MACCURDY— CULT OF THE AX 



within which is an ample chamber formed of flat stones set edgewise. 

 The inner faces of these stones are covered with groups of engravings, 

 each surrounded by a panel. On one of these stones, above the 

 figure of a ship, an aniconic symbol in the shape of a short-based 

 triangle (as if representing a portal) is flanked by hafted axes. The 

 position of the two axes, with blades turned toward the central 

 symbol, recalls that of the hafted axes flanking a portal to one of 

 the artificial neolithic caves of the Marne, mentioned above. The 

 Kivik monument dates from the bronze age. 



Numerous small symbolic hammer-axes belonging to the late 

 neolithic period and the first phase of the bronze age form one of 

 the distinctive features of the ceramic art of Ukraine (Russia) and 

 of theSiebenbiirgen (Transylvania). Gravestones 

 from Villafranca, Liguria, dating from the first 

 iron age, are rudely carved to represent a warrior 

 holding in one hand his battle-ax. 



In the .rEgean regions the common form of 

 the votive ax is the bipennis, or ax with two 

 blades, one opposite the other. The bipennis is 

 often depicted in the hands of Amazons, and 

 likewise attributed to Hephaestus, or Vulcan. In 

 a cemetery of the Second Late Minoan period, 

 recently discovered at Isopata on the edge of the 

 plateau that overlooks the site of ancient Knossos 

 (Crete), there is a tomb containing a solitary 

 rock-cut cist apparently intended for a single 

 occupant. Evidence is not lacking however that 

 it was a sanctuary tomb ; for in the chamber were 

 found a bronze double ax, two simulacra in 

 bronze of the double ax, ceremonial vessels of 

 clay, and other objects of votive significance. 

 Remains of its wooden shaft were still preserved 

 in the centrally placed socket of one of the 

 bronze votive axes. Among cult objects in Cre- 

 tan shrines bronze double axes usually occur in 

 pairs as pointed out by Sir Arthur Evans. But 

 the most remarkable thing about this tomb is 

 that the rock-cut cist itself is in the form of a 

 bipennis or double ax, hence the appropriateness of its name: "The 

 Tomb of the Double Axes." The walls of the cist are in each case 

 slightly but regularly curved, the sides inward, the ends outward, 

 giving the exact outline of a double ax. The painted sarcophagus of 



Fig. 12. — Double bronze 

 votive ax set in a stepped 

 steatite socket; from the 

 Dictffian Cave, Psychro, 

 Crete. (After Evans.) 



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