The Historians' History of the World 03

The latest excavation has at last established beyond all cavil that the civilisation which was capable of such splendid artistic achievement was not without a system of written communication. Thousands of clay tablets (many being evidently labels) and a few inscriptions on pottery from the palace at Knossos have confirmed Mr. A. J. Evans’ previous deduction, based on gems, masons’ and potters’ marks, and one short inscription on stone found in the Dictæan cave, that more than one script was in use in the period. Most of the Knossos tablets are written in an upright linear alphabetic or syllabic character, often with the addition of ideographs, and showing an intelligible system of decimal numeration. Since many of the same characters have been found in use as potters’ marks on sherds in Melos, which are of earlier date than the Mycenæan period, the later civilisation cannot be credited with their invention. Other clay objects found at Knossos, as well as gems from the east of Crete, show a different system more strictly pictographic. This seems native to the island, and to have survived almost to historic times; but the origin of the linear system is more doubtful. No such tablets or sealings have yet been found outside Crete, and their writing remains undeciphered. The affinities of the linear script seem to be with the Asianic systems, Cypriote and Hittite, and perhaps with later Greek. The characters are obviously not derived from the Phœnician.

This Mycenæan civilisation, as we know it from its remains, belongs to the Ægean area (i.e., roughly the Greek), and to no other area with which we are at present acquainted. It is apparently not the product of any of the elder races which developed culture in the civilised areas to the east or southeast, much as it owed to those races. It would be easy to add to the singular vase-forms, script, lustrous paint, idols, gems, types of house and tomb, and so forth, already mentioned, a long list of Mycenæan decorative schemes which, even if their remote source lies in Egypt, Babylonia, or inner Anatolia, are absolutely peculiar in their treatment. But style is conclusive. From first to last the persistent influence of a true artistic ideal differentiates Mycenæan objects from the hieratic or stylised products of Egypt or Phœnicia. A constant effort to attain symmetry and decorative effect for its own sake inspires the geometric designs. Those taken from organic life show continual reference to the model and a “naturalistic grasp of the whole situation,” which resists convention and often ignores decorative propriety. The human form is fearlessly subjected to experiment, the better to attain lightness, life, and movement in its portrayal. A foreign motive is handled with a breadth and vitality which renders its new expression practically independent. The conventional bull of an Assyrian relief was referred to the image of a living bull by the Knossian artist, and made to express his emotions of fear or wrath by the Vaphio goldsmith, the Cypriote worker in ivory mirror handles, or the “island-gem” cutter.

Exterior View of the Treasury of Atreus

Since we have a continuous series of links by which the development of the characteristic Mycenæan products can be traced within the area back to very primitive forms, we can fearlessly assert that not only did the full flower of the Mycenæan civilisation proper belong to the Ægean area, but also its essential origin. That it came to have intimate relations with other contemporary civilisations, Egyptian, Mesopotamian, perhaps “Hittite,” and early began to contract a huge debt, especially to Egypt, is equally certain. Not to mention the certainly imported Nilotic objects found on Mycenæan sites, and bearing hieroglyphic inscriptions and cartouches of Pharaonic personages, the later Ægean culture is deeply indebted to the Nile for forms and decorative motives.