Bronze Age Representations of Aegean Bull-Leaping

Author(s): John G. Younger

Source: American Journal of Archaeology, Vol. 80, No. 2 (Spring, 1976), pp. 125-137
Published by: Archaeological Institute of America
Stable URL: http://www.jstor.org/stable/503408
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 Bronze Age Representations of Aegean Bull-Leaping
JOHN G. YOUNGER

PLATES 20-22

Abstract Sir Arthur Evans in 1921 and 1930 treated th

ject
There were three main systems forofdepicting
bull-leaping in two admirable studie
Ae-
In his later
gean bull-leaping in the Late Bronze Age.essay
TypeEvans
I published severa
was described by Evans, Type II resentations
by Mrs. Sakellariou,
of bull-leaping found on sealston
while Type III is here presented in
for the
wall first
and time.
relief frescoes. He also presen
Though Types I and III seem to reflect several aes-
drawing in good Minoan style by Theodor
thetic considerations, Type II may illustrate the
(PM IIIinclude
sport more accurately. All three types fig. 156, our ill. I), a lucid diagram
several
examples that come with known various positions and
proveniences a leaper might assume. E
from dated contexts. These examples discussion suggest that is informative and ent
of the sport
Type I was a Cretan schema with ing a with
floruit in LM I, digressions on rodeos i
enlightening
Type III a Mycenaean schema with a floruit in LH
American West, on Iberian bull sports, and on
IIIB, and Type II a Cretan and Mycenaean schema
taurokathapsiai
dating primarily before the beginning of LB of Roman Thessaly. His re
IIIB.
struction ofthen
If Type II depicts bull-leaping accurately the Minoan
the feat (Evans's Schem
sport may not have been practiced after however,
low) rests, LB IIIA:2. almost exclusively on
piction in the bronze group (1.6 below) fro
INTRODUCTION*
Rethymnon now in the British Museum (
Minoan and Mycenaean bull-leaping' fig.
has3).'
beenHe aappears to ignore the ample ev
popular subject of discussion and speculation
of different since methods of depicting the leap as
1884 when Heinrich Schliemann found sentedat Tiryns
in other media, the most noteworthy
sentation
a fresco depicting the sport (III.i below). Later, being the Knossos Taureador
(11.15 frescoes
the excavations at Knossos produced many below).
Mrs.bull-leap-
and sealings representing other aspects of A. Sakellariou in 1958 again catalogued the
ing, and these provoked wider interest.
known representations of bull-leaping and bull-
In 1909 A. Reichel published a catalogue of
grappling.5 Shethe
divided the poses of the bull-leaper
representations known at the time intoand he groups;
two main at- a third includes only rep-
tempted some general conclusions.2 But an elucida-
resentations of bull-grappling. Her first group lists
tion of the maneuvers in the sport haddepictions
to wait until
which she thought would fit Evans's sys-

* In addition to the standard abbreviations the following are None of the photographs is to scale. Appreciation is also du
used: to Abby Watrous for the illustration of the Diving Leaper Schem
Betts - J. Betts, "New Light on Minoan Bureaucracy," (ill. 2).
Kadmos 6 (1967) 15-40. 1 Bull-leaping, the sport, is here considered apart from bull-
CM -A. Sakellariou, Les Cachets minoens. grappling, which may be defined as the securing of wild or
angered
CMS - Corpus der minosichen und mykenischen bulls; the representations of this activity should form a
Siegel.
CS - V.E.G. Kenna, Cretan Seals. separate study. Examples of bull-grappling may be seen on
KFA - M. Cameron and S. Hood, The Knossos Fresco Vapheio Cup B, and on many sealstones and sealings. The
Atlas. legends of Theseus and Herakles wrestling the Knossian Bull
KSPI - M.A.V. Gill, "The Knossos Sealings; Provenance and of Theseus and Androgeos son of Minos capturing the
and Identification," BSA 60 (1965) 58-98. Marathonian Bull may have sprung from such bull-grappling
contexts.
Levi AT - I). Levi, "Le Cretule di Haghia Triada," AsAtene
8-9 (I925-I926) 7I-156. " "Die Stierspiele in der kretisch-mykenischen Cultur," AthM
Levi KZ - D. Levi, "Le Cretule di Zakro," AsAtene 8-9 34 (1909) 85-99.
(I925-1926) 157-201. 3 "On a Minoan Bronze Group of a Galloping Bull and Acr
PM -A. Evans, The Palace of Minos. batic Figure from Crete," JHS 41 (I921) 247-59; PM III 203
Sakellariou - CM 85-89. 4 Ibid., "Minoan Bronze" figs. I and 2, and PM III fig. 155
5 CM 85-89 (hereafter, Sakellariou). Of the representati
The author is grateful for the use of several photographs: to Group I, a few require remarks: nos. 3 and 17
cited in her
Dr. I. Pini Redactor of CMS for figs. I, 2, 15, 17, too
andpoorly
24; to preserved to admit a secure restoration; 6 is a forg
the Trustees of the British Museum for fig. 3; to the(infra
Ashmolean
n. 24); 11 probably depicts a bull goring a would
Museum for figs. 4, 5, 9-12, and 23; the rest are by grappler;
the author.
and 22 may have a bull-leaper (infra n. 22).

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 126 JOHN G. YOUNGER [AJA 80
tem. In her second Evans
group (our
reconstructed Type
the execution III,
of bull-leaping th
ing Leaper Schema) she
as follows:saw
the leapera different,
approaches the bull from the mo
ized pose, whose most noteworthy
front; grasping the horns, he throws himself repres
up
is on a sealstone found in
to execute a back Gournes
flip over Tomb
the bull's head, landing
Group 11.3, our 111.8), LM
feet first on the animal'sIIIB:I
back; he thencontext.
jumps off
Though Mrs. Sakellariou demonstrate
over the rear. Back assistants may be present to
Evans's reconstruction is not
steady the leaper the
as he alights.'" Mary only
Renault sy
depicting bull-leaping, his
presents a more vividstill
description;receives
the leaper su
acceptance that
major discussions of the spo
grasped the horns, and swung up between them,
been confined
to its
going place of
with the bull, then performan
he soared free . . . He
further treatment of the maneuvers has ev
turned in air, a curve as lovely as a bent bow's,
thought unnecessary.' Evans's
and on the broad Schema
back his slim feet touched down
together; then they sprang
forms part of the popular image up again. Heofseemed Mino
The graceful swing not to leap, but
over to hang above
the bull'sthe bull, head,
like a a
dragonfly over the reeds, while it ran out from
scribed it, inspired
Mary Renault's vivid por
under him. Then he came down to earth, feet still
in The King Must together,
Dieand(see below)."
lightly touched the catcher's hands
A closer examinationwith his, like a civility ... (The King Must Die repr
of the fifty-four
Part IV,
tions here catalogued Chap. IV)
reveals another sche
Type II) quite different both
Evans illustrated from
his reconstruction Evans
with an ex-
struction and from Mrs. Sakellariou's
cellent diagram by Theodore Fyfe (ill. i). The
group. In addition, three depictions cann
main positions of the bull-leaper are there num-
signed to any of these systems; they con
bered: (i) approach, (2) flip, (3) landing on the
fourth, miscellaneous
category. What follow
back, (4) preparing to jump off the bull. In two
is a description of each of these four sys
representations (I.i and 1.7) a rear assistant ex-
representing bull-leaping, and a catalogue
tends an arm up towards the leaper to assist him
extant examples. Also discussed
in his descent. There is no evidence are the p
for a front
chronological and geographical
assistant in Evans's Schema. limits to t
systems of illustrating the sport, as suggeste
Only seven representations definitely depict stages
representations from known and dated cont
in Evans's Schema. All come from Crete: six seal-
In the following catalogues the examp
ings impressed by rings (or perhaps by amygdaloid
listed in each section according to prove
seals) and the British Museum bronze. The sealings
those found in Crete given first, then those
derive from dated contexts and cannot be later than
the Mainland. Sealings impressed by a single
LM Ib; the earliest may date no later than MM III.
are catalogued together under one numbe
Mrs. Sakellariou places all these representations in
I. EVANS'S SCHEMAS her Group I, except for our 1.2 which was probably
unknown to her at the time.
As noted above, Evans based his type of
Six of the seven representations, including the
leaping on the British Museum bronze gr
bronze group, depict the leaper halfway between
pl. 20, fig. 3). This sculptural group consi
Evans's position 2 and 3. The seventh shows him
bull in flying gallop and an arched male
whose head and hair are in contact with the bull's in position 3. The popularity of the leaper's pose
between positions 2 and 3 may result from aesthetic
head, and whose feet touch the animal's back. The
considerations: the convex arch of the leaper nicely
stumps of the arms are held close to the chest. Evans
complements the concave bend of the bull's back,
thought the arms were deliberately curtailed forand the pose is well suited to the oval field of the
aesthetic reasons; they may instead be broken off. impressing signet. Evans also suggested that the
On the basis of this depiction and of a few others representations of bull-leaping on these sealings

6 Notably, J.W. Graham, The Palaces of Crete Chapter 4. 10 Cf. O. Lendle, "Das kretische Stiersprungspiel," Marburger
7 A. Ward, "The Cretan Bull Sports," Antiquity 42 (1968) Wincklemann-Programm 1965, 30-37. Note the photograph, pl.
II7. I ; also the photographs in A. Ward's The Quest for Theseus
8 Part IV Chapter 4. ills. 128 and 129.
9 PM III 222-23, fig. 156.

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1976] BRONZE AGE REPRESENTATIONS OF AEGEAN BULL-LEAPING 127

/, N

/ 2

/ ;
/ 4
/

II

\II
\1

ILL. I. Evans's Schema

may have ultimately derived from such narrative CMS I 517.

frescoes as the Taureador fresco (II.5). This and
other frescoes, e.g. II.4, elaborate the sport by in- 1.3. (pl. 20, fig. i) Sealings (three) impressed by a
cluding subsidiary details such as plants. This elabo-
ration seems at home on frescoes but awkward on
seals.
Five more representations depict alighting leap-
ers. These may belong either to Evans's Schema or
to the succeeding type, the Diving Leaper Schema
(ill. 2). These representations of alighting leapers
Bull to left, head up. Above, a leaper.
single ring or amygdaloid.12 LM Ib.
Ayia Triada: Levi, AT i44, no. I45, fig. i6ia,
b (Pigorini Museum 71974); Betts fig. 7a.
Gournia: Gournia 54 (HM io2); Betts fig. Ib.
Sklavokampos: EphArch 1939, p. 88, no. 3,
fig. 14, pl. 4.4 (HM 612); Sakellariou I.15.
Bull to left in flying gallop. Above, a leaper.
1.4. (pl. 20, fig. 2) Sealing impressed by a lentoid,
from Kato Zakro. LM Ib.

are catalogued at the end of the latter type; see Levi, KZ 165, no. 123, fig. 179, pl. XV (HM
below.
59); Sakellariou 1.8.
Bull to right. Above, a leaper; below, a dado of
bosses.
CATALOGUE
1.5. Sealing impressed by a ring or amygdaloid,
from Kato Zakro. LM Ib.
A. Evans's position 2 1/2
Levi, KZ 162, no. 97, fig. 173; Evans, PM
1.i. Sealing impressed by a ring or amygdaloid, from
III 219, fig. i5ib; Sakellariou I.7.
Knossos, the Temple Repositories. MM III?
Bull to right in flying gallop, head outstretched.
KSPI p. 70, no. L48 (HM 396); Sakellariou
Above, a leaper.
1.4.
Bull to left in flying gallop. Above, a leaper. 1.6. (pl. 20, fig. 3) Bronze miniature group (for-
Behind, an assistant. merly in the Spencer-Churchill Collection
1.2. Sealing impressed by a lentoid (?), probably and now in the British Museum, 1966-3-
from Knossos.l" LM IIIA: I ? 28/I), from near Rethymnon.
(Bonn-Bad Gotesbaden 1974), PP. 32-34.
11 Cf. Gill, "The Knossos Sealings, Some Reflections," Die
kretisch-nmykenische Glyptik und ihre gegenwartigen Probleme 12 Betts, pp. 18-I9, attributes these sealings to a single signet.

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 128 JOHN G. YOUNGER [AJA 80

LEAPER 1 / 0 3

ILL. 2. The Schema of the Diving Leaper

Evans, JHS 41 (1921) 247-59, figs. I, 2, 4; II. THE SCHEMA OF THE DIVING LEAPER
PM III pp. 220-22, fig. 155; Sakellariou
Twenty-two representations (twenty-seven if the
1.24; ArchRep 1966-1967, pp. 49-50, fig- II.
Bull in flying gallop. The leaper and bull ap- five Alighting Leapers below are added) present a
parently were cast separately; each is of solid schema of bull-leaping different from Evans's. This
bronze.13
schema, apparently the most popular, may be sum-
B. Evans's position 3 (?) marized as follows: the leaper begins from a posi-
1.7. Sealing impressed by a ring or amygdaloid, tion above the bull's head (perhaps from the
from Kato Zakro. LM Ib. ground over the bull's lowered head, from a podi-
Levi, KZ 18o, no. 189, fig. 227, pl. XVIII;um,'4 or from the shoulders of a front assistant); he
Sakellariou I.9. dives, hands outstretched, to the bull's shoulders
Bull runs right in flying gallop. Above, a leaper.
where he executes a handspring and back flip,
Behind, a figure with arm outstretched; proba-
bly an assistant, since the presence of a second
landing feet first on the ground behind the bull.
leaper, landing in Evans's position 4, is un- The accompanying diagram (ill. 2), adapted
likely; cf. I.i above. from Fyfe's original (ill. I), illustrates the ma-

13 An initial analysis of the bronze had suggestedof that thein the central court at Phaistos. They thus suggest a
a niche
leaper and bull were cast of different alloys. Subsequent analysis site, such as the Central Court, closed off by
monumental
by the British Museum's Research Laboratory "has, removable however, barriers. If an elevated approach to the bull seems
established that bull and leaper do belong together." thePrivate
preliminary maneuver in one bull-leaping system, it is
communication from the Department of Greek and Roman
likely that the seal with the box is more pertinent to the
Antiquities, British Museum, 2 December 1974. question of location than Evans thought, though the sport
14 See 11.6. This seal with the bull rearing on a cubical probablybox
did not take place solely in the make-shift arena of the
plays an important role in discussions concerning theCentral place for
Court proposed by Graham. Rather, a more open area is
performing bull-leaping. Evans thought an outside arena likely; sur-
cf. the plants on 11.4, II.Io, and IV.3. The long building
rounded by palisades would do (PM III 223). Graham (supra
on the south side of the Royal Road at Knossos (AR 1972-
n. 6) and Ward (supra n. 7) cite architectural evidence, 1973, 26-29) may have supported a grandstand to witness the
especially at Mallia, and they compare the decoration on the sport in the field to the south.
box on this seal (note the zigzags) with the similar decoration

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 19761 BRONZE AGE REPRESENTATIONS OF AEGEAN BULL-LEAPING 129
neuver and numbers the positions: startingjust
fromafter
an the fall of Knossos (LH IIIA:2-IIIB:I)
elevated position there is (I) the descentcome I.17 a gold ring from Asine, and II.2o a plate
to the
seal
bull's shoulders, (2) the back flip, and (3) the from Thebes. Three representations, 11.3 and
prep-
aration for landing on the ground. Though 11.22 the
known on sealings from Pylos impressed by
Diving Leaper Schema is quite different from
rings, and II.Io a lentoid from Mycenae, come from
contextsof
Evans's, Mrs. Sakellariou places eight examples dated to the close of LH IIIB.
this second type in her Group I; many of theThus,
four- while Evans's system may obtain only in
teen other examples of Type II were published
Crete and apparently not long after the LM Ib de-
after her catalogue. structions, the Diving Leaper Schema occurs on
The leaper in the Diving Schema most com-
artistic representations both in Crete and on the
monly occupies position 2 or 2 1/2. Again, thistoward the beginning of the Late Bronze
Mainland
position is especially popular on sealstones
Age,and
but exclusively on the Mainland after the
fall of Knossos.
sealings probably for the same aesthetic considera-
tions as in Evans's Schema. Seven of all eleven extant fresco fragments with
Three representations II.1-3 depict a figure stand-bull-leaping scenes depict stages either of the Div-
ing before a running bull. Evans would have made ing Leaper Schema or of alighting leapers. One
these figures leapers in his position I. Two repre- Knossos fresco comes from the North-West Trea-
sentations of the Diving Leaper Schema (II.15 thesury (11.4). The four remaining Knossos frescoes
Taureador fresco, and II.i9) depict not only front (II.2, II.15, and Alighting Leaper 2 and 3, see be-
figures but leapers as well; the standing figures arelow) all come from the Court of the Stone Spout,
probably therefore front assistants and not leapers.and may have formed, together with other frag-
These three representations (II.1-3) have therefore ments found there, a sequence of bull-leaping
been included in this second schema. scenes." The concentration of frescoes with bull-
All the representations belonging to the Divingleaping scenes in the Court of the Stone Spout is
Leaper Schema have known origins. Eight comestriking, and suggests that the court served some
from Knossos, three from various other areas in function connected with the sport. Bull-leaping
Crete; four are from the Argolid, four from the needs a larger space than the intimate Court of the
rest of the Peloponnese, one from Athens, one fromStone Spout, but it may have served for practice
Thebes, and one seal is said to be from Priene. Ob- space or the athletes' Green-Room.
viously this second schema was popular both in
Crete and on the Mainland. CATALOGUE

The ivory leapers from Knossos (11.12) were

A. Front Assistants
found near the Temple Repositories; this proxim-
II.i. Sealing from Knossos, impressed by a ring or
ity suggested to Evans a MM III date. Several seal-
amygdaloid seal. LM IIIA:I.
ings come from the LM Ib destruction deposits at Betts, BSA 62 (1967) 44, no. 63 (HM iooi).
Kato Zakro, Ayia Triada, and Sklavokampos; oth- Bull stands right; in front, a figure stands
ers, as well as some frescoes, come from Knossos, facing it.
and probably date no later than LM IIIA:I. No 11.2. Wall fresco from Knossos, Court of the Stone
Spout.
representation from Crete can be securely dated
KFA 40, pl. XIIa.
later than this period. Woman at left holds the horn (?) of a bull
On the Mainland, however, representations of left."'
this second schema span most of the Late Bronze 11.3. Sealing from Pylos Palace, impressed by a
Age. Coming from LH I-II contexts are 11.21 an ring. LH IIIB:2-C.
CMS I 305.
amygdaloid seal from Mycenae, and probably II.Ii
Bull left in flying gallop; in front, a figure
the fresco from Mycenae since it seems stylistically stands facing it with arms stretched out. Be-
close to the Minoan examples. From the period low, a dado of bosses connected by S-spirals.
15 The Taureador fresco (II.I5) has a blue background, and so other male figure (KFA pl. X.I-3, 5).
do several other fresco fragments; a girl holding the horns 1o Evans describes a wall relief fresco as a man holding the
(11.2), a leaper alighting (AL.2), and the faces of at least three horn of a bull (PM III 504-507, fig. 350A). According to the
other figures (KFA pl. X.6-8) may have formed part of a late Dr. Bernd Kaiser (personal conversation, May 1974) the
pendent fresco. Another fresco series with ochre background may object is not a horn, however, for it does not taper. It seems
have included a man alighting (AL.3) and part of at least one best, therefore, to omit this representation from discussion.

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 130 JOHN G. YOUNGER
B. The Approach
11.4. Wall fresco
Treasury.
KFA 38, pl. VIII.2.
Bull left in flying gallop; in front, a large
plant. Preserved at the top are several (three
?) strands of hair (leaper's ?) probably near
the missing bull's head. A reconstruction of
the fresco is difficult, but possibly the leaper
dives above the bull's head, his locks flowing
below him.
11.5. Stone pyxis fragment from the Acropolis of
Athens (NM 7249)-
Jdl 7 (1892) figured on p. 80.17
Bull left; above its head, a leaper floats look-
ing down toward the bull's neck.
11.6. (pl. 21, figs. 4-5) Cushion-shaped seal of
agate, bought in Izmir and said to be
from Priene.
CS k. 202; Boardman, Greek Gems and
Finger Rings b/w pl. 58, color pl. 49.5.
Bull stands left with front legs raised up on
a cubical structure decorated with zigzags,
and with its head lowered partway into the D. Diving Position 2
box. Above, a leaper right dives head first
onto the bull's neck.
C. Diving Position i
11.7. Sealing from Knossos, Room of the Niche,
impressed by a ring or amygdaloid and
then counter-marked. LM IIIA:I.
KSPI p. 73, no. 04 (HM io8); Betts, fig.
IIb.
Bull right in a flying gallop; above, a leaper,
arms outstretched before him, descends to the
bull's back.
11.8. Sealings (two) impressed by a single ring
or amygdaloid. LM Ib.18
Kato Zakro-Hogarth, JHS 22 (1902), 86
no. 96, fig. 27, pl. IX (HM 12); Betts,
fig. 4b; Sakellariou I.io.
Sklavokampos-Marinatos, EphArch i939-
1941, pp. 89-90, no. 5, pl. 4.5 (HM 625);
Betts, fig. 4a; Sakellariou I.i6.
Bull right in a flying gallop; above, an obvi-
ously male figure descends over the bull's neck
with hands stretched down before him.
II.9. Sealing from Ayia Triada, impressed by a
ring or amygdaloid. LM Ib.19
Levi, AT 121, no. iio, fig. 126, pl. XI (HM
516); Betts, fig. iia; Sakellariou fI.I3.
Bull right in a flying gallop; above, a leaper, a hand on the bull's horns (cf. III.i below).
arms outstretched before him, descends to II.17. (pl. 2I, figs. 7-8) Gold ring (the bronze lower
the bull's back.
17 Dr. John Sakellarakis will publish a full study of this
important piece soon.
18 Betts, 17-18, attributes these sealings to a single signet.
19Betts, 18 fig. IIa, relates this sealing to 11.8, but he ob-
serves that this sealing is larger. The destruction fire, however,
may have expanded the clay.
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[AJA 80
II.Io. (pl. 20, fig. 6) Lentoid of agate (Nauplia Mu-
seum ex no. 69.813) from Mycenae,
from Knossos,
House with the Idols. LH IIIB:2. the N
Unpublished.20
Two bulls stand right, the far bull regardant;
above the far bull, a male leaper, curved
around the bull's head and touching its muz-
zle for support, descends to the back; at right,
a tree.
II.ii. Wall fresco from Mycenae.21
Rodenwaldt, AthMit 36 (1911) 230, pl. IX.
Bull to left (?); above the withers, a man's
hand, fingers to right.
II.12. Ivory figures from Knossos, the Service Stairs
near the Temple Repositories. MM III?
PM III 428-35, figs. 294-300, supp. pl.
XXXVIII.
The almost complete leaper (PM III fig. 296)
stretches forth his arms probably towards the
bull's withers (cf. PM III fig. 302, a bull's
head in faience found in the same deposit).
Remains of at least four other leapers are
extant.
II.13. Lentoid of chalcedony from Knossos.
CM k. 357, pls. XI and XXVIII; Sakel-
lariou I.I9. (HM 3209.)
A bull right, head thrown up; above, a leaper,
arched so that his left leg appears on the near
side of the bull's flanks.
11.14. Sealing from Knossos, the Landing of the
Grand Staircase, impressed by a ring or
amygdaloid. LM IIIA:I.
KSPI p. 79, no. R8 (HM io8); Betts, pp.
26-27, fig. IIc.
A bull right in a flying gallop, head tucked
down; above, a leaper.
II.15. Wall fresco (the Taureador Fresco) from
Knossos, the Court of the Stone Spout.
KFA 38-39, pl. IX.
Bull left in a flying gallop. A female front
assistant holds the horns with her hands. A
male leaper executes a back flip above. Behind
the bull stands a female rear assistant with
both arms stretched out toward the leaper.
1I.i6. Lentoid of haematite from Crete.
CMS VII io8; Sakellariou I.i8.
A bull right, head en face. Above, a leaper,
whose left leg appears on the near side of the
bull's flanks. The athlete supports himself by
half of the bezel originally carried the
20 I am grateful to Lord Wm. Taylour for his kind permission
to include this seal.
21 Lamb, BSA 24 (1919-1921) 193, suggests that this piece
and his fresco fragments, nos. 4-6, from the Ramp House may
belong together. Though two of his fragments depict bulls
(nos. 4 and 5), none shows a leaper.
 1976] BRONZE AGE REPRESENTATIONS OF AEGEAN BULL-LEAPING 131
lower half of the design) from Asine
ma or to that of the Diving Leaper; they therefor
Tomb i. LH IIIA:2.22 receive their own rubrics.
CMS I zoo; Sakellariou I.21.
All the representations come from known con
A bull right in a flying gallop. Above, a leaper;
texts; four from Crete and one from Pylos. No
his hands, placed on the bull's neck and back,
support him (cf. 111.4 below). seems to be dated later than LM IIIA:I: the sea
type AL.4 is known on sealings from LM Ib d
II.i8. (pl. 21, figs. 9-io) Lentoid of lapis lacedae-
monius from Gythion.23 posits at Ayia Triada, Sklavokampos and Gourni
CS k. 209.
the fresco AL.5 from Pylos appear stylistically clo
A bull left in a flying gallop, a dog or lion
runs below to right and nips the hind legs. to the Minoan frescoes and therefore is probab
Above, a leaper. LH I-II;25 and the examples AL.I-AL.3 are prob
11.19. (pl. 21, figs. I1-12) Lentoid of onyx with a bly no later than LM IIIA:I.
back once conical but later cut down
Since these alighting leapers are to be dated n
(?), from the Peloponnese.
later than LM IIIA:I and most come from Cret
CS k. 246.
Two bulls in flying gallop counterclockwise, inclusion in either Evans's Schema or the Divin
hooves to the rim. Above one is a leaper, in Leaper Schema does not seriously alter the con
front of the other stands an assistant. clusions reached concerning the date and proven
II.20. Plate seal of agate from Thebes, the Treasure ence of either type.
deposit. LH IIIB:I.
ILN 28 November 1964, p. 860 (Arch. Sec- CATALOGUE
tion 2207) fig. 4.
A bull right in a flying gallop, head stretched AL.I. Sealing impressed by a lentoid (?), from
up and forward; above, a leaper whose head Knossos. LM IIIA:I.
appears on the near side of the bull's flank. Betts, BSA 62 (1967) 32, no. io (HM
1033).
E. Diving Position 2 1/224 A bull right; in back of the bull, a figure
11.21. (pl. 20, figs. 13-14) Amygdaloid seal of car- alights left (?), his left arm raised.26
nelian with gold caps, from Mycenae AL.2. Wall fresco from Knossos, the Court of the
T. 518. LH I-II. Stone Spout.
CMS I 152; Sakellariou 1.20. KFA 17, pl. Ai; Sakellariou 1.2.
A bull left in a flying gallop, head tucked At lower left, the hind legs of a bull left in
down; above, a leaper, his body now broken a flying gallop; a male leaper, to right,
away, is partially masked by a gold cap. alights, his right arm thrown behind him.
AL.3. Wall fresco from Knossos, the Court of the
11.22. (pl. 22, fig. 15) Sealing impressed by a ring
and then countermarked, from the Pylos
Stone Spout.
Palace. LH IIIB:2-C. KFA 17, pl. A2, X4.
CMS I 370. The fresco fragment preserves no bull; it pre-
A bull left in a flying gallop above a dado of sumably runs left. A male leaper has just
bosses; above, a leaper. alighted; he faces right, his right arm thrown
back.
ALIGHTING LEAPERS AL.4. (pl. 21, fig. 16) Sealings (six) impressed by
a single ring. LM Ib.27
Five representations depict leapers alighting, the Ayia Triada-Levi, AT 101, no. 54, fig. 75,
bulls usually running left. The leaper faces away pl. XIV (HM 497-99); Betts, fig. 2b;
from the bull, his arm thrown out behind him for Sakellariou 1.i2.
Sklavokampos-Marinatos, EphArch 1939-
balance or else tucked in at the chest (AL.5). These
1941, p. 88, no. 2 (HM 628 and 629);
alighting leapers can belong either to Evans's Sche- Betts, fig. 3.

22The author examined this ring and its apparent twin
(CMS I 201) to determine if the latter could have also carried
a bull-leaping scene: it is not impossible. Although the two
rings are physically different (CMS I 201 is smaller, its gold is
impure, and the bronze is recessed for a plate which would
have carried the top half of the design), the lower position of
the bull on CMS I 201 would leave ample space for a leaper
above. The object before the bull is surely the trunk of a tree,
while that below could be the crudely executed tip of the
animal's tail.
23 It is possible that the origin given was suggested by27the
Betts, 16-17, attributes these sealings to one signet.
stone. Cf. note 31 below.
24 A gold ring, said to be from Archanes (PM III 220 fig.
154) and now in the St. Louis Art Museum (Bulletin of the City
Art Museum of St. Louis 32 [I9471 99-Io3), also depicts a
leaper in this position over a bull running right in a flying
gallop; it is a well-known forgery.
25 Pylos II 50.
26The incomplete preservation leaves its reconstruction un-
certain; this leaper could, of course, be a rear assistant (cf.
II.15).

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 132 JOHN G. YOUNGER [AJA 80
Gournia-Gournia 54,with
fig. 30.4
the curve of (HM ioi);
the lentoid's field and denies the
Betts, figs. ia and 2a.direction and movement apparent in the two previ-
A bull left in a flying gallop; in back of the
ous schemata.
bull, a leaper alights right, one armThis static and rigid quality, appar-
stretched
behind him. ent in almost all Type III representations, would
seem then
AL.5. Wall fresco from Pylos to be a desired aesthetic trait.
Palace.
Pylos II p. 77, no. 36 H 105,
Whereas pls. may
frescoes 24,have
I16,
inspired the Type I
124, and C.
and II representations on sealstones, it is quite
At lower left, the hind legs of a bull left in
flying gallop; at right, a male leaper alights likely that seals provided the model for the Tiryns
right, arms tucked against the chest. fresco, the Tanagra larnax, and the Mycenae sherd.
Like most of the seals of this group, these three
III. THE SCHEMA OF THE FLOATING LEAPER
representations concentrate attention on the static
Seventeen representations of bull-leapingcomposition."3
depict Such stark presentations are likely
the bull-leaper in one static, though pleasing,to have originated from a design intended for the
pose
above the bull.28 The leaper seems to floatcramped
there field of a sealstone. The opportunities for
horizontally with legs bent, his head toward the
narrative expansion and embellishment inherent in
bull's. Usually the leaper grasps the horns or theneck
fresco form are generally ignored; an assistant,
of the animal presumably using them as supports a plant,
or and a naturalistic setting appear only once
each
pivots. Mrs. Sakellariou first isolated this pose from(111.3, 111.4, and III.12 respectively). In al-
Evans's Schema in her Group II; she catalogues most all the representations in Type III, the actual
eleven examples."2 drama of the sport, the skill of the leaper or the
Since the leaper is consistently depictedpower as if of the bull, is scarcely hinted at. The sport
frozen in this position, it is difficult to reconstruct
seems forgotten and consequently the composition
becomes a jumping-off point for fanciful variations:
the total sequence of the leap. If these representa-
thethat
tions do reflect an actual method, it is possible Master of Animals added on the Tanagra lar-
the leaper came at the bull from the one side
naxand (III.2), the ruminating bull in his paddock
vaulted over to the other instead of approaching
(III.I2), the goat as bull-surrogate (111.15).
the bull from the front. Eleven representations of this third schema have
On the other hand, the position of the leaper may origins. Four come from Crete (111.7 from
known
be due to aesthetic rather than to gymnastic
thecon-
Little Palace at Knossos, III.8 from Gournes,
siderations. Of the seventeen clear examples of this
III.9 and III.i2 from East Crete). Seven are from
pose (111.1-17) eleven appear on lentoid seals,
the and
Mainland (III.i from Tiryns, 111.2 from Tana-
two (?) on sealings impressed by lentoids; gra,
of the
III.5 from Dimini, III.13 and 111.14 from My-
remaining examples one appears on an amygdaloid
cenae, III.i5 from Akonas, and III.17 from Pylos).
seal from Mycenae (111.13), one on a frescoSince
fromtwo other representations are carved on len-
Tiryns (III.i), one on a larnax from Tanagra
toids of lapis lacedaemonius,3" these last may also
(III.2), and one on a sherd from Mycenae be
(III.14).
from the Mainland, though one seal of lapis
lacedaemonius
Thirteen of these seventeen representations are thus (111.8) was found at Gournes in
contained by the tondo form of the lentoid. Crete.
The
body of the leaper conveniently fills the small Secure
space dates can be assigned to four examples:
above the bull's back; the angular pose contrasts
III.2 from Tanagra and III.17 from Pylos (LH III
28 CMS IV 289, a steatite lentoid from the Messara in CS;Crete,
it also is not included in this catalogue.
may once have carried a bull-leaping scene of Type III, but it isTanagra larnax adds an unlikely assistant to hold the
0o The
too worn to warrant inclusion. There is also a lentoidtwosetbulls;
in a both the superhuman effort of this feat and his
ring now in a private collection in Larissa (AA 1959,pose
io6,makes
fig. him a probable Master of Animals. In addition, the
25). The seal is said to have been long in the Giannopoulos
larnax adds a third, uncomplicated representation of this schema.
family. The pose of the leaper is right for Type III but the bull
31 On the lapis lacedaemonius quarries east of Gythion:
is wrong; so too, probably, is the exergue with half-rosettes.
Waterhouse and Simpson, "Prehistoric Laconia: Part I," BSA
The author has doubts about this seal's antiquity and prefers
55 (I960)toespecially o105-o107. To find the quarries it is easier
leave it out of discussion.
to begin from the village of Stephania west of Skala and south
29 The author has no more information on HM 33 than Mrs.of Krokeai. Pass through the village and continue north on the
Sakellariou (her Group II.4); it is not on display in theearth road. After a kilometer, the visitor will note deep
Heracleion Museum. Therefore, the seal is not included in the
depressions in the earth to either side of the road. The large
catalogue of Type III. A fourth seal in the Ashmolean Museum stones of lapis lacedaemonius lie loose in the earth and need
illustrating this schema (her Group II.ii) is not published inonly prodding to remove them.

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 19761 BRONZE AGE REPRESENTATIONS OF AEGEAN BULL-LEAPING 133

B:2-C:I), III.8 from Gournes (LM IIIB:I) andSchliemann, Tiryns (German ed.) 345
111.14 from Mycenae (LH IIIB). The fresco from 50, pl. I3; (English ed.) 303-307, pl. i3;
Tiryns appears stylistically later (LH III?) than Rodenwaldt, Tiryns II 162-65, pl. 18
Sakellariou II.i.
the LB I-II frescoes from Knossos and Pylos (11.15
A bull left in a flying gallop; above, a leaper.
and AL.5) .2 11.2. Painted larnax from Tanagra T.22 (LH
Though these statistical data are limited, we may IIIB end-C:i), lower register on one
state tentatively that the Type III schema was most- long side.
ly restricted to lentoid seals, that it found slightly AAA 3 (1970) 184-97, fig. 16.
Two bulls stand face to face in axial sym-
greater favor on the Mainland than in Crete, and
metry, a leaper above each grasps a horn
that it had a floruit in LB IIIB. with one hand and the shoulders with the
The only objection to a IIIB date for the Floating other; between the two bulls stands a figure
Leaper Schema is presented by 111.7, described by holding their horns in a position resembling
Evans as a sealing from the Little Palace. As far as that of a Master of Animals. At the right,
is known there is no evidence for a LM IIIB con- a third bull walks to right with a leaper
above in a similar position to that of the
flagration in the Little Palace which could have others.
fired the sealing, nor is the evidence for a LM IIIB 111.3. (pl. 20, fig. 17) Lentoid of haematite, un-
bureaucracy, necessary for the production of the known provenience.
sealing, compelling. The sealing is not extant, and CMS VII io9; Sakellariou 11.7.
it is therefore impossible to check it against the ac- A bull stands or steps left; leaper above. A
front assistant stands before the bull and
curacy of Evans's sketch in his notebook (KSPI
holds either the horns or the right hand of
pl. 17 U5); it is possible of course that Evans's the leaper.
sketch is inaccurate and that the actual scene was
111.4. Lentoid of carnelian, unknown provenience.
quite different. Other inaccuracies in his notebooks Antike Gemmen in deutschen Sammlun-
also suggest the possibility that the sketch does gen vol. I Munich 45.
not reflect a sealing, but a seal, and even that such A bull runs right; in front of it, a plant;
above it, a leaper who grasps a horn in his
a sealing or seal was found elsewhere.3" It seems
left (?) hand.
best to suspend judgment until the sealing surfaces.
Recently, Miss A. Tamvaki grouped four of theB. Bull with head thrown up
lentoid seals in this schema to form a common
I1.5. Lentoid of marble from the Dimini tholos.
workshop: 111.8, 9, io, and Ii.34 She also placed CMS I 408.
twelve more seals close to this workshop (among A bull right; above, a leaper whose right
which are II.i6, 111.3, and 111.6). All these seals hand appears touching or resting on the
bull's flank.
show an extensive use of the drill for joints, eyes,
111.6. Lentoid of lapis lacedaemonius, unknown
and other parts of anatomy; their compositions con-
provenience.
tain other schematic features, notably the linear CS k. 248.
quality both of the human hand and feet, and of A bull runs left; above, a leaper.
the bull's legs and horns. Although a detailed study
C. Bull en face
of workshops lies outside the scope of this paper,
it may be noted that the similarities in pose, style,
111.7. Sealing impressed by a lentoid (?) from
and medium suggest that Type III was the creation Knossos, the Little Palace.
of a circle of closely allied masters who may have KSPI p. 88, no. U5, pl. 17.
been working in LB IIIB. A bull runs (?) left; above, a leaper whose
right (?) hand grasps the bull's left horn.
CATALOGUE
111.8. (pl. 22, figs. 18-19) Lentoid of lapis lace-
daemonius with a conical reverse from
A. Bull with head in profile Gournes, Crete, Tomb I, within the
III.i. Wall fresco from Tiryns (NM 1595). larnax. (HM I232) LM IIIB:I.
32 Pylos II 77. KSPI C55); and a seal found near the Court of the Stone
3 When Evans used his notebooks to produce PM, many Spout (BSA 8 [1901-1902] 102 fig. 59) described as a sealing
understandable errors crept in; several are well known. For our from the Domestic Quarter (PM IV 344 fig. 287a).
purposes compare a seal from Zafer Papoura T. 36 (CS k. 7P: 3 "A Late Minoan Seal in the N. Metaxas Collection," AAA
6 (1973) 308-15.
Archaeologia 59, pt. 2 [19051 448 fig. 6x) which is described
as a sealing from the Domestic Quarter (PM III 317 fig. 209:

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 134 JOHN G. YOUNGER [AJA 80

Deltion 4 (I918) A bull rightpl.

66, in a flying gallop. Above,
5.i; Furumaa
Chronology 105; leaper; Sakellariou 11.3.
below, a figure lies (?) horizontal.36
A bull runs right, leaper
111.17. Sealing above.
from Pylos Palace impressed by a
III.9. Lentoid of green lentoid (?). LH IIIB:2-C:I. from Aim
steatite
vadia, Crete. (HM CMS 1385
I 378. Metaxas Co
Bull runs (?) right,fig.
AAA 6 (1973) 308-I5, a leaper above.I.
A bull runs left; above, a leaper whose
hand grasps (?) IV.the bull's left horn.
MISCELLANEOUS

III.io. Lentoid of lapis lacedaemonius wit

Three representations
reverse, of unknown depict poses whic
provenience.
CS k. 341; Boardman,
difficult to reconcileGreek Gems
with the three previou
Finger Rings pl.
They had 124. best form a separate section.
A bull runs right; in front a figure-e
A fresco
shield, and above, a from Knossos (IV.I) shows a pro
leaper.
male leaper and two apparently
III.ii. Lentoid of haematite, worn, wavy
ofblac
provenience. before her; the fresco was restored (PM
CMS VII 257-
143) as depicting two tandem leapers. If t
A bull runs left, leaper above.
black lines do not depict the wavy locks of a
D. Other representations
leaper they may be the traces of the bull'
111.12. (pl. 22, figs. 20-21) Lentoid of burnt banded (cf. III.I) or some other detail of the scen
agate from Praisos, the bath adjoining
Tomb D. (HM 185)
the foliage on II.4)."7 The pose of the
BSA 8 (190I-1902) 252, 254, fig. 25; Board- leaper shares some resemblance with that
man, Greek Gems and Finger Rings Floating Leaper.
pl. 92. On a sealing from Sklavokampos (IV
A bull couchant right; above, a leaper grasps
both horns. Horizontal lines and a frond Ib) a leaper appears to pivot on the bull's
provide a pasture, while other lines fill the as to land on its back facing the horns. T
upper space. of the leaper on a lentoid from Mycenae
111.13. Elliptical amygdaloid of carnelian from My-
suggests that he also pivots on the bull's h
cenae T.44.
CMS I 79; Sakellariou II.5. then alights on the ground at its side. Bo
A bull stands or walks right; above, a leaper resentations seem to depend on some kind of
supports himself by one hand at the bull's
neck. ing where the bull's head is used as a pivo
III.4. (pl. 20, fig. 22) Body sherd of a Deep Bowl they may thus be related to Type III.
or Krater from Mycenae. (NM 2675) CATALOGUE
LH IIIB.35
Jdl VII (1892) 72-81; Furumark, MycPot-
IV.I. Wall fresco from Knossos, the Queen's Me
tery 438. ron.

A bull to right. Above, a leaper supine; his
left leg, however, prepares for the landing.
111.15. Lentoid of chalcedony from Akonas Tholos
I near Pylos. (Pylos Museum 145)
Deltion 19 Khronika 1964, 163-64, pl.
164c.
A goat (agrimi) runs or rears left; above, a
leaper clasps the agrimi's withers to steady
himself.
III.i6. (pl. 21, fig. 23) Lentoid of onyx with a coni-
cal reverse, of unknown provenience.
CS k. 249; Boardman, Greek Gems and
Finger Rings pl. lo3.
PM III 208-209, fig. 143; Bulle, Orchomen
I 128, fig. 38.
Traces of a bull's neck to right. Above,
female leaper, her arms outstretched befo
her towards two wavy (?) black lines.
IV.2. Sealings (fifteen) impressed by a ring, fr
Sklavokampos. LM Ib.
Marinatos, EphArch 1939-1941, 88-89, n
4, fig. 15, pl. 4.4 (HM 613); Sakellario
I.15.
A bull right en face in a flying gallop. Above,
a leaper descends to the bull's back, his right
leg outstretched, his hands still retaining their

35 I am grateful to Dr. John Sakellarakis for his permission
to study this sherd and to include it here.
L. 8.0 cm., H. 4.6 cm., Th. 0.5 cm., est. D. of bowl 17.5 cm.
The sherd, of buff fabric, is not painted on the inside.
36 Compare the sealing impressed by a ring from Knossos,
the Landing on the Grand Staircase (HM 251; LM IIIA:i)--
KSPI 79, no. R9, pl. 13. Also compare CMS I 17I from Mycenae.
37 Bulle identifies two prone figures on an Orchomenos fresco
as leapers (Orchomenos I 79-90, p1. 28.8) on the basis of the
restored Knossos fresco. Since no bull is preserved and the res-
toration of the Knossos fresco is problematic, the Orchomenos
fresco is omitted from discussion.

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1976] BRONZE AGE REPRESENTATIONS OF AEGEAN BULL-LEAPING 135
hold on the pivot between the bull's horns.
rendering is stiff and the peculiar attachment of
Below, a dado of running spirals. the leaper to the bull seems to arise more from
IV.3. (pl. 22, fig. 24) Lentoid of onyx from Mycenae
the technical problems of creating a single group
T.47. than from a desire to reflect an actual maneuver. A
CMS I 82; Sakellariou 11.6.
A bull runs right; above, a leaper swings off less complicated sculpture is represented by the sil-
the bull's shoulders. He supports himself by ver bull carried by a Keftiu tribute-bearer on a
one hand on the horn, by the other on the fresco in the tomb of User-Amon (PM II 736 fig.
neck (cf. 1.17). Below, a tree or large plant
471). This bull appears in a flying gallop but with-
lies horizontal (cf. III.i6).
out its leaper.
CONCLUSION
If the bronze group is excluded on the grounds
that the pose
The evidence presented above suggests that thereof the leaper grew out of technical
considerations
were three main systems of depicting bull-leaping. then it is possible that the schema
Evans's Schema is poorly documented but its repre-depends primarily on aesthetic
described by Evans
considerations.
sentations appear to be entirely Minoan and do not
The Diving
survive the destruction of Knossos. The DivingLeaper Schema, however, corre-
sponds well both
Leaper Schema, however, is richly illustrated to the difficulty and danger of the sport.
Approaching the bull from above or diving over
in Crete until LM IIIA:I and on the Mainland
almost throughout the Late Helladic a bull with its head
period. Thelowered (cf. 1114, II.21, and also
1.5) lessens
Floating Leaper Schema also consists of numerous the danger of the leaper's being gored;
a flip from
examples, slightly more than half coming from thethewithers does not require the bull
to stay
Mainland. From the four examples which derivein place but can be executed even while the
from dated contexts it seems plausible animal is charging
to suggest a if the leaper's dive is aimed
low enough;
LB IIIB floruit for the schema, a date which agrees the various front assistants witness
the
well with its formal and mannered style.
need to secure the bull; and the box on the
Priene
Only the Floating Leaper Schema presents no seal must represent an actual prop, for it is
unlikely to be In-
evidence for an actual bull-leaping sequence. purely the product of an artistic
imagination.
stead, all representations depict the same pose. It is
probable, therefore, that the intention ofIt this
seems likely
schema therefore that of the three schema-
ta presented,
was entirely artistic and that its creators were not only that of the Diving Leaper re-
flects
depicting an actual method of bull-leaping. Thebull-leaping maneuvers at all accurately. This
representations of Evans's Schema and of the Div- Diving Leaper Schema is not
is not to say that the
also do
ing Leaper Schema, on the other hand, influenced
seemby toaesthetic considerations; one
need only look at the disproportionate size of the
have been based on the maneuvers of actual bull-
leaping systems. bull (undoubtedly symbolizing its power) to that
Evans's Schema, requiring a dashing bull and aof the human figures in the Taureador Fresco
thrilling snap over the back from the horns, is(II.I5).
dramatic and dangerous. But it does not seem In the Floating Leaper Schema, however, the
practicable. Evans's leaper must be certain that artistic bias predominates, while the representa-
tions of Evans's Schema number too few to allow
after he has grasped the bull's horns the animal
will throw its head directly back. This seems doubt-a full appreciation of its sequence.
ful, even allowing for trainable Ferdinands; surely A final word on chronology and the discontinu-
the bull shakes an object from his horns by throw-ance of the sport. The latest representations of
ing his head to the side. It is also difficult to imagine
bull-leaping, according to the contexts are: 111.8
that a leaper would be able to execute both his from Gournes (LM IIIB:I); 11.20 from Thebes
somersault and his touchdown on the bull's hind- (LH IIIB:i); II.Io from Mycenae (LH IIIB:2);
III.I4 from Mycenae (LH IIIB); III.2 from Tana-
quarters if the bull moves rapidly forward out from
gra, and II.3, II.22, and III.17 from Pylos (all LH
under him.
IIIB:2-C:I). If Type III, the Floating Leaper Sche-
The unique bronze group in the British Mu- ma, does not reflect the actual practice of bull-leap-
seum is crucial for the acceptance of Evans's Sche-
ing, then the seals and sealings II.3, II.io, II.20, and
ma. This group presents problems, however, forII.22,
the on the basis of their archaeological contexts,

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 136 JOHN G. YOUNGER [AJA 80

would seem to present the

If, therefore, the latest
Pylos sealings II.3 and II.22accu
tions of the sport.(LH IIIB:2-C:I) were impressed by early signets,
Of these and the Mycenae seal II.io (LH IIIB:2)
four representations, II.3 contains
and
from too many
Pylos, appear aesthetic considerations toearly.
stylistically be a reliable T
spirals and bossesdepiction
are comparable
of bull-leaping, to
then it is possible that no th
eral early Cretan representation
sealtypes,"8 dated to the close ofwhile
the LB IIIB th
modeling of the figures
period reflects thefinds
feat accurately.parallels
The representa- o
the early seals (compare, e.g.
tions dated earlier, 11.17 II.21
from Asine from
(LH IIIA:2)
and II.20 from Thebes (LH IIIB:I) do seem to th
LH I-II context). It seems plausible,
regard the seals which impressed
record the sport more thes
faithfully. Thus, on the basis
ings as early, perhaps LH
of the representations, it is IIIA or earl
possible that bull-leaping
was not practiced in LH
Seals II.io from Mycenae and IIIB:2, and, since thefro
II.20
come from LH IIIB contexts.
Theban seal 11.20 seems to present an Their
aesthetically st
to fit this date. The
alteredmodeling
scene, the sport may have on both
been in decline is
figures somewhat even in schematic,
the LH IIIB:I period. the b
elongated and elegant. The whole
In conclusion, bull-leaping begins to appear in eff
mannered and formal. But the actual maneuvers
artistic representations toward the beginning of the
depicted on these seals are confused. The Theban
Late Bronze Age in Crete and on the Mainland.
bull-leaper is in an awkward position, with his
The main system of performance probably followed
head against the bull's flank, as if the artist placed it
that of the Diving Leaper Schema. When bull-
there for spatial reasons. The leaper's position, how-
leaping itself was discontinued, perhaps towards
ever, is not impossible, and it may reflect an actual
event. The Mycenae bull-leaping scene (LH IIIB:the close of the LB IIIA or at the beginning of the
2), however, is more aesthetically based. The two LB IIIB period, later representations depicted the
bulls, both standing right, the far bull regardant, leaper in the floating pose (Type III), a pose not
copied directly from the sport.
follow a standard pose for animal pairs observable
on many seals (cf. the bulls on CMS I 13o, CMS DUKE UNIVERSITY
IV 256, and the goats on CMS I 74 and CMS VII
98); the bull-leaper must have been added in NOTE:
a CMS V, to be published this year,
fanciful moment, just as the variations in Type
three of our sealstones, II.Io, II.20, and
III were created in a similarly light vein. numbering them 597, 674, and 638 respect
38 Cf. 1.4 and IV.2 (LM Ib contexts), the sealings from
fig. 138), andthe
KSPI KI6 (PM I 694 fig. 516) probably
LM IIb Royal Tomb at Isopata (Archaeologia 59 pt.
than LM 2 [1905]
IIIA:I.

CONCORDANCE

Frescoes
Knossos - KFA pl. Ai (Court of the Stone Spout) AL.2
A2 (Court of the Stone Spout) AL.3
VIII.2 (North-West Treasury) 11.4
IX (Taureador-Court of the Stone Spout) II.15
XIIa (Court of the Stone Spout) II.2
PM III fig. 143 (Queen's Megaron) IV.i
Mycenae II.i
Pylos AL.5
Tiryns III.1
Sealstones and Ring
Ashmolean Museum - CS k. 202 (Priene) 11.6
209 (Gythion) II.I8
246 (Peloponnese) II.19
248 111.6
249 III.16
341 III.Io

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19761 BRONZE AGE REPRESENTATIONS OF AEGEAN BULL-LEAPING 137

Athens National Museum - CMS I 79 (Mycenae) 111.13

82 (Mycenae) IV.3
152 (Mycenae) 11.21
200 (Asine) 11.17
408 (Dimini) 111.5
British Museum - CMS VII 108 (Crete) II.16
og9 111.3
257 III.11
Heracleion Museum - 185 (Praisos) 111.12
1232 (Gournes) 111.8
1385 (Aimonas Livadia) III.9
3209 (CM k. 357 - Knossos) 11.13
Munich - Antike Gemmen in deutschen Sammlungen I 45 111.4
Nauplion ex. no. 69.813 (Mycenae) II.Io
Pylos Museum 145 (Akonas) 111.15
Thebes Museum (Thebes) II.20
Sealings
Ayia Triada - Levi AT no. 54 AL.4
11O II.9
145 1.3
Gournia - HM 0or AL.4
102 1.3
Kato Zakro --Levi KZ no. 96 11.8
97 1.5
123 1.4
189 1.7
Knossos - CMS I 517 1.2
KSPI L48 I.I
04 11.7
R8 11.14
U5 111.7
Heracleion Museum iooi II.i
1033 AL. I
Pylos - CMS I 305 11.3
370 11.22
378 III.I7
Sklavokampos - Heracleion Museum 612 I.3
613 IV.2
625 11.8
628, 629 AL.4
Miscellaneous

Athens Acropolis - stone pyxis II.5

Knossos - ivory leapers II.12
Mycenae - pictorial sherd III.14
Rethymnon (?) - bronze group 1.6
Tanagra - larnax III.2

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 FIG. 2. 1.4. Sealing
from Kato Zakro

FIG. I. I.3. Sealing from Gournia Mycenae. Im

FIG. 22. M.n4a Pictorial sherd

FIG. 13. 11.21. Amygdaloid from Mycenae FIG from. 22. 1114. Picto

I'

Impression
FIG. 14. II.21. Amygdaloid Provenience
from Mycenae. FIG. 111.3. unknown
Lentoid. FIG. .near Rethymnon
1.6. Bronze group from

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 YOUNGER PLATE 21

FIG. II. II.9. Lent

FIG. 4. 11.6. Cushion-shaped from the Peloponnese
seal from Priene
FIG. 5. 11.6. Cushion-shaped seal
from Priene. Impression

FIG. 7. II.I7. Gold ring from Asine FIG. 8. .17. Gold ring from Asine.
Impression

FIG. 9. II.18. Lentoid

from Gythion FIG. IO. 11.I8. Lentoid from FIG. 12. 1.I9. Lentoid from the
Gythion. Impression Peloponnese. Impression

FIG. 23. III.16. Lentoid.

Provenience unknown. Impression FIG. 16. AL.4. Sealing from
Sklavokampos
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PLATE 22 YOUNGER

-W A.n.

FIG. 15. II.22. Sealing from Pylos

Drawing

FIG. I8. III.8. Lentoid from Gournes

FIG. 21. III.I2. Lentoid from Praisos. FIG. 24. IV.3. Lentoid from Mycenae.
Impression Impression

FIG. 20. 111.12. Lentoid from Praisos FIG. 19. III.8

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