§ 99. The ' Palace Style' Pottery of L. M. II.

Knossos the exclusive source of the finest outstanding achievement of
Late Minoan ceramic Art; Reflection ofa still powerful dynasty ; Growing
influence of M.M. Ill Ceramic types outside Crete; L.M.I a. style shared
by Mainland; Knossian 'Palace Style' of L.M. II—an enclave in
L.M.Ih; Sources of these palatial fabrics ; Metal-work models—imita-
tion of foliated edges, shield-headed rivets, and repousse' bands ; Prototypes in
precious metals; Reflection of frescoes; Monumental character of 'Palace
Style' ; Marine motives—octopus types; Process of Conventionalization;
' Triple C ornament on' Palace Style' Vases—its marine derivation ; Whorl-
shell motives—triton as well as murex—later evolutions ; Tritons associated
with ritual objects; Survival of 'Sacral Ivy' and ' Ogival Canopy' on
' Palace Style' vases ; Overlapping of L. M. lb and Palatial style; Composite
plant motives and their sources; Anticipation of decorative style in Iris
sprays of Priest-king Fresco ; Elements drawn from papyrus, reed, palm-
trees, and lily ; Papyrus clumps on jar from ' Royal Villa '; Echoes of Nile-
bank scenes—ducks 011 'Palace Style' amphora from Argos and a somewhat
later Knossian example ; L. M. IIP versions of Nilotic motives; Absence of
imported L. M. II pottery in Egypt but abundant evidence of Egyptian
imports; Architectonic features on 'Palace Style' vases—L.M. 1 a fresco
bands imitated; Influence of ' Shield Frescoes'; Double Axes and other Cull
objects reproduced; Sacred Trees, conch shells and ' rhyton' type; Gold
Votive Double Axes from Cave sanctuary; Motives taken from frescoes
depicting Pillar Shrines of Double-Axe Cult—Chequer work of fagades ;
Pillar-shrine motives appear per saltum on late bowls from Mycenae ;
General relationship of ' Palace Style' fabrics to those of Mainland Greece.

We now approach what, so far as the great Minoan Palace is concerned, Growing

infl
of
M.
ceramic

must be regarded as its most individual achievement in the domain of ceramic

Art. Knossos itself, indeed, has a more exclusive claim to the stately M.M. Ill

cerariij'*
style evolved in the latest Age of the great Palace than to any preceding types

phase and its magnificence reflects the lustre of the last dynasty of Priest- Crete.6

kings that exercised their sway from this centre. There are signs, indeed,

that their dominion was not altogether confined to the insular sphere.

The earlier ceramic styles of Crete, from Neolithic days onwards, had

been largely shared throughout the Island. In the Middle Minoan Age

they begin to affect a wider area. M. M. II painted wares were not only