Page:History of Art in Primitive Greece - Mycenian Art Vol 2.djvu/461

 4o4 Primitive Greece: Mycenian Art. It was no manoeuvring scene which the painter designed to depict here, but a battle-scene in good earnest. This is proved by the long-robed woman who stands behind the warriors and raises her hand to her head in token of distress. Her attitude is analogous to that of the corresponding figure on the Vaphio vase (Fig. 358) ; and like this, her relation to one of the men is pro- bably that of mother or wife. As to the connection between the two bodies of troops, it is rather difficult to make out. Were they advancing towards each other we should understand easily enough that the two forces are about to fall upon one another ; but all the warriors are moving in the same direction, from left to right. Again, if we consider them in the light of hostile troops, how are we to account for the fact that the body which is menaced by the lances levelled in its direction should look as unconcerned at the impending danger as if they were on parade-ground ? It is more likely that the two groups stand for two corps of the Mycenian host. The light troops are already engaged in the struggle ; behind them, the hoplites, with crested helmets and huge shields, are advancing in close array to support the van- guard. The theme depicted on this vase is sufficiently divergent from the ordinary ornaments of the ceramic art of that period to have raised the question as to its having any right to be placed within the range of Mycenian pottery. The best-informed judges, however, have no misgivings on the subject. As they pertinently observe, these are not the only evidences of the same nature we have to judge from,^ and if no guess can be hazarded in regard to them, it is because the graves in which they were found are mute and poor graves, the end of that period being as yet unrepresented by sepulchres of importance. Pot- sherds collected in the upper layers of detritus, at Mycenae and Tiryns, are the sole relics that have come down to us of the ceramic art of the last days of the Achaean world. The technique observable in the vase just referred to is that which characterizes the unequivocal products of the art we are considering. To the analogies that have been adduced as vouchers of this relation- ship, may be added one more, namely, the curious crescent-shape assumed by the woman's skirt below the knee ; this Tias often been noticed on the bas-reliefs and gems, but the fashion was not ^ Mykenische Vascn,