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Author Topic: MYTHS OF CRETE & PRE-HELLENIC EUROPE  (Read 5646 times)
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« Reply #15 on: February 25, 2009, 11:07:51 pm »

have been discovered, of racial types resembling those of early Egypt or early Crete, but remarkable evidence has been forthcoming which not only establishes the great antiquity of certain artistic motifs -of finished artistic skill and even of certain customs that afterwards appeared on the Island of Minos and in the Nilotic and Tigro-Euphratean areas.

The links with Crete are so close and suggestive that writers like Angelo Mosso have expressed the belief in the Neolithic and Cretan origin of Aurignacian and Magdalenian art. But the geologists have established beyond a shadow of doubt that the civilization of which this art is an eloquent expression must be assigned to the latter part of the Pleistocene period, when the reindeer roamed through the valleys of France.

Those ancient Palæolithic hunters were skilled artists and carvers of bone and ivory. They painted and engraved on cave roofs the figures of animals with a realism and freedom which were never surpassed in Greece; they also carved ivory female figurines in the round which are worthy of comparison with similar artistic products of Egypt, and not always to their disadvantage.

"The resemblances", writes Mosso, "between the most ancient female figures in France and the Neolithic figures of Crete and Egypt are very striking." Among the rock pictures of women he sees "the girdle and the Egyptian mode of hairdressing". Describing a Palæolithic painting, he writes: "The women's hair flows down upon their shoulders like that of the Minoan women; the bosom is uncovered and the breasts much developed. The triangular shape of the heads indicates a hood or a kind of mitre. Two of them wear a bracelet on the upper arm near the elbow, and all have a very slender waist, with the body shaped like an hour-glass." He

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