The Historians' History of the World 03

At what epoch did Ægean civilisation reach its full development? It is little use to ask when it arose. A terminus a quo in the Neolithic Age can be dated only less vaguely than a geological stratum. But it is known within fairly definite limits when it ceased to be a dominant civilisation. Nothing but derived products of sub-Mycenæan style falls within the full Iron Age in the Ægean. Bronze, among useful metals, accompanies almost alone the genuine Mycenæan objects, at Enkomi in Cyprus, as at Mycenæ. This fact supplies a terminus ad quem, to which a date may be assigned at least as precise as scholars assign to the Homeric lays. For these represent a civilisation spread over the same area and in process of transition from bronze to iron, and if they fall in the ninth century B.C., then the Mycenæan period proper ends a little earlier, at any rate in the West. It is possible, indeed probable, that in Asia Minor and Cyprus, where the descent of northern tribes about 1000 B.C., remembered by the Greeks as the “Dorian Invasion,” did not have any direct effect, the Mycenæan culture survived longer in something like purity, and passed by an uninterrupted process of development into the Hellenic; and even in Crete, where there was certainly a cataclysm, and in the Argolid, where art was temporarily eclipsed about the tenth century, earlier influence survived and came once more to the surface when peace was restored. Persistence of artistic influence under a new order, and differences in the artistic history of different districts widely sundered, have to be taken into account. The appearance, e.g., of late Mycenæan objects in Cyprus, does not necessarily falsify the received Mycenæan dates in mainland Greece.

For the main fact, however, viz., the age of greatest florescence all over the area, a singular coincidence of testimony points to the period of the XVIIIth Pharaonic Dynasty in Egypt. To this dynasty refer all the scarabs or other objects inscribed with royal cartouches (except an alabaster lid from Knossos, bearing the name of the earlier “Shepherd King,” Khyan), as yet actually found with true Mycenæan objects, even in Cyprus. In a tomb of this period at Thebes was found a bronze patera of fine Mycenæan style. At Tel-el-Amarna, the site of a capital city which existed only in the reign of Amenhotep IV, have been unearthed by far the most numerous fragments of true “Ægean” pottery found in Egypt; and of that singular style which characterises Tel-el-Amarna art, the art of the Knossian frescoes is irresistibly suggestive. To the XVIIIth and two succeeding dynasties belong the tomb-paintings which represent vases of Ægean form; and to these same dynasties Mr. Petrie’s latest comparisons between the fabrics, forms, and decorative motives of Egypt and Mycenæ have led him. The lapse of time between the eighteenth and the tenth centuries is by no means too long, in the opinion of most competent authorities, to account for the changes which take place in Mycenæan art.

The question of race, which derives a special interest from the possibility of a family relation between the Mycenæan and the subsequent Hellenic stocks, is a controversial matter as yet. The light recently thrown on Mycenæan cult does not go far to settle the racial problem. The aniconic ritual, involving tree and pillar symbols of divinity, which prevailed at one period, also prevailed widely elsewhere than in the Ægean, and we are not sure of the divinity symbolised. Even if sure that it was the Father God, whose symbol alike in Crete and Caria is the labrys or double axe, we could not say if Caria or Crete were prior, and whether the Father be Aryan or Semitic or neither.