[8] XV, 679 f. F. Marx, Jb., IV, 1889, pp. 119 f., on the analogy to certain coin types, saw in this fresco a representation of river divinities.
[9] Mosso, op. cit., p. 298, fig. 98.
[10] See Mosso, p. 311, fig. 153.
[11] Here the paved space measures only about 30 by 40 feet and the two tiers of seats would seat only 400 to 500 spectators: B. S. A., IX, 1902–03, p. 105, fig. 69; see Mosso, p. 315, fig. 154, and Baikie, The Sea Kings of Crete, 1913, Pls. XXI (before restoration), XXII (restored).
[12] See Burrows, The Discoveries in Crete, 1907, p. 5. The one at Knossos maybe the “choros” wrought by Daidalos for Ariadne: Iliad, XVIII, 590–2.
[13] B. S. A., VIII, 1901–2, pp. 72–4, fig. 39 (arm); Pls. II, III; Baikie, op. cit., Pl. XIX; H. R. Hall, Aegean Archæology, Pl. XXX, 2; Mosso, op. cit., p. 222, fig. 102; cf. Burrows, op. cit., p. 21; Bulle, p. 49, fig. 7; Springer-Michaelis, p. 103, fig. 228.
[14] Remains of copper wire with gold foil twisted around it still adhere to the head of one statuette.
[15] See Mosso, op. cit., p. 221, fig. 101; B. S. A., VII, 1900–01, p. 88.
[16] Hall, Aegean Archæology, pp. 55–6. Though discovered in 1889 in a bee-hive tomb near Sparta, these famous cups are obviously importations from Crete, the work of an artist of the late Minoan I period. Similarly, the lion-hunt on the dagger-blade from Mycenæ is akin to Cretan art, if not its product. These cups have been often pictured: e. g., Arch. Eph., 1889, Pl. IX; Schuchhardt, Pl. III (App., pp. 350 f.); B. C. H., IV, 1891, Pls. XI-XII (in color), XIII-XIV; Tsountas-Manatt, op. cit., pp. 227–8, figs. 113–114; Perrot-Chipiez, VI, Pl. XV (in color) and pp. 786–7, figs. 369–370; H. B. Walters, op. cit., Pl. V; Mosso, op. cit., pp. 223 f., figs. 103, a, b, and 104, a, b, c; Hall, op. cit., Pl. XV. 1, and cf. id., Ancient History of the Near East, pp. 54–5, n. 1; Springer-Michaelis, pp. 104–5, figs. 230 a, b; J. H. Breasted, Ancient Times, 1916, fig. 140, opp. p. 234.
[17] This interpretation of the scene has been compared with the design of a lion and goat on the short sword-blade from the chieftain’s grave at Knossos: see Burrows, op. cit., p. 88 and cf. pp. 136–7. Here there are two successive scenes; first the agrimi (wild goat) is startled and springs away; then the lion is represented triumphant at the end of the chase with one paw on the beast’s hind quarter and the other raised to strike: see Evans, Prehistoric Tombs of Knossos, 1906, p. 57, fig. 59; cf. also bronze inlaid dagger-blade from Mycenæ, showing hunting scenes on each face; Perrot-Chipiez, VI, Pl. XVII, 1 (panther hunting wild ducks, in color), XVIII, 3–4, (lion-hunt by men and lions chasing gazelles, in color); cf. Tsountas-Manatt, op. cit., pp. 200–2; Springer-Michaelis, Pl. V, 2a, b, 3; Schuchhardt, op. cit., p. 229, fig. 227; cf. Burrows, op. cit., p. 136.