THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES THE METROPOLITAN MUSEUM OF ART CESNOLA. COLLECTION ANTIQUITIES FROM CYPRUS HANDBOOK OF THE CESNOLA COLLECTION OF ANTIQUITIES FROM CYPRUS THE METROPOLITAN MUSEUM OF ART HANDBOOK OF THE CESNOLA COLLECTION OF ANTIQUITIES FROM CYPRUS BY JOHN L. MYRFS WYKEHAM PROFESSOR OF ANCIENT HISTORY IN THE UNIVERSITY OF OXFORD NEW YORK M C M X 1 V COPYRIGHT BY THE METROPOLITAN MUSEUM OF ART, I9I4 r 4c O ^'l PREFACE THIS Handbook is intended to serve as a guide to the Cesnola Collection of Antiquities from Cyprus, or more precisely to those parts of it which are exhibited in the Cesnola Room and other departments of The Metropolitan Museum of Art. It offers at the same time an introduction to the study of the ancient arts and industries which the Cesnola Collec- tion was formed to illustrate. But it is not in the strict sense a Catalogue of the Collection, though all the more important objects are described separately; for many of less individual interest are treated summarily and in groups, and the large ' student series,' which is held in reserve, is not included at all. Nor is it a formal textbook of Cypriote archaeology; since it makes reference to ob- jects in other collections only when these directly illustrate some- thing which is exhibited here, and it gives only the most essential references to the literature. Those who wish to pursue the study further are referred to the Selected Bibliography (p. xliii), and to the exhaustive bibliographical works included in it. Above all, they are invited to study the C^oUcction carefully for themselves, in the light of these outlines, and of their own common sense. Those who have the means, or the opportunity, will remember also that there is still much to be discovered in Cyprus itself, by any one who has skill and zeal. To keep the Handbook clear and brief, references are as a rule given only to Cesnola's own book, Cyprus, its Cities, To))ibs, ami Temples; to the official Atlas of the C-esiiola Co!leiiio)i; to the publi- cations of Doell and (^olonna-Ceccaldi (which record how the objects appeared before they left Cyprus) ; and to the third volume of Perrot and (^hipiez's History of Art in Antiqitity: and even here, care has been taken to omit all those representations which through in- accuracy or any other cause have not been identified be>ond dispute V 48?H«iI) i'Ri;i-A(:i-; As (A'snola's illustralions aro ariangcti dillcrcnllN' in ihc English edition of his book, and in the German transUition of it by Ludwig Slcrn, onl\ the h.nglish references are gi\ en in the text, and a con- cordance of both editit>ns is printed at the end of the Handbook. It would ha\e been eas\' to gi\e references to all the other books and periodicals in which objects from the (A)llection have been repub- lished, but this would ha\e expanded the Handbook undul}', and would have quite changed its character and utilitw A ver\' few objects of exceptional importance have alone been exempted from this rule: the Inscriptions, for example, are furnished with references to the (Corpus I )isciiptio}iinu Sct}iitia}nii\i, to the standard collections of Cireek dialect-inscriptions, and to the original publications of the documents b\' C>esnola and his collaborator, Isaac Hall. But though man\' specific references have been omitted inten- tionalI\-, for bre\'it\' and clearness, and tor the general reader's sake, it must not be supposed that the debt of this Handbook to previous workers is ignored, nor that it is limited to works cited in the Bibli- ograph)-, copious though that will be seen to be. The compiler here acknowledges not onl\' the free use which he has made of published writings, but still more gratefull\- the information, ad- vice, encouragement, and criticism with which he has been favoured b\' scholars in both hemispheres, and in particular b\ the stafl's of the great museums. \\'here\er independent consideration of the exidence before him has led him to adopt \iews alread\- expressed h\ a previous writer, he desires to make it clear that he claims no credit for anything but accurate summarx' and impartial judgment. It is no more part of his plan to claim an\' prioritx' of discovery or publication, than to assign it to an\- one else. A history of dis- coxeries is quite a different thing from a museum handbook; and after all, to nine persons out of ten who read of a disco\er\', it is quite immaterial who made it. Wherever, on the other hand, the writer has come to a different conclusion from his predecessors, he has felt it a more important dut\' to draw the picture as he sees it himself, than to distract his readers by insisting that Soand-so was wrong. Such occasions are fortunately rare, ^'et in going through so large a mass of material, it was perhaps inevitable that a few fresh facts should be noted, and a few^ old data re\iewed in fresh light. It would ha\e been eas\', no doubt, to scatter announcements of these finds among the appropriate Journals; but the new Handbook seemed, on the whole, to be the proper place to publish them. The vi PREFACE chief novelties are these. Thorough cleaning and close examination have established the authenticity of almost every object in the Collection, and have thrown full light on the repiairs and restora- tions which they have undergone in the past. The gain both in scientific and in aesthetic interest is of course great, and it is hoped that bv careful arrangement of the material the facilities for stud\' have been improved. In the Potter}', the classification of fabrics suggested in the Cyprus Museum Catalci:,ue, and adopted by the museums at Athens and Constantinople, and in essentials bv the British Museum, has been revised so as to express more clearl)' our present knowledge not only of the technique of each kind, but also in what order each fabric came into use in Cyprus. Among the Sculpture, the succession and development of types has been re- stated, and in particular, an earl\- date has been assigned, on grounds of st\le and costume, to a group of beardless male votaries wearing frontlet and Cvpriole belt. Something has been done to clear up the relation of the ditferent t\pes of Herakles to each other; and a tine sixth centur\' statue is claimed as a \'otivc portrait of King Amasis of Egypt. Among the Inscriptions, the remarkable archive- document 1868 in Cypriote script has been found to contain Minoan numerals, and a measure of value; and other inscribed objects ha\e been assigned to dates earl\' enough to link the mature (^\priote script with Minoan and .Asiatic protot\pes. In dealing with En- graved Stones, a canon of st>le has been noted which distinguishes the Cypro-M}'cenaean group of seal-stones from their mainland counterparts. Among neglected fragments of Silver Bowls, a duplicate of the Praenestine "Journee de (^hasse" has been re- covered, as well as another fine picture of C\priote life and custom. Often, in the difficult question of dale, a higher antiquit\- than has been customar\- of late, has been assigned where the present state of the evidence seemed to justif\- it; and the reason brietl\- is this, that the chronological rexolution enforced h\ .Minoan disco\er\- in Cjreek lands has been \er\' imperlecllx' reali/A'd hitherto in rchilion to events in (^\prus. This applies parlicularl\' to the obscure centuries between the twelfth and the eighth, and in some degree also tf) the se\enth and sixth. The high dates assigned to some of the (iold Ornanu-nls are less confidcnll\ commended. The}' follow the general principle of indicating with the help of specimens whose actual date ma\' well be later, the ;ippro\iniale period at which this or that t\-pe of ornament came first into vogue. It is onl\- claimed tor this arrangement that it is ;in improxement, in clearness, on the \ 11 PREFACE common practice of calling all jewelry Graeco-Roman which is not demonstrably of earlier date than 300 B.C".. rhis is, perhaps, also the place to note losses and omissions. Several important objects, generally supposed to be in the Cesnola Col- lection, do not seem to have even reached New York, and arc now known only from the descriptions of Cesnola himself, or of Colonna- Ceccaldi, who saw them before the Collection left Cyprus. The "Siege-Bowl" from Amathus (Perrot 111, fig. 547) was at one time in the Ruskin Collection, and has not been republished. Others have been separated from the Collection by various later accidents, and some are represented now, like 3552-3, by casts or electrotypes. Others, again, like the great painted vase from Ormidhia (Perrot 11, fig. 523), and the life-size torso {Cyprus, PI. XI 11), though preserved in the Museum and certainly ancient, are in such poor condition that they cannot conveniently be exposed. 1 hey are accessible to students, however, in the same way as other supplementary ma- terial. To the Trustees of The Metropolitan Museum of Art, the writer of this Handbook owes a large debt of gratitude, for the privilege of study so prolonged and intimate. His thanks are due no less to the Director of the Museum and to members of the Staff in every degree, for assistance of many kinds, ungrudgingly given; for the long labour of cleaning and rearranging the objects; and for the preparation of text and illustrations for the printer. Above all, in the Assistant Curator of Classical Antiquities, Miss Gisela M. A. Richter, he has had a colleague whose knowledge, judgment, and resourcefulness have been invaluable. Besides the general super- vision of work in New York, in the intervals between the writer's visits to the Museum, and the laborious verification of references and measurements. Miss Richter has read the whole Handbook both in manuscript and in proof; and has made many valuable criticisms and suggestions in detail. By a fortunate coincidence, her own work on the Museum's collection of Bronzes and Glass was going on side by side with the preparation of this Handbook, and in essentials the arrangement of the Glass is hers, while that of the Bronzes owes much to her intimate acquaintance with the material. Special obligations outside the Museum must not be omitted. Dr. A. V. W. Jackson and Dr. R. Gottheil of Columbia Universitx', Dr. Clay of Yale, Dr. (>owley and Dr. Stephen Langdon of Oxford, have given needful advice and help with Oriental inscriptions; and the last readings of the Cypriote inscriptions prepared by Dr. PREFACE Richard Mcistcr, after a memorable visit to New York, only shortly before his lamented death, have been most generously placed at the disposal of the .Museum by his son. Dr. Ludwig Meister, of Leipzig. To scholars such as these and to writers on Cypriote antiquities too numerous to name the author acknowledges his great obligation. TABLE OF CON'rENTS PAGU Map of Cyprus Frontispiece Prhface V Table of Contents xi Introduction History of the Cesnola Collection xiii Ancient Cyprus in History and Culture xxvi Selected Bibliography xliii The Collection of Pottery Preliminar\' note 3 Numbers i -1000 11 I HI: Collection of Sculi'Ture 123 Numbers 1001-1420 141 The Ojllection of Terracotta Heads Numbers i4si-i4J^7 233 'Ihe (^ollectujn of Small Oujf.cts in Sionf, Ala- baster, AND Ec.'lI'I IAN CjLAZE Numbers 1301 lyocj 265 The (>)LlT-.Cri()N of I.MI'ORFFD N'aSF.S of CjR1;EK I'ABKICS Numbers 1701 1772 2(S3 IhF. (>)1TT-.CI ion 01 In^CHM'TIONS 2<)() Numbers iHoi i()S3 3(12 IhF CoIT.FCTION of 1 FTculpliir\'. Lang's researches were not published until 1S7S, hut his experience and adNace are acknow- ledged more tlian once h\ ( A'snola. The I'rench (a)nsul, V. Colonna- (^eccaldi. was also making exca\alions from iS()6 to 1869, on a smaller scale than Lang, and his brother, C (j)lonna-Ceccaldi, publishei.i later a \aluabie essa\' on the monuments of C\'prus. Faking all this into account, it would in fact ha\e been strange if the new American (Consul had not turned his hand to the fashion- able amusement of the daw into these anticjuarian pursuits, CA'snola threw himself with characteristic enthusiasm. He seems to ha\e secured in an unusual degree the good will of the peasantr\' and nati\e exca\ators, and to have had prompt information of chance finds all o\er the island; and in ele\en bus\' \ears he amassed what is still the largest, and in man\' respects the richest collection of Cypriote anticjuities in the world. Its value would ha\e been e\en greater, had the con- ditions of disco\er\' been more faxourable to scientific record. But Cesnola had no previous experience of excaxation nor an\' s\'stematic training in the new science of archaeologw He worked \er\' rapidl}' and on a large scale; he also allowed digging to be done on his behalf without that personal superxision which alone inspires confidence in the record of results; and such notes as he made on the spot were brief and imperfect. At the same time it must in justice be recalled that in 1865 archaeological research was in its infancy. I'he first scientific excavation on the stratified sites of Xortli Itah' onh' began in 1864; the first serious stud\- of ancient tombs, at lalxsos and Kamiros in Rhodes, b\- Salzmann and Biliotti, onl\' in iS()(); Schliemann's first campaign on the site of Homeric I ro\", not until 1872. Nearer at hand, Kenan's Report on his famous Mission to Phoenicia had begun to appear in i8()^; but it was almost whollx' concerned with surface exploration and the stud\' of standing monuments. Into the archaeological chaos created b\' the C^\priote tomb-robbers, some scientific order had alread\' been brought b\' Heuze\ 's cata- logue of thi' ancient terracottas of the Louxre, man\' of which had been found in (^\prus. I his great work laid the foundation of our kncnvledge of the hislor\', uses, and stxles of this important group of objects. Its first part was published in i8()o; but the very fact that it was a museum catalogue, not a record of field work, drew attention rather to the opportunities for a collector xiv HISTORY OF THE CHSNOLA COLLECTION than to the responsibilities of an explorer and excavator. Sand- with's and Lang's papers, alreatly mentioned, were only brought to pubh'cation at a much later date, mainly through the interest which Cesnola's own work had aroused. Fngel's Kypros, published in 1841, had of course dealt mainly with literary e\idence, not with antit^uities. L'nger and Kotschy's geographical monograph on C\prus did not appear till 18C5, and its historical supplement not till i's in accord with other experience of the geo- graphical distribution of such objects in C\prus. For scientific purposes, therefore, the Cesnola (Collection must be regarded as a magnificent series of isolated objects, almost all of demonstrably C_\-priote st\ie. The}- are inxaluable to fill out the scheme of C\priote archaeolog\', which has been established b_\" other men's work in the generation which fijllowed; but the)' do not themselves supplv the e\-idence on which such a scheme could be designed. HOW THH CESNOLA COLLIXTION CAME TO NIiW ">ORK Some of the earlier finds, from exca\ations made in 1S68, were sold bv auction in Paris in hSyo. The printed catalogue of them is instructive reading now. Some were acquired b)' the Lou\re .Museum. But about this time, and probably on the ad\ice of European experts, Cesnola became con\inced of the ad\antage of concentrating in a single collection materials so copious as he liad xvi HISTORY OF THE CESNOLA COLLECTION either already at hand, or in immediate prospect. What he found now, he accumulated at his house in Larnaca; and a first attempt to describe his museum systematically was made there in 1869 by a German traveller, Dr. C. Friedrichs. But it was the crowning discovery of an untouched sanctuary crowded with statues, near the village of Athienu, which clinched Cesnola's decision, while it spread abroad his fame. It was clearly out of the question, under Turkish rule, to leave these important, large, and numerous objects in Cyprus, and the question became urgent, what was to be done with them. Informal negotiations with the Musee Napoleon III were terminated abruptly by the Franco-Prussian War: but in June, 1870, the Russian archaeologist. Dr. Johannes Doell, was sent from St. Petersburg to report on the Collection, with a view to its transfer to the Hermitage .Museum. The interest taken b\- St. Petersburg in Cesnola's work is partly explained if it be remembered that he acted as Consul for Russia, as well as for the United States. Though nothing came of the Russian proposal, Doell's report, presented to the Imperial Academy of Sciences in December, 1872, was the first scientific criticism of the Collection. This report discusses 7,919 items; and its careful illustrations show some of the chief objects as they appeared within a few months of their discovery, and before they had undergone the repairs which caused contro- versy later. Very soon after Doell's visit, Cesnola took leave of absence, and carried the whole Collection with him — about 35,000 objects in all. How his two-fold Consulate enabled him to evade Turkish attempts to prevent their export is an amusing episode in his book (p. 174). One consignment was lost at sea near Beyrout, but the remainder reached London, to be exhibited and photographed. A few objects were acquired about this time by the British Museum, the South Kensington Museum, the Fitzwilliam Museum at Cambridge, the Louvre, the .Museums of Athens, Berlin, Boston, Constantinople, Monaco, Perugia, and St. Germain, by General Pitt-Rivers (whose collection is now at Oxford), and perhaps by other museums and collectors. The small series in the Furin .Museum seems to have been presented earlier; an offering of iirst-fruits to his nati\e place. The (Collection excited general interest, all the greater because news was now coming home about Schliemann's first exca\ations in "Homeric TroN." No formal narrative of discover\' was forthcoming as \el, but there was some discussion in the Press, and an album of selected photo- xvii INTRODUCTION graphs was published in 187?, with an introduction b\- Mr. (now Sir Sidne\) Colvin. But while European museums were criticizing, America acted. Thenewl\-founded .Metropolitan .Museum of Art acquired the whole Collection for New \ork, while it was still on \iew in London, and Cesnola was granted six months' lea\e of absence, dating from Januar>', 1873, to install it in fresh quarters at 128 West 14th Street. This done, he returned to his post in C\prus, with an under- standing that he was to make further researches on behalf of the .Metropolitan .Museum. It was during these supplementar\' exca- \ations that the objects composing the "Treasure of Curium" were obtained. Cesnola did not lea\e C>prus tlnall\- till 1876, but after 1873 he found nothing comparable with his chief discover)', the sanctuary of .-\thienu; and the operations of his brother, .Major .Alexander P. di Cesnola, which continued till 1878, were notable rather for the quantit}' of their x'ield than for artistic or scientific interest. This " Lawrence-Cesnola" Collection was likewise exhibited in London for a while, and photographed, but much of it was dispersed b\' auction in 1881 . Cesnola had e\er\- inducement to complete his career in the Consular Service; but in Cx'prus he had "met his fate"; and in fact no one else was either competent or available to supervise the arrangement and publication of his treasures: so he accepted, in 1877, first a place on the Board of the .Metropolitan .Museum, and then in succession the posts of Secretar\- and Director. The transference of the .Museum to its present site in Central Park followed soon after; and Cesnola remained in office there until his death on No\ember 21, IQ04. .-\n extract from the official minute of the Board of Directors on that occasion expresses, with evident feeling, the estimate which was formed of the man, b\- men who had worked with him intimatelw "His tidelitx'. his minute attention to his duties, and his capacit\' for work during his long career of service merit great praise. Other distinctions and other interests in life, if not forgotten, were permanently' laid aside, and the welfare and growth of the .Museum became his single interest and absorbing occupation. His military training, when joined t>:i his public experience, gave him distinguished powers of administra- tion, and, while critics are ne\-er wanting, his capacit\- to administer the .Museum and adequatel}' to exhibit its contents has not been questioned. xviii HISTORY OF THE CESNOLA COLLECTION "Whoever shall become his successor, and with whatever gifts he shall be endowed, the martial, independent figure of General di Cesnola — somewhat restive in opposition and somewhat im- petuous in speech and action, but at all times devoted to his duty and winning the affection of his subordinates and associates — will long remain a kindl\- and grateful memorw" PUBLICATIONS Since the Cesnola Collection reached a permanent home in New York, onl}' two incidents in its history need be recorded here. The first concerns publication. This, with so large a mass of mater- ial, w^as naturally a matter of time; it was none the less urgent because the Collection lay so far from the majority of students, as NewYork still was then, (x'snola's own narrative of exploration, Cyprus, its Ancient Cities, Tombs, and Temples, appeared in 1877; a revised American edition with some additional matter in 1878; and a German translation by Dr. Ludwig Stern in 1870. In 1880 came a little guide entitled Sculptures of the Cesnola Collection (Handbook No. 3), brightl\- written b\' .Mr. .A. Duncan Sa\age, and more instructive to the student than the later inventor}'. The Stone Sculptures, b\' Dr. Isaac H. Hall, which superseded it in 1895, or the unsigned inventor}' published in 1904. A similar inventory of the Terracottas and Pottery (Handbook No. 2), also b}' Dr. Hall, appeared in 1895. These handbooks were for popular use in the .Museum; for students abroad, a full Atlas oj the Cesnola CoUectioii was planned, with brief descriptions, and large plates, photographic or coloured. The first volume, contain- ing the Sculptures, was published in 1884; the second, on \'ases and Terracottas, in 1886; and the third, on the Jeweir}', Bronzes, Inscriptions, (jlass, and other objects, in 1903. Though not in all points adequate, these \olumes ha\e ser\ed well to make students familiar with the Cesnola Collection. A few of the objects \\hich are figured in the .Alias are, howe\'er, no longer in the .Mu- seum; a larger number, which are figured in Cesnola's own book, seem not to have reached New York. Some of these have been traced to other museums; others are lost. rHl: Fl-.L'ARDHNT- CHSNOLA CONTROVHRSY The other incident, happil\' long closed, is the attack made in 18S0-2 on the authenticit\' of parts of the collection. It began with an articK' in the Art Amateur of August, iWo, h\ .Mr. Gaston INTRODUCTION I.. I-\'iiardenr, a wcll-kiiDWii art-eloaKT, to llie cITcct that some of the sculptures had been \vron^l\' restored, that statues had been built up out of incoherent parts, and that some of the bronzes had been artihciall\- patinated. Similar charges were repeated in 1882 bv .Mr. Clarence (look, in a pamphlet, Tra)isJormaiions and Mi- grat!0)is of (Certain Slatiws in ihc Ces)iola CoUcctio}i, and were wideh' circulated by certain newspapers. In retrospect, the whole atl'air has its humorous side, and the .Museum had no difficulty in disposing of the specific charges against indi\idual objects; but an action for libel was brought by .Mr. Feuardent against Cesnola personallv, and tried at great length; and though it ended favourabl\- for the .Museum, an impression had been created, which was not eas\- to dispel, that the (>)llection had been damaged by imprudent and needless repairs.' To deal fairl\- with well-meant, though misdirected criticism, just as to judge rightl\' (A'snola's own proceedings, it is essential to bear in mind opinions that were current, at a time when the study of classical art had onl)' \er\' recentl\' attained some measure of historical perspecti\e and a few principles of criticism, and when great satisfaction and confidence were fell in applxing these. It must be remembered, first, that the arts and industries of C\prus, and particularly its sculpture and \ase-painting, ha\e at all earl}' periods a strongl)--marked character of their own, \et show from time to time a peculiar sensitiveness to foreign influence, and often to several such influences at once. The result is a nii.xed st}le, which, interpreted in feeble workmanship, easil\' gi\es at first sight a false impression of rnodernitx'. I'urther, the use of soft limestone, instead of marble, for sculpture, and still more the technique of limestone car\ing, were unfamiliar to classical arch- aeolog\' until the discoveries at Olxmpia and on the Athenian Akropolis. In the same wa>', the practice of enhancing sculpture with colour was Icjng supposed — in defiance of testimonx' and in default of examples — to be abhorrent to ancient art. The \aga- ries, and some of the principles, of the Cypriote \ ase-painters estranged orthodox critics even more. Add to this, that until photographic illustrations became usual, stxies that were provincial and unfamiliar suffered far more than classic art from defective reproductions; and also that after the Cesnola C~ollection was 'Other outspDken opinions about the (>)IIection were published ralher later by Dr. Max Ohnefalsch-Richter, after in\estigalions on the spoi. at Curium and Athienu. (.WiJ York Hirald, May lOlh; .V;(«, .May 2 3rd, ii'^ijj.J XX HISTORY OF THE CESNOLA COLLECTION transferred to New York, the objects themselves were not very accessible. Add, further, that the new generation of trained archaeologists was more concerned — and rightly — in recording the circumstances of discovery, in fresh excavations under rigid control, than in criticizing the results of what they might well regard as premature and hasty work; and that, in so far as they stayed to criticize the discoverer's record at all, they were more repelled by its omissions, inaccuracies, and exaggerations, than attracted by the positive value of what was found. A few leaders, Sir Austin Layard, Sir Charles Newton, Sir Augustus Franks, Sir R. Hamilton Lang — to name only British contemporaries — with wider sympathy inspired by personal experience of pioneer work, wrote and acted as if they appreciated what Cesnola had done; but it is not wonderful that, under all the circumstances, his Collection was put somewhat on one side. HOW TO USE THE CESNOLA COLLECTION Now, controvers}' has died, and other explorers, better trained, equipped, and directed, have done much to fill the gaps in our information. It begins to be possible to estimate where we stand. In archaeology, as in business, we have to "cut our Icjsses" and make the best use we can of the knowledge we ha\e; and the object of this Handbook is to contribute such commentar}', based on sure comparisons, as will interpret this section of the Metro- politan Museum to the \'isitor, and in some degree also to the stu- dent. Man}' objects in the Cesnola Collection are still hard to explain full\'; a few, for want of exact record at the first, have lost the meaning the}' had, perhaps permanentl)'; but the \ast majority can now be fitted Inlo a consistent scheme of knowledge, so as to illustrate other collections, and suggest problems for future research. The advances which have been made in our knowledge of Cyprus since the (Collection was formed, permit a more exact estimate of the arts and industries of the island, and disclose the main lines of their history. A summar\' of this histor\' follows, on p. xxvi. 1 hrough the same increase of knowledge, it is now possible, also, to assign to kjcal schools of sculjilure and painting a number of objects whose unfamiliarit v, at the time of their disco\er\', raised reasonable doubts as to their age and aut hent icit w In fine ex- amjtles of these local schools, and part icularl\' in works inlluenced by tlu' archaic art of (ireece anti the Near k.asl, the (A'siiola (Col- lection is exceplionall}' rich; am.! siibseciuent excavations b\' trained xxi INTRODLCTION itbsorvors ser\e to interpret thi-sc masterpicLCS, and to supplement the too sliglil indieations of their jilace of discover)', and of the ob- jects found with them. On the other haml, more accurate knowledge of (]\priote anti- (.]uities inevitabl\- shows that certain other classes of objects in the (Collection are not of exceptional interest, either as works of art or as e\idence of the progress of nali\e industries. It is, therefore, possible, and permissible, to select those parts of the whole Collection which gi\e it value and interest, and to exhibit these in a clearer and more sxslematic way. It has been possible also without dam- age to the (Collection as a whole, and with great benefit to the stu- dents of special aspects of art and industry, to separate from the main t\pe-series, and install in a comenient students' room, a large mass of purely archaeological material which could ne\er be expected to appeal to the general public, and led onl\" to con- fusion and fatigue. On these general principles, a svstematic survey of the whole (Collection was undertaken on behalf of the Museum in the spring of it)0(). The results, so far as the\' are of general interest, arc the occasion of this Handbook. The methods b\' which it has been sought to give effect to them, demand brief record here. THH I'KhSr.Nr ARR.ANCh.MKNT OF TUl: COLLECTION The lapse of time since the objects were prepared for exhibition under the personal direction of their disco\erer, and, no less, the attention which is now rightl\ gi\en to questions of surface-finish, tooling, and other details of ancient craftsmanship, justified and indeed demanded a thorough cleansing of all the more important objects. File general appearance of the (Collection has been but little affected b\- this process; but attention ma\' fairl\' be called to the principal points of improvement. The Terracottas, Bronzes, and Gold and Silx'er Ornaments were in \er\' good order: it was chietlv among the Sculpture and the \ ases that care was recjuired. In the first place, a good deal of (Cypriote earth and lime-crust which adhered to statues and \'ases has been remo\ed, where this could be done without damage to the ancient work. Its retention in the first instance was an excess of precaution not common among collectors: with better methods than we have e\en now, still further impro\ements would be permissible. Further, it was alread\' known, that (in accordance with the current practice of museums in the \ears when the CCollection was xxii NOTE The Cesnola Collection of Sculpture and Pottery has been moved from its old quarters in B 41-42 to K 5. The old arrangement has been kept, with some necessar}' adjustments. Thus, some of the larger vases in former Floor Cases IV-VI and VIII have been mounted on tops of cases; some of the lions in former Wall Cases 54-57 have been fastened on the walls; and the larger statues have been distributed where space permitted. A few pieces of minor importance have been withdrawn, and some of the imported vases have been placed in Wing J with related wares. But the numbers on the objects are unchanged and correspond to those in this handbook. The Cesnola Collection of Jewelry, formerly in C 32, has been moved to the Classical Jewelry Room (adjoining the new Cesnola Gallery), where it occupies Cases D-J. The bronzes^ terracottas, glass, and inscriptions remain in D 14. HISTORY OF IHE CESNOLA C:OLLECTION being installed) cracks, breakages, and scars had been repaired with plaster, and "made good" with a very thin coating of stone- wash; and this stone-wash had also been used to cover weather stains even on unbroken surfaces. Fortunatel}', Mr. Charles Balliard, who was actively concerned in the original installation, was still at hand in 1909 to describe his own procedure. Before the cleansing was begun, or e\en projected, the Museum obtained from him a full statement of his recollection of the state in which the sculptures were when he first took them in hand, and of what he did to them. The subsequent removal of the stone-wash con- firmed the accuracy' of Mr. Halliard's memorv, and there is little doubt that the Museum is in possession of all the material data for a history of the Collection from the time of its acquisition by the Museum. It should be added that on some of the statues the stone-w^ash had begun to go to dust, and enough of the ancient surfaces was already revealed to show that they were in good con- dition, and might safely be liberated altogether. The necessar\' work on that part of the Collection which had been selected for exhibition was done, with the most careful precautions, by the .Museum's own people, in the summer of 1909: so that all details of the ancient work can now be seen and studied freely. The gain to the (Collection, both artistic and scientific, has been great. The delicate cream-colour of the soft Cypriote limestone has been recovered throughout, and it is possible that the slight variations of its texture which are now perceptible ma\' eventually be traced to local quarr\-beds. Cracks and breakages arc of course rather more apparent than they were, but the methods and technique of the ancient sculptors and stone-masons have been revealed in surprising detail. ,\bo\e all, copious traces of colour, noted indeed bv the discovert-r, but unappreciated by earlier critics, and long concealed b\' the stone-wash alreadv mentioned, have been restored to \iew, sometimes still well enough preserved to suggest their original vividness. Fhe closer study which is possible now that the sculptures a re clean shows that man\- of the statues ha\e undergone minor repairs; that these repairs were made at more than one period; and that most of them are such as it would he an obvious duty to undertake now if the (>)lk'Ction were newlv ac(|uired. .Many figures, indeed, could be better appreciated, if thev were treated more thoroughly still, and in the same way. (>tTtainly a few mistakes were made, as was only to be expected in a \crv large collection of un- X X i i i IN I KODUCl ION t'amiliar types and styles, but none of them allect any important speL"imen. Similar treatment, applied to selected vases, confirms the authen- ticit\- of almost all the painted decoration. The few "restorations" are for the most part obvious, and seldom exceed the limits ob- served in museums a generation ago. The surprising variations of tint and draughtsmanship, which perplexed earlier critics of the (.Collection, seem to be almost wholly due to the caprice of the ancient artists, and to the materials with which they worked. Only very rarely does our present knowledge still permit doubt whether retouches are ancient or modern. A word should be added as to the selection and arrangement of that part of the (x^snola (collection which is the subject of this Handbook. The very large size of the Collection has alwavs made it impossible to set out all the objects for general studv; and in proportion as its artistic value is appreciated, the need for greater space becomes more obvious, if justice is to be done to the more important pieces. The Collection has therefore been rearranged in two parts, one of which, a " 1 }pe-Series" formed of the finest specimens of each kind, is installed mainly in the Cesnola Room and its Annex, on the ground floor of the Museum; and partly in the .Museum's rooms for Bronzes, lerracottas, and Glass, and in the Gold Room upstairs. The other is a "Students' Series" consisting of many large groups of objects, of almost monotonous similarity, it is placed in a Basement Hall, easily accessible from the Cesnola Room, and more convenient for the special work of experts. Here it is intended to install graduall\- exhibits illustrating particular aspects (jf the ancient arts and industries of Cyprus, and thus to make the fullest use of this unri\a!led mass of material. After full consideration of all available e\idence as to the cir- cumstances of discover}', it has seemed best to treat each object in the Type-Collections as an independent example of the art of Cyprus, and to base the new arrangement S()IeI\' on considerations of workmanship and style. Thus arranged, the Collection con- stitutes a series of the principal forms of potter)-, sculpture, and other works of ("xpriote art and industr\-, which is certainl\- the largest of its kind, and also the most varied in all but a few depart- ments. After withdrawing more than half of the former contents of the show cases, there remain exhibited nearl\' eleven hundred vases; more than four hundred pieces of sculpture; about two hundred inscriptions; about two hundred other stone objects, xxiv HISTORY OF THE CESNOLA COLLECTION such as vessels of alabaster, steatite, serpentine, and soft limestone; about four hundred terracotta statuettes; over five hundred bronzes; nearly nine hundred glass vessels; and more than thirteen hundred pieces of jewelry. The inscriptions, which are of less gen- eral interest, are only treated briefly here; they have, however, been recently studied exhaustivel>' by the late Dr. Richard Meistcr, in preparation for a volume of the Corpus hiscriptionum Graecariim, and (by the courtesy of his son, Dr. Ludwig Aleister) his final readings are incorporated in this Handbook. The Bronzes, Terracotta Figures, Gold and Silver Ornaments, and Glass are now grouped with the Museum's general collections, and the Bronzes will be more fully described in a general Catalogue of Bronzes which is in preparation. Very few objects of Bronze or Terracotta have been withdrawn from the Type-Series; but many bracelets, rings, and earrings of silver are so disfigured by exposure to the salt moist earth of Cypriote tombs that they have lost all artistic, and almost all scientific, value, and have therefore been put on one side. Among the Glass vessels, too, there are so many duplicates that only about half of that collection is exhibited. The general plan of this Handbook is to give first a brief summar)' account of our present knowledge in each department of ancient work; and then to supplement and illustrate this, b\' more detailed commentary on the examples which have been selected for exhibi- tion. As far as was possible, each exhibition-case has been ar- ranged as a coherent whole, in which each object illustrates and explains its neighbours, while they supply the commentary for it. The function of a Handbook is sufficiently performed, if it prepares its readers to discover these things for themselves. XXV ANC1I-:NI CYPRUS IN HIS'IORY AND CLI.rURH THE island of Cyprus lies in the easlernniost basin of the Mediterranean Sea, 44 miles south of the nearest point of Asia Minor, and 69 miles west of the Sx'rian coast. Its greatest length is about 141 miles; and its greatest breadth about 60; but much of the island is narrow, and its area is only 3,584 square miles; it is thus rather larger than Crete, but smaller than Sardinia or Sicil\-; and therefore about as large as the English counties of Norfolk and Sutfolk together, or twice the size of Long Island. Its surface configuration closel\' conforms to its geological struc- ture. The southern half of the island is tilled with a roughly oval massof darkcr\stalline rocks, which rises to 6,406 ft. in Mt. Troodos, towards its west end, and three other peaks further east are of more than 4,500 feet. i,argeareas of this highland were formerl\' rich in copper. Rugged spurs of the same rocks run out into bold promontories to the northwest; but most of the foot hills are in light-coloured limestones and marls, which make fertile foreshores and run out eastward in a rolling plateau as far as Nicosia. Famagusta, and Larnaca. The long straight north coast, and the wholeof the narrow Karpass promontory- to the northeast, are formed, on the other hand, of an abrupt ridge of hard grey limestone like that of Mt. Amanus in North S\ria, and the parallel ridges of the (lilician Taurus. Its seaward slope is abrupt and almost har- bourless, but the long breakwater of the Karpass shelters open roadsteads off Salamis and Kition to the southeast. Between this North Ridge and the Highland of 1 roodos runs a broad shallow depression, the .Mesaoria, or Midland Plain, mainl\' alluvial, and so low and well watered that it forms wide marshes towards either coast, and especially towards the east. xxvi ANCIENT CYPRUS IN HISTORY AND CULTURE The climate and vegetation are of tlie Mediterranean type. The summers are hot and dry, and the winters rainy with but h'ttle frost, except in the hills. Olive and vine, bay, myrtle, and oleander, th\'me and sage, asphodel and anemone, are characteristic plants in the lowlands; higher up, cereals do well, and oak and chestnut flourished formerly; on the heights there is pine forest and summer pasture. Wild sheep, wild goat, and ibex are the principal native animals; in antiquitv the island had a bad repute for serpents, but harbours no dangerous beasts. Its importance in the ancient world was as an unfailing source of timber and copper: the latter has its name from Cyprus. In history, however, its interest is less in what it yielded than in what it received. Situated as it is within sight of Syria and Asia Minor, and within a few days' sail of Eg\'pt, and of Rhodes, Crete, and the island-world of Greece, it partook of every phase of its neighbours' ci\ilizalion, without ever wholl\' surrendering either its own indi\idualit\', or its earlier loans and achievements. "Too large to be neutral, too small to be self-sufficient," it is there- fore a faithful, if rather dilator\-, record of events and tendencies in the greater world around; and more than once (^\'prus became the prized or coveted outpost, now of East, now of West, in the age-long ri\alr_\' between them. FIRST HUMAN POPULATION The affinities of the first human occupants of C)'prus are still obscure. In the earliest tombs the human remains are almost always so fragmentarx' that the\- cannot be described or measured accurateh'; and those of later date only serve to show to what extent the ph\'sique of the population was modified by successive immigrant strains. Of these the most important are the Aegean colonists of the later Bronze Age, the Phoenician settlers from the S\Tian coast, the Creek acK'cnturers and traders who supplemented the old Aegean colonies in the I'".arl\' Iron Age and later, and the Saracen, IVank, and Turkish conquerors in mediaewal times. But in all probability tln-ir island home has selected for elimination the most alien strains; certainK' in modern (~.\prus the (.lilTerence between " lurk" and "Greek" is of expression rather than of build. It is probablv safe, therefore, to separate the discussion of the culture of (Cyprus from all questions of race, and to regard its successive occupants simph' as contributors to st\'le. The St(jne Age has left but few traces in C^}-prus. Palaeolithic xxvii IN 1 ROnrCTION deposits are still unknown, and of the Neolithic Age no sites have been foinul. K\en implements of stone are rare, and almost all of these bek)ng to deposits of the Bronze Age. It must be re- membered, ho\\e\er, that the earliest tombs with potter>' of Bronze .-\ge t\pes contain no objects of metal, and also that the onh' parts of the island which ha\e stone suitable for implements are in upland and inland districts which, being forest, were probably long unoccupied b\' man. \'et there is reason to suppose that the first users of potter\- were not the first inhabitants; primitive people still e.xist elsewhere who ma\' be elescribed as li\ing not e\'en in an ".Age of Stone," but rather in one of Wood or Bone; ignorant also of potler\-. or oblixious, if the\- ever had this art. .And in the I'.arlx' Bronze Age tombs there are alread\' two distinct racial t\'pes. Before its appearance was modified b\- human ell'ort, the surface of the island was occupied b\' three t\pes of vegetation: water- logged marsh in the central lowlands; dense forest, mainU' conifer- ous, in the uplands; and between these a belt of parkland, com- posed in \ar\ing proportit)ns of deciduous and e\ergreen trees and shrubs, with rich meadow fringing the fens. The distribution of the earliest sites and tombs shows that it was this parkland which first attracted immigrants; and at most of these first settlements we find the primiti\'e corn-rubbers, and large milkb(;\\ls and ladles, char- acteristic of pastoral and agricultural people. The great fens were impassable earl\', and e\en now are but partial!}' reclaimed; but the forests were more penetrable, and were graduallx' cleared for timber, and also, when the copper mines were opened, as fuel for the furnaces. This wealth of timber and the habitual use of mud brick at all periods go far to explain the rarit\' of stone architecture such as is the glor\' of Hg>pt or of Cireece, THt BRONZE ACiE The cixilization of these settlements is essential!)' the same as that of the S\ rian coast and of b"g>pt before the First D\'nast>', The simple t_\'pes of copper daggers, axes, and pins occur also on the mainlands opposite, and through the whole e.xtent of .Asia .Minor, far awa\' to the Hellespontine region which unites it with south- eastern liurope. The red-polished potter)' exact!)' resenibles that of pred\nastic Kg\'pt m its fabric; but it substitutes fornis so cx- clusi\'el\' imitated from gourds and skin \essels, that it seems reasonable lo suppose tliat the art of pot-making was introduced in an advanced phase from the mainland, into an island culture xx\ iii ANCIENT CYPRUS IN HISTORY AND CULTURE which had used only perishable \essels before: the rather sudden apparition of a fine fabric of potter\' would thus be fu!l\' explained. The Bronze Age culture of C>prus falls into three main stages, which approximately correspond in range with the Earl\', Middle, and Late periods of Minoan civilization in Oetc, though their char- acters are distinct until far on in the Late Minoan Age. In the first or Early Bronze Age, the implements are rather of copper than of bronze, and owe their hardness to the presence of copper oxide, not of tin. The pottery is all of the handmade "red-polished" fabric alread}' mentioned; painting is unknown, and the decoration is essentiall}' geometrical, and reminiscent of basket r\', with onl}' rare attempts to represent animals or plants. Stone was in use for perforated maceheads like those of primitive Lg\pt, and also for whetstones and beads. The simple pins of copper seem to have been modelled on pins of wood or bone. Imported objects are as )'et unknown, and there is no proof of an>' export of C>priote objects; though it is probable that the copper supply, once dis- covered, did not long remain an island secret. In the second or .Middle Bronze .A.ge, implements of true bronze become common, and a coarse allov of sil\er and lead is used for ornaments of thick wire. Potter\' of light cla}' appears alongside the red ware, with patterns in a painted dull black umber which is found in the island; and foreign imports arc found. Such im- ports are Eg\ptian beads of blue glaze, assignable to the XII D\'nasty and therefore not much later than 2000 B. C, and cylindrical seals from Bab\ionia, one of which. No. 4300 i Alias III, cxx'iii, 5) belonged to an official of Naram- Sin who reigned in Accad not later than 2()()() B. il. But it must be remembered that these are dates of the manufacture of the objects themsehes; and although it is probable that such objects (if found in early tombs, which is not always demonstrable) were brought to C^yprus ncjt as antii]uities but in common use, and not long after they were made, \'et the formal jiroof that this was so is not complete unless objects of the (Cypriote fabrics associated with them ha\e been found in L.g\ptian or Bab\ionian deposits of the periods to which those c\linders and beads belong, lor the later Bron/.e .\ge, which is conteinporarx' with the XX'III l)\nast\', this c(jm|)k'mentar\' proof exists; but not at present for an\' earlier period. The distribution of tin- "black-punctured" fabric of potter\-, ho\ve\er, in (^\prus, S\ria, and l{gvpt, supplies evidence (jf secondary \alue in regard to the centuries between INTRODUCl ION tho X\'III D\nast\' and the Xllth; and ihcre arc also a few faint traces of intercourse with the Middle Minoan culture t)f Oete and the Aegean islands, which certainl}' belongs to the same interval of time. What is more important, for the general culture of the island, is the exidence from primiti\e cla}' figures, that C\prus shared with the nearest mainlands in the widespread cult of the great Mother Goddess of Asia, with all that that worship implies. In the third or Late Bronze Age, and probably about the time of the fall of the Knossian Empire in Crete, which can be dated about 1400 B. C, colonists from the shores and islands of the .Aegean Sea, and among others from Crete, brought with them their own remarkable culture and industries, which had alread}' a long history, in their new settlements in C>prus appear new types of weapons, fine wheelmade potter)', and a st>le of art which after long naturalism was now becoming stilT and conventional. Cold and ivor>' are now abundant, silver of good quality super- sedes the old leaden alio}', and glass and enamel are known. Ex- tensive intercourse with S\ria, Palestine, and Egypt brought other new kinds of poller)', which were freely copied in the island, and datable scarabs and personal ornaments of the XVII 1 and XIX D\nasties (i()oo-i20o). It is not certain whether Eg>'pt had direct intercourse with Cv'prus in this period. The rich regions known as Asi and Alasia, which appear repeatedl\' in Egyptian documents from close on 1500 to as late as 11 17, have been commonlx' identified with the island or with districts of it, but the older \iew, that the)' are to be sought on the Syrian mainland, seems now to be better supported; and a list o\' hostile cities recorded b\' Rameses 1 1 1 in his Philistine war of ii()4, though it includes a group of names xer)' like those of Salamis, Kition, Idalion, Soloi, and others prominent in historic limes, gives no clear indication of the counlr)' in which thev la)'. There is, moreover, nothing in thi^ period which can be ascribed to specifically Phoenician influence; and the onl)' traces of writing are in a variety of the Aegean script. The magnificent tombs at Salamis and Kurion illustrate the prosperit)' and artistic wealth of CA'prus at this time. Similar colonies founded on the S)'rian coast rather later, became eventuall\' the seat of that Philistine power which harassed ihe Israelite tribes until the da)'s (.)f Saul and Da\'id ho^o-yyo). Thus, iii the Late Bronze Age, not C)'prus only, but all this end of the .Mediterranean became for a while a strong outpost of Western civilization. XXX ANCIENT CYPRUS IN HISTORY AND CULTURE About 1 100, however, the Aegean region, and particularly its western side, was invaded and conquered by comparatively bar- barous tribes from Balkan and Danubian lands, who broke up the old Minoan culture and themselves became civilized very slowly. Across the Hellespont, the Hittite power, which had drawn all North S}ria into a political s}stem with its heart in Asia Minor, suffered no less from European invaders, and seems to have been broken for a while. Egypt, too, was distracted by political troubles within, and ceased to take part in the affairs of the sea- board districts. Cyprus was thus cut off both from the mother- land of its Minoan colonists, and from all the principal centres of old culture in the Levant. The Minoan colonies, however, long maintained themselves in comparative prosperity, mainly because their wealth in copper and timber made them valuable to neigh- bours on the S)rian coast. Meanwhile the destruction of the Philistine league of coastland cities by the first Israelite kings restored all southern S}ria to people of Semitic speech and culture and broke its connection with the West. North Svria, too, after the Hittite decline, was apparently too much distracted by internal feuds to have either interest or influence abroad. But these defec- tions were of no serious consequence either for C\prus, or for the central section of the mainland coast, secure between Lebanon and the sea. Here, therefore, C}prus ma}- well have continued to play an important part, during the rise of that Phoenicia, industrial and mercantile, which was replacing Minoan Crete as chief agent of exchange in these seas. It is probably no accident that the year ii()8, from which Tyre dated its events, lies on the eve of that Northern Invasion which was stemmed by Rameses 111 in Philistia, and gave us incidentally (p. xxx) the first probable glimpse of the cities of Cyprus. THE hARLY IRON AOH Characteristic of this whole period of transition is the gradual substitution of iron fcjr bronze as the principal material for cutting instruments. Iron, indeed, is found rareh', but almost exclusively for ornaments, in a few tombs of the Later Bronze Age; but it then becomes common so suddenly, both for tools and for weapons, that it seems necessarv to connect its introduction here, as in the Aegean, with the economic and political changes which broke up the Bronze .Age culture. It is perhaps significant, in this connec- tion, that the first iron swords in (^}prus are of a type character- xxxi INTRODUCTION i>lic(if norllu'rn C.reece and iht- lands bordering on the Adriatic. The iron of C]\ iM'us, however, is, in the main, of nati\e manufacture: the Lhief mines were at I'amassos, in tlie heart of the island, and near Soloi on ihe nortlnvest coast, in close proximil}- to the copper lieids and the forest fuel. As we still li\e in a culture where iron is the chief useful metal, it is con\enient to describe the first great phase of that culture as the luirh Iron .Age, and to use this term t(; include all those obscure and ft)r the most part barbarous centuries which lie between the close of the Bronze Age and the beginning of the historic age in Greece and Italw The latter is also the point at which western influences once more reassert themsehes in Cyprus. The same periotl has also been sometimes described as CJraeco-Phoenician, on the ground that it is within its limits that both the Greek and the Phoenician ciliis arose, which are found to divide the island between them at its close. But in some respects that name still takes too mucli for granted, and the term "Earl)' Iron Age" will be used for the most inirt in what follows. .An I{arl\- Iron .Age, or Graeco-Fiioenician Age thus defined, is convenientl\ subdi\ided, lif;e the Bronze Age, into three periods: Earl\', Middle, and Late. (Jf these, the first may be described as "Transiticjiia!," because bronze is still in use for weapons, side b\' side with iron; and the whole culture still bears traces of its Alinoan ante^-edents. It co\ ers all that has sometimes been called "Sub-Al\cenaean." or less happil\' labelled as "Late Minoan IV." In this Transitional Period, which ma\' be taken, pro\ isionally, to extend from about 1200 to about 1000, gold and siher orna- ments become \er\- rare, foreign imports almost cease, engraved cylinders and scarabs become quite barbarous in st\le, and begin to be replaced b\- conical and pxramidal seals like those of Asia Alinfjr and North S\ria, and the Bronze .Age dress-pins are sup- planted b\' safet\-pins derixed from southeast-European types. Except a few childish terracottas and animal-shaped \ases, there is no longer an\ 'representati\e' art. Decoration rapidh' becomes geometrical, presenting howe\er onl)' slight allinit)' with the con- temporar\' geometric st\les in (jreece and the Aegean islamls, while its nearest cotmterparts are \prus operated from the West. I he -\egean peoples had outlived tlu'ir tlisasters; the\' ci\ili/eii and absorbed their coiu|Ui'rors; and now began again to exjilore and exploit tin'ir Aletliterrani'an world, along the same scawa\s as thrir Alinoan predecessors. I lu' lirNt (irrrk colonics in 1 lie West, Syracuse and \axos, were fouiuK'd almost on Alinoan sitrs about 7^5 ftlirvcar of t he surrcnclcr of Damascus), and larcntum, the eastern gate ol Italy, about 7(re and other mainland cities unwonted freedom of access to the west, and so made room for a "Phoenician Seapower" which in turn facilitated the Ass>Tian attack on Eg\pt in 668. During this "Phoenician Seapower" C>prus reappears in 702 as a place of refuge for a rebel chief from Sidon, and eventuall>' as an all}' of Assurbanipal in his Egx'ptian war. But its kings are enrolled not with Phoenicia but with the Hittite principalities of Cilicia; and of those whose names are recognizable, the majorit}' are Greeks, P}lagoras of Kh\troi, Eteandros of Paphos, Onasagoras of Ledroi. Kition, the principal Phoenician settlement in C\prus, does not appear b\' name, but is usuall\' recognized in this list under the description Karti-hadasti or "New Town," which it shares with Carthage, its greater cousin in the West. In view of this Greek predominance, it is not sur- prising that Hebrew geographers should have classified as "children of Va\-an," that is to sa\', Ionian Greeks, not onl\' " Kittim," which is Kition, but the mainland districts of Alasia and Tarsus. There is, however, no reason to suppose that this was more than a rein- forcement of the old colonies. The peculiarities of the Cxpriote dialect of Greek, and its affinities with that of .Arcadia and other districts which had no oversea acti\it\' in historic times, force the conclusion that the Greek language was established already- in Cyprus before the close of the migrations, in the twelfth and eleventh centuries, and also that it had ne\ er lost its hold. Greek ANCIENT CYPRUS IN HISTORY AND CULTURE tradition, too, linked Cypriote families, and even some of the cities, with an Arcadian origin. Further proof is supplied by the litera- ture. Outside the narrower circle of "Homeric" song no links with old time were believed b\- the Cireeks to be closer than the "Cyprian Epics" in which we recognize the minstrels>' of these C}'priote courts. Thus closel}' allied in language and literary tradition, it was eas\', therefore, when the seawaxs la_\- open once more, for Greek ad\enturcrs and traders to make touch with their kinsmen in the island. The political s\'stem of C>-prus, as we see it in historic times, combined the rule of monarchs like those of the Homeric Age, with a sxstem of independent cit\'- states, each with its own territor\-, such as characterized all Greek lands since the migrations. Such a regime was stable enough, and yet conformable enough to Greek ideas, to make recolonization unnecessary; but there was clearly interchange of commodities and ideas, and some inflow of settlers, within the bounds of existing communities. THE EFFECTS OF CONTACT WITH ASSYRIA Under these new conditions of enforced contact with an aggres- sive Oriental empire, cssentialh' Bab\ionian in culture, and of exploitation by keen-witted Westerns, "eager to see or to hear some new thing," and profoundly impressed by the show of mature experience which the East offered, C\'prus assimilated rapidly the culture and craftsmanship of the mainland, while reserving freedom to use them for new ends. Just as Ahaz of Judah copied for the "House of the Lord" at Jerusalem the altar which he had admired in 732 at the Ass\rian durbar at Damascus, so the seven kings of C}prus who did homage in 709 brought back more than a political understanding. The result was a blend of con\en- tion and originalit}', as attractive as it is rare; sharper and more capricious in its contrasts, less durable and fertile in effect, than the slower, less exotic bloom cjf renascent Greece. Actual imports are, however, still curiously rare: from the West a few vases of proto- Corinthian fabric, fewer still from the later Orientalizing schools, replacing earlier imports of geometrical st\le hardl\- less infrecjuent; from the East a few late cuneiform c\ liiuK-rs and p_\ ramidal seals. It is rather in an influx of ornamenl;il nioli\es and technical de\ices that the new ide;is are embodied; sculpture of life size and more; cla\' figures hardh' less ambitious, and more brightl\- c(j|oured; " lkib\lonitish garments" richh' fringed and embroidered; cable- xxxv INTRODUCTION ornaments, rosettes, and pahii-leaf designs; massive earrings and bracelets, and the pompous artifice of curled hair and beard: and, on the other hand, a new deft-handedness of potters and bronze workers which sometimes rises almost to proto-Corinthian grace. THh HFFhCTS OF CONTACT W'VTH FGYPT This Assyrian predominance, artistic and political, lasted about fifty \ears. Then, in 664, a quite new factor enters, the rejuve- nated Egypt of the XXVI Dynastw Here, too, as in Cilicia and on the Philistine coast, free-companies of lonians and Carians — "bronze men from the sea," as the oracle said — were forcing their way into a culture which crumbled at their touch, as its own granite weathers in sea-wind. Eg\ptians complained that they were "children that would not grow up," and they were enjants terrihles as well, intrusive, insatiate, almost intolerable. These laid the train: .Assurbanipal's reckless inroad, and four years' insolent oppression, struck a spark, even from Egyptian fellahin. Psammetichus, hereditar\' prince of Sais, had a royal brain and a personal wrong: and the "bronze men," hero-worshippers all, were his to the death. Egypt, after long paralysis, sprang to her third renascence, and became a Mediterranean power. The Greek "List" gives her forty years of virtual mastery of the sea; and her spell was on Greek minds and craftsmen's hands for a century. Cyprus no doubt fell early under that spell; but chronolog}- becomes difficult here. On the one hand, it seems likely that in Egypt itself artistic revival slightly preceded political; certainly it would be over-cautious to assign to the XXVI Dv'nasty all the quaint trinkets of Eg\'ptian st\'le which enrich the Cypriote jewelry. If Egypt is to be strong, it must secure itself b}' conquest in Syria; its political frontier, in the old world, was rather at the Euphrates than at the Isthmus, and under the new conditions Syria was not safe as long as Cyprus was free. The Nubian conquerors of Egypt from 730-668 knew this, so far as Syria was concerned, though they never were allowed to realize it; and the traces of early Cyp- riote st}ie and forms in Nubian pottery and jewelry are among the most curious revelations of recent archaeology. Moreover, in its brief subjection to Assyria, Egypt, hitherto left behind in the Bronze Age, had learned the lesson of the "superior weapon": iron is as familiar henceforward in the armoury of Egypt as in the rest of the .Mediterranean world: and Cyprus was h\ this time both the richest and the nearest iron-field. On the other hand, ANCIENT CYPRUS IN HISTORY AND CULTURE though the Egyptian fleet of Apries won a great victory over a Cypriote league in 594, the political conquest of Cyprus, like the organization of the great treaty-port of Naukratis — the Shanghai of the ancient world — is expressly reserved to Amasis. Within his long reign (570-525) we have no closer date-marks; but the rare Cypriote statues in Egyptian royal insignia (1363) can hardly pre- cede this annexation. Within these limits, there is room for at least three generations of craftsmen for whom Egxpt, not Assyria, was the standard of taste and skill. There is, however, no reason to believe that Assy- rian models were abandoned either suddenly or gladly in the Levant, least of all among people so tenacious as the C}priotes of things once learned. On the mainland certainly there was chaotic overlap of styles, not unworthy of the political confusion depicted in Jewish literature, when the luck of Assyria turned and dismem- berment began: and the balance of interests, lasting so long as it did, retarded, not unwholesomely, the precocious island's develop- ment. To an Oriental style with mainly Assyrian influence suc- ceeds a Mixed Oriental style, in which the influence of Egypt, always apparent, never wholly prevails, mainly because it was during this respite, and in great measure because of it, that Cyprus grew once more to be so nearly Greek as it did. CYPRUS INDER PERSIAN RULE The partition of the Assyrian Empire, therefore, and the short- li\ed rivalr\- of .Media and Babylonia, affected C\prus little, ex- cept in so far as they stirred the ambitions of Egypt. Only when the new Persian monarchy reunited all, and more than all, that Assyria had ruled, annexing Phoenicia without a struggle, and easily conquering Eg\'pt in 525, was (Cyprus drawn once more into an ambiguous position, dixided in interest, as it was, between its Phoenician cities, who stood to gain much from the forward polic\' of Persia, and their (ireek rixals, who felt they had everything to lose. When C\'prus was incf)rporated in the new Empire, is unknown, but it was alread\' annexed before the Eg\-plian campaign, and was included by Darius in his "lifth Satrapx'," the adminis- trative province of S\ria. I'o ils maritime provinces, already highlv civilized, Persia had but one material adxantage to offer, security for peace and just administration; and this ihe wise rule of Darius seems to have guaranteeil. (A"rtainl\- Cyprus llourislied. Its rich series of sih'er coins begins about this lime; ils lombs con- INTRODLCTION firm that evideiK-e, b\' their wealth of jewelry and other works of art; its embroideries were famous throuj^hout the Greek world; and this fact, together with the frequenc\' of Western imports, suggests that Persian suzeraint\' was compatible with very free intercourse with states outside the Hmpire. We ha\e historical record, too.of the dealingsof l^velthon, Kingof Salamis, with Gyrene in North Africa, and with the sanctuar\' of Delphi. It was in these favourable surroundings that the Mixed Oriental stvle softened and ripened into the Archaic G\priote, which at its best has little to distinguish it from the sister schools of Greece. CYPRUS IN DISl'UTld BETWEEN GREEXE AND PERSIA Then, in 500, a momentous quarrel, not of C\'priote origin, spoiled all. The Greek cities of Ionia, which had paid since 545 the same light homage tribute to the Great King as those of C\'prus, became involved in a tangle of personal intrigues and nationalist ambitions, which has never been unravelled, threw off their alle- giance, and involved their Cxpriote kinsmen in the quarrel. To the grandiose intriguers in Ionia, Cyprus might well seem an outpost of the first importance; but Herodotus, who had his own opinion about the revolt, uses this C_\-priote wing of it to illustrate, as by a diagram, the futilitx' of the whole. The Pht)enician cities saw their chance, and declared for Persia at once; the Greeks quar- reled among themselves; Persia struck hard and promptl\', for a hostile C\prus barred all seawa\'s westward. A single battle ended the rising, but an evil feud smouldered on. Greek and Phoenician had lived side b\' side in the island for centuries, open ri\'als in the development of its resources, but united b\' strong material ties, a common home, and almost indistinguishable culture and tastes. Now, national as well as economic interests had been jarred; blood had flowed; and for ncarh' two centuries both halves of Cyprus were fated to be intermittent pawns in a larger struggle. As long as Persia could hold the sea with her mainl\' Phoenician fleet, and engage the Aegean Greeks in their home waters, C\prus had the duty, inglorious but very profitable, of supphing that fleet's necessities. But when the Greek victor}' at Ah'kale drove it from the Aegean, still more when in 466 the battle at the Eurymcdon River deprived it of all mainland bases east of Cilicia, possession of the resources of C>prus became the next stake in the game, and the eastward roadstead of Salamis the natural base from which to observe its home ports, the Phoenician arsenals xxxviii ANCIENT CYPRUS IN HISTORY AND CULTURE (and with good luck, to blockade it there), and to cover the large operations against Egypt into which Athens was drawn from 460 to 454. For the moment things went well: the Persian garrisons were driven out of Lower Egypt, and Cyprus seemed to be incor- porated in the Greek world for good. Salamis was the centre of Hellenic feeling: the Phoenicians rallied round Kition and Amathus, both defensible, and Kition, as it turned out, unassailable with the forces which Athens could spare; for her Egyptian adventure failed miserably in 454. Worse than that, its blockade cost Athens the life of her greatest admiral in 449, and his aggressive policy died with him. ForCypriote art these alternations were disastrous. At the crucial moment, just when the Archaic Cypriote style was ripening, the link with Hellenic art was snapped by the fiasco of 499, and Cvpriote craftsmen had to mature their art unaided, among futile political distractions. The result was a check and perversion of effort which was irremediable; for when intercourse was restored, Hellenic art had advanced so far beyond C}priote, that, instead of stimulating rivalry, it either compelled imitation, or sterilized originality. Vase-painting makes almost no progress at all in Cy- prus after 500, and is in full decay b>' 450. Sculpture, which sufTered less from direct comparison of masterpieces, passes from freedom to convention or servility. Only in jewelry, which was portable enough for refreshing models to wander in continually, does the island art hold its own at all with the Western st\ies. Even more unfortunate was the collapse of Athenian schemes in 449. Salamis, the most Hellenic city of all, interrupted its line of Greek kings for a generation, and was ruled by one Ab- demon, whose name is Phoenician. Kition, on the other hand, came almost at once under a new and active king Azbaal, whose coins show the lion of T\rian Herakles pulling down his prey, the defenceless stag of Greek Artemis; and his annexation of Idalion, which but recently had a Greek-named king, Stasik}pros, doubled his territory, and enabled him to hold the eastern and western halves of the island apart. Amathus, another Phoenician state, was also exceptionalK' prosperous. Thus during the greatest period of Greek art, the late fifth centur\', C\prus stood apart again, missing yet another chance of Hellenism. Then, almost too late, in 411, reaction rather than renaissance came. Evagoras of Salamis, a man of genius and strong Hellenic feeling, expelled the alien governors of his birthplace, and so used xxxix INTRODUCTION his pc)M'tit)n there, that, in spite of Persian hostilit\', and for a while with Persian fa\our, he held most of the other cities, b\- V)i. in free league with himself. Only the double kingdom of Kition and Idalion held aloof, with Phoenician Amathus, and one Greek dissentient, Soloi; and in 38(S-7 Kition itself fell momentaril\' into tireek hands. (his, however, was not the doing of Evagoras, but of an Athenian agent Demonax. who was supported by an Athen- ian stjuadron, and struck coins with .Athena's image. But Athens in the fourth centurx' had little persistence of purpose. The ships were wanted elsewhere; Kition was evacuated, and the enemies of Evagoras, seizing their opportunity', pressed their grievances on the Great King, and procured the dissolution of Evagoras' league. This befell in 3(S(), as part of a general adjustment of tireek and Persian affairs, and five \'ears later, Evagoras, restricted now to Salamis, and beset b\' jealous neighbours, was received in allegiance to the King. His assassination in 374 hardl\' touched his work, and his successors, Nikokles and Evagoras II, held much the same position in the island, as champions of Greek freedom and patrons of Greek thought and art. .An offshoot of the same Hellenism even took root in T\re, which had come momentarih' under the hand of Evagoras, and had to mo\'e with the times, for business reasons too. The Hellenic sarcophagi (1366-1367) are monuments of this curious phase. Cautious management, e\en now, might ha\e kept the island out of trouble till the Empire should break up, as all Greeks foresaw that it must; but Nikokles, misled like Eg\pt and Txre b\- the false dawn of the "Satraps' Re\olt," struck too soon, and lost his life and kingdom in 361. The disaster was the greater, because the new king of Persia, Artaxerxes 111, was the onl>' quite barbaric member of his great d\nast\'; and he kept an iron heel on Salamis, just because it had become so Greek. Ten years later, on some suspicion, Evagoras II was superseded, too, and the next king, Pnytagoras, was content to be a Persian vassal till .Alexander's victories freed all the coast pro\inces, and annihilated Tyre. Then the island states sent wel- come supplies of timber for the great siege, and Pn\'tagoras, time- serving still, a sword of (^\priote steel. CiI'RlS LNDHR l>TOLH.M.\ IC AND RO.MAN RULE Henceforward, the onl\' question for C^yprus was, what its place should be within a Hellenized world. The choice, as things befell, was between S_\ ria and Eg\pt for master, much as in the seventh xl ANCIENT CYPRUS IN HISTORY AND CULTURE and sixth centuries, and old lines of cleavage seem to have facilitated the e\ent. Kition still clung to a S\rian connection, from interest and sentiment alike, and tried in \ain in 312 to bring this about; but Egvpt, barren of timber, poor in metals, and more securely in touch with the Greek West, had more to offer. Besides, in the rough partition of Alexander's Empire, the immediate embarrass- ments of the S}rian kingdom were the greater, and Ptolemy, Lord of Egypt, had the crucial advantage of sea-power. So Cyprus fell to Egypt, and shared the fortunes of that exotic and expensive state for nearh' two centuries and a half. Then in 58 Egypt's Roman creditors lost patience, and C>'prus was ceded, not for the last time, to pay part of its master's debts. It was a distressful island that M. Cato came to set in order for Rome. The mines, indeed, were working, with whatever fuel was left; but forests had been mismanaged; agriculture was mortgaged; the cities, now little more than urban districts, were insolvent. Only the temples prospered, in an age of blind disbelief in human goodness, and blinder trust in an>thing, high or low, that was, at all events, not man. Paphos, richest of them all, had found a new meaning in its Foam-born Goddess, and drove a devil's bargain with the Cilician pirates; at all events, its king knew too much, and killed himself rather than face the commissioner. But the wealth, even of Paphos, had been overestimated, or discounted in the deal with Egypt, and Roman politicians, whose motives were none of the highest, thought justice done when the}- annexed the disenchanted island to the other ex-pirates in (2ilicia. Of its distress and bank- ruptc}', Cicero's letters home, in 52, gi\e us glimpse enough. Fortunate!}', the civil wars of Rome passed the island by, and on the reorganization of the Empire, in 31 B. C, it became a separate province, and was reserved for Imperial administration, as the char- acter of its revenues required, and the Emperor's need for a post of obser\ation towards Eg}'pt and S\ria. But at the very next readjustment, in 22 B. C, Augustus transferred it to the Senate. Its political \alue to himself had evidently been overestimated: restored prosperit}', too, made it easier to administer for revenue. Later, it cerlainl>' seems to ha\e been rich, and had the fame of being able io build and fit out a ship, ccjinplete from keel to mast- head, from its own resources onlw Of its Roman governors none are memorable; an inscription, howexer, exists of that Sergius Paulus who was proconsul in 4O A. I)., when the island was \isited bv St. Paul. xli INIRODUCl ION With its annexation to Ptolemaic Hg\pt, C>prus lost finally the little originalit\- whieh it had preserved through the fourth cenlurw its poor attempts in sculpture are neither better nor \vt)rse than those of an\- other district outside the old centres of Hellenism and the new cosmopolitan capitals. The new spirit of Pergamene realism seems to have passed it b\-; it was fortunately neglected likewise by the arts nonveaux of Alexandria and Antioch. The remnants of its old village-worships served its needs better than the revi\ed Oriental cults of Isis or Adonis; nor is any trace known there of the religion of Alithra, except one stray amulet in this Collection. Perhaps it is on this ground partly, that it accepted Christianity as easily and as early as it did. When that change came, we ma\' believe that it came suddenh': otherwise it would be difficult to explain the wholesale desecration of its minor sanctuaries, to which we owe our acquaintance with their contents. The fortunes of the island in mediaeval and modern times hardl\- concern us here. With the adoption of Christianity, the rites of burial and of worship, which are the main sources of our ac- quaintance with ancient art, became so greath' simplified that they lose their value for archaeolog)'. No period in C\-priote history is so obscure as the Byzantine Age. xlii SELECTED BIBLIOGRAPHY ONL"*l' those detailed studies of individual works of art are I noted here which throw light also on the more general aspects of the craft or industry which they discuss. All other literature should be sought in special biblio- graphies; the following are practically complete so far as they go. CoBHAM, C. D. An Attempt at a Bibliography of Cyprus. First edition (152 titles), octavo, Nicosia, 1886. Fourth edition (728 titles), octavo, Nicosia, 1900. Fifth edition (860 titles), in Excerpta Cypria, quarto, Cam- bridge (Eng.), 1908. MvRhs, J. L. & Ohnhf.alsch-Richter, M. A Catalogue of the Cxprus Museum; with a Chronicle of Excavations under- taken since the British Occupation, and lntroductor\- Notes on (^\priote Archaeology. (Bibliographx- of each site separ- atcl\'.) Octavo, Oxford, 1899. PHYSICAL FEATURES Lnghr, 1'. (k KoTSCHY, T. Die Insel C\pern, octaxo, N'ienna, i8()t. Oblrht.mmer, E. Die Insel C\pern; einc Landoskunde auf his- torischer CJrundlage, I. (Bibliograph\-, pp. 4O2 70.) Octa\(), Munich, i<)o^ Biii.LAMV, C. V. cSc Ji:k[-;s-Brown, A. j. The (k'olog\- of C\prus octavo, Phmouth, i<)05. SITES, MONU.Ml<:NrS, AND h.XCAVAllONS Compare the "("hronicle of l',xca\al idiis" in ihe ('.vprns .\lii>eitm ('.ataloi;.ue (abfjve) and the news from C\prus in S. Keinacli, CJnon- iques d'Orioit, 1,11. SELECTED BIBLIOGRAPHY \ ogl'i', Marquis dh. (".oup d'cril sur les monuments de Chyprc et de Rhodes. (I,es Hglises de la 1 erre Saintc, pp. 376-389.) Quarto, Paris, iSOo. l-\)uilles de (-h\pre et de S\rie, exiraits des lettres a MM. Renan et .\. de l.ongperier. (Revue Archeologique N. S., No. \'l, p. 244.) Octavo, Paris, 1862. CfcSNOLA, L. P. Di. Antiquites chvpriotes provenant des fouilles faites en i8()8 par M. di Cxsnola. (Sale catalogue; 2 5-26th March, 1870; 388 lots.) Octavo, Paris, 1870. C\prus: its ancient Cities, Tombs, and Temples, octavo, London, 1877. C\pern . . . autorisirte deutsche Bearbeitung, von Ludwig Stern, royal octavo, Jena, 1879 and 1881. For other publications of the Cesnola Collection see below, p. 99. PiHRiDES, D. Collection importante de vases antiques, bijoux, terres cuites, pro\-enant de fouilles faites dans I'ile de Chyprc par M. D. Pierides. 261 lots. (Sale Catalogue.) Octavo, Paris, 1873. Lanc, R. H. Narratixe of Exca\ations in a Temple at Dali (Idalion) in C\'prus. (Tr. R. Soc. Literature, 2d series, XI, part 1.) Octavo, London, 1878. Chsnola, .\Ltx. P. DI. The Lawrence-Cesnola Collection. Cvprus antiquities exca\'ated b\' .\. P. di Cesnola, 1870-79, quarto, London, 1881. Salaminia.^ The Historx', Treasures, and Antiquities of Salamis, in the Isle of C_\-prus, octavo, London, 1882. Salaminia. Italian translation, quarto, Turin, 1887. Ohnhfalsch-Richter, .\L Von den neuesten .\usgrabungen in der cxprischen Salamis. (Mitth. des .\rch. Inst. \'I.) Octavo, Athens, 1881. Duii.M.MLHR, F. .Aelteste Nekropolen auf C}-pern. (Mitth. des Arch. Inst. XL) Octavo, Athens, 1886. Hi;rma\n, Paul. Das Graberfeld \on .Marion auf Cxpern. (W'inckelmann's Programm, 1888.) Quarto, Berlin, 1888. Gardni:R, F. .\.. Hogarth, D. C, Jamhs, M. R., Flsf.y Smith, R. Fxca\ations in (^\prus in 1887-8. (Paphos, l,eontari, .Amar- getti.) (Journalof HellenicStudics, IX.) Octavo, London, 1888. Hogarth, D. G. Devia C\pria, octavo, Oxford, 1889. xliv SliLHCTHD BIBLIOGRAPHY Mlnro, J. A. R., and Ti bbs, H. A. Hxca\ations in C".\ prus in 1889. Polis tis Chrxsochou, Limniti. (Journal of Hellenic Studies, XI.) Octavo, London, 1890. Excavations in C\prus, 1890. Salamis. (J. M.S. XII.) Ro\'al octavo, London, 1891. AU'NRO, J. A. R. Excavations in (^\prus. Third season's work. Polis tis C'dirxsochou. (J. H. S. XI 1.) Octavo, London, 1891. (Iastillon Saint-Victor, V'icoMTt E. dh. Les Eouilles de 0,ur- ium. (Extraits des Missions Scientifiques, X\'l 1.) Octaxo, Paris, 1 89 1. Reinach, S. C^hroniques d'Orient. (P'ouilles et decou\ertes a Ch\pre depuis I'occupation anglaise.) Reprint of papers in Revue Archeologique, octavo, Paris, 1891. .\lvRHS, J. L. Exca\ations in (Lxprus in 1894. (J. H. S. X\'ll.) Octavo, London, 1897. OHNhKALscH-RicHTBR, AL Neues iiher die in Cvpern . . . angestellten Ausgrabungen. (Zeitschrift fiir Ethnologic, 1899, N'erh. d. Berl. Anthr. Ges. pp. 33-78; 298-401; the onl\- report, hitherto, of excavations conducted b\- him on behalf of various public bodies in German\'.) Octa\(j, Berlin, 1899. .Mlrray, a. S., Smith, A. H., Walters, H. W. Excavations in Cxprus, folio, London, 1900. I-.vANs, A. J. Mx'cenaean (^\prus, as illustrated in the British Museum Excaxations. (Jour, .\nthrop. Inst. XXX.) Octavo, London, 1900. Pon.siiN, 1". Zur Zeitbestimmung der Enkomi-funde. (Jahrb. d. .Arch. Inst., XX\'l, pp. 2 1 5-248.) Ouarto, Berlin, i()ii. Zaun, R. Der angebliche Raucheraltarplal/. der .Aphrodite in Paphos. (.A brief authoritati\e report of disco\'eries and ex- cavations on behalf of the Berlin .Academ\ , of which exag- gerated reports had appeared in sexeral newspapers) Berl. Philol. W'ochenschrift, 14 I'eb., i()ii. Ouarto, Berlin, i()ii. ANCIENT MlSrom', CULrLRi:, AND AR T IN ObNI-RAL .Mi:i KsH s, J. Oela, (Aprus, Rhodus, c|uarto, .Amsterdam. \()-^. ENr.ii,, W. II. Kx'jiros; eine Moniigrafihie, 2 xols., octaxo, Berlin, 184 1. xh si;li.c:i 1 D bibliography I'l KKOT, C. & Cjni'n:z, C Histoire de I'art dans I'antiquite, III, Phenicic, C^dixpro, OLtaxo, Paris, iSiS^. [l-'nglish translatii)nj. octavo, London, i(S85. lKn.\vHKi)A, A. E. J. I^ic alten K\prier in Kunst iind Cultus, ocla\(), Lex'den, iSS^. DrHMMLi-.R, I-\ Benicrkungen zum altesten Kunsthandwerk auf griechischcn Boden, II, der kx'prischc geomelrische Stil, octavo, Halle, ioupe phenicienne de Pales- trina, octa\o, Paris, i.SSo. .^L\R'J^A^■I), .\. .A Siher Patera from Kourion. (.\m. Jour. Arch, iii, jip. 322-3^7.) Octa\o, Ijoslon, iS8.] Quarto, l')erlin, i8()8. xlix Sr.LEcn ID BIBLIOGRAPHY .Makshai.i. I'. H. Aeg\pti^Lh odor phoenikisch? (jahrb. d. Arch. Inst. x.w. pp. i()^-i()()\ c]iiarlo, Berlin, U)io. Sn DMCZKA, I'. Her Rennwat^L-n ini s\ risch-phcx^nikischcn Cjcbict. (Jahrb. d. Arch. Insl. xxii, pp. 147-196.) Quarto, Berhn, iqoy. PoLLSi-.N, 1". Dor Orient und die friihgriechische Kunst, octavo, Leipzig, 191 2. BRONZE AND IRON OBJECTS Undsi-;t, I. Ein k\prisches Eisenschwert, octavo, Christiania, 1886. W'althrs, H. B. (-atalogue of Ikonzes in the British .Museum. (C\prus, earl\- bronzes, Nos. 49-114.) Octa\o, London, 1899. Flriw ANGLHR, .\. Leber ein auf C\pern gefundenes Bronzegerat. (Sitzb. d. k. ba\r. .\kad. d. W'iss. [phil-hist. Kl.] ii, pp. 411- 33.) Octavo, .Munich, 1900. Nal t, J. \'or-romische Schwerter aus Kupfer und Bronze, 2 vols., cjuarto, .Munich, 1903. .\hRhs, J. L. On the Sig\nnae of Herodotus. (In .Anthrop. I'.ssaxs for E. B. Tylor, pp. 255-277.) Quarto, Oxford, 1907. ,-\ Tomb of the Earl\- Iron .Age from Kition in Cxprus (Liver- pool .\nnalsof.\rch. and .Anthrop., iii, pp. 107-117.) Octavo, Liverpool, 1910. .A T\pe of P'ibula of the Earl\' Iron .Age, apparentlx' peculiar to C\prus. (l,i\-. .A. .A. .A. iii, pp. 138 if.) Octavo, Liver- pool, 1 910. ,A Cxpriote Fibula of the Earl>' Iron .Age, now in the .Ash- molean .Museum. (Liv. .A. .A. .A. \', pp. 129-131.) Octavo, Liverpool, 1913. GLASS Frohhnhr, W. (Catalogue illustre de la collection de .\L .Albert Barre; poterie et verres ch\priotes, cjuarto, Paris, 187S. Collection J. Creau; \'ente, quarto, Paris, 1S91. KiSA, A. Das Glas im .Altertume, 3 vols., octavo, Leipzig, 1908. 1 SELECTED BIBLIOGRAPHY INSCRIPTIONS: PHOENICIAN Saulcy, F. C. Dii. Sur deux inscriptions pheniciennes de Citium, octavo, Paris, 1845. RoEDiGER, E. Leber drei in Cvpern gefundene phonizische In- schriften. (Hellenika, I, 2, pp. 1 18-121 .) Quarto, Halle, 1846. Vogue, Comte de. Inscriptions pheniciennes de Tile de Ch\pre. (Journal Asiatique, X, no. 37.) Octavo, Paris, 1867. Six inscriptions pheniciennes d'ldalion. (Jour. Asiat. Vll, serie, t. V.) Paris, 1875. Schroeder, p. Die phonizische Sprache. (Inschriften aus Cypern, pp. 227-232.) Octavo, Halle, 1869. Renan, E. Notice sur huit fragments de pateres en bronze por- tant des inscriptions pheniciennes tres anciennes. (J. des Savants.) Quarto, Paris, 1877. Corpus Inscriptionl.m Semiticarum, Pars I, Tom. I, Cap. II, pp. 35 fT., Inscriptiones Phoeniciae in insula Cypri repertae, quarto, Paris, 1881. EuTiNG, Julius. Zwei bilingue Inschriften aus Tamassos. (Sit- zungsber. d. Berl. Akad. d. Wiss. IX und XXV, 1887.) Quarto, Berlin, 1887. Berger, Ph. .Memoire sur deux nouvelles inscriptions pheni- ciennes de Tile dc Ch\'pre. (C^omptes rcndus de I'.-Xcademie des Inscr. et B. L., p. 187.) Quarto, Paris, 1887. .Memoire sur une inscription phenicienne de Larnaka. (.Acad, des Inscr. et B. L., Nov 17 et Dec. 16, 1883.) Quarto, Paris, 1887. INSCRIPTIONS: CYPRIOTE Vogue, Comti; .Mi-.lchior de. Inscrijnions chypriotcs inedites. (Journal .-Xsiaticiue, XI, no. 4^) Paris, iS(),S. .Melanges d'archeologie orientale. Recueil de Memoires sur les inscriptions et la nuniismatique phenicienne, clnp- riote, cScc, (jctavcj, Paris, iS6(). Di-.renbourg, J. Les Nouxelies Inscriptions de (^Ji\pre Irouvees par .\L de X'ogiie. (Jtmrnal .\si;il ic|ue, X, p. 479.) Paris, 1867. S.Mi'Di, Ci. On the Re;i(ling of the C\priote Inscriptions. (Trans. Soc. P)ibl. Arch, 1, pp. i2() 144.) Octavo, London, 1872. 11 si:i.i;t:i 11) bibliography l,AN('i, K. II. 1 he Discoverx' of some (-\priole Inscriptions. (Tr. 5. B. A. I. p. ii().) ()cla\-c), London, 1872. Birch, S. The heading of the Cxpriote Tablet of Dali, with text. (Tr. S. B. A. 1. pt. 2.) Octavo, London, 1872. Brandis. L \ ersuch zur Lntzifferung der k\'prischen Schrift. (Examined h\- .Moriz Schmidt in the Jenaer Literaturzeitung, Jahr 1874, Artikel 85.) Octavo, Berlin, 1873. Dehcki;, W. and Sitois.MLND, J. Die wichtigsten k\prischen In- schriften umschrieben und erliiutert. (In Curtius' Studien. 6, \'1L pp- 217-264.) Octa\-o, Leipzig, 1874. Tho.msf^.n, W. De kvpriske Indskrifter, octavo, Kopcnhagen, 1874-76. ScH.MiDT, AL Leber kyprische Inschriften. (.Monatsberichte der k. \k. der W'issenschaften in Berlin, 1874, pp. 614-615.) Octavo, Berlin, 1874. Die Inschrift von Idalion und das kxprische S\'llabar, octa\'o, Jena, 1874. Sammlung k\prischer Inschriften in epichorischer Schrift. folio, Jena, 1876. Meyer, G. Zu den kx'prischen Inschriften. (Xeue Jahrb. f. Philologie, CXI, pp. 755-777.) Octa\o, Leipzig, 1875. Hall, Isaac H. The C\'priote Inscriptions of the di Cesnola Collection. (J. .\m. Or. Soc, X.) Octavo, New Haven, 1875 The C\'priote Inscriptions, octavo, .Alban\-, 1875. Notes on C\priote Inscriptions. (Tr. S. B. .A. \"I, pt. i.) Octavo, London, 1878. .^HRFNS, H. L. K\prische Inschriften. (Philol. XXX\', pp. 1-102 and XXXN'L PP- 1-3 '•) Octavo, Gottingcn, 1876. SiEGis.MUND, Jlstls. Kxprischc Inschriften. (G. Curtius' Stu- dien, IX.) Octavo, Leipzig, 1877. Deecke, W'ilhel.m. Der Ursprung d. k\prischen S\lbenschrift; eine palaographische L'ntersuchung, octavo, Strasburg, 1877. ■ Die griechisch-kxprischen Inschriften in epichorischer Schrift. (CoUitz, Sammlung der Dialekt-Inschriften.) Octa\o, Gottingen, 1883. Neubalhr, R. Der angebliche Aphrodite-tempel zu Golgoi und die daselbst gefundenen Inschriften in k\prischer Schrift. Hi SELECTED BIBLIOGRAPHY (Commentationes philologicae in honorem Theod. Mommseni, pp. 673-693.) Quarto, Berlin, 1H77. K\prische Inschriften. (Hermes, XIII, p. 557.) Octavo, Berlin, 1878. En.mann, a. On the Origin of the C>priote S\ilahar\\ (Tr. S. B. A. no. XXXVIII, pp. 1 1 3-1 19.) Octavo, London, 1883. H OF KM ANN, Otto. Neue Lesungsvorschlagc zu den k\prischen Inschriften. (Bcitrage z. Kunde d. indogerm. Sprachen, XIV, pp. 266-298.) Octavo, Gottingen, 1889. — Die griechischen Dialekte. I. Bd. Der siidachaische Dialekt. (C\prus Inscriptions, pp. 35-75, 104-106, Grammar, 129-326.) Octavo, Gottingen, 1891. .Mhisthr, R. Die griechischen Dialekte. (I I, Elcisch, Arkadisch. K\'prisch.) Octavo, Ciottingen, 1889. K\prischc Inschriften. (Verh. der k. sachs. Gcs. d. Wiss. [Phil. hist. Kl.] LXII — (i9io)viii. (No. i868ofthis Hand- hook is figured on PI. 1.) Octavo, Leipzig, 1910. Kyprische Inschriften. (Verh. Ixiii, (1911) ii = No. 1858.) Octavo, l-eipzig, 191 1. Zwci k\prische Inschriften im Ashmolean Museum. (Sitzh. k. prcuss. .Akad. \ii, pp. 166-9.) Quarto, Berlin, 1911. ViiNDRVHs, J. Inscriptions Chypriotes du Louvre. (.Mem. Soc Linguisticjue de Paris, xviii, pp. 271 tf.) Octavo, Paris, 1913. INSCRIPTIONS: GRLLK BoKCKH, .\. (Corpus Inscriptionum Graecarum. ((".\prus, II, pp. 436-447, nos. 26i3-2()52.) l-'olio, Berlin, 1843. PihRiuhs, I). Inscriptions greccjucs inediles de I'ile de C^hx'pre. (Rev. Arch. N. S. June and julv, i86().) Octavo, Paris, 1 866. OBi:RnriM.Mi-.K, I-. (iriechische Inschriften aus (Apern. (Sitzher. d. k. ba>er. .\kad. Wiss. 5 Mai, i88S.) Octavo, Munich, i88(). 1j1:AIT)oi:i\, .\L, and Potiii-.r, 1-.. Inscriptions ch\prioles. (Bull. (j)rresp. Hell. HI, pp. 347 352.) ()cla\o, Paris and Athens, i8()7. 1 NSCKII'I |()M> GkaI-.CAI'. AI) Kl,'- RoMANAS 1' 1. R I 1 N l-.Nri>. ((^prUS, III, jip. 354-368, nos. ()2() ()97.) Octa\(), Pans, 1904. liii si:i.ia:i i;d bibliography PLBLICAIIONS REFERRINCl 10 THE CESNOLA COLLECTION Cesnola, L. p. di. Antiquitos chxpriotcs pro\enant dcs fouilles failcs LMi iS68 par M. di (.A'snola. (Sale catalogue: 25-26th March iSjo; 388 lots.) Octavo, Paris, 1870. — — Cxprus; its ancient Cities, Tombs and Temples, octavo, London, 1877. Colon NA-CT;cc,.\i.Di, G. Les Decouvertes de Golgos. (Revue Archeologic]ue, Dec. 1871, Oct. 1872, Jan. 1873.) Octavo, Paris. Lang.R. H. Les Decouvertes de Golgos. (Revue .'Xrcheologique, Ma_\-, 1872.) Octavo, Paris, L872. CoL\iN, S. and Thompson, S. The Antiquities of C\-prus, discovered (principallx' on the sites of the ancient Golgoi and Idalium) . photographed hv Stephen Thompson, with an intro- duction b\' Sidne_\- Colvin, folio, London, 1873. DoHLL, J. Die Sammlung Cesnola. (.Memoires de I'.Academie de S. Petcrsbourg, \'1I, ser. XIX, no. 4, 1873.) Quarto, St. Petersburg, 1873. Trustees of the .Metropolitan .\U sel.m of .Art, Report of the, .Ma\-, 1873, duodecimo, New York, 1873. (Acceptance of the collection b>' the .Museum.) Newton, Sir C. T. Researches in C\prus (a re\iew of Ccsnola's work, reprinted in Essa\-s on Art and .Archaeolog}-, pp. 303- 320), octavo, London, 1880. Colonna-Ceccaldi, G. .Monuments antiques de C\pre, de S\ rie, ct d'Egx'pte. (Reprints of papers in Re\uc .Archeolo- gique, 1873, 1875, 1879, and other material.) Octa\o, Paris, 1882. Cook, Clarence. Transformations and .Migrations of certain Statues in the Cesnola Collection, octavo. New York, 1882. Fi-lardent, G. L. x'ersus L. P. di Cesnola. Testimon>' of the Defendant, printed for the Plaintiff, New "*l'ork, 1884. Repertorr-.m eTr KrNSTwissENSCHAET, \'1I Band, 3 Heft, 1884 L'Art, Paris, Jan. i, 1885. Still.man, W. J. Report on the Cesnola Collection, New York, 1885. liv SELECTED BIBLIOGRAPHY Hall, I. H. A Descriptive Atlas of the Cesnola Collection of Cypriote Antiquities in the Metropolitan Museum of Art, New York, 3 vols., folio: vol. I, Boston, 1885; vol. II, New York, 1894; vol. Ill, New York, 1903. The Athenaeum, London, No. 3155, April 14, 1888. Ohnefalsch-Richter, M. New York Herald, May 16, 1893. New York Times, May 16, 1893. RovERSi, LuiGi. L. Palma di Cesnola e il Metropolitan Museum, octavo. New York, 1898. Massarini, Tullo. Cipro, antica e moderna, e il Generale L. P. di Cesnola, Roma, 1899. Reinach, S. L. p. di Cesnola. (Revue Archeologique, IV, Serie, t. V. p. 301.) Octavo, Paris, 1905. Iv THE COLEFCTION OF POTTERY THE COLLECTION OF POTTERY PRELIMINARY NOTE ON FABRICS AND STYLES VESSELS of c\a.y, and fragments of them, are b\' far the commonest objects of antiquity, in Cyprus as elsewhere. Thev are also by far the most important, for it is b}- their means mainly that the succession of periods and stales has been determined, and a framework of knowledge constructed into which other classes of information may be fitted. The reasons for this importance of ancient potter}' are simple and obvious. Just because earthenware once broken is so completely useless, it is almost certain to be left where it lay when it broke and passed out of use; at most, it is swept out of the way, and cast out onto the nearest rubbish heap; and once safely deposited on the surface of the existing rubbish heap, and covered up in its turn b\- the next week's sweepings, the chances are that it is never disturbed again. An ancient rubbish heap, therefore, is one of the securest records of the change of fashion and the succession of st\les; the I'arlier l>ing beneath the later, from the bottom to the top of the heap. Secondl\-, since potter}' is more fragile, and at the same time in the commonest use, it follows thai such broken potterx' accumulates more rapidl\' than almost an\' other kind of rubbish. It is also almost indestructible, whereas wood, leather, textiles, and e\en the useful metals, copper and iron, are liable to deca\'. On ancient sites, therefore, pottery comes to form a larger proportion of the rubbish that endures, even than it formed at first. It follows that an even larger share of our actual kn(A\ ledge about ancient industry comes to us irom the slud\' of the potter} than from an} other single art or craft. 3 THF r.OLLnCTlON OF POTTHRY PcittiTV, tliirdh', supplies nuuli indirect evidence about the other arts of the lime. The "potter's power over the cla\" is proverbial: he can mould it to represent what he will; and a very large number of cla\- vessels owe their interest, as well as much of their beaut}-, to their imitation of basket r\-, wood-work, metal-work, and the natural ft)rms of plants and animals, or vessels made from fruits or skins. With these cla\- models of furniture in the precious metals, the poor man can share the pleasures which these things bring to the rich; and it is with the same cla\' substitutes, worthless in themselves, that the archaeologist reconstructs the \anished baskets, te.xtiles, and table-ser\ ices of gold and siher plate, which were either too perishable to last, or too \aluable to escape theft or destruction. Hitherto we have been dealing with the broken potterx' which is found round the dwellings of the li\ ing. But in C}prus b}' far the greater part of the ancient potter}- is obtained from the tombs. It is a widespread custom among primitive peoples — and it persists in the Mediterranean throughout classical antic}uit}- — to pro\ ide the dead with all things needful for the journey to the "other world," and for an existence there on the same scale of com- fort and dignit}- as the} enjo}-ed when they were alive. It was not indeed essential to the deceased that this ec]uipment should be represented in its proper materials, and probabl}' it was desirable that it should be as nearl}- as possible imperishable; it was also certainl}- to the interest of the survi\-ors that it should be inexpen- sive; and, for the double reason of cheapness and durabilit}-, clay models of furniture, shields, domestic animals, and even of human escort, were in use, at all periods, as substitutes for the realities. It follows from this that the potter}- which is found in the tombs of an ancient people is of peculiar value as an unintentional inventor}- of their material civilization. Further, as the same fabrics of potter}- were usuall}- placed in the tonibs as were in dail}- use among the people who put theni there, it is possible, b}- comparing the tomb-potter}- with the series of potter}- froiii inhabited sites, to determine the relative ages of tombs; and consequentl}- to obtain a date for objects in other materials, which happen to form part of the same "tomb-group" as the sexeral fabrics of potter}-. As a "tomb-group," representing a single funeral, necessaril}- consists of objects which were buried at one and the same time, and were customarily (and apart from heirlooms) all of the current fashion, such evidence that different PRELIMINARY NOTE classes of objects were contemporary is very strong. The only doubt which can attend archaeological datings of this kind, arises from the chance that the same burial-chamber may have been used more than once, like a family vault; or, worse still, that later grave-diggers may have re-opened an ancient tomb, b}- accident or on purpose. In crowded cemeteries, such as those of the old C>'priote cities, this happened, in fact, frequently, and at one time caused much confusion in archaeolog}'. Later and more war)' excavators, however, ha\e usual!)- had no difficult)' in distinguishing these "secondary bu rials" fromtheoriginal equipment of thechamber, which is found either scattered by the intruders, or buried beneath a layer of "tomb-earth," deposited in the interval, in such en- quiries, everything depends on the care with which the chamber is explored, and on accurate record of the precise position of each object. THE TOMBS OF CYPRUS The burial customs of ancient C\prus should be described briefly at this point. In principle they are rcmarkabh' uniform, from the earliest times to the first Christian centuries. As in most Mediter- ranean lands, the bodies were buried, not burned; a very few urns containing ashes have been recorded, however, from cemeteries of mixed late tombs. A few of the ver)' earliest tombs are simple pits, sunk a short distance into the rock, and these perhaps pre- suppose an earlier phase; but hitherto there is no certain record of those shallow earthen "cist-graves," with the body in contracted posture, which are the primitive tombs of Eg)'pt, Greece, and most other parts of the Mediterranean coasts. The vast majorit)' of the Bronze Age tombs, however, are artificial caverns, cut in the soft limestone as near the surface as was consistent with the safety of the roof, and approached through a narrow square doorway from a shaft, which forms a vertical pit, or else a long narrow cutting or dromos which descends oblicjuel)', with inclined floor (jr rough rock-staircase. The door\va\' of an undisturbed tomb is alwa)s found carefully closed by a single slab of stone, set on edge and kept in position h)' the earth with which the shaft was filled. The tomb ilself varies in size from a chamber hardl)' large enough to hold a single crouching bod\', to a room some six or eight feet square, and five feet high; large enough, that is, to allow a bod)' to be laid at full length along each of its three blank walls. In the Bronze 5 THH COLLECTION OF POTTERY Ago the tonihs are of rounded outline, both in plan and in elevation, and sometimes haveoneor more rounded niches cut quite irregularly in the sides. Rectangular chambers and flat ceilings belong as a rule to the iron Age; these tombs also may ha\e one or more niches or side-chambers. Occasionalh the doorwa\', or the inside of the chamber, is enriched with car\ ing; and there are a few examples of hinged doors to facilitate repeated use of a famil\- burial-place. Karel\-, a chamber is lined with masonrx', or built up with regular walls, and a roof of large slabs, in an open pit which was afterwards tilled in. B\- far the finest and largest of these "built tombs" is the monument near Salamis known as Agia Katarina, "St. Catha- rine's Prison"; it has a barrel-\aulted roof, and a side chamber roofed with a single slab. The monument near Larnaca, known as Agia Phaneromeni (the "Annunciation Chapel") is of much, rougher work, and uncertain date. Other fine "built tombs," belonging to the Hellenic period, have been opened at Larnaca (Kition) and Amathus; some b\' Cesnola, others b\' the British .Museum, and b\' nati\e diggers. Similar tombs are known at Sidon, and other sites on the S\ rian coast. The megalithic build- ing near Larnaca known as Khalat-i-Sultana Tekke, venerated b\' Moslems as the "Tomb of Umm Haram," a lad\' of the Prophet's kindred, is probablv an early "built tomb." It consists of great wall-slabs set on edge, to support a single roof-block, which seems to ha\e been originall\' le\el with the soil, or covered by a low mound of earth. It should be compared with the megalithic "cromlechs" of se\eral parts of S\ria. In chamber-tombs, except the earliest, the bodies were laid out upon the ground, along the side walls, and sometimes along the back wall totj. Sometimes a low couch was left in the solid rock, a foot or less abo\e the floor; less commonly, the bodies la\' on long slabs of stone. In the sixth centurx', stone coffins or sarcophagi came into use, at first four-square on low feet, with gable roofs. \'er\' rarel\-, these sarcophagi were richl\- carved (1364) and painted (1365); later, in the fifth and fourth centuries, mummy-shaped, with a human face and upturned feet carved on the lid (1366-7); and later still, plain rectangular coffins of stone come into use again, this time with flat lid, or a mere covering slab. Man\' tombs of the Hellenistic and Graeco-Roman periods contain nails, corner- plates, locks, hinges, and other metal fittings: these seem to belong to wooden coffins, which were probabl\' cheaper than stone ones. The great sarcophagi were used to contain whole families in turn; 6 PRELIMINARY NOTE one such, at Amathus, of the later fifth ccntur\', contained not less than a dozen persons. I'he bodies were buried in their ordinarx' clothes, with such jewelr\' and other ornaments as the survivors could afford; together with mirrors and other toilet implements; armour, weapons, and official staves; and man\' other objects of use and luxurw Food and drink were not forgotten. Wine jars are common; a tomb at .\mathus contained a bowl of eggs and the remains of a fowl, now in the British Museum; and another at Kition contained a regular dinner-service laid out on a stone slab along the back wall of the chamber, with the wine jars standing in the corners; this set is now in the Ashmolean Museum at Oxford. Mowers and garlands, such as were common in Hellenistic Egxpt, were laid in the tombs — the best example is of the fifth centur\', at Amathus - but in the moister climate of Cx'prus the\- ha\e almost ahva\s perished. Sometimes in rich tombs their place was taken b}' wreaths of gold foil. THE PRINCIPAL FABRICS OF CYPRIOTI: POTTERY 1 he account alread}' gi\en of the general hislorx' of cixilization in (^\prus, has indicated its principal periods and turning-points. These periods themselves, as we ha\e seen, ha\e been mainlx' determined through evidence supplied b\' successixe fabrics of potterN'; and we ha\e now to see, more in detail, what was the course of dexelopmenl of the potter's art itself. The principal fabrics of (l\priote poller} ma\' be classified in the following order of dewlopment. This order differs in detail from the purel\- technological grouping which was adopted in the Cx'prus .Museum (Catalogue of i8()C), because it is now possible to determine, rather more precisel\- th;in then, the limits of date within which each fabric was in vogue, and the extent to which ditferent fabrics oxerhip. Ikit there has been no occasion to amend the classification itself; and for conxenience the reference nunff^er of each fabric, in the (]\prus .Museum arrangement, is atlded within parentheses. 1 he W all-( ^ases ol I lie ( A-snohi (Collection are indi- catetl in the margin b\' .Arabic numerals, and the Idcjor-Cases b\ Roman numerals. THE COLLECTION OE POTTERY HANDBOOK NUMBER Bronze Age. I. Early Period, about 3000-2000 B. C. Fabric i. l-'olishcd Red Ware; (a) Simple forms and ornaments (II, a) i ff. (b) .More elaborate, passing on into Period II (II, b.c.) 32 ff. Selected examples of large size. . . 61-76 (c) Special fabrics, passing on into Period II 77 ff. WALL- CASES I, 2, 3, ETC. FLOOR- CASES I, II, ETC. 2-3 1 .Middle Period, about 2000-1500 B. C. P'abric i. degenerates, and disappears \vholl\ in Period III. Fabric ii. Red and Black Slip Wares, (I, 2) superseding Fabric i. . . . 1 5 1 ff. Fabric iii. White Painted Ware (I I, 1.2.) (a) Standard fabric, dull paint (II, i) 173 ff- (b) Polished with lustrous paint (11,2) 268 ff. (c) Late and contaminated fabrics 274 ff. Fa«bric \\. Black Slip Ware with Red Paint (II, 3) 280 4 5-7 ATE Period, about 1500- 1200 B. C. Fabrics ii, iii degenerate and disappear: Fabric iii is replaced b}' l-'abric xii. Fabric v. White Slip Ware (11,4) • Selected examples Fabric \i. Base-Ring Ware. (I, 3) (a) Simple forms, without ornament (b) Painted \-arieties (I, 3c) . . (c) L'npainted, ornament in relief (I, 3a) or incised (I, 3b) . . Fabric \ ii. Wheelmade Red Ware (1,8) Fabric \iii. Black Punctured Ware (I, 5) Fabric ix. Coarse White Wares (I, 4) . Fabric x. C\priote Handmatle Buc- chero (I, 7), (superseded later b_\- xiii) Fabric xi. .M\cenaean Ware (II, 5) . Selected examples, north side of III. 8 281 ff. 8 300 ff. 11 318 ff. 321 ff. 9 327 ff. 10 360 ff. 1 1 383 ff. 1 1 386 ff. 1 1 304 ff. I I 417 ff. 12 435 ff. III WALL CASES I, 2, HAN'DHOOK 3. ETC. XUMIiER FLOOR- CASES I, II, ETC. 400 fl. 12 45^ fT. III PRELIMINARY NOTE Fabric xii. C\-pro-Mycenaean Imita- tions of M\cenaean Ware. (11, 5) . Selected examples, south side of 1 II . Early Iron Age. IV. Early Period, TRANsrrioNAL fro.m Bronze to Iron, about 1200- 1000 B. C. Fabrics v-xi disappear: all potter}', ex- cept fantastic vases, is now wheelmade. Fabric xii, C}pro-Mycenaean, gradu- all\' passes into Fabric xvi H^i? Fabric xiii. C}'priote Wheelmade Buc- chero: (supersedes Fabric x) . . . 461 flf. 13 Fabric xiv. Red Bucchero: (supersedes Fabric vii) 471 fT. 13 V. Middle Period, Geometrical, with iron weapons and ABSTRACT ART, about 1000-750 B. C. Fabrics xiii-xv. Cypriote Bucchero Fabrics (including the Grey Fabric xv) flourish and disappear .... 493 flf. 13 Fabric xvi. White Painted Ware now full)' established; geometrical decora- tion in zones or panels; black and red paint; concentric circles drawn 16-19 with compasses 501-664 IV, V Fabric xvii. Red Painted Ware (super- 24-26 seding the Red Bucchero I'abric xiv) 801 (T. VIll- VI. Later Plriod, Graix.o-Pmoiinician; ORIl-NTAL INM.rHNCL.S CO.\lI'i:riN('. WITH western; about 750-500 P). C.. l-"abrics xvi-x\ii pass into new forms, 665 (T. 20-22 with curvilinear and pictorial designs VI, VII HlLLI-.MC .Xf.E. VI 1. Early or Hi li.inic Plkiod, about 500- 300 B. G. 9 TPin COLLECTION OF POTTERY \1II. IX. Fabric xvi ciegenerates rapidly both in form ami in painteti ornament. I-'abric x\ ii, tlic "standard variety", is \vh()ll\' replaced b\' discoloured imitations MiDDLH OR Hellenistic Period, about 300-50 B. C. The native stj'lcs of pottery arc almost \vholl\- replaced by imitations of forms from other parts of the Greek world. WALL CASES I, 2, HANDBOOK 3, ETC. NUMBER FLOOR- CASES I. II, ETC. 776 fT. 23-24 936 ff. 27 959 ff. 76 Late; or Grai:co-Roman Period, about 50 B. O400 A. D. Potter\- gi\es place in the tombs almost \vholl\' to vessels of blown glass; the onh' sur\iva!s arc lamps, red-glazed "Samian" jugs, and so called "tear- bottles," often very numerous, but of ubiquitous fabrics 981 flf. This period passes over gradually into the Bxzantine Age: about 400-1200 A. D. " 76 PO'ITERY OF THF BRONZF AGE WALL-CASES I-I2, AND FLOOR-CASES I, II, III 1. EARLY BRONZE AGE: ABOUT 3000-2000 B. C. FABRIC I. RED POLISHED WARE THIS is the onl\- class of potter\' which occurs in the earliest tombs in C\'prus. it rep^resents the primitive industr\- of the island, and its high technical quality suggests that the potter's art was introduced abruptly from some well- established centre, probablx' in Asia iMinoror North Sx'ria; the pro- cesses of the manufacture being identical with those of the adjacent mainland and of primitixe Egxpt, while the actual forms of the vessels are indigenous, and for the most part peculiar to (^\prus. All the vessels of this fabric are built b\' hand, without an\' use of the potter's wheel. The cla'c is of rather coarse texture, originallx' brown or nearl)' black, but turning to a bright red when thorcnighlx' fired. The fine polish was produced b\- rubbing the surface with a pebble or a large tooth; and to secure a better result the \ases were usuall\' smeared with a finer cla\' containing much iron (i.xide, or were e\en dipped in a cream or "slip" of such cla\' mixed with water. The great majorit\' of the \ases are cf "standard fabric " (I'abric 1, .A), in which great care is taken to preserxe the fine red colour of this surface slip; but accidental defects suggested other fabrics in which the slip is either partialK' or wliolK black (babric 1, 1)), or replaced b\' an inferior brown or mud-colour (fabric I, (.'.). Wall Case lABKie I, A. SlANUARl) lABKIC: Rl:i) I'OLISHhD (a) SlMI'Ll.Sr l-ORMS AND ORNA.MI.N'rs I-3I . The forms of this fabric are \er\' simjile, and are mostlx' derived from the natural shapes of gourds, which are si ill in common use in the islaiul for bowls and boilK's; the commonest are open bowls, oftt'U \er\' large and deep, globular bottles with narrow neck and THH COLLi:r.TION Ol- POTTERY Wall Caso one upright handle, and iwo-handled amphorai with wider neck. All these, like their gourd prototxpes, are usually convex below, or e\en pointed so that the\- cannot stand upright; at best they are ver\' slight l\- flattened, or furnished like cooking pots with three or four slu^rt legs; a \er\- few, like 17, 18, 19, ha\e the bowl supported on a columnar foot, but a regular base-ring or flat bottom is not in use. I'here are also composite and fantastic vases, imi- tating basket r\- or leather work, or the forms of beasts and birds; these are exhibited separately in Wall-Case 2. The ornament of these simplest forms is itself also simple. It consists, as \et, onl\' of (a) a few straight or wa\\' lines incised in the soft cla\' before firing and made more conspicuous on the red ground b\' a filling of white chalk. [h] small rolls, bands, or discs of cla\', applied 'to the surface and covered b\- the polished slip: compare 61, 6c), 71, 72, 73, 74 in bloor-Case 1. These relief-ornaments include discs and crescents, perhaps for sun and moon; snakes (73), c]uadrupcds, and trees, and also parts of the bod\', as if the potter had caught a grotesque human likeness in his work, and accent- uated it b_\- adding e\'ebrows ((k)), nose, breasts (74), and locks of hair (Og, 72) or necklaces ((x), 73). I, 2. L.ARGH Bowi.s, showing t\pical gourd-forms, and also the manner in which one or more spouts and handles are added. Thex' were probabi}' designed for dairx' work, and the low posi- tion of the spouts suggests that the\' were used to separate cream or curds, or to refine oil. Compare 61-08 in Floor-Case I. Us. 15; in., 151',, in. Cxprus, p. c)5 (i). 3, 4. DhEiM:R Bowls, smaller and more globular, with one or more handles set vcrticall}' at the rim. The horn-like pro- jection on the handle of 4 is design- ed as a thumb-hold to secure the \'essel while pouring out liquid. Hs. 7.} in., (Sg in. 1 1, 790, 804. 5, 6, 7. CiLoBLi.AR BoTTi.tiS, with nar- row neck and angular handle de- signed in imitation of the neck and wooden handle of a gourd-bottle. The peculiar form of the handle 12 EARLY BRONZE AGE. FABRIC I (better shown in the large bottles 72-73 in Floor-Case I, and Wall in 83-7 in Wall-Case 3) imitates a handle made of pieces of bent ^^^^ wood, inserted in the neck and shoulder of a gourd bottle. Broken examples of such pot- ter}' usuall}- show that the potter has imi- tated not onl\- the external form, but the actual process emplox'ed by the gourd-bottle maker; for he has simplv forced the roll of cla\' which forms the handle through a hole in the side, and covered the junction extcrn- all\- with soft clay. Hs. 12 1'',, in., 84 in., 7,'. in. 11,808(7). 7 8-30. Bowls, Cups, and Ladles, of smaller size and very various forms. 1 he cerics 8, 9, 10 shows the dc\'elopment of the chief forms of spout: first (8) a mere projection on the rim of the bowl; then (c)) an open trough in the rim itself; then (10) a tubular spout issuing below the rim through the side of the bowl, often \X'r\' low down. Other bowls sliovv a variety of handles; mere knobs or string-holes (11, 12, r^, 14, 17, 18, i(), 21, 22, 23), or regular loops, set either horizontalh' i 15, 16, 20, 24, 25, 2(>, 28) or verlicall\' (27, 2(), 30). The deri\ation from a wooden pattern is clear in 16, 2(), and still clearer in 30, where the crossbar, useful enough to slitTen an elastic loop, is functionless in the chi\ copx'. The handles are often numerous, and other additions such as small horns (22, 24, 25, 2()) or miniature bowLs perched on the rim (20) or bird-like faces niock'lled on the handle (27, 2S) betra\' at this earliest stage a pla\ ful and fantastic touch which the Cxpriote potter has ne\er wholl}' lost. l)s. ill in. — 2|',iin. 11,793 (15). Ik'Nides the gourd-forms, which r:ipitll\' become various and refined, '3 Tin-; COI.LHCTION OF POTIERY nian\' \ases appear lo imitate \esscls of leather or basket-work, such as are in use among man\' primitive peoples. And from imital ing \ essels of skin, it was no great step to copy living animals. Composite \ essels are frecjuenl and often ver\' ingeniousl}' designed. The ornament, both ineised and in relief, becomes more profuse and leads on to 1 he rich basketrx-ornament of 77-98, in Wall-Case 3. 31--;^ l.AR(,r. ()ri:N Bowls, with projections and notches on the rim, and lich ornaments of bands and lozenges filled with incised lines; 52 has miniature bowls perched on the rim. Ds. \2l in., ()f'i in., loj in. CL\prus, PI. \'ll (31). 11,743(31). 34-37. " Bi;ak-si oiTho" BoTTLHS, with long narrow upright jug- handle neck and trough-shaped lip, closeh' imitated from the oblic]uel_\-cut neck of a gourd-bottle. Such Schnahelkannen are still made commonly from gourds in C}-prus. 36-37 have also a long tubular spout projecting in front of the body. Hs. 6§ in. — yl in. 11, 792 (36). 3(S. Narrow-nlcki-i) Bottli;, like 5, (), 7, in W'all-C^ase i, but furnished with a tubular spout, like that of 36-37. H. ()\ in. 11, 849. 39. Cup with vertical handle and small spout. H. 3.', in. 40-4T DhiiP BowL'-, WITH Tubular Spouts. The\' have one handle, on the side remote from the spout. 40-41 are of normal (Cypriote fabric, but the punctured dots in the ornament of 41 are a mark of early date: compare 75 in Moor-Case I, 14 EARLY BRONZE AGE. FABRIC I Two examples, 42, 43, seem to be influenced by the forms and ^^'all ornament of the Early Minoan Age in Crete and the Greek ^^^^ Islands, 3000-2000 B. C. The distinct neck and well-defined trough spout of 43 are especiall\' notable, and the light colour of 43 ma\' also result from an attempt to cop\' the pale clays of Crete. A photograph is placed by these vases to show Early Minoan vessels of similar form from Knossos. (Compare also the \'ases from CJournia, Nos. 07.232.15 and 07.232.18 in the Room of Prehistoric Greek Art in the Aluseum. Hs. 6| in. — 3/,rin. 11,841,822 (42, 43). 44-53. Eantastic Vases, more or less closely imitating vessels of skin. Sometimes the form is simph' that of a leather bag with its strap-handle (44), seams, and over-sewn rim (45); or the whole body and legs of an animal are shown (46), with a trough spout in place of the head, as in a wine-skin. Then A^-^if0im$: 5? the head itsi'lf is added (47), and the actual spout is set on one side of the bodv ; or [he general effect is hirtl-like (4(), 48, 4(), 51, 52), with even the outline of the wings shown b\- relief orna- 15 Wall Case 54- Floor Case THI- COLLliCTION OF POTTHRY mcnt (46, si). With these askoid* or zoomorphicf vases shdiild be compared the small animal-tigures 57-60. The oval box T^ with tlat reL'tant^ular lid, is another instance of skeuo- morphicj imitation: it represents a basket, with its lid designed tt) be tied on with string. Compare the larger example 76 in I'loor-C^.ase 1. l.s. c)\ in. — yl in. C\prus, PI. \'ll (cf. 4S), PI. IX U(>)- !■- ^^^^, 741. <'^25, 839, 826, 842, 843, 823 (44-46, 48, 40, 5 1-53) • TT. s6. CoMFOsiTF N'ashs, Consisting of a ninnber of small bowls united hv a single handle: perhaps intended as cruets. Compare the fantastic forms 22C)-2 34, 254 of \\ hite Painted Ware in \\"all-(]ases 6-7. Hs. 3 I'V in., 3 ' i! in., 7 in. C_\prus, PI. IX 04). p.4o(), 25 iyy). 37-6(\ liGi RHs OF Am.mals, modelled solid, and more properh' classed as terracottas. 57 appears to be a wild boar; 58-60 are fantastic. Such figures are common in tombs of all later periods, but rare in the earliest. Compare the primi- tive human figures in the (Collection of Terracottas 2001-3. Ls. 5 1 in. — 2 i'",; in. In the earliest tombs of the Bronze Age, the \-ases are often of ver\' large size and fine workmanship, but after the introduction of other fabrics in the Middle Period these masterpieces do not appear. The forms of these large \'ases (examples of which, 61-76, are exhibited in F'loor-Case 1) follow t\pes alread}' familiar in Wall-Cases i and 2; the ornament is usuall\' simple, and more commonh' in relief than incised. 61-68. Mu.K Bowls, deep or shallow, some with spouts, either tubular (()i, 62, ()5) or trough-shaped (()4, 00, 08). Ds. 18 in. — 7s in. II, 780, 779, 785, 784, 807 (O1-64, 00). *Greek "shaped like a wine-skin" : t"shaped like an animal" : J"shaped like an ariicle of daily use." 16 EARLY BRONZE AGE. FABRIC I 69, 70, 71. Two-handled Amphorai, with high, wide neck and Floor handles set either horizontally (69) or vertically (71) or one i ^^^ vertically and one horizontally (70). 69 shows eyebrows, a necklace, and long locks of hair in relief; 71 has snakes and other relief ornaments, and also a group of small vases and other objects perch- ed on the shoulder. Note also in 71 the rare use of a small circular punch, prob- ably cut from a reed or large straw: compare 97 in Wall-Case 3. Hs. 132' in., 18 1\ in., 19I in. Doell, xvi, 2, 2172 (71). C\-prus, PI. IX, (69, 71), p. 406 (71). /• 72-75. One-handled Bottles with long, narrow neck and jug- handle. The horned handle of 72 is characteristic. 72 has long tresses of hair modelled in relief on the shoulder; 73 has a collar and 74, prominent breasts in front ; on 75 the ornament of zigzag lines with groups of punctured dots at the angles is rare and earl\': compare 41 in Wall-Case 2. Hs. 23! in. — i6| in. C_\prus, PI. IX, 72. II, 783, 782 (73, 75). 76. Oval Box wlih Flat Cover, intended to be tied with cord to the "string-hole" handle at each side; it imitates basketr}', and should be compared with 53 in Wall-Case 2. L. io| in. (b) more elaborate eor.ms and ornaments, 77-98 This series begins in the Early Bronze Age, alongside of the more \\ -^n primitive t\'pes, and persists into the .Middle Period, degenerating Case then and disappearing soon. The forms are still based upon the ^ gourd-vessel, but are influenced b\' hasketr\' and leather-work. The polished red surface is of fine ciualitw The ornament is mainly inspired b\' basketr}' and the stitched seams of leathern bottles. 77-81. Ami'Horai, with globular bod\' and wide c\lindrical neck, with twc; small handles at the base. 78 has snake ornament in relief; the rest are richl\' incised, in imitation of wicker-W(jrk. Hs.9:|in. (>' in. 1 1, 809, 752, 8i()('79-8i). 82. Tkolc.h-si'chte.d BoriLi-. [Silniahclkcunw], of the same t\'pe as 34-37, but of finer fabric and richU' incised. H. lo.^ in. 11, 744. 17 THE COLLECTION OF- POTTERY Wall 83- Case 3 88. Narro\\-nicki:i) Bottlhs, like the large ones 72-5 in Moor-Clase I, hut of the same tine fabric as 82, and richly incised. Similar ornament is still commonlx' applied to gourd- bottles in (^\prus. The double neck of 87 and the mouth- piece of 8(), which is formed b\- a miniature amphora like 77-81, illustrate once more the (^\priote potter's love of fantastic and composite forms, d he handles are of the characteristic angular form alread\' described 15-7^ and the other horns and ledges on 83-84 are likewise borrowed from the wooden fittings of gourd-bottles. 1 he small bottle 88, on the other hand, has neither rim nor handle, but on!\' a small string-hole on the neck: it thus represents the natural gourd unadorned. Hs. I I ,",; in.— 4i in. Cvprus, PI. \'I1 (83). II, 750, 850, 742, 821 (83, 84,86,87). Hitherto the incised ornament, e\'en when it is as ehd^orate as on 77-88, has been almost exclusiveh' rectilinear, forming bands, or triangular or lozenge-shaped patches, enclosed b\- outlines or simply filled with parallel strokes. Onl\' occasionallv a careless zigzag gives rise accidentallx' to a wavy line. In the series 89-98, however, intentionall\' curved lines are used, and eventuallx' these are com- bined int(j sxstems of concentric circles. This "concentric circle" ornament, once established, remains characteristic of the decf)rati\e art f)f (^\ prus at all periods. For the later de\elopments, and for that other series of concentric circles w hich results from the degrada- tion of .M\cenaean spiral-ornament, see 600-6 in Wall-Case 17. I he first disco\-er\' was gradual, as the following examples show: 89-98. Vashs with Clrvilinear Orna.ment, de\-eloping into concentric circles. 18 EARLY BRONZE AGE. FABRIC I 89-90. A lozenge-shaped space has been divided into four compartments by diagonal lines, and each quadrant has been filled with a s\stem of lines, concentric, but only slightl}- curved; the general effect is that of a series of ill-drawn con- centric circles, intersected b}- a cross. D. 7^ in., H. 6J in. 11, 846, 844. 91. Here a further experiment has been made. Successive sets of concentric semicircles ha\'e been drawn abo\'e and below a band of parallel lines, part of the primary decoration of the \ase. Here the effect is that of a sinuous band of alternate semicircles, intersected by a band of straight lines. H. 41^ in. 92. The semicircles are now placed opposite to each other on either side of the intersecting band, so as to form the two halves of a complete circle; this circle, hovv-c\cr, is not \et freed from its transverse base-line; compare the black spindle- whorl 139. H. 8} in. 11, 753. 93-6. F"inally, full\' formed concentric circles are drawn, without construction lines of any kind. Even here, howe\er, closer examination shows, especially on 93, that the circles are still made in the same fashion as on 88, each segment of the s\'stem being drawn separately, and only imperfectly joined to the next. Hs. 7I in. — 5I in. Docll, xvi, 11, 2392; Cyprus, p. 408, fig. 28; Perrot, fig. 485 fall 96). 11, 840, 749 (93, 96). Q7. The circles are produced not by incisif)n, but with a tubular puiich, prob- abh' a reed or hollcjw plant st^m; compare 71 in Moor-Case 1. This small jug is perhaps of rather later st\ie. H. 3.J in. 98. The circles are now drawn up in looser series; and have also an unusuall}' mechanical look. With the decoration of this bowl, compare the spindle-whorl 105 and the black bowl 1 32 below. D. 4^ in. 9')-i24. SiMNi)i,i:-wii()KLS. Tlu'se perforated balls are of the same red-polished ware as the wises, and are similarh' decorated with incised ornament. The}' are \er\' common in ihe earliest tombs and remain in use unlil the .\l\cenaean j)eriod of the Late Wall Case 3 Wall (:asc< 2, 3 THE COLLECTION OF POTTERY Wall Bronze Ago, when they give place to spindle-whorls of stone, !,^^'^ ivor\-, and bone, like those in Wall-Case 73. Their use is illus* trated bv qq, which has been mounted on a modern spindle. Probabh- the primitive form of these whorls was spherical, like 100-105, but the niajorit}' of actual specimens belong to deriv- ative t\ pes, as follows: (a) The under side is flattened, or even concave; the upper side hemispherical (99), echinoid or urchin-shaped (100), or conical (106). (b) The underside also is convex (i 19), or conical (120), lead- ing to a double-cone type, which is very popular. (c) Ver\- rarely the profile is concave (123) : compare the large flattened form (143 a&b, below) in the black polished fabric. There is, however, no reason as yet to regard any of these t\pcs as appreciabl\' earlier or later than the rest. The very small double-cone, 124, on the other hand, is of Mycenaean date and probabl\' served as a bead, like the stone example 1548 in Wall-Case 73. Hs. 5I in. — | in. FABRIC I, B. BLACK POLISHED VARIETY I25-I44 Wall At the bottom of Wall-Case 3 is a distinct variety of polished ware, Case which has a black surface instead of the ordinary red. This black surface was produced by restricting the admission of air during the process of firing, and so reducing the rust-coloured oxide of iron to the black protoxide; some examples show also the presence of carbon\l absorbed from the fire. This blackening sometimes affects the inside of the vessel only, leaving the outside red (as in the bowl 125); or it affects the outside of the rim as well as the inside (126, 127); or both inside and outside equally (128-132). In Crete, in the Early Minoan Age (which shows rare points of correspondence with the Earl}' Bronze Age in C\prus) the fabric known as Vasiliki Ware (from the site where it is best represented) shows the parti- coloured red-and-black effect intentionally elaborated into decora- tive blotches, which form a sort of design over the whole surface of the vase; but this docs not seem to have been done in Cyprus. The forms of this Black Polished variety are almost exactly the same as those of the standard Red Polished ware; compare, for example, the black bowls 128-132, with the red ones 1 1-13 in Wall- Case I, or the black bottle 135 with the red one 88. Large examples, however, do not seem to occur in the black fabric. A few examples. EARLY BRONZE AGE. FABRIC I which may be regarded as late, have a flat standing-base. The Wall ornament also is almost exactly the same as in the most elaborate '^^^ red-ware; concentric circles appear on 132, and concentric semi- circles on 139. The interlaced pattern on 134 is unusual, and the crossed lines on 136, 137, and 141 mark a fresh experiment, for the primitive C\priote potter was unusuall_\' careful not to let an_\' of his lines or ornaments cross or overlap another. 125-132. Hemispherical Bowls, like the plain gourd-bowls in Wall-Case i; 125 has unusualh' elaborate incised ornament; 130 has a small handle; 131 a small conical foot. Ds. 5 A in. — 3 r^,; in. 11, S34, 828, 836 (128, 131, 132). 133. Amphora, with c\i!ndrical neck like 77-81. H. 4 in., II, 829. 134. Cup with one handle. H. 3I in. II, 832. 135. Globular Bottle, with ver\' narrow pointed neck, and one string-hole b\- the orifice: compare the Red Ware example 88. H. y;\, in. II, 830. 136-8. Small Jugs, with narrow neck, beaked spout, and flat standing-base: a form almt)st exclusively confined to this black-polished variet\'. Hs. 5} in., 4] in., 3;^ in. II, 831. 139-142. Spinole-whorls, of the common hemispherical forms. Hs. I i in. — 1 4 in. 143a, b. Spinule-whorls or Cartwheels (like those of 52() in Wall-C^ase 14), consisting of a thin flat disc, with a raised collar round the central hole. Ds. >,l in. 144 a, b, c, d. Four Vasi-.s (jf a c]uite different fabric of Black I'loor Polished Ware, wholly distinct from that of C\prus (Wall-Case ^^^ 3), and on the other hand indistinguishable from that of \ ortan THF COI.I.IiC.TKW OF POTTi-RY VloOT in Phr\i;ia, and some otlior parts of Asia Minor in the Later 1 Slone .Age. No other examples of this fabric ha\e been recorded from C]\ prus, and in the absence of an\' record of their origin, these are probabl\' best regarded as illustrations of the primiti\e pottery- of the mainland nearest to Cyprus. The forms are well marked, and bear some resemblance to the ea.rliest potter}' of Hissarlik, the traditional site of Homeric I'row The polished black jug (144a) with wide oblique spout, has pairs of projections in front and on each side, to represent breasts, and traces of a zigzag basket pattern in chalk\- white paint, almost wholh' rubbed off. The globular pot (144b), with its four-horned "string-holes" and breast prom- inences and its ilat-rimmed cylindrical neck shows analogies with Cxpriote v;ises, but is handled very differentl}': so also is the similar pot (144c), which has rectangular handles, simple incised and dotted ornament, breast prominences, and tripod feet like those of the earliest Trojan vases and of a rare class of \ er\- earl\' vases in C\prus, unrepresented here. The little beaked jug (i44d) also has three feet and breast prominences: its more elaborate incised ornament, of semicircles filled with punctured dots, is quite strange to C\prus, and akin to that of Troy. H. (S{ in. — 2\]\ in. FABRIC I, C. DULL l^ROWN .XND GRHY VARIETIItS I45-I5O Wall .\t the bottom of \\'all-C^,ase 4 are examples of dull brown fabrics. Case ijitermcdiate between the standard Red Ware, and its Black Polished variet}'. Probabh' they onh' represent imperfect work- manship, as their form and ornaments are identical with the standard t\pes: 145 is a one-handled jug with narrow neck; 146, 147, are wider-necked jugs; 148, a shallow bowT The one-handled jugs 140-130 are of similar fabric, but gre\- cla\', without an\' polished surface; perhaps the}' became discoloured in the work- shop, and were left unfinished. Hs. 5 i\; in. — 2l[; in. II. MIDDLE BRONZE AGE: ABOUT 2000-1500 B. C. FABRIC II. Ri;i) SLIP .'\ND BLACK SLIP WARFS These fabrics do rot occur in the earliest tombs, and seeni to ha\'e come into use about the same time as the subsequent I-\iinted Ware, Pabric iii. The\' mark the Middle Period of the Bronze .Age, and 4 MIDDLE BRONZE AGE. FABRIC II disappear rapidl\' in the Later Period, when Mj'cenaean influences W'M prevail. Probably thc\' were originail\- imitations of the Red ''^'^ Pohshed Ware of Fabric i, in locahties where the right cla\' for that ware was not to be obtained. In all this group of wares, the cla\' is of light colour, \ellow, cream, or \'er\' light red; but it is wholl\- covered with a thin slip, sometimes neari>' black, but often burned red, wholly or in parts. Usualh' it is not polished by hand. The slip is so thin and brittle, and so distinct from the cla\' beneath it, that it has often flaked away; really well-preserved examples of these fabrics are consequent!}' rare. The forms differ considerably from those of the Red Polished Ware. They are slighter, and less close to those of the primitive gourd. is6 The characiL'ristic ornament consists of narrow ridges of cla\' raised on the surface of the \ase, usuall}' in alternate groups of straight and wa\ \' lines hsi--)-. i here are projecting string-holes, as in the Red Polished Ware M 54-1(11), and sometimes these are \er}' numerous (\(n)), lint I'recjuenth these string-holes are not perforated 156, \y<, \y()) and consecjuent 1\" ha\e bec;)nie mereh' decoraii\e. Occasionalh' one of the raised banils is coinertetl into a band ol "chain-ornament" bv deep impressions matie at inler\als on the band of cla\' while it was wet, as in 1 r'^, \(>2. 1(14. Other L-xamples, 152, 151), ido, lOi, are ornammled hv incised lines; iuit whereas in the lied Polished Ware the incised lines are broad, deep, aiul filletl with white chalk, in the Dark Sliji fabrics they are 23 THE COLLECTION OF POTTERY \^ -ill narrow and sharp-edged, as if made with an implement of metal; ^ and the\' are never filled with white matter. This all confirms the evidence of excavation as to the comparativeh' late date of this fabric. IS 1-3. Ami'horai, with nearly spherical body, and very high cN'lindrical neck. Their form, which is characteristic of this fabric, resembles that of 77-Hi, but is differently rendered in detail. The rim has a sharply projecting collar, and two small handles are set at the junction of neck and shoulder. Hs. I4n; in., 1 5 iV in., 1O4 in. 154. Narrow-necked Jug, with strongly pinched lip, high horned handle, and one string-hole in front at the base of the neck. H. 13^ in. 155-158. Wide-necked Jugs, with out-turned rim like 15 1-3, and horned handle. Hs. io| in. — 5! in. 159-160. Flasks, characteristic of this fabric, with long oval flattened bod\', short neck, horned handle, and numerous string-holes. Hs. ii| in., cj\\\ in. 161-163. Narrow-necked Jugs, of characteristic form, with globular bodv, short neck, and simpler ornament; the horned handle recalls a wooden model. Hs. 8g in., 6\i in., 5I in. 164. Deep Bowl, with upright rim, and two small handles; note the well-developed chain-ornament. H. 3! in. The late date of some examples of this group of wares, 165-172, is further shown by the fact that they betra\' the influence of the later Fabrics v-vi (shown in Wall-Cases 8, 9, 10). 165. Wide-mouthed Jug of unusual clay and handling, with a fresh type of incised ornament, suggestive of that of the White Slip Ware (Fabric v); compare especially 285 in Wall-Case 8. H. ~l in. 166-8. Long-necked Jugs, with pinched lip. These show the influence of the Base-Ring Ware (Fabric vi in Wall-Cases 9, 10) in their strap-like handle and small but distinct standing- foot. The influence of these fabrics on each other was mutual; compare 367-8 in Wall-Case 10. 166 has numerous string- holes. Hs. jl in., 5 vV in., 4I in. 169. Composite Vase with three bodies, united in a single neck, as if to represent some kind of fruit; its funnel-shaped rim shows it to belong to the same later variet}' as 166-168. H. 3I in. 24 MIDDLE BRONZE AGE. FABRICS II III 170-172. Fantastic Vases, of askoid and zoomorphic forms, are as Wall common in this fabric, particularly in these later varieties, as we have seen them to be in the Red Polished Ware (Fabric i). Case 172 FABRIC III. WHIIli PAINlliD WARES A. STANDARD lABRIC WITH DULL CLAY AND PAINT The White Painted Wares all belong to the iMiddle Period of the w-jH Bronze Age. They present great \ariety of treatment in detail. Cases (he clay is of a pale cream or \e!low colour, like that of the Red and ^' '• , , , . . . " and 7 Black Slip \\ ares; but there is now no coloured laxer on the surface, and the ornament, instead of being inciseil, is applied in umber paint, normallx' black or brown, but turning to brick-red when o\er- lired. (Jccasiona!I\', if the paint lies ver\- thickl\', it shows a slight vitreous lustre; usual!}', h 77' (■77)- 184-185. Shallow Bowls, with trough spouts and string-holes in place of handle. Ds. 5^ in., 4! ,', in. 186-197. Small Flasks of \er\' characteristic form, with glo- bular bod\', single small handle, narrow neck, and lip pinched lateral])' into a beaked spout. 194 has two necks side b\' side. 186, 188 have horned handles. The series 195-197 shows the transition from open trough spout to a tubular nozzle like that of an oil-can, behind which the neck itself remains open for refilling. This again repeats a primitive gourd-form which is still popular in modern C\'prus. Hs. 10 in. — 4{\; in. Wall Cases and 7 198-208. Fantastic Flasks, developed from the preceding type. In 198-202, the bird-like aspect of the tubular nozzle has suggested the addition of feet. In 201, 202 the bod\- has been flattened into an annular form; such "ring-vases" ha\e a long subse- quent histor\' in Cyprus. Similar flasks, 205-208, with opt;n lijilike i8()-i94, hut with askoid bodies, more and more zocMiiorphic, pass o\er into the full\' formed "animal vases," 20()-225. lis. 8.', in. — 2 J in. C\-prus, p. 408, fig. 26 (198). 209-225. A\imal-\'asi-,s; \(T\' common in tombs of the Middle I'ronze Agi\ and in the earl\' part of the Later Period. Later still, alter tlu' decline of AUcrnaean influences, a \igorous re\'ival of these t\'pes in the Iransitional Period and Larh' 27 2(.() Wa Cas Wall Case THII COLLECTION OF POTTERY Iron Age nia\' bo scon in Wall-Case 14. The variety of form is endless: the most popular t\pes are deer (221-225, 218), cattle (21(1, 217, 21 I, 213), and horned sheep (219, 220). Birds are less common (210), but man\' \ases which are less full}' zoomorphic than the quadrupeds above described, have a strongl}- bird-like aspect, and are provided with a painted e\e on each side of the lip (278). A dull red paint is used as well as black on 215-7. Ls. 97^- in. — 2} in. Doell, xvi, 17, 4047 (217); Perrot, fig. 498 (222). 11,817,811 (219,221). Wall Cases 6,7 226-239. Small Flasks, mostly with pinched lip, of the same general t\-pe as 186-193, but displaying more full}' the Cypriote love of composite forms which is already apparent in the two- necked example 194. The series 226-228 shows the gradual transformation of an ovoid bod}', like 196, first (226) into two lobes, then into an annular form with a hole through the middle (227); and then into a wide, slender ring (228), with the neck on one side of the circumference, like the annular bodies of 201-2. Another series (229-234) shows two, three, four, or e\'en five bodies, joined beneath a single neck; and two or three necks issuing from a single body (230, 235). In 236, two necks issue from one bod}', and are re- united in a single spout. Next, 237-8 have a simple ovoid body, and a loop handle at the shoulder; and 238-9 have a smooth broad- rimmcd lip, instead of a pinched spout. Hs. 9 in. — 4I in. C}'prus, p. 408, fig. 27 (229); compare Perrot, fig. 490. 11,768(233). 28 229 239 MIDDLE BRONZE AGE. FABRIC III It has been alread\' noted that most of the vases of the Painted White Ware are quite small. Larger vessels, however, are found. 240-241. Globular Jugs, with short, narrow neck and smooth Wail rim; 240 is decorated with gores of straight and wa\\' lines p'^^ like 180; 241 is noteworth\- for the copious use of broad bands of paint among the more normal lines; the lower part of the bod\' is wholly darkened. Hs. I2f in., i2;2 in. 242-3. Two-handled Vasls, with ornament of bands and gores imitating straw bindings. Hs. 17I in., lof in. II, 769 (242). On the other hand, ver\' man\' \ases of this fabric are so small as to be almost without practical utilitw The>- were probably made expressl}' for use in tombs, where they are found in large numbers together. 244-254. Bowls or Cups, all quite small, with a single handle, }y^^" . C^tiscs usuall_\' set verticall>- (244, 247-252), but , 5,6 now and then horizontallx' (245-6); the orn- ament, as usual, represents basketry, with generally a ver\' characteristic binding- pattern ^ on the bottom outside. The fantastic example 254, shows two such bowls joined beneath a single handle. Ds. 4! in. — ^^^ 2f in. 255-265. Miniature and Fantastic Vases, copying many of the ^'^^^'l forms alread}- described. Such pla\'things or sou\cnirs are (^ „*" parlicularl}' common in this fabric, though the\- are found in almost all classes of funerar\- potter}'. Note the fine basketry ornament of 261. Hs. 4', in. — 2} in. B. POLISHED \ARIhTV WITH LUSTROUS PAINT, 266-274 The paint of this fabric, which has a peculiar gloss\' lustre and burns ^'l'''" to a bright red, is put on \ er\' thickly, and stands up abcne the _" surface of the \ase, which itself sometimes shows a slight polish. In the (^\prus .Museum Catalogue, \^()(), p ^8, this ware was described separatel}' as "habric ii, 2. Polished White Ware," but so many intermediate qualities are now known to exist that it no longer deserxes a separate name. It is in any case closely related to the ordinar\- White Painted Ware. This lustrous paint ma>' be due t(j the intluence of the .M\cenaean st\le (Fabric xi in 29 Tin-; coi.i.ixrnoN oi- r'()Tii;RY Wall llase W'all-C^asc 12, and l-'loor-Case III), hut its rclatixc afj;e is not yet kiK)\\n for Lortain. Some of its forms are eharaeterislic; note especiall}- tlie triple bowl 2()6, with the heak-spoiited jugs, 267, 268, and the wide-necked amphora 274 with horizontal handles set low on the bodw The little flask 272 is a remarkably fine specimen of delicate ornament. Ms. cj} in. — 2^ in. II, 767 (266). 268 (c) L.\TE AND CONTAMINATED FABRICS, 275-279 Like the Black Slip Ware in Case 3, the White Painted Ware was eventuall\' inlluenced b>' the later l-abrics v, vi (in Wall-C^iases 8, 9, 10). The chief symptoms as before, are the standing-foot and the Hat strap-like handle of 165-172. The narrow neck and handle and the o\()id body of 277 are also cjuite foreign to the ordinarx' White Painted Ware. The precise date of these x'arieties is not \et certain. Characteristic forms are 275, a bowl with vertical handle; 27(), an oval tlask; 277-9, narrow-necked jugs with pinched lip. Hs. ()l in. — 2} in. FABRIC IV. BLACK SLIP ON WHITE WARE WIIH RED PAINT The clay of this ver\' rare fabric is of light colour, but its surface is covered entireh' with a black slip, polished by rubbing. In the C^\ prus Museum (Catalogue, 1899, p. 39, this fabric, which belongs to the same period of the Bronze Age as the White Painted Ware of Fabric iii, is described as "Black Cjlaze Ware" ii, 3: the black surface of the majorit\' of the known examples is, however, not a '"glaze", but a slip, like that of the Black Slip Ware, only hand- le MIDDLE BRONZE AGE. FABRIC IV porished. On this polished surface, a few simple ornaments, Wall painted in lustreless red colour, imitate the incised decoration of the Red Polished Ware, but are rather more stilll}' arranged. Each set of lines seems to have been painted simultaneouslx' by a number of small brushes set in a single handle, a labour-saving de\ ice which had great popularit}' in Cyprus later on, in the period of "concentric circle" ornament (see 600-6 in Wall-Case 17). 280. Open Bowl, with Irough Spout. This is the largest known example of this fabric. Other examples are two in the Cyprus Museum (C. M. C. 401, a small bowl; 402, a narrow-necked jug); one in the Imperial Museum of Con- stantinople ;^Catalogue Nicole 56cS, a large bowl with spout and small handle, not unlike this example); two in the National Museum at .Athens (Catalogue Nicole 175 — 1 16521 — a jug like C. M. C. 402; 176 — 1 1654 — a deep bowl with chevron orna- ment and holes in the rim, to attach a cover); one in the British Museum (C 20(), a jug like C M. C 402); and a long- necked vase in the Berlin Museum from Tamassos (Tomb V, 28.) All these forms are common in the White Painted Ware of I'abric iii. D. 11 in. 11, iio8-c). 111. LATH BRONZE ACE ABOUT 1500-1200 B. C. FABRIC V. WHIII-: SLIP WARli This ware appears in C\prus not much earlier than the period of M\cenaean influences, which corresponds with the Cretan period 'Late .Minoan 111," and must be dated, on l-'.g\plian evidence, to the later Eighteenth and Nineteenth Dxnasties, about 1400-1200 B. il. It is so common on all the principal sites in this period, as to make it almost certain that it was made in Cxprus; but the place of manufacture is not known. On the other haiui, it is one of the \er\' few pot-fabrics of the (^xpriote Bronze ,\ge which ha\'e e\er been found outside the island. ()ne hriiiisjiherical bowl has been fount! in the .Middle .Minoan settlement in the Creek island of Tliera; and fragments at .Athens; at llissarlik, tlie reputed site of Tro\'; in l^g\pt, at lell-t'l-.Amarna in a deposit of lughteenth Wail (^ase 8 31 THE COLLHCTION OF POTTERY Wall D\-nast\- date, and at Saqqara; and in South Palestine, at Tell-cl- *^''*^ Hes\-, the ancient Lachish. The cla\' is quite unlike that of an\' other C\'priotc fabric, except the Base-Ring Ware, I'abric vi, which is practically identical with it. It is of dark gre\- or slate colour, often full of large white grains. It turns to a bright red if over-fired. In this White Slip Fabric, the natural clav is cntireh' co\ered with a \ery thick white slip, usually lustreless, though a few cxceptionall\' fine examples show a pearly lustre. On this slip, the ornaments are painted in a lustreless black paint, which turns red if over-fired, as on 291. \'ery rarely two qualities of colour, black and red, are used together: a good instance is 295. The forms differ altogether from those of Fabrics i-iv already described, and seem to be wholh- derived from leather-work. The painted decoration, best illustrated in the simplest type of bowl, 281, 291-4, consists essential!}' of simple bands, evidently intended to represent stitches or lacings. T^hey run radially from the rim towards the bottom, as though the bowl were cut out of a single piece of leather, and sewn together like a jockey's cap. Round the rim of the common bowls (281), and round the necks and bodies of other vessels (285, 286, 289), double seams are some- times found; and in the bowls 281, 282, 286, these double seams are continued as far as the base of the handles, which are always flat in section, and seem to imitate thin wooden laths, included within the double seam, and lashed together where they protrude. It is worth noting that, even in the clay copies, these handles are alwa>'s represented with their ends slightly warped apart, as would probably be the case with their protot\-pes. Probably the other double seams represent in the same way the places where wooden ribs were inserted between two thicknesses of the original leather to stiffen it. The decoration of the more elaborateh-shaped vases repeats in essentials the scheme thus developed for the simplest bowl. Only occasionall}- are small stars, rosettes, chains of small latticed lozenges, and other fanc\- stitches admitted. It is this White Slip Ware which has principally influenced the later varieties of the White Painted Ware, 275-9, shown in Wall-Case 7. The bowl 275, in particular, imitates the hemispherical bowl with standing-foot. Characteristic forms are as follows: 281. Hemispherical Bowl, with flat pointed handle, as de- scribed ab()\e. I'his is by far the commonest form in this fabric. D. lo^ in. ^2 THE COLLECTION OF POTTERY Cas 282. DiiHPHR Bowl, rather more than hemispherical, with low e\lindrical rim, and more elaborately modelled handle. H. 9.', in. 2' apphmg a ring to the rounded under side of the vessel. It is now recognized, however, that not all vases of this fabric are provided with a base-ring (319, 320, 328). 'Fhe cla}' is exactly like that of the White Slip U'are, but has little or no prepared surface. When properl}' baked, it is of black or dark brown colour, but it is easil}' turned to red by overfiring. Like the White Slip Ware (Fabric v), the Base-Ring Ware seems designed to imitate leathern forms, but some examples seem to show also the influence of metal vases. Bronze vessels of closely- similar forms were in use in Eg\pt under the Eighteenth D_\ nast\- (i 550-1 350 B. C.),at which period, also, the Base-Ring forms them- 36 LATE BRONZE AGE. FABRIC VI selves were frequent 1\' imitated in alabaster (1628-9), and other Wall varieties of stone. It is possible that this Base-Ring Ware was ^^^^^ . . 9, 10 principally' manufactured m Cyprus, but examples of it have been found on several Eg\ptian sites of Eighteenth D\'nast\' date, and it is probable that the fabric was original!}' of foreign, perhaps S\rian, origin. Base-Ring Ware is to be subdivided into two principal classes, according as the ornament is added in lustreless white paint, or modelled in relief. There is also a small class which is without any ornament at all. A. SIMPLE FORMS WITHOUT ORNAMBNT. 318-32O The clay is coarse and of lighter colour than is usual in this fabric. 318. Deep Bowl on a distinct base-ring, with low c>lindrical neck and stiff handle, like 282 in Wall-Case 8. H. 8 in. 319, 320. Funnel-necked Jugs, with slightly pinched lip, like the common White Slip Ware, 287-8. These have no "base- ring," but are roughl\' flattened below. Hs. 9^ in., jii in. B. PAINTED VARIETIES. 32I-336 In these varieties, the painted ornament is in white. It repre- sents a binding of rushes or straw, such as is used to protect Italian oil-llasks. The commonest forms are as follows: ^21-2. Large Jugs, with high foot, ovoid bod\', tall c\lindrical neck, funnel-shaped rim, and strap-handle from tlie shoulder to the niiddle of the neck. Hs. 9^ in., i i in. 325. I'antastic \'ase, in which an o\oid b()d\ like that of 321-2 is surmounted b\' two narrow necks connected b\' a strap- handle; one of these necks is open, the other is closed hv a bull's head, like 353-6. H. 8.5 in. Doell, xvi, 22, 4037; Cvprus, PI. VUl. ()ccasionall\' the forms appropriate to other fabrics of the Late Bron/.e Age are imilateil in the Ikise-Ring Ware. 324. i5()\\i, ON High 1 oot, with one strap-handle, set horizontally. The f)rnament includes whilr painted stars as well as the normal binding-pattiTU. 1). 5J in. 32S-327. N.\RROw-Ni-.GKi-D JuGs, with characteristic moulded 37 Till-. COI.I.HCI ION OI- POriHRY \\ -ill rim. 1 lu' lorm of ]2~ is prrliaps inllucnced by 370-4 in I'abric "'^"^^ \ii. Hs. ()s in., b't in., 7' in. 32S. LiNToii) i'l.ASK, wilh narrow neck and strap-handle on one of the Hat sides; the form is thai of 375-9 in Fabric vii. 11. 7:s in. II, 759. 32(). PiRiioKM Vash with pearshaped body, low neck, and three small handles on the shoulder. The form is borrowed from the M\cenaean "piriform" vases (417-19) of Fabric xi in W'all-C'.ase 12. H. 2,'',; in. 5}^ 335 330, 331. Si'orr Juos, shaped like 329, but with one \ertical handle, a lateral spout, and a strainer within the rim. Ms. 2 1 ,'; in., 3] in. 332. I-'antastk: V'asi-, fish-shaped, with long body on low feet; in the middle of the ujiper side is a short neck with a strap- handle behind, and a birci-h'ke head on a long neck stands a little in front of it. F. i)^ in. 333-337- Bi i.l-\'asi-s, \er\' \igorousl\' modelled b\- hand, with e\'es added in pellets of cla\-. The ornament usually consists of the same binding-patterns as on the \ases, but 334 has 38 LATE BRONZE AGE. FABRIC VI rudel>- drawn trees, and 336 spots as well as lines. 337 has Wall no painted ornament, but a ring-handle over the bull's nose. <^^tses These bull-vases arc very common in the rich tombs of the '^' Late Bronze Age. The bull 2008 in the Collection of Terra- cottas is of exactly the same fabric burnt red. Ls. 7^ in. — 5! in. Cyprus, Pi. Vlll; Perrot, fig. 502. C. UN PAINTED, WITH ORNAMENTS IN RELIEF The general forms and character of the unpainted ware resemble r- ^ Case very closel\- those of the painted variet\- alread\- described, but 10 the structure of the vases and their relation to a leathern or metallic protot}'pe are here more easily recognized. The relief decoration is peculiar; the larger \ases, 33 '"""-l tbese sinuous 39 Wal C'.asi THE COLLECTION OF POTTERY bands in turn arc adapted to look like snakes, and sometimes have modelled snake-like heads (^54, 355)- 338-^45. Nakkow-mxkio Jlcs like 321, save that 338, 339, 343, 34s, have a spout of bold outline. Hs. ij] in. — 6 in. 34()-34Q. W'inii-.MOLTHHi) Jugs with horned strap-handles, like 2(S5-5 in the White Slip Ware (Fabric v). Hs. 75 in. — 42- in. 330-317. AliMAii RI-: \'asi:S with ver\' long narrow neck, wide funnel-shaped rim, and strap-handle rising from the shoulder to a handle-ridge halfwax' up the neck: 353 has a high foot; 333 a pinched spout like 33S-C); and 356 a depressed body of angular profile: 357 is unusuall\- small, even for a miniature vase. Hs. 6| in. — 3 I'V in. 35<'^-3tO- CoMPOsiTH V'ashs, consisting of two small vases like 330-357, set side by side with bodies and rims in contact, and the two handles merged in one. Hs. 4I in., 4 in. 360. Lhntoid Flask, like 328 in the painted \ariet}' in Wall-Case 9. H. y\l in. 361. Deep Bowl of characteristic form, funnel-shaped below, with narrow upright rim, and stiff handle like 282 and 318. This is the commonest t_\ pe of bowl in this fabric. D. Og in. 362-5. BcjwLS of less t)'pical form: 362 is rather deeper than 361; 363 of hea\\- convex profile with wa\-y line in relief; 364, hemispherical, on high foot with strap-handle; 365 is a miniature copy. Ds. G/u in. — 3^ in. 366-3O8. Di;C.L-Nerath Vases are occasionally found either of 40 LATE BRONZE AGE. FABRICS VI-VII normal fabric with incised ornaments borrowed from that of W^" the Red Polished Ware (366); or imitated in the Black Slip ^^ Ware, with more or less defective finish (367, 368). Hs. 5I in., 5 A in., 5! in. FABRIC VII. WHEELMADF RED WARE This fabric is probably not of Cypriote manufacture. It is found Wall frequentl\- in C\prus in tombs of the oeriod of M>'cenaean influence Case (1400 to 1200 B. C), but is found quite as frequently in Egypt in tombs of Eighteenth Dynast}- date (1600 1350 B. C), and also on the coast- land of [Palestine, in deposits of the same period. The cla\' is brick-red throughout, with a hand-polished surface. The \ases are alwa}s wheel- made, whereas all the fabrics hither- to described were fashioned without the use of the potter's wheel. The commonest forms are as follows: 369-375. SlMNDLK-SHAPED BOTTLES, with one handle from neck to shoul' der, long and narrow, 370-4, or broader, 369, 375. — II i'« in. II, 939 (370). 376-381. Lentoio Elasks, like those of the Base-Ring Ware alread}- described (328, 360). The two-handled flask 381 is of a separate, but allied fabric, perhaps of somewhat later date. Hs. I2|',,in. - 7i''i;in. 11,938(376). .Manx' of these flasks antl bottles have a letter or s\'mbol incised on the cla)' before firing, usuall)' at the base or on the handle. 1 376 r 377 f 378 379 Some of these sx'mbols are identical with characters of the Cx'priote s\ilabar\' of lat^-r times; others recur on ]iotter\' at Tell-el-1 lesy in South Palestine, and at Kahun, antl olluT sites in Eg\pt where foreign influence is perceiMible; a few rei^eal characters which occur in the .Minoan scrijit of (Irete. Ill, cxl, 3,4,0,8-11 41 THH COLLF.CTION OF POTTKRY Wall v*^-- 0\'oin Jlc;, with narrow hoa\ \-rimniod neck; of similar Case fabric, but of a form more akin to Fabric viii below. 1 1 H. 4^ in. FABRIC VIII. BLACK PUNCTURED WARE The cla\- is fine and black, but it turns to dull red when ovcr-fired. The ornament consists whollv of rows of fine dots impressed on the cla\', probabl\- b\' means of the points of a fine comb. This ware was first observed in Cyprus by Cesnola; then in i(S86 at Khetaanah in Eg\pt, in deposits of the Twelfth and Thirteenth Dxnasties; then at Kalopsida in C}'prus in 1894 in tombs of the .Middle Bronze .Age, associated with beads of blue glaze like 1 562 in Wall-Case 73, which seemed to confirm the Twelfth D\'nast}' date. The same fabric has, however, also been found at Idalion in tombs containing .M\cenaean vases of Fabric xii, which can hardlx' be older than the Eighteenth D\nast\'; and very abundantly in other .M\cenaean tombs at Enkomi near Salamis. In 1906, Professor Pdinders Petrie found large quantities of the same fabric, including numerous \ases of the same fish-shapc as 384, on a site at Tell-Yahudi\eh in the Eg\ptian Delta, which he ascribes to H\'ksos in\aders, and identifies with the Hxksos fortress of .A\aris. The Philadelphia e.xpedition found the same ware at Buhen (Haifa) and Anibeh, in tombs of the XVTII to XXI D_\-nasties, as well as in tombs of the XII D\nast>- at Buhen. The fabric clearl\ lasted long without material change. The e.xistence of intermed- iate varieties, such as 385, suggests that the Black Punctured Ware, like the Wheelmade Red Ware of Fabric \ii, is pr(jbabl\- not of C\pric)te make, but ma\- belong to some district on the Sxrian coast, which (it must alwaxs be remembered) has hitherto been \er>' imperfectlv explored. The commonest fcjrms are as follows: 383. (_)\()iD Jlc, with narrow neck, flat strap-handle, a peculiar hea\'\- rim, and small button-shaped foot. This is the common- est and most t\pical form. H. Or'V, in. 384. FisH-SHAPi:D \'ash, with neck issuing from the mouth of the fish. 'I he polished surface of the vase is entire!}' scraped awa>' in some parts to indicate scales. L. 4-J in. 385. Jug, of more pearshaped form, without the punctured ornament. It represents a distinct variety of Black Punctured 42 LATE BRONZE AGE. FABRICS VIII-IX Ware, more like the Wheelmade Red bottles already described: Wall Case 1 1 compare especially 382. H. 6h in. FABRIC IX. COARSE WHITE WARES This term is used to include a number of ill-defined fabrics which are often found in the tombs which contain Aegean vases of F'abric xii. A few similar forms have been described from tombs of rather earlier date at Kalopsida, but the whole group belongs essentially to the Later Bronze Age, and some of the vases have a base-ring and other features which suggest that the\' are local imitations of other fabrics, and perhaps of originals in netal or other material more precious and durable than claw 3S6. Jug with Pinched Lip and Pointhd Body. This is one of the commonest forms. It is made of coarse greenish-\\hite cla\', without the use of the wheel, and the outside has been cut to a point with a knife. Occasional!}' such jugs have one or two bands or dashes of poor black paint. H. 6^ in. 387-388. Rattlhs, of the same form as 386, but with rather more black paint. The\- look like small jugs at first sight, but the neck is closed b\' a bird-like face, and there is no spout; as the)' alwa\'s contain a sniall loose pebble, it is probable that the}- were intended as children's rattles. Hs. yl in., 3-2 in. 38c). 1- isH-sHAPi.D Vasf-,, made of almost exact 1\- the same clay as the pointi'd jug 386. L. 10^ in. Doell, x\i, 18, 4034; Cyprus, PI. \'1IL 11,812. 390. Ovoid ]va,, in another \Miite labric, which imitates the 43 Wall Case THH COLLF-CTION OF POTTERY WhoclnKKlc Ware of I'abric \ii. It has a small characteristic foot, and the same narrow neck as the orciinar\' bottles of that fabric, but the body is divided into two lobes b\- a hori- zontal groo\e round its middle. H. jl in. 391-2. Figures of Bulls in similar cla\-; a little modelled about the head in a st\ le which resembles the contemporar\' Late -Minoan art of Crete. 391 has bands of coarse black paint; 392 reddish paint, and crescent-shaped impressions to render the hair on the forehead. Compare the buU-vascs in Base- Ring Ware 333-7 in Wall-Case 9, and the female figures 2009-13 in the Collections of Terracotta. Hs. bl in., 393. Female Figure (upper part onl\). This represents a notable fabric characteristic of the latest phase of the Bronze Age, in which \ases also were made, though none are included in this C^.ollection. The cla\' is smooth and reddish, of a peculiar stick\- texture; and it is decorated with two kinds of paint, black and red. The red paint has alreadx' made its appearance in Fabric i\-, and will become prominent in the Graeco-Phoenician Period. H. 4/,! in. 44 LATE BRONZE AGE. FABRICS X — XI FABRIC X. CYPRIOIH HANDMADE BUCCHERO WARE This name is convenient!}' applied to a class of vases made of black Wall cla>', in forms imitated from metal protot} pes, like those of the ^^^^ Bucchero Wares of Etruria and other parts of Europe. The clay is intended to be black or dark gre}- throughout, though occasion- ally it burns to a dull red when o\er-fired. This Bucchero Ware appears first in C\prus during the period of Aegean influence. It is not found on the S\rian coast or in Eg\pt, and probably represents one of the arts introduced b\' the Aegean colonists. The earliest examples are built b}' hand, and the external decoration, of rough vertical grooves, gores, or gadroons, is likewise effected wholl}' b\' hand, or with ver\- simple tools. Later varieties are wheelmade, and pass on into the Earl\' Iron Age fabric of Wheel- made Bucchero, which is shown in Wall-(~ase 13. 394-9. Globular Jlgs are the commonest forms: they all have the body ribbed or gadrooned to imitate metalwork, but usuallx' not quite vertical!}', through hast\' workmanship: this, though probab!\' unintentional, gives a pleasing twisted effect. There is often a well-marked collar, representing a metallic junction of neck and shoulder. 394-5 are of the standard fabric, in dark gre_\' cla\', and have a characteristic c\'lindrical neck and narrow metallic-looking rim like a smoke-stack. (See p. 61.) 396-7, in a different cla\' with dark burnished surface, which is inclined to flake, have a shorter and wider neck, and wider ribbing rendered by prominent ribs of applied cla\'. 398-9 are in a past}' cla}' of lighter colour, more akin to that of the Coarse White Wares of I'abric ix: 398 repeats the form of 394; and 399 that of 395. Ds. 7 m; in. — 24 in. [400-416. N'aIIVE iMrrATKJNS 01 (^YI'RO-AlYChNAHAN WaRE (1-abric xii) are described on p. 51 with the larger vases, 453 ff., of the same st} le in lloor-C.ase 111, and in succession to the C} pro-Al}'cenaean \'ases of l-'abric xi which the}' imitate.] FABRIC XI. cypro-.myci;nai-;an ware CfJMI'AKi; I I.OOK-CASL III, NOKIIl SlDi;, NOS. 435-452 Wall Down to the middle of the seconil millennium, C\prus seems to ,2 have experienced x'lt}' little contact with ihc rest of the AUcliter- lower ranean world; but during the period of enterprise and exploration P'^'^'' 45 THE COLLECTION OF POTTERY Wall which followed the fall of the iMinoan l^mpire of Knossos in Crete "^2 (al^'out 1400 B. (;.\"I.ale .Minoan" or " Al\cenaean" colonies were planted in (2\ prus, as on man\' other coast-regions of the Mediter- ranean, from Palestine to Sicilw An approximate date is given b\' the similarity between the earliest phases of st>le which are common in Cxprus, and those which have been found as imported objects in the Palace of Amenhotep IV at 1 ell-el-Amarna in Eg}pt, which was built after his accession about 1380 B. C, and deserted soon after his death, about 1365 B. C. These colonies attained to great prosperity, introducing and propagating the arts and industries with which they were familiar in their Aegean homes. The potter}' of these colonists is characterized b\' a very fine cream- coloured clay, and b\' the use of highh' glazed paint, which may be black or dark brown, but more commonly has been burned to bright tints of orange and red. The ornament of the commoner vases is simple and characteristic. The lower part of the body has broad bands interspersed with groups of narrow bands, applied mechanic- all)' while the vase was on the wheel. The narrow bands were often executed with a multiple brush, such as was already familiar in (Cxprus: see 280 above. On the upper part or shoulder a broad zone is left to be decorated with simple patterns drawn freehand. The commonest are conventional flowers (423, 424, 426), which are simplified survivals from the "Palace Style" of Late Minoan Crete, and are further reduced to geometrical outlines, which in their turn are compiled into rich schemes of basketr\' (418, 419, 420, 427, 431, 434); or filled in with solid colour (425). The vases are all wheelmade, and their symmetrical forms consequently offer strong contrast with the wax'ward modelling of the native handi- craftsmen. The commonest forms are these: 418 424 417-420. l^iKiioRM Vashs, with pearshaped bod\', low wide neck, and three small handles on the shoulder. Hs. ()| in. — 3 3 in 46 LATE BRONZE AGE. FABRIC XI 421-422. Pyxidhs, with upright sides and neck and three handles ^'^" like the piriform vases. Hs. 3 in., 3' in. ,2 423-423. "False- nfxkhd" or"Stirrlp-ha\dled" Vases, with piriform body, tall (423) or short (424-5), and supplementary "false-neck" at one side, while the proper neck of the vessel is closed b\' the stirrup-shaped handle which crosses it. Note the characteristic bod\'-ornament of grouped broad and nar- row bands. Hs. 6 ,',; in. — 4i\- in. 426-428. Narrow-neckhd Vases, with similar body and handles, but with the true neck prolonged above, and left open. Hs. 45 in., 42 in., 5 in. 429. Plain-lipped Jig, with one handle. H.3li5in. 430-432. Beak-spouted Jlgs, inheriting their form from the old gourd t\pes, but translated now into wheelmade sj'mmetry. Hs. 3-2 in., 2I in., 2s in., 433-434. Open Cups, with narrow base. and one handle. Note that 434 has. below the handle, an incised character Ij-, which may belong to an earl}' stage of C\'priote writing. Os. if in., 5 in. The popularity of miniature vases in this st\ le is shown b\' 430-433, but the small size of the majorit}' of the "false-necked" vases, and similar t\'pes, is probably due to their destination as toilet-furniture, to hold ointment or perfume. In this respect the\' fulfil the sam.e function as the ar\ balloi and lek\-- ihoi of the Later Iron Age, of which 1716-23 are examples in Floor Case IX, B. .Much larger and more elaborate examples of .M\ cenaean fabric are, however, found occasionalh', and show b\' the peculiarities of their form and decoration that they represent a local" (^\ pro- .M\cenaean" fabric with a well-marked st\ie of its own. These are shown on the north side of Floor-Case HI. 435. Di-.r.i' J-iowL, with low neck hearing on each side a con\ent ional scroll-design, enclosing two fishes and sexeral moli\es characteristic of llie transition from .Mwenaean to geometrical art; con- centric sen^;c;rc'es, lalliceil io/.eiiges, groups of parallel lines, aLCom|iaiiied iix' 47 434 455 aleral excrescences o THH COLLHCTION OI' POTTERY Floor Case III North Side black paint. Some of the peculiarities of the draughtsmanship are repeated on nati\e imitations from l.achish and other sites on the Palestine coast. The body of the vase is wholly covered with the customary reddish-brown paint. The designs have unfortunatel\' been repainted in a dull pigment like that of the next period; the\- are, however, certaini\' ancient, and all the old lines can be traced beneath the restorations. H. 8| in. 436, 437. Ami'horai, with piriform bod\', wide neck, and two vertical handles; the neck of each is completely covered with black glaze paint, somewhat red-fired, especially 437; while the bod\' has plain bands below. 1 he principal zone or frieze, on the shoulder, is filled with chariots, horses, human figures, and trees (437) or plant-ornaments (436) in the back- ground. The drawing is of the childish, unskilful kind, which is characteristic of the "Third Late Minoan" period in Crete, and of the later tombs at M)'cenae. Many similar vases, found in the British Museum's excavations at Enkomi near Salamis, show that these chariot scenes were very popular in Cyprus, and that their style has many minor peculiarities which mark it as a local C}'priote school, deri\ed from that of Late Minoan Crete, and probably to be dated about 1350 B. C. Hs. 14 iV, in., i6| in. Cyprus, p. 247, 268 (437, 436); Perrot, fig. 525 (437). II, 851-854. 4^0 438-43. "Falsr-ni-,ckhd" Vasi;S. The fine example 438 is unusuallv large, with characteristic ornament of grouped bands as on 423-425 in Wall-Case 12. The shoulder zone, 48 LATE BRONZE AGE. FABRIC XI however, is plain. On the handle are incised ^ ^ symbols probabl}' of an earlv phase of the ^ Cypriote script. It is discussed with other inscriptions in the Appendix. 439-443 are of more ordinary- sizes (h'ke 423-425 in Wall-Case 12), with degenerate floral de- signs. Hs. 15 in. — 32 in. 442 445 448 449 450 444-446. Cjlobi LAR BoTTLi.s, with narrow neck issuing between two vertical handles, like 426-428 in Wall-Case 12; 444 has con\entional flowers; 445, concentric circles, and 446, cUjse spirals, drawn verticallx' on each side of the \ase, as if it were a gUjbular flask, a scheme of ornament which becomes very popularon jugsand flasksof the l\arl\' Iron Age (see Wall-Cases 17-22, and particularly the note on ()25 in Wall-C^ase 18). Hs. 3 in., 5i in., 7;^ in. 447-448. PiRiroRM Vasks, like 417-420. On the shoulder of 447 is a scale pattern, \er\' common in this sl\Ie, and probabl}' the prototype of that on thi' White Slip Ware bowl 310 in l'l(jor-Case 1 1 : on 448 is a row of detached spirals with recur\'ed ends, as on the cup 450. lis. 7^ in., 6in in. 49 THE COI.I.I-.CTION OF POTTHRY I'loor ^^(j. Pvxis, with tlaltciii'd l-n)d\- and three handles on the shoulder ".'j'? like 421-422, and the piriform \ases 417-20. The ornament of waxes and llamboxant leaxes in solid black is rather earlier than that of most of the C^xj^riote examples of this st}'le and belongs to the "Palace St\le" of Knossos, in the Second Late .Mint)an period, about 1500-1400 B.C. H. 2^ in. 4S0-4SI. OiMN Clips, with one handle, like 433-434: on 450 is tlie same spiral ornament as on 448; on 45 1 angular lines form- ing a degenerate tloral ornament (compare 434 in Wall-Case 12). Hs. lil in., 1 liS in. II, 773 (451). 452. ruREE-HANDLED Amphora, with piriform body, but high neck: between the three handles are panels of geometric orna- ment, premonitor}' of the change of st}le which closes this period. H. 8| in. FABRIC XII. NATIVE IMITATIONS OF MYCENAEAN WARES \\;il] In the centuries which immediatelx' followed the Aegean coloni/a C;'se tion of C\ prus, grave disturbances in the .Aegean itself, of which the '■f great Sea Raids against l-'g\pt from 1230 to 1195 are a sjmptom, part caused the break-up of Late Minoan civilization, and isolated its outposts, both eastward and westward, from Sicil\' to C\prus and the Sxrian coast. The C\ priote colonies, had, therefore, now to carr\' on their arts and industries without support or inspiration from the mother-land. One result of this is the replacement of standard pot-fabrics b\- native imitations, more and more remote from their originals. T\pical are the tomb-groups from Kouklia (old Paphos). In these "C\pro-.M\'cenaean" fabrics the cla\' is less smooth and gloss\', the paint becomes dull, like that of the old nati\e While Painted Ware, and the forms awkward and heav}'. The paintid ornament, like the forms of the \-ases, passes gradualh' awa>' from the free curxilinear art of the Aegean settlers into the geometri- cal st\ie of the Larl\' Iron Age (Wall-Cases 14-17). b'or example, the line 'Tunning spiral" which is characteristic of Aegean art is reduced either to detached groups of concentric circles or to a mere wa\\' line (400-404, 406), which has a \'ery long subsequent hislor\' in (Apriote potter}'. Similarlx' the floral ornaments. alread\- degraded (423, 427, 431) pass over into elaborately inter- sected triangles (411-415). Compare 453-456, 460, in Floor-Case 111. 50 LATE BRONZE AGE. FABRIC XII 400-404. Deep Bowls, with rims flaring (400, 402), or upright Wall (401, 403, 404), and small horizontal handles. The double handle, modelled as the head and horns of an ibex (403), the principal wild animal of the island, is characteristic and prob- ably reminiscent of metalwork: so also is the miniature bowl perched on one haiidle of 400, a revi\al of the old nati\e pla\fulness, which is seen more clearly still in the next group. Hs. 61 in. — 4I in. Case 412 4'3 /isi^A v 410 40,-411. Fantastic and Composite \'ases, imitating vessels of cow's horn ('403, 406), or turned wood (407, 40H), or composed, like 400, of three lentoid flasks joined face to face; 410 is prob- abh' the bod\- of a model chariot like that figured in Perrot, fig. 524; compare British Museum \'ases, No. (] 1004. 411 represents a popular \'ariet\' of animal-shaped \'ase. In this period such xases almost alwaws represent either h(jrses, wild goals, or water-birds: the cattle and deer of the old White Painted Ware 20()-225 are unusual now. Hs. HI in. — 4.J in. (12-414. I- Ai.si-.-NECKED \'AShs of lieaxier form than the standard forms 423-42S. but often elaboratel\- painted, with schemes of triangles and chcArrtns, the last descendants of the lilies and iris-flowers of the Second Pate .Minoan st>'le. Hs. ()}, in., 5:1; in., 4,,'; in. 11, 77S (413.) THH COLLHCTION OF POTTHRY \\';>11 41 s- Lentoid I'lask, like those which compose the fantastic vase "'^^ 400, with a characteristic trumpet-shaped rim, restored in this example. (Compare the large amphorai of the next period soi-so^ in Floor-C^ase I\'. H. Of in. 416. CiLOiu LAR BoTTLH with two horizontal handles set low down, and flaring lip. Note the characteristic ornament of concentric semicircles, intersected triangles, and wa\\' lines. H. 5 1% in. With these examples, of a\erage size and workmanship, should he compared the larger and more elaborately decorated series 4tV4(^o on the south side of Floor-Case ill, and also the fantastic and zoomorphic vases of the Transitional Period or Earliest Iron Age, which are shown in Wall-C^ase 14. The transition indeed is without break in this department. Floor 453-455. " FALSt-\HCKi-;D" \'ases, all decorated on the shoulders j'j'^ Uil^^^' 41 --4 14) '^''''tl'' triangles, ver}' elaboratel\- filled with different kinds of linear shading, and occasionall}' with sec- tions of solid black also. Hs. 9,% in., loj in., 5§ in. 456. F'antastic \'ase, with flattened bod\', on three feet, with a horse-head spout at one side. The handle and roof of the vase are decorated with small birds modelled in the round; and the body is painted with wa\>' lines and concentric triangles. H. 0] in. 457. One-handled Jlc, like 420; with the usual bod\'-bands below; on the shoulder is a common perversion of a AU'cenaean flower-design. H. 6 ,'0 in. 458. Kylix, or drinking-cup, on a high foot. It imitates a form which is characteristic of the standard, but is heavier and coarseh' proportioned. It has the customar\' ornament of broad bands, and groups of narrow lines, with a bod_\' zone divided into three panels b\- vertical lines, with accessor}' ornaments; the central panel contains a single latticed lozenge. Compare the later and still more degenerate example 516 in Wall-C:ase 14. H. 61^5 in. 45c). Open Bowl, with a binding ornament on the rim, and concentric triangles like those on 453-455, but provided with a solid black centre. H. 4J in. 460. A.MPHORA, with o\()id body, clums\' funnel-shaped neck, and two horizontal handles set rather low down. Elaborate 52 LATE BRONZE AGE. FABRIC XII triangles form the principal shoulder-ornament, with wavy Floor lines like 400-404, on the body zone and on the neck. The ij'',^^ almost complete blackening of the neck recalls that of \ases 430 454 457 of standard st>le, 436-437, 452, and leads on to the black- necked amphorai of the Earl>- Iron Age 501-507, in Floor-Case 1\'. H. !(),'', in. 53 POTTHRV OF THE EARL^' IRON AGE AI50UT 1200-500 B. C. WALL-CASES 13-26 AND LLOOR-CASES IV-VIII ^S HAS been alread\- noted (cf. pp. 9 and XXXI IT.) the /\ Earl\- Iron Age opens with a period of gradual transition / \ from the .\l\cenaean or Later Bronze Age culture. The phase in which iron gradual!}' supersedes bronze as the customar}' metal for weapons corresponds approximate!}' with that in whicli the use (jf the potter's wheel became uni\crsal in (^\prus, and tinall}' displaced the old handmade fabrics. I he wheelmade potter}' of the Karl}' Iron Age falls easily into three principal groups of fabrics. In the hrst or Bucchero group (Fabrics xiii-w) the cla}' is of a strong colour all through, usuall}' either black or red, and the decoration is elfected b}' niodelling: iniitations of the true Bucchero fabrics, and intermediates between these and the next group, are conxenientl}- considered in connection with the standard t}'pes b\- which lhe\- were suggested. This Bucchero group gradual!}' disaj-ipears in the course of the Farly Iron Age, and was entirely superseded before the sixth centur}'. In the second or White Painted group (Fabric xvi)the clay is cream}'- white, like that of the C}'pro-.\l\'cenaean Fabric xii, and the orna- ment is painted in black; often enhanced b}' the use of red, and \'er\' rare!}' of other colours also. In tile third or \ii:d I^ainted group (habric x\ii), which runs througli- out the period side hv side with the White Painted Ware of h'abric wi, the cla\' either is (or was intended to be) deep red, and the decoration is in black, to which white details are added sometimes. F.\ BRIGS XIII-XV. CYPRIOTE BUCCHERO WARES ^^ ^'11 This name is con\enientl\' applied to a class of \ases made of black "'I''" cla}', in forms imitated from metal protot}'pes, like those of the 54 EARLY IRON AGE. FABRICS XIII-XV Bucchero wares of Etruria and other parts of Europe. The clay Wall is black or dark grey throughout, but occasionally burns red when ,^ over-fired. Bucchero Ware appears first in Cyprus in the Later Bronze Age (p. 45), during the period of Aegean influence. It is not found on the Syrian coast or in Egypt, and probably represents one of the arts introduced by the Mycenaean colonists. The earliest examples are built by hand, and the external decoration of rough vertical grooves, gores, or gadroons, is likewise effected wholly by hand, or with very simple tools. Later varieties are wheelmade, and pass on into the Early Iron Age fabrics of Bucchero, which are shown in Wall- Case 13. In the early part of the Iron Age these fabrics become common, and the principal varieties deserve to be classified separately. FABRIC XIII. BLACK BUCCHERO WARES These wares agree in their intention to produce vases of forms imitated from metal, with a black or purple-grey surface like that of tarnished bronze or silver. But they produced this effect by different means; and as usual the practice of these different methods distracted attention from their original aim, and introduced decora- tive experiments which were reallv inconsistent with it. Sooner or later, the vase-painter's instinct asserted itself in a "painted style." (a) TRUE BUCCHERO, WITH CLAY DARK-COLOURED THROUGHOUT 'fhe earliest fabric of Cvpriotc Bucchero, which belongs to the Later Bronze Age, and is handmade, has been already described as fabric xi; it is represented bv 394-9 in Vv'all-Case 11. In the I ransitional Period of the Earliest Iron Age, this passes over into a wheelmade fabric, in which the clav is still of the same colour all through, and there is no surface-coxering or slip. Later fabrics of self-coloured cla\- which probabl\- preser\e this Bucchero tradi- tion are represented by 4(S()-9(S below. (/;) IMirATED BUCCHERO, OI- LICHT CLAY, UNDER A DARK SLii'. 4()i-5:4H5-8 The primitive self-coloured fabric, abo\e described, was, however, superseded in the Transitional Period b}" black-coated" imitations 55 THF COLLIiCTION OF POTTHRY in whiL-h the day is of the coninion Lream-colour, and the black surface is rendered b\- a dark slip. I'he true character of the clay appears in 48^, 480, 4SS where it is exposed inside the neck. The vases of this fabric are all wheelmade, anel are usualh' much larger than those of the primiti\ e group. Smaller \ ases are, ho\ve\er, still fairl\- common: for example, the spout-jug (,485), the oinochoe (486), the amphora (487), and the krater-amphora [4i). lis. 5} in., 53 in. 484. OiNOf.noi., showing complete intermixture of the Black and Red stx'les. The cla\' is light-coloured; the lower part is painted black and roughb/ grooved, while the upper part is painted red, and decorated with black and white paint, like the later \arieties of the Painted Red Ware (compare 913-O in Wall-(^ase 25). This vase is probabl)' not much earlier than the fifth centurx' B. il., and marks the last vanishing stages of the Red Bucchero st}le. 485-', both in clay and bronze, but this example may well be earlier, to judge from its fabric and handling. H. 4.1 in. 499. Deep Bowl with upright sides and moulded surfaces, in a light clay with coarse black slip. Its date is uncertain. H. 2I in. 500. Pilof^im-bottli;, of coarse and unusual fabric, with relief- modelled surface and thick black slip on light-coloured clay, of (juite uncertain date. C^olonna-Cxvcaldi, Monuments^ PI. xxix, 29. H. 5 J in. ()i THE COLLHCTION OI- I'OTTHRY FAFmic; xvT. wHiTi; painted ware This is hv far ihe commonest and most characteristic fabric of potterx' in C-\prus lhrout;hout the Iron Age. In the course of nearly eight centuries, from before looo B. C. till after 300 B. C, its main features of technic]ue and form remain essenliall_\- the same, and it is often difficult to assign more than an approximate date to indi\idual examples on the sole ground of st>'le. Within this long period, however, certain changes of fashion, both in the forms ol the \ases, and in their painted decoration, are easily recognized; and their general sequence has been ascertained b_\" the agreement of observations on all the principal sites. From 417-34. 435-52 (in Wall-Case 12, and on the south side of Floor-Case III) it is alread\' clear how Fabric xi, the wheelmade and glaze-painted potter}' of the Alx'cenaean settlers, degenerated into the C\-pro-.M\'cenaean Fabric xii, when these colonies were isolated at the close of the Late Minoan .Age. With this Fabric xii, the White Painted Wares of the Iron .Age stand in intimate relationship; and it is partl\' for this reason that the name "Trans- itional" is applied to the earl}' period of the Iron .Age. The name "Graeco-Phoenician," which has been frequently given to the whole of the Iron .Age culture of C\prus, expresses the current belief that throughout this long period Cx'prus was an object of constant rivalr}' and competition between Greek and Phoenician adventurers. It does not, howe\'er, do justice to the fact that the so-called "Graeco-Phoenician" st} le was de\eloped and attained all its characteristic features in circumstances of isolation; and that both its Phoenician and its Greek elements are secondary and late. The art of C}prus in the Iron .Age is, in fact, neither Greek nor Phoenician essentiall}'. It borrows something from both, but in its earlier and formative stages its qualit}' has been well described as "Sub-.M\-cenaean"; that is to sa}', it combines copious survivals of C}'pro-.\l\'cenaean tradition with an increasing inabilit}' to practise cur\ilinear design, and frequent resort to purel}' geometri- cal moti\es. These, though in part due to the new "geometric" art which characterizes the Farl}' Iron .Age in most Cireek lands, between 1000 and 700 B. C, are \'et in part also a nati\ e inheritance from the stiff basketr\'-ornaments of the .Middle Bronze .Age, and particularl\- from the Painted White Wares of Fabric iii ("Wall- Ceases 5, 6, 7J. The general course of development, which is complicated and in 62 EARLY IRON AGE. FABRIC XVI parts still obscure, can be best illustrated b\'subdividing the culture, which in other parts of the .Mediterranean and European world is known as that of the Early Iron Age, into three principal periods: Earl\', Middle, and Late. The Earl>' period is Transitional from C\pro-.M\'cenaean freehand and cur\ilinear art to purel\- mechani- cal and, for the most part, rectilinear ornament. In the Middle period, the decoration is purel\' Geometrical, and an approximate date is suggested by its rare loans from the geometrical art of the Northwest. The Late period is that in which foreign influences reappear, at first predominantly Oriental, but later also Hellenic. It is this later period which alone is accurately described as "Graeco- Phoenician" in the present state of our knowledge. Strictl}' speaking, this period, in which foreign influences predominate, is prolonged into historic times; but since a fairh' clear line can be drawn between an earlier phase, in which the new suggestions arc assimilated b\' the Cypriote craftsmen, and a later one when im- ported objects, mostl\- Cjreek, compete with and at last o\erwhelm the native industries, it suits the localit)', and is also in acconi- ance with usage in other regions, to close the "liarly Iron Age," in an archaeological sense, at this crisis, and assign all the period of competili\e decadence to a "Hellenic," or full}' historic .Age. The manifold de\'elopment of forms and ornaments is best studied b\' grouping txpical \'ases in scries, each illustrating a siiigle aspect or feature, and treating these in the order in which each mark of progress appears. The series exhibited in \\'all-(~ases 14-22, and l"loor-(^ases l\'-\'ll, IX, ma\' accordingh' be suhdixided as follcjws, to supplement the more summarx' classification on p. 34, abo\e. HARLY OK TF^WSITIONAI. I'hRIOD (a) Earl\' l-'orms with Gypro-.\l\cenaean and Pre-.\l\cenaean sur\ivals. 5oi-3g4. MIDDI.l: OR (,i:()MI-l RICAI, IM.KIOI) (b) X'ases with geometrical panel decoration. SI)t-7- (cj X'ases with " jilam-bodied " Nchenu's o! ilecoralion. t()S-(i. (d) X'ast'swith "concent ri^ circle" ornament . ()0()-7. fe) X'ases with fulh' ik' ^ elo[H'd geoniel rical ilecorat ion. ()0arrel-jugs. ')i7-42. fg) 1 landle-Kidge Jugs, and other .Xliniature X'ases. ()43-C)4. 6^ THE COLLHCTION OF POTTERY LATE OR GRAnCO-PHOFiMCIAN PERIOD OF MIXED ORIENTAL INFLUENCES (h) N'ascs with panels and friezes enriched with lotos ornament. 665-702. (i) Oinochoai with "vertical-circle" ornament, sometimes similarl\' enriched. 703-20. (j) Oinochoai of "plain bod}'" t\'pe, decorated with birds and animals. 721-40. (k) Other sxmptoms of Oriental influences; vases with blue paint and pol\'chrome. 741-50. (1) \'ases with full_\-formed pictorial designs. 751-75. HELLENIC age: EARLY OR HELLENIC PERIOD (m) Coarse and degenerate varieties, sometimes influenced by Hellenic ornament, 776-800. It should be remembered, however, that in a mixed st\le such as that of the White Painted Ware, most vases illustrate more than one aspect, and are available to supplement other series than that in which the\' are actually described; also, that the chronological range of Red Painted Ware of Fabric xvii, in Wall-Cases 24-26, is almost as great as that of Fabric xvi, and that on many points its progress, though simpler, offers instructi\'e commentarv' on that of the richer and more varied White Ware. As the course of development is complex, and the relative date of the different groups often obscure, the subdivision of the Earl}' Iron Age to which each group chiefl\' belongs is only indicated approximatel\' in what follows. Each group, however, ma\" be regarded as coming into vogue approximatel\' in the order given here. (a) EARLY FORMS, WTTH MYCENAEAN AND PRE-MYCENAEAN SURVI\'ALS, 501-594 The Transition from .M\'cenaean or C\'pro-.M\'cenaean forms such as 400 ff., 453 ff. in Wall-Case 12 and Floor-Case 1 1 1 to the next subsequent phase of White Painted Ware is, as already noted, gradual. The onl\' turning-point of importance is furnished, not by the pottcr\- at all, but by the weapons, which rather suddenly substitute iron for bronze as their principal material. The signifi- cance of this is discussed in the Introduction (p. xxxi ft') and in the 64 EARLY IRON AGE. FABRIC XVI account of the (Collection of Bronzes; see in particular the swords (4725-6) which may belong to this period of transition. The tombs of this phase are best studied in the small cemetery of Kouklia close to Paphos, and in a series of objects presented by Cesnola to the Ro\'al -Museum of Turin which are described as obtained by excava- tion at a place near Larnaca, called Dades. A few tombs of the same phase have been excavated at Amathus, and the contents of a \er\- fine one, now in the Grassi Museum at Leipzig, are published in Liverpool Annals of Archaeology, Vol. 111. Tomb-groups from Katydata-Linu near ancient Soli, now in the Berlin Museum, are only slightl\' later. The principal forms which characterize this earliest phase are as follows: 501-7. Large .A-mphorai, with purcl\' geometrical ornament. Floor The ovoid bod\' and somewhat funnel-shaped neck of 501 are ^^'^^ derived from a C\pro-.M\cenaean type. The neck is almost entirely covered with the broad and narrow black bands, alread}' noted on the pro- totypes 423, 438, 45H, and enriched with a series of latticed lozenges, like those of the Painted White Ware of the Bronze Age, but so heavily drawn that the ornament appears, at first sight, to be in white on a black ground. On the shoulder are latticed triangles and rectangular panels, sepa- rated b\' groups of parallel and wa\\' lines. These panels are the beginning of a style of panel decora- tion which becomes ver\' popular later. The}' are filled with lozenges, containing latticed chequers, as on the cup 458 in Floor-Case 111. I he outlines of the lozenges sometimes cross one another at the angles, so as to form small triangles of solid black; a trick which is (jften repeated, with exaggerations, in vases of slightl}' later date. 7 he small projection at the base of the neck on each side of the \ase recalls the decorati\e "string- holes" of the Bronze Age potler\'; see, for example, 34 in \\'all-(Case 2, anel 15s. 15^), iC'o If., in Wall-Case 4; compare alscj the horns which decorate many vases of this period; for example, 504-5o() in this l'loor-(-ase, and 462 in Wall-Case 13. 502-503 are of almost exactl\' the same st}'le as 501; in 502 there is onl\' one panel on each side of the body, and the O5 501 Wall Case THE COLLECTION OF POTTERY swastika IL 'ipp<^^i''s as an accessory ornament, as on 595-7 in Wall-Case 17. , 11, 803, 861 (502, 503). 504-505 show these large vases in a slightly later phase of development. The hodv is hea\ ier in form, the neck is shorter, and the rim, instead of being thin and finely-shaped, has the appearance of being turned back upon the neck in a hea\-v roll of cla\-, painted with a simple zigzag pattern. The neck and bod\- ha\e the customary broad bands and groups of \ertical "jianel-lines." The panels contain alternately: (a) rude get)metrical trees, with pairs of concentric circles (compare 600-7 below) in the field between them; (b) a latticed lozenge, of which the angles are overshot as described above so as to form large triangles: those at the sides are tilled with solid black, and those at top and bottom with lattice work. The shoulder zone has no ornament at all, and the bod\' only the characteristic "wa\')' line." 506 has the latticed lozenges and triangles replaced by vertical latticed bands, di\iding each zone into a number of empty panels. On the zone between the handles there are no panels, but in their place the characteristic wav\' lines already noted. 507, a smaller and very common variety of the same t\'pe, reduces the neck ornament to the simple scheme of broad and narrow bands. Hs. 2 ft. 45 in. — 4sin- C\-prus, p. 65 (505). 11, 866, 867 (504, 505). Wall The same sur\i\al of (^\pro-.M\'cenaean traditions is well seen in c:ase the large series of earl\- t\'pes shown in \\'all-(^ases 14-15. The "^ most important innoxalion is the use of a dull red paint, either to till interspaces in black designs, or independentlx' for broad bands on the bodw This red paint is identical with that alread}- noted on a rare \ariet\' (393) of 1-abric i.x, which belongs to the Later Brcjnze Age; red is also ver\' occasional!)' introduced on prcn'in- cial fabrics of Aegean or Alx'cenaean ware li.ke l-"abric xii. But it is onl\' in the Iron Age of C\prus that its use becomes at all popular. Ihe relation of the C]\priote red paint to that on the geometricall}' decorated pottery of earl}' Boeotia and of Apulia is still obscure. 508-10. Amphokai, with alternate broad bands and groups of line lines; the characteristic wa\\- line is c(jnspicuous on the bod\-. (j)mpare 535-8 at the top of Wall-Case 15. The subsequent hist(jr\- of this t}-pe of amphora is shown b\- 552-3, 66 EARLY IRON AGE. FABRIC XVI which ma\' probably be dated to the eighth or seventh cen- tury B. C. Hs. i6^ in., i61i] in., 15^ in. 511. Bowl on High Foot, with horizontal handles, and wavy- line ornament on the body. The clums}' angular form and degenerate ornament almost completely disguise its real dependence on Cvpro-Mycenacan tradition: compare, how- ever, the \'ases of a less barbaric phase 400-404, in the upper part of Wall-Case 12. H. ()l in. 512-515. Cl.-\y Tripods, though not \-ery common in C]\prus, are characteristic of the geometrical art of (jreek lands during the Early Iron Age: thev are imitated from bronze tripods like 4704, 4705. The tripod 513, paint- ed with plants, animals, and human fig- ures, illustrates the rude \igour, but also the extreme childishness of the pictor- ial art in Cyprus during this period. It shows traces of rc-painting, but the main elements of the design arc certainly ancient. Hs. 7 in. — 3i'V, in. C\'prus, PI. xliv (513). II, c) ^nul the bowl sii. The haiulle forms a loop across the upper side, as in 521 If. belcnv. 1 hough 67 Wall Case 14 THE COLLECTION OF POTTERY the animal's head is modelled b\' hand, the body and foot are wheelmade, and have the characteristic red and black hands. The later date of 519 (indicated b\' its "concentric- circle" ornament; compare Ooo-j below) is evidence how persistent is this C\'priote love for fantastic and particularly for animal-shaped \'ases. Hs. 83 in., 8 in., 84 in. 11,815 (517). 20. Falsf-nhckkd V.ask: an angular and blundered cop\' of the old C]\pro-M\cenaean form. The ornament is purely geo- metrical, and includes red paint as well as black. H. 4I in. 21-3. Ring-\'ases, consisting of a hollow annular base, with a strap-handle, and one or more mouths, formed b\' miniature \-ases standing on the ring. These curious objects seem to originate from the ring-bodied vases of the Middle Bronze 522 Age 201-2 in Wall-Case 5, which, however, have still only one spout. B\' multiplication of the neck, as in 521-3, and b\' the addition of other small models of \ases perched upon the main ring, though the\' do not alwax's communicate with its cavity, a special and elaborate \ariant is de\eloped in the Earl\' Iron Age, probably to represent meat and drink offerings which formed part of the funerarx* ritual. To express this meaning more clearlx', S2i includes also a figure of the wor- shipper who brings the offerings, and wears a ram's head mask. Compare the Ring-Vases in Red Painted Ware (899-902), in Wall-(]ase 26; the funerar\' groups in stone (1020, i 142 If.) and terracotta (2 116 IT.), and the masked dancers (1030 if.). Ls. lOi'o in. — 7 in. 524-34. Animal-shaphd \'ase;,s, like those of the Middle Bronze Age; a curious instance of the re\i\al of an old nati\'e custom, when foreign influences relaxed. The st\le varies from rude 68 EARLY IRON AGE. FABRIC XVI naturalism to an extreme con\'ention in which the mouth of \Vall the creature is trumpet-shapeci and wheelmade like an ordi- '^^^' . . '4 nary vase-neck. The commonest anmials are the lion, 524, and the horse, 525-6; the latter is laden with two amphorai, and runs on four wheels. Probably some, and perhaps all, of these objects were intended as children's to\'s. The birds 527- ■st^^d' 526 332 3^ are usuall}' ducks; like most of the animals, they are gaily painted with geometrical ornaments in black and red. The small bird-vase 534 is wholl\' wheelmade, and belongs to the rather later period in which concentric circle decoration pre- \ails: compare 6(x>7 in Wall-Case 17. Ls. 12;^ in. — 3^ in. Doell, x\i, 19, 4035 (529). 11, H19 (524). t35-(S. Ami'Horai of \ari()us earl\" and clums\' forms, all decorated in the same mainl\' geometrical st\le as 508 ff. in W'all-C^ase 14. On 53() the triple handle is a characteristic experiment, ("ompare the large Red Ware \'ases 920-2 in Floor-Case \'II. Hs. 131;'; in. — \'jiro-.\i\"cenaean fabrics, but Ix'come commoner in the Earl\- Iron Age. Later thev gi\e rise to nian\' picturesque varieties wilh decoratix'e spouts, ()29-()55, in Wall-(]ases 27, 28. This example closely resembles the t\'pical Kouklia fabric. ()9 Wall Cast" Wall Case THF COLLECTION OF POTTERY It is also n()to\vc)rth\' for the earl\' introduction of the swastika- ornament Pl as (.leeorali\e m()li\ e: for other examples of this desii2;n see the Index s. w swastika. 11. 541-2. Ri;t'.TA\(Ui.AK Tra^s, made in imitation of tlat baskets, as is shown hv their eharacterislic horned handles, like those of the Bueehero plates in Wall-C^ase 13, and the White Slip Ware of the Middle Bronze Age in Wall-Case 8. Cx'pruS; PI. xl\ ii. Ls. 9I in., 5I in. 541 543. Hanging Bracket (?) of uncertain use, consisting of a long slab of cla\', with a bull's head at the top, and a trough-shaped receptacle below. It has geometrical decoration in brilliant black and red. Similar objects in other collections have been described as lampstands. The\' were in anv case intended to be hung on a wall, and to support some other object in their curved lower end. H. i ft. 3 in. 11, 888 144-6. PiLGRiM-BotTLMS OR Flasks, deN'eloped from the C\'pro- .Mxcenaean lentoid t\pe. The remarkable annular flask 545 shows rude but vigorous sketches of animals, birds, and plants, which should be compared, on one hand, with the designs on the tripod 5 13 already described, and on the other, with the painted horses and birds of rather later date in Wall-Cases 21 and 23, and in Floor-Case VIII. It should also be compared with the more elaborate decorations on the silver bowls 4552 if. in the Museum's Gold Room. The other two flasks 54(3, 544, show surxnals of C\-pro- .Mycenaean ornamentation, combined in 544 with the .Maltese Cross, which originates here from four black triangle-ornaments set point to point, and is characteristic of the purel\' geometrical st\de. Compare numerous examples in Wall-Case 16. Hs. yl in., 10] it in., 6 in. C\-prus, p. 333 (543)- 547. OiNociioF- decorated on the shoulder with reversed triangles tilled in with black colour, a clear sur\'i\'al of Mycenaean orna- 70 EARLY IRON AGE. FABRIC XVI ment (compare 425 in Wall-Case 12); note also the character- ^^^11 istic wavy line on the neck. H. 8j in. \^^^6 548-553. Miniature Vases are common in the tombs of the Early Iron Age, as at all other periods. The examples shown here serve to complete the scries of typical forms. Note particu- larly the amphora 548 of almost C\-pro-Mycenaean profile, with vertical handles; and the oinochoe 549, on the handle of which is a serpentine ornament quite characteristic of the Kouklia style. The commonest ornaments are still the lattice-triangle 548-550, and the wav\- line 550, 551. Hs. 5! in. — 3 A in. 554, 555. -Models of Shields. The outer surface of 554 shows a central spiked boss modelled in relief and painted red, to indicate metal. The shield has a scale pattern, probably intended to represent leather-work or hair\' hide, and a red band representing a broad metal rim. It ma\' also have been strengthened with rods or bands of some material running outside from boss to rim like the spikes of a wheel, if we may judge from the small figures of mounted warriors and foot soldiers in the Collection of Terracottas (2086-2102). The shield 555 shows the construction of the inside, with a trans- verse bar f(jr the handle, like that of the (jreek hoplite-shields, and the Highland "targets" of mediae\al Scotland. This type of shield is known to ha\e been a customar\' shape in the Nearer East from about 1000 to ()oo or 500 B. C. Ds. 6,''; in., jl in. 11, 774 (554)- 556. C];HARior-\V'iii-.i-.L of the same form as the wheels of theclax' horse 526. !). 6 in. 557. pp"^' Ami'Hokai of the same form as the miniature examples 71 Wall (^asf Wall Case lO THH COLLECTION OL POTTHRY j^2. 5t^, and the sanio geometrical decoration. j^S has broad and narrow bands in black and red; ssy bands and latticed lozenges in black. Hs. i ft. ^\ in., 12^ in. 539-57>^- PLAri-:s and Dishhs of tlat shallow forms are \ery abundant in Harl\- Iron .Age tombs. The majority have a c]uite flat bottom, SSQ and 5()^, and two handles which are often lu)rned or pointed like those of the Bronze .Age bowls. Others rather deeper, like yb^, pass over into the series of bowls 57() If. in W'all-C^ase 17. The decoration consists mainl}' of concentric bands in black and red paint, applied while the vase was still on the potter's wheel. The principal design is almost alwa\s on the under-surface of the bowl, which was exposed when the plates were hung up on the wall. Ihe inside of the bowl has usually onl\' one or two black bands, and is often quite plain. The centre of the design is often tilled with a bold maltese cross in black (559, 5(x), 562, yby, 568, 574), or less commonlv with an eight-pointed star, 567. These designs re- sult ob\iousl\' from combinations of the common triangle- motive which appears on the bottom of 570; compare the triangle ornament of 548-50. Between the central group of circles and the edge of the standing-base, a wide unpainted band is often filled with elaborate latticed triangles and other geometrical ornaments (5O0, 562, 5O3). Sometimes the same ornaments recur on an outer zone be\ond the standing-base (564, 5()';), S70). C)ccasionall\- (5()i), the whole under side of the plate is di\ided across its diameter b\' a band of geometrical ornaments, representing, no doubt, the wooden framework of wicker plate; in such cases, the two semicircular spaces which result are usuall\' filled with latticed triangles and similar designs. The cliaracterist ic ornament belo\\' each handle of 571 is derived, like so man\' of these geometrical ornaments, from the lashings of a basket handle. 72 HARI.Y IRON AGE. FABRIC XVI Besides the plain Uvo-handled howls and plates, there are many varieties with a single handle (567, 508, 577). Sometimes (567-8), these have simple spouts, trough-shaped or solid, for pouring liquid. .Miniature examples of all these t\'pes (373-5) are ver\' common in the earl\' tombs. The perforated plates 576-8, were intended for use as strainers. Ds. i ft. 2 1 in. — 2I in. 579-81. Lids .and (Doners, belonging to wide-mouthed vessels, are often accidentall\' separated from them. The\- naturallv follow the forms of the shallow plates, and examples like 581 were no doubt used indifferentlx' either as covers or as lids. These three examples are all of a rather later date than the majorit\' of the howls near them, hut their decoration is essen- tially similar, and consists mainl\' of concentric hands of red and black. (2(mipare also the lid 864, in Red Painted Ware, in \\'all-(^asc 25. 582-94. Dhhi' Bowls and Cups begin in the same tombs as the flat plates, and outlast them. Notice particularlx' tlie deep bowl 588, with three short feet, modelled to represent bearded heads in Orientalizing st\de; it ma\' he of the se\Tnth century B. C. rhe tw(j bowls 587, 586, ha\e triangular openings cut in their sides, to imitate openwork in wood or basketry. Ds. 9 I'v, in. — 3s in. Wall Case (b) VASHS WITH GEOMHTRICAL DhCORATION IN PANHLS. 595-7 Very characteristic of the finest potter\- of the .Middle or Geometric Period of the Iron Age is the di\ision of the surface of the vessel, or rather of its principal zones, into rectangular panels, b\' means of groups of \'ertical lines. Within these panels there are sometimes continuous "liiajxT"- fillings, chetjuers, or zigzag lines; sometimes independent ornaments, of which the most characteristic are the group of arrow-head lines, set upright within the panel; the rosette, c(jmposed of concentric circles with an outer fringe of dots or short lines; the swastika r^ which first appears in Cx'priote art in the b'arh' Iron Age and rapidl\- becomes pcjjnilar, hut dis- (illllE) appears again hi-lore tlie fifth ^enlurx ; and the semicircular ex- crescences iximted in solid black on the frames of panels as in 595. Wall Case ■7 Above THE COLLlXrnON OI- POTTP.RY Wall Case With the last-nanicci shoulci be comparcti tlie more leaf-shaped excrescences which form part of the principal design on the large amphora y()-, and on the oinochoe 598. They are probably an attempt to render the leaves or petals of flowers, which we shall see introduced in more recognizable shape at a later stage (Wall-Cases i(), 20). (Compare the later and more degenerate forms of the C^pro-.M\cenaean lloral ornaments in Wall-Case 12 and Floor- Case ill. 5()t-6. KvLiKtis OR Drinking Cups, with slender foot and wide bow! of angular profile. These develop gradually from the graceful Mxcenaean form, through theC}pro- M\'cenaean intermediates 45, 614-16. A.Mi'HORAi of similar form, in which the concentric- circle ornament supersedes the earlier geometrical decoration. The brownish jiaint of t)i5 is due to careless firing. Us. I ft. 11^ in. — I ft. 3I in. Doell, x\i, 7, 3522 (()\4) II, 8S7 ((114). 77 Wall Case iS THE COLI.IiCTION OF POTTHRY (f) I-LASKS AM) HARKli.-jrC.S. ()I7-(mO One (if the most ju'culiar classes of potler\' in the Cjeometric Period consists of flasks and so-called barrel-jugs. The whole group is best described as consisting of jugs or bottles in which the body is elongated or compressed along an axis at right angles to that of the neck, and to the plane in which the handles lie. When the bod\' is compressed and lentoid. the \'ase is commonly described as a "flask"; those with elongated and more or less c\'Iindrical bodies are convenientl\- named "barrel-jugs." In all cases the painted decoration follows the structural outlines of the vessel. The compressed "flask "is already familiar in the potter}' of theEarh' and .Middle Bronze .Age: lOo, lyy, 238-9, 328, 375-Q in Wall-Cases 4-1 1, ■ and fresh varieties, introduced b\' the Ah'cenaean colonists, characterize the earliest phase of the Iron Age: 544-6 in Wall-Case I J. Then the natixe lo\e of fantastic forms made the experiment of prolonging instead of shortening the axis about which the vase is decorated, and created the "barrel-jug," which is almost peculiar to C^\prus. It should be noted, howexer, that both "flasks" and "barrel-jugs" repeat forms which are habitual to the wootl-turner; and that wooden \essels of both \arieties are still in common use among the jieasantrx' all through the Balkan Peninsula and in man\' parts of Asia .Minor. The inside of such \essels has to be excavated llirough a hole in one of the ends, which is afterwards filled h\a plug: and this feature sur\i\es in the prominent concentric- circle ornament of the ends of the cla\' \ases, which, moreoxer, had to be f;ishioned on the wheel in an analogous waw In the middle period of the Iron Age, this t\pe of \'ase becomes \er\- common and of ver\' varied forms. 617-624. Barrhl-Juos, of earl\- t\pes, with geometrical ornament 78 EARLY IRON AGE. FABRIC XVI concentrated on the central zone from which the neck and ^V^" handle rise. The fine examples 617, 622, have the fully ^"^ , developed scheme of chequers, triangles, leaf ornament, and swastikas, which has been already- discussed on 595 IT. : concen- tric circles are introduced on 618-9, 621-623. Hs. I ft.3i\, in. — 5 1 ,\ in. Doell, xvi, 8, 2932 (617). O25. Globular Jug, the almost spherical bod\' of which was nevertheless regarded by the artist as consisting of two hemi- spherical ends, joined by a narrow cylindrical zone below the neck; and was decorated accordingly-. It is from experiments such as this, which began in the .\l\cenaean period (446 in Floor- Case 111), that the C\'priote potters acquired their remarkable scheme of decoration b\' "vertical circles" which becomes very popular for oinochoai and small jugs, from the Middle Iron Age onwards: compare 637 here; 647-8, 655-7 '" \\ all-Case 19; and 710-14 in Wall-Case 21. H. 44 in. ()26-9. Flasks (627, 629) and Barrel-Jlcs (626, 628) with one or two handles and simple geometrical ornament of lattice- lozenges (626), maltese cross (626, 627), lattice-triangles (629), and swastikas (629). The forms belong to the earlv middle of the Iron .Age. Hs. 61 1 in. — 6 in. Cx'prus, p. 181 (629). 630. Barrel-Jug of later form and decoration. The pinched lip and tree-ornament are borrowed from oinochoai of the sixth and fifth centuries 710-1 1 in Wall-Case 21. H. 6 in. 631-9. Globular Jugs, of allied and derived forms: 631, 634 show the unpainted bod\', already' discussed on 598-9 in Wali-(^ase 17; and ()^2-3 show the ccjncentric-circk' ornament ingeniousl\' applied to such jugs so as to produce the impression that they are made up of sexeral end-st'Ctions of flasks or barrel-jugs. Ihe three-fold arrangement of 6^^ is \ery rare; a four-fold scheme is common, as on 632; and a \ase in the (^\prus .Mu- seum (d.M.C, ()--) shows a fifth si't of circles, painted on the rounded bottom. lis. 8',;; in. --'^\]\ in. With til is barrel-jug series should bi,'com|iared the much later experi- ment of inserting the neck not in the nutklle zone, but at one end of a barrel-shajied bod\', as in 71 5-(j in \\ all-C^ase 2 1 . '')4o-2. Ami'iiokai, of angular form with ornament of concen- tric circK's. rhe\' should be compared with (hh)-" above. lis. 12^ in. — 7 in. 1 1, 910 (()43). THE COLLIXTION OF POTTERY (g) HANnLf:-RiD(;i-; jLds, and othkr miniature \ASHS. 64^-()()4 ,,• ,, In the tombs of the Cicomotric Period miniature vases are often Case found in large numbers. Some ot these mutate the tull-size am- ") phorai, kraters, kxiikes, and oinochoai; others are of peculiar forms, usuall\' llat-lipped, whieh seem to be the Cxpriote equi\- alent of the "Proto-Clorinlhian" ar\ballos of Greece. Originating from the tlat-lipped t\'pe alreadv described in Wall-C'ase 18, and shown also in Red Bucchero Ware in W'all-C^ase 13, the\' de\elop rapidl\' in se\'eral directions. Thex' are common in the While Painted Ware, and e\en commoner in the Red Painted Ware of the same period (826 IT. in Wall-Case 24). From the \er\' marked ridge, which usuallx' encircles the neck at the point where the handle is set on, these little \'ases ha\e recei\ed the con\enient name of "Handle-Ridge Jugs." Good examples are 651-3. This "handle-ridge" first appears in the Base-Ring fabric of the Later Bronze .Age (33.8-40 in Wall-C^ase 10), and has been noticed also in the Red Bucchero fabric (477-481) in Wall-Case 13. These earlier forms probabl\' originated in a leather tx'pe, but the "handle-ridge jugs" of the Iron Age were almost certainl\- influenced also, like the Proto-Corinthian and other Greek "ar\balloi" and "alabastra," b\' acquaintance with the Eg\ptian alabaster \ases ( i()oi tf. in Wall-Case 74), and w ith copies of them in potter\', glass, and metal; for it frequentl\' happens in all these that the broad Hat rim characteristic of the original ala- baster \ases was made in a separate piece, fitted either into the real neck of the \ase like a stopper, or over it, like a collar, as in 1633. In \ases intended to hold precious oils and scents, this had its obxious conxenience and in either case there was need for a slight ridge on the neck, at the point of junction. In the cla\' examples, however, which, of ccjurse, are made in one piece, the "handle-ridge" is mereh' decoratixe. The majoritx' of these miniature \ases are decorated with the famil- iar broad bands and groups of narrow lines. The clear space left on the shoulder is often quite plain. When it is painted, it is filled most commonlx' with concentric circles, and sometimes with swas- tikas. Later, these are replaced hv lotos-flowers, and other ( )riental motixes, as in ()S5-8. 643-5. .MiNiAMRH \'ASt:S, of \arious forms (krater 643, oinochoe 644, and handle-ridge jug 645) characterized b>' a rare \ariety 80 EARLY IRON AGH FABRIC XVI of the concentric-circle ornament, in which the circles arc only drawn for about three parts of their circumference, and then run tangentiall\- upwards to meet the band which frames the whole series. The same con\entional ornament is used to represent curls of hair on modelled terracotta heads of the seventh century, which gives an approximate date for these vases. The same "concentric question-mark," as it has been called, is found rarel\' on painted potter)' of the Harl}' Iron Age in L\cia and Phr\gia, and at Tro)-; see Ormerod, British School Annual XVI, p. loi, n. Wall Case >9 644 647 649 646-664. H.ANni.H-RiDGE Jlt.s (647, 65 1 ff.), and Miniature OiNocnoAi (()46, 64S-50), of t\pical forms decorated with \'ertical-circles fsee 625 abo\e), either alone (64) are contemporar\- wilh the standard t\'pes. The form ()()2, on the other haml, out li\fs iliem, and passes on into the sixth cenlurv. Ms. 7.^, in. - >, in. 81 IHH COLLHCTION OF POTTHRY (h) VASES WITH I'ANHLS AND FRIEZI^.S ENRICHED WITH LOTOS ORNAMENT. 665-702 The Oriental influence which chietl\- affects the pottery of Cyprus is that of Eg\pt, where painted potter\' was in use at all periods, and had a peculiar!}' rich and graceful revival under the Twent}'- sixth D\-nasL\'. Ass\ria and the Sxrian coast inherited less taste for this art, and had less to contribute to the mixed Oriental st>le of C\prus; but the guilloche, or "cable-ornament," the rosette, and a few other ornaments, such as the "sacred-tree" composed of conventional palmettes, are to be referred to this source; and when human figures are attempted (as in 751 in Floor-Case VI 11), they wear AssxTian costume as freelv as Egyptian. The series which best illustrate the gradual intrusion of these Oriental motives into the C\priote geometrical style are (a) the oinochoai, k\l-ikes, or kraters of moderate size, 665-682, with panel decoration on the neck and body; (b) the handle-ridge jugs and miniature vases, 683-693, which are good evidence of the prevalence of similar motives on the full-sized vessels from which they are copied; and (c) the amphorai of great size, with rich friezes and panels, 694-702. In all these, the lotos and other Oriental ornaments are introduced as accessories, to enrich the traditional schemes of geometric design; and the limits of panel and frieze made further elaboration difficult. It is only when we turn to the "plain-bodied" vases, 721 ff., which are discussed separate!}- below, that we find an\- attempt at a free pictorial st\ie. Elsewhere the introduction of Oriental elements is very gradual, and can only be appreciated by following the whole series in detail. 83 EARLY IRON AGE. FABRIC XVI 665. OiNOCHOE, with almost purely geometrical decoration; but Wall there are swastikas on the shoulder and painted birds' eyes , 20 on the lip. Compare 598-9 in Wall-Case 17. Doell, xvi, 9, 3220. 666. Deep Bowl, on a high foot. The panel decoration includes roughly drawn rosettes, like those on the Kylix 596 in Wall- Case 17. 667-670. Kraters, with an elaborate triangle-ornament, which has prominent curvilinear excrescences in solid black: in 667 it stands free, but on 668 it is enclosed within a panel with swastikas in the field; and on 669 an Egyptian lotos-flower with its buds is drawn very roughly in the field of the panel, on each side of the central design. In 670 these lotos-sprays are promoted to occupy lateral panels, while the central panel is almost wholly filled by the elaborately chequered triangle. II, 934, 894 (669, 670). 671. Krater, with more elaborate panel ornament. Here the lateral panels also are filled with a chequered lozenge pattern; and lotos-buds are freely used as accessories to the central design. The neck ornament also is affected now by the new Orientalist influence. The old "wavy line" gives place to a scheme of panels containing eight-Iea\ed rosettes and a cable- ornament: both commonly regarded as loans from the art of Assyria, and as appearing on the Svrian coast and in Cyprus in the latter half of the eighth century. The same combina- tion of rosette and guilloche occurs also on 694, in Wall-Case 20. H. 8 in. 672-4. Kraters, marking still further progress. In 672 a large red and black lotos now occupies the central panel, and the only remnant (jf the old lattice triangle is a lattice-work filling in the heart of the flower: compare the lotos on 676 and on the large amphorai 696-702 in I-loor-(^ase VI. The more copious use of red paint in broad masses is a further suggestion borrowed from Eg\ptian \asc-painting. In 674 the shoulder ornament consists wholly of lotos buds, unrestrained by panelsor frame; and in 673 a rosette formed of lotos petals is accompanied by very clumsy attempts to draw an l{g\ptian hierogl)'phic inscription enclosed in the conventicjna! frame or cartouche. Hs. 10 in., cil in., 75 in. 11, 935, 895 (672, 673). 83 THF COLLHCTION OF POTTHRY Wall C:aso 075-6. Kyliki;s, of the same angular form as ^()^-6 in Wall-Case 17. The central design is now entirely composed of a lotos flower and ils buds, hut is still enriched, in 075, with the old semicircular excrescences. In ()7() the drawing is quite free, and the use of red paint is conspicuous. Hs. 6 in., 7 in. 677-(). KvLiKi-s, in which figures of birds are introduced, either in addition to the lotos or in place of it. In 677 the bird is represented feeding on the buds of a lotos plant, which occupies the other half of the panel, and betra\s in the pose of its wings and in the character of its head and beak strong traces of the Egxptian models abo\e mentioned. (Compare the master- pieces of this st\le, 752, 754 ff. in I'loor-Case X'lll. The other side of the \ase shows a conventional lotos flower with buds and excrescences, like that on (yj^. in a panel flanked b\- imitations of hieroglyphic writing like those on ()73, des- cribed abo\e. These birds are the first examples of a decora- ti\e motix'e which becomes \er\' popular in the sc\enth century and is discussed below with reference to the "bird-jugs," 721 fl. in W'all-C^ases 21-22, and 7S4 H. in I'loor-Casc \'lll. The profile of these kylikes becomes open and less rigid, and prob- abl\- rather later in date. lis. ()J in., 41',; in., 5 in. Cy- prus, p. 405 (677-' common in the sixth and fifth centuries B. C. Compare 716, of a fifth centurx t\ pe \ery common at Amathus, 88 EARLY IRON AGE. FABRIC XVI in which the spiral was drawn mechanicall\- by making the ^^all vase to rotate on its side, and moving the brush slowh' from 21^^22 the centre towards the circumference. H. i2| in. 706-8. OiNOCHOAi, of large size but rather later form, with various schemes of vertical circles enriched with groups of concentric circles. The\' probably belong to the seventh and sixth cen- turies. Hs. I ft. 1 1 in., I ft. I 2 in., i ft. 3I in. II, 927, t;3o (706, 70(S). 709. OiNOCHOE, probabl}- of the sixth or fifth centur\-, to judge from its form; its ornament, howexer, consists simpl}- of many horizontal bands, some broad, some composed of a group of fine lines; a striking example of the persistence of a motive inherited from .Mycenaean \'ase-painting: compare, for example, 417 in Wall-Case 12. H. i 1-4 in. 710-13. OiNOCHOAi, of a \ery well-defined fabric with \ertical- circle ornament, characteristic of the large fifth centur\- tombs at Amathus. The front space of 712, between the vertical circles, has onl\' small concentric circles. To this, 711 adds a rudel\'-painted tree, and two spear-shaped objects which are seen b\' comparison with 713 to be intended for lotos buds. In 710 the buds ha\e disappeared and the tree is more carefull)' drawn: compare the trees on 629, 786-7. The lotos and buds, together with the same tree, recur on the amphora, 784, which also is characteristic of fifth centurx' tombs at Amathus. Hs. in in. -64 in. 714. OixocHOh of the same style as 710-3, but in place of the lotos or tree is a human head, bearded, in profile, wearing a pointed cap like the sculptured heads in I'loor-C^ase XI. It is drawn in black outline and filled in with dull red. H. c)] in. 713-719. OiNOCHOAi, of the same late date (sixth antl fifth cen- turies) in which the bod\" of the \-ase is more or less barrel- shaped and has no standing-foot. The axis of the barrel is, howe\er, the same as that of the neck, not at right angles to it as in the earlier "barrel-jugs" ()i7-2-i. The ornament con- sists wholly of horizontal bands. lis. ()] in. — ()i| in. 720. Pi.AiN-i.ii'i'i.i) ji'(., with hea\\' rim, in a fabric of dark coarse cla\- with horizcMital bands and characteristic fleur-de-l\s orna- ment added in white. This t\pe replaces the oinochoe with by THE COLLECTION Ol- POTTERY Wall vertical circles, 710-3, in tombs of the fourth century at Ama- ^^ilSCS ,1 III")' ,i _J2 thus. H. b m. Other ktte and degenerate forms which preserve the tradition of the earlier geometrical and mechanically applied decoration are described later on (776 if. in Wall-Case 23). We return now to trace the further influence of Oriental motives, already illustrated b\' the lotos and rosette decoration of 696-702 and earlier groups. (j) PLAIN-BODIl^D VASHS WITH REPRESENTATIONS OF BIRDS AND ANIMALS. 72I-4O Wall Representations of birds and animals appear in the pottery of Cases (];^prus about the same time as the lotos ornament. It does not 20, 21 ■ ^ 22 necessarily loUow that the most clums\' of these representations are the earliest, for at all periods the Cypriote potter was capable of surprisingly unskilful work; and in fact some of the finest and the most careless examples have been found in the same graves. The commonest is a bird with rapacious beak and claws, which has some resemblance (in its most ambitious examples) to the ro\al vultures and hawks of Egyptian symbolism. Some of the ruder examples of these designs have been already described. The birds on the k\likes, 678, 679, in Wall-Case 20, belong to the most child- ish and inexpert variety. Little better are those on the spout-jug 682, and the large vessel 695. That on the k\lix 677, on the other hand, is one of the finest examples of this school of drawing. This new fashion of "representative" or pictorial art obviously could not have free play so long as the surface of the vases was divided up into narrow zones, and the zones into short panels, as was the practice of the geometrical designers. It is therefore not surprising to find that about the same period as the first pictorial decorations, the banded and geometrical ornament of the vases is restricted to the neck and handle, and the whole of the body is left free to recei\e a single figure or pictorial composition. This is not indeed a new practice, as has been seen already (598-9, in Wall-Case 17), but it became very popular as soon as there was this fresh reason for it. In this wa\' originated a new series of oinochoai, probabh' in the early part of the period of Egyptian influence. In these vases the body is of a loose and rather clumsy form, as if the vase were of elastic or tensile material, and distended with fluid. This, like the loose forms of many early vases in Crete and the Greek Islands, ma\' be regarded as a symptom of awakened feeling for the intrinsic 90 EARLY IRON AGE. FABRIC XVI quality of the plastic clay, and as an attempt to express this dis- ^^^11 covery in appropriate form. The neck is usually very short and ^q 21 rather wide; the lip is slightly pinched; and there is often a 22 bird's eye, painted on each side of the spout. The body is devoid of banded ornament, but is decorated with a very few free-standing ornaments. 721-740. OiNOCHOAi, of the "plain-bodied" t}pe above described, with various ornaments, the simplest and earliest of which are familiar ele- ments of the geometrical st}le; the maltese cross 721, the primitive rosette 722, 734, the arrow ornament 722, 734, elaborate triangle 724, and imitated hieroglyphics 732. Concentric circles occur on 727, and a vertical band with "lateral excrescences" on 733. A peculiar variety of swastika recurs on 739. Then in due course come lotos ornaments, 726, and with them animals of different kinds: a Ihing bird 723, a horse 725, a goat 726, and a stag 731. These lead on directlv to the masterpieces of this school of vase-painting, 75 1 IT. in Floor C^ase VI II. A rather later variety has a more flattened bod\' and a wider neck. Its ornaments consist princi- pallv of very hastily drawn birds, 736-8, together with trees, 7 5 5-(), crosses, 735, or rosettes, 737. Another late \ariet\', 72()(> (72()). 11, 942, 947 (725. 728). 727 (k) VASHS WITH [3LUE PAINT AND OTllI.K SYMPTOMS OF ORU-.NIAL INM.ri-NCi-. 74I-75O Two Other small classes of objects, vases with blue paint, and bell- ^'^••'1 vases, are conveniently noted here, as the\ illustrate other s\ mptoms ^'^ of Oriental influence. Both belong to the end of the .Mitklle Iron Age, and do not persist for long, disappearing altogether before the first distinct traces of fresh cont;ict with the (Ireek West. Many of the tombs of the .Middle Iron Age contain i-)la\things and 91 riii- coLLixvnoN oi- potthry \^ -i" other niOLlollecl objects ,2. Ihe ex lent of the sleiAi's is not clear, as the hands are painted in ihe same red colour as the Floor Case \lli 93 THE COLLECTION OF POTTERY l-looi dress, and it is possible that the artist's intention was to \\U represent the arms as bare and issuing from a garment without sleeves. Each figure wears bracelets on both arms. The girdle in each case is concealed by one arm, but its long ends, black, with white cross-bands and fringe, hang down nearly to the hem of the dress, which has likewise a decorative fringe. Below this the feet are represented in black as if shod with high boots. On the breast of each figure is an oval object suspended from the neck, and decorated with transverse bands of black: it seems to be one of the spindle-shaped charms which are worn by the sculptured "temple-bo\-s" in Wall-Case 46. The profiles of the faces, and the eyes, eyebrows, and cars, are represented by black outlines, like the faces of men and animals in the archaic Greek styles of Miletus, Melos, and Aegina. The profiles resemble those of the primitive terra- cottas which preceded the regular Orientalizing st}le in Cyprus: compare 145 i in Floor-Case X, and 2138-9 in the Collection of Terracottas. The e\es, on the other hand, are drawn full-face in accordance with Egyptian convention. The sacred tree which stands between the figures consists of a conventional lotos flower, with large lateral petals in red outlined with black, and a centre composed of a chequered triangle, surmounted by another lotos flower with its buds. On either side of the lower lotos are "lateral excrescences" of the conventional type (595-7), from which spring other small lotos buds. Below these excrescences another lotos flower with its buds shoots out from the stem on either side. The two figures turn their faces outwards, and away from the lotos tree. One hand of each is raised towards the tree, while the other, stretched across the bod\', grasps one of the larger petals of the centre lotos flower. Each figure is escorted by a fl>'ing bird, like the birds on 752. That on the right hand carries its head erect and is crowned with a plume. The head on the left is depressed, and wears a lotos. On both sides of the principal group, lotos flowers and foliage appear in the background. H. 9-4 in. Perrot, fig. 521. 752. OiNOCHOE WITH SaCRHD FrEE, BiRDS, AND AnIMALS, of thc same form and fabric as 751. The neck of the vase has the same ornamentation of bird's e}'es and wavy lines as 751, and 94 EARLY IRON AGE. FABRIC XVI ^^-m\ ;■ ::.> jBB^^(:'' sHRs^t. flH^lp^s^s i' IKi^^x'//: -fc,, -.i '? PI '^yRi^iy ^ r there is the same pointed ornament below the handle, onl>' Floor . , . Case without wmgs. ^^^^^^^^M—H—K VIII The principal design is an elabo- rate lotos-tree similar to that on 751, attended by a pair of flying birds drawn in the usual conven- tional st\le. Bevond each bird is another animal; on the right a winged goat or chamois, running away from the central group, but looking back towards it. its face is drawn in outline, like the faces of the men on 751, but the rest of the bod\' is in solid black colour, within which a small geo- metric panel and two rosettes are ■752 left blank on the white clay of the vase with internal details m black: compare 608 in Floor-Case V, 6Q4 in Wall-(]ase 20, and 699 in Moor-Case VI. The tail, like the head, is represented in outline, but was perhaps filled originally with red paint. On the left is a horned deer advancing towards the central group, with head lowered as if grazing. This animal also is winged, and has similar rosettes and panels of geometrical ornament. Behind it rises a lotcjs llower with a long stalk and four leaves. H. 9] in. 11,857. 75 }. OiNocHcn-: with Muman-hii.adiiO .\1()nsti-;r, of the same form and st}'le. Its onl\' ornaments are the usual bird's e\'es, and a sort of swastika on the lip, and as the principal design, a small winged (]uadruped with human head. I'he body of this creature is in black outline tilled with red; and the head in black outline with the hair in solid black. The wings ha\e conventional feather-ornamenl ; and patches of hair on the throat, sides, and hind cjuarters are similarly "feathered" in black outline. The creature is represented as if running in the air, in a vigorous and lileh'ke manner. Its significance is not known. 11. 8 in. Perrot, lig. 5 19 Perrol's fig. 5 17 is not in this Collection 7S4-59a. OiNocMoAi wrni I'irds, of the same form and fabric as 751-3. Of the birds the most naturalistic is 75^1; the heatl is 95 luior Mil THH C.Ol.l.lUynON OF POTTERY f!nel\- rcpiL'scnU'ci in outliiu-, and llu'io is a lotos plant in the ba:kf;r()und beliinJ tho ntvk. M. ()J in. II, ()5S. 7Sv The bird is shown standing. Its head is in outline; the nearer wing and tail are filled with feather ornaments, and in the hinder wing, whieh is shown raised over the back, two feathers of the wing-cover rise separatelv behind the head. II. Sin. 11,970 753 "34 756. The bird is running. The head is in solid black and the tail \er\' short; the nearer wing fills nearl\- the whole of the bod\- space; the hinder wing is \ery long and elaborate, with two loose feathers on the upper margin, as on 755. In front of the head is a third wing, as though the artist had attempted to represent the bird in front \iew and in profile at the same time. C~ompare the .Assxrian and Hittite de\ ice of gixing a fifth leg to a lion when sculptured on the angle- block of a buildmg. H. 12] in. 757- Ihe hinder wing and tail are entirely' conventionalized into triangular forms. The third wing issues behind the head in flamboyant outline and is filled with the same semicircles and feather ornaments as are emplo\-ed for the wing in front. The bird is in the act of catching a fish, drawn in highly con- ventional fashion, with \er\' long fins and an arrow ornament towards its tail; another arrow ornament in the background points in the direct i(;n of its mouth, and in the mouth itself is a swastika: compare the fish on 760 hereafter. In the back- EARLY IRON AGE. EABRIC XVI ground, above the bird's head, is a square panel, outh'ned in red, and filled with zigzag lines in black. Similar panels have been noted already on 673 and 732; they are probably in- tended to represent hieroglxphic writing. H.Gfin. Cy- prus, PI. xlvi; Perrot, fig. 510. II, 960. 758. A fl}'ing bird, with head drawn in outline, is represented as if about to feed upon a con\entionalized lotos flower. In the background are zigzag lines and a lotos flower in black. H. jl in. II, 959. 759. A panel of geometrical ornament with "lateral excre- scences" stands between two fl\ing birds, more simply drawn than usual. In the field are four swastikas. H. 7 in. Cy- prus, PI. xliv, fig. 34; Perrot, fig. 513. II, 950. 759a. A single large bird flies with only one raised wing, the place of the other being taken b\- a lotos flower; in front is an arrow ornament. H. io| in. (2\prus, PI. xlvi. 11,948. 760. OiNOCHoi'; WITH A Pish, like that on 757; with the swastika in front of the mouth as in 759, and patches of zigzag-ornament in the field. H. 7I in. II, 965. 761. OiNOCHOE WTiH A Ship; painted in black silhouette, with considerable detail. The prow rises abruptly, and carries a fighting-deck on open supports. There is one mast with single furled sail, two sta\'s, and two halliards on the \'ard to adjust the sail. I'he stern-post rises in a bold curve, and ends in a water-bird's head which looks forward. There are two rudders, and screens to protect the steersman. H. ()l in. Cvprus, PI. xlv; Perrot, fig. 529-30. 1 1 , 9()4 762. OiNOCHoH wiiH A RfNNiNO .Man, in black silhouette. He is dressed in a short tunic, and hoKls two spears in his left hand. There are no internal details. 11. 7] in. 763. Narrow-ni-.ckij) }\ (,, with pkiin lip. The design on the shoulder consists of a conventional lotos in front, supported (jn each side b\' a ram-headed ser[ient in black. On the left, near the handle, room has been found also for a human head, Floor Case \111 97 THI-: coLi.F.cnoN oi- potthry FKoor drawn in outline as usual, with sharp-featured profile and wide Y'lll open e\e. The hair falls in a solid mass down the back of the neck, which issues from a close-fitting garment. In the field are two groups of zigzag lines, like those of 757, 760. The lower part of the bod}' is covered with broad and narrow bands, and here the paint is rather more faded than usual. The paint on the shoulder, on the other hand, is unusually brilliant, as though the vase had been painted in two distinct stages, or with ditfercMit materials. At first sight this gives the impres- sion that this vase has been retouched, or overpainted recentlv, but closer examination makes it certain that both the bright and the dull paint are alike ancient. Probably the artist's paint was running short, when he began work on the neck, and he mixed a fresh supply before touching the principal subject. H. 74 in. 764. OiNOCHOH, of the same form and fabric as 751-9. The decoration, however, is purely geometrical, and may be rather earlier. In front is a broad-armed cross, filled with geometrical ornament, with a lotos bud growing out of each angle. On either side is a rectangular panel, filled with similar geometrical ornament, and there is a dotted rosette in the field on each side of the cross. The ornamental stroke at the base of the handle is brought around in a wide curve like a whip-lash on either side. A vase of this fabric, found by General Cesnola, but now in the Pitt Rivers .Museum in Oxford, has this orna- ment prolonged into a human hand, to enhance the cfTect produced by the general form of the vase, and its bird's eyes. H. Ill in. Though the plain-bodied oinochoai above described offered by far the most ample field for these pictorial designs, it must not be supposed that they were confined to this form. Really fine examples, however, on other shapes of vases are not common. 765. Barkhl-Jug, with a strainer inserted in the lip. On the hood above the strainer is an ornament of concentric coils like those on 643-5 in Wall-Case ig, drawn in white paint on a black ground, as if to represent a fringe of hair, '["his is an unusuallv early example of the use of white paint for details Such enhancement never becomes ccjmnK^n on the White Ware, but is common on the Red Painted Ware and Dark-ground Wares in Wall-Cases 24-6. The body of the vase is divided into EARLY IRON AGE. FABRIC XVI zones by a scries of vertical circles. The central zone contains a flying bird of the usual t\pe, and a rectangular panel filled with zigzag lines. Each lateral panel contains a rosette of eight leaves, alternately black and shaded, on either side of which is a conventional lotos flower in red and black. A small outer zone at each end of the vase shows a panel of geo- metrical ornament, flanked by "lateral excrescences" in solid black. H. I ft. 2 in. Cyprus, p. 405; Perrot, fig. 496. 766-7. OiNOCHOAi, with the customary "vertical-circle" ornament on the body. The central panel of 766 shows a highly con- ventionalized bird, like that on 757, together with a rosette and geometrical ornaments. The two lateral zones have geometrical panels like those on 765, flanked b\- the usual excrescences. On 767 the central panel contains onl\' elaborate geometrical ornaments in red and black, and the lateral zones only a single series of arrow-headed lines like those on 722. Hs. 3^ in., 1 1 in. II, 973. Floor Case \ill Conversel\-, other designs besides the conventional birds are fairl\' ccjmmon on the "bird-jug" t\pe of oinochoe. Examples on a smaller scale ha\'e alreach' been noted, 'Ji^-U, 731, in b'loor-Case 21. 76rS-9. OiNociioAi wnii IIoksi-. and RidiiK. In 7()iS there is a l(Hos flfjwer in front of I he horse anti Iwo doited rosettes and an arrow ornament in the lieKI. 1 he bod\' of the horse is dr;iwn in solid black, but the neck ami head are in outline, and are filled with crossed lines representmg the mane. 1 he 09 THH COLLECTION OF POTTHRY Moor inner spaces of the head ha\e also red paint. There are y'iII two hirge plumes on tlie top of the head, and the hairs of the tail are rendered b\' arrow-shaped lines. The rider is repre- sented in childish fashion as if standing astride on top of the horse. His legs are in solid black; his body has crossed lines representing draper\'; his arms and head are in outline, and he seems to be wearing a helmet with brim projecting in front and behind. The inner spaces of his arms are filled with red. 769 has a similar representation. The horse is entirely drawn in outline and filled with red. On the hind quarters is an ornament of concentric semicircles, and the tail is elaborated into a lotos bud. On the head of the horse is a highh' decorated crest, like the stilted crest of the helmets on the "Earh* Attic" group of Greek \'ases. It is intended here to represent a plume of horsehair or feathers like that worn b\' Egyptian chariot- horses in general. The bridle of the horse is grasped in the left hand of the rider, who is drawn in outline, with red filling. Both his legs are represented as passing on the further side of the horse. He is bearded, and has long hair on the back of the neck. In the field are swastikas, arrow ornaments, and a triangular design with elaborate filling. On the neck of the vase, which is longer than usual, there is a panel filled with zigzag lines and flanked b\' arrow ornament on either side; and on the rim are bird's e}'es. Hs. 13 in., 8| in. Cx'prus, p. 333 (768). H, 969, 770-2. OixocHOAi WITH Horned .•\nim..\ls. On 770 the body and legs are drawn in solid black, but panels filled with geometrical ornament are left on the hind quarters and neck. The head is in outline and tail erect. In the field are four crosses in red with dots between the arms. H. 10]: in. 771 has a xcry similar quadruped with the same geometrical panels and dotted crosses. It has, also, two long, wa\'_\' locks of hair behind the horns. H. 7 in. 11, 945. 772 has the animal more simplx" drawn, in solid black, with the head in outline, and the neck filled with red. There are no ornaments in the field. H. jl in. With the pictorial vases above described ma\' be convenientl}' grouped a few other masterpieces of C\'priote \ase-painting. 773. K-iLix with tall foot and high handles: a \er\' remarkable ^■ase, since one side of the bowl is modelled into the face of a EARLY IRON AGE. FABRIC XVI monkc\', with large cars perforated as if to hold earrings of t'J'>'^'' metal. The features are indicated partlx' b\' remodelling the y'ln wheelmade bowl and partl\' b\' black paint, with which the whole of the rest of the surface is covered. Similar animal- headed and human-headed vases occur rarel}' in Attic work of the earl}' part of the fifth centur\-, but the fabric of this vase, and in particular the form of its foot, suggest the st\le of a ver\' much earlier period, not long after the end of the .M\- cenaean Age. In the absence of an\' precise record of dis- covery, the date must be left undecided. H. 5^ in. 11, 1 1 10. 774. Two-HANDLHD Cup, of uuusual fomi and fabric. The cla\- is peculiarh' white and hard, but quite lustreless, and distinct from that of the .Mycenaean vases. One thin line is drawn in hard black paint on the outside, and the inside is co\'ered with the same paint, except a single band about one-third down from the rim, which is left white. The pigment resembles that of the .M\'cenaean vases, but has been so completel\- absorbed by the clay that it has almost entirely lost its lustre. H. 3§in. 775. Inscribed Bowl, of deep angular form like the early k\iikes, but rising to a narrower mouth. It has a low foot and two handles, and is an unusuall\- fine example of rich geometrical design. The centre panel on either side contains the usual latticed lozenge, with lateral triangles on a ground of red chequers. The lateral frames of the panel are enriched with a string of small lozenges. The handles on each side are double and represent the head and horns of a goat, as on 4()6 in (lase 13, and 403 in (^ase 12. Painted in the under side of the bod\' is a short Phoenician inscription /*^ N^ described, with other inscriptions, in the .Appendix. 11. 7^ in. (Ixprus, p. 68; Perrot, fig. 479. II, 1047. Hi:LLnNIC AGE: EARLY OR HELLENIC PERIOD: ABOUT 500-300 B. C. FABRIC XVI. WHITE PAINTED WARE (CONTINUED^ (m) COARSE AND DEGHNERATE VARIETIES, SOME INFLUENCED BY HELLENIC ORNAMENT "^Vall A FTER the middle of the fifth century the "Graeco- '^2^ /\ Phoenician" pottery degenerates rapidlw The forms be- / \ come coarse and hea\\', and the ornament careless and infrequent. The series of oinochoai 710-719 in Wall-Cases 21-2, which are for the most part of the fifth centur\, ha\e alread\- illustrated this. Other forms of late date are collected in W'all- Case 23. 776. Wine-Jar with flat shoulder and rounded bottom. The onl\' ornament is a band of red, edged with black round the middle of the bod\-. This form supersedes the more conical form which was in use in the seventh and eighth centuries. It has been found forming part of a regular dinner-ser\ice in a sixth century tomb at Kition, now in the Ashmolean .Museum, Oxford. It was designed to be supported on a separate base in the form of a cla}' ring, of wiiich there are examples in the set above mentioned. H. 13! in. 777. Amphora of a t\'pe which is common at .Amathus in tombs of the late sixth centur\- and of the fifth. It combines con- centric circles on the neck with carelessl}' drawn trees on the bod\-. Compare the similar tree ornament on the same form of amphora 786 and, later, on 953-7. H. i2o in. II, 989. 778-81. Krater-Amphorai of peculiar form and fabric. The ornaments include rough latticed figures of o\al shape (778, 779), together with the cable ornament (779), which does not 102 HELLENIC AGE. FABRIC XVI usually occur later than the sixth ccntur\', and the fish (778), ^^^i" which again is usually an early motive as on 757, 760 in Floor- _, ' Case VI 11. The ornament of 780 is similar; rough red lozenges in a black frame on the shoulder, and a carelessly drawn bird on the neck. Some of the spaces in the pattern are filled with bright \ellow paint: compare 742 in Wall Case 22. 781 has roughlv drawn trees on the shoulder and broad bands on the neck. Though of similar clay and paint, it is probably later than 778-80: similar vases have been found in fifth and fourth centur}- tombs at .Amathus. Hs. 81 in. — 5'i',in. 11, 913, 924 (779, 780). 782-786. -Miniature Vases reproducing characteristic forms of the Hellenic period: compare 640-2 with 782, and 537 with 785. The pointed wine-jars copied in 783, 786 belong to the sixth and fifth centuries. The miniature amphora 784 is (jf a fabric which is peculiar t(j Amathus, and persists there through sexeral \arieties frcjm about 550 to 330 B. (1; its principal zone of ornament lies at the greatest width of the bodv and consists of three panels, of which the lateral ones are tilled with lattice and the central one with a lotos llower and buds, flanked b\- con\en- tional trees. The finest exami')K's of this t\'pe (^British Mus- eum, C 832-845) have ver\' cTib()r;ite geometrical ornament on the neck and shoulder, and figures or scenes on the [lanel zone, executed in a st\ie borrowed from the "black-figured" vases of Creece, with details frc-elv reinlered b}' incised lines, lis. 5.', in. - 5.1 in. Doell, x\ i, 1^, 356() (784). 787-()i. OiNociioAi of kite forms, decorated with broad and narrow bands; ■ji^H--j()() also lui\f concentric circles, and 787 has a tree jiainted on the shoulder. lis. () r',, in.— 6 in. 105 Wall Case ^3 THE COLLECTION OF POTTERY 702-705. Vases with Tubular Si'outs. These probably served as children's feeding bottles, and have been commonly found in the graves of women at Amathus. They are of various dates from the Early Iron Age to the fifth century, but become commonest in the later periods, and are therefore grouped together here. 702 is of sub-M\cenaean form with the handle arched over the mouth, and rudely drawn lotos flowers on the shoulder: compare with 480, 686. Such forms persist long in Cyprus, and probably this example is not earlier than the seventh or sixth centur}'. H. 8 in. 703 has the neck modelled as a woman's face with long masses of hair falling on the neck on either side; round the throat is a necklace with pendant. The two spouts project from the breast of the figure, it may be of the early sixth cen- tury. Compare 030, 03' "i l^hc Painted Red Ware in Wall-Case 27. H. io| in. Doell, xvi, 23, 4061; Cyprus, p. 402. II, 908. 794 has the spout and the whole front of the vase fancifully treated as a gro- tesque face with painted eyes. This type is common at Amathus in tombs of the fifth and fourth century, and there are still later examples in dark-coloured ware with white paint, 034-5 in Wall-Case 27. H. 5 in. Cyprus, p. 405. 705 is a degenerate example, with narrow neck and upright handle; probably of the fourth century. H. 5-^ in. 796-8. ToRCH-HoLDHRs: a rare form of \cssel, shaped like a large candlestick standing in a wide saucer. On the margin of the saucer of 797 is a slight pinched lip. Objects of this t\'pc form part of a dinner-service in the rich tomb at Kition already quoted on the wine-jar 776. Similar \ases of much earlier date arc known from Egypt and from Tell-cl- Hesy on the Syrian coast. It is believed that the)' served to hold torches, but the purpose of the lip in the saucer is not quite clear. Here there is no painted 104 793 HHLLHNIC AGH. FABRICS XVI AND XVII ornament, but one of the specimens from Kit ion has a broad ^^'^^" band of red paint. Hs. 3^ in., i^ in., 2I in. ''^^ 799-800. IDehi' Bowls without ornament, except for a black band along the rim. lliey are commonl\' used as drinking cups from the sixth to the fourth centur\' at Kition and elsewhere. Hs. 2I in., 42 in. Later developments of the White Painted Ware are grouped with other vases of the Hellenic Period 929 ff. in Wall-Cases 27-28. But it will have been observed that some of the t3pes already described, 782 ff., 792 ff., last on into the Hellenic Period, though they are grouped here because the\' begin before it. FABRIC XVII. RFD PAINTED WARES Side by side with the White Painted Ware of Fabric xvi, already -^y j, described, there appears, at every stage in the Iron Age of C}'prus, Cases a parallel series of Red Painted Wares, which soon supersedes the 24,23 earlier Red Wares of the Bronze Age and the Period of Transition. in these fabrics the cla\' is brick-red, sometimes of dull surface like the White Painted Ware, but often smooth, hard, and almost lustrous. In the standard fabrics, the ornament is executed wholly in dull black paint, but there is a distinct and coarser variety (Fabric d below) which has occasional details in white. The designs are in general similar to those of the White Painted Ware, but lhe\- show less variety and are almost unaffected by either Oriental or natural- istic influences. Fhe principal fabrics are as follows: (a) RED BLCCHHRO WARES WITH I'AINTED ORNAMENIS Theearliest examplesof this ha\'ealread\' been studied in connection with the Red Bucchero fabric in Wall-(^ase 13. (b) EARLY IRON ACE! TR ANSIIION AL KIDDISH WARE Wrril BLACK AND RED PAINT This is confined to the earliest Transitional phases of the Iron Wall .Age, and is realh' an intermediate between the White Ware and ^-■'^'-' the standanl Red Ware; for though tin' cla\' is reddish, the colour "[op seems to he m(;re or less accidental ; Jinl the decora t ion is in t he same black ;is is customar\' in the c;ise of tlie While Ware, and, like it, is often enhanced with Ixinds of ;i warm red, which looks almost crimson against the reiidish surlace of t lu' claw The plate .S57 THH COLl.lICnON OF POl IIRY Wall Case 1 op in \\'all-('.ase 2S, with red and bhuk baiuis, and latliec triangles like 4()()-7() in Wall-Case 13 and =,(n>-^ in Wall-Case i(), is a fine example. 80 1 -^ A.MPHoRAi of forms like the White Painted Ware in Wall- Cases 14, It. with simple bands and geometrical ornament; H02-3 ha\"e pale red cla\-, and black paint onl\-; cSoi, placed here for conxenience, has bands of white, and belongs to the same Tricolour Fabric as 870-903: compare 924-8 in Floor- Case V'il. Hs. 13.' in., i2t in., 12^ in. 804. Spout-Jug, or Fhhding-Bottle, of earl\- "Kouklia" form and ornament, like 540 in W^all-Case 15. This is a typical example of this Transitional l-'abric. H. 61 in. Wall Case Middle (c) MIDDLE IRON AGE: STANDARD FABRIC WITH BLACK PAINT ONLY The forms have a general resemblance to those of the White Ware, but the Red Ware treatment of them has alwa\s something pecu- liar, and a few forms are almost confined to the Red Ware. Minia- ture \ases are far commoner in this ware than \essels of normal and useful size. 'Fhe decoration consists of a few of the commonest elements of White Ware ornament, namel\', broad bands and gnniped narrow bands; concentric circles and combinations of \'ertical and horizontal circles; occasional swastikas, as on 832-3; and (\'er\- rarel\') fantastic additions, such as the strainer in the neck of NiH. the cow's head on 819, and the bird's e\e on the lip of 820, The following examples are txpical. S'()() 812 804 803-808. OiNOCHOAi of normal size and \arious torm; the conical or pearshaped bodies are characteristic. .All are decorated with the same schemes of \ertical, horizontal, and concentric 106 HHLLHNIC AGH. FABRIC XVII circles, as the White Ware oinochoai, 706-713. Hs. 8f in. — 5I in. II, 915, 920 (805, 806). 809-817. .Miniature Barrel-Jugs, and kindred types of flasks and flat-rimmed jugs, like the White Ware types, 617-639 in Wall-Case 18. Hs. 6rV, in. — 3Vii in. Wall Case 24 I op 818-824. Fantastic Oinochoai, of which the following are the most noteworth}': 818, with a strainer on the spout; 819, with the lip shaped as the head of a horned animal, an unusuall\- fine example, with lustrous surface and rich \el\et\' paint; 821, with vertical and horizontal circles, and an elaborate rosette in the front panel; 824, with annular bod\' on high lotJt, like the Red Bucchero 473 in Wall-(^ase 13. Hs. 6| in. — 5I in. (^_\-prus, p. 275 (818). 1 1, 919, 921 (8i(), 82 i). 825. Spout-Jug or I-'eeding-Bottee, of C.\-pro-.M\cenaean form, like 686, 792, with a loop handle across the neck. H. ^l in. «55 826-833. Hant)Ee,-Rii)ge Jugs, of the same varieties of form as in the Painted White Ware()Si if. in Wall-Case 19. Note the swastika ornament on the shouKler ot 852-5. lis. 5:ijin. — 2 in. 107 THE COLLECTION OF POl ILRY Wall Cases 24 1 op and Wall Case 1 op Wall Case Middle 834-S39. AliNiATL :ri£ Oinochoai, of \arious forms, recalling the Red Bucchero t>pes, 471-5 in Wall-Case 13. Hs. 3^ in. — 1 1 i! in. 840-843. MiMATLRi-. Jfos, with characteristic conical bodies; 841-3 ha\e a peculiar swollen throat. Hs.3 SI; in. — 2 i"",; in. 844-850. .X.Mi'HOKAi AND Krati-rs, of the Same miniature st\'le, with plain bands and schemes of concentric circles. Hs. 4 1 in. — \ I in. 851-833 Krat[-:r (851), .Amphora (852) and Oinochoh (853) of un- usuall\- large si/.e for this fabric; with simple ornament of bands and concentric circles. These larger and coarser vessels link the hner fabric with the imitations which are grouped under (d) below, and 853 has e\en a few dots added in white paint. Hs. 12.J in., 81 in., 13! in. 854-8O8. Plai HS, Bowls, etc., of various forms and periods, with concentric-circle ornament like the White Ware, 600-6, in Wall-Case 17. The earl\' plate, 857, with geometrical orna- ment on the under side, has been alread\' noted under Fabric (b) above. The kylix 863 on high foot, with low cover, 864, is in a technique akin to Fabric (h) (913-6) below. The plate 867 has concentric circles, and characteristic binding pattern: the presence of white details connects it (like 853) with Fabric (d) below. Ds. lOg in. — 32" in. Wall (]ase 23 Below 869. Plati-;, elaboratelx' decorated with maltese cross, basketr\' ornaments, and concentric circles. It is probabl\' of early date; for on the back are painted birds and trees in a childish st\le like that of the earl\- tlask 544, in Wall-Case 15, and of the plain-bodied jugs, 721-740, in Wall-Cases 21-2. It prob- abl\- belongs to the eighth or se\enth centur)'. D. 1 12 in. 108 HELLEN'IC AGE. FABRIC XVII 870-876. MiNiATLRE Plates and Bowls, some of peculiarly Wall delicate fabric. Ds. 6 in. — 3^ in. Case 26 elow 877-878. Miniature \'ases, accidenlall\' discoloured by firing, 1' and superficial!)' resembling the dark-coloured Fabric f (908-9). Hs. 3.1 in., 2J in. (d) TRICOLOUR FABRIC, WITH K iT) SLIP, BLACK PAINT AND DETAILS IN WHITE:. 879-903 Numerous imitations of the standard Red Ware are found in most parts of Cxprus. This "Tricolour Fabric" is b\- far the commonest and is the onl\' one in which vases of useful dimensions (such as 801 in Wall-Case 24 and 924-928 in Floor-Case VH) predominate over miniatures. The ornament is still essentiallx' in black paint, but a chalky lustreless white is used also either for independent designs, or more commonlx' in dots and other details added on the black bands (885, 886, 887, 891). In the same wa\', dots or borders in black arc used to enrich the bands of white on 890 and 853 above. The forms are numerous, and fairl\' well marked. 879. IT.AT-Ri.MMED JuG, with tall bod\' and moulded neck. H. Wall H)}, in. Cases 880-883. OiNOCHOAi with the usual \ertical and horizontal circles. .Middle (Compare 928 in Floor-Case \'1I. Hs. 13^ in. — 9^ in. ~' 884. OiNCJCHOE with \ertical and horizontal circles. In front is a charging bull painted in white, with black outlines. H. \ \\ in. 885-888. OiNOCHOAi of \'arious long-bodied forms. The hod_\' of 887 is contracted into a number of horizontal lobes. Ms. 6| in.^3i;; in. II, 995 (880). 889. Di.i-.p Bowl on high foot. II. 3:,' in. 890. P>owL-(>)\T-,R of beehixe form, with handle formed b_\- a small deep bowl set on its summit. I). 7s in- 891-S9S. Ampiiokai and Kkaii.rs. .S()2 is a miniature wine- amphora of the conical lorm, swollen ai the shoulder. lis. 6J in. — 3-2 in. Bowl of l-'abric d with red slip and concentric circles. 1). 9^ in. 928. OiNOCHOH of the sixth or fifth century, with vertical-circle ornament like that of the White Ware oinochoai 703-20, en- riched with groups of concentric circles. H. 13} in. POTTERY OF THE HELLENIC AGE VARIOUS FABRICS AND PERIODS In the Hellenic Age, the native C\priote st\ les of potter)' all de- Cases g<-'n*-'rate rapidl)', and disappear. Earlier stages of this degenera- 27,28 tion have alread}' been traced in dealing with the oinochoai of White Ware, Group i (703-20), and the wine-jars and amphorai of White Ware, Group m (776-800); compare the amphorai of Red Ware, 953-7. 1 he pre\alence of vases with spouts in later periods — though the t\pe itself begins earl\- — has alread}' been noted on 7()2 tT. in Wall-Case 23; and it remains to illustrate a peculiar antl \'er\' decorati\'e \ariel\' of these, which remained popu- lar locally almost into Roman times. VASES WITH MODELLED SPOUTS REPRESENTING WOMEN WITH PITCHERS, OR BULLS, 92C)-()55 This peculiar group of \ases occurs fairly commonly at Kurion on the west coast, and at .Marion in the northwest of the island, but onl>' rarel\' in other parts of C\'prus. It ranges in date from the sixth crnturx' to Roman times; indi\'idual examples can usuall\' be dated approximateh' b\' means of their detail and ornaments. The idea originates from the grotesque human look of those earh' vases, like 793 aboxe, which have a sptjut in front, and a woman's head on the neck. HELLENIC AGE. VARIOUS FABRICS 929. Spout Vasi; with plain lip and simple spout. Here there is ^Y^" as yet no attempt to emphasize the human likeness. H. 7^ in. ^^ 28 930-5. Spout Vasf.s with .Modelled Head. In two examples, 930-931, of the tricolour fabric of Red Ware like 879-903, a woman's head, with the hair and jewelry represented by separate pellets of clay, blocks the apparent neck of the vase, and the real opening, through which the vase is filled, is inside the foot, which communicates with a long tube running up the middle of the inside of the vessel after the manner of the neck of a modern safety ink-pot. These trick vases arc not common, but are noted here as examples in which the woman's figure, originall}- suggested by the contours of the vase itself, has become a merely ornamental appendage. Both these examples are certainly as early as the sixth century, and 931 may go back to the seventh. The fine heads 2138-9 in the Terracotta Collection are probably fragments of vases of this class. The ornament of 930 consists of concentric circles only; but 931 has also trees on the shoulder, eyes and horns added to the spout, and many details in white paint. Hs. lof in., 9i in. Cyprus, PI. xlii (930), p. 402 (931): Perrot, fig. 504 (930). 11, 907 (931). 932-933, miniature examples of woman-headed vases, are also of early date; in these the head serves as the spout of the vase. Hs. 34 in., 3I in. 934-5 have the body of the vase painted as a face with e\'es, and the spcuit represents the nose or mouth: this t\pc, like its White Ware counter- part 794, is common at Amathus in tombs of the fourth century and perhaps later still. Hs.C^in., 5 in. 936-43. " WoMAN-AND-PncHHR" Vasi-.s. Thcse show a further stage of development, which belongs to the later sixth or early fifth century. Here the bocK' and neck are those of an ordinary jug of high narrow form, wilh a wide foot. On the front of the shoulder of the vase sits a small female figure, which is 93' 113 Wall Cases 27,28 THE COLLECTION OF POTTERY mocicllod at first in the archaic "snow-man" style, but later is pressed wiiolly or in part in a mould. Lor the processes of modelling and moulding, see the Introduction to the Collection of Terracottas, p. 521. The right hand of the figure holds an oinochoe, the base of which rests on the shoulder of the main \ase, and is perforated below so as to form its spout. The general eil'ect is that the woman, seated at the spout, presides over the business of pouring. This type has a long history, and passes through sewral distinct phases. 936 937 936, the earliest example in the Collectioi;, is in a fine variet\' of Red Ware. Tdie female figure is modelled in the round in an archaic st\le, which, howe\er, shows distinct Cjreek influence. The decoration is in black, enhanced by a lew lines of white. On one side of the shoulder is a figure of a bull painted in black, with the e\es, mane, and folds of the skin rendered b\- incised lines, precisel\- in the st\ie of the "black-figured" \ases of Cjreece in the sixth and earl\- fifth centuries, and of the local fabric of .Amathus described under 7S4. (3n the other side is a lion, ad\ancing to attack the bull. It is painted in white, with the eves in black, and there are traces of incised lines like those on the bull, to indicate the mane and principal muscles. H. 13.^ in. II, y(S6. 114 HELLENIC AGE. VARIOUS FABRICS 937 belongs also to the late sixth or early fifth century. The female figure is less carefully modelled; the face, however, has perhaps been originally pressed in a mould. The ornaments on the neck and shoulder of the vase are in black and white, and include stiff representations of flowering plants. This kind of ornament is common on vases of this style from tombs at Marion. H. lo in. 938 shows the woman-and-pitcher vase executed in the ordinary White Painted Ware. From the general character of the decoration, which consists of a floral wreath around the neck Wall Cases 27, 2(S 940 941 943 and roughly painted lotos flowers and buds on the shoulder, it appears to belong to the fifth or earl\' fourth centur\' B. C, and very probably to a local fabric either of Amathus or of Kurion. The woman's figure is entirely modelled, without trace of moulding, and is roughl\- painted in black and dull red, like the rest of the vase. H. 9^ in. II, 988. 939 is of rather later date. The female figure, which wears heavy necklaces and folded draper\', has been carefullv pressed in a mould, but has been remodelled b\- hand to adjust it to its place on the \'ase, and to attach the oinochoe lo it. The ornament on the shoulder is a bold i\y sprav in black paint, on a red-ware ground, \er\' much in the st\'le of provincial fabrics of (jreek \ase-painling of the late fifth antl early fourth centuries. 11. 8.2 in. 115 THE COLLECTION OF POTTERY "^,^'1" 040 shows a further advance. The woman's head is moulded in a later Greek st\le, not earlier than the fourth century, 27. 2S and her face and dress are also white. On the dress are crosses and borders in red and also in \'ellow. The ivy on the shoulder, flowers on the neck, and olive spray lower down, are also in white. H. i, in. 11, 985. 941 has even more elaborate polychrome ornamentation. The vase is of red cla\', but its surface is covered wholly with black slip. On this are painted bands of white and red, with an iv\' wreath on the shoulder, an olive wreath below, and a four-petalled flower on the neck, all enriched by details in yellow. The woman's figure is ver\' carefull}' modelled, but onl\' the face has been moulded. She wears a high crown, and is elaboratelx' painted; the face, hands, and dress are in red, with man\- details in black, white, and vellow. This polxchrome work can hardly be earlier than the fourth cen- tur\-, and may be later. H. 15I in. Perrot, fig. 506. 942 shows the complete transformation of the female figure into an ordinar>' fully moulded statuette of Hellenistic sl\le. It cannot be earlier than the third century. The woman wears ample drapery, with a long fold over the hair, like a hood. The let't arm rests on the hip and holds a fold of the dress. The whole figure has been pressed in a mould, except the right arm, which the potter has added b\- hand-modelling in the old- fashioned wa\' in order to connect the figure with its oinochoe. The whole vessel is executed in a bright red clay which ma\' have had a pol\'chrome decoration on its surface; it is now, however, almost completelx' washed clean. This fate frc- quentlx- befalls these late vases, because the dense surface- la\er on which the painting is executed is loose, chalk\', and friable, and the painting itself is more like fresco than ordinary potter's work. This is well shown in the next example. H. 14 in. 943 is prcjbablx' of the first or second centur\' A. D. The woman's figure has disappeared altogether, and the jug-spout is left to explain itself. The cla\' of this \ase is bright red, but it was whoUx' covered with a dense while slip, on which festoons of flowers and bands of radial lines are painted in a pol\chrome st\ie like that of the wall-painting of the period. H. 9^ in. 11, 996. 116 HELLENIC AGE. VARIOUS FABRICS 944-50. V.ASES WITH .A.NIMAL-HEADED Spouts, forming a parallel series with those with "Woman and Pitcher." The Red Ware example 944 is of the later sixth centur\-. The spout is replaced by a horse's head, with e\-es and mane painted in black; but the head is not perforated, and is merel\- decorative. 945-9 have a bull's head in place of a horse. These, too, are all unperforated: 945 is probablv of fifth or fourth century date; 946, with white lines on the shoulder, is probably rather later; 947, with painting in purple and orange on faded white ground, seems to be Hellenistic or Graeco-Roman; and 948, 949, are certainly not earlier than the Graeco-Roman period. 950, a plain jug in the tricolour fabric of Red Ware, with concen- tric circles, is of the same type, but has no bull's head. H. 12^ in. — 4I in. II, 980 (944). Wail Cases 27,28 951-2. \'asi;s with Polychrome Orn'a.ment, belonging to the same late stages as the preceding. The jug 952 is in a yellow- ish cla\', with wreaths, palmettes, lotos flowers, and other customar\- ornaments, left white on a red ground. There are traces also of black paint for the internal details. The other, ()5i, is in a reddish cla\', with bands of ornaments, and deep blue on the neck and foot. Both these vases seem to belong to a local fabric of late Hellenistic or Graeco-Roman date, which is well rej-iresented bv \-ases from k'urion in the British Museum. Hs. ()',' in., (jjl in. ll,9f)4, 993 ((.y-,\,(.)^2) 953-7. A.MPiioRAi or iKicoLorK Ri;i) Waki-,, representing a local fabric common at Anialhus in the fifth and early fourth cen- tur\-. Though placet! here tor conxenience, they belong to the same f;ibric as ()2'-, in Moor-(;ase \'lll, and should be corn- Wall Ceases 27,28 aliove 1H1-: (,()Li.i;(.ri()N oi- poiihrv ,- '' pared also with ihe other "trieolour" fabrics S-ct-iu) 5 in Wall- Cases ' ... . ... 27,28 (^ase 2b. rile light-eoloured ela\' is covered with a slip either red, ()S4, c)S5, qsj, or black, i)y}. The neck is ahva\s decorated as if it were of White Ware, with a white slip and black lines. On the b()d\' is a broad zone filled with white ornaments, either lattices, q^^. ()S5, 057, or wa\y lines, Q54, or trees in panels. ()s(i, like the trees on the amphora of white ware, 777, whicli is also of a fabric peculiar to .\mathus. Hs. 13I in. — loj in. (2\prus, p. 405 (QtO). Wall 9s''-()o. P.MNTHD Jugs of characteristic Graeco-Roman form and Case fabric, with flat angular bodies, long cxiindrical neck, and Belovv strap handle. The cla\' is fine, hard, and light-coloured, with decoration in brown glaze paint. Such \ases are ver\' common in Hgxpt, and in all parts of the Eastern Mediterranean. Thex' were probablx' made at more than one centre. On the shoulder of 958 is a laurel-wreath and the personal name Kiiias in Greek. Cxprus, p. 40. On q^q is a similar wreath and the name Eros; on 960 no inscription, but a wreath of laurel and ivw Other vases of this class have representations of tish and birds. Hs. 8| in., 74 in., 9] in. 11, 1067, looi (958,960). V.ASES OF LNP.AINTED CL.\Y VARIOUS PERIODS .AND ST'lLES Wall L'lipainted \'ases in the same fabric of White Ware as 501-800, are Case occasionalh' found in tombs, and rather more commonl\' on in- "^ habited sites and in sanctuaries. .Most of the unpainted forms are the same as the painted; a few, howex'er, are onl\' found unpainted, and represent the common wares of ever\da\' use. Both classes become commoner in the fifth and fourth centuries, while the custom of painting was d\ing out. Both then and earlier, their chronolog\- is obscure, since the\' attract little notice from collectors, and are frequentlx- overlooked in e.\ca\ation. lonibs recentl\' exca\ated at Ph\lliri contained little else but Unpainted White Ware like 9()()-c)7t) and belong to the fourth ccnturw 1 heir contents are in the C\prus .Museum. 961. BoTTLh-Ju(i of long narrow form with short neck, common in tombs of the si.xth and tifth centuries, and probabl}' made for table-ser\ice. H. q\ I in. 118 HELLENIC AGE. VASES OF LNPAINTED CLAY 962. Handle-Ridge Jug with contracted rim and globular body, ^^^'1 following a seventh centur_\' form. H. 81,', in. J^ 963. Pilgrim Bottle of uncertain date, with angular body and short wide neck. H. 10 in. 964. Amphora of uncertain date; the knobs on the neck seem to imitate metal rivets. H. 82 in. 965. HvDRiA probably of the fourth centur\'; the bod\' and neck have much the same form as in the later woman-and-pitcher vases, 941 ff. in Wall-Case 28. H. gh in. 966-7. OiNOCHOAi of characteristic fifth centurx' forms, alread\' a little influenced b\' Hellenic models. Hs. 10 in., 71'',; in. 968. A.MPHORA with narrow neck and horizontal handles, influenced b\' a Hellenic model, and probabh' not earlier than the fourth centurw H. (){\; in. 969. AsKos, almost wholl\' copied from a Hellenic model of the fourth centur\'. H. 61 [; in. 970-2. OiNOCHOAi (970, 972), and Hydria (971) of Hellenic forms, not earlier than the fourth centurw The shape of 972 is found in a local fabric of painted ware, at Marion-Arsinoe. Hs. 6| in., 92 in., 1O4 in. 973-9. .Miniature Vases of various forms. The askos 976 is a Hellenic form of the fourth centur\'. Hs. 4I \\ in. — 3^ in. 980. Jug of unusual fabric with incised crescent-ornament on the shoulder. The date is quite uncertain; not earlier than Ro- man, and perhaps mediaeval or modern. .At the modern potteries of I'amagusta many Hellenistic forms are still repro- duced. H. 8J in. GRAECO-ROMAN FABRICS After a long period of poverty, during the Ptolemaic period, the (iraeccj-Roman tombs ccjntain (jnce more a fair number of vases; though cla>' is no longer so popular as glass at this time. The commonest fabric is the red-glazed "terra sigillata" which per\ades all provinces of the Roman l^mpire, and seems to have been made at many centres. It is not known whether there was a factor)- of this ware in (]\prus. 981-7. Rid (ila/t.d Vases of various forms: the jugs ()8i-2 are common in the second and third centuries A. I).; the bowl IK) Case 70 Tin- coi.iJ-cnoN oi- i'orii:RY Wall Q,S^ shows the original of a \(.'r\' Lommon glass-form ; the pointed amphora ()84 is a miniature of the eonlemporary wine jars; the jug()S5 and the bowl ()', with floral decorations in relief. H. 2 iV, in. 992. .Miniature Spolt-Jlg or Lamp-Fillhr, modelled in light red cla\' to imitate a gourd enclosed in a meshwork of cords. H. 2I in. 993. Jug of red clay with white painted ornament. H. 9J in. 994. Spindll-shapld \'ash of the form popularh' known as a "tear-bottle," in gre\' cla\' with dark red painted ornament. Ihis form is apparentlx' of S\rian origin, but became popular all o\er the Ciraeco-Roman world in the second and third centuries .-\. D. H. ()i',;.in. qciy. AliMAfURK Jug of a characteristic late form, often fount! in tombs which contain much glass. H. 4I in. 996-7. (Child's Rattlhs in the shape of a pig (()c)6) or a swan (()C)7), wheelmade with a pebble sealed up within. L. 4 ', ,■ in., H. 4 I ,'; in. (^\prus, PI. \iii. 998. Rh'^ TON in the shape of an animal's head, in coarse late work. H.42in. 11,814. 999-1000. .Amphorai with narrow neck and \er\' small handles on the shoulder, common in the tombs which ha\e much glass: compare the late alabaster \ases of similar f(.)rm. i()5o-2 in Wall (lase 74. Hs. 4] in., irl in. With these late fabrics compare 958-960 in Wall Case 28. 120 THE COLLECTION OF SCULPTURE THE COLLECTION OE SCULPTURE I. IHH PURPOSE AND USE OF SCULPTURED FIGURES IN CYPRUS THE surprising number and variety of this collection of sculpture fof which onlx' about one third is exhibited, or described here) raise at once the question — " hor what object were so man\' statues produced in ancient C^xprus; and wh\- these particular kinds of figures?" For it needs but little stud\- of the collection to see that among so man\- examples the appearance of variet\- is superficial ; that the great majorit}' of the statues repeat well-marked tx'pes and poses; and that some pes persist through man\' successi\e stxles of execution. Whereas almost all the potterv found in C\'prus is the furniture of ancient tombs, most of the sculpture comes from sanctuaries, and there seems to be no doubt that b\ far the greater number of tlie statues assembled here were found (jn the site of one single sanctuar\', at a place called Ciorgi, near the modern \illage of .\lhienu, about half-wa\' between the sea at Larnaca and the modern caj)ilal Nicosia. This place had been alreadx' supposed b\- the l-'rench antitjuar}', de \'ogue, to be the site of the ancient ("jolgoi, and the higher ground had bei'n partly excax'ated b\' him: he missed, howe\er, the sancluar\' ami its wealth of sculpture. A smaller series, including most, if nol all, of the " leniple-bo} s," I2(;4-j2, was obtained from a sanctuar\- dedicated to Apollo of tin' Woodland (Hylnles) near Kurion on the southwest coast; and single pieces from other hoh' phici's, and from tombs. The site at (iolgoi, as it appears now, nearlv fort}' x'ears after excavation, shows lit tie of t hf extent and character of the sanctuary ; but the exca\at(jr's tlescriplion of it is confirmed, in essentials, by 123 llll'; COLLI-CTION OF SCI LI'TL'RH the ground plan of riLh shrines, oxca\alcci b\' other hands, at Idahon, and at X'oni, north of Nicosia. Cl' P R K ) I H S AN'CTL' A R I FS The hol\' places of C'.\prus were as a rule enclosed b\' a wall and entered bv a gatewax', which at Paphos had some architectural pretensions. .Most of these enclosures contained no temple, and ma\' ha\e been open to the sk\', but the\' ma\' also have contained structures of mud brick. M Paphos, an open court\ard was sur- rounded in Roman times b\' roofed colonnades, which offered some shelter to worshippers, but the\- are of various periods, all later than the fourth centurx', and give no clue to the original arrangement. At Golgoi, and also at \'oni, the good preservation of the shoulders and other upward surfaces of the statues, e\en the earliest, suggests that b\- some means the\- were protected from the weather; and at Golgoi the exca\-ator describes rows of rough stone bases, which ma\' ha\e supported wooden columns and a timber roof, over part at least of the area. At Paphos alone ha\ e we record of an\' material object of veneration; a roughlx' conical haetyl or sacred stone, which was regarded as the local abode of Divine Power, like the ".Merc\- Seat" of the Tabernacle of Israel, and was con- tained in an open-fronted shrine in the middle of the court or against its back wall. The representations of it on Roman coins of Paphos, and on late finger-rings like 4087-92 in the Collection of Ornaments, justify more detailed description. The shrine was a wooden tabernacle of four uprights, joined by cross-beams, and decorated with garlands. The sides seem to be filled b\' some kind of light screen, but the front is c]uitc open, and if there was a roof, it must ha\e been slight and fiat. In some representations, this shrine is fianked b\' smaller structures con- taining other cones, and is surrounded b\' incense-burners, lamp- stands, or pillars for ofi'erings like 1377 in the (Collection of Sculp- ture. Larger detached columns perhaps had the same s\mbolic function as those in Minoan sanctuaries, or the pillars Jachin and Boaz which stood before Solomon's Temple. Other representa- tions seem to gi\-e an outside or back \iew of the shrine, with walls or screens in place of the sacred cones: the\' usually show one of the detached columns leaning obliquel\- against the building, probabl}' a real obser\ation of some striking damage left long un- repaired. Though the coin-t\'pes and gems are all subsequent to the Paphian earthquake in 1 5 B. (>., it is probable that the\- show 124 THE COLLECTION OF SCULPTURE a shrine not very different from the old one; and this is confirmed b\' its likeness to the Minoan shrine in the well-known fresco from Knossos. In front of the shrine is usually shown a semicircular court, pa\ed with slabs; the sacred doves of the goddess are perched on the shrine, or feed in the court\ard, like the do\es of St. .Mark's at Venice. Sometimes they drink from a pond, which c(jntains fish, like the sacred pool of the goddess Derketo at Askalon. GODS AND RhLIC.IOLS BELIEFS IN CYPRUS It is less eas\' to describe clearl\' the deities which were wor- shipped in these shrines, since Phoenicians and Greeks alike ha\e been before us in interpreting the old native worship into terms intelligible to themselves. When a devout Phoenician swore, like Hannibal, "by the gods of sun and moon and earth and meadows and waters," he was using language which would have been acceptable in Asia .Minor, in (^\prus, in earh' Crete, and in fact on almost all coasts of the .Mediterranean, as a general descrip- tion of the powers men ought to adore. Rut some powers were local, like the "meadows and waters" which furnished Greece with deities like Pan, the Graces, and all N)mphs and Dr}'ads. Others held almost uni\ersal swav; most of all, the Great Mother in Earth, who lo\-es all growing things and all things that breed, and is also Ladv of the .Moon; her crescent ensign waxes still o\er the Nearer East. The Lord of Heaxen, too, gi\es to all things light and warmth, and moisture in due season, and health to man and beast. But these kindly powers have their terrific aspect, as well. If the Great .Mother turn awa\' her face, fixing things "die, and return to their dust." If the Lord of lleaxen be angrx', the sun scorches, or is darkened; rain comes not, but light ifing and hail, to wreck the crops; or in his absence, or neglect, bad gotis, onlx' less powerful than the good, go loose in flood and storm. In a cixilization of small insulated c(Mnmunilies, every society of men xvorshipped after its own manner, and had a Lady or a l.ortl (if its (nvn, with here one characterisl ic donfinanl, antl there another. Thus at Ijxblos in Phoenicia, at .\skalon in the Philistine countrx', and probablx' also at Idalion in(Aprus, the "Baalat" or .Mistress xvas, aboxe all, .Mistress of the .Moon; at Pajihos, she is Our l.adx' of the Sea loam, xxliich xvreallu'S all that coast knee- decj) and m;d\(.'S UKinifest her powrr. So, too, the "Ikia!" or (Jtx' Lord of Sidoii, ;is nf ( !;i rt luigr in t lir West , is "the ( at \ 's King of Health," Lshmun-.Mekjarl, while l lie Lord of r}re and of Kition is THE COLI.l-CTION OF SCULPTURH "King of Lightning I'lanic," Rcshef-.Mclqart ; though Kition wor- shipped F'"shnuin as well. In the Cjreek worUi. religious belief began in much the same wa\'; but its course was profoundh' changed b\' the Northern Invaders, who seem to ha\e brought with them gods purged of almost all I(X"al association, and more purely human-natured than an\' deities of the .Mediterranean world. 'W't these 01\nipian Gods, too, are found to di\ ide among them the care dI nature and man. Zeus hurled the thunderbolt; .Apollo ruled the sun, and shot the arrow that tlieth at noonda>', to bring pestilence and sudden death; Demeler ga\e the har\est; .Artemis fostered or slew the wild things on the mountains, and ruled the moon, like the Lad\- of Bxblos. But to whate\er place in Greece their worshippers brought these deities, the\' recognized as their manifestation in that spot the corresponding nature power which the nati\es more ignorant!}- worshipped: Zeus the Ihunderer, for example, in Crete and Caria took o\er the double axe with which the old Lord of Hea\en went forth to kill. .Apollo, Lord of Pestilence, is disco\ered in the Froad in a .Mouse God, and so forth. With the best will in the world, the strangest mistlts occurred. Demeter, the golden Gorn Mother, became the Black Horse at Phigaleia; Artemis, the \ irgin sister of Apollo, became incongruously Diana of the Ephes- ians, the .Mother Goddess herself, perhaps because both claimed dominion in the moon. In Gxprus the Greek colonists found old cults harder than usual to classifw .At Paphos and Idalion function pre\ailed over s\mbol : .Moon Cjoddess and Loam Goddess met Aphrodite, the Greek Lire (H)d's wife, on the common ground of Love and Birth, and in- augurated a cult, half Greek, half from the mainland Last, but in fact essentiall}' C\'priote, which earh' ri\alled that of Lphesian Diana. ^'et her fa\orite sxmbol at Idalion is .Apollo's sphinx, and at Paphos her doves drink from a fishpond like that of the Lad\' of .Askalon. .At Kition, in the same wa\', a Baal who was Sun Cjod and Health God and Destroxer of E\il I'hings, could pla\' almost ec]uall\ well the part of .Apt)llo, of .Asklepios, of Herakles the Lion- sla\'er. .At Garthage the Greeks called him .Asklepios; at Kition the\' figured him as Herakles; at Idalion he is .Apollo. The artistic problems, how to represent such a deit\', are reserxed for separate discussion on 1092 IT. Thus the old culls show through their (jreek dress and names, and epithets helped to make things clear. .At Kurion, .Apollo 126 THH COLLECTION OF SCULPTURE was H\lat(.'s "CjocI of the Woodland;" he was also Amphidexios, probabh' because his statue, like those of Herakles, brandished weapons in both hands; in the village shrine at Amargetti he is Opaon Alelanthios, the "(Companion" or "Good Shepherd." So, too, old native words received popular et}mologies in both languages: at Idalion a local Sun God becomes T^eshef-Mikal in Phoenician, and Apollo Am\klos in Greek; and we cannot tell which epithet is nearer the original name. So, too, Herakles at Amathus was called .Malika, probably from .Melek, "king," or Melqart; and .'\pollo, at Pyla is Magirios, a similar travest)'. These makeshifts satisfied the popular mind all through the great period of Greek thought and art. It was only in Hellenistic times that the fresh confusion which resulted from Alexander's conquests, and the need to incorporate the strange and innumerable cults of the Nearer Hast, made generalizations inevitable, and met Judaism halfwa\- in the search for one God. Characteristic experiments in this (Collection are the amulet 4299 with its concourse of s}mbols, snakes, scorpions, Eg\ptian beetles, and solar discs, round a single man-shaped deit\-; and, on purer lines, the engra\-ed motto (4289) si; Zsj; ^spaz'.c "There is One, Zeus Scrapis," the Father one with his Son, who is Health God, and saves by dying. THE USns OF SCULPTURE IN SANCTUARIES Ancient religious ritual expressed the aspiration of the wor- shipper to enter into the closest attainable communion with the ileit\. Recognized means of such communion were as follows: jHTSonal attendance at the hol\- place; performance of sacred acts, illustrating of the divine power or its effects; participation with other votaries in ritual feasts, chants, or dances; and contributions, according to the indixidual's means - "a pair of turtle doves or two \oung pigeons" to t he material needs of a deit\' conceived in human form. I>ut these religious acts took time, which the \-otar\- could ill spare from the dail\- round; and after all, their fnicacx' was short-li\ed. To maintain continuous communion, while "man goeth forth to his work and to his labour," continuous attendance was essential; but priniitixe thought permitted the substitution of an I'Tligv'. I he materia! abodes of the di\init\', baet\ls or cult-statues or s;icred animals, like the do\ es of Aphrodite, provided an obvious analogv. If thesi' material f(jrms could ensure the divine presence, an image of the worshipper could 12 TT Till- COLLl-CTION OF SCULPTURE surel}' serve to represent liim too, ever present before the face of his Lord, and engaged in acts of worship. Hence, alongside of the cult-statues of the deitx', which were common in Greece and in Eg\pl, familiar in other parts of the old world, and not unknown in C\prus, arose the custom that the \otary should furnish an image of himself, to stand e\er in the hol\' place, and secure the divine blessing to the person who had set it there. And sculptured representations of sacred animals or other attributes of the deity were of no less efficacx' than the image of the worshipper. The Cesnt)la Collection illustrates abundantly all these kinds of votive sculpture. Representations of the deit\', indeed, only become common in C\"prus after Greek influence has prevailed. Representations of the votar\' were, however, always in use. Por- traiture was seldom attempted, and at most periods it seems likeh', from the uniformity of stx'le, that votive statues were prepared in adxance, and bought "read\-made" b\' all but the wealthiest or most scrupulous. The most popular are those which simph' present themselves before the deit\' in their ordinar\- dress, with hands hanging bv the side, or slung in a fold of the cloak; others raise the hands in adoration or pra\'er, or join in dance or banquet, or pla\' the flute, l\Te, or tambourine, the common accompaniments of worship. Women wear their richest ornaments, and carrv a (lower. Either sex may come crowned with wreaths, or bringing offerings of fruit or cakes; of wine (in pitchers, or libation bowls); of incense, or hol\- water (symbolized by a lustral spra\) ; of birds or \'oung animals for sacrifice, or children as thank-offerings, or to invoke a blessing. The birds and animals, being themselves em- blems of the deitv and repositories of divinit\', are often represented separatelv; and in the same wa\' other attributes or accessories: Apollo, for example, is present in his sphinx, 1086-9, ^"d Herakles in the lion or hxdra or triple giant which showed forth his power (i 101-13, 1292-4). Portraits of kings or priests, under these conditions, are hardh" distinguishable, except in external detail, from those of an\' other worshipper. There are, however, a few classes of figures which stand on a rather different footing. \'er\' common in this Collection are the so-called Temple-boys, 1204-22, which are frequent also in sanctuaries at Voni, Kh\'troi, Tamassos, and Idalion. Unlike the adult votaries, which are usualh' male in the sanctuaries of male deities, and female in those of goddesses, these tempIe-bo\'s seem to occur in the abodes both of Apollo and of the Lad}- of 128 THE COLLECTION OF SCULPTURE Paphos. If thev had been confined to the latter, they might have passed for Adonis, the youthful consort of the Mother Goddess in Svria; but it seems most probable that they represent some class of dedicated children, like the infant Samuel in Jewish stor\-, who "ministered conlinuallx' before the Lord, " at the shrines where these effigies are found. These figures do not appear before the fifth centur\-, but, once introduced, they persist till the very latest phases of Graeco- Roman work. .•\ rarer tvpe is a votar\' in Oriental dress, with loose trousers and tunic, and Phr\gian or Persian cap, with long lapels. These figures (12^1, 1350) resemble a late type known elsewhere as "Paris," but the occurrence of a dancing figure in this guise makes it probable that some special kind of worshipper is intended, as with the l'emple-bo\s; perhaps a consecrated person like the Galli and other temple ser\ants of the Mother-Goddess in Asia Minor. Rarer still are figures like 1359, which seem to wear a ceremonial dress, with a peculiar belt, and a napkin tucked into it in front and behind. This can hardly be an\thing else than a religious official in his robe of service; but his duties and station are not known. In Hellenistic times, commonplace CJreek figures of deities (1240-46) such as .-Xrtemis, and perhaps Demeter, begin to intrude at some sanctuaries, among the votaries and temple-boys, and herald the break-up of the simple natix'e sxstem of m\-tholog\- and ritual. Votaries are represented as orators, poets, or warriors (1232-6) or have portrait-heads with x'arving povertxof expression. S(jme of the small heads distantly resemble portraits of Roman emperors; but in no case do these heads belong for certain to the bodies with which the\' have become connected. II. THE mati-;ri.als and pr()ci;ssi;s of Cypriote. SCULP! URl- The materials and processes empl<)\eil In the G\[iri()te sculptor deserve a word of explanation; for th<,'\ illustrate the essential dependence of form and style on the ciiialilies of the rude matter, and on the means which the artist had at hand for imposing his conceptions upon it. (^■prus \-ields nt'ither marble, such as is the glorx' of Attica and the Greek islands, nor compact crxstalline rocks like the basalt and granite of k.gxin. Its sole mali'rials, either tor building or for sculpture, are its allu\'ial cla\'s, and the soft tertiary limestones I2y iHi; c.oi.i.i-crioN oi scllpilri- (.)( its foothills, and of those rolling downs in the southeast, in the hollows of whieh lie the sanetuaries of Cjolgoi and Achna. These ."halk\' limestones are soft as eheese when first quarried, but soon heeome harder, though the\ ne\er stand exposure well. Thex' contain, morecner, so much g\ psum that the\' are liable to dissohe if lhe\' lie for long in wet soil. Thex- ha\e also in most places the tatal defect that lhe\' are interbedded with thin partings of marl, which causes the rock to split into slabs with dangerous ease. E\en the thicker-bedded and most compact \arieties are seldom free from obscure flaws of this kind, which make the car\ing of outstretched hands and feet impracticable, and imperil the nose and chin. Something could be done to e\ade this trouble hv carxing an outstretched hand in a separate block, and dowelling it into a socket at the elbow; but for the most part the nati\e sculptors accepted this limitation, and carxed their statues in much Hatter planes from front to back than the\' emploxed from side to side; and by restricting themselves further to compact subjects, b\' ruthless foreshortening, and b\- some distortion, the\- succeeded in adapting a surprisingly' large number of poses and gestures to their precarious and untrustworth\- material. It should be added that as the limestones var\' locall\',and each sanctuarx' seems to haxe draxxn almost all its xotixe offerings from the quarries of its oxxn neighbour- hood, both local skill and natural limitations xaried concurrentlx'. .■\t Idalion, for example, xx'here the rock is thin-bedded, the statu- ettes are nearlx- all small, and the majoritx- of them onlx' a fexx' inches thick. .\t CK)lgoi, on the other hand, the limestone which was in use is exceptionallx' thick and compact, and much of the sculpture — ex'en the largest — is but little distorted: tor example, the Priest with a Doxe, 1351, the colossal Herakles, 1360, and the larger statues in CA>ntre-Case B. Exen masterpieces such as these are, howexer, usuallx' flat at the back, and the proiecting arms of the Priest xx'ere doxx'elled at the elboxx', in the manner alreadx' described. The tools of the Cxpriote sculptor were primitixe. The block was rough hewn xx'ith a flat-hladeel adze, the marks of xxhich are often to be seen on the backs of the statues. Then a x erx' t'exx- chisels of various widths, and a broad-bladed knife xvere enough to finish the work. The drill, xxhich plaxs so important a part in the sculpture of marble, does not seem to have been emploxed until the fifth centurx', when Greek methods of xvork xx'ere intro- duced, along xxith (jreek models; and ex'en then its use is but rare. 130 THE COLLECTION OF SCULPTURE III. THE USE OF COLOUR IN CYPRIOTE SCULPTURE In a material so soft, so uncertain of grain, and also so opaque as these limestones, reall\' delicate modelling and refinement of surface were out of the question. There was all the more reason, therefore, for copious use of colour. The same practice prexailed in Greece during the earh' periods, when sculpture was still in limestone. The usual pigments are the same red and black as are commonh' emplo\'ed in the potter)', with rarer use of the \ellow and blue-green which appear on a few vases (741-50) and terracottas (2120, 2150-4). The original tint of the blue-green was probabl}' sky blue. Red is commonlx' used for e\-es and hair; for borders and embroidered patterns on the clothing; and for collars and necklaces, which are often on too small a scale to be rendered in relief. Black is almost alwav's used for hair and beard. Yellow is reserved to represent gold or burnished bronze, and blue for textiles, leather-work, and perhaps for sih'er, as on the great sarcophagus 1365 in Floor-Case E. .As a rule, these colours were applied directlx' to the surface of the limestone, and ha\'e been absorbed b\' it so as to leave a stain even where the paint itself has gone to powder. On some of the coarser limestones, however, the surface was first prepared b\' a hard coat of limewash or thin plaster, verv like that of the archaic poros-sculplurc of .Attica. On this limewash, which co\-ered the whole surface, the coloured details could be painted with greater accurac}- and distinction. A good example of this limewash is the great sarcophagus 1365 already mentioned : though it has been slightl\' retouched, b\' far the greater part of its paint is ancient and in good condition. Other important examples of colour, in the Collection, are the well- known Priest with a Do\e 1351, a small statue of Herakles 1093, a life-size bearded head of a Prit'st or \'otar\- i2()i, the Triple (k'r\'on 1202, and two funerar\- stelae !4i3-i6 with knotted sashes jxiinted across their flat surface. Not unnat uralh', the consciousness that colour was axailable to supplemcnl the carxer's etTorls, encouragetl him in slo\enl\- work, I'specialh- after the nati\e st\ le hati lost its archaic \igour. In the ■^ixth centur\-, loo, and perhajis e\ en earlier, t he hair of e\ebrows, moustache, and heard was rendered hv appl\ ing colour to a slightly raised surface, which followed closiT^' ihe contour of the skin, and was left (jin'te smooth. It is no longer cK'ar whether the coloured surface was shaded l(j show the texture; but the analog}- of the U51 mi; c:()LLi(;i ION o\- sculptliri-: aivhaic Greek seulplure alre;ul\- mentioned suggests that it was uniform. IV. THH SUCCHSSION OF STYLES IN CYPRUS A. THH l£ARLn:ST I'HASi;, NOT Y HT MUCH AtFHCTHt) BY ORl HM AL INFLLHNCbS No sculpture in stone has as \et been fo'ind in C\prus, of the Bronze Age or of the EarHest h'on Age. I-"or these earlier periods, all our knowledge of the art of figure modelling is deri\ed from work in diw, or in glazed ware, from ivor\-reliefs, and from engraxed seal-stones. Yet the art is not of whollx' foreign origin. Though the long and continuous series of votive statues from the sanctuaries first becomes copious at a period when Assyrian influence already predominates, ne\ertheless there stands side b\- side with the grim bearded and helmeted heads and " Bab\!onitish garments" in which the intrusive st\ie is most rexealed, another series of figures, beardless, yet not female, h)4o-(), 1251-0, wearing frontlets of nati\e design, and clothed with a peculiar loin-cloth, shaped and sewn like bathing-drawers, which has no counterpart in Assxria, in Eg\pt, or e\en on the S\ rian and Asia Minor coast-lands, and seems to be of a local fashion de\eloped from the loin-cloths and kilts of the C>\'pro-.\l\'cenaean world. That such a costume should ha\e sur\i\ed, at all exents as " full dress" for ceremonial purposes, should not surprise us. What is more notewortlu' is the two-fold likeness of the statues which wear it, to the sharp-nosed, long- chinned terracottas of the Harh' Iron Age, 1451-2, in Floor-C-ase X, in which there is as \et no trace of Oriental st\ie, and to the few surxiving examples of the larger modelling of the Late Bronze Age: compare especialh' the well-known head in painted plaster, from .\l\'cenae, and the female-headed cups in coloured glaze from the British .Museum's excavations at b.nkomi, in (A prus itself. The likeness of the rosetted frontlets which these heads wear to the gold frontlets from late .\linoan tombs at P^nkomi is tempting, but not conclusi\e; since other rosetted frontlets \sere worn b\' the courtiers of Sennacherib. H\en these, howexer, belong to the >earsimmediatel\- around 700 B. (]. If this comparison be justified, the art (jf sculpture must ha\e been practised not much later than the middle of the eighth centurx', and perhaps e\en earlier than that. n2 THH COLLECTION OF SCULPTURE In Greece, few would venture to date any extant sculpture earlier than about 600 B. C, though figures of cla>- and bronze, in more or less Oriental style, may well go back rather earlier, in proportion as the originals of them were easil\' portable. In C\prus, however, Egypt is near at hand, with its long tradition of tigure-sculpture, and Assyria, though far less facile in the round, has relief-sculpture of indisputable antiquit\-, and so like the earlier C\priote work as to make it improbable that they are either independent in conception or very far apart in date. There is therefore good reason for assigning dates to G\ priote sculpture in accordance with the clear sequence of itsst\les. Costumes might (and probabK' did) overlap, but the treatment of the face, and particularl\- of eyes, mouth, and hair, offers a sure criterion of st\ie, and links the whole series at its upper end to Assyrian reliefs and pre-Ass\Tian terracotta figures, and at the lower to Greek art of the late sixth centur\' . B. THh ORIHNTAL STYLE UNDER MAINLY ASSYRLAN AND NORTH SYRLVN INELIHNCES In general, however, our present knowledge has not enabled us to push the common use of sculpture appreciabl\- further back than the period when (^\prus begins once more, after long isolation, to respond to inspiration from outside; and then, as we ha\e already seen from the potter}', the stimulus is at first wholl\- eastern. Obvious points of similarity between earl\' (]\priote sculpture and the llittite monuments of Asia .Minor and North S\ria cannot be interpreted with confidence till the dales and sequence of the mainland art are better known than at present. The}- ma\- be due rather to collateral borrowing from the old Bab\ionian culture of North Sxria, than to direct influence of llittite art on that of (^\prus. \v[ the latter possibilil}' cannot be lef^l out of account, and the traffic in s(.'al-stf)nes and other amulets indicates that inter- course with the mainland was nexer interrupted during the I'.arl>- Iron .Age. It is from .\ss\ria, howcx cr, in its thirtl great jihaseol aggression, after the war 74s, that (;\priott- art st'ems to take its first new inspiration. The elTccts were profouml. The okl framed helmet with side-da i^s stilTt'ns into a rigid cone of metal, like the regulation helmet of .\ss\ rian infantr\' (\2t--><); \hc round shield accjuires a slKirp-p; and the heavv-maned, smooth-bodied lions, iioi, 1305-4, \er}' ditTerent in handling from the lithe natural lions of .Mycenaean art, but no less \ igorous in their own wa\', and clearl\' dependent on the lion- sculpture of .Assxria (see the .Museum Collection of Casts, Xos. 147, 149, and the note on lion-t\pes on p. 239 below). C. THh .MIXHD ()RIhNT.-\L SI^LH LNUbR .M.MNLY EG^ PTIAN INFLLENCH .Assxrian influence, howexer, did not dominate Cyprus for long. It ma\' have begun, as we ha\e seen, a little in adxance of the .Assxrian protectorate; and no doubt it persisted for a while after that protectorate had lapsed; it max, therefore, haxe lasted from about 750 to 630 B. C., and haxe ox erlapped the ne.xt stxie until the close of the sexenth centurx'. But in ()()4, the sudden unfore- seen rejuxenation of Egxpt under the Txventx -sixth Dxnastx' not onl\- marked the turning point of Assxrian fortune, but also impelled Egxpt itself on a career of defensixe conc]uest. It is not certain how soon Egxpt laid political hold on Cxprus: among the Cjreeks, it xvas .Amasis (s70-52() B. C.) xxho had the credit of annexation. The exidence of the potterx', howexer, is conclusixe, that Egxptian fashions were in xogue at an earlier date; and probablx' we max' assign their introduction into (Cxprus to the long reign of Psammetichus, xvhich occupies the later half of the sexenth centurx' (664-610 B. C). This date is of course quite independent of that at which Egx'ptian scarabs and amulets began to be imported, since some of these ornaments go back to the ob- scure period of the Twentx-fourth and Txventx-fffth Dx'nasties xvhich precede the .Assx'rian conquest. (Conspicuous signs of Egx'ptian influence are the linen kilt and the heavy artificial wig, which not onl\' decorated the clean-shaxen 134 THE COLLECTION OF SCULPTURE head, but protected it from the Eg\'ptian sun. In the cooler climate of Cvprus, this wig was of course as unsuitable as the scanty kilt and the bare breast and arms; but it is not necessary to suppose that Egyptian full-dress costume superseded native clothing for every-da\' wear. Indeed, with a very few exceptions, such as 1362, the Cypriote statues which wear the Egyptian kilt still wear also the same skin-tight vest as those with the old native loin-belt. The Eg\ptian kilt itself, too, changes its fashion; only a few examples are folded across, as was the custom in Eg}pt, so as to veil the central panel; the majority have their two sides drawn apart, in several pleats or side-folds, and the central panel, now fully exposed, is enriched with embroidery of uraeus-snakcs and other sx'mbolic objects in well-marked relief. Sometimes the belt is of leather, or metal, or both, and is richly embossed like the panel of the kilt. The fashion of the beard also changes now. The Assyrian full- beard, with its ferocious curls, gives place to one so close-cut that it shows the contour of the chin; and the moustache is often shaved. Curiousl}' enough, the one figure of this st}le which wears a curly beard (1363) is also the onh' one to show the peculiar double crown of an Egyptian king; and as the execution is mature, and not earlier than the middle of the sixth centurv, the guess ma\' be permitted that this figure is intended to represent Amasis himself. D. THE ARCHAIC CYPRIOTE STYLE The art of Egypt, however, never exerted such unqualified in- fluence on C\priote sculpture as did that of Ass> ria; parti}' through the very fact that Ass> rian art had already operated so profound!}'; partly because the Egvptian renaissance itself was intimately connected with the spread of that Hellenism which was soon to supersede it. In Cyprus, too, Hellenic spirit appears increasingly in all departments, absorbing, selecting, and rccombining, from the medley of Oriental motives, the elements of a coherent and harmonious st\'le; and emplox'ing the technical skill which C\'priotc sculptors had won from their \'aried apprenticeship, to render old forms with a new and vigorous naturalism. The same process, of course, was going on in other parts of the (jreek world; but in Cyprus the natixe school of sculpture was older, its materials easier to manage even than the poros-stonc of Attica, and its political and religious constitutions more favourable 135 THE COLLECTION OL SCULPTURE to the produclion of \()ti\e sculpture on a large scale, in proportion as thexwere niorearchaic (p. xxwii). And since the Kgxptian renais- sance itself was distinguished h\ a \er\ similar readjustment of old artistic traditions to the higher canons of the new Hellenism, the Eg\ptian models themsehes, which most influenced the C\ p- riote sculptor, were at the same time more congenial to him, and more consistent with the Hellenic ideal, than the_\- could ha\e been at an\' other period. 'I'he .Mixed Oriental st\les, therefore, pass insensibl\' into the \\jr.^'jj~ ■/y.^y.y.-.r,'^, that ".-\rchaic Cypriote st\le," b\- which Aesch\lus (Supplied 2\>2) illustrates figurati\ eh' the guise of the daughters of Danaos, western in origin, but transtigured by oriental sojourn. The rendering of surfaces rapidl\' becomes more delicate; the e\e and mouth tender and \i\acious, occasionallx' e\en grotesque in their nai\e attempts to be expressixe. The hair escapes from the cap under which .Xssxrian incompetence had hidden it, and shakes oil" the massixe smoothness of the Eg\ptian wig. On the forehead it is drawn forward in one or more rows of small corkscrew curls, borrowed from Assxrian tradition, but transformed altogether in the borrowing. Behind, where it still falls to the shoulders in a hea\\' mass, the same detailed treatment is attempted, and long plaits or wa\\- locks are drawn forward in front of each shoulder. A full pointed beard and small drooping moustache are worn once more, but the beard has curling locks, at first small and numerous, and then relaxing their set rows into a natural disorder. .■\ fresh costume comes in at the same time. The shaped and embroidered loin-belt is discarded; the tunic becomes looser and falls to the knee; and sometimes has what looks at first sight like an overfold. If so, the tunic itself must ha\e changed from a shaped and sleeved \est like the "Ionic chiton" of Asia .Minor, to something more like the " I^oric chiton" of Greece, which is nothing but a simple sheet pinned into shape oxer the shoulders, ^'et some representations (1096, nvS) show the sleexes of the tunic beneath this oxerfold; and it is possible that the new feature is reallx' a separate garment shaped like the undertunic, but shorter in front, wider at the neck, and sleexeless. .\ loose doak is now often worn oxer all, xariouslx" draped about the figure like the Greek " himation." 1 his .Archaic Gxpriote stxle corresponds in date approximatelx with the sixth centurx" B. C. It departs b_x insensible degrees from the prexious Oriental phases, and passes bx' as gradual transi- 136 THE COLLECTION OF SCULPTURE tion into the Mature Cypriote st\le, under Hellenic influence, which belongs to the century which follows. E. THE MATURE CYPRIOTE STYLE This transition might have been more gradual and the effects of Greek intercourse more profound, had the political history of Cyprus been less chequered. On the collapse of the L\dian Empire in 545 B. C, the Greeks of Ionia fell under the suzerainty of Persia; and in the next generation, the Persian conquest of Eg}pt involved the cities of Cyprus, Greek and Phoenician alike, in the same fate. Phoenicia itself had alread}' surrendered before Eg}pt was at- tacked in 526 B. C. For nearly another generation, Persian suprem- ac\' was unquestioned. Then, in 500 B. C, the failure of the Ionian Revolt (p. xxxviii), ill-timed, ill-led, and ill-fated, had theeffect of precluding C\prus from further share in the Persian Wars, and cut off, also, the stream of Greek imports and ideas, which had affected the island fruitfullv so long as C\prus and Ionia were both under Persian rule. Ihis isolation lasted the longer, because the Greek naval victories at Salamis and Mykale, which expelled the Persians from the Aegean, did not directly touch their sea power beyond it. But in 466 B. C. Kimon's double victor\' at the Eurymedon River opened the waters of the Levant once more to the enterprise of the Greek League; and within the next few }'ears C\'prus became the base of a strong naval patrol. Then Persia rallied; the crushing defeat of the expedition to Eg\'pt, in 454 B. C, the political troubles of Athens at home, and the death of Kimon during a siege of Kilion in 449 B. (I. cut short these prospects, and (]\prus was abandoned once more to Persian o\er-lordship, and to ci\il wars of Phoenician against Greek. In (^\priole sculpture, the effect of this sequence of events is clear, (lui off from its Ionian models, ihe .Archaic (^xpriote stx'le belies its bright promise; and the brief contact with Athens in 4()0-44() B. C. gave onh' sh(jrl-li\ed stimulus in a rather different direction. The rare examples of All icized work ( iiHy, i 2()o, i2()5-()(), 1 50(S) ti'slif\' rather to ihe supreme charm of Athenian st\ie — momentaril)' seen, and as suddenh' appreciated - than to an\' real aiiprenlicesliip in this potent school. Though a new and lixing spirit animated them for a brief s|iace, the forms and conven- tions of the native sl\le were not permanent 1)- altered; anti then — !37 THH C.OI.l.HCriON OF SCU LP IIJ R1-; this opportunitN once lost - (l\prus retired into itself, to per- petuate in lonel\- stagnation an archaism which it had all but out- grown. F. THli DHCADHNT CYPRIOTE ST^LE Only once, at a moment when Athenian fortunes seemed to he failing most surel\', did another prince of Salamis, Evagoras, attempt to rescue C]\prus from h\brid indolence and apath\-; and there seems little doubt that craftsmen and other artists came freel\ to his court, as they came to the courts of Macedon and S\Tacuse, in the last troubled \ears of the Pcloponncsian War, and still more during the brief nightmare of Spartan supremacy-. But in Cypriote art long inertia ended in paral\ sis. In the middle of the fifth century C\prus and Athens had still been near enough in thought to be mutually intelligible in art; but before its close, Athens had moved forward, and carried all Greece with her, into a new world of skill and feeling. 1 he Cypriotes alone had sta\ed almost where they were; and to stagnate, amidst such progress, was to die. So the maturer schools of fourth centur\ sculpture displayed their message to blind e\es; the\' astonished where thev should have inspired ; and in bewilderment, the native sculptor forgot or misused the skill that he had, in tr\ing to learn an art that was be\ ond him, and copied, not the spirit of Skopas and Praxiteles, but the mannerisms of their pupils. Divorced, therefore, from a policy of nationalism, in the next generation there was little left for the native art of (>\prus but to sink gradual!}' into a poor local fashion. I he pathetic faces of dead Hellenes on our two mumm\- like sarcophagi, 1366-7, are eloquent of the current neo-Orientalism. Their material and their workmanship are of 1 \re or Sidon, not of Athens. G. THE HELLENISTIC AND C.R A HCO-ROM AN STALES Thus Alexander's conquest, and in particular his annihilation of T\ re, came too late to sa\e the nati\e arts of (!\ prus. Hencefor- ward all is clums\' imitation of whate\er Greek st\ie happened to be current in the new neighbouring capitals, Antioch and Alex- andria. The \igorous realism of Pergamon, on the other hand, finds little place here; and portraiture is attempted but rarelw Most of the statues, e\en of human votaries, follow ideal models, Apollo, Artemis, Denieter; only a few reflect well-known t>pes of figurines. 138 THE COLLHCTION OF SCULPTURE The transference of C\priis from nominal dependence upon Ptolemaic Eg\pl, to form an annex of the i^oman proxince of Cilicia, is a conxenient milestone politicallx', but counted for little in the de\elopment of st\le. No precise dales can be assigned as yet either in the Hellenistic or in the Ciraeco-Roman phase. It can onl\' be noted that, h\- the first centurx' A. D., portraiture has become commoner, though no more touched with inspiration; and that, as time goes on, some ideal t\pes are affected slightlx' b\- the portraits of successi\e Roman Emperors. Some of the latest work shows a remarkable affinit\' with the barbaric work of the Hellenized East, in Persia and Northern India (1219-22). V . GUIDE TO THE ARRANGEMENT OF THE SCULPTURE CASES Within these successi\e periods, diiTerent kinds of sculpture were popular at different times. In addition, therefore', to the principal series, which is intended to illustrate the general characters and tendencies of each st\le, smaller groups have been constituted to represent special cults like those of Herakles, Zeus Ammon, and the Paphian Mother-Goddess; special votive-ofTerings, such as chariot groups, banc]uet scenes, domestic animals, and parts of the human bod\'; and special t\pes of xotaries like the so-called remple-b(j\s. A separate section in the Annex is reserved for sculptured tombstones and sarcophagi. The general arrangement of the sculpture, therefore, is as follows: Wall-Gases 2()-5() contain examples of the princijial t}pes of \()ti\c' statuettes, ranging up to figures (.f ahcut half life size; each t\'pe is grcuiped in historical order, to show the treatment of the same moti\e in successixe stales. ll()or-(-ases Xl-X\'ll contain a parallel series of heads from large statues, together with a few smaller liguri's of exceptional interest. The heads are arranged in order of sl\le, with the special object of illustrating the de\'eloimienl of technical processes and t lu' growth anti change of artistic coin (.'nl ions. ( A'nt 'X'-( ^ases .\ \'> ('. contain colossal ami lile-size statues of each jtrinciixd st\le; the\- should be sUulied in connection with the series of heads in the lloor-( ^ast-s. ( 'a'u\ re-( iases I ) \: 1 conl am sarcophagi and ol her relit-f-sculpt ure; and (j a few architectural lra,miieiils. Wall-Gases 51-72 in the Annex contain scul[)tured tombstones MO Tin-; coLLixnioN oi- sculfiurh and olluT dedications, of xarious periods and st}ics; ihcy art- arranged to illustrate the handling of traditional moti\es, such as the lion, the sphinx, and the faniilx' group, in successi\e phases of art. The Inscribed Stone Objects i(Soi fl. remain for the present in the corridor leading to the Museum Library. 14c EARLY TYPHS OF VOTIVE STATUETTES ORIENTAL STYLi:, MAINLY ASSYRIAN INFLUHNCE A BOLT 700-630 B. C. AS has been explained alread\' (p 133), the earliest phase of \\\y\\ /\ stone sculpture in C\prus seems to owe its inspiration Cases / \ niainl\-, thoui^h not \vholl\-, to the art of AssxTia in its third ■^'*' ''" great period of ascendenc\', from 745 to 664 B. C. The finer and larger examples of this st\le are collected in I'loor-C^.ase XI and Centre-Case A; but the small scale of the great majorit\- of the \oti\e figures makes it possible to bring together in W'all-C^ases 2()-^() a series of the principal t\pes and poses sufficient to gi\e a lair idea of the ideas and methods of this school of sculpture. The principal marks of Ass\rian intluence in the modelling are the prominent nose, high cheekbones, wide open e\es with exaggerated e\elids and arched e\ebro\vs, broad hea\\' chin, and stern, almost brutal expression. The hair, where it is exposed at all, and the beard, which is worn long and full, are rendered b\' rows of con- \entional curls without an\' indication of texture. The feel are \er\- broad and scjuare, with the toes of nearlx' etiual length. \()rARIl-S, MAI.1-: .VND M-MAI.li, I OO I - 1 2 1 hese are the commonest t\pes of statuette in all (Apriote sanctu- aries. I he meaning of the t\ pes thcmselxes, and the ([uestions of costume and ritual which the\" suggest, liaxc airead}' been treated summaril\ on p. 127-9. 1001-5. .Mali. \'()Iakii>- wear a Ioiil; sleextT'Ss tunic and hea\\' cloak, like the large bearded sijtues i ]X'-,-(i in ( A'nt ri'-( lase A. 1 he pointed cup or helmet is of the same t \ pe as on ihesi.' large statues ami on iJu- life-si/e heads in lloor-(^ases Xl-XII; i.p Wall Case 21) THH COLl.HCTION Ol SCI' I.PTLJRH its car-tlaps are turm'tl up, and are (>nl\ slightly indicated, rile hair han.us in a hea\\' mass behiml llie neek, and is ciiiite ct)ncealetl in front by the c:\p. 1 here is no attempt to render its texture. In eaeli ear of 1003 is a spiral earring of the same t\pe as 5078!!'. in the Collection of Ornaments. OnI\' 1004 is bearded; but the costume sIkavs that theothers also are intend- ed for male \otaries. The left arm hangs loosel}' b\- the side; the right is slung in a fold of the cloak. The feet are bare. 'The tunic is rendered without folds, and onl}' the edges of the cloak are shown in low relief: but this simple modelling was enhanced in 1002-^ by red paint, of which man\' traces are seen on the seams of the tunic, and on the border of the cloak; and the cloak of 1004 has a hea\ \' fringe cut in relief. H. I ft. S;,' in. -I ft. () in. Doell, i., 4, 6 (1004); Iv, 356 (1002); xlii, 2()7 (1003); Iv, 355 (1004); 1, xlii, 2()' a number of smaller terracottas of the same type, but most of the representations of horses and chariots come from the tombs, and are small, even when the\' are in stone. The majoritx' are wrought in cla\'; for example, the horses 2078 ff. and chariots 2105 fl'. in the Collection of Terracottas. 1013. HoRsii, saddled and bridled, but riderless. The head is rendered with great \igour, and the mane is shown in relief. There are man\- traces of red paint on head, neck, and bodw The harness is of Assx'rian tx'pe, with headstall and fringed saddle-cloth secured b\- a broad collar and crupper-band. In front hangs a large tassel or fl\-whisk. The native saddle of modern C\prus is essentiallx' of the same t\pe. The small scars on the right shoulder of the horse, on the back of the neck, and on the bridle, suggest that the figure of a groom has been broken awaw Similar groups of horse and groom are known, but are not common (CMC 3301-3). This example is probably of the earl\' se\enth centur\\, and ma\' be com- pared with the horse 2071) in the Collection of Terracottas. H. 4 in. L. ^l in. 1, Ixxx, 5 ! i . 1014. HoRsi-: wTiH RiDHR. The rendering of mane and harness resembles that of \oi i,, with broad collar and tasselled head- stall; but the saddle-cloth is not represented in relief, though it seems to ha\e been left uncoloured while the bod\' of the horse was coloured red. There are red traces also on the rider, who is disproportionatel\- small, and sits high on the back of the horse. Such disproportion is common in earl\- riders like 209O in the Collection of Terracottas. The rider wears 144 ORIENTAL STYLE — ASSYRIAN INFLUENCE a low cap with deep brim and broad chin-slrap, perhaps in- tended for a head-dress like that of 2271 ft'., though these terracotta riders are of much later work. He seems to have held the bridle in his left hand, and to have brandished a spear in his right, which is broken awaw A scar on the right side probably shows where the spear-shaft touched the horse's neck. H. yf in. L. i2| in. I, 512. 1015. Horse with Rider, on a rectangular base. The horse sets both forefeet on a crouching lion, which the rider transfixes with a spear held in his right hand. The rider's bod\- and arms, however, are broken awa\', together with almost all the shaft of the spear. The horse wears the same harness as 1013-14, but more elaboratelv decorated with rich fringe and tassels. There is red paint on the saddle-cloth and bridle, on parts of the horse and lion, on the border of the rider's tunic, and on the base. The lion's head and mane are painted green, and there are traces of the same green paint on the horse's bit. Compare the green harness of the horses on the sarcophagus 1365 in Centre-Case E. H. 61'; in. I, Ixxx, 519. 1016. C2hariot with Four Horses, of clums\' but probabl\- early work. The horses are carved in a single mass, from which only their heads and forelegs emerge. Fhex' are harnessed in two pairs, with Ass>'rian trappings, to poles which project from the forward angles of the car, which is onh' roughl\- outlined. The wheels are omitted altogether. The \'oke is represented as if it spanned all four horses; and the two occupants of the car rest their hands uselessly' on its rim without an\' indication of reins. The\- wear the long-slee\ed tunic and are bare- headed. H.'83 in. L. 8-1 in. W. 5J in. 1017. (Chariot wtth Two Horsi-.s. , The horses stand on a broad flat t-^v base, the height of which is ad- justed b\- a support on the under side, to accommodate the wheels of the car, which are made separateh', and were attached by a wooden axle, likt' the wheels of the cla\- carts 2110-1^ in the Collection of Terracottas. ""/ The wheels are solid, but lia\e the rim and ei^ Wall Case 29 -Middle ht spokes 145 Wall C.ise IIll-; C.OI.l.lU.TlON Ol SCILPTURE painU'ii in nal. IIuti.' is vvd paint also on the yoke and horses, and on the dresses ol the men in the ear. 'I'he Middle horses are lullv' modelled, and their harness is rendered in elaborate detail: it consists of a rich headstall and bridle, a double neek-band, single girth, and broad breast-band with a large tassel or tl\-\vhisk in front, like that of 1013. The \-oke is \ ery wide, with iijiturned ends; the pole over which it is slung seems to consist of a pair of shafts or poles like those of 1016, but lashed together when used as here with onh' two horses. In the car, which is open behind, are two men, separated b\- a fore-and-aft partition. The dri\er, on the right, wears a foldless tunic, and is posed as if he held the reins in both hands. The other figure stands erect, resting his left hand on the rim of the car, and his right in a fold of his cloak, which is indicated with some care. Both are bearded, and ha\e their hair confined b_\" a frontlet, with short curls below. H. ()l in. L. -jl in. W. (Wheels) 6| in. 1, Ix.xx, 520. 1018. (Chariot \\'hf-i-l, from a car like 1017, cut solid, but with the rim and six spokes in low relief, enhanced b\' red paint, oi which l"ew traces remain. D. 3] in. I, xxix, kj8. The \ar\ing number of the spokes in these early .Mediterranean chariot wheels is noteworth}'. The chariots of Kg\pt, which are themselves of .Asiatic origin, and some .Assxrian chariots, ha\e six-spoked wheels, as would be expected in a region which had long used a sexagesimal s\stem for dixiding the circle as well as for other measurements. M\cenaean chariots, on the other hand, ha\ e in\ariabh' four spoked wheels, derived from the simple plank-built wheel which survixed in the countrx' carts of classical Greece. The eight-spoked wheel, which 's a natural deri\ati\e of this four- spoked t\pe, ranged from Central Europe to .Assxria, xvhere it was in use side bx' side xvith the six-spoked txpe; it xvas knoxvn, bx' repute at least, in the Homeric .Age of ("jreece, for Homer gixes eight-spoked wheels to the chariot of the (joddess Hera. In Cxprus the four-spoked wheel xxas introduced b\- the .Mxceiiaean colonists, but in the Later Iron Age, both eight and six are found, as well as painted representations of fixe and sexen due to inattention or careless draxxing. In modern (^x'prus countrx- carts are still seen in xxhich the rim of the wheel is in separate sections looselx' bolted together, and each supported b\- its own pair of spokes. 146 ORIENTAL STYLH ASSYRIAN IN Fl.L nNCH MISCELLANtOUS FIGURES OF EARLY ST'lEE, I()K)-22 loic). Warrior, [irobably broken a\va\' from a chariot j^roup like Wall 1016-17, for his large roLind shield is slung on his back, not ^-"ise carried on his arm. He wears the loldless tunic, witli a c]ui\er slung behind iiis left shoulder, and a pointed helmet with the ear-flaps hanging low, for protection on his journe\'. 1 here is red paint on the lips, helmet, and shield. H. (> in, 1, Ivii, 393. 1020. Banqljet Scene, representing a circular group of figures, reclining on couches which face inwards around an open space; in the centre is a socket intended to hold an altar or table of offerings. A large part of the circular base is broken a\\a\-, and only three of the couches are preserved. On the first couch reclines a bearded man, in pointed cap and long tunic, like the male \otaries 100 1-5; he rests his left arm on a pillow, and embraces with his right a xoung girl who sits across his knees, in a long w(.)man's tunic like 1006-7. On the second couch is a similar man; but his dress is of rough texture, as if to represent sheepskin or fur (as on 103 i), and he has no com- panion. The third couch has a group like the first, but the man is \'ounger, and has less beard. .A sacrilicial meal, such as is representetl here, formed part of man\' religious cere- monies in the ancient world, b'or the general composition of the groups, and lor the pose of the figures, compare the banquet-scene on the sarcophagus i ^64 in Oentre-O.ase I), and the painted representations on (Corinthian and other (ireek x'ases of the sixth centur}'. The lamiliar groujiing of the bantjueters is wholh' in the Ojreek manner. In .-\ss\rian baiu|uets the women sil more sedalel)' and ha\e separate chairs b\- the side of the men's couches. Isolated groups of figures, on single couches, like 1 142-s, in \\'all-(Case 3(), are sometimes fountl in tombs; the\' are probabl\' to be interjireted as abbre\iations of a bani|ui.i -scene; but tlu'\ are of rather later st\ le than this scene, whiLh ina\ be assigneck on grounds of costume, to tin- seventh or sixth centur\', and jirobablx' comes from a sancluarw lor ol her iKinciuet-Scenes, see Index. 11. 6; in. L. n in. W. ()■! in. Perrol, lig. 3()7. I,lx\i, 452. 1021. IliMAN-ni-.ADEi) 1)11.1, AM) l.ioN, rejiresented side hv side, uilh their heatis turned a\\;i\ from each other. '1 lu' feet and hinder jtarts, and one foreU-g of the human-headed figure are 147 THE COLLHCTION Ol- SCLLFTURH Wall Case destroyed. The purpose ol' the figure is uncertain : it ma\' have been part of the arm of a throne. With the lion compare the funerar\- lions i^S^ IT. in Wall-Ceases S2-55. The other figure is winged, like the hunian-headeel bulls in Ass\Tian palaces, but the pointed helmet, with upturned flaps, and the treatment of the beard and lace are entirel\' C]\priote, and probabi}' of the sexenth centurw Ihere are traces of red paint, and also faint traces of black or green, on the wing and neck. H. I ft. 4 in. 1, xlii, 273. 1022. Si-RPHNT ('h.\r.mi;r, holding in each hand a serpent, the head of which rests against his cheek, while the tail hangs down in front of his bodw He wears the loldless tunic with border painted red, and a close-fitting cap on top of which the heads of three more serpents project for- ward, while their tails hang down behind. Probabl\' this figure represents some cere- monial performance, of which no literar\- record has been preserxed : compare the small cla\' figure of a \otar\' and serpent 2047 in the Collec- tion of I'erracottas. it is tempting to compare this ob- serxance of snakes xxith the cult of the Snake Goddess at Knossos and at ("lournia in Crete. The uraeus- snake 1022 which sxmbolizes I^gxptian roxaltx- comes later into the decoratixe art of Cx'prus, and the clax' uraeus 2132 xxas certainlx' intended to represent some C\ priote snake-cult. In much later times, the poxxer to "take up serpents" xxith impunitx' xx'as still regarded as proof of dixine faxour and protection. (.Mark xxi, 18; .Acts xxxiii, 3-6.) The serpent- charmers of C^xprus xxere famous, and their art was in part at least a familx' tradition (Piinx', A'. H., xx iii, 3, 30-1). 148 ORIENTAL STYLE ASSYRIAN INFLUENCE Quite recently a British court in (^\prus ga\ e substantial ^y^i" damages to the owner of a lost "snake-stone" (Lukach and ^ Jardine, Handbook of Cyprus, 1913, p. 246). H. i()l in. 1, xxxii, 2og. FLUTE-PLAYERS AND MASKED DANCERS, IO23-3I The ceremonies of all Cxpriote sanctuaries were accompanied with music, song, and dance. The commonest instruments were the flute, the harp, and the tambourine or flat drum. L'suall\- the flute and harp are alternative, and not habituall\- found in the same sanctuar\'. But exceptions occur; a figure of a harp-pla\er could be dedicated inad\-ertentl\- at a llute-pla\'ing sanctuar\', and so forth; the fine harper and tlute-pla\er 1204-5 in Floor-Case XI 1 seem to have been designed as a pair; and on the engraved bowls, 4557, 4561, in the Collection of Ornaments, flute, harp, and tambou- rine are shown in use together. The flute used bv (>\'priote votaries, like that of classical Greece, consists of a pair of pipes, with reed mouthpieces, held in place b\' a mouth-band which co\ers the plaxer's lips, and is tied behind the head: sometimes I'or further support a cross-band passes o\er the top of the head. The pipes, thus adjusted, were pla\-ed one with each hand. Similar double pipes are still in use among the villagers of Palestine, and in man\- parts of the (ireek world, though not now (2\'prus itself". 1023-S. Fll;te-Players, wearing the same foldlcss tunic as the Votaries 1001-7 in Wall-Case 20: 1023 wears the oxer-cloak also. In 1023, 1027, the mouth-band of the tluli' is not shown; in the n-st il is rendered in low relief, and in 1024 red jxiint is used (perhaps as an ;iflerlli()Ught ) i;i indicate the cross-band; so prob- abh' llu' moutli-bands of 102',, 1027 Wert' originalh' indicated h\' painted lines. 1 hese llute-iilax - ers wear no cap, and the hair is variousK' renden-d: 1023 h;is transxersi- coiK with a sngle row of Miiall ^LirF on ihr forehead; ](j24 has a parliiif '4') 3" Iin-; C.OLI.F.CTION OF SCULPTURE Wall on llu' lorohoad; i()2() wears a wrcalli, from which three ^'^^^' pointed locks of hair fall in front of each shoulder; i()27-(S ha\e similar plaits both before and behind, and 1027 a sinj^le row of curls on the brow. The head of 1026 is unusualh' Icjng and narrow, and recalls the "insular" st\le of earl\' (jreek sculpture; 1027 has more strongl\' Assxrian features than usual, and is of a peculiarl\' soft and white \ariely of limestone, but is ne\ertheless probably of (~\priote work like the rest, and wears characteristic spiral earrings; 1028 already shows Eg\ptian influence, and should be compared with the still more Eg\ptian-lo(jking flute-pla>'ers 1264, 1278 in Floor- Case XII, and the later votaries, 1033 fT. in Wall-Case 31. Hs. I ft. lo in. — 2s in. I^oell, ii, 3, 34 fio24). I, xxi, 44, 42, 4Q, 43, 46, 47. The three figures which follow must be considered together. The first of them has been described more than once as representing an animal-headed monster, of religious or s\mbolic meaning; but if it is compared with the other two it will be evident that all three belong to the same t\pe, and represent votaries wearing animal- masks, probabl}' as performers in some rel'igious ceremon\' of which there are no literary records from C^xprus, but man\' parallels in the rituals of classical Greece and other countries. .Animal-headed personages, running or dancing, are frequently represented on the engraved seal-stones of the M\'cenaean Age: compare Perrot III, fig. 370; De Ridder, Catalogue de Clercq {Aniiqiiites Chypriotes), p. 44, note. 1029. Masked Vot.ary, certainl\' bull-headed, though formerl\' described more than once as a bear. The mask entirel\- co\ers the head of the wearer, and is fitted with a loose neck-cloth, which lies in heav>' folds on his shoulders. This cloth he draws downwards in front with both hands, as though to hold the mask in place. Over the customar)' long tunic, he wears a short o\er-garmcnt like a cape, which seems to envelop the arms; for this perplexing article of (2\priote dress, see 1358 below. On its border there are traces of red paint. H. 8j^' in. Doell, vii, 4, 221; Perrot, fig. 414. I, xxi\', 57. 1030. M.ASKHD \'(yrAR'>-, certainl}- stag-headed, though the horns have been broken away. The mask shows no traces of a neck-cloth, and the hair and right ear of the wearer are shown beneath its rim. The \()tar\- is, in fact, on the point of remcning ORIENTAL STYLE — ASSYRIAN INFLUENCE his mask, and for this purpose holds it in both hands by the Wall muzzle. in this figure the over-garment does not envelop ^^^^ the arms, which are seen issuing from the short sleeves of the tunic. H. lol in. Doell, vii, 5, 220. I, xxiv, sO- 30 103 1. Maskhl:) X'otarv, in the same conventional costume as 1029-30; the rough tooling of its surface ma\' perhaps be intended to indicate sheepskin or fur, as in 1020. The mask, which seems to represent a horned animal (but is very roughly rendered), is held aloft in the left hand of the wearer, who has just remowd il from his head. II. ()l in. I, Ivii, 381. ORIENIAI. SlYI.i:, .MAINLY LGYI'TIAN INFLLT-;NCE, AHOL I 650-600 15. C. The causes of the rapid substitution of |-"gyptian for .Assxrian ^^.^n models in ('xpriote art ha\e alreadx' bi'en tiiscussed in the Intro- CasL' tluction (p. xxx\i): their jirinciixil etfi'Cts in sculjiture ma\- be brietlx' 5' noted here. Tin- rugged feat ures, jM'oniinent nose, high cheekbones, and staring e\'es gi\t- place to a rather narrow jtrominent nose with straight briilge, long almond-shaiU'd e\i's undt-r nearh' straight \\i\. c.oLi.i-i.i ION ()!■ scilpuri-; Wall cNcbrows, a rat her short laLO with full lips, prominent jaw, and small pointed chin. All the proportions of the figure are slender n and graceful; arms and legs, hantls and feel are long and thin; and the waist markedlx smaller than the shoulders. The hair is entirel\- replaced h\- a dense wig which sits rather low on the forehead and is rendered with a smooth swollen surface. The face is usualK clean-sha\en; the stiff chin-heard worn by some Eg\ptian kings is not represented in C^\priote art ; and the presence of a beard, close clipped, and often without moustache, is a sign of (jreek influence and later date. iicLRHs OF gi;nline hgyi^tian workmanship, 1032-34 Ver\ rarelw sculptured figures are reported to be fountl in C\prus which seem to be of nati\e material, but yet conform so closel_\ to Eg\ptian canons of st\le that it seems best to regard them as the work of Egxptian artists resident in Cyprus during the period of its close connection with Hg\pt under the XXVI D\ nastw In default of exact records of disct)\er\', however, it must remain uncertain whether an\- such object was found in the island, not brought oxer more recentlx' from Egxpt. 10^2. \\'ri-si LING Dwarf, bending forward to clasp his opponent, whose hands, broken awa\' at the wrist, are seen gripping the dwarf round the waist. Ihe head is rendered with great \igour and skill; the ears and exes are rather prominent, and the jaw square and firmlx' set. The disproportion of the bodx' is intentional, the artist's clear purpose being to represent a dxxarf. The hair, which is cut.xerx' close, in Egxptian fashion, was painted black. The eyes also xxere black, buL the rest of the figure was painted deep red, like the male figures in Egyptian paintings and reliefs. This flesh colouring is c]uite foreign to C~\priote sculpture, but recurs in 103^ and on some classes of xotix'e terracottas (CMC]. 5501 If.) The limestone of which the figure is made seems, howexer, to be of the common natixe c]ualitx-. H. OJ in. I, Ixii, 364. 103^. SlANDlNG X'oTAR'i' IN EGYPTIAN C^OS'llME. The pose is that of an ordinarx' Egxptian portrait statue, xxith one toot slightlx' adxanced, and the right hand held rather high across the breast. The left hand fell looselx bx- the side, but is broken awax'. The figure xxears the ordinarx- l-'gxptian linen kill hanging from a waist belt; it has the usual deep told in front. 152 ORIHNTAL STYLE MAINLY EGYPTLAN INFLUENCE Above the belt the bodv is nude, except for two hea\_\- necklaces Wall and a massive wig arranged in long coils hanging from the crown of the head almost to the shoulders. The features are of strongl\' Eg\ptian t\pe. The whole figure is elaboratel)' painted, the wig, e\es, e\ ebrows, necklaces, belt, and kilt border being coloured black; the kilt is left white; the llesh parts are light red; and the lips, breasts, na\el, and some details in the kilt-border, of a darker tint of the same red. The statement that this figure was found in a tomb at .Amathus ma\' well be correct. It appears to belong to the late se\enth, or early sixth centur\'. 'l"he limestone is of fine qualil}', but ma\' be native. H. 4^ in. I, xxxiv, 213. 1034. MiM..\TURE Shrinh in Egyptian st\ie, with a cornice of uraeus-snakes. An ibis-headed figure of the Eg\ptian deit\' Thoth, crowned with a solar disc, stands between two con- \entional trees, which form the door-posts of the shrine. The material is a soft while limestone with hard concretions and flaws of brown calcite; it is probablx' foreign to C]\prus, and ma\- well be from Eg\pt. The surface is much deca\ed, but sh(nvs traces of black paint, and (more obscurely) of red (jr dark brown. H. 4^ in. 1, hii, 377. C">I>RI()Th WORK.MANSHll', l.MnATING HGYPII.W SI'lLH, I033-9 These figures are clearl\' distinguished from those of genuine l^gxptian workmanship hv their heaxier proportions antl ruder handling, but their pcjse and costume arc unmistakable. Thev stand \er_\' erect, with one leg, usualh the left, slightlx' adxanced; whereas the figures of .Assxrian st\ie keep iht-ir feet together and in line. The Egxptian figures were unclothed aboxe the waist, but these wear a skin-tight \ est or close tunic with short slee\es, which sometimes show a distinct border. The kilt is more elabo- ralel\' constructed than the plain linen loin-cloth of Eg\pt; its central foid or apron is Hat, still', and often richl\' embroidered, and the belt from which it hangs has prominent edges, and some- limes a decorated surface between them. Some figures (1036 and jierhaps 1030) wear a hea\\' lyiiXjitian wig; others (n)]~->>), the same pointed helmet as the xotarit's 1001 II. in .\ss\ rian sl\le. 1033-0. .Maij. \'()Iakii>, in se\eral \arieties of workmanship. 1 he embroidered ajiron-loid of 1053 shows llie grotes(|Ue bearded head of the IvgN'iilian deitv Bes; then two uraeus- '53 Case ^ I THE c:ollhc:tion of sculptlrh snakes; then a horned animal in a rectangular panel; all in well-marked Cxpriote st\ le. On each arm is a double bracelet, probabh' intended to be of the same spiral t\"pe as 3552-3 in the (Collection of Ornaments. H. 14^ in. 1, liv, 347. io3(). The kilt seems to be pleated or crinkled, like a modern "crepon" material; but the artist has not clearl\- understood what he was cop\ing. The shoulder-seams of the close- titling \est are shown in red paint, and another band of red runs down the middle in front. H. 12 n; in. 1, xx\ i, 70. 1037-8. The pointed cap marks a further departure from Eg\ptian models: it is the same as is worn b\' figures of Ass\ - rian st\le. In both the kilt is \er\- obscurel\- rendered, and in 1037 it is perhaps e\ en omitted, exposing the skirts of the \est below the belt. The \est of 1038 is co\ered with a pattern of obliquelx crossed lines, which recalls the lozenge-shaped quilting of the \ests worn b\' C\priote statues of painted terracotta from Salamis, in the British Museum. H . 2 ft. 7^ in. 1, xhiii, 286 (1037). 1030. The belt has prominent rims, as in 1036, and the apron- fold of the kilt is plain; probabl\' its original decoration was painted. H. 61 d in. I, xxxi\', 210. MIXHD ()RIHNT.\L STYLE, .ABOUT 65O-55O B. C. Under the combined influence of the .Assxrian and Egxptian traditicjns alread\' described, a .Mixed Oriental st\ie was rapidl\- de\eloped in C\prus. This seems to ha\"e maintained itself side b\- side with its foreign models, and also to have out- li\ed them; passing o\er gradually', as Hellenic influence became stronger, into a C\ priote varietx' of the archaic Greek schools w hich flourished in Ionia and the Greek islands in the sixth centurw The growth of Hellenic intluence is most clearlx' shown in the increased obserxance of the natural structure of the human bod\", and its customar\' poses and mo\ements. 1 he rigid con\entions of the Oriental sl\les are gradual!}- oxercome, and the features become at the same time softer and more animated. ^^.\Lh \ 01 ARll-.'^ WhARlNC. IHf- CV I'K lOTl-, BhLI, IO4O-47 These figures are almost the onl\ record of a remarkable piece of natix'e dress, the close-titting belt, or bathing-drawers, which re- '54 MIXED ORIENTAL STYLE places ihe Eg\ptian kilt, and fits close!}- to the bod\- from the ^^ ^>" waist to the upper part of the thigh. It is constructed of two or t,' *" more pieces of cloth, \ariousl\' shaped, and sewn together with prominent seams like those of some of the vests which are worn with it. it is sometimes richl\' ornamented with panels of embroid- er\' or applicjue work. This C\priote garment resembles closely that which is worn by modern acrobats, and (like it) has been dexeloped out of a folded loin-cloth such as is worn b\- man>' Eastern peoples, and was the primitive costume of the inhabitants of Crete and other Mediterranean lands in the Bronze Age. But it was onl\' in (>\prus, where the Bronze Age civilization lasted on with less disturbance than elsewhere, that the folded loin-cloth was full\' transformed, b\' shaping and trimming its lower edges where the\- pass from front to back between the thighs, into this close-fitting hand-sewn garment, which ma\- be regarded as a late representati\e of a traditional costume far older in C.\ prus, and more characteristic of its culture, than either the foldless tunic of the .Assyrian figures, or the Egyptian kilt and apron. Above the belt these figures alwa\s wear the same skin-tight vest as the preceding group, shaped and sewn like the belt itself out of two or more pieces of cloth, with seams and borders prominent or decorated, and (jther ornament of stripes or embroidery. 1040-5. .Male N'oiakihs with C^yprioti^ Bhi.t. The st\-le of \\j]\ these figures \aries, but the\' all seem to belong to the seventh Cases or earl\' sixth centurw With the exception of 1042, which has ^ ' ^' a pointed helmet, the\' wear on the forehead a broad frontlet, plain or coloured red (1040, cf. 1046 a, b, 1047) or embossed with rosettes (1045, ci. 1046, a, b, 1047), which recalls the gold frontlets from Eate AUcenaean tombs at Salamis, now in tlie British .Museum, and thesimilar .Mxcenaean frontlet 3002in the (Collection of Ornaments; comjxire also tlie life-size frontlets on similar heads in lloor-Case XI. L'siialh , this frontlet con- ceals the hair on the forehead; but in 1041, 1044 a single row of small curls is shown. Behind the ears the hair falls in a hea\\' mass on the neck, b.arrings and bracelets are ol the spiral t\pe. Ihe close-filling \esl shows cojiious traces of ornament : broad stripes of red paint on 1040, 1042 (isf. 1046 a; and borders of the same on io4() b.), and reiiresenlalions of trees or branches, lighth incised, on 1045. Ihe belts ha\e richl\' embroidered rosettes and olher ornaments, and show Wall C^.asos 32 THH COLl.HCTION OF SCIILPTURE man\' tiaccs of red paint. Hs. 2 ft. 4^ in. — 6', in. Doell, iii, 2, 7^ (1041); iii, s, 71 (i43)- 1, XXV, 63; xlii, 266, 271, 277; Ixvii, 450; xlviii, 283. 1046 a, b. Miniature Votaries in the same st>le and dress as i()4()-5, but of unusually small scale and more delicate work. The red paint is well preserved on frontlet, vest, and belt. Hs. 5 in., (Sin. Doell, iii, i, 7()( 1046a). 1, liv, 348; xx\-, 64. Ivii, 385. 1047 1045 1047. Bearded Votary, of the same series as 1040-6, but in a rather later st\ie. It is probabl\- not earlier than the middle of the sixth century, and should be compared with the large bearded figure in Eg\ptian dress 1363 in Centre-Case C. The beard is close cut, and the upper lip is shaved, in earl\' Greek fashion; two rows of curls appear now on the forehead, below the frontlet, and the rest of the hair is drawn backward in long tresses. All this marks the spread of Greek notions; but the ancient frontlet, vest, and belt remain. The frontlet has embossed rosettes and dais\-tlowers, like the daisies offered b\' votaries i 167-8 in Wall-Case 41 ; and there are four rosettes on the belt. H. 2 ft. 3I in. Doell, iii, i, 77. 1, XXV, 62. 156 MIXED ORIENTAL STYLE WARRIORS OF MIXED ORIENTAL STYLE, IO48-53 These figures belong to the same period and phases of st\'le as Wall 1040-7, and throw the same light on the armour and weapons of *"'^^^ the time as the preceding group did on everyday dress. 1048. Warrior, wearing Assyrian pointed helmet (like those on the large heads in Floor-Case XIII), Eg\ptian kilt and belt, rather loose tunic or vest, with its arm-holes level with the elbow; its lower edge seems to fall over the belt, but not so clearly as in 1052 below. On the left arm is a small circular shield with a red border and traces of a central design which seems to have been a lotos tree. There is also a broad band of ornament down the front of the vest; and the borders and seams are painted red, and enriched with transverse scratches. One row of small curls of hair appears on the forehead below the helmet. H. 6iV, in. 1049. Warrior, wearing a pointed helmet with nose-piece and cheek-pieces, all clearl\' intended to rep- resent solid bronze; a skin-tight \est and Eg\ptian kilt, the apron fold of which de\'elops below into a pair of uraeus-snakes. The right hand appears to be drawing a sword from its scabbard, which hangs under the left arm from a double belt over the right shoulder. This pose is the same as that of the rude cla\' warriors 2098 IT. in the Collection of Terracottas. The proportions of this figure are unusually stout and muscular. H. lo/V, in. I, xlii, 265. 1050. Head oi- a Warrior, who was apparenllx' leaning or rushing forward. The helmet is of tin- same earl\- western txpc which is shown on the engra\ed bowl 4556 from Idalion, in lhc(>)lleLlion of Ornaments: it fits the head closel\-,and has a prominent rim; its crest runs from front to back, and falls in a long tail behind, and it has a nose-guard and solid cheek- pieces; but it is here worn far back on the hi'ad, in the common Creek fashion, so as to expose the face. The lips of the wearer, and alternate seel ions of the crest, are painted black, and the helmet is xcllox*., to reiMe^eiit bron/e. The work- manship is careful and \igorous. 11. 2;] in. 1, Ixxxi, 534. 1049 IHH C.Ol.LliCTION OF SCULPIURH ^'^^'ll losi HiiAi) <)i- A Warrior, of coarser workmanship than 1050. "'I'', 1 1k' lu'lnu'l, which fits closelv' to the head, and has I ho same l"ore-and-aft crest as k^o, is drawn down over the face, into the fighting position. It has no nose-guard, and the openings for e\es and mouth are rectangular, as in 2100-2, in the Col- lection of TerractJltas. H. 4^ in. 1, Ixxxi, 536 1052. Archhr, wearing the conventional Egxptian wig, double earrings, and the usual skin-tight vest, with doubled seams, and borders rendered in relief. This tunic is ungirt and falls at each side to a long point as in 1358 in C^'ntrc-Case B,but in front it is cut awa\' so as to show a belt and Egyptian kilt. On a double belt over the left shoulder hangs a rectangular qui\er, with its co\er in place, and a cur\ed object which probabh' represents a bow. The qui\er seems to ha\e been of sewn leather, and is painted red. Other traces of red appear on the seams and border of the \est. H. 40 in. 1, Ivii, 375. 1053. Amazon (?) of the same st\ic as 1052, but more fmel\- worked. .As the head, left arm, and both legs are broken awa\', the pose is not eas\" to interpret. The modelling suggests that it is intended to be female, and it is pro\isionall\' described as a fighting .Amazon. It appears to mo\e acti\el\' towards its left front, brandishing some object, perhaps the \ er\ small .Amazon shield, in its uplifted left hand. In its right hand is st)me weapon, most of which is broken awa\'. The dress is peculiar. .A skin-tight \"est, like that of 1050-7, extends to the thighs, and is girt with a narrow belt. Then from between the thighs a broad strap with thickened edges is drawn for- wards and upwards till its free end is secured in the belt. It is not clear whether this is a tailpiece of the \est, or a separate garment adapted from the Cypriote loin-cloth. The whole arrangement recalls the dress of the cla\- figures from the .Miildle .Minoan sanctuar\- of Petsofa in Eastern Cj'cte (B.S.A. IX, i()o3, PI. ix, x). These, however, are male. On each shoulder the raised border of the arm-hole of the vest forms a kind of epaulette, and from each shoulder hangs a belt which crosses the breast, and disappears under the other arm; but there is nothing to show what these belts supported. H. 4I in. I, l\ii, 37(). 158 MlXhl) ()R11-;N lAI. SIYI.H MALli NOTARIl-S IN (,K1:1J\ DRl-.SS, 10^4-58 1 his group illustrates tlic gradual adxancc from the .Mixed Oriental models towards the more uniforml\- llellenized phase which is described as the Archaic (Cypriote st\le. 'i'he\' also contribute in detail to our knowledge of costume. Like the earlier figures in b^gyptian st\le, the\' are of ver\' long and narrow proportions, and put their left foot slightl)' forward. I he vest or tunic is no longer skin-tight; it has short slee\es and falls a little below the knee, it is in fact a \ariel\' of the ionic chiton of the Asiatic Greeks, \\hich has followed the western t\pe of crested helmet (1050-1), and seems to have reached G\prus in the sixth centurw ()\er it is a short cloak, which is wrapped round the bodx' below the right arm, and over the left shoulder, whence it falls in a s(jlid mass in front of the bod\-. This is clearl_\- intended for the Cireek biiiujfioii, the ordinary' out-door cloak in all parts of the Hellenic world. (Compare the more expert treatment of this costume in ioS()-C;o, which seem to be rather later. 10S4-7. -Malh N'otarihs. The head of 1054 has been broken but certainl)' belongs to the bod\'. Though the hair follows other- wise the Egyptian fashion, it falls in broad plaits in front of each shoulder; this in male ligures is a sure sign t)f Cireek inlluence. The feet are shod in soft pointed shoes, like those of the fragmentarv clay figures 1478-84 in l'loor-(^ase X. There is red paint on the shoes, chiton, and himation, and the himation has a border of white bands, on the red ground. 1 he workmanship of 1055-6 is rougher, and the arrangement of the cloak dilYers in detail. In 1057, which is \-er\' rudely carxed, the drapery is not modelled at all, but the hem and lateral seams of the tunic, and also the shoes, are shown in red iKiint. 'The heael is separate, ant! does not belong to the bod\ for certain; for it seems to wear the Hat frontk't which is characteristic of the figures with (".\priole \-esl and belt. lis. I ft. io|| in.- I ft. ^l in. 1, xx\i, (xS (10^4); xxxi, 202 ( i(»5()j, 2o.^ (1055). 1058. lir.AKDii) \'()i.\in', with U[iper li(> sh.axen, like 1047. The head-dress is unusual, and seems to consist of a lolded turban eiiLU'cImg a round cap ornamentt'd witli rings. 1 he himation, drawn untler the ri.uht arm. and thrown loi sel\ o\er the left shoulder, falls in hea\\' sti-;iinlit fokjs nearh to the knee. Wall C:ase ^2 15') Tin; coLi.iicnoN oi- sculptcri-; I'here is no trace of cither tunic or belt, but it is possible that the tunic was represented in paint. II. i I'l in. ARCHAIC CYPRIOIH SlYLH, WITH WESl ERN INFLUENCES ABOUT 600-500 B. C. W all After the close of the seventh centurx', the de\-elopment of C]\'priote ' ^ sculpture is rapid and \igorous. The fall of Nineveh, shortly before 600, the partition of the Assyrian Empire between the Aledes and the Bab\ lonians, and the decline of Eg\pt, which had been forciblx' excluded from this partition, gave opportunity to the smaller states o( S\ria and Asia Minor to develop individually and apart, just at the moment when the Greek cities of Ionia, and new centres of art and industr\-, like (Corinth, Aegina, and Chalcis, in Greece itself, were beginning to realize their own creative ability, and to offer new models of stxle to the Nearer East. The dominant tendencies of C\priote sculpture in the sixth centur)' are therefore Western and Greek, and are best illustrated b\- the Gracco-Eg\ptian work of the same period. There is indeed literarv evidence that C^\priote sculpture was being exported to the great Greek treat} -port of Naukratis in the Eg\ptian Delta and imitated there; and in the earh' fifth centur\- the Athenian Acsch_\-lus could still speak of the "st\ie of C^\prus" as txpical of the age which preceded his own. This Archaic C^\priotc stvie, like all vigor- ous beginnings, includes man\' \arieties of experimental work. What is characteristic of them all is the free adaptation of traditional motives and processes to express the new ideals of beaut\- which more \ivid obser\ation inspired, and bolder and surer workmanship began to realize e\en in a material so unpromising as the Gypriote limestone. The principal t\pes remain the same as before; it is the treatment of them which \aries and dexelops. The dress is now uniform!}' Greek; and the attempts to render the rich folds of its flowing draper}' are ies as will. 162 34 MATURH CYPRIOTE STYLE MATURE CYPRIOTE STYLE UNDliR GREEK INFLUENCE ABOUT 500-430 B. C. The figures which follow seem to belong to the earl\' part of the Wall fifth centurw The\- show e\en more complete predominance of ^'^^^ Greek style than their predecessors, and should be compared with the large heads of contemporar\- work 1295-9 in Floor-(^ase XIV. l>ut the workmanship becomes weaker and more inexact, almost in proportion as it aspires to Hellenic freedom. 1066. Malb Votary holding a Kid. The dress is not very clearly rendered, but seems to consist of (i) a short chiton and (2) a cloak arranged shawl-fashion as in 1061, with its ends confined b\' a belt. Below the waist the artist seems to have been confused b}' memories of an Egyptian kilt. The head, which is separate, and does not belong to the body, shows the hair in many small curls, as in 1064. The kid is one of the commonest of votive offerings, and is fret]uentl\' represented both in sculpture (1162, 1179) and in terracotta (2037, 2041, 2063). H. 10' in. I, .xvi, 23. 1067. .Male Votary, wearing chiton and himation. The hair is drawn forward from the crown of the head in straight l(jcks which end, beneath a narrow fillet, in one row of small curls. This is the Cireek fashion in the \ears immedialeh' preceding the Persian Wars, 490-480 B. C. H. 2 ft. 2J in. I, lx\ii, 449. !o68-(). .Mali-: Votarii-.s holding Birds. Both wear chiton and himation; but the chiton (1069) is represented as made of the crinkled material which became popular all (jver the Cireek world about 500 B. il. It was made b\' weax'ing the linen fabric under varying tension, in the same wa\' as modern crepon fabrics. Similar crinkled linens, often of line muslin qualil\', are still made hv the peasant women in (^xprus and in most parts of the (jreek world, and are commonly worn by both sexes. The frontlet of leaves which is worn b\- both figures, is often seen in (ireek vase-paintings of this period. The x'otive birds, probabK' do\es or pigeons, like the larger birds I 163-6 in W'all-C^ase 40, are held, as usual, by the wings; which in 106S are all that are Irfl. Tlu' small covered "incense box" or pvxis, which each figure holds in the K'ft hand, is of a kind which is common in (.vpriote sculpture from 163 Cas 54 Wall TH1-; c:oi,li;(:tion of sculptlrh ^V" the hefj;inniiii^ of ihe tilth cenUir\' onwanls. I'hc right hand of i()()<) hokis a lustral spray, like 106^. Larger exampk's of the px'xis (m()()-i) and spra\' (ii^q) arc shown in Wall- Case 40. H. 2 ft. 54 in., 2 ft. :J in. I, lx\ii, 451-2. 1070. Ftf rn-Pi.A'iHR, in chiton and himation like the rest of this group of figures. The mouth-liand and suspender of the double flute are clearl\ shown, and coloured red, and there is red paint on the shoes and on the border (jf the chiton. This figure probabl)' belongs to the \cars about 300 B. C, and should be compared with the earlier flutc-plavers io23-ase .\, which are of much earlier date, and the large stone head 1280 in l-'loor-(2ase XI 1 1, which is more nearlx' contemporarw The pointed cap with flexible brim and side Haps of I07(S seems to be a late variety of the old natixe head-dress worn b\' looi If. The prominent ncjse and tlat- fronted e_\es of 1078 are \ er\' characteristic of the first stages of decadence, in the fifth centurw Hs. 6^ in. — 5', in. I, Ixxxi, 330 (1078). B\' this time the nati\e C\'priote school of sculpture had come ml(j contact, perhaps e\en into competition, with the great marble- working sculptors of .Athens, in the period of splendid activity which follows the repulse of the Persian inxasions. .\ \ery few actual examples of this Creek marble sculpture ha\e been found m (^\prus; notabl\- a fine nude figure of a \()ung man, from Poli, now in tlu' British .Museum, a charming piece of work, imported probabl\- in the first \ears of Panhellenic enthusiasm and com- mercial enterprise, which followed the crowning \ ictorxof the Cjreek fleet at the luir\ iiiedon Ri\er in 4()() H. <-'.. \h\\ this outburst of acti\it\' was brief. 1 he disastrous defeat of the .Athenian expedition lo h^gNjil (4()0-434 P). C.) and the attacks of jealous ri\als at home, caused a general Llnvk to (ireek enterprise in tlu- 1 .e\ ant , antl from 440 to 4 10 ( ]\[irus was h'ft (;nce more to itself. l)Ut HI t lu' pro\ince of art the mischief was alreadv done. (~\p- riotf sculptors turned from incKpendenl efforts to tasteless and ner\'eless imitation, which the nationalist re\ i\al letl bv |{\a- goras of Sa la mis (410 IV C.) came too kit e to restrain. 1 he series of .Male Votaries can oe interrujiled therefore at this 165 THE C.OLLHCTION OF SCULPTURE ^'^" point, to cuimit discussion of other t\pes of archaic C\priote work. ',(, It is resumed at i 177 in \\'all-C2ase 38 to illustrate the further de- cline of the nati\e st\le. and its replacement hv ordinar\- Hellen- istic sculpture, in the centuries after .Alexander's conquest. MINOR rVPi:S OF CM^RIOTH SCULPTURE REPRESENTING .ALL PERIODS FROM ABOUT 7OO TO ABOUT 450 B. C. Wall Besides the male votaries, who occupx' Wall-Cases 29-33, several (^ases other t\pes of sculpture were commonl\' dedicated in C\priote upper sanctuaries. Of these the most important are the female votaries part io8o-T, sphinxes and harpies io8()-C)0, representations of Herakles , "^' and his attributes io()2-i i 13, kriophoroi and other shepherd-deities l(n\er . / . "^ part ' ' i4--<'. satxTS i 12 i-^, seated deities and "nursmg mothers" i 124-32, recumbent \-otaries i 142-4. hounds and other \otive animals 1141-53. and fragments of large statues showing \arious kinds of \otive offerings and other attributes. Examples of these are ar- ranged here in short series, so as to illustrate, b\' the \ariet\ of the st\ies, the limits of time within which each kind of oft'ering can be shown to ha\e been in use. Fh.MALE \OT.-\RIES OF .ARCH.AIC ,-\ND .MATURE STYLE, I080-5 Wall These female figures succeed the Oriental t\'pes, 1006-12, alread\' Case described in Wall-Case 2q, and represent the same periods of time Vr ^^nd phases of stxie as the male votaries 1058 IT. in Wall-Cases 32-33. part 1 he\' are distinguished from the male figures b\- their dress and head- gear, and b\- the attributes which the\' carrx', usuall\' either a flower or an offering of fruit. When the\' make music, it is with the 1\ re (1083). or the tambourine, not with the flute, at all events in the cults represented in this Collection. 1080. Flowhr-Bearer, of rather archaic st\ie, wearing onl\" a single foldless garment which falls to the feet, like the dress of the earlier Oriental figures 1006-12; it has slee\"es to the wrist and traces of red on the forehead, beneath a plain band; large side-locks cover the ears. Fhis treatment of the hair is in accord with Greek fashion in the latter part of the sixth centurv. The left hand hangs b\- the side; the right hand holds a flower (much damaged) in front of the breast. H. 1 ft. I in. I, xx\i, 67 166 MINOR TYPES iu8i. Flower-Bearer, of rather later style, wearing the same ^Y'l'l sleeved undergarment as 1080, but caught up b\- a girdle so ' as to hang in a deep fold before the breast. The left hand upper lifts a fold of the skirt, so as to expose the feet, which are shown P^""^ to wear pointed shoes. This pose recalls that of Greek votive figures of about 300 B. C. The hair is dressed as in 1080, but more tightly, so that the ears are exposed. H. 7^ in. 1082. Flower-bearer (?), of maturer style, with well-modelled features which are unusuallv sharply defined, and betray the influence of contemporary work in claw Over the long- sleeved undergarment a cloak like that of the male votaries hangs from the left shoulder; but the details of the drapery are obscure. The head-dress is elaborate and characteristic. A kerchief is tied round the head in three horizontal folds, rising to a peak behind, and open above, so as to show the mass of hair within. This is in accord with Greek fashion in the earl\' fifth centurw In front, small curls escape, below a narrow frontlet, from which a single leaf rises on each side. Rich jewelry is usual on figures of this st\le: flat circular earrings; a slender close-fitting collar with one pendant, and below it a looser and much richer necklace, with eleven pen- dants at interxals; compare 3^87 IT. in the (Collection of Orna- ments. Onl\- the upper part (jf this figure remains. H. 8 in. I, Ixvii, 437. 1083. Frl it-Bearer. The dress n(nv consists of a voluminous and closel\- folded undergarment held together in Greek fashion hv a series of clasps on the upper arm from the shoulder to the elbow: it ma\' be an open-slee\ed variet\- of the old Oriental undergarment, but is more probablx' meant for an "Ionic" chiton. Oxer it is worn a hea\\' cloak like that of the earlier men; it jirobablx' represents the ordinar)' (jreek hi- mation. A deep fold of this over-garment is supported on the left forearm and filled with fruit. The right hand, which rests on this offering, has a single bracelet on the wrist. The head is detached, and does not belong to the bod\' for certain: the head-dress is of the same t\pe as 1082, but the frontlet is broader, and shows a row of rosettes in relief. In addition to the flat circular earrings of 1082 then- is a fourfold spiral in the upper lobe of each ear. It is from figures of this type that the use of these spiral ornaments has been learned, com- pare 333O-80 in the ('(jllection (jf Ornaments. H i ft., 3I in. 1, Iwii, 439. 167 THI-: COLLECTION OF SCLLFTURE \\ all 1084. Flowkr-Bearer, of rather later style. The details of the draper)' already begin to be neglected, and defective modelling upper is supplemented by copious use of red paint. Note in particu- P'^'''- lar the painted bands and concentric circles on the head-dress, which is of the same fashion as 1082-3. f"'\'«^ necklaces arc shown, two in relief, with nian\' pendants, like 339Q, and three in paint onlw The left hand raises a fold of the undergarment, as in 1081. The head is detached, but seems to belong to the bod\-. H. I ft. -jl in. Doell i, i, 27 1, lx\ ii, 440. 1085. Lyre-Player, wearing the same sleeved undergarment and cloak as 1082, with rich necklaces, partly rendered in red paint. There is paint also on the draper}'. The left arm supports a lyre of Greek form, which is pla\ed with a large plectrum in the right hand. The head is detached, and does not seem to belong to the body, but is of conformable st\le, with ker- chief head-dress and rich earrings. From the flat circular earring a long pendant hangs nearl\' to the shoulder: this marks a rather later date, not earlier than the middle of the tifth centur\'. .Actual earrings of this st\le and date are exceeding!}' rare — 3381 is an example, in the Collection of Ornaments — but their form is well known from female heads on the contemporarx' coins. This figure represents the latest phase of the mature nati\e st\le. It is multiplied in hundreds in the great sanctuaries of the " Paphian Goddess" at Idalion and elsewhere, and seems to have remained in vogue almost without change till it was superseded,, after 300 B. C.,b>' Hellen- istic models. These new t\'pes are exhibited in Wall-Cases 48-50, and described under 1238-49 below. H. i ft. 2g in. 1, lx\ ii, 441. SPHINXES, harpies, AND OTHER WINGED FIGURES, 1 086-9 W3II The Sphinx was a regular attribute of .Apollo among the Cjreeks, Case and is therefore commonh' found among the \-otive offerings at ^ his shrines: at Delphi, for example, a great sphinx on a column upper . ^ t ' >^ t part dedicated b\' the people of Naxos stood in a central place below the temple terrace. In Greece, the artistic form of the Sphinx, a winged and woman-headed lioness, was easil\' confused with that of the Harp\', a woman-headed bird which is figured on early monuments carrxing off the souls of the dead: and it is probahlx' through some such association of thought that the Sphinx comes to 168 MINOR TYPES be a frequent symbol on tombstones (as in Wall-Cases 66-68); ^y''" and on objects of tomb equipment. The Siren is another woman- ^ headed bird, not easily distinguished from a Harpy, but she en- upper chants men's bodies, as the Harpy steals their souls. P^"""^ In C\prus the Sphinx appears first on painted vases of the same .\l>'cenaean style as the chariot-vases 436-7 in Floor-Case 1 1 1 ; it is found rarely on engraved seal-stones of the barbaric Early Iron Age; and then reappears in the sixth century as an early symptom of the influence of Greek ideas. The examples now to be described range from the Archaic Cypriote style to Hellenic work of the fourth century or later. 1086. Sphinx, seated. The head, which is turned to the left, resembles that of the female votaries of the later sixth century (1080 IT.) with flat circular earrings, rich necklaces, and three long locks of hair in front of each shoulder, a common Greek fashion for both sexes at that time, but not usual for women in C>'prus. There is some Greek influence also in the modelling. Red paint is used copiously to supplement sculpture in the necklaces and wings. The fore part of the Sphinx stands free, but the legs and hind quarters are rendered in high relief against a background. The figure probabl}' formed part of a funerary stele like 1410-13 in Wall-Cases 66-8. Its date is about 500 B. C. H. i ft. | in. 1, cvi, 694. 1087-9. Sphinx supporting a Bowl. This t\'pe of votive offering has been found on more than one sacred site in C}'prus, and also occurs rareh' in tombs oi the earl\' fifth or late sixth centurw The sphinx is seated, as usual, and looks straight in front; on its head and on the tips of the wings is poised a shallow bowl, jierhaps intended t(j hold incense or drink offer- ings. The wings are rendered in archaic Greek fashion, with the feathers curled spiral!}' upwards and forwards. On the head is a high Greek polos or a mural crown, with short curls below it on the brow, and rich spiral earrings. The three examples differ slighth' in detail: 1087 is oi the common lime- stone, iinti shows onl\' slight traces of colour; 1088-9, on the (jther hand, are of a softer chalky stone, which has suffered much from dam[-». 1089 we;irs a necklace with one iH'iulant, and retains man\' traces of brilliant colouring in red, wllow, and black. lis. 9 in. — 2! in. I, cvi, ()93, 692, ()9i. THH COI.LHCTION OF SCLLPTLRE ^^'tl' UK)(). IIari"!', or Siri:\, standing full-racC, with human bod\' and " ,^ K'gs, ciuito nude. Slio raises both haiuis in a gesture ot' mourn- uppcr ing, an^l seems to tear her hair, which falls in liea\\' masses P'^'"'- round her head. Behind the arms rise large wings; and below these an almost shapeless mass, which seems intended for a bird's bod\' and tail, descends behind the feet. There are man\' traces of red paint. H. i ft. i in. 1, Ivii, 3()8. 1091. \\'iNC,i;D .Malh FiCiURE, perhaps b.ros, in coarse plump modelling later than the fourth centur>'; with wings of the late naturalistic t\pe in which the feathers are arranged in straight rows directed backwards. The head which was attached does not belong to the bod\' and has been removed. • The arms, which are missing, seem to have been thrown for- ward in a gesture of greeting, but there is a scar on the front of the bod\', as if one hand had rested there. Over the left shoulder falls a loose band or sash which disappears beneath the right arm; it probabh' supported a quiver behind the left shoulder. The legs are missing, but the rest of the figure suggests an attitude of flight. H. of in. I, hii, 367. REPRESENTATIONS OF HERAKLES AND HIS ATTRIBUTES The position of Herakles among the objects of worship in ('.\prus, and the general characteristics of his cult, ha\e alread\' been dis- cussed in the Introduction fp. 126). The series ioc)2-i i 13 in Wall- Cases 37-S shows the principal stages of development in the repre- sentation of Herakles himself (1092-1 100) and of his principal attribute, the lion (i 101-71, ^^'""'' '■-^ few other subjects connected with his "labours." With this t\pe-series of statuettes should be com- pared tne colossal Herakles i 360 in (Centre-Case (], the representa- tions of the monster Gerx'on 1292-4 in Floor-CCase XIII, the sculp- tured slab I36(S in Centre-Case F, \^•hich also shows part of the stor\' of Ger\-on, and the lion-killing scenes \y)^-G in Wall-Case 57- Herakles, in C\prus, is rather a god than a hero. He represents the beneficent aspect, as it appeared to the Greeks, of an old local deit\' whom the Phoenicians at Kition identified with their own Lightning God, Reshef-.Melqart (p. 126). The representations of him in Cx'priote art de\elop this idea in se\eral directions, under the influence of successix'e comparisons with similar powers and their t\pes in art elsewhere. Our first glimpse of the Greek Her- 170 MINOR TYPES akles is in the Homeric poems, where he has neither club nor lion- skin but is simply a great archer, who presumably — -though the poet does not say so — shoots foul and dangerous things with his arrows. Among the smaller Greek sanctuaries this aspect of him survived into historic times; in Mount Oeta he is a locust-god, Kornopion; at Erythrae he is "sla\er of caterpillars," Ipoktonos; and the "Infant Herakles" killing serpents became a famous type in art. In C\'prus this Herakles-of-the-Bow persisted into historic times, in sculpture (1092-3) and on gems, combined rather clumsily with Herakles-of-the-(]lub. This second t\pe appears first in post-Homeric Greece; and its earliest expression in sculpture was a famous cult-statue at Erythrae in Ionia. It seems to represent a conception of the hero closely allied on one hand to the .Minoan "God of the Double Axe," on another, to northern Hammer-Gods like Thor, and to the Hittite Mace-God in Asia Minor and North Syria; all equally obvious renderings of a Power-who-smites, either by sun-stroke, or thunder- bolts. To identify the Bow-man with the Club-man was easy; to adjust the two renderings, in art, more difficult. In C\prus alone were the artists so reckless in incongruity as to let the hero keep his b(nv extended in his left hand while he brandished his club behind his head with his right, like the old cult-statue at Erythrae. This is well seen in the small statues 1094-5, on the gem 4224, and on fifth century coins of Kition (British Museum Coin Catalogue, Cyprus PI. ii, iii, iv, xix, 8, 9); and less clearlx', through damage, on the Eur\'ti()n slab 136(8. The deity referred to as "Amphidexios" in 1843 in the Collection of Inscriptions seems to have represented another such "two-handed god," probably a local Reshef like the Herakles of Kition. Thirdly, Herakles is the Lion-killer, and wears the lion's skin. Phis again is a generalization from several local \ariants. In Homer, Herakles wears a belt decorated with designs of lions and bears, but it is not said that he killed them: his lion-killing, ho\\e\er, was famous in later da\s in (jreece (when the lion was still to be feared in F.urope), and was localized at Nemea. Meanwhile in (j'licia and parts of (^appadocia there was a Hittite lion-lamer, who sometimes stands upon the conc]uered beast, as on coins of Tarsus, sometimes holds him up hv the hind fool. The latter type seems to have been influenced hv the Habxdonian Lion-killer: but it is an okl tyjie in the West, tor il is found on Minoan seal- stones in Oete and the Aegean, w hich are free of direct Bab\lonian 171 IHH COLLECTION OF SCULPTURE influence. In Egypt likewise the grim dwarf Bes not only fights with lions but wears the lion-skin, just as Herakles does in C}priote sculpture and on coins and gems. This is probabh' what Herodotus means when he sa\s that the Greeks obtained Herakles from Eg\pt, and it is significant that in Cyprus this Herakles-in-the-lion-skin first seems to become popular in the period of Egyptian influence. Then three things happen. First, Herakles assumes the lion-skin along with his bow and his club, even when he is not killing lions; as for example on the Eurxtion slab 1368. Secondl)', though in earlier representations he wrestles with the lion, or meets him with a sword, or (like Samson, the lion-killing hero of Israel) with his bare hands, from the fifth centur\' onward he begins to use his club. Thirdly, the lion shrinks, for the artist's convenience, from being of monstrous size and a worth\' foe, to be a small and merel\- decorati\e s\-mbol, climbing like a playful cat up the hero's leg, as in 1097-8 and on the later coins of Kition. A late figure of strange Oriental st\le (1203) holds a lion in front, but it has no other attribute, and is catalogued provisionally with the Femple-boxs of similar st\le. Two other aspects of Herakles need separate mention, because they were especiallv prominent in C\prus. His struggle with the Old-Man-of-the-Sea seems to be a Greek rendering of a tamer of sea-monsters, illustrated at TxTe bv a Herakles who rides a dol- phin, like those Western deities or heroes atTaenaron andTarentum who have given artistic shape to the tale of .Arion. The little gem 4283 shows the same t_\'pe transferred, long after, to the Love God. The capture of the cattle of Geryon is more difficult to explain. In the first place, in .-Xsia .Minor, Sandon, Lord of Lions, is not al- ways clearlx' distinguished from another strong god, Teshup, Lord of the Bull. Secondly, in unsettled countr\' one of the chief functions of a pastoral god is to recover lost cattle, and no less also to pre- side over cattle-raiding, especiallx' if he be also in some sense a lion-god: the favourite group of lion and bull has here perhaps its mythological allusion. Thirdlv, the notion of a great raid into the Far West, which is inherent in the tale of Ger}on, is at the same time a myth of the Sun's daily journey to the west, whither the hero sails in a golden bowl, in the tale — and we should note that .-\polIo, too, has cattle to lose and to reco\er — and of the "cloud-compelling" function of the Lord of Heaven. It was MINOR TYPES also, like the wrestling with the sea-monster, a very natural ex- tension of the functions of an original land-god, when his wor- shippers went down to the sea in ships, and acknowledged his power even there: "these men see the works of the Lord, and his wonders in the deep;" and they saw also "his good hand upon them," in the safe return of their argosies. It is noteworthy that the tale of Geryon has its closest counterpart in the legends of the west, and that the other legends, of Medusa and the Kerkopes, which decorate the shields of the Triple Geryon, 1292, are likewise localized there. 1092-1100. Hhrakles, standing, wearing the lion-skin cloak and w^n armed with bow (1092-3) or bow and club (1094). The style Case and treatment vary, from the Ass\rian and Egyptian st\les, ^^ through archaic, mature, and decadent phases of the C\priote stx'le, to late Hellenistic. This is one of the most complete series for the comparison of a single t\pe in these successive st\les. OKIHNTAL STYLIiS The earliest is the detached head 1099, which alone goes back into the period of .Assx'rian influence. Ab(jut 700-650 B. C. 1092, with bow and arrows only, has quite conventional features of Eg\ptian st\le, and wears an Egyptian wig and foldless tunic beneath the lion-skin, which encloses the face, and is girt cIosel\- about the waist b\' a belt like that of the votaries in Cx'priote dress, 1039 ff. Its forepaws grasp the long ends of the wig, on the breast. The left hand holds the bow, which is not eas\' to recognize because the space between the bow itself and its string is left solid. The right arm, which is missing, was thrust forward from the elbow, and may have held arrcjws. About 650-600 B. G. H. i ft. 'jl in. 1, lx.\x\ii, 580. ARCHAIC CYPKIOIH STYLIi 1092 a. shows the same m(jti\e rather further developed. The bow, bow-case, and quiver are cK'arl\' represented, and the right hand holds four arrows, as does ihe colossal Heraklcs 1360 in (^entre-C^ase CI About 600 B. G. I, 574. if)9 5, with some l-'g\ptian influence. The lion-skin covers all the hair, and the fort'paws are knotted on the breast. Below it a[)pears a tight tunic, and Ix'iow the bell hangs an Egyptian kilt with broad smooth centre folil. In each hand '73 THH COLLLCTION OF SCULPTURE ^'^^" is a buncilo of arrows (as in 1360) and the left also supports ,_ a qui\cr, which hangs from behind the shoulder. The legs are broken awa\- at the knee. This tigure has man\' traces of bright colour. The lips were red; the lion-skin is \'ellow with red ears; the tunic, blue with red border, and central stripe from neck to belt ; the loin-cloth \'ellow, and its centre fold blue and red in horizontal bands; the quiver red, with blue arrows. About 600-550 B. C. H. 8| in. Doell, vii, 2, 183. I, Ixxxviii, 576. 10Q4-5 wear lion-skin, tunic, and belt as in 10Q3, but the kilt of 1094 has a pattern of crossed lines, within a broad plain border. The left arm seems to have been thrust forward as if holding the bow, while the right was raised as if brandishing a club over the head; but both arms are missing, and both legs below the border of the kilt. The face of 1094 has a long pointed beard. .\bout 550-500 B. C. Hs. 8]; in, lOj in. I, Ixxwii, 572 (1095). MATURE CYPRIOTE STYLE 1096 resembles 1094-5 i" pose, but is far more vigorous and lifelike. The lion-skin is omitted, and the hair is repre- sented in man\' small curls all over the head, and a plaited coil behind the neck, in the Greek fashion called krobylos. From the waist to the knees falls a loose undertunic, with lateral seams, and a zigzag border in red: part of its slee\'e appears on the right upper-arm. Over it is a red o\erfold, which hangs down as far as the waist, and oxer this again is a foldless tunic cut ver\' short in front, but hanging in long ends below the waist at each side: compare the costume of 1 3 58 in Centre-Case B and the other references given there. Its short sleeves and neck-opening ha\e a broad meander pattern in red. Both arms, and both legs, are broken awa\-. About 500-450 B. C. H. I ft. 1, lxxx\ii, 577. DECADENT CYPRIOTE STYLE 1097 is in the same attitude as in 1096, but devoid of vigour. The hair is in close locks o\er the head, and forms, with the lion-scalp, a confused rectangular mass behind to support the club which was held horizontall\- in the upraised right hand. The e\-es are large and flat, as is usual in this later st\ie, and were intended to be painted. .\ loose tunic falls nearl\- to the knee, with slee\-es to the elbow. 0\'er it, all four 174 MINOR TYPES feet of the lion-skin are knotted together, and over all is a ^^^" broad flat belt. Both legs are missing from below the knee; also the right arm which probably held the bow; the left hand rests on the head of a small lion, which climbs up the hero's left thigh. It is this lion which he is attacking with his club; but the poses of man and beast have been distorted by unin- telligent cop\-ing. There is red paint on the lips and lion-skin. About 400-300 B. C. H. I ft. 42 in. Perrot, fig. 390. I, Ixxxvii, 575. HELLENISTIC STYLE 1098 has the same attitude and treatment as 1096-7, but the st}le has lost all affinity with the old native work. In conformity with a late Greek tradition, the hero wears a short beard, of nearl\- straight hair, cut awa\' round the lips. The right foot, which alone is preserved, is bare. There is red paint on the head, the tunic, and the lion. After 300 B. C. H. I ft. 9i in. C\prus, p. 250; Perrot, fig. 389. 1, Ixxxvii, 578. 1099. Head of Herakles, from a figure like 1094, but in rather ,^^.,11 more brutal and Assyrian st}ie. The lion-skin encloses the Case head closel\', but shows several rows of small curls of the hair 39 on the forehead. The e\'es are wide and prominent, cheek- bones high, mouth large, and jaw square; as in the large heads 1251-2 in Floor-Case XI. .About 700-650 B. C. H. 5I in. 1100. Head of Herakles, from a figure like 1096, in .Archaic Cypriote st\ie under Cireek influence. The e}es and mouth are well modelled, and the lion-skin fits the head closely. ■About 500 B. C. H. 6 in. 1101-5. Lions from Stati.es of Hi-raklfs, represented, as in ,,. ,, . . .Wall 1097-8, climbing up the hero's leg, and repelled b\- his left Case hand. I hese fragments show the same secjuence of styles 3^ as the figures 1092-8, and should also be compared with the series of lions from tombstones 1382- 1396 in \\'all-(^ases 52-() in the Annex. ; 101 is in Oriental st\!e, with simple rounded forms, short massixe legs with well-marked muscles, and large claws. The ears are short, and jiroject through the c(jmpact mass of the mane. The mouth is wide open and the tongue protrudes. There is reii jiainl on the lip^ and tongue, and within the ears. About ■j<)()-()j() \'>. ('.. I, lxxxi\-, 54s, 175 THE COLLECTION OF SCULPTURE ^'^ •'" 1 102-3 show some advance of st\le, with e\'es more expressive, " y teelh better eut, and the hinder edge of the mane thrown out into conventional curls of hair. This is an improvement on the convention of a single curl, which is common in Hittite lions before 700 B. il.. and is shown on 1 106 below. On i 103 there is red paint, and the mane tapers to a point in the middle of the back. .About (xk) B. C. 1 104 shows the head turned sharpl\' round to the right, a new sign of \italit\'. The mouth is half closed, and the mane ill-defined, but the work though careless may nevertheless be earlw .\bout 600-550 B. C. L. 1I2 in. 1105 closel\' resembles the lion in 1098. It is a coarse but vigorous imitation of late Greek work, with prominent C}'es, full lips, and half-closed mouth, though the tongue still protrudes. The ears are in front of the mane, which has a fringe of hea\\' locks in front, and a roughlx' tooled mass behind, tapering to a point as in i 103. After 300 B. C. L. I i] in. 1 106. Rhcr.MBhNT Lion, probabl\' an independent figure; in N'igorous archaic st\ie, with open mouth and protruded tongue. The ears lie hack upon the mane, which has the single pointed lock behind, characteristic of Hittite lions before 700 B. C, and is coxered with rough lines to indicate its texture. The tail is brought round from below o\er the right hind- c^uarter, as in the funerar\' lions r3S2-()() in W'all-C^ases 52-6. There is black paint on the mane, and black lines round the e}es. .About 550-500 B. C. H. 3 J in. L. 6 in. I, xx\ii, 93. I 107. RhCf.MBi-.NT Lion, apparenth' broken awa\' from a corner of the base of a statue of Herakles. The head is treated with great spirit, in Hellenic st\le, with hea\\' mane and beard. .About 400-^00 B. (~. H. ()l in. L. 8;] in. I io' be as earh' as the fourth centurw H. i ft. 9! in. 1, cxix, 862. IMS has the horns less clearl\" represented, and the staff becomes a massive club. There is red paint on the ears, pipes, and cloak-border. H. i ft. § in. 1, cxix, 867. 1 1 16 has the same pose and details as 1 1 1 5, but is more care- lessl\' executed. The head is separate, and does not certainl\- belong to the bod\'. H. i ft. ^ in. 1, cxix, 865. I I 17 is a \er\- rude and late copy. The ears, horns, and staff ha\e almost disappeared, and the pipes are onl\' recognizable b\- comparison with 11 14-6: the cloak is onl\' represented hv raised margins and b\' rough tooling to render its hairy texture. FT I ft. 2.1 in. 1, cxix, 8()(). I I 18 is still more rudeh' cut, and the shepherd's staff has \anished altogether. This tigure and i i 17 are ithx'phallic. H. Q in. 1, cxix, 8t(). iii()-2o. Kriophoros or Good Shispherd, carrying a ram on Case his shoulders, and holding it b\- the feet in either hand; prob- 3^^ abl\' to represent some shepherds' deitw In Cjreek sculpture the t\'pe appears in the sixth centurx'; it is usuall\' identified with Hermes; and, after long popularitx' in the Graeco-Roman world, was adopted and further de\'eloped in earl\' (Christian art. iiiQ is in Oriental st\le, with Egxptian head-dress, foldless tunic from neck to ankles, and bare feet. There is red paint on lips and ears. The ram's head is separate, and does not 178 Wall MINOR TYPES belong to the body for certain, but the motive of the figure Wall is clear. About 650-600 B. C. H. 9I in. Doell, vii, 3, ^g^^' 202. 1, xvi, 22. 1 120, in Mixed Oriental style, rather later than 11 19: with heavy features, prominent eyes, strong e}ebro\vs, and many small locks of hair. The dress consists of tunic, belt, and short over-tunic, cut away in front as in 1358. The ram's head is carefuU}' executed, and its fleece is rendered by rough tooling. Below the waist the figure is broken away. About 600-550 B. C. H. I ft. I in. Perrot, flg. 402. I, xvi, 21. With these Kriophoroi should be compared the small Kriophoros supporting a bowl 1141; the ram-headed and ram-throned figures of Zeus Ammon, the shepherds' deity of pastoral Libya, 1 136-40; and a clay figure from Ormidhia in the British Museum, Catalogue of Terracottas A. 90. 1 121-3. Satyrs, nude and grotesquely modelled, with large round WaJl beards and protruded tongues: compare the satyr 2069 in Case the Collection of Terracottas. It is not certain whether these ^^ satyrs come from sanctuaries or from tombs. If from sanctu- aries, the\' ma\' be attributes of Herakles, like the lions and snakes; for the herdsman of Geryon is represented in satyric form, on the slab 1368 in Floor-Case F. The\' ma\', however, have been simply regarded as woodland demons, like the goat-footed Pan. I 121 is in .Mixed Oriental style, and aggressive pose. About 600 B.C. H. 3-2 in. Doell, vii, i, 199. 1, Ivii, 370. I 122 is in .■\rchaic Cypriote st\'le, and aggressive pose; it seems to have formed part of a larger group. About 550-500 B. C. H. 52 in. 1, Ivii, 369. 1123 is in late Hellenistic style, with long beard: compare the Hellenistic figure of Silenus 1225 in \Vall-(>ase 47. H. 4I in. 1, Ivii, 371. ShAri-.I) AM) RhCU.MBl-.NT MC.l'Kl;S ()!• Dl-JMI-.S AND VOIAKll-.S At some Cypriote sanctuaries, small seated figures are \-ery com- mon, and figures of similar 1\[H's are sometimes found also in tombs. Most of tht'm represent eilluT the Mother Coddess with her infant; or the "I.acK' of C\prus" without an infant; or Zeus .\mm(jn; (jr male or female \-otaries; and the)' should be comparetl 179 THE COLLECTION OF SCXLPTURE \^ -'" with iho renderings of the same nioti\es in the Clollection of Terra- Cases 1 124-32. Nursing .M(ithi;rs of \arious periods and st\les. 1 124 sits in a high-backed throne with arms, and has Oriental features, Hgxptian head-dress, and hea\\' coUar and pendant; the child lies across her lap and is held clumsil\' with both hands. About (100 B. C]. H. b\l in. I, xxxviii, 247. 1125 is of a t\"pe closel\- allied to 1124, but the feet of the child hang down bexond the .Mother's knees, and there is red paint on her robe. .\bout 600 B. C. H. s in. 1. xxwiii, 2s 1 . 1126 has hea\\' Oriental features, and wears a characteristic \eil which falls from the head before each shoulder, and is then brought round o\er each knee. There is red paint on the robe-borders and on the throne. About 600 B. C. H. 7s in. 1, Jvii, 394. 1127, in .Mature C^.xpriote st\le, but careless workmanship, shows the same \eil, and also a characteristic pointed hood for the child, which persists through all later phases. .About tOO-400 B. C. H. 7s in. Doell, vii, 16, 207. 1128-9, '1 decadent st\le, show almost no details, but 1128 bears traces of red paint, and 1 129 has the child seated upright. .About 400-300 B. C. Hs. 65 in. ^l in. I, hii, 39^ (i 129). 1130-31 are in a late conventional st\ie, highl\- coloured, and of uncertain date: these \arieties are common in the sanctu- aries at Idalion, .Achna, and elsewhere. 1 1 30 has the child standing upright on the .Mother's left knee. .After 300 B. C. Hs. -j'i in.. 9 in. Perrot, tig. 377 (cf. 1 124). 1132-4. Shatkd Dhities or Vot.\rii^s The \eil and necklace, and the tlower in the hand of i 1 32 place this figure in the same class as the standing Notaries 1080-4 in Wall-Case 35. (100- 500 B. C Hs. 10 in, 4.1 in, 4' in. I, xxx\iii, 240 (1 1 32). I I3S- .MiNlATLRH ShRIM: OF THH .MoTHHR GoDDESS. Thc shriuC is four-sided, witti a pointed roof. Two adjacent sides are blank, and on the other two are fi\e figures of the Goddess, nude, with hands pressed to breasts, as on the sarcophagus 1 365 in (AMitre-C^ase E, and in the figures 2144-6 in the Collec- tion of Terracottas. H. 4', in. 1, xxix, 200. There seems to have been a cult of Zeus Amnion in C\prus in the 180 MINOR TYPHS fifth centur\', for his horned head appears on coins of that period ^^^H (British Museum's Coin Catalogue (C\prus) PI. xiii, 9, 10). It ' ^'^^ ma> have been introduced from Cyrene, with which city King Evel- thon of Salamis was in especially friendh' relations in the middle of the sixth centur\-. I n6-4o. Zeus Ammon, seated on a high-backed throne, of which Wall the arms are formed b\' rams. The deity has rams' horns ^-^'^'-' on his head. These details are best seen in 1 136; in the other examples (i 137-1 139) the carving is ver\- rough, and is supple- mented b\' black and red paint. The material of 1137 is unusuall\' soft and white. About 600-300 B. C. Doell, vii, 12, 222 (1138). Hs. 7I in. — 3j in. I, 583,5(84; 248, 250. I 140 shows the same tvpe translated into Hellenistic st\ie, and the deit\' is bearded and wears a high polos head-dress. After 300 B. C. H. 62 in. 1, Ixxxviii, 582. 1141. Ram-headhd Kriophoros, supporting a bowl like ib.e sphinx bowls 1087-9 in Wall-Case 36. Here the ram-horned deit\', identified in 1136-40 with Zeus Ammon, is himself carr\ing a ram, like the Shepherds' Patrons 1119-20. The fleece of the ram is shown b\' the same rough tooling as in 1120. The lower part of the figure is missing. It is clearl\' rough work of about 500 B. C. H. 3] in. I 142-5. Rhcumbhnt N'oTARiHS, probablx' engaged in the sacred meal which forms part of man\' earl\' rituals: compare the complete bantjuel scene in Oriental st\le 1020 in Wall-Case 30, and the relief on the west face of the sarcophagus i3()4 in (^entre-(]ase 1). .All are about 600-500 B. C 1 142, in long light-fitting tunic, rests on a couch with pillows, and raises both hands as if drinking or plaxing the double pipe. In front of him stands a small female figure with broad fr(jntlet anil two hea\\' necklaces, and a flower in her right hand. There is red paint on the clothi's of both figures, antl black on the shoes of the larger, .\bout ()()o B. C. H. 0,',; in. 1 143 has the same long tunic as 1 142 but is a \-ounger man and wears a pointed caji. 11. 5^ in. Perrot, fig. V)'^- I 144, also \'oung. has a short-sleeved tunic, and onl\' a narrow band about his head. 11. 41'., in. I 145 is bearded, and has close-cut hair. 11. Vs '"• 181 THE COLLECTION OF SCULPTURE ^^-i" I I4()-V3. Votive Animals and Birds are found in many sanctu- '^^, aries, and similar statuettes were sometimes placed in tombs. 3 / ' 4*-' , rhe\' are usualh' the offerings of poor folk, and are more com- monly of cla\' than of stone: such figures are 2070-97 in the Collection of Terracottas. Domestic animals are commonest; those shown here are all of uncertain date. I 146. Cow and calf. H. 72 in. Doell, vii, 224 l,cviii, 669. I 147. Two cows and a calf. H. 6| in. 1, xcviii, 666. 1 148. Shcepfold containing a drinking trough and six sheep. L. (S^ in. 1, xcviii, 668. 1 149-50. Coursing hound seizing a hare. Compare with this the large hound 1223 of similar breed, and rather late Cypriote st\ie; it is placed for convenience in Wall-Case 48. Hs. 2\ in., ili- in. Ls. 6| in., 6^ in. I, Ixxx, 525, 523. Wild animals are either attributes of deities, or thank-offer- ings for relief from some pest or danger, such as snake-bite: in the latter case, the offering may appropriately' be dedicated to the deit\' whose sacred animal caused the trouble, or an animal becomes the attribute of that deit\': for examples see p. 127 above. 1151-2, Bird (1151) with red paint: two birds (1132) beak to beak, with much red and black paint. These ma\' well be the sacred doves of the Goddess of Paphos, which are shown in ancient representations of her temple (p. 125). Hs. 31 in., 4 in. Perrot, fig. 405 (i i 52). 1, Ixxx, 326, 527. 1 1 53. Snake, coiled on a low pedestal or altar; much red colour. H. 2 1 in. With these offerings for protection from \-arious dangers, compare the votive limbs or organs liable to accident or disease, 1675-87 in Wall-Case 75; and the late thank-offerings for childbirth 1226, and other bodil\' peril 1227 in Wall-Case 47. Wall 1154-72. Offerings and .Attributes held by \'otaries, are Case represented here b\- a series of fragments from statues of 4' various periods. These are often found broken awa\-, in spite of the ingenuit\- of the C>'priote sculptor in adapting his design to the defects of his material. Most of them are hands holding an object or resting on it. 182 MINOR TYPES 1 1 54-5. Sword-hilts of Assyrian type, with ringed grip and Wall globular pommel, not later than the seventh century-; they were f^^ worn horizontall}' in the girdle, and supported the left hand of the wearer. 1 1 54 is more than life-size, but hardly large enough to have belonged to the colossal head 1257 in Floor- Case XI. L. I2|in., 6| in. 1, xxviii, 125, 124. 1 1 56-7. Libation-bowls, held in the right hand: a similar bowl (4579) . in the Collection of Silver Plate upstairs is of the fifth or late sixth century. D. 6| in., 5 in. I, xxviii, 105 (n57)- 1 1 58. Flowers, forming a votive nosegay; probabi}' of the sixth centur}'. H. 5! in. 1, xxvii, loi. 1 159. Lustral spray, in a right hand, like that held by 1062, 1069. About 500 B. C. H. io| in. 1, i iS. 1 160-1. Incense-box (and ears of corn, 1160), held in the left hand, as in 1068-9. Hs. 7I in., 7§ in. 1, xxviii, 112(1 160). 1 162. Goat, held by the forelegs in the left hand, as in 1066; there is red paint on the goat's beard. H. jh in. 1 163-4. Dove, held b}' the wings (1163) as in 1068-9, 1072, 1076, or beneath the hand (1164), as in 1204-5. Hs. 5I in., 5 1 in. 1, xxviii, 138, 140. 1 165. Swan, held beneath a hand, probably from a Temple- boy like 1206 in Wall-Case 45. H. 5 in. 1, xxviii, 139. 1 166. Bird, perhaps an eagle, from a statue like 1075 or 135 i in Centre-Case A. The wing feathers arc clearly shown, but the rest of the plumage onl\' b\' rough tooling like that on the rams 1120, 1141, and b\' red paint. L. 1 ft. 3 in. I 167-8. Bunch of Daisies, in the same st\Ie as the crowns of leaves, flowers, and berries on the large heads 1297 IT. in Floor- Cases XIV, XW Hs. 3 in., 3i in. 1, xxix, 166 (i 168). 1169-72. Fruit-ofTerings as follows: apples (1169, 1171); pomegranate (1170); smaller fruit in a dish (1172); the right hand i 169 hf)lds also an incense-box like 1 160-1. Hs. ^l in.- 3 in. 1, xxix, 173, 171 (1169-70). 1173-6. OrHi:R FRAGiMHNTs OF SiATii-.s, all of Hellenistic style with red paint; parts of a throne (1 173-4J with grotesque heads of goat (i 173) or bird (i 174); a .Medusa head (i 175), perhaps from a statue of Athena: comjiare the Corgoneion on (A'pri- ote coins (British Museum (^oin (catalogue, Cyprus, Fl. xiii, 183 THH COLLHCTION OF SCULPTURE Wall M XXV, 12) and the upper bar of a Cjreek lyre (i 176), from a Case v()ti\e musician like kkS, in Wall-C>ase 35. Hs. H^ in. — 4^ in. Doell, xiii, 2, 788. C\-prus, p. 1 58. 1, xxix, 184 (1127); Ixxxiv, 547 (1173); xxvii, 98 (1174); xxvii, 97 (i 176). LATER ITPHS OF VOTIVE STATUEIl ES This group resumes the series of standing male votaries which was interrupted at 1079, in Wall-Case 34, to deal with the female votaries, 1080 IT., and other t\'pes, 1086 ff., which were contempor- ar\' with the earlier groups. The later series, now to be described, begins at the point where the C\priote st\le, having attained to maturitv under earl\' Greek influence, about 500 B. C, becomes first stagnant, then decadent, and falls into more and more servile imitation of the later sl\les of contemporar) Cjreece. DECADHNT STYLE UNDER LATER GREEK INFLUENCE ABOUT 400-300 B. C. These later t\pes all preserve a conventional uniformity of design, but show man\' varieties of pose and attributes. Most of these small-scale votaries represent young men, and so also do the con- temporarx heads of about half life size, 1312-17, in Floor-Case X\'. Bearded figures of life size were, however, in use for persons of greater age and importance: for example, 1407-8 in Wall-Case 65, and the head 1291, in Idoor-Case XI II. All wear the hair in short curls, beneath a crown of leaves. Wall ''77-<~*7- Malh Votariks, standing, fully draped, usually in Cases tunic to the feet, often of crinkled material (i 180, i 183, i 185-6), and sometimes also a cloak hanging from the left shoulder, and wrapped numd the waist (1177, 1181-3, 1187). More rarel\' the tunic is short (i 178) in the fashion of everyday Greeks, or is girt with a belt (i 183). Usually the pointed shoes of indoor dress are worn; but i 187 wears sandals. The votary holds a kid (1 179) or a dove (i 178, 1 180, i 183-5), or a spray of leaves (1 181-2), or incense-box (1 182), and perhaps other olTerings now disfigured (i 177, i 180). Occasionall\' the free hand is empt}' (i 186), or rests on a short column (i 187). The treatment is poor and flat, and is supplemented by red paint (i 180-85, • '<^7)- Hs. I ft. jl in. — 8 in. Doell, iii, 6, 103 (1180). 1, cxiv, 809, 808, 807, 806, 811; Ixvii, 448; cxiv, 815(1 178-84). 184 38-40 HELLENISTIC STYLE HELLENISTIC STYLE AFTER 3OO B. C. After the reorganization of Alexander's conquests in vast terri- torial kingdoms, the conception of a national ideal in art or thought fell out of vogue, and with it the few remaining traces of traditional or provincial styles. Yet while it accepted the cosmopolitan fashions of the Hellenistic Age, Cyprus could not abolish the obser\ances in the ancient sanctuaries. Side by side, therefore, with common- place copies of the later representations of Greek deities, and the new schools of portraiture, we find several classes of sculpture which are either peculiar to Cyprus, or better represented here than elsewhere. Chief among these are the male votaries 1 188-1203, which thus form a continuous series from the beginning to Graeco- Roman times, and the so-called Temple-boys, the earliest of whom seem to belong to the fifth century B. C, and the latest to the fourth century A. D. 1203 1188-1202. Mall Votakils. The dress is the loose tunic and \\,'^-,i| clcjak of everx'dav Cjreek life; but 1 K)} and i i()7 have a peculiar Cases flat cap, and 1191 wears a chain of heads and pendant amulets "^^ '^'^ slung over one shoulder like a sword belt. As both the cap .85 THE COLLECTION OF SCULPTURE Wall Cases 42-44 Wall Case 44 Wall Cases 45.46 and the belt are worn also b\' Tempile-bo\s 1204-22, in Wall- Cases 45-6, it is possible that these standing figures may themselves represent either Temple-boys or some similar class of worshipper. Among the attributes carried by the votaries are the dove (1104, 1 196-8, 1202), spray of leaves (1190), apple (1194, 1 196, 1 198), libation bow! or other vase (i 188, 1 199), and incense-box (i 189, 1193, 1 195: compare 1202 unusually large), which are all common to this group and its predecessors. The work is poor and even rough, and paint is still used to supplement carving; there are traces of red on 1 189, 1191-2. H. 2 ft. 5I in. — -I ft. 5I in. Doell, v, 9, 153 (1188); vi, 6, 133 (1190); iv, 8, 132 (1191); iv, 7, 145 (1195); vi, 2, 136 (1202); Cyprus, p. 240. I, cxxxiv, 994 (1188); cxxxvii, 1024-9 (1193-5-1-2: 1202-1). 1203. Male Votary, of unusual style, resemblingtheearly Hellen- istic art of Northern India. It represents a very stout figure with copious wavy hair in long ringlets to the shoulders. It is nude above the waist, and clothed below in a loose robe which falls to the ankles and is confined b\' a belt with long fringed ends. In front of the body a struggling lion, borrowed from Herakles, is held head downwards in the right arm, and the left arm is slightl>- raised. Both lion and arm, however, are much damaged. It may have been the artist's intention to reproduce the ancient type of the Lion-slayer. The figure is certainlx' very late and cIosel\' resembles the Temple-bovs 1220-22. There are traces of red paint on the drapery, and yellow-brown colour on the feet. H. 2 ft. I, Ixxxvii., 579. 1204-22. Temple-Boys, of various periods and st>'lcs. These are among the most characteristic \-otive sculptures of C\priote sanctuaries, and have been found on a number of sites. Most of them are in stone, but there are also cla\' figures like 1463 in Floor-Case X, and 2291-8 in the Collection of Terra- cottas , A "Temple-boy" is an infant or young lad, usually stout and fleshy, seated in a characteristic attitude, with the body resting on one thigh and on the hand of the same side, while the other leg is in a sitting posture, with the foot firmly on the ground. 186 HELLENISTIC STYLE Occasionally, however, the Temple-boy crawls on hands and Wall knees (12 12), or stands erect like 1188, 1193 above. Some- times a Temple-boy is nude, but the com- monest dress is a short tunic, often sleeve- less, and usually drawn up in front so as to expose the groin; rarelv the ordinary full-dress of an adult is worn (12 13). The head is generally bare, with short curls; but sometimes the same character- istic flat cap is worn as on 1 193, 1 197 above, and occasionally a Phrygian cap with a soft peak (1216). Some wear earrings (1210- II, 12 18-9) and bracelets (12 10, 1217) and nearly all wear a chain of beads with many pendant amulets, including numerous signet-rings. This chain is usually worn over one shoulder and under the other arm, but sometimes as a neck- lace (1218, 1220); and 1221 has two such necklaces, with very long central pendants. Similar pendant signets, and other amulets are included in the Collection of Ornaments: the signets may mean that the wearer was custodian of Temple-treasures or archives. Similar chains of pendant signets are worn by sculptured figures of Graeco-Indian style of which the Metro- politan Museum has examples (Ace. Nos. 13, 96, i; — 33). Temple-bovs often hold an attribute in one or both hands: of these the commonest is a bird (1204, 121O, 1218, 1221-2) usually swan (1204-6), do\e (1208-9,) or cock (121 i, 1220). Others hold a hare (1215, 1219), or a tortoise (1212 [two], 12 14), a (ireek emblem of .Aphrodite; others again have an apple (12 I ^, 1222), or an incense-box (1207), or a wreath (12 10). H. I ft. y^ in. — ()\ in. 1, cxxx-cxxxii, ()73, 977, 963, 957, 960, 964, 943, 970, 978, ()8o, 9()(), 968, 953, ()82, 961, 971, 975, 984, 976. The chroncjlogv of these figures is not easv to determine; 1204 is certainly not later than the fifth centurv, B. (>., and 1205-6 ma\' be as earlv as the fourth; 1207 also shows traces of Cypriote slx'le; but the majority are late Hellenistic or viraeco-Roman. In some (jf the latter, there is an e\'ident atleinin to gi\e a portrait character {() the head (1207, 1213-5); but it is not certain that the head (T 1213 belongs to the bodv. Frobabh' the latest examples are 1219-22, which pass over into a hea\\' barbaric style, with a likeness (which can hardl)' be accidental) to the Hellenizing art of Persia 187 Cases 45,46 rUH COLLHCTION OK SCULPTURE Wall and Northern India: the standing figure 1203 is in the same bar- Cases , • ,1 ,, ,r banc st\ le. No satisfactorx' explanation has been given ot these lemple-boNS. I"he\' are commonest in C^\prus, but the type recurs as far atield as Carthage, on a votive or funerar\- relief (Perrot-Chipiez, III, p. 4^8, fig. 327) : the\' are ver\' full}' discussed by I)e Ridder, Catalogue de Clercq {A}itiqnites Chypriotcs, No. 16, PI. \'ll.) \'\\cy nia\' represent real children, dedicated to the service of the sanctuary, like the infant Samuel; or the divine child tended by a Nursing Mother, as Horus b\' I sis; or the\' ma\' be a divine companion of a goddess like the S\rian Adonis, or the Greek Eros; or a more independent personage like the Egxptian Ptah-sekar, whose Greek successor Harpokrales becomes blended eventuall\- with Eros in a \er\- \ariable series of late clav figures, represented b\- 2302-18 in the Collection of Terracottas. Wall 7he remainder of this series illustrates the ver\' miscellaneous _ .jj offerings which were occasionalI\' dedicated at the larger and more popular sanctuaries in the Hellenistic .Age. Fhe seated hound 1223 belongs to the series of voti\e animals in Wall-C^ase 40. \Y^]] 1223. Seated Hound, with long pointed muzzle, large eyes, Case small erect ears, and smooth hair. .Around the neck is a ■^7 plain collar painted red, and there is red paint also on the e\es and lips, ami within the ears. It is probablx' a \otive offering from some hunter. Like the hare-and-ht)und groups I 149-50, which show the same breed of hound, the date is uncertain, but it cannot well be earlier than the fourth cen- turw H. I ft. 6 in. G\prus, p. 114. 1, cxxii. ()o8. [224. Young Man, erect and nude except for a small cloak flung o\er the left shoulder and secured b\' a clasp. His right hand rests on his side; the left carries a shepherd's staff, and another object, which ma\' be the skin or carcase of some animal. Head, right arm, left hand, and both feet are missing. It is perhaps a late rendering of the Shepherds' Patron i i 14-8 in Wall-Case 37, in fair Hellenistic work. H. i ft. 8^ in. 1, cx\i, 83Q. 1225. SiLENUS, missing below the waist. He seems to ha\e held a wine-skin under his left arm. Late Hellenistic work, \er\' rough, with traces of black and red paint on the head, which alone seems to ha\e been finished. H. ii'^in. I.li\'. 34('. 1226. Child-Birth Group, in careless Hellenistic st\ie, perhaps 188 HELLENISTIC STYLE not made in C\prus. The mother reclines on a high couch, Wall and is supported behind b\- a standing attendant. Bv the Case foot of the couch another attendant holds the infant. Similar "^^ votive groups are found in all styles, both in stone and in clay; the latter go back far into the Early Iron .Age. H. 6^ in. L. 9| in. Doell, vi, i, 174. I, Ixvi, 435. 1227. Votive Slab, for deliverance from organic disease. Carved on the slab, in a late style of relief, are two breasts and another object obscurely representing some internal organ. Compare the smallervotive offerings of this class 1675-87 in Wall-Case 75. H. I ft. 3 in. W. I ft. 5I in. C\prus, p. 1 5(S. 1, cxxii, 9 10. 1228-30. PiNH Cones (1228-9) .and Pedestal (1230) in late Hellenistic st\le. The cones end in square dowels to fit a socket like that in the top of the pedestal, which is of conical shape with fluted surfaces between heav\- cable-mouldings. The pine-cone is a Greek symbol of .Apollo and also of Dion\sos, and has, besides, wide popularitx' in decorative art. These votive cones are common on late Greek sites and are in no wa\- peculiar to C\prus. Hs. 9^ in. — 7 in. Colonna-Ccccaldi, p. 84. 1, cxxi, 889, 885, 886. 123 I. Young Oriental Votary in a loose tunic with sleeves to ^Vall the wrist; a double belt knotted in front with long ends; and Case a heavy cloak of Oriental fashion. There are traces of red 4^ paint on the dress. Fhe head is separate, but certainl\- be- longs to the bod\-; it has hea\\' earrings, and a Persian cap with long ear-flaps falling on the shoulder, and a single row of Icjng curls below its margin. The left arm rests easil\- on the girdle; the right is missing. Similar figures from other regions hold an apple in the right hand, and have therefore been described as "Paris with the Apple;" but in (^.\prus an apple is a common offering or attribute of xotaries. (Compare the figures in the same costume, nsoin I'loor-Case X\'l 1 ; and the cla\ figures 22()()-2]n\ m the (.ollection of Terracottas, and iH4() in the (collection of Inscriptions; II. 8 in. l,cxx,S76. 1232. Orator, in short-sleeved tunic and I'till cloak, which is thrown back to lea\e the right arm free. The head and legs are missing. The hainls are clenched together slightK' to thi' left, and the intention is exident to cop\- the well-known statue of Demostheni-s; but the workmanship is \er\' rough, and the st\ie kite. 11. 7!, in. i,c.\\,S74. 189 THE COLLECTION OF SCULPTURE v^'ill 1 233-1;. Poet, in sleeved tunic and cloak, seated in a chair which is -8 supported (in 1233) b\- horned animals, like 1 173. On the lap lU' the figure is spread a roll of manuscript, on which the right hand rests, holding a pen. The left arm is broken, but seems to have held a bird, of which the tail remains. These details are only seen clearl\' in 1233; the figures 1234-5 are executed in the same flat style as the late Nursing Mothers 11 30-1; and 1234 has red paint on the dress. All three heads are separate, and do not seem to belong to the bodies. Hs. i ft. 3-1^6 in., I2fin., ii^in. I, cxvi, 838 (1233); Ivii, 362 (1234). Wall 1236. Warrior, standing in a defiant attitude, with legs wide Case apart. He wears a short-sleeved tunic, breast-plate with ■^^ armoured kilt, and a cloak fastened on the right shoulder. At his left side hangs a short Roman sword. On his head which is separate, but belongs to the bod\', is a pointed heJmet with loose scrolled brim. He wears a square beard, in late Hellenistic fashion. Both hands are missing, and both feet above the ankle. The workmanship is rough hut vigorous, with many traces of red paint. The style is influenced by the romantic naturalism of Pergamon. H. i ft. 3I in. 1, cxvi, 840. Wall 1237. Seated Woman with two Children, one of whom she Case holds in her lap, while the other stands b\' her right knee. She wears a full Doric chiton, and a cloak which passes over the head like a veil, and falls on both shoulders. The seated child wears an infant's short tunic, the other the same long tunic and cloak as are worn by \oung votaries. .AH three heads are missing. H. i ft. 4.^ in. 1, Ixvi, 436. 1238. F'emale Lyre-Plaver, standing, in Doric chiton and cloak. She plays a lyre of Greek pattern, which is secured b\' a sling. The workmanship is poor and late, and there are some traces of red paint. H. 2 ft. 10 in. Doell, \i, 3, 169. C) prus, p. I 34. 1, cii, 676. 1239. Young Man in long tunic with sleeves, over which is a long Doric chiton to the feet, with deep ovcrfold, clasped on both shoulders and secured b\- a rosette-patterned belt. Another belt passes over the right shoulder and under the left arm. The head is separate but belongs to the bod\-, and has large masses of wav\- hair falling over the ears beneath a crown of large leaves. The style is free and vigorous like 190 48 HELLENISTIC STYLE that of 13 19-21 in Floor-Case XV, and the workmanship is Wall above the average: there is red paint on the hair and on the g dress-borders. A peculiar feature is that the eyes are hollowed out and filled with hard white stone, in which the pupils are rendered with a circular drill. Both arms are missing, and the meaning of the figure is not clear. It has, however, a general resemblance to late Greek types of Apollo, H. 1 ft. 8f in. Doell, vi, 7, 172. Cyprus, p. 153. The following deities, in late Greek pose and style, are said to have Wall come from the ruins of a temple excavated by Mr. R. Hamilton Cases Lang at Pyla, on the coast a few miles east of Larnaca. The ' ' inscription 1854 is from the same locality. 1240-2. Artemis, standing, in long Doric chiton to the feet with girdle, and overfold to the knee. A quiver is slung behind the right shoulder, and the right hand caresses a fawn. The left hand of 1240 holds an apple. The three figures differ slightly in detail, and 1241 has the fawn on the left side, whither, however, the right hand follows it. The heads of 1240, 1241 are separate, but seem to belong to the bodies. The style is late and the workmanship very poor. Hs. 2 ft. if in.— i ft. 9 in. 1, cxvii, 849, 853, 854. 1243. Artemis or Hecate, in short tunic, girdle, and hunting boots with falling tops. From the right shoulder hangs a quiver, and in the left hand is a long staff which may be a torch holder, but is broken above. The head is separate and does not belong to the bodv for certain. The work is poor, and there is red paint on eyes, ears, boots, girdle, and staff. H. I ft. 8 in. 1244. Hecate, standing, in long Doric chiton with deep overfold. She holds torches in both hands. The head is separate and does not belong to the body for certain. There are traces of red paint on e\es, hair, and chiton. H. i ft. 8^ in. Cyprus, p. 152. 1, cxvi, 841. 1245. Artemis, standing, in long tunic with ox'erfold; quixer behind the left shcjuldcr, and a fawn on the left arm. I'he head is separate and does not belong to the bod)' for certain. There is red paint on the tunic. H. i ft. 7^ in. 1246. Goddess or X'otary, erect, in long tunic and mantle, holding in the left hand a bird which she feeds with the right. 191 THI-; COl.LKCTION OF SCULPTURE Wall ji^^^, head is separate and does not belong to the bod\- for Cases . , , ^. . . " , .' , 49,50 certain. H. i tt. iigin. I, cxvi, 843. 1247-0. F'e.m.vlh N'otary, standing, in long full tunic and cloak drawn o\er the head like a \eil and held bv the right hand to the left of the face. Below, it is drawn across the right arm and falls o\er the left arm. The left hand either holds an apple (1248) or is concealed in the cloak (1246, 1247). The head of 1248 is separate, but seems to belong to the bod\'. The pose is that of Graeco-Roman portrait statues like the well-known " Lad\' of .Antioch," and recurs in the lifesize statue 1404 in \\ all-(^ase 64 of the .Annex. Hs. i ft. 11 in. — 1 ft.48in. Colonna-CA'Ccaldi, PI. xvi. 3 (1248). 1, cxxxiv, 990 (1248). 1250. Fe.mali-; \'ot.\ry, standing, in long full tunic and cloak, and high sandals. The head and right arm seem to have been made separatel}', and are missing. H. 2 ft. 2 in. SPFCIAL SERIFS OF HFADS AND LARGFR FIGLRFS FLOOR CASES XI-X\I1 AND CENTRE CASES A-G The Type-Series of Sculpture 1001-1250, which occupies the Wall- Cases 29-50, consists, for con\enience, almost entirel\' of figures small enough and of sufficient!}' uniform size to be casilx' grouped, so as to give a general impression of each st\le. In Floor-Cases Xl-XVll this introductory series is supplemented h\' a number of heads from larger statues, man\' of which were of life size, or even larger scale. With these heads it is possible to stud\' in detail the treatment of e\es, hair, and other features, which are important marks of st\ie and date, but were imperfectly represented on figures of smaller scale. These heads are arranged, like the smaller figures, in sequence of st\des, beginning from the earl>' Oriental st\'le in Floor-Case XI : and with them are grouped other pieces of sculpture of exceptional size or interest, belonging to each successi\e style. In theOntre-Cases A, B, C, are placed a fewTife-size statues, selected from the large series in the Students' Collection downstairs; and in D, E, F, G, the large sarcophagi and other examples of relief- work and monumental sculpture. These in turn form an intro- duction to the scries of sculptured tombstones which occup}' the Wall-(^ascs 51-72 in the Annex. tQ2 ORIENTAL STYLE EARLIEST PHASE, NOT YET MUCH AFFECTED BY ORIENTAL INFLUENCES ABOUT 750-700 B. C. This rare and interesting group probably represents a phase of Floor Cypriote sculpture earlier than that in which Assyrian influence ^'}^*^ becomes predominant. The faces are heavy and square, with well- marked eyebrows and eyelids, and small firm-set mouth, without beard or moustache. In some respects, the technical skill recalls that of the sculpture and modelled plaster-work of the Minoan civilization, and it is possible that something of this ancient tradi- tion may have persisted among Aegean colonists in Cyprus, long after it had faded from their mother-lands. This comparison is supported b\- the characteristic frontlets with rosettes or leaf-pat- terns, like those of the Later Bronze Age, 3002 ff., in the Collection of Ornaments, and b}' the peculiar costume, derived from the Minoan loin-cloth, on full-length figures of the same style, 1040-7 in Wall- C-ases 31-33. Nevertheless, the st\leof these heads passes, without break, into the Mixed Oriental style with Assyrian and Egvptian influence, and rosette frontlets are also worn by Assyrian courtiers of the early seventh century. The date of these examples is probably not much earlier than 700 B. C; and as a number of the male figures in Hittite sculpture, and on engraved stones of Hittite st\ie from Asia .Minor and North Syria are beardless like these heads (compare 4309 in the (collection of Engra\'ed (^xlinders), it is certain that some allowance must be made for mainland in- fluence. Nothing, however, can be ascertained at present as to the relative age of the (^\priote and the Hittite work. A third comparison must be made, with the earliest large heads of modelled clay, like 1451-2 in Floor-C^ase X. The series from sanctuaries at Tamassos, Idalion, and other (".\priote sites proves these to belong to an earlier period than those with .Assyrian feat- ures; they pass, however, without break into the Assyrianizing series, in the same way as the stone heads, and probabl}' represent, like them, the native art of the later eighth centurv'. 123 1-3. Beardless Heads of .Mali-; Votaries, wearing frontlets with rosettes (1251-2-4-3) and leaf jtatterns (1233), within raised bfjrders (1232-4-5), \\ithin which the background is coloured red (1233) or cro^s-halchcd with fine lines (1254, compare 1040). In the ears of 1251-4-5 are pairs of earrings of early form, like ^115 in tlir (Collection of Ornaments. The K)3 Floor Xl THE COLLECTION OF SCULPTURE, SPECIAL SERIES hair falls behind the neck in a smooth mass (1254) as if worn long with the ends caught up into the frontlet; in 1253 two rows of small curls appear under the frontlet on the forehead, as in the later figures of similar type 1044 in Wall-Case 32. Closest similarity with the early ^^T" '^'^^^Ito icrracotta heads is shown by 1254, with V I ,JFl its prominent nose and pointed chin: 1253 shows Assyrian and 1255 slight I'gyptian influence. Hs. iif in. — 6f in. Doell, ix, 4, 330 (125 i). I, xix, 32,29, (1231-2); xix, 36, 30 (1254-5). 1256. Beardless .Male Votary, about half life-size, in the same st\ie as the heads 125 1-5, and the smaller figures 1040-7 in Wall-Cases 31-2. He stands with right leg slightl}- advanced, and both hands hanging by the side; but both feet and the right arm are broken away. The head is separate but seems to belong to the body. It has the characteristic frontlet with rosettes and raised borders; below it appears a single row of small curls. The dress is unusual: the close-fitting tunic seems to pass at the waist into a plain Cypriote loin-cloth, as in 1040-7; but instead of a waist-belt, a kind of kilt is tied around the hips, falling low behind, but tapering to points which are knotted loosely in front. The nearest parallel is offered b\' the dress of Hittite figures; but the likeness is not exact. This kilt is coloured red, and there are other traces of red paint on the figure. H. 3 ft. ^ in. Doell, iii, 9, 67. Perrot, fig. 371. I, xi, 13. ORIENTAL STYLE UNDER MAINLY ASSYRIAN INFLUENCE, ABOUl 7OO-65O B. C. The influence of Assyrian fashion is chief!}' shown in the prevalence of beards, worn long and square and artificial!}- curled; though something must be allowed for decorative and conventional ren- derings. The eyes arc large and prominent, and slightly upturned outwards. The eyebrows are rather arched, the cheekbones high, the lips vigorously rendered, and the whole expression is aggressive and brutal. For the pose and costume of the figures to which these heads belonged, compare the life-size statues 1352-3 in Centre- Case A. 194 ORIENTAL STYLE The pointed helmet worn by these figures has been described as Tloor Assyrian, but is neither the conical cap of metal used by Assyrian y 1^^ soldicr\' nor the elaborate tiara of kings and high officials: the near- est Ass\Tian Ivpc belongs to ihe reign of 1 iglath-pileser (745-727 B. (].) and disajipears later, lis shape more cIosel\- resembles the helmets of figures in llittite reliefs, and of an earl\' class of bron/e statuettes from Sxria and other parts of the Levant. A common 195 TUn COLLECTION OF SCULPTURH, SI'IiCIAL SERIES Floor typi' of late Minoan helmet has the same outline, and occasionally '^V shows neck-guard and cheek-nieces, but is quite differently con- structed, with rows of boar-tusks or other hard plates on a leather backing. But there is no precise parallel outside Cyprus, where this cap comes into use in the Earl}- iron Age, and was not super- seded by Greek solid helmets till the sixth century. It consists of a cap of flexible leather reinforced by an external frame of flat metalwork, and running up to a peak, sometimes flexible, sometimes replaced by an ornamental knob. The leather panels were sometimes quilted or embroidered, or perhaps even replaced by plaited strap-work like the helmet of Meriones in Homer (Iliad X. 263). The metal rim fits closely round the temples, only oc- casionall)' exposing a row of small curls over the forehead. On either side are ear-flaps or cheek-pieces of the same construction, designed to be tied under the chin, but generally raised and secured by their chin-straps on top of the helmet, either in front of the peak or behind it. 1257. Colossal Hhlmeted Head of a Bearded Votary, very severel}' and simply modelled. The helmet is smooth, and the beard consists of four massi\e locks, each ending in a single curl. It is possible that the colossal feet (1257-a) ma\' be from the same figure. H. 2 ft. lof in. Doell, viii, 6, 237. Colonna-Ceccaldi, PI. iii. 2. C\prus, p. 123. Perrot, fig. 354. 1, xxxix, 253 (head); Ixxxv, 534 (feet). 1258-60. HhLMHTED Heads like 1257, but not much o\er life-size. Ihc style of I25(S is still thoroughl\' Oriental, but the terminal coils of the beard arc gone; in 1239-60 the straight subdixisions \an- ish; and the beard of 1260 is wedge-shaped, in Greek fashion: the features also arc more western. The cap of 1238 is low and frameless, and the chin-straps are knotted together over the forehead; that of 1260 shows well the flat frame- w(jrk and smooth panels. Hs. 1 ft. 6 in. — i ft. 2\ in. Doell, viii, 10, 243 (1258). 1, xxxv, 222 (1258); xlix, 289 (l25()). 1261. Beardi-.d Head of smaller scale, in a style which combines the qualities of the beardless heads 123 1-3 with the hair and 196 ORIENTAL STYLE beard appropriate to 127 1-2 in Floor-Case XII; with close- Floor fitting cap like that of some early clay figures, which have ^'j^^ the same prominent nose, pointed chin, and "feathered" eyebrows. The beard is rendered by a smooth surface painted red, and there is red also on the lips, eyeballs, and tunic- border. In the lobe of each ear is a double earring, as in 1251. H. 5j in. 1262. Statuette of a Lady of Rank. This remarkable little figure represents a woman of mature age, in Assyrian dress, standing on a square bracket, which is supported by the heads of two human figures and another object now broken awav. The bracket seems to have decorated some larger object. The figure steps forward briskly, with the left foot in advance, as in the far poorer figure loi I in Wall-Case 29. The head is held high and the right hand is raised in a gesture of command; the left holds a mirror and raises a fold of the skirt. The hair is dressed in transverse rolls and rows of curls, confined by a broad frontlet; long plaits descend in front of the shoulders, and a veil or dense mass of hair falls behind them. The dress consists of a long tunic falling to the ankles, and gathered in transxerse folds or fiounces. Over this is a heav\- cloak which falls in deep folds from the right ,202 shoulder over the right arm, and i;, caught up helow h\' the left hanti. Its upper edge is folded obIiquel\' oxer the breast, and the lower has a deep border or fringe, with zigzag ornament. A rectangular satchel is slung b\' a bell from the left shoulder. Two rich necklaces are worn, together with pendant earrings and lion-headed bracelets. Though the scale is small, these di'lails are carefullx' and xigor- ou^lv rendered, with rare freedom of pose and gesture; \'et the close obserxa nee of Oriental costume and the absence of Eg\'pt- ian influence seem to preclude a lower date than about 700-650 P).C, II. Sin. Doell, i, 2,2.S. Colonna-Cfccaldi, PI. xiii ("' Astarte sur le Pavois "). (ixpriis, p. 157. Perrot, hg. 3,()j. 197 Floor Case XI THH COLLECTION OF SCULPTURE, SPECIAL SERIES 1763. {-"emalb Votary, standing, in long foldless tunic and close cap. The right hand holds a flower in front of the breast. The features are quite hea\>' and expressionless. Note the double necklace, the spiral earrings, and the long pendants in the lower lobes of the ears. This is t\pical of a very large number of votive statuettes from the sanctuaries of the Paphian Goddess at Idalion and elsewhere, from the seventh century onward; though the actual examples of the spiral earrings represented here are mostl}' of the following centuries. H. 2 ft. 6 in. Doell, i, 8, 21. MIXED ORIENTAL STYLE, WITH MAINLY EGYPTIAN INFLUENCE ABOUT 650-530 B. C. Floor Characteristic marks of Egyptian influence are (i) the kilt which, ^'}^^ in C\-prus, often has its centre panel and belt richl\' embroidered, and is worn with a skin-tight tunic, short-sleeved and embroidered 1204 at the seams; (2) the heavy smooth wig, enclosing the forehead, and falling behind the ears, nearl\- to the shoulders; (^3) the slender proportions, square profiles, and stiff expectant pose of the stand- ing figures; (4) the le\el e\'es, straight narrow nose, and clean- sha\en face, with small delicate mouth and pointed jaw; and (5) 198 MIXED ORIENTAL STYLE the smooth broad surfaces natural to a school of sculpture which had been disciplined for centuries by work on refractory basalts and granites, shaped not with knife and chisel, but by sawing, hammering, and rubbing. The pointed cap, howexer, is still sometimes worn, in new and decorative varieties, instead of the wig, and as Greek influence comes in, the mass of hair breaks up into small curls, and a close- trimmed beard is indicated, first by a smooth surface following the contours of the face, and later by many rows of small curls. The "feathered" treatment of eyebrows and moustache is an in- heritance from the Assyrian style, and from the incised detail on large terracottas like 1453-7 in Floor-Case X. There can be little doubt that these simple devices for rendering the hair were originally enhanced with colour; as on the smaller figures in the Wall-Cases. 1264. Flute-Player, about half life-size: only the upper part is preserved. He wears the tight short-sleeved tunic, and pla\'s the double pipe with both hands, using a mouth-band like the Flute-Players 1024-6 in Wall- Case 30. H. I ft. 4 in. Doell, ii, 5, 52. I, xiii, 15. 1265. Harp-Player, in the same scale and style as the Flute- Player. The harp is of the tri- angular Oriental form, with its pillar rising from a scrolled base to a floral capital, and the head of a leonine griffin. H. i ft. 6 in. 1, xii, 14. 1206. Princely Votary, standing, in rich kilt and a pointed cap, with raised side flaps, decorated with lotos flower borders and a rosette in front. He wears double earrings (either spirals, or pairs of the boal-shaped tvpe 3166 IT.) and a triple [lectoral collar, consisting of Icjtos jielals, FIooi Case Xli concentric semicircles and shaded triangles. 199 12G() The tunic is not Case Xil THi; COLl.lXniON t)l SCULnURli, SPHCIAL SliRIHS shown, and is pcrluips absent, as in the roxal figure 1363 in Clentre-C^ase C. The right arm hangs b\' the side; the left rested on a qui\er or sword hilt (now broken) which is suspentl- cd from the left shoulder b\ a double sling. Each upper arm has spiral bracelets. The belt of the kilt has a clasp of crossed volutes, supporting an Egx'ptian solar disc. The lateral folds of this kilt are care- full}' rendered, and its central panel is embroidered with an eye above, then a .Medusa-head with coiled snakes, then a pair of Eg\ptian winged uraeus-snakes. The feet are broken awa\' at the knee, and the head shows signs of exposure to fire. H. I ft. ul in. Doell, ii, 7,39; (^x- prus, p. 154; Perrot, fig. 350. I, xlii, 279. 1267. M.\LE X'oTARV, standing, in a rare stvle, with broad flat treatment under strong Egxptian influence. The forehead has rows of small curls; the tunic is elabo- ratel\- decorated with seams am.! strips of lotos ornament, like the painted terracotta figures from Salamis, in the British Museum; Catalogue of Terracottas, A 106- 122. The right arm is held across the bod\-; the left hangs down. The belt and kilt are orna- mented with uraeus-snakes, and floral designs in the centre panel. The legs are bare, with ornate sandals on the feet, which rest 12O7 on an irregular base. The left leg has been restored. H. 2 ft. 4^ in. 1, XXX, 201 . 126S. Hawk-iii-,ai)i.1) liciKi-, in kilt and belt : no tunic is shown. I he arms are held across the body. There is red colour on 200 MIXED ORIENTAL STYLE the belt and kilt. Compare the .Masked Dancers in Ass\rian Floor dress 1029-31 in Wall-Case 30. In I:g\pt the hawk is the ^^.^ emblem of Horus who is often identified with Ra the Sun-God, and consequentl}- would be a natural attribute for an Egxptian votary to dedicate to Apollo, who is Sun-God among the Greeks. H. I ft. 3f in. Pcrrot, fig. 413. 1, xxiv, 58. 1269-70. Be.ardless Heads of Mali, Votaries, wearing the close-fit- ting wig with a border or frontlet on the brow; the wig of 1269 seems to be parted in the middle, and its texture is rendered by rough tooling; the cxebrows of 1270 are rendered b\' zigzag tool- ing, and the features show some Hellenic intluence. Hs. i ft.. I ft. 3^ in. 1, xxiii, 54, (1270). 1271-3. Bearded Heads with smooth hair or wig, like 1269-70. The beard and exebrows are rendered in low relief; quite smooth in 1271-2, but the beard of 1273 has irregular zigzag tool- ing. Below the neck of 1272 is a band of triangular lotos-petal>. perhaps the border of the tunic. Hs. I ft. if in. — III in. Doell, ix, 6, 310; 7, 3 1 1 ; (1272). C\prus, p. 141. 1, xxiii, ,2 (1272); 53 (1271). 1274-6. Bearded Hi:ads i\ Cypriote Hi i.mi.ts, of which the cheek-pieces are usuallx' raised, and show a wig-like mass be- hind the head: in 1276, however, the\' hang df)wn, and quite conceal the hair. The e\'ebrows are in relief, and zigzag tooling is used on 1275-6. Double earrings are worn bv 1274. There is red colour on the lips of i27(). With this group com- pare the full-length statue ns4 in Ceiitre-C^ase A, which though beardless has this combination of helmet and smooth hair. I Is. 10 in. — 5 ', in. 1277. P)i,ARi)i.i-,ss lli.Ai), in close-fitting cap or wig, but of the 201 1268 THE COI.l.RCTION OF SCULPTURE, SPECIAL SERIES Floor Case XII square Ass\'rian proportions. The eyes are large and promi- nent, like those of the smaller figures in this mixed style. H. 4I in. 1278. HiAi) OF A Fllth-Player, like 1264, with double earrings, and e\elTro\vs in relief. The mouth-band was rendered in paint onl}'. H. 6^ in. I, Ixxi, 458. Floor Case Xlll ARCHAIC CYPRIOTE STYLE ABOUl 600-500 B. C. In this group the influence of Oriental conventions graduallx' fades, as the natural forms are more clearl\' apprehended, and more successful attempts are made to render them. The hair and beard break up into man\' small curls, at first in rows but afterwards set more freelw The e\ebrows become wa\\- and upturned at the ends (127c)), and are usuallx' feathered; exelids are shown (1281); and the moustache is sometimes allowed to grow (1281), though it remains close cut, and is feathered like the eyebrows. The plain frontlet is replaced b\- a wreath of lea\'es. 1279-81. Bearded Heads with Wreaths of Leaves, beneath which one or more rows of small curls frame the forehead. 1281 1284 There are now man\- traces of red colour on e\es, lips, and hair. With the \-igorous head 1281 should be compared the colossal Herakles 1360 in Centre-Cased Hs. i ft. 2', in. — t)l in. Doell, ix, 9, 344 (1281). C\'prus, p. 141 (i 280-1.) 1, Ixxxii, 540 (1281). iiHi-^. Bearded Heads with Oprioi e: Helmets of the usual framed and quilted t\pe. The hair is more freel\' 202 ARCHAIC CYPRIOTE STYLE rendered, and 1283 has red colour on the Hps. Hs. i ft. 2-3- in., I if in. Doell, viii, i, 231 (1282). I, Hx, 405; xHx, 292. 1284. Bearded Head in Modelled Helmet, consisting of a conical cap of metal, on the front of which a flying bird is represented in relief, with head projecting in front, and wings enfolding the helmet: like the flying bird on an early bronze shield from the Idaean Cave in Crete, probably of the seventh century. The treatment of the beard, in seven transverse rows of small curls, is rather stiff and con- ventional, but the features show some Hel- lenic \igour. H. I ft. 5I in. Docll, viii, I I, 235. 1, lix, 404. 1285. Bearded Head in a Greek Helmet, of the smooth close-fitting "Corinthian" fash- ion, of the later sixth century, with eye- brows modelled on it in low relief, and solid nose-guard and cheek-pieces. But the cheek- pieces are here shown attached by hinges so that they could be raised like those of the Cypriote helmets. There is red colour on the beard. H. 12 in. I, cv, 688. MATURE CYPRIOIE STYLE ABOUT 500-450 B. C. In this phase, the modelling comes very close to that of contem- porary sculpture in Cjreece, when limestone was beginning to give place to marble. The treatment of the hair changes rapidly; the curls become large and irregular, and develop into twisted coils. On the crown of the head, and on the beard, much use is made of fine wav}' grooves, with occasional zigzag tooling. At the end of the period, the wreaths become hea\y and elaborate, with natural lea\es, berries, and llowers. 1286-9. Be-arde.d 11i:ads with Wreaths, showing the varied treatment of hair and beard. The beard of 1288 is unusually full and loose. Hs. 13:! in. — lojj in. Hoell, ix, 13, 349 (12HH); 14, 352('i28()). Colonna-Ceccakii, PI. v. (1286), C\prus, p. 140; Pt'rrot, fig. 404. I, Ixxxii, 541-2 (1287-8); Ixxii, 469 (1289). 1290. Be.akdij) He.ai), in a sl\le uiuisu;ill\- close lo that of.Xlhens at the oi)ening of the filth ci.'nlur\'. Ihe hair is almost wholly 203 Floor Case XII 1 Floor Case Xlll iHH c:oi.i.EcrioN OF SCULP ruRi;, spfcial series rendered b\' fine parallel lines, drawn forward from the crown, and ending on the forehead in a single row of small curls, below a narrow plain band. F\ebrows and moustache are in \er\' low relief; the moustache still has feather tooling. 1288 1290 The e\es and lips are modelled with great delicac\', and the lips are coloured red. The whole work marks the culmination of the Cxpriote st\le. H. io§ in. Doell, ix, 12,355. I, Ixxii, 46(S. 1291. Beardhd Hkad with Wreath, of the beginning of the decadence. Fhe wreath is heav\' and elaborate, with ba\' lea\es above, and i\y lea\es with their berries below. Fhe hair is treated in small locks all over the head; the beard is curled, and the moustache falls o\er it in tine wav\' lines. 1 here is much red col- our on the e\eballs and beard. In spite of superior technical skill the style is weak, and the effect hard and impleasing. H.ift.2iin. Doell, ix, 8, 34(); (>\prus, p. is 3. 1, Ixxxii, 53c). The scries of bearded heads in Cxpriote sl\le is resumed at 1309 in Floor-Case X\'. Ki;i'RHShNTATl<)NS OJ- THE TRIPLE GER'lON To the sixth cenlurx', and probabl\' to its earl\- part, belong three representations of the three-bodied monster C^tn'ou, one of the adversaries of Herakles. 'Fhe\- fall into the same class of voti\e offerings as the lions 1 101-7 and snakes i 1 10-3, which exhibit the power of their sla\er, and the fragmentarx' group i lOcS in Wall- Case ^8, which shows Ik-rakles wrestling with the Old Man of the 1291 204 MAIL' RE CYPRIOTE STYLE Sea. Geryon, in Greek legend, was the three-bodied King of Floor Er>theia, an ishind in the Western Ocean, and master of famous v'^.^m red cattle, which it was one of the "Labours" of Herakles to carry off. Herakles, after other adventures, reached the Ocean, set up his famous Pillars on its shore, sailed to l',r\ iheia in a golden bowl, drove off the cattle, and killed nol onl\- their giant herdsman Eur\tion, and Orthras his two-headed dog (whose fate is shown on the sculptured slab 1368 in Floor-Case F), but also Geryon himself, when he came in pursuit. Ger\on, whose name in Greek means the "Howler," has been explained as a storm-demon, and his cattle as the rain-clouds, red in the western sun-glow; Herakles being conceived as the Sun- God who arises from the east to dispel storm and rain, in spring- time. Other m\ths of cattle-stealing are those of C^acus, who steals these same cattle from Herakles in the neighbourhood of Rome; and the theft of .Apollo's cows b\- the infant Hermes. \\'hate\er its origin, a m\th located, like that of Gerx'on, in the I'ar West, ma\' well ha\e won new popularitx' in the centuries when worshippers of the Oriental Herakles-.Melqart, who was the patron deit\' of l"\re, were exploiting the I'ar West of the ancient world, and disco\ering the "l^illars of Herakles" in the ocean gatewa)' of Gibraltar. The traditional d.ates for the foundation of CLarthage fell in the middle of the ninth centur\-, and the rich Phoenician tombs at Tharros in Sardinia begin in the se\enth, with jewelr\' and engra\ed stones of :he same .Mixed Oriental st\ie as these figures. i2()2. Statlh or THH Triplh Ghryon, with single bod\', three shields, and six barefooted legs, of which three are in ad\ance. The three heads and two of the right arms are missing. The damaged head 1202a is said to ha\e been found near the triple bod\-: it wears a pointed helmet with a peculiar double neckguard. The third arm also is damaged, Init was CL-rtainl\- raised to throw a spear. There are traces of hea\\' locks of hair on the middle pair of shoulders. The b)lleclion certainl>' represent \oung men, two \er}- fine examples Case of the (Apri(jte sl\ie (1295-6) are clearl\- shown b\' their hair and ^^^ jewelry to be intended for female Notaries, like the statuettes 1080-4 '11 \V'all-(^ase 35. I'hex' belong to the same piquant transi- tion from the archaic to the mature phase as the bearded head 1290 in Moor-C^ase X 1 1 1. 1295. Head of a I'f.mai.I: X'orARY, rather less than life-size. The hair is drawn forward from the crown of the head, and 2(J7 THH C.OI.I.HCTION OF SCLLPTURE, SPECIAL SERIES Floor iVamcs the forehead with three rows of small curls under a y'Jy broad frontlet. A larger lock hangs before each ear, and larger tresses fall behind. The features are delicatel\- modelled; the o\ebrows are in low relief with upturned ends, the e\es are long and narrow, and the mouth small and rather priml\' set. The jewelrx' is elaborate, and instructixe for comparison with the (Collection of Ornaments upstairs. In the upper lobe of each ear are fourfold spiral earrings from which hang a row of cubical pendants; in the lower lobes, spirals and long pendant earrings; also within each ear, a double o\al spiral. Round the neck is a multiple necklace of five rows of sc]uare beads, with a single square control-plate in front. Below this are traces of other necklaces, partl\' broken awa\'. H. 1O4 in. Doell, i.\, 5, 308; CCxprus, p. 141. 1, Ix.x.xii, 537. I20(>. Hh.-\d of a I't.MALH \'()TARY, of more adxanced stxle than 1295. The hair is smooth and crowned b\- a double frontlet of rosettes, under which rows of spiral curls frame the face, and hang low in front of the ear. Behind each ear, three plaits of hair are clasped together, and fall in front of the shoulder. The ears ha\e fourfold spirals in the upper lobe, and in the lower a large rosette-disc of a Greek t\pe which pre\ails from about 350 to 450 B. C. There is one necklace of small beads with a fan-shaped pendant. The features are modelled in a shallower and harder st\ie than in 1295, as if the sculptor were accustomed to work in marble, which was coming into use in Cireece about the time when this head was car\ed. The e\es are long and narrow, the e\ebrows are onl\' slightl}' indicated, and in the upturned corners of the mouth is a faint suggestion of the "archaic smile" of \otaries on the .Athenian .-Xkropcjlis. H. 12:] in. !, Ixxxii, 338. BliARUl.l.SS MALI: NOTARIES IN THH C^l'RIOTI-; '^TVLH This group runs parallel with the bearded heads of archaic and mature stxie, in Moor-Gasc Xlll; with the decadent bearded heads 1301-3 in Moor-Gase Xl\'; and with the small later Notaries 1177-87 in \\'all-(Cases 38-40. The wreaths begin to show berries (1297-8, 1305), rosettes (1301), and four-petalled tlowers (i29()), as well as lea\ es. 1304 has a frontlet of pendants like those of a neck- lace, and that of i ^03 is a mere ribbon lied in a bow. The use of red colour is now more frequent and less judicious, and in the next group its misuse becom.es conspicuous. 208 MATLRli C:YPRI01H SlYI.E i2C)7-9. BhARDLHSS Hhadsof Mali-. XOiakii-.s, in the same gra- Floor cious st\!e as 1295-6. The hair is drawn forward from the top y,VJ of the head, in the same Greek fashion as 1290, and is worn low on the forehead and before the ears; it ends, below the wreath, in small curls, which become quite free and irregular in 1299. The features of 1297 ha\e the same flat treatment as 1296, but I29(S shows considerable delicacx' and achance towards expression. The prominent eyes of 1298 are a first sign of the decadent st\ie which sets in with 1312-13 in I'loor- Case XV. Hs. lo'i in. — 9^ in. 1, lxxx\i, 570 (1299). I, !xxv, 484, 488 {1297-8). 1300-6. Rhardless Heads of Male N'oiaries, of mature and decadent st\le, and less careful workmanship. 1 he eyes begin to be prominent, and the nose narrow and pointed. The eyebrows of 1300, 1302, 1306 are still in relief, and the curls on the forehead retain archaic stillness in 1300, 1304-6. But in 130 1 -2 the hair is simpler and more natural. Thesl\leof i3o() ditTers in detail from the rest, and ma\' be archaistic and later. Hs. lo^ in. — ()4 in. Doell, x, 7, 371 (1300); x, I, 359 (1304). 1, lxx\-, 483, 481; Ixxxi, 533; Ixxv, 480, 482, (1300-1-2-4-5). 1307. F^i-AKin.ESS Head, im-:rhaps Fe.male. ITie hair is dressed in upstanding masses on the t'orehead, with trans\erse wav\' rolls behind, from ear to ear. it appears on coins of Lapalhos, early in the fifth centurx': British Museum C^oin (Catalogue ((^\ prus), PI. \-i, 3. This seems to be in imitation of an earl\- (jreek fashion; compare 1356-7 in Ck'ntre-C^ase B. H. 61',; in. 1308. SiATihTTE OE A ^'oi.No .Malh \'()^AR^■, in the same st\ie as 1297-9. He stands, with left leg slight 1\' in ad\ance, and the right hand extended, and broken awaw in his left he holds a tapering object like a straight trumjiet. The treatment of the dress is obscure. y\ tunic of crinkled material, drawn rather tightl\- about the lower limbs, falls in stifl' solid folds between the feet, which are broken awaw ()\er it, an oxer- fold, or perhaps a separate o\er-tunic, falls from the neck to the thigh, and shows a double border in red colour around the neck (jpening, and less clearh' at the iirmholes. It seems to be the same o\er-tunic as on i ^5^, rendered hv a sculptor who was more familiar with the Doric chiton of (ireece, I he s;ime ambiguit\' is felt ni the larger statue i ^5*) in ( lent re-(>ase 2 Of) THE COLLHcniON OF SCULPTURE, SPECIAL SHRIHS Moor B^ and in some of the smaller Notaries of this period in W'all- •y^lY Cases 3cS-4o. H. ^ fu 74 in. Doell, v, 12, 1 14; Perrot, fig. 364. 1, ciii, 677. DECADENT CYPRIOTE STYLE ABOUT 450-300 B. C. The Cxpriotc st\le has now lost its vigour and independence, and floor retains onl\- archaic mannerisms. The best heads are in distant '■^y imitation of well-known Cjreek masters or schools; the worst are weak repetitions of the old local t\pes. The heads grouped here seem to be still intended for votaries, but a tasteless vanity as- cribed to ordinar\- persons ideal t\pes of feature, and the attributes of ()l\mpian deities. 130C). BtARDED Head, influenced b\- the Pheidian presentation of 01\mpian Zeus, and perhaps as earl\ as the close of the fifth centur\. The hair falls beneath a wreath of lea\es, in large locks. The ex'ebrows and exelids hang heavil\-; the nose is long and ver\' narrow; the mouth firm-set, with thin mous- tache and \-aguel\' modelled wa\\- beard. H. 12;^ in. 1, cv, 689. 1 3 10. BtiARDED Head, showing the same influence as i30(), but of later and more facile execution. There is much red colour on beard, hair, and ex'es. H. 9} in. 1, xcxii, 665. 131 1. Bearded Head, from a tom"bstone of the same form and st\le as 1382-3 in W'all-C^ase 32. The hair, roughl\ but quite naturall\' rendered, springs back from the forehead in wa\\' locks below a wreath of open flowers. The heard is wrought in long wa\\' lines. The features are stiff, the nose flat and square, and the eyes downcast; probablx' because the figure was meant to be seen from below. The background was coloured red. This funerarv sculpture is \er\ different in st\le and technique from the \'oti\e figures, and cannot be exactlv dated. .Much must be allowed, moreoxer, for the possibilit\" that the funerarx and votive monuments ma\' not come from the same localities. H. iii in. 1312-17. Beardless Headsof .Male \'otarihs, in successixe phases of the decadent st\le. 1312 retains the high crown of lea\es and berries, and the old "feathered" e\ebrows, but has the prominent e\es and nose, low forehead, rounded chin, and 210 DHCAUHNT CYPRIOTH STYLE free use of red colour, which belong lo the late fifth centur>' Floor and to the fourth. H. iig in. Doell, x, 2, 35H; Cyprus, y^^^ p. 1^ I. 1, lxx\-, 485 (1312). 1313 recalls the \oung male figures of the Peloponnesian schools in the late fifth centur\-. The hair is almost straight, and oxerhangs the face and ears; the e\es are deep-set and slightlx- turned down, with conspicuous e\elids; the mouth firml\' closed, with thin lips and rather sexere expression. H. i)}, in. 1, Ixxv, 4cS6. 1314-15 attempt the manner of the school of Polx'kleitos; with natural wa\\- hair, less copious than in 13 13, e\es wide apart with well-marked lids, short broad nose, full lips, and at least some modelling of the neck. .All pre\ious necks have been cxlindrical. Hs. cyl in., iij in. 1, c\-, 084 (1315J. I3i(), though damaged and weathered, seems to follow the school of Skopas, espccialh' in the fullness of the under part of the face, and in the pose of the head. H. 12 in. 1, cxxxix, 1035. 1317 likewise follows a fourth centurx' model, but the face is too sc|uare, as if the artist had miscalculated its proportions. 11. H\ in. 1318 (Colossal Hhad, pi-rhaps ini i-.ndi-.d for Alhxandi-.r. it follows unskilfulK' the traditional portraits, with character- istic inclination to the left, but is chiellx' influenced b_\' the popular c(jin t\pes, which are as common in (]\prus as on the mainland. The hair flows luxurianlh' beneath a full wreath of leaxes; the large full exes are set close beneath the broxxs; the nose is slightlx' out-turned from the line of the foreheati. The mouth and chin are damaged. II. 12.^ in. 1319-21. lll-.ADS 01- X'oiARlhS XXTlll .\ 11 R 1 lU Tl-.S OF Al'Ol.l.O. These follow Hellenistic txpes, xxilh long hair clinging heaxilx- rouiKJ an oxal effeminate face, xvilh deep-set exes, and slightlx- pensixc expression. The rendering of the hair is more con- xcnlional and spiral in i3i(). 'ess so in i ',21, xxhich is nearer to its model in expression and pose. lis. ii.\in.— lo^ in. Doell, X, (), 545 (13191. (^oionna-C A'ccaldi, PI w (i3i()). 1, xcx ii, ()()i , ()j(), ()()]. \ >,22. TiMAi.i. lii.M), of nKitriiiih I \ pe, inlUienced bx' lourth centurx models ( )x er the head is a heaxx xeil, draxxn for- xxard on the left side soniexxTiat, as in the lile-si/,e statue 1404 2 I 1 |- loor W rm- cx)L.i.i;(n ION oi sculp iuki:, sfhcial serihs in W'all-Clasc ()4. The hair is parted under a narrow frontlet into \\a\ \ masses abo\e the ears. The forehead is smooth, the nose quite straight, the eyes prominent, and chin small and slightlx" dimpled, in the ear is a rosette earring with pendant figure of lirt)s, like ^()()7-H in the C^oUection of Orna- ments. H. 11^ in. 1, c\-, 6S2. HliLLhMSnc. STVI.H, PORIR.MIS .AND CON V HN 1 ION .\ L 1 Y PES .\FTER PO B. C. Moor .Ml traee of Cypriote st\le has now disappeared; onh' the weak vv? proxincial handling remains. Ideal t\pes are often replaced hv the new art of portraiture, of which the first example in this Col- lection is the traditional .Alexander 13 iS in I'loor-C^ase .W. 1323-5. Et.Di-.KL'i .MttN, clean-sha\cn, with short wa\_\' hair, rather full lace, and firm jaw. 132^ is \'ounger and softer I ]2\ I i,2b teatured than the others; all are lair representati\ es of the prosperous business men of the first centurx B. (;. 11. \i\ in.^io' in. 1, cxxxix, 10^4 (132V; xc\ii, 664 (1324). I ]2(). Vol Nc, .M,\N. with short \\a\\' hair, influenced b\- the t\pe of the xounger portraits of .\ugustus; probabh df the lirst centur\' .\. 0. H. 1 2 in. 1327. Elderly' .Man, with thin careworn tace, aiui thin beard: 212 IIl-l.l.l-NlSIIC. SlYl.l-: \igoroLis portrait urc not \\holI\' free I'roni caricalurL-. H. It in. Docll, x, i(). 54(); (ixpriis, p. Is^ I, cv, ()9o. 1 32(S. Fhmai.h Head, with hair parted under a triple band, tied on the forehead. .Abo\e the ears, it is drawn back into a prominent knot from which long ends fall behind the neck, i'he narrow pointed nose, small mouth and chin recall the portrait statues and cla\- figurines of the third and second centuries B. C. H. i i in. 1, cv, 681. I 52c). FhMALh Head, following late txpes of Aphrodite, but per- haps intended as a portrait, for the lower part of the face is rather full, and the lips are slightl\- parted. There is red paint on hair and e\cs. H. 9^ in. I, c\-, 683. 1 3 v>. FtiMALH Head, with heaxv \eil, loose wa\\' hair, and large circular earrings; in a coarse flat st\le like 1404 in W'all-CIase ()4. H. 10 in. Doell, x, 5, 544. (Cyprus, p. 141. 1, xc\ii, 660. M31-4. Young .Mi-.n, roughh' imitated from the portrait st\les of the first and sec(jnd centuries .\. D. They seem to ha\-e been exposed to fire. Hs. i i^ in. — 9 in. I,cxl\-, I 148 (1331). 1535. I- 1; MA I.E. Head, in the same late portrait st\le as 1331-4, with hair in broad bands from front to back, ending in a circular mass behind. This also seems to ha\e been exposed to fire. H. ()•,' in. I'or \'otaries who could not alTord portrait statues, or replicas of a masterpiece, the local statuaries around each sanctuar\' went on reproducing the traditional t\pes, which \ar\' as little in feature or expression as the\' do in their poses or attributes The wreath of U'a\-es ( I 3 v*^, 1 M' ) <"" "1 Icaxes and berries f 1 3 57) is often omitted; the hair is t|uite short, and short siele whiskers are sometimes worn 034]). Reil paint seems onl\- to be found on the earlier figures fl33()-8). 15^0-40. P)i AKDEE>s Hi'.ADs oi Maii. \'oia r 11.'^. of earlier but cjuite con\entional st\!e, with wreaths and red jxiint; the mouth of 13^*^^ e\i.'n shows traces of archaism: probablx' not later than the third centur\. lis. 7'J in. 4 in. I, .xi. 7SI, -'-,2. 730 (1356-7-8). 1341-47. l)E.AKi)i,i-.ss Head'- 01 Maee X'oiarii-s of later t\pe, inlliu-nced b\ portrait sculplure; i',4i, for example, has side 21 5 Moor Case X\ I iloor Case X\II rm-: ('.{M.i.i-c-.i uw oi scrLinuRi-;, sim-cial si;Kn;s Moor whiskers and i 546-7 sharper features than the rest. Hs \2\ ■(^'yi'j in.— 8.1 in. Doeil, x, 13, 4i() ( i 54()) ; iolk\tion. H. 2 ft. 7 in. I, cii, 673. LIFH-SIZH FIGL'Ri;S, SARCOPHAGI AND ri-;l!i;fs CENTRE CASES A-G, AND ANNEX In the (A^ntre-C^ases are the principal works of art of large Centre size or special interest in the Collection. Centre-Ceases A, B, C contain statues of life size or nearh' so, selected from the A large series in the Students' Collection downstairs. Centre-Cases D, E, in the .Annex, contain sculptured sarcophagi from Colgoi and .\mathus; (^ase I' contains other examples of relief sculpture; and (>ase Ci, architectural fragments and other miscellaneous ob- jects. On the open floor of the Annex are tw(j anthropoid sarco- phagi of marble. 1351. Pkies'i wriH A I^o\'i:, in Archaic (^Npriote style, considerably more than life-size. This line statue represents a bearded man 214 LIFH-SIZE FIGURES in Cypriote helmet, long tunic, and cloak, standing with left Centre foot slightly in advance, and both arms extended from the ^'^^^ shoulder. The prominent contours of the breast, and the long locks of hair on the shoulders caused earlier critics to suppose that the figure was intended to be female; and it has been described more than once as a figure of that "bearded Aphrodite" who is believed (from ancient testimon}') to have been worshipped in Cyprus. But both peculiarities are characteristic of C\-priote sculpture, the feminine bust, for example, in 1061, 1065, 1071, 1359 of this Collection, and the long hair in 1060- 1-2, 1065, and the colossal Herakles 1360. Moreover, the dress and orna- ments of female figures are differ- ent from these, and easily recog- nizable, as in 1080-4 iri Wall-Case 35- The helmet is of the framed and pointed kind, and of unusualK' elaborate design. The frame is coloured red, and the griffin's head on the summit is coloured \'e!low, to represent gold. On the front plates are sacred-tree ornaments in relief, and in the panels are traces of black, red, and yellow, probablv to indicate em- broidered leather; on the back of the helmet, too, there is much red colour, and also on the lips of the figure, and on the borders of tunic and cloak. The features are in Archaic (>\'priote st\le, like the bearded and helmeted heads 12H2-J in Moor-Case XI 11, which have the same prominent nose and primh' cut eyes and lips. (^on\'entional stilfni-^s is alread}' relaxed under flrllenic influence, but the delicate freedom of the earl>- fifth centurx' is not \et come. The hair antl beard are IHl-: COLLliCl ION Ol SCl'l.PrLiRH Cenirc rciuiered b\- rows of small eurls; and in front of eaLii La^e slK)uiiier tlirec long \\a\\- locks of hair fall ncarh' to the breasts. The dress consists of a long tunic with sleeves, and a heavil\' folded mantle. The painted ornament of the neck border — crosses with dots between the arms — is common in earl\' Cireek representations of textiles, and in decorative designs borrowed from these. The lower hem of the tunic has a border of car\ed lotos llowers and buds, from which falls a deep fringe Ihe mantle, which has a double border enriched with red colour, is rendered in far greater detail than on an\- other figure in the (Collection. It is worn like a Doric chiton, pinned together on the right shoulder, with a deep o\erfold; but from the left shoulder it has been unpinned so that it falls in stiff con\enlional folds across the bod\', exposing the undcr-garment, and is caught up o\er each f(jrearm. On the left shoulder an inscription in (Cvpriote characters was formerl\' read: "Of the Paphian Ooddess." But the traces of it are very obscure; see Appendix. About 500 B. i]. II. 7 ft. i.y in. Doell, i, 12, 1; Colonna-Ceccaldi, PI. ii, iii, i; C\prus, p. \^2; Perrot, fig. ^4(). !, Lw,43i. The head is separate, but certainl\ belongs to the bod\', and was seen with it in Cyprus in 1870 b\' C.olonna-Ceccaldi ( Monument i antiques de Cypre, pp. 33, 39-40) two months after it was found. The junction is well preser\'ed, and no further damage has been done in refitting. Both arms were carxed originallx' in separate pieces of stone, a common C\ priote and Oreek usage. The original arms have been broken off, and the broken surfaces ha\e been seriousl\' defaced in refitting. It is, therefore, impossible to be certain that the present arms are the original ones: probably the\' are not; the\' are, however, genuine (Cypriote work, of about the same period as the bod\-. The cup in the right hand has no parallel in this (>)llcction, though the hands, 1 1 56-7, holding libation bowls, are probabh' of about the same date. It has a high foot, and one small \ertical handle; a form which does not occur among the cla\' vessels of (".\ prus, but is akin to the earl\- k\ likes with two such handles. The cup is held hx the stem and loot, with a gesture of libation. The do\e on the left hand has been broken awa\', but the claws of the original bird are clearl\- seen between the fingers of the hand, and there is a sc]uare socket cut on the Priest's bod\-, at the left elbow^ which was designed to receixe a hold-fast attached 2l6 LIFE-SIZE FIGURES to some such object. The present dove is ancient, but has been Centre repeatedlx' repaired, and much disfigured by scraping; its head *^'^^^ and bod\' are genuine C\'priote work, of about the same period as the Priest's body; but it is impossible to be certain that it is what he originally held. For similar votive doveS; compare i(;6(S-q, 1072-3, 1076, and cspeciall\' 1075 in Wall-Case 36, which holds the dove in the same position as here: com- pare also the hands holding birds I 163-4 in Wall-Case 41. The feet, and the base on which they stand, are modern, as far as the under side of the tunic: they were cut from a block of C\'priote limestone, and fit- ted after the statue arrived in New "I'ork. .At the same time, the statue was covered, like other large sculp- tures, with a thin wash of powdered Cxpriote limestone, which concealed the fractures and also the ancient colouring. This wash was wholly removed in 1909, together with the plaster filling of the junctions. I 352. Bearded \'oTARY, in Oriental stvle, rather more than life-size He stands with both arms press- ed to his sides, and left foot verv slightl}' in advance. The feet, which are bare, stand on a square base. The head is sepa- rate, and does not belong to the bod\' f(jr certain, but is of the same period and st}le: compare the large heads 1258-60 in Moor- (^ase XI, and the votaries in the same dress 1001-3, in Wall-(>ase 29 pointed helmet and .\ss\Tian dress. The hair and beard arr renderetl b\' stiff rows of small curls, and the beard has a narrow border towards the cheek. I he evebrows are not represented at all, and the moustache only by very faint traces at the ccjrners of the mouth. The close-fitting tunic 217 1532 wears framed soft- THI-: {:(n.Li:c,ri()N oi- sculpture Centre falls to the ankles, and has sleeves to the elbow, and double ^-•'5^' borders. Over it the cloak falls in stiff folds from the left shoulder; its border is double, and has a zigzag fringe. About 700-6^0 B. C H. 6 ft. 32 in. Doell, i, 13, 29; Colonna-Ceccaldi, PI. iv, 2; (Cyprus, p. 143; Perrot, fig. 350. I, 407. 1353. Bearded N'otary, in Oriental st\ie, life-size. He stands with bare feet close together on a square base, wearing a framed and pointed helmet, and Assxrian tunic and cloak. His left hand falls by his side, and the right is slung in a fold of the cloak. The beard and hair are rendered in parallel or radial locks; the beard has a wavy border towards the cheek and there is no moustache. The only details of the dress which are shown are the edges of the left sleeve of the tunic, and the sling-fold of the cloak, and its raised border which falls from the left shoulder to the right side. About 700-650 B. C. H. 5 ft. 5f in. Docll, i, ii, 2; C}prus, p. 131; Perrot, fig. 353. i, xliv, 281. 1354. Beardless .Male Votary in Oriental style, life-size. He stands on a square base in the same pose as 1353, and wears Assyrian dress, and a pointed helmet without frame, which quite conceals the hair in front; behind the neck, the hair falls in a hea\\' mass. The features are still thoroughl}' Oriental, in the mixed st\ie of 1274-7 in l"loor-Case XII. The tunic is not modelled at all, and the cloak onl}' in outline, where it supports the right arm. About 650-600 B. C. H. 5 ft. 3^ in. I, xlvi, 283. Centre '355- Bearded \'(rrAR">, in Archaic C\priote st\le, life-size. He C^ase stands in long tunic and cloak, on a square base, with san- dalled feet which, though detached, seem to belong to the body. The head is in a shallow hea\\' st\le like 1288 in Floor- Case XI II. The hair is drawn forward, beneath a wreath of leaves and rosettes, into three rows of small curls which are continued all round the head. The beard is in seven rows of small curls, oxer which the moustache falls stifffy beyond the large rigid mouth. The long tunic has sleeves to the elbow, and the cloak, which falls from the left shoulder in a few stiff foKls, is supported b\' the left arm, which is slightly advanced and holds an incense-box like i 168 in \\'all-(>asc 34. The right arm is cut clear of body, and holds a sprav 218 15 LIFH-SIZH FIGURFiS of leaves like 1062; it is separate, but in the same st\le as the Centre figure. On the outer side of the right leg, however, are two Case scars, as if something had been in contact with it; and if this object was held in the right hand, the present right hand ma\- have been assigned to it in error. About 550-500 B. C. H. 6 ft. 1 1 in. 1, Ixii, 428. 1356. Beardless Male X'otary in Archaic Cypriote st}le, but Egyptian costume; life-size. The features show the Mixed Oriental t\pe transformed under Hellenic influence. The hair stands up stiffly on the forehead, and is dressed in transverse rolls over the head as in 1307, falling also in three large tresses behind each shoulder, as in the archaic "Apollo" statues of the Greek islands. Both hands hang loosel>' by the sides, and are slightly cut away from the body at the elbows. The skin-tight tunic has short slee\es, and there is a spiral bracelet on each upper arm. The belt is decorated with three rows of rectangular scale-pattern, with- in a raised border. Bl'Iow it hangs the kilt, with lateral folds and overfolds carefull\' shown, and a central panel ilccorated like the belt \\\lh scale jiallern, wilhin a border which ends in outward-turned uraeus-snakes, (.rowneii with solar di>cs. 1 he legs are broken a\\a\' close below the kilt. There are traces of retl colour on ihe lips, brll, ami Kill. This ligure should be coni[iared with the life-si/e statues 1357 and i-s()i, and with t lu' heads of the same piTiod, i2()()--j{), in Moor- (iaseXll. .About ()oo-5v» B. (;. 1 1. 3 ft. 5:,' in. Doell, iii, 10,62; (^)prus, 11. 145 (right); Perrot, fig. 335. I, i.\, 11. 210 THH COLI.I-X/nON Ol- SCL' l.PTURH Centre 13^7. Bhardlhss Mali: X'otak'*', in ArchaiL (Ivpriote st\lc, lifc- ^'^^^ sizo. The hair is dressed as in 1356, except that the erect hair on the forehead is replaced b\- small curls, and the hair behind the head has rough tooling instead of distinct tresses. 1 he cars are \er\' large and are set high, as often happens in this stage. The e\es are large and prominent ; the e\ehro\vs arched in low relief; the chin sharp!}' pointed. The skin-tight short- sleeved tunic is continued downwards without belt or kilt to the thighs, and over it is a short cloak falling as usual from the left shoulder in four stiff folds with zigzag edges; but these onh' descend to the middle of the thighs. Ihc legs are broken away abo\-c the knee. Both hands hang looselx' b\' the sides, and are nearl\' cut a\va\' from the bodw In the right hand is a double spray of lea\es: compare the small figures 1062, 1064 in Wall-C.ases 33-34. About 550 B. il. H. 3 ft. I if in. Doell, iii, 8, 61; (]>'prus, p. 145 (left); Perrot, fig. 195. I, viii. 10. 1358. Young Male; \'otarv, in Mature Cypriote st\ie, half life- LIFE-SIZE FIGURES size. He stands with left leg slightly in advance, but has Centre both legs broken away at the knee. The head is separate ^^^^ and does not belong to the body for certain. The hair is drawn forward beneath a frontlet of rosettes, in many twisted locks, set alternately to left and right; a rare experiment in orderly variety. The eyes are prominent and nearly flat, and the orbit is formed by a broad shallow groove, as in the archaic sculpture of Athens; but both lids and brows are shown in relief, the nostrils are deeply pierced, the mouth tight shut, and the chin rather pointed, with a slight dimple. The whole head stands in much closer relation to normal Greek work than most of the Cypriote sculpture. Both arms are cut away a little from the sides, and hang loosel}' with the hands (which are broken) slightly in advance. Under the left hand hung a dagger, from the sheath of which hangs a small oil-bottle. The costume of the body is unusual. It consists of an under- tunic which falls in full folds to the knee, but is drawn back between the thighs far enough to indicate the sex of the wearer. 0\er this tunic, which is confined by a cord round the waist, knotted a little to the left side, is a foldless over-tunic with sleeves, which falls low on either side about the thighs, but is cut away in front and behind, high enough to show the waist cord beneath. Other representations of this garment are 1029-31, 1052, 1096, 1 120, 1308. Over this, again, hangs a rectangular \estment folded like a napkin, and rough-tooled as if to repre- sent the shagg}' material which was used for towels then as now. It falls from the left shoulder to the waist, and is tucked into the belt of the under-tunic, both in front and behind. I'he precision with which this peculiar costume is represented, parlicularl}' when the figure's back is left otherwise so rough as it is, suggests that it had some ceremonial meaning. (Compare the smaller figure 1H45 in the Collection of Inscrip- tions, l-'or another example and for a difl'erent interpreta- tion of it, see de Ridder, Catalopie de Clercq {Antiquit'es ('hvpriotes) v, PI. 1. Ab(Hit 500-450 B. C. H. 3 ft. jl in. Dot'tl, iv, 10, 113. 1, Ixxiii, 475. n5(). YoiNc. .Mali-: X'oiary, in Mature (^x'jiriote st\le, about half life-size, stands with the left leg slightl\' in advance; both U'gs, howexer, are broken awav about the knee. The head is separate but seems to belong to the bod)'. The hair is drawn 221 c iHi; (X)LLi;c;riON of sculpture Centre forward uiulcr a wreath of k'a\es and rosellcs, to form a double [^ row of curls o\er the forehead and behind the ears. The c\es are prominent but nearl\' flat, and the upturned corners of the mouth begin to show some expression. The chin is full and square. The long close-fitting tunic is of crinkled material, like \i^\-y^-(). The breasts are rather prominent, but the true se.x of the \otar\- is indicated beneath the tight tunic. The cloak hangs as usual from the left shoulder, and is supported also b\ the left arm. The hands are advanced from the elbow, but both are broken away. About 500-450 B. C. H. 3 ft. 5i in. Doell, i\-, 8, 97. 1, Ixix, 454. Centre ' 36<*- CIoLossAL Statli- of Ht;RAKLHS, in the Mixed Oriental Case st\le. He stands with left foot a little in advance. The legs are broken at the knee, but are preser\ed lo the ankle; the feet, however, are modern, and were made in New York from a block of C\priote limestone; the lower part of the legs has been slightly damaged in refitting. The hero wears the usual tight-fitting tunic with short sleeves, girt with a belt with raised borders, from which hangs a kilt or loin-cloth with a ball-fringe, like that on 1363. There is no centre panel, and the right-hand side-folds are drawn across the left a little be\ond the midLlle line. This is an earl\' fashion, which goes back to the Late Bronze Age, and is characteristic of the mainland of S\ ria and Asia Minor before the period of Assyrian influence. Over the tunic the forepaws of the lion-skin are drawn o\er the shoulders, and knotted on the breast. The lion's scalp encloses the hero's head, so that the jaws frame the forehead with their teeth, showing onl\- one row of hair curls, and the three short tresses which fall in front of each shoulder. The exehrows are "leathered," and there is no moustache. The beard is brt)ken, but seems to have been rendered with wa\\' outline against the face, and radial locks, as on 1353. 1 he features are in the broad shallow st}le which marks the first dawn of Cireek influence, and should be compared with the life-si/e head i2ng to the figure. About (xio \'>. C. 11. 7 ft. 1! in 1 3()() Doell, \ii, (), 17S; Cxprus, PI. XII. I, l\xx\iii, 5S5. 1361. Insckibi-.I) SiAiii. 01 A Bi-.AKi)i.i) X'oiAKV, ip Oriental st\ k- ;ind l'.g\ptian dress; lile-si/e. I lu- hi';ul, t hough separate, seems cerlainl\ to belong to it, though it has been reset a littU in ;id\;ince of its true jiosition. The smooth hea\\' l-,g\litian wig lits tiglitl}' o\er the forehead, but re\eals the 223 Centre (^ase nil-; coi.i.i'Ci ION oi sculpturi- oars; the beard is also smooth, and only slightly raised from the cheeks ami chin: it was probahl\' intended to be enhanced b\' colour, like the large heads in the same st>ie, 1271-1272, in Floor-(;ase Xll. The moustache and eyebrows are feath- ered in low relief, but the moustache is cut short above the lip, and does not reach the sinuous outline of the beard. The e\ es are in almost purely Egxptian style, and the nose promi- nent and pointed. On the surface of the skin-tight tunic is outlined a panelled pattern, much weathered. The belt has the Egyptian winged disc for its clasp in front; and the central panel of the kill has a panelled design like that on the tunic, and also traces of uraeus-snakes, and another ornament, which may be a bird; but is much weathered e.xcept on the right-hand side. The side-folds of the kilt also show traces of surface decoration. The right arm hangs by the side and is completelx' cut clear of it. The left is held acrcjss the bod\-, but is cut clear of it ab(jve the elbow; this part has been broken a\\a\' and correctly replaced. On the outside of the forearm is an 224 LIFE-SIZE FIGURES inscription in C\ priotc characters: " 1 am (the statue) of Tami- Centre goras." It has been suggested that the writer intended ^^^^ Timagoras, which is a common Greek and Cypriote name; but see Appendix. Both legs are broken awa\' at the knee, which shows the same lozenge-shaped rendering of the knee-cap as the small figure 1041 in Wall-Case 31. About 600-550 B. C. H. 4 ft. 6h m. Doell, ii, 6, 49; Perrot, fig. 356. I, iii, 5. 1362. Bhardld Votary, in Oriental style and Egyptian dress, life-size, in the usual standing pose. The head is separate but certainl)' belongs to the body. The Eg\ptian wig and beard are quite plain, as on 1361, and there is no moustache; the eyebrows are in low relief. There is no trace of a tunic; in its place is a three-fold pectoral collar of Egvptian st\Ic, with (i) heart-shaped leaves; (2) triangular lotos petals; (3) oval petal-pendants. Tlie right arm, which falls loosel\- and is cut clear of the side, has a spiral bracelet ; the left arm crossed the breast but is broken away. The belt and side-folds of the kilt are plain, but the central panel contams a design of four uraeus-snakes. 1 he legs are broken away below the knee, which shows rather more advanced modelling than in 1361. .About 600-550 B. C. H. 4 ft. 5f in. I, iv 6. 1363. Bhakdhu Princi:ly Votary, in Archaic C\priotc st>le but Egyptian costume, nearl\' life-size, in the usual standing pose. On the head is the double crown of Eg\'pt with uraeus-snake in front, somewhat damaged. Below the crown two rows of small curls frame the forehead, and a single larger row lies behind the ears. The beard, though trimmed so close as to show the contour of the chin, is rendered with rows of small curls in low relief; its margin is clear of the mouth, and there is n in. ^^p H. of cover, i ft. i.^ in. 1.. 6 ft. q\ in. C\prus, PI. X; Perrot, tig. 41Q-21; Colonna-Ceccaldi, Rew Arch., 1875, PI. ii; Monuments antiques de C\pre, PI. vi; Myres, Antike Denkmaler, 1909-11, i-\i. I, Ixxiv, 476-9. 1^65. Sarco['ha(;us with Clover, said to have been found at Case Amathus: the reputed place of discovcr\', a four-chambered ^ tomb of fine masonr\', was still shown in i(S94, close below the surface, in level ground northeast of the acropolis: the dimen- sions given b\' the discoverer {Cyprus, p. 254-270) are approxi- matel\' correct; but the depth below ground is overstated. Sarcophagus and co\er are each cut from a single block of coarse limestone. Thex' were found broken into man\' pieces b\' treasure-seekers, and were put together with hard white plaster in C\prus. Part of the North End (D) and most of the cover are lost, and the surfaces, never ver\' good, have suffered much from damp. The\' were loaded originall\' with a hard limewash richl\- coloured with black, red, \'ellow, and blue. The last has mostl\' turned to green; but this green is so thick and loose that it ma\- in part result from thedeca\' of gilded copper-foil. Most of the colour which still remains is ancient, except about the plastered fractures, and was thoroughly' cleaned in 1909. The sarcophagus is designed like a wooden chest, with up- rights at the corners, decorated in low relief with Oriental sacred trees and bands of palmettes and i\\- leaves, joined b\' horizontal framing, which encloses a deepl\' recessed panel on each of the four sides, containing sculptured figures in high relief, in .Archaic C\'priote st\ie. Above is a richl\' moulded cornice; and similar mouldings are repeated on the panel frames. The reliefs in the panels are as follows: A. East Side. Shows a procession, consisting of an advanced guard of two horsemen riding abreast, followed b\' two chariots with horses richl\- harnessed and plumed. The driver of the first chariot is the principal personage — and probablx- the occupant of the sarcophagus — for over him an attendant holds an umbrella. The second chariot has two occupants besides the dri\er. B. West Side. Continues the same procession, with two more chariots, followed b\- a rear-guard of three foot-soldiers carr>'ing spears and round shields. .All the soldiers wear 228 I364A 1364c 1 504I', 1 }04i) SCULPTURED SARCOPHAGI short tunics, and the horsemen ha\e pointed caps: the Centre occupants of the chariots seem to wear full dress of tunic £ and cloak, and all but one are bearded. C. South End. Contains four nude figures of the Mother Goddess, standing erect and full face, and support- ing their breasts with their hands. Each wears a close- fitting collar of beads, and two looser necklaces with pendant. Their hair is in man\ close curls, and two long tresses fall in front of each shoulder. D. North End. (Contains four grotesque bearded male figures of the Oriental Bes, an Eg\ptian tlwarf deit\' who sla\s monsters and seems to ha\ e been in some degree confused with the Greek Herakles. TheN' are shown running to the right, in short kilts with ball fringe. Their legs alone are in profile, and their upper part is full face. The onl\ head which is full\' preserved seems to hax'e horns, as well as a beard. The Co\er is of gable form, with a rich design of scrolls and palmettes on the end, and a palmettc on the ridge between two seated sphinxes on the slopes of the pediment, rendered in .Archaic C^\priote st\le, like 1086-9, ^'th scrolled wings and long tresses of hair behind the neck. Probabl\ about 5,0-500 B. C. Dimensions, 7 ft. 9, in. X 5 ft. 2 in. X 3 ft. il in. (^\prus. Pis. Xl\', X\', and p. 267 (c()\er); Perrot, fig. 415-8. .M\res, .Antike Denk- maler, 1909-11, \-\!. I, cxlix, i 184-5; cl, i 186-7. 1366-7. Sarcophagi oi Wurri: Marbi.i- of a form imitated from Floor Eg\ptian mumm\-shaped sarcophagi, which were occasionally '^' exported, and imitated in Phoenicia, and also at (Carthage. A nati\e cop\- in Gvpriote limestone of the end of the fifth centur\', from a rich tomb at .Amathus, is in the British Museum. These examples, however, are in white marble (of different qualities, hut both probablx' S\rian) snioothlx' dressed, but not polished, except the face on 1 3()6. Their lids fit onto the under part with a slight internal rebate, and have small pro- jections at head and fool and at each shoulder, b\- which the\' could be lifted. Onh' the face and the fei't are indicated; the latter bv a mere trans\crse ridge. I hese sarcophagi differ slightl\' in st\le and date. I3()() has no moulding at all on the bod\-. The face copies 233 iHi; coi.i.iu'.rioN oi- scim.piuri-; I'loor (jfcck work of the late fifth ccntur\', with the hair drawn apart * on the brow, beneath a hood or shroud, in loose wav\- masses Annex • . which cover the ears. I he e\es are wide and prominent, with narrow lids; the nose long, narrow, and slightK' concave; the lower part of the face rather fuller than its st\ie rec]uires. On the fool end of co\er and under part is cut the Phoenician letter V\ . 1 he marble is coarse grained, and of good white qualit\'. About 400 B. C. L. 7 ft. 4^ in. C>'prus, p. 28(S. 1, xci, 590. 1367 is slightl\' modelled to the profile of a shrouded body. The face is broader and heavier than 1366, and follows a Greek model not earlier than the fourth centurw The hair frames the face in large rudel\' worked curls, displacing the ears almost to the shoulders, o\er which a threefold tress of hair comes forward on each side. The exes are deeper set than in 1 366; the nose is broad and square, and the lower lip rather over-full. I'he marble is less cr\stalline, and of cream\' tint. About 400-350 B. (1 Oft. Ill in- Doell, xii, 0, 834; C.\'prus, p. 288, 33. I, xci, 589. MISCHLLANHOUS RHLIHFS AND ARCHITHCTURAL FRAGMHNTS Floor ^^ Floor-Cases F and G are placed a few reliefs and other sculp- (^ase tured fragments of various dates and st\les. fast ' 3^'''^- ScLLi'TURHD Slab: Hhrakles and the Catfle of Ghryon, Side On a rectangular block, damaged at the edges, is a \er\' shallow- panel, containing low relief. Herakles adxances from its left-hand end, on rising ground. He seems to wear nothing but his lion-skin, the tail and hind claws of which hang about his knees. His upper part is damaged, but he seems to have held his bow outstretched before him in his left hand, while his right is raised behind his head, either drawing the bow, or wielding his club, in the pose of io()() in W'all-C^ase 37, and the well-known coins of Kition in the fifth centurw The rest of the scene is dixided horizontallv into two stages, a primitixe method of representing nearer and more distant objects. .\t the far right-hand end of the upper stage, Gerxon's three- headed dog, Orthros, of the same smooth-coated breed as 1223 in \\'all-(^ase 47, springs furiouslx' toxvards Herakles, but is transfixed bx' an arrow in the neck. Cicrxon himself docs not appear: he max', hoxvcx'er, have stood further to the right, where the slab is now broken awa}'. In the lower register the 234 RHLIHFS AND ARCHITECTURAL FRAGMENTS monstrous herdsman Eurvtion dri\es awa\- the cattle. He FJo^f is a thick-set sat\T-like figure with rough hair and beard, and [/ ^^ a long cloak hangs from his shoulders. As he strides away, East screening the cattle with an uprooted tree, he turns back to "^^^^ threaten Herakles with raised right hand, which seems to hold a stone. The cattle are vigorously rendered, in strongly Hg\ptian fashion, and a fine effect of number is gained by multipl>'ing the legs which are shown beneath the nearer animals. The whole background was originall)' coloured red, to enhance the efTect of the very low relief. 1368 The whole composition is in the finest Archaic Cypriote style. About 550-500 B.C. H. I ft. 8', in. W. 2 ft. io| in. Docll, xi, 6, 763; C\prus, p. 136; Perrot, fig. 387; (^olonna-(AX'caldi, Rev. Arch., 1872, PI. XXIV, 21; iVIonuments anticiues dc (.\pre, PI. V. 1, cxxii, 912. i36()-7i. I"k.\(,.mi.ni AKY Ri.LiiJs in Mixed Oriental st\le: all about ()5o-55o B. (^ I3()() shows part of a tree with lea\es and fruit, between two eagles in elaborate con\ I'nt ional plumage. The style re- sembles that of I 5()S, but the work is coarstr and on a larger scale. 11. !()', in. W. 14 in. Doell, xiii, 15, 830. 1, xx\ii, 86. 1570 seems to be [larl of the belt and kilt panel of a large statue; between broad margins runs a iiroci'ssion of lantastic animals from left to right; a human-headed sphinx, bearded 235 IHH CX)LLHCT10N OF SCULPTURE Floor Case F East Side Floor Case F \\ est Side and liolmcted; another winged figure (damaged), and a lion. H. 7.^, in. I, xxvii, 80. nyi, also pari of a belt or frontlet, shows a hght between a lion and a bearded Herakles in lion-skin and short tunic, armed with a short sword. Behind the lion is the bow of an archer, attacking from behind. Behind the man is a conventional lotos tree. H. 6^, in. 1, cxxii, 90. 1372. Sarcophagus Front, of compact limestone, rebated behind to fit the end pieces of the sarcophagus, which seems to have been complete when discovered. In low relief, within a moulded border, are two wreaths, between two bulls, which face inwards on rectangular bases. Note that their horns arc 1372 set full-face, though the rest of the head is in profile. I hey are rendered in a stiff archaic style, reminiscent of bronze- work, and beyond these are ring handles like those of a bronze chest, carved in relief. The breed is the same as the cattle of Gervon on 1368. The st\le of this relief is unusual, and its date quite uncertain. L. 5 ft. 9 in. 13oell, xii, 10, 835; Cyprus, p. 54- 1373. Carved Step from a Ihkone, on the riser of which is a panel with arched upper margin, in which is carved in low relief and barbarous st\le a lion pulling down a bull. Both are drawn full-face, though otherwise in profile. On either side is a rosette, with a spray of lotos flowers. 1 here is red paint on the background, and the bases on which the ar'mals stand. The inscribed step, 1858 (I, Ixxxv, 560), in the Collec- tion of Inscriptions, with a chimaera in similar style, probabl\- belonged to the same structure as this one. Probably of the early sixth century. L. 1 ft. 1 1 in. H. j^ in. Cyprus, p. 159. I, cxxii, 906. 236 RHLIHFS AND ARCHITECTURAL FRAGMENTS 1374. pRAGMbNTARY Rklief, apparently part of a pedimented Floor gravestone, with damaged surface stained by fire. In the p West Side 1373 pediment is a rosette between seated lions, with a palmette abo\e, and a cable border. About 400-300 B. C. H. gf in. 1, xxvii, 84. 1375. FRAGMFtNTARY RhLii:i-, part of the high head-dress (polos) of a large female statue, with spiral foliage and flowers in relief, and an upper border like a mural crown, with towers in relief. A similar head-dress appears on heads of .Aphrodite on coins of Salamis in the fourth centurx*: see 3670-1 in the Collection of Ornaments, and the British .Museum's Coin Cata- logue, fC^Yprus), PI. XXIV, 10, II, 21, 22; also coins of Paphos (B. M. (^at. VI 11, 8) and the Cypriote terracotta figures (B. .\1. Cat. Terracottas, A 278-9, PI. I\'). After 350 B. C^ H. jl in. I, xxvii, 102. 1376. Triangular (Capital, with (>\priote \-olutes, below which Floor is an egg-and-dart ornament; small palmettes issue from ^^^^ within the \olutes. .About 450-400 B. C^ H. 8i'V, in. D. 13 in. 1, i, I. 1377. Corinthian (I-mmtal of debased design, much damaged. The hea\\' abacus is of three tiers, with zigzag ornament on the edges, and the upper surface is adorned with leaves and flowers around a small circular ca\'it\-. This capital was, there- fore, designed to stand free, and probahl\' scr\ed as a table of offerings or receptacle for hol\' water. Lustration was usual in ancient sanctuaries, and the spra\s of lea\es com- monl\' held b\- Notaries are thought to ha\e been used to the water, as in Israelite ritual. M. lol,'; in. Top, sprini ijs X \2'i in. I, I, 2. ^7 THH (.OLI.HCrnON OF SCU1.PTUR1-: Floor I },~S. Sqvarv. Caiti ai., with cushion-shaped body, and degen- '^? crate volutes, rendered by concentric circles; between them, on each lace ot the capital, is a rosette, and similar rosettes adt)rn the collar below. Uncertain date. H. \^\ in. lop, i8.\ X i8:] in. 1, i, 3. 137c). \'()TiVH Thronh, with high back and arms, designed in imitation of wooden frame and panelling. The central panel of the back is filled with a \olule capital, \ery roughl)- exe- cuted, and there are rough scratches on the arms, indicating hands and a tree. Uncertain date. H. 2 ft. 6J in. I, lxxx\', 553. 1380. Stoni- Bowl, nearl\- spherical, with two roughl\- hewn handles, from each of which hangs a palmette in low relief. Round the bod\' is an iv\- wreath, also in low relief. This bowl was probabh' designed as a la\er for holy water, like the gigantic bowl from the acropolis of .\mathus, now in the Lou\re, and the fragments 1854, 1863-4, "'' Ihe Collection of Inscriptions. About 530-100 B. C H. about 17 in. Doell, xiii, 11, 807; (Cyprus, p. 145. With these objects is placed an alabaster \ase with lid, of unusual size (i()()()), which is described with the other alabaster \ases in Wall-C^ase 74. TOMBSTONES AND STELAE, WITH RELIEES VARIOUS PI.RIODS AND SI YLl-.S The W'all-C^ases of the Annex contain examples of the late tomb- stones with sculptured reliefs; earlier tombstones surmounted b\' lions or sphinxes; voti\e stelae witli rich capitals car\ed in relief with \()lutes and lotos-palmettes; and a few other pieces of \otive sculpture. 1381. Statlf of a Lady and her .Maid. The lad\- sits full-face wall yj^ .J fo|jj[-ia chair, in a loose sleeved tunic, with a knotted belt, and a cloak which is drawn o\er the back of the head for a \eil, and falls over both shoulders and both knees. Her right hand lies in her lap; her left rests on a toilet box oft'ered bv the maid, who stands to the left of her mistress, and holds an oinochoe in her left hand. The lad\''s face is much damaged, and the head and left arm of the maid are broken awaw On 238 31 iOMBSTONHS AND STHLAE, WITH RELIEFS the pedestal below the maid's feet is the inscription "Zoilos ^Y^" of Golgoi was the maker." See Appendix. ^ '^ ^ The style is Graeco-Roman, probably of the first or second centur>' A. D. The composition of this group follows that of the funerar\' reliefs of Attica; but there is here no frame or background, and the treatment is as nearl\' in the round as the quality of the limestone permitted. It is not clear, there- fore, whether it was intended to be votive or funerar\-; but it is not usual for funerar}' sculpture to be signed by the artist. H. 3 ft. 8f in. \V. 2 ft. 10 in. I, cxxx\iii, 1032; 111, cl, Suppl. 4, In Wall Cases 52-57 are a number of representations of lions of \arious periods and stxles. The lion is not only a frequent attri- bute of Herakles (i 101-7), but was also popular in antiquity on its own account, as a sx'mbol of majestv and power, and also in purely decorative art. In criticizing ancient representations of lions we have to remember, on the one hand, that the beast was not extinct in Europe in the fifth centurx', and survived later still in Western Asia; consequentl\', a naturalistic treatment in art was not impracticable, as ma\' be seen in .\l\xenaean gems and gold work of the centuries before the twelfth, and in Assxrian sculpture of the eighth centurw (3n the other hand, conventional render- ings of the lion were popular in all the great centres of art and industr\', and were widel\' distributed and copied. In C^}prus the principal t}pes are as follows: I. A Cypro-.\l\cenaean t\pe, introduced about 1300 B. C, and perpetuated until the latest da\s of the settlement at [{nkomi; almost purel\- naturalistic, e. g., British .Museum Exca\-ations in (^\prus, PI. 11, 402,872 B. II. An Oriental and mainly Anatolian t\pe, introduced before 700 B. ('..; highl\- ccmventional, wilh human e\es, simple massi\e forms, and few details. The mane encloses the lace and the ears project through the mane. This l_\pe predo- minates in (Apriote art until about 550 B. ('.. III. .\ Western Ujie, develoixnl in C.reece from Oriental models akin to T\pe II, but belra\ing also indeiu'nilent slud\- of lixing tictail. I he hair and e\rs in particular are ren- drretl with truth, \ariet\, and \ ignur. I his Western t\"pe readies (;\[irus about 500 I). O. and e\entuall} replaces the older l\ IK'S altogether. 239 1111-; COLLHCTION Ol- SCILI'TURH Wall Most of the monuments on which these lions are placed seem to Case 1-,^, [onihstones. Some, ho\ve\ er. are said to ha\e been found ' within a sanctuarx'. and such xotixe or commemoratixe lions are well known in the hol\- places of Cireece. Two examples (i38-;-8) are from the cornices of small buildini^s, probably shrines or built tombs, and show the lion's scalp applied to decorate rainwater spouts, or merelx' as a recurrent ornament. Compare the lion- headed water-spouts s()It-() in the (Collection of Bronzes. Wall 1382-5. To.MBSioNi-.s wiiH Banoiht Schnhs, sometimes sur- Cases mounted b\- lions, de\eloped under late Hellenic influence ' ' ' from the earlier lion-stelae in \\'all-(~ases 54-(), and imitated roughl\', in Decadent (Cxpriote st\le, from the framed funerar\' reliefs of the fourth and third centurx' in Cjreece. That the rudeness of the work does not necessarih' imph' a later date for these copies is clear from the lions in \'er\ similar st\le on the fourth centurx' coins of .Amathus and other cities of CCxprus. C-ompare the similar banquet scenes 1020 and 1859. \^i<2, which is much damaged and has no lion, seems lO ha\e had two such reliefs, set one aboxe another. The principal scene shows a familx' banquet. .A woman and a bearded man recline on a couch, facing another woman, who holds fruit and other objects in her lap. The man holds a drinking bowl. In front of the couch stands a child in long tunic with sleexes; its right hand rests in the left hand of the man on the couch, probabh' the father, in a gesture of farewell. The mother, behind him, la\s her left hand on the child's shoulder. There are traces of red paint on the figures, couch, and on a (Cxpriote capital, of which part remains below the panel. It probabh' framed a second panel as on 1383. H. 1 ft. 10 in. W. i ft. lOj in. 1, cx.xi, 002. 1383 shows a lion recumbent with forepaws crossed, and two panels of relief. The upper is a banquet scene of two recum- bent bearded men, one of whom holds a drinking cup, the other a flask. Behind them stand two children. The lower relief is almost entirelx' broken awaw H. i ft. 10 in. W. I ft. I i| in. Wall 1384 shows onl\" a seated lion fn^m the top of the slab. '1 he Case head is turned to t'ace the spectator, and the mane is rendered '^ b\- \er_\- rough radial locks. This t\pe appears on coins of Amathus in the middle of the fourth centur>': British .Museum, 240 TOMBSTONES AND STRLAE, WITH RELIEFS Coin Catalogue (C\prus), PI. II, 3-6; XVI 1 1, 2-4. H. i ft. 5I Wall in. Ferret, fig. 407. I, Ixxxiv, 549. [r^^^ 1385 has the same recumbent lion as 1383, and in the panel a banquet scene, reciuccd here to a single recumbent man, with full beard and wreath. He supports his head with his left hand, and holds fruit, or a flask, in his right. The upper border of the panel has an egg-and-dart moulding. There is red colour on the back of the panel, and on the lion's mouth and mane. H. i ft. 6^ in. 1, cxxi, 898. in Wall-Cases 34-7 are grouped other representations of lions, from tombs and architectural fragments, selected to illustrate the se- quence of t\pes. For con\enience of exhibition, this series is arranged in rexerse order, from latest to earliest. 1386. ToMBSTONH WITH RECUMBtNT FioN, in Mature C}priote Wall st\ie, under Hellenic influence. The head is well modelled, : . . 54 with smooth face, square mouth lully opened, and tongue protruded between large fangs. The mane falls back from the face and covers neck and breast in irregular locks. This shows Greek influence; but the ears are still enclosed within the mane. About 500-400 B. C. H. i ft. 6| in. L. 2 ft. 8.7 in. I, xcv, 63 5. 1387-8. Cornices with Lion Heads, in almost purely Hellenic st\le. The muzzle is short and broad, and the mouth half closed, though the tongue protrudes (1388). The ears stand clear of the mane. After 400 B. C. L. i ft. 3 in., 2 ft. I in. 1, 83 (1387), xcv, 638 (1388), 1389-90. Tombstones with Fions, in Mixed Oriental st}'le. Wall About 600-5 so I^- ^'- ^"^^^ In 1389 the lions sit back to back, turning their heads full-face. The e\-es are \er\' large, muzzle depressed, mouth half open, with protruded tongue. The ears are large and erect, and stand within the mane, which is onl\' lightl}' indicated. tJn the face of the stele is a crescent-and-disc. F. 2 ft. il in. I, xcv, ()42. In 1 390 the lions are set back to back, but the artist's intention wavers; the forepaws are crossed as if recumbent, but the hind (juarters are raised as if th(.'\- were crouching to spring. The e\es are small, the muzzle narrow; the ears are erect and within the mane, which is a smooth mass tapering on the back, and falling to the foreji.-iws. On the face of the stele 241 Wall I Case 3(' 1HF COI.I.F.CTION OF SCILPIL'RF is a winged disc. 1.. 2 ft. Doc!!, xiii, 16, ^iC); Cyprus, p. 110. 1, cxxii, goQ. 301-2. Lion Hi-aos in Oriental sl\ie, from tombstones or from statues of Herakles the 1. ion-Killer, like 1101-5. T'l^^ ^'>'^s are prominent ; mu/zle short and square, with traces of whiskers in n(-)2. The ears of i ^()2 stand within the mane, which is a single mass with abrupt margin; in 1301 the ears are erect, but damaged so that their relation to the mane is not clear. .About ()5o-0()() B. C^. Hs. S in., y] in Perrot, lig. 4()if)^- Tombstone oi- a Bo^, in slee\ed lunic he feeds a bird which Wail lie holds in his left hand. H. 2 ft. 10 in. Doell, xii, H, Case 7S1. I cxwi, 9i(). ^ \ ]<)(). Tombstone, 01 a Woman, seated with folded hands; she wears a Doric tunic, with o\erlold and belt, and a cloak drawn o\er heatl and knees, as in iv'^i, 1403. 1 here is red colour on iht' dress. 11. 3 ft. Vs in. 1, cxx\i, 9i>. 11, 4 ft, H[ in. L cxxviii, 922. 243 IHH COLl.lXn ION OF SCULP If R1-; Wall Case 01 Wall Case 02 Wall Case 63 1401. To.MBsioNH with two panels, below a palmette: in the upper is a banquet seene of two bearded men; in the lower, a bearded man leans on a staff and grasps the hand of a woman on his left. The slab is broken awa\' at the waist of these figures. H. 4 ft. i in. 1, cxli, 10^3. 1402. To.MBSTONH or A YoiNC. .Man, Wearing tunic and wreath, who lies on a couch, holding the hand of another xouth who sits full-face on its lower end. In front is a tripod table, with bread and some fruit. H. 3 ft. :] in. 1, cxli, 1034. 140^. To.MBSioNh Willi A Fa.mii.i' CjRori'. I'our figures are seated full-face. On the spectator's right is an elder!\' man, holding a drinking bowl, and grasping the hand of a woman in folded tunic with belt, and cloak drawn oxer the head and knees as in 13QC): bexond her is their son, who la\s his left hand on her shoulder, and grasps with his right the hand of a lourth figure, apparenth' in male costume, though of feminine features: probabl\' a \ounger son. H. 4 ft. i i^ in I, cxxxviii, 1030. Wall Case O4 LIFE-SIZE STATUES OF HELLEMSIIC STYLE In W'all-CLases ()4-5 are life-size statues of Hellenistic st\ie, prob- abh' from a sanctuar\': 1404, 1406-8 repeat familiar t\pes of Nota- ries; 1405, unfortunatelx- much damaged, is the onl\' large represen- tation of .Aphrodite in the Collection. 1404. F!;.MALi: X'oTAK'i', lilV-size, standing in tinel\' folded tunic and a cloak which is drawn o\er the head and held by the left hand in front of the right shoulder. The pose is the same as in 1247-C) in Wall-Case 50. H. 6 ft 3' in. (^\prus, p. 285. 1, cx\ iii, 8tS. 1405. .Aphroi^ite, life-size, standing with right knee slightlx' in adxance. She wears a high polos with palmette ornament, interspersed with nude figures of the old .Astarte t\pe, like those on the sarcophagus 1365. .A \eil falls behind to the shoulder, and o\er it the hair hangs m loose tresses ending in a single wa\\' lock before each shoulder. The features follow a tine Cireek t\pe, of the third centurw and should be compared with the \()ung male heads ni')--i in Iloor- (^.ase W. .\round the neck is a collar of o\al pendants. The dress is a Doric chiton, with overfold raised in the centre to show the belt; on each upper arm it is fastened with four round brooches, and has an elaborate border, painted red. .A 244 TOMBSTONhS AND STHLAH, WITH RHLIHFS hea\\' fold of the \eil passes forward under the right arm, across the bod\', and o\er the left forearm, where it is en- twined with the other end of the \eil falling from the left shoulder. The right arm was extended at the elbow, but is broken awaw The left, also broken, wears a heavy spiral bracelet. On the left wrist stands the left foot of a winged F.ros, who ho\ers against the left shoulder of the Goddess. His wings are raised as if he were fixing, but his left leg is bent to kneel. His left arm seems to ha\e been extended in front of the Goddess, but is broken awa\', together with his head and left wing. The Goddess, too, is broken awa)' at the knees. About 300-200 B. C. H 4 ft. if in. (]\- pirus, p. 106. I, c\ii, 695. 1406. ^'oLNG .Mai.h X'oiarv', lifc-sizc, standing with right knee in advance. The head is separate, but certainl\- belongs to the bodw On the forehead is a single row of large curls, beneath a wreath of leaxes and berries. The close-cut beard and moustache are rendered b\' rough mechanical to(jling. The features are in a late st\le, broad and simple. 0\-er the usual loose tunic, with sleeve-holes at the elbow, is a heavy cloak worn in (jreek fashion in thick folds round the waist. The right hand hangs loosel\' and holds a sprax' of lea\'es; in the left is an incense-box. The feet are broken awa\'. .About 100 B. (]. — 100 .\. 1). H. 5 ft. 44 in. Ooell, \i, 4, 123. (Aprus, p. i()o. 1, cxx\ii, ()2i. i4o7-(S. BiiAKDtn \'()iARihs, life-size, standing in the usual tunic and cloak, in stilf folds. On the heads are wreaths of lea\'es, llowers, and berries. The hair and beartl are quite conven- tionally rendered, and the features are hea\ \ and expressionless, with prominent cheeks and tlat exes. 1 he head of 1408 is separate, but certain!}' belongs to the bod\ . On the feet are loose shoes claspetl on the instep. 1 he feet of 1407 are modern. 1 he attributes of 1407 are a birti and incense-box; ot I40(S a libation bowl liki' 1 i s()-7, an incense-box, and a spra\ of leaxes. Both figures show well the Decadent (Cypriote style jiassing on into a lifeless con\ention f(ir sanctuarx' sculjiture onh .\bout 3SO--SOO B. (]. IK. s ft. 4,' in., t ft. 10'. in. I)(jell, i\', (). 'So; Golonna-( A'ccaldi, PI. i\, 3;(^j")rus, p. 140 (1407;: Dofll, \-, 11, Si; (Ixj-irus, p. isi (140S). I, Iwiii, 45 3; lxi\-, 430. Wall Case 64 Wall Gase 65 24 s THH COLLI CI ION (^L SCrLPTlRL: RhLlLl-S, TO.MHSTOM S, AM) V()T1\H Ml.LAH Wall '" \\ all-(^ases ()()-72 on I he W'csl Wall of tho Annex, are funerar\ C^ase and \()li\e stelae, of the earlier st\ies, and a fragmentar\' figure '* of Heralslos the Archer, which should be compared with other figures of Herakles in Wall-Clases ^y-S. 140Q. SiATi 1-. oi- AN Akc.hi-,k, near!\' life-size, in Archaic Cxpriote st\ le, probalilx' mtended to represent Herakles. He is repre- 1409 sented kneeling, as was usual in earl\- times throughout -Mediterranean lands: compare the cla\- figure 2102 in the Collection of Terracottas: it was onl>' in Oriental lands, where the weak long-bow was used, that bowmen shot standing. He wears a short close-fitting tunic, which falls round his 246 rOMBSTONHS AND STELAE, WITH RELIEFS thigh in stiff folds and broad shallow surfaces. A bow case \'*'^11 66 and a broad flat quiver containing nine arrows, hang from a ^^^ triple belt on his left shoulder. The left arm was extended to hold the bow, but is broken awa\'. Beneath the quiver appears a short leaf-shaped sword, in a sheath which ends in a knob. Head, arms, and feet are broken awa\', and the whole right side of the figure has been split off: it is, therefore, uncertain whether it was carved in relief, or in the round, as seems more probable. .About 550-500 B. C. H. 2 ft. 32 in. Doell, \ ii, 10, 190. C\prus, p. 155. 1, cxxviii, 923. 1410-13. To.\iBSTONi-:s WITH SpHiNXhs of \arious periods and Wall st}les. L.ike the Tombstones with Lions 13H3-93 in Wall-Cases \^r^(^ 52-6, the}' consist of an upright rectangular shaft or slab (stele) 68* surmounted b>- a moulded cornice; above this, one or more sphinxes are car\ed in the same block of stone. Sometimes there is fresco painting, or a recessed panel, or a device in relief on the front of the stele. As a funerar\' sx'mbol, the significance of the Sphinx is uncertain. Not improbably it was confused with the Harp\' (iO(S()-9) which carries away the souls of the dead, as on the well-known Harp\' Tomb in L\'cia. As a sxmbol of the Goddess of Idalion, it placed the deceased in her keeping, like the crescent-and-disc, which is associated in 14 10. These sphinxes differ in st\le and date, and serve to illustrate the de\elopment of the t\'pe. 1410, in .Mixed Oriental st\le, has two sphinxes back to back: their bodies and paws resemble those of the earliest recumbent lions (13S9-90 in Wall-Case 55); their wings are leaf-shaped and cjuite smooth, and were probabl}' painted, though no trace of colour remains. Pioth heads, and the lower part of the stele, are broken awaw On the front is a square recessed panel, and abo\e it the crescent-and-disc sxnibol, in low relief. About 000-550 B. C. H.I ft. 4 in. L. i ft. oij in. Doell, xiii, 22, H2y. I, xvii, 24. 141 1. in Archaic Cxprioti' st\le, has two sphinxes posed as in 1410; hut the wings arc of the western scrolled t_\-pe. The heads turn full-face, and show well-modelled features, with hea\ \' hiiir on the brow under a narrow frontlet: compare the sphinxes on {hv cowr of the sarcophagus i ]()y in C^entre-C^ase 1-.. 11. I ft. i; in. W. I ft. 10 in. Doell, xiii, 22, 824; (!) prus, p. I 10. 1, civ, O80. 247 nil-: C.OLLHCTION Ol- SCULFllKH }^''" 141-2, in Mature (;\pri()tc st\k\ has the two sphinxes seated Case ... (,_ lacing inwards, on the hasal scrolls of a palmette which the\- support with a forefoot. i'he wings are of the Greek natural- istic t\pe with the feathers directed backwards. About 500-450 B. C. H. I ft. (){ in. W. 2 ft. 2] in. I, civ, 679. Wall 1413 has the sphinx.'s seated back to back as on 1410-11, on '-^''^^ a cornice with egg-and-dart moulding, from which rise three palmette acroteria. 1 he\- wear a wreath of lea\es, and collar of long pendants; and the hair falls round the face and neck in hea\\' waxes. I'he wings are of the later articulated t\pe and spring directlx' from the shoulders. On the front of the stele is sculptured a sash in low relief, knotted in long ends, and painted red; and there is much red colour on the cornice and sphinxes. .About 450-400 B. C H. 2 ft. lo] in. W. 2 ft. 3 in. Perrot, fig. 151 I, cxxvi, 020. Wall 1414 Sthli-: with Head of the Ecypti.an Goddess, Hathor, Case deeph' sunk within her con\entional scrolled head-dress, which ^-^ is rendered in low relief. The customarx' pectoral collar is mereh' incised on the surface of the block. About 600-550 B. C. H. 2 ft. lo.l in. 1, x\iii, 27. 1415. Stele with X'oli tes, of rude and blundered design. The lower part is broken awaw Abo\e a winged disc, much defaced, rise two pairs of xolutes, with lotos (lowers between. The outer member of each \olute is cut to represent leaves, and other foliage appears bexond them. Between the upper pair is a human head, derixed from the Hathor-txpe, but influenced bx' the (jreek Medusa. Aboxe is a cornice of three plain members. This is probablx- a blundered copx' of the earlier stelae xvith Gxpriote xolutes i4i(S-2o. .About 400-350 B.C. H. 1 ft. 11', in. W. 1 ft. Ooell, xiii, 21, 828. 1, xviii., 26 Wall-Cases 70-72 show a peculiarlx-Cxpriote txpe of monument, well represented in the great sanctuarx' at Idalion, and also cmploxed for tombstones. The stele consists of a broad flat slab, narroxving upxvards a little, and surmounted bx' a xvide flat capital, carved in loxv relief xxith a design based upon the conxentional lotos or iris tloxver xvith large lateral scrolls or xolutes, and upright standards between them. The latter are often transformed into smaller lotos flowers or sacred trees, and enriched xvith sphinxes or Hathor-heads like 1414. At Idalion the lotos flower, from which 248 1413 14 i^ niiH (.oi.i.i;c'ii()N c)i sc.L'i.pruRii this design is dcwloped, constanllN appears on the coins (British Museum ("oin C^atalogue. C".\ prus, PI. \'), and in the hands of the Cioddess and of her Notaries. Simihir designs, based on this C~\priote flower with xokites and standards, are popular also on the painted potter\' of liie Cjraeeo-Phoenician .Age 665-702 in Wall- Cases K)-20, and Floor-Case \'l. The lop of the stele is usuall\' flat, with a simple moulded cornice in the same low relief as the design; but it does not seem to have been adapted to carr\' any other object. The sides are cut in a simple profile, without orna- ment, and the back is unworked. These stelae, therefore, were designed to be set against a wall, or to form an a\ enue, where onl\' their fronts would be seen. 1416-20 X'orivh Stelae with Lotos Capitals of various datesand stxles. I'he original t\pe is best shown b\ 1418-20; the rest are later or imperfect. 1416 shows onl\' part of the shaft, with crescent-and-disc in high relief, and a painted red sash, with long knotted ends, as on 1413. H. i ft. 84 in. W. i ft. 4 in. I, .wii, 23. 1417 has the volutes broken awa\'; the space between them is filled b\' a sacred tree design with lotos flowers, aboxe an Ionic column, with C^xpriote volutes. .Among the lotos stems stand two sphinxes, lacing inwards, and supporting the sacred tree. TheN' wear a high crown of lea\es, and ha\e archaic scrolled wings, as on 1410-11. The cornice has three plain members; the hacl-ground of the design is coloured red. y\bout 500-450 B. C H. 2 ft. if in. W. 2 ft. 1 i in. 1, c, ()72. 1418 has the volutes \er\' prominent; the triangular space formed b\' their intersection contains an arrow-shaped orna- ment. Above them pairs of con\erging scrolls enclose a sacred tree, supported b\' a pair of sphinxes with archaic wings. The cornice has three plain members, with a small palmette under each end. The lower part of the shaft is missing and has been restored. .About 550-500 B. C. H. 4 ft. 6^ in. W. 2 ft. 8 in. Perrot, fig. 152; C'xprus, p. 117. I, xcix, ()7i . 1410 has the central triangle replaced b\- a palmette. behind which rises the sacred tree, with lotos flowers: in the centre of the tree appears a Hathor-head with hea\\' head-dress, abo\ e a Hat cylindrical object which ma>- represent a heav>- necklace. 250 72 TOMBSTONES AND STELAE, WITH RELIEFS The ccji-nice has three plain members. 'I'he volutes arc broken Wall away. About 550-500 B. C. 1, xxii, 51. ^^~^ 1420 has the \olutcs large, flat, and irregularly carved; be- neath each issues a lotos flower, and between them a crescent- and-disc, below a lotos bud, fills the triangular space formed b}- their intersection. Above this central triangle the stan- dards are replaced by a sacred tree with lotos flowers, among which appears a pair of sphinxes with archaic wings. The cornice has four plain members. About 550-500 B. C. H. I ft. 6 in. W. 2 ft. 6| in. Perrot, fig. 361; Cvprus, p. 1 17. 1. c, 673. 251 THK COLI.I-CriOX OF 1 Kr^RACOn A HF.ADS AND OIHFR PARTS OF FARGF CLAY FIGURES THE COLLECTION OE TERRACOTTA HEADS AND OTHER PARTS OE LARGE CLAY EIGURES IN C\-prus, as in Sicily and in Southern Italy, which are likewise devoid of marble, clay had an importance which it never attained in Greece as an alternative to stone. At some sanctuaries, as at Tamassos and Salamis, it seems even to ha\'e been preferred, and was used for statues of life-size and more, which were both carefully modelled and richly painted in black and red and occasionally in other colours, like the contcmporar}' vases. In Floor-Case X are collected a number of these large heads from figures modelled in cla\', which illustrate points of st\'le and work- manship in the series of sculptured heads in Floor-Cases XI-XVII. With these are grouped for convenience a few other clay figures of larger size or greater artistic importance than those in the Collection of Terracottas. Floor Case X 1431 l-.AKLY IKON AGh WTIIKJUT ORIENTAL INFLUENCF i.jsi. Bi'.AKDi-D lli:Ai)of a Ixirbaric st\ie which is represented in several sanctuarii-s. It is modi-Iled \\holl\' by hand, without trace of an\' moukl. The fi'a; ures are grotescjuel}' exaggerated, mi- (.01, 1, 1(1 ION ()!• 1 I-RRACOITA IIliADS Floor Case X like tlu)Sc' of the small "snow-nian" figures 2020 il'. in the ClolloL'tion of Icrracotlas, and arc emphasized with heavy strokes of black paint. The hea\\- ring of elax' about the head pr()babl\' represents a frontlet such as is worn b\- the stone heads i2tI-3 in bloor-C^ase XI. H.4li; in. 11, 255. 1452. lli-i..MhTi:o lli-AD, beardless but probabl\- male; it is modelled \\holl\' b\- hand. The helmet is of the same soft-peaked t_\pe with sitle-flaps as is worn b\' 1257 ty. in Moor-Case XI. There are double earrings in each ear, prob- abl)- intended to represent the spiral t\pe; and the hair falls low ;)n the neck behind. The eyes arc prominent and \ivacious, and the nose and chin ver\' pointed. There is red paint on the helmet to represent the bronze rim; red also on the lips; and black on the eyes, ex'clids, and e\-ebrows. This head probably belongs to the end of the eighth centurx' and repre- sents the higher level of clay modelling in C\prus about the time of the first introduction of Oriental motives. H. y^ in. 1453. Hi-:lmhth[:) Hhad, ver\' roughlx' modelled, with e}'es set rather obliquely beneath hea\il\- feathered e\-ebrows. The helmet has the usual soft peak and the side-flaps are tied to- gether below it, with long tasseled ends which fall behind. In the left ear is a large spiral earring; the right is missing. Though Oriental influence is clearl\- perceptible in the modell- ing, the st\le is essentiall}' the same as in 145 1-2. II, 256. i'l-;Klf)D or ORIhN'rAL influhnces 1454. Bhardli;ss F1i;ad with the same rosette frontlet as 1271-5. and hair rendered in short locks b\' means of an engraved ;,tamp. The e\ebrows are in relief and feathered, and the ew'lids are shown hv incised lines; in tlie left ear is a double sfiral earring, missing in the right. The prominent nose, small mouth, short broad t'ace, and hea\\' mass of hair behind the neck are characteristic marks of an Ass\Tian model. Doell, -w, !pe, but the e\TS are of Eg\-ptian form, and the nose though prominent is rounded at the tip. There is red paint on the lips, and a lighter tint of red all over the face. E\'es, eyebrows, and helmet-band are in black. This is an exceptionally fine ex- ample of the Mixed Oriental st\ie and closely resembles the heads from the Toumba site at Salamis. H. 81 « in. H, 115. V% 143O 1457 1457. Bi-.AKDHD Hi:ad in the usual helmet, nearl)- life-size, in Oriental sl\le, like 1456. The exebrows and beard are feathered and the moustache is rendered b\- rows of small impressed dots. The face has the same colouring as 1456, but the helmet has black and red bands on the side-flaps, and other traces of colour. II. 11', in. II, 116. ARCHAIC Cll'RlOri-, STYI,!-; i4vS-(). Hi-.ARDLiiSS Heads with hair curling belcnv a wreath of 257 "mi-; (:c)Li.i:c;rioN of terracotta heads Floor Case X Iea\os. In I45- belong to a temple- bo\- like 1463. H. 64 in. 1465-7. Bi-.AKDi.i-.ss HiiAOs like 1464, but poor- er and perhaps later work. The\- probabl}' belong to temple-bo\s like 1463. lis. 5', in., -jl in., 7;^ in II, 549 (1465). 1468. Fi:mali-; Ui;ai), nearl}' life-size, wear- ing a pointed frontlet, circular earrings with pendants, and triple necklace. 1 he features are of a fine late Hellenic t\'pe, but the hair is still rendered with spiral stamps, like those of the earl\- terracottas. The clay is dark red, with traces of a chalky white slip. Simi- 259 14O7 THE COLLECTION OL TERRACOTTA HEADS Floor C'ase \ lar heads ha\e bocn found at I.imniti, on the north coast, between Soli and Marion-Arsinoe. H. 13I in. Doell, x\, 17, 1052. II, 486. 1469. BiiAKDi-D Hhad, nearl\- life-size, in \er\' late Greek stvle. A wreath of lea\es is modelled on the liead, but the hair, mous- tache, and beard are rendered in spiral stamps, as in I46(S. The cla\' is li^s^lit-coloured, with traces of a white slip. H. 12I in. 1475 1470. Rhardhd HEAt:) of a \'oung man, in the same stxde and cla\' as 1460, but the hair and beard are free!}' rendered in incised lines. H. 13.^ in. 11,484. 1471. Hf,ai:i of a Bo'i' in good Greek st\le, in the same red cla\ as 1468, with white slip, and black on e\es and hair. H. 5 8 in. 1472. Head of an Infant, probablx- intended for Eros, m the same red cla\' as 1471. H. 3 in. 1473. Bf:ar[dless .Male Head in late Hellenistic st\"le, coarseI>' rendered in a light cla\' like 14()(), with pink face-colour, while e\'ehalls, black e\'es and hair, and red lips. H. 5',- in. 1474. Bharim-:d Head in a rueie imitation of the .Mi.xed Oriental st\'le. It ma\- be contemporarx' or ma\' be inexpert work of late date. The hair and beard are rendered with tough spiral stamps, and the ears perforated to hold metallic earrings. The cla\' is reddish, with chalk\' slip, greenish through under- firing, and black colour on eyes and hair. H. (>', ;' in. Doell. XV, 12, 994. 1 1, 2S8. 260 HHLLHNIC AND HELLHNISTIC STYLES 1475. Hhad of an Oriental Votary in Phrygian cap like the stone figures 1231 in Wall-Case 48 and 1350 in Floor-Case Xv'II, and 2299-2301 in the Collection of Terracottas. H. 5I in. crrUHR FRACiMHNTS OF LARGE STATUhS 1476. Head of a Bl ll in .\rchaic (^\priote st\ie,\\ith eves model- led in relief, and hair rendered by incised lines. It ma\' be \otive, or perhaps an attribute of a large human \otar\'. H. 7i in. 11,678. 1477. FRA(,.MhNr OF A I'e.male Ik.lre in Oriental Si'^le, with hair rendered in concentric stamps, and rich necklaces in relief. H. 4 in. 1478-84. Fef.f of SrATLFS IN Orif.ntal Sivle, wearing either sandals or loose Oriental shoes fastened with clasps, ties, or buttons. Hs. yl in. - i| in. 11, 711, 715, 708, 719, 712 (1478-79-80-82-83). 1485. RitiiTF Hand of a life-size statue, wearing man\- hea\\- rings. F. 4 J in. 1 1, 724. I48(). Feft Hand of a smaller statae, with traces of white slip F. 5 m; in. 11, 730. 1487. Frag.mf.ni of a SiAiLE IN Okh-nial Si^i.f, part of a richl\- embroidered garment, rendered in high relief; showing part of a lion and part of a warrior with pointed cap, tight-fitting tunic, and sword with round pommel. II. () in. Floor Case X 261 THE COLLECTION OF SMALL OBJECTS IN STONE ALABASTER AND EGYPIIAN GLAZE THE COLLECTION OF SMALL OBJECTS IN STONE, ALABASTER, AND EGYPTIAN GLAZE HOUGH there appears to be no true Stone Age in Cyprus, several kinds of stone were used at all periods for „ Wall Ca: 73 T I a number of purposes, chiefly for small ornamental toilet vessels and for personal ornament. From the small amulets in hard stone of Egyptian fashion and probably of Eg>'ptian manufacture it is not possible to separate those, whether of stone or paste, which are decorated with the Egyptian blue glaze. Their forms, uses, and age are identical, and they are accordingly described and exhibited together in the Collection of Ornaments. But the rare vases of blue-glazed paste are included in this section, whether actually of Eg\-ptian make, or of a native fabric imitated from this. In the Later Bronze Age, and also from the period of Oriental Wall influences to the end of the Graeco-Roman age, Eg\-pt furnished [^^^'^ also the beautifully banded alabaster or massive gypsum. Inferior g\-psum occurs in some parts of lowland Cyprus as well, and is quarried now for plaster. It should be noted, however, that at all periods the Greek word for gvpsum was used quite vaguely in common speech to denote ordinary whitewash and limewash, as well as plaster-of-Paris. Similarlv, the common white limestone, such as was used for Wall sculpture, occasionally replaced gv'psum and steatite as the material ^•-'S'-' for t(jilet-boxes, lamps, and rough vases, either domestic, or \()li\ and funerary. I. OBJHCTS OF STEATITH AND OTHER COLOURED STONE / •> 7"he soft steatite, often described as serpentine, which is most Wall c(jmmonly employed in the Bronze Age and Early Iron Age, is ^ 265 asc 7! 75 rill-; coi.i.i-cnoN of small oujLxrrs \\'ill pr()habl\' naliw, but tlocs nol clilTcr apprcciabh' in quah't\' I'foni ";*; the common stoalitos of Oclc and of Asia Alincjr — of which the celebrated "meerschaum" of (lappadocia is simpl\- a pure white \"ariet\'. The ordinary' steatite is dark gre\'-green, passinj^ to brown anti black; it is soft enough to be worked with bronze tools, or with wet sand and a wooden drill or rubber. More rareh', selected pebbles of the fire\' limestone which forms the North Range of C.N'prus (p. xx\i) were used instead of steatite, for mace-heads or other purposes where rather greater hardness was required. For mor- tars, paint-palettes, and other objects intended for hard wear- and-tear, tough cr\stalline rocks such as diorite and basalt were preferred. Suitable rocks occur locall)' in the ("entral Range of Cx'prus; and other varieties mav ha\e been traded from Asia Minor, or S\'ria, or, abo\e all, from Eg\pt, where the art of working hard stones was brought to high perfection under the Old Fmpire. A. SMALL OBJHCTS OF F.ARLY I'HRIODS Wall With the exception of the mace-heads 1501-S, which are confined Case |;q i\^Q Bronze Age, and probabl}- to its middle period, these small steatite objects persist with \ery little alteration of st\ie through the transitional period from the Bronze .Age to that of iron. They are therefore exhibited and described as a single group, and difl'er- ence of date is noted onh' on the comparati\eh' rare occasions wherci it has been detinitel}' ascertained b\- exca\ation. 1 301-8. Macf-Hlao^. These are perforated balls of \arious hard stones or (>\ steatite, two or three inches in diameter, spherical or pearshapcd with surface smooth or polished. The perforation is sometimes effected from both ends with a solid wooden borer, aided b\' sand, but in the best examples it is made from one end onl\', with an efficient tubular drill probabl\- of reed. These balls occur in Bronze .Age tombs of the .Middle and perhaps of the Earl\' period, 3000-1 500 B. C, but disappear before the Later period of .M\'cenaean inlluences. Their purpose is uncertain. I'hex' have been described as spindle-whorls and also as mace-heads; but the\' are too large for spinning anxlhing but the coarsest threads; and in form thev resemble closely the much larger mace-heads borne b\- the earliest Eg\ptian Kings. Ill,cx\-, i (1505). 1500-14. WHHTsir)NHS OR PoLisHHRs; narrr)W slips of gritt\' stone, often quite soft; usuall}' perforated at one' end. The\' are 266 STEATITE AND OTHER COLOURED STONE found occasionally in Bronze Age tombs of the Middle and ^'^^1' Later periods, 2000-1200 B. C, and also in the transitional tombs of the Early Iron Age, 1200-1000 B. C. Ls. 3 in.- 73 B. BOWLS, PLATES, AND GRINDERS OF HARD STONE These are made of dioritc, greenstone, basalt, and other hard rocks, Wall and seem to have been used for grinding paint, probably for toilet ^^^'^ use. Manv of them belong to the Early Iron Age, for in tombs ;, . . Up- of this period such objects are common. But smiilar plates are p^r found in Late Bronze Age tombs also; and one, which still bears part traces of red paint, was found on the site of the potter's settle- ment at Kalopsida, which belongs to the Middle Bronze Age. 1515-20. Grinders or Pestles of conical form, sometimes much worn at the broader end. They are often found associated with plates like 1521 ff. Hs. 3 ,'» in. — 2| in. Ill, cxiv, 4 (i 5 17). 1521-30. Elat Plates or Palettes, of hard stone, with more or less distinct rim. Some have also a well-marked foot or base- ring on the under side. Ds. cS] in. — 53 in. Ill, cxiv, 7, 6 (1522, 1523). 1 53 1-7. Tripod-Plates or shallow bowls on three feet, of the same use and style as 1521 IT. Hs. 5I in. — i^ in. Ill, cxiv, 9, 8 (1532, 1533). c. miniature vases of steatite The miniature \ases of steatite and other soft stones, which are fairly common in tombs of the Late Bronze Age and Earl}' and .Middle Iron Age, are \'er\' difficult to date precisely- bv their form alone; for the nature of the material gives preference to simple outlines, and discourages experiment outside limits of safety which were determined at an earh' phase in the history of the in- dustry. 1538. Vase of t|uite black steatite, of a characteristic late M\'- cenaean form, with conical foot and shallow, c>lindrical bowl, with flat bottom. (Compare the example in alabaster 1637 in W'all-C^ase 74. 1 1. 2J in. I53(). \U)\\i. of nearl\- hemispherical form, finel\- engra\ed outside with a basket pattern. Probably of ver)' late M)cenaean 2()7 Wall Case Lp- per part TH1-; C.OLLHCTION OF SMALL OBJLCTS form, though this basket pattern goes on into the Transitional Iron Age, both on stone objects and rarel}' on potter}'. 1). ii;; in. 1540. X'ash of dark green steatite, with two vertical handles, ovoid bod\', and cxlindrical neck and base. It is decorated with bands of geometrical ornaments, and seems to be modelled from a bronze prototype. Under the foot is a group of three linear s\nibols ^ ^'"""^ (see Appendix), which perhaps belong to an earlier stage \^;;^ of the s\llabic script of Cyprus. The vase probably belongs to the close of the Late Bronze Age. H. 5s in. C\prus, p. 247. 1541. \'ase Covi;R decorated with the concentric circles char- acteristic of the Karl\- Iron Age. This co\er was formerl)- associated with the steatite amphora 154^, but the material is different, and the decoration of the cover later than the stvle of the \ase. D. i 1 ii in. 1542. \'ase of steatite, of conical form, with wide neck and small, perforated string-holes. The outside is decorated with man\' parallel grooNes which run somewhat obliqueh' down the \ase. The form resembles Cretan stone-\ases of the Middle Alinoan .Age, but this example ma\' well be M}cenaean or even of the Transitional period of the Early Iron Age. H. 4 n, in. Ill, cxv, 3. 1543. Krathr-Amphora, with wide mouth and vertical handles, in gre\-green steatite. The form resembles that of the painted vases with chariot scenes, 436-7 in Floor-Case 111, and the handles, with their large ri\eted attachments, should be compared with the M\cenaean bronze rim with lion-headed demons on the handles (4703 in the Bronze Collection). The form of this krater-amphora survi\es, however, into the Middle period of the Iron Age. H. 2^ in. Ill, cxv, 5. 1 544. Larnax or oval trough of M\"cenaean t\'pe, in green steatite, with four small handles which are not perforated. The flexible outlines recall a basket original. It is probably of the latest .Mvcenaean, or the Earliest Iron Age. H i\l, in. Ill, cx\-, 2. 1^45- Bowi. with two Hat handles. The under side is channelled to imitate a bronze bowl. The rim has a border of olive leaves. Within the bowl is car\ed, in high relief, a figure of 268 1 501 1540 1542 V 1543 1544 1 5()o '54' '335 nil-: (oi.Liu'.TioN OF small of^jlcts ^^''li Isis, crowiu'cl willi disc ami liorns, riiiin^ upon a rouf^h-coated animal, perhaps a goal. I liis is an attempt to idcntif\ the [_ l\g\ptian goddess with tlie late Cireek conception of Aphrodite per Pandemos. I he bowl is ijuite late work, probabh' of Roman t"''"'^ tiate and l{g\ptian workmanship. I). 2^ in. Ill, c.xiv, I. D. BEADS, PHNDANIS, AN't:) OTHhR (JBJbCTS Ot- SThAllTh AND AC.ALMAIOLITF-: Steatite beads and other personal ornaments begin to be common in the Later Bronze .Age. The taste for them seems to ha\e been introduced, or at all e\ents greatlx' encouraged, b\' the .\l\cenaean colonists who had long been familiar in their own homes with the decorati\e value of the mineral, and in particular of its harder and lighter-coloured \ariet\' agalmatolite, which takes a high polish, though it is rather more dillicult to work than ordinary steatite. 1 54()-7. PhNDW'Ts OR WhioHis of polishcc! agalmatolite, of o\al or conical form; 154(1 'S not perforated like ordinarx' pendants, but furnished with a knob at the upper end, round which a thread could be lied. The same peculiar little knob recurs on some Hal ring-shaped objects of the same material, in the (^xprus .Museum. (C^ M. C^, 636-7). Hs. 1 ,\; in., 1 i';, in. 1 54(S. XhCKi.ACH OF DouBLH-( J)NF-. Bi-ADS characteristic of the Late Bronze Age and Larliesl Iron .Age tombs. They disappear altogether, with other Ahcenaean sur\i\als, at the close of the Transitional period. Their form is \er_\- uniform, and their onl\' ornament consists of small concentric circles, engraxed with a drill. I"he\' ha\e sometimes been mistaken for spindle-whorls, from their shape, which resembles the double-cone spindle-whorls of cla\- in the Larl\' Bronze Age (120-2 in \\'all-C~ase 3); and as alread}' noted on 124, these miniature whorl-shaped beads were themselxes occa- sionallx' copied in claw Bui the\- are too small to be of use Iti spinning; and the real spindle-whorls lound in the Alxcen- aean and Larl\- Iron .Age tombs are of a c]uite tlilferent form (l552-50^- !-■ -7 ill- (}(^'> beads, the conical seal 'ormerl\- with them is 4^71 in the collection of engraxed stones. j lil,c.\i\-, 3. I54C). FiouRi-; OF A Lion in steatite or serpentine, of xerx' rude work, with the mane rendered bx cross-hatching. The date is quite uncertain, but steatite went so completel) out of use 270 STEATITE AND OTHER COLOURED STONE after the se\enth ocntur\- that the figure is prohabl)- earl)', ^'^11 and therefore of some importance, in spite of its damaged state. L. 3f in- Up- 1550-1. Human-headed Pendants of steatite, representing a P^*", negro's head (15 50) and a bearded man of Assyrian type (i 55 i ). Similar heads, negroid or bearded, are characteristic of the later part of the Middle Iron Age: compare the human-headed scarab (43CJ2) in the Collection of Engraved Stones. Hs. \\ in., i ^; in. Ill, cxv, 2 (1550). 1552-59. Spindle-Whorls of the characteristic Early Iron Age form, flat beneath with slightly convex upper side, and in- cised decoration of semicircles (1552-3), circles (1555-6-8), and basketrv patterns (1554). The background of the circles on 1555-8 is enriched with punctured dots. Ds. 1 \\ in. — 1 in. 1 560. Box-Lid of steatite, or perhaps the flanged base of a c\iin- drical jar: it has been perforated and used again as a spindle- whorl, but its original purpose is betrayed by its flanged edge. O. 2,'o in. Part of III, cxv, 5. The engraved seal-stones and scarabs of steatite, which are common in tombs of the Geometrical period, and the period of Oriental Influences, are in the Collection of Engraved Stones. H. OBJECTS OF BLUE GLAZED PASTE, IMITAl ING IHE EGYPTIAN GLAZE The objects of genuine Egyptian glaze and glass, 4461 fY. which are included in the Collection are catalogued below with other small ^V^" F--.g\'ptian objects. .All those now to be described are of fabrics _',' '^ which are known from other exca\-ations to occur on (]\priote sites, and from their fabric to be probablx' of C\priote manufacture. A. MIDDLl-- BKONZl, ACE.: BliADS AND SIM N DLE-WHORLS 2000- I 500 H. C. Native imitations of the \alucci l-.g\ptian gla/ed ware were first made in (^prus in the Middle liron/e .\,L'e, and continued to be jiroduced at all jX'rioiis until llie Hellenistic, with ]U'rhaps a brief iiitt'r\al in the .Middle Iron .\ge, v\hen (]}prus was restricted to its ()\\\\ restjur^es for a while. 271 73 Ca 75 1HJ-: C.OLLIXniON OF SMALL OBJECTS \\all 1 561. Sphhrical Bhad of light blue gla/.c, with very small perforation. This type of bead is characteristic of the Xll D\nasty in Kgypt (about 2000-1800 B. C.) and was imitated in (^\prus during the Middle Period of the Bronze Age, which is accordingly to be regarded as approximately contemporary. D. .\ in. 1562 a, b, c. Sphkrical Beads of light blue glaze like the pre- ceding, but adorned with wide longitudinal grooves, and fur- nished with a very large perforation. The external form is that of a characteristic kind of Xll Dynasty bead; but the large perforation, which is un-Egyptian, must be regarded as a local innovation. The type must have persisted in Cyprus after it was superseded in Egypt, for similar beads have been found in Mvcenaean tombs which are contemporary with the XVI 11 Dynasty, about 1600-1380 B. C. Ds. | in., 2 in-, 8 in- 1363-7. Spindlh-Whorls of pale blue glaze, repeating the conical (1563) and double-conical forms (1363-4) already described in the Red Polished Ware (106-122 in Wall-Cases 2 and 3). They probably belong to the same period as these clay whorls, that is, to the Middle Bronze .\ge. The fabric resembles that of 1361-2. Hs. i^ in., 1'^; in., i ,'0 in. 1366. Lion modelled roughl)- in the same pale blue glaze as the preceding, but probably so ambitious a design belongs to the Late Bronze Age: 1500-1200 B. C. L. i !« in. 1367. Counter or Dralght-Piech, a thick circular disc of pale blue-glazed clay or paste, with the Cypriote sign for ya incised on the upper face before glazing, and the sign for lo (or per- haps a mere cross) on the edge. W. is in- I", cxl, 12. I 568-9 a, b. Fragments of Vases of thick white paste with a line pale blue glaze: probably of the Later Bronze Age, and more like Eg}ptian than Cypriote work. Ls. i ^ in., i^ in., \\ in. B. LATE bronze AGE: MYCENAEAN VASES IMIIAIING EGYPTIAN GLAZE This rare and interesting fabric belongs to the l.ale or .M\cenaean Period of the Bronze Age, 1 300-1200 B. C. The onl\' series worthy to be compared with that now described was obtained for the British Museum from rich M\-cenaean tombs at Enkomi near 272 BLUE GLAZED PASTE Salamis. Pale blue-green glaze, simple geometrical ornaments, outlined in black paint, and careless copies of Egyptian scenes and figures — more rarely of Mycenaean motives — are characteristic of the whole group. I'he "false-necked" vase 1572, and the other narrow-necked vessels, i 570-1, are well-known iMycenaean forms, of which examples in painted pottery, 423-8, are in Wall-Case 12. With 1572 compare also 520 in Wall-Case 14. 1570. Narrow-nfxked Vase, with flattened globular bod}-, and two vertical handles from the rim to the shoulder. The shape closely resembles that of Mjxenaean vases in the wall paintings of Rameses 111, about 1200 B. C. The decorations are all in a black paint which has very slight lustre. Around the greatest diameter is a border in black paint enclosing a wavy line, and on the neck and handles are other wavy lines. On the shoulder is a band of floral background of the common Mycenaean type, in which are represented on one side a charg- ing bull, and on the other a running deer or wild goat. H. 4I in. I 571. Narrow-necked Vase of similar form, but the neck and handles are broken. On the shoulder is drawn a series of Wall Case 73 1374 panels enclosing semicircular floral designs peculiar to the latest Mycenaean st\ie: compare 457 in Floor-C^ase 111. II. 2J in. (A'prus, p. 102. Ill, cix, i. 1372. 1-\\lsh-ne(;khi) Vase of degenerate type without handles: the false neck is placed on one side so as to balance the true neck of the vase. Around the greatest diameter is a hand of late Mxcenaean basketry ornament; above are careless semi- circles tilled with dots, and two doited crosses in the back- gr(jund. The glaze is greenish, and ver\' poor. H. 2\';\ in. I57^-(S. Boui.s of pale blue-green glaze with various designs in the same dense black paint. 1575 has a bull charging through 273 1111, (oi.i.iA rioN oi S.MAI, 1, oBii-crs ^'^ -i" a pap\ Ills l\'n, iiuuh in llu- ^Ixlo of Miiiilar I-'.i;\ptian bowii "^ ot tho Will l)\nast\. Kouiiii this Loiilral cK'sijin is a bonU'r of lotos pclals. I S74 lias an 1-.- preser\ed. Hs. (i| in., ](){ in. ill, ci.\, 3, 4. 111. OBJHCrS OF .AL.XB.AS ri-R ... .. The alabaster objects found in C^\ prus are tor the most part small Case vases, intended as toilet articles. Though alabaster of fair qualitx 74 is found in the lowland parts of C^\ prus, as in most .Mediterranean coast-lands, the great maioritx of the alabaster \ases are imports from Eg\'pt. For Pg\ pt is the first home of the alabaster industr\ . The mineral is found there in beds of great thickness and beaut i- full\' bandeii structure; it w;is worked copiousl\' from the earliest to the latest times; and at all periods when i\g\ pt was in free enjo\- ment of its own ports, or chose to throw them open to loreign trade, its alabaster \ases became known and prized abroad and were freel\' exported. Iheir use spread all the more widel\ because lhe\ were the standard \essel for the distribution of the rarer oils and perfumes. Their commonest and most characteristic form, 274 Case 74 OBJLCrS Ol- ALABASIHR wiih rounded bottom, almost c\lindrical bod\', and broad tlat ^^''1' rim, was named b\- Greek antiquaries from the mineral itself "alabastron": it is the Biblical "alabaster box of \er}- precious ointment." The elaborate \ases of (^\prus belong essentiall\- to three such peri(Kis of Kg\ptian accessibility, as ha\e been noted abo\e: the .Mxcenaean period, i 500-1200 1^. (]., corresponds with the "New F.mpire" of the X\'lll and XIX Hgxptian D\nasties; the Hellenic, 530-350 B. (.]., with the XX\'l D\nasl\' and successive Greek enter- prises in the Delta during Persian rule; and the Hellenistic and Graeco-Roman, wilh the Ptolemaic Dynast)' after 300 B. C, when Egvpt itself was in Greek hands, and permanent!)' revealed and exphjited thr(High its new port of Alexandria. Though the age of these alabaster \ases \aries so widel)-, the ccjm- monest forms remain Eg)ptian throughout, and are alniost impos- sible to distinguish; particular!)' as the craftsmen of the XX\'l D\-nast\- purpose!)- copied the work of the X\'lll, in this as in other departments. It is on!)' when \essels of characteristic and datable forms in metal or c!a\- are imitated in alabaster that it is possible to determine approximate!)' the age of the copies, unless the record of excavation sh(jws precisel)' with what other objects of known date a gi\en "alabastron" was found. It is also impossible to distinguish with certaint)' Hg)'ptian imports from Cypriote imitations. Ihe latter are probabi)' confined to vessels imitating characteristic (^\priote forms of potterx', steatite, and the like, and in Hellenic times to a few plain white opaque varieties of "alabastron", of undistinguished form and coarser workmanship. 1601-1620. .\i.ABASTRA of conventional l\gvplian tornis and quite imcerlain date; the prohle of the bod)' and neck varies slightlv, and also the position, size, and utilitv' of the handles. \'erv coiTimonlv, the haiidles are not perforated at all. Hs. iij in. 4:,' in. ( -v prus, PI. xviii (1628, 1620); III, ex, 3, 4, () (1607, i()02, I'xM), cxiii, 9, S, 10 (1622, i()2H, \()2(.)). 1621-30. (>)Pii.s or Bkonzl .\<.i-; P()r'ri,K>'. usuallv in a pale un- variegated alabaster which niav perhaps be native to G) prus. Siniilar copies of some of these fabrics are, however, foimd fairlv comnionlv in Mgvpt ; and thesi- (some if not all) are cut m l-'.gv'i')tiaii material. I he fabrics which are imitated all l^elong to the Later or .M)'cenaeari jieriod of the \>run/.v .\ge; nil COl.I.HCTION Of- SMALL OBJl-CTS Wall thc\' arc as follows: — I'abric vi (321-2 in Wall-Case 9) imi- ^■■'^'■' tatcd b\- i{)2S-c): I'abriL x (38(1 in Wall-Case 11) h\- 1622; '"^ the characterislie piriform \ase of l-'abrie xii (417-ic) in Wall-C^ase ] 2) b\ ihe fraginentar\- i()?o. The original of 1(121 is perhaps a C\pro-.Mwenaean \ase of Fabric xiii like 407-1^ in Wall-Case 12: compare also the better worked example !()S(). which is thus appro\imatel\ dated. ("he tlask- like forms i()24-() are nearer to Kg\plian than to (^\priote ilasks, but clearh- ha\e protot\pes in cla\-; and the flat base of 1(127 points in the same direction. Hs. 7'io in. — 3';] in. C>'prus, PI. x\iii ( i(')2(i-2S-2()-3o). 1631-43. Cj)1'ii-.s 01- SihAiiiH \'ashs chiefly of Late Bronze Age and Earl\- Iron Age forms such as are shown in Wall-Case 73. The three-footed bowls 1531 IT. for grinding paint are imitated hv 16^1; a characteristic four-handled bowl of the Late Bronze Age b\- i()32; a geometricallx- ornamented \ase like I S40, b\ i()^4, and more remotel\' b\' 1643, though both these ha\e rude lotos-petal designs which cannot be much earlier than (150 B. C. The form of 163(1-7 is alreadx' familiar in steatite 15^'"' ^nid in blue glaze 137Q; and that of 1641 in bowls of steatite. The models of 1633, 163,, 1638-40 are EgN'ptian vases of limestone, steatite, and harder stones, which are common at almost all periods: 1633 has aireadx' been quoted on page 80, in illustration of the "handle-ridge" on cla\' vases of the .Middle Iron Age: its rim, which is missing, was cut in a separate disc of alabaster, which fitted o\er the neck as far as the projecting flange. The material of 1642-3 is not the ordinar\' alabaster, but a compact white stone of about the same hardness, and worked in the same st\le. I'he use of the spindle-shaped object 1642 is uncertain: its date, howe\'er, is fixed b\- its Earh' Iron .Age ornament of drilled "concentric circles." Hs. 9,'',; in.— 1 I'v. in. (Aprus, PI. x\iii (1634-^ 36-4^). Ill, cxii, 4, 7, (1631, 1632); cxi, I (1635); ex, 5 (1638); cxi, 2 (1643). 1644. ScuLPTi/RHD Ladlb of quite uncertain date, but probablx made in Eg\pt. d'he handle is formed b\' a swimming girl, who embraces the lotos-patterned bowl with her arms. The design was popular in Eg\pt under the .Will l)\nast_\', and was copied under the XX\'I. It is found also in i\-or}', ebon>', 276 OBJECTS OF ALABASTER and other \aluable materials. L. 5I in. CNpirus, PI. xviii. \\all III •• Case III, CXII, I. /4 1628 1643 1644 1645-7. Copies OF Clay Vases of the Earl)' Iron Age. The saucer 1645 follows a common form like those in Wall-Cases 16-17; 1646 has the heavy profile and disproportionate neck of the large amphorai in Floor-Cases V-\T 1 ; and 1647 shows the body of a conical wine-jar of the sixth century tilted to a neck and rim more adapted to be cut in stone. Hs. 4^ in. — i i',i in. Ill, cxii, 6; cxi, 3 (1645, 1646). 1648-58. Copies of Hellenic Vases, and other late forms. The commonest of these forms is a graceful narrow-necked amphora with ovoid body, distinct foot, and very small handles on the shoulder. 1650-2, 1654-5, 1648-9 are miniature wine- jars, 164C) with pointed base, 1648 with moulded foot and cover; they have a long neck and two vertical handles (broken in 1648); 1649 is not earlier than 300 B. C, and ma}' beGraeco- Roman. The degenerate and clumsy form of 1657 may be suggested b\' a similar wine-jar. ITe deep bowl 1653 seems to imitate the peculiar Greek cruet-vessel called echinos from its resemblance to a sea-urchin; and 1658 copies closely the round-bodied lekythos or oil-flask, of the late fifth and early fourth centuries. The alabastron 1656 shows the ancient Egyptian form re- modelled b\- (ireek taste, and influenced by the thin-lipped copies in cla\', which were pcjpular in tirecce in the lifth cenlur\'. This Ivpe is fairly common at Amathus in the richer tombs from the end of the sixth century to the beginning of the f(jurth. Hs. 7I li in. - 2 in. HI, cxii, 2 hOs^); cxiii, i (1650), 2 (i64()), 5 ('1648). 1659. Insckihi-.d V'asi of cliaraLliTislic Iransiiidual Iron Agi- llli: C.OII.ICI ION ()1 SMAI.l. OBjl-CTS \\all form like the clav vases 406-7 in \\'all-(]ase 12: with incised "_^ panel decoration, and (]\priote characters at the top and bottom of each panel, discussed with other inscriptions m the .Appendix. H. o| in. (~.\prus, PI. x\ iii. Ill, cxli, 7 a, b. Centre ](•,(•,^) Alabastron \vi rn (^()\iiR, of unusuall\' large size, short '\'^ broad form, and uncertain date. It is probabl\' of Egxptian make. H. \2l in. 1). 14I in. (]\prus. p. 54. Ill, cxi, 5. IV. OBJHCrS OF COMMON WHITH LIMHSTONH VARIOL S PHRIODS .AND STYLHS Wall Idle compact limestone of the lowland parts of C\prus is but little Ca>e [-,3f-j^.r than chalk, and can be cut with a strong knife. It is, there- fore, well adapted, not onl\' for sculpture, but to form small boxes, altars, lamp^. and other simple pieces of furniture, in place of wood, claw or metal; particularl\' if protection from fire was needed, and weight was no objection. Such stone objects were made in (l\prus at all periods, but are commonest in the Earl\' Iron .\ge in tombs, and in the Hellenistic period atnong the cheaper offerings in sanctuaries. i()()i. PoRiABLt Shrinh, OR Lanfern, in the shape of a rectangu- lar chamber, open to its full width in front, between rudel}' car\ed pilasters with xolute capitals. On the floor is car\ed a stone lamp of the pinched saucer shape, like i(k)I-2 below and 2S01 fT. in the (collection of Lamps. I'rom the shape of the lamp, and the xolute capitals, this object may be assigned proxisionalh' to the sixth centurw H. loj in. Doell, xiii, iQ, pe as the alabaster bowl \()>,2 in Wall-Case 74, and its hard st(;ne models. It probabl}' belongs like them to the l!arl\' Iron .\ge. 1). 7 J in. i()7o. .MiNiAiLKE Altar, standing on four feet, with an eight- horned top dexeloped from the .\l\cenaean lour-horned t\pe, and akin to the horned "altar of incense" in the Jewish Taber- nacle. These miniature altars are lairlx' common in tciml^s of the liarh' Iron .\ge; and were intended tor use, as the smoke- stains on this one show. }'',xam[->les in bron/e are found in North S\ria. H. 3 1 ,; in. 1671. Lamp, roughl\- turned in a lathe to a witle toot and lop, connected In a narrower support. I he top is conca\e, with a shalkjw lateral groo\ e to hold a wick. riii,^ lamp has been in use like 1670 and ^hows siiioke-'-tains. I he Inrm seems lo be deri\-ed irom that of the colunmar lamps ol the Minoan Age in Crete; InU probabK' this example is not older than the Transitional Periotl of tlu' barlv Iron ,\ge; conifnire the lolunmar bowT 1352 in stealile, and 1(^7 m alabaster, which ma\' be .Mwe^naean. II.', 1'., in. 270 nil t:()i.Li:(:i ION oi- small objlcis Wall iC)7j-4. C^oi'ii.s oi C.i.A'i' X'ashs, \er\' rudely carved: 1672 copies •''^^' a domestic juii of the tourlh or third century; 1673 a vase of the same l\pe as 1 S40 in steatite and \()}=, in alabaster, but \er\- likel\' later in date than these; 1673 (a) of the same l\pe but ruder still; 1074 an ordinary alabastron like those in Wall-C^ase 74. Probabl\- these clumsy objects are poor men's substitutes for more \aluable offerings at some sanct- uar\-: compare a stt)ne saucer in the C\prus Museum (C. Al. C. 4~n) from the principal sanctuary at Idalion. Hs. 5'. in., 3] in., 8.J in. Doell, xiii, 14, 815 (1670); 18, 816 (1671). 1- 597- 599. <^>('5> 603. 1675-87. X'oTivF- Offerings for Rhcoverv from Accidents or Disease. These are roughlv car\ed in relief or in the round, and represent the damaged part (1675-6), foot (1677-8), hand (1670), finger or toe (1680-1), ear with earring (i()82), e\-e (1683), pair of eyes (1685-7), or eyes and mouth (1684); compare the childbirth offering 1226 and the large slab 1227 in Wall-Case 47, which represents a pair of breasts (like the single breast 1676 above), and probably some internal organ. The custom of dedicating such votive models is still common among l\v: peasantrx' in most countries of Europe and thi Christian East. Doell, xiii, 9, 798(1680); 3, 79O (1682); 8, 797 (1684); 7. 789 (1687). 1, cxxix, 925 (1676); xxviii, 157-8 (1677-8); cxxix, 927, 931, 934, 936, 926 (i68o-2-4-5-()-7). 1688. X'oTivE Disc, perhaps a copy of a mirror or an athlete's quoit. It has a small handle perforated for suspension and incised ornament of dcitted triangles round a central rosette inscribed with compasses, brom the c^rnament, it would seem to be of the Karl\- Iron Age: compare the dotted triangles on the stone chest 1665. D. bh in. 1689-90. Handles of 1-'ire-Shovels, for carrying lighted coals for an altar of incense. Thex- end in animals' heads, and 1689 shows much red colour on the rim. The st\le suggest.> a date in the fourth centur\- ("ompare the inscribed handle (iS()i) in the (Collection of Inscriptions. l.s. 81;! in., y\ in. 1691-4. Salcf.r-Lamps copied from the common-cla\' "pinched- saucer" lamps (jf the fourth and earlier centuries: compare also 4978-81 in the Collection oi Bronzes. Ls. 4^ in.— 3^ in. Doell, xiii, 13, 808 (1692). 2 So OBJECTS OF WHITH LIMHSTONE 1695-6. Lamps, in the shape of an animal's head, copied from a ^"^^ij^ very late t\pe. Ls. 3f in., 3I in. 1, 194, i93- y'5 1697-1700. Saucers, 1697-8, and Strainers, 1699-1700, copied from common clay forms. Ds. 4^ in. — 3t in. 2.S1 THE COLLI-.CnON OF IMPORIKD VASl'.S OF gri;i:k fabrics THE COLLPXTION OF IMPORTED VASES OF GREEK FABRICS A all periods when Cyprus has been in communication with Moor the Greek world to the westward, the current fabrics of ^-'ses Greek pottery have been traded to the island, and occa- sionally have been in "reat demand. 1 X A-B LATE BRONZE AGH: MYCENAEAN STYLE (FABRIC Xl) The Mycenaean \ases of the Later Bronze Age, corresponding with the Cretan st\ie known as "Late Minoan 111," which had so profound an influence on the native fabrics of the rransilional Period and Early Iron Age (Fabrics xii, xvi), ha\e alread\- been described in their place in the (Collection of Potter\'; see 417-452, in Wall-Case 12 and Floor-Case III. EARL'i AND MIDDLE IRON ACE! CREEK CHOMETRICAL ST'^LE In the Earl\- Iron Age, the geometrical sl\le of the Greek main- land, and the Aegean islands as far as Oete and Rhodes, ilevelops on different lines from that of (Cx'prus. Intercommunication was difficult during this troubled period, and western imports into (C\'prus are therefore rare. Ihex' are, however, ni)t wholh' absi'nl, and 1 701 is in fact among the finest examiiles of its class, ll is indeed so fine, and was for a long while so unjaralleled among \ases found in (^\prus, that the cjuestion has been often raised whether it was reallv found there at all. It is clear, howexcr, ihal occasional imj)or1s must in an\' case be assumed, in order to aLLOunl for the school of native imitations illustrated hv 1707-10; and a frag- ment painted with the same grazing animals as 1701, whidi was found at .\niathus during t he P)riti>h Mus^'Uiu's e\ca\ at ion^ in i''~^o4, remo\es all iloubt as to the fact of Iraflic in large \ases ol ihis st\le and date. Other \ase^, both inu'tated and probalilN' imiM)rIed, THH C.OI.I.F-CriON OF IMPORTED VASHS wore huind in the sanio o\La\ali()ns at Amathus, in tombs which can be seeureh dated to the Middle I^eriod of the Clx'priote Iron Age. Iloor 1701. I'oL K-HAM)i.i-.i) \'asi- w irH CloNhR, of characteristic "Dipy- \ \ Ion" form, so called from the celebrated Early Iron Age ceme- ter\- at Athens. Ihe o\ al bod\' stands on a high foot, with moulded base. On the shoulder are four high loop-handles. The co\ er is surmounted b\ a miniature hydria, in place of a knob. Both the \ase and its co\er are decorated in the richest geometrical st\le, with close at!init\- to the .Attic " Dip\lon"work. The broad bands and groups of lines on the lower part of the bod\', and the friezes of tangent-circles are alread\' familiar (p. 75) as sur\i\als of .Mycenaean decora- tion: one of the tangent-circle friezes has "concentric circles" like that of the C\priote geometrical style (600-6 in W'all- C^ase 17]. The dotted rosettes in the background of the panels are also borrowed rarel\' b\- the Cx'priote style (596, -22). Other .M\cenaean reminiscences are the scheme of the doe suckling its kid, the heraldic grouping of deer about a "sacred tree," and the double axe — well known as a sacred s\'mbol in earl\' Oete - which is suspended over the tethered horses in the shoulder panels. On the other hand, the con- ventional groups of grazing horses, long-legged water-birds, and deer, are as characteristic of the new art of the Iron .Age, as are the panel-decoration, key-fret ornament, eight-pointed stars, and chequered and latticed backgrounds. Ihe \'ase has been brctken into man\' pieces, and has been full}' and \ er\' carefull\' restored. Restorations are easil>' distinguished from original fragments b\' their te.xture. H. ^ ft. 10; in. Perrot, fig. 514; Cx'prus, PI. xxix. 11, 855, Floor >7*'-- OiNocnoH, with long c\'lindrical neck of a characteristic Case "Dipylon" form. The bod\' is decorated with man\' narrow bands, a natural dexelopment of the .Mwenaean broad- and-narrcnv grouping, in a st\ie which abhors broad zones and silhouettes, and habituall\' uses the brush as if it were a pencil or a gra\er. The shoulder has tangent-circles, and a wa\\' line fringed with dots, another heritage from the latest .M\cenaean sl\le. On the neck is a scheme of panels, framed with tangent-circles, and filled wilii sa) a cross of four con\en- tional lea\es; (b) two horses, tethered at tlieir mangers, with water-birds, double-axes, swastikas, and arrow-lines in the 286 1 .\ P. 17«M THE C01.I.i:(.TI()N Ol- IMPORII-D VASF.S Fl(M)r Case fiold: for the last two m()ti\es, which appear sparinglx- in C',\priote gconiotrical work, see p. 7^. Ihe gtMieral effect is \er\' L'loseK' akin to that of 1701: the ela\' is softer and more porous than is usu- al in the Dip\ Ion fabric, anii is nearer to some of the chi\'s of ArgoHs. H. 141',; in. (703-5. ()i'i:n Bowls, with kjw neck and two small handles. The form, hard cla\-, and lustrous pigment are quite foreign to (]\prus, and akin to the IDipxdon fabric, 'ihe ornament is in each case a scheme of panels containing bird^- (1703-4); dotted rosettes (1703-4); chequers, lattice lozenge, and cross of four lea\es (1703); and key fret (1705). On the neck of 1703 are tangent-circles as on 1701-2. Hs. 3.} in. 2| in., 2I in. II, 1087 (1703). ''°^ The vases hitherto described ma\' be contidentl\' accepted as foreign imports: they belong to that phase of the Earlx* iron Age in the .Aegean which is represented in the earliest Dip\'lon tombs at .-Xthens, and in the cremation tombs at Halos in .\chaea Phthiotis. Karely, however, copies are found in natix'e C\'priote cla\' and inferior workmanship, an additional proof of the esteem in which these geometrical vases were held. 1706. Open Bowl, of the same form as 1703-5 but in more porous cla\', probabl\' C_\'priote. On the neck is a zigzag line, such as is common on native bowls, and in the bod\'-panel a blun- dered imitation of a ke\'-fret outlined and tilled with oblique lines in imitation of foreign bowls like 1705. This example of native copx'ing stands ver_\' close to its models, and is prob- abl\' of the same date, about looo-iSoo B. C. Similar nati\e copies ha\e been found at .Amathus in tombs of the .Middle Iron .Age. H. 3^ in. 11, 1081. 1707. Open Bowl, of similar form, but rather later workmanship, and further removed from the imported model. The cla\", which is reddish and seems to be natix'e, is covered both inside and out with a brighter red slip; on this are painted black bands and patterns, and also three zones of creamx' white. Compare the "tricolour" fabric of Red Painted Ware in Wall- Cases 25 and 2(). On these white bands are painted (, i) a 288 EARLY AND MIDDLE IRON AGE ke>--fret in black outline and (2) a cable-ornament left white '"'""'' on a black ground, a device already discussed on 60H, 699 ^^^n in Floor-Cases \' and \'I. The use of the cable-ornament betrax's Oriental influence, as on 671, 700, and on some of the geometrical pottery of Crete, and ma\' be regarded as dat- ing this vase about 800-700 B. C. H. 3 in. II, 1080. 1 703 ' 704 1 706 1708-9. Ovhs Bowls, of similar native make, but simpler form and ornament. The cla\- of 1708 is light-coloured, with a panel scheme in black, between broad bands of a dull red paint which is also used on the inside; 1709 is painted in red onlw This red paint is habitual in the potterx' of C\'- prus, but unknown to the geometrical schools of Cireece and the islands. It is curious, and at present unexplained, that red paint is popular again in the geometricallx' painted wares of Southern ltal\- which likewise belong to the "dark age" between the .Minoan culture and the Hellenic. Hs. 2| in., 3i''b in. 11, 1084 ( 1708). Another imported fabric, with large s\stems of concentric circles, applied mechanicall\- b\- means of compasses, belongs, like 1701-5, to some Cjreek land to the westward; and is of importance as suggesting foreign origin (in part at least) for the "concentric circle" ornament which becomes so popular in the nati\e (Cypriote slx'le: see especiall}' 600-6 in Wall-Case 17. 1710-1 I. Oi'hN Bowi s, of the same form as i7()3-sandofa hard light- coloured cla\- with lustrous black glaze which coN'ers the whole of the inside, and also l he oul^idl' of ihe neck and loot. The solr ornament consists of largr sxsimis of concentric seniicircK's. crowded so as to o\rrla[i. Thf cl:i\- and jiainl of 171 1 are red through ox'crliring. lis. 2!; ui., ^ m. 11, lo^^S (17'") THI-: r.oi i.rc.TioN oi imi'orii;!) vashs Floor I.\ n LATIK IRON AC.I : NAKIOIS r,RFl-K lABRICS OF THF FHRlOl) OF OKU N lAL INIl.L l.NCF. ABOUT 750-5S() B. C. The great \-arii't\' ami rich decoration of the fuil\- developed "(jrae- co-Phoenician" st\ie in (Aprus itself are enough to account for the rarit\' of foreign \ases during the Later Iron Age. For variety and spMendour Cyprus could hold its own against them all. The few that ha\e been lound in tombs of this period testifx', however, b\' the variel\- of their fabrics, to the wide range of westward intercourse which (".\prus began to enjo\', when once the sea-wa\s were freed again lor peaceful traffic. The traditional "Seapower of (]\prus," which ma\- be assigned to the latter part of the eighth centur\' (p. .\xxi\ ), marks an important step in the reopening of the Le\ant to Cireek enterprise. 1712. .Ami^hora of an imported Cireek fabric resembling that of Samos. The cla\- was nalurall\- cream-coloured, but is slightly over-tired. The onlv ornament consists of a tew bands of lustrous paint, with tw'le, see 5C)8-c) in Wall-Case 17; 631, 634 in Wall- C^ase 18; and the whole series of "bird-jugs" in Wall-Cases 21-22 and Floor-Case VI II. 1 7 16-7. Aryballoi of globular form and earl\- fabric, like that which is commonest in the tombs of Kamiros in Rhodes. They are "plain-bodied," and their sole decoration is a conventional lotos-rosette in black, without an\' incised lines. About 650 B. C. Hs. 2| in., 1 1 in. 1718. AR>'BALLf)s of the same globular form, but decorated with a procession of four warriors who are almost hidtlen behind large circular shields; a common motixe in this earlv, perhaps Corinthian, st\ie. Black paint is used, in solid silhouette, with details painted over it in red and while, and \er\- sparing use of incised lines. The longue-ornamenl round tlie shoiflder is of Oriental origin, akin to the rosette. About (xk) B. C. H. 2,',, in. 1710. Aryballos of pearshaped form and Orientalizing fabric, prcjbably (Corinthian. It is decoratetl, on a plain boii\', with a bird standing between two horse heads. On the rounded bottom is a rosette, and behinil the handle a long-legged water bird. This bird, and the horses, are notable sur\i\als of the animal forms most popular in the old (u'ometrical st\'le, I7()I-^ The design is in black, with .opious red details, and free use of incised lines. About (]3o-(>oo P). C. II. 4 l in. 1720-1. PhAKsnAiM.i) Akvbai.loi, of regular Corinthian iabric with black and red bands. Pxilh ha\e charactiTistic "tongue- ornament" like 1718; on 1721 are a few incised lines in muta- tion of gadrooncd metal-work. .About ()5o-()oo B.C. lis. 3 , ',; in., 3 Mi in. 2C)I '1111 c.oi.LHc.noN oi iMi'()Rri;n vashs l-loor !■ ('ase l.\ B 17^ -T,. 1'an lASTic: Ak^ MAi.i.oi ill the form of a ram (1722) and a siron or human-hcadcd bird (172O. Both are decorated in dull black and rod. The clay of 1722 is softer than usual in this st\ie, and ma\- be Cypriote; that of 1723 is full of shining tlakes of mica, like the clays of Miletus and other parts of Ionia. About 650-600 B. C. Ls. 3 in., 4^ in. 24. Corinthian \'ash of characteristic flat-based form, with low neck and three handles modelled with female heads. Its decoration is in the rich but careless Corinthian st\'le based on the patterns of Oriental textiles, with a crowded frieze of animals, sphinxes, sirens, and tloral background, in lustrous black silhouette with dull red details, and "tongue-ornament" round the neck. About 650-600 B. C. H. 5s in- 1725. Rhodian or Milesian Oino- CHOH, ver\- fragmentar\', and damaged by overfiring. It shows two friezes of animals, birds, and griffins, with very sparing use of dotted rosettes and maltese crosses in the field. Red paint is used rarely, and the internal details are not incised, but skilfully reserved in the light colour of the clay, as in the finest "plain-bodied" vases of Cy- prus, 751 fT. in Floor-Case \'1II. Between the friezes is a rich zone of meanders alternating with square ros- ette-panels. About 600 B. C. H. 5i in. 1726. Samian Amphora of the beauti- ful fabric known as "l-'ikellura ware" from the site in Rhodes where it was first discovered. It is of slender graceful form, with characteristic design in lustrous black on the cream\' clay, showing on each side a long-legged water-bird between large palmettes with scrolled stems: below is a zone of the "crescent ornament" peculiar to this st\!e, and on the shoulder is a leaf-pattern. About ()oo-55o B. C. H. Qi',; in. Doell, x\ii, 2, 3()7i; C\prus, PI. xlvii, fig. 41. -. 'rwO-IlANDLHD \'aSH WITH SpOUT AND CLOVER, of a Wcll- marked fabric which has been described as Rhodian, and is 172O 292 LATER IRON AGE usually found in the southeastern region of the Aegean. The elaborate ke\--fret, tangent-circles in brown paint on the pale clay, and the cover-knob shaped as a miniature vase like 1701, indicate descent from a geometrical fabric; but the form of the vase and the freely drawn olive-wreath on the shoulder, are marks of later date. About 600-500 B. C. H. 12J in. II, (K)2. I72,2. II, I(H)(). 111:1.1,1 NIC \(. I, : HLACK-l lOlK 1.1) .\ M ) K 1 . 1)-1 1< .1 ' K 1 I ) lAHKlCS AND \AS1.s WllOll.')- (;()\I.KI I) Willi Bl.XCK (.I.A/I. From tin.' close of thr si.xlh crntur\- onwaiAK, all other fabrics of imported \ases gi\e place to those of .Athenian maniifacliHA', or ^93 THH (.OI.LICTION OF I.MF()RTi:n VASKS lloiir at least produced under predominantlx' Athenian inlluence. The IX H "bhiek-tigured " t;ri)up, described below, marks the period of close intercourse which preceded the Persian Wars (p. xxx\i). The absence of the latest " black-tigured" group, and the earliest or "se\ere" phases of the red-tigured style is explained in the same \va\' b\' the failure of the Cl\priote revolt and the seclusion of the island until about 4()o. The one "line red-tigured" vase in the collection ( 1740) belongs \er\' closelx' to the period of Athen- ian acti\it\ in the l.e\ant, from 4()() to 44(), and should be com- pared with the "red-tigured" vases from recent exca\'ations at Naucratis in the Hg\ptian Delta, which are closeh' dated hv the same political e\ents. The late and inferior vases of small size, lamp-tillers, askoi. and small lek\thoi, which are verv abundant in the cemeter\' of Marion-Arsinoe near Poli, and are found in smaller numbers on most of the more important sites, represent in their turn the prosperous phil-Hellenism of Evagoras. .After the collapse of his d\nast\-, and the restoration of Persian rule, Attic imports become rare once more; and before the island was freed by Alexander's victories, the .Attic workshops had lost both skill and fame. These \ases are at present exhibited in the first three Wall-Cases of the ("ireek Vase Room, IX C, D, H. BL.ACK-f-U'.LRHt:) \ASHS: IONIC .WD .ATTIC Wall '73''"4- Ionic K^likhs .\nd Bowls in reddish cla\' with black Ca? 1 C.i:) Cases glaze bands o\er-tired to red; the forms are hea\ier than the later k\likes which follow, and there is no figured decoration. Hs. 3I', in. — if in. II, logt), iO(S(), 1088(1730, 1731-2, 1733-4). 1735-7- " Ki.HiN.MHisThR" K'lLiKHS with slender stem and graceful profile: on the rim are minute figures in black on the red ground, as follows: — 1735, on one side a doe, on the other a man hurling a spear; 173(1, on each side two boxers: 1737 (fragmentarx ), two runners. Hs. 3I in., 3^, in., ig in. C\'prus, p. 41 1, fig. 31 (173(1). II. 1094-5 (173(1)- 1738. .XiTic Bl.ack-hglrhd K-iT.ix, painted with a pair of c\-es on each side, between which are Dion\siac scenes; within the k\lix is a satxr: fair work with white and red details. H. 3 rV in. 1 1, 1007. 1739-40. KiLiKiis of common fifth century fabrics: 1739 a, b, 294 HELLENIC AGE two examples each with a band of black-figured palmettes; ^'^^'l 1740 entirel}' co\ered with black glaze. Hs. 3^ in. — 2^ in. |"\^ 1 1, 1093 (1739). C,D,H I 741-2. Skvphoi with black-figured paintings: 1741 has a I^iony- siac scene on each side, between pairs of sphinxes; on 1742, on each side between a pair of palmettes, a \outh stands op- posite to a seated girl \\ho pla\s the l\re. Hs. 5 1 ;-, in., 3I0 in. 11, 1099 (1741). 1743-6. Lekythoi of common o\oid form and very careless draughtsmanship: the representations are as follows: — 1743, a female image, holding branches, stands between two kneeling warriors who hold torches. H. Gn; in. II, 1105. 1744, n\'mph (?) between two sat\TS. H. 5I in. 11, 11 02. 1745, three seated figures. H. 64 in. 1746, lekxthos; a sphinx stands between a woman who holds a distaff, and a man holding a long torch; on the neck is a cock. Hs. 61 in. — 4^2 i"- I'> iioc. 1747-8. Black-figured Vashs with white ground on the body. 1747, alabastron: a sat>'r pursuing two n\'mphs; 1748, tall lekythos, with palmetto band. Hs. Gi'u in, 5 i''s in. 11, 1 103-4 (1747). ATTIC RHD-FIC.URED VASES 1749. Fraoaient of a i.ARC-E Vasf; showing the upper part of a man leaning on a stick, and the arm and hand of two other figures: fine st\le, about 4,0 B. (I. 11. 4 I'V, in. I7tO-(). Other Vases of Poor Stvlf.: 1750, kx'lix: three xouths c(jn\ersing; 1751, amphora: a girl running, between foliage spra\s; 1732, pelike: female head between palmettos; 1733-5, lek\thoi: with female head (1753), palmetto (1754), plain band (1733); I75(), lampfiller: r(jugh scrolls on the shoulder. 1 Is. 6', in. — 2 I'.i in. 1737. 1-ANTASTic \'ase, with black gla/oii neck ami hamile \\kc a lek\thos, hut the htxlv is modelled like an almond in its shell, and left red. H. 4 in. 11, iioi. DF.CADENT SlYEES ()|. IHI-, FOIKIII AM) I II 1 l< I ) CINHKII^ 173^-92. N'ases Willi Pji.xck (jEa/i, and Dicokaiion in Will if: AND Ked: two-handled cup'- with wreath of \ine clusters 293 Tin-: COLLHCTION OF IMPORTHD VASES Wall (175^^-0) lek\lh()S (1760), and hanciieless bottle (1761) with C.asi-s white network; lek\thos (17O2) with black network and red (J [-)]: dots. Hs. 8J in. — 2.' in. 11, 1092 (1758). i7()3-cS. \'asi:s with Black Cji.azi- and Stamim-.d Ornament. 1763, two-handled bowl; I7()4 one-handled bowl; 1765-6, paterae; i7()7, one-handled cup with heavy rim; 1768, lamp- filler. ()nl\- 1765-6 have the stamped ornaments; the rest are plain. U. 3 4 in.— 1 in. 1769-70. \'ashs with Black Glaze and Ribbed Bodies: 1769, tall oinochoe with high handle and slender body; 1770, am- phora with red and white painted wreath on the shoulder. Hs. loi'.i in., 80 in. 1 1, i 107 (1769). 1771. Bowl and (^over in late light ware, with olive wreath and stripes in black glaze. After 300 B. C. H. 31V, in. 1772. Glay Bell with Clapper in coarse late fabric: not (^\priote but comparable with the bells of Painted White Ware 741-2 in Wall-Case 21. H. 2i in. 296 THE COLLECTION OF INSCRIPIIONS FHE COLLHCTION OF INSCF^IPTIONS F1\'E sxstems of writing met in the cities of C\'prus: a linear script derived from the Minoan picture-writing; the cunei- form script of Babxlonia, represented b\' Sargon's monu- ment at Kition, and by a few inscribed cylinders; the Phoe- nician alphabet; the Greek alphabet and its later Roman derivative; and a sxilabic script peculiar to (^\prus itse!f The Cypriote examples of Minoan script are \er\' rare, and are unrepresented in this Ojllection. In spite or general conformitv with the better known \arieties in Oete, the\' show a rather marked difference (jf st\le, the strokes being neither traced with a point as in Oetan script, nor \"et simply impressed, as in cuneiform writing, but rather gashed or incised as if with a knife or other sharp-edged instrument. Ihe same incisixe handling is seen in the single characters inscribed on \ases of W'heelmade Rl\\ Ware, ^~J ^7(), in W'all-C^ase ii. Some of these signs are identical in form with characters in the (^\priote s\llabar\'. but the \ases themselxes are not certainh' of C>\prioIe make. The signs on these \ases were cut in the soft clay before firing; but the (l\priote- kjoking characters on the C^_\pro-.\I\cenaean \ases, .4^ in \\'all-(",ase 12, and 4^S in b lo(jr-( lase 111, are incited afterwards in the hard surface of the linished \ase. lor these incised signs in detail, see the Appendix, Xos. ^ys If., 4^4. .4 vS. The Phoenician inscriptions in the (lollectiiMi are for the most part of the lapidar\' lornis. mature and conijile!el\ siniplilieil, which are characteristic of the fourth centur\ ; Init sor.n'of the short ones painted on \ast-s of earlier sl\les show more )iriniili\e forms which connect these letters with characters in ihr Alinojn s\>tcni. I b.ese support the \ iev\ , nov\ wideb lukl. that the bhotMiician al(ihabet has been selected ami siieLiali/ed Iro.n ;i more uipious s\stem o| characters, to suit Semitic specih, with its j^reat range of tonso- 2()() THE COLl.liC.TION OF INSCRIPTIONS nants, and ils peculiar s\stcni of vocalic inflection, which made it almost necessar\' to omit the \o\\els in writing, if the genera! drift of a sentence was to he apprehended at sight. The Greek inscriptions in the Collection are also all of late date, and show few local peculiarities. The Greek alphabet indeed clearl\' took shape quite to the west of C\prus, and without assis- tance from the C\priote Greeks. It is probabl\' another descen- dant of the Minoan, closel\' allied to the Phoenician, but specialized to suit Indo-European speech, with its simpler consonantal scheme and vowels all-important both in stem and in inflection. The C\'priote s\llabar\' needs fuller description. It consists of nearl\' si.\t\- characters, each representing not simpl\- a consonant, but a s\ilable, like ka. te, pi, lo, and so forth: in addition, there are separate signs for the fi\e principal \owels, for \a and \e, and for the doublx'-consonantal xc. But as a complete s\llabar\- represent- ing all vocalic \alues of all consonants (ba, pa, fa; be, pe, fe; and so on) would have been incon\'enientl\- large, a perilous economy- made shift with the same sign for ta, da, and tha, for pa, ba, and pha, and for ka, ga, and kha, and similarl\' for other \ocalic \alues of these groups of consonants: Aphrodite, for example, was written a. po. ro. ti. te, and Paphia pa. pi. a. Double consonants, and final consonants, which are numerous in Greek, had to be represented b\' two or more s\llables; the name Stasikrates, for example, b\' sa. ta. si. ka. ra. te. se and the Greek hasih'us. "king," b\' pa. si. le. \e. o. se. When it is added that se\eral of the commoner signs closel\- resemble one another; that the forms varied from cit>' to cit\'; that the (Cypriote dialect had ils own marked peculiarities of structure and pronunciation; that the inscriptions, though usualh' v\ritten from right to left, are sometimes from left to right, and sometimes alternatelx'; and that the stone cutters were often careless and sometimes almost illiterate, the difficulties of decipherment are seen to be great, and the large proportion of uncertain readings is explained, if not excused. But not all inscriptions in the (~\priote characters are capable of being read in (^.reek; and this is not solel\' due to careless cutting or spelling, ^'el in no case do the non-Cireek inscriptions seem to contain Semitic words. .X \cr\' few, on the other hand, have already been shown, with much probabilit\', to contain forms and phrases which suggest that a third language was in use in C\'prus in historic times. If this is so, it would be natural to suppose that it would be the pre-Hellenic and pre-Phoenician speech of the 300 IHH COLLHCTION OF INSCRI P IIONS aborigines, and that it might be related to the ancient languages of the Asiatic mainland north and west of Semitic-spieaking S\ria. All the Cypriote characters are linear, composed of from two to six or more strokes, straight or slightly curved. Fhey are clearly simplified from pictorial symbols; though it is seldom ob- \-ious what the\- represented originally. .-X few resemble Greek or Phoenician letters in form, and some in sound also. .A few others recall Minoan signs, and some have been compared with cuneiform groups and with Hittitc hieroglyphs. Some of these signs are found on objects of early date, like the Late Bronze Age vases 375 fT. 434, 438 already noted; one short inscription, on the engra\ed c\'linder 431 i, shows unusual and clcarh' immature varieties; and a few more, on \ases of the seventh and six centuries, like 481 in Wall-Case 13 and the alabaster \ase 1659 in Wall-Case 74, show the s\Ilabary alread\- full\- de\eloped. But most cf the inscrip- tions, in this Collection as elsewhere, belong to the fifth and fourth centuries: a few ma\' be even later than this, to judge from the style of the objects on which the\' are cut. But the use of the Creek alphabet spread rapidly after the annexation of (]\prus to Fg'-pt, and seems to ha\'e superseded the s\llabar\' except perhaps for sacred uses at a few great sanctuaries. The raritx' of inscriptions in the (^,\ priote s\ilabar\' in the earlier periods, and their sudden frequenc\' later, is not easy to explain. The nearest analog\' is offered by the l.\dian script, which becomes common in the same wa\' about the end of the fifth centurw Two circumstances, however, ma>' be noted. Our e\iclence, apart from a few vases, coins, and gems, is confined to inscriptions on stone; but the forms of both the C\-priote and the l.\dian characters suggest that the\- were de\eloped among car\ers on wood; and the date at which both scripts wi're first conimonlx' transferred to stone coincides with a marked reaction against Creek aggression in man\- Persian pro\-inces. It is therefore not unlikelv that local ambition ma\- ha\H' adopted now, for public monLunenls, a ^\ iiibol of nationalism hitherto mainl\- usrtl for jirixalr and ejihcnu'ral records. phoi;nician i.x.scKiprioxs .Most of these seem to be (k'rix'ed from a single ^'\\c. a small sanc- tuarv of the Phoenician (ieit\- I- shnnin-AUT|art h which occupies the low hill called P>alsalos among llu- salt lagoons southeast of ancient Kition. Subsrcjiicnl cxiaxation on this site in iS().| rc- VL'akil the foumlalions ol a small IniiKling, probablx the shriiic 301 Wall nil- (Ol. lie I ION Ol INSCRlI'l IONS of till' i^oil, slandiiit; in a walled L(iLirl\ard, and \ielded another fragnient of an inscrihed howl like !S47-()(), now in the Ashmolean .Museuin at Oxiord. a terraeotta horse in snowman-technique, a fragnientar\- moulded figure in Hellenistic st\le, and some pieces of Attic red-tigured potter\ , now in the Cxprus Museum (C.M.C^. ss()o- , such as were commonl)' used for storing wine and oil, and are often found in tombs. The forms vary, and ma\' be dated approximate!}'. 1826, of the seventh or sixth centur\', is inscribed "Al\- L,ord." The bell-cover preserved with it probabi)' does not belong to it. H. I ft. 1O4 in. C\prus, ix, 7. Ill, cxxiii, 26. 1827, of the sixth or fifth centurx', inscribed "The Lord of Weight gave : he heard me." H. 1 ft. lof in. (^\prus, X, 8. 11, 1049; 111, cxxiii, 25. 1828, of the fourth centur\', inscribed "M\- Lord; m\- olixe." ... ,, ... Wall H. 2 ft. 3 in. Cyprus, xii, 29. Ill, cxxiii, 27. Case The two inscribed jars which follow are no longer recognizable with certainty 1829, of the fourth centur\', inscribed "100" as on 1825. Ill, cxxiii, 28. 1830, fragmentar\' with a long inscription, text quite illegible. Ill, cxxiii (text). For other objects with Phoenician inscriptions, see 479, 480 (Wall- Case 13), 775 ((Centre-Case VIII), and the comments thereon in the Appendix. CYPRIOTE INSCRll'TIONS For convenience of reference, these inscriptions are here arranged in the geographical order in which lhe\- stand in Deecke's account of them in Ojllitz, Sammlunti der Griccbiscbcu nialckt-I >iichrijte)i 1 (Gottingen, i'S^!4). The large series, ascribed to the site at Golgoi, however, has been reserwd till last, and rearranged so as to bring objects of similar purpose or st\le into relation with one another. It must be rememhereil, howe\fr, that the evidence tor the place of disco\er\- is of the same iiu;ilil\- for inscriptions as for all other classes of obji'Cts in tin' Collection, except where the localitv is clearl\- indicaU'd in the inscription itself. The full text of ever\- inscription, so far ;is it can be deciphered, is gi\en in the .Appendix; but onl\ those are described in detail here which are either t r;inslat;ible with certaintx, or otherwise note- 3<'i 1H1-: coLi.ix.rioN oi inscrii'iions \\i)rtli\ b\' reason of their material or st\Ic. In the absence of other iiuheation all nia\ he assumed lo be of limestone; and unless otherwise deseribed, to be on plain rectangular blocks devoid of ornament, probabK' the bases of statues, or other votive offerings. INSC.KIPI IONS 1-R(JM KH'i'TKOI W.lll 1831-42. StoM- BoXt-.S Dl-DICATHD lO THH LaDY OF PaI'HOS, <--'i^'-' of the same form as i662-() in the C^ollecti(;n of Stone Objects. " These are fragmentar\': some of them have been exposed to fire; the\' ma\' ha\e been used as incense-burners. i(S5i is nearh' perfect, and has a complete inscription in three lines, as follows: — "1 am (the gift) of Prototimos, the priest of the Paphian; and he offered me to the Paphian Aphrodite." H. 3 in. L. 6| in III, cxxiv, i. \H>,2 is fragmentarx' and the inscription is broken, but the sense can be restored, as follows: "1 belong to the Paphian; and Onasithemis dedicated me." H. 3 in. Ill, cxxiv, 4. i(S33, also fragmentary, is clearl\' the gift of the same person as 1832; though onl\' two sxilables of his name are preserved. L. 3^ in. Ill, cxxiv, 8. 1834-42 preser\e onlv fragments of the same formula: "I belong to the Paphian." 1837, 1842 are not on stone, but on broken vessels of clav. Ill, cxxiv, 2-3, 5-7, 9-1 1; cxxv, i. INSCRIl'lKJNS FROM KOLKLIA (OLU l\-\l^HOs) 1843. StATUHITH DFDICAThU TO THF GoD WITH TwO RlOHT Hands. The inscription on the upper side of the limestone base (on which onI\' the feet of the figure remain) is in three lines: "Hekotos set (me) up to the Cjod of the Two Right Hands, in good fortune." The title of the deil\' is unusual. Probabh' it is suggested b\' soine well-known statue of the t\pe discussed in relation to 1092-1100 in which the two common wax's of representing a Sun- or Thunder-God, as archer or as club-man, were combined in the same figure, and gave the impression of a deit\' who fought for his worshippers with both hands and both weapons at fjnce. The name of the dedicator also is unusual; it ma\' be intended for Hekatos. L. 8.', in. W. 7 in. Gyprus, p. 207. HI, cxxv, 4. 1844. Stait 1-. Ra^i. with a large socket in the middle. 'The inscription is on the upper side in three lines, "Gillikas the 304 INSCRIPTIONS FROM KOUKLIA son of Timodoros consecrated. . . ." The formula is Wall incomplete, and the end uncertain. The names Gillikas and ^^^ . .... 2 Timodoros are found in other C\-priote inscriptions. L. 8| in. W. 10 in. Ill, cxxv, 6. INSCRIPTIONS FROM THE NEIGHBOURHOOD OF KURION 1845. Statuette dedicated to the God of the Wine-Press, in the same style and dress as 1358 in Centre-Case B. The inscrip- tion is on the front of the base and is incomplete. Said to be from the sanctuary of .Apollo H\iates; but the epithet "Lenaios" is given elsewhere (at Athens, for example) to the wine-god Dionvsos, and its occurrence here, on a figure said to be from a sanctuar\- of Apollo, raises doubt as to the accuracy of the record. H. i ft. 4I in. 1, Ixxxv, 564; 111, cxxvii, 5. 1846. Male Votary in the same Oriental dress as 123 1, 1350 in the Collection of Sculpture, and 220)9-2301 in that of ']\^rra- cottas; but on the smaller scale of this figure, the details are not so clear. The inscription is cut on the front of the base, below the feet of the figure, and seems to have lost the first and last of its characters. It is therefore not to be read with certaint\'; but it appears to contain two personal names: Meister suggests "Philippa, wife (or daughter) of Diandros"; the votary, however, is certainly male. Said to be from the sanctuary of Apollo Hviates. H. 13I in. I, Ixxxv, 562; 111, cxxvii, 6. 1847-9. Temfle-Boys like 1204-22 in the Collection of Sculpture. The inscription runs round the shallow base on which the crouch- ing figure is placed, and is much worn in every case; but on 1847 the formula "dedicated this to Apollo" is legible, and on 1848 the phrase "this to Apollo the God, " in a long sentence, the rest of which is not intelligible: on 1849 onl\- a single character remains. The style of the three figures varies in detail. The draperv of 1847 has fine cross-tooling, to render the "crinkled" texture which is found on man\' statuettes of the fifth and fourth centuries B. (>. The head of 1848 is separate and does not belong to the bodv for certain. The draper\- of 1848 is rendered in shallow wav\- folds, cut with a knife; while i84() has onlv' a few stiff parallel groo\'es. Both are certainl\- later than 1847, and may be Hellenistic or even later so far as their st\le 305 nil- (■,()1.li-:(:ti()n oi- inscriptions is Loncornoil: Inil ihc lu\ul of 1S4S iiia\ he as oarl\- as the fourth centurw All three ti.uiircs arc said lo ha\e been found at the sanctuar>' of Apollo Ihlates, like others of the same t\pe in the Collec- tion. But the same t\pe occurs also at Voni, Kh\troi, Tamas- sos. anil in other sanctuaries; so that the attribution is not conclusive. H. yh in. — 4I in. Ill, cxxvii, 8, 2-4, 7. Wall i8so. SiATri;-B,\st-:, with dedication on the front, in four lines, Cases of which the first and last are much damaged, " Aristo(gonos), son of Onasias, ha\ing made a \ow on behalf of his child, dedicated (me) to Perseutes, in good fortune.' The name of the dedicator is not clear; it ma\' he Aristokhon or Ariston. The name Perseutes seems to be the name of a deity, as in two Greek inscriptions from Kurion (C^\prus, p. 425. Nos. ^0.31). L. I ft. 2I in. \\\ 8| in. Ill,cxxvi, 4. i8tI. Dkdicatiox to .■\poli.o(?) in three incomplete lines, on a fragment of limestone. W. 14', in. Ill, cxxvi, 2. i8s2. Statuh-Bash, with a \er\' rudel\- cut inscription containing the personal name Tisandros. Said to ha\'e been found in the "treasure-chambers" at Kurion. L. 11 in. Ill, cxxvi, 3. INSCRIPTIONS FROM I.ARNACA, P^'LA, AND OTHER LOCALITIES The inscribed objects "from Golgoi" (which follow next in Deecke's list) are described below (18^7). The tile i8s3 is assigned to Kurion b\' Cesnola ((^.\prus, \i, 33) but to Kition (Larnaca) by the .\tlas and the Handbook. The fragmentar\' bowl 1854 from P\ia ma\' perhaps be from Lang"s exca\ation, like 1240 in the (Collection of Sculpture. i8t3. Gla')- Tile, rectangular and slightl\' conca\'e, inscribed with a finger, while the cla\' was soft, with two characters which probahh' representeti the maker's or owner's name. 1.. I ft. --,1 in. W. I2f in. 11, cxlii, 1058; III, cxli, 5. 1854. Part of a Laroe Stone Bowl, like 1380 in Floor-Case G and 1863-4 in the Collection of Inscriptions; said to be from P\ia, like 1240 {]'. The inscription, "Timokretes dedicated to (.\pollo) .Magirios" runs in a single line round the vessel a little below the rim; but there are other signs written obliquel)' to the right and lower down, which ma\' be the far end of the same line returning round the bowl. The name Magirios is known as a title of Apollo from a dedicated altar found b\- 306 INSCRIPTIONS FROM LARNACA Lang at P\la (Schmidt, Idalion, p. 66; Deccke, 120); it is Wall probabh- one of the numerous attempts to explain to Greek "'^""'^ ears the Phoenician title Melqarth; see p. i27aho\e. H. 8 in. Ill, cxxxix, i. 1835. Clay Lamp in the form of one of the \oti\e bowls which are common in Cxpriote sanctuaries (1380 in Floor-C^ase G and 1854 above). Behind the bowl rises a high vertical handle perforated at the top and modelled in the grotesque figure of the Egyptian deity Bes, who stands as if to recei\e drink-offer- ings placed in the bowl. The bowl has been adapted to serve as a lamp by the addition of a nozzle for two wicks, of the same fourth-century type as 2696-2705 in the Collection of Lamps. There is, however, no reason to suppose that the lamp is neces- saril\' as late as this; the figure of Bes looks like Orientalizing work of the sixth centurw The cla\- is reddish, and details are added in black and red paint. On the rim of the bowl is the name of the owner or dedicator, " Philotimos," impressed in the soft cla\', before firing. Said to ha\e been found in the Karpass promontorw H. 9I in. II, 1058; 1 1 l,cxl, 14. 1856. Palette or Whetstone, a rectangular plaque of fine hard reddish sandstone, bevelled on one side, and with two polished groo\es on the other. The inscription runs in several lines along the bexellcd side, but onl\- a few signs are now legible at one corner; the\' \icld no sense as \et. L. 4§ in. \V. 2-] in. 1 1 1, cxxxix, 3. inscriptions from colcoi ni:ar ATHII-A'OU Though most of these inscriptions repeat formulae appropriate to one and the same sanctuar\- of Apollo, others make mention of other deities; and others do not seem at first sight to belong to a sanctuar\- at all; for instance, 18^7 is cerlainlx' a tombstone, and i8c)7 seems to bv the boundar\- stone of a burial place or other plot of land, 1857. ToMPSTONP; OF .Aristokrp.ti s, of which onl\' the long pediment is preserved. In the middle stand two mourning C.i women with upraised hands. ( )n either side a lion taces '• inward, crouching on its fore feet. Then in llie .outer angles at each I'lid stands a \oung man, on a slightlv lower le\el. I'he inscription runs in oih' line along thi' cornice below the lions: the characters are roughl\' cut, but clear excpt where 307 Wall THI-: (Ol.I.liCI ION Ol- INSCRIl'lIDNS Wall tlu'\- haw sulTcreti from exposure. "I am Aristokretes, and Case ,11V brothers set me up in mem()r\- of the good deeds which 1 e\er well did anxwhere." Probabl\' the pediment crowned a niche or portal of the usual form containing a figure of the deceasetl, who spoke thus in his proper person. L. 4 ft. H. I ^\ in. i, Ixxw, '^G]; 111, cxxxvii, 1-5. i8t8. \'oTi\'i-: 1-"()()TST()()L OR Sti;i> of a Thronh, probabl}' part of the same monument as 1373. On the vertical face is a chimaera carved in low relief v.ithin a panel between two rosettes, with details in red paint. The st\le is too rough to permit a precise dating; but the treatment of the chimaera suggests the latter part of the sixth centurw On the smooth upper surface (A' the step is the inscription, cut in ele\'en lines, the first of which is nearest to the edge of the step. Each character occupies a separate compartment of a rectangular framework of crossed lines, roughl\- scratched on the stone; and there are traces of another such diagram adjoining it to the left; probably the remains of an older inscription of the same kind. The onl\- translation hitherto is that of the late Dr. Meister, as follows: — "I, Oilozama, wife of Philles, and his wedded spouse, bare" — the name of the child is illegible — "m\' father and m\' mother are ali\e and well; I card wool; 1 make therewith quickly cloth with all skill; I decorate and embroider sewn leatherwork." If this interpretation, which is not without difficulties, be accepted, the embroideress is placing herself and her art under the protection of the deity. I.. 2 ft. 4', in. B. 1I2 in. (^\prus, p. 130. I, lxxx\-, 560; III, cxxxi\-, 2. 1859. iMiMATLKH Altar with a much damaged cornice above, and two panels carved in low relief. OnI\' the right-hand half of the stone is preser\ed. In the upper panel is a banc]uet- scene like those on the tombstones 1382-5 in the (Collection ol Sculpture; a bearded man in pointed cap reclines on a couch, and seems to grasp the hand of another person with his left. .■\bo\e his head is the inscription in two lines, of which the upper is almost wholl\- broken awax': all that can be read is the name of the dedicator "Antiphamon, son of Oaophas" or Daophantos. In the lower panel a xoung man stands in the middle, turning towards a large dog, which sits tethered to a p(jst. 1 he st\ le of the man in the upper panel resembles that 308 INSCRII'IIONS FROM GOLGOI of the figures in the Banquet-sceni' 1020 and ma\- be of the sixth or late seventh century. H. g^ in. (^\prus, pi. xKiii; 1, xx\ ii, (Sc); 111, cxxviii, 2. 1S60. MiNiATLRE Altar, with the usual hollowed top, and reliefs on the front and on one side. In front two worshippers ad\ance to the right; both are bearded. The first wears a short tunic, and leads a ram b\" its horn; the second, who wears a longer tunic with o\er-cloak, and a pointed cap, holds an upright object \\ hich may be a bough of a tree. Below, on the smooth plinth, is the inscription, in one line of quite clear characters, which ha\e been read from left to right as follows:- ~ " I, Pantilos, bring this into the sanctuarx." In the side-panel is a banquet scene like that on iHso: a bearded man reclines on a couch and holds a smaller figure seated on his knee. Below are a dog and a lamb, ver\' roughl}- cut. H. () in. Ill, cxxxi, ^ (HC)i. Handli- of a L.adlh or Firf.-Shovf;l of limestone, like i6(St)-c)o in \\'all-(]ase 75, ending in a ram's head which looks like fourth-centur\ work. On the side is the dedicatorx' inscrip- tion in worn and faint characters, "Heros (Eros?) dedicated it to Apollo." I.. Q in. HI, cxx\ii, i. Wal! Case 3 -- '^'"^^''Sl ^1 ./^^}' i!S() 1H62. I'ooi Of- A SioNi: (jiisi OR Ikoic,!!, iikc ]()()2~^ in W'all- ("ase 75, but larger, and inlended (to judge from the in- scrijilion) to receive tlrink-otlfrings al a sanctuarw I he inscri|>ti(»n is on the front of t lu- toot til'i'piv cut in thrci- irregular lines, as follows: "Zeus' portion of wine is three measures." H. 5 in. 111. cxxxix, ^. i<'^C)-i-4. Paris 01 .Siom 1)()\\ rs of t he N;ime t \ pe as 1 v'^o in llcor- (!ase (';, compare also iS^^, :mi(J the colossal bowl from the acropolis of ,\m;ithus, now in the l,ou\re. Sucli bowls were rill- (■()I,l.i:( I ION Ol INSCRIPIIONS used l'(ir ritual uasliiuf^s, liki' 1 he "Ia\er" in the eourt of Sdloiiion's I eiiipk'. iS()^ ()nl\ shows the lower part of the side, and a kind of foot on which is car\ed in reh'ef a doljihin, and abo\e it a coiled snake. In front of the snake's head is the inscription, in Ji\e lines, wiiich seem to run from left to right, though the characters face the other wa\. I'he surface is damaged in parts, hut most of the characters are clear; the sense, however, has not been made out. H. i yl in. W. 12 in. C]\prus, p. 144. Doell xi, 7, 775 (1H63). 1, lxxx\-, 361 ; 111, cxxxii, 2. iS()4 is a smaller fragment of a similar howl: the inscription is fragmentary, roughl\' cut, and unintelligible. I,. 7.;; in. Ill, cxxxviii, 3. Wall i'^(^j- looT OK A \'ash, with a narrow stem broken awa\' in the (^ase middle of its upper side. The inscription runs round the '^ upper surface; a mere graffito, imperfect and unintelligible. I). ()l in. Ill, cxxxix, (). 1566. ( jit-;sT OR TKoroti, like 1662-5 in \\'all-(lase ~^. but without ornament, and incompletelx' hollowed out between the feet. The inscription is on the smooth upper member of the front. It records a dedication b\' 1 imos or 1 imo, son or daughter of .Antiphatos, to the Paphian (loddess, and seems intended to be metrical, but presents some difficulties in detail. Though said to ha\e been found at (lolgoi, it resembles the incense- b()xes 1S5, i-42, which are characteristic of the sanctuar\' of the I^aphian (joddess at Khxtroi. H. til in. W. 11', in. I, xx\ii, (S5 ; III, cxxix, i . 1567. I'KAO.MiiNT OF- A (Jti-.si oi^ iRoriiH. like i^. 1 i..\iiM.i.-K i-coRi) apparenth' of pa\ments or contributions hv a number of persons; written in fineh' incised characters on both sides of a thin slab of limestone, in such a wa\' that the top line on one side continues after the last line of the other when the slab is turned o\er. This shows that the slab was not meant to be set up like a \'oti\e tablet or a tombstone, but to bi' stored for reference in the same wa\' as inscribed cla\' tablets ol liabvlonian or Alinoan fashion. It is also note- 3 1" i8()iS. lop iSOS. lUiiloni IHi; COI.IhC 1 ION (^l- INSCRIl'IIONS ^'■■'•1 worlln thai ihr nuiiu'rals in this inscrijition are the same as those on the chix' tablets in the I'ahiee Arehiws of Knossos; namel\ , a \ertieal h'ne for eat.h unit, a horizontal line tor each ten, and a c'irele for a hundred. 1 he unit of reckoning seems to ha\e been the stater, the Greek equixalent of the Phoeni- cian and Jewish shekel, representing rather less than half an ounce of siher. If the interpretation of the last words of the formula is correct, the paxments were for some kind of per- sonal enfranchisement, perhaps of Tcmple-Box's or other ser\ants of the shrine, or slaxes of private persons. H. 4.^ in. W. 7.J in. Ill, cxxxvi, 2,3. The \oti\e reliefs which follow arc all in similar st\le and work- manship, and all but i86q are in the same fine-grained variet\' of limestone. The subiects represented, \arious as the\' are, supple- ment each other, and illustrate all essential aspects of Gxpriotc ritual and worship. 1869. \'oTi\H Relief, showing a seated deit\' holding sceptre and thunderbolt. Though the relief is said to be from Golgoi, the intention is clearh' to represent the Olympian Zeus. Be- fore him to the right stands a male votarx', plax'ing the Ivre, and behind the high-backed throne a smaller \-otar\', probably the son of the dedicator. Over the small figure, in the back- ground, hovers a chariot drawn b\- winged horses; the car is hollowed out as if to form a socket for a separate figure to represent the driver. The stxde, though rough, is not without dignitN', and the free use of red paint suggests that the work is not much later than the fourth centurw On the broad convex base below the group is the inscription in four lines, each containing a hexameter \erse. The reading and inter- pretatif)n present man\' difficulties, but the general sense is as follows: ".\1I haii: "f{at. Lord, and drink. It is a great sa\-ing; never co\et, apart from the immortal gods, all things de- sirable unrestrainedlw For in nowise couldst thou w ithstand God, O man, but the mightx' hand is God's, to direct all things that men ha\e in mind. "All hail!" The phrases of salutation stand outside the verses, and are addressed to the reader; so also is the greater part of the text. 3'^ INSCRIPTIONS FROM GOLGOI Such admonitions are often substituted for pra\er in Cjreek religious formulae, and illustrate the profound Greek sense of the personal responsibility of man for the consequences of his own conduct. The gods are guardians of a principle of right which the\' cannot alter, though it is theirs to vindicate it in an\' wa\' the\' please. H. 122-in. L. i ft. 4 in. CLyprus, pi. xlviii. Doell xi, 3, 764. 1, Ixxxv, 559; 111, cxxx, 3. 1870. \'oTi\t RELibF, on a rectangular slab with two holes for sus- u-. ,, pension at the upper edge. The whole surface is occupied b\- Case an elaborate scene of worship, carved in ver\' low relief. In 5 the upper right-hand corner the deity sits with an altar before him, resting his left hand on a l\re b\- his side, and holding out a libation-bowl in his right to receive a drink-ofTering from his worshippers. Towards him a file of worshippers ad\ance from the left; first a man and his wife with an infant in arms; then a bo\' carr\'ing a wine-jug, and a smaller child; then at a little distance and lower down the hill, two full-grown men. Then following them on a lower level still, and occup\- ing the left-hand bottom corner of the slab, comes a dancing chorus of three \oung men in short tunics, and two women. The\' dance towards the left, but one of the women looks back to return the salute of one of the fi\e bancjueters, who fill the right-hand corner below the deit\ . The\' sit in a semi- circle face to face with a flute-pla\er; and on the ground before them is a large jar of wine, within which an amphora is painted in red, with no relief at all. There are other red details on the clothing and elsewhere, as is usual in this sl\le of work. Rough as it is in execution, the \igour and freedom of the work assign it to a period not much later than the fourth centurw In the midst of the banquet-scene is the inscription, of onh' two characters; its meaning is not clear. H. 12.^ in. W. 1 ft. 6f in. (^\prus, p. 149. l)(jell xi, 5, 7()(). 1, Ixxxv, 5,5; 111, cxxxiii, 2. 1H71. \'()ri\'}- Ri-AAiA-, showing a group of four persons, both men and women with one or more childrt'n in front, staiuling in adoration before a deit\, of larger si/.i', who sits on a throne and holds a sceptre. In front of him is an altar, on which is a round object, representing fruit or a cake. In the back- ground is a spri'acling tree. I he work is jioor ami nuich deca\ed, and tin- st\!f i> I I'llenist ic. I lu' inscription runs in two lines along the lower edge of the slab as lollows: "()iiasi- 313 Wall Case \\a Cas Wall Case 4 riii; coi.i.i-crioN oi- inscripi ions limos doeiicalcd this plcasanl thing lor the sanctuary to the god .Xpolli) lor a xow , in the hoi} [ilacc, in good fortune." 11. 7s in. \\ . II in. Doell .\i, i, "b'-,. 1, l.xx.w, 5 5(S; III, cxxx, I. 1872. \'i)ii\i'. KiLii.i, showing two votaries advancing to the rigiit, with oll'erings in their hands, towards a seated figure, prohabh a deit\, on a throne; in front is a low altar, and below the foremost volarx two lines of inscription, broken at both ends, and illegible. The st\le seems to be of the fourth or third centurw H. 7^ in. I lxxx\ tt7; 111 cxxviii, 4 i(S73. \'()ii\'t: Ki-,Lii.i-, showing in the upper part a deit\' seated facing to the left; before him is an altar. Below is a scene of rescue from peril in c]uarr\ing or mining. .A bearded man in short tunic ad\-ances to seize b\ both hands another man similarh clothed, who stands in front of the vertical face of a large mass o{ rock or earth. Iknween the two men a pickaxe lies on the ground. In the background above the rock is the inscription, in three lines, as follows: — " Diithemis dedicated to the god .Apollo, in good fortune." H. 7I in. L. 12 in. (Cyprus, pi. XLA'III. Doell xi, 2, 7()7. 1, Ixxxv, 556; III, cxxxiii, i . i(S74. X'oiivt: Rhlii^j', of which onl\' the top right-hand corner is pre- ser\ed. It shows a seateii deit\' facing to the left, as on 187^ and in front of him the inscription, in three lines, nearl\' complete, as follows: "Onasioros dedicated to the god Apollo in (good for- tune) !" I.. ()', in. 187,. \'()ii\i Ki-.i,ii-F, fragmentarw showing the upper part of three men who moxe in procession to the left, in fairh' good work of the fourth or third centiirw (her their heads is the inscriinion, in two lines broken at each end and now outlined with paint; th(iugh fairly clear, it has not been translated. II. 7' in. W. 4,' in. Ill, cxx\iii, i. i87(). \'()ii\i Rii.iir, fragmentarw showing part of a boat with two sailors in rough Hellenistic work. .\b(jve, in the back- ^14 "* I 5 'r-i^rf \|/\^i^ ;ir/ /, ' I 1871 iin-: coLLHcnoN oi inscripi ions grouiui, are jiarts of two lines of characters, too ill-arranged and incomiilete for translation. H. 4', in. W. 2I in. Ill, CXXX, 2- Wall '''^77- I'ragmint of a Ri-libf, showing onl\- the hind legs of clasc two running horses. In the background is the inscription ' in two lines, of which only the ends are preserved. H. 6§ in. W. S in. 1 1 1, cxviii, 3. 1878. X'oTivH Rhlief, on a rough block of limestone, showing two altars ver\' rudel\- outlined, almost without relief, and abo\e them the inscription, "Hudamodotes dedicated to the god, in good fortune" in rude and damaged characters. Below is another line, quite unintelligible. L. 12^ in. III,cxxxv,4. iHjc). \'oTi\'B Rhlief, showing a woman standing, and by her side a nude child. The work is coarse, probabi}' of the fourth century, with details in red paint. The inscription is cut on the background of the relief and is too much damaged to be read with certaintw H. 8 in. W. 4 in. Doell xi, 4, 768. 1 1 1, cxxv, 3. 1880. Helmeted Head of a Male Votary, like 1001-3 in the (Collection of Sculpture, and probably of the sixth or seventh centurv. On the pointed cap is the inscription "the vow of Naos," in large characters, carelessly- cut, and evidently no part of the original design. H. 4^ in. Ill, cxxxi, 1,2. 1881-2. Votive Ears, of limestone, like 1682 in Wall-Case 75, but coloured red; probably of the fourth or third century. The inscriptions are cut on the lobe of the ear. 1881 is not eas>' to read, but perhaps gi\es the name of the dedicator. H. 2j in. 1 1, cxlii, 1056, III, cxI, 13. 1882 is inscribed with four characters, which have been read, "I am from the earless man." H. 2| in. 1, cxxix, 933; 11, cxlii, 1055 (wronglx' described as being of cla\') ; IlI.cxI, 15. 1883. Part of a X'otive Stele With Voutes like 1415-20, with a fragmentarv inscription on the broad surface of one of the \olutes. Said to be from Golgoi. H. 4I in. W. 2 in. Ill, cxxvi, I. Wall 1884. Disc of Red Polished Ware like that of the Earl\' Bronze ^-''^^ Age, roughh' trimmed to shape and grooved at the edge; it ma\- ha\e been a loom-weight, or a net-sinker, or other extem- 316 INSCRIPTIONS FROM GOLGOI porized implement; or perhaps a counter from a game. On the red surface is the inscription "Of Phantasies" in unusually archaic characters with the numeral ||||. D. if in. II, cxlii, 1057, 111, cxl, 5. 1885. Disc of Limestone of uncertain use, engraved on one of the flat faces with three circles set in a triangle, perhaps a numeral, and on the edge with one uncertain sign. W. 2| in. 1 1 1, cxxxix, 2. 1886. Marble Base for a Statuette, with an inscription run- ning round three sides, in small characters, partly defaced; only the last words are legible: — "(they) dedicated me to Apollo." H. 1 1 in. W. 2| in. 1 1 1, cxxvii, 9-1 1. 1887. Base of a Statue, life-size, with the first two toes of the left foot preserved. On the front is the inscription, in two lines, broken away at both ends; the parts which remain record the dedication of "this statue", "in the third year", and perhaps part of the name of the deity (Apollo or Aphrodite); the name of the dedicator is quite gone. L. 8^ in. lll,cxxxii, i. 1888. Base of a Statuette, with a deep rectangular socket. The inscription, which runs round the upper margin, seems to be complete, but is not fully intelligible. Someone's maternal grandfather dedicates to a deitv who seems to have the title "Mykhoia:" compare Aphrodite "Mykerodis," in 1907 below. H. 44 in. 1 1 1, cxxv, 5. 1889-96. Siatue-Bases and Wall-Blocks, all roughh' hewn, more or less damaged, and inscribed as follows: — 1889, in two lines "Slasidamos am 1"; the statue speaks for itself. L. 1(^2 in. Ill, cxxxv, i 1890 contains the name Diailhemis. L. 10 in. Ill, cxxxv, 2 1891 contains the name Menodoros. I.. 8 in. Ill, cxxxv, 5 1892, perhaps a proper name. L. ()', in. Ill, cxxxvi, i 1893 dedicated "to the god, Ajiollo." 1.. 5 in. 1 1 1, cxxxviii, 1 1894, a mere graffito, uninlelligihji'. 1.. n :,' in. 1 1 1, cxxxviii, 2 1H95, too roughh- worn lobe read. 1.. 7', in. Ill, cxxxviii, 4 1896, unintelligible, though ai)pareinl>- complele. 1.. 11 in III, cxxxix, 4 317 Wall Case 4 Wall Ceases 4. 5<<> mi: COI.LHCIION OF INSCRIPTIONS ^^■''' INSCKIl'l K)NS IN BOIH C.Yl'RIOTl-: ANDC.REKK CHARACTHRS 4.I.*' Occasionalh- inscriptions are duplicated in (^>priole and in CJreek characters, or are written partl\- in the one, partlv in the other. i8c)7. Landmark or Bol ndar^-Stoni;, a rectangular block of limestone inscribed with (i) the names of Timodoros and Drimokia, who are commemorated also on 1919; together with (2) what seems to be a record of a purchase by Drimokia, and (3) some obscure s\mbols, which ma\ perhaps record the price paid. Four C\ priote signs to the left of the Greek inscription seem to be independent of it. L. 2 ft. 4I in. Cyprus, No. 19. 1 1 1, cxxix, 2. 1898. Bilinolal Inscrii- I kjn on a plain block of limestone; in Greek the one word "of Themias"; and near it three lines of C^xpriote characters which have not been read with cer- taint\-. H. 7.], in. L. i ft. 8 in. Ill, cxxix, } One object must be added here, because it has been formerix' described as bearing an "inscription"; there is, howex'er, little doubt that onl\' an ornament is intended. 1899. Clay Figurh of a Fhmale Votary, in the moulded Oriental st\ le, of the seventh or earl\' sixth centur_\', with high head-dress and long tresses of hair on the shoulders. .At the throat are three incised lines, probablv intended as the pen- dant of a necklace, but forming also the C\priote character for //. It is said to be from Soloi, and resembles cla}' figures from a sanctuarx' in that district, now in the Cxprus .Museum. IF 2.1 in. " llFcxli, Suppl. 2. (,RhhK INSCRIPITONS The Greek Inscriptions in the Collection include three principal classes: (ij public documents, (2) dedicati(jns in sanctuaries, (3J epitaphs. I he first class, which is also commonlx' found in sanctuaries, may conxenientlx' include all those dedications which record the career or titles of an official, or a public benefactor. 1900. Basi. or A SrAruh or .\ksinoe Philadhli^hcjs; in grey ,.^ marble, well worked and neath' cut. It is dedicated b\- 6 ".Aristokles, son of .Xrislokles, of .Alexandria, to .Arsinoe Philadelph(js Naias," sister and consort of Ptolemx' 11 of Fg_\pl, who recei\ed divine honours both separatelx' and with 318 ceases S,6 GRHHK INSCKIl' 1 IONS her bn^lher. The cilv of Marion in C^xprus was refouiuied and renamed in her honour. She died m 271 B. C^.. H. 8 in. L. 2 ft. 2] in. C^vprus, No. 9. Ill, cxlvi, 3. 1901. Bash of a Statuh of Ptolemy Philopator; in soft \N'; Eg\'ptian limestone; dedicated by Teos, son of Horus, warder of the district of Ammonieion in Eg\pt, on behalf of Ptolemx' IV Philopator, and his consort .Arsinoe 111. This kind of vicarious dedication was a common form of compliment in Hellenistic times. Ftolemv IV reigned from 221 to 204 B. C. This inscription does not belong to C\prus, but was bought in Thebes in Upper Egypt before 1886. H. ^'l in. \\'. 8 in. It is not published in the Atlas. ic)02. Statue-Basf: of Limestone, hollowed above for a socket: dedicated by the people of Aleloucha, "in good fortune"; probablx' on the realization of some wish or vow. The block is said to have been found at the modern village of Melousha, which may therefore have retained its ancient name. L. i ft. iiA in. Cyprus, No. 22. Ill, cxiii, 2. iqo^. Decree Regulating Sacrifices and Offerings; on a slab of blue marble, complete to the right edge, but broken to the left, and above and below. It records rules for admission to certain sacrifices (apparentl\' in consideration of some gift from a guild of young men, epbehoi), and provides for the purchase of silver cups for the use of the Goddess. Though the latter is not named, she mav be the Paphian Lad\- of Khxtroi, since the stone is said to have been found at Kvthrea. The date is given approximatelv bv the Roman Imperial formula at the end, and is in the first or second cenlur\' A. D. The name of the Roman Proconsul is partlv broken awa\-, but seems to have been Ouintus Sergius; not therefore the Sergius Paulus who was Proconsul at the time of St. Paul's visit whose first name seems to ha\'e been Lucius. L. 8j in. H. 4 in. C\prus, No. 11. IlLcxlix', 1. i()04. SiA [t:e.-P)ASi:, of grev marble, dedicated bv the " Senate and People of Kurion in honour of Ouintus Oaelius llonoralus, Prefect for the distribution of corn, Praetorian Legale first in Sicilv, then in Pontus and Bilh\-nia, and now Proconsul of Ovprus; through their Curator, Dionvsios, son of Trvphon; on the archonship of Krates." The list of ollices held b\ the governor is a good example of a "senatorial" career under the 3i<) im- (OLl.llCI ION Ol- INSCRIPTIONS caiiior emperors. Ihe record of the local magistrates who were charged with the execution of the decree gives a glimpse of the dail\- administration of a C\-priote cit\' under these late conditions, and would ser\'e to date the monument, if we had the full list of them. L. 2 ft. 5^ in. H. 13 in. (~\prus, No. 53. HI, cxliii, 3. Wall i<)<>5- Statli;-Bash of white marble, in honour of an athlete, Lase who won distinction for himself and his city in the ordinar}' ' "five-fold" competitions (leaping, running, wrestling, throw- ing the spear and the disc), and also in races for chariots, and for men in full armour. The names of the athlete and of his cit}' are unfortunatelx' missing. The lettering is unusuall}' late and of almost B\zantine style. H. i ft. 2! in W. 12 in.; broken at top and at left side. C\prus, No. 44. Ill, cxlviii, 2. ic)o6. E^LOCK OF Bluh Marblh, broken, with part of an inscrip- tion commemorating the services of a citizen, whose name is broken awa\'. H. 8-^ in. \V. 7 in. Cx'prus, No. 46. Ill, cxlix, I. Dedicatorx' inscriptions are usuallv placed either on the voti\e object itself or on its pedestal, as in the preceding group. The formula \aries but little, and generalh' consists onl\- of the names of the deit\- and the dedicator, and sometimes of the person or occasion for which the dedication was made. 1907. DhDiCArioN TO .Ai'hrodhh Mykhrodis on a block of white marble, probabh' from a statue-base. Onasagoras dedicates on behalf of the wife of Nikias and his daughter; the\' are "of the village Helikousa," the position of which is unknown. The epithet " .M\ker()dis," which should mean the " Lad\()f the .Almond-tree" is ncjt \er\' clear on the stone, and is not otherwise known, but compare the Aphrodite ".Mukhoia" on 1888. The lettering is vcr\' careless, and not earl\'. L. 2 ft. 2 in. (^\prus. No. 23. Ill, cxlii, 3. Wall K)o8. DbDiCATioN TO .\i'OLLO H'lLATES ou a large store-vase of coarse red potterx' of late GraecoRoman fabric; incised in large letters on the shoulder while the clay was still wet. I'imon dedicates "in fulfilment of a \'0W, to Apollo of the Wood- land and of \\'ealth( ?). " This Apollo of the Woodland ( H>Tates) had a sanctuar\' near Kurion, and the \ase (like 1845-9) is said to ha\e been found there. II, cxliii, 1063; 111, cl, Suppl. I. 320 Case 8 GREEK INSCRIPTIONS 1909. Dedication to Apollo Lakbltls on a block of lime- ^^ ^1' stone, probabl}- the base of an offering. Aristous, the chief ^''^'^ soothsa\-er, gi\'es thanks to the god on behalf of Kleon his son "in good fortune." The epithet is not otherwise known, and its meaning is not clear; it may be derived from some locality. The stone (like 1240 tf., 1834) 'S said to come from P\'la, where a sanctuar\- of .Xpollo was excavated by Mr. Lang. L. 1 1 2- in. Cx'prus, No. 12. Ill, cxlii, 4. igio-ii. Dedications to .Artemis Paralia. 1910, on a bracket of red-and-white marble, which retains the leaden fastening for a statuette, was offered b\' 01\mpianos to ".Artemis b\- the Sea" on behalf of his daughter's child, Beriane; on 191 1, a small pedestal of limestone, the dedicator's name has perish- ed. Both stones are said to be from Larnaca, where there is a famous sanctuar\' of .Artemis Paralia, close outside ancient Kition. Modern Larnaca still observes a midsummer festi\'al of the "Virgin-bv-l he-Sea," at which worshippers from far and near, and especiall\- the women and girls, bathe themselves in the sea before the town. H. 24 in. (i9io);4s in. (191 i). C\prus, No. 37 (1910). Ill, cxlvi, 4 (1910); cl, Suppl. II (191 0. 1912. Dedication to Oi'aon .Melanthios on a small pedestal of red marble with the leaden fastening for a statuette still in place; dedicated "to Opaon .Melanthios b\- Katagraphos, in performance of his vow on behalf of his son Katagraphos," and dated "in the sixth \ear." (Jpaon .Melanthios is the name of a rustic deit\' whose onl\' known sanctuary is near the \"il- lage of .-\margetti in the district of Paphos: and as this in- scription is said to ha\'e been acquired at Old Paphos, it probabl\' belongs to this site. The small figure K)! ^ is t\"pical of the sculpture in this sanctuarw Other inscriptions from Amargetti are published in j. 11. S. xi. p. 171. fT. and il. \\. O. 5921-24. H. 34 in. W. 5IJ in. (Ixjirus, No. 3. Ill, cxlvi, 2. 1915. Statl'eti E. or A .\L-\i.E. \'()i AKV, in rough limestone, wearing Wall a short tunic, and holding an obscure object, perhaps ;i bird, '--''"''^ in his two hands. I he head is missing. The st\le is (|uite barbaric, the bod\' and limbs being niereh' sc|uared out in low relief. On the front of the tunic is the \<)ti\f inscri[il ion "Nikcindros, on behjlf of his son riin;igor;is." figures of simihir rude sl\le are ch;ir;icterist ic of the s;iiKtu;ir\ ol ( ))i;ion .Melanthios u[ .Amargetti: compare C. \\. O. 51)01 N; ;ind as 3^' Wall 9 THH (.OI.l.HCTION OF INSCRIPIIONS W'M this one is said to ha\c been acquired at New Paphos, it '^^'^ pfohabh- beloiiiis to the same series. H. 8' in. Cvprus, No. (S. ^ III, cxlvi, 3. IQI4-IS- DtDiCAi IONS TO Zi£US LABRAMOs.on Small statue-bases of hmcstone which show the teet of the figure and also another t)bject partl\' brt)ken awa\', on the front right-hand corner. Thex- are dedicated in fulfilment of a vow, 1914 b\- Oliasos, i()It b\- Demetris. The}' are said to be from the ruins of a temple near Fasuli. L. i ft. 9-2 in., i ft. iij in. Ill, cxliii, 2 (1914) ; i (191 5). This Zeus Labranios is commonlN' compared with the Zeus who was worshipped at Labranda in Caria under the title of " "tratios" or Lord of Hosts; his attribute was the double-axe, of which the C.arian name was "labrxs." This double-axe as a religious s\mbol is found ver\' wideh' distributed in the Minoan world and its colonies from Sicih' to Cxprus; and the legend of the Oetan "Labxrinth" probablx' prescr\'es the memor\- of the "place of the double-axe" in the Palace of Knossos. If, as seems likely, Zeus I.abranios in (l\prus is the same deit\', his worship ma\' be regarded as a relic of the .Minoan colonization of the island. It is noteworth\-, howexer. that the name of Oliasos, the dedicator of i()i4, seems to be of Carian form. i()i(x .MoNornHisTic Pra-ii-r to THh Sln, on a block of limestone, in illiterate (jreek, and late dotted letters. It runs as follows: — "One (j()d, the (jreatest, the .Most Odorious Name, help us all, we beseech 1 hee." Below are rudeh' carxed two palm- branches, and betxxeen them txxo wreaths, xxithin one of which the xxord "Helios" the Sun is inscribed; the other xxreath is defaced. I'or another monotheistic in\'ocation compare the engraxed stone 4298. H. lo^ in. W. 12 in. Cx prus, No. 20. Ill, cxliv, 2- 191 7. I^RAGMi^NTARY INSCRIPTION on a slab of limestone, con- taining parts of three proper names, but no clear sense. H. 7 in. 1 1 1, cl, Suppl. 5. Before the fifth cenlurx', sepulchral inscriptions are \erx- rare in (^xprus. hxen of the fifth centurx' onlx- a few are knoxxn, and of these some are the memori.ils of strangers from other parts of the Oreek xx'orld, like ihe epilajdis of a Naxian and a I lalicarnassian, from Amathus. nox\- in the British .Museum. From the fourth centur_\- NE. shaped like a statue-basi'. and in- scribed with the name of .Sosianax. II. 1 1 in. W. 1 ft. 4 in. 1 1 1. cl, Suppl. (). The commonest formula, howexer, is the briel addri'^s lo the deceased "(jood Apollonia. farewell"; with or wilhout ihe name of the father or husband. This form begins in late Hellenistic time, and persists till the adoptidii of ( '.hrisi lanit \ . Sometimes other Wfjrds are aiidetl. of alfeclion or encouragement, such as "Courage, h.uchianos, no oni' is immortal'; or a jiersonal touch is added h\- an interjection or the descrijnion of Artemuioros .... as "the hunter." Ihe pedimenled strle is still commonK used. 525 IHl- COLI.lXrnON of INSCRII'TIONS Wall H)22. Tombs ION I- or Dhau-.iku s, son of Barenis; of wliile marble, t.asos ^^.jj[^ pediment abo\e, and the figures of a man and a child, 1112 in low relief, within a round-topped recess. The lettering is of rather more careful work and earlier st\le than is usual in tombstones with this late formula. H. 3 ft. I in. W. I ft. 3 in. I, cxxvi, 917; 111, cl, Suppl. ic). 1923. ToMBSTONt-; OF .Athenos, son of Archiereos, of limestone, with plain gable top, and the customar\' formula. Both names are unusuall)' corrupted. H. i ft. 7 in. W. 122 in. 1, cxlviii, I i()7; 111, cxlvii, 3. Other inscriptions are placed on a stone pedestal intended to hold a statue or other sculptured monument; or on a small tablet of harder stone, to be set in a panel of such a monument. ^Vall 1924. .MoNL'.MENT OF DiD^MA, wife (or daughter) of Athenaios Cases \y\ih the usual formula; a limestone pedestal hollowed above 14, 13 ... to receixe a statue or stele. H. 5 in. W. 1372 in. 1925. Tabi.ht f)F Bacchis, a (^.ook, on a small slab of white marble, intended to be inlaid in a larger slab or stele; the upper part has been cut awaw and the first of the extant lines is damaged, but the sense is clear; "To . . . dear, in arts of cooker\' e\'er found etficicnt, the honoured Bacchis this plot of ground now holds in death." The letters are late and rough, and the metre festixc and unusual. H. 41 in. W. 4I in. Cyprus, No. 45. Ill, cxlv, i. 1926. Tablht OF Sala.mima, wife or daughter of Kotho Euios, on a slab of white marble, with the usual formula. H. 6 in. \V. 8 in. C\prus, No. 14. Ill, cxivii, i. 1927. Bilingual Tablet of Julia Donata, a block of limestone, inscribed both in Greek and in Latin to the memor\' of a freed-woman of Olx-mpos. H. i ft. 4 in. L. i ft. 3 in. Cxprus, No. 41. Ill, cxlix, 2. 1928. Frao.ment of the Tablet of Laoda.meia. of limestone, inscribed with four elegiac couplets, much damaged, in which the deceased is addressed hv her husband Herodes in terms of a1Tectic)n. H. () in. W. 9', in. C\prus, No. 34. III,cxl\-, 2. H)2(). FABLi/r oi- Soi'ATROs, white marble, with an elegiac couplet like the preceding, "F.ven if th\' fated end has brought thee beneath the lap of earth, honoured Sopatros, farewell in death e\en among the tlead." H. y\ in. W . 15 in. (]\prus, No. gq. II I, cxh iii, I. 3-24 GREEK INSCRIPTIONS But by far the commonest monument is a short columnar "cippus" of limestone, with turned capital and base, and sometimes fash- ioned on a lathe, and occasionally decorated with a wreath of rosettes and pine-cones round the shaft, or a portrait-head in an oval panel worked on its front. The inscription is cut on the side of the shaft: usually it is of the briefest form; but occasionally it is longer, and metrical. 1930. CipPLS OF A Woman of whose name onl\' the termination is preserved, in a metrical inscription of five elegiac couplets, too ill-preserved to restore in full; but the deceased seems to address her parents and surviving relatives. H. 14', in. W. 154 in. C\prus, No. 40. Ill, cxlv, ]. 193 1. Cippus of Artemidoros, with an elegiac couplet "Blessed Wall Artemidoros, who has ever lived an honoured life, farewell Cases even among the dead by reason of th\' goodness." H. 242 ,2 ,> in. W. 142 in. Cyprus, No. 39. Ill, cl, Suppl. 16. 1952-67. Sepulchral Cippi, of limestone, inscribed with the name of the deceased, and the customary formula of farewell. The full list of names is given in the Appendix. C\prus, No. 100 (1939J. (^.olonna-Ceccaldi, Monuments de Cyprc, PI. xi (1946, 195 1 ). 1,1 1 49- 1 1H3. i96(S. Fragment of a Cippus, with the customarv formula of Waii farewell. 1 1 1, cl, Suppl. 3S. Cases 1969. Sepulchral Tablet of White Marble, with the same formula as the cippi 1932 ff. Ill, cl, Suppl. 17. 1970. Slab of White .Marble which has been re-cut, for use in a pavement, and is much worn; but still shows a few letters of an inscripti(jn running diagonall\' across its present face. W. 42 in. — 5 in. Ill, cl. Suppl. 3. 1971. Block of Limestone, inscribed with large letters, of which the meaning is not clear. H. 2 ft. 3 in. W. i i in. Ill, cl, Suppl. 7. ;972-S3. Rhodian Amphorai and Other Si()Ri--J ars, im- pressed with stamps so thai the letters and devict'S are in relief; except 1978-S0, which are dejiressed. lll.cl, 1-7.9. i()S4. \\\s\: OF A Statuf/iii- 01 liRKACoiiA, inciscd, before firing, with the name 1 1 AO j'/o;, i)r()babl\' that of the maker. Said to be from Kilion, and i-L'rtainl\- in t he characleristic terracotta-fabric of that cit\-. Ill, cl, S. 323 W all ('..ISO 1 >, WW: COLLHCTION OF INSCRIPTIONS i()8s- A.Mi'HoKA of late Ciracco-Koman form, with ribbed body and swollen neck, inscribed in red paint with vague scrawls, perhaps monograms, and the word -rrpovoia "forethought." H. 2 ft. i^ in. Ill, cxlv, 1078-9. 326 \H\L COI.LIX:! ION OF 1 i:rracoi lA FIGLRi:S THE COLLECTION OF TERRACOTTA FIGURES PROCESSES OF MANUFACTURE FROM the earliest stages of the potter's art, clay has been used for terracotta figures, as well as for \-ases. In priniiti\e times, and in the unskilled work at all periods, the clay is modelled with the fingers or with only the simplest tools; but in the period of Oriental infiuences hollow moulds came into use, into which the soft clay was pressed till it took the precise shape of the cavity. These moulds were themselves made of baked clay, and received the impress of an original pattern figure carefully modelled by hand. With such a mould it is possible to produce a whole edition of identical copies, with very little labour: and this explains the great popularity', and e\ident cheapness, of moulded terracottas in all subsequent periods. In C\'prus, howe\er, the old modelled technique survived locally until the Hellenistic Age. Another time-saving device was to use the potter's wheel to fashion a firm core, tubular or trumpet-shaped, on which the figure could be built up by adding head, limbs, and clothing, either hand- modelled or pressed in moulds. Sometimes all three processes are illustrated in the same figure: 2031-7, 2174, for example, have a wheelmade b()d\', modelled arms, and a moulded head; in 2173-9 rnodelled details are superimposed on a moulded surface; and, in the same way, male figures are sometimes made h\ adding beards and helmets to moulded female heads. C)ccasionall\', inu'sed lines, or stamps with engraved patterns are used, to render ihe texture of hair and other rough surfaces (1455, H^S, i4()(), 147?, 2070, 2136, 2137). Like the vases, terracotta figures are commonlv enriclunl with painted details, executetl in the same colours and sl\ies as are used for the vases (pp. 2^, (>().). l'suall\- these colours are iijiplied direct!)' to the clav; but from the fourlli centur\' onwartis a richer 320 THK C.OLLlXyTION OF THRRACOTTA FlGLRl-S efToL't is obtainoJ hv covcrlns, the whole surface of the figure with a thick coat of hard limewash, which sets with a smooth surface, aiui is a far better recipient for fine painting. USES OF TERRACOTTA FIGURES As Tomb Equipment, it was customar\' in Cyprus at all periods not onh' to pro\ide objects of dail\' use which the deceased might expect to find at hand in the "other world," but also repre- sentations of them in other materials, it is, therefore, common to find in tombs, from the Bronz^e .Age onward, models of furniture, domestic animals, chariots, and carts; of human attendants engaged in \arious occupations, such as corn-grinding and baking, militarx' exercises and religious ceremonies; and of guardian deities or their shrines and sacred objects. For this purpose, terracotta copies offered a cheap and read\- substitute, on a small scale, for objects which were of intrinsic \alue, and such copies, in spite of the diflerence of material and their actual uselessness, were held to guarantee the form and ulilit\' of the objects the\' represented. They correspond, on a humble scale, with the stately tomb-paintings of Eg\'pt, and the lifelike models of boats, granaries, and households, in painted wood, which are found in Egyptian tombs of the XII D\-nast\'. Though there is no precise record of their discover}', the terracottas in the Cesnola Collection are with few exceptions of types which are known to occur in Cypriote tombs. As X'otive Offerings terracotta figures offered the same advan- tages of cheapness, permanence, and miniature scale; and in addition, the ease with which elaborate groups could be modelled and built up in a plastic material, ga\'e cla\' a clear ach'antage over stone. I'he purpose of \'oti\'e offerings and the principal forms which the\' assume ha\e been sutricient]\- described in dealing with \oli\e sculpture (p. !2i>). Good examples of \'()ti\e terracottas in this Collection are the ring-dances 2iiS-q, which consist of se\'eral human figures dancing with hands j(jined around a musician or a sacred tree; the masks 2133-7 perforated for suspension on the sacred tree itself; and the cheap figures 202s ff. with uniforml\- wheelmade bodies, hut with moulded head, and arms modelled to hold \arious offerings, or engaged in characteristic acts — fighting, nursing, making music. The latter class is found in thousands on some of the smaller sanctuaries; notabl\- on the Kamelarga site in ancient Kition, from which C(.)me probabh' 2031-7. As a Slbsmiute for Stone in architecture, tor cornices and end- 330 USES OF TERRACOTTA FIGURES tiles (akroteria), clay never found the extensive use in Cyprus that it did in Sicily and other parts of the West; less on account of the fragilit}' and grittiness of the clavs, than because formal architecture of an\' kind was uncommon in C]\'priote sanctuaries. Clay was, however, employed occasionally, in place of stone, for figures of very large size, as well as for the smaller votive figures. The colossal male figure from Tamassos, in the C\prus .Museum, is still unique in point of size; but the "Toumba" site at Salamis has yielded a number of heads and other parts of statues, of life size and less, vigorously and carefully modelled in the Oriental and Archaic Cypriote styles, and enriched with elaborate painting. The best of these are in the British Museum, and in the Museums of Oxford and Cambridge: in style and fabric they are difficult to distinguish from the fine heads 1452-7. These large figures were made hollow and built up by hand, with occasional use of a few simple tools and engraved punches to render eyebrows and hair. They appear to be of the se\'enth centur\' B. C. Another local fashion, prcxalent in Hellenistic times at Marion and Kurion, in the west of the island, gave rise to a real school of funerary portrait- modelling. The deceased person was represented seated or recum- bent, on a fairly large scale, with great elaboration of hair, wreath, and drapery, and with some approach to individual likeness. The largest of these figures are quite half-life-size. In Floor-Case X this type is most nearly represented by 1465-7. THE SEQUENCE OF STYLES In general, as we should expect, the style of terracotta figures conforms to that of the contemporary sculpture. This has been alread\- discussed on p. i 32 tl. for all periods when stone figures were made; that is to sa\', from the beginning of the se\'enth century (jnwards. Before this date, there is onl\' the evidence of other "representatne" arts, such as vase-painting, jewelry, and gem- engraving, to confirm the conclusions drawn from the date of the terracottas themseh'es, where this can be ascertained. Here, as usual, the evidence of tomb groups is all-import.'nt; and fortunatel\', as has been noted already, terracotta figures are to be found in tombs of all periods. The childish clumsiness of the early hand- made figures, in all periods of the Brcjnze Age, confesses the diffi- cult\' of day modelling in untraiiirtl hands, but seldom wholl\- conceals the artist's meaning. Still less does the "snow-man" technique which follows in the l-'.arly Iron Age disguise the keen '.51 IHE COI.I.llC't ION OI- ri-RRACOTIA MGURHS ohsor\ati()n and "quaint humour of tlicse \illage craftsmen: the closest parallel is otTereci b\- the \igorous linear s\nibolism of the more rucieh' engra\etl cxlinJers and other early seal-stones: com- pare 4nvS7 in ill*-' (Collection of l-"ngra\ed Stones. And it must be remembered that almost e\er\' grade of technical skill can be illustrated, from the rude miniature ligures of the snow-man groups to the grand life-si/.e heads (i4si-ff.) which are exhibited in Floor- Case X and describetl on p. 25(1 above. BRON/E A(U-:: BF.FORE 1200 B.C. In the F'.arl\' and .Middle Bronze Age, all the principal fabrics in the Collection of Potter\- are represented by modelled figures. These first attempts are clumsx' and barbaric, but rather for lack of skill and experience than through poverty or \'agueness of idea. In the Later Bronze .Age, along with foreign fabrics of pottery, foreign st\'les of modelling appear, peculiarly gross and unpleasing, as is all the religious art of the Sx'rian coast, from which they seem to originate. Intercourse with Egypt seems not to have begun until the great artistic school of the XVI 11 Dynast\' had been succeeded b}' the dull conventions of the XIX; it had, therefore, less effect on design than on technical processes. The Mycenaean colonists, too, contributed little. They had alread\' lost, before their arrival in Cxprus, much of the naturalistic skill which inspired the plaster- reliefs and the glazed figurines of Knossos in its "Palace-Period." The figures are arranged here in the order in which their respectix'e fabrics first appear in the earl\' tombs. .\s no sanctuaries of an\' but the very latest phases of the Bronze .Age have been recorded in C\prus, it is probable that all these figures formed part of the furniture of tombs; and figures of each kind ha\e actuallx' been found in tombs of the Bronze Age. FABRIC I. RED POLISHED WARE The workmanship and approximate date of this fabric have been full\' discussed in tlealing with the Red Polished \'ases 1-144 in \\'all-(2ases 1-3, and Floor-(Lase 1. These figurines are all hand- modelled, in the same primilixe technitiue as the vases. Vhcv should be com]>ared with the jilaxful rendering of human and animal forms on the necks or handles of the potterw I erra- 2001. FIl'man I'icukh, ver\' roughl\' modelled as a flat rectangular Q.,5^. slab (jf cla\', with a smaller rectangle at one end for the head. ' 332 BRONZIi AGE Incised lines and dots (filled with white, as is usual in this Tern fabric) serve to indicate e\es, mouth, hair, and a collar and '^o"^' triple necklace. The breast is bare, and the arms are folded ^^^^ across it. Below are a few oblique lines for a skirt, from which it may be inferred that the figure is intended for a woman. 'These details of costume are here ver\- much con- 200 1 2002 2004 ventionalized, but comparison with other examples of this t>'pe makes their meaning clear. H. i i r',; in. 11,4. 2002. Hu.MAN Imoire, similarly modelled as a straight-sided slab with rouneled ends; but the details are gi\-en b\' lines in low relief, not by incisions. II. (>« in. Doell, .xi\', 2, 837; (^\prus, PI. \i. 11,5. 2005. Hf.MAN Imc.iki-., similarl\- but \er\' rough!}' modelled, in a later manner transitional towards fabric ii. DetaiK are now gi\en bolh hv incised and hv n-lief f)rnament ; the ears are exaggerated, and pierced se\eral times. The use of numerous earrings at this earh jieriod is proxed hv the occur- rence of liea\\' spiral rings of sil\er-lead in the lombs: see 3000 a-d in the Collect ion orOrnamenls. II. NA; in. Doell, xi\', 3, (S^S; Cyprus, PI. \ i. II, d. IAHKK; II. DARK SI, II' WARI-; I'or detailed discussion of this fabric, w ln\ h ajijiears first in the -Middle l>r(jn/.e .Age, st-e \'aM'N 131-172 in \\'all-(^aNe 4 3 53 THH COLLF.CTION OF TFRRACOTTA FIGURES cvrA- 20i)j[. I'hMALi-; I'KU'Ri;, nude, and of the gross proportions char- '^(^',^^\ acteristic of tigures in this fabric. Fhe details are partlv 1 modelled in relief, partis' incised with a sharp point; but there is now no white filling. H. Io,^i in. Doell, xiv, 8, 839; C\prus, PI. \ i. II, 12. F.ABRIC III. WHITE PAINTED WARE For detailed discussion of this fabric, which appears first in the Middle Bronze Age, and runs on to the close of the period, see Vases 173-279 in Wall-Cases 5, 6, 7. Compare especially the animal-shaped vases 209-225. II, 7. 2005. Seathd Figurh, in a high-backed chair. The features and details of dress and chair are given quite conventionalls' in slightly lustrous paint which is red through overfiring. H. 7-8~ in. 11, 7. 1 2005 2007 2006. Fhmalh Figure, standing, with the right hand held across the body. H. 2{'n in. 2007. Nursing .Mother, with a child on her knees, and her hands raised in adoration. This is a very early example of a maternal type which has a long and famous histor\' in art. But as the woman makes a gesture of worship, she is here not the .Mother Goddess, but an earthly votarv. Yet the figure seems to be funerary like the rest of this group, and illustrates therefore the continuity of the whole range of types, both funerary and votive. H. 4 in. 11, 3. 334 BRONZE AGE FABRIC VI. BASE-RING WARE This fabric begins in the Later Bronze Age; it has been fully dis- cussed under Vases 318-365 in Wall-Cases g-io. 2008. Bull, modelled hollow in the same fashion as the \'ases 333-337 in Wall-Case 9, but without opening or handle; it has simple ornaments in dull white paint; but the e\e is in relief like that of the female figures 2009-2013, which are of different cla\-, and unpainted. L. 54 in. Doell, xi\-, 25, 930. 2009-2013. Fhmale I'iGURhS, nude and of characteristic gross proportions, with bird-like face and enormous ears, perforated to hold large clay earrings which hang loose. The eyes are 1 erra- cotta C:ase 1 given by prominent pellets of clay, as in 2008; the mouth and other details, by incised and punctured lines, careless but \'igorous. The cla\' and handling are not exactl\' like those of the ordinary Base-Ring Ware of C\prus, hut resemble rather the closely related fabrics of the Syrian coast. Hs. 8 in. — 7.J in. Doell, xiv, 7, 840 (201 i); (aiuus, p. 164 f2oi2) ; cf.Perrot, fig. 374-5. 11, 10, i ?, S, 11 (2o()()-i2). 1 his remarkable l\-pe has been found not onl}' in tombs in (^\'prus, but also all through the Syrian coast, both in tombs and on in- habited sites; rarely in I--g\'pt during the X\'lll i)\nast\-, when S\rian fashions were in vogue; and more commoni\' on man\' site's in Ikibv Ionia, and at Susa in the Persian highland be\-onil. In F.g\pt, as in (Ajirus, the t>'pe is clearly intrusi\'e; and the similar 335 IHi; COLll-CriOX Ol lliRRACOITA FIGLRLS 1 oira- leprosontalions on Ikibxionian i.-\-lincicr-seals make it clear that V'"/, i' represents the great Babylonian (joeldess Ishtar, whose worship, 1 under kimlred names (Ashtoreth, Astarte), is recorded to have been widespread in all the regions where such figures are found. The monstrous eai'rings of the (Apiiote figures ha\e been thought to allude to the nnlli of Ishlar's descent into the Lower World and the successive surrender of her ornaments at its barriers. A goddess who had thus "o\ercome death." was the sure protectress of her worshippers when the\- came to make the same journex'. Then, b\' a familiar transference of fimction and attributes from deit\' to \i)tar\'. which it is interesting to find as earlv as this, these pecu- liarities of the gocldess are repeated in figures whose actions show that the\- are human. I'hus, whereas the hands (jf 2010, 201 i support the breasts with a gesture s\'mbolic of the Mother (joddess herself, the attitudes of 2012, holding a fluttering bird (probabl)' the lIow, which in later times was sxmbolic of this deit\'), and 2013, offering a child which raises its hands in adoration, are clearl\' meant to be human Notaries, onl\' partl\' "made one with" their patroness. For a recent discussion of this t\pe see Fritze, Jabr- hiic'b d. lusiiiiiii XII. 199 ff. FABRIC IX. COARSE PAINTED WARE The fabric of pot ter\- to which these figures belong is not represented in this Collection except b\" the fragmentarx' duplicate 393 in Wall (^ase 11. I'here are, howe\er, in other collections a ver\' few wastes of the same make. The onl\' ones found in recorded exca\ations are from late .M\cenaean tombs at Fnkomi near Salamis ! Brit. .Mus. Cat. I 'asrs I, ii, 1912, \os. il. 7^2-735. and figur- ines like 2oi4-i() were found on the same site (Brit. .Mus. Cat. Tcrracottai. i()o^ \os. A i()-2i: lixcaiatioiis in Cyprus. 1S99, fig. (i~ [ioSt], llu'ir relati\e date is therefore certain. In the slimx- (.iualit\- of the claw and the handling appropriate thereto, tliis fabric resenibles most nearh' the painted \ariet\' of "Base- Ring Ware" il^ibric \ i. a. in Wall-(]ase ()\ to which the modelled bull-\aso 200S belongs; but the use of black paint instead of white Separates it decisiwlx' from the Painted Base-Ring Ware, and the introduction of red )->aint anticipates the wheelmade White Painted Ware of the I{ar!\' Iron .\ge (1-abric xi\-, in Wall-(]ases i.j-iSi- 1 his rrd paint is often of ver\- bright tone and dust\- texture; the black is dense and soot}'. BRONZE AGE 2<)i4-i(). Fi-MALE FiGURHS, nucic, cxccpl for a broad collar of red paiiU, edged with black; erect, or perhajis recumbent, to judge from the pose of the feet. The lace is bird-like, with large e_\'es formed of separate pellets of cla\-, like those of 20(xS. The hands of 2014, 2oi() are pressed to the breasts, as in 2010-11; those of 2015 fall by the sides. Hs. (S,',; in., 8| in., 6 in. Doell, xi\-, 9, 841 (2014); 10, (850 (2015); C_\'prus, PI. vi. II, 15, 14, 17, (2014, 15, 16). 2017. OwL-sHAiMiD KATtLi-: of the same Late Bronze .Age Fabric of Coarse White Ware as 387-8, with a few bands of dull paint. 1 erra- cotla Case 1 FABRIC XII. genuine: MYCENAEAN WARE WITH LUSTROUS PAINT This fabric is characteristic of the Later Bronze Age: see the description of the \'ases 417-432 in Wall-C^ase 12 and Moor-Case II L 2018. Fh.male Fu.lrh LxrHRONHD, in a three-legged chair with rounded back and arms: the figure raises its hands in adoration, and therefore is a worshipjuT, not a deity. Rather coarse work, not much in advance of the White Painted Ware, Fabric iii. H. 3 iV in. 11,2. 20!(j. FTmale Figure, erect, on a conic;d base, with uplifted arms, small pinched face, and circular head-dress. Dashes ol lustrous paint, normall\- black or brown, "'^''' but red when (jver-lired, are used \aguel\' to render details of costume. The t\[ie, which is highl\' conwnlioiKdized, origin- ated on .\l\'cenaean sites in the .\egean, such as .Mycenae itself, and was repeated unintelligent!}' b}' nali\e potters alter the .M_\cenaean colonization of (^\'i)rus. 11, i- The throne which is figured in .\tlas II, I.x.wiii, 7'))-4-5 is not now^ in the ("oileclion. LARLY IRON ACF: TRANSIl lOXAL \N1) CI-C ).\1 l-T- RICAL PLRIODS; AP.OUl 1 2()U 750 B. C. Willi LATI-K SURVIVALS SMALL lK.t;Rl-.S IN "sNOW-.MAx" I I.Ci IN KJU E .MODIiLLI- 1) HV HAND wmioi r f^i: or a .moi i.d In. the I'.arl}' Iron .Age, though in most oilier deiKirlmeiits ;irlistic exprebsi(jn is reduced to a gecjiiielric ami iiKiinlv rectilme.ir si\le, 337 THE COI.LF.CTION OF 1 FKRACOTTA FIGURF.S ^'Ta- the trrracottas shcnv sur[irisin^ \itj;<)ur ami freedom of conception. V- '^ The artist's ell'orts, howexer, are liamnered bv methods of execu- 1 tion so crude and infantile as to tleser\e the name "snow-man" technique which is commonl\' applied to them. Many of these figures are onlx- modelled at their upper end, and are supported on conical or trumpet-shaped bodies, the wheelmade construction of which has been already described (p. 329). ihe commonest subjects are animals and men, the latter engaged in horse-riding, chariot-tighting, and \arious other occupations. The figures are all \er\' small, and modelled entirelx' by hand, without the aid of anv mould. As a rule, the faces show in relief only the nose, chin, and ears, the e\es being marked in black paint, and the mouth in black or red. Head-dress, jewelr\-, and other details are added in separate bands and pellets of clay, which inevitably exaggerate their size, as in the monstrous earrings of 2009-13. Sometimes, like the e\-es and mouth, the\' are indicated roughl}- by paint, and more rarelx' by incised lines. But the vigour and spirit of these little studies of dail\' life is remarkable, hardly approached by any school of modelling between the XVIII D\nasty and the dawn of the great age of Greece. This "snow -man" st\le began apparently quite early in the Iron .'\ge, probably not later than 1000 B. C; and continued in use until the sixth century, side b\' side with the "moulded" fabrics of the period of Oriental influence. It is found both on sanctuary-sites and in tombs. In default of evidence as to the exact date of each object, all the examples of this technique have been grouped together here provisionall\' on the sole ground of st\'le. 2020-24. Malh VoT.vRits of coarse primitive work. The body is c\lindrical, solid, and wholly made b\' hand, not on the wheel. The head-dress of 2020-21 and the collar of 2022 are added in separate strips of claw There are no painted details. The gestures express adoration (2021) or homage (2024). The high conical cap of 2023 is characteristic of the votaries of a small rural sanctuarx' near ancient Soloi (C^..\1.C. 5402-28). Hs. 9^ in. — 3JJ in. Perrot, tig. 396. 11, 224 (2020), 150 (2021), 225 (2023), 99 (2024). 2025-2r). \'()rAKii:s of more elaborate work, with columnar bodies, trumpet-shaped below, and formed hollow with the aid of the poller's wheel. Into the upper end of this bod}' a hand- modelled head is thrust, and secured with soft cla\'; arms and 338 EARLY IRON AGE other details are added separatelx', and there is copious use terra of black and red paint, especially on 2027. The high square ^"^'''^ head-dress of 2025-6-7 is characteristic of the earliest stage 1 of this style. The beard of 2025, and the pointed cap of 2029, show them to be males. This cap represents the CI\-priote helmet worn b\' looi ff. in the Collection of Sculpture. The rest are probabl\' females, and the painted garments of 2027 seem to preserve the characteristic jacket and skirt of the Minoan women; a remarkable survival of costume from the Bronze Age. The same dress is shown more obscurel}' on 2026. in. II, QO (2025), 87 (2026), 91 (2027), 89 (2028), 59 (2029). Hs. 9I in.— 7i 2023 2028 2030 20>,() 2(j3o-39. KhMALH \'()TARihs of similar but later fabric. The bodies are wheelmade as before, but the faces of 2030-37 bear the impress of a shallow mould, and mark, therefore, a transi- tion to the Period of Oriental Influence. The wa\' in which these heads are inserted in the bodies is well seen in 2034. The faces are alwax's painted red, and the hair and e\'es black; occasionalh' white also is used for the e\es. The clothing is rendered obscurel}- b_\' touches of black with some red (2038); and \X'llow occurs in (jther examples. These votaries pla\' the tambourine (20^0-4) or a l\'re ^2035), or olfer a cup or Iknver (2o^()) or a kid (2037), or carr\' on their heads amphorai of Iuirl\- Iron .Age form and "wa\\-line" ornament (203S-(j). I'mm llu' cki\- and hanilling, 20^1-7 nKi\' be rec(»gni/eil as cuining frnm the l\:niuTirga site at Kilion ('(^..M.(^. ssoi ff.), wlnVli was furl hi'r t'X^"a\;iled in i(S94. Ms. 8rV, in. 5 in. Doell, x\ , 7, SS4 (2057); 55') Torra- L-otta c:aso Tin; coi.LixnioN or ti:krac;otta figures Cxprus. p. s' , ha\e copious bhick and red paint in the same emphatic st\ie as the earliest geometrical vases in \\'all-(2ase 14. Their base is usuallx' \er\' wide, to serve as a bell; the clapper was secured through a small hole near the apex: compare the clay bells 741-6 in Wall- Case 21. Some, however, have no clapper hole (2040, 2047-49), or even have solid bases, which are not wheelmade. These fig- ures, like the previous groups, all perform ritual acts: 2040 presents a child, 2041 a kid, 2042 a large bowl for a drink offering; 2043 plays the double flute, 2044 '^he l}'re, 2049 the tambourine; 2045, who wears the cross-belts of a warrior, raises his hands in adoration; so, too, does 2048, who is bareheaded: the rest all wear the same pointed cap. The masked dancer 2046 should be com- pared with the stone figures 1029-31 in Wall-Case 30: he wears a bull's head mask, and is lifting it ofT by the muzzle. The long flexible object wound about the shoulders of 2047 ma\- be a serpent: as he holds a flute to his mouth he may be a serpent charmer like the stone figure 1022 in Wall- Case 30. Hs. 6i'i, in. — 31',; in. Doell, xv, 6, 876 (2040); 4, 875 (2042); C\prus, p. 51 (2046), p. 2f)3 (2041); Perrot, fig. 403 (2041). 2050-62. V'oTARiKS, all beardless, but not necessaril}' female. The\' arc entirelx' modelled b\' hand, and 2050-54, 2057-8, 2060 wear hea\\' head-dresses, applied separatelx'; 2051 has rich collars also, and 2055 a wreath of flowers, or perhaps a rosetted frontlet like the stone figures 1251-3 in Floor-(]ase XI. 'I'he face of 2o()2 ma\' ha\-e been pressed in a mould, like 2030-37; the rest are entirely modelled b\- hand. The\- carr>- birds ("2030), or meat and drink offerings (2060), or offer children (2061-2), or pla_\- tambourine (2054-6), l\Te (2057-8), or flute (205()). Hs. 81,'; in. — 2 ni in. Compare Perrot, fig. 376. II, 151 (2050), 48 (2053), 40 (2055), 44 (2056), 31 (2057), 34 (2058), 33 (2059), 85 (2060), 181 (2061). 340 EARLY IRON AGE MISCHLLANHOUS FIGURHS l\ " S\()\V-.\1 AN " TECHMOL'E 2()()^-6() These figures are often found in tombs of the Period of Oriental Influences: the\' represent a prolongation of the "snow-man" tech- nique into a phase in which it is touched alread)- by Oriental and even by Hellenic influences. They are of importance as e\idence that this primiti\'e st\ie lingered on, side b\- side with the new technique, at least until the sixth century. 2063. AIalk X'otary, carr\ing a kid and a dish of sacred cake. He is represented in Oreek fashion as nude, except for shoes and a scarf, whereas the earl\' male figures in the native st\ie are either trumpet-based or fully clothed. H. 45 in. 2064. Heraklks, standing, in tunic, belt, lion-skin, and club; he raises his left hand. A miniature studv of one of the most popular t\pes of stone sculpture, in unusually careful work- manship, with man\' touches of black and red paint; probabl)- about 600 B. C^. (Compare the scries of stone figures of Herakles in Wall-Case 37. H. 3!,' in. 2064 A. Hf.rakles, in a rather later st\'lc, showing some Oriental influence but still whollv modelled b\- hand. He is bearded and wears a helmet with cheek-pieces let down, a tight vest and fringed belt, and a quiver on his back. He turns to the right and draws his bow (broken awa\) with his right hand, which is preserved in front of his neck. Terra- cotta Case 2065. Centaur, of archaic Cri'ek l\pe, with human forelegs; he is bearded and wears a soft-pointed helmet, of natiw form, and a red-ixiintcd shieki; probabl\- about (loo B. C. H. 4:; in. Prrrot, lig. 111. 11, 21S. THF. COI.I.F.CriON OF TFRRACOTTA FIGURES 1 orra- 2o()()-(h). .Monki.vs seatctl, eating (2067, 2()()()), (jr oiTering some ^'?'I.'^. object (2o6(S); 20U) may he meant for a Sat\r. These gro- 2 tescjue figures should be compared with the monke\-shaped arxballoi of Corinthian fabric, which are found occasionally in Greek tombs of the seventh century. For the peculiar surface and paint of 2o()() compare 2093, 2132. Hs. 4!'; in. — 2| in. 11, 2:(). 82, 221, (S3 (2066,67,68,69). FK.LKES OF ANIMALS, 2070-20(87 These figures are executed in various styles akin to the "snow-man" technique, and range in time from the Earliest Iron Age to the period when the nati\e st\le began to give place to Greek fashions, in the fifth century. Later figures of animals belonging to the Hellenistic Age are described separatel_\- below, 2271 ff. 2070. Bull, modelled in white cla\' in a ver\' earl\' st\ie, remin- iscent of the M\cenaean. It probably belongs to the Period of Transition (1200-1000 B. C.). The smooth modelling of the bod\-, the deep wrinkles round the prominent e\es, and the use of an annular punch to render the curly hair, arc unusual, and without close parallel in Cyprus. H. 7] in. 11, 674. 2073 I erra- cotta (^ase 3 2071-5. Blll's-Hhad .Masks, perforated for suspension, like the human masks 2133-6 below. The rosette between the horns of 2073-4 shows that the animals which it represents were sacrificial. Hs. 4I in. — i 1 i', in. 11, 109 (2071), 681 (2075). 207() a, b, c. Bull, Ram, and Goat, modelled in the normal "snow-man" technique with painted details. Hs. 3|in., 3I in., 4.1 in. 2077. Ih-iAD OF A Bat or Fox, vigorousI\- and naturall\- modelled on a medallion for suspension. We may compare the voti\e figures of weasels and other vermin found in the .Middle .Minoai: sanctuar\- of Petsofa in Crete: thc\- illustrate the practice of "dexoting" an enem\- to divine punishment, in the same wa\- as the worshipper offers himself for di\ine blessing. H. 3 in. 2078-81. HoRsi.s, with characteristic long neck and stiff mane rising to a crest above the ears. Ihe copious black and red 342 20Sl EARLY IRON AGE ornament is [Kirtl\- geomelrical anJ arbitrar\-, but partl\- represents the horse-trappings, which are gixen also in relief on 207Q. Compare the stone horse ioi-> in Wall-Case 29. The pointed cap, painted yellow, which is worn by 2080, is probably a jest of the artist: l"or other examples of }ellow paint, see Index. The two-headed horse 20(Si is probabl\- intended to represent a pair of horses like 2()()()-7 below. Us. i 1 in. — 5 1 in. II, 645 (207(S), 646 (2079), 643 (2081). 2082-85. AssHS, similarly modelled, but easil\' distinguished from the horses. Fhex' are laden with a pair of large panniers of rush- basketr\-, 2082-4, such as are still used in C\-prus: in the panniers of 2084 are large wine-amphorai of a form characteristic of the se\entli and sixth centuries. On 2084-5 '"''-'^ bearded men: the rider of 2085 sits sidcwavs, and holds on b\- the neck of the ass. Hs. 5s in. — 3} in. Doell, xi\', 12, ()37 (2082), xi\-, 17, 942 (2084); Colonna-(;eccaldi A1o)iu)iiciifs, p. I u, figs. 1-3 (2o82-',-4). ("vprus, p. 140 (2082), p. i()4 (2085); Perrot, fig. 3C)4 ^208^), fig. 395 (2084). II, 106 (2082), 104 (2083), 105 (2084). 652 (2085), MIUTARV MOURHS: CAVALRY, WARRIORS, CHARlOrS These fall within the same limits of sl\ie and probable dale as the previous groups, as is seen from the iiientical treatment of horses with and without ritlers. Probabl\- most of these ligures are from tombs; hut warrior-votaries are often found in sanctuaries; for example, at the Kamelarga site in tin.' sl\le of 2o-;i-7. Comjiare the stone figures of warriors, horses, and chariots 101 5-1018. 2(j80-2O()5. IloRsi-.s wiin RiDiiRs; all with bright black and rt'd colour: compare tin' stone horsemen ioi4-iS- I lu' pose ol the rider \aries in ck'tail. 2oS() siis sideua\s, \\kv JoS^, on a fringed saddle-cloth; 20S7 si'ems to sit with his feel on tlu' horse's shoulders; 2oNS-()2 show no legs :il all, and hold on i\\' the mane; in 2o()5-4, on the other lianil, liie legs are full)- modelled. Some of the riilers are w:irriors: Terra- cotta Case 343 TUl- COl.LliCTION Ol H-RRACOTIA mgurf.s lerra- Lotla tlasc 3 2()S(), 2(H) I -4, wear poinlotl holniets, hut 2093 has a helmet with a long fore-and-aft erest, h'ke that of the (Ireek hel- mets of the I-'arl\' Iron Age; he also carries a sword and round shield, and his horse has a hreast-band in relief, like that of the modern (]\priote saddle (sfratoiiri), with central orna- ment and tassel or tl\-whisk. On 2094 the whole bridle, with its tassels, is rendered in reh'ef. Instead of the custom- ary black paint, 2095, which is in a rather different cla_\' and of ruder handling, has greenish blue, like the vases 747-750; and the red is of more crimson tint. On 2094-5 is the same chalk\- white slip as on 2066, 2132. The green tint of the 2093 2099 c]a\- of 2090 is due to underfiring. Hs. gr'n in. — 5 iV in. C_\'p- rus, p. 150 (2()(S8-92) ; Perrot, PI. ii (p. 582). II, 636 (2086), 649 (2087), 651 (2088), 648 (2084), 654 (2090), 633 (2092), 655 (2093), 639 (2094), 634 (2095). 2096-7. Pairs OF Horses with Ridbrs. The horses are modelled with a single bod\', like 2081. These pairs of horses recall a phase of warfare in which the horse was still used mainl>' as transport, to con\e\- a hea\\'-armed warrior to the scene of actit)n. When the warrior alighted, the horse was held in reserve b\ a groom ibipposfropbos), who was himself mounted so as to keep pace with his master. The rider of 20()() is perch- ed like a \ase handle between the horse's back and neck: he ma>' perhaps be intended to represent a trick-rider like the kt'lt's described b\' Homer: but compare the attitude of 2087. Hs. yl in., 6:,' in. Doell.xiw 21, 934 (2097). 1 1, 644, 642. 2098-2 loi. W.ARRioRS, represented standing on foot, with c\-lin- drical wheelmade bodies like 2050-9. fhey all carry a round 344 EARLY IRON AGE shieki on the lefl arm, and raise the right as if to throw a lerra- spear, except 2100, who grasps the edge of his shield. Their ^^"^ helmets var\- in form: 2oc>S wears the natixe cap with nose- 3 guard, and soft peak hanging forward; 20()() has a high fore- and-aft crest Hke the heav\--armed infantr\- of Ass\-ria in the eighth and seventh centuries; 2100 has a stifT-peaked helmet with cheek-pieces: its nose-guard is rendered in paint onlv; 2101, (jn the other hand, seems to wear the high-pointed Persian kurbasia, with long side-lapels. Omipare the hel- mets of the large terracotta heads 1451 If. in Floor-(^ase X, and the life-size stone heads 125 1 ff. in Floor-Cases XI, XIII. The shields of 2098-2100 are of the circular form which is common to Greece and the Levant in the Early Iron Age. On the other hand, its pointed boss is not (jreek, but common to C\prus and Ass\ria: compare the bronze shield-boss 4754 in the Bronze Room. The ra\-ornament of 209(S and 2100 recurs on the cla\- shields 554-555 in Wall-C]ase 15, which may very probably be voti\-e. The concentric red and black rings of 2099 recall the kykloi of the Homeric shields, which are of bronze-bound ox-hide. The shield of 2101 is of the Boeotian t}'pe, o\al, with concave side margins, and emphatic rim: this shape is often represented in Greek art of the sixth and fifth century, but it has a long historx', and can be traced in the Aegean as far back as the close of the Mycenaean Age. Hs. 6|'',i in. — 4i',; in. Doell, x\', 5,874 (2io{t); (Cyprus, p. 203 (209H, 2100). Perrot, PI. ii (p. 582). 11, 259 (20()] (2099), 67 (2100), 258 (2101). 2102. Group oi- Warriors, in pointed helmets, of whom the one strides forward brandishing a spear anel bossed shiekl like 209(). Under co\erof this shieKl the other warrior shoots with his bow: his c|ui\erand arrows are clearl\' shown behind his lett shoulder, ("ompare the Momeric ck-scrijit ion of the hero 1 eiuer shooting from beneath the shield of his brother Ajax. 11. Ss in. II. 74- 2103-4. lli:Ai)s Of- Warriors, in the (^\iiriole helmet, with details in black and red. lis. 2'^ in., 5',' in. 11, 1 i<) (2104). 2105-9. Imjir-iiorsi-, ( JiARlois, with one or two occupaiils wear- Icrra- ing helmets or peaked caps. GomiKire the sloiu- chariots ^""■' ioi()-i7 in Wall-Gase 2(). The wIutIs of 2io() were separ.ite, " and are missing; the other chariots ha\e iheir wheels adhering to the car. Details of the pole and Noke are well shown in THE (".(MXl-cnON Ol- THRRACOTTA FIGURES lorra- cdtta Claso 4 2i()(). In the hack of the car, 2I(K), lies a round shield with bull's head boss: compare the bronze shields with lion and eagle bosses from the Idaean (-a\e in Oete, which belong to the same period of Oriental Intluences as these ligures; and the eagle-frt)nteel helmet of the large stone head 1284 in Floor- Case Xm. Hs. (.■' in. - ? J in. 11, 630, 632, 628, 626, 627. sci-:ni;s and objhcts of i:)aily i.n-i-: These, like the militar\' figures, are rendered in the "snow-man" technique with characteristic vigour and freedom, and probabl)- all belong to the later part of the Early Iron .Age. 2ii()-iv Two-wHi-HLiit:) Carts, of a t\'pe which is represented in .AssxTian sculptures, and still used in C\'prus. It has low sides and open ends, and the cla\' models ha\e a socket in front, to hold a wooden pole; the wheels were made separatel\', and ran on wooden axles, like those of the cla\- horse-shaped vase y2() in Wall-Case 14. 2 1 1 5 is ernpt)-; the rest carr\' one or more human figures. 2110 21 16 2120 In 2 1 10 the family party reclines on a pillow, gaily painted blue. It consists of a bearded man, a woman with long black tresses and yellow frontlet, and a box' who pla\s a double flute with mouth-strap, like the stone flute-piaxers 1024-6 in Wall-Case 30. The man throws his arm round the bo\''s waist. In 21 I 1-14 the single ligures seem to be men; but 2113 has a woman's frontlet and long tresses. The occupant of 21 14 holds a flat rectangular object, which is painted blue, and there is blue paint on the sides of the cart. Hs. 5 in. — 2\ in. Doell, xi\', 11,940(2110); 14, ()5Q (21 12); 10,041 (2113); n. ()38(2ii4). C^olonna-C^eccaldi, Monuments de C\ pre, p. 133, fig. 4 (21 10); p. I ^4, fig. () (2 1 m); p. 1 ^4, fig. 5 (21 14). II. 108 (2110"), in (2112), 112 (2113), iio (2114). 21 16. Sckm: a I ( J)rKT. .A. group of six figures, all wearing high caps and gaily painted. The central figure is seated, and 346 EARLY IRON AGE leans like a Homeric king on his staff of office {skepirou). Terra- At his right a bearded attendant holds a kid, for a meal or ^"''''^ sacrifice, and in front of him are two wine-bowls on the 4 ground. Behind the king stands his cup-bearer; and on the left, his armour-bearer, with round shield. In front of the armour-bearer a seated figure inflicts corporal punishment with a lath or sword on a prostrate man with outstretched arms. For naive vigour and direct narrative, this little com- position is not easily surpassed in this style. H. 3! in. 11, 76. 21 17. A Bearded Man holds another person in close embrace. H. 2| in. II, 180. 21 18. Ring-Dance of three figures in pointed caps who face inwards, and encircle a flute-pla\'er. These ring-dances, performed around a musician or a sacred tree, were a regular part of the worship of C\'priote deities. The best representa- tions of them have come from rustic shrines at Soloi and Kh\-- troi. Compare the later ring-dances 2241-50 with moulded figures of Hellenic st\ie. H. 3,'',; in. H, 279. 21 19. Ring-Dance of three figures in high caps and long cloaks, standing back to back about the trunk of a tree. The com- position resembles the well-known Hellenic t\pe of the "Three Graces", which itself ver\' likelx' originated in some such representation of a ring-dance. The worship of sacred trees (replaced when they deca\'ed b\' a pillar of wood or stone) was widespread in the ancient east, and habitual all through the Sx'rian coast. "He brake also the pillars, and cut down the groves" is the commonplace of religious reform in Israel. H. 6i''',i in. 1 1, 223. 2120. Two Women Winnowing and ('irinoing (j)rn: the one holds a sieve and a winnowing-fan ivciiniits) of the sho\el- shaped fashion still used in (^xprus. The other grinds with the primitive saddle-cjuern, which in (^xjirus conies down from the Bronze Age into earl\' historic limes. 1 liese mill- stones are o\al, and the upper one is ]iusliei.l back and forth along the lower, between a pair of side-boards which prexent the meal from scattering. The grains of corn are shown bv dots of black paint. 11. 2JJ in. 11, 75. 2121. Woman Kni-.ading Doi(,ii, which she hoKIs in a dish on her feet. '1 he meaning of the high elliow-support below this figure is not clear. II. 7 in. Doelf, w, 1, S77. 11, 222. M7 1111-: COLl.l-Cl ION OF lilRRACOri A IIGl RliS I eira- cotl.i Case 4 2\22. \\'o.\i\\ Bakinc. ("..\ki>. I'Iu' ()\cn is a large duv vessel buill up hv hand oiil of tloors in a eoin eiiient plaee, and jired where it stood. Its rei;iilar I'uei in modern Cyprus, as in New Testament times, is the "grass of the liekl." which "to-dax- is, and to-mor- row is east into tlie o\en" (.Matt. \"i, 30), where it leaxes hut little ash. When the o\'en is thoroiighlx hot, the dough cakes are plastered upon its inner surface, and are 2122 afterwards detached, as in modern (]\prus, with the wooden scraper which the woman holds in her hand, ii. 3lin. 11,73- 2123. W'o.MAN CiRiNDiNG CoRN. .A Working model made in several pieces; the arms and saddle-quern are missing. H. 4! il in. 1 1, 220. 2124. Table, with underframe and three legs: compare the chairs 2007, 2oi(S and the cla\- tripods s 12-1 5. H. 2s in. 11, iii. 2125-26. Rl:CTAN(~.LLAR C^.HHSIS (JN FoLR 1" HHT, wit h St ting-holcS to secure the co\er. Like the stone chests i()62-()6 the\' are imitated from wooden chests, such as still are the chief furniture of peasant homes in Cxprus and other Cjreek lands, Hs, 2^ in., 5 in. 2127-2C). Shii's, such as have been found in tombs of the si.xth centur\' at .Aniathus, The largest, 2127, shows man\' details of construction: note particularl\- the longitudinal strakes along the water-line to recei\e the "under-girding" in storm}" weather (.Acts x.wii, 17); the prominent catheaLis at the lx)ws, to receixe the anch(.)r; the open railing and stern galler\' (2127-S); and the helmsman with his two steering oars, for which 212S pro\ides large portholes: 2i2<) is a mere row-boat with high bows and sternpost. (da\' ships such as these probabh' suggested the localization of the ancient stor\', how Kin\ras, King of .\mathus, promised a hundretl ships to his all)' Agamemnon, as his contingent for the Trojan War — but sent in their stead a squadron of boats like these, with "cla\' crews." Plin\', \'af. Hisf. \ii, 17, 4. Eustathius on Homer, Iliad xi, 20. Ls. 10} in., lo^ in., 2i in. C\prus, p. 2^9 (2127-8). Perrot, tig. 352 (2127). II, 702 (2127), 701 (2 1 28). 2130-1. SnKiNi:S, consisting of a rectangular niche, with a tlat 34^5 EARLY IRON AGE fafade in Egyptian style. Within is a figure of the deity, I'erra- with features ver\- roughl\- indicated b\- pellets of elav. Over ^°"f the lintel of 2130 is the cresccnt-and-disc of the (2\priote 4 Mother-Goddess, as on the stone slabs 1410, 1416, 1420. Similar shrines have been found at Amathus in tombs of the se\enth and sixth centuries. The}- show strong foreign influence, but the modelling is still in the old "snow-man" technique. Hs. 3! in., 3 1 f ; in. 11, 101 (2130), 103 (2131). 2132. Sacred Snakh (uraeus), advancing in Eg\-ptian fashion towards a table of offerings. The fabric, with white slip and red and black paint on red clay, is peculiar, but certainlv C\'priote: compare 2066, 2093. For other illustrations of snake-worship see the stone figure 1022, the clay figure 2047, and the engraved gems 4145, 4150, 4152, 4164, 4167, etc. H. 5i'o in. HUMAN MASKS AND HEADS Small masks of cla\', or of more perishable materials such as wood or wax, were commonly dedicated in antiquitx' at sacred trees and other rural sanctuaries. The}' probablv represented the \otaries who dedicated them, and ser\ed to place them under the protection of the local deit\'. The)' were usuall\' hung b\' a string so as to swa\' with the wind, and face in e\ery tiirection. Probably this mowment to-and-fro (which takes its name "oscillation" from these oscilla or "little faces") had the same magical effect in attracting the deit\'s attention as the Tibetan pra\'er-tlags and pra\er-mills. (^la\' masks of this kind are also sometimes found in tombs of the seventh and sixth centuries: in the "other world," als(j, there were powers to be propitiated, and to gi\e protection. 2i>,]-(). Bi;arded .Masks in "snow-man" techniciue, perforated lor suspension, like the bulls' heads 2071-5; 2\^() shows some Oriental influence and uses incised lines to render the hair, but is still wholl\- modelled b\- hand. lis. ^l in. — ]l in. II. 2i(), 214, 212, 215. 2137. I' ii.MAi.i: .Mask, motic-lled hv hand in tlie. Archaic Gxpriote st\le, like the large heads 1 \'-,<)-()(>, but in dark red cki\, with details in dull black panil, like the I'ainled Ked Ware Soi If. I he hair is rendered b\ I'ligraxed stamps, as on the largi' clay lu'ad \J,()H. (Compare the liiu- \()ti\e mask i4()o. II. >,\ ,', in. II. 211. '34<) THE c:oli.h(:tion oi- thrracoita figures ' ^'"'^" 2 1 3(S-o. 1-EMALH Hi-AD, AND HhlmiiThd Hhad, witli raiscd ear- Case tlaps, in the same fabric as 21 37; they seem to have been broken 4 from human-headed feeding-bottles like 930-931. Compare the large modelled heads 1454 ff. Hs. 3I in., 4 in. PERIOD OF ORIENTAL INFLUENCES ABOUT 750 TO 55" B.C. MOLLDHD l-IC.LRES IN ORIENTAL STYLE Terra- '" ^^^'^ Period of Oriental Influences, a quite new direction is given cotta to Cypriote terracotta wt)rk by the introduction of the mould, Case probabl\' from the S\ rian coast, where it had long been in use for flat-backed figures of the Mother Goddess, and for a few other con- ventional t\pes both funerary and votive. These Syrian figures go back at least to the Eg\ptian protectorate of 1500- 13 50 B. C; and both in Egypt and in Mesopotamia the mould was in use for clay figures earlier still. This invention, as we have seen, facilitates mechanical output, at the cost of craftsmanship and original variety. In C\prus, the figure-makers tried to redeem its defects by supple- mentar\' hand-modelling; and often reverted to modelling for everything except the face, which was moulded on a separate piece, and built into the figure with a junction of soft cla\'. But before long the machine, as usual, overpowered the craftsman; the moulded figure rapidl\' superseded the handmade, except in a few village sanctuaries and for the smallest figures in the tombs; and the t\'pes became few, conventional, and debased. Only under ex- ceptional circumstances does hand-modelling persist, as at Tamas- sos, and at the Toumba site, near Salamis, for large statues; and at Marion for recumbent effigies in tombs. The majorit\' of the moulded figures in this Collection are of cla\'s which closelx' resemble those used at the numerous small sanctua- ries round Kition, and are well represented in European .Museums, especiall)' in the Louvre. The moulds are very shallow and repre- sent the figure in relief against a background formed by the overflow of cla\' round the edges of the mould. In the better figures this superfluous cla\- is trimmed away to the outline of the figure. 2140-49. Nude Female Figures, probably representing the same .Mother Coddess as the gross figures of Bronze .Age fabrics (2009-13). 'The\' stand erect, with the hands either hanging by the sides (2140-42), or raised (2143), or supporting both breasts (2144-6), or clasped in front (2149), or one hand is 350 PERIOD OF ORIENTAL INFLUENCES held across the body (2147-8). The\- wear rich collars with Terra- pendants (2140-1-3-4) and heavy Oriental head-dresses ^^^^^ (2143-4). Some have details in black paint (2144-5), ^rid 2146 is perhaps a handmade copy; it is, at all events, freely retouched by hand. Hs. 13A in. — 4! in. Doell, xiv, 11, 844 (2146); 6, 865 (2148). Cyprus, PI. vi (2144-6, 2149). II, 187, 231, 230, 229, 193, 18, 19, 199, 21, 194. 2150-58. Female Figures, very like the preceding group, but clothed either in a diaphanous tunic, which falls in Egyptian fashion to the ankles (2152-6-8), or in full Cypriote costume 2140 2134 2 i6(j 2168 with long tunic, short over-tunic or over-fold (2153-4), girdle (2154), and veil (2155). The collar worn b\' 2154 is elab- orate and characteristic; among its rich pendants are a signet ring like 4164-71 in the Collection of Finger Rings, and large openwork amulets, of a form which is commonest among the votaries of Aphrodite at Idalion. The smooth finish of 2 1 50-1 is characteristic of a fabric of Kilion. To 2150 arms raised in adoration have been added later by hand. Note the use of red paint, as well as black, on 2152-6-7. These clothed figures probablv represent human votaries; lhe\' are usually found in sanctuaries, but occasionally also in lombs. Hs. 9,'',, in. --41',/ in. Docll, .\iv, 5, S6() (2151). (^vprus, PI. vi (2150). 11, 22(2]y(>), 2() (2151), 252 (2152), 227 (2153), I()7 (2154), 195 ^2155), l()2 (2I5()), 107 (2157), I()I (2158). ',S1 THH COLLECTION OF ILIKRACOTTA FIGURHS 1 1'rra- 2\^q. Mali-. N'oiak^. Thi^ (igurc, though obviousix' from a V'"'^ tcniak' nioiikl. like Jiso-S, has been adapted to ser\c for a ^ niak' \()tar\', hv the addition ol a beard. Such improvisetl olferings are not uncommon at (>\priote sanctuaries: at the Kamelarga site, for example, all the warrior-figures have heads from the same moulds as the female iigures, and beards modelled upon them b\- hand, sometimes so carelesslv that part of the beard has broken a\va\', exposing all or pari of the moulded chin ((^.M.(]. 3355). The histor\' of this figure cannot be traced; but it ma\' well be an instance (like ClAl.C]. SStO of a male figure dedicated irregularlx' at a women's sancluarw In the same wa\' feminine offerings are dedicated occasionall}' at the shrines of male deities; or flute-pla\'ers at temples where harp-music was the rule. H. 6 in. Perrot, fig. 383. 11,22,S. 2i6o-(). Fh.mai.i-: \'otarii:S of the same general st\le and t\pe as the preceding groups, but holding \arious objects: bird (2161), flower (2164), l\-re (2i()5-()), or tambourine (2167); the hre and plectrum of 2i()5 are added to the moulded figure in small strips of cla\' modelled h\ hand. The larger figures 2i6 it I'asirr lo execute sculpliire of full jiropori ionale thickni'ss, the cla\-s are lor the Ino^t part better, and in some lo- calities except iona 1 1\' good ; ami art isis in cki\- folio weti easil\ 1 he lead THE COLLECTION OF TERRACOTTA FIGURES Terra- of the stonc-carvcrs. Before the end of the sixth century, seated Cis'^' figures, and even some standing t\'pes, were being struck from Greek 6 moulds, in their true natural proportions; and by the fourth century the use of a mould in two or more sections, fitting tightly together, permitted the production of statuettes which had practically no "back" at all, but were fit to be seen from almost every point of view. This mechanical improvement of the moulds, moreover, made it safe to attempt under-cutting, and so permitted far greater depth of relief, and complete freedom of pose. With the use of hollow moulds, too, came the employment of far finer and more fluid cla\s. The result was a fabric at the same time thinner, lighter, stronger, and of more delicate surface texture, worthy now of all enhancement by paint and gilding. Some of the figurines of the Hellenic period which are found in Cyprus, may well be foreign imports from the workshops of Eph- esus, Myrina, and other Greek cities of Asia Minor; but there seems no doubt, from the quality of the clays, as well as from a provincial note in the style even of fine examples, that good work was being done in Cyprus itself, by men of Greek training, from the end of the sixth century until the Hellenistic Age. This in its turn throws some light on the peculiar history of Cx'priote sculpture. The conditions of access and of demand were presumabh' the same, but those of production different. Under the new technical conditions, with hollow moulds and fluid-filling, the Cypriote clays were now far less unworthy of a good craftsman than the soft flaw-flaked limestone. We find, therefore, a refined local school of Hellenic cla\-modelling, but in sculpture little but clumsy and tasteless imitation. Of Hellenic origin, also, are new and less orgiastic t\pes of votary. These lay aside their tambourines, infants, and offerings of animals or bakemeats, and usually even the lyre, and stand simply posed with something of the quiet dignity of the votive figures on the Athenian Akropolis. Fresh renderings of the Mother Goddess are more akin to the beneficent Greek Demeter than to S\rian Astarte, or e\en Phr\gian C\bele. And from the fourth century onward we ha\e (at all e\ents from the tombs round Kition and Kurion, and perhaps also from suburban sanctuaries) man\' purely- secular studies of girls and young matrons. These culminate in a local school which at its best has a general affinity with those of Tanagra and .\l}rina, though it easil>- degenerates into shallow and tasteless posing. 354 PERIOD OF HELLENIC INFLUENCE 2181-90. Female Votaries, fullv draped in Doric chiton and 1 i^rra himation; erect (2181-2, 2186-8), seated (2183-4), or recum- ^?^^^^ bent (2185); some let their hands hang loosel\- b\' their sides; 6 others hold a libation bowl (2186), or a flower (2187-8), or simply draw forward the edge of the veil which falls from their head (2189). 2190 wears over one shoulder a belt of pen- dants like that worn by the tcmple-bo>' 2292: compare also 2lS[ 2186 2187 the collar with amulets and signet ring worn b\' 2154. A few details have been added by hand to 2187, and the surface of 2188 has been carefully revised. The free vigorous modell- ing of 2189 appears also to result from retouching a moulded figure. Hs. 8,-',; in. — 2 ,',, in. II, 271 (2181), 267 (2183), 339 (2186), 266 (2187). 2191 2 1()S 2241 2191-2. I'l.MAi.i- V'oiARii '>, parlh' or \\ho!l\' nude. Ilcre the mature (ireek a[iprecialion of the human lorm permits the THE COLLHC.TION OF lERRACOTlA FIGURES erra- revival of the nude t\pe of goddess or votar\-, without repeating V-'.^.' either the grossness of primitive modelling or the stiff sym- () holism of the Oriental moulds. Hs. 2l« in., 3 i\i in. 2193-97. HiiADs of similar figures, of the same good period. All are female except 2197, which represents a }outh and be- longs to the fourth century. Hs. 3 in. — if in. 11, 514 (2195). Large terracotta figures of Hellenic style are uncommon everywhere, when once full master}' of stonework has been achieved. There are, however, a few fine examples in which the tradition which is repre- sented b\' the large heads in Oriental style passes on into an Archaic C\priote and even a Hellenic phase. See especially 1458-67 in Floor-Case X. PERIOD OF HELLENISTIC AND GRAECO-ROMAN ART AFTER 300 B. C. From Hellenic to Hellenistic and Graeco-Roman work the transi- tion is gradual, but the decadence persistent. The old native types disappear almost wholly, and the old methods completely. Their place is taken, as everywhere else in the Graeco-Roman East, by poor copies of favourite subjects like Eros, either attended by Psyche, or engaged in childish sports; Phr\gian votaries and temple-boys like those of the sculpture series; figures of Silenos or Pan; and the long series of grotesque and stage-characters. Cyprus, in short, has now been received fully into the "civilized world"; it has no longer the power, or the will, to have art or cul- ture of its own. GODDliSSES AND VOTARIES IN HELLENISTIC STYLES These are all pressed in a shallow mould, and arc hollow; but are unworked behind. The clay is fine and dusty, and the best-pre- served examples have a rudd\' burnished surface. The style is more and more that of a commonplace Hellenism, with loose inexpressive forms, ill-concealed by over-elaborate drapery. 2198. Goddess enthroned, full}' robed and wearing on her head a high cviindrical polos. She raises her left hand in front of her, a faint survi\al of the old gesture of maternity. This seems to be still the Great Goddess of Cyprus, but she has now lost all cruder signs of barbaric or Oriental origin, and has become assimilated, on one hand, to Cybele, the Great Mother 356 PERIOD OF HELLENISTIC ART of Asia Minor; on another, to Demeter, the beneficent goddess Terra- ofcorn and fertih't\', who presides over the Eleusinian .M\steries. ^?^''^ On either side of the throne stands a female votary, full\- robed, 6 ' carrying a rectangular box, probably to hold some mystic objects, such as were used in the worship of Demeter. Other terracotta figures of similar style show two goddesses seated side by side, exactl\' as Demeter and her daughter Persephone sit, in similar compositions from Greece. H. lo^ in. Doell, XV, 27, 989. Cyprus, p. 50. jl, 376. 2199-2210. Goddesses of the same type, seated, but unattended (2199-2202); and heads of similar figures with high polos (2203-2209); the head 2210 also represents a Goddess, wearing a stephane like Aphrodite, instead of a polos. Hs. 7J in. — 2 in. Doell, xv, 29, 991. C\prus, p. 51 (2199). II, 379 (2199), 386 (2200), 380 (2201), 382 (2202), 413 (2203), 416 (2205), 420 (2207), 123 (2208). 221 1-22 1 5. Female Votaries, like those who attend the Goddess 2198; they carry similar boxes, except 2215, who bears on her head a vessel for holy water, and is of rather different fabric. Hs. lOj in. — 5 1^,; in. II, 315 (221 1), 377 (2212), 378 (2213), 312 (2214). STUDIES OF DAILY LIFE, IN THE MANNER OF MYRINA AND TANAGRA These figures are in fine dust\- cla\-, probabl\- pressed or cast origi- nall\' in a multiple mould, but thoroughl}- retouched b\- hand. They are probably of native work, but are wholly inspired by the better class of early Hellenistic genre-modelling. 2216-2229. [-"hmai.f: Imc.iki-.s, in the full Jlowing dress — Ionic,, chiton and himation — which is uni\ersal in the fourth and ^^^otti third centuries in (ireece. The t\jH's represented here happen (lasi's to include some which repeat actions or jtoses which we have '7 seen to have had a religious or magical signihcance at an earlier stage: 2216, for example, pla\s a lanibourine; and 2217 carries an infant. But this is perhaps accidental, or at most a nu'an- ingless survival; the majority' are men- genre-figures, standing or seated (2220-2225); often closelv wrapped in a large cloak (2222-23). I ht' figures 2224-222() are ol poorer and latiT work- manship. Us. SJI in. 2 1'',, in. (Compare (^xjirus, ]i. si. II, 320 (2217), ^4 (2218), 527 (22 K)), 3 iS (2220), 357 (2225), 320 (2225), 3I(} (222(>), 285 (222()). y->7 THH COLI.HCTION OF TERRACOTTA FIGURES 2216 2217 :30-2240. Heads of figures like 221O-J3: note especial!)- the veiled head 2230 and the fine modelling of hair and features in 2235. Hs. 3i in.— i| in. 11,453(2230). HHLLENISTIC \ERSIO\S OF S\OW-MA\ COMPOSITIONS These figures probabh' come from small rural sanctuaries where old t\'pes of offerings remained long in \ogue, and the new fashions of moulding came in late and graduall\\ ]^.^y.^_ 2241-56. Figures from Ring-Dances, pressed solid in ver\' shal- cotta low moulds of late Hellenistic st\ie, and then attached to Cases ,j hand-modelled ring of claw All these are female figures, 0, 7 fftfe*' 224. with the doubtful exception of 22S0; and The>- are so nearl\- alike in technique that the\- probabl\- belc^ng to one and the same shrine. The artist was not alwajs careful to emplo_\- 33a PERIOD OF HELLENISTIC ART a suitable mould for his figures; for example, the female Terra- \'otar\- 2247 has her real (mould-pressed) hands hanging freely ^otta b\- her sides, like 2181 tT., and keeps touch with her neighbours „ in the dance b\' means of supplementar}' arms, modelled very crudel\' in soft cla\'; 2248 has been turned into a f]ute-pla\er b\- disguising her original arms with clumsy additions of the same kind; and 2249 has the mouth-strap of the (lute added separately On the other hand, 2249-50 ha\e onl\' the face moulded, and the bodies columnar and modelled bv hand. Similar figures (2251-6) stand free; their bases, howe\er, are irregular, and they seem to have been broken awa\' from ring-dances like the preceding group: 2253-6 are pla>'ing a l)re, like the earl\- figures 2035, 2044, 2057-8, but the l_\re is now not the Oriental three-cornered cithara (compare the stone figure 1265) but of regular Greek pattern, as in the stone figure 1085. Doell, xv, 24, 971 (2251). II, 309 (2243), 269 (2244), 306 (2245), 270 (2246), 280 (2247), 36 (2248), 735 (2249), 353 (2250), 272 (2251), 184 (2252), 282 (2254), 37 (2255), 38 (2256). One remarkable fabric, well represented here, appears to be un- known to other collectors of Cypriote antiquities. The nearest parallels are from a small sanctuar}' in Southern ltal\', and are so closely alike as to prompt the suggestion that this series ma\' not be from C\'prus at all; since (jeneral di Cesnola is known to have acquired a considerable collection of antic|uilies from this part of Italy. It combines the freehand modelling of the "snow-man" technique with effeminate faces, shield-medallions, and other de- tails, which are quite incongruous, and are impressed in Hellenistic moulds. 2257-61. Warriors of "snow-man" technique but provided with moulded faces of Hellenistic sl\le. I'he\' are usuall\- beardetl, and wear high cajis or helmets, the deep brim and broad chin- strap of which are nKuielled freihaiid in soli claw Like the earl\' warriors (20(j8-2 102 ) the\' carr\' round shieKIs, and bran- dish an imaginar\' sjn-ar; the shield of 22^7 has a ( lorgon (le\ ice imjiressed from a shallow niedallion-mould ol I he same late st>le as tlu' warrior's head. lis. v,' in. 4 in. 1 1, 2()0, 2(15, 2()2, r-,2. 554. 2262. .Mai.i-, \o"iar>, re[)rescnlcil nude in (.reek lashion, in a late and debast'd "snow-man" techni(|ue, which betra\s traces 3V) THH COLLLCniON OF THRRACOTTA I-lGURIiS , erra- cotla Case of Hellenistic influence. Compare 2o()3 which, though earlier, is alread\- contaminated in the same \va\'. H. 7^ in. 22O3-70. .Malh X'oTARibs in the same mixed sl\ie as the warriors 22 5 7-6 1, with snow-man bodies, late moulded heads, and childishl)- modelled accessories: 2265-6 carr\- kids, like some of the early votaries, 2041. Among the detached heads, 22()7-7o, the broken surfaces of 2270 show well the construction of these figures. Hs. 3s in. — if in. II, 189 (2265), 186 (2266). 2271 2299 2271-8. Horsemen, oi the same st>'le as the unmounted warriors 2237-61. The shield 2271 has a Gorgon medallion like 2257; and the horse 2272 has the bridle added in relief. The much larger horseman 2276, and the two detached horse-heads 2277-78, ha\e other horse-trappings rendered also in relief. Hs. 14 1 i'; in. — 4 in. II, 261 (2271), 661 (2272), 657 (2273), 639 (2274), 637 (2276), 672 (2277), 670 (227S). 2279-80. HoRSiiS. Unlike the "snow-man" animals of the pre- ceding group, the two detached horses 2270-80 are modelled t]uite freel\- in a \igorous Hellenistic st\le, with considerable obser\ance of nature. The pose, and the indications of reins and harness, separatel\- modelled, show that the\- ha\e formed part of one or more chariot groups. Hs. 5 in., 5^ in., 11, 6()6, ()()7. 2281. Chariot and Horses, mould-pressed, and represented from 3O0 Pl:RIOD OF HHLLHMSl IC ARl in front in ahsurcll\- shalknv relief: all, in fact, that is rccogniz- 'I'erra- able is the fore-part of the four horses, and the heads and '^p^ta shoulders of the two occupants of the car. Siniilarh' abbre- -," x'iated groups are recorded from the Phoenician coast; but it is not clear whether C\prus or the mainland is guilt}- of inventing them. The chariot has a dense white slip. Doell, xiv, 24, 935; C\prus, p. 164. II, 658. 2282-2290. Hkads Of- Dhities and \'otaries in \arious Hellen- ^*^y^' . . , . cot la istic styles. The red cla_\' of 2282 seems to belong to a fabric c^ase of large funerar\' terracottas characteristic of the later tombs "^ at Marion in the northwest of the island. 2284 follows a late Zeus-t\-pe; 2283 a Hellenic Herakles; 2286 is beardless, but has the horns of Zeus Ammon, and should be compared with the earlier stone statuettes of that deity (1136-1140). The peculiar fabric of 2290, with chalk}- pink slip, whitened eyeballs, and black paint on e}es and hair, relates it with the well-w-orked head 1462 and with the chariot 2281. With these late types compare the large heads 1469-70 in the funerary fabric above mentioned, and in other st}-les, exhibited in Floor-Case X. Hs. 31',; in. — i§ in. II, 539 (2283), 607 (2286), 531 (2287), 525 (2289). MISCELLANEOUS MOULDED FIGURINES OF LATE STALES These are all of poor qualit}-, and, with the exception of the Temple- bo\-s, Phr}-gians, and Lions, are de\'oid of local interest or associa- tions. The}' are onl}- of \-alue to show how completel}- the native traditions of cIa}--modeIling died out after the age of .Alexander. 2291-98. Thmple-Bo'>s represented in the con\entional dress and poses. With the crouching tem[-)le-bo\s 2291-95, compare the stone figures 1204-1222: compare also the larger clay example 1463, and the cla}- heads ij\()^-~. Note the rich belt of pendants worn b\- 22()2. With the stantiing ten-iple- bo\s 2296-7, compare the stone figures ii()i, IM)^; am! note their con\entional flat cap. Of 22()8 on'}- the he;ul is pre- served. Hs. 7:,' in. - I 'i, in. II, 349 f22()l), 345 (22(}2), ■!4(> (22()>,), 34^ C22()4), 347 (22()'-,), 342 (22()()), ^14 (221)7). 2299-2301. Pinn'f.iAN X'oTAKV, perh;ips intended tor Alt is, the Phr\gian couritt'rparl of the S\rian Adoiiis in llir cull ol ihe dreat .\lotlier. lie uears the sanu' soft c;ip, loose Xun']^ and 3(M THF. coi.i.ncTioN OF ti:rracotta figures "orra- troiisors, and tk)\ving cloak as tlie stone statuettes 123 i and "-";' ns<). In 22i)i), he is represented dancing wildly; in 2300-1 S he rides a horse. Hs. 7^ in. — i » in. 1 1, 307, 665, 663. .2K>---3i<^- Fros, represented in various postures: holding a swan 2302-5; an apple 2305-7; pla>ing with a dog 230S; riding a goat 23o<); wrapped in a cloak 2310; drinking 231 1; or recumbent 2312. The heads 2313-14 show a peculiar hair- plait on the head (cf. 2318 below): and the head 2314 is itself winged, an anticipation of the "cherubs" of the Renaissance. In the relief 2315-6, Eros is shown in converse with Psyche, and 2317 probably represents Psyche separately; 2318 repeats a very popular blending of Eros with the Graeco-Eg}ptian deity Harpokrates; and the characteristic hair-plait of 231 1, 2313 is realh' an attribute of Harpokrates. Hs. 5s in- — 2>; in. II, 351 (2302), 363 (2303), 365 (2304), 333 (2305), 361 (2306), 370 (2307), 350 (2308), 336(2309), 369 (2310), 331 (231 1), 366 (2312), 332 (2315). 2319-44. GROTHsguE Figures and He.ads, including a recumbent dwarf (2319); a negro (2320) with unusual deep pink surface colour; an interesting series of Silenos types 2321-30 (archaic 2323-4, Socratic 2325-6, Hellenistic 2327-30); miscellaneous t\'pes 2331-8, and a few Tragic and Comic .Masks, 2339-44. Hs. 3 in.— li in. II, 372 (2319), 360 (2323), 358 (2324), 208(2342), 210 (2343). 2345. Bearded AF\sk for suspension. Fike 2071-5 and 2133-6, this is a Hellenistic oscillum, showing the late persistence of this earl}' l\pe of votive offering. H. 4I ,1 in. II, 491. 2346-8. Reliefs, probably votive, all in poor late C^ireek work- manship — 2346 representing a }'outhful male head, in medal- lion border;2347 a deity seated full-face; 2348 a nude warrior charging to the right. Hs. 6f in. — 2 in. 1I> 371 (2347). 340 (2348). 2349-50. FioNs in the same late Cypriote st\ le, under Hellenistic influences, as the stone lions 1383-5. Hs. 4^ in., 4i'V in. 11, 669 (2349). 362 HE COELHCTIOX OF LAMPS THE COLLECTION OF LAMPS NO lamps arc known from C\-firus earlier than the Period of Oriental Influences, with the doubtful exception of one rude saucer with slightly pinched lip from the Bronze Age site at Kalopsida, now at Oxford; and this may after all be a crucible. Probably, in a forest-country like (]\prus, torches were commoner at first than lamps; and probably also, as in Egypt, and all through the modern Levant, a floating wick, set in any saucer, supplied the minimum of night light which custom demanded. A. CYPRIOTE SAL'CHR-LAMPS About the seventh century, howe\er, the device of pinching to- gether part of the rim of a saucer, so as to make a wick-holder, was introduced from the mainland, where it had been in use, in Palestine at least, since the close of the Bronze Age. 2501-18. Sauchr-Lamps with Pinched Rim, of \arious dates from the sixth to the fourth centur\' B. C The earliest t\pes (2501-7) show a rather deep bowl and no rim. A rim ap- pears first in the fifth century (25() jM^'xeiit the oil Iroiii spilling, and the burner is formed of a short t rough-sjiout whicii projects from under the rim, and rises le\ el with its upper surface. I he THE COLLECTION OF LAMPS inscribed lamp (iSss in the (Collection of Inscribed Objects), which nia>' be even earlier than the tilth centurx', has a bod}- of this t\pe. When a handle is present, it is usuall\- a nearh' horizontal loop around the part of the bod\' opposite to the nozzle. To secure such lamps from o\erthro\v on the high bronze lamp- stands of the period (4061-77 in the Collection of Bronzes), the\' were often made with an annular bod\-, so as to fit onto a spike on the top of the lampstand; and this improvement was borrowed, ver\' rarelv, b\' native lamp-makers. 2519-20. Salchr-La.mi's with Ce\tr.\l Coll.AlR. These are of the ordinarx' fourth-centur\' make, with wide rim, but rather more solid than usual; the central collar is high, narrow, and clearly experimental. On the other hand, the de\icc of the pinched lip is itself borrowed and applied to other purposes, as in the following group: 2321-4. Salcer-likh Ladles with Pinched Rim. These are placed with the saucer-lamps for comparison and are probabh' of the same period, but are probabl\- shovels for carr\ing hot coals, like the stone fire-sho\els lOSg-Qo, and nSOi in the Col- lection of Inscriptions. Here the pinching of the rim ser\es to deepen the bowl and strengthen it near its junctioii with the handle. B. HELLENISTIC AND GRAECO-ROMAN LA.MPS For the centuries next after the fourth, we have again no clear evidence as to lamps in Cxprus. But later still, from the first centur>' B. C.. ordinar\- late Greek lamps become \er\' common in tombs. The t'ashions are now set b\- the great Greek cities of the Nearer Kast. such as .Mexandria and .-\ntioch, but the chronology- is ver_\- obscure, and it is certain that man\- txpes were long in use together. .-\. selection from these lamps is published m .Atlas II, cxxx\-iii-cxl; compare C\-prus, p. 76. 2523-88. La.MPS WITH CONCA\ E ToP AND SCROLLED NoZZLE SCCm on the whole to be the earliest, and certainl\- give place wholl\- to other t\-pes after the second centur\- .-\. D. The\- haxe a round saucer-like bod\-, co\ered b\- a concaxe upper side, with a small hole in the middle, through which to pour the oil. Ihis upper side was made separatel\- in a mcKild, and added to the saucer when half dr\-. The burner or nozzle projects in front for the whole depth of the bod>-, and is roofed above 3 06 HELLENISTIC AND GRAECO-ROMAN LAMPS by a prolongation of the body cover. The development of this type from the primitive saucer-lamp is betra\ed, however, by the scroll ornament on either side of the neck, which still suggests decoratively how a closed nozzle was first formed by folding the edges of the saucer together. The larger examples have handles opposite to the nozzle, either triangular and ornamented with a palmette or even a pictorial design, or crescent-shaped, or a vertical loop like that of man\- bronze lamps, degenerating in 2773, 277^, 2781 into a small excrescence which is often unperforated. But many of these lamps have no handle at all. The concave top is often decorated with a shell-ornament or rosette or wreath or other simple design, impressed from a mould. The examples above described have been selected to illustrate the growth of the forms, and are for the most part quite simply deco- rated with a rosette, wreath, and other simple design. Many lamps, however, have more ambitious ornament, and the repre- sentations on them illustrate well the popular renderings of m\tho- logical incidents and well-known art-t\pes. All are impressed from moulds, of every degree of artistic merit. 2589-2629. Lamps with .Animals and Birds are very common, especially such as were attributes of some deit\-, like the ^^otti Eagle of Zeus, 2394, 2598-9, the Dolphin of Poseidon, 2600-2, Cast- or the Cock of Asklepios, 26(J3. Hunting scenes are common '' (2607, 2609, 2620); and occasionally a fable is suggested, as by the bear and squirrel (or ape?) on 2612. 2630-54. Lamps with Scenes fro.m the. Public (james, such as chariot races (263 1-4) or gladiators and their weapons (2635-54). 2655-61. Lamps with Dionvsiac Slbjexts, such as Sat\TS, Maenads, and Silenos-masks. 2662-95. Lamps wiih Figure;s of Deii ie.s and other mvthological figures and scenes are common, and occasionall\- reproduce rec(jgnizable works of art. Pros is especiallx' common (2()7^- 85). Note the representation of Purojia and the Bull on 2()7i. .Another common Ixjie shows some aflinit\- with the ojH'n-topped lamps of the fourth centur\-, in its plain b()tl\- ami noz/le, and in its compurati\elv large ojiening, which is usuall\- surrounded b\- a wheelmade moulding. It leads on to man\' latcT t\pes which combine the peculiarities (jf the jirexious classi's. 367 THE COLLUCTION Ol- LAMPS Terra- 26()6-27()s. Lami's with Di;i.i' Body and Plain Top and Nozzle. ,,"^*' ■' Some of tlicse ha\e a loon handle set nearh' horizontallv round the back of the bod\- (2()()()). .Man\- are provided with a prominence on one side of the body {ibqb-j, 2701-3), per- forated to hold the small metal pin with which the wick was trimmed. l)Ut this projection is often unperforated and merel\' decorati\e (2()()'pes 2525 if. The 368 HRLLHMSTIC AND GRA HCO-ROMAN LAMPS names arc usuall\' in tlic gLMiilive case. Most of those in this collection are Oeek: 'Kp;j.'.avo[j| 28(Sc)-3; 'K-^iz^yj 2877; Wsocwpfol J 2(S(;)3-6; IlAatwvoc 2878; ^:p'jp(c(.)vo; 2871-4; Xxp(c(ovo; 2875-6; Z(o;a[o]'j 287(5. Others are Latin: [avsti, 2857-70; ROMANH and RO.MANE SIS, 2845-2852; P.C.1-. ( I- for fecit), 2853-56. .Man\- names are abbrexiated: IIoaj 2807; h\A 2808; and H-^' 2()i3, perhaps for the famous C\pri(jte name F.xagoras; ma, 21)00-1 i ; at, 2014; sr, 2912; ch with branch, 2900; IT, 29i(); I, 2884-92; (-)30cwp[o]j 2893-96; and many lamps bear only single letters (2904-8) or monograms. Others have a maker's mark, such as a human foot (2915-19), (2923), or a sole (2922, 2924) or a circle (2928-29) in place of a name; or in addition to it, like the branch on 2927. Some of the latest inscriptions, on lamps like 2930-49, are too illiter- ate or blurred to be legible; but the}' all seem to be Greek. 1 erra- coita C:ase 13 369 IHK COLLI-CTION OF GOLD AND SILVER ORNAMLNIS THE COLLECTION OF GOLD AND SILVER ORNAMENTS THE Collection of Gold and Silver Ornaments is exhibited in the Gold Room of the Museum. It consists almost entirely of personal ornaments, and illustrates every period of (]\priote art. Though it includes nearl\- all the prin- cipal t\'pes, it suffers, like the rest of the Collection, from lack of precise information as to the circumstances under which the objects were found. In particular, though the site of Curium is famous for rich tombs of all periods, no subsequent explorer has been able to identif}' the "Treasure Chambers" to which the greater part of this jewelry is attributed by Cesnola himself (Cyprus, (^.hapter XI; Perrot, p. 283 ff. : for enquiry on the spot, see S. Reinach, Chroniqiies d'Orioit I, p. 267). The Collection is therefore arranged simply to show the principal stages of the jeweller's art in C^xprus, and falls into the same main divisions and periods presenting the Bron/e Age, the l^arlx' Age of Iron, and so forth, as ha\e been alread\' explained in the Intro- duction, p. xx\i ff. A few objects which ha\e been reshaped (like 3136), (;r regrouped unskilfull)' since their disco\er\' (like 312^, 3252, 3263) are noted as thev occur: and the necklaces of miscel- laneous beads and pendants (33HS, 3395J now have been redistri- buted according t(j st\les. I. c)rnami;nis oi- nil-; bron/.i- \c,\: i, ii. HAKLY AM) .MIDDI.I, I']:RIOI)S, WTMI I \ OK . INOIS Cri.Tl'RH To the I{arl\- Ikon/e Age. which has few metallic objecls of an\- j-ii^i^, kind, nf) personal ornanu'nts can hv assigiieti with ciTlainlx'. lo C.isr the Middle jieriod ht-loiig I he dress-pins of coppi'r ami bron/e ' ('4074-91 ) in the Collection of liroii/es, and also the \ er\- rude spiral objects now to be described. 575 THI-: COLLi:(.TION OF GOLD AND SILVER ORNAMENTS I .ihk' ^^ooo a-d. SiMKAL Ornami-nts, of silver, or rather of a primitive "'^'^ allo\' of silver and lead. These objects are fairl\' eommon in tombs. When the burial is undisturbed, the\' are usuall\ found about the head, like the more artistic spirals of gold and siher in later periods (3336-80). They are therefore commonl)' regarded either as ornaments for the hair, or as earrings. Such ornaments are shown in position on heads of stone and terracotta of later periods (1274, 1452-3); and the use of similar jewelr\- in the Bronze Age is suggested b\' the rude terracotta figures 2009-13, which show several ear- rings in each ear, passed through holes both in the upper and in the lower lobe. Ill, cx\ii, i, 4. iii. LATHR BRONZE AGE, UNDER MINOAN INFLUENCE The Late Alinoan colonization of Cvprus introduced many fresh forms of personal ornament which had a long histor\' elsewhere. Some of these are native to the .Aegean homes of the settlers; others are deri\'ed from hg\pt, which Ia\' near at hand and became more easil\- accessible in this period. Side by side with these, however, the old spiral earrings, somewhat elaborated, persist into historic times. Much use is made of thin gold plate, embossed from behind with spirals, rosettes, lotos flowers or palm, and .M\cenaean "eight-shaped" shields, and occasionall\' with sphinxes and other living creatures. Earrings are either spiral, or "boat-" or "leech"- shaped, or consist of a pendant of gold foil or a mere loop of wire. Necklaces are often multiple, and consist of several threads, with control-beads at intervals to keep the chains parallel. E\elet- pins are popular, and often richl\- decorated with plaited wire. 3001. Sceptrh-Head of .Agaie, richl\' handed in brown and x'ellow, designed as a six-Iobed knob, with tubular socket above and below. The form is probabI\' developed from that of the native distatT-head, which appears also on pins of the Bronze , Age: compare 3 14c) of siher, and 4()9i in the Collection of F^ronzes. The socket contains the remains of a shaft of iron, which was coming into use as a "precious metal" in the Late Bronze .Age (p. xxxi). C>prus, p. 309; Perrot, fig. 5O3. Ill, vi, I. 3002. Fronilf.t, of thin gold leaf, rectangular, and impressed with concentric circles, b\' beating over an embossed stamp, or a coiled wire. This embossed technique is charactcr- 374 3001 y46S) 3U07 THi; c'.oLi.ia'.iioN oi (.old and silvhr ornamhnis '■J'"'''-' islic of Alw'onacan ^olcl work both in (Cyprus and in the j Aegean. C^\prus, p. 312; Perrol, lig. ()02. Ill, xi, 4. 3003-4. .M(H' iii-Pi .ATi;s, inleiuled lo be tied o\er the mouth of the deceased, to seal I he hps. This custom prevailed also in the C^raeco-Phoenieian period (3294-6). The plate 3003 is of thin gold, embossed with rosettes; 3004, of gilt silver, thicker, and modelled to lit the lips. Ill, xi, 3; xxxix, 10. 3005. N'hCKLACi-: of spherical gold beads, and palmetto pendants of gold leaf, alternatelw The later necklaces 3301-2 have lotos pendants of a t\pe which goes back to this period. Ill, x, 2. 30o()-5(). RoiNDi-LS of thin gold plate, intended to be applied to a background of cloth, leather, or woodwork. Many similar roundels were found in the ro_\'al "shaft -graves" at M}'cenae. 3oo()-S are flat, with embossed rosette ornament. Ill, iv, i, 6. 3()(K)-2(), flal with a pattern of four lotos-flowers. Ill, iii, 6-7. 3027-56, highl\' con\-ex, without ornament. Ill, v, 2. 3057-61. Phndant Beads from a necklace, shaped like flies (M^t7-9). ^in*-! lotos petals (3060-1). Ill, i\-, 14-16 (Hies); 18,22 (petals). 3o62-3()C)2. Spiral Earrings, of plain gold wire of two turns (3062-70) or one (3071-86; 3094-3 119): rather thicker wire is used for 3078-81. They are deri\ed from the primitixe spiral 3000, and were intended to hang in the lower lobe of the ear; 3o()2-86 are elongated so as to fall below it. 3087-92 are in siherof fine qualitx', not the primiti\e sih'er-lead; the\' are greatl\- elongated, and usuallx' of two turns. That the_\- were worn in clusters is shown b\' 3087, which consists of two such earrings rusted together. Ill,x\'ii, 1-4, 19, 20, 23, 24, xlii, 13, 14. 3093-31 14. Spirals of- C^old W'irp; like theearrings 3062-92, but not elongated for suspension: the\- ma\', however, have been worn in the ears. Ill, x\ii, 24. 31 15. B()at-shapi;d Earring of gold, derived from the primi- ti\e spiral of one turn b\- thickening the middle part and shortening the ends, so that the\' onl\- o\erlap slightl}' at the point of suspension. The\' are not, howe\er, furnished with loops like the earrings (3i59-()o) of the Earl_\- Iron Age, nor do the\- interlace with hook-and-e>-e fastening, like the later "loop-earrings" f37(-)i il'.). Ill, xix, 32. 376 3c)o() 3120 31 16 3018 3113 3062 3131 3146 ^i4<) HyU 3 i6< o 3lO() 3163 3I(j7 THE COLLECTION OF GOLD AND SILVER ORNAMENTS Table 3116-3135. Pkndant Earrings, consisting of a thin gold wire ^^^- occasionaIl\- swollen slightl\- towards the middle: the ends usualh' cnerlap like 31 15, but sometimes are simpl\- twisted together for securit}': 312s, 3126, 3130, however, seem to be late "loop - earrings" wrongly added to early pendants. On the wire is threaded a pendant of thin gold plate embossed in the shape of a hull's head (31 16-3130); but in 3131-5 the original design is forgotten, and its features are transformed into palmettes (3131-4), or zigzag lines (3135); a striking example of decorative degeneration. This t\pe is common in the M\cenaean tombs at Enkomi. 1 1 1, x\i, 1-13, 15-19. 3 1 16 is rather larger and has lost its back-plate and suspension- ring: but it seems to be of the same class as the rest, though of more barbaric and angular st\le and probabl}' of later date. 3136. Earring composed of a narrow gold ring, of which the ends should overlap, but are now distorted: an exactly similar example from Enkomi, in the British Museum, makes the original shape certain. .At the middle point of the ring pro- jects a granulated ornament, which ma\' ha\'e been imitated from the bull's-head pendants, 31 16 fT., and perhaps gives rise in turn to the "mulberr\'" earrings 3169-74 of the next period. Ill, xvi, 14. 3137. Pin Head of gold foil, forming a bull's head in the same st\ie as the earrings 3116-35. III. i\-, 33, or 35. 3138-42. Lhntoid Beads of gold, made of thin plate; of character- istic Late Minoan form, circular with a deep longitudinal groo\-e; (3138-40,) or o\al(3 I4i-2)the t\-pe is derived from the lentoid seal-stones and stone beads of this period like 3143. Ill, iv, 21. 3143 a, b. Lentoid Beads of Sard from a necklace; these are the protot>pes of gold beads like 3138-42. 3 144. Cylinder-Mounting of Gold, one of a pair, for an Oriental cxiinder of rather more than average size. Smaller mountings of this kind have been found enclosing a Babxlonian c\iinder in a Bronze .Age tomb at Agia Paraske\'i, now in the C\prus Museum. C^ALC. 4501 : compare 4345,435 i, which ha\e these mountings imitated in steatite. 3145-8. Eunnel-shaped Mountings of Gold, with recurved rim, formerl}- described as the mountings of large c_\iindrical 37H LATER BRONZE AGE. EARLY IRON AGE seals. Similar mountings ha\e been found in a Bronze Age T^^ble tomb at Agia Paraskevi, now in the C\prus .Museum, CALC. 4502. These ma\-, however, be the separable necks of scent- bottles, like 3598; in which connection compare the sih'cr ob- jects described as "loom-rings," CM. C. 4801-3. Ill, i\-, 3-4. 3149. Pin of Silver, modelled like a distaff-head of man\' lobes; compare the lobed sceptre-head 3001, and the earlv bronze pin469i. Cyprus, PI. xxi; Perrot, fig. 569 lll,xxxix,i3. H. ORNAMENTS OF THE EARLY IRON AGE i. ii. TRANSITION.A.L AND GEOMETRICAL PERIODS In contrast with the show\' but unsubstantial gold leaf from the .\l\-cenaean tombs, much of which must have been made expressl\' for funerar\- use, the rarer ornaments of the Earl\- Iron .Age gi\e the impression of e\'er\-da\- solidit\-, and not infrequenth' show signs of wear. In this period gold, though far from copious, is much commoner than silver, and is often of a warmer colour than the M_\'cenaean gold. Most of the t\pes are derived from those of the M>-ccnaean tombs, but there are a number of fresh experi- ments. The series of earrings, with their \arious fastenings, is particular!}' instructi\'e. In the Geometrical Period, "granu- lated" surface decoration as on 3186-8 begins to be characteristic. It is produced b\' soldering upon a smooth surface man\- minute balls of gold either in solid masses or in decorati\e triangles, zigzags, and other de\ices. It occurs but rarel\' in .Minoan gold- work (3136), and in (jreek ornaments it is replaced b\- filigree work of soldered wire: 3313, 3321 are earl\' examples of this. .All these objects are of gold unless otherw ise described. Earrings, in this period, consist either of a plain circlet, with ends overlapping or looped; or are of "boat " or "leech" shape, derixed from the .VU'cenaean (31 is), hut sometimes adorneil with "cage- and-ball" pendants (3178-85). 3150-65. Harl^' I-AKKIN*.'- of simple form, de\eloping experi- mentall}- in the direction of the " boat-shajH-d " earrings ] i()() If. 3150-8 consist of a plain urclet, the t'litls of which oxcrlajt at the point of suspensii >n, but do not interlock. The circlet is svmmetrical, slightK swolK-n in the middle, and e\'en llat- tened or hollowetl on the inner surface, for i'Conom\- of iiK'tal, This is the first approxiniai ion to the " hoat-sha[H'd " t\pe 31 15, 3i6() ff. Ill, xix, 21, 22. 379 IHH COLLlXrnON Ol- GOLD AND SlLVliR ORNAMENTS ' ■^''"'l"-' ^I50-(k) resemhlo ]\ S"-8, bul ha\e eacli end twisted back upon "j itself to form a loop, thi\)Ugh which the earring must have been tied tt) the ear b\' a thread. ^i()i has the two ends twisted together in a slipping knot; the circlet is slender, and has a negro's head in steatite threaded on it like a bead: compare the steatite heads 1 550-1 which are in the same st\le. ill, xviii, 3. 3102-3 ha\e the bod\' of the circlet thickened till it forms a trans\erse keel. The twisted ends are now merel_\- decorative, and the suspension loop is replaced by two arms, hinged to the boat-shaped bod\', with their free ends meeting, so that the earring was held to the ear b\' its own elasticity. 1 1 1, xxiii, 35, 36. 3i()4-5 are of the same form as 3162-3, but their ends are twisted together in a slipping knot like 3 161. ill, xxiii, 29, 30. 3166-77. Boat-shaped or Leech-shaphd Earrings of the full}- developed boat-shaped t_\'pe. The loop of 3166 is now \er>- long, and the bod\' somewhat flattened to a p}'ramidal form. Outside, a cluster of four small gold balls is added below: this ornament seems to originate in late Alxcenaean earrings like 3136, and goes on into the period of Oriental influences. 3167-8 are of similar "boat-shaped" t\'pe, with four gold balls and a decorative binding of wire. But the upper part of the circlet is now uns\mmetrical and opens with a hinge. Hinges of this kind are usuall\' Graeco-Roman at earliest, as in 3609, but the workmanship of these examples seems to refer them to the Earl\- Iron Age. Ill, xiii, 18. 3169-75 probabl\- represent the "three-balled, mulberr\--like" ornaments of the Homeric .Age. The circlet is slender, and at the lowest point is a cluster of hollow gold balls, rendered as if attached to the circlet by a lashing of gold wire. The ends are plain and do not oxerlap. Later "mulberr_\' earrings" occasionall}- reappear in Hellenistic tombs (3612-4) and are distinguished b\- their poorer workmanship and hook-and-e_\-e fastening. HI, xiii, 15, lO. 3176, a pair of these "boat-shaped" or "leech-shaped" earrings in sih'er, shows how the>- were worn in a cluster in the ear. 3177, in gold, shows the "boat-shaped" earring full_\- de\eloped with a prominent keel and unsxmmetrical loop. One end of the original circle of wire is now obsolete, and the other 380 EARLY IRON AGE has become a long hook which passes through the ear and returns to meet the front end of the bodw III, xix, i8. 3178-85. Boat-shaped Earrings with "Cage-and-Ball" Pen- dant hanging b\- a loop below the boat-shaped body. This ver>' popular ornament consists of a gold cube surmounted lablt Case 3171 3177 3178 3188 3189 3iyo by a pyramid of balls enclosed in an arched frame. The meaning of this pendant is unknown, though some have taken it for a measure-full of corn. It is sometimes found associated with a second pendant representing a hawk of Eg\ptian st\'le, but it seems to haw appeared in the sex'enth centur\- before Eg\'ptian influence is strong. It went out of use in the sixth. C\prus, p. 297, and PI. xxvii. 1 1 1, xxiii, 3 i, 32. 3186-8. 0)NTROL-Beads, perforated trans\ersel\', to he worn in a collar of two rows: the\' ha\e a tkit rectangular surface co\ered with granulation within a narrow border. 3189-93. Pi-.NDAN r-Discs OF (jOLD, made of solid plate, with a tubular collar (jn the edge, b\- which the pendant was threaded on a necklace. These discs are characteristic of the Earh' Iron .Age. The}' are ornamented with concentric rings in relief, and other ornaments in granulated work. 3189 is orna- mented wholh' with triangles, like those on the Earl\' Iron .Age polter\- (301 If.), outlined and filled with "granulation." Ill, xix, 28. 3190 has an ornament of small balls and rings of twisted wire, soldered to its surface, an earl\- experiment in the filigree work which e\entua]|\' superseded granulation: it ma\' be as late as the sixth centurv. 3 If) I -3 are smaller and of simpler design; ^i<)^ has now no loop. "! 104-7- Pi-Aoi:i-.s of thin goiti leaf, rectangular, and perforated at the edges for attachment to cloth or leather, l.ike other examjiles of this riire chiss of ornament, the\' b(jre embossed representations, no\\' cjuite tiisfigureil. THE COLLHCIION OF GOLD AND SILVER ORNAMENTS I able 3ig8-320Q. Fibulae oi- Gold and Silvhr, following the types ^'^^- classified and described in detail in the Collection of Bronzes. 3Iq8 of gold (Tvpe iii) with slender bow, stilted and rather strongl}' archeii: cpe i\) with central knob and collar, and axe-head ornaments on the bow. It shows copious traces of gilding. (]_\prus, PI. xxi (inaccurate). Ill, xli, 5. III. ORNA.MENTS OF THE PERIOD OF ORIENTAL INFLUENCES i ahle The t\pcs of this period are f'or the most part dexeloped from Case those of the Harl\- Iron Age; but their \-ariet\' is greater, and their " ornaniL-nt is dominated b\- Oriental motixes, palmette, lotos, 382 PERIOD OF ORIENTAL INFLLHNCES guilloche. Silver becomes very abundant towards the end of this Table period. The gold loses the warm colour characteristic of the -' Early Iron Age, \'et as a rule is not greatl\' alloxed with silver; but it is seldom solid, and is often economized b\' plating it on a bronze foundation. Granulation is now combined with filigree work in gold wire. The earrings elaborate the "boat-shaped" t\pe inherited from .M>- cenaean times: the bod\' is symmetrical, and often clearly marked off from the loop, which has its opening low down on one side; pendants and other ornaments are added below the bod\'; or the body itself is made hollow to hold a coloured stone, but prob- ably' not much before the fourth centur\-. 3210-31. Earrings with "Nail-Hhad" Pendant either cast solid on the bod\' of the earring (3210-24), or suspended from it b\' a ring (3225-27). These earrings were commonly worn in clusters, for they are sometimes found rusted together (3226). They are commoner in silver (3222-7) than in gold (3210-21), but some of the siher ones show traces of gilding. 322H-31 are detached nail-head pendants from similar earrings. C]\p- rus, PI. xxvii; (32 10-2 i). Ill, xxiii, 33, 34 (3210-21); xlii, 16-18 (3222-7). 3232-4. Earrings with I Iathor-Hiiad Phndants; of silver, gild- ed and fitted with rings below for other pendants. 3235-47. Earrings with Pi:ndants of \arious design: 3235-7, in gold, have a lotos flower with two discs, from which again hang three bud-shaped pendants (some now missing), one in carnelian, two in thin gold embossed to imil;ite granulation; probabl\' of the sixth centurw These pendants show the protot\pe of the "spear-point " ornament (^^<)4-()) which pla\s so large a part in Hellenic jewelrx' of the fifth ami fourth cen- turies. (^\prus, PI. xx\ii. Ill, xix, 35, ^(>. 323S has a lotos design in the earliest st\le of filigree \\(>rl\ of the sixth centur\', in which the wire is slill noUluxl trans- \c-rsely to simulate granulation, from a small Idtos pen- dant, three be;ids, now missing, were hung on goKI wire^. Ill, xix. ](>. 323() has later filigree work, and no pi'iuianls. Ml. xix, 24. 324(j-5 are of the same boal-shapi'd form, but smaller and plain. Ill, xix, 17, 2 ]. THH c:()Ll.l-(.rK)N Ol- COLD AND SIl.Vl-R ORNAMHNTS l:ihle Case 3244-7. B()Ai-sii.\i'i:n I'.AKKiNc.s with the body cut a\va\' below to form the setting lor earnelian ( 5^44-()) or lapis-lazuli (3247). I'hese earrings ha\e been regarded as much later in date than the plain ones, on the ground that the\- contain coloured stones; but, as alread>' noted, it does not seem safe to assume that the use of coloured stones begins so late in Cyprus as it does in Greece and the West, and the granulated decoration of these earrings suggests an earlier date. Ill, xix, 19, 20. f 3210 n 3244 3248 3252 3233 3248-51. LoBiD Earrings, of electrum, have the body divided transversel)' into five lobes, on which are filigree rosettes. This lobed t\pe, which is closely related to the boat-shaped, begins early in the Troad (Hadaczek, Ohrschmuck, fig. 4) and in Ionia, where it is characteristic of the voti\e ornaments, of the eighth cenlur_\-, from the Temple of Artemis at Hphesus. In Egypt, another variety has been found in deposits of about the same date. In Cjreece, and also in PTruria, it gives rise later to a rich series of lobed and barrel-shaped forms. In C\prus this t>pe is exceedingly rare, and the pale "electrum" alloy of which these examples are made suggests Ionian origin. Their workmanship cannot be much earlier than the sixth centurw (l\'prus, p. 310; Perrot, fig. 585. Ill, xiii, 4, 5. 3252. Cloisonnh Earrinc. with PfiN'DANT. This has the bod\' replaced b\' a cloison ornament, representing an Egvptian conventional plume of feathers: it is set with a carbuncle (perhaps not original), and formerlv contained other stones or inlaw Below is a pendant hawk in thin gold. The strongl\' Egyptian st\ie suggests a date in the sixth centurx', but if, as is like!}', the earring is of Eg\ptian workmanship, it ma\' be later. It should be compared with the cloisonne finger- rings 4071-2. 1 1 1, XX, I 5. 3253-8. Earkinc.s with Eath "Mulberry" Ornaments in which the large p\ ramid of balls is enriched by other smaller pyramids 384 PERIOD OF ORIENTAL IN FLU 1;NCES like those of the "cage-and-ball" earrings 3178-85. C\'prus, p. 310; Perrot, tig. 584. HI, xiii, i, 3. 3259-60. Hathor-Hhads embossed in thin gold and suspended from a twisted wire. Thcv may be pendants from earrings, or perhaps were used separate!}'. Ill, i\-, 28, 29. 3261-7. Spiral Earrings of Silver, small, plain, and closely coiled. The}- cannot have been inserted in the ear, but may have been tied to it like some of the earlier earrings. 3268. Control-Plaque of Siia'er, from a necklace of three rows, designed with a setting for a flat stone: the gold palmette which now occupies this is not original. 3269-70. Pendants of Siiaer: 3269 with geometrical ornament, fragmentar}-; 3270 with two figures in Eg\'ptian st}ie, beneath a winged disc. 3271-6. Bracelets of Silner Plate, richly engraved and gilded: 3274 has lotos and cable pattern; 3275-6 ha\e panels of winged figures, lions, and men, in .Archaic Cxpriote st_\ie. Ill, xxxix, 1 1. 3277-9. 0)ntrol-Plaqle and Bi;ads from a Silver Necklace. The plac^ue 3277 has an embossed design of lotos-tree and sphinxes, like that of the funerarx" stelae 1412, 1420, in the (Collection of Sculpture. The beads 3278 a, b, 3279 a-i, are rectangular plates em- bossed with female heads, like those on 325()-()o, but of rather later style. 'I'hese beads are of two sizes, but all of about the same date, in the sixth centurw 111, xxxix, 21. 3280-1. Bracelets of Gold (Cloisonne Work. On a smooth gold base of thick gold, which closes with a hinge and clasp, iabie ("ase 32S(. 3^<^i aframeofdeep gold cloisons, once filled \\\\h I'naniel, encldses panels each containing a six-iioinletl roselleol similar cloiMume work.excefit the end jiani'ls, w liich contained enib(>ssi.'d plac|ues, one of which is iireserx'ed and sliows a lion's heaii in line 1 .g\ 1^- THH COLLECTION OF GOLD AND SILVER ORNAMENTS 1 able tian st\Ie. The rosette panels recall a favourite ornament ol j^ the sixth-centur\' potters in C\prus: compare 699 in the Col- lection of Potterw But the gold work is probabl\' Egxptian. C\prus, p. 311; Perrot, tig. 599. Ill, ii, 5. 3282. Grasshoppkr of Gold perhaps intended for a pin-head: possibi}' in imitation of the famous tettix or cicada-ornament worn by Athenian citizens in their hair. Ill, iv, 26. 3283-7. Figures of thf Mother- Goddess in Gold designed for suspension b\' two loops at the back. The pose and working of the back and sides suggest that these are developed from a grasshopper ornament like 3282. Ill, iv, 8. 3288. Pendant Bead of .\gate in Egyptian setting of gold fea- thers. 3289. Plaque of Gold with engraved representation of Atlas in EgN'ptian st\ie supporting the sk\', as on the scarab 4407: from a necklace. C\prus, PI. xxxi\', 6. Ill, v, 4. 3290-6. Frontlets of Gold Foil; ornamented with archaic Greek palmettes 3290-3, or birds 3294: the shorter and broader examples ma_\- ha\e been used as mouth-plates. Ill, xi, I, 2, 5. 3297-3302. Necklaces now begin to be frequent and elaborate; the\' often consist of several rows of beads and pendants with numerous control-beads, or of wide beads strung on parallel threads. Chalcedon\', carnelian, sard, and banded agates come into use for beads, as for seal-stones, probablx' in the later sixth centurw .Amulets of Eg\ptian glaze are popular also. 3297, gold spindle-beads, with spherical controls. Ill, ix, 5. 3298-3302, gold pendant-beads, representing lotos-flowers (3299, 3301-2) and their buds (3298, 3300), alternate with spherical beads: 3300 was designed for cloisonne enamel. 3301 has pendants of a ver\- early t\pe and ma}' be ofC\pro- AU'cenaean work. C^xprus, PI. xxiii; Perrot, fig. 576 .A (3298). Ill, x, I (3302), T (33"o). 6 (3301). 7 (3299). 3303 (a) The beads represent tortoises anti frogs and are of agate and carnelian, alternating with gold, solid or in relief: the\' probabh' represent more than one necklace. Ill, i\', 7. 3303 (b) The larger frog-bead in black-banded agate looks like Egyptian work. 386 PERIOD OF ORIENTAL INFLUENCES 3304-35. Pendants and Beads from necklaces of similar stvie; Table . I ■ 1 ,, ■ , " Case 3304-10 are smipie lubes with collared ends. 331 1-12 are con- ii trol-bcads perforated for a triple or double necklace. 3313-21, tubular pendants, to be hung vertically (3313-15) or horizontally (3316-21); these peculiar objects had some ritual meaning, for the\' are commonly represented in the strings of charms on statues of votaries like 1 191 and temple- boys 1204-22. They may have contained relics or written charms, like the Jewish phylacteries. 33 13, club-shaped, with filigree loops or c}'es on the surface. 3316-21, tubular pendants to be hung horizontally: 3316-18 seem to represent a string of five beads, or perhaps a pea-pod, as in a Phoenician gold earring from Tharros; 3319-21 are c}iindrical, like 3314-15, with one, two, or three suspension rings; 3321 has granulated filigree ornament, of the late ninth centur\'. 3322, e\'e-shaped pendant; a plain box-setting for enamel or stone now missing; below it hang three fme chains with clusters of bell-shaped flowers. C\prus, PI. xxxiii. III,iii, 3. 3323-5, crescent pendants, with clusters of bell-shaped flowers hanging from their downward points (3323-4). C\prus, PI. xxvii. 3332 is smaller and has its points joined lighth'. Ill, xxiv, 23. 3326-35, control-beads and pendants of various forms: 3326 has a plain sard scaraboid in a setting like the swi\el mount of a signet ring; 3327-30 gold lion-head pendants, probablx' of the earl}' fifth cenlur\'; 3331 another lion-head, perhaps from an earh' bracelet like 355(S-6i; 3332 is a bull's-head pen- dant of the same st\"le as 3327-30; 3333-5 six-pet ailed flowers of gold, from a necklace. (;\prus, PI. xxi. IV. ORNAMENTS OF WhlAMNlC STYLF.S, FIIIH ANi:) FOURTH c:enturif:s B. C. FVom the middle of the fifth centur\- onwards, Hellenic Ix'pcs compete with the tradition;il ( iraeco-Plioenician forms, and rapitlh' , '' ^ ^ . ' • ( ..ISC supersede them. 'I'hough in (;\prus the \:iriet\' of lonn is not jjj so exuberant as in (Greece and ltal\', se\er;il t\ pes were tle\ flojied here which have some artistic interest. .Most remarkalile :wc the great spiral-earrings, in siher or goKi-plated bron/e, whicli begin nt'ar the close of the fifth centur)-, and are out of fashion again h\' 3«7 \\i\i cx)i.Li:c:ii()N oi gold and silvhr ornamhnts lable the niideilc of the fourth: these are a tiistanl inheritance from the '^" Bronze .\"C, and diU'er less from their protot\ne and from one an- 111 '^ . other, than do the spirals ol Cireece and the West. Animal-headed earrings, wnich are common to the whole Oreek world, and appear in the West in the sixth centur\-, begin in Cxprus rather suddenly at the end of the fifth centurw and soon supersede the boat-shaped t\pe, of which the latest \arieties in (]\prus do not seem to go far into the fourth centurw Animal-headed bracelets appear in C]\'prus about the same time. Among the necklaces, pendants shaped like vases, acorns, or spear-points are common: these are modifications of the older lotos bud. I-'igures of animals, monsters, and human beings begin to be common, and show some approach to naturalism. P'iligree work superseded granulation almost whollx' in the fourth centur\'; and experiments in colour are made with enamels, and with beads of sard and carnelian. The garnet, of which the chief sources were in Syria, probabh' reached Cyprus earlier than the rest of the Greek world, where it is not common till the third centur\'. 3336-3375. Spiral Earrings of Gold-pi ated Bronze with finely wrought gold terminals. The smaller examples have plain ends; but the majoritx' end in ornaments of embossed gold plate and filigree work, missing in some cases: either rosettes (3344-66), or the heads of lions (3367-8), or griffins (3369-73), or two griffins side b\' side with filigree rosette below (3374-5). The\' were worn in the upper lobe of the ear, and are found so in tombs of the late fifth and earl\' fourth centuries, and represented on statues like 108^ in the Collection of Sculpture. Cyprus, p. 310 (3367-(S): PI. xxviii (,3307-8, 3369 fT., 3374-5); Perrot, fig. 573 and p. 882 (3367-8), 570 (33()9-73)' 57 '-2 (3374-5). I! I, x\'ii, 6-18; xlii, 6, 9. 3376-80. Spiral Earrings of Silver, of the same t\'pe as 3336-75. I'he spiral is of one turn onl\' (3376-80), or two turns (3379). The terminal lion-heads of the pairs (rusted together) 3376-7 are of gold; but others are known with heads of silx'er, perhaps gilded original!}'. The flower-shaped pendant from an ear- ring, entangled in 3380, is direct proof of the position in which it was worn. Ill, xlii, 1-5,7-8. 3381 a, b. Di^c b'.ARRiNG OF Gold (3381 a), of slightlx' convex form, covered with granulation; on the back is a low collar or socket. This is a ver\' rare example of the most characteristic 388 HHLLENIC STYLES t\-pe of Greek earring in tlie fiftli cenlurx', whiLh, though repre- sented in sculpture, in \ase-paintings, and on coins, is seldom found in tombs. Worn in front of the lower lobe of the ear, it was probabl)- secured through a hole in the ear b\- a stud which fitted into the socket behind the front piece. In a siher earring of this t\pe from .Amathus (Brit. .Mus. 1605-6) this stud is preser\ed. C_\prus, p. 326. 1II,^■, i. 3381 b is the stud from a similar silwr earring. In Italian earrings of the same date and form, howe\-er, the front piece lable Case J 3^7 3382 3374 338KI has a short rod instead of a socket, to penetrate the ear, and be secured b\' a wire or chain passed thr(jugh an exelet in its end. 33S2. Sphinx Piadani from a necklace, showing a sphinx seated full-face, embossed on a thin gold plate; the wings are oi' the curled archaic form, and the details show a ccjmbinalion of actual granulation with a punctuated surface intended to imitate it. (^x prus, PI. xx\-; Perrot, (ig. 5(J3. Ill, \, 3. 3383-5. PiADANi Di'-cs 01 (ioLi), like those of the I'.arlx- Iron .\ge (]iH()-()>,), but of later st\le: 3v'^5-4 ha\"e conxention- alized lotos llowcrs and buds in liligree W()rk. (^viMiis, PI. xx\-i; Perrot, tig. t-() \\ 3385 is granulated, and has three ckistt'rs of small bells hung on chains from its lowrr edge: the agate which occupies its centre seems not to be original. Perrot, lig. s<)<'- 111, iii. I, 2 f^ iN',-4); \iii, 3 ( uX'-,). 3V'~;()-^^()0. N ICKI. Ac.i ■> AN!) Pi:NiiAN"i^ iKiu slidw (iligrce Wdrk replacing granulation, and mnrr frcejuciil use of cijlouri'd stones alternating with gold; the e.irliest and conmioue.sl are sard, cariielian, anil agate; chalcetiony and rock a'\slal 38., THE COLLHCTION OF GOLD AND SILVER ORNAMENTS lable are less common: c(Mnpare the stones used for engraved ' j[j signets of the same period 413O ff. Coloured enamel is used to fill the interspaces of filigree and cloisonne work; and to- wards the close of the fifth centurx', opaque coloured pastes were alreadx' in use at Amathus as a substitute for stones. Pendants are common, but are treated not as independent amulets, hut as decorati\e elements in a larger design. The old lotos bud is differentiated into spear-heads, acorns, and small amphorae; and these in turn, intoother vases (3623-33I. The necklaces here described are for the most part retained as the\- were published in the Atlas, but two of them (3395-6, 111, \ i, 2, 3), which consisted only of miscellaneous beads, have been redistributed, and part of their contents added to the other chains. It should be noted that e\en those necklaces which have the most coherent look contain a large proportion of miscellaneous beads: these serve, however, to displa\- the probable arrangement of those elements which really belong together. 3386, long, slightl\- spindle-shaped beads of banded agate and chalcedony, with granulated gold mounts. This t\pe of bead is at least as earl\- as the xxv D\-nast\', for it is characteristic of Nubian necklaces of Tirhakah's time; but in Cxprus it ma>' have persisted later. Part of III, vi, 2. 3387, spherical beads of crxstal and ribbed gold with cr\stal vase-pendant. lll,lxx\-, 7. 3388 (a), beads, terminals, and pendants of granulated gold, (b) gold beads showing the transition from granulation to filigree, (c) other pendants and beads of sard and carnclian. Part of III, \i, 3. 3389 ribbed gold beads, sard beads, and pendant. Ill, \ii, 2. 3390, double chain of sard and ribbed gold, with se\eral control-beads of gold, and a bull's head pendant of gold- mounted carnelian. Ill, \ii, 3. 339i,g(jld beads for two threads, forming a rich design of alternate double-lotos flowers and pairs of circular bosses in high relief. C:\prus, p. 312; Perrot, fig. 601. Ill, ix, 3. 3392, gold beads, for two threads, of square cushion form with filigree rosette, characteristic of late fiflh-centur\- tombs at Amathus, where the\- were worn alternating with similar beads of coloured pastes. Ill, ix, 4. 390 HELLENIC STYLES 3393, small gold beads; the palmetto pendants in gold plate, '^Me two engraved, two filigree, are from the necklace. Ill,vi, 3. ■'•'^^' 3394-5, gold "spear-points" developing into vase-forms, a fav- ourite design in the late fifth and fourth centuries. Ill, x, 3, 4. 3396, ribbed gold beads, with vases, spear-points, and pomegran- ate pendants. C\prus, PI. xxiv. lll,v, 7. 3397, spherical gold beads, with acorn-pendants and .Medusa head. C\prus, PI. xxii; Perrot, fig. 576 B. Ill, iii, 8. 3398, ribbed gold beads in three rows, controlled b\- an oblong plaque with beaded border and four palmette pendants: the agate now set in the centre is probablv not original. (^\prus, p. 312; Perrot, fig. 600. Ill, \iii, 2. 3399-3400, miscellaneous gold beads, plain, ribbed, and double- cone. Ill, \iii, I. 3401-352 1. .'\ni.m.\l-headfd E.xrrings, consisting of a circlet (jf gold wire, plain (jr twisted, which tapers from an animal's ~VV!kS^ ■ 3401 }W7 head at the front end foften enriched with a broael filigree collar) to a hooked point which passes through a loop below the animal's throat. The heads most commonl\ represent lions, bulls, or goals; 3477-8 ha\e a pair of bulls' heads side b_\' side; but there are also dolphins (^401-4), himian heads (3515-18), (jr compk'te human figures (^100-^114^: the last two t\ pes face oulwartls, with the loop of the cat Ji at llu' back, not at the creature's throat. These graceful c'arrings make their first api'earaiice in Ilal\' in the late sixth centur\-, in a hea\i(,'r t rum|H't-shaped lorm, which was refined in Crwcc in the latti'r part of 1 he fill h cent iu\", and reached ( a jirus earh in the fourth. I I err ihe\ coii tinned in common use until R(;man times with Inil little chaii,L;e: lor con\enience, theri'fore, iIk' whok' si-ries is deseribed tonellier, irrespective of elate, at the point where il lirsl amies into use. lahlo Case IHl: C.OLl.l-.CriON ()!• COM) AND SII.VHR ()KNAM1;NTS riic earliest examples are those in whieh the circlet is of twisted gold, gracliiall\- reclucecl in thickness from heaii to point, and Joined to the head by a filij^ree collar, which often encloses a spherical bead of gold: the\- are usLiall\' lion-headed. Cjoats' heads appear next: the human figures seem to belong to the late fourth centur\- and to the third. F.arrings with a red car- nelian bead immediatelv behind the head may be as early as the fourth centur\-, and small garnets are set in the e>-es of the animal in the third; but those in which the circlet is of plain wire strung with one, two or three beads of carnelian (3407-8), ber\!, ami garnet (3401-2; 3515-6), or glass paste, blue or green (34t)3-4, 3477-8), are usuall}' late; _\et 3403-6, which ha\e such beads imitated in gold, are in other respects of good and earl\' st\ie. The blundered copies in soft gold-foil (35 10-21) are certainl\- late, and probabl\- funerar)': the rest are, no doubt, real earrings worn in dail\' life. (^\prus, p. 310 fgoat). HI, xiii, xiv, xv (throughout), xx, 11, 12. 3522-3. Gold Pins with plain pomegranate head: the plain solid workmanship suggests a date within the fifth century at latest. Ill, iii, 4-5. I a me Case 3522 3524-51. Frontlhts of gold leaf, either broad and rectangular (3524-32) or widened in the centre to a peak on one side {3533-7), or on both (3540); or long and narrow. Some are embossed with outlined lea\es (3533) or palmettes (3535, y-)}!-^' 3543. 354^'. 3549)- J'l- x''> '-8. 3552-5. (joli) F)KAC(:[.irrs of Ki\(. Eti-.andros, of solid gold, cjiiite plain, circular in section, with plain overlapping ends. On the inner surface is the name of the owner in Cx'priote script: T ^M' ^"- 5< I A 4= ^ T ^^ '> V ^ \- -'-' <>'~\ X I A t *;" + /i '-M I>lr-a-do-ro: to: pa-po: ba-si-le-o-se V.Tedvhpou Tov \\(icf)Ou iSaaiXfCi)^ Of I'^leantiros, the king of Paplios. 392 hhli.hnk; sty 3 5 59 The date of this Hteandros is uncertain, but similar bracelets are worn b}' life-size statues like 1356 in the Archaic C\priote st\le, of the sixth and earl}' fifth centuries. The objects actuall}' exhibited are electrotype copies. (Aprus, p. 306; Perrot, fig. 217; Deecke, 46, 47. Ill, i, i. 3554-5. C'jQLU BR.ACHi.hTs, like 3552-3, but smaller: solid and quite plain. Ill, ii, 4. 3556-O3. Bracelets of CjOld-plati-.d Bkonzi:: the ends do not overlap and lie in the same plane. The ends oi 3 5()2-^ ha\e a simple beaded ornament : those of 3558-61 are inserted, b\' a filigree collar, into lion-heads of embossed gold. This lion-headed t\'pe is introduced from Ass\ria earh' in the period of Oriental influences: compare thedetached earl_\- lion-head 3331; but these examples are apparently of late fifth-centur}' st\ie, for they show the same imitation of granulated work as the sphinx-pendant 33H2, and ha\e fili- gree collars. The heads of 355O-7 are missing, but were probabl\- similar. (^\prus, p. 3 i 1 ; Perrot, fig. 5()() {355 ] ) , with animal-heads of embossed sil\er pkile: ]'-,(>><-() ha\e llie iu'ad> of lions; ^570-1 goats or bulls. ( )cc;isi()n;ili\ these termin;ds are of gold (^^64-5) or goKI-pkiled bron/e. On the oilier hand, ihe snakes' heads of ^s72-'^2 are Wioughl in ihr solid ends of the bracelet, with engra\c'd tlet;iils: llie\' belong to the late fifth centurw Some of these I >,'-,-i}-X[ ) .uc m:ule to open with a hinge. Ollur bracelets h;i\e their circuit iibbrd tr;ins\ersel\- (',5^5! or Inigl liw :i\ s : >,z,^--,-(t]. llu- Jii^lnol Ml\er br;icelels rusted logelhrr (jtNji shows m wli.it I'ro- fusion t hf\' were worn. III. \1. i-i; . ialilt Case 5'J^ Ca< THH C.Ol.I.lA/riON Ol- COLO AND SIl.VHR ORNAMHNTS ^sSS. SiL\i-.K I'iN. with spluTical head; this and the other objects ^sS()-()7 belonij to the same period as the bracelets 3364-87, and illustrate the profuse use of siher in the late sixth and fifth centuries. HI, xxxix, 14. 3580-00. SiLViK Disc-l-'.ARRiNGs, shaped like a spool or pulley- wheel, anel apparentlx- intended to fill a \er\- large hole in the ear: the\- show traces of gilding. Thex' probahlx' are a varietx' of the same rare tiflh-century type as the gold earring 33('^'- 3501-7. SiLNHR Bf;ads of double-cone form. The design is an earl\ one. but these examples are prob- abl\- not earlier than the fifth centurw 111, xxxix, 7-0. 350^^-.^('()o. Crvst.al Scr_NT-B()Ti- LHS. The forms of the bottles are dexeloped from that of the E:g>'p- tian alabaster \ases, 1601 ff., hut ha\e been simplified to suit their refractor}' material. 3 50'^ is nearest to the alabaster shapes; it retains its gold-mounted neck and a gold co\er attached b\' a cliain: the combination of granu- lation with coarse filigree work suggests a date in the sixth or \'er\' earl\' fifth centurw C>'prus, p. 325; Perrot, tig. 5()2. Ill,lxxv, 4. 3 50Q has an angular outline, and nearl\' c\'lindrical bod_\' and neck; 3600 is pearshaped. Ill, lxx\', i, 2. 3 59« V. ORNA.MHNTS OF HELLENISTIC STYLE FRO.M THE FOURTH CENTURY ONWARDS Before the end of the fifth cenlurx', all traces of Orientalism dis- appear. The Hellenic polic\' of the kings of Salamis prolonged the pure st\le far into the tourth centurx ; and as long as the island remained independent and prosperous, there was clearlx' an acti\e market tor fine work. It is not necessarx'. indeed, to suppose that all the best work was made in the island itself, and the identit}' 394 HELLENISTIC STYLE of the st\ie with other Greek work of the time suggests that much 1 ^ible ■ ^ , Case was imported. • . During the fourth centurx- the old t\pes of earrings, beads, and pendants rapidl\' gi\e phice to new ones, which persist with ver\' little change throughout the Hellenistic centuries. The earring either (a) loses finall\' its primiti\e torm, and becomes a simple pen- dant, suspended from the ear b_\' a long hook or wire, the successor of the plug-and-socket of the tifth-centur\- discs (33^1. 35^9-90); "r (b) becomes a simple hoop of wire wirh hook-and-e\e fastening imperfectly concealed behind a ball, disc, or rosette which re- places the animal's head of the earliest examples (3401 ff. above) and forms the principal design, though pendants are often strung on the lower part of the loop. This "loop"-t\pe is common in the fourth and third centuries, and ne\er wholh' disappears. Granulation disappears or at best is imitated rarel\' by notched wire (3Ci5-()); and filigree work, after a brief and brilliant climax in the late fourth centurx', when floral and spiral designs are ren- dered with success, becomes rare and degenerate. Kopelike chains composed of minute links and secured b\' ornate hook-and- eye clasps replace the old necklaces of beads; and the lew pendants which remain in use slide looselx' upon these chains, instead of forming an integral part of the design. Bracelets are rare and are sometimes of bron/e, and the finger-rings lose their grace and \'ariet_\-, in proportion as the use of large cngra\ed or merel\' "pre- cious" stones transforms the ring from a work of art to a mere mount or setting. 3601-2. Harrinos of the old boat-shaiu'd t\pe, reduced now to a flat hemispherical disc, ornamented with small knobs round the edge, and filigree work on the flat surface, but still sus- pended by an open loop like the earlier earrings of this t\'pe. This ]>air ma\' be as earh' as the end of the fifth centurw G\ [irus, PI. xx\i; Perrot, fig. 57()C. Ill, xx, 20, 21. 36o3-(/. I'.ARRiNOS f)i- J]]]; " Hf)()K"-T> ri-,, with iTilidrati," tlesigns which show littK' change from the Idurlli cenlur\ to the (irst. ^C)03-4 ha\e a uraniilated rosette-shapetl boil\', ;inil l(»ng drop- pendant. Perrot, tig. =,-(> e. ^(><>T-(>. conca\e dist, richh' decf»rated willi rosette and foliage- spiral in filigree; bi-low this, a female heail is hung bv fine 395 mi; coLLi-xnuw of gold and silvi:r ornamhnis I'^'"'''-' chains, and below this again hangs a conical pendant of modi- j^. tied \ase-forni, coxered with rich filigree schjIIs. Other chains suspend rosettes and smaller \ase-shaped pendants. This fine pair probabh' belongs to the fourth century. Cyprus, r^l. xx\-; Perrot, '-,-]{) d: Hadaczck, Der Ohrschmuck der Cjriechen und F.trusker, fig. '•,'■,. Ill, xx, 16, 17. 3607. Karrinc. 01 " .Mllbhrrv" Pa 1 1 hKN, consisting of a cluster of prominent bosses with filigree margins, in imitation of the earl\- "mulberr\" pendants. The fastening is unusual, the loop being hinged, and fastened to a catch-loop in front by a trans\erse sliding-bolt. (Compare the earlier earrings 3166-7. Ill, xiii, 18. 3608-22. Earrinc;^ (ji- THh "Looi'"-rvPh with hook-and-e\e fastening, usual!\ concealed by various ornaments. 3608-9, figure of FTos, and a \-ase pendant. On the suspension wire are strung beads of rough beryl, a sign of late date. Ill, xx, 11,12. 3610-14 ha\'c the ancient de\ice of a p\Tamid of balls like 3253-8, more elaborate (3610-11) or plain (3612-14). 3615-16 ha\e a richly beaded loop, and a fixed pendant like a ball in a noose of cord. 3617 has a pendant acorn; 3618 a \ase; 36ic)-20 a crystal bead simply strung on the loop; 3()2i-2 are amethxst beads, perhaps from similar earrings. '11. xiii, I ^. 14 (3610-11); x\iii, 16, 17 (3619-20); xx, 13, 14 (5615-16). rile numerous later de\'elopmenls of this "loop"-t\pe are all des- cribed together in the (jraeco-Roman section 3701 IT. 3623-59. BtADS AND Phndants (jf \'arious dates and forms; 3623-50 are of gold: 3623-33 vases; ^i)2^ exacll>' like the pendant of the necklace 3()76; the rest, of fourth-century pat- tern; 3634-40 minute pomegranates; 3641 a rose bud, but the carnelian bead within it is not original; 3642 a goat's head from an earring, set with a carnelian cut to imitate a sprig of coral, perhaps not original ; 3643-4, a gorgoneion and another evil- e\'e charm; 3()45-5o flower-shaped mounts for stone beads. Ill, i\-, 10, 12, 13, 23, 24; vi, 3 (3643-4). 3()5i-() are of Ml\er: 3651-4 oinochoaiof a sixth-century form; 3655 a, b. amphorae; 3()s6 a toggle, of cjuite uncertain date; 3657 a spear-point pendant, gilded; 3658 a female head; 3659 a rosette bt'ad with gold centre. Ill, xxxix, 16-20. >,()(m). (lOi.i) XicKi.ACi-. of fourfold plaited gold wire, with hook- K,^S^ rM) d 3555 366)0 5S3.) 3606 m ilbb 391b 3063 nil- COLLliCTlON OF GOLD- AND SILVER ORNAMENTS I'able and-i'\L' t'aslcning belween solid terminals ornamented with . *^ lions' heads and filigree work. The hook and eye are screened IV .... . b\' a reel-knot in gold wire with coiled ends. Fine work of the earl\- fourth centur\-. (^.>prus, PI. xxv; Perrot, fig. 587. lll.v, 5. 3()()i-7. (jOld Plaouhs, Rolndels, and Tomb-Monhy with representations in relief: 3661 two goddesses; 3662 the Graces; 3663 magical s\mbols; 3664 defaced; 3665-7 blurred impres- sions of coins in gold foil, such as are common in late Greek tombs. i II, iv, 2, 5. 3608-71. CjOld Coins of Salamis, of the fourth ccntur_\': perhaps used as tomb money, but more probably acquired as surface finds. 3668-9. Obv: bearded head of Herakles in lion-skin, to right. Rev; goat's head. Weight 5.0 — 5.4 grains. British Mu- seum Coin Catalogue (Cyprus) PI. xi, 16. 3670. Obv: head of Aphrodite or Astarte to left, in high Oriental head-dress. Rev: head of Athene in crested helmet, to left. Weight 11 grs. B. Al. Cat. PI. xi, 24. 3671. Ob\-: head of .Aphrodite as on 3670 with the letter AI behind. Rew helrneted head of .Athene. Weight 14 grs. B. Al. (^at. PI. xxiv. 24, p. cxiv. This is the rare gold piece issued b\' King Alenelaos after 312 B. C. VI. ORNAMENTS OF THE GRAECO-ROMAN PERIOD Table Transition is gradual from the purel\' Hellenic work of the fourth Case century to the inferior st\les of the centuries after the Roman occupation. Bracelets of gold and silver become ver\' rare, and bronze becomes common for these and also for finger-rings. It must be remembered, however, that after the fourth centur\- C\prus lost much of its importance and \\ealth, and also that the tomb-equipment of all but the richest families became very much simpler e\er\'where. 3672-82. C^HAiN Nhcklaces altogether supersede the old strings of beads and pendants; and there is one class of \cr\' small chains with hook-and-e\c fastening, which seems to ha\e been used as earrings, to judge from the position in which the\' are found in the tombs. The e\'e-terminal of 3672 was set with a small sard, engraved with a fl\-, h'ke the earring 3817, and there is a plain pendant disc. Ill, viii, 6. 398 GRAECO- ROMAN PERIOD 3673 has long, narrow bar-links with paste beads. Ill, ix, 2. Table Case 3674hasopenworkrosettesalternatewithpastebeads. III,ix, i. v 3675 has flat links cut out of gold plate and a plain gold orna- ment. Ill, viii, 7. 3676 is of multiple curb-pattern, with degenerate \ase-shaped pendant. Ill, v, 6. 3677 has polxhedral beads of carnelian alternate with short lengths of chain: pendant of another workmanship, with central onyx. Ill, \ii, I. 3678-82 are chain-earrings, with conxex disc fastener: 3678-80 are of open links; 3681-2 of curb pattern. Ill, viii, 4, 5, 3683. Gold Brachlht of twisted wire with hook-and-e\e fasten- ing. Ill, ii, 3. 3684. Silver Brachlht, with ox'erlapping ends sliding in guide- rings for adjustment. These sliding bracelets are common in bronze in late tombs; hut the t\pe does not seem to go back bexond the Graeco-Roman period. 3685. Silver Hair Pin with large bead of glass paste, imitating on}x, and a smaller one imitating rock-cr\stal. 3686. SiLXER Hair Pin with flat swordlike blade, and Gorinthian capital, supporting human heads, dolphins, and a rich finial. 3687-3700. Plndan IS 1 ROM Late Earrinc^s like 3701 fT. 3687 has a design of four palmetles embossed in thin gold plate, with a filigree flower in the centre. 3688 is a flower in thin gold; 3689, a glass paste scaraboid in oxal mount like that of the rings 4172-7; 3690, fourlobed p;iste bead in gold mount; 3691-5, small lenloid pendants in gold; 3()()()-37()(), pendants on gold wires, of bervl, (]()()(>) sartl, {>,()()■;) paste, (3698) and rough late imitations of the Ivg\inian eye charm, in rough berxi (3699-3700). The common earrings of the Hellenistic ami (iraeco-Roman periods cannot as yet be distinguished with ci'rtainl)'; and it sei'iiis prob- able that all the principal t\pes had a long range in lime. In delault of precise record, tlie\- are, therefore, all classifii'd here by form alone. The "hook"t\[H' (a), ;ilre;id\ n(jted, becomes r;irt'; but the "loop" 1 \ pr (b) persists both in Us iuis\ niniel ric;d lorni with hook-and-t'\ e f;islrning at onr sitle, :ind :ilso in :i s\ nimelrical form, which has the laslening at the lop, so that the loop hangs 399 rui- c.oLLiA.noN oi COLD AM) silvi:r ornaments Table below the ear like the earl\- boat-shaped earrings. It also gives ^''^^. rise lo a "delta-shaped" t\-pe [c) h\- prolonging the free end of the hook-and-e\e fastening to ft)rm a large secondar\- hook which alone passes through the ear. F.ventuall\- the original loop of the ear- ring disappears altogether, and the secondary hook (d) is attached directl\' to the hack of the jewel. The effect is to re\i\e the long free hook of the fourth-centurx' earring, hut this secondarx' hook can easih" be distinguished h\' its ^-shape, which is almost in- variable. That these new t\'pes existed side by side is shown b_\' the occasional occurrence of all three modes of c(jnstruction behind the same decoratixe fai;ade. The commonest ornament of these late earrings is still the plain ball or con\e.K disc in front of the hook- and-e\e; but the ball is often \'er\' small, and attention is con- centrated on a pendant, either hung below the ball or loosely strung on the loop. Fhe commonest pendants consist of one or more beads of pearl, ameth\st, garnet, ber\i, or glass paste, threaded on a fine wire: carnelian and agate become rare. Other pendants consist of slight gold mounts, containing flat glass pastes, or cheap stones, with secondar\' pendants of pearls or coloured beads. 3701-3825. Looi' E.ARRiNGs of the uns\mmelrical t\pe alread\' noted. .Ml consist of a plain loop with disc or minute ball (3701-21) sometimes omitted ('3732-39), or disc and ball pendant (3740-O5), or there ma\' be \arious pendants without disc (3766-86); or disc or pendant ma\" be replaced b\' other ornaments of gold (3787-91): or settings for pearls (3792-5) or stones, or paste (3792-3817). The setting of 3817 contains a sard rudel\' engra\ed with a flw like that of 3672. One striking series (3818-25, III, xxii, 30-42) has a large flat flower cut out of thin gold plate. These decorati\'e variations are common to this and the earrings of other construction which follow. Their endless \arieties olTer little artistic or archaeo- logical interest: the\- pass o\er, on the one hand, insensibl>' into the s\'mmetrical t\pe which follows; on the other hand, into the delta-shaped t\pe; and the chronology of the whole series is still quite obscure. The limiting dates appear to be from the second centur\- B. C, to the third centur_\- .\. D. Ill, x\iii. 18, 2 1-2t; xix, 33, 34; xxi. 4, 12, 21-2. 24-5; xxii, 1-3, 6-7, ()-i4, 17-20. 25-9, 30-42; xxiii, 1-3, 8, 23. 3826-58. Loop Hakrin(-,s of s}"mmetrical t\pe, \er\- common in tombs of Roman Imperial period, in which the hook-and-e\e lastening is at the uppermost point of the loop, and the lower 400 GRAHCO - ROMAN PERIOD part more or less swollen like the Earl\' Iron Age earrings, I^^ble or else hammered out fiat (3853-6). Some of these earrings ^. are of large diameter (3849-52: III, x\ii, 21, 22): a few are in silver (3857-8). This t\pe eventuall\' gi\es rise to the Hat crescent-shaped earrings 3859 ff. 3859-3909. Crhschnt Earrings are developed from the svm- metrical hoop-t\pe (382() ff) b\' expanding the bod_\' into a flat crescent-shaped plate. This is usuallx' plain (3859-79), but sometimes decorated with borders of plain or twisted wire (3880-92), or minute balls like the carl\- "granular" work (3893-97), or with filigree designs, or cloisons for enamel or paste gems (3898-3905), or with a fringe of beads attached by wire loops 3906-9. III,xix, I- 1 2, 14-16; xxi, I- 1 6 (not i3);xxii, 8, 15, 16,21,22. 3910-11. Crhschnt-shaphd Earrings of B\zantine st\le, in which the crescent plate is nearl\' semicircular in outline; it is distinct from the rest of the suspension loop, and is thick enough to be decorated with foliage in low relief, or even in some examples cut right through the plate. 1 1 1, xix, 13. 3912-3945. Di-LTA-SHAi'hu Earrings ha\e the free end of the hook-and-e\e fastening prolonged be\ond the e\e into a long free hook like a Cjreek delta (8) or a slip-knot. Fhex' show the same varietx' of ornament as the preceding t}pes: common- est is the con\ex disc or ball, in front of the fastening (3912-7). This t\pe is found rare!}' in siher (3918-9) as well as in gold. Another characteristic ornament consists of three siher beads strung in a triangle close below the fastening (3927-34). Often one or more beads, of \arious materials and colours, are strung in the loop r3935-45). .Man\- of the earrings ha\e lost their beads. The fine agate beacls of 3935-8 were \er\ likel\" an- cient alreadx" when the\" were reset on their present wires, since agate had almost passed out of use for beads in the later Roman limes, and these beads are of a lorm whicli is conimon in Clraeco-Phoenician necklaces. III. xxii, 2]. 24; xxiii, 9-21. ^()46-4022. Hook I{arrin(.s result when llie original conception of an earring as a ring for the ear is \\holl\' forgotten, and decorative jewels, of the same funds as in the 'loop' earrings, are simply susjiended in the ear b\ an S-shaped liookof thin wire, soldered behind tlu'm 111, x\iii, 19. -"; -^i^. -5-7. 2(j-3i; XX, i.S; xxi, 1-3, 13-20, 25; xxii, 4, 5, 55, v); xxin, s-7. 401 THH COLLHCTION OF GOLD AND Sll.VHR ORNAMENTS '■;'"'' ^' Clharacterislic of the latest Roman tombs (fourlli and fifth ' ^^. centuries) are hirge eon\ex discs of plain thin foil, circular or oval (4000-22). Ill, XX, i-io, H), 22, xxiii, 24-6 4023-37. Glass-Pi NDANT Harrings consist of a single wire loop, of \ar\ing form, carr\ing a perforated pendant of glass, mod- elled or impressed in various designs: bird (4023), dolphin (4024-5), bottle (4026), club (4027), human heads (4028-33), or flat discs of amber glass impressed with lions (4034-O). Note the stone cross 0(4037. The grotesquely modelled heads in man\-coloured glass (4028-9) may be ancient, since similar objects are found in necklaces of the Earl>' Iron .'\ge. This t\pe of earring, howe\er, does not appear before the Graeco- Roman Age. III,x\iii, 1-15. 4038-40. Phndants and Bhads of Glass from similar earrings: probabl\' all of late date, though 4046 may be of earlier work- manship: 4038 is a large grotesque head in opaque }ellow on dark ground, like 4028-Q; 4039-41 represent small jugs in dark glass with white spiral line like the late glass vases 5737-44; 4042-3 are ball pendants of dark glass with spots of se\eral opaque colours to imitate "millefiori" glass; 4044-5 are similar rough glass pendants; 4046 repeats nearl\' the same form in a harder glass paste, or cr}-stalline rock; 4047-9 are rough beads from earrings or necklaces. 4050 a-t. Pi;ndants of Gildhd Glay from late earrings or neck- laces. This is probably tomb-jewelry, not intended for actual wear. 402 TH1-: coijj;crioN of FINGKR-RINGS THE COLLHCriON OF FINGER-RINGS ALL the finger-rings and engraved stones in the Collection are separated from the other ornaments, and grouped together for convenience of comparison. The rings fall into two main classes: (a) those of which the goldsmith's design is a complete and independent work of art, or is enhanced only b\' enamels or b\- unengraved stones, empl{j\ed solel\- as coloured accessories to the goldwork; and (b) those which serve primaril\' as settings for stones, either engra\ed or merely "precious". Here the design of the ring is subordinate, and seldom of artistic value. Both classes begin in the Late l^ronze Age, and go on side b\' side into modern times. But rings with engraved seal-stones are \er\- rare in C\'prus before the period of Oriental influences, the seals of earlier date (4^00 If.) ha\ing been worn not in rings, but as beads or pendants. As the de\elopment of st\ie in each of these classes usuall\' pro- ceeds on different lines, it can be best illustrated b\- describing the whole of each class consecuti\'el\-, without more than occasional reference t(j the contemporarx' forms in the other. The arrange- ment of the (Collection, therefore, is as follows. I'irst (40s i If.) all the rings of gold or sih'er which are without seal-slones are classifii-d in the order of their st\les, and wilh them a few rings ('4070-5) wliich contain enamel or unengra\ed stones as culouri'd accessories. This class includes, howe\'er, all those (405 5-^)^) which ha\e a se;d-design engraxetl in the gold or sil\er of llie ring itself, becaust' their main interest is as e.xamples ot metal- work; but il is insl ructi\i- to compare these designs with those on engra\('il stones of the same period and stxie. .Siher and liron/e rings lojlovv the gold rings of simihir st\K'. i hen come ;ill the signet-rmgs with engrax'ed stones (41^0 If.) ;mu1 riii^s ol smnel- fashion even when the stie. The designs consist usually of a single figure, or at most a pair of figures facing each other. The bezel of 4056 is duplicated. The majoritv arc in intagli(; and are intended to be used for sealing, but 4061-2 are in relief, and would be almost useless as seals. DF-SIGN IN INrAGLIO 4055, engraved with two winged figures, meeting and holding a wreath; in the background an Egyptian ankh-s\mbol. Oriental st\ie. Cx'prus, PI. xxx\i, 5. Ill, xxx, 7. 4056 has a double bezel, engraved in the upper half with a pair of lions, and in the lower with a pair of sphinxes. Archaic (^\jiriote st\le. 0\prus, PI. xxxi\-, 2. Ill, xxx, 1. 4057, engraxed with llerakles in combat with a lion, within a cable border. .Archaic (Cypriote st\le. 0\prus, PI. xxxi\-, 3. Ill, xxx, 10. 405S, engrax'ed with a man and a woman con\ersing: tine Archaic (A[iriote st\ie of the earl\' fifth cenlurx". 0\ ju-iis, PI. xxxi\', 4. 4050 has I In- bezel oblong and drrplx' nolcheil; riigr.i\ ed with a j)almenc between a pair of fl\ ing I larpies u iiich hold u real lis. The hoop ends in xolutt-s. .Mature sl\le. (.f ihr I.iUt fillli or earh' tourlh ceiitiirw (;\prus, PI. x\i\, 1. 407 IHH C.OLLHCTION OF FINGHR-RINGS 40()0, engra\cd with a palmettc design; poor work of decadent Cxpriote st\le, probabI\' of the fourth ccntur>-. Ill, xxx, 20. DHSIGN IN RELI1:K 4061 bears a seated sphinx in relief. Archaic C\priote style. (Cyprus, PI. xxxi\-, 5. 4062, palmette design in relief: probably of the fifth or late sixth centurv. Ill, xxx, 21. 4063. SiLVKR RiNC. with distinct bezel of the same t\pe as 4055; the engraving is corroded. Ill, xlii, 21. The engraved gold rings of the fifth centur\', which are among the finest products of Greek miniature art, are not represented here, and do not seem to ha\e been recorded as \'et from C\prus. Un- engraved rings of this t\pe are recorded, however, though they need not be all as carl\' as the fifth century. 4064-5-6. Plain Gold Rings with a slender hoop, four- or five- sided in section, thickening in front to a circular or oval bezel which issolid, wide, and usually slightly convex. 1 1 1, xxiv, 25,27. 4067-9. Plain Silvhr Rings of similar t\'pes: too much corroded to show whether they were engraved or not. Ill, xlii, 22, 23. In the late fifth and fourth centuries, the most popular rings are adorned with one or more brightlx' coloured stones in band- or box- settings, decorated with filigree w^ork. Though of swi\el design, these settings are often fixed in the hoop, which has mouldings or filigree work all round, and ma\' end in \olutes (4071), lotos flowers (4072), palmettes, or animals' heads, or whole figures (4074) like those of the contemporar_\- earrings (3500-14). The whole hoop is often of rope pattern or richl\' moulded (4073, 4076). This group seems to develop out of an earlier t_\pc of Egyptian origin in which the colours were supplied b\- enamel or glass-inla>': but no direct connection can be traced with the enamelled rings of .M\'cenaean st\ie- 4070. Gold Ring with plain sard in a fixed box-setting with filigree and granulated ornament; on the under side of the setting a standing figure is embossed as if to imitate an engraved stone: fragmcntar}'. 4071. Gold Cloisonne Ring with three box-settings abreast be- tween C\-priote \olute capitals which terminate the hoop: the filling has perished. Probabl}- of the earl\- sixth centur}'. 408 GOLDSMITHS WORK 4072. Gold Clcjisonnh Ring with three box-settings abreast between anguhir lotos flowers; at the back of the hoop is a winged disc; the filh'ng has perished. The workmanship resembles Egyptian; the box-settings, though fixed, ha\e swivel-sockets like those of the signet-rings; the\- contain a blue paste, and a sard; the third stone is missing. Probably of the sixth centurw 4073. CioLD I'lLiGREh Ring with three box-settings in series, containing a ber\'l between two garnets: the hoop is enriched with filigree work, and makes a reef-knot behind. Late fourth ccnturx'. 4074. CJOLD FiGLRi-: RiN(,, with a large o\al ameth\sl in rich filigree box-setting supported b\- a pair of small human figures like those of the earrings 35(jo-i4. Not earlier than the third centurw C\'prus, p. 3 10. 4075. Goi.t) Ring of thin foil, probabl\' for tomb-use onl\-; it has a round garnet in a filigree box-setting. 4076. Gold 1-'iligrhh Ring with h(K)p of plaited pattern, and round bezel filled with a rich rosette of filigree work. 4077. CioLD Plai PHD RiNG of hea\v' fourfold pattern. 1 1 1, xxi\-, i i. 4078-83. (JOLD Spiral Rings of the fourth and subsecjuent centuries: the most elaborate, 4078, has prominent snake's head ends (III, xxi\', 12); 4G7<:) is of man\' coils, with small heads; 4080 has open ends with snakes' heads, like the fifth and fourth centurv bracelets; 4081-2 ha\e simpl\- o\erlapping ends; 4083, which seems to be of eari\' make, has con\ entional- ized snakes' heads, joined h\- a short bar. In the Hellenistic ami Graeco-Roman centuries most of the more elaborate Hellenic forms are repeated with little change, except that .Alexander's conciuests jiermittetl a wider choice of coloured stones. The commonest rings are those of thin gold, filletl with base metal or cement , ami si,'t wit h a singK' stone, plain or engra\'e(.l, 4229 IT. below. Other jiopular l\pes, v\ithout stones, are as follows: 4084-6. Gjoli) I-^ngravii) Rin(.^, thicken^'d a little in front, but without distinct be/t'l : on 40X4-^ is (■ngr;i\i'd a bird in a co:irse deep-cut st\ie: (;\prus, PI. \li. 10; on .joNd ;i hi[ipoc;imii, III, XXX, (.. II. 17. IHH COLLHCIION OF FINGER-RINGS 4087-05. Gold Engran ho Ri\t;s of Graeco-Roman date, with representations of the Paphian Temple and the sacred stone within it (4087-8) ;or what seems to be an outside view, showing a eokimn or mast half-fallen (4089-00), C\-prus, PI. xli, 20; or both views together, on a double bezel (4091); or the temple and a tree (4002); two trees (4003), C\'prus, PI. xli, 22; tree and wreath (4004); or a wreath alone (4095). Ill, xxx, 25, 16, (4080-90 not figured), 3, 2, 3, 4, 22. 4006-4100. Gold Motto Rings, inscribed in rough late letters, dotted or incised either ir.' ayaOw "for good luck" (4096- 4102); or in the plural iyaOoIc (4103-7). Ill, xxx, 8, 9, 13, 23, 19; or yJA3:c: (for '.f'jXy.czz) "keep guard" (4108) or other words illegible through wear (4109). Many of these rings are so small that they must have been made either for children, or for the upper joints of the smaller fingers; a custom which is attested by satirical references in Roman writers. 4110-35. Plain Gold Rings: some (4110-11) of the same form as 4109, but not inscribed; others (4112-20) with a low keel on the hoop, which is hammered out in front into a lozenge- shaped facet. 412 1 has a solid hoop like a wedding ring. Ill, xxiv, 4. 4122-4130 are more pretentious but hollow within; 413 1 shows two and 4132-3 three such rings together. 4134-5 have more or less elaborate mouldings on the outside. B. SIGNET-RINGS WITH ENGRAVED STONES While the c\iinder-seals of Bab\ionia and all Western Asia (4300 ff.) were worn at all periods on a cord about the wrist of the owner, the Eg\-ptian beetle-shaped "scarab" seals were common!}- worn on the finger, and from the XII D\-nasty onwards were often strung for this purpose upon a slender hoop of gold, on which the scarab could be re\ol\ed with its flat face either outwards for sealing, or inwards towards the finger for protection and conceal- ment when not in use. \'er\- rarel\- the lentoid Mycenaean seal-stones (though usuall\' worn on a cord, like Babx'lonian cylinders) are found mounted on a wire, stretched between the open ends of a narrow gold ring, and secured by being twisted round them. This and e\en simpler t\'pes of signet-ring, made of a length of wire twisted onto itself, 410 SIGNHT-RINCzS persist in C>'prus, and (less commonlv) in other parts of the Med- iterranean, until the Period of Oriental Influences, when the\- are superseded b}' the swivel-ring, in which the stone itself, or its metal setting, revolves between pivots on the open ends of the hoop. The hoop is now made massive in the middle, to prevent it from straining apart and letting fall the signet. 4136-4147. Early Signet-Rings of Gold Wire, showing various experimental fastenings: 4136 has the ends simpl\- twisted on each other; 4138 is a spiral coil of stout wire with over- lapping ends and no fastening at all; 4140 seems to be made of an earl}' earring like 3 1 50-8. Next come the rings of F{g\ptian model, with open ends perforated to recei\e the suspension- wire, which is either coiled round them 4141, 4146-7, or ham- mered into a minute knob like a pin's head 4143-5. The earliest stones, some of which are of steatite and other soft stones, are perforated and simph' threaded on the wire. Then, to protect the edges of the engraved face, a band-setting of EgX'ptian fashion came into use; and it was not long before the holes in its ends were fortified with s\\i\el-sockets, which turned on the ends of the hoop as on pivots. There was now nothing but the strength of the hoop to pre\ent the ends straining apart, and the hoop was therefore thickened behind, less, however, in these gold rings than in the sih'er rings. The earliest setting is a narrow band, with the swi\el-loops set up like ears on its upper margin; and as the stone was liable to fall out backwards, these loops were thickened and extended into a long claw which liekl it in place. Later settings are deep enough to grip the beetle-feet of a scarab, or the upper edge of the lat(T scaraboid, and the swi\el-sockets are then reduced in size and applied to the outside of the band. Many of the later stones are designed for such mounting and are perforated only parti}, or not al all. The stones in these earl}' rings are as follows: NA'ILKAI, AND l.AKl.f OKIINIAI. SIONI.S 4136 has a natural cr\stal of ber\ 1, ju-rlorated lengt h\\a}s; 4137, a large flat bead of p;ile steal ile, like ;i \ er} rough lliltile seal-stone. 4138, an Ass\rian conical seal of niilk\ chalcedon\', rucK'lv engra\eci in the sairie st\le as .-\](>\-] ll. with a horned aiiinud and another object behind it. 1 he perforation is lined v\ilh 41 1 IHl-: COLLECTION OF FINGHR-RINGS gold foil, and formerly when it was described in C\prus, p. 369, "about a quarter of the lower part was encased in gold" likewise 1 1 1, xxxii, 12. SCARABS AND SCARAROinS OF MIXED ORIHNTAL STYLE 41 30, green plasma scarab: two seated sphinxes adore a "sacred tree," rough earl\" work: the wire hoop is of electrum. Cy- prus, PI. xxx\ ii, n. Ill, XXV, 12. 4140, milk}' chalcedon\' scarab: Isis and Horus, between Ra and another deitx', all in a sacred boat with birds on prow and stern. (]\prus, PI. xxxxii, 12. 4 14 1, bright green paste, much decayed, (^able border, in rough Oriental st\le. Ill, xxv, 7. 4142, sard scaraboid, plain. Ill, xxv, 3. 4143, gold scarab, engraved with ram-headed sphinx, and ankh-sign. C]\'prus, PI. xxx\iii, 20. 4144, pale paste, deca\'cd. Note the high swi\el-socket. 4145, green jasper: winged uracus snake, and obscure sign: in a claw-mounting. C\prus, PI. xxx\iii, 25. Ill, xxv, 5. 4146, sard: two warriors fighting, with pointed caps, round shields, and two spears each; of the early seventh centur}'. C\prus, PI. xxxvi, 8; Perrot, fig. 448. Ill, xxviii, 9. 4147, sphinx-shaped scarab of dark blue glass; engra\'ed with a standing figure, much deca_\'ed. 4148-63. Gold Swixel-Rings of full\' de\cloped form, with slight!}- thickened hoop and pi\ot ends; the stone is some- times mounted, sometimes not: the settings are often of electrum, which is rather more durable than gold. The stones are now usuall}' of hard stone, but Eg}ptian scarabs of glazed paste are in fairl}' common use. This t}pe begins in the sexenth centur}' and goes on into the fifth; in Eg>pt it remains in use e\en longer. The stones (scarabs unless otherwise described) are as follows: .MIXHD ORIhMAL STiLE 4148, P,g}ptian paste: \asc with two spouts, pouring water. C^}prus, PI. xxx\-, 23 111, xxv, 13. 4149, chalcedon}': a hawk-headed deity and a worshipper 412 g^l^ifV ^IJ^H ^^^6 ^U3F(| ^C!H l^^ mJj^^ Jf^M 1^"^ »-V^^ i^jflP ■ j:"^ Kili ^K mum Hk ^:-| 41 138 -i-7r - 4140 4i4(. 4150 iHH coi.lhc:tion of finger-rings support a blank cartouche, beneath a winged disc. C\'prus, PI. x.\x\ i, 7. Ill, xx\-, 0- 41 so, chaIcedon\-: two hawk-headed deities support a "sacred tree" about which are uraeus-snakes and the Eg\ptian double crown; abo\'e all is the winged disc. C\'prus. PI. xxxvii, 10. Ill, xxv, 8. 41SI, carnelian:an ape-headed deity sits writing with tablet and pen in front of a single character KL probabh" an earh' form of the Cxpriotc sign for e. Cyprus, PI. xxvii, xxx\i, 2. Ill, xxv, 6. 4is^, green plasma: two men in ribbed kilts wrestle between winged snakes. On the ground between them is an animal's head. C\prus, PI. xxx\ ii, 9. Ill, xxv, 10. STONES LATh, PLAIN OR DECAYED 4153, sard: bird and branch; poor late work. Cyprus, PI. xl, 16. Ill, xxv, 4. 4154-5, sard or 41 56 agate, scaraboids, plain. 4157, garnet, retixed and probabl}' not original; the hoop is of gold-plated silver and the setting has a cable border; proh- abl\' of the fourth centurw 41 58, malachite scaraboid, decayed: the hoop is of gold-plated sih'er. 4159-61, blue-green paste, deca\ed: 4162, \er_\- small agate scaraboid: 4163, bezel onl\-: sard scaraboid, plain. 4164-71. Pendant-Rings are characteristic of the same period as the hea\_\- gold swi\el-rings. Some of these rings are \-er_\- bulk_\' and unsuited for finger-wear, and probabl\- ser\ed not so much as a ring as for a handle for the seal-stone. The representations of them on statues, like 1204-12, show that the\' were often worn on a cord, or as part of a necklace; and some of them are, in fact, fitted with a tubular suspension- bead or collar along the back of the hoop, so as to be more con\enientl\' strung among beads and other amulets. It was, then, an eas\' impro\ement to compress the hoop to an oval shape, mle. Cyprus, p. 310, PI. xxxvi, i; Perrot, fig. 440. Ill, xxv, 14. 4165, gold: the plain flat scaraboid is of lapis-lazuli, broken into three pieces, and rejoined with gold bands. C\prus, PI. xxvii; Perrot, fig. 439. 4166, silver: carnelian scarab: two men in pointed caps and long robes adore a "sacred tree"; fine work in Oriental st\ie. C\prus, PI. xxxvi, a. Ill, xx\ii, 4. 4167, silver: agate scarab: between uraeus-snakes, the name Alen-kheper-ra, in cartouche, carelessly copied. This is the throne-name of the great Eg\'ptian conqueror Thothmes III, who reigned about 1 501-1447 B. C, and is ver\' common on scarabs of all later periods. It is also the name of an ob- scurer King of the XXI D\nast\' who reigned about 1043-995 B. C. This scarab, however, cannot in any case be much earlier than the XX\T Dvnast\-, which began in 664 B. C. Cyprus, PI. xl, 19. Ill, xx\i, 3. 4168, silver: agate scaraboid; griffin and ankh sign; rough Oriental st\ie. C>prus, PI. xxx\iii, c. Ill, xx\ii, 3. 4169-71, silver: without suspension ring, and of slighter make. 4169, blue glass-paste scarab, deca\ed: the gold mount has a poor cable border. 4170, Kg\'ptian paste scarab; lotos tlesign about a sacred beetle. C\prus, PI. xxw, 2. Ill, xx\ii, (>. 4171, silver mount, I{g\'ptian glazed steatite scarab: two uraeus-snakes, facing. 4172-76. (Jthhr Pi:M)A\r Si-.iriN(,s iok Siom/i and Plain Stoni-.s: all belonging to the period when slones were coming into use for their colour alone. Similar swivi'l-mounls are used also in (jrdinar\' necklact's for Ii'rminals ( ^072) and control- beads ( 3 326;. 4172, gold band-selling with cable ornaniml. and a suspeii- sion-bt-ad at one end; hro\Mi ;igale, flat : two wild goals jiranc- ing back to back: ArJiaic Cvpriole st\le. (;\[m-iis. PI. xxvii; xxx\iii, 2>,. Ill, xxix, 2. 415 IHH C.OLLHCrriON OF FINGER-RINGS 4173, gold band-setting without swivels, but with traces of a lost suspension-ring at one side; blue chalcedony scaraboid; a man runs between two prancing horses, which he controls with either hand; an instructive \ariant of the old motive t)f the "beast-tamer." Archaic C\-priote stvle. C\prus, PI. xxxix, 5. Ill, xxix, 14. 4174, gold band-setting with filigree ornament and blind swivels, suspended b\' a ring at one side from a plain gold- plated ring; sard scaraboid; winged Victor}' holding a wreath and standing nearl\' full-face, with head turned in profile. Mature st\ie, of the late fifth century. C\-prus, PI. xxxix, 4. Ill, xxix, 1 1 . 4175, two band-settings like 4167, suspended one from the other on a ring like 4174: the stones are missing. 4176, lozenge-shaped band-setting with late granulated orna- ment, on a similar ring: the stone is missing. Ill, iv, 27. 4177, oval band-setting on a similar ring: flat green paste. lll,iv, 30. The silver rings of this period are of the same tvpe as the gold rings 4148 tf. above; between the pi\'ot-ends is an engraved scarab or scaraboid, set in a swi\eI-mount usuall\- of gold or electrum but occasionall}' (4178-9) of silver like the hoop. The signets, as in the contemporar\' gold rings, are commonlx' of hard stone, but sometimes of Eg\'ptian glazed paste. The hoop of these rings is sometimes as slender as in the gold rings, but more commonl\' is ver\' thick and hea\\' at the back; and often too large to be worn conveniently' on a finger. .Most of these signets are of the sixth and earl\' fifth centuries, .\fter the earl\' fifth century these massive rings go out of fashion. 4178-C). SiLX'F.R SwixEL-FliNGs, with silver mount. It is perhaps not mere accident that both these rings have their signet engrax'ed in an unusually rough Asiatic st\ie. The\' are of light make and have the earl\- t\pe of mount with high loop- sockets: compare the silver-mounted scarab 4 192, which though rather kiter shows strong Hittite influence in its engraving. 4178, bright blue chalk\' paste scarab engraved with a flying bird like that of the painted \ases in angular barbaric st\ie. This bright blue paste is fairl>' common for scarabs and round flat-sided seal-heads (4549), in tombs of the geometrical 416 4172 4196 4KJ0 4")^ niH COLLlicnON OF FINGHR-RINGS period; ir scorns to ho ccrlainlx' earlier than the XX\'I D\nasty and was popular in Nubia under the XX\'. C\prus, Pi. xxwiii, b. Ill, xxvii, 8. 4i7(), green plasma scarab, of the earl_\' keeled form: plain. 4180-4208. Sii.\r,R SwuHL-RiNc.s of the full\' de\'eloped form, with hoop tiroail\- swollen behind. ThoN' co\'cr the same period as the gold rings of similar construction, and the swivel- settings and engraxed stones are of exactl\- the same forms and st\les. Fhe stone scarabs are general!}- of the same high-backed form, with a strong keel down the middle line. HG1 I'llAN STYLE 4180, Eg\ptian glazed steatite scarab, with double-footed ankh-sign between crowned uracus-snakes; in earl\' setting with enlarged swi\ol-ends. Ill, xx\i, 6. 4 1 81, F-lgxptian i\-or\' scarab: cartouche of Mcn-khcper-ra holween a winged uraeus and a crowned king who kneels and makes offering; the setting resembles that of 4180. C_\'prus, PI. xx\i; XXXV, i; Perrot, fig. 605. Ill, xxvi, 4. 4182, Egyptian grex'stone scarab: Osirian hawk and winged uraeus: much decax'ed. The hoop is missing; the setting resembles that of 4181. 4183, chalcedonx' scarab in the same earl_\' setting as 4181: ankh-sign rudel}' engra\'ed; this scarab was alread}' chipped when it was set. 4184, steatite scarab in electrum band; kneeling sphinx and bird, in barbaric st\le. Clxprus, PI. xxx\-, 22. Ill, xx\'i, O- 4185, blue-glazed stone: engra\'ing much decaxed. Ill, xxxii, 10. 4186, agate scarab: engraving deca\ed. MIXED OKIl NIAL STYLE: LSLALLY WITHOUT MOUNT 4187-C), sard scarabs: hawk-headed sphinx and ankh-sign: the ankh-sign in 4187 is replaced b\- a lotos plant, and a nub-sign is added to fill the exergue. C\-prus, PI. xxxvii, 13 (4187), 17 r4i8c)), iQ f4i88). Ill, xxvi, 2 (4189), 5 (4187); xxxi, 7 (4188). 4K)(j, agate scarab: solar disc between uraeus snakes, in solar boat: winged disc and disc-and-crescent above; papyrus foliage below; tine work of Oriental st\le. C\prus, PI. xxx\ii, 11. Ill, xxvi, I. 418 SIGNHT-RINGS 4191, plasma scarab, gold claw mount; hawk-headed sphinx, in ro\'al crown, recumbent; in front is -1=; , the Cypriote char- acter for a. Cyprus, PI. xxxvii, 19. 4192, sard scarab: worshipper standing before a seated deity, both in high Hittite caps; a table is between them, and winged disc above; unusually rugged style, perhaps from Asia Minor; and the mount is of silver like those of 4178-9. C\prus, PI. XXXV, 4. Ill, xxvi, 10. ARCHAIC CYPRIOTE STYLE 4193, agate scarab: cow and suckling calf in a vcr\- archaic Cypriote style, with some reminiscence of the Ahxenaean treatment of this motive: in the background is a con\entional tree, and the Cvpriotc inscription zo.wo.te.la.se, perhaps a Greek personal name like Zoteles: Aleister reads: zo-\-o- te-mi-se (Zoothemis). Sec Appendix. Hi, xxxii, 2. 4194, agate: hippocamp. C\prus, PI. xl, 18. 4195, sard: two lions struggle foot to foot and head to tail, forming a symmetrical group; cable border. (]\prus, PI. xxxviii, 21. Ill, xxvii, 1. 4196, sard: Herakles with lion-skin and sword, attacks a ram- pant lion; uraeus behind; a winged disc abo\e; poor unfinished work. C\prus, PI. xxx\i, 3. Ill, xxvi, 8. 4197, agate: winged figure kneeling with extended hands; poor unfinished work. C_\'prus, PI. xxx\i, 6. Ill, xxvii, 12. MATURE STYLE, SC;A R A BOI [)S Ri:i'LACi; SCARABS 4198, chalcedonv scaraboid: a horse in the act of rolling or lying down: abo\e is the name Xtt, jr/.piTr, ; in Creek letters of the fifth centurw (^\prus, PI. xl, 14. 1 1 1, xx\ii, 2. 4199, chalcedonx' scaraboid: Hades carries olF Persei-)hone, who lets fall a torch: \er\' fine work of the filth ct'nturw C^yprus, PI. xxxix, 2. Ill, xx\ ii, (). 4200, smok\- plasma scaraboid; a \'oung man, nude, K'ans on a staff, and phi\s with his dog: fine work of ther;irl\ fifth cen- turv; the hcKjp is missing. (^\jirus, PI. xxxix, (). lII,x\xi,S. 4201, green plasma scaraboid: ;i \()ung man, nude, sits crouch- ing, and phi\s with ;i bird in his hand, Ihe st\le is not cjuite so atKanced. (;\[>nis, PI. xxxix, 7, III, xxxi, S- 4") IHl-; (.■.Ol.I.lX.l K)N Ol I INC.l-R-KlNGS niiCADHN 1 SI'iM-: IMMN S'lONI S IN OKNAII. MOLNIS 4202-08. Plain scarabs and scaraboids in more or less ornate nioiinting: 4202 agate; 420^-4 plasma; 4205-7 sard; 4208 green paste. The hoops of 4207-8 are of bronze, but the t>-pe of ring is the same: and these appear to be fairly earl\- examples. 42t)Q-io. Rixe.s wrni 15i-.\d-shai>ed Signht, replacing the more usual scarab; the bead is spindle-shaped as if to imitate a c_\lin- der-seal, and the cngra\ing is on a flat facet on one side. 4209, gold ring: brown agate: two lions facing: \ ery rough Oriental work. C\prus, PI. xxwii, 14. Ill, xxv, 13. 4210, siher ring: red agate: crane, in rough work of nearl\' mature st\ le. C>'prus, PI. xl, 17. Ill, xx\ii, 7. In the fifth centur\- these hea\\- swi\el-rings of gold or sih'er gi\e place to slighter rings of gold or gold-plated sihcr and bronze with gold settings which, though still provided with sockets at the ends, are soldered usuallx' to the hoop. This being no longer exposed to an\' strain, becomes slender, and is sometimes made of plaited wire. The setting is enriched with spirals, usuall}' i\y-leaves (421 1), or spirals (4214, 4220-2, 4225) or loop-ornament (4212-13, 4218, 4224. 4226) in filigree work, occasionally' filled with coloured enamel (421 i): it is sometimes not a mere band, but a box-setting with gold bottom, to set off a translucent stone (4214- 16). .Man\' of the stones are plain: those that are engra\cd are either set face outwards in a fixed mount, or retain the swivel- mount to protect the engraxing. 4211-16. Gold ITijgrei- Rinos with Pl.mn Stones: 4211-12 carnelian, 4213 plasma, 4214-3 sard, 4216 rose-quartz with plaited hoop ending in \olutes. 4217-26. Gold Rings with Engka\ed Stones in plain band- settings or filigree mounts: the settings of 4220, 4222 are closed behind like 4214-16 and the hoop of 4222 is plaited like 42 i(), the hoops of 4217-8 are of gold-plated bronze like the contemporar\- bracelets 3336-63. 4217, agate scarab: uraeus and flower: poor work imitating the Oriental st\le, but probabh not earlier than the fifth centurw (^\prus, PI. xxx\iii, 24. 42i8-(), Pgxptian paste scarabs: 4218 uraeus and feather, 111, xx\-, 11; 42 ic) green glazed: Osirian hawk, nub-sign above. 420 4200 422-3 422U 422Q 42j0 THH COLLHCIION OF- FINGER-RINGS 4220, Hat sard: a \()ung winged figure holds a flower: a snake rises behind: archaic st\ie, nearl}' mature, of the earl\- fifth centur\. C\ prus, PI. xxxix, 3. III,xx\iii, 15. 4221, carneh'an scarab: a nude }outh leans on his staff, and seems to touch his raised heel with one hand: cable border: archaic st\le. C\prus, PI. xl, 11. Ill, xxix, 13. 4222, tlat carnelian; a nude youth holding a knife or a cord, seizes a crouching girl by the hair: cable border: mature st}'le. Cyprus, PI. xl, 9. Ill, xxviii, 13. 4223, sard scaraboid in plain band-setting: Boreas, nude, }'oung and winged, carries off the nymph Oreith\ia, who lies in his arms and lets fall a tortoise-bodied l\re: exceptionally fine work in nearl\- mature st\le. C\'prus, PI. xxxix, i. I II, xxviii, 8. 4224, carnelian scaraboid: Herakles stands nude with his lion- skin on his outstretched left arm, which holds a half-drawn bow: his right hand brandishes his club behind his head. A fine Hellenic version of the old cult-figure as it appears on the coins of Kition, and on the Eur\'tion-slab 1368 in the Collection of Sculpture. (~\ prus, PI. xli, 29. Ill, xxviii, 14. 4225, white steatite scaraboid: a nude girl washing her hair at a basin; not ver\- good work. C\'prus, PI. xl, 12. 4226, dark opaque stone, convex: a sleeping hound, tethered to a tree trunk. C\-prus, PI. xl, 15. 4227-8. 4227, SiL\'ER Ring of the same st>'le as the preceding group: cr\'stal scaraboid, plain; 4228 is a similar scaraboid dis- mounted. liPlxxv, 5 (4228). In the fourth centur\-, the new interest which was taken in "pre- cious" stones led to neglect of the settings; and rings became little more than a means for securing and exhibiting a "gem," which was itself more prized for rarit\' and brilliance than for engraver's work- manship. .And as the chief centre of the traffic in gems was in .Alexandria, it is not surprising that the commonest t\'pes of rings should follow conventional Egyptian models, with the loop thick- ening forward to a massive bezel. Perforated stones and swi\el settings went quite out of use, and all stones were mounted in fixed band or box settings. There was, however, still fine engra\ed work, both in fiat or slightly con\-ex stones and in gold and sih'er: the unengravcd rings 4064-9 show the characteristic forms of the latter. 422 SIGNET-RINGS 422Q. Silver Ring with round box-setting of pale gold, apparently fixed; engraved sard; a girl sits erouching, nude as if at the bath: mature st\le, of the fourth eenturw Cyprus, PI. xl, 13. Ill, xx\ii, 5. 4230-32. CJoLf) RiNT.s with large shallow box-settings for a flat stone: prcjbablx' of the fourth or third centur\-, though these t\'pes go on later also. In the Hellenistic centuries, sih'er rings soon pass out of common use and are almost obsolete in Graeco-Roman lime; while bronze becomes commoner. Gold rings, which are frequent, are for the most part slight and of poor workmanship, and their form changes but little further in the Cjraeco-Roman .Age. Those which carrv stones, whether Hellenistic or Graeco-Roman, are of massi\e appearance, but usualh' hollow. The hoop is slender behind, and swollen in front to receive the stone, which is deepl\- inset, so that its surface, if flat, is le\el with the gold. Sometimes, howe\'er, there is a distinct bezel with one or more mouldings round it, and this bezel ma\' be \ er\- deep and prominent (4241-4). In one rare \ariet\' the stone is set within an opening like the orbit of an e>'e, either plain (42()i ) or edged with scrolled wire (42()2). 4233-43. Gold Rin'gs with Hat engra\ed stones, of the forms ab(jve described: the stfjnes are sard, carnelian, on_\'x (4240), and carbuncle (4233, 42 v*"^)- The stones are engra\ed as follows: 4233, sard: Hr(js leaning on an inverted torch. Ill, xx\iii, 7. 4234, sard: \'iclor\ plaiting a wreath: on the back of the bezel are engraved the letters 'T.\. G\ prus, 11. 302. III,xxix, 12. 4235, carbuncle: a nude \outh, |ir()babl\ Dionxsosas in 4241, leaning on a column and holding a wreath. 111. xwiii, 11. 4236, sard: a female portrait heatl, of good late work, with hair coiled aho\e and behind. Ill, xx\iii, (). 4237, sard: the long-rared animal, seateil, which s\mbol- izes the T^gvptian dcit\ S^'t. Ill, xx\, 2. 423.S, carbuncle: a fem;de figurr standing. Ill, xxix, 4. 42 3(), s;ir(l: ;i running liound. Ill, xxix, '-,. 4240, on\x: ;i 1!\ : as on 1 hr sard in llu' chisp ol ^<'>72. 4241, sard: \oung l)ion\sos, !(':inHig on :i column, holding lh\TSOs and kanth:iros: in front of iiim is a panliu-r. 4-'',t, 42.}',, and prohalM\ 4244 arr poor ai[nes of ihr s.imr molivc C>prus, l'\. xli, 2. Ill, x.w Ml, 10. 423 THH COLLECTION OF FINGER-RINGS 4242, sard: figure of Plentx' with cornucopia. Ill, xxviii, 12. 424^, sard: an erect figure leaning on a column and holding a fillet: probahl\- Dion\sos as in 4241. Ill, xxix, 51. 4244. CioLD King with Cameo in white glass on blue: an erect figure raising the right arm: probahl}' another Dionysos like 4241. Ill, xxix, 6, (where the ring is wrongl}' given as bronze). 424t-t2. Gold Rings with Cowex Engr.aved Stones; mostl\' carbuncles, but also sard, carnelian, and green glass paste. 4245, green glass paste: a large \ase without handles. 1 1 1, xxix, 9. 4246, carbuncle: winged Victors'. Ill, xxviii, 3. 4247, carbuncle: .Athena ad\ancing. Ill, xxviii, i. 4248-50, carbuncle: 4248, figure of Plenty with cornucopia and wand; 4249, female head; 4250, hippocamp with goat's head. 4251, carbuncle: figure of Plenty with cornucopia. 1 1 1, xx\iii, 4. 4252, sardon}'x: .Athena: ver\' poor work. 4233-77. Gold Rings with Plain Stones, mostly convex. The rings are of the forms alread\' described: the stones, besides those alread\' named, include flat garnet as well as carbuncle (which is the same stone cut con\'ex), ameth\'st (4254-55), and ber\l (4272). The last two were valued for the magical properties ascribed to them, as well as for their colour; ber_\'l as a charm to protect e\esight, ameth\st against the effects of wine. Glass pastes also are common (4276), especiall}' in imitation of ber_\i (4263, 4274-5). The pale blue stone in 4259 ma\- be turquoise or an imitation of it. The sardon>x 42()4 is cut to a prominent cone, so as to show its layers. With these stones and pastes should be compared those in the contemporar\- earrings 3792 ff. 4278-(). SiL\HR RiNc;s with Engra\'ed Stones, rare in this period, and closel)' following the fashions of the gold rings. 4278, carnelian: Ares standing with spear and shield: the stone is in a box-setting on the front of a flat hoop, parti}' destrox'ed. Ill, xx\ii, i i. 4279, on\'x paste: decaxed. 4280-83. BRf)xzE Rings with Engra\'ed Stones, of the same t>'pes, except that 4283 has a stronglx' moulded hoop. 428] 424 signi;t-rings is in the bright coloured allo\- known anciently as oreichalkos. 4280, chalcedon)-, circular: a \oung centaur, carrying branches; better work than usual. HI, xxix, 7. 4281, sard: \'ictory holding wreath. Ill, xxix, 10. 4282, \'ellow jasper: a scorpion. Ill, xxix, 1. 4283, on\'x: Eros on a dolphin. Ill, xxix, 3. 4284-91. Engraved Stones fro.m Rinc.s like the preceding groups. The materials and subjects repeat for the most part those alread}' noted: 4284, agate: helmeted head conjoined with a Seilenos mask, so-callcd grxUos. Ill,xxxii, 4. 4285, carnelian: Victory offering a sucking-pig at an altar decorated with a bull's head. Ill, xxxi, 7. 4286, sard: Victory with wreath and palm. Ill, xxxi, 9. 4287, sard: standing female figure \ er\' obscurely cut. 4288, sard: PIent\' with cornucopia and wand. Ill, xxxi, 6. 4289, sard: female figure crouching and pouring from a \ase; better work than usual. C\prus, PI. xxxix, 8. Ill, xxxi, 10. 4290, sard: helmeted head, probably Athena. Ill, xxxii, 5. 4291, sard: a bearded head, suspended like a bunch of grapes from a twig, probabl\' Dion\siac: around it are (^xpriote characters, for which see the Appendix. On the back is an Arabic inscription "Ishmael," and the setting is modern. C\prus, PI. xli, a; Deecke, 51. Ill, xx\iii, 5. 4292-3. Rings ok Rock (^r^stal: of these 4292 is a plain circlet lined with gold foil, perhaps of the same workmanship and date as the cr\stal scent-bottles 33()8-3()()() and beads 3387. 4293, howexer, has the exaggerated tlal bezel characteristic of (Iraeco-Roman rings. Ill, Ixw, (>, 3. 4294-7. Rings and Fngravhd ("jE.ms oi- (jlass, all of the (iraeco- Roman .Age. The ring 421)4 has the same large be/il as 420',, but is hollow and contains a conwx "gem" of thin blown glass, like a watch-glass. 4295 is of amber glass, with an amber "gem" like t he gold rings 4255-77. 429C) is a flat oval onvx-paste, engr;i\ecl with a female figun.' who seems to hold a small animal b\' t he K'g: perhajis a nuienaii or votar_\'. 4297 is a cameo, of tiark ghisi on milkv ground: a \dung nuile head, wreathed; of line though late work. 42^ rill-: COLLECTION OF IINGER-RINGS Of separate interest are the two objects in the Collection which contain allusions to the new culls which became popular in the eastern pro\inces of the Roman Empire, and did much to prepare the wa\' for the spread of Christianity. 42C)8. Enc.r.whd Si:al-St()ni-; or Amulet of Red Jasper, in square gold cable-border: inscribed VAc, Zsu; '^zpy.zlc, "there is One Cod, Zeus Serapis" in Craeco-Roman lettering. 42()C). AliTHRAic .Amulet of HAEMATFfE, flat and oval, engraved on one side with a human figure with raised hand, and rays round his head, surrounded by a winged disc, pairs of birds, scorpions, crabs or scarabs, snakes, and a crocodile, all in coarse Craeco-Roman style. On the back is a magical formula in late Cireek letters, much worn, and mostlv illegible. Ill, xxxi, 18. A bronze three-cornered seal with barbaric Oriental engraving, of doubtful authenticity, and two modern rings of base gold, containing respectively a sard with modern Arabic inscription "Allah is the Self-sufficient One, and 1 am his Servant," dated AH 1212 (=1797 A. D.), and a modern pressed glass counter (111, xxix, 8) are not exhibited. 426 I HI-: COLLlXri ION OF CVLINDKRS AND Ollll.R ORIENTAL Sl-:AL-S'rONHS THE COLLECTION OF CYLINDERS AND OTHER ORIENTAL SEAL-STONES THK engraved seal-stones found in C\prus fall into five principal groups: (i) Bab\Ionian c\iinders and native imitations of them; (2) C\pro-.M\cenaean cylinders, of Mediterranean affinities, and barbaric copies of them, probably of the Earl\' Iron Age; (3) conical and domed seals, like those of North S\Tia and Asia Minor; (4) scarabs and scaraboids of Oriental and Archaic Cypriote st\-lcs; and (5) the flat or con- vex gems of the Hellenistic and Graeco-Roman Ages. Each of these groups reflects a distinct set of foreign influences, and mav be assigned to the same phases of cixilization as the potter\-, sculpture, and metalwork. Classes (4) and fs), being almost all designed for use in rings, are included in that (j)llection, 41 ]()-42(.)\ above. The earlier groups are reserxed for separate treatment here. BABYLONIAN CYLIN DliRS, VARIOIS I'l-RIODS AND SlYIJ-.S C^>'linders of this kind ha\e been found more tlian once in Cvjiriote tombs of the Middle Bron/e Age, ami smne of those of which there is no precise exca\ ation-record are assigned b\ iheir st\le to a date within the [irobable limits of this peridd in (!) jirus. These are genuine' works of Balnlonian art, with representations of Bab\'Ionian nntlis and deities, and occasional cuneiform inscrip- tions. 'riie\- are engra\ed on haematili', jasper, and other liard stones. The reNoKiiig drill comes into usi' on c\ linders of about 1500 B. (].; all before that dale are eiigraxed with the point. 4500. P)AinL()\iAN (;>iiM)i K of haematite. engra\ed as tollows; a god in horned i.ip brandishes a niace and the forf.ed lii^lit- ning of l\a-\'ul, the l!iiinder-( ' rough, and not eas_\' to interpret; Bab\ Ionian st\le is, however, well marked. Ill, cxix, 6. 430 43 oo 4301 IHh c;OLLECriON OF CYLINDHRS AND SEAL-STONES OTHER ORIENTAL CYLINDERS, EGYPTIAN OR ASIATIC, MIDDLE AND LATER BRONZE AGE Side b\' side with genuinel\' Ikibxionian cxlinders, imitations are found, in se\cral rude local st\les, which ma_\- belong either to Cxprus itself, or to the neighbcuiring mainlands of North S\ria and Asia .Minor, where such cxiinders are not uncommon. Some of the best of these barbaric copies are in hard stone, but the majoritx' are in steatite. A small but definite class of these non-Bab\ionian cylinders shows Egx'ptian influence. On these seals, as on Egyptian scarabs, which are occasionall}' found in C^xprus in tombs attributed to the Later Bronze Age, the engra\ing is wholl\- hand-cut, without an\- drill. All the lines and spaces are sunk to one plane, and in the best work their sides are nearlx' \ertical, as in full-sized hiero- ghphs: \'-shaped cutting and concaxities of \ariable depth mark non-I{g\ptian imitations. C\linders thus engra\ed in Eg\p- tian sl\le, or in imitation of it, are rare in (Cxprus. In Eg_\-pt itself the common use of cylinder-seals ceased ver\' earl\", about the IV D\nast\', but the\' are found more rarely at all periods down to the xxvi. It is probable, however, that these cxiinders are not of Egyptian xxork, but represent a local fabric, either in Cxprus, or on the Sxrian coast, xxhere Egxptian influence was strong from 1500 to 1200 B. C 4304. CvLiNDtR OF W'hith Steatite engraxed xxith a haxxk- headed deitx' in Egxptian kilt, holding a lotos-croxxned stafT. Before him are four E^gx'ptian-looking sxnibols perhaps upside down. In a separate compartment is an inscription (see Ap- pendix) and above and beloxv are lai.lder-borders. The xvork, though rough and whollx' linear, is deep and clear, and of mark- edly Egxptian stxie. Cx'prus, PI. xxxii, 12. Ill, cxxiii, 7. 430s. (^"iLiNDHR 01- Black StiiAIitf., engraxed xvith a man in Egxptian kilt, stantiing belxxeen three leaf'-shapet! objects and a cresce'nt-and-disc. This principal scene is bounded by a narrow panel filled xxith a lotos-spray. The xxork, though rough, is firm and betraxs habitual simplificalicjn in a trulx linear slxle. (Cxprus, PI. xxxi, ii. lll.cxx, S. 4306-7. (^'iLiNDhRS OF Bi.ACK StfaiitI: engraxed \er\' carelesslx- xxith outlined and dotted patterns xxhich seem intended to represent lotos-ornament. The subject, and the shalloxx 4^2 ()II11:R ORIHNTAL CY l.I Nl)i: RS linear treatment, assign these harbarie imitations to the Egxptian school. (^vprus, PI. .\.\xii, i() (43o()). Ill, cxx, 7 ('4307), c) (4306). A second non-Bab\ionian group is akin to the Hittite or S\ro- Cappadocian art of the .Asiatic mainland nearest to (~\prus. These "Hittite" c\iinders tisuall\' bear representations of deities, and nu'thological scenes, which are sometimes elaborate. The design is gcnerallx' di\ided into a "principal scene," occup\ ing rather more than half the surface, and a "back-scene," of less importance, sometimes arranged in sewral tiers, or short zones, and occasional!}- including s\mbols or linear characters. The back-scene, in fact, replaces the inscribed portion of the Babvlonian c\ linder. The stN'le of these Hittite c\linders shows a distant al'linitx' with that of Bab\T)nia, but the modelling is rounder, the figures show- much more life and xigour, and the details of pose and costume resemble those of Hittite sculpture. 4308. Cvi.iNDiiR OF HAb.MA'rrn-,. The principal scene shows a god and a goddess, armed with pennoned spears and thunder- bolts, confronted, with their foes between then-i: a lion, below, is speared b\' the god and looks back at him; aboxe, a gritfin with human arms and legs (perhaps a masked \-otar\- like 1029-31 in the (Collection of .Sculpture) flees from the thunder- stroke of the goddess. The god is bearded, and wears tunic, short kilt, sword-belt, and pointeti helmet with horns and w-inged knob. The goddess has wings, long \ est and cloak, hea\-il_\' fringed, and smooth pointeti helmet. The back space is in three tiers: an ox-head aboxe a rope-border, then two birds, and a lion seated so as to balance the lion in front: a half-unconscious ad\ance towards the more subtle conij-)osi- tion which is characteristic of the ( a pro-.\l \ ceiKiean cxiii-iiiers 4312-24 below. \'er\- j-irecise \ igorous work, ol Hittite st\le; but the gockk'ss rec;dls the figures on oiU' of the tii-iest of the Idaean sj-iiekls, Irom (j-ete, and the griflii-i has a peacock's crest like the .\Ii|-ioaii griChiis. HI, cx\iii, 11. 4500. (Ivi.iNDi.K 01 ll\i.M\-iiii. In the princijial scei-ie, a winged deil\ in horned cap sl:nuiing o|-| ;i serjient, hokis a wre;it h in oiu' hand, ;i|-id olfrr^ in 1 he ot hrr a h;ire to a goildess in clo;d< ;ii-id pointed iuimel (like .|',oSi who holds a flower. In the b;ick-sccnr, liie llitlile dtil \ .Saiuion in p:)inted ^ap stands on ;i bull, ai-id i-'r;inilislns ni;ice and s,f|iirc. lirlnti- him stands :i Mdary, briow whom are thnc human liratis. iHi- (;()i.Li:(,ri()N of- cylindhrs and shal-stones Between t;ocl and xotarx' is an allar. This God-on-the-Bull is well known in llittite seulpture. His worshipper is no doubt a victorious chief, whose \ictims lie below. Softer and less vigorous work than 430N. but of definitely Hittite st}le. Cx'prus, PI. xxxi, 7. Ill, cxviii, 9. 4310. CvLiNnHR OF Hai;.matitk. In the principal scene, the Oriental Uerakles, in lion-skin and bell-shaped cap, contends with a human-limbed gritihn for a column with floral capital. The goddess Ishtar, in bowl-shaped cap, looks on. The back-scene is in three tiers: a lion and bull fighting, a large coil-pattern, and a sacred tree guarded b\- recumbent ibexes. Fair work but without \igour or movement. (Cyprus, PI. xxxi, 6 (inaccurate). Ill, cxx, 10. 4311. Cvlim)i;r of Hah.matitk. In the principal scene, a hero, bare-headed and bearded, in short tunic, confronts an erect lion behind which is another personage, perhaps Ishtar, looking on. In the back-scene, a spread eagle hovers between a lion and an ibex, which run down \erticall\'; the latter is held b\' the hind-leg in the right hand of the hero. .Abo\e are fi\e linear characters it'iS'f/'^ which seem to be in an early form of Cxpriote script. The nearest characters of later date would read ti-ro-e-na-si or in the reverse order si-na-e-ro-ti. As the signs happen to be all s\mmetrical, there is no clue as to the right direction. The work is rough but \igorous, and approx- imates to the C\pro-.M\cenaean. Ill, cx\iii, 4. CYPRO-.MYCHNAEAN CYLINDERS, LATER BRONZE AGE It might ha\e been expected that the western people who colon- ized C^vprus in the Later Bronze .Age would ha\e introduced the lentoid and spindle-shaped "island-stones" which are character- istic both of Late Minoan Crete, and of the .M\cenaean mainland. These seal-stones, howe\'er, ha\e not been found in (]\prus, and even unengra\ed beads of lentoid shape, like 3143, are \ery rare there. In their place stands a distinct class of c\linder-seals, cngra\ed in a rich mixed st\le, compounded of Al\cenaean and Oriental elements, with man\' traces of Egyptian influence, and some affinit\- also, in the later phases, with the earliest art of Ass\Tia. These "C\pro-Al\cenaean" cxiinders are exceptionallx' well repre- sented in this Collection. 'I he designs on these seal-stones are often ver\' ingeniousl)' com- 4M 4302 4304 43 o8 4311 4313 4324 TH1-; COLLl-CnON Ol- (,YI.INI)f;KS AND SllA l.-S 1 ON 1:S plicated; ihc aim, as in all good seal-cngraxing, being to treat a popular and intelligible niotixe in so indixidual a \\a\' that identi- fication shall be eas\-, but forger}' diflicult. Usuallv the design is continuous so as to repeal itself harmoniousix'; but as on the S\'ro-(^appadocian c\linders (to which this group stands nearest in its methods of composition) a principal scene mav be distin- guished. This, ho\ve\er, is not isolated, but most ingcniousl\' connected with the back-scene; and sometimes there are three or four motix'es in the composition, each with itsown axisof s}'mmetr}'. l-'or example, in 4314 the lion which is held b\- the woman in the principal scene is himself one of the principals of a confronted pair, and the recumbent ibex over which these two lions rage is balanced hv another ibex, on which again the griffin which balances the first lion, in the woman's other hand, stands to attack this second lion, which thus becomes the central figure in a convergent group of five. In the same wa\' 4331 shows a man struggling between a griffin and a lion, but b\' in\'erting the lion it is brought, in the back-scene, into a foot-to-foot group with the griffin, and in 4319 the lion in one hand of the woman attacks, round the back of the c\linder, a bull which lies under the other. The execution varies from a "vigorous" st\le closelx' related to Late .Minoan engra\ing, through a "roughened" technique in which detail and textures are exaggerated, to a thin "angular" treatment, which in turn passes over into the purel}' "linear" st\ie of the Geometric Period. 4312-1 J. Cypro-.Mychnaean Cylindhrs ofVigorol's Stvlh, with the bodies of the animals roundly and smoothly modelled, with plent\' of detail: the e\e is small, and its orbit of irregular and almost natural shape: 4312-13 are of steatite; 4314-15 of haematite. 4312, a seated woman in .Minoan skirt and jacket, and cur- iousl}' coiled hair rather like the llittite fashion, holds b)' the tail a seated griffin with plumed head. Behind Iut is a small lion running verlicall)' downwards, with its hind legs extended in the regular .M>'cenacan st\ie. The linear object in front of the woman's head is probabl\- [lart of her high chair-back. Precise detailed work, with great \ariet\- of handling. (]\-- prus, PI. xxxi, 9. Ill, cxix, 7. 4^13, a lion and a sphinx confronted, erect; an ibex lies tlown between them; behind are a bull's head, crescent-and-disc, and three dots, instead of a back-scene. Ill, cxix, 8. 436 CYPRO-MYCHNAhAN CYLINDHRS 4314, a woman in Alx-cenaean belt and skirt holds a lion and a griffin b\' the tail. The lion is confronted with another lion; the griffin mounts on a recumbent goat, and attacks this second lion from behind; between the two lions is another recumbent goat. Ill, cx.\, 12. 4315, a woman in Mycenaean dress and peculiarl\- coiled hair as on 4312 holds an in\erted ibex in each hand; between them, at the back, is a large raxed rosette abo\e, and a recumbent ibex (damaged) below. 'l"he texture of the animals is ren- dered b_\' a rather exaggerated roughening, which marks the transition to the next phase of st\ie. Ill, cxx, 5. In the "roughened" st\ie exaggerated emphasis is given to the hair or fur of the beasts. Their limbs, too, are thin and ill-modelled; their eyes large, and surrounded hv a circular area, drilled quite smooth, and often covering the whole head. 4316-19. (^vi'R()-.\1yci:\ai:a\ Cai.indi-.ks or RorcHt-.M-D Siale, all in haematite, which ma_\' in part account for their peculiar technic]ue. 4316, a woman in the same dress and coiled hair as on 4315, holds an in\erted ibex in one hand. On her other siiie are an ibex abo\e, a lion below, and a rosette and crescent-aml-disc: in the field are also signs which resemble the (Cypriote char- acters pa and e. Ill, cx\iii, lo. 4^17, a fine "ra\ed-column" of characteristic form, which in this st\le seems lo pla\' the part of the Oriental "sacred tree"; then a goat's head, close to the colunm; in the Held inv a wa\\- line, three S-spirals, ami perlKi|is the Cypriote" characters pa and ta; but the latter m;i\ be sinijilx " lilling-ornjmenls," such as become \ er\ common on the hiter and more barbaric cvlinders. (hoarse work, marred b\' excessi\'e use ol a large drill. Ill, cxMii, (). 451S, a lion, full-face, pursues a goat; ab()\e- the lion is an ox-heati, with tlisc between its horns, and jbo\e this ;i lour- winged disc: ;ibo\r the ,^o;it ;i dm- p;irll\' iinerled is :ill;icked b\' anotlu-r lion. wholI\ iiuirtci!. Notr ihr l^vjitijii motixcs of solar disc, ;ind disc williin horns, a wilbknowii ll.ilhor- s\nibol; the bold cxpciimeiil of the full-f;u('d lion; .iiul the crowded iiudlurmcr of ihc wlioK- composiiion. b'lbbcd work, cluins\ :ind course. 111. i\x, 4. 457 Tin; (.01. 1.1. (HON oi- ('.ylini)i;rs .\ni) si..\i.-stoni;s 4^i(). a woman holds hv tiie tail a rampant lion, wiiiLh socms to haw pulk'd down a horned animal: this animal lies under the other hand of the woman; an ingenious combination of two I'amiliar designs. Ribbed work, ver_\' slight but vigorous. Ill, exi.x, y. In the "angular" st\le the bodies become thin and angular, the crow-ribbing broader and less uniforml\- spaced, and the drilled e}'e has no longer an\' flat area around it. This degenerate phase passes o\er into the barbaric linear or geometrical sl)le of 4329 if. 4320-4. (^^ i'R()-Ahcr.N.\i;.\\ (]vlindi-:rs of .-\ngll.ar Stvlh, all of steatite. 4320, spread eagle, ibe.x, fish, open hand, and six dots. Smooth work but coarser than the best examples. In spite of the incoherence of its elements, wherein it is the counterpart of 4318, the whole scheme has some decorati\e \alue. C>prus, xxxiii, 24; .Menant, C)l\ptic]ue, 11, fig. 243. Ill, cxix, 14. 4321, ra\'ed column with two pairs of \()lutes, adored b\' a woman, behind whom is a seated lion, adoring also, with raised paw. In the field abo\e are a flower and a ra\-ed disc. Slightl\- ribbed work, rather rough. Ill, cxx, 13. 4322, ra\ed column, with basal xolutes, adored b_\' a woman and a seated lion; behind is an ox-head abo\e a smaller column; corrugated work, \'er\' roughl\- executed. ('.\prus, PI. xxxiii, 2s. Ill, cxx, 1 1. 432^, a bearded man, in short tunic and pointed helmet, seizes a goat and a lion, both erect. Bex'ond the lion is a rayed column with two pairs of \olutes, and a bull's head in the field; bexond the column is a bull's head abo\e, then a fixing bird; a standing bird below. Smooth work, with rather excessi\e use of the drill. Ill, cxx, 2. 4324, a man extends one hand; two open-mouthed lions spring upon a large hull, of which onl\- the head and hind quarters are clearl\- seen. In the field is a double axe, perhaps the protot\pe of the ingot-s\mbol on the geometrical cylinders. (l\prus, PI. xxxiii, 27. Ill, cxx, 15. 4325-.S. C")'i'RC)-AUci-NAE.\N (hLi\Di:Rs of \arious degenerate stxies: all of steatite, like the preceding group. 4^2s, a man in belt and kilt, up-turned shoes, and coiled hair like 4312, between a seated goat and an ox-head with disc, 438 CYPRO-MYCENAHAN CYLINDiiRS above an ingot: the latter is ver\- well characterized, with four corners, and a central hole. Between man and goat is an S-spiral. Sparsel}' ribbed work, with simplified detail. C>prus, Pi. xxxiii, 30. Ill, cxix, 4. 4326, a man, full-face, in belt and high cap, holding a spear, between a seated griffin and an ibex; abo\e a crescent-and- disc, and an ox-head. Disjointed work, in transition to linear. Ill, cxix, 13. 4327, a ra\ed column, half transformed into a rudeh' natural- istic palm with six fronds, adored b\- an ibex and a goat. Be- hind is a second goat also adoring, with a crescent-and-disc, an ibex-head, and a cross, and two other sxmbols in the field. Vigorous work, but much more linear than the preceding. C}-prus, PI. xxxii, 13. Ill, cxviii, 8. 4328, a column with two pairs of \olutes but no ra_\s, between an ibex and a bird, abo\e which is another bird or a fish; behind is a spread eagle, towards which the bird and ibex look. The form of the column seems to be transitional from the ra\-ed t_\pe to the ordinar}' "sacred tree." (>\prus, PI. xxxii, 28. Ill, cxix, 12. CYLINDERS OF BARBARIC AND GEOMETRICAL STYLES The c\'linders which follow show (^\ pro-.M\cenaean art rapidh' degenerating into an almost purel\- linear style; at the same time the symbolic meaning of the designs is fading, and the figures and scenes are re-interpreted in a purel\- naturalistic sense, l.ions and griffins become rarer; trees, birds, and goats more common; the stag appears alongside of the ibex; snakes, scorpions, and an oc- casional crab appear. The crescent-and-disc, ra\t,'d orb, star, and ox-head are still po[nilar; and the ingol-s\ mbol becomes common. One whole school of i-ngraxing is characteri/etl hv its fondness tor numerous orbs, simplified to a single circle wit li centre- point. Sard and haematite are still in rare use, but the large majorit}' of the cylinders are now of sti'atite. 4329. Cvi.iNDt K 01 -Saki). engra\ed with a man in I'gxplian kilt standing between a recumbent g(i;it and a seated sphmx. Behind is a smaller man Imlding a mace; m the lieKl are twd fl\-ing-fish and a pap\"rus flower. 1 lu' bgvptian touches are noteworth}-, but though the botlies of the aninKiK :ire ^till THH (:(M,i.i;(:ri()N of cyi.indI'.rs and si-.al-sionhs rounded, tlie rest of the work is anf^ular and slifT, with exccs- si\e use of the drill. (^\prus, PI. xxxi, (S. Ill, cxix, 9. 4330. C^'iLixDhK ()!■ Mai-ma rrri:, engra\ed with two robed figures, who adxance with raised arms towards a sacred tree which springs from an ox-head Between them is a leaping goat; and b\' the tree two obscure sxmbols. The surface is much damaged but the work itself is careless and \ague. The man- and-tree scheme, which has here replaced the ra}ed column, becomes \er\' popular later. III. cxx, 6. 4331-2. C^^LiNDHRS OF STi-;ATrrH with some Oriental touches, though the engra\ing is mainlx' geometrical. 4331, a human tigure in Oriental robe pursues a griffin, which forms a foot-to-foot group with a lion placed on the other side of the man. 0\'er the lion are a raxed orb and three dots. Though the figures are clearlx' posed, the work is starved and angular. (]\prus, PI. xxxi, 10. Ill, cxix, 15. 4332, two robed men approach each other; between them is a lion erect but in\'erted; in the back-scene are two goats, set transvcrselx', an ox-head, and a snake below it. Quite x'ague work, mainly linear, transitional to the geometrical st_\-le. Ill, cxx, 3. This "linear" or geometric st\le, barbaric as it is, has >'et a dis- tinctive character. Rounded outlines and broad surfaces are almost wholly displaced b\- V-shaped groo\es, wider and deeper for the more emphatic strokes; and all cur\es are summed up in angles of 90° and 45°. Some engravers still emplo\- a rexohing drill, and a tubular drill for the circles, which are conspicuous in some of the designs; others cut these circles b\' hand, and quite irregularly. This was eas\' enough, for steatite is the onl\' material in this class, and often of ver\' soft qualitw The dearth of metal caps like 3144 to protect the ends from damage is betra\"ed bv 4345, 4351, which have their caps imitated in the steatite itself. 4333-57- (>YLi\Di:RS OF Stf;atitf, engraved in quite geometrical st}le, with groups of (;bjects which occasionally form scenes, of hunting 4^35, 4350, or \\(-rship 4341-5, or groups of b.uman beings round sacred trees 4] -57-41 , or tending animals 4347, or otherwise engaged 433(); or groups of animals, heraldic 4346, or in combat 4344. Onl\- on 4352 are single animals set in separate framed panels. But more often the connection between the figures is ncjt ob\ious, and many of the smaller 440 BARBARIC AND GEOMHTRICAL STYLES objects are themseh'es not casil\- recognizable, 'llie com- monest figures in this, as in the preceding group of transitional designs, are man, goat, ibex, lion, and tree: rarer are griffin 4326, 432(), 4331, 4336; bull 43so; stag 4^^4, 4^4(); spread eagle 432.S, 4333, 4335; bird 4328; snake 4332-4334; fish 4320, 4335; scorpion 4334, 433(>, 4339; ^'rab 4333; flower 432(). Other common objects are the ra\ed disc 4331, 4^^^, 4^4^): crescent and disc 4326-7; disc alone 432,, 4347-50, star 4335 or cross 4327, 4333; S-spiral 4325; "ingot" or double axe, tour-square with concaxe sides 4325, 4340, 4342-4. 4M''^-0; '^'^iSS^'r 4344, 43S<>; and a line with two cross-bars, 4347, 4352, which has been taken for the Clx'priote character pa, but more probabl\- represents foliage, horns, or other details of the design. De- tailed description of such designs is of little use; especially as the\' are all figured in Atlas 111, and man\' of them in Cyprus, as follows: At la _s- /// ('vpnts 4333. cxxi. 3- xxxiii, 2() 4334. — 4- xxxii, i() 4335. -- 9. xxxii, iiinder 4336. Ill, xxxi, 14. 4395, two human figures. (C\prus, PI. xxxxiii, a. Ill, xxxi, i() 4396, lines and dots, intended for a s;icred tree. Ill, xxxi, 2. 4397, ruele design of radial lines. Ill, xxxi, 4. 4 5()(S, bull with tree behind; the back coveretl with incised lattice. (;\prus, PI. xxx\iii, cL 111, xxxi, i. 4399-440^ Scarabs 01 Siiaiiii, in Oriiniai, Sivm: these are usualh' in a \er\' bhick tine-grained slont', and are rubbed in a wa\' which suggests llut llie\ h:\\c been wnvn like beads, not set in a rin.n. 4^99, procession of three warriors in the high crested heiinel, single spear, and round shiiTl with cenlr;d boss, which ,ire 447 THH COI.l.liClION Ol- CYLINDERS AND SHAL-STONHS worn b\' auxiliar\' troops of Sennacherib in the earl>' seventh centur\': for the shields compare the sard 4146. Cyprus, PI. xl, 10. Ill, xxxi, 17. 4400, goose, with spread wings, and solar disc above: it seems to be the Hg\'ptian ro\al birti, and its st\de suggests an origin for the line birds on painted vases 754 ff. of the seventh cen- tur\-. 4401, sacred tree between griffins: Mixed 0:'iental st\ie. 1 1 1, xxxi, 3. 4402, seated sphinx in round cap, in a heavy deep-cut st\'le: the scarab has the same prominent keel as 4178 fT. in hard stone in the Collection of Finger-Rings. Ill, xxxii, 3. 4403, a bearded man in long robe stabs a griffin with a pommel- hilted sword. Ill, xxxii, i. 4404-mbols, and winged animals, on the other — and passes over into the art of mediaeval Persia. 4409, brown chalcedony: bearded head with inscription, "Confidence in God": see Appendix. 4410, mottled red and white jasper: conventionalized "tire- altar" device with inscription, "Confidence in God the Lord": see Appendix. 441 1, haematite: "fire altar" with border simulating an inscription. 4412, grey chalcedonx': angular device, perhaps a "fire-altar"; very rough work. 4413, grey agate: a stag with hea\-v antlers. 4414, haematite: lion (?) much worn. 4415, chalcedony: bird. 4416, green plasma: bird. 4417, carnelian : standing female figure. 44i. 440 THH COLLlXniON Ol- CYLINDHRS AND SHAL-STONIiS BABYLONIAN AND OTHHR ORIHNTAL WEIGHTS These, like the prexious groups, probabK' came from the mainland in recent times; at all e\ents, the\' have not }et been recorded in tombs or on sites in (^\prus. 4426-33. Si'inui,i;-shaim;d Weights of green-stone 4426, porphyry 4427, and haematite 442 " 4437 " 180.7 " 4438-40. DucK-sHAi'i:D WEIGHTS, of characteristic Bab>'lonian form, with the head turned down on the back: 4437 is of haematite; 4439-40 of chalcedon}-, roughly engraved with a rayed column on the under side. 4438 weighs 1 1 I.I grains 4440 weighs 51.5 grains 4439 " 43-9 " 4441. Frog-shaped Weight of haematite; its weight is 158.1 grains. 4442-4. P'ragments of Haematite, partly worked into weights or other objects. EGYPTIAN AMULETS The amulets in glazed paste are common in C\'prus in tombs of the sexenth and sixth centuries: those in hard stone arc of more various periods. Most of these latter have not been recorded in C\prus, whereas such objects, of all periods, arc commonly brought from Hgx'pt and offered for sale in most parts of the Levant. 450 AMULETS 4445-60. Amulets of Hard Stoxh. The forms and purpose of these objects follow those of the glazed amulets 44()i tf. below. 4445-7, heart pendants in lapis-lazuli (4445) and jasper (4446-7). 4448, frog, in jasper, of the XX\'I Dynastw C'ompare the frog in black on\-x, 3303b, probabl\- rather later: and the tortoise beads in agate in the necklace 3303a in the (Col- lection of Ornaments. 4449, Sun-on-horizon, in red jasper. 4450-51, girdle-tie in jasper. 4452-4, ded-sign in lapis-lazuli. 4455, spindle-shaped bead, in lapis-lazuli. 4456, perforated disc, of lapis-lazuli, perhaps an unfinished ring. 4457, thun- derbolt-sign, in chaIcedon}\ 4458, pillow-charm in jasper. 4459-60, slit earrings of carnelian: the purpose of these rings has been determined by finding them in position on the ears of mummied bodies. Eg\'ptian amulets in glazed paste arc found in tombs of many periods, and are particularl)' common in those of the Graeco- Phocnician or Orientalizing Period of the Earl\- Iron Age, when C_\'prus was in most frequent intercourse with Eg\pt. A few are cut in chalcedon}', agate, and other hard materials, but most of them are moulded in a soft white paste which is co\ered with a coloured glaze, usuall}' blue, though this is sometimes discoloured to various tints of green, violet, or gre\-, or reduced almost to white. Occasional!}- also red, }-ellow, and brown glazes are used, and very \aried colours prexail for a brief period in the XN'llI and XX\'l D\-nasties, and again in Roman times. Details are sometimes added in a dense black paint. Some objects here des- cribed (like 4550) seem to ha\e no paste core, but to consist of glass only. Such glass work is rarer at all periotis than the paste. Some of the larger figures were intended to stantl b\- thenisehes; but nearh' all are provided also with a suspension-loop, so that the}' could be worn as pendants in a necklace ol beatls. .Man}' are perffjraled like beatis, and some haxc two or more perlorat ions, to ser\-e as control-beads, in a nniltijije collar. The larger amulets represi-nt lyg\ptian deities. usuall\ animal- headed, or identified hv I lir s\ niliois or attributes which the\- hold. Then come figures of animals, lii(M-- subdivided b\- lotos plants antl trees, both natural and conventional: about five of these, pairs of single snakes, hawks, griffins, face each other heraldicall\-, the re- maining spaces being filled by other winged creatures set 4533 singly. F.ngraxed in this zone is a (]\priote inscription of ele\en characters, uhich nia\ be read "I am ^i -^ )^ ^V K- the bowl of I{pioro('s." Ilu' projier name is H-'CX^X unusual, and ju'rhaps not \ d right l\' read: see .\p[K'iuli\. Another bro:id inter\al (\i) si'p;ir;ites this outer zone Imm the rim of the bowl. Ilu- sl\K' is close lo thai (if IgxplKui en- graved uork of t he d\n;isi ics ln-l ween the.Xl.X and \\\v .X.W'I, but caniioi be jirecisrh dated. 111. x.wiii. i. 4553. G(.M,l;-i'l..\ 1 1.1) Sii.\i,K I'ow I., uith centr;il medallion ;ind 45<) VHSSHLS OF GOLD, SILVHR, AND GILDHD BRONZE two zones of ornament tlne)\- ongra\ed in outline, with some use of low relief. These zones are not separated by plain inter\als, like those of 453^, but cover the whole inner surface of the bowl and are defined b\- narrow bands of a necklace design, composed of minute punch-marked circles. In the central medallion (i), a bull moves to the right, in a \igorous almost natural st\le, with reminiscences of .M\'cenaean and 4754 also of Fg\ptian con\'ention. The inner zone (ii) shows a procession of se\en horses grazing to the right in the same \'igorous and graceful st\ie. The outer zone (iii) is sub- divided b\' a background of pap\'rus stems into fi\e spaces, in each of which stands an animal-group: — cow with calf (twice), horse with foal (twice), and a standing horse — all much damaged b\' rust. The st\ie is rather less careful than in 4552. Ill, xxxiii, 4. 460 BOWLS 45 t4. SiLVHR Bowl, engra\'ed and embossed, with a eeniral medallion, which is surrounded b\- two zones of figures em- bossed and gilded on the sih'er ground. Between the zones run borders of cable (jrnamenl. In the medalh'on (i), a four- winged human figure in Ass\rian cap and robe attacks a lion, while abo\e and behind ho\er two Egyptian sacred hawks to protect him. The inner zone (ii) is composed of a number of independent animal groups, separated b\- trees very con- ventionall}' drawn; among these are confronted bulls, grazing horses, cow and calf, lion standing o\er a prostrate man, a lion-hunt, and seated sphinxes with cartouches of illegible writing in the background. The outer zone (iii) is subdi\ided, une\'enl\', by conventional "sacred trees," and in the com- partments thus formed are sphinxes, goats, and other figures in irregular attendance on the trees, and also independent groups of men fighting with lions, or griffins, and an Egyptian conqueror siaxing capti\es. The whole is executed in a .Mixed Oriental stxie, and probabl\- belongs to the se\enth century B.C. Cyprus, p. 32(); Perrot, fig. St2; (^,olonna-(]eccaldi, PI. x. HI, xxxiii, 3. 4555. SiLVHR Bowl, much damaged, engra\ed in a delicate and advanced stxle which, though intluenceti b\- earlier work of .Mixed Oriental stxle, is essentiallx- naturalistic, and cor- responds in feeling and techni(]ue xvith the earlier phases of the Archaic (Apriote stxle in gem-engraxing and sculpture. ■As usual in these bowls, the more ambitious and adxanceil work occupies the place of honour in the principal zone nearest the rim; the narroxver zones ami the central medallion being executed still in more subdued antl conx'entional mood. The j-»redominant influence noxv is once more that of b.gx pt, but it is the rejuxenated art of the X.WI l)x nastx', not the deca- dent grandeur of the X.\. The central medallion (\) shows the jnirelx- conxenlional design of Isis nourishing llorus. This group is set against a sparse background of jxipxrus Nlenis, the heads ol xxiiich droo)-* gracefullx- oulxxards, and Iranir ihe picture. Ammu! this comes (ii) a narroxx' /one nf animal scenes; abox'e the I' solid-plank constrtie- tion familiar from earl_\- Greek \ase-paintings: the chari(jt- whccl has six spokes. Unpublished. 4556. Fr.agmhnts of a SiL\tR Bowl, including practicalh- all the rim and outermost zone, and parts of an inner zone and of the central medallion. The central medallion (i), which is much defaced, shows an Eg\ptian King with Osirian crown, striding to the right, and brandishing a mace, while with his left hand he seizes b>' the hair a group of capti\es, who im- plore merc\- with upraised hands. Behind him an attendant holds a large round fan. This medallion, like that of 4514, is in quite conventional st\le, though vigorouslv e.xecuted and composed. The fragments of the inner zone (ii) show (a) a \'otar\-, harpist, and double ilute-pla\er, from right to left, immediatelx' belowthe retreating giant in (iii); (b)part of a char- iot, and then three soldiers, in kilt, low pointed cap, sword, and noteworthy shield of flexible leather with rixeted metal rim, transverse band of metal with ri\ets, and central boss or spike: this form is familiar from .Assxrian reliefs of the earh' se\enth centur\', and probabl_\' supplies a datemark for this and similar bowls. The outer zone fiii) repeats in \er\' sliglul\- simplified detail the famous "Hunting-Adventure" on one of the siher bowls from Praeneste. Glermont (janneau, L' htiaiicric l'bhiicii)i)U', 1 (Paris, iSHo); Perrot. (ig. 545. I'rom a walled cil\' a Lhief rides out l(j the left in his chariot. Tlien the ch;iriot is seen standing behind a tree, while the chief, behind another tree, kneels to shoot with his bow at a great ape which sc|uats looking awa\' from him; thm come derr, and a groom le.uiing a horse through a wool!, rejircsentcd b\' two trees behuid it. Then, after anot her t ree t In- chief is seen ag;iin ; behind him is an altar or low wall of mjsonrx . ami aboxe it a winged disc representing his goil: this section is much daniagetl. but clearh- reprt'si'iits the picnic s.urilice im the I'raenesi iiu- bowl. Then comes a t ret'-co\ rred mountain from winch issues a ,i;iant hurling a stone at tin- chariot, which is sa\ed. howexer, b\ the god, who carries it \\y into the air in his iiaiuis: alter which the chariot is seen resion-d tn earth again, still facing Id the 4(M vhssi;ls oi (loi.i), silvi;r, and gilded bronze Irfi. and awaiting the chief, who shoots at the giant as he retreats to his roek. Ik'\"ond this roek he is repeated, with arms bound, awaiting his death-stroke from the chief's battle axe. Ihen the chariot bears the chief back again to the city from which he started. The st\le and workmanship of this zone folk)w the Praenestine bowl so closel\' that there can be little doubt that this duplicate is from the same workshop. A. Marquand. A. J.A.. iii. 1887. pp. ^22-^^,7. PI. xxx. 4557. Fr.kg.mlnts of .a Silner Bowl, including much of theouter zone, and parts of an inner one. .A detached fragment 4559 with part of the central medallion, ma\' belong to this bowl. The outer zone is in a highlx' embossed and coarsely engraved st\le. full of \igour, but \er\- dilTerent from the miniature scenes on 4s=i4-s. and more akin to the bronze bowl 4561. It depicts a ro\"al feast. In front of a square screen stands a table with cur\ed legs bearing a dish of fruit; to right and left the King (in Hg\ptian crown) and the Queen recline facing inwards on high couches with step-ladders; each holds a fruir in outstretched hand. 0\'er the Oueen is an inscrip- tion in C\priote characters, which is discussed in the Ap- pendix. Towards the Queen's couch come women in Minoan jacket and skirt pla\ing double-flute, oriental harp, and tambourine, and a cup-bearer with a pile of bowls in one hand and an oinochoe in the other. Behind them stands a great wide- necked amphora with vertical handles; and then a table on which is a small wine-amphora between two oinochoai; two wine-ladles like 4925 in the (Collection of Bronzes, hang b_\- their hooked handles on the edges of the table. Then three more women ad\-ance in .Minoan jacket and skirt, ver_\' precisely' drawn; the first holding two bunches of flowers; the second, two legs of sheep or goat for the banquet ; the third, two trussed geese. This end of the scene is closed b\' a stand- ing bird which gazes after the procession. Behind the king, a man in a similar head-dress pla\s the double-tlute; then the metal is broken. The inner zone shows (a) a pair of grifllns about a sacred tree; (b) to the left of this group an archer, kneeling, shoots with a composite bow at a stag which mo\es awa\' from him to the left. In front of this walks another stag: then the metal is broken. Unpublished. 4Si8. F-'r.ao.mhnt OF .A SiL\ER BowL, showing part of an inner 4()4 BOWLS zone of alternate running ibex and lion, each animal separated from the next b\- a leaf-shaped tree. Unpublished. 4559. Fr.agment of a SiLvtR Bowl showing part of a central medallion: a four-winged human figure, in hjng robe, places one foot on the head of a small lion which mows to the right, while he holds another lion before him b\- the tail. This is an adaptation of the "Lord of Lions" who was worshipped in Cilicia under the name of Sandon, and is often represented in Hittite sculpture. His relations to the Greek Herakles have been discussed on pp. 171-2. Unpublished. 45()o. Bronzi-; Bowl, engra\ed and embossed with a design of four deer, who feed, mcning to the right, before a background of pap\Tus-stems. The work is in strongh' Kgxptian st\le. C^\-prus, p. 337. Ill, xhii, ^. 4s6i. Bronzi-. Bowl, engraved and embossed. In the centre, which is deeply depressed, is a rosette, surrounded b\- a cable border. .Around this is a single broad zone, tilled with a re- markabl\' complete representation of (>ypriole religious ritual. To the right of a tripod-table, on which stands a bowl full of fruit or cakes, sits a Goddess on a high-backed throne, holding a flower in her right hand, and, in her left, one of the otl'erings from the bowl. Behind her stand three musicians, pla\ing double-pipe, l\Te (of (ireek t\pe, but held sidewaxs). and tambourine. On llie left of the table stands a priestess, holding in each hand an (jbject which is not clearl\- shown, perhaps a fan and a wine-ladle. Behind her, on a four-leggetl table, are a large amphora ami an oinochoe. for drink-offrring. Then follows a dance of six women, each holding the wrist ot the one before her, as is the rule in Greek choral-dancing ancient and modern. '1 he sixth, who holds a tlowiT in her free hand, stands back to back with the tambourine-pIa\ er alread\- described, and so closes the scene. In the inter\als between the women, Icjlos-cappeti columns perhaps strl.ie like 141 s-20 in the GoIK-ction of Sculpture occup\ the b:u k- groimd. ,\II the wonu-n wear the .Minoan jacket and skul, and ha\e their hair piled high on the head, with a single long plait hanging down in front ol the shoulder. I he work is coarse and hea\\. but lull ol instructi\e detail, and sIkuiKI be compared with tin- luic p.iiiited \asr 7:,i in the (.olleclioii of Lotter\- in I loor-G.isr \ III. It )'robabl\ bcTmgs to th, 40-, VHSSHLS OF GOLD, Sll.VHR, AND CI LOUD BRONZE se\enth cenlurw CLolonna-CA'Ccaldi, PI. vii. C\prus, p. 77; Perrot, fig. 482. Ill, xxxiii, 2. 4t()2. Siial-.r Drinking Cvv or Dhep Bowl, with gadrooncd body and Loncaxe lip, engra\ed on the outer surface of the 4 379 4381 4386 4388 4592 lip with a row of birds lightly outlined in Eg\ptian st\ie: probably of the seventh centur}-. Cyprus, p. 400, tig. 22 (in- accuratcj. Ill, xxw, i. 4563-71. SiL\ER Bowls or Drinking Cups of \arious forms: 4563 is deep and conical ((^\-prus, PI. xxi. Ill, xxxv, 2); 4564-3 hemispherical (III, xxxv, 3); 45()6-7 bell-shaped (III, xxxv, 4, 3); 4568-9 shallower; 4570 shallow with nearh' up- 466 BOWLS right sides, a characteristic form in cla\ in the sixth and fifth centuries (III, xxxx'i, i); 4571 with shghtl\- expanded rim. Ill, xxxvi, 2. 4572-3. SiLXhR Pathrai-: with central boss, surrounded b\- a rich band of gold embossed with lotos flowers and palmeltes, in a ver\- advanced stage of the Oriental st\ie; probabl\- not earlier than the end of the sixth centurw 111, xxxxii, 4. 4574. SiL\HK Pa'MiRa, with hemispherical boss in the centre, surrounded b\- a narrow band of gadrooned ornament, en- graved. Ill, xxx\ii, I. 4574-8. Paterae or Sil\hr, quite plain, wiih hemispherical boss in the centre, probably of the fifth centurw Cyprus, PI. xxi. Ill, xxxvii, 2; xxx\i, 3, 4, 5. 4579. Silver Patera, with deepl\- embossed ornaments of lotos petals on the bodx'; probably of the sixth or earl\- tifth centur\-: compare the paterae held b\- the stone hands 11 5()-7 in the Collection of Sculpture. C\prus, PI. xxi. III,x\x\ii, 3. 4580. Silver Pate.ra with wide flat rim, and lotos petal orna- ment oxer the whole interior. Ill, xxx\ ii, s. 4581. Two-HANDLiT) Bowl oe Silvej<, with distinct fool anti rim; probabl\' of the fourth centur\' B. C. Ill, xxxiw i. 4582-3. r-"RA(;Mi;\Ts OE^ Silver Paierae,, piled together and much corroded. Ill, xxx\ iii, 4-s. 4584. l"RAc..\iE:Nr OE the: T^im oi- a Larc.e. Bowl, with a band of rosettes embossed on a thin iilate which is fastened with wire to the actual rim of the vessel. It is iir()babl\' the xi'ssel with more than hemispherical body, slight 1\' depressed, and deepl\- gadrooned, which is figured entire in C\[-irus, PI. xxi; Perrot, fig. 5O1. 4585. Patera 01 Silve.r, verv shallow, with broad flaring rim, c]uite [ilain, 1 1 1, xxx\ lii, >,. 458(). SiE\ET< 1 l.\Ni)EE.-Kn)(.E ji(,, witli globuhir bod\', flat rim, and small handle- al tallied to a ridge at the niiikile point of the nt'ck. ( Compare 47<)-8 1 , in Rvd lUic Jiero Ware, in the (Collection of Poltrr\, Wall-Case H- Perhaps of the siAentti cenlur\-. (Aprus, PI. xxi; Perrot, fig. sOo (inaccurate). III. xxxi\, ^ 4587. \i-,(;koi a I Iandee-ridoi. Ji(i, but taller and sleiuierer t han 45S6. 4(.7 VliSSHLS OF GOLD, SILVIiR, AND GILDED BRONZL 4588-90. SiL\HR OiNOCHOAi, of the "bird-jug" t}'pc; compare 721-40 in the Collection of Potter\', probably of the seventh century; 4589 onl\- preserves the upper part, 4590 only a frag- ment of the base. C\prus, PI. xxi; Perrot, fig. 559 (inac- curate). Ill, xxxiv, 2, 5. 4591. SiLNER OiNOCHOE, fragmentar\" : onl_\' the handle and part of the neck are preser\ed. Fhe handle is of the double-rod pattern, ending below in an Oriental lotos-palmette. Com- pare the handles of the clay oinochoai 703-19 in Wall-Cases 20, 2 I . Ill, xxxix, 12. 4592. OiNOCHOE, silver, with pear-shaped body, and tapering neck. The same form is found, in bronze, in rich tombs of the fifth centur\- at .Amathus. Ill, xxxiv, 4. 4S93-5. Conical Horn-like Objects of Silver Plate, with traces of gilding, ornamented with rosettes; perhaps the feet of a large casket, of more perishable material. C>'prus, Pl. xxi. Ill, xxx\ iii, 1-2. 4596-9. SiL\ER Spoons for toilet use. Similar spoons are found in rich tombs of the fifth centur_\' at .Amathus. C\prus, PI. xxi. I II, xxxix, 2, 4, 5, 468 1 HE COLLHCnON OF BRONZES AND OBJECTS OF IRON THE COLLECTION OF BRONZES AND OF^JEC IS OF IRON CYPRUS has great natural wealth both of copper and of iron ore. Iron working onl\- began at ihe close of the Bronze Age, about looo B.C^., but the art of working copper was introduced much earlier about the same lime as that of making potter\-. Both arts probabh' came from the nearest mainland, for the earl\' t\'pes of copper implements are selected from those of the earliest phase of metal working in S\ria, Egypt, and Asia .Minor. The iron-work of North S\Tia also prob- ably goes back some centuries before the Iron .Age began in (Cyprus. EARLY BRONZr-; AGH The earliest metal implements from C.xpriote tombs are made not of bronzA' but of copper, with onl\- such slight admi.xlure of tin as might result from the use of a mixed ore. ( )n the other hand, the\' usualh' contain a high jirojiorlion of coiiper oxide, intention- ally left unreduced in the hist stage of the smelting, because this impuritx' gi\es greater hardness to the copjier anti [H'rmits it to take a better cutting-edge. Ihe implements were a(iiiarentl\- first cast in an open mould and then hartlened ,ind finished In hammering. I he forms of these lirst implements are few and simple; daggers and axes, chisels and awls, twee/ers. needles, and. several kinds of pins. The dagger blades are of two main t\pes, of which the one w.is fastened into its haft In- trans\erse ri\cts. the other In means of , tang whiLh [)rolongs the midrib (if tiie blade itself. 4()OI-!t. I .1 \I -^11 \1'M) l)\<.i,rU^. Ihe simfijest of lilesr ||.i\e |',i,,n/i onl\- a slight nn'drib along the centre line of the Id.i.le; the '■'■"' most carefull\ wrought, howe\er, haw a sii.uj- keel, s,-)Mr,ii in:; 47' IHH C.01.Ll-;cni()N OF BRON/i:S AND OHJHCTS OF IRON Bronze the conca\o surfacos of the two haI\os of the dagger, the base ' ^"j of whieh is rounded (or onl\' slighth' pointed) for insertion in a cleft stick or between two Hat handle-plates of wood or bone. .Man\- of these blades were further secured b\' two or threebronze rixels, through lu)les punched or drilled through this base. Sometimes the blade runs out behind into a short rudimentar\- tang, as in 4()oS-i5, gi\ing greater strength for cutting as well as thrusting; some of these tangs also are perforated for a ri\et. Though commonl\- described as "daggers." some of these blades may ha\'e been mounted on longer shafts as spears; in no case have the hafts been pre- ser\ed. l.s. irl in. -31;! in. Ill, Ixxiv.. i-6. 4()i(>54. Daooi-.ks whh Hooki-u Tang. The other t\pe of dagger has a strongl\' marked midrib, which is prolonged bc- \ond the heel into a tang, long enough to tra\erse the whole length of the handle and be bent back, or hammered flat (4O30) to prexent it from working loose in its socket. The cutting edges are of more conca\e section than in 4601-15, and in some examples (4O33-4) the midrib is so wide, and the lateral wings of the blade so narrow, that the weapon assumes a four-winged ba\'onet-form, admirable for stabbing, but useless for a cutting stroke, in others (462(1-7), the midrib, though sharpl\' defined lower down, is intent ionallx' hammered Hat for a short distance from the point. The base of the cutting edges is sometimes rounded off and separated from the tang hv distinct backward groo\es. Note that 4630-32 ha\-e been intent ionallx' bent and made useless before the\' were buried. This practice, which is found among primiti\e peoples, is intended to "kill" the objects and set free their "souls" to accompan\' the spirit of the dead owner. Ls. 20 in. 8.J in. CI\prus, PI. \'. (-olonna-C.eccaldi. Monuments de (^\pre, p. i2(). Ill, Ixxii, 2-(i. 4()^s-47. l-'i,\r (j.M'- loK .\xhs OK Ai)/i->. The blade is thin and llat like a \ er\ broad chisel, and is onl\' \er\' slightl\ expanded at the cutting edge, or hammered to a con\ex outline. These blades were intended to be fixed in the cleft head of a wooden club, or lashed to an elbowed handle, like the axes ami ad/es of the Later Stone Age. Some, like 4(147, were e\idenll\- used also as a weiige without an\' handle at all. l.s. ^^ in. ^\ in. (^xprus. 1^1. \. Ill, Ixx, 1-5. 47^ 4601 4604 40o(i 4608 4O24 ^sem 4' ' '. ; llli; COILI-Cl ION C)l- BRON/l'.S AND OliJl-CIS Ol IKON '.ron/c 4()4S-(). Chi^lls, shaped like long narrow cells, arc found but Case I rarelv. I'heN' are either sciuare-headed, like masons' chisels (4()4!-^); or else end in a sj^iked tang for insertion in a wooden haft (4(>4()). I.s. 4i in., 5 in. Ill, Ixix, 6. 4()So-7. .\\\Ls of this period are of the simplest forms, and this primitive t\pe prohabls' remained in use for long. One specimen (4()St) preserves its primitive handle of deer's horn, but it is not certain!)- of the earliest period. Ls. 52 in. — ?4 in. Ill, Ixix, 3; cxvi, 3 (4655). 4()vS-()j. 'r\\Lt-:7,F.RS, which are common, were probabl\' used to re- mo\ e superfluous hairs. C^\prus has neither fine flint, like Eg\ pt, nor obsidian, the keen-edged volcanic glass of the Greek Islands, to suppl\ the place of razors. Ls. 3I in. — 2| in. Ill, Ixiv, 7. 4()()^-7^ Ni.i-ULES were commonl}' placed in the early tombs, to pro\ide for the dead man's clothing in the "other world." The most primitive (4663-4) ha\e no "e\'e," but a loop or hook at the hinder end; drilled e\es, however, were invented before the Later Bronze Age (4()()5-8), and needles with o\al or slit- shaped e\e (4669-73) were in use for coarse threads, or to hold braid or flat sinew. Ls. 5^ in. — 2.2 in. Ill, Ixii, 13-17- 4674-(). Pins are of simple form, with the head hardly distin- guished from the shank; rarel\' the butt-end is hammered out into nail-head form. Ls. i ^l i"-. i '1 in., 33 in. 4677-()i . F.^'Hi.in Pins, with a perforation half-wa\' down the shaft, were used as dress-pins; a thread, passed through the hole in the shaft and tied round the head or point, served to keep them in place. Thex' are characteristic of the Middle ami Late Bronze Age in G\ prus and are found in Egxpt, S\ria, and at Hissarlik in northwest Asia Minor, but are t]uite foreign to (^rele and the whole area of the Minoan culture. There are sexeral \-arielies: — 4()77-'S3, with small indistinct head, like that of the unper- forated pins. (A prus, PI. v. Ill, lx\iii, 8-9; Ixix, 9. 4()H4-9(), with large conical or mushroom-shaped head. Ill, Ixviii, 7. 4()9o has its shaft elaborately turned as if groups of small beads had been strung upon it. HI, Ixix, 7. Similarl\- decorated pins of gold, the Late Bronze .Age, ha\e the e\elel replaceil b\- a separate wire loop lashed to the middle point of the shaft. 474 FARLY BRONZIi AGE 4691 has a spherical head composed of man\- intersecting dises. I'>n)nze This design imitates the head of a wooden dislatT such as is Cas commonl\- used in C_\-prus: compare the fine siher pin ^14^ in the Gold Room. L,s. (>', in. - 2I in. i-'or carl\- arrow-heads, of a Bronze Age t\pe common on the S\rian coast, sec 4776-8 of the scries of arrowheads below. i I 4O4.S 4650 4(178 4()(i5 4OG5 4()7() 4()>So 4(188 LAIH BRONZi; AGH The Al\-cenaean colonization of (Ixprus (p. xxx) brought with it the skill [<> make bron/e containing the full proportion of tin (g-il percent), and this new allo\' admitleti more el'licient tonus. 4692-^. Daooi-R'- are now made with a broad Hat tang, to wliich the handle-plates are ri\eled, ami kept m pia^e b\' a tlange along each edge ol the tang. I he Iiilt ol 4()() 5 is uns\ innietrical, like that of the om--edg(d bkulcN which begin to apjiear al llii^ stage. I liese hili'r daggers ;ire ottt'ii made kirge enough to ser\e as swords, ;ind are e\ eiil ii;ill\- copied m iron ' \~-^2 below). L,s. 5lin..S^ ui. Ill.lxn, ',i-\()()2i. 4694-7. Sim. AK-i 1 1 \i)^ are now clearix disi mguishevi Irom d.iumr- blades; for tln-\' h;i\e a lubul.ir si(i.kel to enclose and prolecl the lip of the shaft, instead 1 I a l!al tang to be iiisrrled 111 a cleft. I he socket is fdrnied onumalh' h\ beiulm;! ihe 1ms, ■ 475 mi. COI.llCl ION C)I- HKC)N/.i;S AND OBJliClS OF- IRON Ikonze of ihc bhulc ilsoll' around llio licad of tlie shaft and securing "■| it h\ a transverse ri\el (4()()4); but the later examples are east. Nearh all, howexer, retain a slit along one side, prob- abl\- in order to gi\e enough elaslieilx for a firm grip on the shaft. The jiroiiortions of the midrib \ ar\ . In 46g5-() it is not more prominent than in the earl\- dagger-blades 4616 ff. 4(m)7, on the other hand, shows the four-winged blade alread\' noted uniler 4(13 ^-vj- These t\4ies all go on into the Transi- tional Period of the l-,arl\- Iron Age, and are imitated in iron: compare 470S W. bi.low. I.s. 14 in. — 44 in. Ill, l.xxii. I (4697); Ixxiii, 5 (4694). 4698. .\xh-HiAi) with long, narrow blade, slight 1\- curxed, with a tubular shaft hole strengthened b\- external ribs. This remarkable t\pe is foreign to (^\prus, but has been found in sex'eral parts of the Sxrian coast. Its precise date is not certain, but it probablx' belongs to the Late Bronze Age. I.. S inches. Cxprus, PI. v. Ill, I, 1. 46()9. Sici^i.i-:, with curved and notched blade, bent at the base so as to enfold the handle, like a modern scvthe. This t\pe also is foreign to (1\ prus, but occurs commonlx' in Late Minoan Oete. L. yl in. (~\prus, PI. \' (inaccurate). 4700. FiRH Snovia., with twisted handle and square blade bent up at the sides; the t\4")e is characteristic of the late M\cenaean .\ge. L., with handle, 19 in. W. 4 in. Ill, lx\-ii, 5. To this period of intimate contact with the Aegean, and with the foreshores of I'~g\'pt and S\'ria belong also a fine lotos-handle from an Egx'ptian vase, and some masterpieces of (;\'pro-M\-cenaean design. 4701. H.WDLh OK .\ Juc. The upright part is formed bv a lotos- stem, while the petals of the llower spread horizontally to touch the rim of the neck with their tips. The form and st>le suggest an l{g\ptian nK)del of the X\'III or XIX Dx'nastv, but similar bronze work of strongl\- Lgxptian st\'Ie has been found in rich Mwenaean tombs at Enkomi; probably about ; V"'- 1200 B. C. L. ]l in. Ill, lix, 3. Bronze 47<>-- ()Ni-.-iiAM)i.hi) Jr(, with o\oid bod\', wide neck, and solid ^-''so smooth rim. The form and workmanship are not \er\' dis- tinctive, but i,io not seem to be of any later l\pe. II. (SjJ in (^.N'prus, PI. xxx. Ill, xl\i, I. 476 Centro Case im ( oi.i.i-crioN oi- hkon/.i.s and ohjicis of iron 70?. Rim and Hammis 01 a (^ai idkon of fine, C^\pro-Myccnaean workmanship. On the rim, in relief, and in the same style as 4704 is a row of hulls in full llight, pursued by lions. On each handle are three bulls' heads in relief, with lonj^ incurved iiorns and abo\e them three pairs of demons, standing face to face, with lion's head and feet, fish-like back and broad tail; the\- ofl'er long-spouted oinochoai with their forepaws. Prob- abl\' about n()()-i2oo B, C. A rim of closely similar work, found at Kurion, is now in the C\'prus .Museum: Markides. British School Ajuinal, 1013. 94, pl- '^'ii- Colonna-Ceccald: .Monuments de Cx'prc, PI. xix (wrongly described as a mirror) Perrot, fig. 555-6. D. i5§ in. Ill, liv, \-2 4704 Centre Case i"'^'^^ 4704. 1 Rii'OD of late Cxnuo-AUcenaean workmanship. I he \er- lical rim is decorated with lions pursuing slags, in the same 478 4703 ""i iiih c:oLLi.c:iioN oi- bronzls and objhcis of iron st\le as 47(M but less carcfull\' retouched after casting. On the legs, both within and without , is the palm-frond design familiar to the Oetan "Palace St\le" (l.ale Minoan II), but ingen- ioush' rendered in thick twisted wire. The \c)lutes at the top of each leg ha\e a real structural use, to stiffen the junction with the rim. The feet end below in cloven hoofs. Perhaps as earl\- as 1200 B. C; though the form reappears in tombs of the "Dip\lon" period in Greece. H. 14', in. (^\prus, p. 335. lll.xliv, 4. Rronze _^y,)- Tkh'od, with upright ring and bowed legs, of a character- '\ istic late .Mwenaean form which persists in (l\prus all through the Karh' Iron .Age, and is represented on the engra\ed bowls 4537, 4t(ii. 11. 3 1 t'i in. Perrot, fig. 631. Ill, Ixiii, 2. EARLY IRON AGH It is not certain from what quarter the knowledge of iron was brought to Cyprus. Iron v\as known in Eg\pt as a great raritx' from the earliest d\nasties, but did not supersede bronze for common use imlil the XX\'l, after 664 B. C Tribute of iron was, howe\er, brought to Eg>pt from North S\ ria under the XIX D\'nast\' (1^50-1200 B. G.) and the Biblical description of jabin, King of Ha/or, with his "lour hundred chariots of iron" probabl\ represents the state of things there in the ILarW Iron .Age. The famous iron-work of Damascus ver\ likel\ had its origin in this period. On the other hand, the (jreeks ascribed an earl}' iron- working industr\- to a people whom the\- caUed Cdiahbes in North- eastern .Asia Minor; and after the eighth centur)' both the_\- and the Phoenicians of Txre obtained iron from this district. 'I"hirdl\', in the Homeric .Age, which represents a period of transition, iron was being exported ox'ersea from the Taphian countrx' in the northwest of Greece; other Gjreek traditions point to Chalcis in Puboea, and to the West of (Tete, as earh' centres of iron trade; so that there is some reason to belie\e that \er\' earl\' Mediterranean iron workings la\' in this direction. Probabh' when once the dis- cover}' was made, how to produce iron on a commercial scale, iron-works sprang up almost simultaneousl}' in many separate regions. In (^\"prus itself, iron was worked on a considerable scale round lamassos and also round Soloi on the northwest coast, from an earl\' period of the Iron .\ge. Iron was indeed known in the island, as in most parts of the Minoan world, lor a short period before 480 l-ARl-Y IRON AGi; this, but was regarded as a precious metal, and used onK' for rings, sceptres, and tine inlaid work. Its magnetic properties, and the rapidit\' with which it deca\s, probahl\- caused it to be regarded in Cxprus, as elsewhere, as something uncann\', and potent lor good or harm; a belief which sur\i\ed in modern superstitions about blacksmiths, and the "luck" of old horseshoes. Even after iron had come into common use, and into exclusi\e use for a t"ew specialized t\pes of implements and weapons, bron/e was not wholh' disjilaced in (^\prus, e\ en for weapons; spears, in particular, are found in bron/e associated with swords and kni\es of iron. For defensixe armour and the arrow, bron/e was still preferred all through the Hellenic and CJraeco-Koman ages. I'he objects which belong X() this period or represent t\pe^ which origi- nate in it ma\ therefore be con\enientl\' grouped as follows. A. OBJSXriS WHICH ARH ((U \1) BOMI IN BRONV 1. AM) IN IRON The forms of the weapons dexelop, for the most part, those of the Later Bron/e ,\ge. The transitional spear-heads are rather shorter and wieler than the l.ate Alinoan t\pes, and not so finel\- executed. But the\' soon break out into experimental t\pes, soon superseded, like so man\' of the earl\ iron lorms on the Sxrian coast, and in southeastern and central luirope. 1 h.e cir- cumstance that the new metal had to be hammered into shape at a forge, instead of being cast in mouKls. permit ted and en- couraged that indi\idualit\' of workmanship w liich is t lu' excellence of all iron-work. 47o()-i2. Sim \i<-l Ii Ai)s resemble the socketed spear-heatis of the linm/A' preceding I'eriod, with leaf-shaped blade, and more or less '^■•'~"'' distinct midrib: 47'»'>-7 are in lM"on/e; .170S-12 in iron. I.s. II in., ^\ in. ( ;\priis, PI. \ . 1 1 I. 1, 4: \\\\ . ■-, (bron/e). 111. Ixxiw ] 'iron ). 471^. I A\ I i.iN-1 li \i) of iron f(.r a ^niall t hrowing-spear, with tubular socket and imusuall\ broad wings. 1.. -5 in. 4714-!''^. " Sio-i nna"-Si'I \i<- of peciiliarh (^xjuaote sli.ipr, in which the wings fwliich in sdine bale .Minoan spear-heads :ire hardh wider than llu- midnb- disjpjiear alingeiher, lea\ing onb.' a \vr\ long four-sided spike, w 11 li a I aperim; s( k l,el bek .w . The form \aries a lillle; 4717 is of bron/e, and mund 111 sei ^ lion; 471''^ of iron, .ind foui-sided: the resi , ,A jirnn/e .md tour-sided. lor the ideiililu al ion of this ))eiiili,ir we.ipmi 4^1 IHH COl.LFCTION OF BRONZES AND OBJlUnS OF IRON \ron7A' [p. 477) witli the ancient "sig>nna", see Myres (1907, 1910) ^•^^^' in the l^ibliography; also Colonna-Ceccaldi, Monuments de C\ pre. I.s. 27.' in. — 11 in. Ill, Ixvii, 2, 4. 4719-4720. IUtt-Simkfs of Bronze representing the ancient Cjreek iaiiroter, from spears of the same st\ie as the spear- heads 47o()- 12. rhe\' have the same tubular socket as the heads. Around 4720 are the remains of a ring of some other material. It ma\' have been of iron. A decorative ring of bronze is sometimes found thus on a sauroter of iron. And the whole butt-spike was sometimes of bronze with an iron spear-head. Ls. 6', in., 7I in. 111. Ixxiii, 1-3. 4721-2. SocKHiHD l.MPLi-.MENTS of bronze; of earl\' fashion, but uncertain use. Fhc}' may have been used as chisels. Ls. 7j in., b\ in. B. .AXt-:S, SWORDS, AND KNIVES OK IRON ONLY As the use of iron became established, t\pes of implements were de\eloped which were less suited for reproduction in bronze, and are onl\' found in iron. 4723-4. .■\\i;-Hi;ads of iron, with flat narrow blade, like the early copper axes 4635-46 but thicker: 4723 seems to have a pro- jecting "stop" on each side like the early axe-head of the Italian Bronze Age, to prevent the blade from being forced backwards into the haft: it is much corroded, and so thick that it ma\- have been part of an axe with shaft hole, which is the normal t\pe in the Earl\' Iron Age. Ls. b\ in., 5 in. 47^7 4725. Sword, with straight-edged blade, strong midrib, and deeply flanged tang. This form, which is "Type 11" in Naue's Vorromiichc Schiverter, is a northern development from Late .Minoan swords and daggers like 4692-3, which are the iirst to have the flanged tang; and is best represented in bronze swords of the Transitional Period on both sides of the Adriatic, and in the earlier straight-edged t\ pe in iron from Halos in Achaea Phthiotis. The iron swords of the nip\'lon cemeter\' in Athens are of slightlx' later and heavier t>pe. The handle-plates, which are quite decax'ed, can \et be traced 4H2 EARLY IRON AGE tunning forward to a blunt point on the front edge of the Bronze blade. I.. 27.I in. Ill |vv,\- o ^-^se 4720 4726. Sword of later and more broadly leaf-shaped blade, with very wide hilt-tang without llanges and protected at the edges by a bronze fillet: only the front part of the belt is preserved. (Jn it are preser\ed two bronze ri\-ets and traces of wooden handle-plates, which ended in a straight margin across the blade. This t\pc resembles the maturer t\pe of sword at Halos, but is of more curved outline. Similar swords are represented on the engra\ed bowl 4554, which was probabl\made about 700-650 B.C]. L. 2}\ in. Ill, l.xxi\-, i. 4727. HiLToi- A Sword i.ik 114726, much damaged, but retaining silver-headed bronze rivets, and handle-plates of turned ivor\-. 1.. 5 in. 4728-9. K\i\'i:s, with one-edged blade, conx'e.x (472S) or coiicaxe (4729); anti Hat broatl tang. ri\eted for handle-plates. 1 ^. 81 in., ().l m. Cvprus, PI. \. III. Ivi, ■■,. C. 1 IIUl.AI- l-"ibulae, or safel\-pins, were introduced into (Aprus, jirobablv from the West, in tlu' latest period of the lirou/e Age. I he earliest t\pes, made of slender wire, like a modern safet\-pin. are fouiui 111 the Late .Mincian tumbs ot the third or Aheen.iean phase in (jree^e and Oete, and also, without \:iri,ition, m hi Ke-dw elliims ;it I'es- chiera in Lake (.arda. .md on a number oi other sites .irouiid ilie head of the Adriatic; their eenire of oriL'iii is ihereloie prol\dd\ somewhere in the northwestern part oi the Lalkan LeiiinMil.i. nil COLLI (HON OL HRONZi;S AND OBJIX/IS OL IRON i^nin/c riu'se were iiit rociiiccd inlo (".\ prus in the lalor da\s of the Ahccn- acan colonies, aiul soon suporsodcd ihc natixe oxolot pins 4()77-9i. In C.xprus this (.'aiiiosl Wpc onh' oclui'S in late .Mycenaean tombs; but tibulac of later xarictios arc Lonimon in tombs of the b'.arh' Iron Age ( 1000-700 P). C"..). Ihe suhsei]uent course of de\elopment of the tibulae in lta!\- and in C'.reece is now accuratelx' known, and con- seciuenth all iibulae are of the greatest archaeological importance as date-marks. Towards thecloseof the l\arl\' iron .Age, and apparenth' earlier than in most parts of Tireece, tibulae pass out of use in Cyprus, probabbc not much later than 700 B. C; and are superseded parth' hv buttons, parth' hv the use of slee\ed and shaped garments of Oriental fashion, wh.ich did not require such fastenings. With the examples described below should be compared the fine series of gold and siher fibulae, 3i()8-3209, in the Collection of Ornaments. FiBL LAU 01 l"! 1M-. 1 are not represented in this (Collection. This t\pe is of long and narrow proportions, like the modern safet\-pin, or a fiddle-bow. and was introduced into Cypro- .Mxcenaean colonies at the end of the late Bronze .Age (about 1200 B.C.). 4730-^ I-'iBri.Ar. OF T^i't-; 11 begin in the Transitional Period of the F.arb' Iron .Age, and remain in use in the Aliddle or Cieometrical Period. In this l\pe the bow is curxed almost to a semicircle, and is slighth' swollen in the middle, its ends remain s\nimetrical with each other, and there is no stilted tore-end between the bow and the catch, as in !> pe 111. Sometimes the bow is thickened, or ornamented at either end, or throughout its length, with collars and beads, imitating the actual beads of amber and glass paste, which are found strung on the bows of some western tibulae. Compare the siher tibulae 3I(K)-32o^ in the (Collection of Ornament.^,, l.s. T in. — 2 in. 1 1 1 . Ixiii. 4 (47 ?o) and I I (4733 K 47^4-40. I'iBi t.Ai-. or \'\v\: III also begin in the Transitional Period (1200-1000 B. C). Ixpe III dilTers from Ix'pe II in the stilted lore-end which interxenes between the sxmmetri- cal bow and the catch, and sometimes between the bow and the spring; it is designed to permit the inclusion of a larger fold (;f drap'crw The bow itself is usualh' shorter, and more swollen than in T\ pe II, but (like it) carries \arious collars and beads cast in one piece. Compare the gold tibula of this 484 EARLY IKON AGH type, ^198 in the Collection of Ornaments. The stilt of 4737, l^runz 4740, is single; in 4735, 4738, 4739, it is double; in 4734, double ^^''''' in front, and single behind, above the spring. On the bow of 4740 are three globular beads, and then a plain rectangu- lar block occup\-ing nearlx- a quadrant of the whole cur\e. 4730 4734 475^ 4741 4744 Compare thesiher fiiMilae ^204-7 m I he ( '.dllecl ion of()riia- ments. l.s. 2 1 m. i in. Ill, Ixni, (). X id(iuble-sl ill ). 10 (47 ',4 1, 12 14740'. 4741-0. 1 iiii r\i 01 I vi'i'. I\' ari' found ni lonibs of ilu' (.ro- nielriLal Pmod and nia\' p(.■rhap^ brgiii as c.\y\\ as I he 1 rans- ition. In ihis t\pe the pin is iur\etl. aiul l hr aiKh inoloiii'cd to a sharp jioint in front, as in main of the later (.reek and Italian tilnihn-. Ilu- bow is in two iiKur\rd liaKrs. iiniird TH1-; (.()LLi;c.ri()N' oi- bronzhs and objects of ikon Ikdiizc niid\\a\- b\- a knob and collar, whicn seem to represent an ^"'^^' obsolete U-shaped spring like that of the "serpentine" fibulae of the Adriatic region, and of the Latest Minoan phase in Clreie, with both of which this t\-pe may perhaps be connected. There is some \ariation of form, as follows: — 4741 marks an experimental approach to the "serpentine" t\pe, with long pointed catch. .-\t the loop the bow is flat- tened, and its two lateral parts are leaf-shaped. III,lxiii, 9. 4742 has the central knob and collar cast in one piece, but the knob is cut awa\- at each side in such a wa_\- as to betray its deri\ation from a loop like that of the "serpentine" fibulae of Italw The collar was. no doubt, added unintelligently, to pre- \ent such a loop from being strained open, in a fine example of this t\ pe, in the Ashmolean .Museum at Oxford, this decora- tion of the knob has been simplified to a mere round hole in each side. The rest of the bow is cast solid with a pair of wide angular collars on each limb, between which are "double axes," a well-known sx'mbol of the chief deit\' of .Minoan Oete. In Sicil\', fibulae of the Late Bronze .Age are found, in which such "double axes" are strung as separate amulets on the thin wire of the bow. Compare with this fine example the siKer fibula 32f)9 in the Collection of Ornaments. 474 ^-c) ha\e a central knob which has lost its side decoration, and is slightl\- flattened laterallx'. In 4743-7 it is four-sided, and in 474S smaller and oli\'e-shaped, with a narrow neck aho\c the collar. B\- this time its meaning has been quite forgotten. Ls. 2^ in. — 3 in. 1 1 1, Ixiii, C) (4741); 5, (4744). Three late fibulae are grouped for convenience with these earl\" forms. It is \er)- unusual to find such fibulae in C\prus; though 47S2 is of a central European t_\pe which spread widely through the Koman I^nipire. 4750-1. FiBLLAi-; OF- Latf- "La Tenh" Type, with double spring- coil, probabl\- of the fourth or third centurx' B. C. its home is on the north side of the .Alps, but examples are known from Ital\-, the- Balkan Peninsula, and e\en from Carthaginian Atrica, probably sjireati hv Gaulish mercenaries, and later in tliL' third CL'ntur\- B. (~. b\- the CJaulish invaders of Greece and .Asia .Minor. Ls. i.j, 2 in. Ill, Ixiii, 7. 4752. liBLLA or "( j<(jss-Bow" 'f-ii'E, in which the double coil is reduced to a soliti and useless ornament, and the pin moves 486 EARLY IRON AGli. on a hinge as in modern brooches which are ciireetlv descended from this t\ pe. L. 2 in. D. OTHHR OBJECTS IN BRONZi;, OF THH hARL'i- IRON AGE Here are grouped a number of bron/e objects which are assignable on grounds of st\le to the Earl\ Iron Age, down to and including the Period of Oriental Inlluences. 4753. Knu-i-.-Handle of bronze, perforated at the butt end to p.^dnze carr\' a suspension-ring, and decorated with geometrical Case patterns; the blade was one-edged and of iron, secured b\ a ' long spiked tang. This kind of handle is unfamiliar in the Le\ant, and resembles rather the knife-handles of earh Itah. L. 3!in. 4754. Shield Boss of the pointed fonii which was introduced from .\ss\'ria in the eighth centurx' and is represented frecjuenth' on earh" figures of warriors, such as the bell-shaped \ase 74(), and 2098 If. in the (Collection of i'erracottas. .\ line example of this t\'pe from .\mathus ((Cxprus, PI. xx, Perrot, fig. ()i,(); not in this (Collection) is embossed with a /one of lions and bulls in Oriental st\le. .\bout 7oo-()tO B. {]. ].. 3,', in. 4755. .Ar.moir-I^ei.t of bronze plate, with long hook-and-e\e clasp; the small hcjles in the edge show that it was intended to be lined with ieallier. The great length of the hook is designed to permit ample adjustment. 1.. 14! in. 475(>()3. Fra<~..\ien Is 01 A Ikh'oi), consisting of two goat 's-hoof I'nm/e feet (473(»-7) and six bull's-head joints (47S''^-(>0 ;dl of bron/e, and socketed to connect the bars of an u'on fr;ime, corrotled fragments of which ^lill adhere. I he\ recall the ilifficultit>s of primili\e Miiiths' work in the da\s before (daukos llu' Saniian ''inxented the welding of iron. ' ' 'llu'\ ma\ be of the eighth or ninth ^entur\ , for the\' show sur\ i\als ol .M\cen:ie;in handling, and onh wvv littK- lr:ice of ()riental inlUieiice. Cyprus, PI. XXX (bull's hcadi. Perrot, fig. ()>,2 (fool uith iron filling). IP. 2,' in. S;; in. Ml. lii, >,. 4'j(>4. OlN(jCiioi. of t hill lummered bron/e, wit h clums\ liod\ , w uk- neck, and solid iuindlr modelled ;is the trrininal MKikr-he:nl of a I'trjctT't like ',^72 li. ■ Init oi curlier wurls. it miiiis to be of the i:;irl\ Iron Agr. II. (>,' m, 111,1, ',. 4'j()j. l\A(.i.i , of \rr\ rugged ()riiiit;d modelling, uilli oiiIn|mc:!.I 4'S7 nil colli (1 ION Ol- HKON/.l-.S AND OBJI-OIS Ol- IRON Uron/.o \vini;s, i^rcal elaws, aiul l-ncs of i^lass paste (one is missing); it soenis lo ha\c been the ornament of a tripod or a \ase handle; and is probahh' of the eighth eenturw H. 4 in. (2\'- prus, PI. XXX. Ill, Ixv, 4. 47()()-7. \'(>ri\i-. Si A ni-. I rrs of a stag 4766 and a goat 4767 roLighl)' Last in a rude but \igorous style and niuijh corroded; probabh' of the eighth or ninth century. H. 5,',^ in., 4s in. C~\ prus. PL XXX. ^ 111, lx\', 5. 47()>!-7o. .\lAt;i-: Hlah and I'ittinos. The head 4768 has a wide shaft hole and two hemisplierieal lobes, radialh' groo\'ed. It is cast in a hea\ \' Oriental style, and is probabI\- not later than the sexenth centurw The smaller object 4769 has a head of the same fashion, supported on a long tubular socket, grooved in sections longitudinally; it ma\' be from the shaft of the same tripod or a similar mace, or perhaps part of a large pieceof furniture. The third fitting477o is a tubular shaft in a rather dilTerent sl\le, from a mace, tripod, or large lampstand. Hs. 2\-\ in. 3.1 in. -jl in. Ill, li, 2 (4708); Iv, 1 (4769). 4771. ScHPTRH OR .Mach-Hhad, with a plain tubular socket end- ing abo\e in a group of three bulls' heads, \igorousl\' modelled, with e\es and forehead hollow to receixe inlay or enamel. The coloured paste beads now in the e\es do not seem to be- long to the mace-head, but the crescent of red enamel is original. This fine object is in archaic Orientalizing st\ie, and ma\- be of the se\enth or sixth centur\'. II.5I;! in. 0\prus. PI. xx\iii. Perrot, fig. ^b^. Ill, lii, 2. Ikonze 4772-^ HoKsii-Bns, both probablx' of Orientalizing or Earl\' ^-•'*^' Hellenic date: the t\pe. with two linked bars in the n-iouth, between cheek-pieces of flat openwork (4772). is common to Oreece ami the Nearer Hast: a line example of it in the (^\prus .Museum (C..M.C. 3841) has the cheek-pieces ornamented with Oriental palmettes. l.s. 12',' in., 54 in. Ill, xl\'. 2 (4769). Bronze 4774"^- Smi:1'HHrd's C^RooKs, of cjuite uncertain date. lll.h, 2. Case h. \RROW-HHAnS, OF VARIOIS PERIODS AND T'lPl-.S Bronze Arrow-heads are not \ er\' often found in tombs or under circum- ^-'ise stances which permit them to be accuratelx' dated. 'I'he majorit\' are found on the surface, where the\ were originallx lost in the war or the chase, \et sexeral t\pes ma\' be distinguished, and 488 47?4 4735 47' 47; 17^'» THH COLLECTION OF BRONZES AND OBJECTS OF IRON placed in an approximate order of date, mainh' with the aid of Kg\ptian and Palestinian date-marks. 4770-8. Pri.mitinb Orihntal l^Pb, with flat leaf-shaped blade, ironze ^' ' . . ■ , , , ■ Case slight midrib, and long tang intended to be thrust into a 1 shaft of reed or light wood. Such arrow-heads are common on the S\rian coast, and have been found in Bronze Age strata on sites in South Palestine and at Ph>lakopi in Melos (Excavations at Ph\iakopi, PI. xxxviii, 6). The t\pe ma\', however, have persisted there and elsewhere into later times. Ls. y] in., 24 in., 1] in. C\prus, PI. v. 4779-St. Lathr Orient.\l T'ipe with solid four-sided head, of either straight-edged tapering outline (4779-81) or leaf-shaped protile (4782-5). In either case the tang is long and much thinner than the head, just as in the flat t\pe (4676-8). .Arrow- heads of this t\pe, from the battlefield of Marathon, arc in the British .Museum (Handbook of Greek and Roman Life, p. 100, fig. 86). Ls. 4I in. — 2] in. 4786-8. Hhllemstic (Orient.al) Type, in which the head is solid, triangular, and sometimes barbed (4786), with a distinct midrib, and a stout four-sided tang. It is common in all the Nearer East; but does not seem to be earl\', but to replace the older Oriental t\pe of 4776-78. Ls. 2f in., 2} in., i .j in. C\prus, PL V. Ill, Ixxiii, 6. 4780-93. Hellenic or Western Type, with tubular socket, to fit over the end of the shaft, and three ridges or wings, with- out barbs: this is the Greek iridochin or "three-tongued" arrow-head, and seems to go back to the Early Iron .Age. It is not known how long it persisted in competition with the Oriental t\ pe. Ls. if in. — li in. HI, Ixxiii, 4. BRONZES OF LATER PERIODS AND STYLES The rest of the Collection of Bron/es is grouped so as to show the de\elopment of st\ le within each principal class of bronze objects, from the close of the Earl\- Iron .Age. Alost of the objects belong to the Hellenic .Age, and fall more or less into line with similar objects from other parts of the Greek world. Some, howexer, show Egyptian or other Oriental intkience, and a few max e\ en be of Oriental origin. The principal classes are mirrors and other small articles for the toilet, dress, or other daily use; \ ases and their parts; furniture and its fittings, including locks, hinges, 490 LATHR PHRIODS AND SI^l.HS and other parts of boxes; statuettes and t)lher decorative objects. On the other hand, the few fibuhie and arrow-heads of kite dates are grouped above with the similar objects of the Harl\' Iron Age. MIRRORS AND S.MALL ARIICLHS OF THE TOILl-T OR DAIL'>- LSH The fine .M\cenaean mirrors of circular form with car\ed i\'or\' handles are unrepresented in the (Collection. Nor are there here ,/""^"' . . Case examples of the oblate Eg\ptian t\pe, which was imported occa- 2 sionailx' in the seventh and sixth centuries. Under Greek influence there follows in the sixth and fifth centuries another circular t\-pe, developed in the West from the Hg\ptian form, or perhaps even inherited from the M\xenaean, though examples of Earl\' Iron Age are exceedingly rare and doubtful. Some of these circular mirrors had elaboratel\- modelled stands, like the earl\- statuette (5013) below; but most of them are for hand use. 4794-4801. Hellenic Mirrors of the sixth and fifth centuries. These have a nearl\- circular disc supported b\ a \olute capital: below the volutes projects a tang for insertion into a handle of wood or i\'or\'. The fine detached volute-capital and tang 4801 belonged to a mirror of the same series; the plain tangs 4822-3 are later. Ds. ()] -- 5^ in. (Cxprus, PI. iv (plain). llljxi, 3, 4802-15. Hhlli-.nistic ani5Grai:c()-R().man .Mirrors. Thistxpe, which was in xoguc from the third centurx' 15. (]. to the third or fourth centur\' .\.i)., is c]uite dilferent. It has a hea\y circular disc of cast and turned bronze, and has iisuall)' no tang, but was held in the hami: 4811, however, has a swinging handle added, with bull's head sockets of bron/e. These discs were made in pairs, which, hv means of a Hanged edge and low cylindrical rim, were fitted into one another like dinner plates, and were jiolished rrsjiect i\el\' on the recessed ('48o(j-It) and tlie promim-nt (4X02-S) >iirface. bach mirror ol a pair was thus jirotected from damage b\ the other, and made easih' portable. The exposed surface of each was ilecorated with coiKH'ntric mouldings and sonirtinies enriched with con- centric circle ornaments 14S02, 4X0(1, 4,So7) l)s.T;in. — 2I m. ( 'vprus, PI. i\- (4S II ). 1 1 1 , Ix, 2, 4; Ixi, 1 , 2 (4S1 1 ). 4Si(')-2i. ( "iK \i c:o-K')M w .Mirrors, consisting simii|\' of a ]ikiin cirLukir disi_ without Ikinge, rim, or h.iiulle, but pcrlor.iled with small hoK-s roiiiul the ctf^c-: .j^<2o-2i .irr simil.ir, but unperlorated. I he unperfor.it cd stjuare plate. )i)()S iii,i\ per- 4')' THI-; COl.lJ-Cl ION (M- HRONZHS AND OBJECTS OF IRON Bronz-e haps bo a mirror, not a box plate as described below. Such ^''^'"' square mirrors, ib.out'h uncommon, were certainh' used in 2 , . . . Graeco-Roman tunes. I)s. 4 m. — 2 m. Ill, Ix, i, 3 (perforated). 4S22-V I wo Plain Iancs of late date ma\' have belonged to mounted mirrors of this late t\pe. l)s. 34 in, 3:] in. 4824-S. SfKiciLs, with which to scrape the limbs after bathing — a common substitute, in all Greek lands for soap and foi massage are found in the richer G\priote tombs from the end of the sixth centur\ onwards. Ihe form \aries slighth'; 4cS24 nia\' be of the fifth centurx'; the rest are later; 4825 has a Roman maker's stamp, l...M\'G.I\ "Lucius Mucins was the maker." Iron is sometimes used for strigils (4827-8) instead of the more usual bron/e. l.s. ()l in. — 5 in. Ill, Ivi, 4 (iron); 1, 3 (4825). 482()-s4. roiLi: r Ar 1 K:Lr.s and Sir('.k;ai. iNsnuMtNTS. These are often difficult to distinguish; since small pointed objects of this kind were of course familiarl\' used for man\' purposes, like our needles, pins, and scissors. The sword-hilted pin 4820 ma\' be as earl\- as the liflli centurx'; the rest seem to be all of Hellenistic or Graeco-Roman date. The Iwee/ers 4830 ((A prus, PI. v) were used for remo\ing hairs or extract- ing thorns: this example is late, and is easil\- distinguished from the Bron/e Age forms. Dipping-rods like 483 1-3 ((Cyprus, PI. \') were for dispensing single drops of perfume or precious oint- ment: 4834 has a ring at one end, likewise. To the same class belong the miniature spoons 4835-7, and ladle 4838 for perfume or drugs, the spat ulae 48^0-43, bistouries 4844-5 (C^\prus, PI. \) and medical probes 484()-(), ear-picks 4850, and pins 485 1-2. The miniature fork, 4853, ma\' be surgical, but the double-forked ob- ject 4854 is more probabh' a netting needle, l.s. 8 in. — 3J in. Ill, Ixiv. I (4838J, 2 (4854); Ixviii, 3 (4SM)); 4 (4853); 5 (4^3'); Ixix, I (4837), 5, 4 (4851-2); 8 (4835); II (4!^4<>); ■•'^ (4<'^30)- 48s 5-(). Sr^Lhs for writing on wax-tablets, the commonest ap- pliance for ancient note taking and correspondence. .\ Greek or Roman recognized a man's writing b\' his "st\ie" as we recogni/e his "hand" or his "pen," and the metaphor has passed into common speech. fhe flat back-end of the style was used to "erase" or scrape awa\' mistakes from the wax Ls. 4I in., 4! in. Ill, Ixix, 12. 492 LATHR PERIODS AND STYLHS Among the poorer classes, as in all ancient countries, bronze was Brdnzo commonlx- emploxed, either plain or gilded, instead of gold or *''''^^" sih-er, for personal ornaments. Its use becomes commoner in Hellenistic and Graeco-Roman times. 4857. Nhcklace of BhADS, each shaped as a pair of human breasts, a sx'mbolic charm to ensure the protection of the Mother Goddess (p. 125). This is an unusuallx' tine and earh' example of bronze je\velr\-; it ma\" be of the sexenth or sixth centur\' B. C. L. of necklace 3 ft; L. of each bead I in. 4858-61. Small FiCL-Rhs and Plndants. The cock 4858 may be earlx', and is perhaps \()ti\e; the Oriental head 4Hs() is also earl\-, but the fish 4860, and the medallion 4861 with a repre- sentation of the huntress Artemis, are probabl\ Graeco- Roman. Ls. 2.1 in. — 4 in. 4862-7. Small I^hlls were used at man\' periods as personal ornaments and as charms; for example, in the fringes of the garments of the Israelite High Priest, where the\ seem to de\'elop out of a lotos-pattern, "a knob and a flower." Hs. 2 in. — I in. (]\prus, PI. \\. Ill, lx\iii, i, 2. 4868-9. BiTTONS of large con\'ex disc-shape, ju'rhaps from harness. Ds. I J in., 2 in. 4870-80. BRAChLH'is, of \ari(jus periods and stxles: 4870-2 are of the fifth centur\' I), i'..; the rest are of uncertain but later date. The commonest t\pe has thi' ends more or less o\ crlapping; sometimes the\' are ornamented with the heads of snakes or animals; in 4877 the owrlaiiping ends are llattened and held together b\' a rJM'l. -\I1 these bron/e bracelets are [loor copies of the l\pes which are usual in gold or silxer: conijiare the large series of such bracelets in the Gollection of ( )rnamenls. Ds. 4J in. i \ in. 4881-4. (",^mbai>, with hole in centre for llu' attachment of llie handle. Ds. 2 ,' in. 2 in. 4.S85-6. KiN(. \N[) (JIAIN, jierhaps from harness. D.ol ring. I \ in. ; I., of chain s in. 4887-(). I>i(:ki.i> of kite and wholh westi-rn origin. I lu'\ onl\ ajipi'ar rareh, evrn in t lie ( iracco-Koman tombs. Is. 2 in. I i in. G\ prns, PI. i\ . Ill, Ixiii. 1 , 2. >,. 'I wo late lilnilae 47S0-2, w huh an- as i.iir in < .\ pi us as t lir Imk kirs, ha\e bei'n alread\ ilescribed abo\c witli the rest ol thr libiil.ie. 40') I HI-: C.OLLlX.nON C)l BRONZHS AND OBJECTS OF IRON Ikonze BRONZI- V.\S1-S AND THHIR PARTS, VARIOUS Pl:RIODS <-^;iS>.' AND STYLES 2 The niajorit\- of the bronze vessels which are found in ancient tombs and sanctuaries are made of hammered plate so thin that the\- ha\e often suffered irreparable damage. Their handles, how- e\er, which were cast solid in a separate piece, are more durable, and as it is on them that much of the ornament is placed, the\ are \aluable records of decorative art. The examples which follow are grouped first according to the shape of the vase which the\' adorned, and in order of date within each group. 48c)o. Handlh of a Bowl, surmounted b\' a bird; the handle is of a t\'pe familiar in the mixed Oriental st\le of the seventh centur\'. Compare the complete bowls 4C)i6-i<()J\; it holds the rim of the neck with, a snake's head abo\e, and ends below in a hdn- mask: probabh- of the sixth cenlur\, anil ckiselx related in t\pe lo the \ases with vjiouts ()>,4-j in the (^dlle^lKin of l^)lter\'. 11. H'l in. Ill, Iviii, i (handle). 4922-4. ToRon-l loi.DiKs of the same cup-and-saucer shaj^e as the cla\ torch-hold. rs 70<)-S in t he ( Collect ion of Potter\. The cla\- copies belong to the sixth cenlur\ in < ^x jMiis. anil these bron/e ex:impk's seem to be of about the sjuie period. rhe\- nia\, liowe\er, be earlii'r, since cki\ holders like tlios,- of fAjirus go b.ick in PalesliiU'to t he period of M\ cenaran intliience. lis. T ; in. .[ ', ,; in. ', in. Ml. 1\ . >,---,. 4(;2s. W'lM l.ADi I , iMob.ibh 111 the sixih ,,r lift h ceiiiiiiA : t 111 I'liiL' hooked haiullr IN broken. ll,',-,;in. lll,l\iii,i ilKnullel 403 IHi: COLl.liCl ION OF BKONZl-;S AND OBJHC.TS OF IRON Ikon/e 4C)2()-,S. Bowls, shallow with slij^ht rim (402()) or of more or less ^'■^ lu-niispherical oulliiu' (4()27-^ were reinforced and protected b\' bronze fittings, which were ^ often of some artistic value, and have outlasted the more perishable materials which the\' adorned. 4951-2. Bronze I'i-.et of seats or chests, modelled as lion's feet. Ls. ^\ in., 2I ,1 in. Ill, hi, 2. 4953-5. Rectancular Sockets, two with Eg\'ptian-looking moulding round the edge (111, li, 5); one 4955 of another form tapering upwards; with a transverse hole for a ri\et or bolt. I.. 3', in. (4953-4), H. 5 ', i! in. Ill, Ixiv, 4. 49s6-()o. RoiNi) Bosses for the ends of staves or chair-arms. Ds. ! 4 in., 2 i',i in. 4q6 LATER PERIODS AND STYLES 4961-77. Lamp-Stands are fairly common in richer tombs from the l^ronzi. sixth century to the fourth. They are of two successive , ^^^' t\pes, Oriental and Hellenic. 4961-9 are of characteristic Oriental pattern, consisting of an up- right shaft on a tripod base, probabl\- of wood (for it is almost alwa\s missing) which supported a foliage-capital composed of rows of lotos petals curled downwards: the pair 4963, 4967 have only one such row. Out of this capital rises a light tripod support for a lamp like 4978-82 below. This t\'pe belongs lo the sixth centurw Hs. 4I in. — 13 in. Cyprus, p. 336 ('496ifT.) Perrot, fig 630 (4967). 1 11, li, 3. 4970 is of Hellenic pattern, with a graceful tripod base, resting on horse's feet with an iv\' leaf at their junction. The shaft, which is of bronze, carries a small volute capital of the Cypriote- Ionic form. It is probably of the later sixth century. H. 3 ft. 2 m 111, Ixvii, I. 4971-6, on theother hand, have had a small bronze plate (pre- served in 4972, 4974-5) to receive the lamp, and also some- times one or more hooks (4972, 4974) to suspend the small bronze implements for trimming the wick. This t>pe seems to begin in the fifth centurx', but these examples are of less careful workmanship, and probablv later date. Hs. 2 ft. 2 in. — 3 ft. 4 1 in. Cvprus, p. 3^6. 4977 is the foot of a lampstand, of the same form as 4971-6, not of bronze but of iron. Its date is gi\cn approximatelv h\' the plain-cla\' jug, of the fifth or fourth centur\', which is rusted onto it. H. 9 J in. 4978-82, Lamps of saucer shape, usuallx' with two noz/les (41)78 81) formed by pinching the rim together, as in the common cla\- lamps 2501-18. The clav prototypes with distinct (hit rim belong to the fourth and third centuries. The lamp 4<)82 has onl\' one ncjzzle, which is trough-shaped, and interrupts the rim, like that of 2518. Ws. 3 r',i in. — 6 ,',; in. 4983-4. Lami'-Hook and (-MAINS, C jraeco-RonKui , for suspeiidmg I'ron/t a lamp or other vessel. Ls. 11', in., ]\ in. Ill, Ixiw (). ^■''^' 4985-501 1 . Ki-.v^, Ham's, I 1in(,i.s, and on I IK 1 11 1 in<,s oi- Boxi^. In (iraeco-Koman tombs the remains of wooden boxes and chests are fairh' common. 1 he wood, howi'Ner, is alnidsi alwa\'s decax'ed, except v-vlu-rt' it has been salurateil with 4')7 rm; (:()i.i.i;(,Tit)N o\- bronzes and objects of iron Bronze copper-salts around the bronze fittings. It is, therefore, im- ' ^, possible to judge ot' the size and use of the boxes except from the appearance of these fittings. T hus the large chests, held together b\- the hea\\- bronze nails 49(S5-97, holdfasts 4gf)(), and plates like 4008, had no hinges or locks, and were probabl\- coffins. I'he plate 4<)q8, ho\ve\er, has no nail-holes, and ma\- perhaps be one of the rare scjuare mirrors. Smaller boxes, with locks and ke\s, probabl>- represent jewel-cases or toilet boxes, and are of various shapes, oblong or cylindrical, with hinged covers. The ke_\s of the locks have their wards at right angles to the handle (instead of in the same plane, as in modern ke\'s) : 5000-2 were used not to turn the bolt, but to draw it, after disengaging it from lock-pins which fall back into its wards when the key is withdrawn. The ke\' 5000 and the bolt 5003 come from the same lock, which has been recon- structed to show how it works: this ancient make of lock was to be seen recentlx' in peasants' houses in Cx'prus, and is in dail\' use in Eg\pt. The key 5004 turned in the lock like a modern ke\- and 3003 was of \-et another pattern. The hasps 5006-S and the hinges 5009-11 are of simple and modern-looking pattern. Ls. 9 in. — I in. Cxprus, PI. iv (5004). Ill, Ixviii, 6 (nail). STATUETTES AND OTHER MODELLED BRONZES OF THE HELLENIC PERIOD These are but rarel\" found in C\prus, and were probabl}' not of native workmanship, but imported from the great bronze-working centres of Ionia and Central Greece. The statuettes of EgX'ptian st_\ie are all of Ptolemaic or Graeco-Roman date, and (like other Egx'ptian objects in this Collection) ma\' ha\e been acquired in (^.\"prus without haxing been found there. Centre 5012. Handle of an Oinochoe, formed b\- a female figure bending Cases backward to hold the neck-support of the handle with both hands and resting its feet on the archaic head of a .Medusa which adhered tcj the side of the \essel. The ends of the neck-supp(jrt run out into heads of animals. Probabl}' about 550-500 B. C. H. 4^ in. (]\prus, PI. W. Ill, lx\i, ^. 5013. .Mn'prus, p. 345. Ill, lx\i, 5. 5015-16. Lion-headed W'.ater-Spouts. They probably formed part of the external decoration of a shrine or large chest of architectural design. Fine but late Hellenistic work. W's. 5 J in. each. Ill, Ixii, i. 5017-18 are rather smaller than 5015-6 but in a similar style. W's. 3f in. each. 5019-24. Egyptian Statuettes, for the most part of Ptolemaic iUonzi or Graeco-Roman date. 5019 shows the infant Horus seated, *■" with Osirian crown and side-lock of hair. Ill, Ixv, 3. 5020, Isis and Horus. Ill, lx\', 2. 502 1-2. Osiris, \er\' coarse work, perhaps foreign, and not certainl\' ancient. HI, Ixv, i. 5023. a roval head. Gyprus, PI. Iv. 5024, a ram. 5025-6. Barbaric Sta'h:i:tti-,s or Xi or. .Mi-.n, perhaps imitations of (Oriental fprobablx' b'gxptian) work, of small si/e and of a st\ie which apparentl\' has its home on the ,S\rian coast. In spite of their rough workmanship, the\- are not necessariK' of earlv date. Note the horned c:ip of 502(), anil the long locks of hair on his shouklers. 5027-30. 1 1 IT. IT-. NIC AND CiHAECO-K O.MAN Si All !■ Ti I '^, of JtOOr St\T' and workmanship; some ni;i\ be of Gxpriote make. 5027. Nude male figure, much corroded : iierhaiis of I he four! h centurw II. 4 in. 111. lx\ i. i. 502S. Athena, in kite iiea\-v-luimmetl helmet, with, nuht hand raised. Graeco-Roman. 11.4,',, in. 4'W ,asc (.a so 4 THi; COI.LHCl ION Ol- BRON/RS AND OBJI-CTS OF IRON l^ronzo S()2(). Hros. standing with left toot adxanccd, holding a bow in his left hand and drawing an arrow from his quiver with his right, ("iracco-l^oman. H. 3'i;iin. (lyprus, PI. iw lll,lx\i,2. 5030. Orator, in an oxer-garmont decorated with punc- tured dots: his missing left hand was in a separate piece Ciraeco-Roman. 11. ^i in. 500 THF COLIJ-.CnON OF GLASS THE COLLECTION OF GLASS GLASS, like the art of glazing, seems to be an F"g\ptian invention. Though ancient tradition asserted a Phoeni- cian origin, and though Phoenician glass was famous in Hellenistic times, there is at present no e\idence of anv Phoenician glass-working which can compare in antiquit\' with that of Eg\pt, where the art of glazing objects of stone and artificial paste gt)es back to pre-dynastic times, it is not, how- e\er, until the X\'1II D\nast\- that we ha\e actual glass objects, and the equipment of a glass-worker, from the Palace of Tell-el- Amarna. This Egyptian glass was for the most part cast in opi-n moulds, and used for surface decoration and inla\ing; but there were also small thick x'essels of stripeti and \ariegated glass made b\' welding man>' cc^loured rods together. It is not certain whether these vessels were made b\' blowing, or b\- modelling and rolling the glass about a core. The sand grains which often adhere to the inner surface ha\e been supposed to jiro\-e a casting process, but at all periods glass \essels are commonh' annealed in sand, at a temperature which ma\' cause it to adhere. f-ABKK; I. MOII.DI;!) AM) \' A K 1 1- < . A 1 I I) (.I.ASS In (Aprus, glass of this X\'1I1 D\iiaNl\ fabric h;is bmi found in ciass rich tombs of the I. ale- lironze .\gr ;it baikomi, but is (inl\ n'pic- ^••i''^' sented hv one example in this colleclinn. 5f)5i. Hir.n-Ni.cKi I) \'avi. of an .Will l)\ii:ist\ lorin. imilaud from \;iscs of alabaster: tlu- ghiss is much (U'ca\ed, but semis to ha\t' had a ilark bkii' ground, with wliitr lines dr.iun fre(]uentl\- upwards. II. ',',,' in. IN. l\\\ii. >,. (dass of a nati\c fjbri^, iie,irl\ transparent, has been found, M'r\' 5"3 1HE COLLlXri ION OF GLASS rareh', in ollior I5ron/e Age lombs: its relation to the Eg\-ptian fabric is obsLiire, and it ma\' well be a by-product of copper- smelting, in which the production of fused slag is ine\-itable. On the t)ther hand, the cast ornaments of dark blue glass and glass- paste, which are characteristic of the later tombs at M_\-cenac and other Late .Winoan centres in the Aegean, do not seem to ha\'e been introduc^'d into (Cyprus. During the Harl\- Iron Age, beads of variegated glass found their wa\' into CAprus, as into most other Mediterranean lands. The general uniformitx' of their t'abric suggests that these are trade- beads distributed from a few commercial centres, and the popular belief that the\' are Phoenician, ma\' be substantiall}' true. Thc\' form the onl\- link at present between the \ariegated glass of the X\'lll D\nast\" and that of historic times. A few doubtful examples are included among the miscellaneous beads below. Then, in the richest tombs of the sixth and fifth centur}', in C\prus as in Greek lands and widely also in Ital\', small but \ery beautiful x'essels occur rarel\- in a fabric of \ariegatcd glass far superior, both in colour and modelling, to all but the fmest of the old Eg_\'ptian work. Three shapes are characteristic, a c\lindrical alabastron, closelv copied from the Eg\ptian alabaster vessels, and an oinochoe and a narrow-necked amphora, which are of pureh' Hellenic shape. The principal colour-schemes arc two: a milk\- white ground with bands of maroon brown, shading into \'iolet and carmine, and often diffused into the white; and a deep translucent blue, banded with opaque white, >'ellow, and a turquoise blue which easily shades into apple-green and oli\e. These bands were made b\' winding glass threads spirall}' upon the vase at a viscous heat; then the whole vessel was fused again, and rolled upon a hard surface till the threads were thoroughl\' imbedded, 'fhe favourite patterns, wa\\' and zigzag, were produced by dragging a sharp instrument down the \-ase or up it, or up and down alternatelx', after the threads were put on and before the\- were imbedded. The lip, foot, and handles were often added in one of the auxiliar\' colours, 'fhe range of colour and of form is so limited that it has been thought that these \-ases ma>- be the product of a single centre of manu- facture. Phoenicia, Rhodes, and Naukratis in the Hg>-ptian Delta, ha\'e been suggested, 'fhe purit}' of the Greek shapes favours a western source, 'fhere is no e\idence that the>- were ever made in (3>-prus, where the\- are not at all common. 504 5056 5054 3063 THE COLLI-CTION OF GLASS iilass 5032. Amphora with small base, and handles on the shoulder: ^ of greenish blue with orange-\ell()\v rim, handles, foot, and three plain lines round the bodw H. 2.I in. 505^. Amphora without handles, with high neck and standing- fool : deep blue glass with white and \ellow bands on neck and bod\-, and \-ellow zig/ags on the shoulder. H. 3! in. After the fifth century this \ariegated glass disappears altogether for a while; but in the Graeco-Roman Age, or perhaps rather earlier, it is revi\ed, with inferior workmanship, and in a new series of late forms; pointed amphorae with long neck and handles, copied from contemporary wine-jars; and alabastra, also pointed and pear- shaped, for the most part, instead of c\lindrical. The colours too are changed: the white ground disappears altogether, the dark blue becomes mudd\- and gi\es place to sad brown, the white and \ellow bands remain, but the blues and greens are replaced by brick-red. The most pleasing examples are in a strong clear blue with fme bands of white onlw 5054-7. .-X.MPHORAi imitated from late wine-jars, with pointed bod\', and long neck and handles: dark blue or brown, with lines of white (5054-5) or white, \ellow, and greenish blue (5056-7), plain on the neck, drawn frequently upwards on the bod\'. Hs. 5I in. — 6f in. C\prus, PI. iii. Ill, Ixxvi, 3. 4, 5 (5054-5(1). 5058-9. Alabastra of the late pear-shaped form with unper- forated handles; dark blue with lines of white (5058), or _\ellow (5050) drawn alternatcl}' upwards and downwards. Hs. 5 in.. 5,t in. C\prus, PI. iii. 5060. Dipping Rod for toilet use; with a ring handle, knob-end, and a spindle-whorl on the stem to ser\e as a stopper to the bottle in which it was used: darl; blue with white spiral line. H.61i!in. Ill, Ixxvi, 2. 5061-2. Spindli;-\\'horls; dark blue with white lines, spiral (5062) or drawn downwards (5061). Similar spindle-whorls in plain glass, of the same shape and date, are described below (5790-6). Ill, Ixxvi, 9, 6. fabric II. MILLEFIORI GLASS Side by side with this re\i\ed fabric of \ariegated glass stands the rich series of Ciraeco-Roman bowls and cups, cut from slabs 506 MILLHFIORI GLASS of mosaic glass or moulded, and e\en blown in such glass and often (^'lass finished b\- wheel cutting, so astodispla\- fantastic distortion of its ^^''^^ structure. I'his "millefiori" fabric also is of Egjptian ancestr\', and probabl\- had alwa>s one of its chief centres in Eg\pt itself. S>Tian glass, however, was famous too, but our evidence is not precise as to its c]ualities. 5063-4. RhCT.-WGLL.AR PLAyUHS of ".MiLLhMORl" CjLASS. Both have a dark green ground, filled in yo(r^ with small \eliow flowers, in 3064 with streaks of opaque \ellow-green, iirobabh intended to resemble the green porph\r\- of Laconia, which was \alued for architectural decoration. Glass now conies into common use as a substitute for coloured stones, both in mosaic decoration, and for jewelr_\'; examples are numerous in the (Collection of Gold Ornaments. F.ABKIC III. CAST AND (.ROUND CLASS With the late fabric of \ariegated glass, and perhaps also earlier, moulded \'essels of clear or h\aline glass come in xogue, usualh' not cjuitc colourless but of pale shades of sea-green or honey- colour. The\' are often ground to a dull surface, in imitation of translucent stone. This solid transparent glass probabh repre- sents an ancient Sv'rian fabric; it is found, both greenish and deepl\- coloured, in Sargon's Palace at Nine\eh, and bt-low its tloor, and goes back, therefore, far into the eighth centurx B. G. But most of the known examples are Hellenistic at earliest, ami in (Aprus it dcjes not as a rule occur appreciablx' earlier than the "millefiori" glass: but the fine piece 3063, if found in (Cxjirus, is a striking exception. 3065. Alaba^iron of translucent alabaster-Loloure'd glass, lairh' thick, and ground to a dull surface. In form it is rather k-ss graceful than the best alabaster \ ases, but it is of good earl\' st\le, not unlike the cr\ stal \ ase ^SO'"^. and probabh represents some S\rian fabric of the period of ( )rienlal influences: ompare the glass vase of S;irgon, king of .\ss\ ria (72 1 -704 B), ( !. ). in t lie British .Museum: Kisa. Das Glas iin Altcrt:iiiu\ p. loj, fii;. 11. II. 61^ in. So(')()-7^ l5o\\ i.s 01 ( Ias ! Gi.A'-^. nearh l r:in spa rent , oflen l: round to a dull surface', and \ariousl\ groo\cd ;ind g:i(lrooned. I his trt-atment of the surface i^ imilaleil sonicl inirs In li.md modelling in Bdou n G!;iss of 1 ,ie f;ibri^ u hu h lolh iws . ^7 j7-(m.i. These are loimd in lale I Irlltiiist k :muI ( <\a^-'. (id\oin.ni 1..nibs. THE COLLECTION OF GLASS I ABKIC I\'. Cl.lAR BLOWN CLASS Quito distinct from all these I'abries is the thin transparent blown glass, which almost replaces potter\- in the tomb-equipment of the second and third centuries A. D. liiere is no clear e\idence that this fabric goes back into Hellenistic times. It was made at man\' centres, with but little \arialion of form or finish: such a factor\- has been found in (Cyprus itself, at Tamassos. Most of its forms are prescribed b\- the process of blowing; inflated bodies, casih' flattened or intlented, long-drawn-out necks, abrupt bottle- rims, and flat strap-handles, are characteristic; and the \ariet\- in detail is infinite. Some of the best drinking-cups are graceful and exceedingl\' thin: to gi\e a better grip, and pre\ent rolling, the\- often ha\e their sides indented; and this device is transferred to the contemporarx' potterw I'or con\'enience of transport, manv jugs and bottles were blown within a four-sided frame, like modern medicine-bottles; others in moulds representing human heads, or other designs: a cluster of grapes and a wrinkled dale-fruit are favourite forms for small scent-bottles. Open pots for ointment or toilet powders were sometimes fitted with covers cut from the conca\'e bottom of a common blown flask, and these co\ ers arc found painted on the inside with lime-colours, so that the design shows through the glass. The beautiful iridescence of man\- of these glasses is accidental, and is due to the deca\' of the glass in moist air or soil, it has been imitated (though hardly surpassec') bv modern glass-workers. On the other hand, man\- of the forms of the transparent blown glass were repeated in \arious colours. Vhc commonest are deep blue, fsio^, 5180, 5234-7, etc.); deep green (5401-2); amber (528^, 5573, 5511, etc.); and ameth\st (5372, 54(k)); the latter easilx' shading to brown (5122); and rarel\- to rose-pink. Occasionalh- the brown becomes almost black (5220). A favourite decoration is a thread of opaque white, wound spiralh' from neck to foot on a flask of blue or amethx'St; or a similar thread of clear blue or brown, on white or amber. Ill, lxx\ii, lxxix-c\ii. A. PLAIN BLOWN GLASS Glass These vessels are arranged in order of form in thrt'e series, bottles. Cases cups and plates, each of which runs through the whole range of 1 -H ■ o show cases i-o. 508 PLAIN BLOWN CLASS 3 101-5405. BoTTi.HS wiTHOL I HandliiS. [ II the simplest form ^-J'-'ss 3U)i-4Q, the bod\- is onI\- sli^hllv- expanded to a club-shape, *"'^*^' often with a slight groo\e to mark the junction between hod\' and neck. The lip is narrow. This form is common among the miniatures, 5115-43. Ill, xcix, lxx\ii. 7-0 (miniature). 5150-2. When the bod\' is spindle-shaped, the intention was to cop\' the so-called tcar-bottles of cla\', which accompany' the glass bottles in late tombs. Ill, c\-, (>, 2-7. 515^-5211. The club-shaped form passes graduall\- into a ^^'-'ss conical or globular bod\-, which is also common in miniature ^^^^^ (5158-76). Ill, Ixxvii, (), 10, 11-15 (miniature). 5212-76. From the globular form, in turn, arise ec|uall\ Class gradual!)', a large series of pear-shaped, hemispherical \arieties, ^'^^'^' and two-storied forms, produced b\' constricting the bodw 111, xcvii, c, ci; cv, i (two-storied). 5277-531 I. The necks of some of these bottles are excessively Glass long and slender, and rather markedly separated from the ^^'^^' body. ' 111, ciii. '^ 5312-43. Commonest of all, on man\' sites, are those with Class the bod\' flattened like a steth(jscope: these ha\e \er\- small ^'^^^^ capacit}', and are almost purel\' ornamental. Ill, cii. 5344-5405. r)ther forms imitate common forms of cla\' Class vases, with funnel-shaped neck, sloping sh(.)ulder, and occa- *^'^'se sionall\' a standing-base (535()). Ill.xc\iii. 536t-(). .\ few a re compressed laterall\like a flask. 1 1 l,c\i, i ,3. 53Hi-()2. One miniature \ariet\' has a short wide neck, anil almost no bod\' : it is usualh' \er\' roughh' made. 1 1 1 . c\ i, S- 10. 5406-53. Jr<;s Willi ONI-: Mandi.i-, follow those with none, in Class regaril to the shaiU'S of the bod\- and neck; but show more '-•i""^''' likeness to contemporar\' potterw and otten ha\e a basi'-nng. Ihe handle is usualh' of Hat cross-section, like a strap, swollen a little where it joins the shouKier, aiul ofleii loKled or scrolled to form a thumb-hold at the upjn^r eink and sonielinies at both ends, or forming rippled ixinds liown the bodx. ll usualh' joins the neck t'itlier at the rim, as m 540(1-7. i>r not far below it, 54oH-(). Occasionalh' as in t.; 1 7 t ln're is .1 mould- ing on the shoulder or the neck; but as a rule ihe surLuc is ([uite plain. Ml, \c nc\ . 509 I. 2 CJIass Ceases 3. 4 Glass iHi; c:c)i.i.i;c;i ION oi- class class :;^:;_^-()5. Amphoka 1 wnn I\\() Ha\I)1.i:s f()lk)W slill more closel> " '!;. 1 he conteniporan' clax \ases : ihev arc rare, and usuall\' of small si/e. rhe handles are often elaboratelx' scrolled above and ribbed below. Ill, Ixxxix. Glass S4(i4-ss7^. CXps and Bowls witholt Handles form a large Gases series. Simple forms are common with c\lindrical sides and nearlx' flat bottom (3464-77) sometimes drawn inwards a little and furnished with a slight rim (547(S-88). Ill, Ixxxi. s- 34S()-55o8 have rounder bottoms, and more inward-sloping sides, approximating to common \ase-forms: 111, Ixxxii. 5tO()-72, more spherical profiles, with wider and more distinct Gases rim. lead on to \'-shaped tumblers, with base-ring (5534) and 7-^ a number of more elaborate shapes, all following the forms of \ases: 5528 has a high foot, like that of the common bowls of terra-sigillata; and 5536, 55O8 ha\e a slender solid stem like a modern wine glass. Ill, Ixxxi; Ixxxiii (base-ring); lxxxi\-, 3 (high foot); lxx\ii, i (stem). Glass 5 5y3-:;6()0. Plaths and Salclrs are of man\' varieties, all rather "'^'^o thicker than the bottles, and usuallx' furnished with stouter rim, base-ring, and a few concentric lines, borrowed from the plates of terra-sigillata. .A few (3601-2) ha\e handles on the rim, made of a narrow ribbon of glass, closel\' applied, and usuallx' waved or corrugated. Ill, lxxx\-lxxx\iii. 5610-14. Lids are sometimes found on the upright-sided cups, plain or heav\- moulded. The\- are often simpl\- the bottoms of the flat-bodied bottles, cut neatlv off, so as to retain an upturned edge, which fits oxer the rim of their cup. Some- times the inside of these lids is painted with flowers, fruit, birds, and dancing Nymphs and Cupids, in lime-colours which show through the glass, with black outline and simple flat tints, protected behind by a wash of plain lime. None of the examples in this Gollection, howexer, are painted. Ill, cvii, (). Glass 5613-2^ La.mps, (3613) AND La.mp-Fillers, (3616-3623) arc onl\ "' " made rarelx' in glass; the fillers ha\e the form of an ordinarx' bottle, one side of xvhich has been draxxn out to a point and broken off. Sometimes the neck of the bottle has been draxxn out also (3622-23) to complete the resemblance to a bird, xvhile making the xessel useless except as a tow The lamp 3()22 is of a late (iraeco-Roman form. Ill, cxi, 2 (lamp-filler). 510 53 i« 52(M 3^40 3'"^ 5431 572(j 5()7i) 5O84 5724 5^)'^'> 5410 -,757 T.\Th 1t'-,(> THE COLLECTION OF GLASS R. BLOWN GLASS WIIH VARIOLS ADDITIONAL ORNAMENTS The workmanship of all these vessels resembles that of the pre- ceding group, and the limits of form and date seem to be approxi- matel\' the same. Glass 1624-60. Blown Glass with Incised Lines, cut or rubbed with Case sand and a piece of wood: this ornament is commonest on bowls and cups (5630-69), rarer on bottles (5624-7) and jugs (5628-9). Ill, Ixxxi, 6; l.xxxiv, 1. 5670-80. Blown Glass .m.ade in a Mould, like a modern case- bottle; the majorit\- are four-sided jugs (5670-78), but some are man\-sided (5679), or round (5680). Ill, xcvi, cv, s. Cjlass .(,g,_,_[Q Blown Glass with Concave Panels made b\- im- Cast? ' . . I, pressing the side m four or more places. Most of these vases are c\lindrical or conical tumblers and deep cups (5681-5697); but the same treatment is applied also, though less effecti\el\-, to bottles (5698-5710), miniature examples are fairl\- common, perhaps intended to imitate the mould-blown fabric. C\prus, PI. iii. Ill, Ixxix, Ixxx. 571 1-45. Blown Glass with Applied Threads of Glass drawn either spirallx' or in more complicated patterns over the surface, and fused so as to adhere. The simplest examples are bowls with a mere collar or moulding below the rim (5711-17, 5721-35), and the same ornament is found occasionally on bottles (5718-19, 5736). Other examples show the spiral threads wound round the whole bod\' of the vase (5737-44). The spiral threads are often of a different colour from the ground (5738, 5740). Rarel_v, threads of glass of larger dia- meter than these are used to form festoons or network which stands partl\' free of the \essel (5745). Ill, civ, 6, 7, 8. cilass 5746. Blown Glass with .Applied Patches or Rosettes of '^^^ coloured glass, differing onl>' from 5711-45 in the shape and arrangement of the additions. 5747-60. Blown Glass with Gadrooning or Ribbinc, formed b\- modelling, in imitation of the \ases of thick cast glass (5066-73): small bottles are common (5747-51) and cups and bowls are also found in this st>-le (5752-60). Ill, civ, 1-5. 5761-2. Blown Glass with \'ariegated (Colour. The forms of this rare fabric are those of the plain blown glass; both these 512 BLOWN GLASS WITH ORNAMHNTS examples are small pear-shaped bottles, with slight funnel- Glass shaped rim: 5762 is of mixed "on\x-glass," blue and white; ^'''^'"" 5761, of brown with white lines, probablx produced b\- apph- ing a white thread of glass (aj in 5711-45) before the final blowing; it is difficult, however, t(j distinguish glasses of this technique from those in which the lines were painted in enamel colour. 5763-()7. Blown Glass made in P'igured Moulds. The manu- facture is the same as that of 5670-80, but the glass is liner, and often coloured; and the moulds, like those of terrac(jlta figures, represent human heads (5763), fruit (5764), and other objects. 5765 is a hexagonal jug decorated with Jewish em- blems. Most of the \essels are narrow-necked, but 57()() is a fragment of a plate impressed on the inside, and ^-i)- a de- tached medallion with a female head. Ill, lxx\iii. OTHER OBJECTS OF I'LAIN (U.ASS, CLEAR OR COLOLRHD .\lan\- small toilet objects were made of glass for ordinary use, as well as for burial. The manufacture of glass bracelets like 5768-75 goes on still, almost unchanged, at Hebron in Palestine, competing successfull\' in its own district with imported European fabrics. 5768-75. Bracelets of clear and coloured glass, sometimes dec- orated with HTjltiple or twisted threads. Ill, lxx\i, 10-12. 5776-77. DiiM'iNO Rods for toilet use, of twisted clear glass, like the \ariegated dipping-rod 5060. 111. lxx\i, 1. 5778. Simoon, of clear glass, with pointed bowl and long haiKile. Ill, cvii, 2. 577C)-8i. Pins ("5770-80) and Needle (5781), the former perhaps for use as a dipping rod. Ill, lxxx\i, i (57.S!). 5782-88. Simndle:-\Vhc)Rls of plain glass, greenish or dark blue, are common in Cjraeco-Roman tombs: in workmanship the\' are identical with those of \ariegated glass, 5061-2. Ill, Ixxvi, 7 (S78()). 578c)-()4. Small Objects of (Ii.ear (jlass: a jjaming die, 5780; nian\sidetl bead, 5700; ball, 5701 ; knobs, s7<)--5; tubi-, 57()4, of uncertain use; of the ordinar\ transparent glass. 6.'ompare with these the finger-rings 42(14-^, t'ligraNrd gnus in glass jKiste 42()()-7, and pendants anil brads 402 ^-4() Irdiii ( iracco- Roman earrings, which are exliibitnl in tlu' (iolKniun ol (iold Ornaments, and the miscelhmeous beatis whiJi hillow \ww. 5'3 Tin- COI.Ll-.CTION OF GLASS 5795-5803. BhADs oi- Xarihca ihi) ("jLass of \arious periods not easily distinguished. The cxlindrical and spindle-shaped beads 57{)5-tS of dark glass, with white and x'ellow lines, sometimes drawn up and down, ma\- be of the sixth-century fabric. Those of opaque \ellow glass with blue and white eyes (5799), of pale blue glass with dark blue and white e\es (5800), and of dark blue glass with yellow e\es (5801) or zigzags (5802) may also be early, but are repeated in Roman times. The plain green and greenish blue beads (5803) of very rough fabric are prob- abl}' late. 514 OBJi:CTS OF IVORY, BONE, SHELL AND LEAD T OBJECTS OF IVORY, BONE, SHELL AND LEAD HESE arc found at almost all periods, and bone objects were probabl\' common in dail\- use. All in this secticjn are of bone, unless another material is stated. ^goi. Ivory Plaqlh of o\al form, car\ed in high relief. It ,,. ,, shows a negro asleep, with his head resting on one arm; his Case hair is dressed in Eg\ptian fashion, and he wears a long loin- 77 cloth fastened with a belt. A perforation in the background passes through the right hand. The workmanship is Egyptian and probabl)' of X\TII D\nasty date. It is said to ha\e been found at Lapathos. L. 37} in. C\'prus, p. 233. 5902-22. IvoR'i- AND Bone Roundhls, for inlasing or for use as buttons. Some ha\e a rosette pattern of Egxplian st\le (5902-13) or rings (5914); others are plain (S915-22). sqoy retains a gilded bronze nail thr(jugh its centre. The dale is quite uncertain. Ds. 24 in. li in. (^xprus, p. 2^. Ill, c.wi, lo-i 2. 5923-30. 'roiLi-.T-Boxi-:s, of tubular form, for holding needles, pins, or face-paint. Some are turneil on a lathe (s923-2()) with engraved patterns of scales and zig/ags; others (5()27-^o), more roughl\' worketl, still betra\- the natural form of the bdiie. Some retain the roundel of bone which closed the end. .Must of them seem to be of (iraeco-Koman work. I.s. sin.- 1 in. Ill, c.w i. (). 5931-41. Si'iNi)i.i-,-\\'ii()Ki.s, Hat below, and onl\' slight 1\- con\c\ abo\e. Such whorls lia\e bet-n found in IK'llenistic .uul draeco-Koman tombs. I)s. \\ in. I in. 5942. SicNi-.r-KiNO. These were j^robablx for tomb-((]iiipm. 317 OliJlU.TS Ol IVORY, BONi;, SHELL AND LHAD 5043-4. Two otluT RiNCrS (too large for a finger). Ds. ifin., rlin. 5()4t-52. Fin Hi;.\l)S. 5Q4S represents a Herm (the head miss- ing); 5()46-S a female bust; 5940 a pine-cone; 5950 a plain knob; S()5i-2 a pomegranate. Pins of this fashion are com- mon in Graeco-Roman tombs; the\' were probabl\- in dail\' use, as well as funerary. Ls. 4.' in. — 1§ in. Ill, cxvi, 4 (5946); 8 (5951-2). 5953-()6. Other Toilet .Articles: knife-handle (5953), pegs (5954-s), piece of inla\' decorated with concentric circles (5959), a female figure with flat back (5957), spoons (5958- 61), ear-picks (5962-4), needle (5965), and a roughl_\' worked awl (59()t)). Ls. 5^ in. — i in. Ill, cx\'i, I, 2, 5 (spoon), 7 (5957). 5967-(S. Shells of Dolium Galea, a .Mediterranean mollusc, sometimes found in tomb-equipment. The generic name "Dolium" means a cask, and suggests that the shells were used in antiquit\' as extemporized toilet-vessels. Ls. 4-2 in., 4^ in. 5969-71. Teeth of an Ox. Such teeth were used as burnishers and tor other household purposes, and are sometimes found in tomb-equipment. Ls. 3^ in., 3I in., 3I in. OBJECTS OF LEAD These are for the most part miniature copies of statuettes and furniture, cast in lead like the modern toy-soldiers, and probabl\' intended as tomb-equipment. The)' are of Hellenistic or Graeco- Roman st\le. 5972-4. rABLES OF Offerings, including cakes, fruit, and meat: Ls. 2I in., 2:] in., 2 in. Ill, cxvii, 10-12. 5975. .Mirror: on the back is an eagle in relief. L., with handle, 5,jin. D. 1 .J in. Ill, cxvii, 3. 597()-(S. SiATLiiTTEs; 5976 two standing figures together; 5977 (Aipid pla\ing the flute; 5978 horse. Ls. 1 ;,' in., i^ in., I4 in. III. cxvii, 8, 7, 9. 5979. .Amphora, with the greeting z'Jlj'^zl, "cheer up." L. lA in. 5980-5. Slino-Bullets, of the regular militar\' pattern (3031-35) and larger (5980). These are generall\' found in the surface soil, not in sanctuaries or tombs. Ls. 2f in.-ij in. Ill, cx\ii, 2 (3030), 5-6. 518 APPENDIX OF INSCRIPTIONS T at all. PHOENICIAN INSCRIPTIONS HE majority of these inscriptions are of late date, and present no difficulty on account of their form. Those on the vases 479, 775, 1340, on the other hand, offer a few archaic forms, and 1 540 is not certainl\- Phoenician 479. On a vase of Red Bucchero Ware, incised after firing, the name of the owner, Cyprus, xii, 26. Birch. Trans. Soc. Bibl. Arch, iv, 23. 1 1, c.xli, 1032. Ill, c.xxiii. 23. 775. On a vase of Painted White Ware, in black paint, applied before firing, Cyprus, X, 9. II, cxli, 1047. ill, cxxiii, 21. 1366. On a sarccjphagus of white marble the Phoenician lotter V^ 1540. On the bottom of a steatite vase, probablv of tiie ninlh or tenth centur\'. Three sif.'ns ,^^^ which ha\e bech rc.id as Tin ''Lit are not certainly V,.^ Phoenician at ;ill. (^xprus, XII, 27. 1 1, cxli, loso. Ill, ixxiii. 2. iHoi. On a block of white marble, in seven lines, broken ;it the top and at both ends, APPENDIX OF INSCRIPTIONS "CN :^{ 1 1 r~::2 "['"x] r'^p'":["o:7juws] Cyprus, ix, 2, p. 441. C. 1. S., i, 14. Ill, cxxii, i. 1802. On a block of white marble, in two lines, broken at both ends, C\prus, ix, 4. C. 1. S., i, 15. Ill, cxxii, 2. 1803-4. ^^'1 two fragments of a blue marble bowl, in a single line around the rim, r^pb/jrruN'b ^:-wsb ^:ii^iz>' jtJ ('§04) jr^:ro "| ('803) Cyprus, x, 14, i. C. I. S., i, 16 a, b. Ill, cxxii, 3 a, b. The inscriptions 1805-1824 are on fragments of white marble bowls, in a single line around the rim, which occasional!) shows a spout or a handle: 1816 however is in two lines. >«05. • .. M'^1 TZ "Va • ■ • C. I. S., i, ig. Ill, cxxii, 4) 1806-7-8. ..rr^b III Hi III - [Z7ri "Soe* ■ • • r-xi • • • (>Ho8) . . . ijr-lrb/a -p:]b I 1 1 1 • • • ('807) Cyprus, ix, 3, x, 13. C. I. S., i, 21, 17 a, b, 20. Ill, cxxii, 5 a, b, c. '809. ..."": . i"C--- \yh'2 ■ 'T'lLZ'^] C. I. S., i, 22 a, b. Ill, cxxii, 6. 1810. [r^p"':::];::^;^'": -"xc r""~r:["i;"] • ■ C. 1. S., i, 39. II, cxli, 1051. Ill, cxxii, 7 522 I>H()HNI(:iAN INSCRIPTIONS Cyprus, X, lo. C. I. S., i, 23. Ill, cxxii, 8. j8i2. . . . [-pb ^rrzra -bbj"-:] • • • Cyprus, X, 12. C. I. S , i, 18. Ill, cxxii, 9. 1813 a, b. (continuous) t]z^ I — ^j:[';:2:"/2"^x'^ *:~j<":] Cyprus, xi, 21, xii, 30. C. I. S., i, 25. Ill, cxxii, 10. '814- h"]i' r'^Kb^-rr::^^ "I'i^ IW> ^ Cyprus, x, 15. C. I. S., i, 27. Ill, cxxiii, 1 1. 1815. h zbii ^-:[ Cyprus, xi, 16. C. I. S., i, 34. Ill, cxxiii, 12, 1816. The first letters of two lines. (i)]n (2) ]5prus, ix, 3 (and 28?). C. 1. S., i, 33. Ill, cxxiii, 18. Cyprus, xi. C. I. S., i, 28. Ill, cxxiii, U). 1824. ] . *-[ Cyprus, xi, 22. C. I.S., i, ^6. Ill, cxxiii, jo 1825. ()nlhe rim of a lar^e alaba^lroii, tlic numerjl loo, prrcciiril b\' the word «— -- a^> in iNj(i. (Aprus, xii, 23. 1 1 . cxli, lo.jN; II I , ,. wm, 2 j APPENDIX OF INSCRIPTIONS 1826. On an amphora of coarse white ware, painted on the side, C\prus. ix, 7. 1 1 1, cxxiii, 26. 1827. On an amphora of coarse white ware, painted on the side, in three Hnes, complete, (3) ^>'^u I (2) ;r^ I (0 z'^^s b>-2 C\prus, X, 8. II, cxii, 1049; III, cxxiii, 25. 1828. On an amphora of white coarse ware, painted on the side, C\prus, xii, 29. Ill, cxxiii, 27. 1829. On an amphora of coarse white ware, painted on the side, For the word, compare 1825 III, cxxiii, 28. A fragment of an amphora of coarse white ware, painted in several lines, illegible, quoted in Cyprus, xi, 24. Atlas HI cxxiii (text), has not been found in the Museum. 524 CYPRIOTE INSCRIPTIONS IN revising these inscriptions, the Museum has been enabled b}- the courtesy of Dr. Ludwig Meister of Leipzig to make use of the last corrections and translations of his father, the late Dr. Richard Meister, who visited the .Museum and made careful study of the originals not long before his lamented death. The readings and translations here given are throughout those of Dr. Meister, but in a few cases other readings are added where sub- sequent study seems to suggest another view. 371-81. On vases of Wheelmade Red Ware, of the Later Bronze Age, isolated symbols, which are identical in form with characters of the Cypriote s\llabar\-, but are earlier in date than any certain example of it hitherto published. 4 r f /\ 376 377 37^ 379 3«; 1 1, cxlii, 1060, 1061 ; 1 1 1, cxl, 3, 4, 6; (8, 9, 10, 11 (^71-3-4-2). 434. On a \ase of C\ pro-.\l\ cenaean Ware the following sign, ]_: probabl\' den\ed from the .Minoan script of Crete. 438. On a vase of C\pr()-M\cenaean Ware, the signs for pa, to. and me or le. il,xc, 775. 1 1 1, cxl, Suppl. i i. 474. On a vase of Red Bucchero Ware, the owner's name, •0 < ;^ m ia . le . pe . mo. 'lu'/.z^iM^). (.'1 Hall, xi, 234. 11, cxlii, io(>3; ill. .\1. ^^ 523 APPENDIX OF INSCRIPl IONS 480. On a vase of late Red Bucchoro Ware, the owner's name, te.ro. pa . no . to . ta ko . Hall, .\i, 238 read the second sign as le; Tr/As^avw. 1 1, cxlii, 1062; 1 1 1, cxl, 7. 481. On a \ ase of late Red Bucchero Ware, the owner's name, ^^ V- ta . le . se . t)aAY^; Hall, xi, 23O. II, cxlii, 1064; 111, cxl, 1. 1351. On the right shoulder of the "Priest with a Dove," ver\' faintl\' traced in a curved line, . ta . se . pa . pi . a . se . . txc Oayfa; . Hall, xi, 2:^2. .Meister, G D. 11, 119a (2), p. 181. Hoff- mann, 17(1. 1, Ixv, 431; 111, cxli, 2. 1 36 1. On the arm of a life-size statue, in one line complete, . e . ko . ta . mi . ko . ra . u . e . mi . i-fb) Tajx'.yopaj r^'^i . Meister queries the third sign ta and reads .Mikorau, but it is fairl>' clear on the stone; and Hall's suggestion that the stone-cutter has transposed the vowels and given Tamigoras for Timagoras, is prohablv right. Hall, xi, 233. Meister, G D. II, 119a (3), p. 181. Hoff- mann, 175. 1, iii, 5 ; III, cxli, i. I 540. On a vase of dark green steatite, three linear s\mbols: see p. 52 I above. 1567. On a blue-glaze object, two isolated signs as follows: on the top, the sign for ya. on the edge that for lo. Hall, xi, 236-7. Ill, cxl, 12. 1659. On an alabaster vase, the signs loosel\' arranged in two rows round the bodv, upper row .pa . po . i . ke. lower row .e . u . za . ve . i . te. To judge from the form of the vase, this should be one of 526 CYPRIOTE INSCRIPTIONS the earliest known inscriptions in C^\ pri(Jte script, probablv of the tenth or ninth centur>-. Though Mcister's rendering is ingenious, it is not certain tliat the words arc C^reek at all, Deecke, 56. Hall, x, 30; xi, 218. II. cxli, 1053-4; 111, cxli, 7a, b (plate), 6 (lexl). 183 I. On a limestone chest, in three lines, (1). .po . ro . to . ti . mo . e . mi . ta . se . pa . pi . a . se . IIpwTOTtjxo) . fjij,'. . -rac llayia; . to .i.e. (2) . re . vo . se . ka . se . mi . ka . te . .TO) . tspfi/o; . y.a; . [).>. . v.xzi- . te . ke . ta . i . (3) . pa . pi . a . i . a . po . ro . ti . ta . i . . -Or//.c . Tac . . llaytat . 'Aypocf-rat . (>\ prus. vii, 4(). Pierides, Trans. Soc. F3ibl. Arch. \'. pp. 88-c)6. Hall, xi. 210. Deecke, 1. Hoffmann, sO- "T cxxiv, 1. 1832. On a limestone chest, in three lines, broken on the left, (i). . ta . se . o . ta . se . pa Ta; .[(Jsjd). Tac . Ilalyia.; r,'^'. (2). . a . u . ta . ra . mi . ka . te . . . . o aJTap . [J.'. . y.aT3[0r//.i (^). . . na . si . te . mi . se . '()va7;0s:jLt; .[6 C\prus, \ii. 5 1 . Pierides, V. 88-t)(). Deecke. 2. Hoffmann, 60. Hall, xi, 21 1. 111. cxxi\ , 4. 1833. On a limestone chest, in four lines, broken on the left, (i ). . ta . se . te . o . ta . se Ti; Oi(T) . Ti:; . [IIay!a; t;[j.!, (2). . a . i . ta . ra . e . a[J|Tap .i\'j.z.v.y.-:i^ir,v.z 'O'/'xz'.- (3). . te . mi .... (4). .pi . .-Hz[j.'.\; '.£p£j; Ti; I la- ■ r'-U; (3\iirus. \ii, 47. PieritK's, \. 88-()(). Deecke, 5, 1 lollmaiiii, 61. Hall. XI. 215. Ill, cxxiv, 8. 1854. On a linir^Ionr fragmcnl, broken al both ends, . . se pa jii . a . se r nil . Ti]; . llacfz; r/v.. Vhc sign for c is not vcr\ ^lear. bul ihc sense rcc|ii:ris n b-7 APPENDIX OP INSCRIPTIONS C\ pi'us, viii, 53. Picridcs, v. 88-96. Deecke, 4. Hoff- niaim, ()2. Hall, xi, 213. Ill, cxxiv, q. 183S-36. On similar fragments, broken at both ends, 1855. . ta . se . pa . pi . a . se . . ] Ti^ Ilxytac [ 1830. . [se] . pa . pi . a . se. . Tac] Ilacifa; [ C>'prus, \ii, 4>S, 49. Pierides, v. 88-96. Deecke, 5, 6. HolT- mann, C)^. Hall, xi, 211-13. Ill, cxxiv, 5,6. 1837-8. On fragments of potter}', broken at both ends, .'837. . la . se . pa . pi . . ] ta:; IIay:[a; 1838. . [se] . pa . pi .a . ".7]: llx-^'.xlq C\prus, vii, 45, 44. Pierides, v. 88-96. Deecke, 7, 9. Hoif- mann, 63. Hall xi, 212. HI, cxxiv, 7, 11. 1839-4! On fragments of limestone chests, broken, 1839. . . . pa.pi.a.se tar] Hayia; [t;:!'! 1840. . (i). .se.te. ta]; (-)3[w (2). .a.o. ..... 184 1. . . . pa. pi. a. . tac] nayia[; Xi'^i C\'prus, \ ii, 50, viii, 54, \ii, 52. Pierides, v. 88-96. Deecke, 10, II, 12. Hoffmann, 63 (10). Hall, xi, 212-13. Hi, cxxiv, 10, 3, 2. 1842. On a fragment of limestone, broken, . . o.ne.te.ke.a . . . . ] av£6r//.3 ' Al'^prjli-zxi Cyprus, \iii, 57. Deecke, 13. Hoffmann, 64. Hall, >i, 213. Ill, cxxv, I. 1843. On a statue-base, in three lines, complete, ( I ;. e . ko . to . se . ka . te . se . ta . se . to . i "E/.OTO; 7.aT£~Ta-£ TWl (2). ti .(J . i . ta . pi . te . ki . si .0 , i Ocov. t' ' A(uL)q;'.csci(i)'. (3). i . tu . ka . i . a .za , ta . i i(v) ".'jyy.'. . ayaOa; Cyprus, i, 3, p. 207. Deecke, 37. Hoffmann, 1 37 (the dialect and the direction of the writing suggest that it is from Idalion, not from Kouklia). Hall, x, 201-18; xi, 2 14. Ill, cxxv, 4. 528 CYPRIOTE INSCRIPTIONS 1844. On a limestone block, in three lines, complete, (i). ki.li.ka.se (2). . ti .mo. to. ro. rtXXExaq 6 Tcp.os(i)pG) . (3). a . po . se . ia . In line 1 the second sign is // with ka superposed, so that earlier editors read si; the name Gillikas is well known in C}-prus. Deeckc, 114 (assigned to Ciolgoi on Siegismund's authority). Hoffmann, 173, compare 76. Hall, xi, 213. Ill, cx.w, (). 1845. On a statue-base, in one line, complete, .to . te . o . le . na . i . o?. .Td). Osd> . \r,yy.'.td . [fjjj-f Cyprus, vii, 4^ Deecke, 43. Hoffmann, 118. Hall, x, 33; xi, 215 (who read from left to right and translated as a proper name, Phainaleotes). HI, cxxvii, 5. 1846. On a stalutnte, in one line, broken at both ends, . . ve . li . pa . ti . \a . to . ro . . . ¥zK'.T.{r.)y. . A'.j^avopto Cyprus, \ii, 42. Deecke, 44. Hoffmann, i K). Hall, x. ^4: xi, 215: compare also 1852 below. Ill, cxx\ii, (>. 1847. On a statuette, in one line, broken at both ends, . . ke . to . te . a . po . lo . ni . . . sJviOrJy.s -:6(v)cs 'A::6a(a)<'>~^' ■ - Hall, xi, 217. Ill, cxx\ii, S 1848. On a statuette, in one line, broken at both ends, . to . te . a po.lo.ni . le .0 . . . o . i . a . te . si pa . te . t6(v)c£ . '.\-6a(>0(')V'. . Oso). . lo . \ e . ia di . pi se . o . jxi . le . Hall, xi, 255. .\leisler, Cil). 1 1, 52a. 1 1 1 , exx\ li, 2, ^ .| 1841). On a statuette like i''~!48; onl\- thr sign lor // rmuins Hall, xi, 2;i4. 111. e\\\ ii, 7 1850. On a st;it ue-b;isc, in four linrs, lompKlf, (i ). a ri si . to . ko . nor . si r . o . n,i ^i ia . 5^<) APPHNDIX OF INSCRIPTIONS (2). . u . ne . u . ka . sa . me . no . se . pe . ri . pa . LIVcuHi^c vo^ . r.zpl . r.onil (3). . i . li . to . i . pe re . se . u . la . i . u . ne . le . -zdy. IIspjsjTac . OvsOr^/.s (4). . kc . i , , tu ka . i . .t(v) TJ/ai Deecke, 45. HotYmann, 120. Hall, x, 32; xi, 215-16. Ill, cxxvi, 4. 1851. On a fragment of limestone, broken at both ends, (i). . ka . e vo . se? Msl 7 ^vo/o;[ (2). . me . ki . . . 6] Mzyiil'/M (3). . lo? .... 'Az6).jA(o[vi Deecke, 48. Hall, xi, 216. Ill, cxx\i, 2. 1852. On a statue-base, broken at both ends, . pa . ti . sa . to . ro . . . .J-a T:ja(v)cpo) [ Deecke, 49. Hoffmann, 113. Hall, xi, 217. C~\ prus, \ iii, 38: compare 1846 above. Ill, cxxvi, 3. 1853. On a tile, inscribed with the finger in the soft cla\', the signs for ti . ko . and ve. C_\'prus, \i, 33. Deecke, 52. Hall, xi, 218. 11, cxlii, 1058. Ill, cxli, 5. 1854. On a fragment of a stone bowl, parts of two lines, which may be the beginning and end of the same line. (i). .ti . mo . ke . re . te .se . to . ma . ki , ri . o . se . o . ne T'-ixoy-psTrj^ . TQ . MsiY'.pito; . avi[OT//.s (2). . se . se . I I 1 I . . . joTf^c ^zzzy-^y. In line i the third sign from the end is quite clearly se: if it is not a mistake of the stone-cutter, as Meister seems to suppose, it may be a personal name (in the genitive) deri\'ed from the deit\- Alagirios, to whom it has been commonlx' supposed (Deecke 120. Schmidt, Idalion, p. 66) that the inscription refers. Meister reads Ma7'.p!o)('.) . Cyprus, vi, 35. Deecke, 121. Hoffmann, 129. Hall, xi, 2^1. 1 1 1, cxxxix, 1 . 1855. On a cla\- lamp, incised before firing, . pi . lo . ti . mo . 4^'.aot;;j.(o 530 CYPRIOTE INSCRIPTIONS Cyprus, viii, 56. Deecke, 142. Hoffmann, 55. Hall, x, 17 xi, 231. 11, cxlii, 1059. HI, cxl, 14. 1856. On a stone palette, all that remains of a long inscription, in fine strokes, . o . \i . i . ti . Hall, xi, 238. Meister, GD. 11, 146c. Ill, cxxxix, 3. 1857. On a pediment from one tomb, in one long line on the archi- trave, e . ko:e . mi:a . ri . si . to. ke . re . tc . se: ka . me . ne. se . ta .sa . ne 'E'fCy.r,'^'.: 'AptjToy.ps-rr;? :-/.a(i)^£v i^Tajav ka].si.ke.ne.to.i : me.ma.na.me.no. i : e.u.ve.re.ke.si.a.se ['/.T.jarfyri'Z'j'. : [Xc[JLva;x£voc : cj/epysc-iaq ta . sa : pa . i : e . u . po . te : e . ve . re . xa . The double points represent divisions between words on the stone. In spite of obvious difficulties, the sentence seems to be intended to form two hexameters. Cyprus, vi, 37. Deecke, 71. Hoffmann, 146. Hall, x, 21; xi, 221. 1, Ixxxv, 563; 111, cxxxvii. i. On the top of a limestone footstool, each sign in a separate square of a chequer-board, (i). ki . lo . za .ma.po . na . Tu.r>".i[xx . ^ova (2). pi . le . vo . ka . mi . ? . (bi\{X)rjo . '{7.[X'.[-.y.\ . (3). te . i . ti . ku . ne . ? . ci . i-rr/.'jv . [. . . . (4). ? .0 . mi . pa . se . ? . . . . | . 6 ;j.'. (v) . 7:2::. [ v.x (5). a? . a? . mi . a . zo . so . i . d{[i.)'<.y. . 'lo) . zu) . (6). i? . si . pe . ko . mi . si . c't r.kv.ui . ;x!j- (7). ke?. a? . i . to . va . zo . -"/sa . :(v)(Jof :<'!(.) (8). vi . ? . ma . pa . sa .mo. _f!(/v'j):j.a . r.7.-y. . ;j.(o- (9). sa? . ti? . a? . te . i . zo . -zy. . C'.a(v)');;'l(.) (10). si . ti? . zo . i . ra .pa . z-.'.'-S') . li'A^y.r.- (11). ta? . ka?.su?.ma .ta?. VH. -.y . ■Ky.o{z)'y}.y.~y The entire object is figured in Cxjirus, p. \Y)\ the iiiNcriplimi in Hall, xi, 232; it is discussed full\- bv .Meister (i I), ii. \'^\. W). ii()a.; Verhandlungen d. K. Siichs. (ie^. W'iss. -pliil- hist. klasse) Ixiii (191 1), 17-',!. I, Ixxxv, 5()o; 111, cxxxi\, 2. 531 A1'1>LNU1X Ol INSCKIl'l IONS [859. ()n a Muall allar, in two lines, broken at the end, [i). ... illegible .... {2). . a . li . pa . nu) . o . li . o . pa . . '.•\(v)T'.9a[X(i)(v) . . AtOyi[v':oij. . The name is ncj doubt that of the dedicator, Antiphamon, son of Daophas or Daophantos. C^sprus, V, 23, xl\ iii. Deecke, 83. HofYmann, i 57. Hall, x, 27; xi, 225. I, xxvii, 89; III, cxxviii, 2. i860. On a small altar, in one line, apparently complete, from right to left: — . lo . li . pa . ro . pe . i . i . na . te . to . As this gi\es no sense, .Meister proposes to read from left to right, as follows: — . to . te . na . \i . i . pc . ro . pa . ti . lo .[se]. . Tocs . va/'. . l{[x)'^i^M . IIa(v)T(Ao(;) . But this is against the direction of the characters. The inscription may not be in Greek at all. (^\prus, \i, 34. Deecke, 98. Hoffmann, i()7. Hall, x, 10; xi, 229. Ill, cxxxi, 3. 1861. (Jn the handle of a limestone fire-sho\el, in one line, complete, . e . ro . se . te . ke . to . a . po . lo . ni . "Ilp(f); (£)0t,7.3 TW 'AtTOAAWVI The characters ha\e been outlined in paint and the reading is not so certain as appears at lirst sight. (^\prus, i\", 2o. Deecke, ()(). HolTmann, 165. Hall, x, 18; xi, 22S. 1 1 1, cxxvii, I ., 1862. On a limestone trough or chest, in three lines, complete, (1). .to . ti . o . se.to.\o.i. (2) . no.a.i.sa. TW A'.O; TO) 0";- -VO'J X'.ZT. (3). . e . ti . Ill Meister ncjtes that the meaning oi .e.ii. is uncertain. C>prus, ii, 7. Deecke, 73. HolTmann, 148. Hall, x, 29; xi, 222. II I, cxxxix, V 1863. On a fragment of a large limestone bowl. The text is given as it stands on the st(jne, and the short lines are thus 532 CYPRIOTE INSCRIPTIONS shown in their proper phxces; the head and neck of the snake limit the lines on the left. (i). . te . to . \a . se . o . mo . ne . ku . (2). . ti . se . me . a? . e? . ? . e . (3). . te . to . ne? . ? . a . ? . ? . ? (4). . pa . te .?.?.?. ro . ne . ni? .ti.se. (-:,). . to . ta . ke . se . ? . ? . ? . In line i, yd ma\- be va; and the lower part oUai is not clear. In line 2, nw ma\' be a or /. In line 3, .Meister reads /c; it ma}' be nni, but the sign seems to be i on the stone. In line 4, most of the signs are irregularl\- cut, and so damaged that their number is uncerta'n. In line 5, the last three signs, to the right, were read se . sc . te b\- Mall, but are not now to be seen. C^\prus, iii, 13; p. 144. Deecke, 87. Hall, •K, 11; .\i, 226. I, l.xxxv, 561; III, cx.xxii, 2. 1864. On a I'ragment of a stone bowl, broken at both ends, . po . mo . zo . mi . to . Cyprus, V, 27. Deecke, 109. Hall, x, 15; xi, 230. Ill, cxxx\iii, 3 1H65. On the foot of a stone vase, roughl}' inscribed in a con- lintious Circle, . e . a? . a . \a . sa . \'e . lo . I here is no room for an\' other character between the c and the /(;; but there is also no indication of beginning or end. (Cyprus, iii, K) (not iv. 20, as stated in the Atlas). Deecke, 95. Hall, x, 22; xi, 228. HI, cxxxix, d. 18O6. On a limestone trough or chest, in one line, a("iparenll\ complete, and inteniled to be a hexameter, . t i . mo . a . 1 i . pa .to : t i . ma . o . ]\i . pi . \ a . ne . t i . mo . o . i . sr . 'r!'j.(.) . 'A(v)T'.:;-iT(i) . -.•.•}.'}.(•) . Wv.jf'.'.y.y . T'.j.foo!; (Aprus, iv, 15. Deecke, (x). Hall, x, 2; xi, 220-1. 1, x\\ ii. 8s : 111. cxxix, 1 . 1867. On a fragment of a linii'Nlone chl■^l, in two liiii^, an parentiv com[ilelf al the beginning, bul broki'n ai llir riuK, f 1 ). . o . ta . Ic . o (2). . pa . ta . a . pi . (or o) CvprUS, V, 2N. D.v.kr, i)2. I kill, xi, JJS. III. >XX\. 2 33 5 APPENDIX OF INSCRIPTIONS iS()(S. On both sides of a ihin slab of limestone; all the lines are complete at the beginning, and some also at the end. This inscription has been republished with full commentar\- b\ .Meister. Verha)idlu}igc}i d. k. sacks. Ges. IVisseiischafieii i^Pbil-bistor. Khissc) 62 (i()io) pp. 233-242, pi. I (where its number 1922 is that under which it stood in the .Museum's old Hajidhook of Sto)ie Sculptures). Cyprus, v, 24. Deecke, S(). Hall, xi, 225-6. ill, cx.xxvi, 2,3. Side .-\. t,i). . ke . va . zo . vo . ne? . ta? . mo?., se? . ta? . mo? . . . Xi/a'lw/ov . Ai^o;? . Aa:jLo[. . . . (2). . ta . po . ro . ve . re . mo . sa . ta . mo . se . la . mo .... Tiypo(v). /£p[xo)73:? . Aijxoc .Aa;jLo[.,.. (3). . tu . ra . \() . ne . o . ri . ya . sa . ta . mo.se.ta.mo Ojpa/ov . (opfya'a? . Aajxo^ . Aa;j,o[ (4). . \a . la . ka . ni . o . e . ko . — . o . na . mo. . . /3:A-/iv'.o(c) . i-/(o . li'/.y. . tova? . [jlo[. . (5). . a . po . ro . ti . si . o . se . e . ko . | | | | | | .0 . na . . 'AYpoctj'.o^ . £X(o . ic . oV/i:?[^o (6). . a? . ta . no . e . ko . I I 1 | | | . o . na . mo . po . ri . sa . . ■'AOavo(c)? . 1-/(0 . 11 . ojva. . [JLO-::op'.3-[. . Side B. (i; (2). (4). (5'- (6). (7). I I 1 I . o . na . V . cs'/.a-Tijjaps; . b)vx . /(p-f;':a)? . . . ta . = . o . na . V [OsjjTa .-S'.v.o'f . wva ./(pr,Ta) te . sa . ta . = . o . na . 7 • i"7.o-t . o)va ./(pr,Tx) i , . . . o . na . V? ■ ? . Crrx . /(pr^Ta) o . na . V . wva . /(pY^-i) o . ? . 7 ■ te . sa . ta OsjTa . ? . \a . mi . te . sa . ta te . sa . ta . — | ] ] | Gsj-ra . Ziy.y.--Azzj.zi:. mi . te . sa . ta \x\ . Gsj-ra . [o)vi: ^{^.r'.i.) ] On .Meister's reading and interpretation a few comments ma\- be permitted. 534 CYPRIOTE INSCRIPTIONS On side A. line i, the fifth and following signs are almost wholl}' destro>-ed, and cannot be restored with an\- confidence from the formula in lines 2 and 3. But if these lines are an\- guide at all, the>- suggest sa for ne as the fifth sign. In lines 2 and 3, the las'- three signs .se.ta.mo. are very much fainter than the rest, and look like the remains of a former inscription, imperfeclh- erased. In the same lines, also, the sign which is transcribed ;;/() abo\-e has no crossbar, though an earlier editor has traced (jne in pencil; it is therefore possible to take it as the Minoan sign for 100, just as the signs — and | are the Minoan (and also the Phoenician) signs for 10 and i respective!}'. This sets free the group .sa.ta., which regularly precedes the numerals, to serve as an abbre\iation for statercs, the Greek equivalent of the Oriental shekel. The ;«o sign in lines 4, 5, 6, on the other hand, is rightlx' read, and should probably be rendered. . ."of me"; the whole phrase thus meaning "m\' price" and denoting some kind of redemption-mone\', pax- able to the sanctuar}' b\- a temple-servant or a private slave, on emancipation. The proper names still present some difficulties; but the changes already suggested make the following reading probable: — (1). Xs/:z; Z(i)/o'j .[-TaTTjpac s'/.^tov (2). Tiypoc FspiJ-oj . cj-raT-fipa; kv.x-zby .[ (3). (-)'jpa/d)V 'Qp'.fa . 3-T:zTY;pa; ky.yr.h'i \ {a^. Yy.\'/'J.WjZ i'/f.) cr/.a, .hrrxiv) '^sr^ . (5). 'A^^pOCfj'.OC £-/(.) £C, .(;)Va(v) !J.OJ . (6). "I-ravo; s/co 'iz, .(ova(v) ;j.o'j, •TTopi-ar [. . . Reading i for a at the beginning of line 6, we obtain Itanos (a Cretan name like Falchanios), instead of .Alhanos. The latter, however, is found in the Greek inscription 1923. On side !>.. the group .sa.la. should in an\ case be gi\-eii llu- same meaning as on sitle A. unless therr is clear reason (UluTwise. The sign which jirc'Cedes, though ck'arlx' le (as read b\ MrisItT) in lines 5 and 7, is less clear in lines 3, 4, and 0, antl ditliTciil l\ shajied; in ) lU'rhaps ya, in 4 and () jirobablx tn or la. It should prohabK- be taken as the last s\ liable of a piTsimal name ni ea. Ii ca^c .\{ the end of lines 2 and ^ are traces of one or nion,- signs atlrr the '/- shaped sign which .Meisler read as a liigannna; but llu\ do ii^t 533 APPENDIX OF INSCRIPTIONS support hisconjecturo/pTi'ra, and look more like .o .pa . The V-shaped sign itsell' is not an\- ordinarx- (Cypriote character, but probabl\' a sign of \alue, like those which are used in financial documents in the Palace Archi\es of Knossos. The end of lines 5 and 6 is ver\- much rubbed, and the uniformit\- of the formula not certain, though probable. This side ma\- provisionall\- be rendered as follows: — (i). personal name: j':a(':Tjpac)] csy.a-TSJjapa^ . (ova(v) V (2). " : crlTaiT-^pa;) c'txoac . (i)va(v) ^ or.oi.? (3). " ]ia;: jTaC^fipa^) 3';/,oj[ . o)va(v) Voza? (4), " ItoI;): jTaC-TT^pa^) -rpsi; . (ovi(,v) y (5). ]/a:jLfcY;(;): -Ta(-:-^pa;) [ ] . (ovi^v) V (6). " ]'t:zU): JTa(Tf;pa^) Oc/.a-TSJcrapa; . o)vi(v) ('-) (2). . to . :i . jio . lo . ni . o . nc . te . ke • .-:(T)('.). '.\.-OAA(.)V'. ovi'Jr//." (>,). . u . tu . ka . .•j(v) Tjxa(t) . 537 APPENDIX OF INSCRIPTIONS Perhaps the unusual u for i in line 3 results from mis-reading a ;;// sign after the verb; it is common for the dedicated object to be made to speak for itself in this waw I'or the name Diaithemis compare i8c)() below, and ill, cxl, Suppl. 1; Meister, G D. 11, 52 b. C\prus, ii, 6. Deecke, 74. Hoffmann, 149. Hall, x, 9; xi, 222. 1, Ixxxv, 556; 111, cxxxiii, 1. 1874. On a fragment of a votive relief, in three lines, complete, (i). . o . na , si . o . ro . : . a . te . 'Ova-iwpoCO 'A6-ri[... (2). . o . ne . te . ke . : . to . i . ti 6v£0t;-/,£ tw .6s[(I) (3). . to . a . po . lo . ni . : . i .TO) 'A-oAAcovi t(v) [TJ/a In line i the a is imperfect, and may well be me. In line 3 Meister reads nothing certain after ni. Cyprus, ii, 8. Deccke, 73. Hoffmann, 150. Hall, x, 23; xi, 222. I II, cxxxiv, I. 1875. On a fragment of a votive relief, in two lines, broken at both ends, (1). . . .te. na . pa .sa. re.se. i . ka. a. . . . (2). . . .0. to . (i) . to. ra ; po. te . ve .0 : pa . . . The colons in line 2 indicate divisions between words on the stone. Hoffmann suggests an Oriental proper name ending in — va'-^aprjC in line i. Cyprus, i, 4. Deecke, 89. Hoffmann, 162. Hall, x, 8; xi; 227. Ill, cxxviii, i. 1876- On a votive relief, in two lines, broken at the beginning, (i). . to . i . tio . JTWt Osw (2). . ke. ... dvsOY]]y.s. Cvprus, viii, 62 is wronglv quoted in Atlas. Deecke, 107. Hall, xi, 230. 1 1 1, cxxx, 2. 1877. On a votive relief, in two lines, broken at the beginning, (i). . va . (2). .lo. te. lo. C\prus, V, 29. Deecke, 105. Hall, xi, 230. Ill, cxxviii, 3. 1878. On a votive relief, in two lines, broken at the beginning, 538 CYPRIOTE INSCRIPTIONS (i) te?.o?.i? .e.u.la. mo. to . te.se . ? . ? . tc . ke. T(p] Oson. EJcajjLocoTr^,; [6v£jOr,-/.2 . . i . tu . ka . i . . i(v) T'j/at . (2). . ? . ? . r . ? . ? .e . mi . ta . sa .i . ? . t;;;-'. . ? C\-prus, vi, 36 (onl\- line 2). Deeeke, 04 (line 1); 101 (line 2). Hoffmann 169, (line 2). Hall, xi, 229. HI, cx.xxv, 4. 1879. On a votive relief, a single line, which Meister reads from left to right, pa . si . te . mi . . llajiOs:!'. (c); but Hall, reading from right to left (the more usual direction), a?.te.na 'AOv/a The two characters to the left are, however, all that can be read with certaintw Cyprus, vii, 41. Deecke, 106. Ill, cxxv, 3. 1880. On the helmet of a statuette, in rude letters, ill-arranged. . a . ra . a . na .0 . .ipa.i.Xad) The first sign is very carelessly cut, antl not certain. In \'iew of the formula .o.iui. in i8()S, and of the line which seems to separate the two left-hand signs from ihe rest, it nKi\' be suggested that the whole should be read from right to left, and interpreted d)vi ipa(^) "redemption of a \ow"; taking the ill-written sign as si'. C\prus, ii, (). Deecke, t)-. Hoff- mann, 166. Hall, x, 20; xi, 228. Ill, cxxxi, i, 2. 1881. On a voti\e ear of limestone, the letters crowdeii together, . po? . ror . to . ta . mo . I Ipto-rocijj.) But .Meisler's reading underest imales ihe clearness wilh which the second sign is cut; it can hardix" be ainllung bill /'. His nio, too, is not eas\' to see; it looks more like ko. Hall's reading waN as follows: . po . i . to . ta . ko . ,o. H, cxlii, iosC>- III. 'Xl. 15. 5-50 APPENDIX OF INSCRIPTIONS 1882. On a votive car of limestone, clearly cut except the sign for mi which onl\' Meister has been able to see, . to. po . to. e. mi . tw {i)rAi)':<.i) r/^i. The word aTrcoTo; would be applicable to a deaf man, as well as to one depri\ed of his ears. C\prus, iii, 18. Deecke, 104. Hoffmann, 171. Hall, x, 6; xi, 230. H, cxlii, 1035. ill, cxl, 13. 1883. On a fraf;;ment of a votive stele; in one line, broken at both ends, . e . si . si . po . le . The characters are quite clearly cut, except the top of the po, which is chipped, and the 5/ (next to the po) which looks more like ka. Hall, xi, 233. Hi, cxxvi, i. 1884. On a disc made from a fragment of Red Ware, in two lines, complete, (i). .pa.ta si.o. A^T.i'Az^-U^). (2). : I I I I : (the numeral four). Note the unusuall\' earlv form of the 5/ with double base-line, and of the with a \ertical stroke up the middle. (I\ prus, vi, 38. Deecke, 81, HotTmann, 156. Hall, x, 23; xi, 224. 11, cxlii, 1057; 111, cxl, 5. 1883. On the edge of a disc of limestone, -^[<<- The meaning of this sign is quite uncertain. Hall, xi, 2^3. Ill, cxxxix, 2. 1886. On a small marble pedestal, in a single line running round three sides, (i). ]a . na . sa . se . a . i . vi vo . to . (2). ] te . pa .to . . . . ro . se . ma . te . ka . ne . to . [ (^). ] ke . a . po . to . ni . I I I | | | i'he middle of the front (2) and of the right side (i) is very obscure. Hall reads in front . te . pa . to. a . le. ro. se .&c; but d(jubtfull\-; and renders as follows: — 'Avij(j)a; . . . -:(:)(vj |cs. •::ivT(.)(v). i'/.i\)' t^^m- [x' d{'A)^rj.7.y to) | 'A-6a(a)(ov'.. II I ! I I The six strokes at the end are probablv numerals. Cyprus, 540 CYPRIOTE INSCFilPTIONS V, 22. Deecke, 90 and 112. Hoflniann, 163. Hall, x, 8;xi, 227. ill, cxxvii, 9-1 1. 1887. By the left foot of a statue, in two lines, broken at both ends, (i). . e . te . i . Ill . a . ne . le . ke . ti . . . . i-Tc'. .TpJ-rcp. acviOr,7.s '[''.[[xayopa; (2). . ta . ve . i . ko . na . la . te . ne . a . po . . . . ^^(v) /sr/.ova ^^(vjCi 'A'noj A/aov. The .a.po. at the end of line 2 ma\- as well be Aphrodite as Apollo. C\prus, ii, 10. Deecke, 76. HolTmann, 1 3 1 . Hall, xi, 228. II 1, cxxxii, 1. 1888. On a statue-base, in one line round the upper edge, com- plete, . pa . pi . ya . mu . ko .i . a . o . ma . mo . pa . to . re The signs pa. pi are cut in a kind of monogram, and the forms of ko and a are unusual. Cyprus, iii, 14. Deecke, 83. Hoffmann, 159. Hall, x, 12; xi, 223. Ill, cxxv, 3. 1889. On a fragmentary statue-base, in two lines, broken at the beginning, but complete at the ends, (1). ... sa . ta . si . ta . mo . se , e mi . se.ko? . (2) . . . ka UTacrfoaiJLo;; r^\xi . ? . . ? Cyprus, ii, 3. Deecke, 93. Hoffmann, 164. Hall, xi, 228. Ill, cxxxv, I. 1890. On a statue-base, in one line, complete at the beginning but broken at the end, . ti . a . le . mi . \a . tu . . A'.aO;:jL'.(,:) . /aoj[, . . .? The name Dialhemis recurs in 1S75 ab(i\e, and in Atlas 111, cxl, Suppl. 1; .Meisler CD. 11, S2 b. CAprus, iii, 12. Deecke, i(»o. Ihilfiiiann, idS. Ikill, \i, 100. Ill, cxxxv, 2. 1891. (Jn a fragment of a slatue-base, in (ine line, e(>m[>K'te, . me . n^ "r ^ '> 'MJJ H- ^l.-' >< '~\ X I 7n t f + <^ ^> /!^ U-l . e .te . \a . to . ro . l.) . pa . po . pa . si . le . vo . se . Pierides, Trans. Soc. Bibl. Arch, v, PI. C], i. Schroder, r. S. B. A., vi, 134. Deecke, 46, 47. Hoffmann, 112. Hall, xi, 216. HI, i, i; cxli, 6. 4193. On an agate scarab, the personal name zo. vo . to . mi.se . ZcodOsj.;; 542 CYPRIOTE INSCRIPTIONS So .Meister. k'erh. k. sachs. Gcs. IViss. Lcip[i^ (Phil.-hisi. Kl.) Ixiii (191 I) S8, and PI. i\-, 6. The word was formerly read, zo . \o te.la.sc. Lm-.z/.-j.-. Said to ha\e been ac- quired in Sm\rna. Ill, xxxii, 2. 4291. On an engraved sard, the letters loosely arranged around a bearded head, . te . ke . to . te . a . mu . ko . lo . . (i)0r//.3 . -JAz . ' \[xjy.\b) C\'prus, xli, a; viii, 35. Deecke, 51. Ill, xxviii, 3 ; xli, Suppl. 6. 431 1. On a cx'linder of haematite, in a single line, complete, the signs are of unusual form, and not all identifiable with certaintw . ti . ro . e . na . si . IT'^'0/^ Hall read the last sign as ka ko xe, but the earl\- forms of the sign for si approximate more closely to that on this stone. The sixth sign recorded by Hall is not a sign but part of the design on the c\'linder. Hall, xi, 234-3. 1"' cxviii, 4; cxli, Supjil. 3. 4316. On a c\'linder of haematite, the sign for pa. lUu this, like man\' similar linear figures which fill the interstices of the design on these c)linders, ma_v be merel\- decorative. Hall, xi, 233. Ill, cx\ iii, 10; cxli, Suiipl. 4. 4547. On a c\linder of haematite, the sign for la. nut see the note on43i(). Hall, xi, 2^3. Ill, cxviii, 2; cxl, Suiijil. 5. 4332. On the inside of a silwr bowl, in ver\- clear well-cul letters, in two line>, comjilete, (i). . e . pi .0 . ro. ti . e . 'M-Kopco AtsJ H- '?' >? LV H- (2). .a i^i.a.la .e. i/. :,ii'/.y. rjy}. ) h-•i:;^<^vX Hall read mi at the enti of ihe second line, bul il is not i(] be seen now. Ilu' form of the o in line 1 is uiiumkiI. Ihe curved stem of the /; k.oks more likf 10 (Hall) or si, but none of the readings gives a known namv. Hall, Pro.. Am. Or. Soc. O.t, i^S:,, pp. 4, s. Mii^Irr, (. I). H, 32 L, p. iSo. Ill, xxxMi, I, (the bowli; ,\l, i. 543 APPENDIX OF INSC.RIPTIONS 4tS7. <^^n the inside of a sil\er bowl, rough!}- added b\- an inex- pert hand, in one line, complete hut corroded at the end. . i . pe . ro . po . ta . ko . ' 1 (^)7:£p6-(i) Tayo) jhe (ireek letters read by Hall on another part of this bowl are ver\' doubtful. Hall, xi, 236. HolYmann, 116. HI, cxli, 4. 544 INSCRIPTIONS IN GREEK AND CYPRIOTE CHARACTERS lOGE'lHER OCCASIONALLY inscriptions are found in which either the same or a different text is cut in the two scripts on the same stone. The two examples in the Cx)llection are unfortunately so fragmentary that the\ throw no light on either the script or the language. 1897. On a block of limestone, three inscriptions, not certainly b\- the same hand, as follows: A. (i). TIMOAQPO/^ AEIA, where the Greek Y seems t(j ha\e been mistaken b\- the stone-cutter for the (^\ priote sign for se. F3. (2j. AITMOKIA AR1-, perhaps the Cxpriote .d.e.ta. for the ii'.i of line i . (>,). I'^IlPIATOni, perhaps the On priote re, or iheOreek numeral '1 for "six". C. (4). .te.re. close to the left edge, and much liamaged. (5). .ta.pi. both signs uncertain. The names limodoros and Drimokia recur together in the Oreek inscription i()i() below. C^\prus, p. 421. (Cjreek Inscriptions No. i<).) Drivke, 07. Hall, X, 3; xi, 210. 111. ^xxix, 2. l.S(j.S. On a block of limestone, in one line (jI Oreek and three ot (^Npriote, A. (ireek text : — HEM E\r "of Ihemia^" 545 APPl-NDIX OF INSCRIPTIONS B. C^\ priole text : — (l). nc . a . Ic . ro. vo.o [ . . , . (2). ka.lo.li.o [. . . . (^). lo. i.pa.so. ?. ? [. . . . The first lino is not \et road; the socond seems to contain the words tw Osw "to the God"; and the third an epithet; Hall suggested ■z C) riaji[(ov'.] "to the Possessor"; i.e. the god of wealth: compare Aleister's ■noAj'/.Tsav w in 1908. Cyprus, iv, 16. Deecke, 66. HotTmann, 143. Hall, x, 206; xi, 218. Ill, cxxix, 3. The other inscriptions published b\' Hall in Atlas 111, cxli, Suppl. I, 7, Q, 10, 12, are either not now in the Collection, or are not recognizable as inscriptions. Those numbered 111, cxli, Suppl. 14-18 were lost alreadx' when the Atlas was published. The coins, Suppl. 13 a, b, c, have been separated from the Collection long ago, and are not now identifiable. The following (p. 542) is \er\' doubtful. 1899. On the neck of a statuette of cia\', a sign /^ like that for //. But it is not certain that it is intended for a sign; it nriy well be onl\' an ornament added to the necklace. Hall, xi, 237. HI, cxli, Suppl. 2. 546 M GREEK INSCRIPTIONS OST of these are certainl\- of late date, and onlv a few show any but well-established forms of letters. Bu' it must be remembered that little is known as \et as to the date at which the Greek alphabet was intrcxluced into C\'prus, or (if it was introduced earl\-) as to the precise form in which it came. The first two are on objects in the Collection of Pottery. 958. On a narrow-necked jug of Graeco-Roman sl\le, painted in glaze-colour before firing, the owner's name KiTca?. Cyprus, p. 40. 11, cxliii, 1067; 111, cl, Suppl. 11. 959. On a narrow-necked jug, like 95H, in the same glaze-colour, the owner's name "Kpo):;. 11, cxliii, io()6; 111, cl, Suppl. 10. 1900. On a statue-base of gray marble: fine letters of the third century B. C 'Apj'.Vj-f, . 1902. On cl pedestal of limestone, in one liiH': IcIUTs rou,ii,h Inil not late. Mr,A0j7;zT(.)V ir,\)/j\z eO|t,7.3v i-yjSh/. -.jyr^: Of the words ir^'j/jZ onh' the feet of ihe letters Jie pieser\ed. Ill, .xlu, 2. S47 AlM'hNDIX OI- INSC:RIPriC)NS Igo^ On a slab of blue marble, complelc on the right edge, but broken to the left, and above and below: letters of the first century A. D. lv.[x[ ]o'jc7tv CO i:Xa-[o; y.xl r.7.~y.z, Xjcpfoj;, |:zvi£p(i)C7avT(i)v ty] Osw b)q, Ti -i-:pta, i'TT'.jTa'TO'Jv'ro^ I Twv ivtcpa[j,iv(ov tt^^ tou iv XjTpoI^ '.spoO Ouj(ac I '.Aox,paTO'j^ TOjy.al MsvsjTpa -TOJ |av6p!o'j TOU i^Tj^czpxo'j apyjpio -V aYop; | iipyovTo^. Ill, clxiii, 3. 1905. On a block of white marble, complete below, but broken above and at both sides: the lettering is verv late, almost Bxzantine. i960. TrivjTaOAov . . . xcxz [ ]v br.'/J.-ZTiy, ap;ia, -rwAr/.ov, y.a^ Tp'.lr^pr/.ouc; ocycova^, -TzsvTiOAou^ [ . . . . TT// 5:!0ay;j'.v auTou :;:'.Ao-::ov:a; [ ]auT(p T£ y.y.1 -zfi -aTpicc cr£l;j.v6Tr,Toc; 7^?'-v. Ill, cxlviii, 2. 1900. On a block of blue marble, broken at the left side, ]a 'A:^poc£C7!ou ]ivTO^ ]afia; KXau- yjiptv III, cxlix, i. 548 GREEK INSCRIPTIONS 1907. On a block of white marble, complete, but ill-cut, and not earl\', 'OvY;-a-'6pa; 'jTzkg -rj: yuvar/.o; X'.y.foj •/.a: ty;^ Oj^a-rpo^ aJToG, ' AypociTr, M j- •/.r,poC'.. •/. 6) ;j.r, c ' 1'] A ; v. '■jj-t^z, The words aJToD, M j/.Y^poc'., and the first letter of •/.oj:xr,;, are \'er\' obscure: Hall read 'IVojjlt;;. Compare the epithet M j^ota applied to Aphrodite in the Cypriote inscription ibabl\" draeco Koman. ' X^-zz'i'.Z'. ]\y.\^]y.'/j.y. : ' O'aj [ir.'.y.ybz zjc yJ.'u^y Jr.l- ^>j-fy.-:piir,z \ Wz^iivr^z. Ill, cxhi, 4. Kjii. On ;i fragmenlar\' petleslal, in late letters like niio, ' Ap-r^'x!';'. \\y.\py.'/J.y('.) Xipmper iKime. Ill, d„ Suppl. I 1. I()i2. On a small base of red m;irlMe. in kite letters. 'Or.yjj/'. , M:/,j:v')!(|) [ \\yr.J.[ZJ::^'j~ \ 'j~i- tOj A'j j \ \\-/.-.j.[z-'j::,'jj 3;>/r,v L.c" Ihe s\nibols at the end read 'izv. zy-q). Ill, l\I\i, 2. 549 APPHNDIX OF INSCRIPTIONS i()iV On a liniL'slone slatiieltc, in four lines of late careless letters, almost illegible at the elose, X;7.avc|poc 'jr.kp toO u'.oO [ T'.ixaYOpO'j ! ill, cxlvi, 3. i()i4. On the base of a small statue, complete, in two lines of late careless letters, '0)aic7a^ A'. Aap-pav;({) sjcij^cvo^; azic(i)/,£v 111, cxliii, 2. 1015. On the base of a small statue, like 1914. Ar^tjLr^Tp'.c A'. Aa^paviw e'jzi[j]z'/o:; arscoy.sv. ill, cxliii, I. i()i6. On a block of limestone, compilete, in six lines of ver\' late letters, ill-spelt: the word "IIX'.oc stands apart within a wreath. £i; Uzbz ; TO jj-syi'TalTov to svco^oItov ovojjia, \ ^or/J'. t5:j'., j£6|;j.£f)s. "IV/j.oz. The sxilable .zt.. at the end of the second line seems to ha\e been miscopied from the end of the third: the text should run TO '.xiY'.jJTOV TO jvcoc6(Ta)'|Tov ovo'j.a. Ill, cxli\-, 2. Kjiy. On a slab of limestone, fragmentary, in letters which though, careless, ma\' be of the fifth centurw 'AptaTo[ ' -•TT'JT'.OV 7.al'. . -7:j':'.z i-l \ Ill, cl, Suppl. 5. 191H. On a tombstone with pediment, m one line of lairl\' earl\' letters, preser\'ing forms of the fifth centur\', IIo-i'.co')Vtoc; 'II/.'.occopo'j. Ill, cxlvii, 4 19U). On a block of limestone, in two lines of letters very rough but not late. Ap'.;xo7.(a '. T'.'.x'-jIm^I'-j'j The names both recur in the Oreek and C_\'priote inscription i.S()7. Ill, cxiii, I. 1920. On a tombstone with pediment, in three lines of letters of the third or second centur\' B. (]. l](i)Ysvr,; l!o)7.piTOj; | [ Jitsjc. Ill, cl, Suppl. 18. 550 GREtK INSCRIPTIONS 1921. On a limestone base, in letters of the second or first centur\ 15. C. lldj-iava/.TO-;. Ill, d., Suppl. 6. 1922. On a white marble tombstone with pediment and relief, in three lines of letters of the first centurx' B. C. or A. 1)., com- plete but much deeaxed, 1, exx\ i, ()\~; 111, cl. Suppl. K) 1923. On a tombstone with pediment, in four lines of well-cut late letters, "A0r,vc 'Aplx'.spsoj ; 'L^-("i ; 7.a'?£. i, cxUiii, 1 i()7; III, cxlvii, 5. 1924. On a pedestal of limestone, in well-cut late letters, A'.cj'xr, 'AOr,va!oj '/pr^o-rf; y^'J-l^i. Not published in the Atlas. 1925. On a small slab of marble, complete below and at the sides, but apparently' imperfect above, in seven short lines of rout^h letters, of the third or fourth ccntur\' .\. 1)., jTov, Tov -3'j.vov y-'/z^y. Ha/.y/.v | r.c' i'yU)'. OavovTa yv The first word of line 1 was read Yr/A:; hv Hall. The metre is unusual; and it is probable that the frst two words closed another coujilet, of which the bet^innin^ is lost, of the same structure as that which follows, tov sv ts'/vzI^. . . .77). Ill, cxlv, I. 1926. On a tablet of white marble, in four lines of letters well cut but late, KoOoj.; \ liJioj I — aA7;j.:v!a j "/a;ps 111, cxlvii, I. 1927. On a block of limestone, in six lines of letters, well cut, of the second or third centur\ \. 1)., 1\I.1\ ■ ()f\\M|lM • I 'ihrrt:D • DoNAI A ; ibio S(il.ii- LSI. 'loj/.ia '()/.>,j.-Oj i-z^'/.Zj^izy li.r^y.-y. ypr^rTT, '/J.'.^~-. HI, cxhx, 2. I92(S. On a fra<^ment of a lonibs'onr, brnkrii at the ri-iit side and lielow: four rle^iaL coiipKts, in late Uilers, 551 Al'l>i;\niX OI- INSCRIPTIONS (jTopyf] Ay:oix[x\z'.y. '/.y.1 -ivj-rfjV o'i\v.O'j 'lIpMCOJ ~JV6|:JL3'J VO^ apy.si [xo'. r.o:s['.- jjv'l(7) ■/.y.\\ 7:'.A0-/.pa'7H'j^. Ill, cl, 2 K)7S, oblong; coriiucopiac, Iridenl, maker's name Mr/zoOsiJLi'j:; 111, cl, 3 K)7(), oblong; anchor, maker's name '11 pay.AJwvo;. Ill, cl, i i()77, oblong; maker's name 'Ispo/.As jc. K)7(S, oblong; maker's name '1 1 psiy.As-.TO'j. 1979-80, oblong, and on the rim of a large jar, with letters depressed, the maker's name 'Eptj-oysvojc : both from the same stamp. Ill, cl, 7, 9. i9II\^ together, and Al (?) apart: probabl\' a maker's mark, as the\' seem to have been inscribed with a blunt pcjint in the wet cla\-. Ill, cl, 5. 19H4. On a statuette of terracotta, incised before firing, the name IIaoj^o;, probabl\' that of the maker. Ill, cl, 8. igHy. On an amphora of Graeco-Roman form, in red paint, three vague s:rawls, perhaps monograms, and the word 7:p6vo'.7. in cursive wriling. Ill, cxlv, 1078-9. 4198. On a chalcedon\' scaraboid, in fifth century letters, the owner's name UTT^jr/.paTT^c. (Cyprus, xl, 14. Ill.xxvii, 2. 5979. On a miniature amphora of lead, the word £J(J'j:j,eT. Alias 111, Ixxx'iii, 3 and 5 are two ghiss \ases with inscriptions: Ay.'^i T'f;-/ vsf/.TjV (for y'.v.Ti'/} and 'lv/v!o)v ir.urr^zz'/ (for ir.^j'.r^zz'/). These, as well as the other three vases liguretl on the same plate of the Atlas, were found b\' C^esnola, but were subsequentl\' sold b\' him, and came intcj the possession of the .Museum as part of the Charvet-.\l;ircju;ind Collection. Another vase b\- Hnnion, pub- lished b\- (^esnola, Cyprus, p. 423, No. 2O, is in the British Museum. p?4 CLXI-.IFOR.M IXSCRIPI IONS 4300. On a c\linder of haematite, in three eoluiiHis, ^Hh^^mu 4300 "Arba-Istar: son of Ibu-Beled: serx'ant of the god Narani- Sin ". (^\'pru5, xxxi, I. Ill.cxviii, ^. 4301. On a e\linder of milkv chalccdon\-, in eight cohnnns, 4;.,. Sin, I'M'nefnclor of M ull il iides: judge of ih.- WnrKI, 'erfe^^t l^lri(ler of llr;i\cn :iiul I.:irlh; (iixrr of ihr lih ..f APPHNDIX OI- INSCRIPTIONS the Cu)(.is: 1 ho Law whioh supplies the servant of Thx'sclf: nn Prineo: i uran-Agin: the son of Puri: the Reader." C\ prus, xxxi, 3. I'errot, lig. 427. Menant, Glyptique Orienlale, II, p. 241 ff. 4302. On a cylinder of haematite, in two columns, 4302 " Ever-haga: the servant of Nergal." Clx'prus, xxi, 2. cxvui, 3. 4426. On a spindle-shaped weight of greenstone, in four columns, roughl}' and perhaps recently cut. Unpublished. 4426 556 SASSANIAN INSCRIPriOXS 4409. On a perforated seal-stone of brown chalcedony, about a bearded head. Unpublished. 4410. On a perforated seal-stone of red and while jasper, about a "firc-altar". Unpublished. 4425. On a clear carbuncle, about a bearded head. Unpublished. ^3^ ^^ 1^ il '_ u For these readings the Musiaim i^ mdebted l(j Dr. .\. I'.. Cowiex-, )f .Magdalen College, 0.xford. 557 INDICES TABLFS OF RFFFRENCE CESNOLA. ATLAS, Volume I SCLI.PTURE No. Hdbk. Xo. Hdbk. Xo. IId!)k. Xo. Hdbk. I 1376 77 1112 216 !() 1 2 376 1053 2 1377 80 1 570 217 loos 381 103 1 3 1378 83 I 387 2I() 10^9 385 1040 5 I 36 I 84 1 374 222 12S8 30 3 1019 6 1362 85 1866 247 1124 395 1 12(, lO '357 86 1 369 248 I 1 38 4(14 1284 1 I 1356 87 1 1(X) 249 1 1 32 4"5 1282 13 12 50 89 1S59 25(1 1 1 >,i) 428 1 555 '4 \2()--) 90 1371 251 1125 450 1408 '3 1264 91 I 1 101 1 253 12S7 431 i 5S1 21 1 120 93 [ loO 26s 1049 4^2 I(i2() 22 1 I l() 97 1 1 76 266 1041 435 122() 2 3 1 066 98 1 1 74 267 1005 456 1237 24 1410 101 1 1 58 268 lOdl 4^7 1082 2? I 4 16 102 M75 271 1042 458 1(1(14 26 1415 105 1137 272 1071 450 1(185 27 1414 112 1 160 275 1021 440 1084 2y 1231 118 11 5() 274 Iddl 441 l(i8s 32 1232 124 1133 277 1041 440 I(l(i2 39 !()()() 125 1154 279 12()(i 447 1(174 42 1 024 138 1163 280 1505 448 1181 43 I02C) 139 11^)5 281 1^35 440 i(i()7 44 1023 140 1 164 283 MS4 4SO I (.44 46 1027 1 50 1 161 28s 1045 4SI i(i(i8 47 \U2'^ '57 'f'77 28(1 1057 452 i(i(i() 48 1070 158 1678 28() 12S() 455 14(17 4<) 1023 i(')4 1167 21)2 1281 4i4 1 iS() 52 :272 166 1 i6<) < S 5 1 ( 104 4(18 I2()(i 54 1270 184 1172 ',S(. I<.n2 47^ 1 ;s8 57 1021) i()3 ifjiiO 5O2 12 '.4 47'' ') 1 1(14 58 1 2r)8 11)4 i'")5 ;04 l(M2 48,1 1 ',(14 5') lovi M)H HI 18 UiS 12(12 4^^ 1 ',(1S (,2 1047 200 Ills 5(17 I(I<)1 4^'. 1 <(H1 ^M 1040 211 1 12(17 ^(18 1(11/(1 4^'l 1 2(1" (,4 l-qO 202 losf'i l(i() 1 122 -jSs 1112 ''7 l<;,S(, 21-4 KISS 17(1 1121 4S(, 1 ; 1 ; ()H IOS4 2(K) K122 ',71 112', .,^s 1 JM^ 7" lO'/, 2 11 MKlS 37< ii-l" Sn, ^ 1 ( .( i( i 7^' Ml; 2 1 S 1 ( ", i 575 i"52 51 1 nil 1 APPENDIX \o. I (Ibk. No. } dbk. No. Iklbk. i 1- 014 627 ?05 863 1 1 16 SI') 013 ()35 386 8()6 1117 '■)2il 017 637 304 867 I I 13 '■>2\ 1 so 658 388 874 1232 S2 T 140 641 30? 876 1231 ■■,2h 1 S 1 642 3H0 883 1229 i-7 1 S2 (150 320 886 I 2 30 ?H> 078 660 550 88() 1228 5H 502 661 310 898 1383 SM 030 663 321 ()02 1382 s?() "51 665 310 ()o6 '373 S57 205 666 147 908 1223 SV^ 2()() 668 148 909 1390 5^') 2()1 669 146 910 1227 340 281 671 418 912 1 368 541 287 672 417 017 1922 542 288 673 420 9.8 1 300 544 2()2 675 ?5<> 919 1308 545 104 676 238 920 1413 547 "73 677 308 921 1 406 548 301 679 412 922 1 400 549 ^84 680 411 923 1 409 5 5" W2 681 328 025 1676 55? 870 682 322 926 1687 554 237a 683 329 927 1680 555 ?70 684 315 03' 1682 556 «73 688 283 033 1882 557 872 689 309 934 1683 55« 87. 690 327 936 1686 5 59 86t) 691 088 943 1210 ybo 838 692 089 95 5 1216 561 863 693 087 957 1207 562 846 694 086 960 1208 5(M «57 695 403 ()6 1 1218 564 845 750 338 963 1206 570 200 751 336 964 1209 572 093 752 337 966 1214 574 092a 806 181 968 1213 575 097 807 180 970 1211 576 09 ■> 808 '70 971 1219 577 096 809 .78 973 1204 579 205 811 182 975 1220 5.S2 140 815 072 976 1222 5«5 1 56 8,4 073 977 1203 584 M7 838 235 078 1212 5«5 560 839 224 c)8o 1213 58.) ^(^7 840 256 982 1217 3c)() 566 841 244 084 122 1 5M7 072 84? 246 004 I 188 500 673 849 240 998 '349 ()()^ ('7A 853 241 1024 1 193 ()()3 ()-yd 834 242 1023 1 193 6(»() (,(,H 855 404 1026 1 191 (k)8 ()()7 839 118 1027 I 192 626 396 862 1 14 1028 1202 No. 1029 1031) 1031 1032 1034 1033 1040 1 04 1 1042 043 >53 '54 148 '49 132 153 154 155 56 57 58 59 160 161 162 163 164 163 166 167 168 169 72 73 74 75 7(' 77 78 70 180 181 182 183 184; 183I .86 I .87. 1301 562 TABLES OF REFERENCE CESNOLA. ATLAS, Volume II Hdbk. 2019 2018 2007 2001 2002 2003 2005 201 I 200C) 2(M2 2004 2010 201 5 2014 2016 2145 2 146 2148 2 1 50 21 3 I 2044 2043 2037 2033 2039 2038 2248 2233 2236 205 i 2033 2049 2030 2(J36 2()-i2 2035 2 1 80 2041 2048 2043 2029 745 2161 2 1 00 20(,i8 2174 2 122 2 102 2 120 21 \(> 2170 2 I 77 217(1 2()()7 \o. Hdbk. 84 85 «7 89 2069 2047 2()()() 2026 2028 90 91 99 101 2023 2027 2024 2 I 30 103 104 103 106 21^1 2083 2084 2082 107 108 2137 2 1 10 109 2071 I 10 2114 1 1 1 2124 1 12 2115 1 13 116 119 123 2 112 1439 ■457 2 104 2208 127 130 1455 2021 i5> 138 2030 2038 2059 175 ■77 180 2i,() 21 17 181 2()9l 184 l8() 2232 2 299 187 188 2140 20^7 189 2293 191 2138 l()2 2 1 30 19', 2144 194 195 2149 2133 '97 2 1S4 !()() 2147 2(12 21(,7 2(1 ; 2 1 08 2(14 2l9() 2o9 2l'i2 2(>S 2 ',42 Xo. Hdl.k. 213 2 1 39 2 1() 2133 217 2()4() 218 2(i05 219 20()() 220 2123 22 1 2()98 222 2121 223 2119 224 2020 223 2023 227 2133 228 2139 229 2143 250 2142 251 2141 252 2132 255 1431 239 1455 257 74(, 238 2101 259 2098 29() 2237 2()1 2171 2()2 2259 295 2099 293 2238 299 2187 297 2183 299 2244 270 224(1 271 2181 272 22^ 1 27') 2 1 18 2.S() 2247 2X2 2234 2.S5 222() 287 2l9(, iSS 1474 2()7 14(M 2()() '454 ^(,9 2243 y'7 22()() >,>») 224>, >, 12 < [ 1 22 \ 4 \ 1 s 22 I 1 Hdbk. 214 2 ; I I 2 ; i 3 3 53 2305 33t> 2309 339 2 1 80 340 2348 342 22(j9 344 2218 345 22^)2 349 2293 347 2293 348 22(J4 349 2291 35'> 2308 35' 2302 352 22O0 353 2230 3 54 220 1 357 2223 338 2324 390 2323 391 2309 3(J3 2 303 3(J5 2 304 399 2312 399 2310 371J 2307 371 2347 372 2519 37^ 2 1 (.i^ 377 2212 37« 2213 379 2 I 99 380 2201 382 22^ 12 389 22(K) 4'^ 22ns 4i() 22^ It 42(1 2207 4^5 2 2 >(> 47'-) 14 5') 1 1 ""( ) 4'M 4S(, ■ 4 ; " 141 )S 4<)4 I4O2 S14 211)3 52 T 22.S() 5 ') 1 22N7 S i') 2 2.S< T.f) 1. 1'.. (1(17 2 2'"^! > (i2'i 2 1 1 iS )''3 APPENDIX Xo. Hdhk. Xo. H.llik. Xo. Hdl.k. Xo. Hdbk. C)54 20()5 769 242 882 699 996 943 (■>](■> 2086 77' ■77 883 697 997 984 0^7 2276 772 174 884 698 998 987 0^1) 2(H)4 773 43' 885 696 1001 960 ()42 2097 774 334 887 614 643 2081 778 4n 888 345 LAMPS ()44 2096 779 62 893 701 1002 2321 645 2078 780 61 894 670 1003 2322 ()46 2079 782 73 893 673 1 004 2324 048 2089 783 73 902 920 1003 2313 ()4C) 2087 784 64 903 926 1006 2306 651 2088 783 63 904 92 1 1007 2320 632 2083 790 3 906 924 1008 2317 654 2090 792 56 907 931 I 009 2 7"9 '^33 2093 793 ■3 908 793 1012 2843 <>57 2273 804 4 910 643 IOI3 2318 658 2281 807 66 913 779 1014 2719 659 2274 808 7 913 805 1016 2707 661 2272 809 79 919 819 1017 2708 063 2301 810 81 920 806 IO18 2829 665 2300 811 221 921 821 IOI9 2721 669 2349 814 997 924 780 1023 2810 670 2278 813 3"7 927 706 1024 2736 672 2277 817 219 930 708 1026 2739 674 2070 820 44 934 669 1031 2369 678 1476 821 87 93 3 672 1032 2363 681 2075 822 43 938 373 1033 2730 701 2128 823 33 939 370 1034 2362 702 2127 825 46 940 369 1033 2637 708 1480 826 49 942 723 1036 2770 711 1478 828 151 943 771 1037 2331 712 1483 829 H3 947 728 1041 2822 7'5 •479 830 1 Vy 949 63 1033 1882 760 3i6 837 752 983 94" 1036 1881 76. 310 861 3f'3 986 936 1038 1833 762 303 863 302 988 958 1059 .833 764 3>7 866 504 989 777 1060 376 7^^ 3 313 867 303 992 1727 1061 369 766 284 87, 70(j 993 932 1062 480 767 266 874 608 994 931 1 06 3 474 768 233 878 610 993 886 1064 481 564 TABLES OF RHFHRFiNCE No. Hdbk. Xo. Hdbk. Xo. Hdbk. Xo. Hdl)k 1 06 3 1 908 1084 1 708 1095 1739a I 102 '744 10(36 939 1083 1710 1094 1737 1 103 1 1067 938 I 086-7 1703 1095 1736 1 104/ 1747 1088 1733 1 096 1729 I 103 1743 HhLLHNIC 1089 1732 1 097-8 1738 I 107 1 769 VASl-,S 1090 1 730 1099 1741 1 1 08-9 280 1080 1707 I 09 I 1763 I 100 1746 I 1 10 773 1 08 I I 706 1092 1738 1 101 1757 CESNOL.A. ATLAS, Volume 111 Hdbk. 3552- -3 3 3 3«- -61 3 3 56- 3362- 3683 "7 -3 3554- 3280- "3 -I 3383- -4 3322 3322- 3009- -3 -26 3397 3006 fT. 3662 3I4S-8 3663 3006 It. 3303 3283 W. 3037- 9 3<'>43 n. 3060- -I 3 1 38 ff . 1 5634 3283 If. IF. 3282 4176 523<)- (>o 4177 5^27- ^'> >,'>',2 51 ',7 3623- 338K 35 1 4 Hdbk. 3027 ir. 3382 3289 3660 3676 339(' 3301 3145 3386 3641 3642 3388 3 593 3643-4 3677 ^589 3 59" 3599-54"" 5 5<)8 3 5583 4-3 3 57« (, 3672 7 3673 1 5<"'74 2 5673 3 55')i 4 5 5<)2 5 5207 32()8 II. 3003 5 504 S 32<,.s tr. 5 3111 ',208 II. ',2 19 2 I 23 x\ iii 3002 3294 3324-51 3235-8 3248-31 3317-18 36 10-14 36 10-11 3169-73 3401-2 3607 18-19 34"' f^- 1 f]'. 3401 tf. -19 3116 tr 3156 4 3062 ii. -18 3536 If. 15 5 5'»() 73 '7 3 574 S 20 3()92 If. 22 i84() IF. f 3"62 If. ^•^ ( >,(H)2 IF. 13 4023 47 .(()2() 4032 ^ 4" ill 1 4" 54 4"i7 4" if. Xo. 13 14-13 16-17 18 1 9-20 21-23 xix 1-12 '3 14-16 '7 18 19-20 21-22 23 24 23 27 28 29-31 52 55 54 53 5'' x\ 1 10 11 12 I 3 14 13 i() 17 18 24 3 Hdbk. 4" 5 5 4024-3 3619-20 37«3 3946 Ii 3701 IF. 5839 iv. 3910-1 1 3839 fF. 3240 II. 3 '77 3244 47 3 1 30 (F. 3240 II. 3259 3()46 IF. 3'<)" 3946 IF, 5' 13 3701 IF. 5257 3238 4IM)(I ll . l()08 -n\ ll ',<1.1'' ll ',7111 ll i7(>l ll. -.(>--, APPENDIX Ko. Hdbk. No. Hdbk. No. Hdbk. No. 4-5 3946 ir. 10 4192 9 4104 2 6-7 3700 tT. xxvii 10 4037 3 8 3855^ I 4195 1 1 4085 4 9~i4 3701 tr. 2 4198 12 4107 xxxiv 1 5- i(j 3859 tf. 3 4168 13 4104 I 17 20 5701 ti. 4 4166 14 4105 2 21-22 3839 fr. 5 4229 •5 4106 3 2^-24 3912 ti'. 6 4170 16 4088 4 25-29 3701 ff. 7 4210 17 4086 3 30-42 3818 ff. 8 4178 18 4096 ft". XXXV A3"39 3946 tT. 9 4199 ■9 4102 I xxiii 10 4183 20 4060 2 1-3 3701 ff. 1 1 4278 21 4062 3 5-7 3946 ff. 12 4197 22 4095 4 '. 8 3701 ft'. xxviii 23 4101 3 * 9-21 3912 ff. I 4247 24 4104 xxxvi 23 3701 ff. 2 4248 25 4087 I 24^1 4013-14 3 4246 xxxi 2 27-28 3613, 17 4 4251 I 4398 375 29-30 3164-5 5 4291 2 4396 xxx\ ii 31-32 3i78rt'. 6 4236 3 4401 1 35-34 5210 ft. 7 4233 4 4397 2 33-36 3162-3 8 4223 5 4201 3 xxiv 9 4146 6 4287 4 1-10 4121 ft". 10 4241 7 4283 3 1 1 4077 1 1 4235 8 4200 xxx\iii 12 4078 12 4242 9 4286 1-2 25 3325 13 4222 10 4289 3 23-7 4064-6 14 4224 1 1 4288 4 XXV 15 4220 12 4407 3 I 4051 xxix !3 4403 xxxix 2 4237 I 4282 ■4 4394 1 3 4>43 2 4172 13 4404 2 4 4>53 3 4283 16 4393 3 5 4>43 4 4238 '7 4399 4-3 6 4131 5 4239 18 4299 7-9 7 4140 6 4244 19 4406 10 8 4150 7 4280 xxxii 1 1 9 4149 8* (p. 426 I 4403 12 10 4132 9 4245 2 4193 13 1 1 4218 10 4281 3 4402 14 12 4139 1 1 4174 4 4284 13 '3 4148 12 4234 3 4290 16-20 "4 4164 13 4221 6 4423 21 15 4209 14 4>73 7 4393 xl xxvi 13 4243 8 4389 1-13 I 4190 XXX 9 4391 xli 2 4189 1 4056 10 4367 I 3 4167 2 4092 1 1 4386 2 4 4181 5 4093 12 4138 3 5 4187 4 4094 >3 4369 4 6 4180 3 4091 '4 4370 5 7 4188 6 4084 ■5. 4372 6 8 4196 7 4033 xxxiii 7 9 4184 8 4103 1 4532 8 *Referred to under 4. 99 'Jut n it e;sliibited 566 TABLES OF REFHRENCE Xo. Hdbk. Xo. Hdbk. Xo. Hdbk. xlii 3 4736-63 Ixiv i-5 3378-80 liii I 4838 6-9 3344 ff. 1-2 4916 2 4834 7-8 3376-7 liv 3 4692 tl. lO-I I 3877-8 1-2 4703 4 493 3 12 32(13 iv 7 4706-12 13-14 3o8t)-c)o 1 4769 6 4984 15 3giStf. 2 4774-7 7 4638-62 16-1S 3222-4 3-5 4922-4 Ixv 19 3918 ff. Ivi 1 5021-2 20 3266 I 4758-63 2 5020 21 4063 2 4951- 2 3 5019 22 4(j(x) 3 4929 4 4765 23 4007 4 4827 3 4766-7 xliii 5 4728-0 Ixxi '-4 4920 Ivii 1 5027 xliv I 4909 2 5029 1 49 1 5 3 49 ' 8 3 5012 \ 498 ^ 4 49"3-4 4 3013 ^ 4913 5 4899 3 5014 1 4704 6 4900 lx\ ii xlv Kiii 1 J 497' 4714-8 4700 I 2 4948 4772 1 2 4921 4894 2 4 3 4950 3 4912 Iwiii xl\i I 2 3 4 w xl\ ii I 2 471)2 49 "9 4921 thdraw n 494" 49 1 4 iix 1 2 3 4 5 4906 4893 4891 4896 4701 48(^8 4893 1-2 4 3 6 7 8 9 4862 IT. 4853 4831-3 4983-7 4684 fl. 4677-81 4682 .4. xl\ iii 49 '7 ix 1 5 4816 r7 I 4837 I 2 4959 49311 2-4 1X1 4802 ir. ■^ 4856 4636 3 4946 1 481, \ 4832 4831 xlix 3 471)7 ^ 1-5 6 4920-8 493 ' 4 1X11 402 s (, 4648 4683 1 1 501s i(' 8 4833 I 4698 2 47"5 9 4991 2 Ixiii 1(1 4S31 3 4764 1^ 5 4SS7 9 1 1 48 ',9 «v - - 4 470O 12 4 47'." '- 1 2 4''(M 7^ 4842 5 Ii 4823 5 () 4744 47'.'' 11 1 ', 17 18 1 4')^ ', 7 47S2 Ixx 2 479,S ,s 47 '.4 il^ 1 s 46 (S 4" 3 4'/'i 4 9 4741 l\M 4 10 4717 1 4''" 5 5 49 1 5 4 I 1 471'. 2 .,(,(. S Hi 1 49',^ <' 12 1 5 474" 1 .((MS 2 4771 14 4719 (1 40U3 Xo. Hdbk. xxii 1 4693 2-6 4616-20 Ixxiii 1-3 4719-20 3 4694 6 4786 Ixxiv 1 4726 2 4723 5 4708-12 Ixxv 1-2 3399-600 3 4293 4 3398 3 4228 () 4292 7 3387 lxx\i 1 7789 2 3()()() y 4- 3 3"74-7 6-9 J 3o()l-2 1 379" 6 10-12 3776 85 lxx\ ii 3 3031 Ixx\ iii 1-3 r h c s c picu fs w c r Snk bv (a'S- n.ih and came to he Muse- uni as pari of ihe Charxet- M ; r c] u a 11 (.1 a. 11 ■c tit 111. lxx\ ii 1,2,") s<« ', 1 S7') iS7t APPENDIX No. li.li.k. Xo. Ildl.k. Xo. Hdbk. No. 5 i6^S 9 5978 8 434" 10 1 6 i(.(); 10 5973 9 4345 1 1 I cxi 1 1 5974 10 4336 cxxv I \(H', 12 5972 1 1 43 39 I I 2 i()45 c\\ iii 12 4^44 2 I 3 1646 1 43<" 1 5 4346 3 1 . 5 16O0 2 4347 14 4337 4 1 cxii 3 4302 ■5 434> 5 1 I 1644 4 431 I 6 I 2 1O53 5 4300 PHOFNICIAN cxx\i 4 1631 6 4317 INSCRIPTIONS I I 6 1645 7 4304 2 I 7 1632 8 4327 cxxii 3 I cxiii 9 4309 I 1801 4 I I 1630 10 4316 2 1802 cxx\ii 2 1649 1 1 4308 3 a-b 1 80 •',-4 I I 5 1648 cxix 4 1 80 5 2-4 1 8 1628 I 4353 5a~c 1806-8 5 1 9 1622 2 4352 6 1809 6 I lO i()2y 3 4342 7 1 8 10 7 ' cxiv 4 4325 8 181 1 8 I 1 1^4? 5 43 "9 9 1812 9-1 1 I 2 1550 6 4303 10 1813 cxx\'iii 3 ( >74« 7 4312 cxxiii 1 1 '437" 8 4313 II 1814 2 I cxv 9 4329 12 1815 3 I I 1301-8 10 43 5' 13 1816 4 > 2 1544 1 1 4334 14 1817 cxxix 3 .542 12 4328 15 a-b 1818-19 4 15"3 15 4326 16 1820 2 I 5 .* '545 14 4320 17 182! 3 1 ' 1 560 15 433" 18 1822 cxxx 6 1523 cxx 19 1823 I I 7 1322 1 435^' 20 1824 2 I 8 "535 2 4323 21 775 3 I 9 1332 3 4332 22 1823 cxxxi cxvi 4 4318 23 479 1-2 I 1 5959 5 4315 24 1540 3 1 2 5958 6 4330 2 y I 826 cxxxii 4 5946 7 4307 26 1827 ] J 5 5960 8 4305 27 1828 2 1 6 5942 9 4306 28 1829 cxxxiii 7 5957 10 4310 I I 8 5951 I 1 4322 CVPRIOTF 2 I 9 5924 12 4314 INSCRIPTIONS lO 591 1 15 4321 cxxxiv 1 1 5902 ■4 4360 cxxi\ 1 I 12 5912 15 4324 1 1831 2 1 cx\ii cxxi 2 1841 cxxxv 1.4 3CX)oa, d 1 4348 3 1840 1 I 2 59H0 2 4349 4 1832 2 1 3 5975 3 4335 5 1855 5 1 5 5983 4 4334 6 1856 4 ' 6 5985 5 4338 7 1837 cxxx\i 7 5977 6 4335 8 1855 1 1 8 5976 7 4343 9 i8h 2-3 ' 568 TABLHS OF RHFERENCE No. Hdbk. Xo. Hdbk. Xo. llilhk. .\.>. Il.ll.k cxxx\ii cxli. Supplement. 3 H)2 5 24 1930 >-5 .857 I Not in N.Y. 4 i() 1 8 - 3 U)SI cxxxviii 2 1899 cxl\ iii 2() H)57 1 1805 3 43 I I I l')2(J 27 '939 2 1804 4 4316 2 1905 28 1964 3 1864 5 4547 cxiix 29 1959 4 i8g3 6 4291 I I !)()() 51' 1041 cxxxix 8- II 438 2 I(,>27 51 1944 I 1854 cl. 52 1038 2 1885 GREF.K I 1976 5 5 1()9, 3 1856 INSCKIl'TIONS 2 ")74 54 l()9() 4 i8y6 3 ■973 53 ■955 5 1862 cxlii 4 i<)7^ 5(> ■1)49 6 186^ 1 I9I9 3 i()8^ 57 11)53 cxl 2 I 902 6 1972 58 19()8 I 481 3 1907 7 1979 59 1942 2 474 4 1909 8 1984 41 '947 3 37" »'■ cxliii () 1 98( ) 42 1945 4 370 fl. I 191 5 cl. Supp lement. 45 i()()i 5 1884 2 I9I4 I 1908 44 ■ 032 6 370 IT. 3 1904 - ■; H)34 43 ■951) 7 480 cxiiv 191 1 4() 1 1)48 8 370 ff. 1 1903 3 1970 47 '94'' 9 370 ff. 2 1 9 1 () 4 m8i 48 '952 lO 370 ff. cx!v 5 1917 49 19()2 1 1 370 ff. I 1925 6 1921 S" '1)35 13 1 88 1 2 1928 7 i()7i 3" '933 '4 1855 3 U)2() H) ')3g 32 '<)3'i 15 1882 cxl\i i I 958 S5 1958 :xli I 1 98 1 16 IC)^l 34 ■ i)('7 I 1 561 2 1912 17 l()0() S 3 l.,(,(. 2 1 5^1 ; !0l 5 18 1()20 3<' ii)4S 3 457^ 4 1 () 1 1 ) ■0 1922 104 '977 4 45S7 3 I()()l 20 11)4" i"3 '«)7'^ 5 1855 cxlxii 2 1 ii)')4 5732-3 1 \()2(> 22 H)(>5 7a- b 1039 2 1034 25 ")37 CESXOLA. CYPRUS. 1 he sequence of the illustrations in the I-'n^lish ami in the ("jerniaii edi- tions is usually the same; where it tiilfers, the ( ierman seijuence is ohserv.^l in the list, and the Fnj^lish order is allowed to \ar\-. In some oi ilie jil.i les. the objects are not numbered indn iduall)-; in these the conleiils of e.uh plate are lisleii in approximate order from top to boiiom and lrih\ li"n are marked oat the point where thev occur in tht' plair. ( )niri is m.i rk> d N.\ . are in New Vork, Init do not now lorm a p.iri (it the cxhihiicd miI- lection. 1 hose marked "not in N. V." it has mil been possible hi Iimm. l)Ut a few objects figured in the plates, and now in oilier rniisriinis ,ne market! " I'erlin " etc. Kd ,di,-,h itinn P- 47 50 (;rnii,ni lldl.k, Kditioii .\uimI.ii 2 2 I 9.S lu.L/lidl t.dllinll p. SI I), ,1 (HTMnn ll-Hl ,6(j APPENDIX Fn .'Iish Kdilion P ^1 P- 51 P- 60 P 33 P- 54 P 54 P- 54 P- 54 P- 54 P 53 P 40 P- 41) P- 63 P 68 P 08 P- 68 German ll<11)k. Kdilion Numbers Pl. pi II pl. Ill pl. IV pl. V I 6 VI VI 1 VIII IX X XI 2224-9 2046 II 2 1461 3 1367 4 1372 III I 182s 2 1660 3 •935 4 1950 IV I 2 958 3 V I 503 2 773 3 4 o, 4031 3283-7 3136 3447 ff. o, o, o, o, o, 3678-82 3i7ofr. 3i!7tr. 4080, o o, 536, (^ 4561 4896 4811 4863 4854 4794 4889 4888 5004 4887 5012 5029 5025 4864, 4698 4649 4635-47 English Edition pl. V pl. VI pl. VII P- 95 p lOI p. 102 p. 102 Gcrm.in Ildbk. Edition Xumbers XI 4831-3 4839-43 4830 4776-8 4787-8 4696 4708 4616-34 4844-3 4635-47 4694, o 4695-7 4706-12 XII 2003 2004 2002 2026 2 1 50 2014 201 5 2016 2148 2146 XIII 0,0,0, 31, o 83, o XIV I 61 2 o 3 936 '574 8 1573 VIII XV 0, 389 323 0, 0, 0, 0,0, 999 997 996 IX XVI 46, 0, 54 72, 69 71, 106 X\ll I 1405 114 2 1223 1 10 3 1411 1 10 4 1390 )!. X X\'1I1 1364 370 TABLES OF REFHRENCH English Edition pi. XI P- 17 P- ■7 P- 23 P- 31 P- 32 pi. XII P- 36 P- 60 P 51 P- 49 P- 49 P- 43 P- 31 P- 29 P- 29 P 45 P- 45 P- 41 P- 41 P- 41 P- P- 4' 80 P- 41 P- 41 P- 41 P 4' P- 54 P- 54 P 45 P- 57 P- 52 P 52 P P- 55 7(^ P- 55 P 59 P- 59 German ndi)k. English German lldbk. Edition Numbers Edition Editi m Number-- XIX Berlin P 156 XXX I \ I I2<)2-? 121)4 XX I 1420 p. 144 2 1865 2 1418 p. 138 3 1227 3 P 157 XXXV I 1262 XXI 1 '257 P- 155 2 1291 2 1363 P 153 3 1327 XXII 1351 pi. XIII XXX\I N.Y. XXIII 1360 p. 140 XXX\II I 2082 1368 p- 151 2 2088 ! 1 p 151 3 XXIV 1368 p. 164 4 2281 p. 164 5 2012 XXV 1406 p. 164 6 2083 p. 158 7 "75 XXVI I 1408 \()H>, 2 1407 1O84 3 1870 1680 1682 XX\1I I ■352 1687 2 1353 XX\III I X.Y. p. 181 XXXVIII I 62() 2 N.Y. p. 181 2 (>(.)(, p. IQO 3 XXIX I 1357 p. 190 4 2 1350 p. 151 XXXIX I N ^ XXX I 1286 p. 20} p. 205 2 3 2 1 < X ) 2(14 1 2 3 1272 1280 p. 203 4 2()()^ 4 1312 p. 207 XL 1 "4 57 5 p. 207 p. 210 2 18-1; 6 1281 3 7 p. 216 4 (1 8 1530 p. 216 5 l()72 9 1293 p. 216 6 XXXI I 1266 p. 229 XLI 1 NY. 2 1258 p. 250 2 980 3 1380 p. 2>,() 5 1 4OS 4 1661 p. 2';0 p. 2;o 4 5 (1 XXXII I 1244 2 P 2', 5 XI. II I SM'll 3 1230 p. 240 2 1 1 1)1) 4 " P 247 p. 2.47 4 4 4;7 XXXIII I 14(11) 2 1 ',7 '. P 24 i Mill 1 " 3 1838 p. 247 2 iH" APPENDIX FnK'lish Oi'rmnn Hill.k. Kn.trlish K.litiou Kdilion Xuiiibcr.s Edition p. 248 Xl.ill 3 pi. XXV pi. XIV-XV XLlV-\' 1363 pi. XXII p. 250 XLVllI 1 1098 P-2 3C) 2 2127 pi. XXI 11 p. 259 3 2128 p. 207 4 1363 pi. XX IV pi. XVI 11 XLIX 1643 p 323 1634 p. 326 1604 1637 pi. XXVI 1629 1628 1639 1626 1644 1630 pi. XXVII p. 268 L I 436 p. 275 2 818 p- 275 3 p. 276 4 4302 p. 276 5 4486 p 276 6 4475 p. 276 7 4481 pi XXVI 11 pis. XIX-XX Ll-LIl p. 272 Llll I p. 288 2 1366 p 285 3 1404 p. 329 p. 442 p. 301 LIV 1 p 306 2 3552-3 P 33' p 309 3 3001 p 297 4 3178-83 pi XXIX p 310 5 3248 p 310 3401 ff. p. 300 p 310 3353-8 P 333 p 310 3367-8 P- 333 p 310 LV I 4164 P 337 p ^10 2-3 4074 p 3" 4 35^8-9 P- 335 p 311 5 3280-1 p. 412 p. 336 p 312 LVl I 3391 p 312 2 3398 p ^12 3 3002 pi. XXX p 316 4 4551 pi. XXI pi. XX\' L\ll LVll! 3603-6 German Hdbk. Edition Numbers L\lll LIX LX 3382 3660 3397 3298 LXI 3396 LXIl I 3598 2 3381a LXlll 4193 4179 3283-4 3601-2 4181 LXIV 3322 3323-4 3235-7 4131 4163 c 4172 3i78ff. 32 1 off. LXV 3369 3367-8 4771 3374-5 LXVl 1 4554 2 49 '4 LX\1I I 1017 LX\111 1 1 70 1 LXIX I 2 768 3 545 4 4360 LXX I 4704 2 3 497' ff 4961 ff. LXXl 4917 49' 5 49 '6 4762 4766 4764 57^ TABLES OF REFERENCE English Edition German Edition Hdbk. Numbers Engb-.<> 22 .1(1)'. '7 4ry<> ^'> ■117' i« 4 '>','-' ^4 4217 10 4^54 -;s (i-IS 211 4 '.41 2'j 2 1 454') 27 -I'.'lS 22 (1 2S 2<) •1 1 7^ .(!(.S pl.XXXIli LXX\11 2} 4357 3" 4 ','>^ 573 APPHNDIX Knirlish (lerman H(ll)k. En.dish German iidbk. ICililiiiii ]Mlili(in NuihIkts Kdilion Kdition Numbers pi. XXXIX LXXXll I 422? P 402 (12) LXXXVII I 3 St. Ge 2 4i()9 p 402 (i:;) 4 1728 3 4220 p. 404 (14) 3 4 4'74 5 4"73 p. 404(15) LXXXIX I 6 4200 p. 404(16) 2 7 4201 p. 405 (17) 3 765 8 4289 p. 405 (18) 4 678 p. 405 (19) 5 794 pi. XL LXXXIII 9 4222 p. 403 (20) 6 677 10 1 1 4399 4221 p 405 (21) 7 936 12 4223 p. 406 (22) XC I 13 4229 p 406 (23) 2 14 4198 p. 406 (24) 3 7" '5 4226 p. 406 (23) 4 55 i6 4153 p. 408 (26) 5 198 I? 4210 p. 408 (27) 6 229 i8 4194 '9 4167 p. 408 (28) XCI 1 94 p. 408 (29) 2 283 pi. XLl LXXXIV 2 4241 p. 410 (30) 3 4 p. 411 (31) 4 1736 6 42M p. 411 (32) 5 1729 lO 4089 20 4084 pi. XLIV (34) XCII I 759 22 4093 (33 a-b) 2- -3 513 2Q 4224 36 4291 pl. XLV (33) XCIll 1 682 37 4252 (36) 2 725 38 (37) 3 761 p. 401 LXXXV 1-2 pi. XLV I (38) XCIV I 757 (39) 2 759 a pi XLII4 LXXX\I I 930 3 2 pi. XLVII (40) xcv I 541 5 3 N.Y (41) 2 1726 2 4 pi. XLVIII XCVi I 1869 pI.XLllI LXXXVII 1-3 939 ff. 2 1395 6-7-8 3 4 1839 1873 p. 402 (10) LXXXVIII I 793 5 1396 p. 402(11) 2 931 6 i87( CYPRIOTE INSCRIPTIONS Plates 1-8 (English edition)=:Taf. XC\'II-CI\' (German edition). v'o. Hdbk. Xo. Hdbk. No. Hdbk. No. Hdbk. I 1869 6 1875 I 1 16 189S 2 1871 7 1 862 12 1 890 ■7 3 1843 8 1874 13 1863 18 1882 4 1873 9 1 880 14 1888 ■9 1863 5 1889 10 1887 '5 1866 20 1861 574 TABLES OF REFERENCE No. Hdbk 21 1870 22 1886 23 1859 24 1868 25 1 89 1 26 1872 27 1864 28 1867 29 1877 30 1895 31 1896 No. Hdbk. 32 1894 33 ■ 853 34 i860 35 1854 36 1878 37 1857 38 1884 39 188 I 40 1893 4> 1879 42 1846 No. Hdbk. 43 1845 44 .838 45 1837 46 1831 47 1833 48 1856 49 1833 50 1839 51 1832 52 1841 53 1834 \'o. Hdbk 54 1840 55 4291 56 1855 57 1842 58 1852 59 1831 60 61 1893 62 1876 PHOENICIAN INSCRIPTIONS Plates 9-12 (English edition)=raf. cv-cviii (German edition). No. Hdbk. No. Hdbk. No. Hdbk. I 1804 I I 1803 21 1813 N.B Some of 2 1801 12 1812 22 1824 these identifica- 3 1806 13 1808 23 1816 tions are doubt- 4 1802 14 1803 24 [1830] ful, because the 5 1822 15 1814 25 1823 sketches are in- 6 182 I 16 1813 26 479 accurate. 7 1826 17 1823 27 1340 1807, 1809, 1810 8 1827 18 1818 28 1829 are not in Ces- 9 775 19 1819 29 (r)i828 nola's Cyprus. 10 1811 20 1817 30 1813 GREEK INSCRIPTIONS [47-98 are mere names, omitted for space.] No. Hdbk. No. Hdbk. No. Hdbk. No. Hdbk. 3 1912 19 1897 37 19 10 44 1903 8 1913 20 1916 38 I9I9 45 1925 9 1 90 1 21 1920 39 193 1 46 1906 1 1 1903 22 1902 40 1930 99 1929 12 1909 23 1907 41 1927 100 I'M" ■4 1 926 33 1904 42 938 101 1940 18 1919 34 1928 43 959 DOELL. DIE SAM M LUNG CESNOLA. The i^oman numerals 1, II, 111 denote the Plates; Arabic ln\entory: these are gi\en within brackets on Doell's Plates. The heads of the statues marked \'l 1 1 in Plate 1 are repeateti ell Hdbk. 1 (vill) 1084 2 1355 6 7004 21 1265 28 12O2 2(>(vni) 1 532 43 i}(i5 Docll II 39 52 34 3H 49 11 61 62 Hdbk. I26() I2()4 1024 IO(l() 15O. ' 537 133O (>7 75 70 JIdbk. 123O 1043 I "44 104 1 lo.jd.i I "47 1 (X)2 in Plait orll I 7') So <)! 'U IO( I I ( 145 a Is the \ 111. Hdbk. IO()l i4"7 107(1 I (SO 1 I Sm I IO7 573 APPENDIX Dool Il.lhk. Docl lldhk. l\ 152 1 igi IX 544 1 28 1 \ 81 1408 H(> I2()l 114 I 508 54') 1288 1 -■:', 1 188 372 1 286 \1 125 I4(){) 577 I2()() I >,'■> 1 U)() X 57H I }I2 n() 1202 3 39 1504 I ()() 1258 37' 1300 172 12^1) 416 1346 174 1226 417 1347 VI 1 17S I >,(>o 544 1330 185 i()()3 545 I3I9 187 1292 546 1327 190 1 409 XI 763 1368 i()() I 121 764 1869 202 I M() 763 1871 207 1127 766 1870 220 10^0 767 ,873 221 1029 768 1879 222 1138 772 1596 224 1 146 77 5 H95 111 2^1 1282 775 1865 2]5 1284 XII 781 1398 2^7 1237 785 1950 245 1258 8 54 1567 iX 308 1295 «55 1572 3' 1 1272 XIII 788 ■ '75 330 I2jl 789 1687 Doc XII XiV 796 7')7 798 805 807 808 8,5 817 824 C825 826 828 830 «57 858 859 840 841 850 866 874 934 955 957 938 959 940 941 Hdbk. 1682 1684 1 680 1661 I 380 1692 1670 1671 141 1 1410 I 390 '4'5 1 369 2002 2003 2()<)4 201 1 2014 201 5 2131 2100 2097 2281 2( )82 21 14 21 12 21 10 21 13 I)()C11 X 1 V 942 950 XV 875 876 877 884 97' 989 990 991 994 1032 1070 XVI 2172 2392 2932 3220 3522 3569 4034 4035 4057 4047 406 1 X\ll 3671 4007 Hdbk. 2084 2 E 3()0 3-4 350 ■352 403 204 1 513 759 37() 1- 33834 352 2127 404 1286 514 1701 3S4 3233-8 353 ■355 407 1 384 519 753 383 3248 3 354 1257 408 1391 321 751 387 3{>()o 355 1336 411 206 S 525 4^7 590 3383 356 1361 4'3 12(x8 329-3C 761 39 3 33'82 358 136^ 414 1029 552 4554 595 3198 359 1266 4.3-8 1363 555-6 4703 396 3558-9 361 141C) 419-21 1364 557 4915 599 328c -I 364 1 308 427 4301 5 59 4388-90 600 3 S98 370 I02()-3I 439 4163 360 4386 60 [ 3301 371 1236 440 4164 361 4384 602 3002 377 1 124 448 4146 362 3598 (v.)^ 4181 383 2 1 39 479 775 563 3001 621) 5013 383 1262 482 4361 364 477' 650 49(m-4 387 I36S 483 ■573 369 3 '49 032 4759 7 388 I2C)2 485 ()() 370 3 369- 7 3 'M9 389 l(H)8 486 28? 571-2 3374-^ ch.ix.enti 729 394 2082 496 7('5 ^7^ 5397-8 chx.enJ 3}(>7 8 N. B. figs. 313, S16, 317, 318, 320, t22, arc not in New ^'o^k. \"\i, is wrongly ascribed toCesnola, Cyprus, p. 312; it is not in New York. 577 GENERAL INDEX OF PERSONS, PLACES, AND SUBJECTS For the principal subdivisions and classes ot' objects in the Collection, see the Table of Contents at the beginning of this Handbook. Note that inscribed objects are discussed in the Appendix of Inscrip- tions, as well as in their places in the bod\' of the Handbook. The numbers in this Index are those of the pages of this llandbcjok. The follo\sing abbre\ iations are used: repr. (^representations of an object in some other work of artj; inscr. (=mentioned in an inscription); cf. (^comparej; ff. (^following pages). Latin, Greek, or Oriental words, other than proper names and recognized archaeological terms, are printed in italic tvpe; and all words used in a spcv.- ial, technical, or colloquial sense are placed within quotation marks. .AiiD-ELiM, 302. Alexander, portrait heati of. 211 .\chna, 150, 180. elfects of his concjiieslh, 127 .■\corn-pendant, 591. i -(M, iH^, 401). .■\dze, in sculpture, 130, 472. Alexandrian cili/en in Cyprus, ;iS. .'\egean art; sec .Minoan. Altar, ^i^ ^14: miniature. 177. .Aeschylus on Cypriote sculpture, 270, v^ 0; .Mwen.ie.in hdrned 1 56, 160. '>pe, 271). .Xgalmatolite, 270. Amargelli, 177, ^21; s,iiKiu.ir\, Agate, 3''^y-0>, 4'4->5. 4>''^-l9. 4491 i^7- sec Scarab. Amasis. king ol I g\pi. cc.ni]Ufrs "Agia Katarina"; sec "St. Cath- (;>prus, xxx\ii, i ',.\; pnrii.ni arine's Prison." st;iUie, 22(1. Al.ibaster, 265, 271, 274, 505; Anialhu--, xxxrx. d--,. 02, in.], 111, "alabastron," 275, 507: imi- iit, 117 i^, 274, .p.^: i^iiis. taling p(jtter\', ^7, 27s. 277; 240; iDUihs, ijo, 22N. imitated in potters', So, in .\m.i/, Alasia, xxx, xxxiw 127, 171. 57') GFNHRAL INDEX Amphora, carried by \otarios, \]<-); inscrihed, S24; other represen- tations. ]0]. ? I >,, >,2b, 54?; stamped Khodian, 525; Ion- ian Fabric, 2go; Samian, 2c)2; C\priote " Krater-amphora," ?(')■ Amulets, 154, iS^, 187,41)9; I-gyp- tian, 426, 450 2; Mithraic, 42(); Sassanian, 453. Anibeh, 42. Animals, repr. of, go, 94, 100, 107, 233, 2c)2, 440, 443, 444, 446, 432; sacrificial, 128. Sec aho Bat, Bird, Boar, Bull, Dog, Do\e, etc. Animal-headed and animal-shaped \ases, 27, 28, 51, 67, 69, Q2, 1 17, 120; as children's toys, 69. A>!kh-s\gn, 407, 412, 413, 418. Annular-bodied \ases, 28, 38, 107, 109. "Annunciation Chapel" at Lar- naca, 6. Antiphatos, 310. Anubis, 432. Ape, repr. of, 463. Aphrodite, 244, 398; bearded, 213; late types, 213; at idalion, 331; at Paphos, 304; on coins of Salamis, 237; Mykerodis, 320; Pandemos, 270; emblems of, 187. .\pollo, 126, 138, 162, 168, 172, 189: Amphide.xios, 127, 171; .Amy- klos, 127; Hylates, "of the Woodland," 123-7, 3^3, 320; "of wealth," 320; Lakeutes, 521; at Kurion, 126, 177; at P\la, 127, 321; late Greek t}'pes, 191; Sphinx as emblem, 126, 128. .Apple, held by \otaries, 185, 191, 214.^ Applique work in Cypriote em- broidery, 133. .■\pries, king of Egypt, xxx\'ii. .■\pron, 5('.' Kilt. .■\pulia, pottery of, 66. .■\rba-lstar, 430. .■\rcadia, xxxiw .Archaic st\le, C>priote, xxxviii; .\thenian, 22 1 ; "archaic smile," 208. .Archaism, 213. .Archer, repr. of, 1 38, 246, 464. Archieros, 324. Ares, 424. Arion, 172. .\risto(gonos), 306. .Aristokretes 307. .'\ristous, 321. ■Armour, 344-5,487; armour-bearer, 347. Sfc also Helmet, Shield, Spear, Sword. Arms of statue made in separate pieces, 216. Arrangement of the Cesnola Col- lection, xxii. Arrows, 173, 174, 222, 343; arrow- heads, 488, 490; arrow-head ornament, 91, 96, 97, 99, 100, 250, 286. Arsinoe 111, 319. Artaxerxes 111, xl. Artemidoros, 325. Artemis, 126, 129, 138, 191, 493; Paralia, 321; of Ephesus,i26. Aryballos, Oriental, 291: Rhodian (Kamiros), 291 ; fantastic, 292; ram-shaped, 292; monkey- shaped, 342. Ashmolean Museum, 102; speci- mens from Kition, 448. Ashtoreth; see Astarte. Asi, XXX. Askalon, 123. Asklepios, 126, 177. Askoid vases, 16, 23, 118. Ass. repr. of, 343. Assyria, influence of, xxxiii, 87, 133; conquest of Hgypt, xxxvi; human-headed bull, 148. Astarte (.Ashtoreth, Ishtar), 336, 398, 434; "sur le pa\ois," 197; nude figures of, 244. Athena, 177, 424, 499. Athenos, 324. Athens, influence of, in Cyprus, xxxix, xl, 137, 138; Oriental bronze bowl from, 438; Nat- ional Museum, 31. Athienu, 123. Athlete, 280, 499. Atlas, repr. of, 386. /4tlas of the Cesnola Collection, xix. Atticism, 137. Attributes held by votaries, 128, 182. Augustus, portrait-type, 212. Awl, 474. Axe, 476, 482; double-a.xe symbol, 286, 458, 486, 499. Azbaal, xxxix. 580 GENERAL INDEX Baal, Baalat, 125. S4; hird-shapeJ vases, no; Babylonian terracottas, 335; cvlin- bird with t (Tree wings, (>(). .V,,- drical seals, xxix, 420-31; iil«> Dow, baylc. Hawk, etc. weights, 450. Piistouries, 41)2. Bacchis, a cook, 324. iiit; .u-(' ikidlc. Baetyl, 124, 127. Black paint; .v,c Paint. Balliard, C, xxiii. Black-figured vases, 103-4, H)>,~'-,; Banquet-scenes, 147, 181, 227, 240, black glaze ware 1 ISronze Age 241, 308, 313,462,464. fabricj, 30; (Attic fabric;, 2()t. Barenis, 324. 2()6; black polished \ariet\- Basalt, 266. of ['abric i, 20, 12,; black Bases of statues, 317; of statuettes, punctured ware ( babric \iiij, 317; .u'fc' .Appendix. 42; black slip ware (labric 1 1 ), Base-ring Ware (Fabric vi), 36; 22; black slip ware with red white painted, 37; imitated paint (Fabric l\), 50. in alabaster, 37, 276; influence Blue paint; .vcc I'ainl. on other pottery, 24. Boar, repr. of, 227. Basket panniers, 343. Boat, sacred, "solar," 418; \otive, Basketry ornament, 14, 17, 72, 108, 314; .va- Ship. 261, 267, 271, 273. iioeotia, pottery of, 66. Bast, Egyptian goddess, 452. i5one, objects of, 317. i5at, repr. of, 543. Boreas, 422. Batsalos site at Kilion, 301. liorers, 266. Bay; sfc.' Laurel. lioltles, of gourd, 13; of crystal. Beads, including pendant-beads, 304, 41)6; (jn earring, 402. 270-72, 376, 378, 381, 386, 387, P)Oundary-stone, inscribed, 318. 3go, 392, 394, 306, 3<)(), 401, i5ow, 138, 225, 247; bow-case, I7^ 446, 431, 452; Fg\'ptian, xxix, liowls, of bronze, 496; of gold, 438; 272, 390; Minoan, 378; glass, gcjld-plated, 431); of siher, 438; 402, 304, 314. from .\ssyria, 4()3; from Prae- lieards, repr. of, 136, 141, 132, 136, neste. 46^; of stone, ^m); of 174, 196, 201, 203, 204, 210, green glaze, 120; of clay (Ionic;, 213-18, 224, 243, 339; .Assyr- 294. ian, 133; rendered by "feath- i5oxers, repr. of, 294. ering," 237; by red paint, 137, l)OX-lid, 271. 203, 204, 210; without mous- lioy's heatl in sculpture, 260. tache, 222, 223; Hellenistic, Piracelet, of bronze. 4()< ; cloisonne. 173, 176. "O**- V'^i; glass, 31?; gold, i8s. \q>,: Beetle, sacred, 41 3, 44(); .scc Scarab. gold-plated, lion-headeil, 11)7: Bells, of bronze, 4()3; of clay, i)i, with hook-and-e\'e c.ilch. >,()()■, 92, 296, 340; of gold, 389. siPer, ^3^. -(SS: \vilh sliding Pierlin Museum, siPer bowl, 437; catch, icjo; spiral. 133. 210. tomb grf)ups, ■; 1 . 223. Berries, repr. in wreaths, 208, 210. Pireasl, prominenl moilelling of, l)eryl, 596, 4"6, 4' 1 • 4-24; imitated, I'ji, 21s: as ornameiil on 424. vases, 22: s\-mboli^- ch.irnt. Bes, l\gyptian deitw 133, 253, v 17, 4'»i. 446, 432; compared wilh 1' re;isl-pl:i le, 532. Herakles, 172. P>ridlc, 100, ■■,^.\. >,(»>: horsr-bil, Pdntiing-ornamenl, ^7, ^8, 9^. (■'^■'^ P-irds, repr. of, ()<> 02. 04. 06, 97, P.rilish .Museum, r\c.i\ ,11 luiis in KM. 108, 12S, 193, |S',, 1S7. i()i, (Aprus. 4.S, jSs: ob|fvis lt.1111 226, 21)1 2, ^32, -(8'', 402, .p 4 Am.ilhiis. 2i;. Inmi liik.imi i(), 438 9. 441 4. 43S. ,^l)z,: .IS 272. troni ()rmi.llii.i. 170, attribute, 243, as s.iLrilice, 12.S; coins. 171, |Si. s.ulpiiiu-, lO:,. P^gvptian, 466; bird's e\e oni. I- terr.uot 1 .is, 200, >,',i,. -. .ims. ment, 9^ 4, io(); "bird-jugs," ji; oilur ohjr. is, x\ii GENERAL INDEX l^ronzo Ago in C\'prus, 6. Hronzo objects, 47i-3()(); imitalod in potter\', ()i, 41)5; in sculp- ture, 2 >,(). i^rooches; .wc I'ibulae. 15ucchero ware, Cypriote hand- made, 45; wheel made, 55; litruscan, 4,, 57; gre>" wares akin to, Oo; painted, 56; red, 105; imitated, 55; prototypes of, 54. uckies, 403. ButT-siip" variety of red pottery (Fabric xvii), 1 10. iigi-lkaiDiiH, 49, 31-2, 68. uhen, 42. uli, repr. of, 28, 37, 38, 44, 70, 109, 114, 227, 236, 2bi, 273, 333, 342, 391-2, 433-4, 436, 438, 439, 440-41, 444, 446, 447, 448, 438, 488; AssN'rian human- headed, 147; bull and lion combat, 236. urial customs of ancient Cyprus, 5. uttons, 484, 493. utt-spikes, bronze, 482. yblos, 125-6. B Cable-orn.vment (cable-coil: guil- loche), 82-3, 87, 102, 237, 289, 383, 407, 412, 413, 419, 422, 454, 444, 462. Cacus, 205; see Geryon. Caere, 438. Cameo, glass, 424-5. Cap, Assyrian, 461; Hittite, 419, 446; horned, 433, 499; Per- sian, 189; Phrygian, 129, 187, 2()i; pointed, 154, 161, 165, 261, 338-9, 412, 443; worn by a horse, 343; with lapels, 332; with nose guard. 343; flat cap worn by \otaries, 183, 1S7. .S",-t- also Helmets. Capital, Corinthian. 257, 399; C\'priote with xolutes, 237-8, 240, 278; pap\riform, 452; square debased, 238. Carbonyl in black pottery, 20. Carbuncle, 384. 423, 424. Carchemish, .wxiii. Carnelian, 384, 3()o, 413, 421), 422, 424-3, 448-9. Carthage, "1 emplebo\-s" from, 188. Cartouche, 41 3 ; illegible. 461 ; imi- tated, 83. Carts, 2 1 , 34O, 462. Sit: also Wheel. Cattle; sec Bull. Cauldron, 496. Cavalry, repr. of, 343. See also Horseman. Celts (flat copper), 472. Centaur, 341, 423. Cesnola Collection, Atlas of, xix; Handbook of, xix; present ar- rangement of, xxii; repairs of, xxiii; "students' series," xxiv. Cesnola, General Luigi P. di, xiii. Cesnola, Major .Alexander P. di, xviii. Chain-ornament, 23. Chair, repr. of, 337, 353. Chalcedony, 412, 418-19, 425, 443, 449. 450- Chamber-tombs, 6. Characters; see Script. Chariots, repr. of, 48, 228, 343, 462-3; two-horsed, 143; four- horsed, 143, 227, 343; with winged horses, 312; chariot- races, 320, 367; chariot-wheel, 71, 146. Charm; see .Amulet . Chequer-ornament, 76, 79, 83, 94. Chest, wooden, 228; stone, 278, 309, 310, 348. Child, repr. of, 240, 340; head, 214, 2O0; votive, 128, 336; child's rattle, 43, 120; other toys, 69. Chimera, 236. Chisel, bronze, 482; in sculpture, ■30, 474. Chiton, Doric, 136, 190, 191, 216, 244, 333; Ionic, 136, 13O; of C\'priote women, i()7; of crinkled material, 1O4. See also Tunic. Chorus, dancing, 313. Chrysaor, 227. Cilicia, 139. Circle-ornament, punched, 17; painted {see concentric circlej; circle and tangent, 237, 286, 288, 293. Cla\'; see Terracotta. Clazomenae, influence on C\priote painting, 22b. Clermont-Ganneau, J., 463. Cloak {himation}, 1 5O, ijq, 1(37: fringed, 142, 218, 332; worn shawl-fashion, 161, i()^ 1O4 Cloisonne work, 401, 402, 408-9. Coarse \\ hite Ware (Fabric ixj, 43. 582 GENHRAL INDEX Cock, repr. of, 187, 226-7, 295, 367, Crown, Fg\-ptian, 155, 225. 415, 493- 46^; mural, 2^7, Coffins; see Sarcophagi. Cr\stal. objects of, ^yo, 394, 422, Coins, of Amathus, 240, Idalion. 427^6. 248, Kition, 172, 234, 422, Cults; we Sanctuaries. 'I'arsus, 171, Salamis, ^98; Cups, purchase of (inscr.) 319; gold foil impressions of, 398. cup-hearer, 227, ^47, 464. CoUar; sec Necklace. Cupiti; see h.ros. Colonization of Cyprus, Hellenic, Cvhele. ^76. x.\xi\-; Minoan, ,\xx, 322, 374. Cylinders, liahylonian, 378, 429, Colonna-Ceccaldi, G., xiw 430; (^x'pro-.Nlycenaean, 4^(), Colossal statue, 331. 4VS; geometrical, 459, 440; Hit- Colour; 5('t' Paint. tite, 435. Column, 184 {see Capital); sym- Cymbals, 495, 498. bolic with rays, 437, 438-9, Cyprian Hpic Ua Kyprla), xxxv. 449, 450. Cypriote bucchero, 4^^, :;4; deities, Cohin, Sir S., x\'iii. 123; dialect, xxxi\ ; kilt (loin- Composite \ases, 16. clolhj, 152, 13^ Concentric-circle ornament, 18, 66, Cypro-.\l\'cenaean art, ()2; poiter\-, 73, 79, 80, 91, 102, 108, lii, 43, 51, 107; religious beliefs, 113, 268, 286, 289, 446; re- 123; sur\i\als, ()(>. placed by continuous spiral, Cyprus, climate and \egetation of, 88; concentric tangent ("ques- xx\ii; c(jins, xxx\ii; copper, tion-mark" ornament), 80, 237; xxvii; history and culture, on stamps for hair, 261. xx\i; kings of, xxx\ ; physic. d Constantinople, Imperial .Museum, features, xx\i; se.ipower, 31. xxxi\3 2(;o; timber, xwii; Contaminated fabrics of pottery, 30. tombs, 3; under Persia, xx\\n; Control-plates and control-beads under Ptolemaic l-g\pi, xl, from necklaces, 208, 387, 390, i ?(); under Rome, xli. 391, 452. Cyprus .Museum, 7, 31, 118, 144, Cook, (Clarence, xx. 280. Copper, xxix, 471. C>rene, xxx\iii, 181. Cornice, lion-headed, 241; on rim of \ase, 76. I^.VDis, 63. Costume, 93, 174, 221, 258, 243, Daggers, 471, 473; d.igger-shaped 484; lironze .Age, 555; Cypro- pin, 221, 441. jMycenaean, n2; Cypriote belt. Daisies, repr. of, 1 3(), iS;. 134; woman's jacket and skirt. Dance, 4O3; tl.incers, m.isked, is,n>>. C^ap, (doak, Kilt, \'est, 1 unic. Darius, king of Persia, \xx\ii. Counters, 272, 516. Dark-coloured \{ed Ware ( I .d^ric i'jiw and calf, 419; cow's head on x\iii, 104, 1 1 ',. bowl, 460 I ; see Ikdl. Decadent (^Npriole si\le, 1 5S, i''~'4. Crab, repr. of, 420, 441. 5 3'' Oane, repr. of, 420. 1 )eci)r,ii i\ e ,iri : \,v < )rii,inieni . Oescenl-fjrnamenl, 2()2, 4.}',, 4S7, Decree r.-gul.iling s.unli.e (ins^r."), 400: upturned, 44(, 444; with ',10 disL, 241, 247, 230 1, 549. />,i/-si-n as aniuli-l, .1^1 2. Oele: see .Minoan ci\ ili/.i tion. Deiiu.ihon: ni.ilr li.i'.ine ,ii Irni.dr Crocodile, repr. of, 42W. s.m. i u.i rw ',tJ (■r(jmleJis in C\prus, (i. Drer, npr ,y, figures of, 3()7; types, 376; Hariy iron Age, seated, i8o,4h; female 180, u)i, 379-80; Homeric, 380, 384; 247, ]\Q, 334, 356; SL-t' Motfier Oriental types, 382-5; Hellenic, Goddess. Siw also Gods and 388; Hellenistic, 391-2; Graeco- names of indi\idual deities. iloman, 395; Byzantine, 401; He .Mas Latrie, Comte xv. Italian, 389, 391; Egyptian, Demeter, 126, 129, 138, 357. 451; animal-headed, 378, 391; Demetris, 322. boat-shaped, 376, 379, 380, 384, Demetrius, 324. 385; cloisonne, 384; crescent- Demon, goat-headed, 430. shaped, 401; delta-shaped, 400 Demonax, xl. -i; hook-shaped, 395, 401; De Ridder, .\., 130, 188,221. spiral, 376, 385; from .Amathus, Derketo, 125. 388; from Tharros, 387; Diaithemis, 317; (Diithemis, 314). metallic ear-rings on terracottas Diana; .<<(• .-\rtemis. and vases, 101, 260; repr. in Diandros, 303. clay, 236, 239; in sculpture, Dice-box, 496. 142, 130, 133, 167, 208. Didyme, 324. Early Iron .A.ge, xxxi, 253; pottery Diithemis, 314. of, 34; iron and bronze objects, Dionysiac scenes, on \'ases, 294-5. 482-8. Dionysios, 319. Ebed-adoni, 302. Dionysos, 189, ^03, 423, 424. Ebed-melqart, 108, 302. Diorite, objects of, 266. Egg-and-dart ornament, iio, 237, Dipping-rod, 492, 306, 513. 241,248. Dipylon vases, 288. tgypt, first contact with Cyprus, Disc, solar, 406; rayed, 418, 438, xxx; Twelfth Dynasty, 272; 440-1, 445, 446, 448; winged. Eighteenth and Nineteenth Dy- 242, 248, 409, 418-19, 426, nasties, 275; Nubian conquest 457; with crescent, 418, 432; of, xxx\i; .\ss\Tian conquest of, athlete's quoit, ^ 16. xxxiii; Twenty-sixth Dynasty, Disc-ornament, 76,224,436-9,441, xxx\i, 273, 461; seapower, 443, 446. xxxvi, xli; under Persian rule, Dish-co\er, 496. xxx\ii; under Ptolemaic rule, Doell, J., x\ ii. 275; costume, 134; beads, xxix; Dog, repr. of, 2^4, 279, 308, 422, 423. fabrics of pottery, 41; head- Dolphin, repr. of, 3 10, 367, 391, 399, dress, 340; hierogl\-phics imi- 402. tated, 83-4; influence on Cyp- Dotted ornament, 22, 271, 300. riote sculpture, 134, 132, 257; Do\e, repr. of, 182, 183, 184, 186-7, stv'le imitated in C>'prus, 133; 216; sacred, 125; \oti\e, 182. royal hawk and vultures, 90, Draught-piece, 272. 448; torch-holders from, 104. Dress; scf Costume. Electrum, objects of, 412, 418. Drill, used in sculpture, no, in gem Embroidery, repr. of, 155, 165. cutting, 19, 437, 439; tubular, Enamel, 384, 385. 386, 387, 388, 440. 406, 420, 487; ste Cloisonne, Drimokia, 318, 323. Paste. Drink-offering, 465. Enkomi, 42, 48, 132, 336. Dryads, 123. Epbcboi, 319. Dwarf, repr. of, 132. Epioroes, 459. Eros, 243, 260, 326, 367, 396, 300, E.\GLit, repr. of, 183, 233, 293; in 510, 518; with Psyche, 362; bronze, 487; attribute of Zeus holding swan, 362; on dolphin, on lamp, 367, 446; "spread 172,425; riding goat, 362; with eagle" symbol, 434, 438, 441. apple, 362; with dog, 362; with 584 GENERAL INDEX winged head, ^62; Eros as " Mre Altar" design, 440. proper name, iiS. Eire-stained [surface, 142, 200,2^7. Er>'tlirai, Herakles cult. 171. I'ish, repr. of, ()()--;. iiS, 4^,s, 441. Eshmun-melqart, 123, 126, ^01,302. 444, 44(), 49^; tl\ing. 4^(): lish- Eteandros, king of Paphos, 502. pond, 126; fish-sliaped \ase, Europa and bull, repr. of, 367. 42-5. Eurymedon Ri\er, battle at, xx.wiii, Elasks, 7S. 137, 165. " l-'lat-riinmed" jugs. 107. Eurytion, 172, 203, 255, 422. " Eleur-de-l_\'s" ornanieni, 8(). E\agoras 1, king of Salamis, x.xxix, Flowers, repr. of. 31, ii, lO, 1S5, 138, 1O3; II (of Salamis), xl. 208, 332, 553, 420, 45S. 44(); Evelthon, king of Salamis, xxxviii, spravs of, 120; wreath of, w-,. 181. Flower-bearer, 142, i()(), i()S, 403; h!ver-baga, 430. winged, 422. " Excrescence" ornament, 75, 74, 76, Flute, 128, i4(), 104, 540; double, 77, 83, 86, 87, 91, 94, 97, 99; 540, 549, 5 3(), 464. leaf-shaped, 74, 76-7. Flute-pla\ers, 149, 194, i()N, 515, Eyes, treatment in art, 94, 191, 209; 539, j^U\. as ornament, 74, 104, i 13, 238; Flv, repr. of, 5()8, 4(}o, 425. votive, 280. Fl>'-whisk, repr. of, 144, i.jO, 544. '' Eye-and-spout " \ases, 104. Foam-born Cioddess ai l'a[ihos, xli; Eyebrows, treatment in sculpture, see .\phrodile. 165; "feathered" tooling, 197, Foliage, repr. of, 445-4, 446. 198, 202, 210, 222, 224, 256-7; Foot; see Feet. zigzag tooling, 201; low relief. Fool-soldiers; see Warrior. 225. Footstool, \()ti\e, 2 5(), 508. FOrk, bronze, 4()2. FacI:, rendered in profile, 94. Franks, Sir A. W ., xxi. "False-necked" \ ases (Bii^i^elkaii- Fresco-painting on \ase, 1 lO, nt'«j, 49, 5 1-2, 68. Friedrichs, ('.., x\ii. Eamagusta, modern potteries, 119. Fringe, of balls, 218, 222. 225, 2^5: Family, repr. of, 240, 244, 346. zigzag, 222. F^an, repr. of, 463. Frog. repr. of, 491); as aniulei, " Fantastic " \ases, 15, 16,51-3. 480 2. Fasuli, 522. Frontlet, 540, 574, 58(1; represented Fawn; see Deer. in sculpture, 152, 15s, i'm; ro- Feast; see lianquet-scenes. seltei.1, 221, 540. Feather-ornament, ()5; see F!ye- Fruit, repr. of, 244; \oli\e, 1(17, brows, .Moustache. 185. F^eeding-bottles, 104, 106; (^vpro- Mycenaean, 107 ; human- C'jabli -mi mmd seals. .444, headetl, 550. C'jadroon-oriianiriil on niel.il bo\^^, Feet, colossal, H)6; bronze, from 407. S12; on lniL\hero \,ises, seats or boxes, 4()(); \oli\e, SS- 280. (laiiiuig-bo.ird. .(44. I'elspar, 449. darnels, v)-'. (""■ 4"')' 4 1 4 Festivals, ancient, 127, 147; repr. of, (ieiiis, engra\ed, 42. o') 7, '.^o 515; modern, 521. broken and rejomed. 4 1 s 1-esloons of flowers, repr. of, 1 lO. Ceoniei ru .il period ,111.! si\ !,■, xwiii. F'euardenI, (). I,., xx. orn.inieiil s, 75. ■'^^. H'l. jos Fibulae, 244, 582.484 0, ( ,er\oii nuih, 12S. 17J. 2<'.\ y, .? ( ( figurines; .sic I erracot tas. ( li.iiii . .40 ', likellura ware, 202. (.ilde.l bron/e. ',s,s. ,,1'.: ^!i\. .\n2 Filigree, 580 1, 585, 5S(,, >,,)>,. 5c, s. silver, ',^2. ',>^',. ','^1. '.'14. ;' 1' ' 500, 408 0; transition from .)--,o. -i''i . .)'i^. gr.inulation to. 500. 104 '?■ (iilliUis. ',0 I " Filling-(Knainents," 457. ( oio/.ini.i, ',0^. GENERAL INDEX Girdlc-tii.', KgN'ptian amulet, 4,1. Girl, rcpr. of, dancing, 129, 214; running, 205; swimming, 276; washing her hair, 422. Cihulialors, repr. of, ]()-. Glass, 402, 50^-14; manufacture of. 30^, 313; colours of, 504, soS; iniileliori, 306-7; imitat- ing alabaster, 307; imitating potter\-, 30c): iridescent, 308; Egyptian, 303; Phoenician, 304; Sit Paste. Glaze, art of, 303; Egyptian, 448; colours, 412, 451-3; Cypro- Mycenaean imitation, 271; blue paste. 271; black .\ttic, 289; late salt glaze, 120; 5t'c Enamel. Glaukos the Samian. 487. Goat, repr. of, 93, 275, 342, 391, 3()?, 413, 437-9. 443. 487; voti\e, 183, 487. God, "of the wine press," 303; "with two right hands," 304; "on the bull." 4^4; "Lord of weight," VM ; si'c Deities. Goddesses; see Deities (female). Gold, varied colour of, 379; gold- plating (see Gilding). Golgoi (mod. Gorgi), 123, 130, 303, 307. "Good Shepherd '; see Kriophoros. ("joose. repr. of, 448. Gorgon (Gorgoneion, .Medusa), 173, 183, 200, 339, 360, 391, 396, 498. Gourd, imitated in pottery, 12. Gournia. 1 3, 148. Graces, 123, 347, 398. Graeco-Phoenician st\ie, 62, 63, 102. Graeco-Roman pottery, 119; jewelry, 398; sculpture, 138-9. Granulation, 378-81, 384, 389, 393, 401, 408, 416; transition to filigree, 3()o, 394, Grapes, repr. of, 432. Grasshopper, repr. of, 386. Grassi Museum, Eeipzig (tomb group), 63. "Great .Mother"; see .Mother- Goddess. Greek colonization, \xxiii-i\ ; in- fluence in C\prus, \xx\ ii-\iii, 133-8; imported \ases, 283 tf.; inscriptions, 318; type of lyre, 184, of palmette, 110, of lion, 239 ff. Green glaze, 120; paint, 143, 148. Grey fabrics of pottery, 60; sec l5ucchero. Grillin, .Minoan, 292, 433; Oriental, 213, 415, 459; combat of man and gritfin, 388, 448. Grinders for paint, 267. Cjroom, repr. of, 144, 344. Gryllos, on gem, 425. Guilloche; see Cable-ornament. Guitar, Eg\'ptian, 274. G\psum; see .Alabaster. H.\DES ..\ND Persephone, 419. Haematite objects, 440, 443, 449, 450; nodules of, 450. Hair, treatment of, 141, 162, 164, 166, 174, 194, 203, 208-9, 213, 217, 221; parting, 213; long tresses behind, 161, 169, 219, 346, in front, 197, 233, 244, 318; peculiar Hittite coil, 436-7; rendered in clay by stamps, 236, 259, 260, 349, by paint, 261; in sculpture, 136; by rough tooling, 220, by "feathering," 95; on coins, 209. See also Eyebrows, Beard, .Moustache. Hall, Dr. I. H., xix. Halos, 288, 402. Hammer-gods, 171. Hanan-baal, 302. Hand, 238; \oti\-e, 280; on \ase, 98; drilled to hold spear, 207; modelling of, 350; open-hand sv'mbol, 438. Handbook of Cesnola Collection, xix. Handle, 111; of awl (deer's horn), 474; of knife (bronze) 487; of ladle, 309; of mirror (blue glaze), 433; of bronze \ases, 476; imitated in cla\', 61; characteristic horned t_\'pe, 12, 36; ring handle, 236; animal- shaped, 47; multiple, 111; with trans\erse bar, 71. "Handle-ridge" jugs, 39, 80, 119, 467; in alabaster, 276; in bronze, 467. Hare, repr. of, 433; as amulet, 432. Harness, 343; .Assyrian, 144; painted green, 143. See P.ridle, Saddle. Harp, triangular Oriental, 199, 464; harp-players, 199, 463. Harpokrates, 188, 362. 586 GENERAL INDEX Harpy, 170,247,407. Hermes, i7,S; theft of Apollo's cowc, Hasp of lock, 407. 2(1^; Herm, 51S. Hathor-head, 248, 250, 384, 385, Herodes, 524. 448, 452 Heroilotus, 172, 22(). Hawk, emblem of Horus (Osiris), Hcros. >,()(). 201, 415, 418, 420, 448, 461; Heuzew 1... .\i\. hawk-headed figures, 200, 448, Hieroglvphics, imitated, c)i, 97. 439. Himation, AdCIIoak. Head, human, on ear-ring, 301, Hinges, 407. 402; on pin, 399, on \ase, 89, HippoLamp, ^44, 409, 419, 424. 97, 214, 260, on bell, 92; Hissarlik, 22, -si. bearded, 253, 260, 423, 44(); Hittite empire, xxxi; lums, 2](): colossal sculptured, 196; hel- monuments, i^^; sculpture, meted, 211, 316, 330, 423, 449; m)',. female, 104, 295. Homeric Age. xxw ; ear-rings, 580, Head-dress, female, 167; Egyptian, ^84, helmets; i()9; king, -147; 340; high square,339; Oriental, fish^'ng. 343: cylinder-seals, 331. Si'c also Cap, Helmet. 4^ 5 ; deities. 4^4: sculpture, 195. Hecate, 191. Honoratus, C. (Radius, ^K). Hekolos, 304. Horizontal-circle ornament, 81. Helios, 322. Horse, repr. of, ()i, 144, 227, 286, Hellenic influence in Cyprus, xxx\ii- ^14, 542, ^()o, 4i(), 4(10 1, 518; viii; in sculpture, 1^3-8, 164; rolling, 4i(); two-heatled, m; inscriptions, 318; pottery, 290. winged, 44(): with a cap, vm: Hellenistic sculpture in Cyprus, 138, with a plume, 100. 154, 185, 212; in Persia and Horseman, repr. of, 99, 144, 228, Northern India, 139, 186, 188; HV4 pottery, i 18-19, jewelry, 394; Horus; .vcc Osiris. terracotta, 338. Hound, .vcc Dog. Helmet, icx), 141, 157-8, 190, 203, Human figure, on \ases, 48, 67; on 207, 236-7, 343; .\linoan, ear-ring, ',()i; female, 44, 27s, I9(); Homeric, 196; Cypri(jte, 3^7, 498; recumbent, 170; 201-2, 213, 343; framed, 217, seated, 17(), 53^, 4n(): winged, unframed, 218; .Assyrian, 113; 4(^3; hurling spear, 204; man pointed, 137, 196,217,218,434; and lion, 543; man and horses, with cheek-pieces, 147,203,341, 416: man aiul tree, 441). 343; with noseguard, 343; Hunting scenes, 227, 440. 4()^ horned, 434; modelled as a bird, Hvdr.i, Eernaean, 177. 205, Hellenic, 196, 203, 207, H} dria, unpainted, ii«); as knob ol 332; Corinthian crested, 227 vase co\er, 2S(>; Corinlhi.iii 344, 447; Hellenistic deep- black-figured. 2')',. brimmed, 330; repr. of, 100, 1 lyl.ites, epithet of .\pollo, 125, 127. colouredyello\v( lorbronze), 137. ^20. "Hemispherical bowls," 32, 54. Herakle^, 126 7, 170, i8(j, -(41, 361: liM.x, repr. of, .(',4, 4 >,(i i). .\.\\ , .\.\ ;. Homeric, 171; Oriental, 4 vj; 44.;, 4')^. with bow, 171, 22', 234, 24O, Ibu-lieied, .J ',0. 422; Willi arrovss, 222; with Idaean ( ;a\ e, shield Irmn. 20',, club, 171. 22',, 2',4, 422; with Idalion. xl, 12.} 3, 12X, \(,2. lOS. iSo, lion, 171 2, 177, 207, 2',(>. 20;, -4^. 5"- 407. 416 410, with dolphin, Implemeiils fiMin C\ prus, e.iilusl 172, carrying ,iwa\' l\erko|)^■^, -(71 206; shoolmg Cenl.iur. 2o(), Iniporlrd ob|,-. 1 s. r.,ib\ Iniii.iii. \\i\. wrestling. 176; wiih ()ld-.\Ein- .)2o H . 1 1 m ih-, .| ; ;. I :'\ pi i.iii. of-the^Se,i, 172, Liming mm .) 10 ll ., 1 ',2, .) s i ; \.i^'-. (i I- monster-,, 172, Ipoklonos, 171; 2Ss H ; Inr.u oi l.iv ; ^ ; Kornopion, 171. liKenv-box, lO',, iS; .), iM. S.S7 - I GHNHRAL INDEX Incised ornament, i6, 104, 114; on glass, 512; s\nibols (e^rajTiti), 41.47.49. India, I lellenislic art in, i 59, i're, in ritual, 128, 540. 4()2; .it /,rtr»rt.v of steatite, miniature, 268. banquets, 227; attribute of Lattice-ornament, ()5, (■)(), 72, 7(), 79, .Apollo, ^1^; Cireek t\pe, 108, 101, 10^, 118,288. 184, 190, 55(), 4()s; tortoise- Laurel (bay) wreath, as attribute, bodied, 422; lyre pla\'ers, male, 118, 204 I 10, 512; female, i()8, i()o, 2(>3, Laver, 258. 552. Lawrence-Cesnola (Collection, x\iii. Leaden objects, 518. .\l.\ci-.-iii. \[) of stone, 2()(^); (if bron/e, Leaf-ornament, 7<), 210, 228, 268, 487; as di\ine attribute. 171. 494; crown of lea\es, 2 10. .Maenad, 425. Leather-work, repr. of, 151, 215; in .Magirios, epithet of .Apollo, 127, io(). potler\-, 14, 5(). Makers' marks, 259, ^25, ■508 9,41)2. Lenaios, ^03. Malachite, 414. Libation bowls, 18',, 186,243, 51^. .Malika, epithet of ller.ikles, 127. Lids and co\ ers of \ases, 7^; of .\Liltese cross; vccClross. glass, 310; of sarco[)hagi, 226 Man; .vcc 1 lumaii (igiire. tf.,2-s^ ALirbie. iiillueiice on lechnique, (08; Life-size figures, 2i(), 253. .Syrian, 2',',. Lime-incrustations on statues, xxiii, Marion (.\rsiiioe), no, 113, 204. 22 ^ ', n). ') i 1, ', ill. Limestoni' C\priMte. i2() If., 214, Masks, human. ()S, i.}(). isn i.^^s. 2;)f): foreign, isi; objects of, ^40. ■;4(), ',02. 42^: ,1111111, il. ;.i(i, 278. 542. l.imewash. in sculpture. 151, 227. Meal, sacred : s,v liainpiet-s^eiie. 228. .S',r <;/m' I'.iini. Mi-aniler: ^(V l\e\-d'ri'l. l.imnili 2O0. Medusa; mv ( inr.'MHi, Lions, rrpr. of. ii.^, 1 ',4, 143. 227, Melek-wil hoii. v'-^ 2'/) 7. 270, 272, ',f)2, 587. V»'i- Mfloucha Miiiid, .Miluii^h.i ', ;io 420, 45',, 4','''. It". 444. 4')». Mel(|ari. 127. heads, 2.}i; in gold-work, (8S, .Mm, ml, j . .( ;(i. i;i 591, V)^ 402. 407: \iialoli:m M,ihil. b ,i.',\pi i.m sxihI'm!. (SJ types, 2',9, .p<); ilillile. 17'). Mcnrl.Kis. kin,^ n\ ^,ll.llill^. ;')■-'' 242; .Xs^vrian. i',-j; mixed M rii- Klieprr-r.i , kin,'-; m I .;',v pi Oriental, 2 Vi, -241 -i,2()i; Cyp- .ps. l''^. lii- 589 GENERAL INDEX Menodoros, ^17. .\lelal-\v(irk, imitated in pottery, Milk-bowls, 12, i(). Millotiori glass, yOj; imitated, 402. Miniature \ases, 2C), 40, 80 tV., 85, 107-8, M I, I U)-20. Minoan ci\ ilization, xxx; Harl\- Minoan influence in C\prus, 15; l.ate-Minoan (.Mycenaean) colonies, xxxi, 45, 475; influence in Cyprus, 31, 46: pottery, 30; shrine, 123; double-axe god, 171; "shaft graves" of My- cenae, ^7(). Sci' also Knossos, C>'pro-.\lycenaean. Mirrors, 11)7, 2S0, 41)1, 518. "Mixed Oriental Style," xxx\ii; sculpture, 154, 134 tf., 198 fT.; terracottas, 330 f!".; ornaments, 383 fl'.; gems, 412 ft'. Modern festivals of C\-prus, 321; modern glass, 313; locks, 498; potteries, 1 19. Monkey, repr. of, 101, 342. .Monograms on lamps, 369. .Moon-Goddess, 123. .Mother Goddess, repr. of, 123, 253, 330, 334, 336, 386; at Idalion, 247; at Paphos, 310; "nursing mother" type, 180, 334. .Moulds for terracottas, 329, 330, 37.3- -Mountings tor cylinders, 378, 390. -Mouse-god, 126. -Moustache, treatment of, 204, 236-7. -Mouth-plates, 376, 386. -Multiple brush for \ase-painting, 75. -Murray, .\. 8., x\\ .Mut, Egyptian deity, 432. -Mycenaean; 5-('(' .Minoan civilization. -Mykale, battle of, xxxviii, 137. -Mykerodis, epithet of .Aphrodite, 320. -Mykhoia, epithet of .\phrodite, 317. .Myrina, figurines from, 337. Nails, bronze, 4()8; gilded, 517; nail-head pendant, 383. Na(js, 31O. .Napkin worn by \otaries, 221, 303. Naram-Sin, king of liab\lonia, 450. National -Museum at .Athens, 31. -Naturalistic art, xxx, 134, 1^8; colouring of terracotta, 238-9, 260. Naukratis, xxx\ii, 160. Necklaces, 376, 386, 390, 393, 396, 398, 493, 498; repr. of in sculpture, 167-9, '97' 208, 225, 233, 244, 248, 250, 259, 261; in terracotta, 340, 351. See iilso Head, Collar, Pectoral, I^endant. Needles of bronze, 474; of bone, 3 18; for netting, 492. Negro's head as ornament, 271. Nemean L.ion, 171. Neo-Orientalism, 138. Nergal, Babylonian deity, 430. Net for fishing, 441; net-sinker, 316; netting needle, 492. Newton, Sir C \\ ., w, xxi. Nikandros, 321. Nikias, 320. Nikokles, king of Salamis, xl. Ninexeh, 160, 458. Nubia, relations with, xxxvi, 418. A';//)-sign on gems, 418, 420. Numerals, in inscriptions, 316, 317; .Arabic, 444; Cypriote, 312. "Nursing Mottier," 180, 334; si\- -Mother-Goddess. Nymiphs, repr. of, 123, 293, 310. Oi-FERiNGs; sec \'otive offerings; table of, 237. Ohnefalsch-Richter, Dr. .M., xx. Oil-bottle {h'kyihos) carried by votary, 221. Oinochoai, "barrel-shaped," 89; "bird-jug," 468; "plain- bodied" t_\pe, 91; .Milesian, 292; bronze, 487; siher, 468. Sec Jug. "01d--Man-of-lhe-Sea," in combat with Herakles, 176. Oliasos, 322. OIi\e, inscr., 303; sprav, wreath, leaf, in ornament, 116, 268. Olympia, 438; (Olympian deities, 126. 01\'mpianos, 321. Onasias, 306. Onasioros, 314. Onasilhemis, 304. Onasitimos, 313. Onyx, 399, 423, 425. Opaon .Melanthios, 127, 177-8, 321. Orator, voti\e, 129, 189, 300. Orb; see Disc. Oreichaikos, 425. Oreithyia and tioreas, gem, 422. 590 GENERAL INDEX Oriental influence in Cypriote art, XXXV, 82,, 133 fl'., 329, 350 tr.; 382 tT , 4 58, 490. Ormidhia, \iii, 179. Ornament, cur\ilinear, 18; dotted (punctured), 22, 216, 271, 288; geometrical, 73, 279, 487; gran- ulated {see Granulation); in- cised, 16, 271: modelled in relief, 12; naturalistic (pic- torial), 93; based on animal forms, 15, 27, 48, 67, 70, 84-5, 288; floral, 31, 67, 70; human, 12; painted {see Paint). Ornamental moti\es; see Arrow- ornament, bands ("broad and narrow"), basketry, cable ornament, chain, chequer, circle (concentric, vertical, horizontal), crescent, cross, disc, egg-and-dart, "excres- cence," eye, feather, fleur- de-lys, gadroon, key-fret, lat- tice, leaf, lotos, lozenge, me- ander, "nail-head," palmette, panel, papyrus, plait, ribbon, rosette, "sacred tree", scale, seam, snake, spiral, star, stitch, swastika, tongue, triangle, \olute, 'wa\y line," zigzag. Ornaments, personal; see Bracelet, Ear-ring, Frontlet, Necklace, linger King, etc. Orthros, 205, 234. Oscilla, masks for suspension, 349, 362. Osiris (Horus), repr. of, 319, 413, 453; 499, \sith I sis, 412. Ox; see Bull, Paini, on potlerv, \ iii, 25, ^o, 56, 57, 62, 91, on sculpture, i-ii, 1^5, 162, 160, i()9; on lerracotlas, 329, 334, ^^fi; on glass, 310; I)olychronie, <)>,, i lO 17. Paints (pigments;, special uses of, black, 148, i6c), 179, \H\-2, 2j(), 258, blue, ()i 2, 546; green, 145, 148, 144; orange, 117; purple. 117; red. 44, 06, 70, >ii 4, 91, loo, 14; 238 (frt- quentlvj, ioS, 2S(), ',08, ^12, 516, 540, ',.4(), wit h black edges, 105291, ',',7: on black ground, V>; veliow, 1)2. Ml',, ifji), iS(i, 54 ', , \s hile. 105, loS, Md; oil black grounti, 98, on red, 117; chalky lustreless, 37 ff., 109; lime colour, 510, lustrous, 334, on Italian pottery, 289. Palestine, early culture of, 46; \\ heelmade Ped Ware, 41. Palettes, 267, 307. Palmette, 82, 1 17, 228, 233, 237, 244, 248, 386, 391, 407, 499. Pan, deity, 125, 177-8. Panel-ornament, 65-6, 76, 86, 98, 103, 241. Panther, repr. of, 423. Pantilos, 309. Paphos, xli, 124; Paphian Goddess, 304, 321; at Idalion, 1O8; sacred doses, 182 Papyrus-ornament, 418, 439, 458, 460-1, 465. "Paris with the apple," 189. Paste, Egyptian glazed, 271, 412, 413, 420; \arious colours, 390, 399, 412, 415, 424, 441, 487-8; blue or green, 409, 414, 416; bright blue chalky, 416, 433; imitating on^'x, 399, 424-5, or rock crystal, 399. Paterae, siher, 467. Pattern; .^rc Ornament Paulus, see Sergius. Payments for enfranchisement, 312. Pectoral, Egyptian ornament, 452. I\'destal, 189. Pegasos, repr. of, 227. I-'eloponnesian schools of sculpture, influence of, 211. Pendants, various forms gold and siber, 385 >,{){): on ear-rings, 383, of l-.g\ptian glaze and hard stones, 450, 4,2; of glass, 402; of steatite, 271: signet rings, 331; on a belt, 35s ; rejir. in sculpture, 244, 2,9. Pergamon, artistic inlluence of, 1 38. 1()0. Persephone, y-,-; and Hades. 4i(). i\'rseus and the (iorgon .Medusa, 2o(). 227. Perseules, 306 i'ersia, xxx\ ii, i 3(). Pest les, 267. Pelrie, Prof. W . .\1 E , 278. Pet sofa, I 58. Phantasios, 3i(). Phigalei.i, horseheaded DeiiK-leral, 126. Phil,iilcl|)hos; v, c .\rsinoi.', Ploleiiiy. Philippa, 305. 59' GENERAL INDEX I'liilistinos. XXX. Praxiteles, 138. I'hillcs, u>8. Prayer. Greek, 313; monotheistic, Philopator; srr Ptolemy. 522 Philotimos, ^07. "Priest with a Dove ' statue, 214. Phoenician Seapower. xxxi\'. 301-3; Probes, 4C)2. inscriptions, 101 and Appendix. Procession, repr. of, 228, 314. Phrygian Seapower, xxxiv: i'hrygian Proto-Corinthian fabric of vases, pottery from \'ortan, 21. xxxv, 290; its Cypriote equiv- Ph\ l.icteries, 587. alent, 80. Ph\ lakopi, 400. Prototimos, 304. Ph\lliri, 118, I'sammetichos, king of Egypt, xxx\i, Pickaxe, repr of, 314. i H- Pictorial designs on vases, 93. Ptah-sekar, Egyptian deity, 188, Pins, ^75, 474, 492; of gold, 392; 432. of silver, 374, 394. ^99; of bone, Ptolemy 11, Philadelphos, 318; SI 8. Ptolemy 1\', Philopator, 319. Pine-cone as ornament, 189, 518. Publications of the Cesnola Collec- Pipe, double, 181, 4O5; Pan-pipes, tion, xix; ift* Bibliography, liv. 178; .V',' Elute. Pumi-yathon, 302. " Piriform " \ases, 47, 49. Punched ornament (tubular l^itt-Rivers .Museum, vases, 98. punches), 19, 97. '■ Plain-bodied" vases, 74, 82, 291. Punishment, repr. of, 347, 462. Plait-ornament, 409. Purchase, record of (inscr.l, 318. Plant-ornament, 48, 1 15. Puri, 430. Plaque, with i\ory carving, 517; as Pyla, 127, 191; inscr. 306. controls in medallions, 385-6; Pyxis, proto-Corinthian, 291. of Egyptian work, 432-3. Plasma, 412-1 3, 4;',)-20, 448-9. Oueen, repr. of, 464. Plates of hard stone, 267. Quiver, repr. of, 164, 173-4, '9'- Pltctniiu. 168, 3,2. 247, 341, 345, 500. Plenty, figure of, 424-5. Quoit of an athlete, 280. I-'nytagoras, king of Kition, xl. Poet, \oti\e, 129, 190. R,\, Eg\'ptian deity, 412; as hawk, Polishers, stone, 2bb. 452. Poli, 294; .wi .Marion. Ram, repr. of, 178-9, 181, 342, 452; /\)/().s, head-dress, 169, 181, 237, 357. head, 178; mask, 68; ram- Sit' also Head-dress. headed serpent, 97; deity {sec Pol\chrome ornament; sct- Paint. Khnum). P()l\kleitos, influence of, 21 1. Rameses 111, king of Eg\'pt, xxx, Pomegranate, repr. of, 92, 183, 391, 273. 396, 5'^- Rattles, 43. 337. 387^8. Portrait sculpture, 128-9, 133, 138- Red Polished \\ are (Eabric i), 11 9. 212-13; Egyptian, 132. ff.; Red Slip Ware (Eabric ii), Poseidonios, 323. 22 tf.; W'heelmade Red Ware Pottery, principal uses, fabrics, (Eabric vii), 41; Red Painted styles. P>ronze Age, 3, 7: Early Ware (Eabric x\ii), 105 ft'.: Iron Age, 34: Hellenic .-\ge, Red-ftgured .Attic vases, 293; 112 tf.; in (;\prus .Museum, 7, imitated in C\'priote pottery, 31, 144, 280; AiHilian. ()(>; .\t- 113; red paint (>(C Paint). tic,2(Htf.; other CJreek fabrics. Relief-ornament, 12, 17. 283 tf.; unpainted. iiS;Cjraeco- Religion of ancient C\prus, 124-7; Roman, i U): imitating bronze, set- Ritual, Sacrifice, Sanctuarw 30, 34. 61, 2()S. 437, siher. 33, Repainted \ ase, 67. basketr\-, 16, 17, gourds, 12 tf.. Repairs, ancient, xviii, 222-3; mod- horn, 3, leather-work, 13, 17, 32, ern, xxiv, 217. 36, 3(): wooden vessels, 31, 78. Representative (pictorial) art, 90. Praenesle, Oriental bow Is from, 463. Rescue-scene, 314. 592 GENERAL INDEX Reshef-melqart (-mikal), 126-7, '7"- Reshef-yathon, 302. Restorations; sec Repairs. Rhyton, 120. Ribbon-ornament, 208, Rings, from harness, 4Q3; "loom- rings," 379; fmger rings, 405 IL; signets, 410; pendant rings, 414; swivel-rings, 416, 418; motto-rings, 410; cloisonne, 409; filigree, 420; of bone, 518, glass, 425, glazed paste, 420, rock crystal, 425; in iironze Age, 420; Mycenaean, 406; Oriental, 407, 418; Egyptian, 406; Cypriote style, 407-8, 416, 419, 420, 423. Ring-dances, 330, 347; ring-vases, 27, 68, 109. Ritual, 127, 31 3, 465. Rose-quartz, 420. Rosette-ornament, 82, 83, 85, 87, 91, 95, 98-9, 107, 155-6, 207-8, 237-8, 256, 274, 286, 384, 388, 437. 446. Roundels, 376. Runners, repr. of, 97, 294. "Running-dog" ornament, 290. Saciu.d Animals, 127; pof)l, 125; trees, 347; "sacred tree" orna- ment, 82, 95 4, 215, 228, 250-1, 286,412,415,433-4,457,440-4, 447-«- Sacrifice, repr. of, 30(), 463. .Saddle, 144, 343; modern (Cypriote, 344- Saddle-quern, 347. "Saint (Catharine's Prison" at Sal- amis, 6. Saint Paul in Cyprus, .xli. Sakhmi, l\gyptian deity, 452. Saiaminia, 524. Samson compared wiih lierakles, 172. Samuel, consecrated inlanl, 188. Sanctuaries of (Cyprus, 125 4, ^20. Sandon, liittite ileitv, 172, 45-;, 465. Sandvvilh, I . 15 , xiii. Saqqara, 52. Sarcophagi, 6; sculptured, 22(), 228, 2-)0; mumnn-shaped, 2',',. Sard, 587, >,i)H (), 400, 4o8-(), 412, 414-16, 4i8-i(), 420, 422 5, 45')- Sardony.x, 424. Sarmazdi, 449. Sash, painted on stele, 250; in low relief, 248. "Satraps' Re\olt," xl. Satyrs, 179, 235, 294, 342. Saucer-lamps, 280. Siinrotcr, butt-spike, 4S2. Sa\age, A. 1)., xix. Scale-ornament, 71, 21c). Scarabs, 447; Egyptian, 134, 415; geometrical style, 447; mixed Uriental, 412; .Archaic (Cyp- riote, 448; Sphinx-shape, 412. Scaraboid, Oriental , 412, 446; .Archaic Cypriote, 447; human- headed, 446. Sceptre of agate, 374; held by deity, 312. Scbnabclkaiuif. "beak-spouted" jug, 14. 17. 47- Scorpion, repr. of, 425-6, 441, 443, 446. Script, Alinoan, 299; Cypriote, 278, 301, 419, 425, 434, 437; com- pared with l,ydian, 301; Peh- levi, 449. Sculpture, purpose and use of, 12?, 127; voti\e, 128; materials and processes, i2(); tools of (C\'priote sculptor, 130, 305; "rough-tooling," i7(), 181; use of colour, 131 (sii i'aintj; change of design, 227; bar- baric work, 1 3(); cut with knife, 305; succession of styles, 152; .Assyrian influence, 141; Egyptian, 1 ^, 151, 195-4: mixed Oriental, 134, 151, 154; Archaic Cypriote, 138, 160, 16^, 202; mature (Cvpriote stN'le, 137; decatlenl, 210; Hellenistic, 1 ^S, 185, 212: Craeco-Roman, 1 ^8; minor tyjies, 166; funerary, 210. Seal-stones, liabyionian, xxix, 44 <; .Assyrian, 41 1, 44^: S\rian and Asian, 440 If.; .'^lycenaean, 410. 44(); Sassanian, 448 <); miscel- laneous, 442; of bronze. 44(). Sic (Cylinclers, ICngra\ed (jems. Seam-ornament, 15, 32, V) "Seapowcr of (C\'prus," xxxi\, 2()o. Sea-Raids, in Late lironze .\ge, 50. ' Secondarv burials," 5. Senatorial career, 519. Serapis, 127, .\2(). i93 GHNERAL INDHX Scrgius l\iulus, I.iicius, proconsul, 4C) A. 1)., xli; Ouinlus, 319, 348. Si'rpcnt; .<; processes (jf manufacture, i2(), 534; fig- ures in \arious earl\' fabrics. 2S3, ',')2 (t; separate parts of figures, 233; painted tlelails, 320; secjuence of sl\les, i^i; lircjiize Age, ',',2: Oriental st\le, 2()o, 530; C^v'prioK- sl\le. 237; Hellenic, 333, tripodS; 67; co\ers, 73; ware, 334; fabric of Kition, 231, 323, 334; of Kurion, 334; of Alyrina, 334: of Tanagra, 334; of Southern Italy, 3 39- Terra siiiillata, i 19, 120. leshup, Hittite deity, 172. Tdtix, 386. 1 eucer, Homeric description of 343 I extiles, 162, 164; rendering of in sculpture, 221; crinkled "cre- pon," 134, 163, 184,209,222, 303. I'harros, 203, 407. 'I'hebes in Hgypl, inscr. from, 319 'Themias, 318. Thera, 31. Thor, 171. Thoth, Hgyptian deity, 133, 433. 'Throne, 183,238,463; steps of 308; enthroned figure, 337. Thueris, Egyptian deity, 432-3. Thunderbolt, repr. of, 312. Tbyrsos, 423. Tile, inscribed, 306. Timagoras, 223, 321. Timodoros, 305, 318, 323. 'I'imokretes, 306. I'imon, (Timos, Timo), 320. 'Tirhakah, king of Hgypt, 390. 'Tisandros, 306. 'Toilet-boxes, 238, 279, 517. 'Tombs, in Cyprus, 5, 46, 65, 90; equipment, 4, 7; Bronze .Xge, 379; .Mycenaean, 378; Phoeni- cian, 2(J3, 407. 'Tombstones, 238 If., 307 ff., painted, 323- 1 ongue-ornament, 291 2. 1 ools of (Cypriote sculptor, 130; of bronze, 476; of iron, 482. 'Tf)rch-holder, 104, 493. 1 orloise, 187. I oumba siteat Salamis,2 37,3 3 1,330. Tovs, 2(), 43, 9I; 120, 3 37 I reasure of C~urium," x\ i, x\iii, 306. ^07. 1 rees, repr. of, 102 4, 108 i 18, 135. 133, 227, 2', 3, 25S, \\>,] eon- \enlional, 48, -;(), 8<), 111, 410, 4i(), 442-3, 446; s.icred (.wv "Sacreil 'Tree"j. Triangle-ornament, 91, 100. Tributaries, rejir. of, 462. I rick-\ases, 1 1 \. 1 ricolctur fabric of Ketl Ware, 109, III, w >,, 117. 70S GHNHRAL INDHX Trijlloihni arrow, 400. Iripnds of clay, h~; of bronze, 487; of stone. 2i)~. Trough, 2()8, 50(), 510. i rumpel, repr. of, 20(). I'unic, (^x'priotc, M5, 153, 158; elaboraleI\' decorated, 200; o\er-tunic, lyy; Doric, 243. St\- "Chiton." uran-.Agiu, 4^0. urban, i^c): sec Head-dress, urin, Roval .Museum, 65. urquoise, 424. weezers, 474, 4()2. I yre, xx.\i, 125, 172. L'MtiRi:i.i..\, repr, of, 228. L'shabti figures, 432. \'.\sk;s, uses, 3; as toys, without utility, 2C); fantastic, 15, 110, 2()5; principal fabrics, 3, 54 ff., 62 If., 105; imported Greek, x.xxv, 285; Minoan, 13, 268; Attic, 76, 295; Corinthian, 292; Dipylon style, 286; Ionian, 295; \ase-painting, 98, 109, 116; retouched, 98; \'ases of alabaster, 80, 238, 277, 30?; blue glaze, 272; bronze, 494; crystal, 394; glass, 503 ff. ; steatite, 276 ff.; stone, 280; ring-shaped, 109; trick-\ases, 113; woman and pitcher \ases, 112-13. ^it' Pottery. \'asiliki Ware in Crete, 20. "N'ertical circle" ornament, 81, 83, 87, 99; combined with "hori- zontal," 81. Vest; sec I'unic. \'ictory, repr. ot, 416, 425-5. X'illage of Helikousa, 320. \ogiie, .Marquis .M. de, x\-, 123. Volutes, 237-8, 248, 250, 278, 316, 408, 438, 491, 497. \oni, 124, 128, 306. \otary, repr. of, 68, 93, 177, 180, 314. 3 "8, 4 "3. 423, 443-4. 463; Oriental, 129, 189; Egyptian, 152; in Greek dress, 159, 336; Phrygian, 214, 361-2; with attributes of .Apollo, 211; fe- male, 142, 163, 166, 191, 192, 208, 242, 332; male, 184-5, 194; in travelling dress, 164; female moulded with beard, 352; masked, 68, i5(i, 151, 340; recumbent, 181; riding, 3()2; warrior, 352. \'oti\e offerings, 128, 16}, 182, 189, 237, 280; sec Animals. Warriors, 92, 129, 147, 157-8, 190, 228, 261, 291, 295, 320, 340, 343, 352, 359, 362, 412, 463; Assy- rian, 448. W'aterbirds, repr. of, 97, 286. W'ater-sfiout, lion-headed, 499. "Wavy-line" ornament, 66, 76, 1 12, 1 18, 286, 290, 339. Weights, 270; Babylonian, 450; other Oriental, 450. Wheels, repr. of, 21, 146,463. Wheel, potter's, 329, 338; Wheel- made Red Ware (Fabric vii). 41; wheelmade bodies of terra- cottas, 338. Whetstones, 266, 307. Whiskers, repr. of, 214. Wig, Egyptian, 142, 158,201. W ine, inscr., 309; wine jars, 102, 103; wine-press, god of, 305. Wings, 170; of archaic Greek fashion, 169, 247; scrolled, 250-1, 449; Cireek naturalistic, 170, 247, 248; winged figure, 93, 419. Wolf, repr. of, 279. Women, repr. of, 437; baking cakes, 348; on \ases, 113, 115; grind- ing corn, 347-48; kneading dough, 347; mourning, 307; winnowing, 347. Wood-work, imitated in clav, 72, 78. \\ orship; sec Ritual. Worshippers; see Votaries. Wreaths, 117, 128, 102, 187, 202-3, 218, 222, 236, 238, 243, 248, 260, 340, 410. Wrestler, 1 32. Writing, systems of, 299. Yhllow; sc Yortan, 2 1 . Paint. Zi;ls, i2(); inscr., 309; .\mmon, 181, 361; Labranios, 322; Pheidian, 210; Serapis, 426. Zigzag binding, 97, 1 12. Zoilos of Golgoi, sculptor, 239. Zoomorphic \ases, 13, 16, 25; sec .Animals. Zoothemis, 419. Zoteles, 419. 596 OF THIS BOOK AN EDITION Of I, GOG COPIES HAS BEEN PRINTED NOVEMBER, 1914 UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. . ,UN -^ ^ "^^'^ JUL 2 9 195C AUG 2 -RECf, 0\SCH^R( ;E-URl MAR 2 8 RECO AUG 1^ , T978 nOV2^^^^^ Wtt-^i^;^M8fe A\^^ : 2 1981 ' - NOV . ^^^ if)74 Form L9-25m-8, '46(9852)444 'ivr.,. 'xARV ^^O^NlAi J/ !{iiMiiiiiiiii!ii!iriitii|ini|iH||i! 3 1158 00316 2996 A^/ UC SOUTHERN REGIONAL LIBRARY FACILITY AA 000 151866