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Published online by Cambridge University Press: 08 January 2012
That the art of gem- and seal-cutting persisted in Greece during the long and uncertain period of development that preceded the full flower of archaic Greek art has been acknowledged by the accepted classification of certain stones bearing intaglio designs as ‘geometric’. That such stones are not numerous in European collections is due chiefly to their extreme crudity and lack of artistic charm, which give them little worth in the eyes of collectors.
page 38 note 1 Furtwängler, , Ant. Gemm. iii, p. 7 ff.Google Scholar, Beschreibung dor geschnittenen Steine im Antiquarlum (Catalogue of the Berlin Collection), p. 7 ff.
page 38 note 2 Published by permission of the Keeper of the Ashmolean Museum, as are also nos. 6 and 7 of this group and Group II, no. 1.
page 39 note 1 Here published by permission of Sir Arthur Evans, as are also no. 5 of this group and nos. 1 and 2 in Group III.
page 40 note 1 For others see Furtwängler, , Ant. Gemm. iii, pp. 61 ffGoogle Scholar.
page 40 note 2 Hardly, as Furtwängler suggests, a winged man.
page 41 note 1 Published by permission of the Director.
page 41 note 2 Rectangular seals may be derived from, or the inspiration of, the rectangular bases of bronze ‘geometric’ horses or similar figures.' These bases usually have the under face cut into a roughly ‘geometric’ seal pattern. They thus served both as pendants and as seals.
page 41 note 3 See my ‘Bronze Work of the Geometric Period and its Relation to Later Art’, J.H.S. XLII, p. 207 ffGoogle Scholar.
page 42 note 1 Furtwängler, , Kleine Schriften, i, pl. 17, 1Google Scholar.
page 43 note 1 Ant. Gemm. iii, p. 65Google Scholar.