face, separated by a slender column. In face of the worn ^ Das Kuppelgrab bet Menidi,