Above the strata, however, which contain these remains of local divergent development, there lies in all districts of the Ægean area a rich layer of deposit, whose contents show a rapid and marked advance in civilisation, are essentially uniform, and have only subsidiary characteristics due to local influence or tradition. The civilisation there represented is not of an origin foreign to the area. The germs of all its characteristic fabrics, forms, and motives of decoration exist in the underlying strata, though not equally in all districts, and the change which Mycenæan art occasions is not always equally abrupt. It is most reasonable to see in these remains the result of the action of some accidental influence which greatly increased the wealth and capacity of one locality in the area, and caused it to impose its rapidly developing culture on all the rest. The measure of the reaction that took place in divers localities thereafter depended naturally on the point to which local civilisations had respectively advanced in the pre-Mycenæan period.
As to the decorative motives in vogue, there is less uniformity. The earlier Mycenæan vessels have curvilinear and generally spiraliform geometric schemes. These pass into naturalistic vegetable forms, and finally become in the finest typical vases almost exclusively marine—algæ, octopods, molluscs, shells, in many combinations. Everywhere animal, bird, and human forms are but seldom found. Man certainly appears very late, and in company with the oriental motives which characterise the Spata objects. Insects, especially butterflies, become common, and when their antennæ terminate in exquisite spirals, decorative art is at the end of its progress.
Silver Ox-head from Mycenæ
Not only in the continuous and universal commentary of painted earthenware, but in many other media, we have evidence of “Mycenæan” art, but varying in character according to the local abundance or variety of particular materials. We have reached an age when the artist had at his disposal not only terra-cotta, hard and soft stone, and wood, but much metal, gold, silver, lead, copper, bronze containing about twelve per cent. of tin alloy, as well as bone and ivory, and various compositions from soft lime plaster up to opaque glass. If it were not for the magnificent stone utensils, in the guise of lioness heads, triton shells, palm and lotus capitals, with spirals in relief, miniature shields for handles, which have come to light at Knossos, we should have supposed stone to be a material used (except architecturally) only for such rude metallic-seeming reliefs as stood over the Mycenæ gate and circle graves, or for heavy commonplace vases and lamps.
We have discovered no large free statuary in the round in any material as yet, though part of a hand at Knossos speaks to its existence; but figurines in metal, painted terra-cotta, and ivory, replacing the earlier stone idols, are fairly abundant. For these bronze is by far the commonest medium, and two types prevail; a female with bell-like or flounced divided skirt, and hair coiled or hanging in tails, and a male, nude but for a loin-cloth. The position of the hands and legs varies with the skill of the artist, as in all archaic statuary. Knossos has revealed for the first time the Mycenæan artist’s skill in painted plaster-relief (gesso duro). The life-size bull’s head from the northern entrance of the palace and fragments of human busts challenge comparison triumphantly with the finest Egyptian work. And from the same site comes the fullest assurance of a high development of fresco-painting.
Tiryns had already shown us a galloping bull on its palace wall, Mycenæ smaller figures and patterns, and Phylakopi its panel of flying-fish; but Knossos is in advance of all with its processions of richly dressed vase-carriers, stiff in general pose and incorrect in outline, but admirably painted in detail and noble in type; and its yet more novel scenes of small figures, in animated act of dance or ritual or war, irresistibly suggestive of early Attic vase-painting. Precious fragments of painted transparencies in rock-crystal have also survived, and both Mycenæ and Knossos have yielded stone with traces of painted design. Moulded glass of a cloudy blue-green texture seems to belong to the later period, at which carved ivory, previously rare, though found even in pre-Mycenæan strata, becomes common. The Spata tomb in Attica alone yielded 730 pieces of the latter material, helmeted heads in profile, mirror handles and sides of coffers of orientalising design, plaques with outlines of heraldic animals, and so forth. Articles in paste and porcelain of native manufacture, though often of exotic design, have been found most commonly where Eastern influence is to be expected; for instance, at Enkomi in Cyprus. But the glassy blue composition, known to Homer as κύανος, an imitation of lapis-lazuli, was used in architectural ornament at Tiryns.
But it is in precious metals, and in the kindred technique of gem-cutting, that Mycenæan art effects its most distinctive achievements. This is, as we have said, an age of metal. That stone implements had not entirely passed out of use is attested by the obsidian arrow-heads found in the circle graves, and the flint knives and basalt axes which lay beside vases of the full “Mycenæan” style at Cozzo del Pantano in Sicily. But they are survivals, unimportant beside the objects in copper, bronze, and precious metals. Iron has been found with remains of the period only as a great rarity. Some five rings, a shield boss, and formless lumps alone represent it at Mycenæ. In the fourth circle grave occurred thirty-four vessels of nearly pure copper. Silver makes its appearance before gold, and is found moulded into bracelets and bowls, and very rarely into figurines. Gold is more plentiful. Beaten, it makes face-masks, armlets, pendants, diadems, and all kinds of small votive objects; drawn, it makes rings whose bezels are engraved with the burin; riveted, it makes cups; and overlaid as leaf on bone, clay, wood, or bronze cores, it adorns hundreds of discs, buttons, and blades.
Next to Mycenæ in wealth of this metal ranks Enkomi in Cyprus, and pretty nearly all the tombs of the later period have yielded gold, conspicuously that of Vaphio. From the town sites, e.g., Phylakopi in Melos, and Knossos, it has disappeared almost entirely. Detached from the mass of golden objects which show primitive or tentative technique, are a few of such elaborate finish and fineness of handiwork, that it is hard to credit them to the same period and the same craftsmen. The Mycenæ inlaid dagger-blades are famous examples, and the technical skill, which beat out each of the Vaphio goblets in a single unriveted plate, has never been excelled.
We are fortunate in possessing very considerable remains of all kinds of construction and structural ornament of the Mycenæan period. The great walls of Mycenæ, of Tiryns (though perhaps due to an earlier epoch), and of the sixth layer at Hissarlik, show us the simple scheme of fortification—massive walls with short returns and corner towers, but no flank defences, approached by ramps or stairs from within and furnished with one great gate and a few small sally-ports. Chambers in the thickness of the wall seem to have served for the protection of stores rather than of men. The great palaces at Knossos and Phæstos, however, are of much more complicated plan. Remains of much architectural decoration have been found in these palaces—at Mycenæ, frescoes of men and animals; at Knossos, frescoes of men, fish, and sphinxes, vegetable designs, painted reliefs, and rich conventional ornament, such as an admirably carved frieze in hard limestone; at Tiryns, traces of a frieze inlaid with lapis-lazuli glass, and also frescoes. The rough inner walls, that appear now on these sites, must once have looked very different.
Certain chambers at Knossos, paved and lined with gypsum, and two in Melos, have square central piers. These seem to have had a religious significance, and are possibly shrines devoted to pillar-worship. The houses of the great dead were hardly less elaborate. The “Treasury of Atreus” had a moulded façade with engaged columns in a sort of proto-Doric order and marble facing; and there is good reason to suppose that its magnificent vault was lined within with metal ornament or hanging draperies. The construction itself of this and the other masonry domes bespeaks skill of a high order. For lesser folk beehive excavations were made in the rock, and at the latest period a return was made apparently to the tetragonal chamber; but now it has a pitched or vaulted roof, and generally a short passage of approach whose walls converge overhead towards a pointed arch but do not actually meet. The corpses are laid on the floor, neither mummified nor cremated; but in certain cases they were possibly mutilated and “scarified,” and the limbs were then enclosed in chest urns. There is evidence for this both in Crete and Sicily. But the order of burial, which first made Mycenæan civilisation known to the modern world, continues singular. Similar shaft graves, whether contained within a circle of slabs or not, have never been found again.