EVOLUTION OF MINOAN SIGNET-RING

i39

This specifically ' sarcophagal' art, as yet only sporadically brought to 'Sarco-
light, may in the future supply many new parallels to these religious ring Art.
subjects.

From the sealings of Zakro and other sources, it is clear that the cult of
the Double Axes illustrated thus in sepulchral painting was also taken over
into signet-rings.

There have by this time come to light—mostly in a distinctly sepul-
chral connexion—a whole series of gold signet-rings, such as the above,
presenting religious scenes. The bezels of these, with their somewhat
elongated oval form, are better designed for containing the elements of such
pictorial compositions than the ordinary engraved bead-seals whether of
lentoid or amygdaloid type.

Fig. 90. Evolution of Minoan Signet-ring: a, Tubular Gold Bead (M.M.I);
b 1, 2, Pendant Signet. Ivory; c, Ideal Intermediate Type; d, Signet-ring of Minoan
Type.

Evolution of Minoan Signet-ring.

The history of these Minoan signet-rings is itself of special interest Origin of
and explains the fact that alone among all known classes of finger rings signet-
the bezel is here set at right angles to the hoop. It also accounts for the "ng,from
peculiarity that the hoop is often abnormally small, and was primarily seal.
intended for suspension, not for wearing on the finger.

That this type of ring was in fact derived from a tubular bead with
a signet-plate set on it longitudinally, may be inferred from a derivative
example in ivory, standing in very near relation to an original metal form
of this kind found in a M. M. I deposit in the primitive tholos of Platanos.
A sketch of this, with a tubular gold bead beside it, is given in Fig. 90, b}

1 This evolution was first pointed out by me
in the Ring of Nestor, &-r., p. 43. The ivory
example is given in Xanthudides, Vaulted

Tombs of Mesard (transl. J. P. Droop), PI.
LVII, 472, 473-