The Palace Style pottery is of a peculiar style among the Aegean potteries. Evans and Furumark had noticed that while its shapes and ornaments were Cretan, the stylization and the disposition of its ornamental design were Helladic. Besides this, its second characteristic, its monumentality, makes it unique in other Aegean pottery. What makes the Palace Style pottery appear monumental? The effect is gained primarily by a large and broad belly ornamental frieze which shows great complexity of pattern, but never betrays any sign of confusion, mainly because of its concentration or grouping. Now, where shall we
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of these characteristics which produce such an effect of grandeur? Investigating every piece of the chief designs and their disposition, I have come to the conclusion as follows: (1) Influence of Cretan fresco-Nearly all the designs are copied, not from the Cretan LM I pottery, but from the Knossian frescoes, and moreover the main frieze (belly frieze) is framed above and below with black broad lines. One may even assume that somewhere in the vase-painter's mind lurked an image of the Knossian fresco. That is why the patterns of the main frieze show a far more complicated and monumental appearance than, those of ordinary Aegean potteries. (2) Influence of Egypt -Some of the Palace Style patterns are clearly derived from Egyptian art and furthermore an Egyptian way of representation, grandiose and imposing, must have exercised a strong influence on this style. It cannot be doubted that with the beginning of LM II the intercourse between Egypt and the Mycenaean mainland suddenly became intensive. (3) Mycenaean tectonic character- The concentration or grouping of patterns and their stylization, often even symmetrical, originated from the Mycenaean (Helladic) mind. The Middle Mycenaean period (LM II) is the grand age when the Mycenaean monumentality reached its peak, the fact, of which the citadels, tholos and sculptures are unmistakable proofs. Besides, the Palace Style also shows the way in which the Greek genius absorbed foreign cultures. It is true that the Greeks were always ready to learn from the advanced foreign cultures, yet they never went so far as to let any change occur which would affect the essential character of their own culture. The Mycenaean Greeks learned from the Cretans every aspect of the Mediterranean way of living, but were, it seems, least interested in naturalism which was the specific characteristic of Cretan art. Thus the Cretan naturalistic patterns were transformed by the Greeks into something, stylized and artificial.
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