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 FT<KA(,()1 I \ Ik.UKF.S \2()
Numbers 2001 2 530 332
xi
lABl.l-: OF CONTHNTS
Tni: CxMi.ix rioN oi Lamps pacii
Numbers :!soi 2im) 365
Ihi-; C'.oi i.i;c;ru)N 01 Cioiu and Silver Ornaments
Nunibors ^ooo 4050 373
I'm-; Colli c;i ION oi- I'lNCbR-RiNCS
Numbers 4051 42()() 405
I'm; C'.OLLI-CTION Ol- C^VLINDbRS AND OTHHR OriHNTAL
SliAL-STONl-.S
Numbers 4300-4350 429
I'lll: CoLLIiCITON OF VhSShLS OK GOLD, SlLVbR, ANdGiLDED
Bronze
Numbers 4551-4399 457
The CoLLEciioN ok Bronzes and Objects ok Iron
Numbers 4601-3030 471
The CoLLECiTON of Glass
Numbers 305 1-3805 503
The Collection ok Ivory, Bone, Shell and Lead
Numbers 59()i-59(S5 517
AiM'ENDix OF Inscriptions
Phoenician Inscriptions 521
Cypriote Inscriptions 325
Inscriptions in Cjreek and C\priote characters together 343
Greek Inscriptions 347
Cuneiform Inscriptions 355
Sassanian Inscriptions 557
Indices
Tables of Reference 561
General Index 579
XII
INTRODUCTION
LUIGI PALMA DI CESNOLA was born on July 29, 1832, near
Turin, in North Italy, and was educated as a soldier. He
served in the Austrian War of 1848, and in the Crimea; but
in i860 he left Ital\' for New York, where he founded a
military school for officers, and in due course took part in the Civil
War as Colonel of the Fourth Cavalry Regiment of New York. On
June 17, 1863, he was wounded and captured at Aldie, in Virginia,
and was detained in the Libby Prison. Liberated early in 1864, he
served again as Brigadier, and at the close of the war left the service,
with the rank of Brigadier-General, to represent the United States
as Consul in C\prus.
Cesnola landed in C\prus on Christmas Da\', 1865. The duties
of his Consulate were not heav}-, and became much lighter when
the usual trials of strength had satisfied the Turks that he was
not to be trifled with. He had, therefore, ample leisure to devote
himself to other interests.
THE SEARCH FOR ANTIQUITIHS IN C.'i I'RIS
It happened that prccisel\- in those \ears the antiquities of the
island were beginning to attract more than local attention. The
(^vpriote peasantry have ever treated the relics of their ancestors
with a le\itv and cupidity rare e\en in the l.exant. Tomb-
robbing was, and is, a nighll)' amusement, and European residents
have seldom seen reascm t<j discourage this traflic, or fcjrego their
share of the sjioil. (^'snola's British ccjlleague from 18O5 to 1868,
Mr. r. B. Sandwith, was an ardent collector, and published, rather
later, a paper of fundamental importance on the ancient styles
of pottery; and Sandwith's successor, .Mr. K. H. I.ang, an old
resident (jf Larnaca and .Manager of the Ottoman Bank there,
enriched the museums of Lon Ion and (dasgow b}- careful exca-
IN 1 KODlcnON
vat ions in sanLtuarii.'s and nmibs at I li a lion, and laid the foundations
of oLir knowK'di^o of (^\priolc >culpliir\'. 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<S66, though Kotsch\''s travels in the island belong to the
later fifties; and the contemporary archaeological work of the two
French scholars, the Comte dc Mas Latrie, and the Marquis Mel-
chior de Vogue, had been mainly devoted, like that of Renan in
Phoenicia, to buildings and inscriptions which were already above
ground. De X'ogue had indeed reported a few small excavations
in 1862; but his first paper on the inscriptions, by which he is best
remembered, was not published until 1866; and the decipherment
of the native s\stem of writing, as is well known, was not achieved
till 1872. How little could be made b\' contemporary experts,
even of the completed work of Cesnola, is shown by the appendix,
On the Pottery oj Cyprus, contributed by the late Dr. A. S.
Murray, of the British .Museum, to Cesnola's Cyprus, which was
published in 1877. The sequence of st\les, rightl}' analxsed by
Sandwith in that \ear, is there still unrecognized. In spite of
Schliemann's work at .M\-cenae itself, completed in i87(), the fine
Mycenaean chariot-vases (Nos. 436-7) were thought to "resemble
Greek vases of the third stage." Sir (diaries Newton's identification
of this fabric with that of the \ases from IaI\sos, and his proof
that they were all alike pre-Hellenic, were definilel\' rejected.
It was expressl)' contended, even, that in this enchanted island
almost all styles of potter)' were in use concurrently at almost all
periods. This last belief, indeed, was cjuite widel\- held, and did
not give wav finall\', before fresh exidence, till after 1890.
In 1865, therefore, the archaeological position was this. Pre-
liminar\' explorations had begun; the attention of scholars was
anjused; ami a start was being made with interpretation. The
moment certainlv was near when (^xjirus must be won for archae-
olog\-, and "digging" be transformed from a mischievous pastime
into a weapon of historical science. With Cesnola's opportunities,
an archaeological genius had the chance to anticipate modern
work by a generation; it was a pit\- but no fault of (k'snola —
that the United States Consul in (^\'prus was not an archaeological
genius.
XV
INTRODUCTION
It is easier to excuse neglect of scientific precautions than exag-
geration or misstatement. In the few instances where the tombs
which Cesnola opened can be identified, as at Amathus, his measure-
ments of their depth are unsupported bv extant remains; more com-
monI\' still they are out of accord with other exca\ators' experience
(see, however, Perrot-Chipiez, Hisioirc Je I'Art, III, 219, note);
and the famous "Treasure of Curium," circumstantiall\' described
in Chapter XI of his book, is a mvstery which cannot be cleared
up. All attempts to locate the treasure chambers of which Cesnola
gives a plan in his book have failed, and the occurrence of objects
of so man\- different periods in the " Treasure" itself is very difficult
to coordinate with our other knowledge of ancient Cyprus. The
majoritx' of these objects are precisel\- like the rich tomb-jewelry
of Curium and its neighbourhood; a few are of kinds and stvles
which are most unlikely to have been brought together at Curium
in antiquity. Though Cesnola certainl\- kept some record of his
work, and though the stor\' of his excavation was published soon
enough to be challenged, if it was untrue, b}' contemporaries and
neighbours, and to be acceptable in main outline as evidence of
its extent and \ariet\', \et his Collection was left at his death un-
accompanied by first-hand documents; nor has it been possible
as \'et to rediscox'er note-books or diaries from which to reconstruct
its historv. E\-en the localities to which indixidual objects are
ascribed, in the Handbooks and .Atlas published under his super-
vision, are not alwa>'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 <mi the Philistine coast and in contem-
porar\ t(jmbs from the neighbourhood of (^arLhemish.
In the second or midtlle period of the Iron Age, the ilisuse of
bronze for implements is complete, and the decorati\e art is pureh'
geometrical; e.ycii when circles are empIo\'ed, the\' are made not
XXXll
ANCIENT CYPRUS IN HISTORY AND CULTURE
freehand, but geonietriLall\- with compasses; conelusixe evidence
of the workman's distrust of his hand. We ma\- well describe
this, therefore, as the "Geometrical" period. I'oreign imports
are almost absent; rare vases of geometric st\le from the .Aegean,
rareHittite seal-stones from the mainland; all copied locally, and the
latter, in their rougher examples not easily distinguished from the
local copies. Tombs of this period are not common, and the ana-
logy of the cemeteries near Carchemish suggests that cremation
may ha\e had a temporar\' vogue. I his Geometric Period may
be taken to begin about looo and last till about 750.
In the third period, on the other hand. Oriental influences re-
appear, and rapidl\- predominate. The reason for this was two-
fold. The old kingdom of Ass\ria, in the middle basin of the
Tigris, had already twice won and lost an empire, before it entered,
in 745, on a third cx'cle of conquests, which culminated in a con-
quest of Kg\'pt in 668-4 'ii'id ended in abrupt ruin and partition
shortl}' before 600. The earlier stages of ad\ancc were rapid.
The Euphrates was crossed about 742. Damascus, the greatest
junction of land routes in Western /\sia, opened its gates ten years
later. Tvre surrendered in 722, and the king of Egypt was beaten
on his own frontier in 720. Ten \ears more, and an Ass\'rian arm\-
occupied (j'licia, and threatened to in\ade Cappadocia. But
to invade Asia Minor b\' that coast road, without guarding against
raids from o\er sea, would ha\e been reckless, and it testifies both
to Assyrian polic\' and to the real importance of (^\prus, that in
709 seven kings of (]\'prus came to do homage to Sargon II, and
set up his rec(jrd of their surrender on the citadel of Kition. The
monument is now in Berlin. Their submission max ha\e been
little more than nominal, but it rexcals a li\ely interest in the
politics of the mainland, and also the exislenci' of a sxstem of small
kingdoms in C^\prus, of which we ha\e more proofs later.
(,F-;i-l-.KS AM) IMIOl.MCIANS IN Cil'KlS
I he other cause of acti\it\' in (>\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(<o. I'.xj'lorai ion of the Pdack Sea
XXX iii
INTRODUCTION
began hut little later; and the name Ya\ana or "Ionian" Greek
is used by Sargon to describe an oversea enemw and again for
a similar intruder at Ashdod in Philistia, and again in 709 for an
island which can onl\' be C\prus; and then in (k)(S for a seaborne
enem\' which harried the shoreward flank of an Ass\rian arm\' in
Cilicia. All this throws light on the Greek traditional "List of
Seapowers," in which C\prus stands next before Phoenicia, and
after Phr\'gia, Thrace, and others of the regions most disturbed
b\- the Northern Invaders. The "Phr\gian Seapower" is doubtless
the seaward aspect of that new landpower in Asia Minor which was
the principal northward anxiet}' of the rising Ass\ria, the historical
basis of Greek legends about Midas and his gold, and the source
whence Cxprus was deriving so man\' mainland seal-stones, during
the Geometrical Period. The traditional dates for these seapowers
are imperfecth- recorded and variousl)' interpreted, but it seems
probable that this "Seapower of C\prus" began about 742, when
Phr\'gian prestige was waning, and ended with the submission of
its kings to Sargon in 709. This surrender gave to T>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, i<S88.
Ohnhi"alsch-Richti;r, M. K\pros, the Bible, and Homer. (Ger-
man and Fnglish editions.) 2 vols., c]uarto, Berlin and Lon-
don, i8c)^.
Johnston, C. The .Marburg Collection of Cypriote .-\ntit]uities.
(Jour, of Amer. Or. Soc. XXII, p. 18.) Octavo, Boston, iQoi.
Hill, G. F. Catalogue of the Greek C^oins of C\'prus. (British
.Museum Catalogue, with historical introduction.) Octavo,
London, 1904.
Lighten BERG, R. Fr. von. Beitriige zur altesten Geschichte von
K\pros. (.Mitth. N'orderasiat. Ges. xi, pp. 125-202.) Octavo,
Berlin, 1906.
Hogarth, D. G. Ionia and the East, octavo, Oxford, 1907.
RiDDER, .A. DE. Collection de Clercq, V, Lcs .-Xntitiuites ch\'-
priotes. (Historical introduction, sculpture, terracottas,
\ases.) Quarto, Paris, 1908.
DtssAiD, R. Les Ci\iIisations pre-helleniques. (Ch. iv deals
with the Bronze Age in C\prus.) Octavo, Paris, 1910.
.Myres, J. L. C\prus. (.Article in Encx'clopaedia Britannica,
nth edition.) Quarto, Cambridge (Eng.), 1910.
PoLLSEN, F. Der Orient und die friih-gricchische Kunst, octavo,
Leipzig, 191 2.
CULTS AND SANCTUARIES
Hall, I. H. A Temple of Zeus Labranios in C\prus. (Proc. .\m.
Or. Soc. at New Haven, October, 1883.) Octavo, New York,
1883.
Enmann, .a. K\pros und der Ursprung des .Aphrodite-kultus.
(.Mem. Acad. Imp. Sciences ,\T I, X.XXIV, 13.) Quarto, St.
Petersburg, 18S6.
xl\ i
SELEClF.n BIBLIOGRAPHY
James, M. R. Paphos. (jour. Hell. Studies XI.) Octavo,
London, 1890.
Ohnefalsch-Richter, M. Die antiken Cultusstiittcn auf K\pros,
quarto, Berlin, 1891.
Reinach, S. ApoUon Opaon a Chypre. (Revue des Etudes
Cjrecques, 11, pp. 226-233.) Octavo, Paris, 1889.
POTTERY
Sandwith, T. B. Styles of Potterx' found in Ancient Tombs in
C\prus. (Archaeologia xlv, pp. 127-143.) Quarto, London,
1880.
Froehner, W. Catalogue illustre de la collection dc AL Albert
Barre . . . poterie et \erres chxpriotes, quarto, Paris,
1878.
PoTTiER, E. Catalogue des \ases antiques de terre-cuite du
Louvre. (Chxpre, pp. 82-118.) Duodecimo, Paris, 1896.
— ■ — Vases antiques du Lou\rc. (Ch\pre, pp. 5-10.) Quarto,
Paris, 1897.
Nicole, G. Catalogues des vases chypriotcs des Musees de Con-
stantinople et d'.-Xthenes fBull. de I'lnst. Genc'\ois, xxxvii),
octa\-o, Cjene\a, 1906.
Walters, H. B. Catalogue of the Greek and Faruscan N'ases in
the British .Museum, 1, part i. (C]\priote vases: C. 1-1049.)
Octavo, London, 191 2.
SCULPTURE
Vidal-Lablache.. Statuette chxpriote du Musee d'.\thenes.
(Rev. Arch. N. S. xix, p. 341), octaxo, Paris, i8()9.
Lenormant, \- . Statues iconitjues du Temple d'Athienau. (Ciaz.
Arch, iv, p. 192.) Quarto, Paris, 1878.
Omni EALscH-RicMTER, .M. lleiligthum xon .Ajiollo bei \'oni.
(.Mitth. des Arch. Inst, .\lhen. ix, pp. 127 159.) Octaxo,
Athens, i,SS4.
.M (-.KRiAM, A. ( ]. Gerxon in (Aprus. (Chissical Studies in honour
ol 11. Drisler, ]ip. 204 217.) ()ct;ivo. New ^'ork, i8()4.
(^vfiriote 1 leads in the Mel ro|iolit;in .Museum, New \'()rk.
(Am. Jour. Arch. \iii, pp. \X.\ if^<).) Octaxo, Princeton, iS()4.
xl\ ii
SlIlXniD BIBLIOCRAI'HY
l)i(i\N\, W. Ia's Apolloii^ archaiqucs, cjuarto, (jeneva, igoQ.
.MxKKinis. .M. A Marble Head from C\prus. (Jour. Hell.
Sukiies
xxxiii, pp. 4S-().) ()cta\o, London, 1913.
TERRACOriAS
Htizi-.^, I., ('atalogue des figurines anticjues de terrc-euite du
!.()U\"re. 1 ((-Inpre, pp. 114-203), duodecimo, Paris, 1882.
l.es I'igurines antiques de terre-euite du Louxre, folio, Paris,
1883.
W'alikrs, H. B. (Catalogue of the Terracottas of the British
Museum. i(]\"prus: .\. i-4()8.) Ouarto, London, IQ03.
W'iNihK, 1'. Die 'I"\pen der figurlichen Terracotten, quarto,
Stuttgart, 1903.
DioNN A. W. La Statuaire ceramique a C'.h\pre, octa\'o, Geneva,
ic)o8.
LA .MPS
DtoNNA, W. Les Lampes antiques de Delos. (Bull. Corresp.
Hell, xxxii, pp. i33-i7(): the onl\- recent attempt to classifx'
t\pes.) Octa\"o, .Athens, 1908.
GOLD ORNA.MEXTS
Cesnola. .X. p. di. On Specimens of .Ancient G<ildsmiths' .Art
found in (Cyprus. Octax'o, 1883.
FoNTENAV, L. Les Bijoux anciens et moderncs, Paris, 1887.
Nalh. j. L'ne Plaque en or mxcc'nienne decouxerte a (dixpre.
(Re\'. Arch, xxxi, p. 333.) Octa\'o, Paris, i8()7.
HAnAC/.i K. K. Der Ohrschmuck der Griechen und Etrusker.
(Abh. .\rch-Lpigr. Seminar d. L'niw W'iens, xi\', i.) Octa\o,
X'ienna, 1903.
PoLi.AK, L. Klassische-antike Goldschmiede-arbeit im Besitzc
Sr. b.xc. .A. J. xon Xelidow, i|uarto, Leipzig, i()0V
AL\R--HAi.i., b. 11. (Catalogue of the Finger-rings in the British
Museum, (ireek, Ltruscan. and Roman, quarto, London,
l()OV
('atalogue of the Je\velr\- in the British .Museum, (;reek,
b.truscan, and Roman, quarto, London, 1911.
xl\ iii
SELECTED BIBLIOGRAPHY
ScHAFER, H. Aegyptische Goldschmiedearbcitcn. (K. Museen
zu Berlin: Mitth. aus d. Aeg\'pt. Sammlung, I.) Quarto,
Berlin, 191 o.
ScHREiBER, G. T. Die alexandrinischc Toreutik. (Abh. d. k.
sachs. Cos. d. Wiss. [phil-hist. Kl.] xiv, pp. 271, 479.)
Leipzig, 1894.
ENGRAVED STONES
Sayce, a. H. The Bab\lonian Cylinders found b\' General di
Cesnola in the Ireasurx' of the Temple of Curium. (Trans.
See. Bibl. Arch, v, part 2, pp. 441-44.) Octavo, London, 1H77.
Menant, J. Recherches sur la glx'ptique orientale, 2 vols., octavo,
Paris, 1883-6.
CoNZE, A. Siegelring aus Cx'pern. (.\rch. Zeit. xlii, p. 166.)
Quarto, Berlin, 1884.
Bezold, C. Fund auf C\pern. (Zeit. f. Keilinschrift, ii, p. 191.)
Octavo, Leipzig, 1885.
S.MiTH, A. H. (^.atalogue of Engraved (jems in the British .Mu-
seum, octa\'o, London, 1888.
Babelon, E- (Catalogue des came'es antiques et modernes de la
Bibliotheque nationale, 2 xols., octaxo, Paris, 1897.
Flr rwANOLhR, .-\. Die antike Gemmen; Ck'schichte der Stein-
schneidekunst im klassischen Allerlhum, 3 \ols., tjuarto,
Berlin, 1900.
I;NGRA\LD SllAI'.R BOWLS
Clermon i-CjANNEAr, (I. S. Etudes d'archc'ologie orienlale;
L'Imagerie phenicienne. 1. La (>oupe 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<S.
An .Archaic Patera from Kourion. (Am. Jour. .Arch. i\',
pp. |C)() 171.) Octa\(). l)Oslon, iSSS.
.A Phoenician liowl in ihe .Melropulitan .Museum. (,\m.
Jour. ,\rch. \ii, ))p. K) 24.) Oclavo, I'xislon, iS()i.
Ri^^iN(,, !'. \()N. line P)ron/e-sclKilr m\ kenischer Zeil. (Jahrb.
d. Arch. Inst, xiii, pp. 2H- -■,(>.] 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
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Renan, E. Notice sur huit fragments de pateres en bronze por-
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Savants.) Quarto, Paris, 1877.
Corpus Inscriptionl.m Semiticarum, Pars I, Tom. I, Cap. II,
pp. 35 fT., Inscriptiones Phoeniciae in insula Cypri repertae,
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EuTiNG, Julius. Zwei bilingue Inschriften aus Tamassos. (Sit-
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Berger, Ph. .Memoire sur deux nouvelles inscriptions pheni-
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.Memoire sur une inscription phenicienne de Larnaka.
(.Acad, des Inscr. et B. L., Nov 17 et Dec. 16, 1883.) Quarto,
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INSCRIPTIONS: CYPRIOTE
Vogue, Comti; .Mi-.lchior de. Inscrijnions chypriotcs inedites.
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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.
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Brandis. L \ ersuch zur Lntzifferung der k\'prischen Schrift.
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Die Inschrift von Idalion und das kxprische S\'llabar,
octa\'o, Jena, 1874.
Sammlung k\prischer Inschriften in epichorischer Schrift.
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Meyer, G. Zu den kx'prischen Inschriften. (Xeue Jahrb. f.
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Hall, Isaac H. The C\'priote Inscriptions of the di Cesnola
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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<jwe\er, it is cjuite dull.
25
THI-; COI.LlxniON OF POTTERY
Wall
Cases
S, <).
and 7
The forms are essentially ihe same as in the Red Polished and the
Red and Black Slip Wares. The principal new suggestions come
still, as Lx'lore, from gourd-^•essels, basketry, and leather-work.
The \ases seldom ha\e any standing-liase, but are often provided
with tripod legs instead (iHi, 193, 198-202). Animal-shaped
vases are \er\' common and of refreshing vigour. The ornament
still consists almost wholly of geometrical figures, suggestive of
basket r\' or other coarse textiles. Being made of a much finer clay
than those of the Red Polished Ware, these painted vases are
generally much smaller, and more delicately formed: a few large
examples, howe\er, occur (173, 240-243).
The painted ornament shows great variety: 177 has large black
chequers; I7(S lattice panels; hSoand 182 alternate groups of straight
and wa\}' lines, running vertically downwards from the neck, all
round the \ase. On the other hand, 179 is ornamented in horizon-
tal gores, and is represented as if composed of two lateral halves,
connected b\' a single vertical band down the front of the vase.
This ornament also seems to imitate some kind of basketry woven
round a natural gourd: compare the basket pattern of the bowls
184, 185. Small painted circles are introduced \er\- rarel\- (191-
192, 264).
' 74 1 77
173-176. A.MPiiORAi, with globular bod\-, and cylindrical neck of
the same general form as 15 1-3 in Wail-C^ase 4. The neck of
176 is so narrow as to class it rather as a bottle than an amphora,
but it retains its two handles on the shoulder. Hs. 1 1 {'r. in.
— 5'iil in. II, 772 (174)-
26
MIDDLE BRONZE AGE,
FABRIC III
177-183. Narrow-necked Jlc.s, with globular bodies; 181 has
tripod feet; all show elaborate ornament of chequers and
basketry. Hs. 9^ in. — 4^ in. "> 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<S5-(). Wioh-NHCKHD JiiGS, with long neck of slightly concave
outline, more or less wide, with one vertical handle of flat
section, surmounted in 283-5 by a prominent flat thumb-hold.
Hs. lOi'V in. — 5t in. C\prus, p. 408, fig. 29; Perrot, fig.
480, (283). 11, 766 (284).
287-9. Narrowlr-necked Jugs, with plain handle, and slightly
pinched lip. Us. gl in., 8| in., 4! in.
290. Globular Jl g, of less regular form, with narrow, tapering
neck and funnel-shaped rim. Compare 315-17 in Floor-Case
11. H. 7I in.
292
291-9. Smaller Bowls, with rounded or flattened under side.
Occasionally, there is a standing-foot (293, 296, 298), usuallv
decorated with a simple cross on the under side. The principal
variants in the regular fabrics are illustrated by 291-6; while
297-9 are inferior imitations of it, in rather different clay.
Ds. 7^ in.— 3J in.
floor Selected examples of large size or special interest are exhibited in
Case Idoor-Case 11. They repeat for the most part the characteristic
forms already described.
300-305. Hemispherical Bowls like 281, but larger, except 305;
of these, 300-301 are of normal t\pe; 302, 304 have a trough
spout below the rim, like the large red-ware milk bowls in
Floor Case 1; 303 has a tubular spout and also two lateral
handles instead of one opposite to the spout. The standing-
base of 305 has been extemporized by simply pressing in the
34
30?
THH COLLFCTION OF POTTERY
! I(i(ir bottom. The slip of this example is unusuall\' porous, and
^"^j^*: has absorbed and spoiled the paint. Ds. 12 in. — 5! in.
II, 762 (303).
306-10. Bowls with Upright Rim, like 282 in Wall-Case 8.
The scale-pattern on the neck of 310 is unusual: it may be
borrowed from the M\cenaean scale-pattern which is common
in Fabric xi; for example, on 447 in Floor-Case I IF Hs.
lOj in. — 84 in. Cx'prus, p. 24. II, 761 (310).
311-313. High-necked Jugs, with horned handle like 283-5 i"
Wall-Case 8. The decoration of 313 is unusuall\' elaborate,
and the horn of the handle is modelled into a human figure.
Hs. ii| in., lOg in., 8| in., 11, 765 (313).
314. Narrow-necked Jug, like 287-8 in Wall-Case 8, but with
more elaborate ornament, including unusual wav\' lines on the
neck. These were clearly applied simultaneously by using
a bundle of small brushes: a device alread\" familiar from the
decoration of 280 in Fabric i\'. H. c)-i\ in.
315-7. Narrow-necked Jugs or Bottles, of unusually delicate
qualit}-; 315-316 ha\e a white slip, so hard as to be almost
gloss\', and the painting also is exceptionall}' fine: compare
British Museum C. 175-6 (the former a Cesnola specimen) which
in the British Museum Catalogue of Vases are wrongly ascribed
to Fabric ix (=CMC. I. 4.) Hs. 7-,",., in., 7 in., 8| in
II, 760, 764 (316, 317).
FABRIC VI. BASF - RING WARE
Wall The Base-Ring Ware was originally so called because it is the
Cases earliest fabric in C\prus which habitually provides its vases with
9, 10 . . . ■ ' -^ ^
a distinct standing-base, formed b>' 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<S-344, show a rim thickened, as if
formed of two la\ers of material, and a flat strap-like handle, con-
nected with the neck of the \'ase h\- a double collar. A pair of
ri'iief-bands run up the front of the b()d\-, and return outwards in
a spiral form, on each sidcof the \essel ( vv'^-341, 3Si)- Thegeneral
I'lfect is that of a pair of horns, but probabl)' liie original intention
was lo represt'Ut, in leather-work, seams like those on the coxering
of a lawn-tc'nnis ball. Similar seams run verlicallv up the front
ol some of the \ascs ( ]^\], -(44), and are sometimes combined with
hon/ontal banils as on 550. Ihr sjiirals t liemscK t-s are sometimes
ri4ilaced bv sinuous bands (545, ^7- 34'"'' 3^'?'> '"""-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<S), shown with other
small \ases in the lower part of Wall-Case 13. The principal forms,
which are common to this and the following group (c) of "painted
Bucchero," are as follows:
461. Oinochoe, with pinched lip, o\oid body, and usual!}' a
distinct, well-modelled foot. H. i i in.
462-3. Amphorai, with narrow neck, bod\' like that of the
oinochoe 461, and two handles, which are usuallx' surmounted
b\' a small horn or knob. These "horned" handles are a
sur\ival from the Late Bronze Age, and are highl\- developed
on the flat plates of the next group, 469-70, and on the con-
temporar\- plates of the White Painted Ware 5()o-3 in Wall-
Case 16. Hs. 1 1] in., 94 in.
464-!;. " Krathr-a.mphorai," commonl\- called "kratcrs" in
C\prus, with wide mouth, and vertical handles from rim to
shoulder. The\' stand sometimes on a low foot, 465; some-
times on a high one, 464. On one handle of 465 is a small
bowl, as in the C\pro-.M_\cenaean vase 400 in Wall-Case 12.
Hs. 9^ in., 8 in.
56
EARLY IRON AGE.
FABRIC XIII
(c) PAINTHD BLCCHHRO, OF LIGHT CLAY, PARTIALLY
BLACKEN LD, WITH I'AINTHD ORNAMENTS, 466-47O
Developed out of this "black-coated" fabric is a peculiar variety Waii
in which the black coating and grooved modelling are only applied Case
to part of the vase; while other parts, where the natural light- '^
coloured cla\' is exposed, are painted with panels or zones of geo-
metrical designs in dull black; occasionall\' also in the same dull
r.'d as has alread\' been noted in the Late Mx'cenaean \ariet\' 393
in Wall-Case 1 1. The principal stages b\' which this new treatment
gains ground are illustrated b\' studx'ing these \'ases in the following
order; 466, 469-70, 467-8. In the last-named, the black surface
is reduced to a minimum; and the Black Bucchero st\le is
seen passing rapidl\- into a merel\' black-banded variety of
Painted White Ware (Fabric xvi), such as is represented b\-
501-7 in Floor-Case IV.
466. Krater-amphora, with groo\'ed surface like 461-2, and black
slip on the lower part of the bod\', while the shoulder, neck,
and handles are left white, and painted geometricalh'. 1 he
handles are modelled to represent the head of a wild goat,
like the handles on 403 in Wall-C^asc 12. H. 8i'',i in.
4O7-8. Oinochoai, showing a further departure from the original
type, since they have no groo\ing at all. Parts of the \-ase
are simpl\' covered with a black coating, but this coating is
of exactlv the same composition as the paint employed to
decorate the parts which are left white. The ornaments are
all of the triangular forms characteristic of the C^\pro-.M\-cen-
aean fabric 400-16 in Wall-C^ase 12. H. 9!^ in., 61;! in.
469-70. I-'lat Plati:S, with their sides groo\ed and covered like
their horned handles, with black slip. Within the Hat bottom,
howe\er, they ha\'e no slip, but geo-
metrical patterns are painted in black and
red on the white cla\'. This cTiborate
decoration of the bottom is exjilained, if
we remember that such plates were doubt-
less intendi'd lobe hung on the wall
when not in use; their inside is usuall\- ^'x)
tjuile jilain. Compare the plates of White Ware of the same
period, 559-564, in Wall-Case i(), and of Red Ware, 857, in
Wall-(^ase 25. l)s. 8.^, in., t)l in.
THE COLLECTION OF POTTERY
FABRIC XIV.
RED BL'CCHERO FABRICS
Wall
Caso
Side b\' side with the later stages of the Black Bucchero fabrics
there occurs in (;\ prus a well-defined group of what ma\' be con-
venienll\' described as Rc^l Bucchero Wares. The\- range in time
from the beginning of the Iron Age — where they succeed the
W'heelmade Red Ware of the Later Bronze Age (Fabric vii in
Wall-(]ase ii) — down to the eighth or seventh centur\-, b\- which
time the\' appear to ha\e been as completel\- superseded b}' the
Painted Red Ware 801-927 (Fabric xx'ii in Wall-Cases 24, 25, 26
and Idoor-Case \ ID as the Black Bucchero b\- the Painted White
Ware, 301-800 O'abric .\\i in Wall-Cases 14-23, and Floor-Cases
l\-\'l, \ III).
(a'^ TRUE BUCCHERO WITH RED CLAY
THROUGHOUT, 47 1 -478
The Red Bucchero Ware, like the Black, includes several varieties.
The standard fabric has a bright red cla\' of the same colour through-
out, capable of recei\ing a high polish. It is rendered into a \-cr\'
characteristic series of forms, to which should be added the large
amphorai 1)20-1 in Floor-Case \d I.
■473
470
471-3. OiNocHOAi with ovoid bod\', long trumpet-shaped neck,
and pinched lip. Occasionall_\', as in 473, this form has its
b()d\' pinched together into a flat ring shape about a horizontal
axis. H. 92 in. 11, 982 (473J
58
EARLY IRON AGE. FABRIC XIV
474-475. Oi\()CH()Ai,with the neck narrower instcadofwiderabcne,
recalling a well-known bronze type (4919) in the Collection of
Bronzes: on 474 is an inscription \] <^ ^ m apparentl\' which
is discussed with other inscriptions in the Appendix.
Hs. b'l in., 9I in.
476-478. Handle-ridgh Jugs, with characteristic bod\' of an
angular pear shape; the neck has a slight ridge where the handle
joins it, and the rim is either ver\' broad and Hat (476, 477),
or else trumpet-shaped (478). This t\'pe with its "handle-
ridge" recalls one of the commonest forms in the Base-Ring
Fabric of the Later Bronze .Age (338-343 in Wall-Case 10); and
itself persists until the later Graeco-Phoenician period. The
significance of this sur\i\al will be discussed more in detail
under 643 fY. in Wall-Case 19. Hs. 94 in. — 6.} in.
(b) RED BUCCHERO FABRIC WITH PAINTED ORNAMENTS
ON A LIGHTER CLA'i', 479-484
Side b\' side with the standard Red Bucchero, there are found a
few intermediates passing from this towards the Painted Red Wares
of I'abric x\ii.
Wall
Case
'3
}7()-<Si. Handi.e-ridge Jugs, with the characteristic flat rim
alreatl\- noted (476 0".), but globular bod\' Its cla\-, which
is light-coloured, is exposed on ihi' neck, and has the sanu'
black antl red paint as the Hat jMales, ^(x), 470. The rest
of the bodx', howe\er, as well as the broad rim, is coated with
a bright red sli[i like thai of the Retl l)ncchero, and has been
carefull\' polished in imitation of it. On the under side
ol 4S0 i;ni\ on the reel surl^ace of 4''^i are incisetl inscriptions
in the Cypriote svllabic writing : - '^ \ H' 5;- V" and on
.^79 an insi;ription in Plioeiiician ' "1,' ' characters H//i,i'-
59
THF. COLI.FCTION OF POTTFRY
\^ ''" I'hesc are discusscHi with other inscriptions of the same classes
se
M
in the Appendix. lis. 5,',; in., 6^ in., 5} in
4S2-5. Kr.\ii:rs, or wide-mouthed amphorai, with vertical
handles. On 4H2 we ha\e an imitation in the Red Bucchero
of the groo\ed bod\- and wide neck of the Black Bucchero
st\Ie: there is not \et, however, any paint even on the parts
of the \ase which are not grooved. In 483, the grooving of the
bod\' is careless and unmeaning, and the smooth parts —
shoulder, neck, and handles — are decorated with the ordinary
black paint of the Painted Red Ware (I-'abric xvii in Wall-
Clases 24-2(->). 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-<S are small \ases of l-"abric xiii {b) placed here for convenience,
but described on p. 55, under that heading. Hs. 5 in. —
4i in.
FABRIC XV. GREY WARFS AKIN TO BUCCHERO
Other fabrics of unpainted grey or black clay, belonging to the Earl}'
Iron Age, cither imitate the forms of the Cypriote Bucchero, or of
the Red Painted W^are of Fabric xvii, or cop_\' independently', like
the Bucchero itself, from originals in metal. H. 64 in.
489. OiNOCHOti of graceful form, with distinct foot, ovoid bod)',
slender tapering neck, and voluminous trefoil lip; the handle
was flat, but is missing. The cla\' is dark and tough, and there
is a dense sooty-gre\' slip. On the shoulder are concentric
triangles, incised before the black slip was applied. At the
junction of shoulder and neck is a well-marked ridge, suggesting
a metallic original. This fabric is \er\' rare, but seems to be
native, and to belong to the Transiticjnal Period of the Earl}'
Iron Age.
490. OiN'ocHoii of pale gre}' cla\'. slighll}' burnished, with the
groox'ing imitated by incised lines. H. 4 in.
60
EARLY IRON AGE. FABRIC XV
491-4. Miniature Vases of pale grey clay, not burnished, and Wall
closely following the characteristic forms of the Red Painted
Ware 801 ff. in Wall-Cases 24-26; oinochoai 491-2, flat-rimmed
jug 493, and wide-mouthed krater-amphora 494.
Case
13
495-6. Bowls with Lotos Handles boldly modelled in imitation
of those on bowls of bronze such as 4914-15 in the Collection
of Bronzes: 495 is in the same grey clay as 491-4; 496 is an
imitation in a reddish clay with a poor black slip. Ds. 25
in., 4I in.
497. OiNOCHOE of the long-necked form 471-3, characteristic of
Fabric xiv; but in a grey clay rather darker than 491-5. H. 5 I'V
in.
498. OiNOCHOH of a form resembling 497, in a rare and finely
polished fabric of quite black clay. 1 he form occurs in the
sixth ccntur>', 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. ()0<S-i().
if) Masks and P>arrel-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)<S3, 984 (512, 513).
516. Kylix OR Drinking Cup, with geometrical ornament. Ihis
is again a clumsy cop\' of an old Aegean form. The Cypro-
Wail
Case
14
Mycenaean intermediate is 458 in Floor-Case III.
H.
517-19. ANiMAi.-iHiADi-.i) V'asi.s, willi glohular bod\' on a high
foot like that of k\lix si^> ^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. — <S.', in. (~\prus, PI. ii, top right (536).
5 3(). Pi.ATh, painted on the underside, so as to show its (jrnament
when suspended on a wall. This example is placed in this
earliest series, because it appears to be of the local fabric
of Kouklia (p. sC which is l\pical for the whole group.
The form, howe\er, is that of the plates of (^\ priole Bucchero
fabric 4(k)--j() in Wall-C^ase 1 3, and the large series of rather
later plates 559 ff. in \\'all-(^ase lO. 1). S I'V, in.
540. Si'oL r-JuG, with narrow neck ami wheelmade trough-spout
in one side. These spout-jugs, whicli ha\e a long ancestry
in the luirlier Bronze Age, ;ire rare in the .Mxcenaean and
(>\'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<S in Floor-Case
III, and 516 in Wall-Case 14; and become
broader, shallower, and of more angular
profile. The}- are decorated with one or
more zones of ornament, often elaborate,
but at first wholl\- geometrical. Later, this
t\'pe passes on into that of the kviikcs with ornament of lotos
and birds, 678-(So in Wall-Case 20. The rudeh' drawn rosettes
on 596 are a foretaste of this floral ornament: compare those
of 666 in Wall-(^ase iq. Hs. yh in., 7 in. Ds. 7 in., 9} in.
597. Krathr, with short vertical neck like the amphorai 608-16
in Idoor-Case \', but with handles set verticall\- from rim to
shoulder. Geometrical panels occupx' the neck. H. i i 1;! in.
(c) VASI-:S WITH PLAIN-BODIIiD UI-XORATION. 598-9
The two oinochoai 598, 599, are earlv examples of an important
series which is more full\' illustrated in Wa!l-
C]ases2i and 22, and in Floor-Case \'l 1 1. In this
series the bod\' is left quite free from the ordinarx'
banded decoration, so that large geometrical
ornaments can be painted upon its whole surface.
598-9. (JiNocHOAi with simple geometrical orna-
ments on the plain bod}'. The bird-like
outline of the lip is accentuated bv painted
e\es, a dexice which is ver\' popular in all
periods of Cvpriote p(Jtter\', and recalls the
old natixe love of animal-shaped vessels.
Hs. 6s in., 8^ in.
The same abstinence from ornament on the bodv of the \essel is
5y»
74
EARLY IRON AGE. FABRIC XVI
shown bv the simple bowls 5(S2, 583, and by the small one-handled
bottles, 631, 634 in Wall-Case 18.
(d) VASES WITH CONCHNTRIC-CIRCLI: ORNAMENT. 600-7
In strong contrast with this economy of ornament is the third Wall
principal innovation at this stage in the development of design; ^^'^
namely, the copious use of the "concentric-circle" ornament. This Mid-
ornament was produced by means of a pair of compasses fitted with die
a row of small brushes, so that a whole s\stcm of circles was pro- ^^
duced b\' a single turn of the hand. This multiple brush is an
ancient device in Cyprus, as is seen in Fabric iv of the iMiddle
Bronze Age, and in the grouped lines which are so constant a feature
of the banded ornament on wheelmade vases from the M}cenaean
period onwards. B\' an optical illusion such concentric circles
appear to rotate if the object on which they are painted is moved
unexpectedly: they thus give a peculiar brilliance to the simple
schemes of plain red and black bands within which the\- are usually
employed. Historical!}', the concentric circle appears first as an
improvement on the purely rectilinear ornament of the earliest
incised decoration of the Bronze Age Fabric i (described alread\ on
89-98 in Wall-Case 3); and then, in the Transitional Period of the
Earliest Iron Age, as a blundered attempt to produce by mechanical
means the decorative effect of the AUcenaean spiral ornament,
which has the same optical qualit}'. In many parts of Cjreece
during the Farl\- Iron Age, an intermediate stage is found, in which
the concentric circles are connected b\' oblique tangent lines,
as on the great geometrical \ase 1701 in I'loor-Case IX A. But in
Cyprus this is a clear mark of foreign influence; the nati\-e con-
centric circles always stand quite free, and perhaps betra\', in this
respect, a real though distant affinity with the primitive circle
ornament of the Early Bronze .Age.
600-7. Krater (600), Bowes (602-5), ''''"-' other \'ases with con-
centric-circle ornament. ! he\' are of \arious dales from the
eighth to the sixth cent ur\'. (J)nipare also the larger amjihorai
640-3, and man)' \ases in Wall-Ciases 18-19. Ms. 161'',; in.
~2l in.
This concentric-circle ornament remains pofuihir in all schools
of (A'pnote [lolterv Irom the penml innnedijteK succeetling the
(^x'jiro-.Mvcenaean, down to thr fifth antl fourth centurit's; later
THE COLLECTION OF POTTERY
examples of it have even been found in the same graves with im-
pt)rted Attic \ases of mature and decadent st\ie.
{e) VASHS WriH HLLLI l)h\ laoi'l.O ChOMhlKlC DbCORATlON
()o<S-()i()
.S^^ liv concurrent use of panel decoration and concentric-circle orna-
V ment, and b\- tree emploxment ot red paint, the fuil\- developed
st\ie of the CJeometric Period attains a wide range of rich and ela-
borate ett'ects. These are best displaxed on the necks and shoulders
of the \er\- large amphorai which are characteristic of this period.
6u8. A.Mi'HOKA, with o\()id bod\' and short c\lindrical neck, en-
riched with an elaboratel\' moulded rim,
like a cornice, which is repeated with
some \ariation on ()()()-i2. The form is
altogether clumsier than the transitional
forms in Moor-(^ase 1\', but has strong
character of its own, and some dignit\'.
The main dixisions of neck, shoulder,
and bod\-zone are emphasized bv black
and red bands. While the bodx'-zone,
as usual in (-\priote potterx', is left quite
plain or at most has a wa\\-line orna-
ment, the neck and shoulder are filled
with an elaborate scheme of panel-deco-
ration. On the neck the central panel is filled b\' a character-
istic lozenge, the o\ershot ends of which form lateral tri-
angles resting on the frame of the panel: compare 504-5 in
Flo(jr-Case I\'. These lateral triangles are further enriched by
the "leaf-shaped excrescences" alread\' mentioned (p. 73), in
black like those of the \ases 5()5-7 in W'all-C.ase iq. The central
lozenge is tilled with black and white chequers and the rest of
the panel with a latticed diaper in red. The lateral panels
contain lattice-work, and \ertical rows of discs left white on
a black ground. Ihis earl\' anticipation of a "red-figure"
technique like that of fifth-centurx' Greece, is rare; it recurs in
the white rosettes on ()()() in Moor-Case \'l. (Jn the shoulder
the (;\pro-.M\ cenaean wa\\-line sur\i\es, between two rows
of concentric circles. H. 2 ft. 6 in.
11,^74.
609. .A.Mi'tioKA. The central neck-panel is of simplified form con-
76
()()<S
EARLY IRON AGE. FAFJRIC XVI
sisting merely of diagonal lines. The lateral panels contain
concentric circles, which also form the onl\' decoration of the
shoulder. H. 2 ft. i g in.
610. .Amphora, with central neck-panel like 608. Each lateral
panel is subdi\ided by a \ertical band of narrow lines, flanked
b\' the leaf-shaped excrescence in black, and escorted by
a semicircular ornament in red and black with leaf-shaped
appendages. Compare the vases in the same phase of style
in W'all-C^ases 17 and U). On the shoulder are alternate latticed
triangles and groups of narrow \ertical lines, all adorned with
the leaf motix'e in black. H. 2 ft. 3.^ in. II, 878.
61 1-12. .Ami'Horai with neck-ornament like the k\likes 595-6. The
panels of 61 i are left empt\'; in 612 their ornament resembles
closelv that of the geometrical kxlikes in Wall-Case 17, com-
bining purel}' geometric elements with concentric circles, and
the leaf-shaped moti\e alread\' described. Hs. i ft. [o'i in.,
I ft. 1 1 1 in.
613. KRAfi-.R, with handles \ertical, but the same decoration
as the amphorai. The "leaf-shaped " ornament is developed
to a rather more leaf-like form, and the outline of the elaborate
central triangle is curved instead of rectilinear. H. i ft. 5.^ in.
Floor
Case
V
()i >,
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<S-c)), or com-
bined with horizontal circles (647), or grouped (662) as on the
globular flasks 632-3. The shoulder-zone is often filled with
concentric circles or groups of lines (661). Occasionall)', as
in 651, there are two handles, a rexersion
to the common .Mwenaean form 427, sug-
gested perhaps h\' the contemporarx' flasks 630,
655-6 in Wall-C^ase iS, and \erv common in
the Red Painted Ware Soc) IT. in Wall-Case 24.
The flat lip is often replaced as in 65()-()o, ()()2,
b\- a \er\' characteristic funnel. The tall
conical-bodied jugs ^663-4) and the oinochoe
with elongated bodv (()4(>) 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-<S).
6(So. KvLi.x, of hea\\', somewhat con\ex
profile, and unusuall}' ruddy cla\', with
a fine continuous bod\-zone of close-
ranged lotos-flowers. H. 6^ in.
On man\' small oinochoai and other miniature
vases the lotos ornament simply replaces con-
centric circles. This series, like the preced- q^q
84
EARLY IRON AGE.
FABRIC XVI
ing, develops immediatel}' from the handle-ridge jugs and other Wall
miniature vases, 646-664, of geometric st)le. The forms are the ^^^^
20
same; it is onlv the decoration which is orientalized.
681. OiNOCHOH, showing the lotos flower applied to fill the front
panel between a pair of "vertical circle" schemes. H. 8 in.
682. Spout-Jug, with a design of lotos-petals, rosettes, •A^.
and birds in careless black and red paint. H. 6|-V, in.'xlJ,'
II, 949.
683-9. MiNiATURK Vases, of N'arious forms; handle-ridge jugs
683-5, fticding bottle 686, wine-amphorai 687-8, oinochoe 689;
all showing fully de\elopcd decoration of lotos flowers 683-7,
689, or rosettes 688. Hs. 42- in. — 3I in.
690. OiNOCHoi:, with lotos ornament between \ertical circles, of
unusualh' tine fabric, resembling that of 751 tf., in I'loor-Case
VIII. H.6 in.
691. OiNOCHOH, with an ornament of three conxerging lines alter-
nating with groups of arrow-shaped lines. H. 3] in.
6()2, ()()5. .Mini \n RI-: \'asi:s; deep bowl (()92), and amphora (693),
of fine fabric and geometrical decoration. lis. 2 {[-, in., 3 in.
.'\t the top of \\'all-(^ase 20 are larger \ases which show the same
intriisi(Mi of the lotos, tree, and bird.
694, 695. l,AR(;i-. Two-handlij:) Vasi-s cjf angular profile. ()94
has a guilloche ornament and jxinel decoration of rosettes
and triangles; ()95 has birds of c:\r\v i\pe separated b^■ trees.
Us. lOv in., H\ in.
.Another instructiw series consists of large amphorai with richlx'
decorated neck- and shoulder-zone^. The forms dilfer but little
from those of the pureh' geometrical amiihorai ()0<S-6i6 in Idoor-
85
idoor
Case
VI
Iloor
Case
\ i
THH COLLHCTION OF POTTERY
Case V; but linear ornament ^i\es place rapidly to bold renderings
of the Iig\ptian lotos, with huge lateral petals which recall the
M\cenaean treatment of the iris-tlower, and ma\' be distantly
inspired b\' it. The whole group belongs probably to the seventh
centur}- B. C.
696. Amphora, with shoulder-zone of lotos flowers with interlaced
stems. On the neck, the central panels of an elaborate scheme
are still purel\' geometrical, with lozenges and triangles en-
riched with "lateral excrescences" as in 595-7 above; but the
lateral panels, abo\e the handles of the vase, are filled b\' single
lotos flowers with large red outer petals, strongly recurved,
and black latticed centre. As so often happens in \ase-
painting, the old geometrical panel-motives with lateral ex-
crescences survive on the subordinate zones. H. 2 ft. 8j
in. C\prus, p. 181. II, 885.
697. .A.MPHORA, with wa\\-Iine and triangle ornament on the
shoulder; but a richl\- drawn lotos flower with buds and scrolled
leaves in red and black in the central panels on the neck.
A skilful combination of solid black with black outlines pro-
duces the effect of white petals among the black and red, a
thoroughl\- Egxptian mannerism. In subordinate positions
geometrical panel-motives are still admitted. H. 2 ft. 3 in.
11, 883.
698. Amphora, with a design on the shoulder- and neck-zones of
isolated lotos flowers, superimposed, as if bv an after-thought,
on a scheme of concentric-circle ornament like that of 614-6
86
EARLY IRON AGE. FABRIC XVI
in Floor-Case V. On the neck, the central lotos flowers are Hoor
enriched with an eight-lea\ed rosette on a black ground, a ^■'|
hint of Assyrian influence. H. 2 ft. 5 in. II, 884.
699. Amphora, with elaborate panel decoration, enriched with two
whole zones of the eight-leaved rosettes, on a black ground.
Here, too, lotos flowers are a prominent element in the design,
but the central panels of the neck retain the old-fashioned
latticed work in lozenges and triangles, much enriched with red
paint. The lateral panels have a conventionalized lotos
flower, with latticed centre and swastikas in the field.
H. 2 ft. 2 in. Perrot, fig. 507. II, 882.
700. Amphora, with friezes of lotos flowers and buds on neck and
shoulder, unrestricted by any panel-scheme, but escorted by
a cable ornament in red and white on a black ground.
H. I ft. 8| in. II, 871.
701. Amphora, with the body-zone divided into four panels, each
containing a lotos flower in solid red with black outline, enriched
with the familiar "lateral excrescences." Note the basketry
ornament on the handles, a very common decoration all through
this period. H. io| in. 11,893.
702. Amphora of careless style, with a cable pattern on the body;
the shoulder-zone is divided into panels, each containing a
rosette of numerous leaves. On the neck are the familiar
wavy line and concentric circles. H. I2| in.
(i) OINOCHOAI WITH "vhRTICAL-CIRCLe" ORNAMENT, SOMETIMES
ENRICHED WITH THE LOTOS. 703-72O
While the lotos and its derivatives thus dominate the panels and Vs'all
friezes appropriate to the larger amphorai, they invade also the inter- *^'*^^^
spaces between the "vertical-circle" ornaments of the oinochoai. Upper
This "vertical-circle" ornament, the origin of which has been des- l^ai'i
cribed on 625, 63 i, has a long and popular career as the chief decora-
tion of the large oinochoai. These become very common in tombs
of the late sixth and of the fifth centurv. The two upper shelves
of \Vall-(^ases 21-22-23 show the later development of this series,
which is continued hereafter under 776 ff.
703-4. Oinochoai, nearl\- globular, but already anticipating bv
their loose hea\v outline the characteristic forms of the "bird-
jug" series, 721-40, in the lower shelves of Wall-Ceases 21-22.
«7
Casos
nil-: c.oi.i.ixvi ION oi- poitf.ry
'1"1h'\' are prohahlx' not later than the seventli ccntur\', and
mav well be earlier. 1 hey are cieeorated, like the bird-jugs
and the earlier globular jugs 652-5, with comparatively small
groups of vertical circles. In 704 these have a maltese cross
at their centre, another clear sign ofearlvdate. Hs. i i] in..
\2l in.
Plain-i.iim'hd JVC, of similar earl\' t\'pe, with wav\- lines on
the neck and large s\stems of "\ertical-circle" ornament on
the b()d\'. The central part of these s\stems was not applied
while the \ase was on the wheel, but was drawn freehand as
a single continuous spiral instead of concentric circles. This
variant is fairl>' 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<S-
Q, has a neck of conical shape. The patterns are geometrical
and more carelessl}' drawn, and red paint is introduced.
Hs. 1 0.4 in. — jj in. Perrot, p. (>()(> (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 <tf terracotta; numerous examples of these
"^, are exhibited in tlie (Collection of Terracottas. Besides figures of
men and animals, bells are particularl\' common, and being almost
wholh' wheelmade, are properl\' represented as examples of the
potter's art.
741-6. Bi-LLS of wheelmade cla\', painted with black and red bands
like the white ware vases: the clapper, probablx' a pellet of
baked cla\-, was tied b\- a cord through a small hole at the
crown ni the bell. The handle is formed by a small knob, 741,
which is sometimes replaced by a rude head of an animal,
742, or bird, 744; or a pomegranate, 743, or human head,
745; or the upper part of the bell is furnished in addition with
the arms and shield of a warrior, 746. The last-named has
blue paint as well as black and red. Compare the bell-shaped
figures, 2040-0, in the Collection of Terracottas : the\- all belong
to the .Middle and Later Iron Age, and are commonest in the
earlier part of the period of Oriental influence. Hs. 4I in.
— 2iin. 11,61,257(745,746).
747-50. \'ashs with Bi.uH Paint and othhr Pol'^chrome Dec-
oration. In these vases the red paint is the same as that
on the ordinar\- painted ware, but the black is replaced wholl\'
or in part b\' blue.
The blue pigment is of chalk\- texture, and has often deca\'ed
to a pale green tint: it seems to be composed of the same
materials as the blue glaze of the Egyptian amulets which
become common in the period of Oriental influences and of
the blue-painted potter\' of Eg\pt itself, though the latter
is not recorded from (]\prus. The occurrence of blue paint
in (C\prus ma\' probabl)-, therefore, be regarded as another
SNinptom of contact with Hg\ pt. The blue-painted \ases are
almost alwa\'s small plates and bowls. Fhe forms are the
same as those on the ordinary' White Painted Ware, and
belong for the most part to varieties of the sixth and fifth
centur\' date. 'Phe bell-shaped warrior, 746, shows traces of
the same blue paint instead of black on his shield, and the
plain bell, 742, has blue and \-ellow bands, as well as red and
black.
Later \-ases, 778-(Si in Wall-(Case 23, also show a bright yellow,
in addition to black and red. Yhcv are commonest in tombs
at Amathus of the early fourth centur\', but may perhaps
92
EARLY IRON AGE. FABRIC XVI
begin earlier. Other examples of polxchrome ware, probabl\' ^^'''l
of Hellenistic and Graeeo-Roman date, are()4()-i, 943, 047, ^2
931 in Wall-Case 2(S. Ihe saucer, 74(), has triangular open-
ings cut through it, like v%-7, to imitate openwork in wood or
basketry. Ds. 6h in. — 4^ in.
(1) VASES WITH PICTORIAL DF.SKINS. 751-775
In Floor-Case \'1II are collected together the richest series of the
pictorialh'-decorated \-ases of C\prus which exists in an\- single
museum, together with a few other \ases, 773-5. of rare fabric or
peculiar interest. The pictorial \ases 751. 752 are among the
finest known examples of C^\-priote painted potterw Thev con-
tinue the series of loosel\- shaped globular oinochoai 721-40, alread}-
described, and seem to belong to the se\enth or earl\- sixth centur\'
B. C. Thev are contemporarx', that is, with the Twentx-sixth
D\-nast\- of Eg\-pt; and this date is sustained b\' the character
of the representations.
751. OiNOCHOE WITH SaCRED TrEE AND HlMAX WORSHIPPERS.
On the neck of the vase are wa\\'
lines in red and black, and on
either side of the lip, which is
onl\' slighth' pinched, is a birtl's
e\e composed of concentric cir-
cles. Below the handle, which
has a binding-ornament, is a long
stripe of black paint tapering to
a point, from which issues a bird's
wing on cither side, decorated in ^
red and black.
Ihe whole ot the bod\' is gi\en
up to the princijial ilesign, a pair
of human figures standing on
eithiT side ol an elaboratch con-
75 '
\entional lotos plant which seems
iitTe to lake the phici- ot the "sacred tree." socommonh' repre-
sented in .\ss\rian sculpture. Pxith figures wear long garments
which show a double hem at the neck, anil a seam round the
jimct ion ot arm and botl\ : conifiare 1 he seams on the sculpt ured
tunic of 1032 in Wall-C^ase >,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.
<S()(j-()02. Rino-Vasi-:s, consisting of an annular bod\' which is
sometimes hollow as in S()()-oo2, but in other cases has been
reduced to a mere flat ring or standing-base. The miniature
\'ast's which stand uiton the ring are of dilferent shapes, all
fanuliar from full-sizeil examples. The majoritx' are in Red
lO()
iiiH (:oi.n:c;i ION of poi ihry
^V," Ware, but (S()C) shows two \ases of While Ware associated
",(, witlT three rej ones, and also a small hiinian (i.^ure pla\ing the
Bot- l\re. (Compare the King-\'ases of White Ware, 521-523 in
'""^ Wall-Case 14. where the purpose of these vases is discussed.
Ds. 74 in. — 0;^ in.
903. BiRD-snAi'i-.n \'asi:. with pinched lip and man}' white details.
Compare the While Ware bird-\ase 5^4 in Case 15. H. 4:] in.
Comj-iare also the k)cal fabric of Tricolour Ware which is common
at Amathus in the tiflh and earl\- fourth centur}'; its amphorai
025, ()S3-7 are of rather large size, and are placed for conxenience
in Floor-Case \d 1 1 and in the upper part of Wall-Cases 27-28.
fe) OTHHK I-OCAL IMI rATIONS
\^all Less common than the Tricolour Ware are the other local fabrics
■'^l'' now to be described. The forms and ornaments are essentially
Beldw the same as those of the preceding fabrics.
904-7. \'asi-.s of Rld-Slip Tabric. This is the commonest of
these local imitations. It has a comparati\el\' coarse brick-
red c!a\', concealed b\- a finer slip. (Compare 816-817, ^'""J the
large amphorai, 920-928, in Floor-Case \'II. Hs. 5 in. —
3ni in.
908-9. X'ashs of Dlll-Sui' T'abric. These small jugs have
characteristic forms and dull brown slip; thev seem to belong
to the fifth or fourth centur\-: similar small \'ases were among
the commonest ofl'erings at the great altar of Aphrodite at
Idalion. Hs. 3 A; in.. 4I in.
910-912. \'ases of Buif-Slip Fabric. The characteristic buff
slip is smooth and gloss\- and the paint is dull brown. The
best-known examples, which were all found in tombs at Marion,
are decorated with Creek palmette, lotos, and egg-and-dart
ornaments, and are, apparentl\', of the fourth century. Hs.
4^^ in., 5 1',; in., 4I in.
Wall 913-6. N'asf'^ of DhHP RfdSui' on Liout Clay. In this group
the cla\- is quite light-coloured, but it is wholl\- concealed b\
a deep crimson-red slip. 'Tv-pical forms are the miniature
oinochoai 913-915, and wine-jar 916. The co\ered k\ii.\
863, the plate 867, and the bowl 868, in Wall-Case 25, are
similar work. Occasional touches of white paint 867, 913,
110
Case
2-
HELLENIC AGE. FABRU: XVII
914, mark the affinity of this variety to Fabric d above. Hs.
62 in. — 4iV in.
917. MiNiATURt Jug of pale c\a.y wholly covered with a dark slip, Wall
on which are traces of bands and concentric circles in dull ^^'^
. . . 25
white paint. Similar vases have been tound in Early Iron Bottom
Age tombs at Amathus, together with miniature \ases of the
Standard Red Ware. H. 3:^ in.
918. Miniature Jug of characteristic Red Ware form, executed
in quite black clay like 498 in Wall-Case 13: highly polished
but without ornament. H. 2 8- in.
919 Miniature Oinochoe, elegantly modelled in a fine salmon-
coloured cla\", slightl\' gloss}'. The rings modelled on the neck
suggest a metal protot\pe. The date is quite uncertain.
H. 3l in.
In Floor-Case VI 1 are shown a few unusuall\' large \ases of various Floor
fabrics of the same Painted Red Wares as have been described ^{'^^^^
alread}' in Wall-Cases 24, 25, 26.
920-921. Ami'HOrai, with plain unpaintcd surface; they belong
to the class described as Red Bucchero Ware, 471-8 in Wall-
Case 13. Their multiple handles, with lateral spurs on the
surface of the vase, are suggestive of a metallic model, and
of earl\- date. Hs. i ft. 2f in., i ft. 6^ in. 11, 902-904.
922-4. Krater (922) and Amphorai (923-4) with o\-oid b()d\-, c\'l-
indrical neck, and horizontal (923-4) or vertical (922) handles.
These are the exact counterpart of the geometricall\' painted
White Ware in Floor-Cases IV and \'. The neck and shoulder
of 922 have elaborate central panels, bounded b\- groups of ver-
tical lines, and filled with the customar\' latticed lozenges, tri-
angles, and other geometrical motives: it has the same multijile
handles as 920, 921. On the shoulder-zone of <)2^ is a scheme
of concentric circles, interrupted b\- groups of conventional
trees; on the neck a row of concentric circles jiainted in black
on a band of while, which brings this \ase into the same
tric(jlour class as S79-905 in Wall-(^ase 2(). On the neck of
924 are black cf)ncentric circles on while ground. Hs.
Ill i'l" '5s in-. 22 in. 11, onO (024).
925. A.Mi'iioKA, of a local fabric of iricolour ware, common at
.\mathus in the fifth and earl\' fourth centurv: compart' 055-7
II I
Tin; (OLLIXTION OF POTTERY
Iloor in \\'alI-C,asos 2J-2H. It has conventional trees painted in
Yl'[ while on the red fi;round of the bod\-zone. Above this comes
a white zone with the traditional wa\ y line in black. Above
this, broad and narrow bands in black and red, then dots
on white, then again white dots on black, and on the neck
and rim black lines and zigzag binding on a white ground.
H. 13I in.
926. Amphora of I'abric d like 879-903 above; with red slip and
elaborate schemes of concentric circles. H. 13I in. 11, 903.
927. DbLi> 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 ()<S() ha\e the usual poor reliefs stamped
with a mould; the spout-jug ijHj adapts a well-known C\'priote
t\pe to a new st\le of workmanship. Hs. iOi'',; in. — 2^ in.
C:\prus, p. 230 (()(S()). II, 997, 979, 998 (9S4, 986, 987).
988-9. Cirhi;n Cli AZt-n Bowls, of a cla\- like that of the "terra
sigillata," with tloral spra\'s in relief, pressed in a mould and
eo\ered with a salt-gla/e. The)' are probablx' Graeco-Roman,
but their limits of date are not known exactl}'. Hs. 2\\', in.
— ~s i"-
990. Bt.ACK Slip Bowl in red clay, pressed in a mould, showing
triangle ornament in relief. H. 2',,; in.
9()i. Cvv of light red cla>', 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
<jf these t>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<iinted boss at its centre 'tS1-S), and t lu' sword becomes
onee more short and dagger-liki' (\ 154-3,); 't '''''' '' heaw si^herical
1 5 5
o
1H1-; COLLllCI ION oi- sc:lli'Tlrh
pommel, and is worn almost horizontall\ in the belt. 1 he native
belt and loin-cloth are generalh disearded; the tunic lengthens t
the ankles; and o\er it is worn a hea\ \ cloak, which hangs in straight
tolds from the let't shoulder, and is caught up from behind under
the right arm, and thrown o\er the left shoulder again, displaxing
in front its hea\\' tasselled fringe. The dress of the women is no
less accurately' rendered, as ma\' be seen from the description of
I2()2.
Other Oriental loans are the human-headed and lion-headed
monster 1021, recalling those which guard the palace doorwaxs
of Nine\eh (see the Museum Collection of Casts, No. I52>; 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()<S (1001);
xxxi\-, 2 17 (1005).
1006-7. Fi:m.\lI: \'()i ARIES wcar a long foldless tunic like that
of the men, but no helmet or cloak. On 1007, where the
seams and borders of the tunic are painted red, the sleeves are
seen to reach the wrists, whereas those of the men end close
below the shoulder. The hair frames the forehead in man\'
long rolls, and falls behind in a compact mass to the shoulders.
Both 1006 and 1007 wear a collar of beads with a pendant in
front, and 1007 has also long earrings. The pose of each
is characteristic of a large group of these Notaries: 1006
pla\s a tambourine, like 2054-() in the Collection of 1 erra-
cottas; 1007 holds a flower in her right hand, and lifts with her
left a fold of her skirt like 21C4; compare also the larger and
better-worked Flower-Bearer 126] in l'loor-(^ase XI. The
head of 1006 has been broken, but certain!}' belongs to the bodw
lis. 1 ft. 4 in., ]jI in. Doell, ii, 2, ^S (looC)"!.
1, xx\i, ()(). (i()()7), xxxii, 208 (1006).
loo<S-io. X'oTAiuiis of the same t\pe as looi-s, but less carefullv
w(jrked, and of uncertain sex. The close-fitting cap, howexer,
resembles that of the male Notaries 10^6 If. in \\'all-(^ase
31; it max be intended to represent the hea\ \ l-'.g\[ilian wig,
which comes into fashion in the se\enth centurx', but the rest
of the costLune here is still purelx' .\ss\rian. There is red
paint on loio, and loof) seems to ha\'e been burned, probablx'
in some accitiental tire in the sanctuarv. Hs. n'i in. -si in.
1, xxxii, 2 1 I (i()0(S).
142
Case
29
ORIENTAL STYLE — ASSYRIAN INFLUENCE
loii. Female Votary in a more vigorous st\le, which recalls ^'a'l
the finely-wrought figure 1262 in Floor-Case XI. Its details
go far to explain the stiff flat treatment of 1006-7. ^ he left
foot is advanced, the right hand holds a flower like 1007, and
the left hand lifts a fold of the skirt, like 1006 and 1262.
Like 1262, this votar\' seems to wear a cloak over the tunic,
and a few simple folds of its draper}' are shown. There are
1004
1006
also traces of red paint. The hair is confined on the forehead
b\- a hroad frontlet, and falls parll\' behind the head, partly
in lour parallel locks in front of each shoulder: the artist's
intention is the same as in 1262, but more roughl\- expressed.
H. Ss i'l-
If)i2. Fi.MAi.t-; Votary (upper jxirt onix) of the same tvpe as
ioo(')-7 but rather more adxancecl in st\le, with some atti'mpt
to rendrr the tlraper\- In sh;illow lini's falling from the shoulder.
The hair seems [o be conlinecl by a \eil, and there are large
143
THE COLLIX.TION OF SCULPTURE
double earrings, apparcntl\ of the spiral l\pe like 3()8(S ff. in
tile (Collection of Ornaments. The position of the hands is re-
\ersed; the object held in the left hand is not easil\
recognized. H. 5J in. I,xxxiv, 216.
HOKSHS, HORSh.MhN, AND CHARIOTS, IOI3-18
Wall Next in importance to the Notaries themsehes come the repre-
Case «^entations of their horses and chariots. (Chariots for war, hunting,
29 . . , .
\liddle '"''*J travel were introduced into Cyprus in the .M\cenaean Age;
the art of riding seems to ha\e followed earl\' in the Age of Iron.
.\ votive chariot of stone, on a much larger scale than these, with
four horses, now in the Cvprus .Museum (CMC 6000), was found
in the sanctuarx' of .\pollo at Tamassos and was accompanied b>'
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 (i<M4); iii, <^^ ^^^ (i(>43)-
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 <jf some technical interest.
1059-60. Male V'otarius, wearing like 1054-7 ^'""^ (jreek chiton
and himation, which show man\' traces of red colour '1 he
oblique folds of the himation, where it is draped across the
bod\', are carefulh' distinguished from the \ertical folds ol
the chiton which fall to the feet. The chiton is now longer,
and fits rather more closeh' about the legs, and there is alread}'
some attempt to express the contours of the limbs beneath
160
ARCHAIC CYPRIOTH STYLH
it. The hands of 1059 are extended in an expectant attitude;
and in 1060 the long shoulder-locks and free treatment of the
hair are thoroughly Greek. The pointed cap of 1059, on the
other hand, seems to be imitated from the old nati\e head-
dress; it has now, however, no ear-tlaps. H. i ft. 7 in.
1060. The prominent modelling of the breast gi\es at first
the impression that the figure was intended to be female;
but the dress is certainly that of a man, and this peculiar
modelling will be seen, on comparison with 1351 in Centre-
Case A, and many similar figures of this period in other collec-
tions, to be characteristic of the Cypriote st\ie. H. i ft.
3I in. . 1,1, 294; XX, 39.
Wall
Case
33
1061
1061. Mali-: X'oiaky, with a ver\- high peaked cap (willi ear-llaps
obscurely shown), Cireek chiton descending onl\' to the knee,
and a cloak worn not like a himation, but shawl-fashion o\er
both shoulders, so that both ends fall in formal folds to the
waist. The hair hangs Icjw in frtjnt of the ears, and three
long tresses are brought forward on to ea'.h shoulder. I he
modelling of the features and draprr\- is much in adxance
(T 1059-60, and ma\' be ascribed to the latter part of the sixth
century. 11. i ft. Ss in. Doell, iii, ], -ji). 1, xlii, 274.
1062. .VIali-: Voiary, wearing Lhilon and himation, and the
customary triple locks of hair on each shoulder. I he hands
!9l
34
THH COLl.liC.riON OF SCLLPTLRH
^^ ■'" ha\o boon brokon, but oorlaiiih' bolong to tho tiguro. ( )n
",, tho forohoad is a wroath of loa\os, and in tho right hand a
small branch with luliago. lliis "lustral spra\" is \or\' com-
mon among Notaries of tho Clrook poriod, t'rom tho sixth oonturx'
onwartls: it is bolioxod to ha\o boon usod for sprinkling the
worshippor and his otTorings with wator; comparo tho "bunch
of hx'ssop" which is proscribed as a sprinkler in tho Jewish
ritual. The loa\os are often like those of tho ba\- tree, wiiich
was sacred, in Cjreek lands, to Apollo. .A largo example of
this "lustral spra\" (i 1 59) is exhibited in Wall-Case 40. 1 1.
I I't. \nj in. Dool, iii, 7, 78. 1, l\\ii, 44O.
As the Archaic C\prioto st\lo dexolops, (Ireok intluonco predom-
inates, both in ct)Stumo and attributes, and in tho treatment of
features and draporw The rendering of the hair is ospocialh'
\aried and instructixe, and should be compared with the series
of largo heads 1270 IT. in Floor-C^ase Xill.
\\ all 106^-5, Male \'(rrARiHS, wearing chiton and himation. In 1063,
'.^'^ as in io(m, tho chiton falls onl\' to the knee. Besides the
oblit]ue folds of tho himation, alroadv well understood, a
second set of folds appears now, falling from the left shoulder
as far as tho breast. The hair is \ariousl\' treated; in io()]-4,
there are short curls all o\er the head, a later fashion than the
broad bands and triple plaits of 106^. which go out of \()guo
some while before 500 B. C. Iho red band on the forehead
of 1065 probablx' represents a frontlet, and that on tho nock
of io()4 a necklace: this free use of paint for solid ornaments,
as well as for textile borders and tlat patterns, is not common
before tho end of the sixth centurw' The feminine proporl ions
of 1065 are noteworth\', but tlio dross and pose, as well as tho
features, are cortainlx' intended to bo male: compare loOo
above. Roall\' female Notaries such as 1080-^ are easil\"
distinguished; and in sanctuaries of goddesses, such as those
at Idalion, are in tho same oxorwholming majorit\' as the male
figures in this ("collection, which consist, as alroadv noted
(p. 1251, mainl\- of the contents of two sanctuaries of a male
deit\-, .\pollo. Hs. 1 ft. ^ in. — 7} in.
1. liv, 350 (io()3); kwii, 4^8 (io()4).
Aet in a c<)untr\- shrine at l.e\ koniko e.\ca\ated for theC\4irus .Museum
in it)i 5, red paint is copious on statuettes of the Oriental st>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-<S
in \\'all-(]ase 30. H. Qi'e in. 1, xxi, 48.
1071. -Male Votary' in [ravelling Dress (?). If a chiton is
Case present at all, it must be conceived as ver\' short and close-
35 fitting. The himation is worn shawl-fashion, o\er both
shoulders. Though the figure is male, the proportions of the
bust are feminine. 0\er the left shoulder are slung a bow
and a tlask or bag, which hang behind the elbow, and in the
left hand, which is slightlx' advanced, are se\eral objects,
among them a sword and a qui\ er. Ihe left leg is thrown well
forward as if the figure were on the march, and it is possible
that the figure was dedicated in connection with some journey.
For the pose and dress, compare the earlier figure loOi in
W'all-C^ase 33, and for the equipment the large statue r-js^ in
Centre-Case B. H. 1 ft. 4 in. I, xlii, 272.
1072. .Male \'otar^' holding a Bird, of which onl\' traces
remain. Ihe rendering of the chiton and himation is unus-
uall\' careful, and their different textures are well expressed.
The head, though separated, certainl}' belongs to the bod\';
it shows the hair drawn forward as in 1067 under a wreath
of lea\es, but ends in two rows of curls. Behind the head
it is turned up and confined bv the wreath, in a fashion which
is characteristic of the earl\' fifth centurx' in Greece. 'I'here
is red paint on the e\es and lips. The feet, which wear buckled
shoes, stand on a rough scjuare base, and are not separated like
those of the sixth centur\' figures. H. 2 ft. 3-J in.
I, cxi\-, 813.
1073. .\k\Lh \'()Tar^' HOLDING A BiRD. Hc wears onl\' t he crin kled
chiton, which falls smoothl\- to the feet, with a few simple
folds below the waist. Ihe right hand, which holds a lustra!
spra\-, like ioCk), is raised nearix" to the shoulder instead of
164
MATLRH CYPRIOTE STYLE
being extended; a mark of renewed timidity or incompetence
in the artist. There are manv signs of red paint. H. i ft.
6^ in. 1, cxi\-, <Si4.
i074-(). .Male X'otarihs in chiton and himation: 1075-6 hold )'^ ^"
. Cases
birds. The chiton shows a band of embroidery down the out- ^-^ j(,
side of the sleeve: flat border (1074); zigzag (1075); ke\-fret
in red paint (1076). The seated bird of 1075 (of which only
the tail remains) should be compared with the Priest with
a Dove, 1331 in Centre-Case A. Hs. 2 ft. I in. — i ft. 2fin.
Doell, iv, 7, 91 (1076). 1, Ixvii, 447; Ixvii, 444; Ixvii, 445.
1077-0. HhADS oi- .Malh V'oiarihs, in the same st\ie as the
preceding hgures, but on a rather larger scale. The " feathered"
treatment of the exebrows of 1077 recalls that of the archaic
terracottas 1433-4, 1457 in ldoor-(>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<S. Herakli-.s Wrestling,. Of this interesting group onl\' the
base remains. It shows the coiled tail of the Old Alan of the
Sea, b\- whose side kneels Herakles, wrestling with him as in
the popular representations on C/reek \'ases of the sixth and
fifth centuries, and on gems of earlier date. Behind Herakles
stands another figure, perhaps Herakles' attendant lolaos,
one (jf whcjse feet treads on the upturned sole of his left foot,
while the right hand grasps a piece of drapery which comes
176
MINOR TYPES
from under the monster's tail. On the broken front edge of ^all
the whole group is the right foot of another figure, perhaps g
the goddess Athena, the patron of Herakles, who so often
watches over his labours. About 550-500 B. C. L. 7 in.
I, xxvii, 92.
1109. Miniature Altar, with relief on three sides. In front is
Herakles in combat with the lion, which he seizes with his
left hand by the mane, brandishing his club with his right,
as in 1096. On the right-hand side is a votary, conventionally
posed with hand across body, and on the left another votary
in an attitude of adoration. In a narrow panel above are
traces of another subject, much destroyed. The work is
rough, and the date uncertain, but probably archaic. Com-
pare the inscribed altars 1859-60 and reliefs 1869 (Zeus) and
1870-79 (Apollo) in the Collection of Inscriptions. H. 10 in.
I, xxvii, 85, 87, 89.
1 1 10-13. Hydras or Snakhs, probablx' to commemorate Herakles
as slayer of the Lernaean H\'dra, as the lions 1 101-7 record the
Lion-killer. The sacred snake which is the attribute of
Asklepios the Healer is a more placid beast than these.
1 1 lo-i I are coiled on the corner of a statue base. 1 1 12-3 are
the heads of similar snakes; the\' seem to be of early Hellenic
work, of poor stvle and uncertain date. Hs. 7 in. — 44 in.
I,xx\ii, 91. (i I lo-i i); I, xx\ii, 77,76.
representations of rural deities
Several of the smaller sanctuaries in Cvprus are dedicated to
Shepherds' Patrons and other rural deities, of the same character
as the god Pan among the (Greeks. Some of these local powers were
identified with (jreek g(jds, either absolutely, or with qualifications
like .Xpollcj H\lates (".Xpollo of the Woodland ") at Kurion. Others
bore a descriptive title, like Opaon .Melanthios (" Melanthios the
(companion"), at .^margetti, northwest of Paphos.
Representations of these deities show well how easily Cypriote
sculptors adapted foreign motlels lo local purposes, and also how
the native copies could degenerate through heedless repetition.
The late and blundered figures 1117-H, for example, would have
been almost unintelligible, if il had not been possible lo connect
them with their (jreek original tlirougli so full a set of intermediate
forms as is fortunately assembled here.
177
THE COLLECTION OF SCULPTURE
Wall
Case
37
1 1 14-1S. Pan or Opaon Mhlanthios, represented standing, with
knees slightlx' bent. On his head are two short goat's horns,
and long pointed ears. On his brow the hair rises short and
stiff, and falls in a wide mass behind his shoulders. He wears
nothing but a short cloak drawn round his shoulders and tied
in front; it is the simplest shepherd's dress, in 0.\prus as in
Greece, in his right hand, which falls b\' his side, is a long
shepherd's staff, slightly thickened and cur\ed at the end;
in his left, which just appears beneath the cloak, is a rectangular
object which is probabl\' intended to be the pan-pipes of
rustic melody. The t\'pe is familiar in Greek art from the
fourth centurx' onward; the Cxpriote copies of it are poor and
late, and at last almost unrecognizable.
I I 14 has all the principal details well defined: it is in decadent
st\ie, under late Greek influence, but ma>' 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<S5.
I, Kii, >,()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<id\- is clothed in a single
tight-fitting tunic, whicli ends atiox (,■ 1 he knees, and is decorated
j'n relief with two combats betwt-en a li(iii and a hero (probabl\'
Herakles) who wears a similar tunic. llie three shieKIs are
held in a row before the breast, owrlapping from right to
left, the right-hand shield bi-ing (lutrrmn^l: the\- are tiat and
circular, with NJightlx' raised arm, and each bears a m\ thological
20s
Floor
Xlll
THH COLl.l^Cl ION OF SCULPTURH, SPECIAL SERIES
scene in low relief: on the rif^hl, Perseus beheading the (jorgon
Medusa, in presence of Athena; in the centre, Hcrakles carry-
ing a\va\' one of the Kerkopes on his shoulder, and attacked
by another; on the left, Herakles kneeling and shooting at
a (Centaur. Athena, Perseus, Hcrakles, and the Kerkopes
1292
wear crested helmets, and jtlain round shields; Athena wears
a long robe; both the heroes, and the Gorgon, ha\e short
tunics like that of (kM'xon.
The figure is \igorousl\' executed in the Mixed Oriental sl\ le;
and though much of the surface is much damaged, the details
of the small reliefs can still be seen, rudelv but vigorousl}
rendered. Red paint was frcelx' used for the background,
and also on the figures. It is noteworth\- that the subjects
of these reliefs are all Greek, selected from the achievements
of Herakles and his ancestor Perseus; and that the crested
206
MATURE CYPRIOTH STYLE
helmet and flat round shield are Greek armour of the seventh Floor
and sixth centuries. The figure may probably be dated -J^,^^,
about 600-550 B. C. H. i ft. 8| in. Doell, vii, 8, 187.
Cyprus, p. 156; Perrot, fig. 388. I, Ixxxiii, 544.
1293. Statuette of the Triple Geryon, of smaller and rather
maturer work. The pose, dress, and armour are the same as
in 1292, save that the waist-belt is shown, and the outer
shields both overlap the middle one. On the right shield is a
Catharine-wheel pattern, and on the left a central boss or
rosette surrounded by radial lines. The feet are missing,
but the three right hands, raised for spear throwing, are pre-
served, and also the middle head, which wears a Greek helmet
of early "Corinthian" type, with high fore-and-aft crest,
fixed cheek-pieces, and projecting rim, such as was worn by
heavy-armed infantry in the time of Sennacherib (705-682
B. C). The eyes are large, the nose prominent, and the beard
wedge-shaped and rendered with straight tooling. There
is red colour on the belt. H. 4I in. L. 6f in. Cyprus,
p. 156 (below).
1294. Statuette of the Triple Geryon, very small and rudely
cut, in the same pose as 1292-3; but the shields are smaller
and do not overlap. They have a strong rim, and designs
in obscure relief; on the right, Herakles attacks a seated lion;
on the left, a horse's head, facing to the right. Two heads are
preserved, in helmets with the same raised crest and rim as in
1293; and two raised right hands. That on the left is drilled
partl\' through, as if to hold a metal spear. Though its stvlc is
rude, this figure probabl\- belongs, like 1292-3, to the early sixth
centur}-. H. 2}, in. L. 2I in. Cyprus, p. 156 (abo\e).
FEMALE HEADS IN THE CYPRIOTE STYLE
Though most of the large beardl''ss heads of earlv st\les in the ,-,
h t^ . . Moor
(>)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()) ; i<S, 417 (1347).
I, cxxxix, 1040-2 (,1342-5-6); cxl, 1045.
1348. Ili-AH OF A Clmi-D, with short \va\\' hair and late Hellenic
features, of the same 1\}X' as a marble head from the lY'mple
of Paphos which is ascribed to the fourth or third centurv.
E. A. Clardner, journal of Hellenic Studies, IX, PI. x.
H. 5iin.
134c). ^'oLNo AlALt: X'oiAR'i, about half life-size, standing, bare-
footed, in ample tunic and hea\ \' cloak of Gracco-Roman
fashion. He offers an apple in his left hand; his right rests
in a fold of the cloak. The head is of the same con\cntional
t\pe as 1341-7 and the whole figure illustrates well the class
to which it belongs. H. 3 ft. 42 in. I, cxxxv, 998.
1350. \'()LNc. Okihm AL \'oTAR"»', in the same Phrygian or Persian
cap, loose trousers, and long-slee\ed tunic as 1231 in Wall-
Case 48. The left hand seems to have been extended in front,
but is broken; the right hangs loosel}' b\' the side. The right
knee is thrown forward, as if the figure were running or danc-
ing, but both feet are broken below. The head is separate,
but certainlx' belongs to the bod}'. The limestone of which
this figure is made is of browner tint and different texture
from the material of most of the statues in the (>olk\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 i2<Si in Moor-Case XIII, though that is rather
later in sl\ le. The right arm was cut clear of the side, and
is broken awa\- from the shoulder to the wrist, but the position
of the right hand is clear, where it grasped a bimdle of four
arrows in front of the right thigh; compare the altitude of
the smaller llerakles 1093 in Wall-Case 37. The left hand,
which has als(j been broken awa}' and replaced, now holds erect
222
LIFE-SIZE FIGURES
a very short knotted club, which is separate and does not Centre
belong to the figure for certain, though it is shown in Doell's q^^*^
drawing, made within four or five months of the discover}'.
Another interpretation is suggested by the long curved object
which runs vertically in front of
the left shoulder, and is broken
above and below. This !ooks like
part (probabl}- the string) of a
bow held in the left hand in the
same position as in the smaller
Herakles 1092 in Wall-Case 37.
Though Doell described the fig-
ure as holding both club and bow
or sceptre) it is yet possible that
the indications which suggested
the replacement of this club ma\'
reall}' have represented the part
of the bow which passed through
the left hand; but this point can-
not now be determined, for when
the statue came to New York it
was so heavily encrusted with
lime that even the patterned
border of the kilt was in\isible;
and in removing this incrusta-
tion', parts of the ancient surface
have been damaged. In particu-
lar, it is no longer eas\' to decide
whether the club is of ancient
work or not. It is in any case
disproportionatelx' small for this
statue. The lower leg, though not
recorded b\' Doell, seems to be-
k>ng 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<j moustache. The e\ ehrows have very shallow ridges,
upturned at the end, and the e\ es have the flat prominent
look which marks the transition to mature st\'le. The mouth
and nose are more finelv modelled than usual. There is no
sign of a tunic, and the unusuallx' delicate mcxlelling of the
b(xl\-, and the indication of the navi'I, suggest that none was
worn. Instead, there is a triple invloral collar of heart-shaped,
triangular, and petal-shajied jiattern, like that on I3()2. Ihe
belt has a scale [lattern in small panels, not unlike that on
I 55(). The right siile-f(jld of the kill is folded well across the
left, as in 1360, and has the same ball-fringe; and the central
225
THH COLLECTION OF SCULPTURH
Centre panel descends from within with a design of uraeus-snakes
C ii s e
' Q lotos flowers, and birds, broken away below the knees. This
kilt, unlike most of the kilts in the Collection, is in strict
Kg\ptian fashion. The left arm hangs loosely, and is separate,
but certainlx' belongs to the bod\ ; the right arm is held across
the breast. Both legs are broken awa\' above the knee. There
is red colour on the lips, collar, and belt. About 550 B. C.
H. 4 ft. 3,[ in. Doell, i, (), 43; (^olonna-Ceccaldi, PI. vi, i.
C^N'prus, p. 131; Perrot, tig. 35(S. 1, xliii, 280.
A figuresocarefullx' modelled in Kg\ ptian fashion, so richlv adorned,
and distinguished b\- the Ro\al Oown of Kg\ pt, can hardly have
been meant foranxone but an l£g\ptian king; and the only Egvptian
king who reigned within the period to which this statue belongs is
the king most likel\' to ha\e been commemorated at a C\'priote
shrine, namely .Amasis (.-\hmes), the last kingof the XX\'l Dynast}',
who reigned from 570 to 525 B. C, and is recorded to have invaded
and conquered (^.\prus. It is noteworthx' that, though otherwise
in Eg\ptian fashion, this figure wears a beard like a Greek; and that
Amasis, a man of the people, who rose to be commander of the
rox'al arm\', caused some offence according to Herodotus (11, 172)
b\' refusing to conform to the court manners when he came to
the throne. The beard worn by this figure is, therefore, no ob-
stacle to this identification.
SCLLPTIRHD SARCOPHAGI
In all the earlier tombs of Cyprus, the bodies were simph' laid out
along the sides of the floor of the chamber without coffin. But
from the sixth centur\- onward, stone coffins come rarel\- into use.
The earliest, such as 1 365, are clearl\' imitated from wooden chests;
rather later, in 1364, the influence of the painted cla\' coffins of
Clazomenae in Ionia becomes evident; and bv the end of the fifth
century, Hellenized imitations of Eg\ptian mummx" cases are
introduced from the S\rian coast. In Hellenistic times, the
presence of locks, hinges, corner plates, and large nails shows that
wooden coffins were again in use; the woodwork has usually per-
ished, but the fittings are represented b\- 4985 fT. in the (Collection
of Bronzes.
1364. Sarcoi'hacis with (Cover, said to have been found at
(" Golgoi. The sarcophagus and its co\er are cut each from
D a single block of a fine-grained limestone, whiter and more
226
SCULPTURED SARCOPHAGI
shelly than usual. The cover is perfect and has a gable roof, and Centre
a recumbent lion at each corner. The sarcophagus was found j^'
with its east side broken into many pieces b\' treasure-seekers,
and was put together afresh in New York about 1880. The
original surface, which is e\er\where roughened b\- long
exposure to moist tomb air, but is nowhere seriousl}' corroded,
has been impaired in some places in the attempt to smooth
the joints. A dressing of powdered Cypriote limestone and
gum arabic, applied in 1880 to co\er the repairs, was removed
in 1909.
All four sides of the sarcophagus are decorated with scenes
in low relief as follows:
A. West Side. Hunting Scene, in which two \ouths in
Corinthian helmets and breast-plates, attack a boar with
spears, and two others a bull with spear and bow. In
the background are three trees, a hound, a cock, and a
grazing horse. B\' a change of design during execution
an unfinished spear-shaft is shown between the archer and
the bull.
B. North Knd. Perseus carries off the head of the Corgon
Medusa, followed b\- his dog. As the Cjorgon dies, the
hero Chrysaor and the winged horse Pegasos are created
from the blood which pours from her neck.
C. P^ast Side. Banquet-scene of four couches, on which
recline one elder and three \-ounger men, attended by a
cup-bearer, a flute-pla\er, and three girls, one of whom
pla\s a l\re. All the figures but the cup-bearer, who is
unclothed, are in ordinar\' Creek dress. In the back-
ground under a tree is the mixing bowl for the wine.
I). South Pnd. A four-horse chariot, with a beardless dri\er,
con\"e\s an elderlx' man, who probabh' represents the
occupant of the sarcophagus. Both men are in sleeved
tunic, hea\\ cloak, and pointed cap.
'I he workmanship of these reliefs is in the finest archaic Creek
st\le, with onl\ the slightest hint of provincialism in the
rendering of the faces and clraper\ ; the armour, dress, and
other accessories, such as chariot, couches, and drinking \'essels
are purel)' (ireek, and the sarcojihagus, if made in C\prus
at all, must ha\e been car\ed b\' an artist trained in one
of the great schools of the Aegean. About 500-430 B. C.
Centre
IHH COLLHCIION OF SCU LPTL'Rl-:
Centre L. 6 ft. 72 in. H. with C()\cr, ^ ft. 2 in. H. of legs, > 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()<S
(1 391). I, Ixxxiv, 548, 550.
3Q3. To.MBSTOM-: WITH LioN in Oriental st\le; seated with head
turned full-face. The stx'le is \igorous, though thoroughh'
con\entional, and shows
stronglx' marked Hittite
influence. The e\es are
modelled like those of
the early human figures.
The nose is broad and
flat; the upper lip swol-
len, with traces of whisk-
ers; the mouth wide open
with straight upper jaw,
roundctl chin, and four
concentric folds at the
angles. The tongue is
broad, Hat, and onl\'
\-er\' slight!}' out of the
middle, a tirst hint of
naturalism. The ears
are round, and slope
backwards within the mane, whicli is smooth and flat, encircling
the lace and prolonged backward to an irregularl\' scrolled
margin on the shoulder. The foreleg has a prominent fold
along its protile. reminiscent of .Xssxrian con\ention. I'ore-
feet and hinel c]uarters are missing. .About 7oo-()5o B. il.
H. I ft. 2] in. 1, xc\-, 641.
:3t)4. Si-Aii-.L) I. ION, probabl\- from a tombstone like 138^, in a
barbaric st\ le, with wide mouth and mane rendered in rough
locks, but falling to a point on the breast, and sharply defined
on the shoulders and back: compare i3S5-{). The free use
242
i3yi
TOMBSTONHS AND STELAH, WITH RELIEFS
of red colour indicates a late date. Prohabl}' about 400 B. C.
H. 124 in. I, xcv, 637.
1393. Relief with Lions in .Mixed Oriental st\le. On a nearly Wall
rectangular slab, much damaged, is a combat between a man ^-^se
and two lions which attack him from either side, it is the ''
motive of the "Lion Killer," made sxmmetrical b\- adding
another lion, as on Oriental and .Minoan gems. The work
is hea\"\' and coarse. About ()()o-5 3() B. C. H. i ft.
4; in. L. I ft. 7I in. Doell, xi, 9, 773. C}prus, PI.
xhiii (topj. L xci\', 627.
1396. Relief with Lion .-\nd Bull, in Mixed Oriental st\le.
The slab resembles 1395 in shape and treatment. .A lion
pulls down a bull from in front. Behind the lion stands a
kilted figure holding some object in his hand. Behind the
bull is another human figure robed to the ankles. About
(HH)-y^() B. C. 11. I ft. yj in. L. 2 ft. 2 in. Doell, xi,
<S, 772. Cx'prus, PI. xhiii (bottom). 1, xci\', ()26.
in W'all-C^ases 5(8-62 on the North Wall of the ,\nnex are examples
of the late tombstones, with portrait reliefs in Hellenistic and
tJraeco-Roman st\ie. This t\pe of monument begins with the
bantiuet scenes 13S2-5, and persists into (n^aeco-Roman times,
with \aried scenes ofdail\' life. Portraiture becomes commoner in
the later centuries; but it is not eas_\' to assign dates to work so
coarse as this.
1 3()7. Tombstone, of a Yolng .\L\n, in short slee\ed tunic and Wall
cloak: he holds a whip in his left hand, and o\er his left Case
shoulder appear the head and neck ol his horse. H. 4 ft.
3i in. 1, cxxxxiii, 103 i.
1 >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<S.
1400. loMB^ioNE, or A Woman, seated in a car\ed chair,' she Wall
\M'ars lunic and iiKinlle, and holds ihrcc apples in her lap, Case
like a votar\ : compare ii()4, 119'', n()>>. 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, !<S, 1070. H. 7I in. II, 299.
256
1432
PHRIOD OF ORIENTAL INFLUENCES
1455. Beardless Head in rather more developed style than 1454. Floor
The hair is rendered b\' a stamp with the same concentric- J^^^
tangent ornament as is painted on the vases 643-5 i" Wall-
Cas_^ 19. Behind the ears, howe\Tr, large coils of hair are
rendered in free modelling. The cla\' is red, but there arc
traces of a chalky white slip, and of coloured details now
almost wholl\- defaced. H. 52 in. II, 127.
1456. Helmeted Head, beardless, but probably male. The
helmet and other details are of customary t>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<S black colour is preserved in the hair, e\ebrows,
e\elids, and e\es, and red on the lips; the modelling is delicate
though rather shallow. The back of 1459 is covered b\- a
hea\\- \eil, and it nia\- be intended to be female; the features
are \igorousl\- modelled. I^oth recall Greek work of the
late sixth centurw bis. jf in., 84 in. II, 479 (1459).
' f^nsmmit"- .ry^ '■
1439
1460. V'oTiNii Mask for suspension, like 2133-7 'n the (Collection
of I'erracottas. It represents a female head with hcav\- \eil,
inspired b\' a common Greek t\'pe of the late sixth centur\-,
and perhaps made in a mould. There is black paint on the
e\es and hair, and red on the frontlet or the edge of the \eil.
H. 5lin.
HHLLEMC AND HELLENISTIC ST'iLES
1461. Beardless Head in good Greek work of the earl\- fourth
centurv. As it is executed in the same light clay as the earlier
figures, it ma\' be regarded as (;_\4-)riote work, in spite of its
fine Greek st\'le. It ma\' belong to the fabric of Kition (pp. 351.
354). H. 61-^; in. CC\prus, p. 60.
1462. Young .Male Head in a late Cjreek st\le, with loose wa\ing
hair. It is remarkable for the good preser\'ation of its chalky
surface-co\-ering, which shows the light red tint of the face,
with darker red on lips and ears, black on e\es and ex'ebrows,
and hair painted with a mixture of black and the light red
paint of the face. H. 5 in. II, 494 (1462).
258
HELLENIC AND HELLENISTIC SLYLES
1463. Thmplh-Bov in the same posture, tunic, and heavy necklace Floor
of pendants, as the stone tempIe-bo)-s 1204-22 in Wall-Cases v'''^^
45-6 and the smaller ones in cla)' 2291-5 i" the Collection of
Terracottas. The head is in the same style as 1464. The
cla\' is brown, with chalky slip, left white for the tunic, with
red paint for the flesh parts, white e}'eballs, and iris in brown.
H. 13I in. II, 297.
1462
14OJ
1464
1464. Bhardlhss Hhad with close-cut hair indicated only by
incised lines, and strongh' marked features. The chalky slip
shows pink face-colour and black on e_\'es and lips. The
style is late (^;reek, but shows the influence of Eg\-ptian tech-
nique, and probabl}- is Ptolemaic work of the third century.
It ma\- be intended as a portrait, and ma>- 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-.<J,\ jH lan ilaiKing-girl in tht
usual conical cap. phnini; a long-nockcd guitar, with lotos
flowers in the background, i sys (soniowhal broken) has a
medallion of pap\ rus and lotos plants, wuhin a lotos border
(C\'prus,p. 102); I S77. with brighter blue gla/e than the rest, has
a central lotos flower; 1577 has a central rosette; It7(S is plain.
Ds. s iV in. -^iV, in. C\ prus, p. i()2v1t7?"4); Perrot, fig.
4^3 " t7V). 111. cix, 2, (IS73''. ^'^i'i- 3- 4- ^- i (1 '■'74'^ ill)-
1570. Plati- of characteristic Ah'cenaean form, with ribbed
c\lindriLal outside, like the steatite \ ase i5^S, and the ahi-
baster 1*137; in the centre is a I'our-fold lotos rosette.
1). 7 ,V, in. IN, c\ iii, 3.
I sHo. Bowl of deeper green glaze, with low rim and slring-hole
handles. H. i .', in.
C. Hl-LLt-.NIC .AGt-:: L.\TH GRlibK I.WIT.MIONS OK
t-.(".^PTI.\N CiL.\/H
This rare fabric has been found at Amathus in tombs which ma\'
be as early as the late fifth and fourth centiu'ies; but from their
forms these \ ases ma\ well be as late as the third.
ItNi-2. 0\<)id \AShs in pale blue glaze, with narrow neck and
standing-base. I'he surface of 15S1 is \er\- poorl>- 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, <S(.)s.
\662-6. RhCTANGrLAR (d^Hsrs, on four feet, imitated from the
wooden chests such as are still anM)ng the commonest pieces
f)f furniture in peasant homes in Cyprus and other Greek
lands: compare the cla\' chests 2i2s-() in the I'erracotta Col-
lection; and also the construction of the great stone sarcoph-
agus m()t in (^^ntre-Gase K. Similar stone chests ha\e been
found in tombs of the Earliest Iron .Age, associated with
objects of steatite. (Hhers found at Tell-er-Retabeh in Eg\pt
are assigned to the X X 1 1 Oxnastx' fPetrie, Hyksos a)id I .<-
raeliie CUit's. i<)o(), Plate xxxxi, c). Of these examples, i6()4
is (.juite plain, but shoxxs well the wooden underframe u( its
original; !()()2-3, i6()3, haxe roughlx' incised geometrical
oHjHCis oi wmii-: limhsionf-;
designs, coniposL'ii of iriangles lmiIilm- latticed and arranged to \Vall
set off a band of Lhe\Tons ( 1(162), or filled with dots (1665), _'^
and grouped cross-fashion in panels (i()()^). 1666 has the
side panels brought nearl\- to the ground, and perforated with
triangular openings, copied from open woodwork. On the
long front side is car\ ed in low relief a dog or wolf pursuing
a long-horned goat, in a st\ie akin to that of the rude steatite
seal-stones of the Earl\' Iron Age: compare Wall-C^ase 73 and
4332-57 in the CA)llection of Hngraxed Stones. On each end,
also in relief, is a female figure, nude, with upraised arm; and
on the back, panels of geometrical ornament, incised. Hs. 6|
in. — 4-i'(i in. 1, 304 (i()()()); 505-307 (i()()2-()4).
1667-8. (^'iLiNDRiCAi, ToiLhT-Boxhs, Oil a high foot, supported
on lions' claws. 1 he\' should ha\e close-fitting cxiindrical
covers, to rest on the flange at the lower angle of the body.
The st_\le suggests a metal-pattern; but similar boxes cut in
marble, are found in Oete and other parts of Oreece. I'rom
their profile, these examples seem to be of Hellenistic .Age.
Hs. 4,1 in., 3s in. 1, 608, 606.
166'). Shallow Bowl, with trough-spout and two handles, of the
same t>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<j
wa\'v lines on the neck, a Mvcenaean sur-
vi\-al. Compare the earliest \ases from
the cemeterv of Samos itself: Boehlau, .^»5
lo)iischt')i iiiul Aeolischefi Kckropoh}!, Plate
ii, '■), 111, I. This example cannot be much
later tlian Soo B. ('.., and ma\- well be
earlier. H. 1 vl in.
r^
1713. Amphora, of imported fabric, prob- ,_[2
abl\- ear!\' Ionian, but distinct from that
of 1712. The cla\' is light-coloured. The decoration consists
of a few bands of brown paint and a roughK'
drawn group of lea\es on the neck. It is prob-
ably not later than 700 H. ('.., and ma\' be a
good deal earlier. 1 1. ()] in.
1714. Pro i()-CoRi\ iniAN Pvxis-LiD, not quite
of the earliest fabric, for it has bands of dull red
as well as the customarx' black star-ornament,
but probablx- not later than 700 B. il. Other
Prolo-(^orinlhian \ases are recorded from .\ma-
thus (in the British Museum) antl Limassol
((-..\1.(;. 1301); the\' are oxoid "lekxlhoi" of
the earliest I'abric, with the "running dog" ornament on the
shoulder. D- 38 ''"i-
290
'715
LATFR IRON AGE
1715. PKoro-C.oRiNrniAN Pyxis, with plain bands of red and Floor
black. The workmanship of these miniature \ases is not *"'^se
often as defective as this: and it ma\' perhaps be a native
imitation, like the poor specimens in the earliest tombs of the
Hellenic colonies in Sicilw It ma\' be about 700 B. C. H. i {\; in.
The little \'ases which follow illustrate well the influence of Kg\'p-
tian and other Oriental moti\-es in other parts of the Greek world,
and arc therefore particularh' instructi\'e in comparison with the
"plain-bodied" st\'le in Cx'prus; but there is at present no clear
evidence that either stx^le directl\- influenced the other. For the
"plain-bodied" st>'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<S. 1-ANTASTic \'ask, With the b()d\- modelled as a female head,
in an archaic C}reek st\ie, probabl\- Ionian or Insular. It is
of red cla\-, with lustrous red slip. About 550-300 B. C.
H. 5 J in. C\-prus, fig. 13, p. 402.
Floor
Case
IX H
1729
17^4
1729. Corinthian Black-Imglrhd Hvdkia of mature fabric and
st\le. 1 he reddish cla\' is cox'cred with black gla/e, except
on a single panel in front, which is di\ided into two compart-
ments. In the upper, two lions staiui confronted; in the
lower, Herakles wrestles with the Nemean Lion, while an eagle
h(j\ers in the background. Details are rendered b\' copious
use of red jniint and incised lines. The numerous inscrip.t ions^
\er\' carelessh' written, are in the ( Corinthian alphabet ; but only
the word 1 1 pafy.JAH; (1 lerakles) is recognizable. About 550-500
H. ('.. 11. 13.J in. (C)prus, p. 4 1 1, lig. >,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-<S). But the earlier excaxations, and subsequent search for
building stone, had remo\ ed or disturbed e\"er\thing else.
The inscriptions are all dedicator\ : most of them arc cut on the
rim of bowls of while or bluish marble, probablx' Sxrian: 1844, 1867
are on scjuared blocks of similar marble, probably the pedestals
of the \()ti\e otTerings to which the\- refer.
iSoi. DitDiCAiioN OF Two OFFhRiNc.s, on a block of white
'--•i^^' marble. "Inthexear . . . of King Pumi-\athon, King of
' Kition and Idalion, son of .Melek-\athon, king of Kition and
Idalion, these two olTerings, which .-\bd-eh'm, son of Ebed-
melqarth, son of Ebed-reshef, ga\e and dedicated to his lord
Eshmun-melqarth." Melek-yathon was king from 392 to
3(12 B. C; Pumi-\athon from 362 to 312 B. C. H. 5 in.
W. () in. (Aprus, ix, 2. Corpus Inscriptionum Semiti-
carum, I, pp. 44-6. No. 14. Ill, cxxii, 1.
1802. Dedication of an Offering: on a block of white marble,
nearh' cubical: " Hanan-baal ga\e . . . which he vowed on
behalf of his son." H. 3 in. W. 3 in. C\prus, ix, 4.
C. I. S., 15. ill, cxxii, 2.
1803-24. Dhdications on .Marblf Bowls, ver\' fragmentar\-,
but sufficient to restore the whole formula, which was as
follows: "On the nineteenth da\' of the month ... in
the \ear I\' of the King .Melek-x'athon (1806-8), King of
Kition and Idalion (1805), F^bed-melqarth (1810) son of Ebed-
adoni (1804) xowed an image ('181 s) or this gift (1822) which
he ga\e to his Eord (i8i()) F-'.shmun-melqarth. .\la\' he bless
(1813-14)."
Not all the bowls bore the full formula: 1804, for example,
reads. . . . "son of bdx-d-adoni to his Eord Eshmun-mel-
qarth . . ." Others added a description of the donor
(w'^og). . . . " Reshef-\athon, interpreter of thrones,
to. . . ." (^\'prus, ix, X, xi, xii. (~. 1. S., 16 — 36.
11, cxli, 1051, III, cxxii, 3-10; cxxiii, 11-20.
Other inscriptions, on \-ases of alabaster and claw are owner's
marks or memoranda, or \er_\' brief formulae of dedication.
3(.2
PHOENICIAN INSCRIPTIONS
1825. Alabaster Vase of unusually large size. The neck seems ^^^H
to have been cut awa\', and the lid which is preserved with it ^ '^^
does not belong to the body for certain. It is inscribed with
the numeral "100," and a word of uncertain meaning, which
recurs on 1829. H. lof in. C\prus, xii, 25.
1 1, 1048; III, cxxiii, 22.
1826-30. Amphorai of unpainted potter> , 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<S66; in similar
characters and workmanship, but said to be from (jolgoi.
I he inscription is fragmentarx', and onh' the word "to the
goddess" can be read with an\' certaint\'. W. 2\ in.
Ill, CXXV, 2.
[X()>^. 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_\- <Mixxard, on tlie other hand, inscribed tombstones become
322
GRF.F^K INSCRIPTIONS
common, of the common Greek form, with a gable-shaped [U'diment '^'^''"
above. The earh'er ones bear onI\' the name of the deceased, in ,", i,
the nominative, with the name of the father, and sometimes also
that of the fatherland (as in 1920) if the person is buried awa\- from
home.
IQI(S. ToMBSTOXE OF PosFiDONios, son of Heliodoros; of white
marble, with pediment and akroteria. The names are cut
close below the cornice and the rest of the surface of the stone
is carefull\' dressed as if it were intended to be painted, like
the contemporarx' tombstones from Amathus (now in the
British Museum), from Thessal\-, and from other parts of the
Greek world. But no trace of paint is now to be seen here
The form of some of the letters is surprisingl\' earh', but the
earliest record of the name Heliodoros is in the fourth centurw
H. 1 ft. 81 in. W. i2§ in. Cxprus, No. 3S. HI, cxlvii, 4.
1919. Block ok Limhstone, perhaps from a tomb, inscribed with
the name of Drimcjkia, wife or daughter of Timodoros. The
lettering, though ver\' rudel\' cut, does not seem to be later
than that of 1897 which contains the same combination of
names, and may well refer to the same persons. 1.. 9in.
W. 4f in. Cyprus, No. i<S. HI, c.xlii, i.
1920. Tombstone of Sogenes, son of Sokrates; of limestone,
with pediment and akroteria; after the names followed that
of the cit\', but it is defaced. H. (}\ in. W. 11', in.
Cx'prus, No. 21. 111. cl. .Suppl. i<S.
Sometimes the name of the deceased is gi\en in the genii i\e with-
out further description, but it is not certain that tlie stone 192 1
is from a tomb at all.
1921. Block or LEME:sr(>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<i (2035). 1!, 43 (2030), 39 (3021), 45 (2032), 175
(2034)' 32 (2033), 177 (^"36), 188(2037), 154(2038), 158(2039).
040-49. Mali-. \'otarii;s of similar fabrics, but of t\-pes which
are commonh- found not in sanctuaries but in tombs. The>'
, 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()<S), 2(>] (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<S-() are modelled hollow, like the larger handmade
figures 1432 ff. in b'loor-Case X. This was done to prexent
distortion in the kiln, and marks the complete de\elopment
of Oriental moulded technique. lis. lOg in.— 4i-V, in.
II, 204 (2160), ()4 (2161), 206 (2l()2),
287, (2i()6), 202 (2167), 203 (2168).
2170-74. Male \'otarihs of the same st\le, standing erect, with
one hand slung across the bod\' in a fold of the oxer-garment,
as in the stone statues 1002, 1004. in \\'all-(]ase 2(), and I3t2-^
in Cenlre-(]ase A. The bearded man 2170 wears pointed
cap with long lapels and richl\- fringed cloak. I'he bearded
head 2171 is in similar st\ie. On the other hand, 2172-?
ha\e the heav\- I{g\ptian wig, large earrings, short tunic with
ox'erfold, and short cloak (2172). In 2175, though the bod\'
is moulded, the head has been much retouched b\- hand; and the
warri()r-\()tar\' 2174 has a wheelmade b<)d\', and onl\' his head
is nKHilded. His helmet, which is hand-modelled, is of earl\-
Hellenic t\'pe. and the painting on his body seems intended
to represent the sh(Hilder-plates of a Hellenic breast-plate.
lis. U)l in. ^ 2'1 in. l.X, 70.
352
PERIOD OF ORIENTAL INFLUENCES
2175. Head of a .Male Votary, on a rather larger scale, probably j
made in a mould but almost \vholl\- retouched. This marks cottj
the transition frt)ni the hollow mould-pressed figures of '^^^'^
moderate size, to the \'er_\- large and mainl\- hand-modelled ^
statues of the sexenth centurx', 1432 If. H. 3^ in.
2\-j6-H(). Seated Female P'igures, of the same general st\ie as
2160-9, with hand to breast (2176-7), or tambourine (2i7S-<S()),
or bird (2179), much broken. These seated figures ha\e been
extemporized, b\- lirst moulding a standing figure, and then
bending it to the proper angle, and adding a cla\- support,
2177-9, or a chair. 2i.S(), at the back. The heads of 2 176-79
are moulded, but 2i<So has been retouched in the "snow-man"
technique: probabl\- it was damaged in the bending, and had
to be repaired. H. pi'Jn. — 3:] in.
II, 81 1:2176), 78 (2177), 77 (2179), 53 (2180).
PERIOD Of HELLEXIC INFELEXCE
.ABOUT 350-300 B. C.
moulded figures in the; Hellenic styles
The spread of Hellenic inlluences affected the st\ie of the terra-
cottas as profoundl\- as that of the sculpture. But it did not alter the ^fl^^.[
technique. Greece had alread\' borrowed them(juld from the same Case
Oriental source, and had adapted it to the purposes of a t'ar higher
craftsmanship than that of (^\prus. The moulded terracottas of
the East and of (Cyprus are seldom fashioned in the round; almost
all are flat-backed, and the majoritx' would be more trul\' described
as executed in rather liigh relief. There were strong local reasons
wh\' the (^\pri(^te figure-makers were slow to e\ade this restriction.
The art of cla\- modelling alwavs tends to follow the lead of con-
temporar\' sculpturi'. The flat jiroporlions habituall\- obser\ed
in (^\j'»ri(jte sculpture, which haxe alreaih' been shown (p.iv')
to result from the tabular structure of the natixe limestones,
offered no challenge to more ambitious work in cla\y and the
cla\'s of (Ajirus, also, are naturaiU calcareous and grit I w and
need careful prejiaralion and niort' than ordinarx skill it lhe\ are
to satisfv the re(|uirenients of \ er\' hiiih rrJicL In (ireece, on
the otiu'r hand, where the thick-bedded limeslniies and frequeiil
marbles mack> 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()<S-()), and becomes broad
and Hat in the fourth f25io-i()). Occasionallx' these lamps
have the rim compressed in two places (2517), so as to hold
two wicks. The solid lamp 25i<S\\ith a trougli-sjiout inter-
rupting the rim, as in the bronze lamp 4082, ma\' be later
still, but cannot be dated with certaintv.
11, lood (25()()); 1005 (2S15); '<"»8 (2517); 1013
(251.S); 1007 ('2520); 1002 -5(2521-2); 1004 (2524).
In the fifth and fourth centuries, ( ireek laniiis of black glazeti ware
and diffiTent construction were int roduceil. i he bowl ol these
is shallow, but has an incur\rd rim \i> 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()()<S. 2702, 4, 5). Transition to the next
group is shown in 2702-5.
2706-14. TRAMPS \\T I H Lono Nozzll AND RiNG Handll. .Man\'
of the later examples are in a sooty black ware, prepared by
mixing oil with the cla\' before firing.
2715-30. Lamps with Convhx Top and Long Nozzll.. These
are late deri\atives of 2706-14, and seem to begin about the
third centur\' A. D. The ornament generally consists of
radial ribbing: the pin-holder is often present, and the handle
usualh' absent.
2740-04. Lamps with Low Bod^' and Short Nozzll succeed to
the lamps with volutes, and often show remains of the scrolls
on the nozzle. They begin about the second centurx' A. D.,
and go on till the fourth. .Many of these (2772-95) have
representations of animals, personages, and scenes like the
earlier t\pes, but in a poorer style and less durable clay.
2795-283(8. Lamps with Oval or Phar-shapld Top show another
interpretation of the structure in the design; the more or less
concave top of the body being connected with the nozzle b\
a more or less horseshoe-shaped moulding. In 2806-29
features ha\e been borrowed from 2706 IT. and 2839 tT. Ihese
are all late, probably not before the third century A.V)., and
run on into the Byzantine period. (Christian s\mbols, cross
and XP monogram, first appear on this type of lamp (2830-8).
2839-44. Lamps without Nozzll complete the decadence of this
series; the body is flat and slightl\' convex, and the burner
is a mere hole in the upper edge. The ornament usually
consists of a poor rosette design, within a border.
Manv lamps bear the names or trade marks of their niakers, stamped
or incised before firing, usually on their under side, but occasional!)'
on the upper.
2845-2949. Lamps with Inscriptions and Makhrs' .\L\rks, for
the most part of the earlier and better made t>'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: c<nnpare 4734-40, in the Collection of Bronzes.
319S
3201
3209
Gold fibulae are at present onl\- known from the earliest
tombs of the Transitional I ron Age : the other recorded examples
have a higher stilt and flatter bow than this one, which is the
onl\' one of its kind in gold. Perrot, fig. 595. Ill, .\li, i.
3109-3203 of silver (T\pe ii): 3199-3200 ha\e a plain well-
curved bow, unstilted, 111, xli, 7, 8; 3201 has a hea\_\' bead
worked at each end of the bow, III, xli, 2; 3203 has similar
beads, added separateh', III, xli, 3. In 3201-2 the pin is
attached not bv a spiral spring, but by an e\elet, perhaps
after breakage; but the de\ice ma\' be something more than
a makeshift, since similar springless fibulae are recorded from
earl\' tombs at .-Xmathus and Kurion.
3204-7 of siK'er ( iNpe iii) with high stilt and bow swollen,
for strength. Ill, xli, 4, 6, 8.
3208, of hard clay ( I^'pe iii) with a socket in one end of the bow
for a metal wire, seems to he an original model for casting
fibulae. It represents a \ariety with ver\' swollen bow, and
a prominent moulding upon it.
3209 of siher (l>pe 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 *;" + <D ^> /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<S-()).
1 1 1, i, 2, 3, ii, I, 2.
35(')4-(S7. SiL\ER Braci.leis of massi\e design are common in the
richer tombs of the sixth, fifth, and fourth centuries, parti-
cularl\' at .-\mathus and (airium. Their design \aries but
slightl}'. The ends usualh' o\erlap, and are sometimes jiro-
longed spiralK' lor Iwn or more whole turns (55()t). Others,
usuall)' of the end of thi' fifth cenlur\", ha\e the ends open
and facing each other in the same plane (like ] ^ ^ii-i > ] ) , 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 st<ine is uneiiLiraxed, classilled likewise in
405
nil-: COLLUCllON Ol- mnghr-rings
the orilcr of llu'ir st\lc; ami with thcni all engrawd stones (except
c\ liiuiers and steatite scarabs) which have become separated from
their rings. The mounted and dismounted stones of the same period
can thus be readil}' compared.
A. FINGER-RINGS OF GOLDSMITHS' WORK
Rings of EgN'ptian or other foreign workmanship are \ery rare in
C\prus, and the onl\' example in this Collection is of quite un-
certain date.
4051. Hc.vPTiAN (joi.D Ring, hea\'y and thickened in front to
form a solid be/el, the flat surface of which is sunk, and con-
tains in relief an Egyptian solar disc in its sacred boat with
high prow and stern. The form is one which begins during
the Eighteenth D\nast\', but ne\'er goes wholly out of use
afterwards. Ill, xxv, i,
.M\'cenaean rings are rare in C\'prus, and repeat forms character-
istic of .\l\cenaean Greece, with slender hoop and large oval bezel
often set transversel\' on it. On the bezel, which is generally
a little con\'ex, there is usuall\' engra\'ed an elaborate pictorial
design, in the same st_\ie as the M\-cenaean lentoid seal-stones;
or its face is filled with enamel, which is sometimes continued round
the hoop.
The lentoid seal-stones of the Late Minoan Age were usually
carried on a thread; when they are set in a ring, it is a light hoop
with open ends secured b\' a wire like 4141, 4146-7 fT. below.
4052. Gold Rin'g, formi-;rly Exa.mellhd, of thin gold, conca\T
externall\-, with o\al bezel slightl\' hollowed to hold the enamel,
which filled also the outer surface of the hoop, but is now al-
most all decayed.
4033. Gold Ring with hoop slightl}' swollen in front, and not flat-
tened at all. This t_\-pe begins earl\-, but is found also later.
In the Earl\- Iron Age, jewelr\' of all kinds is rare; but the next
ring ma\- belong to the Geometrical Period.
4054. Gold Ring in rather red gold, like the earl\- earrings
3150-74. of rough workmanship, llattened and expanded in
front, and engrax'ed with fine zigzag lines.
In the Period of Oriental Influences, gold rings are still uncommon;
most of the rings of this period being signet-rings with swi\el-
mounted stones. There is, however, one fine series of rings both
of g-old and oi siher, with engraving in the metal. It begins in
406
C.OI.DSMrmS WORK
the sixth ccnturv and is continued into the fifth; but then gives
place to rings of elaborate goldsmiths' work, designed to harmonize
Vv'ith the rich earrings and necklaces of that time.
4055-62. Gold Rings with Enc.r.wf.d Dh\tci;s. The narrow
hoop is of uniform thickness and is either furnished with
a separate plate, usuall\' oblong with rounded angles; or else
is hammered out for about one third of the circumference to
a flat lozenge-shaped surface. Both t\pes are closely copied
from Eg\-ptian rings of the XX\'I D\nast\'. The flat bezel
is repeated in the rings from Phoenician tombs at Tharros
in Sardinia, which are assigned to the sexenth and si.xth cen-
turies, and the hammered t\pe in contemporar}' rings from
Italy and Sicily. The bezel is either engra\ed, or carved in
low relief. The earliest engra\ing is in the Ali.xetl Oriental
st\'le, representing the early sixth ccntur\', and perhaps going
back into the sex'enth, and the latest in the Archaic C_\'priote,
or the beginning of the Mature st>ie. 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, m<jre united to protect the stone. .As ritual orna-
ments, these pendant-signets were worn until ("jraeco-f-^oman
times, in the Cireek world, in Hg\ pt, and as far afield as North-
ern India; but apart from this, the custom of wearing rings
414
SIGNET-RINGS
on necklaces seems to be confined to the period of Oriental
influences.
4164, gold: sard scarab, finel\' modelled; Horus hawk with
s\'mbols of Osiris; uraeus-snake in front. Eg\ptian st>le.
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-( <od, and sets one toot 011 a
THli (-.(nLl-criON (M- CVl.INDHRS AND SHAL-STONES
rocumbont bull; behind hini is a leaping ibex; in front a man
(perhaps the king), in a short coat, stands nearl}' I'uil-faee,
and be\ond him a smaller man (probabl\- the owner of the
c\iinder) kneels to him on one knee; above the small figure
is a recumbent deer, inxerted. Then comes another figure
in long garment with man\' fringes; and then three rows of
cuneiform writing, "Arba Istar: son of Ibu Beled; ser\ant of
the god Naram-Sin." The king Naram-Sin, to whom a divine
title is here given, reigned in Bab\donia not later than 2600
B. C, and the cxlinder ma\' \er\' well be of his time. The
engraving is tirm and deep, and of fairst\le. (^\prus, Pl.xxxi, 1 .
Ill, cx\ iii, y.
4301. Babylonian Cylinder of milkv chalcedon\', unusualh'
large, engra\cd with a bearded man in a long robe; in one
hand he holds a short staff; the other is raised in adoration.
In a compartment above his head are two sphinxes in conical
caps, seated face to face. The rest of the cylinder is co\ered
with eight rows of cuneiform writing, an in\ocation to Sin,
the Babylonian .Moon-God, "Sin, Benefactor of Multitudes;
Judge of the World, Perfect Purifier of hca\cn and earth;
Gi\er of the life of the Gods; The Law which supplies the
ser\ant of Thxself; m\- Prince; Turan .Agiu; the son of Puri;
the Reader." ['he work is \er\' clear and unusualh' simple.
The sphinxes, which do not occur in the earlier Bab\lonian
art, suggest a date not earlier than 1000 B. G. G\prus,
PI. xxxi, 3; Perrot, fig. 427; .Menant, Glyplique Oricniale,
11, p, 241 tf. Ill, cx\iii, I.
4302. BAB'iLrJNiAN (^'iLiNDHR of haematite. .A worshipper, in
a long robe, holding a cur\ed staff, stands before a bearded
god, who wears a short tunic but has no attributes. Two
rows of cuneiform script; " E\'erbaga ; ser\ant of Nergal," an
important Babxionian deitw The work is of fair qualit\'.
Gxprus, PI. xxxi, 2. Ill, cxviii, 3.
4303. Babylonian (^vi.indhk of haematite, engra\ed with a god
stabbing a lion whom he holds b\' the tail, head downwards.
1 his scene is gi\en twice, and between stands a goat-headed
dem(jn with birds' feet. The work, though \igorous and
well preser\ed, is \er>' 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, i<S
433".
—
10.
4337.
14.
433'S
-
5-
xxxii, 14
4339,
—
I I.
434^'.
- -
<S.
xxxii, \^
434'.
Iv
xxxii, 20
4342,
cxix.
3-
4343.
cxxi,
/ ■
xxxiii, 2()
4344.
1 2.
AIL
as III
(Cyprus
4345.
cxxi,
9.
4346.
—
'3-
4M7.
cx\iii,
2.
4M'^
cxxi.
I.
xxxii, 21
4349,
cxxi,
2.
4350,
cxx.
!.
xxxii, 17
4351,
cxix.
I I.
4352,
cxix.
2 ^
xxxiii, 32
4353.
cxix,
10.
xxxiii, 3 1
4354-7 haxi' tlu'ir engraxing
almost worn out.
f.\[irus, PI. xxxiii, 23 (4357).
The c\lindi-r 4348 is published in .Menant, Glyptiqiic Oricii-
talc, II, fig. 242; and }352 in fig. 24.1.
435(S-o. (^vi.iM)i.R^ IN (j)AK--i. W'lmi. Pa^ii- are ()Cc;isionall\'
foiuul. rhr\- wrrt.' prolxibh iiilrndrd to be ghi/eil, in imit;it ion
of l-.g\[nian ^r;ils, but tlu-rc is not nuuh that is I'gx [itian ;ibout
thfir fabric or stxlr. Ihcir datr is i|uiti' uncertain, but is
probabh' not \fr\ (■;irl\'.
435X. Iwd men in Orimtal robes adi.re :i sacred tree: behind
is a griflin.
4350. Six lish, two abreas! ; below is a killice, iiriib;ilil\- to
represent :i nel.
4)1
THF: COLLIAITION OF CYLINDERS AND SEAL-STONHS
Finally one vcr\' curious example seems lo indicate that in some
quarters (perhaps in C^ilicia) the use of engraved c\linciers persisted
to much later times. Another c\ linder in the .Museum also of hae-
matite is e\'en of Hellenistic stxle. ln\entory No. 195, 3; I'urt-
wangler, A)iiike Gt'))n)icH, 11, hi, 7.
4360. (I'ii.ind[:r of Mahma'hth engra\ed with two rohed figures,
apparentl\- a man and a woman, but the upper part of the
latter is damaged. They stand confronted, the man carr\ing
a crooked statT and some other object, and wearing what
seems to be Greek dress of short tunic and cloak. Between
these two figures are two goats' heads and a star; but perhaps
this is the back-scene, for the other half of the c\iinder is
occupied b\' a tree from which the two figures look awa\',
though in a sense the\' attend it. The tree has a lotos top
and natural foliage \'er\' gracefully drawn; on its lateral scrolls
ho\er four birds, and a rosette and several dots are in the
field. The onl\' near parallel to the stxle, in this Collection,
is offered b\- the foliage on the crystal bead-seal 438(). Cy-
prus, PI. x.x.xi, 5. Ill, cxx, 14.
CONICAL, DO.MED, AND OTHER ORIENTAL
SEAL-STONES
Side b\' side with the cxiinders, seals with a single flat or conxex
surface for stamping, not for rolling, xxere commonlx' used through-
out the Nearer East. Babxlonian and Assxrian seals of this
class are usually of the same hard stones as the cxiinders, and for
the most part uniformlx' conical in shape; but on the Sxrian coast
and in .Asia .Minor steatite is customary, and the forms var}' greatlx',
from conical, domed, or pxTamidal, to flat gable-shaped beads, per-
forated lengthwaxs. Characteristic of Hittite seals but not con-
fined to them is the thick circular cushion-shape, engraxed on one
or both of its conxex surfaces. Idiere can be little doubt that
these seals and the cxiinders xvere in fashion tctgetlier for a long
time, as the slxie of engraxing is often identical; but the domed
seals seem to begin in llie Cieometrical Period, and goon long enough
to influence the earliest scarabs, and be influenced bx' them.
Nearlx- all the obji-cts in this and the folloxving sections (as far as
4445) xvhich haxe no .Atlas references were formerlx' kept apart
from the rest (if the (A'snola C^ollection, and probablx' represent
purchases made in (^xprus, but xvithout indication of Cxpriote
origin.
442
CONICAL, DOMED, AND OTHHR SHAL-STONHS
4361-3. Conical Seals of Hard Stone perforated for suspension,
and engraved on their convex base: compare the seal on fingcr-
ring 4138.
4361, chalcedony: two prancing goats, set heraldically across
each other: coarse but smooth work.
4362, agate: a bearded figure in long fringed robe, holds a stag
by the horns: above is a fl\'ing bird: careful, vigorous work in
Assyrian st\ le.
4363, haematite: a bearded sphinx, walking; a lotos in front:
the work seems to be later than 4362 and belongs rather to
the Mixed Oriental st}-le.
4364. Button-Seal of Chalcedony, with oval face, fourfold
moulded edge, and a bird's head (much damaged) at each end;
a worshipper stands before a seated deity who wears a high
cap; above is a crescent; poor work in the smooth shallow
style which persists till Graeco-Roman times.
4365-8. Button-Seals of Steatite, with distinct prominence
perforated for suspension.
4365, square, with square moulded prominence, which has
been broken and rc-perforated: seated deit}', with a scorpion
in front and two upturned crescents above: imitated from
Bab}donian style, and not far from the workmanship of 4384-5.
4366, square: within a square border a bull's head with up-
turned crescent between the horns: angular barbaric work.
4367, circular: within a border, a double-star ornament which
mav be intended for two human beings. Ill, xxxii, 10.
4368, circular: sacred tree (?) with upturned crescent at the
top: ra_\-ed disc and cluster of dots (perhaps sun and stars)
in the background.
4369-72. Conical and Domi-.d Seals oi- STi-.ATriE- with xarious
st}-les of engraxing. 4370 is domed and lias a triple mouldeti
edge. 4 36(), a h(jrned animal, tree, crescent and disc, etc.;
much rubbed. Ill, xxxii, 1 ].
4370, running animal; bird abo\e, scorpion below: rude angular
work like the cvlinders 4325 ff. Ill, xxxii, 14.
4371, running ibex and foliage o\i-r: in a st\le like the (^xjho-
.\l\cenaean; fornierlx' jxirt of the necklace i S4''^-
Part of III, cxi\ , ^
4372, a lion faces :i small kneeling or running man: i)ei-
haps a variant of the common llerakles molixe. ()\ai: liea\v
work in .Mixed OnenKil st\K-. HI, xxxii, 15.
44 5
IHH (.()l,Li:(ni()N OF CYI.INDI-RS AND SHA I.-ST()N HS
4373-8. CiABLH-sHAi'hD Shals oi- STi-ATni-, passing over into the
o\'al lentoid or "plum-stone" form.
4373, ver\' large; with a horned animal and foliage, obscurely
rendered within a rough cable border. On the back has been
scratched a gaming board of squares with what seem to be
Arabic numerals.
4374, two ibexes, walking: unusually flat and broad.
4375, running stag, in purely linear style.
4376, circular: line green steatite: two bulls back to back
and head to tail, in a heav)' rounded st}le, mostly wrought
with the drill.
4377, lion, running; in angular, but not purely linear style:
the stone is oval, and the back is cut away in two lozenge-
shaped panels.
4378, stag, looking backward, so as to fill the broad oval sur-
face; pale steatite.
4379-84. Four-sided Seals of Steatite, usually engraved on all
four faces, and perforated like a bead.
4379, engraved on one face onlw recumbent bearded sphinx
in horned head-dress: a rough imitation of .Ass}Tian st\le;
but there is a tree in the background.
4380, broad sides, man holding snakes; narrow sides, lotos
tree between buds; linear st\ie; the lateral borders arranged
to give the effect of a built-up bead.
4381, broad sides, sacred tree, and scrawl of lines: narrow side
plain.
4382, pale steatite; one angle is damaged. The complete
broad side has a quadruped and other symbols, perhaps the
Cvpriote characters zo. ti: on the narrow side is a worshipper
before a cone-topped incense burner: the damaged sides show
parts of animals.
4383, engraved on two sides onlv, in rude imitation of Eg\'ptian
st\le; man and feather-s}'mbol; man between winged uraeus-
snakes.
4384, very soft steatite, or grey cla\' burnished, nearly
etjuilateral: ibex and upturned crescent; fish; bearded sphinx
and lotos flower; cock. The cock casts suspicion on an object
of such earl\- st\de.
4385. I-'()i;k-siuit) Bltton-Seal: the perforated knob is at one
end, and terminates in a scarab; on the other end is a recumbent
ibex with two trees behind; on the broad sides are (i) a seated
444
436 1
4389
439'
4393
442(1
IHi; COLLHCIION OF CYLlNDliRS AND SHAL-STONES
bearded man with curled hair behind, holding a lotos sceptre,
and (2) a lion with tree and ereseent-and-disc; on the narrow-
sides (3) a scorpion and a small tree, and (4) a bearded man in
tunic and Hittite cap, hurling a spear, between two trees.
Quite black steatite, and deep clear angular st\le. Similar
seals are recorded from North S\ria.
4 58(). FoLR-^iDHD Slal-Stom-: with lateral prominence for sus-
pension set like the toe of a boot. On the four sides are human
figures, with a ra\ed disc below on the back. Linear st\le in
quite black steatite, much worn. C\prus, PI. xxxiv, 7
(all four sides). Ill, xxxii, 11.
43S7. SiHATiTH PhNDANT (?), celt-shaped, and unusuall\' large,
perforated at one end and engra\ed on two sides with pairs
of concentric circles, and on the lower end with a lattice.
4388-c). CusHioN-SHAi^ED Seal-Stones of lentoid form with thick
c\lindrical edge.
43<S(S, black steatite: bull, flower, and ra\ed disc, in hea\y
st\!e like that of Hittite seals; on the back, a large rosette:
the perforation is horizontal to the design.
4389, cr\stal: a bird sits between two trees quite naturall\'
rendered, like the foliage on the c\linder 4360. The back
is plain; the perforation is vertical to the design, as in M\-
cenacan seal-stones. Ill, xxxii, 8.
4390-1. ScARABoiD Seal-Stonhs of Steatite with rounded back
and flat surface.
4390, winged horse, with the wings spread like those of a beetle
above and below the bod\'; crescent-and-disc, and ra\'ed discs,
in the background. The stone has been re-perforated from
back to front.
4^91, a stag, with dappled skin rendered by dots, is attacked
from abo\e b\- an eagle. The scaraboid is of sixth-centur\-
shape, and the engra\ing is a late phase of .Mixed Oriental
st\ie, clear and \igorous. Ill, xxxii, ().
43(;2. Hl'.ma\-hi-adi:d Beau in black steatite, apparentlv intended
for the bearded head of Egyptian Bes.
43()^ HLMAN-niAnEi:) Scaraboid in plain gold band-setting: run-
ning animal in linear st \ie apparentlv horned, with foliage back-
ground and jMain border. The head on the back is in .Mixed
Oriental st\le with hair rentlered by lattice work. In style
446
SCARABS AND SCARABOIDS
and probable date this head resembles the steatite pendants
in the shape of a negro head 1550, 3 161, and the bearded head
of Assyrian style 1551. Cyprus, PI. xxxviii, 22. ill, xxxii, 7.
SCARABS AND SCARABOIDS OF ORIENTAL
AND CYPRIOTE STYLES
With the introduction of the Mixed Oriental st\lc, these conical,
domed, and round-faced t\pes are graduallx' replaced by oval
scarabs of Eg\-ptian fashion. The "scaraboids" 4301-3, in which
the sides rise almost verticall\- from the oval sealing face, to a
low smooth rounded back forming a parallel series, were not all
intended to be mounted in a ring, but were often simplv strung on
a necklace. As the engra\er's skill increased, the softer steatite,
i\or_\-, and glazed paste, imitated from Egyptian scarabs, were
discarded for agate, carnelian, jasper, and other hard stones.
The style and design of these Orientalizing seals var\- greatlx';
sometimes Eg\'ptian elements predominate, sometimes Assx'rian.
The best examples, like the best C\-priote sculpture, hold an e\-en
balance between these elements, and realize that .Archaic (]\'priote
style, examples of which are described abo\'e in the (Collection of
J-'inger-Rings.
4394-8. Scarabs of Stf.atite Engra\[-d in Ei\i-.ar St^li-: often
purel\' geometrical. The scarab of 43()4-t is smaller than the
base on which it stands and approximates to the button-seal
tvpe; compare also the design of 4385.
4394, two human figures: compare the design of the barbaric
c>iinder 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-<S. Scarabs of Hard Stone and Egyptian Glaze.
4404, blue-gre\- stone or glaze, engraved with a horned altar or
table of offerings. Ill, xxxi, 15.
4405, dark blue glass: bull and foliage, and perhaps some
characters (damaged) abo\e: earl\' smooth style with some
Eg\ptian influence. (]\prus, PI. xxxvii, 16. Ill, xxxi, 13.
4406, brown Eg\'ptian steatite: a pair of uraeus-snakes guard
a sacred tree in the midst of which is a Hathor-head.
C\prus, PI. XXXV, 5. Ill, xxxi, 19.
4407, red plasma: hawk-headed Egvptian figure supporting
a solar disc: compare the gold plaque 3289: fine work in Archaic
Cypriote st\le. C\prus, PI. xxx\i, 4. Ill, xxxi, 12.
4408, carnelian: plain.
The seals which follow, like the domed and p\Tamidal seals, are of
classes which belong to the mainland, and are onl\- rarel_\' found
in (^\prus. One example like 4421-4, in the .Ashmolean .Museum at
Oxford, is from a late Roman tomb at Kition.
440()-i9. Sassaman Seals of characteristic globular or domed
form, with a flat surface for the engra\ing, and a trans\'erse per-
foration, which is sometimes \er\- wide, so that the seal looks
like a clums\' ring. The}' are of chaIcedon\" and other hard
stones. rhe\- illustrate the art of the Sassanian D_\-nast\" in
Persia, which was founded in 226 .A. D., and represents a new
movement of Persian nationalism in politics and style. These
seals are intended, like the old cxdinders and cones, to be carried
on a cord, but the string-hole is often so large as to give the
448
SCARABS AND SCARABOIDS
signet some resemblance to a ring; and some of these stones
were certainly worn on a suspension-ring of metal. .Many
of these seals bear inscriptions in Pehlex'i characters. 'I'he
chronology of them is obscure in detail. Their st\!e is a
mixture of Graeco-Roman and Oriental tradition — portrait
heads, on the one hand, and sacred trees, fire-s>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<S,
carnelian: fish. 4419, chalcedon}': bearded head with winged
shoulders. In the perforation of 44i7-i(S still lies part of the
large iron rings on which the_\' were worn.
4420. Bronzh Ring-Seal of the same st\ie as 430(S-i(S , too small
to wear as a finger-ring: the engra\ing is defaced.
4421-43. Pyramidal Seals, eight-sided, with engraving on tlie
oval base, which is slightlx' convex. .All these examples bear
variants of the same design, a man in high cap adoring a shrine
or altar on which stand one or more columns which are
sometimes surrounded b\- ra\s: 4421-23 are of milky chalce-
don}-; 4424 of hard while felspar. The pendant 4424a, also
of chalcedon\', seems to be a fragment of a seal of this kind,
which has been re-perfor;ited and engraxed with a bird.
4425. Clear (IxRBiNCi.i-. : a bearded heatl with curled hair and
beard, in Sassanian st\le like 4409, but earli'/r and belter cut ;
inscribed in Pehlevi characters, "Sarma/di," probabl\- a jier-
sonal name: see Aiijiendix. Ill, xxxii, (>.
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<S-33; some with a flat surface on one
side; 4426 has a cuneiform inscription added in modern times:
see Appendix.
Their weights as follows:
4426 weighs 2353.4 grains 4430 w'cighs 540.1 grains.
4427 " 1240.7 " 4431 " 500.3 "
4428 " 1274.5 " 4432 " 274.9 (bored).
4429 " 1 2 18.4 " 4433 " 385.6 (chipped).
4434-7. DoMH-SHAPKD WtiGHTs of haematite: 4434 is accurately
shaped, slightlx' smaller at the base than abo\-e, with a small
circle engraved on the flat under side; 4435-7 arc little
more than natural nodules of haematite parti}' rubbed smooth,
like 4442-4.
4434 weighs 182.2 grains 4436 weighs 98.8 grains.
4435 " 9<^)^)-f> " 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-<igl\ pliic sxnibois, ami
other magical objt'cts.
Though larger and fmer sprcimens of glaze lan usuall\ be dated
by cjualit\- and colour, as well as b\ tluir st\K', liie date of these
small common pieces is ofltii (]uile uncertain, and as sucii objects
are commonK' offered tor sale in most parts of the l.e\anl, il is
451
iin; (,()i,i,i:(,i ION oi- cYi.iNniiKs and shal-stonhs
not unlikol\' (in the absence of all record of discovcr\) that some
of the hirger amulets, and most of the purel\- decorative objects,
ma\ ha\e been brought from Eg\pt in recent times. Objects of the
finer c]ualities are hardh e\er recorded from tombs in C\prus; the\'
ha\e i^robably been actjuired by purchase.
44()i-()^ FuuKi-.s OF l)i riii;s as follows: 4461-8 Ptah-seker;
44(x)-7o Khepera; 4471-1 Bes; 4476-8 Isis with the infant
Horus; 4470 .Mut wearing the double crown; 4480-3 Khnum,
ram-headed; 4484 Hathor, cow-horned; 4485-9 Thueris, either
crocodile-shaped (4483-7) or human, holding crocodiles (4488-9);
44Q0-1 Anubis, dog-headed; 4492-3 Bast, cat-headed.
The examples figured in Cyprus, p. 276, seem to be (from left
to right) 44()2, 4485, 4471, 4480.
44()4. Hanuli: of a Sistru.m or ceremonial rattle, in miniature,
decorated with the horned head of Hathor.
44()5-(). -MiNiATLRE UsHABTis, or representations of a mummied
corpse in its wrappings: such ushabtis were buried in large
numbers iir Egxptian gra\es, and were believed to ensure the
resurrection of the bodv with which the\' were placed. These
miniature figures, worn as charms, ma\' have been intended
to gi\e the same assurance.
4497-4509. Fk.ures of .Animals, usuall\- such as were the attri-
bute of some deit\': for example, 4497-9, hawks, representing
Ra the Sun God; 4500, a lion, for Sakhmi the War Goddess;
4toi a ram, and 4509 a ram's head, for Khnum; 4502-3 cats, for
Bast. The sow 4504, hare 4505, and frog 4506 are also com-
mon amulets: the snakes 4507-8 are symbols of ro\alt\', and in-
\()ke royal protection. Cyprus, p. 276 (4502).
45 10-2 s. S^mbolicObjfcts, representing 45 lo-i i a menat-pendant ;
4512-18 the ded-sign; 4519-20 a pap\TUs capital, common in
fc!g\ptian architecture; 4521 a pectoral pendant, such as is used
on mummies; 4522-4 bunches of grapes, or other clusters of
fruit; 4525 a bead, inscribed sa-Ra.
452()-^i. K^F (^HAR.MS, perforated to ser\'e as beads in a necklace.
I he majoritx' are modelled free, but 4530 is in relief on a
plaque like those which follow; 4531 has four e\'es conjoined.
4532-8. Pi.Acji iis AND I'lat Bfads, somctimes with more than
one perforation to ser\e as controls in a multiple necklace:
4532 is inscribed .Men-kheper-ra, the throne name of the
452
AMULETS
great conqueror Thothmes III, of the XVIII D\nast\-, and
also of an obscurer king of the XXI; 4533 shows Isis nourish-
ing a king, and 4534-5 groups of deities; 4536-7 represent a
series of groo\ed beads fashioned in one piece; perhaps of
theXX-XXI D\'nastics; 4538 is inscribed W's-'ir Osiris.
4539-48. MiscHLLANhOLs Objhcts. 453c), signet-ring, represent-
ing the God Thoth: XXV Dxnastw 4540, ring of openwork,
representing the crocodile-God I'hueris among lotos plants;
probabl\- of the XXI Dynasty. 4541, button seal, represent-
ing a uraeus snake. 4542-3, beads of the XX\'I D\nast\ ;
4542, pale blue glaze with orange line; 4543, a conical pendant
bead. 4544, plaque of grey clay, not \et gla/.ed, representing
the God Osiris. 4545, five roundels (a, b, c, d, e) for inla\ ing
in woodwork or wall decoration; with dais\' pattern in white
on coloured grounds. 4546, fragment of inla\', man\-coloured,
to be used like 4545. 4547a, b, fragments of a blue-glaze
vase, of the genuine Egyptian fabric which is imitated hv i S75-8
in Wall-Case 73. 4548, mirror handle of blue glaze with lotos
petals in white.
4549. Flat Circular Hhad of the same bright blue chalk\- paste
as the scarab 4178 in ihe Collection of hinger Rings.
It is probahh' not Kg\ptian, but represents a local fabric
either in (^vprus or on the S\rian coast. I his blue paste
seems to be rather earlier than the ordinary' blue glazed
objects of the XX\'I D\nast\'.
4550. .MoiLDhi) licrki- IN Dark Birr: Giazi-, representing a
bearded man in a late un-l{g\i"»t ian st\le, not unlike that ol
the Sassanian seal-stones. It has been broken, and re-})er-
forated as a pendant.
■153
THF. COLI.F.CTION OF
VESSFLS OF GOLD, SIL\FR
AND GILDED BRONZF
1 HE COLLECTION OF VESSELS OF GOLD,
SILVER, AND GILDED BRONZE
IN dealing with the Collection of Potter}', mention has been
made alread\- (p. 4) of the influence of metallic originals on the
forms and decoration, and a few jugs and howls of bronze
arc described below in the Collection of Bronzes. But the
\essels of gold and siher, of which we ha\e literarx' record, have
alwa\'s been in danger of destruction for the sake of the precious
metal, and are onl\- to be found in sanctuaries which ha\e been
suddenly and accidentall\' destrowxl, or in tombs which have es-
caped the notice of treasure-seekers.
Of such x'essels, and particularh' of engra\ed bowls of sih'cr, the
Cesnola (Collection has a number of examples; and another siK'er
bowl, found by Cenera! di CCesnola, and acc]uired from him bv the
Berlin Museum, is one of thi^ir most important dalemarks.
The series to which these engra\etl bowls belong begins with
genuine hCg\ptian workmanshiji of the .Will and XIX l)\nasties,
sometimes almost pureh' naturalistic. The Berlin bowl, abo\e
mentioned, is thr (.arh'est that lias bei'U found in ( Cyprus: it seems
to be genuine l-!g\ jniaii work of the XIX or XX l)\nast\' (about
1200 B. (I.), in w hiJi thr larlirr naturalism of the X\'l ! 1 Dxna six-
begins to gi\e place lo con\ ml ional renderings ot l-.g\ptian scenes,
hhese ha\-e brrn gnalh' simplifud in I ranscript ion, aiui not alwa\s
clearh' understooti b\ llic cnpxist. NOi much laUr than iIu'm',
probabI\-, is l hr diT'calr liiir-cngra\ ing of liu- bowls 4SSI. 4St-.
4St ^ w hiTi' 1 lie cat I Ir, u alcrhirds. aiul foliage, thdiigh ral hrr nmrr
stifll\- irt'alrd, arc slill drawn parllx fmm naliirt-, and onl\ parll\'
from l-'.g\ptiaii designs. Willi llicsc (^xpricli' cxamiilcs, which
ma\- \rr\- well hr, likr liirir pndrcrssors, <if |g\pii;in work-
m;insliip, we should loinparr I he nmrc naluralislic ;inil l'g\p-
tian phases of ihr grr.il s.rirs (,t bronze shields from ihe ldae:in
(Ca\'e in ( J'eti-.
457
\i.ssi:ls ()i cold, silver, and gildhu uronzh
Next conio nian\' bowls in the Mixeil Oriental st\le, of wliich
4S=i4 is a fine example. Here, naturalistic treatment ceases, ami
tiesigns are borrowed imparl iall\' from the con\'entional art of
Eg\pt and from that of Ass\ria. The chronolog\' of this large
group is \er\- obscure, and the place of manufacture uncertain.
The workmanship is certainl\' not Kgxptian, and as it varies greatl}'
in st\"le. there ma\- ha\e been se\eral local schools, in Cxprus,
Phoenicia, and perhaps elsewhere also. Oete, at all c\ents, had
a similar school of its own, represented b\' the Idaean FSronzes
alreadx' mentioned. Ihese engra\'ed bowls tra\elled far and wide,
to Nine\eh on the east; to .Athens and Olxmpia; and in the west
U) (^.aere and Praeneste in the neighbourhood of Rome. The
fragmentarx' bowl 4356 is an almost exact duplicate of one of the
finest from Praeneste. h'urther still to the northwest, thescoriginal
masterpieces were extcnsi\el\' imitated, especially near Bologna
and \'erona, b\' native craftsmen, whose works are found
on both sides of the .Alps, and throughout the middle basin of the
Danube. The limits of date are fixed, upwards, b\- the purel\-
Egyptian bowls alread\' mentioned, which certainly come down
to 1200 B.C. or later, and therefore to the beginning of the Transi-
tional iron .Age; downwards, by the occurrence of figures in western
armour on some of the bowls, and b\' a simplicity and freedom of
treatment, which seems to betra_\' Greek influence, and cannot be
much earlier than the middle of the se\enth century.
One of the finest of these, commonl\' known as the ".Amathus Bowl,"
(figured in Cyprus, PI. xix; Colonna-Ceccaldi, PI. \iii; Perrot, fig.
547; Helbig, Homerisches Epos, PI. i, and repeatedly elsewhere,) is
not in the (Collection, and does not seem to ha\e e\er reached New
^'ork. It was at one time in the Ruskin Collection.
4351. Gold Bowl, in purel\- Pgxptian style, engra\ed with a
central rosette (i); then, after a plain inter\al (ii), a zone of
c]uite conxentional pap_\TUS heads (iii) among which swim
birds on equally conventional water. Then after another
plain inter\'al (i\), which is not marked ofi' from the pap_\TUS
heads, comes another zone o\ pap\ rus (\) with three deer and
three bulls similarl}' shown half-concealed b_\' conventional
water. The principal features of the design are slighth' em-
bossed. C} prus, p. 316.
4552, SiL\i-.R Bowl, richl\' engraxed, but quite without embossed
relief. In the centre is a large rosette (ij. Then, separated
458
BOWLS
by a broad intcr\-al (ii), comes an inner zone (iii), of conven-
tional lotos flowers and buds, on long stalks. Then, after
another inter\al (i\-), comes an outer zone (v), onh' lightly
and irregularl>- 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<ip
of the central medallion, a shefilierd k'aning on his slall, and
raising one toot to rrsi it, looks lo the right at a horse or bull
whicli moxts ;i\\:i\ from him: tlu' rest of this side is corrodeiL
Behind him is a dump of loliagr, and then a succession ot
461
VHSSHLS OF GOLD, SILVHK, AND GILDHD BRONZH
liorses and bulls, in varied pose, much corroded. Opposite
the shepherd, and at the bottom of the central medallion, is
a grove of papxrus, which dixides the scene, the last animals,
on either side, mo\ ing awa\- from this grove, and towards the
shepherd. This attempt at s\mmetrical composition is a
mark of late date, and of affinil\- with the western spirit which
inspires the Idaean Bronzes. Around this, and separated
hv a lotos flower border, comes (iii) a banquet-zone, six
couches of which are recognizable, and between them a
seated figure holding a large \ase or a tambourine, a bo\-
carr\ing a basket and offering food to one of the feasters, and
another standing figure. Here not much balance or com-
position is perceptible; but the long horizontal lines of the
couches draw the whole design of the bowl together, amid
the di\'erse agitation of the zones on either side. Then comes
(iv) a long continuous scene of court and tribute, interrupted
h\- a break in the metal, which has destroyed the junction of
the frieze not far from opposite the bottom of the central
medallion. To the left come fi\e persons from the open
countr\" (rendered b\' a few flowers and trees) bringing a kid,
a calf, and a reluctant cow. Then a man leans forward to
the left, o\er another who is prostrate before a table loaded
with fruit. All these are bringers of tribute. Be\ond the table,
facing to the right, is the recipient, seated in state and shaded
b\- a great fan; then two attendants; then two men who
struggle with an obscure figure between them, probabl\- sen-
tenced to punishment: we ma\' suppose that his offering has
not found fa\our. Then, after a corroded space, a banquet
couch, and traces of another, with two standing attendants
between them: this is the interior of the King's household,
and the destination of the offerings. Thus, arlisticallw as well
as politicall\-. rexenue is balanced hv expenditure. l-'inallx-,
nearest the rim, and separated b\' a cable bcjrder with lotos-
petal pendants at each twist, comes (\) a long zone with
a chariot and a cart carr\ing people (like those of the "snow-
man" terrac(jttas) and passing to the right from a cit\- to a palm
gro\e. 1 hen two more carts return towards the cit\-, round
the third quarter of the rim. The fourth quarter, to the left
of the cit_\-, is filled with a group of at least three figures in
fringed robes, the second of whom carries a l\Te. The city,
which lies exactly opposite the bottom of the central medallion,
462
BOWLS
has a high wall with towers, and se\cral heads look out o\-er
the battlements. At the entr\- to the gro\e there are traces
of some kind of gatewaw The wheels of the cart which is
leaving the grove are of the primiti\>' 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<S. L. 4 in.
48Q1-6. Handlhs of Oinochoai. Of these 4801, in the form of a
bird, and 4892, with projecting leaf ornament, are work of
the seventh or sixth centurx', under Egyptian influence.
Ill, lix, I (4891).
4893 with volutes and twisted stem is of the sixth or earl\-
fifth centurw III, hiii, '■,.
4894-5 are probabI\' a little later; the double stem is frequent
in the handles of clay vases of this period. Ill, hiii, 2, lix, 5.
4896 with plaited stems and vine-leaf attachment is not earlier
than the third century and ma\' be Graeco-Roman. Ls. lo-^ in.
— 4} in. C\prus, PI. iv (4896). Ill, lix, 2
4897-4912. Handles of Bov^ls, Kvlikes, and H'idriae. .All
Hellenic or Hellenistic, except the bowl-handle 4897, with
archaic lotos-bud, which belongs to the same earl\- se\enth
centur}' series as the great bowls 491 5-6, below. Ls.6in. —
1 1 in. Ill, h'ii, (all) hiii. 3, 4i. lix, 4.
Bronze ^^'th the whole \ases, (which are arranged in approximate order
Cases of date) and particularl\- with the bowls, should be compared the
4' ^ fine series of \ases of gold, siher, and engra\ed bronze {4551 ff.)
in the Gold Room of the .Museum; and also the earl\- \ases and
\'ase-handle 4701-2, 4764, abo\e.
4913. Neck of a Large \'ase or Tripod, low and cxlindrical,
with ring handles; probabl}' of the Earl_\- Iron Age. D. iG'l in.
4914-3. Bowls, with massi\e lotos-bud handles which rise abo\e
the rim: 4915 is fragmentarx, and preserxes onl\- the lotos
handles and part of the rim. The work is of the se\enth
494
LAIHK PHRIODS AND SlYLHS
ccntur\-, and should be compared with the smaller hron/e Bronze
bowl-handle (4^')-) and with the lotos-handled bowls of f^re\ ^-^'^es
cla\- 4()56. Ds. 13^ in., i()iV, in. (Ixprus, PI. xx.\, and p. 442. "*' "'
Perrot, fig. 557. lll,xli\', i (4915); liii, 1-2 (4()i()).
4Qi6-i(S. Bowls with Orihntal Handlhs, the attachments of
which on 4916 embrace a large part of the rim; similar bron/e
bowls from Assyrian palaces ser\e to date these examples to
the sexenth centurw Note the prominent knobs on the rim
of 4917. (^\prus, PI. XXX. 111. xhii. 2, 4.
4918 is the rim of a similar bowl of the sixth centurw with a
swinging handle, of a t\ pe which occurs in tombs of this period
at .\mathus. Os. lo^ in. 1 1 ;' in. 12; in.
4919. Oinochoe with conical neck and slronglx' pinched lip. The 1;^,,.,^^,
shape recalls that of the Red Bucchero \ ases 474-5, and this Case
example ma\' be of the se\enth or sixth centur\' B.(^. H.()in. ^
IlPxlvi, 2.
4920. \'asi-; with ox'oid bod\ , funnel-shaped foot and neck, and
a handle cut out of Hat plate and decorated with Oriental
lotos-palmettes and a fh ing bird. I'rom the middle of one
side of the \ase issues a four-sided bar like a balance beam,
which ends in a lion's head and is hollow, forming a \ er\'
long spout. The use of this unicjue \essel is not known,
k'rom the workmanship of the handle and sjiout it seems In
be of the later sixtii centur\. II. 10 in. 111. xliii.
4921. \'as(-, wnu Si'on, of thin bron/e plate, with globular
bod\, distinct foot, and narrow neck with beaded rim. 1 he
handle is of the tlouble Ivpv like .\><()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-<S): prohabl\- of the early fifth
eentiir\. Ds. 5},'; in., 4',^; in., 4^ in. Ill, xlix, 1-3.
4()20-?2. Bowls, of the later fifth centur\' with prominent central
boss (4C)2()-^()) or central depression (4931) or mereh' moulded
rings in the middle of the inside (^c)^!). Ds. 4 iV, in., 8{ in.
Ill, xlix, 6 ('4()3 i).
4{)33. Handlhlhss BoiiLh, with graceful o\()id bod\' and
narrow neck. 1 he form is repeated in glazed ware 1581-2
in the fourth or third centurw H. 3 ,',; in. (Cyprus, PI. xxx.
Ill, li, I.
4Q34. Cylindrical Box, of uncertain use, and probably late date;
perhaps a dice-box. H. 2^ in.
Bronze 4035-6. Strainlrs formed of perforated plates, and intended to
be fitted into the neck of a large mixing bowl ikratcr), at a
4 , . . .
feast, before pouring in the wine. Ds. 14:} in., 12 in.
iironze 4()3j-5(). Bow Ls (4937-43), Patlrae (4944-5), Basins, Cauldrons
(4946-9), ;;nd Dish-cover (4950), of poor workmanship and
quite uncertain date. Bowls like 4940, of \ er\' thin bronze,
embossed with a single large palmette, have been found at
Pompeii, but in the Hastern Mediterranean the t\'pe ma)' go
back earlier. Ds. yiV in., 17,",; in. (^\prus, p. 412 (cauldrons).
1 1 1, xlviii, 2, 3 (4930-1); xlvii, 1 (4932); xlvi, i (4935), 3 (4937).
FLRNITl RE AND PARTS
i5ronze Ver\' cominonh' the joints and angles of furniture, for domestic
Case y5^^>^ 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<R()R-Si AND, formed b\- a figure of a woman, standing
and plaxing cx'mbals; around the neck is a collar with a large,
round pendant, and o\-er the right shoulder a band on which
498
HELLENIC PERIOD
are strung a crescent, double axe, and other amulets. The figure <^-'-'nior
stands on the back of a large frog which sits on a folding ^''^^^^
chair, the legs of which end in feet of an animal, and form the
base of the whole stand. On each shoulder of the woman rest
the hind feet of a lion, now broken: these lions faced each
other and, no doubt, supported the mirror with their forefeet.
On the head of the human figure is a palmette with \c)lutes,
perforated and grooved to support the mirror. Fine archaic
Greek work, about 550-500 B. C. Total height 8§ in.; height
of figure 7v\ in. Perrot, fig. 629. Ill, lx\i, 4.
5014. .Athlete, nude, of the finest Greek work of the late fifth
century B.C., certainlv imported from one of the great centres
of Greek skill. The right foot is missing and right leg slightly
bent as if about to advance. Note the very fine details of
hair and hands. H. 6i in. C>'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<tit
onl\-. I). 1 i in. 111. cw i. (>.
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) ]5<b
Cyprus, xi, 23. C. I.S., i, 37. 1 1 1, cxxiii, 1 3.
181 7. ][r" "Cwsi 7x rdo
Cyprus, XI, 20. C. I. S., i, 29. Ill, cxxiii, 14
1818-9. JN jz "[ • • • ('819). . . ]jr^ u:n[ • • • ('818)
Cyprus, XI, 19, 18. C. 1 . S., i, 3 1, 35. 1 1 1, cxxiii, i 5 a, b.
1820. On the handle. ]j< 7 pt
C. I. S., i, 30. Ill, cxxiii, 16.
Cyprus, ix, 6. C. 1. S., i, 32. Ill, cxxiii, 17.
1822. irr-i .[
(2>prus, 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) </
(7). " ]'^[c-r;(^): JTaCTTipoc^) [ ] . (ova(v) V
It is worth nolmg that the onlv known cla\-tablet with Cypriote
inscription has likewise its re\ersc side written upside-down, as
in this instance: Meister. k'l'rh. k. sachs. Ges. IViss. Leip~ig {Ph.-
hist. KL) 60, 1908, pp. 1-8.
1869. On a votive relief, in four lines, complete: —
( I ). . ka . i . re . te . ka . ra . si . ti . va . na . xe . ka . po . ti . \e . po .
. ^atpsTs . Ypaj6t . /ava^ . y.a(z)7:(iJ0c ./i-jroCfx) .
. me . ka . me . po . te . ve . i . se . se .
(2). . te .0 . i .se . po . re . a . ta na . to . i . se .c . re . ra . me . na
Ocol; . (popTy . aOavaTO'.^ . ipcpajxlva
.pa . ta. ko .ra .sa . to. se .
. za(v)T' d-/.opczj-:(o.; .
(3). .0 . vo. ka . re . ti .e . pi . si . t.i . i .se . a . to. ro. pe . te .0. i .
. OL) . yip . Tt . i-z'.z'-.j.l:, . avOpo)::^ . Ocon .
. a . le . tu . ka . ke . re .
. aX(A)'i':'J7.'a . -/_•/]? .
(4). te.o i . ku . me . re ,na . i . p:i . ta . ta . a . to . ro . po . i
. Osw; , /.u[j,cp'^vo:t .r.i{y)':y.. Ti: . a(v)0p(.)7:o'.
.po ro . ne .0 .i . ka . i . re . te .
cppov£(o! . -/xfpsTS .
Cvprus, xliii (the object) and i, i (inscription). Deecke,
68. Mei^ler, C; 1). ii, 68, (pp. 1 57-9). HotTmann, G D. i,76-8.
Hall, X, 209-11; xi, 219-20. 1, Ixxxv, 559; 111, cxxx, 3.
536
CYPRIOTE INSCRIPTIONS
1870. On a votive relief, above the wine-jar of the banquet, in
small characters, clearl\- cut,
. o . pa .
The meaning is not clear; it may be meant for "Opaon," the
title of a rustic deity at Amargetti; compare i 1 14-S in the
Collection of Sculpture. Meister reads also on the upper
part of the slab as follows:
.te.o.a. Gcd) 'A['7:6X)aovoc.
These signs have eluded all other obserxers.
C\prus, i\', 21. Deecke, 82. Hall, x, 26; xi, 224-5.
I, Ixxxv, 553; Hi, cxxxiii, 2.
187 1. On a votive relief, in two lines, complete,
(i). to .0. na .si . mo . to.te . to . na.[o] .0 .ne . te . ke .0 . na
TO. '■Jva:j'.:j.o(v) . ToBc .7(0. va[(p| . oviOr,7.£ .'Ova-,
.si . ti .mo .se. to. i .
. -jlT'.JJLO^ . TW .
(2). . te . o .i . to.i . a.po.lo.ni . [\a].ra.i. te.me.no.se
Oew'. . TO) . 'A-OAAwv. . [ia|pa . i(v) . TSixsvo -
.i.tu . ka .i . Ill .
. ([vlTJ-zac . 3 .
Cyprus, i, 2. Deecke, 72. Hoffmann, 147. Hall, x, i; xi,
221-2. 1, Ixxxv, Sv8; 111, cxxx, 1
1872. On a votive relief, in two lines, broken at both ends,
(i). . pa . ro . te . ta . vo . to .
(2). . a . o . I I . na . mi .
The middle character in hne 2 consists of two \ertical lines
onl\'; it ma\' be a numeral, or meant tor //c or -0.
C.ypnis, v, 2(). Deecke, ()i Hall, xi, 227.
1, lxxx\ , ■-,-■,-; 111, cxxviii 4.
1875. On a \dti\'e relief, in three lines, Cdiiiplele,
(1). . ti . \ a . i . te . mi . to . i . le . o .
1i^[I)z-ja(;) 7(o; ^ii(]>('-)
(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 . <T'o;t(i) zv.'fU)
The first sign, howexer, i^ not clearh' f^o. and ri'-eniblrs a
carelessh' made //; the following rendering is siiggrsicd,
.ti.i. to.ta.ko. A'.', rfi) Mta [i)':('<).
(]\prus, vi, Y)- Deecke, 105. llollmann, 170. II, iH, x. 7;
xi, 22()->,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<i . to . ro . se . M r,voc(.)po-:.
( A'jirus, V, 23. Deecke, So. liolfmann, iSt- Ikilk xi. 2.' ;.
Ill, .xxxs, 5-
541
APPHNDIX OF INSCRIPTIONS
i(S92. On a block of limestone, in one line, not certain!)' complete,
. vo . sa . t.i . ko(ro?) . \a . mi . i . ya . lo .
Hall, xi, 235. Ill, cxxxvi, i.
i8c)3. On a block of limestone, broken at both ends, the words
divided as shown,
. .po.lo.ni. I .te. . . 'A]-r:6}.(X)(ov; 0£[(p'....
Cxprus, \i, 40. Deecke, 78, ()() (upside down), and 115.
HolTmann, 153. Hall, x, 5; xi, 223-4. HI, cxxxviii, i.
uSc)4. On a fragment of a statue-base, incomplete at both ends,
. re za . ti .
C\prus, vi, 32. Deecke, 70. Hall, x, 14; xi, 221.
1 1 1, cxxxviii, 2.
1897. On a block of limestone, in two lines, incomplete at both
ends,
(i). . to? .0? . na . si . ri . ?. (2). .a.
C\prus, V, 30. Deecke, 84. Hoffmann, 158. Hall, xi, 225.
1 1 1, cxxxviii, 4.
1896. On a block of limestone, in one line, apparentl\' complete,
.to no. ke .
C\prus, \i, u. Deecke, 108. Hall, xi, 230. Ill, cxxxix, 4.
1899. On a cla\- figure the Cxpriote character for //: but see also
below, page 546.
Hall xi, 237. HI, cxli, Suppl. 2.
3552-53. On a pair of gold armlets, the same on each, in a single
line complete,
r )^ y. y\-X' A t >^ "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, <I''.Xa5i/w(i) Xa'.acc , 'Ap'.jT'jy.AY;; 'ApijTO-
■/.'kz^jJ' i ' AAscavcps'jq.
Ill, cxlvi, --,.
1901. On a ju'destal of soft Eg\"ptian limestone, not from C\-prus,
but bought at Thebes in Hg\pt : letters of the tliirel centin-\ B.( '..
jr.kz l,y.zuM<)Z \\zo\z[).7.'Jjj ! toO IJ-roAHaafoj v.yl (j'j.-
-'.At-rr,-: I 'ApT'.vor,; j Osoo :^'.A07:v:':6p(i)v | Tso)-: "IJpo'j,
':fj'f.y.v.'\-.T,z "JjT.ryj ' Aa;j,(.)V'.3!oj. Nol 111 AlLi>.
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 <I>'.Aox,paTO'j^ TOjy.al MsvsjTpa
-TOJ |av6p!o'j TOU i^Tj^czpxo'j apyjpio
-V aYop<z| jOi^vai T-r; fisy 'zo-zt^^it., £9' d)v s
KXajcltoj Kaijapo^ ^llspiajTOj /.a'.
s-t KjotvTO'j ^£PT
-to 'J IlauAo'j avO'jzaTOj. J
111, cxliv, I.
1904. On a statue-base of gray marble, complete except the tirst
line: letters of the first century A. D.
[Ko'jp|[£0)v -f] ^o'JAr; [y.al b 'Bfi'^oq] | KoEvtov KczcXcov
'OvwpCZTOV, STUapXOV I acETOU COCSd)^' CY]li,OJ 'P6)[J,a((0V I
•7:pc~.^£'jTY;v l]'./.cA;a^, Trpsj^s'JTTiv [ IIovtoj y.xl B£tf)j-
-v(ac, avOuTCGCTov [ K'jr.go'j, C'.a zpovoTiTou Atovjjtoj
I TOU TpU9C0V0i;, TOU KpCZTY]TO>; | 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 i<S(S<S.
Hi, cxiii, 2.
ic)o8. On a large stc^re-vase of coarse late red potterx', incised
in one long line i.round the shoulder, while the cla\- was
soft, in late letters, probabl\- Graeco-Roman: fragmentar\'
in three sections.
'AttJoaawv'. 'Wi-.r^ 7.a[t. . IIo]A'j/.':[£avw] T<.[u<r^[. , .£j|7_f,v.
The distance from y.a . . . to . . .'kjv.-: is uncertain: from
A'j/.':... to T'.[XU)y, space for four letters: IIoa j-/.t£3:v(o
(Mcister) or perhaps noA'jy.Tr;;jLov'. : compare with i<S()(S.
11, cxliii, io()s; 111, cl, Suppl. i.
K)og. On a block of limestone, nearlv complete, in late careless
letters.
'.V-jTCiAAdJV. Aay.H'jTT, 'Api'jTO'j^ | ;j.avT!ap7.o; jTrip
K/.iovo; I t]o'j 'j'.oj 1 iviOr//.3V iv TU'/r,
The words toj 'j'.oj seem to have been inserted later.
Ill, cxlii, 4.
Kjio. On a bracket of red and white marble, complete, in one
line around three sides: late letters, ]ir(>babl\" 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:<ips y.y.l iv [YOi;j.ivo'.j'.
[ Ill, cxlv, 2.
1929. On a fragment of a sepulchral cippus, five elegiac couplets
in late letters; onl\' the first half of each line is preserved,
[l\'j::p];c (-)u;j.
T/p-Tiajilv
[xr^civa r.oir^iil
'f/Mzzr, -^'.y.^by
y.ct'^at jr.b yjioy. ".[f^oz.
■zojz Tcp'.v azoty_o'^[ivo'Jc
7.(.)7.'jO) Yovidjv YY^p[:z;
JO'. yy.gli zjzT^t[yr^
S'Jvicrov r;Orj 0'j;jlo[v
apxs-:c![p?
Hall, in the Atlas, read a few more letters, but not with
certainlw 111, cxlv, 3.
1930. On a slab of white marble, in four lines complete, an
elegiac couplet, m letters rather late, but well cut,
ci 7.a'. ixotp'.ciov -:3Aoc [ v.'i js 77;; Jzo -/.ciAzou, |
^(o-^Tps zz'V/i, Oavo)V | "/atps y.al iv ^Otij-ivotc.
Ill, cxh iii, I.
193 I. On a sepulchral cippus, in four lines, complete, an elegiac
couplet, in late letters, roughl\' cut,
cs'j-vov ii\ -JiZy.z pioTOV, j [jia/.ap "ApT3;j.;c(.)p3, |
G-{o:;pojjvr,v c-.a 'V' | "/aips -/.al iv cOiaivo;;.
Ill, cl, Suppl. 16.
1 932-67. On sepulchr;'! cippi, in late letters, with the customar\'
formula yzr^z-.i (or -/pr^rrr, ) -/a;p3, or J) y^TiZ-A '/y''-r-- ('Q^'O
or £J'yjX£'., (,1950), oJcs;^ aOivaTOc (,194(), 1954), often ill-
spelt. 1 he number in parentheses after each name is that
of the figure in .Atlas ], cxl\i-\ iii.
552
GRHHK INSCRIPTIONS
1932. Antipas and Euodia.
(ii<S())
1933. ApoUonia.
1934-5. ApoUonides. (1182,
85)
1936. Aristodamos and Ari-
stagoras. (i 168)
1937-8. Ariston. (1154.71)
1939-40. Artem!d()r()s.(i 152,
73)
1941. Artinia. (i i()())
1942. Demelrianos.
1943. Epaphrodilos. (i 149)
1944. Epiktelos. (i i()5)
1945. Hnchamcncs. (1161)
1946. Euchianos. (ii7())
Euodia (sl'c 1932)
1947. Eupraxia.
1948. EutN'che. (i 183)
1940- Karpos. (i 157)
1950. Kralca.(i i74C'.\ prus4^.54)
195 1 . .Marcianos. (i i72"'i
1952-3. C)l\mpianos. (,1151. 58)
ic)S4. ()1\ nipos. (1 i7())
1955. Ohinpos son of
Ohmpos. (i 1 58)
1956. Oncsikrales. (1153)
1957. Oncsimos (i 17s)
1958. Phcrclima. (1 i()4)
1959. Philok\ pros, (i 170)
k/x). Philon. (i i()o)
1961 . Khodon. (i 1 50)
1962. Soterias. (i 177)
19(13. Sosioros. (1 181)
I9()4- Thconas. (i i()9)
i9()5-(). I'imon. (1 1(13.50)
I9()7. Ihcmislion, son of
Thcmislos (1 1 5())
1968-9. On tabids of white marbk\ with the usual formula -/j^.
7_aipc, and the names --/ipc; ( i()()8) and I^jttaoli; (,K)(i9)
111, el, Suppl. 38 (i9()8\ 17 ( I ()()()),
1970. On a slab of white marble, reshaped and mueh worn,
]-/.aA'.rj [
]a irl vsiaf^ov
.Meister read the first letter in line 3 as a mimi'ral a' or c'.
111. el. Sui^pl. \.
1971. On a bkjek of limestone, in lar.ue iale letters,
111, .1. Suppl. 7
I(j72-S3. On Khotlian amphorai :\x\k\ other store jar-^, in i;llpre'^s^'d
stam[is, aN jollow^:
i()72, u'reular, wilh Khodian llow er-de\ i\ e \\\ I he .enlic
around it the name of 1 lir ma,iiiNlr:ile and ih.M ^A I lu' niMulh.
333
APPHNDIX OF INSCRIPTIONS
197^, circular, like \<)-j2: Aatj.oy.piTcu;. Ill, cl, 4
ic)74, circular, jilain: izi <l>'.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.
i9<Si, oblong, with letters depressed, within a frame, the
maker s name
c. Pi:iJ.ici
Z.MARAC^DI
I9(S2, circular; rosette, with defaced letters around: ..OX AXX..
I9<S3, on the base of a small jug of poor late ware, the letters
fI>II\^ 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
54'' 122s
4^8
1278
53
1271
173 '"'><)
< 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
2<M4
2(>i,()
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
6<S2
1042
2797
7'y
1482
831
136
938
734
■"43
2806
724
'483
832
'M
959
738
1044
2828
730
i486
834
128
960
737
1043
2823
735
2249
839
48
964
761
1046
2834
840
93
963
760
VAShS
841
42
969
769
INSCRII
TIONS
741
43
842
51
970
733
'"47
773
742
86
843
32
97 •
679
1048
1823
743
3"
844
90
973
766
1 049
1826
744
82
846
89
979
986
1030
1340
749
96
849
38
980
944
I03I
1810
75"
83
850
84
981
941
1032
479
752
80
831-2
437
982
473
1033 1
I C)(So
733
92
833-4
436
983
312
i"34t
739
328
833
1701
984
3>3
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</'
32()3
i""5
Xo.
4
5
1-8
1-3
4-5
6-
7
3-
■4
3-
-16
7'
19
18
x\ ii
I
(j-
12
\(>
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 <H)
3<MS
52S2
3(,()S (I
(()4() IF
4 It
^(H)i 2
.1000 11
V)4'' II
iTnl 11
17"! II
',0.!" II
>-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<«<i(i
4
3 •S()8o
Ixxix i\iij passim
l\ iii
1
i=.77
1 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
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1
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3
1970
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9
370 ff.
2
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lO
370 ff.
cx!v
5
1917
49
19()2
1 1
370 ff.
I
1925
6
1921
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7
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1882
cxl\i
i I
958
S5
1958
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2
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1
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1039
2
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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 lr<im Kli in
ri^ht. Objects included in lliese pl.Mes but not iilenlih.i ble in the ^<>ih\ 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
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p. SI
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(HTMnn ll-Hl
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APPENDIX
Fn
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Kdilion
P
^1
P-
51
P-
60
P
33
P-
54
P
54
P-
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P-
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P-
54
P
53
P
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P-
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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
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3136
3447 ff.
o, o, o,
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3678-82
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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-
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P-
P-
4'
80
P-
41
P-
41
P-
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P
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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
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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
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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-.<h German
Edition Edition
Ildbk.
Xumljcr
pi. XXX
LXXl
4763
pl.XXXIli LXXMl 24
4320
4702
2S
4332
0, 0,
26
4345
P-344
LXXll I
1470
27
28
4324
4328
1462
1480
29
4333
30
4323
1469
31
43 3 3
1464
32
4332
1466
P- 344
2
1268
pi. XXXV LXX\111 I
4 18 1
P- 344
3
2
4170
P- 344
4
1022
3
p. 350
5
I25I-5
4
4192
p. 350
6
5
4406
p. 330
7
16
P-345
LXXl 11 I
3014
17
20
4'45
p. 346
2
N.Y.
22
4184
P- 347
3
N.Y.
23
4148
P-347
4
24
p. 350
LXXIV I
4039
pi. XXXVI LXXIX I
4164
2
4036
I a
4 I ()()
3
4037
2
4131
4
4058
3
4196
5
4061
4
4407
6
3289
5
4035
7
4386
6
7
4197
4149
pi, XXXI
LXXV i
2
4300
4302
8
4146
3
4301
pi. XXX\1I LXXX 9
4132
4
10
4130
5
4360
1 1
4' 90
6
4310
12
4140
7
4309
13
4'59
8
4329
14
42(11)
9
4',12[
1 T
4187
10
4331
16
44(13
I I
4303
17
iS
4180
4191
pi. XXX 11
LXX\1 12
43<M
l<)
41SS
13
4527
pi. XXXX'Ill
■4
4558
LXXXl ^0
•ti41
15
4^40
2 1
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16
4V><>
22
.1(1)'.
'7
4ry<>
^'>
■117'
i«
4 '>','-'
^4
4217
10
4^54
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(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<M)8
2042
2040
212 I
2037
223 I
2198
2201
2 ! 99
'474
1468
'454
96
617
663
6.4
784
389
529
323
217
793
1726
678
COLONNA-CECCALDI.
D'HGYPrE, Hr DE
Hdbk.
1228-9
1230
4616-34
4714-18
2082-3
2084
21 10
21 14
2113
c.
C.
Page
84
84
129
130
132
fig. 1,2
■'
135
fig. 3
tig- 4
'34
fig. 5
fig. 6
Plate
11
"
111
(head)
IV
I33I
'55'
'237
1363
1352
1407
1319
MONUMENTS
SYRIE.
c. c.
Plate V
VI
Vil
VI 11
IX
X
XI, 1
XI, 2
XI, 3
XIII
XVI, 3
XIX
XXXIIl, 20
XXIX, 29
DE CYPRE,
Hdbk.
1286
1368
1364
4361
4554
1932
1946
1931
1262
1248
4705
in N.Y. but
a forgery
500
576
TABLES OF REFERENCE
PERROT & CHIPIEZ
HISTOIRI-:
DE L'.ART D.ANS L'AN-
IlOUllK. 111.
PllHMClK, (
:h\pre
Th
i numbering is ihe same in the j-'reni-.h
ind in ihe English edition
Fig.
Hdbk. Fig.
Hill)k. lig.
Ildbk.
Fig. Hdbk.
151
14H
395
2084
302
333-7
376 A ^298
152
141S
396
2023
304
930
576 15 5 5()7
193
1357
397
1020
306
941
57() C 3O01 -2
217
3552-3
398
I 143
307
699
37() 1) 3603 6
349
1351
402
1 120
310
757
37(> 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/<iii, ns
limestone, 2.^0, m crystal, ;<;.}, .Anieiliv^i, .(do. (-4
in glass, 507. .AmphidrMn,, cpiilui d A|".ll«>,
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<i.
3V); .\ss\Tian woman's dress, ■(40; ilancing-girl, 120, 21.};
197, Hittile, 194, Phr\-gian, l,g\pti.in, 274.
2 14; ceremonial dress, 129. See Daophas, >,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 <il. 27;. J^'i. .||(. (V-^,
(^ross-ornamenl, 1)^!, 4 io. -M I ; "m.il- •!''', ^, -r^y. d.ir .md f.id. .:••"
tese cr<jss," 70,79, 8'S, 91, I oS, l.iv.ii, loi. ^I.l:', (jl, .|.i 1 , i);,
292. 4-10, .(40-
GENERAL INDEX
Deities. ape-iie;uled, 41?; ha\vl<- I'.ar, \otive, 280; inscribed, 316.
headed, 412, 415, 452; atlri- l^ar-picks, 492, 5 18.
butes (if, ?i2: CA-priote, 125-7, luir-rings, Bronze Age, 374; Minoan
Hittite, 4>,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<S(), 188.
infant, repr. of, 537.
Inla\'; slC l-,namel.
InsLriplions, 2yc) ff.; Araliic, 425,
42(); bilingual (Cjreek and Cy-
priote), 300; Cuneiform, 450(1.,
4,0; Cypriote, 216, 225, 300,
318, 414, 419, 425, 439, 464; in
Cypriote script but not Greek,
41, 47, 49, 300. 444; Egyptian
hieroglyphics, 415, 418, 432,
452-4; Greek, 259, 3 i8ff., 368-9,
410, 419, 423, 426, 518; in Cor-
inthian alphabet, 293; from
Hgypt, 319; Latin, 324, 369;
Minoan, 41: Phoenician, 234,
299, 301-3; Sassanian, 449.
lolaos, 176.
Ionian re\oIt, xx.wiii, 137.
ipoktonos; sec Herakles.
Iron, xxxii, xxx\i; swords and other
objects, xxxi, 482; see Early
Iron Age.
Ishmael, 423.
ishtar; .u.- .Aslarte.
Isis, with horns, 412, 452, 461, 499;
nourishing king, 433; riding on
a goat, 280.
I thyphallic figures, 178.
I\a-\ul, 429.
hory objects, 418.
I\y lea\es, 1 13-16, 1 18, 204, 228.
Jack hi and skirt of .Minoan women,
339, 464-3-
Jasper, 412, 423, 449, 430.
Jewelry, 373 IT.; represented in
sculpture, 144, 167, 168, 169,
1 97, 1 98, 208, 253, 244. Sec liar-
ring. Bracelet, Necklace, etc.
Judaism, 127.
jugs, "barrel-shaped," 78; "flat-
rimmed," 109; "handle-ridge,"
119, 467; "spout jugs," 120.
Sec Oinochoai.
Julia Donata, 324.
K.AHL'N, 41.
Kalopsida, 42-3, 267.
Kamelarga site at Kition, 330, 332.
Kamiros, 291 .
Kantharos, 423.
Karpass promontory, 307.
Karti-hadasti, xxxiv.
Katagraphos, 321.
h'elcs, in Homer, 344.
Kerkopes, 173.
Keys, 497.
Key-fret (meander) ornament, 174,
286, 288, 293,.
Khalat-i-Sultana Tekke, 6.
Khepera, 452.
Khetaanah, 42.
Khnum, 432.
Khytroi, 128; ring dances, 347;
templeboys, 306.
Kid, repr. of, 184, 339, 340.
Kilt, Cypriote (apron, loin-cloth),
132, 134-3, 15^. 219, 223;
Egyptian, 1 52, 1 57, 173,226,432.
Kimon, 137.
Kings, Egyptian, 404, 463; Homeric,
346; Cypriote, xxxv; scene at
court, 346, 462; of .Amathus
(Kinyras), 348; of Kition (Pny-
tagoras), xl; of Kition and Ida-
lion, 302; of Paphos (Etean-
dros), 392; of Salamis {see E\el-
thon, E\agoras, Menelaos).
Kinyras, 348.
Kitias, 1 18.
Kition (Kittim), xi\', xx, xxxiv,
xxxix, xl, 102, 104, 170, 449;
coins, 137, 172, 234, 422, 449;
terracottas, 258, 323; deities,
123; king of K. and Idalion,
302; inscription from, 306.
Kleon, 321.
Knee-cap, in sculpture, 223.
Knife, use of, in sculpture, 130;
knife-handles, 487, 318.
Knossos, 123, 148; palace archives,
312; glazed figurines, 332
Kornopion; sec Herakles.
Kotho Euios, 324.
Kouklia, 63; \ases, 69, 71, 106; in-
scriptions, 304.
Krater-amphora, 36, 60, 268.
Krates, 3 19.
Kriophoros, 127, 178; ram-headed,
181.
KrohyJos coiffure, 174.
Kurhasia head-dress, 345.
Kurion, 113, 123, 177, 331; .Apollo
at, 126; fibulae, 382; inscrip-
tion, 303; senate and people of
(inscr.), 319.
Kylikes, (Cypriote, 74, 100; Ionic,
294; " Kleinmeister" type, 294;
.Attic black-figured, 294.
Kykloi of Homeric shields, 345.
588
GENERAL INDliX
Labkanda, 322 riote, 2^(), 241, 5S5; Wostern,
Labrys. axe-symbol, 322. 2^(); with ller.ikles, 174 s';
Lachish, 52. wiih other men. 171, iS(), 245'
Ladle, 301), 366, 41)^, -of alabaster, 276. 450, 4^4, 44;; with hull, 2',U.
"Lady of the almond tree," 320; 245; lion-skin, 174; lion-god,
" L of Antioch," i()2; " L. of the 4()3.
Moon.' 125; 1. and maid, 258. Lips, painted red, 17<, 201 4, 2i(),
Lamps, Cypriote, 278, 280, 5O5; 22b, 238.
Hellenic, 65; Hellenistic. 366; Loin-cloth; sec Kilt.
Graeco-Roman, 366; Byzan- Loom-weight, ^i().
tine, 368; inscribed, 307, 368; " Lord of weight," inscr., VM-
of bronze. 407; of glass, 510; Lotos (including petals and buds),
of iron, 497, of limestone, 281; 82 If., 1)4 If., 07-8, 100, 10; 4,
showing smoke-stains, 27(); 117, 201, 2i(), 22^ -U, 248, 2()i,
lamp-filler, 120, 295, 310; lamp- ^76, 580, 409, 4^2 5, 444, 4S(),
hook, 497; lamp-stands, 70, 4O7; lotos-palmette, 493 If.;
360, 497 handle of bowl, 61 .
Landmark; sec Boundary stone. Lozenge-ornament, 76.
Lang, Sir R. H., .xiii, xxi, 191, ■520, Lucius Mucius, craftsman, 4()2.
Lantern, 278 Lustration, 257; lustral spr.iy, 1(12,
Laodamia, 524. i()4, 185.
Lapis-lazuli, ^84, 41 5 43(j. L\dian Iimpire, 157.
Larnaca; sec Kition. f->'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; .<<i- Snako.
Sorpeiuino, 2()v
Sol, l-'.g\ptian i.lcitv, 42 v
"Shaft-graves" of Mycenae, 376.
Shaft of iron, 374.
Shekel, Phoenician and Jewish, 312.
Shells [DoliHiii i:dli\n, 318.
"Shepherds' Patron," 177, 181,
188; shepherd's staff, 188, in
bronze, 488; repr., 461.
Shields, 147, 543; Assyrian, 133,
23O; Mycenaean, 374; round,
97, 207, 228, 344-3, 414, 447;
Oriental t\-pe, 71, 346; of
flexible leather, 4();5; with scale-
pattern, 71; with central boss
representing eagle or bull, 346;
or lion, 346, 487; or horse, 207;
W estern t\pe, from the Idaean
Ca\e, 437. .SVc also Warrior.
Ships, repr. of, 348; and sailors,
^14; PgN'ptian solar boat, 418.
Shoes, 1 3(), 164, 2()i.
Sho\els, of bronze, 476; stone, 309,
3()(); clay, 36().
Shrine, 124; repr. of, 348; .\linoan,
123; Egyptian, 1 35; of. Mother
Goddess (miniaturej, 180; port-
able, 278.
Sickle. 476.
"Siege Bowl" from .Xmathus, viii,
438.
Signs; sci Symbols.
Sigy}nia-spea.r, 482.
Silenos, 188.
Silver bowls and other \essels, 457
ff. ; coins, xxx\ ii; personal orna-
ments, 375 tf.; fibulae, 382;
rings, 408 tf.
Sin, Babylonian deity, 43(j.
Siren, i()y, 432.
SistrHi)!, 432.
Skirt and jacket, .\linoan. 436.
Skopas, 1 38, 211.
Sling-bullets, 318.
Slip on pottery; red and black slip
wares (Fabric ii), 22: black slip
with red paint ( j-abric i\j, 30;
white slip ware f Fabric \j, 31;
other \arieties, 11, 3O, 60, loc)
ff., I 16 tl.; f)n terracottas, 2 37tf.
Snake, repr. of, 17, 177, 182, 310,
340, 349, 393, 409, 422, 426,
440-1, 439, 493; attribute of
Asklepios, 177; of llerakles.
177; snake goddess in Crete,
148; serpent-charmer, 148,
340, 444; in modern Cyprus,
I4(); Egyptian uraiiis-snake:
13?, 200, 219, 224-6, 412-13,
41 3, 418-20, 448, 432
Snow-man technique, 114, 331, 337,
341, 342, 34<J-
Sockets, bronze, 496.
Sogenes, 323.
Sokrates, 323.
Soloi, xl, 347.
Sopatros, 324.
Sosianax, 323.
Sow, repr. of, 432.
Spatulae, bronze, 492.
Spears, 97, 228, 473; "spear-point"
pendants, 383, 391.
Sphinx, repr. of, 128, 160, 169, 170,
233, 233, 247-8, 230, 292, 293,
389, 407-8, 412, 418-19, 436,
439,443-4,448,461; attribute
of.\pollo, 126; ram-headed, 412
Spindle-whorls, 19, 20, 271-2, 506,
5 "3, 5'7-
Spiral ear-rings, 374, 376, 385, 388;
bracelets, 392-3; rings, 409;
ornament, 49; mechanically
drawn, 89; S-spiral, 439, 441.
Spoons, of bone, 518; glass, 513;
sil\er, 468.
Spouts, of \ases, 113, 120; animals'
heads, I 17.
Spray of leaxes, as attribute, 184,
186, 220, 237, 243, 295.
Stag; set' Deer.
Star, 286, 441-2.
Stasidamos, 317.
Stater, 3 12.
Statue, restoration of, 129; in
honour of athlete, 320.
Statuette, of bronze, 49(); of lead,
318. For stone and clay, src-
the Collections of Sculptures
(123 IT.) and Terracottas (329
if.j.
Steatite. 265, 267-8, 411, 418, 422,
432, 443-4, 446, 448; Egyptian
glazed, 41 3.
Stelae, 238; with lotos capital, 230,
4()3; with xolutes, 248, 316.
Step from a throne, \ oli\ e, 236, 308.
Stesikrates, 419.
Stitched work, imitated in clav, 17.
Stone, objects of, 263; glazed, 418.
.Sec Basalt, Diorite, Limestone,
Steatite, Serpentine.
594
GENERAL INDEX
Stone Age in Cyprus, xxvii.
Stone-cutters, illiterate, 300.
Strainers in \ases, 73, yS, 106, 281.
Stratios, epithet of Zeus, 322.
Strigils, 492.
"String-iioies"on \ases, 16, 17,23,65.
Students' Series, in Cesnoia Collec-
tion, xxi\'.
Stylus, bronze, 492.
Sub-Mycenaean style, xxxii, 62
Sun-gods, 123; "Sun-on-Horizon"
amulet, 451. For otFier solar
symbols scf Disc.
Susa, terracottas from, 333.
Swan, repr. of, 183, 187.
Swastika, 66, 70, 73, 79, 83, 91, 96,
97, 100, 106, 286; modified, 93.
Sword, xxxi, xl, 164, 247, 261, 344,
482; Assyrian, 133; Cypriote,
xl; Greek, 482, 483; Roman,
190; hilts, i83,483;pommel,448.
Syllabarv, Cypriote, 300.
Symbols, on gems and cylinders,
432,438-9,444,471.452-
Syria, 333, 471.
JABLE, repr. of, 244, 348, 464, 463;
of offerings, 237, 448, 518.
Tamassos, 31, 141, 223, 306, 331.
Tambourines, 128, 142, 339-40,332,
357-464"5-
I amigoras, 223.
I anagra, figurines from, 337.
I arentum, 172.
I arsus, xxxi\-, 171.
"Tear-bottles," 120.
Teeth, of an ox, 3 18.
'Tell-el-.\marna, 31,46, S03; Tell-el-
lles\-, 32, 4:; Tell-er-Ret.ibjh,
278; Tell-el-Vahudiyeh. 42.
Temple of Faphos, 124, 214, 410;
of Jeru5;dem, 310: of F.phe;ian
.\rtemis, 3S4; temple records,
3 10. .SV(' Sanctuarv.
Templeboys, 128, 18^), 23<), 306, 312;
in lerracolla, 3O1; inscribed,
'Tensile forms in potterw 90.
1 eos, 5 M)
lerracolla, uses of, ; v>; 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
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