HLfifmmiH: fl:P:Dl:c!^;^ROLH: LIBRARY OF THE University of California. Class /■' ^ ^ y 1 y ® ^Phoenician Vases from idalium;^^^^ UNIQUE SALAMINIA (CYPEUS) THE HISTORY, TREASURES, & ANTIQUITIES OF SALAMIS IN THE ISLAND OF CYPEUS. ALEXANDER PALMA DI CESNOLA, F.S.A., Member of the British Archceoloffical Association, and of the Society of Biblical Archceology ; Hon, Member of the Boyal Academy of Medicine, and of the Philotechnic Society, Turin; etc, etc., etc. fflSaitf) an CntroDuttinn, SAMUEL BIRCH, Esq., D.C.L., LL.D., F.S.A., Keeper of the Egyptian and Oriental Antiquities in the British Museum. AND WITH UPWAEDS OF SEVEN HUNDEED ILLUSTEATIONS, AND MAP OF ANCIENT CYPRUS. SECOND EDITION. LONDON : WHITING & CO., LIM., 30 & 32, SARDINIA ST., LINCOLN'S INN FIELDS. 1884. 3^ 'm\m PRINTED BT WHITIWa AND CO., LIM[TBD, 30 AND 32, SAEDIlfIA STEBBT, W.C. 214444 INTRODUCTION. HE antiquities discovered lately in the Island of Cyprus, consisting of several different periods of its civilisation, have certainly cast a new and important light on the history of art, for they form a connect- ing link between the Greek and Phoenician, or Aryan and Semitic civilisation. That Cyprus received colonists from the three con- tinents of the old world is undoubted. Evidence of the Phoenician and Greek colonists is proved by the remains of these nationalities found on the coast and elsewhere, while the conquest of the island by Egypt and Assyria has been recorded in the annals of those countries, and their arts have left the stamp of their impression on the sculpture of Cyprus. At the time of the eighteenth Egyptian dynasty, fifteen or sixteen centuries before Christ, Cyprus was known to the Egyptians, and had evidently been colonised and inhabited. The Greeks anterior to the time of Homer had peopled portions of the island, and the coast was held by their settlements, the establishment of which has been attributed to the period of the Nostoi, or return of the Greeks from the Trojan War, and cannot be referred to a later date than nine centuries before Christ. These settlers had evidently brought with them the Cypriote alphabet, invented before that known as the Greek, examples of which cannot be identified earlier than six centuries before the Christian era. Contemporaneously, or later, the Phoenicians had migrated to Cyprus, and mingled with the Hellenic population. In b 11 INTRODUCTION. the seventh century before Christ, Assyrian annals show that Cyprus was held by numerous princes, for as early as B.C. 715, seven kings of Cyprus had sent tribute to Sargon at Babylon, and at a later period, ten kings of Cyprus, among whom appears a king of Salamis, propitiated Esar- haddon and Assurbanipal with their tribute. To the Egyptians, Cyprus was " the Isle in the middle of the Great Sea", perhaps the Khaft of the earlier period, and the Masenia of the later age. The arts of Egypt and Assyria had a striking influence upon Phoenician art, and also con- siderably modified the sculpture of Cyprus. The only question for archaeologists to decide is the period of that influence, if it is to be attributed to the older age of the ninth and tenth centuries B.C., or to the later one of the conquest of the island by the Egyptians just prior to the Persian Conquest, about the fifth century B.C. This is principally to be determined by the arrangement of the head and hair, or the curls and beard, of the statues, which differ at different periods, resembling the Egyptian of the sixth century, or the Persian of the fifth, although there are undoubted evidences of earlier imitations in the bronze bowls and other objects. It is in this respect that the antiquities discovered in Cyprus possess such great interest for the study of archaeology. To the later period of Cypriote art belong the sculptures and other objects, which were made after the Greek element obtained a stronger hold on the civilisation. These types, however, still retain an Asiatic tendency, but assimilate more to the art and style of other Greek settlements. Besides the sculpture, innumerable articles of foreign fabric, opaque glass toilet vases made at an early period in the furnaces of Phoenicia, and bronze bowls or cups, with subjects in relief, like those of Assyria and Etruria, poured into the island by the intercourse kept up with the coasts of Syria and Egypt. These vases, which, by tlxe route of com- merce, have been found deposited in the tombs of Egypt, the graves of the Greek isles, and the sepulchral chambers of Etruria, and which are now known to be at least as old as the sixteenth century B.C., have also been found in the Necropolis of Salamis, and many elegant examples are in the Lawrence-Cesnola collection. They are amongst the most beautiful products of ancient art, and the predecessors of the '^glass chefs-d'oeuvre of Eome and Venice. Amongst those which the Necropolis of Salamis has contributed is a remarkable egg-cup, with the egg-shell INTJRODUCTION. HI still remaining in it, a type not yet discovered amongst the shapes of Hellenic vases of a later period. Of unrivalled beauty also is a toilet vase of the shape of an amphora, ornamented with peacocks and foliage, painted by the hand ; this bird, however, the pride of India, does not appear on works of ancient art till about the first century of our era. Another charming specimen is the lid of a box, adorned with a figure of Aphrodite Anadyomene. The first appearance of transparent glass with indications of a date is only about the seventh century B.C., when the vase made for the Assyrian monarch Sargon, which was discovered at Kouyunjik, or Mneveh, exhibits a green transparent glass made with thick sides ; and other vases of the same kind have been discovered in Cyprus and at Salamis. A great deal of this transparent glass, but of thinner substance and more elegant shape, is extant, and this kind of transparent glass was continued till the close of the Roman Empire. The quantity of ancient glass found in Cyprus is considerable, and many specimens exhibit a rare iridescence of colours. A large proportion of the glass is, however, of the Roman period, and of the second and third century of this era. A class of objects, also of Phoenician fabric, are the scarabaei, made of hard stones, such as sard, sardonyx, agate, cornelians, and jaspers, and imitated from the Egyptian prototype. A most interesting example occurs in the collection, bearing an inscription in Cypriote characters, and illustrating the fact that these scarabaei were made on the island as well as imported. The earlier engraved specimens were followed by the usual Greek intaglios, and many of the period of Greek and Roman dominion are in the collection. These are principally of the later period of art, and probably made in Cyprus, as under the Ptolemies there was a mine in the island. A class of objects peculiar to Cyprus are the cylinders of steatite coarsely glazed, found in the island, this collection being very rich in those from Salamis. These were probably imitated from Assyrian and Babylonian art, the deities and figures represented on them being derived from that source, while the material and glazing were copied from Egypt, cylinders of glazed steatite having prevailed fully fifteen centuries before the Christian era in that country ; but the art of these cylinders is so different from that of both countries, that the cylinders were not imported from either, and must have been IV INTRODUCTION. an indigenous production, and they consequently form a distinctive type of Cypriote art. Many cylinders, however, of hsematite, chalcedony, and other hard stones, some inscribed with cuneiform Assyrian and Babylonian inscriptions, and even Egyptian hieroglyphics, have been found in Cyprus, brought thither either by commerce, or introduced subsequent to the conquest of the island by Sargon; while in the Lawrence-Cesnola collection appear other engraved stones of the conical shape which is seen at the Assyrian and Persian period, or the later hemispherical type in use at the period of the Parthian Empire, de- scending to the third century B.C. Amongst the objects introduced from Egypt are the scarabeei, which preceded by many centuries the Phoenician, some as early as the fourth dynasty, a period so remote that there is no evidence that Cyprus was then known to the Egyptians ; others of the period of the eighteenth dynasty, when Cyprus figures as a tributary to Egypt. Other Egyptian objects in the collection, however, point to a later period, when the Phoenicians and Greeks exported Egyptian objects in porcelain to the isles. Erom Egypt, too, Cyprus probably acquired the alabaster, or rather stalagmite, of which many of the toilet vases were made ; and bronze and porcelain figures of the twenty-sixth dynasty, or between the sixth and seventh centuries B.C., obtained by this means, are in the Lawrence-Cesnola collection, A considerable series of gold ornaments throw considerable light upon the arts of the jeweller at different periods of the history of Cyprus. Some of these have inscriptions in Cypriote characters, and are pro- bably older than the time of Evagoras, or the third century B.C., and are of the age of the Phoenician and Greek kings, rising to the sixth and seventh centuries. Many of the ear-rings and finger-rings are beautiful examples of the best period of Greek art, while other rings are good examples of the excellence still retained at the time of the Eomans. Silver contemporaneous with the earliest period does not retain its preservation so well as gold ; but there are many interesting specimens in the collection, and from the stones set in the rings, evidently productions of Phoenician artists, either indigenous or foreign, and apparently of the fourth or fifth century B.C., and as such are objects of great interest. INTRODUCTION. V The leaden remains are not as a rule of the same antiquity as the metals mentioned before, and a large proportion of those discovered generally belong to the class of toys, or little votive objects. Seals attached to merchandise are occasionally found, and the sling bullets of the Greek and Eoman armies, with inscriptions in relief, are found, mentioning the division or corps to which they belonged. Other vases of small size, for the eye-ointments of the Eoman oculists, have, however, been found in lead. They commence about the time of Alexander, and seem to end at the Augustan era. The Lawrence- Cesnola collection, however, has also leaden plates, anciently rolled up, of a nature similar to the dirce, or imprecations discovered at Athens and Cnidus, deposited usually under the pavement of the temple, and •probably about the fourth century B.C. One of these discovered at Salamis has a Cypriote inscription, and is of high interest, as it probably precedes the supremacy of the Hellenic civilisation. The oldest known objects in lead are probably the archaic weights of Athens of the ^ginetan standard, and which may be attributed to the fifth century B.C. But even for weights, lead was subsequently superseded by stone and bronze, and the last appearance of this metal in ancient art is in the bullae, or seals, inscribed with monograms, of the age of the Byzantine Empire, as late as five centuries, and even later, after Christ, examples of which will be found in the collection. Although the use of iron implements and objects can be traced to eight and nine centuries before our era, the few remains found, owing to the rapid oxidation of the metal, are precious, although of a later period. The bronze portion of the collection contains some remarkable objects — the Phoenico-Egyptian bowl, and the bronze tiute, constructed upon an unusual principle, probably of the Greek period. Amongst the weapons found at Cyprus are some of copper, which may have preceded the use of bronze, and have been found elsewhere in the island. The articles of bone and ivory found at Salamis are principally of the later Greek and Eoman period, comprising spoons, hairpins, and small objects ; but the ivory box protected by a lead box and two paterae, is most remarkable, and of an earlier period ; along with the ivory must be mentioned the box in shape of a shell, with a Cypriote inscription. VI INTRODUCTION. which was employed for the purposes of the toilet. Bone is, no doubt, a later substitute for ivory, as proved by the numerous plaques, tickets for the amphitheatre, and tesserse of gladiators, portions of caskets, knife-handles, and hairpins found all over the ancient world at the time of the Eoman Empire. The use of ivory, indeed, is of the most remote antiquity, that beautiful, soft, and elegant material having been at the earliest period adapted for objects of decorative art. The numerous sculptures in stone, although not of the largest size, exhibit the principal vicissitudes of Cypriote art, as it passed through the transition of Egyptian, Phoenician, and Greek and Eoman influences; the material employed for this purpose was principally a kind of fine limestone, resembling modern Caen stone, which easily yielded to the chisel, and has retained a worn colour on the surface, producing a pleasing effect after centuries. The very facility of working it instead of marble, more stubborn to the chisel, without doubt modified the art, and, to some extent, prevented it rivalling the soaring genius of Athenian art or that of Asia Minor. Yet some of the effects of the Cypriote sculptor are undoubtedly happy, especially those made at a later time, when his labours were untrammelled by hieratic influences, which had the effect of producing a pseudo-archaism more interesting to the archaeologist than pleasing to the general spectator. Criteria, however, are not wanting for determining even the relative place of these sculptures as revealed by the appearance of the laurel or other wreaths upon the head, and rings upon the fingers, in costume, or the treatment of the hair, the brows, eyes, and beard, in the representation of the countenance. At Salamis have also been found those small naked female figures of Dsedalic fabric found elsewhere distributed through the Isles of Greece, perhaps some of the oldest remains of Carian art or Phoenician sculpture in stone. The inscriptions from this island site are precious from their rarity and their belonging to the different epochs. The Cypriote have been illustrated by Professor Sayce ; one at least presents either a new letter or new form of a known letter of the Cypriote alphabet, and is on stone. The precise date of the first appearance of this early attempt to write the Greek language is unknown, and has to be determined from the bas- reliefs and coins. Although its appearance is supposed to be first INTRODUCTION. VU amongst the ruins of Hissarlik or Troy, the doubts and difficulties are too great to enable that alone to decide the epoch. Unfortunately, in Cyprus, the character continued in use to the exclusion of the more recent Greek alphabet, till the fourth century before our era. The reform of Evagoras, no doubt, effected the substitution of the Greek alphabet for the complex and ambiguous Cypriote ; but there are no bilingual inscriptions, either Cypriote and Greek, or Cypriote and Phoenician, which can be assigned earlier than the fifth century B.C. ; and that is certainly not the earliest date of Cypriote inscriptions, for the golden bracelets of Eteander, contemporary of Sargon, must be as old as the seventh century. Some of the lapidary inscriptions look older. The terra-cotta figurines and vases were undoubtedly made on the island, and are amongst some of the oldest productions of the potter's art. The statuettes found of the oldest Assyrian or Persian style, the middle period of the history of the island, are succeeded by the Phcenico-Egyptian, then by archaic Greek, and finally by such as were made at the time of the Eoman Empire. Some of the earlier ones are incised with Cypriote inscriptions, apparently the names of the donors or persons represented. Amongst the most remarkable of the archaic kind are dogs and lions inscribed with Phoenician and Cypriote characters. One remarkable terra-cotta, representing a Genius on a cock, is dedicated to Cleopatra, but to which queen of that name is uncertain. Of the Eoman period is that inscribed with the name of the Goddess of Eain, or a ISTaiad ; and to the same period belong the numerous Cupids or Genii, which swarm on the sarcophagi and other objects of art of the second century. Analogous to the statuettes are the lamps of the Eoman period of terra-cotta, hundreds of which were found at -Salamis. These are the chief contributions to the antiquities of a later period. The vases discovered on different sites have a different type of decoration and character from those exhumed in Italy, Greece, and the Isles. An immense quantity belong to the oldest period of the fictile art, and have some analogy with those of Ehodes and lalysus. The back grounds are pale yellow ; the ornaments geometric, plain bands, and annulets. Vases ornamented with plain bands, annulets, circles, VIU INTRODUCTION. Vandykes, and similar decorations, belong to the earliest period of Greek art ; some have been found in Cyprus, occasionally with Phoenician inscriptions burnt in, and others with Cypriote inscriptions incised, and consequently belong to the earlier period of the fictile art ; but these are not all of the earliest age, as one remarkable vase in the collection bears the name of Arsinoe, the wife of Philadelphus, B.C. 284. The great peculiarity of early Cypriote art in its earliest develop- ment, is the employment of birds. These are often of large size, and occupy the greater portion of the area. The human figures, introduced by degrees as subordinate to ornament, exhibit all the peculiarities of the infancy of art. This is the style peculiar to Cyprus, especially the quaint figures of birds and trees. Corinthian vases, with maroon figures on yellow ground, are, however, found in Cyprus ; and another peculiar ware of red clay, resembling the so-called Samian, but ornamented with archaic annulets and other patterns, and found under circumstances demonstrating their high antiquity. The vases of the Greek style of the last period are rare, but many interesting specimens of the Eoman period, and a great number of lamps, are in the collection. The silver currency of Cyprus consists principally of didrachms on the Persian standard, and is as old as the sixth century B.C. ; and amongst the earlier examples are those of Evelthon, king of Salamis, who flourished about B.C. 530, inscribed with Cypriote characters, which were in use at that period. The other coins of the supposed Euanthes and Pygmalion may also be of the same place and period. Those of the Phoenician kings, which exhibit Greek art and the same standard, and which are supposed to have been struck from B.C. 448 to B.C. 332, are contemporaneous with the Greek rulers, commencing with Evagoras, who issued gold pieces (of great beauty and interest) on the Attic standard, as well as silver, apparently at Paphos. They are beautiful examples of Greek art, inscribed with Greek inscriptions. After Nicocreon, in B.C. 312, the Ptolemies established one of their mints in Cyprus, and struck coins at some of the principal cities, Salamis included. The political vicissitudes of the period, as well as the state of the art, are reflected by the currency, and after the acquisition of Cyprus by the Romans, the currency, which was bronze, became that part of the provincial issue known as imperial or provincial. In fact. INTRODUCTION. IX at no period of its history, was the island governed otherwise than by kings, the institutions being always monarchical. The dominant civilization was undoubtedly Greek, and so was the language of the principal cities; and the character in which it was written, although perhaps modified by Asiatic influences, cannot be traced with any amount of probability to any other known source. This is the more remarkable, as there is every evidence that the Phoenician population divided the possession of the island with the Greek, and that in some of the chief cities they held an undoubted supremacy ; while as late as the Ptolemies, official and other acts were recorded in Phoenician as well as Greek. And this is the historical teaching of the antiquities found in the island, and their contribution to our knowledge of that portion of its former condition. The present work shows the results of the long and laborious exca- vations of Major di Cesnola in Cyprus, extending over a period of three years, chiefly at Salamis, one of the most important towns in the island, and colonised, as we have seen, by Phoenicians and Greeks. This is the third town in the island the Necropolis of which has yielded such important archaeological results, and extended the knowledge of Anatolian Greek art, as distinguished from that of a purely Hellenic character. The success which has attended the efforts of the excavator is due to his perseverance and discernment, added to his experience of the position and- appearance of promising sites, his acquaintance with the native character, and requisite resources for conducting the operations to a successful issue. Hence the acquisition of adequate results, which must be admitted to have been successfully obtained in the Lawrence- Cesnola collection. S. BIRCH. TEKKA-COTTA STATUETTE, PREFACE TO THE FIRST EDITION. R E the reader takes up the following pages, I beg leave to say a few words about the book, and the explorations it describes. I make no profession of archaeological knowledge, nor does my book even now pretend to be more than a simple narrative and description of explorations in the Island of Cyprus. These pages have been pre- pared in order to place before students and the public the principal relics which I discovered ; but it is not expected that they can exhaust the interest and associa- tions of those remains. My own position is that of an enthusiastic digger-up of antiquities. I went to Cyprus in the year 1873, and remained there until the end of 1874. After an absence of about eighteen months, whicli were spent in London, I returned to Cyprus, During this interval my days were freely spent in the British Museum, the vast Oriental treasures of which are arranged in a scientific manner, prodigiously to the advantage of those who, like myself, diligently study them. It was while thus occupied that I had the honour of making the acquaintance of Dr. Samuel Birch, the all-accomplished and learned keeper of the Oriental antiquities in the museum. This Xll PREFACE TO THE FIRST EDITION. acquaintance ripened, on my part at least, into a very devoted friend- ship, and I am at this time indebted to Dr. Birch for the abundant aid he has given me, in writing the introduction to the following chapters. My previous engagement in Cyprus having been broken, not through my own wish, nor with my consent, but by others, I accepted the generous offer of Mr. Edwin H. Lawrence, F.S.A., to supply a sum of money to enable me to commence digging on my own account, a condition being that if I succeeded in forming a collection of antiquities of sufficient importance, it should be offered to England before any other country. On arriving in Cyprus at the end of July 1876, 1 engaged the same house and servants in Larnaka I had before, and also a country house at Ormidia, the latter being near to Kitium, Idalium, Salamis, and other localities which are rich in ancient monuments. In the month of August I was ready to resume researches, and had collected, partly in Larnaka and partly in Dali, twenty skilled workmen, putting at their head an excellent aged digger, who soon proved himself an affectionate and faithful assistant. My intention was to secure a collection of vases and glass, so as to have one or two specimens of every shape and kind used by the ancient Cypriotes. The vases being mostly funereal were not difficult to discover. My men and I knew where to search ; all that was required was patience and time. As to the glass, the case was not so simple ; some of the natives, and even my own men, were disheartened. Very little glass had been found, they declared, within the last two years ; but I am happy to say that in the end I obtained a large number of specimens, and a vast variety of glass relics, as well as terra cotta vases, the number now in the Lawrence-Cesnola collection, which is hereinafter described, being about four thousand of each material. Many specimens, among this multitude of ancient art-relics, are remarkable for their shape and character. With objects in glass, coins are always found, therefore I have been able to obtain a most valuable and exceedingly interesting collection of more than one thousand six hundred examples, which include specimens, in gold, silver, and bronze, of every dynasty which has occupied the island in ancient times ; the reader will, amongst other descriptions in my book, find an account of the more important of these relics. As coins are found with objects in glass, so lamps are found - PREFACE TO THE FIRST EDITION. Xlll with terra cotta vases, and I thus collected more than two thousand lamps, of which two hundred bear makers' names stamped upon them in Greek or Eoman characters. All excavators have a fancy for one particular kind of relic, and I was not exempt, my ambition being to find inscriptions in the Phoenician and Cypriote languages; therefore my men had strict orders to bring to me everything which bore an indi- cation of an inscription, and I also was always on the look out for such things. The result of these efforts the reader will find in many interesting examples as described in this book, for the translations and explanations of which I am greatly indebted to friends, but most especially to the learned and Rev. Professor A. H. Sayce, of Queen's College, Oxford. The first objects I found with inscriptions were two vases in terra cotta, bearing Phoenician lettering, such as was used for cinerary urns. Inside one of these vases I found burnt matter, probably the remains of a child: the only differences between the two vases were in respect to the places where they were found, and the inscrip- tions they bear. One came from ancient Kitium, and has a Phoenician inscription, the other came from Idalium, and is enriched with Cypriote letters. Another vase, which I found in the village of Athieno, has Cypriote letters, and was probably used as a family cooking pot. Prom the end of June until October 1876, I was obliged to suspend work on account of the heat of the weather. I occupied this interval in an excursion to Salamis, and with the aid of some natives of two villages, I dug near to the ruins of the ancient city ; but I was deceived, and after much outlay and trouble left the place without finding any- thing of great importance. Although I lost money in this research I did not regret it, as I met there two very intelligent natives, who were large proprietors of land in the ruins of Salamis, and well informed about digging. Having furnished them with money, and incited their diligence with many promises of future payments, I left them, to seek tombs at Salamis. I think, and my men had the same opinion, that neither I nor those who worked before me among those ruins, had failed to find the proper place for successful explorations. I may explain here why I sought the site of the tombs in Salamis before commencing any other diggings. The manner I adopted was that of my predecessors. XIV PREFACE TO THE FIRST EDITION. Be it noticed, that there are two methods of exploring the antique world — digging in the ruins of the cities, and digging in the tombs of their inhabitants. Tombs are found generally near ruins. Digging in ruins is always uncertain, and can only be carried out at great expense, which sometimes may be continued for months without producing any- thing of importance ; but if the excavator should find but one fine object, it will pay more than all the expenses incurred. When digging in ruins I always sunk shafts at the spots which bore indications of temples, palaces, or other large buildings. These shafts were sunk a few feet apart, and were made more or less deep, the depth of each being dependent on the men finding rock or virgin earth. When either of these substances was reached, I knew there was no hope for researches in these directions; therefore, abandoning the pits, I tried other parts and dug again. When the shafts disclosed a foundation or pavement, I continued working in the direction indicated, feeling sure that some- thing would surely be found there. I have many times hoped to find a famous temple and other remains, and was often ready to draw plans, and began to take measures for the elucidation of these chateaux d'Es'pagne, but all of these visions ended in nothing except foundations of common buildings. It is only an excavator who can enter into my feelings. At the moment of expectation, the excitement of a digger can only be compared to that of a gambler. I must, however, say that if a digger has many disappointments, he has great pleasures and much satisfaction in the progress of his work, and this satisfaction I expe- rienced in mine, especially at Salamis. Searching for tombs was con- ducted nearly in the same manner as among the ruins, the only change in the manner of seeking being due to the different constructions of the tombs, and this depended upon the people who had buried their dead in them, for of course the antiquities were in accord with the people to whom they had belonged. In digging in the tombs I always recovered antiquities to the full value of the expenses incurred, because the objects found are generally gold. My system of work was generally to divide the diggers into small parties of three or four each to work in the tombs, and one party in the ruins, I myself remaining with the latter, ready to run to the spot when my men opened a fresh tomb. In this manner also, if I found it PREFACE TO THE FIRST EDITION. XV necessary to have more men in the ruins, I could easily call for those who were working in the tombs. To the workmen I generally paid the fixed wages of one shilling a day, paying them every Saturday also for the objects they had found, at a rate fixed beforehand by my foreman and the workmen. The gold was paid for by weight, adding sometimes a little more when there was art in the work. Under this system I continued digging for about three years. I will take this opportunity of stating that all this time of my diggings, I was never cheated, nor had I any trouble with these poor workmen (as many excavators in other countries have had), but, on the contrary, I received from them most faithful work ; and, on their part, they had confidence in me. If I had occasion for complaints, it was not against Cypriote people ; and it must be remembered that, although I always employed men of both religions, orthodox and Mahommedan, I could not say which of the two was more faithful. I had great confidence in men of both classes, and have sometimes left in their hands large sums of money, and never experienced misgivings about its safety ; and I do not think there is any other island or country where the people are more honest or trustworthy than the folks of Cyprus are. When I parted from them it was with great regret. In October and November of 1876, 1 was digging at Timbo, Ormidia, and other villages, and I collected in those places a very large number of vases and fine specimens of glass. It was at this time that I sent two parties of five men each, the one to Kurium, and the other to Soli ; but they came back with very few spoils of the spade and pick. This was the last time I sent out independent parties of diggers, for I found it better to discontinue this system, and to keep all the men with me. I returned home to Larnaka for the winter, and began to pack the relics which had then been unearthed for conveyance to Mr. Lawrence in England. My first cargo consisted of six large cases despatched in an Austrian Lloyd's steamer. For the success attending this shipment, I am indebted to Messrs. Osmiani Brothers. At Alexandria the cases were passed to another company, en roiite to Messrs. Moss and Co., Liverpool, who, in their turn, delivered them safely in London. My life in Larnaka was very solitary, and I received very few friends. My time was taken up in sorting the antiquities, and arrang- XVI PREFACE TO THE FIRST EDITION. ing and studying them. I was, and am, greatly obliged for many explanations given by my dear friend, Mr. Demetrius Pierides, a great antiquary and numismatist, who is thoroughly acquainted with Cypriote monuments, which he has studied indefatigably for about half a century. He is an honourable gentleman, whose presence adorns the island of Cyprus. The reader will see that the kindness of Mr. Pierides towards me was not limited to the time that I spent in Cyprus, but that it con- tinues now ; for in reading this book it will be observed how kindly he has aided me in many things. I thankfully remember, too, the kindness of H. E. the Bishop of Larnaka, of the Archimandrite himself, and of the Venerable Dr. Valsamacchi, and the goodness of others, who were the only friends I received during this winter. In March 1877, I visited Paphos, and while on the way thither spent many hours in the ruins of ancient Mariura, visiting the spot where the learned German, Dr. Sigismondi, met his death while examining a tomb. These ruins were one hour's distance from Limassol, and half-way between Larnaka and Paphos. I received kind hospitality from M. Teodoro Peristiani, a learned lawyer from the University of Paris. Tiiis gentleman was in every instance most obliging towards me. During my stay in Limassol I visited two collections of Cypriote antiquities, one belonging to a native, and the other to Dr. Gastan, but I could not succeed in buying either of them. The first of these collections comprised many objects that I liked, especially three pieces of a patera, with Phcenician inscrip- tions ; but I could not obtain it, on account of the great price set upon it by the owner, and because I thought the inscription was not of one patera, but of three different specimens put together as one ; and in spite of some savants in Paris, who said it was but one inscription, I retain my opinion. I stayed at the Lusignan Castle, in Colosso, and received very kind attentions from M. Lobianco, proprietor of a large estate in Limassol, At Paphos I remained ten days, and dug in several places, where I found some fine gold objects and vases of a particular form, which are found only in this locality. I obtained at a village near Paphos-Nova a beautiful Cypriote inscription of three lines, and I there bought four other inscribed stones. Paphos is an excellent locality for digging in the ruins; but it is an extremely expensive place, and difhcult to PREFACE TO THE FIRST EDITrOX. XVU explore, because the ruins have been buried and re-buried by earth- quakes, so that it requires many men and very deep shafts to reach them. In April 1877 I returned to my country house, and extended my diggings to Eiso-Carpazzo. I remained in this line of mountains until July 1877, and collected there many very rare relics in gold, glass, vases, and inscriptions. It was at this time I found a square well, partly of brick and stone, which was full of fractured statuettes of a new form, and mixed with earth. I put together of these about two hundred statuettes ; the reader will find illustrations of some of these in this book. This well was about two miles distant from Salamis. The statuettes probably belonged to a temple of the latter town, and were placed in this well in the early part of our era. The statuettes were found thus : first those of very ordinary and rough work ; in the centre were those of much better art ; and in the lowest stratum they exhibited most beautiful art. No news came to me from Salamis, but I knew that the man who was excavating there for me was keeping his promise, and working hard in our joint interest. On my return from Carpazzo I saw him, and bought from him some very good ancient Greek glass, such as is called Phoenician in Cyprus. He said to me, " No tomb yet ; but I hope very soon to have news to bring you." In August I went again to Limassol ; but only passed the ruins of Kurium, and began digging with ten men in the same spot in which one of my predecessors found a treasure, which is now in the New York Museum. I recovered many relics, principally in gold or silver, — fibulae, rings, ear-rings, and a beau- tiful necklace. After a fortnight's work, I was advised by a friendly Turkish officer and others in the village, that people in the coffee-houses were beginning to speak adversely to my operations, while one of the proprietors thought it would be better to inform the Kaimakan or Chief of the Province of Limassol, with a view to stopping my work. On hearing this, I decided to leave the place for a time, and went back to Larnaka. I left only one man to continue the work at Kurium. After a month this man returned with many very good objects in silver and bronze, and twenty or more fine ear-rings. I must say that in this circumstance, as during all my digging in the island, I was most obliged to the Turkish authorities. If I have succeeded in gleaning d XVlll PREFACE TO THE FIRST EDITION. the Lawrence-Cesiiola collection from Cyprus, it is due to the kindness of the Turkish officers, from the simple zaptieh or policeman, to the Governors-General ; and I know that this kindness continued, although some jealous persons and others did their utmost to deprive me of this indulgence and regard. This, however, was not the same when, at a later time, they tried to injure me with the new Government. This jealousy was not limited to the authorities of the island ; but resulted in a communication to the Minister of Foreign Affairs in Italy. In thinking of how much other diggers and archaeologists have had to suffer in foreign countries, principally in the East, before me, for instance, Botta, Layard, Schliemann, and others, I cannot but feel that my lot was not so hard as theirs, and so I continued my work without paying much attention to what was said and done against me. I always worked with the countenance and indulgence of the authorities and public officers. I had, indeed, made application in Constantinople for a firman, but never received a positive answer ; so I continued digging without it. It is on this account that the reader will not find in the Lawrence-Cesnola collection many large monuments of the statuary class, such as my predecessors had been able to obtain. It was not because I did not find any, or made no researches for them ; but I was unable to treat them like small articles which are easily removed. If I had tried to remove large works, it would not have been to my advantage ; but, most probably, advantageous to others, and possibly they would have stopped my work. It is certain that if I had suc- ceeded in obtaining a firman, England might have obtained some fine statues and monuments, and had no cause to regret what it has lost. Mr. Edwin Lawrence would, in that case, have had all his wishes fulfilled. In November 1877, my workman came from Salamis to Larnaka, and brought three statuettes in terra-cotta, one with a Greek inscription on it, which he had found in a tomb there. He brought, also, several pieces in marble and stone bas-reliefs, from a spot at wduch he hoped explorations might prove very successful. I ordered all my men directly to Salamis, and followed immediately, took a house in a village near the ruins, and remained there until the British occupation of the island. My coltection at that time was not a third of what it afterwards became, in consequence of this discovery in Salamis. PREFACE TO THE FIRST EDITION. XIX On bringing to England the mass of the relics I had recovered from the soil of Cyprus, an exhibition of the whole was arranged, where it still continues, in Holland Park, in the mansion of Mr. Lawrence ; but very few general visitors have seen it, on account of its display at a private residence. Fortunately, no necessity of selling this collection exists, as many other collections have been sold at public auction, and for the sake of realising their money value ; and, certainly, no one would desire to disperse this one, until every means had been used of securing these works of antiquity to the public use in the fittest manner, and I should be glad, if it were possible, that they could be exhibited in a public museum. The student will find every piece described in this book, with the name of the place where found ; and this has been done so as not to fatigue the reader with a long preface. During all my diggings I have never sold a single antiquity. I have, on the other hand, presented many things, principally to English and American visitors, who lionoured me with visits while they were passing through the island ; but I always refused to sell anything. I embarked on the Lloyd steamer from Cyprus in February 1879 ; and returned to London the 22nd of May 1879, after having stayed in Italy some time, in order to re-establish my health. Six months after, the collection was arranged in cabinets in two large rooms, in the house of Mr. E. H. Lawrence, 84, Holland Park, where they still remain. Many Englishmen and foreigners of learning have visited the collection. I invited Dr. S. Birch and Professor C. T. Newtion, C.B., of the British Museum ; and Mr. Wallis and Mr. Thompson, of the South Kensington Museum, to see the antiquities; which they did. In 1881, with Mr. Lawrence's consent, I offered to exhibit the collection in the South Kensington Museum, and for tlie benefit of art students. After four months I received an answer from the authorities, who placed at my disposal six small cases in a room near the Water- Colour Depart- ment. I took the advice of many friends ; and every one agreed it was impossible to make a favourable exhibition in so small a place. I therefore declined the offer, hoping for a better occasion at a later time. At the end of the same year I offered to lend the greater part of the XX PREFACE TO THE FIRST EDITION. collection to the British Museum for temporary exhibition ; but the offer was not then brought to a successful conclusion. With these offers I feel I have completed my duty to students and amateurs in antiquities. The Lawrence-Cesnola collection is too large for a private museum. It is my ardent wish that some day it may be in a public one. Before ending this preface I heartily thank many learned friends, besides those I have previously mentioned, who have helped me with counsel and aid in this work, and I especially thank Professor E. Kenan, Mr. r. G. Stephens, and Mr. Walter de Gray Birch, F.S.A. After this explanation, I leave my book in the hands of the reader, begging him to show all leniency and benevolence towards my many shortcomings. A. PALMA DI CESNOLA. PEEFACE TO THE SECOND EDITION. HE present edition has been undertaken by tlie author with a view to meeting the generally felt desire for a revision of the work; and an opportunity has thus arisen of inserting several additional notices of the more important relics found at Cyprus, and also giving the latest interpretation of some of the inscriptions. The following biographical notice of the author will, it is hoped, be acceptable to many readers. Major Alexander Palma di Cesnola, F.S.A., was born at Rivarolo- Canavese, in the province of Turin, 26th December 1840, of noble parents, Cav. Maurizio Palma di Cesnola and Eugenia, third daugliter of the Conte Eicca di Castelvecchio. His father, and his father's eldest brother, Conte Alerino, were condemned as heads of the movements in the Revolution for the Italian Independence in 1821, the former to prison, and the latter to capital punishment, with the confiscation of liis goods and degradation from his honour and title. Conte Alerino fled to Greece, and died there in 1852 after thirty-one years of exile, having refused the sovereign's pardon in 1849. Alexander was the seventh and last child born of this marriage. He was educated in the Colleges at Rivarolo Cuorgne and Biella. In 1855 he enrolled in the 5th Battalion of Bersaglieri, which at that time was quartered in Turin. He volunteered for the expedition to the Crimea in the temporary 3rd Battalion destined for the 18th Company, commanded by Captain the Marchese Pallavicini di Priola, now commander of the 10th Corps of Arms. At the termination of tliG Crimean War, during which his battalion had lost two-thirds of its XXll PREFACE TO THE SECOND EDITION. numbers through hard fatigue, and in being engaged in the battles of Tchernaia and Sebastopol, Cesnola returned to Italy with the same battalion, and was promoted in that year to the rank of Sub-officer. In 1859 he went to the War of Independence, where he distin- guished himself in many ways for his bravery, especially in the battles of Palestro and San Martino, for both of which he was decorated with " honourable mention", and many times his name found a place in the order of the day. He was nominated Sub-lieutenant in the same Corps, and Lieutenant in 1861. With this rank he passed into the 1st Infantry Eoyal Marines, where he was promoted Captain in August 1862. He took part in the War of Independence in 1866, and was present at the celebrated Battle of Lissa. In Brigantaggio, in Sicily, he was wounded at the head of his Company, but remained at his post up to the end of the action, for which gallantry he was decorated with the medal for "Valore Militare." In 1869 he retired from the Army, to go to South America in March 1870, where, after having visited Eio Janeiro and Montevideo, he settled for a time in Buenos Ayres. He fitted out, at the end of the same year, an expedition to explore the interior of the Argentine Eepublic, and having reached the source of the great river Rio de La Plata, he visited the coasts of Argentina and Uruguay, and the towns of Corrientes, Paysandu, Salto, Concepcion, and after passing to the Paraguay Eepublic, visited the capital, Assumpcion, at that time in ruins by reason of the War of Independence against two Eepublics and an Empire. He advanced, and visited the coasts of Bolivia and Corumba, and afterwards the provinces of Brazil and Matto Grosso; and having sojourned a little time in Cuyuba, the capital and military district, advanced to the extreme of the province and visited Dimantino, the vicinage being then only inhabited by savage tribes, in a great part cannibal. These expeditions brought down considerable criticism upon Cesnola, at the hands of the Italian press, and of his countryman. Dr. B. Cittadini. In spite of this, the firmness of character and the courage of the Italians guided and conducted by Alexander Palma di Cesnola, gave good results to this exploration, and in spite of these difficulties Cesnola was enabled to reach places that very few had been to previously. If this example of Cesnola had been followed by others, PREFACE TO THE SECOND EDITION XXlll it is certain that it would have proved a great advantage for commerce with so rich a country, especially in gold mines ; but the many dangers of the journey deterred those from continuing this exploration. Aban- doned afterwards by his companions, who had at first supported and assisted him, continual fatigue, the hardships of life, and the daily increasing danger as he advanced further in such countries, Cesnola, after three months, returned in 1871 to Biienos Ayres, just at the moment when the terrible epidemic of yellow fever was raging. Here he offered voluntary assistance to the poor and sick, at a time when skilled nursing by experienced persons was almost impossible to be procured at any cost. This philanthropic act of Cesnola's was lauded and praised by all. He was struck down with it (after having passed the night at the bedsides of a poor French family, victims to this sick- ness, at the time the fever was at its worst. After about a montk's illness in bed, his life being saved entirely through his good French landlady, Madame Schielbs, he returned into his usual good health, but finding his finances in an unsatisfactory state, he returned to Monte- video, where, with great difficulty, and under the protection of the Doctors Spada and Obbicini, both Italians, he obtained the post of Captain in the National Mobilised Guards. In that place he was excel- lently treated by the deputy-colonel, Don Juan Crux Costa, therefore he did not get on very well with his companions, and principally with the Italians. At the termination of the war (one of their truces or armistices, which they celebrated and called peace), there came afterwards recommendations, and through President Commensoro, Ces- nola was nominated Sergeant-Major (Major), to the 4th Battalion Regular Infantry, commanded by one of the President's nephews, and thus he became part of the Republican Army. In April 1873 he resigned, and sailed from South America, for New York, where he arrived after three months' journey on the sea without touching land. He visited Boston, Philadelphia, and Washington during the three months' sojourn in New York with his brother, and then left with him for the Island of Cyprus. His brother Luigi (who was made a general after the war in the United States), had been nominated American Consul for the Island of Cyprus in 1865. By the proposal of this brother, Major di Cesnola was nominated Vice- XXIV PREFACE TO THE SECOND EDITION. Consul for the United States at Paphos, now a little town, but muck renowned in the ancient history of the island, with residence in Larnaca. There he commenced to undertake archaeological excavations, assisting his brother as chief digger and partner. At the end of the year 1875, Major di Cesnola left Cyprus to go to London, where he remained up to the middle of the following year to study the language and archaeology of Cyprus in the British Museum. It was at this time that he formed an intimate friendship with Dr. Samuel Birch, keeper of the Egyptian and Oriental Antiquities in the British Museum, who was his great helper and scientific adviser. Cesnola returned to Cyprus in 1876, recalled by his brother, who was on leave at New York, where he, a short time after, was nominated Director of the Metropolitan Museum of Art. Alexander, with study and an enthusiasm for archaeology, put forth all his strength, and continued the excavations on his own account, aided in funds by Mr. Edwin H. Lawrence, F.S.A., of London, father of his future wife. The author arrived in Cyprus 22nd July of that year, to undertake the duties of American Consul, to represent his absent brother, and hoped later on to be nominated and replace him as Consul. These duties lasted only six months, because the American Congress, for economical reasons, abolished, together with 120 other consulates, that of Cyprus. In having no government employment, his Vice-Consulate of Paphos being thus abolished, he remained perfectly free of all engagements with the United States, and so he devoted himself then entirely to his excava- tions, which gave him splendid results and obtained great success ; for in less than three years he had discovered 14,000 objects of archaeological value, comprised in his valuable collection, which is called and known by the name of the " Lawrence-Cesnola Collection." These excavations ceased when the British occupation of the Island of Cyprus was brought about. In 1879 Alexander married Augusta, younger daughter of Edwin H. Lawrence, Esq., great nephew to the illustrious Sir Thomas Lawrence, President of the Eoyal Academy of London. In 1881 Cesnola published his Album, an important work on his excavations at Salamis, of which the edition is now exhausted. This stupendous work has about 1,000 illustrations, and has received favourable notice at the hands of the English press. In 1882 the work PREFACE TO THE SECOND EDITION. XXV took a new form, being entitled Salaminia, and revised by the author, who obtained some important notices bearing on the archaeological and epigraphical features of the relics from several well-known antiquaries. In this elegant volume, published by Messrs. Triibner and Co., figure the principal pieces of his collection, selected by himself, with the aid of Dr. Birch, Professor A. H. Sayce, M.A., and Professor C. T. Newton, C.B. They consist of gold, silver, bronze, lead, iron, ivory, marble, terra-cotta, glass, precious stones, Greek, Phoenician, Assyrian, and Cypriote inscriptions, which manifest the ancient art of those remote people and the nearest approach to Eoman art. The Society of Antiquaries of London elected Cesnola a Fellow. He was also elected Member of the Society of Biblical Archaeology, and of the British Archaeological Association. The Eoyal Academy of Science and Art at Urbino made him Honorary Corresponding Member; not less appreciation of his work was shown by the circle of artists in Turin, who nominated him by diploma Honorary Member for life ; so also other Italian and foreign Societies. One of his lectures which he gave in the English language at the British Archaeological Association has been published. He was not much known personally to the Italian colony in London, by reason of the retired life he lived ; he was, however, a friend of Professor Tivoli of Oxford. He has always had a great affection for his countrymen, as also an ardent love for Italy and all belonging to it, always welcomed, when he paid his rare visits to the Italian Ambassador in London^ with that courtesy due to a man that has done so much honour for his country by his sword, by his activity, and by his genius. Now, after a long absence. Major di Cesnola has returned to his native country, where he intends to establish himself with his family. Before his arrival in Turin he had been nominated to one of the scientific societies, " The Philotechnic", and at the First General Meeting was unanimously elected one of the Council. On the 5th of December 1883, by royal decree, he was nominated Major in the Italian army. Thus, after fourteen years' absence, he has again returned to his favourite life. CONTENTS OF CHAPTERS. CHAPTER I. Salamis II. General Idea of Cypriote Antiquities III. Gold Objects — Frontals, Necklaces, Hairpins, Ear-rings Finger-rings, Nondescript Objects, and Parts of Personal Ornaments IV. Silver Objects V. Bronze and Iron Remains — Pateraa, Mirrors, Boxes, Rings, Armour, Miscellaneous Objects VI. Leaden Antiquities — Groups, Plates, Slings, Bullets, Boxes Inscribed Rolls, Seals or Stamps VII. Ivory Objects — Seals or Rings, Carvings, Boxes, Spoons Articles for the Toilet, etc. . VIII. Bone and Shell Antiquities ... IX. Stone Antiquities — Inscribed Stones, Phoenician Numerals Cypriote Inscriptions, Statuettes, Greek Inscriptions, Altars Vases, Amulets, Stamps, Tympanum of Early Christian Work . X. Alabaster. XL Serpentine and Crystal Antiquities XII. Cylinders . XIII. Cones XIV. SCARABiEL BeADS. InLAYING PlECBS, etc. XV. Engraved Gems and Precious Stones XVI. Chalcedony, etc. 1 8 19 48 53 72 78 84 110 114 117 130 133 142 155 CONTENTS OF THE CHAPTERS. XXV 11 XVII. Glass — Number of Specimens, Paterae, Acetabula, Hand-painted Vases, Painted Dishes, Finger-rings, Hairpins, Unguentaria, Alabastra, Amphorae, Diotae, Oinochoae, Hydrise, Iridescent Glass, Bowls, Pendants, etc. . . .161 xviii. Terra -CoTTA — Statues and Statuettes, Portraits, Grotesques, Caricatures, Figures of Boys . . .177 XIX. Tbrra-Cotta {continued) — Sacerdotal and Sacred Effigies . 203 XX. Terra Cotta {continued) — Masks, Caricatures, Animals, Chariots, Warriors, Toys, and other Objects . . 214 XXI. Terra-Cotta {continued) — Urns, Vases, Amphorae, Archaic Aryballi, Fumigators, Hand or Foot Warmers, Strainers, Pots, Later Aryballi, Miscellaneous, Roman, etc. . 223 XXII. Lamps ...... 250 XXIII. Coixs ... . . . 258 DESCEIPTION OF THE PLATES. COLOURED PLATE. Two Archaic Phcenician Vases from Idalium {See pp. 225, 226) Frontispiece View Showing Method op Excavation Pursued by Major di Cesnola in Cyprus . . . Face page xiv. MAP OF CYPRUS THREE PLATES. Cypriote Characters, with their Equivalents Face page 6 16, 17, 18 PLATE L Gold Objects ..... Face page 32 Fig. 1. Necklace with a Pendant, on which is the Head of Phcebus Apollo rayed. 2. A Child's Bracelet of small dimensions. There are several in the Collection. 3. Portion of a Necklace with cut stones, and Pendant in form of a Satyric face or Mask. 4. Adjustable Bracelet with punctured inscription now illegible. 5. Snake -ring. 6. Plain ring. 7. Finger-ring : two Erotes wrestling. 8. Filigree ear-ring of elegant and elaborate design — one of a pair. 9. Ear-ring of fine design : Cornelian in centre ; three Ruby Pendants. 10. Ring, with Pendant of blue and white mosaic in solid setting, perhaps part of a necklace. 11. Ring of similar style ; solid chased setting. 12. Ear-ring of very tine work ; bulla-shaped urnaments. DESCRIPTION OF THE PLATES. XXIX 13. Ear-ring; Pearl Pendant. 1 4. Ear-ring ; Cornelian centre ; six Amethysts in Pendant. 15. Model of a Eight Hand, ringed; the thumb protruded between the first and second finger. 16. Ear-ring ; large Pearl in centre. 17. Crescent-shaped Ear-ring; three Pearl Pendants on Chains. 18. Ear-ring; Glass in centre; three Pearl Pendants. 19. Ear-ring ; pendants of Pearls and Filigree. 20. Ear-ring ; twisted wire ; Pendants. 21. Ear-ring ; two Emerald Pendants. 22. Ear-ring ; paste setting with a youthful face ; two pear-shaped Pendants. 23. Ear-ring; four Pearls set on pins. 24. Ear-ring ; leaf-shaped ornaments, 25. Ear-ring; Amethyst Pendant and centre. Two pairs of this pattern were found. 26. Ear-ring ; Lotus-shaped Pendant. 27. Ear-ring, lunated form; two pendent drops. 28. Ear-ring ; massive bud-shaped Pendant. 29. Ear-ring, set with two Emeralds, 30. Ear-ring ; Filigree work ; glass centre ; two Pearl Pendants. 31. Ear-ring; chain pattern ; two Pearls. 32. Ear-ring ; Turquoise in a rosette ; Pearl Pendant. 33. Ear-ring ; elegant rosette and drop. 34. Ear-ring ; five Pearls set in quatrefoil pattern. 36. Ear-ring ; ball-shaped Pendant. 36. Lion's tooth, set in gold. 37. Lion's tooth, the setting lost. 38. Ear-ring ; two Pearls. 39. Heart-shaped Ear-ring. 40. Ear-ring ; Cornelian centre ; Pearl Pendant. 41. Ear-ring ; circular plaque with bust to the left in relief. PLATE. Golden Ear-rings . . . . .39 PLATE. Golden Objects, Rings, Fibulae, etc. . . .44 PLATE II. Silver Objects .... Face page 48 1. Snake Bracelet, five turns. 2. Large Ear-ring ; Paste Pendant, a Lion and Crescent. 3. Keverse of Fig. 2. XXX DESCRIPTION OF THE PLATES. 4. Ear -pick or Scoop. 5. Spoon, circular bowl. 6. Pin, rosette centre, 7. Spoon, circular bowl. 8. Spoon ; bowl in form of a Pomegranate. 9. Fibula. 10. Model of Human Lips, perhaps a Spoon-bowl. 11. Ear-ring, in form of a Bull's Head. 12. Plain wire Ear-ring. 1 3. Ear-ring of a very commonly recurring kind. 14. Adjustable plain wire Bracelet. 15 A-i. Various portions of a Bracelet, Pendants, etc. 16. Pin, in form of a Swan. 1 7. Finger- ring ; Paste setting. 18. Finger-ring. 19. Scarabseus set as a Finger-ring. 20. Finger-ring ; rectangular Bezel. PLATE in. " Bronze Objects ..... Face page oQ. Fig. 1, 2, 3. Parts of Tripod, with ornaments in form of Bull's heads. A. Bronze parts, b. Iron parts. 4. Part of a Tripod or Stand, in form of a Bull's leg. a. Bronze, b. Iron. 5. Lion's claw, part of a Stand, a. Bronze, b. Iron. 6. Figure of Eros, with screw for fixing to a lid or cover. 7. A-D. Tools and Weapons. 8. A-E. Arrow-heads and other Weapons. 9. Part of a piece of Harness, on it a winged figure. 1 0. Part of a Breast-band for a Horse. 11. Axe with two cutting edges, ornamented with Friezes of Lotus and other designs. 1 2. Early form of Axe or Celt. 13. Crucible or Pot. 14. Cylindrical Box. 15. Key. 1 6. Key, on a finger-ring of wire. 17. Loop with two balance weights of Human Head and Bust. 18. Handle of a Sitida. 19. A Weight in form of a Human Bust. 20. Part of a Lock, or of Harness. 21. Part of a Lock or Staple-fastening. DESCRIPTION OF THE PLATES. XXXI 22. Leg of a Tripod or Stand, triple claw, 23 A Strigil. 24. A Finger-ring with Bezel in form of a Key. 25. A Strioil. PLATE IV. Bronze Objects {continued) . . . Face page /)S 1. Group of a Large Jar, showing repairs; paterce, phiale, omplutlotos, and drinking vessels. 2. A-B. Mirrors. 3. A Patera or Plate, Pinax. 4. A-D. Weights, one with three triangular holes. 5. Egyptian Figure of the Goddess Isis. 6. Egyptian Figure of the God Osiris, mummied : head-dress of plumes ; in the hands the usual emblems of flail and hook ; beneath the feet the tang to fasten the object to a plinth. 7. Head of a similar figure. 8. A-E. Hairpins and objects of Toilet. 9. A-i. Nine Pins of various forms. 10. A-c. Three Tripods or Candelabra. IL Egyptian Situla or little Bucket ; uncertain religious subject in relief. 12. Part of a Chain or Manacle. 13. A Pendant. PLATE V. Iron and Bronze Objects . . . Face page 62 1. Sword, leaf-shaped blade. Iron. 2. Sword, rivets on the tang. Iron. 3. 4, Spear-heads. Iron. 5, 6. Knives. Iron. 7. Axe or Pick, of remarkable shape. Iron. 8. Arrow-head. Iron. 9. Group of conglomerated Arrow-heads. Iro7i. 10, 11. Finger-rings. Iron. 12-20. Strigils of various shapes and dimensions. (18, Bronze.) 21. Tweezers or small Pliers. Iron. 22. Arrow-head with a tang. Iron. 23. Boss and Ring. Iron and Bronze. 24. A Lock and Hasp. Iron and Bronze. 25. Calipers. Bronze. 26. Hasp of a Lock. Bronze. 27. Stylus. Bronze. XXXU DESCRIPTION OF THE PLATES. PLATE. Bronze Antiquities PROM A Tomb . . . Face page &^ PLATE VL Leaden Objects .... Face page 68 L A-D. Portion of a Toy Chariot, with the wheels oval. 2. Bullet, with Greek inscription in relief. 3. A-c. Bullae with monograms in relief. 4. Engraved Frames. 5. Reeded Jug, perhaps a toy. 6. Jug resembling an Amphora or Situla. 7. Alabastrum or Bottle, grooved body. 8-11. Bullse, with devices, monograms, and inscriptions in relief. 12. Funnel-shaped Vase, perhaps a toy. 13. Covered Pot or Box with contents, glass drops. 14 a. Two-Handled Bowl or Plate. 15. Flat Box with lid. 16. Fibula. 17. Feeder. [18.] Indented Box. PLATE Vn. Ivory and Bone Objects . . . Face page 76 1. 1 A. Portions of a carved Box. 2. A. b. Finger-ring, carved with a Female Head in profile to the left, perhaps Arsinoe. Bone. 3. Spoon, carved handle. 4. Handle of a Spoon. 5. Spoon. 6. Ring. 7. Ring, set with Crystal Bezel. 8. Ring with rectangular carved Bezel. 9. Handle of a Knife, carved in form of a Lion. Bone. 10. A Pin-case, or Etui. 11. A Die. 12. Two Female Figures, between a term or column. Bone. 13. Bridge, or Fret of a Lyre or Musical Instrument. 14. Ornamental Hairpin : a Head. 15. Ornamental Hairpin : a Bust. 16. Carved Hairpin. 17. Carved Torso, part of a Hairpin. 18. Hairpin, with globular top. 19. Hairpin, with pear-shaped top. DESCRIPTION OF THE PLATES. XXXlll 20. Carved Hairpin, with Stud. 21. Hairpin, with rectangular Stud. 22. Hairpin, with rectangular head. 23. Carved Head of a Hairpin. 24. Part of a Musical Instrument. 25-28. Studs for Hairpins. 29. Key of a Musical Instrument. PLATE VIII Stone Heads of Various Styles, from Statuettes . Face page 92 PLATE. Inscribed Marble Sepulchral Slab . . Face page 104 PLATE IX. Stone Objects . . . . Face page IQ^ 1. Carved Christian Tympanum. {See pages 108, 109.) 2. Sarcophagus. {See page 101.) PLATE X. Stone Objects (continued) . . . Face page 108 1 . Draped Female Statuette. 2. Draped Male Statuette. 3. Female, seated on a chair, holding an infant. 4. Female, seated on a chair, at her side a fawn. 5. Statuette of a Shepherd wearing conical hat, carrying a Ram over the Shoulders. 6. Squatting Figure, the wrists bound with a thong. 7. Upper part of a Female Statuette. 8. Statuette of a Venus, the arms folded over the head. 9. Base of a Bowl, the feet carved in the form of heads. 10. A Lion's Face, perhaps the Spout of a Fountain. 11. Model of a Sarcophagus or Altar, with archaic ornamentation of zigzags and lozenges. 12-14. Altars, or models of Altars. 15-17. Cups, Chalices, or models of Cups. PLATE XI. Alabaster Objects .... Face page 110 1. Figure sta'nding on a carved plinth, and carrying a tray of offerings. 2. A Head, Greek style. 3. 4. Unguentaria with their lids, / XXXIV DESCRIPTION OF THE PLATES. 5. Zoned Unguentarium. 6. Jug. 7. Alabastron, body reeded and eared 8. Alabastron. 9. Alabastron, with its stopper, 10-14. Various forms of the Alabastron or Unguentarium. 15. Slender Vase or Lecythus, with ornamental stopper. 16, 17. Alabastra. 18. Urn or Vase, with its stopper. 19. Urn or Vase. 20. Cruse or Alabastron, 21. Two-handled Vase or Amphora. 22. Vase of elegant design. 23. Amphora. PLATE. Engraved Cylinders ..... Face page 120 PLATE Xn. Engraved Cylinders .... Face page 122 Figs, 1-2, see p. 120; 3-10, p. 121 ; 11-16, p. 122, PLATE XIIL Engraved Cylinders (continued) . . , Face page 124 Figs, 17-19; see p. 122; 20-22, p. 123; 23-27, p. 124; 28-32, p. 125. PLATE XIV. Engraved Cylinders (continued) . . , Face page 126 Figs. 33, 34, see p. 125; 35-37, p. 126 ; 38-43, p. 127; 44-48, p. 128. PLATE XV. Engraved Cylinders AND Gems . , , Face page US Figs, 49, 50, see p, 128 ; 51, p, 129 ; 52, p, 130 ; 53, 54, p, 131 ; 55, 56, p, 132 ; 57, 58, p. 138 ; 59, p, 137 ; 60, p. 154 ; 61, 62, p, 141 ; 63, p, 151 : 64, p. 139 ; 65, p. 142 ; 66, p. 153 ; 67, p, 144 ; 68, p, 142 ; 69, 70, p. 144 ; 71, p. 147 ; 72, p. 146 ; 73, p. 151 ; 74, p. 151; 75, p. 146; 76, p. 152; 77, p. 150; 78, p. 151; 79, p. 147 ; 80, p. 143 ; 81, p. 142; 82, p. 145 ; 83, p. 151 ; 84, 85, p. 154; 86, p. 146; 87, 88, p. 154. DESCRIPTION OF THE PLATES. XXXV PLATE XVI. Chalcedony AND OTHER Stone Objects . . Face page I -^S Figs. 1-25, see pages 157-160. PLATE. Hand-painted Phcbnici AN Glass Vase . . Fdce page 163 PLATE XVIL Archaic Glass Vessels . . . , Face page 164: 1. Hydria. 2. Hydria. 3. Amphora, 4-6. Unguentaria of various forms. 7-9. Larger Unguentaria. 10. Two-handled Vase. 11. Bottle or Alabastron. 12. Alabastron with handle of two loops. PLATE XVIIL Iridescent Glass Vessels . . . Face page 170 PLATE. Terra-Cotta Statuette of Venus . . . Face page 180 PLATE. Terra-Cotta Iconic Figure of a Draped Female . Face page 182 PLATE. Terra-Cotta Statuette of a Young Girl . . Face page 186 PLATE. Terra-Cotta Statuette op Venus Anadyomene . Face page 186 PLATE. Terra-Cotta Statuette op Venus Riding on a Goose Face page 188 PLATE. Group OP Terra-Cotta Statuettes . . Face page 190 PLATE. Terra-Cotta Statuette op a Female Musician . Face page 212 XXXVl DESCRIPTION OF THE PLATES. PLATE XIX. Archaic Terra-Cotta Vases, painted in dark brown on pale yellow clay , . . . . Face page 224 PLATE. Terra-Cotta Toys .... Face page 220 Figs. 247, Centaur (see p. 220); 248, Soldier (p. 221); 249, 250, . Horsemen (p. 221) ; 251, 252, Women carrying Vessels (p. 221); 253-257, Goddesses (p. 221). PLATE XX. Archaic and Miscellaneous Terra-Cottas . . Face page 240 1-8. Vessels of pale colour with dark brown ornamentation, 9. Grotesque Figure. 10. Lamp, in form of a Fish. 11. Lamps for two wicks, ornamental design. 12. Grotesque Figure. 13. Rhyton — a Goat's Head. 14. Tetine or Sprinkler, in form of a Goat. 15. Lamp, in form of a Dog. 16. Tetine, in form of a Bull. 17. Lamp, in form of a Ram. 18. Portable Calidarium or Warmer. 19. Lamp for two wicks, in form of two Female Feet cut off at the Ankles. 20. Portable Warmer. PLATE. Coins of Cyprus . . . . . Face page 258 PLATE. Coins op Cyprus and other places . . . Face page 264 PLATE. Coins . . . . . . . Face page 266 LIST OF ILLUSTRATIONS. FIG. 1. Frontal with archaic ornamentation. Gold . 2. Frontal with ornamental border. Gold 3-6. Groups and details of Leaves of Mortuary -Chaplets. 7. Sepulchral Covering for an Eye. Gold 8. Sepulchral Covering for a Mouth. Gold 9. Necklace. Gold and Cornelian 10. Necklace. Gold and Enamel 11-14. Various forms of the Pendants of Necklaces. Gold 15. Necklace with vase -shaped Pendant. Gold . 16. Statuette showing manner of wearing Necklace. Terra 1 7. Necklace. Gold and Sard Beads . 18. Necklace. Gold and Jewelled 19. Necklace. Gold and Emerald Glass 20. Engraved Green-stone Scarabaeus. Gold setting- 21. Ear-ring. Gold plate 22. Ear-ring with granulated ornaments. Gold 23. Ear-ring. Grapes. Gold 24. Ear-ring with Beads. Gold 25. Ear-ring with Ball Pendant. Gold 26. Ear-ring. Gold plate 27. Ear-ring — a Dolphin's Head. Gold 28. Beaded Ear-ring — a Cock's Head. Gold 29. Ear-ring — a Goat's Head. Gold . 30. Ear-ring — a Cock's Head. Gold . 31. Beaded Ear-ring — a Goat's Head. Gold 32. Ear-ring — a Bull's Head. Gold. . 33. Ear-ring — a Bull's Head. Gold 34. Ear-ring — a Lion's Head. Gold 35. Ear-ring — a Goat's Head. Gold . 36. Twisted Ear-ring — a Lion's Head. Gold 37. Ear-ring — a Negro's Head. Gold . 38. Beaded Ear-ring — a Female Head. Gold 39. Ear-ring— a Youth's Head. Gold . Gold cotta PAGK 22 23 24 ib. ih. 25 26 27 28 30 31 33 34 36 pi. p. 39 ih. ib. ib. ih. ib. ih. ih. ih. ih. ib. ih. ih. ih. ih. ih. ih. ih. 41 XXXVIU LIST OF ILLUSTRATIONS. 40. Twisted Ear-ring— a Winged Genius. Gold . . .41 41. Ear-ring — a Youth's Head. Gold . . . ih. 42. Ear-ring— Nail-shaped. Gold . . , .42 43. Ear-ring — Feathers. Gold . . . . ib. 44. Ear-ring — Bead and Pearls. Gold . . . . ib. 45-47. Finger-rings, with Inscriptions. Gold . . pi. p. 44 48. Finger-ring. Engraved Onyx and Gold . . . ib. 49. Finger-ring with Engraved Gem — a Discobolus. Gold and Onyx . ib. 50. Finger-ring engraved with an Urseus. Gold . . . ib. 51. Finger-ring, set with a Carbuncle. Gold . . . ib. 52. Engraved Eing — Temple of Venus at Paphos. Gold and Cor- nelian . . . . . . ib. 53. Gem Ring— a Bull. Gold . . . . ib. 54. Bead or Pendant Boss of a Necklace (see f. 18). . . ib. 55. Female Figure arranging the Hair. Gold . . ib. 56. Phallic Ape. Gold . . . . . ib. 57. Wire Fibula. Gold . . . . . ib. 58-60. Three twisted Fibulas with Cypriote Inscriptions. Gold . ib. 61. Finger-ring with engraved Cornelian. Silver . . 50 62. Finger-ring with engraved Cornelian Scarabeeus. Silver . 51 63. Finger-ring with engraved Cornelian. Silver . . ' 52 64. Finger-ring. Scarabseus engraved with an Uraeus. Silver . ib. 65. Engraved Patera. Bronze . . . .54 66. Inside of Engraved Patera — Phoenico-Egyptian subject. Bronze . 55 67. Flute or Pipe. Bronze . . . . pi. p. 64 68. Serrula or Sacrificial Spoon -saw. Bronze . . . ib. 69. Needle case with Needles and Thread. Bronze . . . ib. 70. Armlet. Bronze . . . . . ib. 71. Finger -ring. Silver . . _ . . . ib. 72.. Finger-ring. Silver . . . . . ib. 73. Fibula. Bronze . . . . . ib. 74. Tongue. Bronze . . . . . ib. 15. Reverse side. Bronze . . . . . ib. 76. Pin. Bronze . . . . ' . . ib. 77. Tweezers. Bronze . . . . . ib. 78. Rings. Bronze . . . . . ib. 79. Buckle. Bronze . . . . . ib. 80. Mass of Iron and Bronze Utensils for the Bath, etc. . . 62 81. Engraved Mirror — the Temple of Paphos. Bronze . . 63 82. Figure of a Gladiator in combat with a Lion. Lead . . 66 83. Inscribed Roll. Lead . . . . .70 84. Youthful Head. Lead . . . . .71 85. Two Paterae (a), enclosing a Leaden Box (b), in which was found an Ivory Box (c) . . . . .74 LIST OF ILLUSTRATIONS. XXXIX 86. 87. 88. 89. 90. 91. 92. 93. 94. 95. 96. 97. 98. 99. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109. 110. 111. 112. 113. 114. 115. 116. 117. 118. 119. 120. 121. 122. 123. 124. Carved Lid of the Box. Ivory Box. Ivory .... Subject carved ou the Box. Ivory Archaic Box and its Contents. Bone Inscribed Case or Casket. Shell . Inscribed Finger-ring : a, Device ; h, Position of the Inscription c, the Letters. Glass , A-H. Set of Eight Ornaments with Cypriote and Phoenician Letters. Shell Phoenician Inscription. Stone Cypriote Inscription. Stone Stone Stone Stone Stone Stone Stone Cypriote Inscription. Cypriote Inscription. Cypriote Inscription. Cypriote Inscription. Cypriote Inscription. Fragment of a Cypriote Inscription. Inscribed Statuette. Stone Torso of a Statuette with Cypriote Inscription. Stone A. Head with Mouth -strap and Pipes. Stone, b. c. d. Horns or Trumpets. Terra-cotta Statuette of Salamis and Constanzia. Stone Fragment of a Votive Carving, with Escallop Shell and Greek Inscription. Stone , Inscribed Sepulchral Slab. Marble Another. Marble Another. Marble Another. Marble Inscribed Slab. Marble Another. Marble Carved Altar : Phoenician style. Stone Tripod with Cypriote Inscription. Terra d' Umbra Inscribed Bowl of the Tripod. Terra d' Umbra Greek Elegy on Inscribed Sepulchral Slab. Marble Inscribed Tablet of the Emperor Nerva. Stone Christian Stamp or Mould. Stone Iconic Bust. Calcareous Stone A. Unguent Vase. b. Inscribed Foot. Alabaster A. Unguent Vase with handle in form of a Winged Figure B. Inscribed Foot. Alabaster Inscribed Basin. Alabaster . . Inscribed Vase. Alabaster Inscribed Vase, with Cypriote Characters. Alabaster A. Vase. B. Inscribed Base. Serpentine 75 ib. 76 79 80 81 82,83 85 86 ib. 87 88 89 90 91 91 92 93 95 97 98 ib. ib. 99 ib. ib. 100 102 103 104 106 107 108 111 ib. ib. 112 113 114 xl LIST OF ILLUSTRATIONS. 125. Pendant in form of a Vase. Crystal . . .115 126. Pendant on a Gold Wire Ring. Crystal . . . ib. 127. Wedge-shaped Pendant. Crystal . . . ib. 128. Engraved Cylinder. Hce7natite . . .pi. p. 130 129. Engraved Cylinder. Hcematite . . . . ib. 130. Engraved Cylinder. Jasper . . . . ib. 131. Engraved Cylinder. Hcematite . . . . ib- 132. Engraved Cylinder. Jasper . . . . ib. 133. Hittite Boss of Tarkonderaos. Silver . . .126 134. Engraved Cylinder. Steatite. ... pi. p. 130 1 35. Engraved Cylinder. Bark Steatite . . . ib. 136. Engraved Cylinder. Hcematite .... ib. 137. Engraved Cylinder. Hcematite . . . . ib. 138. Engraved Cylinder. Steatite .... ib. 139. Engraved Cylinder. Jasper .... ib. 140. Engraved Cylinder. Hcematite .... ib. 141. A. B. Engraved Cone. Agate . . . , .130 142. Engraved Cone. Hyacinth . . . . ib. 143. A-E. Engraved Cone. Steatite . . . .131 144. A. B. Engraved Cone. Hcematite . . . ib. 145. Scarabgeus with name " Mycerinus", White glazed Steatite . 135 146. Scarabseus set as a Ring. White glazed Steatite . . ib. 147. Prsenomen of Thcthmes III, from the preceding Scarabseus , 136 148. Engraved Scarabseus. Agate . . . . ib. 149. Engraved Scarabseus. Steatite . . . .137 150. Engraved Scarabseus. Banded Sardonyx . . .139 151. Engraved Scarabseoid. Steatite . . . ib. 152. Engraved Scarabseus with Cypriote Inscription. Cornelian . ib. 153. Engraved Scarabaeoid. Cornelian . . . 140 154. Engraved Bead. Grey Steatite .... ib. 155. Carved Calf and Hand. Steatite . . .141 156. Engraved Gem — Jupiter. Sardonyx . » .143 157. Ancient Gem with Mediseval Setting. Cornelian . . ib. 158. Engraved Gem. Sardonyx . . . .144 159. Engraved Gem. Iridescent and Transparent Paste . . ib. 160. Engraved Gem. Cornelian . . . . ib. 161. Engraved Gem. Purple Paste . . . .145 162. Engraved Gem Ring — Hercules and the Nemsean Lion. Cor- nelian set in Gold . . . . . ib. 163. Engraved Gem — Leda and Swan. Heliotrojye . .146 164. Engraved Gem — A^ctory. Cornelian . . .147 165. Mediseval Gem Seal — a Sphinx {ccdled cockatrice). Cornelian or Sard . . . . . . 148 166. Engraved Gem — a Gryllus. Sard . . . ib. LIST OF ILLUSTRATIONS. xli 167. Engraved Gem — a Portrait Bust. Sardonyx 168. Engraved Gnostic Gem. Calcined Agate . 169. Engraved Gem — a Portrait Head. Paste . 170. Inscribed Gnostic Amulet. Cornelian 171. Inscribed Situla. Chalcedony 172. A. Inscribed Amulet in form of the Cuttle Fish. b. enlarged. Chalcedony 173. Inscribed Ornament. Chalcedony 174. Hand-painted Dish — Venus. Glass 175. Ring with Inscription. Glo.ss 176. Hairpin. Glass 177. Hairpin. Bronze 178. Hairpin. Ivory 179. Phoenician Unguentarium. Glass 180. Alabastron. Glass 181. Amphora. Glass 182. Amphora. Glass 183. Two-handled Vase. Glass 184. Phoenician Diota. Glass 185. Phoenician Diota. Glass 186. Hydria. Glass 187. Hydria. Glass 188. Egg-cup with an Egg in it. Glass 189. Painted Phoenician Vase. Glass 190. Iridescent Bottle or Vase. Gla^s 191. Iridescent Bottle. Glass 192. Bowl. Glass 193. Upright Vase ornamented with Studs or Teardrops. 194. Bowl of the same style. Glass . 195. Drinking Cup with Moulded Inscription. Glass 196. Drinking Vessel with Moulded Inscription. Glass 197. Moulded Drinking Vessel. Glass 198. Head of a Goddess, a. Front view. B. Side view. 199. Seated Female Figure. Glass . 200. Pendant — a Negro Head. Glass 201. Pendant — an Archaic Head. Glass 202. Pendant — a Mask. Glass 203. Pendant — a Mask. Glass 204. Pendant— a Bull's Head. Glass . 205. Pendant in form of an Animal's Teeth. Glass 206. Pendant — a Boar's Head. Glass 207. Pendant — a Jug. Glass 208. Pendant— a Vase. Glass 209. Inscribed Pendant. Glass The Shield Glass Glass 151 152 ib. 153 156 ib. 157 164 165 i*. ib. ib. 166 ib. 167 ib. ib. 168 ib. 169 i6. ib. 170 171 ib. 172 ib. ib. 173 ih. ib. 174 ib. ib. ib. ib. ib. 175 ib. ib. ib. ib. ib. 9 xlii LIST OF ILLUSTRATIONS. 210. Inscribed Gnostic Amulet. Glass 211. Male Figure in Assyrian style, Terra-Cotta 212 Female Figure in Assyrian or Egyptian style. Terra-Cotta 213. Statuette — Youthful Hercules. Terra-Cotta 214. Inscribed Figure. Terra-Cotta . 215. Inscription on back of 198 216. Statuette — Female of Greek style 217. Statuette — the Muse Erato or Polyhymnia. Terra-Cotta 218. Iconic Statuette. Terra-Cotta . 219. The Goddess of Rain. Terra-Cotta 220. Inscribed Statuette. Terra-Cotta 221. Inscribed Statuette. Terra-Cotta 222. Statuette. Terra-Cotta 223. Genius and Cock. Terra-Cotta . 224. Genius riding on a Cock. Terra-Cotta 225. Coin of Queen Cleopatra. Silver 226. Eros riding on a Horse. Terra-Cotta 227. Statuette— an Actor. Terra-Cotta 228. Another 229. Fumigator in form of a Statuette — a Pedagogue. Terra-Cotta 230. Statuette of a Female Priest. Terra-Cotta 231. Details of the Head- dress of 230 232-3. Fillets. Gold 234-5. Masks. Terra-Cotta 236. Satyric Mask. Terra-Cotta 237. Back of the Mask, No. 236. Terra-Cotta . 238. Satyric Mask. Terra-Cotta 239. Female Mask. Terra-Cotta 240. Female Bacchic Mask. Terra-Cotta 241. Inscribed Lion. Terra-Cotta 242. Inscribed Dog. Terra-Cotta 243. Tethrippos, or Four-horse Chariot. Terra-Cotta 244. The Yokes of the Chariot. Terra-Cotta . 245. Chariot for two Horses with Warrior. Terra-Cotta 246. Chariot for two Horses. Terra-Cotta 247. Armed Centaur. Terra-cotta . . .pi, 248-250. Toys. Terra-Cotta 251-2. Female Figures carrying Vases. Terra-Cotta 253-6. Archaic Figures of Aphrodite. Terra-Cotta 257. Archaic Figure. Terra-Cotta 258. Inscribed Phoenician Vase. Terra-Cotta . 259. Inscribed Phoenician Urn. T'erra-Cotta 260. Archaic Red-ware Vase or Diota. Terra-Cotta 261. Archaic Red-ware Vase or Diota. Terra-Cotta 175 178 ih. ib. 179 ib. 180 ib. 182 184 185 ih. ib. 188 193 194 ib. ib. 199 200 204 205 212 214 215 ib. ib. 216 ib. 217 lb. 218 ib. 220 ib. p. 220 ib. ib. ib. ib. 224 ib. 225 ib. LIST OF ILLUSTRATIONS. xliii 262. Details of the Subjects on Fig. 260 263. Inscribed Archaic Vase or Stamnos. Terra-Cotta 264. Cypriote Vase. Terra-Cotta 265. Inscribed Archaic Vase. Terra-Cotta 266. Archaic Vase or Diota. Terra-Cotta 267. Large Archaic Vase. Terra-Cotta 268. Details of the Ornamentation of Fig. 266 . 269. Details of Ornament on Fig. 267. Terra-Cotta 270. Details of Ornament of a Vase. Terra-Cotta 271. Other Details of Ornaments. Terra-Cotta 272. Details of a Narrow Ornamentation 273. Archaic Jar with Four Handles. Terra-Cotta 274-. Fragment of a Painted Vase of Tyrrhenian style. Terra-Cotta 275. Archaic Aryballos. Terra-Cotta 276. Kernos, and Cup. Terra-Cotta . 277. Lampholder. Terra-Cotta 278. A kind of Stamnos. Terra-Cotta 279. Hydria. Terra-Cotta . 280. Apulian Stamnos with Ornamented Cover. Terra-Cotta 281. Water Vessel. Terra-Cotta 282. Jug or Tetina. Terra-Cotta 283. Oinochoe. Terra-Cotta 284. Jug. Terra-Cotta .... 285. Details of Fig. 284. 286. Aryballos — Head of Hercules. Terra-Cotta 287. Details of Fig. 286. Terra-Cotta 288. Aryballos — Silenus. Terra-Cotta 289. Aryballos — one of the Kerkopes. Terra-Cotta 290. Aryballos in form of a Goat. Terra-Cotta 291. Aryballos in form of a Dog. Terra-Cotta . 292. Aryballos in form of a Sheep. Terra-Cotta 293. Aryballos in form of a Cock. Terra-Cotta 294. Aryballos in form of a Basket and Bottle. Terra-Cotta 295. Olpe or Vase. Painted Terra-Cotta 296. The Subject of Fig. 295 . 297. Roman Vase, with Frieze and Cornice. Terra-Cotta . 298. Details of the Frieze of Fig. 297 299. Ornamental Fumigator 300. Dimyxos, or Lamp for two Wicks. Terra-Cotta 301. Lamp — Child reclining on a Human Foot. Terra-Cotta 302. Lamp — Silenus. Terra-Cotta 303. Lamp— Negress's Head, with a gold Ear-ring. Terra-Cotta 304. Early Open Lamp. Terra-Cotta . 305. Lamp with a Hollow Pipe. Terra-Cotta . 226 ib. 228 229 230 ib. ib. ib. 231 ib. ib. ib. 232 233 234 ib. 235 ib. ib. ib. ib 236 241 242 ib. ib. 243 ib. 244 ib. ib. ib. 245 ib. 246 247 248 249 251 ib. ib. 252 ib. ib. xll IV LIST OF ILLUSTRATIONS. 306. Greek Lamp. Tei^a-Cotta 307. Lamp Handle — the Moon God. Terra-Cotta 308. Lamp Handle — a Galley. Terra-Cotta 309. Lamp Handle — ^Antefixal Ornament. Terra-Cotta 310. Another. Terra-Cotta 311. Circular Lamp. Terra-Cotta 312. Four -"wicked Lamp. Terra-Cotta 313. Roman Lamp. Terra-Cotta 314. Lamp with Comic Mask. Terra-Cotta 315. Oval Lamp. Terra-Cotta 316. Late Lamp. Terra-Cotta 317-318. Mould of a Lamp. Terra-Cotta 319-320. Mould of a Lamp. Terra-Cotta 321. Early Cypriote Coin — a Sphinx. Silver 322. Early Cypriote Coin — a Ram. Silver 323. Coin of King Evelthon. Silver . 324. Early Cypriote Coin — a Ram. Silver 325. Coin of Azbaal, or Baal-Melek, Kings of Kitium. Silver 326. Coin of Azbaal. Silver 327. A Variant. Silver . . ' . 328. Another. Silver 329. Early Cypriote Coin — a Ram. Silver 330. Early Cypriote Coin — a Demi-Lion. Silver 331. Early Cypriote Coin — a Lion's Head. Silver 332. Cypriote Bilingual Coin of Nicocles or Nicocreon. Copper 333. Coin of Nicocles and Salamis 334. Cypriote Coin of Nicocles or Nicocreon. Silver 335. Early Cypriote Coin. Silver 336. Early Cypriote Coin. Silver 337. Cypriote Coin. Silver 338. Cypriote Coin. Silver 339. Early Coin. Silver . 340. Coin of Cyprus. Copper 341. Coin of Cyprus. Electrum 342. Coin of Alexander the Great. Gold 343. Lycian Coin. Silver . 844. Coin of Antiochus II, King of Syria. Electrum 345. Coin of Corinth. Silver 346. Coin of Eretria in Euboea. Silver 347. Uncertain Greek Coin, Silver . 348. Coin of Ephesus : Lysanias the Magistrate. Silver 349. Coin of Celenderis in Cilicia. Silver 350. Coin of Miletus. Silver 351. Coin of Soli in Cilicia. Silver pi. p. 253 ib. ih. ib. ib. ib. 254 ib. ib. ib. 255 ib. ib. 258 ib. ib. ib.- ih. ib. ib. ib. ih. ib. ib. ib. 263 pi. p. 258 pi. p. 264 ib. ih. ih. ih. ih. ih. ih. ib. ib. ib. ib. 266 ib. ib. ib. pi. p. LIST OF ILLUSTRATIONS. xlv 352. Coin of Judaea. Copper 353. Coin of Rhodes. Silver 354. Coin of a Phoenician City. 355. Coin of Attaleia. Copper 356. Hoard of Coins in a Jar. 357. Cover of Fig. 325. Stone Larnaka (Kitium) Statuette. Terra-Cotta Ormidia I )1. p. 266 ib. Copper ib. ib. Terra-Cotta 268 ib. '. '. 1. X. • . • xi. h CHAPTER I. SAL AMIS HE ruins of the ancient city of Salamis^ in the island of Cyprus are distant about one hour's journey from the shore, and about a quarter of an hour's journey from the re- maining vestiges of the ancient and cele- brated harbour of Salamis, which has now almost wholly disappeared beneath the shin- gle thrown up by the sea. It is situated in the middle of the eastern coast of the island, somewhat north of the river Pediaeus.^ The powerful agency of earthquakes — frequent in the island — may also account in some measure for the subsidence of the ancient buildings. ^ This site must not be confounded with the island of Salamis off the West Coast of Attica, from which it is separated by a narrow channel. This is said to have been called Salamis from the name of a daughter of Asopus, a Greek River God. It was colonised at an early period by the ^acidee of ^gina. Telamon, son of vEacus, fled thither after murdering his half-brother Phocus, and obtained possession of the island. The old city of Salamis, which gives its name to the new Salamis in Cyprus, stood on the south side of the island opposite J^^gina ; but this was afterwards deserted, and a new city of the same name built on the east coast, opposite Attica. Salamis is chiefly remarkable on account of the great battle which took place just off" its coast, when the powerful Persian fleet, brought down by Xerxes for the destruction of the Greek Empire, was signally defeated by the Greeks in the year 480 B.C. 2 The Pedias, Pedoeius, or Pediseus, is the principal river ; it rises on the range of Mount Olympus, and in its course irrigates the plains of Lefkosia and Messaria, finally discharging itself into the sea on the east coast at this ancient port of Salamis. 2 SALAMIS. Tlie harbour and the city were, doubtless, connected, as is the case in many Greek sites, by a long and straggling village, now entirely passed away. It was probably destroyed by the earthquake which took place during the reign of Con- stantino, and entombed many of the inhabitants. At the present day there only exists one monument which may be considered to belong to the first epoch. This is a wall ; per- haps a part of the ancient wall bounding the interior area of the harbour. It is now used for a Greek church or chapel. The method which has been employed in the construction of this wall, of which so small a fragment is left, has no parallel except in the composition of the walls of the temple of Baalbec in Syria ; like this, the wall of Salamis consists of a mass of masonry measuring thirty-four feet in length and eighteen in breadth. There is a Greek tradition, of little or no importance, which, indeed, I do not think worth while to discuss, and merely allude to because it has been taken seriously by several distinguished archasologists and historians, in which it is related that Salamis was constructed by Teucer,' the hero of Troy, son of Telamon and Hesione, after having been driven out by his father because he did not wreak ven- geance upon those who were concerned in the death of his step-brother Ajax. There is also another legend, to the effect that Belus, king of Sidon, conquered the island of Cyprus and made a gift of it to the hero Teucer, who there- upon founded the city of Salamis, not long after the Trojan war. We have still extant an Assyrian monument as old as the reign of Sargon, B.C. 800, of which the inscription records the name of a king of Salamis. Herodotus in like maimer makes mention of several royal personages, reigning in Salamis from B.C. 566 to B.C. 495. The Greek invaders appear to have descended upon the island in parties, under the leadership of small or petty chiefs, who seized upon the quiet bays, wherever the scenery of the coast held out an ^ Teucer is related to have married Eune, the daughter of Cyprus, by whom be became the father of Asteria. SALAMIS. 3 inviting prospect, and speedily brought their armed ships to land. Then they made their way into the dense forests, hewed down the trees, and, after constructing entrenchments, awaited with shield and spear to see whether the natives of the island, who had assembled in the distance, would dare to attack them. All around the coast similar inroads were con- tinually repeated, until at length the invaders, emboldened by constant successes, ventured further up ' the course of the rivers, and there established their- infant colonies, each of which became the nucleus of a petty state. This Greek occupation of the island of Cyprus lasted for a considerable period, in concert with the presence of Syrians of Phoenician or Jewish descent, until at length the two races became assimilated both in speech and customs, and formed but one people. Certain inscriptions, according to Von Loher, that have been found in the island, were at first quite impos- sible to decipher, because they were attributed to some very ancient people, older even than the Phoenicians. Further examination of them has, however, resulted in the discovery that the language is of Grseco- Cyprian origin. For a con- siderable length of time the city of Salamis was subject to the sway of Amosis, King of Egypt, about b.c, 540. Upon the downfall of the Egyptian supremacy, it passed under the dominion of the Persians, until Evagoras, who claimed to be descended from Teucer, the Greek founder of the colony of Salaminia, in B.C. 410 captured the city by surprise, after a sanguinary battle, and thus rendered the island of Cyprus an independent kingdom, he himself being King of Salamis. Evagoras succumbed to a tragic fate, being assassinated by an eunuch, who at the same time despatched his eldest soil. Nicocles, the second son of Evagoras, succeeded his father in the year b,c, 374, and was put to death by Ptolemy in b,c. 310, Coins of this period will be described further on. Pass- ing over intermediate events, we find the Romans in the year A.D. 60 in possession of Salamis, converting the whole island into a province of the Roman empire, and delivering it into the jurisdiction of Cato. b 2 4 SALAMIS. During the reign of the Emperor Trajan, Salamis experi- enced considerable destruction at the hands of the Jews, who revolted against the oppression of their Koman masters; they, in revenge, organised a great massacre of these unfortunate people. Since that time no Jew has ever established himself in the island. Probably the motive of their absence is more owing to the fact that there is hardly any trade in the island, for, in fact, where trade does not prevail, Israelite communities are never to be found. Under the dominion of Constantine the Great, Salamis became a town of considerable importance, from its commerce ; it developed itself as mistress of the whole Mediterranean ; its harbour was rich in exportations and a centre of the grain trade ; so much so, that Salamis eventually became the wealthiest town in the island of Cyprus. It was, as recorded above, during the reign of the Emperor Constantine that Salamis was destroyed by earthquake, and the inhabitants rendered homeless and houseless. The Emperor assisted in the loan of the money required for the rebuilding, and the former residents constructed a new town out of the greater part of the ruined walls, in token of gratitude endowing the new city with the name of Constantia ; but the new city in its turn fell a prey to subterranean disturbances, and is now lying in ruins. " From the middle of the seventh," says Von Loher, in Mrs. Joyner's excellent translation, "to the middle of the tenth century, the hand of man caused fearful devastation. Hordes of pirates appeared upon the coast, who, landing at every available place, set fire to the towns and villages, and when the inhabitants fled to save themselves, laid hands on everything within their reach. Money and fruit, men and cattle — all were hurried on board their ships. Swiftly as they had come, they departed. In vain the fleet sent out by government endeavoured to follow them. " Among the islands and havens of the Grecian Archi- pelago concealment and shelter were easily obtained ; the only resource was to place watchmen upon commanding points SALAMIS. 5 of the coast, from whence they could see to a distance, and to build towers and beacons, whence signals could be made by means of fire and smoke as soon as any suspicious craft made its appearance. On seeing this signal, all the inhabitants of the coast fled into the interior, taking their children and cattle and their money and valuables with them ; and there they remained concealed until another signal from the watch- men told them that the coast was clear. Next came robbers of a still worse description. The former only sought for what could be readily carried off in their ships ; these others were land robbers. The pirates only struck down or burned what- ever hindered them in their proceedings ; the others destroyed for destruction's sake, and, collecting men like sheep, drove them into slavery. These were Arabs. From their sandy and rocky deserts, they brought with them a savage hatred against all religious edifices ; which they levelled to the ground. It was now that the ancient buildings of Cyprus suffered. The old temples were reduced to ruins, the towns were destroyed, and everything Greek or Roman perished. The Arabs wished to establish their new Government in the island, and for this purpose they only required bare ground." It appears that the town of Arsinoe was anterior in point of date to Salaminia, and from the former the town of Salamis was colonised. Among the ruins of Salamis a village gradually arose, and rapidly increased in size, which after- wards acquired, as has already been said, the name of Con- stantia.^ Upon the ruins of this, in its turn, the city of 1 The Istoria di Cipro, by Florio Bustron {Brit. Mus. Add. MS. 8630), speaks of discoveries of antiquities in the author's day (seventeenth century) at Salamis. He says : " Near to Salamis was a town called Costanza or Cos- tanzia, a large and strongly fortified town, and very rich, with fine palaces with marble columns. In removing the earth, there were found many medals in gold, silver, and copper ; rings, earrings, necklaces, bracelets in gold and silver, and other ancient monuments in terra-cotta or stone. It is not very long ago that the tomb of St. Epiphanius was found with a Greek inscription. Now it is all in ruins, and people call these ruins Old Famagusta." The excavations, which I was the first to carry out on this site systematically, con- firm this statement. SALAMIS. Famagusta was built. Famagusta, too, fell under the power of the Turks. In fact, the village of Yaroscia, which repre- sents it now, is daily spreading in size ; and if Famagusta were gifted with a harbour by its new inhabitants, very soon a Victoria might arise upon the ancient site of Salamis. The ancient map of which I give a reproduction is derived from that of Abraham Ortelius, and shows very clearly the principal sites of antiquity in Cyprus. With respect to the extant maps of the island, I may refer to an article entitled, " The Cartography of Cyprus," in the Atlienceum, No. 2647, July 20, 1878, pp. 84, 85; in which the writer, after disproving the widespread belief as to general want of correct information on the matter, refers to the RecJierches Scientijiqiies en Orient, entrep7'ises jpar les Ordres clu Gouveime- ment (Frangais) pendant les Annees 1853 et 1854, jpar M. Albert Gaudry, Paris, 1855, grand 8vo. In this work is con- tained the best information on Cyprus, as well as one of the best known and most elaborate maps of the island. The earliest detailed maps are of the sixteenth century, made in the time of the Venetian rule, one of the oldest being en- graved by Bertelli, Rome, 1562; then follow those of the general atlases and other works of Ortelius, 1570 ; Mercator, 1595 ; Bleau, 1635 ; CoronelH, 1696 ; De Lisle, 1726 ; Dapper, 1688 ; Pococke, 1743 ; Drummond, 1754 ; AH Bey, 1816 ; and M. Marcel Cerruti, Sardinian Consul at Larnaka, in 1844- 1847, still, it is believed, unpublished. Then comes the Chart of Cyprus, by Captain Thos. Graves in 1849, republished with corrections in 1874. The map of the Recherches already men- tioned, and that contained in the Essai d'lme Carte Agricole de Vile de Chypre, par MM. Albert Gaudry et Amedee Damour, dresse d'apres la Carte Geographique inedite de M. de Mas Latrie, Paris, 1854. The last mentioned map was reproduced and geologically coloured in the Memoir es de la Societe Geo- logique de France, 2me s^rie, tom. vii, Mdm. 3, Paris, 1859, 4to., but dated 1860. In 1862, the map of M. de Mas Latrie was published in his Ilistoire de Vile de Chypre sous le Regne des Py'inces de la liaison de Lusigiian, with a statistical table or THE UNIVERSITY OF \TOW^^ SALAMIS. which forms a complete "Index Geographicus" of the whole of the island. The geological map above mentioned was re- produced by linger and Kotschy in their work entitled, Die Insel Cypern, considerably reduced. There is also a good map in Von Loher's Cy^wiis. The writer of the Athenceum article also draws attention to the thirteenth century map in the Peutinger Tables at Vienna, and passes some strictures upon some recently published maps of the island. The reader will observe a province or district in the ancient map that I have introduced, to which Ortelius has applied the name of Salaminia. Of this district, Salamis was the centre or chief city. Now, as my discoveries and excavations were, with few exceptions, carried on within this area, I have selected, and I trust appropriately applied, the name for the title of my work. But, if the reader be inclined to criticise the use of this name in classical or ante-classical times, he may consider the word to be a neuter plural of the adjective l,a\afx[vto<;, and to refer to the Salaminian things of which the Lawrence-Cesnola collection is composed. And now that I have briefly recounted the traditions and historical records concerning Salamis and other Cypriote sites, I shall proceed to lay before archaeologists and students an account of my discoveries in those places, and relate simply my impressions, and as far as possible endeavour to describe the exact details of the spots where my excavations were carried out. CHAPTER II. GENERAL IDEA OF CYPRIOTE ANTIQUITIES. NTIQUITIES found in Cyprus comprise fic- tile vases, statues in terra-cotta, bronze, and stone, glass vessels, bronze implements and arms, alabastra, ornaments in gold and silver, gems of precious stones, and coins of different epochs. Most of these objects have been dis- covered in tombs. Numerous sculptured statues and bas-reliefs were found among the ruins of temples or in walled enclosures, into which, after being broken, they were thrown by pious con- verts to Christianity, in obedience to an edict of Constantine the Great. Some recent excavators in Cyprus have fallen into what is, I think, the error of supposing that wherever sculptured remains have been discovered there is the site of a temple. This is certainly not always the case, for I have examined many similar places, and dug in them in search of plans and buildings, endeavouring to learn if any structures had existed there ; but I found only shallow foundations of large squares and enclosures, with no indications of temples, no columns, nor any sign of wells. In these enclosures the broken statues lay in heaps. In a hollow of the mountain side, not far from the Temple of Apollo, in Kurium, I unearthed a number of fragments of statues which had been thrown together. The heads were in the lowest layer, the torsi in the middle, and the feet of the GENERAL IDEA OE CYPRIOTE ANTIQUITIES. 9 statuettes on the uppermost layers over all, at about a yard below the surface. A little later, in a dried-up stream near some ruins, which appear to be those of the city of Throni, an enclosure forty feet square was discovered, containing parts of more than a thousand statuettes in terra-cotta, of a type representing priestesses bearing offerings. Of these, I recon- structed about two hundred entire figures, of which the tallest was three feet high. They are beautifully decorated, par- ticularly their crowned or turreted heads ; but I saw neither columns nor bas-reliefs to indicate the site of a temple, while the walls of the quadrangle were thin, a fact which confirms the notion that they were built for the sole purpose of forming an enclosure. In obedience to the above mentioned imperial order, many temples were destroyed, while others were appro- priated to the worship of the Christians. Even now may be seen ancient hypogea, which have been converted into Greek chapels. In them traces of their first use may sometimes be discovered ; others, which were pro- bably used in a similar manner for Christian worship, were stripped of their Pagan appendages, and have fallen into decay, so as to leave no vestiges of the statues buried in their ruins. Beneath the debris of temples, and in tombs, many articles in bronze have been discovered, including armour, weapons, and implements, such as bucklers, axe-heads, and spear-heads, statuettes, mirrors, paterae, strigils, and such objects. A few pateroe are decorated with sculptures in relief, and in rare cases some were found which had been incised with mythological and other representations. The alabastra are of different forms, but, generally speaking, in a poor state of preservation. Very few bear inscriptions. Gold personal ornaments have been discovered, such as earrings, finger-rings, bracelets, armlets, necklaces, and buttons ; also mortuary chaplets of a flimsy foil or leaf of gold, with embossed orna- ments. Some children's finger- rings have letters pricked in outline with a votive inscription. Intaglios of clumsy work, some of which were artistically engraved, have been found with inscriptions, which are 10 GENERAL IDEA OF CYPRIOTE ANTIQUITIES. generally personal names. Glass is frequently found among Cypriote antiquities ; the majority of the examples are re- markable on account of their beautiful iridescence, and for the variety of their forms. Coloured glass comprises articles of blue, purple, and canary tints ; and now and then painted unguentarium covers occur, representing Venus, Bacchus holding a bunch of grapes, and other subjects. Some objects of this nature are inscribed with mottoes and artists' names in relief; these are eagerly sought after. The glass vessels dis- covered in Cyprus belong, in my opinion, to the periods of the Ptolemies and of the Roman domination in the Island. This opinion is confirmed by the dates of the copper coins that were found in the tombs w^ith the vessels. Cippi some- times occur in the same tombs with works in glass, and the latter bear the names of their owners and an invocation. These sepulchral relics are believed to be of Christian origin and due to periods of persecution. I have not yet been able to convince myself what period should be assigned to those objects of opaque and enamelled glass which by some exca- vators have been called Phoenician, on the ground that they were found with terra-cotta amphorae bearing Phoenician inscriptions in black or red. These examples in glass are of two kinds, viz., those which are shaped like amphorae, and those which are enamelled and pear-shaped ; the latter are of a greenish colour and very thick. Not having found any coins in the same tombs with these vessels, I am unable to say to what age the latter belong. In point of variety and value, antiquities of glass may be divided into groups as follows : — 1st. Those with embossed figures, ornaments, and inscrip- tions ; those having the shape of the human head ; and those representing animals, fruit, etc. 2nd. Unguentarium covers with subjects painted in black on white or red grounds ; these are exceedingly rare. 3rd. The so-called Phoenician examples, of which I have already spoken, 4th. Those of large size, of rare form, and fine iridescence, as well as vessels of coloured glass. GENERAL IDEA OF CYPRIOTE ANTIQUITIES. 11 On the inscribed specimens in glass, the letters are Greek, which was, and is, the language prevailing in the island. The inscriptions on these articles consist of the names of the makers, or of the persons to whom the relics had belonged, or to whom they were given. A few glass cups have been found with inscriptions round the rim in high relief; on one vessel the owner is desired to keep the maker in remembrance. The iridescence, as is well known, is produced by the gradual decomposition of glass, which occurs when the material has been covered with earth, or has contained a liquid which has afterwards hardened. In the first case, decomposition is in flakes ; in the second, it is granular ; the latter being of rarer occurrence, is the more prized. Vessels with granular iri- descence are generally found resting on rocks, slabs, or in sar- cophagi ; empty vessels deposited under similar conditions become brittle, but not iridescent. With regard to examples of Greek and Roman origin, I carefully examined a site near Larnaca, yet I found with them only Ptolemaic coins, prin- cipally of the later monarchs ; therefore I am inclined to think that these vessels belong to the epoch of 200 or 300 years B.C. Of the coins found in Cyprus, those in copper are most abundant, but they are generally illegible and much corroded. The series represented in this metal are coins of the Ptole- mies ; Roman in general, and Imperial Poman of Cyprus with Greek legends ; and Byzantine. In gold we have coins of Cyprus, with Cypriote, Phoenician, or Greek letters, including staters of Philip and Alexander ; scyphati of the Latin kings of the island : all these are rare ; the Byzantine instances are less so. Gold solidi, which are flat or concave, were kept in families, and suspended round the necks of children, in order to bring good luck to the wearer. The silver coins found are the early ones of the island, as above, and due to Alexander, or to the Ptolemies ; or they are Roman in general and Imperial of Cyprus ; besants of the Latin kings of Cyprus occur ; likewise Venetian coins. The early coins of Cyprus are very rare. We now and then meet with coins in billon, which 12 GENERAL IDEA OF CYPRIOTE ANTIQUITIES. belong almost entirely to the time of the Crusades, and are of the Lusignan dynasty. The native characters and language used by the early inhabitants of Cyprus are not yet completely understood, although much has been done to settle their position among the alphabets and dialects of the world. The first antiquary who appears to have attempted the decipherment of the Cypriote inscriptions was the Due de Luynes, in his Nimiis- matique et InscHptions Cypriotes, published privately in 1852. In this work, we are told,^ he gave an elaborate account of all the then known Cypriote inscriptions, with plates of the texts, and a list of all the Cypriote forms and characters. They consist of legends on coins, bronze objects, rocks, stone slabs, and other antiquities. One group or word of very fre- quent occurrence on these inscriptions, especially on the coins, the Due de Luynes proposed to identify with the name of Salamis, the name of the principal ancient city in the island ; another group he identified with the name of Amathus, another city ; and he proposed readings for several other words, but his attempts failed, owing to his having assumed a wrong basis in the supposed identification of Salamis and Amathus. The next attempt to read the Cypriote inscriptions was made by Professor Roth of Heidelberg, who, following in the same track as the Due de Luynes, published a memoir, entitled P rohlamation des Amasis, in 1855, under the auspices of the Due de Luynes, who had already published a fac- simile of his inscription in the work mentioned above. Pro- fessor Roth, however, unfortunately accepted as proved the identification of the words Salamis and Amathus, and, starting from this erroneous point, proposed phonetic values for all the Cypriote characters, and applied his system to the long inscription known as the " Tablet of Idalium", of the whole of which he published a supposed translation. Accord- ing to the Professor, this was a decree of Amasis, King of Egypt, B.C. 571-527, addressed to the inhabitants of Cyprus. ^ English Cydojya^dia — Arts and Sciences (supplement), col. 1369. GENERAL IDEA OF CYPRIOTE ANTIQUITIES. 13 After this attempt at decipherment of the inscriptions, a considerable number were added to the known list by Mr. R. H. Lang, formerly British Consul at Larnaca, the Comte de Vogiie (in the Journal Asiatique, 1868), Helfferick in 1869, and others. To these it has been my good fortune to contribute a goodly number, sculptured, engraved, or painted, upon tablets, gems, and other objects of antiquity, as will be seen on reference to the articles described in the text of this work, on which they occur. But, just as in the case of the Egyptian language, which baffled the attempts of philologists to unravel its meaning until an ancient side-by-side translation had been discovered in the Rosetta stone, in like manner, a stone, formerly the pedestal of a statue, inscribed with a bilingual inscription, consisting of three lines of Phoenician and four lines of Cypriote, was discovered by Mr. Lang, whose collection of seven inscribed stones and a number of coins is now in the British Museum ; and this discovery proved to be of the greatest importance, for it formed the key to the deciphering of the hitherto undiscovered language. To Mr. Lang belongs the honour of discovering that the group of characters, which the Due de Luynes had read Salamis, signified kingi^ but, at the time, the sound of the Cypriote word, and therefore the nature of the language, was yet unknown. The next step in the progress of discovery I will venture to quote in the words of the work already mentioned : " Mr. George Smith, of the Department of Oriental Antiquities, British Museum, simultaneously discovered the word king, and read the proper names From these proper names he found the phonetic values of about forty of the Cypriote characters, and came to the conclusion that these characters formed a syllabary, consisting in all of about fifty-four charac- ters, of which about twelve represented different forms of the vowels, while the others were used for the consonants. There were about three forms for each consonant, each one ^ These observations were laid before the Society of Biblical Arch£eology on the 7th November 1871. 14 GENERA.L IDEA OF CYPRIOTE ANTIQUITIES. representing it combined with a different vowel. Mr. Smith gave a translation of the opening passage on the bilingual inscription, but he could not give any reading for the bronze plate inscription ; he, however, conjectured the language to be allied to the Greek." Mr. Smith's results were also pub- lished at the Society of Biblical Archaeology, 7 November 1871. The next link was added by Dr. Birch, Keeper of the Oriental Antiquities in the British Museum, into whose charge the stone which occupies the same important relation to Cypriote philology that the Bosetta Stone does to the philo- logy of Egyptian Hieroglyphics, passed. He re-established the anciently-known fact that the language of the Cypriote in- scriptions was closely allied to the Greek : — " Kv7r/309 TToXa fxeydXr}' Srjfiot rrjv yXcorrav aKpL0(bK^H->B>IKh<- Kli Vt(^)!Jf n ^ ^ "X/'-Ti ZV ^ {Himtrlik) Ml {Kciti) i. % X 0, o>. ^ 32 (1 vo a< Paphm ) < nI' P ^ u. V ^V^ X ""^ A ( A Rtima) v^ ka, ga, or ^(Si. 1 t t ± t A ke, ge, or %e. ^? ki, gi, or^i. •^ -2: '~^ z^ ko, go, or x^- rMAi^jx n n ku, gu, or ;!^u. ^ :?:S ta, da, or 6si. V ^ y te, etc. X ik ro/ ^ ^ ^ ti, etc. ? t '^ A -N /L to, etc. T F A- T: X A X T Km tu, etc. K ^ /^ ba, pa, or ^a. + =F be, etc. § ^; bi, etc. ^ ^ At Paphos. 2 At Golgos. GENERAL IDEA OF CYPRIOTE ANTIQUITIES. 17 me. mi. Equivalents. Cypriote Characters. bo, etc. f\ f\ ^ r iP.) r bu, etc. vj2 i:! la. yi:^.£^ le. 8(G.)x(r* (P.) ^{p.) ^(K.) ^ li. ^ t JL. lo. + lu. ^^ -^ 7F (.i.p.) ra. n n £> Q^ re. ^ rr^rrrs pr '^ {G ) j^ Q.p.) ri. f t \ \ V ro. A A X '^ ^ X (^•) ru. )X D.C « ^ na. =r=r ? ne. ifi '/. .\t 1 1 vy^ln {G.) ni. ^2^ £. ^ 111 lu: no. ^/" i ;/^ V (1-P-) ma. X K "X" CO A^ GENERAL IDEA OF CYPRIOTE ANTIQUITIES. Equivalents. Cypriote Characters. mo.^ O ^ ^3=' cb cbcn iD inu. -X- ja. Q oA (> je. i ^ ^ IC ji- )'( )V pa. (diyamma). :^;c 3i,c Die oic :^ ^ ^ pe. I I J H (G.)-l (P.) pa>. TJ'd' T7 1 (^"^o X C^) sa. V sy y > se. ^ pj pi Y Y uj LLj si. O- ^ SG:I:£^ /\ 5^ ^ ^ ft H F'l fi-^ '7 e "? -s /«- (F.) so. »ll su. >'^ xa.^ )( M. c-i H <-i yn Ka. y'c r T KAY ; fig. 34, EPQ2 AMOP, in letters which appear to be of the first century after Christ. GOLD OBJECTS. 43 artist of a fine period, if not of the best of all the phases of Greek art in gold. 2. Another class of finger-rings is more numerous and important than the first. The sculptures exhibited by the relics which it comprises are mostly human figures. In the collection there is a cornelian ring, which shows a man danc- ing, and holding an implement, which resembles a fir-cone or thyrsus. Another (fig. 48), of black and blue onyx, bears the eflfigies of a man standing and holding in one hand a patera with offerings of fruit, and, in the other hand, non- descript objects, which resemble pine apples, but are, doubt- less, fir-cones. Four examples of interest exhibit sculptures of the same order, which, being in intaglio, were doubtless designed for the private signets of the owners. An onyx shows a Discobolus in the attitude of the Townley statue, and an illegible inscription (fig. 49). The reader will observe with interest the position of the head of this disk-thrower, and consider it in reference to the attitude of the head in the famous statue in the British Museum, and he will thus be able to acquire light on a subject which has been freely and laboriously discussed by many antiquaries, who have main- tained that the restoration of the head of the statue is wrong, and shows defect of perception on the part of the modern sculptor who " restored" the figure. Several rings are enriched with settings of scaraba3i, such as were worn during many ages by the people of the Mediter- ranean countries, who were more or less influenced by Egyp- tian fashions, and who employed the sacred Nilotic emblem in jewellery without attaching any sacredness to the gems they aftected. The scarabseus (fig. 50) is one of those reproductions of this famous symbol, which, owing to their inexact and per- functory sculpturing, are supposed to be of Phcenician manu- facture for exportation, and designed to serve as personal ornaments, without regard to the sacred significance of the emblem itself. This scarabaeus is set on pivots, and the prettily-designed gold hoop to which it is attached is moulded 44 GOLD OBJECTS. to resemble a double braid of twisted wire, and very taste- fully modelled at the pivots, on which the stone was intended to turn. Another ring consists of an oval carbuncle, set in concentric mouldings of gold, and very bulky. It appears to be of the Assyrian type, although its general character re- minds us of rings which have been found with episcopal and other interments of mediaeval dates (fig. 51). Primitive types of personal ornaments survived in use from age to age, and during enormous periods of time. Apart from this, it is no uncommon thing for jewels of extreme antiquity, having been found in tombs, to have been worn again by members of nations who were almost wholly ignorant of the very names of the races to one of which the resusci- tated relics belonged. Antique gems are often found in me- diaeval service, and curious legends attributed magical virtues to Egyptian, Greek, or Boman onyxes, cornelians, or sards, which were innocent of anything beyond incontestible power to charm antiquaries by means of their historical associations, artists on account of their artistic merit. Signets of Carlo- vingian and Frankish monarchs, and wonder-working frag- ments found in the treasuries of cathedrals, bishops, and kings, are often real antiques. Paste imitations of such gems even found places in sacred and royal utensils and orna- ments. The ring in fig. 52 encloses a cornelian, on which is en- graved the outline of a building, composed of a central tower and two lower wings, with indications of doorways. It repre- sents the Temple of Venus at Paphos, which was a frequent subject with the Cypriotic artists. The reader may refer to a similar representation noticed in the account of a bronze disk, which is included in the chapter dealing with works of that material in this collection. One interesting example of ring represents the whole- length figure of a bull, with a star in the same position as that which appears in certain Cypriotic coins, where a horse is represented (fig. 53). The history of the coins of Cyprus, which is to be found further on, treats of other examples of To face page 44. 45. 46. 6 r/'ifr 47. 68. 60. 59. GOLD OBJECTS. GOLD OBJECTS. 45 the use of this emblem. The bull's action of pain and wrath is very finely represented.' The execution is of excellent quality. Another finger-ring consists of a cornelian, with a draped female figure, holding a cornucopise and a wreath. There is also a ring, which is similarly enriched by a cornelian, on which is engraved a winged and draped female figure, holding a palm and wreath. This is probably a Victory; the gem is doubtless Greek ; the execution is not equal to the design. We are, therefore, led to suppose that the latter element was derived from a fine model ; indeed, there are plenty of ex- amples of the finest class which would have sufficed to supply what was wanted here. The execution was doubtless due to a provincial artist. The elements of the category of nondescript objects and parts of personal ornaments are numerous and various, and, in their several natures, curious. Among them is a cornelian, originally part of a finger-ring, which is engraved with a very spirited figure of a lion passant, with a ball or star above it, as on the above-named ring. The execution here is very rude, not to say primitive, and the artist seems to have been a provincial workman rather than a skilled goldsmith. Comprised in the group of beads from a tomb at Kitium is a scarabseus of amethyst, and also a second scarabasus of green stone, on the back of which is a winged figure in intaglio. Both of these relics are doubtless of Cypriotic manufacture. Attached to this group of objects is a rudely- shaped disk of massive gold, very like a button in its form, and perforated, so that it may have served as a bead of a necklace or bracelet. One face is blank, and shows signs of wear. On the other face are (fig. 54) deeply engraved in intaglio three dolphin-like figures, which are not unlike the bull-headed ear-rings mentioned above in the description of those objects in this collection. These figures are arranged like the spokes of a wheel revolving, and remind us of that 1 This bull is found on silver coins of Thurium, and is repeated on those of Augustus. 46 GOLD OBJECTS. ancient heraldic bearing — the three legs borne on the shield of the Isle of Man. They are to be more closely associated with the very ancient cognizance of Trinacria, the Island of Sicily, in which there appears, at the meeting point of the legs, a human face with a grotesque expression. On the gold disk to which I refer are likewise represented three other objects, which resemble so many antique oars, disposed in the intervals of the so-called dolphins. This relic has occupied the close attention of those distinguished antiquaries, Dr. Birch, Signer Castellani, and Mr. Newton. In this class there are two little figures of noteworthy interest. The first represents (fig. 55) a nude female, at full length, standing erect, and in the act of arranging her hair, which, in long tresses, hangs behind her back. Between her feet is what appears to be the remnant of a figure of a dolphin. It is, doubtless, Venus Anadyomene, who is thus represented in gold, and by a rude sculptor of her native isle. The other figure is that of a cynocephalus, or ape, with excep- tional emblems. The head of this figure is much injured (fig. 56). The figure resembles other examples of the same animal which exist among the terra-cotta objects in the collection, described below in the chapters on terra-cotta. Two or three small gold bottles of conical shape, and in- tended for pendants for necklaces, occur in this section of the body of relics before us. The same form is represented also in crystal among the objects which will be noticed hereafter. One of these gold bottles was found at Salamis. I place in this class a rudely-sculptured scarabaeus, or rather polypus, of pale green stone, or glazed terra-cotta, and evidently not Egyptian in its origin. The material is frequently found in collections of antiques. Some characters which this example bears resemble Hebrew. Another object of this category is a much oxidised pendant of deep blue glass, moulded to represent a lion's head, of fine character. Two female heads of the same nature and material, and, doubtless, of Greek origin. The head of a child-genius, carved very delicately in white stone, and highly polished. It belonged to an ear-ring of the class GOLD OBJECTS. ' 47 represented by others in my collection.^ A seated figure of Cybele, crowned with towers, and made of pure deep blue glass, was also found during my diggings. In this group of objects are to be reckoned two large bracelets for female use, the overlapping ends of which are moulded to represent a soft substance bound by double ligatures. On the former are punctures arranged in the way of an inscription, which is not legible. These ornaments are of bronze, thickly coated with gold. They are of that class of ornaments to which I have already alluded as showing the ancient practice of economising the more precious metal by uniting it with the almost universal alloy. A very considerable number of fibulae of gold wire occur in this collection. They are formed by bending wire like hoops, with overlapping ends, and they doubtless answered the pur- pose of modern pins when employed to attach portions of garments to each other. The ends, and even the folds of drapery, were often thus joined together for the convenience of the wearers. These objects are represented extensively in the collection (fig. 57). Some larger examples of this class bear Cypriote inscriptions. (See figs. 58, 59, 60.) Some of the larger instances of the same articles show, by the outbreaking of the inferior alloy of which their bodies are composed, that, like the bracelets described just now, they are of bronze, thickly coated with gold. Other relics of this class prove that a material in value even inferior to bronze has been employed to strengthen or back up thick coatings of gold. There is, for instance, among the ear-rings, one, of which the pendant is shaped like, and about the same size as, a modern musket ball, and filled with clay, now revealed by the break- ing of the golden crust. ^ See what is written above, under the head of Ear-rings. SILVER OBJECTS. 49 Oxidation has unfortunately caused destruction or dis- figurement of nearly all the silver relics of antiquity. For this metal appears to be particularly sensitive to the acid vapours which come in contact with it when exposed to the air, and to the various kinds of moisture with which it is frequently associated when lying hidden in the ground. The museums of Rome, Naples, Paris, New York, and London, supply illustrations of the same result from the same cause, almost the only exception being the so-called Treasure of Varus, the camp equipage of a Roman commander, all the pieces of which are made of fine and richly- chased silver, which, strange to say, were found and still exist in a perfect state of preservation. The celebrated Corbridge lanx is another re- markable instance of fine preservation of ancient silver. The silver articles found, in Cyprus, of far greater antiquity than these Roman relics, have shared the more common fate, and are but the sparse survivors of an innumerable class of the little household treasures of the middle and inferior orders of the people of Cyprus. Generally speaking, these remains show the same forms as those which obtain in gold. The finger-rings, although they are blistered and distorted nearly out of shape, retain enough of their original aspects to prove that they were nearly identical with the above-mentioned types in the more precious metal. One example in the cabinet, formed of iron, coated or covered in some way with silver, has held a stone in a plain annular setting, fitting it for a finger- ring. Another finger-ring has a flattened plate. It also has lost nearly all the silver coating of the iron body. Another is a ring of simple form. There are ear-rings of silver in the collection, which bear bulls' heads, like those already spoken of in the chapter devoted to the gold objects. Parts of spoons, of the shape' of those known as mustard-spoons, were also found. Several specimens have bowls smaller than those of the last objects, and it has been conjectured that these may have been employed for taking or transferring scented or costly fluids from one bottle to another. There is one form among the spoons M^hich was evidently E 50 SILVER OBJECTS. designed to remove marrow from long bones. Similar imple- ments to this have been found in the drift and in bone caves of greater antiquity than those Cypriote relics. Silver hair- pins appear to have been in common use. Of these, one was found embossed with a six-foil rosette ; another has a rosette, the petals of which retain traces of gilding. I found, among other silver relics in the tombs of the Salaminian district, a small plaque, bearing a female head en repousse. A fibula, which, in a far more charming condition than of yore, retains its now splendidly iridescent glass ball. Parts of a necklace of twisted silver wire, with beads, were found. The bead on the former is of the class called *' Druids' Beads" in this country, or "Adder Stones", of which larger examples are described under their proper heading among the articles in glass. With the silver, Fig. 61. Finger-ring, with engraved Cornelian. Silver. on parts of the same necklace, they comprise beautiful pearls, and a large silver oval object, of which portions remain. The larger portion has been beaten up of a peculiar form, which might readily be mistaken for that of a human mouth. Such votive offerings have been common in all ages ; their types survive in every church in Italy, where models of legs, arms, eyes, lips, and ears abound. The British Museum, and its fellow institutions on the Continent, contain numerous votive sculptures of breasts, hands, lips, and eyes, and other members of the human body, the offerings of sufferers of antiquity for cures believed to have been effected by divine interference with the course of nature. It has been suggested that, as this relic was found in a tomb at Salamis, it may have be- longed to a face-mask, such as those already described with SILVER OBJECTS. 51 other golden objects. On this point, it is worth while to notice that the art employed to represent the mouth^ (or bowl, if this is part of a spoon) is not archaic, but of a very far advanced kind. In addition to these remains are several extremely curious and uncommon articles in silver, bracelets, formed of stout wires, the overlapping ends of which are furnished with rings. These, sliding on the body of the ornament, enabled the owner to enlarge or reduce its circumference at pleasure, so that it might be adapted to the arm of a lady or of a child, of almost any diameter.^ Among the silver fibulae, two examples are very similar in form and character ; each one having attached, below the setting which includes the iridescent bead, a disk of glass, on which is impressed a figure of a lion passant^ Fig. 62. Finger-ring, with engraved Cornelian ScarabiBus. Silver. with a lunette represented over its back in the corresponding position to that of the star over the back of a bull, which has been described among the finger-rings in the chapter on the gold objects. Such symbols remain to be considered among the coins of Cyprus, of which I have yet to give an account. There are three beautiful rings, set with scarabsei, of cornelian. On the stone of one is the figure of Pasht, or Sekhet, an Egyptian goddess, with two pairs of wings displayed, crowned with a disk, and holding an uncertain object in each extended palm (fig. 61). Another bears a griffin, with large wings ex- tended. On the back a male figure sits astride, in a mantle, wearing a rayed crown, such as often appears in Cypriote statuettes, and carrying a staff*, with a ball, or fir-cone, at its 1 Plate II, fig. 10. 2 p].^|.(3 ij^ flg i4_ E 2 52 SILVER OBJECTS. upper extremity (fig. 62). I shall say more of these crowns in the chapter devoted to a consideration of the terra-cottas. The third has a bull, standing with wings expanded (fig. 63). Fig. 63. Finger-ring, with engraved Cornelian. Silver. Fig. 64 is an example of a rare and fine kind, unusually bold and good in its character, and of much older date than the gold setting which accompanies it. The scarabseus is Fig. 64. Finger-ring. Scarabjeus, engraved with an Urajus. Silver. Egyptian, and its device, the urseus, appears on another ring in the collection (fig. 50). CHAPTER V. BRONZE AND IRON REMAINS. PATBRiE — MIIiRORS — B0XE8 — RINGS — ARMOUR — MISCELLANEOUS OBJECTS. Bronze. N this material there are about a thousand examples in the collection. They consist of vases, parts of vases, mirrors, both Greek and Roman, bowls, strigils, weapons, such as lance-heads and daggers, pins, and paterae of different forms, ornaments for horse-trap- pings, fragments of a tripod, and other mis- cellaneous objects. In detail, it may be mentioned that there are paterae of no less than twelve forms. The first and finest which claims attention is a patera (fig. 65) engraved with Phoenician and Egyptian figures, and of great antiquity (fig. 66). Dr. Samuel Birch, Keeper of the Egyptian and Ori- ental Antiquities in the British Museum, to whom I am indebted for much valuable information upon my collection of relics, has given me the following account of this fine patera : " The bowl is very much decayed and covered with aerugo, so that the figures are scarcely discernible. The subject is Phoenico-Egyptian, and arranged into two portions ; that in the centre, or medallion, represents a Phoenician or Egyptian monarch, wearing on his head the attire known as the atef, which consists of a conical crown formed of withes tied round the apex, and surmounted by a disk, thrice repeated, flanked by ostrich feathers, and placed on the horns of the sheep or 54 BRONZE AND IRON REMAINS, goat. The single form of this cap is that found on figures of the Egyptian deity Osiris ; the triple form is usually placed on the head of the Egyptian Horus, and of kings, especially the youthful Ptolemies, in the character of Horus 'pa 7ieb ta\ * the Lord of the World'. Round his loins is the royal 'sJienti', or tunic. The rest of his form is uiidraped, and it is uncer- tain if he wears sandals. The hair of the monarch shows the rounded form which came into use at the time of the Twenty- sixth Dynasty, or about B.C. 600 ; his head is bound with a fillet or diadem. This figure faces to the right, and has the left foot, in the Egyptian style, advanced (the Egyptian always marching or walking with the left foot advanced) ; his right is raised on the toes. He is in the act of striking with a mace in his right hand three enemies, who wear short hair, Fig^. 65. Engraved Patera. Bronze. and have a slight tunic round the loins ; their hands being raised above and behind them. The prisoners are not bearded, and their short costume shows that they are enemies, of the white or Libyan race, rather than of the Semitic nations. Before the king stands the god Ra, or the Sun, hawk-headed, wearing the Sun's disk, draped in a shenti, or tunic, stretch- ing out his right hand, in which he has probably held the khepsh or scimetar, and holding his left hand pendent, as though he were holding a symbol of life. This action inti- mates that victory is accorded to the monarch by the Sun God, the Phoenician Baal Reseph, or Reseph Mical, a form afterwards converted by the Cypriotes to the Apollo Amy- claios. The prisoners or enemies of the king are, as in Egypt- ian style, of smaller proportions.. So also is the attendant BRONZE AND IRON REMAINS. 55 of the monarch who stands behind him facing in the same direction, but he is not in purely Egyptian costume. Around his loins is a short garment, perhaps a kind of ' shenti ' or Egyptian tunic ; but he wears on his head a pointed helmet like the Assyrian, or the cap pointed like the Persian Tcidaris, or as it is called in the Cypriote dialect, the hittaris. His Fig. 66. Inside of engraved Patera. Bronze. left hand holds a bow, his right is placed upon his breast as if he held an arrow. At his left side a quiver is slung. In the exergue of this scene is a representation of something, but it is difficult to say what it is. The whole of this belongs to the category of Phoenician art. " Separated by a funicular border, the frieze or scene 56 BRONZE AND IRON REMAINS. running round centre oiFers more relation with Greek art, although it is treated in the Egyptian manner. It is, how- ever, Cypriote in some respects ; entertainments and simi- l&,r diversions being represented on other cups of the kind published by M. Ceccaldi, and belonging to the collection of General di Cesnola. The triclinium, or repast, dance, music, song, and offering, form a kind of Dionysiac scene mixed with erotic subjects ; the men are shorn and draped in short tunics like the Phoenicians on the Egyptian monuments. The women are either naked or in very transparent garments, and their hair is in the Egyptian style. It is difficult to make out the due sequence of the scene, which offers a representa- tion of Cypriote sensualism. The central figures may, how- ever, be considered those which are seated or reclining, at an entertainment, on couches and chairs. To the right a man, recumbent on a couch, facing right, addressing a draped female seated on the couch, and drinking with a cup in his right hand ; under the couch is a footstool ; at the foot of the couch is a hrater on a stand ; behind the krater an oinocJioos, or youth, serving wine with a jug, oinochoe, in his right hand. He stands at the foot of another couch, the figure of which is indistinct ; behind this couch is a draped female with a child, seated on a chair. Behind the seated group, and recumbent on the couch on the left, is a man seated on a chair and drinking out of a cup, then a stand, following which is a man carrying a female ; a couch with footstool, and recumbent figure on the couch ; and two men looking back, carrying a kind of bucket, or situlus, on a pole. These are figures connected with a symposium, and of which they are the accessories. Behind the seated figure on the left are figures also connected with a symposium, chiefly the musicians ; the first, a female holding her hands down ; the second, a man with hands raised, perhaps, a musician, but imperfect ; the third, a man holding up an ornament or uncertain object ; the fourth, a female holding or playing on a tambourine ; the fifth, is a female in Egyptian style holding a cup and lotus flower ; behind her is a water plant This cup, no doubt, BRONZE AND IRON REMAINS. 57 possesses in some of its aspects an erotic sentiment, like the Greek symposia which are found not uncommonly depicted on the later vases of the Basilicata, of which the date may be placed about B.C. 300." There is also a very ancient pipe of remarkable form, fur- nished with rings by which some of the holes may be shut off if necessary. It is about twenty inches long, perforated in eleven holes on the one side, and three on the other side (fig. 67). I am indebted to Mr. William Chappell, F.S.A., the author of The History of Ancient Music, for the following notes on this flute. " The Greek bronze flute discovered by Major di Cesnola,^ during his excavation in the Island of Cyprus, is almost the only one of the kind that has been found, but it is in too fragile a state to be played upon. Nevertheless, by careful measure- ments, an exact copy has been made in brass, by Mr. K. Carte, the celebrated flutist, and his son, Mr. Henry Carte, and this reproduces the notes of the original instrument. They are nearly those of the modern chromatic scale, the lowest note being C in the bass staff, while the treble extends to G, an octave and a half above it. The notes produced by the model are thirteen : C, C sharp, D, D sharp, E, F, G, A, B flat, B, C, E, G. " This scale is very like that of the ivory flutes found in the excavations at Pompeii, and now in the museum at Naples. However, one of the latter has a B below the bass C, and it has both F sharp and G sharp, which seems to be deficient in the bronze flute. Again, the Pompeian flutes ascend from the upper C to C sharp, and stop there, while the bronze flute ascends from upper C to E and G. " These Greek instruments would now fall rather under the denomination of pipes than of flutes, because they were not held transversely, as is the modern flute, but longitu- ^ Mr. C. T. Newton, C.B., informs me that he found a bronze flute at Budrum, the site of the ancient Halicarnassus ; (See Guide to the Second Vase- Room in the British Mtisetcm); and that Mr. Alessandro Castellani has two bronze flutes iu his possession. Another bronze flute has been brought from Egypt by the Rev. Greville Chester. 58 BRONZE AND IRON REMAINS. dinally, and they were played from the end by a reed held in the mouth, as is the clarionet. The bore is cylindrical, as in the flute and clarionet, in contradistinction to hautboy and bassoon, which are slightly conical, and thereby require another form of reed to sound them. Cylindrical pipes require the flapping reed, one form of which is found in the clarionet, and another in the bagpipe. The latter kind is enclosed within the mouth, the lips extending beyond the vibrating part, and reeds of this kind are used in Egypt to this day in the little arghool or double flute. Dr. Stainer was kind enough to lend one of the arghool flutes in his collection to Mr. Henry Carte, who made an exact copy of the reed, and by proper adjustment, as to length, for the model he had taken, he suc- ceeded in producing the above named scale. " In place of the keys used in modern flutes to sound extra notes which the fingers do not cover, the Greeks used flat rings of metal round the tubes of their flutes, and bored through them into the tube.^ Then the rings could be turned slightly round, so as to cover or uncover the holes in the body of the flute, and thus the notes which were to be used in the scale that the player had selected, were adjusted to his re- quirements, and all others were temporarily stopped. The Greek chromatic scale had only seven notes in the octave, not twelve, as in the modern chromatic scale." An interesting experiment^ was made about four years ago by M. Victor Mahillon, Conservator of the Museum attached to the Conservatoire of Music at Brussels, with a view to determining the tone and compass of the ancient ivory flutes found at Pompeii, of which there are four in the museum at Naples. The simplest of the four was selected by M. Mahillon for an experiment for reconstruction, which he undertook with the double object of preserving these precious instru- ments from the too frequent handling of the curious, and of determining their tone and compass. The pipe in question measures exactly twenty-one English inches, and it is com- ^ A careful examination of the flute shows several rings of this nature "pon it. 2 jif^isical World, March 1878. BRONZE AND IRON REMAINS. 59 posed entirely of ivory, the bore cylindrical in its whole length, and the ivory tube covered with metallic rings of bronze and silver, which turn to the right and left, but are kept from moving up or down by a fixed ring below them holding them in their respective positions. By means of these turning sockets, which are each pierced with a side-hole esta- blishing communication with the corresponding hole in the ivory tube, the executant was able to suppress at will those he did not wish to employ. It is plain, from the shape of the cup of the bore, that it was destined to contain a reed ; but the question was, "What sort of a reed V M. Mahillon fortu- nately was acquainted with the Egyptian arghool flute, an instrument of reed-cane, described by Villoteau, a specimen of which is in the Brussels Museum. The arghool is of cylin- drical bore, pierced with lateral holes, like the Pompeian flute. The latter is of Greek origin, the Greeks, again, having bor- rowed the greater number of their instruments from Egypt. M. Mahillon therefore chose the reed of the arghool flute, which is a striking reed, with which to make his experiment; and, after one or two trials as to the dimensions to be given to it, he succeeded in making the pipe speak as he desired. The problem seemed to him to be solved, for the following reasons : — The double-reed (hautboy and bassoon) is, it is stated, always connected with conical pipes, never with cylin- drical. The striking reed makes the cylindrical pipe of the clarionet vibrate. It was, therefore, the sort of reed which ought to be selected. The mouthpiece of the clarionet was unknown to the ancients, therefore it was necessary to find a difierent mode of application, which M. Mahillon discovered in the arghool, the reed of which is let entirely into the mouth, the lips being applied on the pipe where it is intro- duced. When blown into, the tongue of the reed vibrates, and provokes the vibration of the column of air. Admitting that the chromatic scale was known to the ancients, and the division of the tube by thirteen rings being given, it was per- missible, therefore, to believe that the right reed was found if the thirteenth sound was the octave of the first. This M. 60 BRONZE AND IRON REMAINS. Mahillon found to be the case when he had discovered the correct length of which to make the reed. By this means, he gives B second Hne in bass clef as the grave note of the instrument ; and, by the opening of the successive lateral holes, the following sounds are produced : — C sharp, D, E, F, F sharp, G, G sharp, G sharp, A, B flat, B natural. The absence of C and of D sharp is accounted for by the fact that the second and fifth of the rings are not bored. The hole of which the opening gives B flat is on the other side of the instru- ment, and is closed by the thumb of the left hand. When the ring which opens the A is turned to the other side, it puts in communication with the air a lateral hole pierced in the ivory tube, a little above that which gives G sharp, and which produces a second G sharp, a little higher in pitch than the preceding one. The second G sharp establishes two quarters of a tone between G and A. The G is too low by nearly a quarter of a tone. The defect M. Mahillon thought it necessary to reproduce, in order to make the copy exact ; and he thinks that possibly the cause of it may be a restora- tion which has been visibly made in the model at the exact place of this hole. To produce the sound, the performer intro- duces the reed and a part of the ivory mouthpiece into the mouth, so that the lips rest on the widest part of the mouth- piece. When blown into in this position, the side holes being closed, the lowest sound is obtained. It is curious that the tone of this instrument corresponds exactly with that of an instrument of which M. Gavaert, Director of the Conserva- toire at Brussels, in his researches, was led to conjecture the existence, but of which he could find no precise indications in the ancient authors. Its compass he imagined to be from D, third line in bass clef, to F, second space in treble clef, cor- responding (with allowance for the elevation of pitch), to a range from D in the great octave to D in the small octave. M. . Gavaert requested M. Mahillon to construct an instrument of this compass, which was practicable, and confirmed the former's suppositions as to the tibia plus que parfaite of the ancients. This was done in the summer of 1877 ; and in the following BRONZE AND IRON REMAINS. 61 October, M. Gavaert and M, Mahillon went together to Naples, where they had occasion to study the Pompeian flutes, with the interesting results which are here described. Since then, M. Mahillon has reconstructed the most perfect of the four flutes, applying again the striking reed of the ai^ghool in connection with the cylindrical pipe, and has got the fol- lowing sounds from B, second line in bass clef: C, C sharp, D, D sharp, E, F, F sharp, G, G sharp. A, B flat, B natural, C, C sharp. It may be interesting to know that M. Mahillon has also made an exact copy of the Roman trumpets in the museum at Naples, and has found them to have the following compass, starting from G below the line in treble clef : — B, E, G, B flat, C, D, E, F sharp, G, of which the real eflect is just a quarter lower than the note written. Another remarkable bronze relic is a very ancient serrula (fig. 68), or spoon-saw, its slightly concave body being fur- nished with a serrated edge, and intended to be employed for ladling the blood of sacrifices, and cutting through the stronger tissues of the small creatures that so frequently perished at the altars of the many deities who were venerated at Salamis. It was found in a tomb at Kitium. A small box, or etui, of bronze (fig. 69), was found, containing a pin and needles, formed of an alloy of copper and tin, or silver. The latter are about two-and-a-half inches long, made with eyes perfect in form, and carefully pointed. With these were discovered some fragments of linen thread, so that this curious relic remains almost as the owner left it many hundreds of years ago at Salamis. A similar etui, which has not yet been opened, exists in this collection with the above. A large armlet of bronze (fig. 70), in the shape of a snake, the eyes being clearly defined, comes from another tomb. It is remark- able because, having been laid up with linen cerements, the patina on its surface retains unmistakeable traces of the threads of the fabric which accompanied it in the tomb. In the tomb which yielded this armlet I found two silver finger- rings (figs. 71, 72), the oval bezel of one of which formerly held three oval stones, or pieces of glass ; the central one is 62 BRONZE AND IRON REMAINS. now remaining in its setting. Two large fibulae (figs. 73, 74, 75), a large pin (fig. 7Q) with an open eye and wire twisted about its head, a pair of tweezers (fig. 77) or small tongs, a bronze ring (fig. 78), and a buckle (fig. 79), were found with the above-named articles, as well as the serrula already described. I found also several portions of a large tripod at Kurium, the remaining fragments of which are now deposited in the Metropolitan Museum at New York. Three of these are beautifully-modelled heads of bulls, of a fine Greek type.^ The Fig. 80. Mass of Iron and Bronze Utensils for the Bath, etc. eyes of these sculptures are hollow, and have been filled with glass, like many other sculptures of Greek as well as Eoman origin. Two pieces come from the feet of the tripod ; one is the claw of a lion, the other the hoof of a bull.^ The miscellaneous bronze antiquities comprise torch- holders, candelabra on tripod bases, and weights of exactly the shape still employed in Cyprus. Among the latter, two weights adhere by the oxidising of their surfaces. The latter is a disk, perforated by three triangular holes. A group, or compacted mass, of iron and bronze objects was found at 1 Plate HI, fig. 1, A, B, c. ^ Plate III, fig. 1, D, E. BRONZE AND IRON REMAINS. 63 Salamis, on the top of a sarcophagus. Most of the articles in the mass were of use for the bath. This group is a very- remarkable one indeed ; the articles are all massed by means of the oxidation of the surfaces of most of them. They com- prise a large iron strigil, with a great ring of the same metal, and a pair of shears, a spur with a prick point in the middle of the heel, a large nail, or, perhaps, the staple of the large iron ring, and two smaller nails, a fragment of bone, possibly human, and three finger-rings, one of bronze and two of iron, one of the latter showing the socket for the stone which it originally carried. The large iron ring passes through the two iron finger-rings. It is, of course, not a complete ring. It retains portions of bronze, which look very much as if they had be- longed to a casing of that alloy (fig. 80). In addition to the above bronze relics, there are three bronze mirrors, one of which (fig. 81) has an engraving, representative of the Temple of Venus at Paphos,^ with a hatched foreground, and not fewer than forty coins of bronze, which have been oxidised out of all form. It is evident that these articles are of great antiquity, but, in default of the inscriptions on the coins, there is nothing in the group to enable us to state positively to what period they are to be assigned. I found also two bucket-shaped vessels of bronze, the former of which bears a deeply-incised Egyptian scene and inscription. The letters of this inscription are supposed to ^ This is a favourite subject of the art of the engraver. See fig. 52. Fiff. 81 Bronze. Engraved Mirror— the Temple of Paphos. CHAPTER VI. LEADEN ANTIQUITIES, GROUPS — PLATES — SLING BULLETS — BOXES — INSCRIBED ROLLS — SEALS OR STAMPS. EADEN remains, from their liability to cor- rode and crumble away into dust when exposed to certain conditions of the adjacent earth, are naturally not very numerous in any collection of antiquities. Nevertheless, Iwas so fortunate as to secure, during the course of my investigations among the tombs of Salamis, a not inconsiderable number of relics composed of this metal, which are, in- deed, from the peculiarity of their types, worthy of considera- tion at the hands of the archaeologist. Among the most notable remains in lead preserved in the British Museum, mention may be made of plates with Greek and Roman inscriptions, finger-rings, the Roman coffins found in England, the series of bullae of Sicilian and Byzantine per- sonages, of the Popes, the Doges of Venice, and the early noblesse of France, dating from the seventh century of the Christian era, if not earlier. Many of these antiquities mani- fest a high degree of preservation, while others, by no means the oldest, have suffered in some measure from the injurious effects of London air. Among the moulded objects in this material found by me during excavations in Cyprus are the fragments of a F 66 LEADEN ANTIQUITIES. group, in very low relief, of gladiator, (fig. 82) clad in breeches and buskins, whose head indicates that he is of African descent. He is in combat with a lion, has a cloth about his left arm, and a falchion in his right hand. The moulding of this plaque appears to belong to the Roman period, and it has been suggested that it was intended to be attached • to another object by some mechanical means of adhesion, exactly as ornaments of no dissimilar character and appearance are still attached to the surfaces of earthenware vessels. With these figures are two vases of elegant form. I found no less than six square plates of lead, moulded for an unknown purpose, embossed with delicate patterns, and per- Fig. 82. Gladiator m combat with a Lion. Lead. forated with large circular openings, as if they formed parts of the covers of caskets. If they are not so, it is difiicult to say for what purpose they were designed. Although these relics have been found in tombs, it is possible that they are not of any very remote antiquity. They closely resemble portions of modern mountings for the frames of miniature portraits. An almond-shaped or glandiform object, bears, moulded in relief, an inscription in Greek characters, perhaps the name of the maker. It is a missile for a sling. Such objects are found in tombs of military persons, and are not un- common among Greek relics. They do not often bear inscrip- LEADEN ANTIQUITIES. (il tions such as this one.^ The figure of a horse, made of a flat plate of lead, and several pieces which appear to have formed parts of a toy-chariot, were also found. It would be hard to determine how old they are.^ The custom of using lead, which, next to gold, is, when not exposed to acid air, the least perishable among the metals employed by the nations of antiquity, is illus- trated by the account given, in the subsequent chapter upon the ivory relics, of a finely carved casket of ivory, enclosed in a little box of lead, the form of which suggested that it had been made to contain the other relic.'' Besides this box, there is a second similar one of lead in the collection, which has the form of a large cylindrical box. On being opened, this was found to contain a considerable number of glass drops. Of these, one at least is of a deep sapphire blue, and now incrusted with an iridescent film of oxidised material ; another is of a clear, rather dark, brown tint ; and a third has a greyish tint. Mr. C. T. Newton, C.B., F.S.A., Keeper of the Greek and Roman Antiquities in the British Museum, informs me that these glass drops must have been used in some popular game. He found numbers of them in the interstices of the stones in a paved passage adjacent to the temple of Apollo at Calymna, the excavation of which is described in his Travels and Discoveries, vol. i. The infiltration of water charged with lime through the space between the lid and body of this box had been sufiicient, notwithstanding the extreme narrowness of the interval, to fill the interstices of the drops of glass with fine calcareous matter, exactly such as had, by similar means, filled from the floor to the roof the caves beneath the temple at Kurium, which are said to have contained the most precious part of the antiquities which now enrich the Metropolitan Museum at New York. The drops of glass were thus cemented in a close but friable mass, which crumbled at the touch of the fingers, leaving the drops themselves distinct. It has been conjectured that this little box and its apparently almost valueless contents belonged to ' See Plate vi, fig. 2. 2 /j^v/., fig. 1. 3 ji^i^^^ figg. 14^ 15. F 2 68 LEADEN ANTIQUITIES. the grave of a child, whose toys the pretty httle button - shaped drops had been — toys placed in the sepulchre, beside the scant remains of some dear one, who could delight in them no more. There are about thirty drops altogether.^ It has, on the other hand, been suggested that the variously- coloured drops of glass were intended for use by a seal or gem-cutter. A still more curious and important discovery of the use of lead in Cyprus was made at Salamis under the following cir- cumstances. During my excavations in the ancient cemetery of that city, one of the diggers came upon a toy made of this metal, and brought it to me. Adjustment of the pieces in posi- tion showed that this relic was a rough toy chariot, the two wheels of which are oval, resembling those of the chariot on the celebrated Panathenaic amphora found by Mr. T. Burgon at Athens. The archaic letters on this vase indicate its great antiquity. The strangeness of this fact prompted me to desire the workmen to preserve very carefully whatever leaden articles might turn up in the course of their future labours. The very next day was fruitful in relics of the same kind, and several pipe-like portions of the metal were put into my hands. As these articles did not associate themselves with the chariot-toy, towards which my attention was then di- rected, I did not give much attention to them at the moment, but laid them aside in a corner of my tent. It must be con- fessed that, knowing the frequency with which lead was used for water-pipes by the ancients, I hastily concluded that these newly-found objects had been employed for that pur- pose, or otherwise applied by way of solder, so as to unite frustra of columns with iron pins, or, possibly, to bind shafts of pillars to their bases. On the evening of that day, I took one of the supposed tubes of lead, in order to make it a temporary receptacle of some small relics of gold which had been discovered at that time. On trying with my knife to remove from the surface of the metal its earthen incrustations, I found that it was ' See Plate vi, fig. 1 3. LEADEN ANTIQUITIES. 69 not a pipe at all, but a rolled sheet, resembling a scroll of paper. I called for a smaller piece of the metal, which might be more easily opened than the somewhat bulky one to which I had originally had access. This not being procurable at the moment, and night approaching, I determined to defer further inquiries, and, meanwhile, I put the metal in one of my pockets, and left it there till the next morning. When this time arrived, I returned to my task with the roll. The warm temperature had rendered the metal more pliable than it had been during the many ages it had lain in the earth of the cemetery. It was thus less difficult to open the roll than had been the case the night before. Accordingly, I succeeded in raising the edge of the sheet of metal from the body of the scroll, and, however brittle time had caused it to become, it soon became apparent that, with extreme care, and cautious handling of the scroll, for such it already proved to be, it might be opened, and thus made to give up the records it contained. At any rate, it might be made to give some ac- count of itself. Profiting by the hint of the softening of the metal under the influence of warmth, I exposed it gently to the heat of fire, and, after about two hours of careful manipulation, suc- ceeded in unrolling the object. The reader may conceive how greatly I rejoiced w^hen, on carefully examining the inner sur- face of the unrolled plate, I found that it bore a long inscrip- tion in Cypriote characters. Since that day, I took great care to collect and secure all the lead which came in my way, because it was easy to see that this common but, if kept dry, almost imperishable metal might add to our knowledge that which would be more precious than gold or silver, unless, indeed, these nobler metals preserved forms of priceless antique art. It was by means of this fortunate sequence of accidents, and the inquiries they have suggested, that — being specially indebted to the courtesy and learning of Professor Sayce of Oxford for the translation he has generously given me — I am able to put before the reader the following details of tliis ancient Salaminian relic :— 70 LEADEN ANTIQUITIES. Professor Sayce reads the inscription in the following way :— ye si lu se ri mo ta sa ka se o le to a sa mi te a me to to se ke le o ie re no a te su se ""o a te to po ro to a to pa ui yi se lo to pi si pu o Transposed into Greek characters, this would become — ^edvcop 0eo«:Xeo9 eKaard fx Mpiae Xvalye roSe a709 avXrj'i Ta> B6fj,e{v) dSr]{v) (r))fiiav dv& a){v) 6 JlvaLTrro\oi< (Cypriote 16). Almost precisely the same design recurs on No. 16. Compare also No. 38. [S.] 15-16ths inch long. Jasper. (See Plate xii, fig. 10.) 122 CYLINDERS. 16. An altar between two worshippers, full-length, lifting up their arms ; in the field, three animals, and other symbols. 1 inch long. Hard Steatite. (See Plate xii, fig. 11.) 17. A group of five human figures ; two seated. Rude archaic work. 1 l-8th inch long. Jaaper. (See Plate xii, fig. 12.) 18. A figure with a beak-like head between two men seated ; in the field, two disks, and a fourth figure full- length. Pude work. 1 inch long. Jasper. (See Plate xii, fig. 13.) 19. Priest in flounced dress in front of a seated deity who seems to be Astarte with her dove ; the seated gryphon behind. Curious work. 3-4ths inch long. Steatite. (See Plate xii, fig. 14.) 20. Full-length figure and two animals ; much obliterated. 7-8ths inch long. Steatite. 21. A full-length figure between two combinations of a star with four points, having a sun's disk above and below ; in the field, a horned animal, snake and another symbol. 1 inch long. Steatite. (See Plate xii, fig. 15.) 22. Two sacred trees, both of which are being grasped by a human figure, together with an ox-head [S.]; and other emblems (fig. 132). 1 inch long. 23. Sacred tree, ox-head, human figure full-length, disk of the sun, cushion, or star, and other objects. 7-8ths inch long. Steatite. (See Plate xii, fig. 16.) 24. Figure seated before a sacred tree ; dirks or paddles, two circles of the sun 0, ox-head, and other emblems. A good cylinder. 1 inch long. Steatite. (See Plate xiii, fig. 17.) 25. Full-length human figure, sacred tree, disk 0, and ox- head, with five cushions, and other emblems. 1 inch long. Steatite. (See Plate xiii, fig. 18.) 26. Of this cylinder. Professor Sayce relates : — The sacred tree here stands between two worshippers, behind whom is an ox-head above a pedestal or altar. The three-barred line merely denotes where the scene depicted begins. [S.] 7-8ths inch long. Steatite. (See Plate xiii, fig. 19.) pim. ■4 111 >r^^^ OQil/c^ {jM^^dmm: M k mMsf !l^^^ JIL^ •iiO y n^ ? 8 t[?9 1[?10 1|MI \-)2 t'^ t l'^ t '^ \-'^ f ^■SM^''' mm CYLI NDERS FROM SALAM I S, CYLINDERS. 123 27. Of this Prof. Sayce considers the subject to be : — A sacred tree, with two circles of the sun on either side, and two adoring figures, between whom is a dirk, or rather an instrument like the Egyptian hieroglyphic sam, which means "to unite". No. 28 has a similar design. [S.] 5-8ths inch long. Steatite. (See Plate xiii, fig. 20.) 28. The symbol sam (see No. 27), between two worship- pers with uplifted hands ; the sacred tree, and disk. 5-8ths inch long. Steatite. (See Plate xiii, fig. 21.) 29. The same dirk-like instrument held by one of two men, who is seated with a serpent in front, while the other stands with an ox-head and a symbol like the egg-pouch of the skate at the side. This symbol appears in No. 120 as a sun, with four beams or wings at the corners. I fancy it is a degenerated form of the winged solar disk. It is found on many of the products of Cypriote art.^ It is also found on No. 21, together with the sun-circle, the stag or gazelle, and the serpent ; and on No. 24, along with the sun -circle, the ox-head, and the sacred tree. In No. 23 its place is taken by a very curious symbol, which looks like two spiral shells. Here we have the ox-head, sun-circle, crescent-moon, and sacred tree, with the fruit hanging down on either side. (See also No. 25.) In No. 72 the sun-circle appears alone among the branches on either side of the sacred tree in front of which is a seated figure. In another the place of the sacred tree is occupied by a human figure, with a canopy above, resembling the bar drawn over the human head in the Hittite inscrip- tions, while the serpent and ox-head are at the side (see also No. 42). The serpent appears along with the gazelle in No. 38, and with a seated figure holding the spear-like instrument in No. 34 and No. 33. In No. 31 we have the same seated figure and instrument ; behind is the sacred tree in the form of a palm-branch ; below and in front are the serpent and an altar (?) (see No. 30),^ The dirk-like instrument may be an oar. [S.] 3-4ths inch long. Steatite. (See Plate xiii, fig. 22.) ^ See General di Cesiiola's Ct/prus, xxxii, 13, 15, 21 ; xxxiii, 27, 30. ^ For the serpent and sacred tree in archaic Babylonian art, see George Smith's Chaldean Gene»U, p. 91. 124 CYLINDERS. 30. This closely resembles No. 29. In that cylinder, we have a seated figure holding a dirk or sam, snake, sistrum, ftill-length figure, ox-head, and star or cross. In this, the order is modified only by the figure at full-length holding a second dirk or sam, instead of the sistrum. 3-4ths inch long. Steatite. 31. This may be compared with No. 29. Seated figure before a symbol called by Professor Sayce the Egyptian sam, a snake, branch, full-length figure, ox-head, and other em- blems. 3-4ths inch long. Steatite. (See Plate xiii, fig. 23.) 32. Emblems and figures already described, but differently arranged. 7-8ths inch. Schist. (See Plate xiii, fig. 24.) 33. A seated figure, sam, two wavy lines, a full-length figure, and ox-head. 3-4ths inch long. Steatite. (See Plate xiii, fig. 25.) 34. Human figure seated on a chair, and holding a paddle or vase in form of the Egyptian hieroglyphic sam, or "union"; in the field, a snake or a wavy line, Egyptian en; palm- branch, and other symbols. Professor Sayce considers this to be Phoenico-Egyptian, or perhaps Egyptian, with Egyptian hieroglyphics. [S.] Rude work. 7-8ths inch long. Steatite. (See Plate xiii, fig. 26.) 35. An interesting intaglio with three compartments, which gives the history of the chase, capture, and sacrifice of the gazelle. In the first compartment are two men, a gazelle, and a spear, which denotes chase in the open country; in the second, one of the men seizes the gazelle by the horn ; in the third, he offers the animal to Zeus (?), who is seated on a throne with the dirk or oar in his hand. [S.] 1 inch long. Steatite. (See Plate xiii, fig. 27.) 36. This is a very interesting intaglio. It represents a huntsman throwing his spear at a gazelle which is attacked in front by a dog. On one side of the huntsman is a hand, on the other a symbol, which may represent a musical in- strument, but is rather, I think, a man's arm with three reeds in the clenched hand. The symbols on either side of the head of the huntsman seem to be Hittite characters. pi.xm MAt-.f"- X '31 i^ii CYLINDERS FROM SALAMIS. CYLINDERS. 125 It must be noticed that the huntsman is represented as wear- ing boots with turned-up ends, already shown to be a charac- teristic feature of Hittite art. [S.] 5-8ths inch long. Steatite. (See Plate xiii, fig. 28.) 37. A cylinder of rude work. Two full-length figures, one holding a gazelle, the other a goat. The crescent enclosing a star here is, perhaps, an incomplete disk of the sun 0. 15-16ths inch long. Hcematite. (See Plate xiii, fig. 29.) With the central figure compare the figures on the ring published in Dr. Schliemann's Mycence, No. 530. 38. Two full-length figures, gazelle, snake, dog, and other emblems of undetermined value (see No. 29). 7-8ths inch long. Steatite. (See Plate xiii, fig. 30.) 39. Two full-length human figures, a gazelle, and the combination of an unknown character between two dotted circles ®, occurring twice. Rude work. 1 inch long. Steatite. (See Plate xiii, fig. 31.) 40. Seated figure, gazelle, full-length figure, two dogs, and a rudely-cut paddle-shaped object or sam (see Nos. 28, 29). 7-8ths inch long. Steatite. 41. Human figures, gazelles, solar disks 0, palm branch, and other emblems. 7-8ths inch long. Steatite. (See Plate xiii, fig. 32.) 42. A full-length human figure ; a tree with a gazelle or goat on each side leaping up to the branches. Pude work. 1 inch long. Steatite. (See Plate xiv, fig. 33.) 43. A cylinder bearing an ornamental frieze or band, below which are two double disks, alternating with a cross and two bars. 1 l-8th inch long. Hcematite. (See Plate xiv, fig. 34.) Perhaps intended to ward off the evil eye. 44. This cylinder is of a very interesting character. It is noticeable for the symbols upon it, among which the ox-head, accompanied by the circle of the sun and the head of a goat or horse,like that on the bi-lingual Hittite "Boss of Tarkondemos'V (fig. 133), as well as the crescent moon, and a hare. A fracture ^ Figured in Trans. Soc. Bibl. Arch., vol. vii, p. 298 ; and the woodcut kindly lent to me for this work by the Society. 126 CYLINDERS. Fig. 133, Hittite Boss if Tarkondemos. of the stone makes it uncertain whether the head of the goat or horse is not the first character of a Hittite inscription which gives the name of the accom- panying figure. At all events it is followed by another symbol now obliterated, but which looks like a lizard, and then by the crescent which I believe to have been the determinative affix of male persons in the Hittite system of writing (see No. 48). The goat's head was pronounced Tarku. [S,] 3-4ths inch long. Steatite. (See Plate xiv, fig. 35.) 45. This (fig. 134) is an imitation of an archaic Babylonian cylinder, the cuneiform characters being replaced by an orna- mental design in form of two triangles united at the apices, with a line between them, four times repeated. This symbol may have been assimilated to the Egyptian crux ansata on the one side and the Phoenician symbol of Baal and Ashtoreth on the other. Ox-head, with a star between the horns, as on gold objects from Mykense, and an animal below. [S.] 3-4ths inch long. 46. A cylinder of coarse work (fig. 135), bearing two priests, ox-head, and other emblems, one of which resembles a jiagelliim. 7-8ths inch long. 47. Ox-head between two full length human figures, one holding a sacrificial patera ; gazelles, disk 0, and other em- blems. 3-4ths inch long. Light green steatite. (See Plate xiv, fig. 36.) 48. The ox-head, crescents, and three full-length figures, with other emblems. Good work. 3-4ths inch long. Steatite. (See Plate xiv, fig. 37.) 49. A fine cylinder of good and interesting work. The subject is a stand of ofierings, with a lion and winged disk on one side, and a hog and flying dove on the other, with other symbols in the field (fig, 136). Pl.JIY 'M 39 t'5« A s^eYf. W/i ^'*^ i;;^ t|V3 •38 :^^^te/^ vV>^ ~> ic t t ?39 40 t 1|_e+1 "'l'^^ (^ ^w-feaji t'+' ^^Un'3. iOfc,-! ?t^ i 4+ ti;4r •f[»+8^g CYLINDERS FROM SALAMIS CYLINDERS. 127 50. In this archaic cylinder (fig. 137) we may observe animals in heraldic style on either side of an eagle, which resembles that on a gem in Gen. di Cesnola's Cyprus, pi. xxxiv, 24, and has affinities- with the double-headed eagle of Hittite art. Com- pare the eagle of gold found at Hissarlik in Schliemann's Ilios, p. 504. Headless figure in front of the animals. [S.] 5-8ths inch long. 51. According to Prof. Sayce this cylinder has a winged gryphon in the Babylonian style, and Merodach waging war against the dragon Tiamat. [S.] Curious work ; 3-4ths inch long. Steatite. (See Plate xiv, fig. 38.) 52. Three standing figures, and two sphinxes. A design considered by Professor Sayce to be Phoenico -Egyptian. The winged gryphon has become a sphinx. [S.] Half-inch long. Jasper. (See Plate xiv, fig. 39.) 53. Professor Sayce considers this to be worked in the Phoenician style. Two monsters, ox-head, and figure of a priest (?). (See Nos. 21, 28, and 46.) 3-4ths inch long. Steatite. (See Plate xiv, fig. 40.) 54. Lion of sphinx, ox-head, and a full-length figure of a priest in an ornamental dress, holding the sword of Merodach as in No. 51. (See fig. 138.) 7-8ths inch long. 55. A finely engraved cylinder, in a style evidently Phoenico -Egyptian (fig. 139). Sphinxes and gazelle above, on a kind of frieze or heraldic chief, figures in the Egyptian style below the disk of the sun, and the C7'ux ansata in the centre, are the designs on this interesting relic. 3-4ths inch long. 56. A priest, seated gryphon, ox-head, and other emblems. 7-8ths inch long. Steatite. (See Plate xiv, fig. 41.) 57. A priest holding a crescent-shaped object, and stand- ing beside a seated sphinx or gryphon with upraised wings. 5-8ths inch long. Steatite. (See Plate xiv, fig. 42.) 58. Winged sphinx adoring the symbol of Astarte. Nice work. Half- inch long. Steatite. (See Plate xiv, fig. 43.) 59. Sphinx couchant, with long and elaborately-feathered wdng, the head regardant, with three feathers for a crest, the 128 CYLINDERS. beak curved, tail curved, erect ; before it a full-length figure of a priest, with the dress represented by horizontal and oblique lines, like coarse hatching. 3-4ths inch long. Steatite. 60. Three birds, with long beaks and expanded wings. Rude work. 3-4ths inch long. Green ^porcelain. (See Plate xiv, fig. 44.) 61. This cylinder is fairly well engraved, with a curious design of Cypriote (?) workmanship upon which I can throw no light. In the centre is a cock mounted on a pedestal, and two seated figures on either side with wands (?) in their hands. [S.] 1 inch long. Jasper. (See Plate xiv, fig, 45.) 62. The lower half only of a broken cylinder. On it are a flying dove, and an animal bending before a full-length figure with turned-up boots. Half-inch high. Hcematite. (See Plate xiv, fig. 46.) 63. A kind of fretwork, or fretty pattern. 3-8 ths inch long. Steatite. (See Plate xiv, fig. 47.) 64. Fretty device, which may be compared with No. 63. The centre has some fish-like characters arranged horizontally to form an ornament. 1 inch long. White calcined chalce- dony. (See Plate xiv, fig. 48.) 65. A subject of difficult interpretation (fig. 140). It is in an archaic style, and good work. 5-8ths inch long. 66. An archaic but uncertain design, which may best be made out by reference to the drawing. 3-4ths inch long. Steatite. (See Plate xv, fig. 49.) 67. Human figures, disks O, stars or crosses, and other uncertain emblems. 7-8ths inch long. Steatite. (See Plate XV, fig. 50.) 68. Uncertain forms of human figures ; the engraving very imperfect, or perhaps the stone has been exposed to attrition. 1 inch long. Hcsmatite. 69. Uncertain device, apparently men and birds. Coarse archaic work, much worn. 3-4ths inch long. Steatite. 70. Much work and illegible. 7-8ths inch long. Jasper. CYLINDERS. . 129 71. The subject very indistinct. 1 inch long. Jasper. 72. Uncertain figures and emblems, perhaps a rude form of a face. But see No. 29. 1 inch long. Steatite. (See Plate XV, fig. 51.) 73. Unknown and badly-engraved marks and symbols not of any value, beyond shewing the common uses of these cylinders. 3-4ths inch long. Steatite. K CHAPTEK XIII. CONES. HESE objects are but little, if at all, later in point of date than the cylinders. In the col- lection which I gathered from the tombs of Salamis, among others, are : 1. A spheroidal cone, pierced and orna- mented with a series of circular facets (fig. 141, a). The sub- ject (b) engraved on it is a bird, apparently an eagle. Eude work of an early period is shewn in this ancient signet. 2. Kectangular-faced pyramid-shaped cone or seal, pierced, bearing a bird with expanded wings between a crescent and a star. 5-8ths by half-inch. Steatite. (See Plate xv, fig. 52.) 3. The Paphian goddess under the canopy of the temple, but without her doves (fig. 142), is engraved upon another of these ma- trices. This was, naturally, as favour- ite a device for a seal among the votaries of Venus, as the fleur-de-lis, the emblem of the B. Y. Mary, was in the middle ages in Christian coun- tries. This is a beautifully transparent deep red stone. 1 inch long. 4. A fine cone or seal, not pierced, bearing on the face, Fig. 141. Agate. Engraved Cone. Pig. 142. Hyacinth. Engraved Cone. CONES. 131 which is very convex, according to Professor Sayce, the rude imitation of an Assyrian gem, representing a priest standing m front of an altar, with the crescent moon above. [S.] 1 inch high. Calcined agate. (See Plate xv, fig. 53.) 5. A pyramidal or bell-shaped cone or seal, with a ring pierced for suspension. On the face (fig. 143 e) are a gazelle and tree. This is repeated on the two sides (b, d). The first Fig. 143 A, B, O, D, E. Engraved Cone. side (a) has a seated figure holding a tree or branch ; the third (c) a full-length figure holding a tree. Drawn full size. 1 inch high. Steatite. 6. Another fine cone (fig. 144a) in the collection is of the style called Phoenico- Assyrian. A warrior in the Assyrian style is shewn shooting with the bow ; before him an enemy Fig. 144 A, B. Engraved Cone. Stematiie, kneels imploring mercy, with a palm-tree between the two figures. [S.] The face (b) is 7-8ths inch in diameter ; the cone, 3-4ths inch high. 7. A pierced cone of excellent finish, on which a man is represented holding an animal by the head, and aiming at it with his spear. [S.] Half-inch long; half-inch high. Hwmatite. (See Plate xv, fig. 54.) 8. A solid seal or cone, in form of a cylinder, but engraved on one of the circular faces only, with a rudely-cut figure of K 2 132 CONES. an animal. 3-4ths inch long. Light grey steatite, highly polished. (See Plate xv, fig. 55.) 9. Small oval seal-cone or seal : a gazelle couchant re- gardant, beside a tree. 3-8ths inch long. Steatite. (See Plate XV, fig. 56.) 10. Cone pierced. Oval face, bearing a gazelle couchant to the right between two stars. Coarse work. 5-8ths inch high, 5-8ths inch face. Steatite. 11. A cone, bearing on its face an object, resembling a lizard. Kude work. Half- inch high. Calcined agate. 12. Pyramidal conoid, pierced. A star, and some uncer- tain emblems. 3-8ths inch. Steatite. 13. Conoid, pierced in two ways. An uncertain figure. Half-inch high. Dark stone. CHAPTER XIV. SCARAB^I.— BEADS.— INLAYING PIECES, Etc. SCARAB^I. E SIDES the cylinders and cones, which point" so clearly to the influence of Babylo- nian, Assyrian, and Hittite domination of art and feeling in Cyprus, the tombs and subterranean chambers of Salami s yielded, during my excavations, a number of engraved gems and stones, used as seals and rings. In this class, I include glass, paste, crystal, cor- nelian, agate, jasper, sard, and other precious stones, which bear devices more or less artistically engraved upon them. A considerable number are cut in the form of scarabsei, and scarabseoids. Some of these are obviously of Egyptian origin. From the old civilisation of the Egyptians, it may be taken that these scarabs represent one of the oldest forms of seal. Scarabsei are generally, but not always, pierced through lengthwise for attaching to the wrist, or for setting in a bezel. They are made of talcose schist, or steatite — sometimes glazed by being exposed to the heat of a furnace, or have a blue, green, or red coloured frit placed on them before the firing — agate, cornelian, and other hard materials. On the oval and flat base, inscriptions and figures, or repre- sentations of deities, men, and animals, are engraved. These scarabsei, according to Dr. Birch, are often found used as the bezels of signet rings, set either in a small frame of metal round the edge, or with a coiled wire as a spring on each side 134 SCARAB^I, BEADS, to hold them. But they are sometimes mixed up with other beads or objects, as pendants for necklaces, or even strung in rows as bracelets. They are to be distinguished from the scarabsei of porcelain, which were used only for the outer beaded work, or decoration of mummies. The scarabseus cheper, or cheperu, was one of the most common of Egyptian emblems. It represented the self-existent male principle, and the Sun, and as such it was introduced into many objects of Egyptian art. According to later authors, the military classes employed it as their device ; but it is found inscribed with the names of priests, and members of other classes of society. An idea has prevailed amongst recent authors, writes the above authority, that the scarabseus was used for the purpose of money ; but this notion is not well supported, either by the monuments or texts, in which it is never mentioned as an unit of value, and all known Egyptian weights are of totally different form. Although, therefore, it is 'difficult to deter- mine why it was so much in vogue for articles of attire, its shape on an oval pedestal was remarkably convenient for seals, and well adapted for general use. Among the numerous examples found in Salaminian tombs, I may specify the fol- lowing scarabsei in the Lawrence- Cesnola collection as being of interest. 1. An important Egyptian pierced scarabseus. On the face, winged tu^cei, with disks and horns, supporting between them a cartouche, in which is inscribed the name of Ea-men- KA,^ or Mycerinus, an Egyptian monarch of the Fourth 1 See The Egypt of the Past, by Sir Erasmus Wilson, F.RS., pp. 65, 87. The third of the series of the great Pyramids of Gizeh was built by him. " Within it were three chambers, in the uppermost of which Colonel Vyse discovered a mummy case, inscribed with the name of ' Menkaura'. From the floor of this chamber a descending passage led to the second chamber, in which was found a sarcophagus of basalt, of beautiful workmanship, and representing on its sides the elevation of a temple ; while in the passage between the two chambers was picked up the wooden lid of the mummy-case. These three objects, together with some bones, were duly shipped for England ; the vessel, however, was wrecked in the Mediterranean, near to Gibraltar, and the sarcophagus was lost, but the [mummy and] mummy case, with its INLAYING PIECES, ETC. 135 Dynasty. Below these are two seated figures of the Nile river, personified as Androgynous, with a bunch of three papyrus flowers on the head. These two figures are seated face to face, each one holding in the interior hand a vase of long and delicate proportions. 3-4ths inch long. White glazed steatite, (See fig. 145.) 2. Egyptian pierced scarabseus. The figure of a ruler, seated, holding a whip or flail, nexex / behind him a crook, heq, emblem of rule, power, or dominion, distinctive of Osiris (fig. 146b). Overhead, in a cartouche, the word (fig. 147) Ra-men-cheper, the praenomen of Thothmes III, the illustrious monarch of the Eighteenth Dynasty. That the value of this royal scarab was appreciated by the Cypriote owner from \\ Pig. 145. Fig. 146. Scarabffius with the name of Mycerinus. a. Scarabseus Ring. b. Engraved Face. whose grave I obtained i't, is shewn by the fact that it has been set in gold as a ring (fig. 146a), part of the eye for the swivel and all the bezel being still attached to the relic. 3-4ths inch long. White glazed steatite. 3. Egyptian scarabseus, the name of Thothmes III, Ra- me7i-cheper , as above, in a cartouche ; and other uncertain symbols. 3-4ths inch long, set in gold ring. Glazed steatite. 4. Egyptian pierced scarabseus. On the face the hiero- glyphics \\ Amen-Ra Neb, "The Lord Amen-Ra." Amen-Ba was the principal deity of the Theban triad. A wooden lid, were saved through their buoyancy, and are now preserved in the British Museum." Col. Howard Vyse, in his Pyramids of Gizeh, says : — " With it were discovered part of a skeleton, consisting of ribs and vertebrae, and the bones of the legs and feet, enveloped in coarse woollen cloth of a yellow colour, to which a small quantity of resinous substance and gum were attached." 136 SCARAB^I, BEADS, large number of scarabsei are extant with the name of or with reference to the cult of the god. 3-4ths inch long. (Fig. 147.) White glazed steatite. 5. Egyptian pierced scarabseus, engraved with a mytho- logical subject. The sacred beetle, or cheper, in his character as Creator, with four wings expanded, and represented by the artist as deeply barred or striated. The hind legs of the beetle are rolling forwards the Sun's Disk. To the lower wings are attached two symbols of life, the cross tau or ankh. ^ Fig. 147. Prsenomen of Thothmes Ill- Fig. 148. Engraved Scarabseus. Agate. This is a somewhat rare subject of Egyptian art (fig. 148). It belongs to the fifth century B.C. 6. Egyptian scarabseus of ancient style. On it a crocodile, sacred to, and emblem of, the god Sebak, or Souchis, one of the principal deities of the Egyptian Pantheon, especially venerated at Arsinoe, or Crocodilopolis. Many names were attached to this reptile, and in the Ritual of the Dead,^ chapter Ixxxviii, it is one of the types assumed by the departed soul in the future state. In other chapters (xxxi, xxxii), the deceased turns back the crocodiles,^ who come to deprive him of his amulets or talismans. On the face of this scarab also is a cartouche, with the Egyptian hieroglyphics ran ran ran, ^ See Bunsen's Egypth Place in Universal History, Loudon, 1867, vol. v, p. 228. " The chapter of making the Transformation into a Crocodile." (Dr. Birch's translation.) 2 Ibid., pp. 189, 120. " The chapter of stopping those who come to take away the Spells of a Person from him in Hades." " The chapter of stopping the Crocodiles coming to take the Spells of a Spirit from him in Hades," INLAYING PIECES, ETC. 137 words probably mystical — at any rate, not clearly and satis- factorily explained by Egyptologists. 3-4ths inch long. White glazed steatite. 7. Fig. 149 is an Egyptian scarabseus, en- graved with the sacred hawk and feathers of Thmei, or Ma, the Goddess of Truth.^ 8. Egyptian scarabseus. On the face a sphinx, wearing disk and plumes, seated to the right ; behind it a vulture ; in front of it an urseus. The meaninej of this combination of Fig. 149. Steatite. , ° . i • i Engraved scarabteus. Egyptian symbols is Uncertain.^ 3-4ths mch long. White glazed §teatite. 9. Egyptian scarabseus. On the face a figure of a man, kneeling, holding a palm-branch, symbol of a (good, or fortu- .nate) year. 5-8ths inch long. Green glazed steatite. 10. Scarabseus, pierced. Seated figure, before him two small vases. Good work. Half-inch long. Steatite. (See Plate XV, fig. 59.) 11. Egyptian pierced scarabseus. On it a winged figure standing on lion.^ Rude workmanship. Half-inch long. White glazed steatite. 12. Egyptian pierced scarabseus. On the face a lion, with the tail recurved over the back, and walking to the right. In the field, the symbol neh, or " lord", and other uncertain characters. 3-4ths inch long. White glazed steatite. ' I may here refer the reader to another scarabfeus with an Egyptian goddess. It is a Pha3nico Egyptian scarab, on which is a fall-length figure of the Goddess Pasht or Sekhet, with four wings expanded. On the head a disk of the sun and urseus snake. It has been already mentioned (see fig. 61, page .'50). Half an inch long, set in the revolving bezel of an ancient silver ring of solid substance. Cornelian. 2 Compare another pierced Egyptian scarabseus in the collection, on which occurs a sphinx seated, holding a sceptre j in the field are some uncertain hieroglyphics. 5-8ths inch long. Glazed steatite. 3 Compare with this another scarabseoid, on which is a figure seated on a grifiin, as figured and described in an earlier part of the work (see fig. 62, p. 51). 3-4ths inch long, set on a wire so as to revolve in a plain silver ring. Striped cornelian. 138 SCARAB^I, BEADS, 13. An oval scarabseoid, engraved with an archaic figure of a hon enraged, walking to the right. Half-inch long. Cornelian. 14. Scarabsens, pierced. A lion enraged, regardant. 5-8ths inch long. Steatite. (See Plate xv, fig. 58.) 15. Pierced scarabseus. Kude and archaic work. A lion and a bull, back to back, between them a tree. Half-inch long. Steatite. 16. Egyptian pierced scarabseus. The hieroglyphics of the sentence or motto, " Peace [be] behind you", i.e., "May peace protect you." This motto is not uncommon on Egyptian scarabs. Half-inch long. , White glazed steatite. 17. Egyptian pierced scarabseus. On the face the symbol of life, arikh ; a symbolic eye, uta; and two crowns, teshr. 3-4ths inch long. White glazed steatite. 18. Egyptian pierced scarabseus. On it, a triple spiral ornament, and the hieroglyphic word Ta. Coarse work. 3-4ths inch long. Green glazed steatite. 19. Egyptian pierced scarabseus. On the face the symbols of a hawk, ^^, and leg, J , ha, or hu, between two T)^ ursei.^ This is a mystical combination not yet satisfactorily explained. 5-8ths inch long. Reddish ivhite glazed steatite. 20. Egyptian pierced scarabseus. On the face a double urcBus, scarabseus beetle, cheper, a basket, neh, and other hieroglyphics of uncertain import. 5-8ths inch. White glazed steatite. 21. Egyptian pierced scarabseus, with several uncertain and badly-cut hieroglyphics of uncertain meaning. Half-inch long. White glazed steatite. 22. Scarabseus, pierced. Two figures conjoined. 9-16ths inch long. Steatite. (See Plate xv, fig. 57.) 23. A finely-carved and pierced scarabseus of Phoenico- Egyptian style (fig. 150). On the face,, a seated figure 1 The uraeus is constantly met with on scarabs ; the reader may refer to another pierced Egyptian scarabseus, on which an uraeus and star of cross, set in a massy ring on a revolving wire, but without a bezel. It is figured with the gold objects in a former chapter (see fig, 64, page 52). Milky agate. INLAYING PIECES, ETC. 139 Pig. 150. Banded Sardonyx. Engraved Scarabseus. Fig. 151. Steatite. Engraved Scarabseoid of the gryphon of Set, with the reed a; water-Une, en ; coiled cord, it ; and other Egyptian hieroglyphic syllables. 3-4ths inch long. 24. A Phoenician scarabeeoid (fig. 151-). The winged solar disk above the Boat of the Sun and ursei, or Egyptian asps, is engraved on the base. 25. Scarabseus. On the face a star of six points. 3-8ths inch long. Cornelian. 26. Pierced scarabseoid. The work very archaic, in the style seen in Plate xv, fig. 53. 3-4ths inch long. Cornelian. 27. Pierced scarabseoid. Rude animal or combination of lines. Half- inch long. Steatite. 28. Pierced scarabseoid. Rude and arbitrary combination of crossing lines. Half-inch long. Steatite. 29. Pierced conoidal scarabseoid of early Cypriote design and workmanship. On the face, in a cartouche, a full-length figure holding a spear or staff. 5-8ths inch long. Steatite. 30. Pierced scarabseus. The work in the Cypriote style, and of a good period. Two figures seated in a biga, or two- horsed chariot. The chariot was a favourite subject of the engraver in Cyprus. In the subsequent description of en- graved gems, I shall mention two examples. 5-8ths inch long. Dark steatite. 31. Pierced scarabseoid. A winged bull statant. Curious and good work of the Cypriote style. Half-inch long. Jasper. (See Plate xv, fig. 64.) 32. This pierced scarabseus is of con- siderable interest. The work of the beetle is very fine, and is considered by Dr. Birch to be of the fourth century before Christ. Fig. 152. comeuan. The work and design on the face — a lion Engraved scarabaeus, ^ 111 vrith Cypriote Inscription. devouring a boar, upon a hatched ground 140 SCARAB^I, BEADS, or estrade — is of very beautiful execution. The inscription is read by Professor Sayce to be : — ko ni to e te mi e. r)iil &€7]tovIkov. "I belongto Theetonikos." 33. Fig. 153 is a scarabseus of unfinished form, with the under surface engraved with a figure of Mercury, draped, and holding in his right hand his customary attribute, the Fig. 153. Engraved Scarabseoid. Cornelian. caduceus. The style is Greek, and it appears to be of some merit as a work of art. Beads and Inlaying Pieces, etc. These objects, from their similar art, will conveniently follow the scarabsei. The list of them is subjoined. 1. .Rectangle for inlaying, with a few indistinct characters in the Phoenician or Cypriote language. 3-4ths inch long. Grey stone. 2. A rectangular bead, engraved with the Paphian god- # W Fig. 154. Engraved Bead. Qrey Steatite. dess, under her canopy, on one side, and the cone, under its canopy, on the other. Compare the cylinders described on pp. 120, 121. 5-8ths inch long. 3. Another, with the cone replaced by an uncertain object. 3-4ths inch long. Gray steatite. INLAYING PIECES, ETC. 141 4. Rectangular pierced head. On one side, a Circle of the Sun with radiations ; on the other, an uncertain emblem of Cypriote design, perhaps the Paphian goddess under the canopy, as already described. 5-8ths by 3-4ths inch. Dark steatite. 5. Pierced bead, rectangular. A monogram on each side. 5-8ths by 3-8ths inch. Steatite. (See Plate xv, fig. 62.) 6. Rectangular pierced bead. Ornamental devices. 5-8ths and half-inch. Dark steatite. (See Plate xv, fig. 61.) 7. Rectangular pierced bead. On each face an uncertain device. Perhaps a lion. Compare No. 51, p. 127. 3-4ths by half-inch. Dark steatite. 8. Rectangular pierced bead. On each side a floral orna- ment of simple and archaic design. Half by 3-8ths inch. Light green steatite. 9. With these beads may be placed a well-carved object, representing a calf or ox, standing upon a ring or hollow cylinder. If held with the head downward, this pretty little Fig. 155. Carved Calf and Hand. toy assumes the appearance of a hand grasping a ring. The work is of the style characteristic of Cypriote art, and may be attributed to a considerable antiquity. CHAPTEE XV. ENGRAVED GEMS AND PRECIOUS STONES. HE ancient graves of the inhabitants of Cyprus, I found, yielded many gems and precious stones engraved with various classi- cal and native subjects. Some of these were set in gold or silver rings, either for use as signets, or as mortuary ornaments. Others, again, were not set in any metal, but found lying loose in the earth of the tomb. Many of the subjects engraved on these stones are of early workmanship ; all are beautiful. I append a list of the most important examples : — 1. Oval, with the head of a bearded man in profile to the right, carved in relief The curling of the beard and hair forcibly reminds us of the treatment of hair in the Assyrian sculptures. There can be little doubt that this is an Assyrian. or Hittite gem. Half-inch long. Deep purple amethyst. (See Plate XV, fig. 65.) 2. Convex oval intaglio. A figure of Jupiter seated, to the left, in profile, at his feet an eagle. The work of this intaglio appears to be Roman, of the first century B.C. Half- inch long. Transparent paste. (See Plate xv, fig. 81.) 3. Convex oval intaglio. A figure of Jupiter seated on a chair or throne, to the left, extending his right hand, in which is an uncertain object. Roman style. 3-8ths inch long. Onyx or niccolo. (See Plate xv, fig. 68.) ENGRAVED GEMS AND PRECIOUS STONES. 143 Fig. 156. Sardonyx. Engraved Gem - Jupiter. 4. Circular intaglio. A bust of Jupiter Serapis (fig. 156) in profile, to the left. The beard is long and pointed ; the hair rolled or curled at the ends, and filleted. The treatment is mani- festly archaic, and the gem may be con- sidered to be of great age, perhaps the second century before Christ. Half-inch long. Ancient gems, resembling the above, with subjects in in- taglio, were especially objects of care and admiration; and espe- cially were those sought after which had upon them subjects such as were fit to be taken with a religious meaning. Hence, fine antique portraits of classical divinities or historical per- sonages are frequently met with by the seal collector, either in the form of matrices, or as original impressions appended to charters, enriched with a legend of Christian import. A good example of this use is shewn in fig. 157 (kindly lent by the British Archaeological Association),^ where a Roman corne- lian, engraved in intaglio with a female head, is enclosed in a metal rim, with an inscription shewing that the owner con- sidered the head as a portrait of Jesus Christ, ^ Caput ^ omnium ^ Christus. Numerous instances of the similar treat- ment of gems could be adduced, where precisely the same result is obtained, but it is unnecessary here to refer to them. It is sufiicient to point out that the collections of charters in the British Museum furnish a large quantity of examples that are well worthy of the notice of writers on ancient gems. 5. Oval intaglio for a ring. A full-length figure of the god Mars, or Ares, without drapery, to the left, helmeted, and holding a spear and shield. Half-inch long. Cornelian. (See Plate XV, fig. 80.) 6. Oval intaglio. A full-length figure of the goddess Fig. 157. Cornelian. Ancient Gem with Mediaeval Setting. 1 From Journal, vol. iii, p. 330. 144 ENGRAVED GEMS Minerva to the left, draped and helmeted, and holding dis- taff and lance. Early workmanship. Half-inch long. Cor- nelian or hyacinth. (See Plate xv, fig. 70.) 7: Oval intaglio for use as a signet. The subject appears to be the goddess Minerva, full length, with helmet and lance, facing to the right. Before the goddess is a shield resting upon a column. The date of this is about the second cen- tury B.C. 5-8ths inch long. Bloodstone. (See Plate xv, fig. Q7.) 8. Oval for a ring. Finely-executed head of a warrior or the goddess Minerva, to the right, helmeted. The date may be referred to the first century before Christ (fig. 158). 7-16ths inch long. 9. Convex oval intaglio. A full-length figure of a goddess with a weapon, perhaps Minerva (fig. 159). Very archaic. 3-4ths inch long. 10. Oval intaglio. A full-length figure of Minerva, hel- meted, to the left, holding up or supporting a warrior with a spear in his hand (fig. 160). 5-8ths inch long. Fig. 159. Iridescent Paite. Fig. 160. Cornelian. Engraved Gems. 11. Convex oval intaglio. A figure of Athene Nikephoros, holding a spear and shield. Half- inch long. Cornelian. 12. Convex oval intaglio gem. The subject is Athene Nikephoros, engraved in a good style of art. 3-8ths inch long, set in an ancient gold finger-ring. Deep red cornelian. 13. Oval intaglio. A full-length figure of the goddess Demeter, or Pomona, holding a basket of fruit and ears of corn. The date is the second century a.d. 9-16ths inch long. Cornelian. (See Plate xv, fig. 69.) 14. Convex oval intaglio. A full-length female figure, AND PRECIOUS STONES. 145 Fig. 161. Purple Paste. Engraved Object. perhaps a goddess, holding a spear, and resting her right hand on a term or altar. 1 inch long. Purple paste. 15. Convex oval intaglio. A full-length figure of a goddess with uncertain attributes. The edge is ornamented with a small bead- ing or dotted border. 7-8ths inch long. Iridescent glass or paste. 16. Oval intaglio gem. A figure of the god Hermes, or Mercury, with a caduceus, engraved in an elegant archaic style. 7-16ths inch long. Hyacinth. (See Plate xv, fig 82.) 17. Oval intaglio. Hermes, or Mercury, with caduceus and wallet, as in Museo Borhonico, tom. vi, tav. 2. Figured in Smith's Class. Diet. 3-8ths inch long, set in an ancient plain massy gold ring. Hyacinth. 18. Oval convex intaglio. Mercury, undraped, to the right, holding a sacred branch as the emblem of peace. This emblem was attributed to Mercury by the Fetiales, who never recognised the identity of Mercury with Hermes of the Greeks, although the Romans of later times transferred all the attributes and myths of Hermes to their own god. Quarter-inch long, set in a plain and massy gold finger-ring of small dimensions and ancient workmanship. Sard. 19. Oval, set in gold, with the holes for the insertion of the hoop of a swivel ring. This subject is Hercules and the Nemaean lion. The workmanship is Greek, and there is an elegant style of art in the treatment of this beautiful in- taglio. The date may be placed at the third century B.C. 3-4ths inch long. Cornelian. 20. Oval intaglio, engraved on both sides. The obverse has a representation of Hercules strangling the Nemaean lion, the first^ of the twelve labours performed at the bidding of ^ " Prima Cleonaei tolerata aerumna Leonis". Auson., Idyll, xix ; cf. also Apollodor. ii, 5, § 1. L \V Fig. 162. Cornelian. Hercules and the Nemasan Lion. 146 ENGRAVED GEMS Eurystheus. Behind the semi-divine hero is his attribute the club, which he had employed in vain against his foe before he strangles it. The arrangement of this scene is exactly the same as that engraved by Smith^ from a Koman lamp. On the reverse the letters H H H • K K K The H probably stands for HPAKAHC. It is difficult to con- jecture the signification of the K. 3-8ths inch long. Jasper. (See Plate xv, fig. 72.) 21. Oval. On a line, Cupid wrestling with a faun ; before them, on a term or column, a figure of Priapus with a palm- branch. Fine Greek work. Half-inch long. I have had this set in a modern gold chased finger-ring. Hyacinth. 22. Oval intaglio. On a line, two Erotes, winged and helmeted, wrestling. 3-8ths inch long. Jasper. (See Plate xv, fig. 75.) 23. Circular and convex intaglio. The chubby head of an infant, Eros, three-quarter face to the left. The field inscribed BPHTOC. Greek style. 3-8ths inch. Burnt cor- nelian. 24. Oval intaglio in archaic style (fig. 163). Leda reclin- ing on a bank receiving the blandishments of the Swan. In this elegant gem we may indeed behold — " olorinis Ledam recubare sub alis".^ The treatment of the subject indicates that the artist was well acquainted with the myth Fig. 163. Heliotrope. ^Mch hc had Undertaken to illustratc. 5-8ths Engraved Gem— Leda. • i i • -i r» inch long, set m a silver nnger-ring. 25. Small engraved oval of the style of the second century of our era. The subject is a Fortune, to the left, draped, and holding in the right hand a rudder, an emblem of the govern- ment or direction of the affairs of the world ; in the left, a cornucopise, or Nike. 3-8ths inch long. Cornelian. (See Plate XV, fig. 86.) 26. Oval intaglio. A full-length figure of a goddess, to ^ Glass. Diet., 196. ^ Qy Metam., vi. AND PRECIOUS STONES. 147 the right, perhaps Fortune, with a cornucopise, and other un- certain emblems. Half-inch long. Cornelian. 27. Convex oval. A full-length figure of the goddess Fortune, with a cornucopise, to the right. 3-8ths inch, set in a bezel in a flat gold ring of ancient workmanship. Cor- nelian. 28. A fine convex oval gem, cut in intaglio with a full- length figure of Fortune. Of the Roman period. 7-8ths inch long, set in silver finger-ring. Sardonyx. 29. Oval. In the archaic style. Fortune, seated to the right on a tripod, and holding a Nike Apteros, or Wingless Victory, in the right hand. In her left hand, a branch of fruit, which the goddess is placing on an altar. 5-8ths inch long, set in a gold finger-ring. Yellow jasper. 30. Oval intaglio. Victory, winged, with a palm-branch over the shoulder, and holding a wreath in the right hand extended before her (fig. 164). The flowing drapery here shewn resembles that sometimes seen on figures of Iris in the best Greek gems. 5-8ths inch long, set in an Fig. i64 comeuan. ancient plain gold finger-ring of small pro- ^"^^Itory.^™" portions. 31. Long oval, chipped at the lower part. The style is of the second century a.d. A winged Victory, turned to the right, draped and crown, holding a rudder palm, or laurel branch, and a chaplet. 5-8ths inch long. Zoned sardonyx. (See Plate xv, fig. 71.) 32. Oval convex intaglio. A full-length figure of a winged Nike, or Victory, holding a crown and palm-branch. 3-8ths inch long, set in a fine gold ring. Garnet. 33. Convex oval intaglio. A figure of Nike, or Victory, winged, and holding a palm-branch, full-length, to the left. 3-8 ths inch long. Cornelian. 34. Small oval. A winged figure of Nike, or Victory, to the left, the drapery flowing in elegant folds. In the field before her a cornucopise. Good workmanship. 7-16ths inch long. Cornelian. (See Plate xv, fig. 79.) L 2 148 ENGRAVED GEMS 35. Oval intaglio. A female sphinx with human face, sejant to the left, with the wings extended, elevating the right foot ; on the base line in front of the sphinx a skull is engraved. Half-inch long. Amethystine coloured paste. This curious device closely resembles the subject of a gem ring found about the year 1817 near the ruins of Evesham Abbey, and figured and described in the Jouimal of the British ArchdBological Association, vol. xxxii, pp. 115-117. In this example, the gem is a dark red cornelian or sard, 7-16ths inch diameter, engraved with the sphinx (fig. 165) sejant, the head bound with a vitta, and the tail elevated and coiled. Immediately in front of the fore feet of the sphinx is a human skull ; and beneath the ground line a headless skeleton is ex- tended, the remains of one of those who had unfortunately failed to guess the riddle of the Gem seai-A Sphinx, sphiux, aud SO fallen a victim to his temerity.' The Norman-French inscription on this seal ring is reversed. It reads Ll cocatrix. The engraver pro- bably mistook the subject for a cockatrice, which would be to him, in the thirteenth century, a familiar denizen of the manuscript bestiaries or natural history books. 36. Oval. A gryllus or nondescript creature, here consist- ing of a bald head, perhaps of Silenus, an eagle's head, a goat's head and horns, a cock's head crested, in allusion to the Gnos- tic deity Jao, an elephant's head, holding a thvrsus or caduceus in the trunk, and fik. lee. sard. •^ . ' Engraved Gem— A Gryllus. some other emblems, all united with the feet of a bird, and made up into an animal form. Half-inch long. 37. Convex oval intaglio. A gryllus in form of a cock. The head is that of a horse, the body incorporates a head of Silenus, and some other component parts not very distinct. Half-inch long, set in a bezel with a flat strip of gold, forming a finger-ring. Cornelian. V I am indebted for the use of this woodcut also to the kindness of the British Archaeological Association. P1.IY. CYLINDERS AND GEMS FROM SALAMIS, AND PRECIOUS STONES. 149 By this particular name, gryllus, which appears to derive its origin from a classical word signifying a cricket, is desig- nated that peculiarly fantastic combination which is found engraved upon gems and precious stones, and was employed largely in the seal art of the middle ages. The precise origin of uniting a number of more or less incongruous devices into one figure, as exhibited by these engravings, cannot be deter- mined with any degree of accuracy. Conjecture, however, points to the Gnostic period as the probable era of the rise of this kind of device. Anticlides is said to have painted similar devices upon the vases of Greece about the middle of the fourth century B.C. It may be that each of the separate symbols imparted its attributed virtue to the fortunate pos- sessor of the gem, or protected him from ills not to be other- wise averted. At any rate, the gems of the Gnostics exhibit many such crude combinations as these so-called grylli. Among the most prevailing combinations is generally found the face of a man in profile, with a bald head, and nose of that type which is generally referred to Silenus ; and there is little doubt that the constantly-recurring expression on the face is intended for a portrait of some well-known individual. Why Silenus should have been chosen to fill a place in these fan- tastic riddles is not difficult to solve. In an impression of an oval gem, in the British Museum, occurs a gryllus com- posed of a human head surmounted by that of a horse holding a thyrsus or branch in its mouth, while a cornucopiee, and an eagle holding a hare in its grip, complete an inharmonious whole, which is so grouped as to make up what at first sight would appear to be a bird. Mr. King, in his work already quoted,^ has engraved several fine examples of the gryllus. Of the connection of Silenus with the gryllus, that author writes:^ — "As for Silenus, his laughter-stirring visage was, from some reason now lost, esteemed a potent amulet. This is proved from its forming an essential part of almost every gryl- ' Autique Geins and Rings, PI. xxxix, lvi, lvii, etc. 2 Ibid., pp. 263, 264. 150 ENGRAVED GEMS lus^ or astrological talisman/perhaps as passing for the emblem of universal knowledge.^ Another gryllus shews the same equine and human com- bination, united with legs of a rapacious bird, and a ram's head, holding a caducous and bunch of grapes in its mouth. Many other varieties could be described. That these ancient objects were valued and sought after in the middle ages is manifested without difficulty by the numerous specimens of impressions of seals appended to charters from the twelfth to the fifteenth century. When selected for use as a seal, the gem or precious stone bearing this potent talisman was set in a matrix or bezel with a rim or border of gold or silver, level with the face of the intaglio, and of a width sufficient to carry a legend. These legends, when not merely personal, dis- play great ingenuity and originality. Mr. W. de G. Birch, F. S. A. , in an article upon these relics,^ has recorded a considerable number of varieties. The only one which I may mention in in this place is a pointed oval seal of the fifteenth century, in which is set an antique oval gem of the gryllus kind, en- graved in intaglio, with a cock crowing and flapping its wings, the bird itself being composed of a horse's head, a ram's head, and the bald head of Silenus with a pointed beard, because it attempts by the legend to explain some at least of the various significations of the devices. The explanation, certainly, is specious, and, if correct, affords a clue to the meaning of other combinations. It is an hexameter verse : — " * Scriptum signal equus, mittit vir, devebit ales.' " 38. Oval cameo. A figure of ^sculapius, full-length, to the right, wearing a long dress, leaning upon a staff, round which a serpent is coiled. 5-8ths inch long. Green and hlackish red cameo onyx. (See Plate xv, fig. 77.) * " Especially prominent in that favourite one an elephant's head, carrying in its trunk a palm, a torch, or a caduceus. The elephant belongs to Bacchus as an Indian conqueror, which may explain its adoption as a vehicle for Dionysiac emblems, and the accompanying attributes, all plainly bearing reference to those Mysteries." — [Mr. King's note.] 2 Engl. Cyclop., Arts and Sciences, SuppL AND PKECIOUS STONES. 151 39. Oval intaglio. A figure of j^sculapius, full-length, to the right, holding a staff with a serpent coiled round it. In the field, the name of the owner or artist, kthcia. In the style of the first century a.d. 5-8ths inch long. Onyx. (See Plate XV, fig. 78.) 40. Oval intaglio. A man in profile to the left, draped, with a cloak hanging down behind from the shoulder, ofifering corn and fruit. Half-inch long, set in a plain and massy ancient gold finger-ring. This has been figured in another part of the work.^ Niccolo or onyx. 41. Oval for setting in a ring. Horseman with spear. Very early work. 5-8ths inch long. Jasper. (See Plate xv, fig. 63.) 42. Oval intaglio. The favourite subject of a quadriga, or chariot of four horses abreast at full speed, to the right, is here represented. In the field, the inscription inac. Half- inch long. Jasper. (See Plate xv, fig. 74.) 43. Oval intaglio gem. A chariot drawn by one horse, who is pacing to the left, urged on by a charioteer with a short whip. Greek style and elegant design. 5-8ths inch long. Jasper. (See Plate xv, fig. 73.) 44. Oval intaglio. A bust to the right, not unlike the portraits of the young Augustus ; or, perhaps, a youthful em- peror. The cutting of this gem is of first- rate excellence. It may be referred to the ^J^- 1^''- sardonyx. n _L ± X" TTii»"ii Engraved Gem— A Portrait first century oi our era. Hali-mch long. Bust. Sardonyx. 45. Oval, carved in relief. A bust, full face, of an empress, draped, the hair curled. 3-8ths inch long. Spinel ruby, or coloured paste. 46. Another oval, of a design precisely similar to the pre- ceding number, and of the same size. Green 2^(^ste. (See Plate XV, fig. 83.) 47. Oval. The Discobolus, resembling closely a gem ring, which has already formed the subject of some remarks in an ' See fig. 48, p. 43. 152 ENGRAVED GEMS earlier chapter/ 3-8ths inch long, set in a plain and massy ancient gold finger-ring. Pale green paste. 48. Round piece for setting as a ring. On a line, an old man leaning upon a staff, turned to the right, and a dog look- ing up at a tree on the right hand. Over head is the inscrip- tion ©EOAOPOC, the name either of the artist or the owner of the ring. Half-inch long. (See Plate xv, fig. 7Q.) 49. Oval. A male figure with a head-dress, to the left, apparently skipping, or holding a cord in the hands, which passes down to the heels. Half-inch long, set in gold, with rosettes at the sides, and attached to a plain circular gold wire ring. Green and white mosaic glass. (The ring is figured in Plate i, fig. 11.) 50. Oval intaglio. A soldier, helmeted, and wearing the usual dress, to the right, with spear and convex shield. Half- inch long. Calcined agate, cornelian. 51. Oval. A satyr, full-length, to the left, elevating the right leg, and holding a pedum, or shepherd's crook, and vase, with globular body and long thin neck. 3-8ths inch, set in a plain massy gold ring of very small calibre, for a youth. Cornelian. 52. Oval, for setting in a ring or seal. A head to the left, and an inscription, conjectured by Professor Sayce to read : — lAfl MIX[AHL], a Gnostic inscrip- tion, recording the names of two potent personages in that faith. The reader may refer to the chapter on Glass for some observations on an amulet of Gnostic art. 53. Small circular piece for setting in a ring. A portrait head in profile to the left, bearded. The work is of the Roman period. 5-16ths inch long. 54. Oval intaglio gem. A Fides, or two hands, couped at the wrists, and clasped in saltire ; above them three ears of corn. Above 1 See fig. 49, p. 43. Fig. Iti8. Calcined Agate. Engraved Gnostic Gem. Fig. 109. Paste. Engraved Gem— A Portrait Head. AND PRECIOUS STONES. 153 these, a mask or head of Silenus in profile to the right, similar to the heads found forming parts of grylli already described. The hands clasped are the symbols of union, and the ears of corn represent increase ; but the relation of the head of Silenus to this emblematic device is diffi- cult to interpret. 5-8ths inch long. Jasper. (See Plate xv, fig. QQ>.) 55. Oval intaglio, perhaps Gnostic, carved on both sides. On the obverse, within an engrailed border, a kind of platform or estrade, on which is an altar, between two worshippers on one side, and a priest sacrificing an animal on the other. Fig. 170. Cornelian. Very archaic and indistinct. On the reverse, an uncertain inscription in four lines, of a character which resembles Greek. Half-inch long. Cornelian. \ ^^. Oval. A bull and star, as described in the account of gold rings in a previous chapter.^ 3-8ths inch long, set in a small but ancient gold ring, for a child. Red jasper. 57. Oval intaglio. A tree, with a goat on each side of it, leaping up and browsing on the foliage. 3-8ths inch long. Cornelian. 58. Oval intaglio. An eagle, close, regardant, holding in its beak a chaplet or crown. 3-8ths inch long, set in a plain and massy ancient gold finger-ring of somewhat small dimen- sions. Cornelian. 59. Oval intaglio. An eagle, close, regardant, to the right, holding a garland or chaplet, at its feet an uncertain object. In the field, the inscription EAET. 5-8ths inch long. Cornelian. 60. Oval intaglio gem, from a finger-ring. An eagle, regardant, to the right, holding a garland or crown, and ^ See fig. 53, facing p. 44. 154 ENGRAVED GEMS, ETC. perched upon a rock between two palm-branches. 3-8 ths inch long. Jasper. (See Plate xv, fig. 88.) 61. Oval scarabseoid, not pierced, probably for setting in a ring or fleurette. The subject is a hippocamp. 3-4ths inch long. Calcined steatite. (See Plate xv, fig. 60.) 62. Oval gem. The subject appears to be a lobster or shrimp. This is of fairly early Greek workmanship, and may be referred to about the second century before the Christian era. 3-8 ths inch long. Coiiielian. (See Plate xv, fig. 85.) 63. Oval for setting. A seven- stringed lyre. The sound- ing board carved in the form of a small animal, probably a dog, lying curled up. Half-inch long. Amethyst. (See Plate XV, fig. 87.) 64. Oval intaglio, engraved on both sides with uncertain figures or letters of mystical value, some of which are not unlike Cypriote syllables, but they cannot be deciphered. 5-8ths inch, the edge bevelled. Cornelian. 65. Oval engraved gem. Two lines of Roman numerals, perhaps of mystic or magical import. The numbers are — x, VI, III, II. This edge of the engraved stone is frilled or engrailed. Half- inch long. Agate. (See Plate xv, fig. 84.) QQ. Oval. The Temple of Paphos, as figured and de- scribed in a former part of the work.^ 3-8ths inch long, set in a gold ring. Cornelian. 1 See fig. 52, facing p. 44. CHAPTEE XVI CHALCEDONY, ETC. HE number of objects which I discovered at Salamis and other sites composed of chalce- fj dony and other hard stones is not very large, but, considering the rarity of such antiqui- ties, my collection is fairly well supplied with them. The use of chalcedony is, we are told, very ancient. The oldest dynasties of the Egyptian Empire have contributed many objects formed of it to the museums of of this substance is believed to be Europe. The name derived from Chalcedon, in Bithynia, where the first speci- mens of the material were procured. According to some writers, it is a kind of agate, with milky veins and cloudy spots in it. Others describe it as a stalactite of the quartz species, of a dull grey tint, with blue and purple veins and blotches. Another class of writers consider that chalcedony is a species of quartz, semi-pellucid, of a whitish, bluish, smokey-grey, or yellow and red colour. It is two and a half times heavier than water. A modern author on precious stones states that chalcedony is a kind of quartz : according to Fuchs, pure quartz with opal disseminated through it. This stone is usually of a greyish colour, but sometimes occurs milky white, pinkish, or of a smalt blue ; in the latter case it is called sapphirine. It is never found crystallised. Some Indian varieties are yel- lowish, which is owing to the presence of oxide of iron. It is 156 CHALCEDONY, ETC. often found lining agate geodes, in trap rocks, and sometimes stratified, various tints alternating. It is semi-transparent, translucent (to nearly opaque), and as hard as quartz, but much less fragile, being very tough, and breaking with an even fracture, exhibiting little or no lustre. It is found in flints. From its hardness and toughness, this stone is well adapted for engraving, and has been used for this purpose from the most ancient period.^ That the chalcedony was esteemed by the ancients to be one of the most precious stones is sufiiciently shown by St. John the Divine, who, in his account of the foundations of "that great city, the holy Jerusalem", writes: "And^ the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was jasper ; the second sapphire ; the third, a chalcedony." Fig. 171 represents a small chalcedony vase found in a tomb at Salamina in 1867. The vase is of late Egyptian style, and of the shape of the Egyptian situla or bucket. Around the upper part of this small vase is an or- nament like a Phoenician inscription, but the letters are so indistinct, that it is impossible to conjecture the signification of the writing. Inside, suspended by a gold wire from two small handles on the top of the vase, is a little amulet of uncertain shape. The accompanying figure (172) represents an amulet, or Fig. 171. Chalcedony _ Inscribed Situla. Fig. 172. Ch„hedo!i,v A. Inscribed Amulet, in form of the Cuttle Fish. b. The Shield Enlarged. ^ H. ILnnmnel, Dia7noruls and Precious Sto?ies, 1867. ^ Rev. xxi, 19. CHALCEDONY, ETC. 157 toy, carved in form of the cuttle fish, or sepia. The shield- shaped body is adorned with an inscription in Phoenician letters, but they are unfortunately so indistinct from age, and so nearly obliterated, that it would be rash to hazard a con- jecture as to their meaning. An inscribed roundle, or plaque, per- haps an amulet or inlaying piece (fig. 173), which I found in the ground at Salamis has upon it an eagle or other bird dis- played, surrounded by an illeo^ible and „. ,„„ _ ^ "^ , .... ^^S- 173. Chalcedony. nearly obliterated inscription in characters ornament. which may be Phoenician or old Greek. Among the more interesting objects belonging to this class, Plate xvi, fig. 1 represents a toy-duck, fitted with a movable head, and a lid of the back and wings, now wanting. This is formed of bluish-white chalcedony. There are two necklaces or bracelets in the collection,^ composed of bugles of ovoid, cylindrical shapes, alternating with carved or striated spherical beads, some of which are painted with circles or amulets of blue, pink, and yellow colours. Each of these bracelets has a pendant, illustrating the worship of the phallus, one of which shews traces of gilding, and is painted with bands of red, and other colour ; and it is so formed as to represent that object as the emblem of the classical god of gardens. Of chalcedony, I found also a handsomely-shaped bowl or drinking-cup of a yellowish tinge,^ with fluted body, and wide swelling lip ; the whole in some respect resembling the bowl of a modern goblet. In the same plate, I have figured an enamelled female head of great beauty.' Plate xvi, fig. 6, represents an Egyptian amulet in form of Anepu, or Anubis, the jackal-headed god, who, according to Greek legends, was the son of the goddess Nebta, or, ac- cording to other and, perhaps, more orthodox traditions, the son of Osiris and Isis. The jackal, a common Egyptian animal, was exclusively the emblem of Anubis, who is almost always represented — as, indeed, in the present specimen — with the 1 PI. XVI, figs. 2, 3. 2 Fig 4 3 Fig. 5 158 ' CHALCEDONY, ETC. head of the jackal instead of the human head. In the system of the Egyptian Pantheon, Anubis was the divinity who pre- sided over the processes of embalmment and sanctification of the dead, and guarded the "Roads of the South and North of Heaven and Earth". In this example, he is walking, with the left foot advanced in the Egyptian manner, wearing the head- dress, called namms, and the tunic, called shenti, around the loins. The next object represented in the same plate is an amulet, or toy, perhaps a doll, of hght blue colour, almost white. It appears to be a rude and uncompleted figure of a female.^ A kneeling figure of uncertain period and style is placed next in order. ^ A symbolic eye, called uta by the Egyptians, to whose workmanship this little amulet must be assigned,^ is of interest, coming, as it does, from Cypriote tombs. These symbolic eyes are attributed to the "Sun and Moon"; or they maybe taken as the "Eyes of the Hawk of Ka", the Sun God, by the opening of which that deity illuminated the universe. To the pointed oval opening of the eyelids were attached two appendages, — the drop, and the spiral line like a lituus. The Egyptian name of the eye is apparently derived from the word sound, or whole, and the appendages, according to Dr. Birch, may represent a tear dropping from the eye, or the cheek-bone of the "Cow of Athor", the "Mystical Mother of the Sun". The right eye represented the Sun, and the left, as in the object before us, the Moon. It is a not uncommon ornament in Egyptian collections of antiquity, and is found adapted to various purposes, such as pendants, or beads of necklaces and bracelets, in which cases it is generally per- forated, or provided with a ring carved out of the same sub- stance, for suspension. There can be no doubt that the symbolic eye was used as a kind of charm or amulet, not only of sepulchral, but of domestic use ; and it is known that those made of hard stone were worn round the neck. They are formed of many and various substances, such as lapis-lazuli, serpentine, haematite, obsidian, red jasper, green felspar, cor- nelian, and even porcelain. There are several very fine speci- 1 Plate XVI, fig. 7. « Fig. 8. 3 pig. 9. CHALCEDONY, ETC. 159 mens of symbolic eyes in the British Museum and the museum of the Duke of Northumberland at Alnwick Castle. A little figure of the god Ptah-Socharis-Osiris/ shewing that god, formed of a light blue chalcedony, in the shape of a naked dwarf, wearing a skull cap, with his legs bowed, and the hands, now broken ofP, on the hips, is given in the same plate. Another object is a figure of the god Chons, or Chonsu,^ the divine son of Amon and Mut, the third element in the Triad of Theban Divinities, and a lunar god, apparently the oracular enemy of the revolters or enemies of the gods and the expeller of demons. The lunar disk, with which he is always properly represented, is broken from the head of this ancient carving, wherein the god is represented with a hawk's head, walking, the hands clenched, and the arms pendent. Among small miscellaneous objects of chalcedony or other allied stones, I may refer to an object resembling a human foot f a sow giving suck to her litter, with a carved ring on the back for suspension as a pendent amulet ;* a pendant, in form of a ram or goat, also with a pierced ring ;^ a terminal figure of Hermes f a bunch of grapes ;^ a bee, or wasp, the head wanting f a stud, or pin, with a hole pierced in the head f and a clenched hand,^^ with the thumb protruded between the index and middle fingers, similar to that described among the gold objects in Plate i, fig. 15. A very beautiful bright blue-coloured unguentarium,^^ carved out of chalcedony, is in form of a globe upon a circular foot, not unlike a modern goblet or wine-cup. It measures an inch and a half in height, and was probably used to con- tain a small quantity of precious ointment or perfume to be placed near the body of a departed relative in the Salaminian tomb from w^hich I obtained it. Plate xvi, fig. 20, is a figure of Harpocrates treated in the Egyptian style. He is called Harpa%rat, or Harpocrates, "Horus, the Child of Isis", and is 1 PI. XVI, fig. 10. 2 Fig. 12. 3 Fig. 11. 4 Fig. 13. 5 Fig. 16. 6 Fig. 14. 7 Fig. 15. 8 Fig. 17. 9 Fig. 19. 10 Fig. 21. 11 Fig. 18. 160 CHALCEDONY, ETC. seated, naked, in the attitude of being in his mother's lap, with the symboKc lock of hair, called rut, at the side of his head ; the index finger of the right hand is raised to the mouth. Another chalcedony relic^ shews a standing figure of the same Horus, also with the finger in the mouth. An elegant aryhallos in sapphirine chalcedony, with a body imi- tating the markings of a fir-cone f a bowl with a radiated star-like ornament at the bottom inside, and having the rim adorned with a coloured band marked out in small squares, and carved with two lions sejant guardant, back to back;^ and a plain bowl of somewhat thick substance, marbled with dark blue veins,^ complete the description of the most important chalcedony relics which the tombs of Cyprus yielded to my diggings. 1 Plate XVI, fig. 22. ^ pig. 23. ^ Fig. 26. * pig. 25. CHAPTER XVII GLASS. NUMBER OP SPECIMENS — PATERA — ACBTABULA — HAND-PAINTED VASES — PAINTED DISHES — FINGE R- RINGS — HAIRPINS — UNGUENTABI A ALABA8TRA — AMPHORA — DIOT>E — OINOCHOiE — HYDRIiE — IRIDESCENT GLASS — BOWLS — PENDANTS, ETC. T is unnecessary here for me to enter upon a dissertation concerning ancient glass. Many- works and treatises upon this fertile subject will recur to the minds of most readers ; and there are, indeed, few antiquaries who do not know where to turn for information as to the various characteristics which ancient glass exhibits, the shapes and peculiarities which the vessels themselves affect, their sizes and colours, and even the successive steps in the manufacture of the material. Exquisitely beautiful examples of ancient glass are preserved in many museums, and to them the Island of Cyprus, where the arts which ministered to taste and refine- ment pre-eminently flourished, has not been found slow to contribute. The total number of these remains in the Lawrence- Cesnola collection is very considerable, probably not fewer than four thousand in all. There can be no reasonable doubt that some of these examples were made at Tyre by Phoeni- cian workmen, who were for a long time the sole possessors of the craft of producing and shaping the material. Others, again, are Greek, and many belong to the Roman period. It M 162 GLASS. is difficult in many instances, so closely do the styles approach each other, to distinguish the one class from the other. These articles are of various sizes, from the tiny unguentarium, lachry- matory, or "tear-bottle", which was doubtless used to contain scented fluids or essences of unusual preciousness, to vases which are capable of holding as much as half a gallon of costly liquids. Besides these, there is a certain number of phialai or jpaterce of diflering diameters, none of which exceed a foot. A 'patera of pale clear citron colour has two handles in the form of serpents crawling on its edge. Several pater ce com- prise cords of cotton, a material which appears to have been coloured before it was incorporated into the edges of the vessels, which have been turned over for the purpose. Bowls exist in the collection, some of which have been moulded in radially-disposed flutings, and some are impressed with pat- terns. These, like many other examples, reproduce patterns of metal ware. Many acetabula also occur, including a few which are sumptuously coloured in purple lines. Of these, some have their sides pressed inwards, in order to afford a safe holding for the fingers. One or two bear devices moulded in relief Of these, one bears three of the so-called "Amazon- ian" shields, with satyric masks, tears, a laurel wreath, and archaic trees. The bottles are, for the most part, tall and thin, some having short and others long necks, short and bulbous forms, with narrow or wide mouths lipped and lipless. Others are with, and some are without, handles ; some are ovoid; others are square, globular, fluted, depressed, or oblong. Many of them exactly reproduce the forms of metal, and not a few exhibit the shapes of ceramic types. Two oblong plates of glass occur among the remains of that material, measuring eight inches by six. The very nature and form of these articles suggest their employment as window-panes. These were found in Salamis, and connected with terra-cotta sarco- phagi of the Boman period, which were generally made with covers, while few of them consist of one piece. Usually, they are composed of two or more square tiles cemented HAND-PAINTKD PHCENICIAN GLASS VASK. GLASS. 163 together. The glass was intended to allow the faces of the' dead to be seen within the coffins. The bodies of these sar- cophagi are enriched with rude reliefs of bulls, birds, and festoons of flowers bearing traces of colour. On a single tile of this kind, I found a long Greek inscription, giving an account of the family of the deceased and his quality. Among the greatest varieties of ancient glass are two beautiful amphorae, i.e., "lachrymatories", of a pale and delicate green colour, and four inches long, both of which were fitted with funnel-shaped neck linings of pure gold, which are now detached from the glass. They are probably used to strengthen the glass. In the New York Collection of Cypriote Antiquities is a similar object, attached to an alabastron-shaped vase of crystal. One of the rarest of the kind before us is a small lachrymatory of very dark colour, and richly painted with flowers and birds in a spirit- ed and entirely realistic manner, and of the most unusual style. It may be of Greek origin. The figure is the full size of the relic. (See Plate.) There is a figure of a peacock in the centre of the bottle, perched upon flowering foliage, elegantly depicted, and on the other side a flock of singing birds appear to be disporting among the flowering branches, which the artist who decorated this beautiful, indeed unique, vase, has represented in a charmingly natural manner. The lining of the stopper is worthy of attention on account of the comparative rarity of such adjuncts to ancient bottles. Equally interesting is a circular lid of hand-painted glass (fig. 174), on which is a figure of Venus, undraped, with an ample robe, arranged in elegant folds, falling down behind and at her side. The flowers and foliage in this case also are mostly freely treated, and it is evident that both the vase and the plate of glass are works of artists of the first class. The high standard to which the decorative arts of Cyprus attained during the early Greek period is shewn in these two relics in a very clear and forcible manner. We may, indeed, picture to ourselves without difficulty the great variety of subjects and styles which the ancient Cypriotes adorned, M 2 164 GLASS. when examples so beautiful as those at present before us, although they are but few in comparison to the hundreds which must have paid the penalty of their fragility, have survived to point to the refined civilisation of five-and-twenty buried centuries. Among other forms and uses to which glass appears to have been applied in ancient times in the island of Cyprus are finger-rings^ of exactly the shape which occurs in ivory. One or two instances of this category exhibit hollows, in which engraved gems of glass or other material have been inserted Fig. 174. Painted Lid— Venus. &la*t. and attached by cement. One of these rings bears an inscrip- tion perhaps in a Cypriote character (fig. 175). These rings were used for the same purpose as those in ivory. Hairpins of glass (fig. 176), furnished with disks at one extremity of each, and a ring-handle at the other end of each example, occur with frequency. They show the spiral lines of coloured glass, which we associate, perhaps too strictly, with Phoenician ' See fig. 91, p. 81. GLASS. 165 workmanship. They may be compared with the shapes of bronze (fig. 177), and ivory (fig. 178) hairpins which I have placed here in juxta-position to them. X6 A F h Fig. 175 Ring with Inscription. &lPAINOT. 196. 197. muQi Figs. 195, 196, 197. Moulded Drinking Vessels. Glass. The entire legend on a few other specimens of the same kind of drinking cup, found in Cyprus, is, KardxaipeKot ev(f>paivov, signifying, "Rejoice, and be merry." There is a very similar specimen exhibited among the ancient glass in the British Museum. Fig. 196 represents a drinking vessel (of which the British Museum also possesses an example), moulded with an ornament, consisting of palm branches and chaplets for a victor's brow, appropriately enriched with a Greek inscription on a band in the centre of its height, which seems to point to the fact that the cup itself was a prize or a gift to one who had conquered in a public game or competitive contest. The inscription reads, in elegant Greek capital letters : — AABE THN NEIKHN, i.e., "Take the Victory." 174 GLASS. Among other specimens of this moulded glass, I have found a deep cup, or drinking vessel (fig. 197), on which are em- bossed or moulded in relief the heads of Gorgons and the pelta, or shield, used by and attributed to the Amazons, combined with floral and other ornaments. This vessel is of the late Greek or Roman period.* It is covered with a finely iridescent colour, which varies from gold and opal to blue and purple tints as the light is allowed to fall upon it. One of the most interesting of the smaller objects of glass is that represented by fig. 198 (a, b), a flat piece of glass moulded with the full face of a goddess upon both sides. The expression, which is evidently the work of a good artist, ap- Fig. 108. Head of a Goddess. Front view. b. Side view. Olass pears to be that usually found upon portraits of Venus ; and from the universal cultus of the Goddess of Love in the Island of Cyprus, it may be justly con- jectured to be a representation of that divinity. A small object in blue moulded glass repre- sents a seated female figure, with a high head- dress and ample robe (fig. 199). It is difficult to decide to what divinity this talisman or toy is to be attributed. In addition to the vases and other objects of glass which I Fig. 199. Gluts. Moulded Figure. 200. Figs. 200-203. 201. 202. Pendants in form of Human Heads. 203. Glasii. have already mentioned, I found a considerable number of coloured pendants for bracelets and necklaces, composed of GLASS. 175 quaintly curious heads of men (fig. 200), some of very archaic proportions (fig. 201), and others, perhaps, intended to repre- sent tragic and comic masks (figs. 202, 203). One of these pendants is in form of a bull's head (fig. 204) of very fine 204. Figs. 204-206. 206. Pendants of Animal Forms. Crlant. workmanship and excellent proportion ; another (fig. 205) is in form of a crescent, composed of two teeth or tusks of a wild animal, a favourite design for a necklace, as I have already pointed out in the description of the gold objects,^ and in the notice of the stone iconic bust of a lady of rank.^ The head of a pig, or boar, forms the subject of another of these objects (fig. 206), and there are others in form of jugs (fig. 207) and Figs. 207-209. 208. Vase-shaped Pendants. 209. Olats. vases (fig. 208). They are all of an early date, beautifully iridescent from their contact with terraqueous substances in their places of deposit. A circular pendant of a similar nature (fig. 209) is inscribed with the Greek letters TEIO or TEIOT. In a tomb at Salamis I found an amulet of glass, in the shape of a rectangle, with the corners cut ofi" obliquely (fig. 210). This has an inscrip- tion in five lines of three letters each upon its face, in irregularly formed Greek capital letters : — lAn . MIXAHA . PANAMA. Some of these letters are of peculiar shape, the P and ^ of the latter word particularly so. It has 1 Page 32. 2 p^ge 108. Fig. 210. Blue Glass, Gnostic Amulet. 176 GLASS. been considered that this object formed part of the necklace of an infant, as an amulet, in accordance with the custom of the Gnostics in the earliest da3^s of primitive Christianity. The three names here recorded are of potency among the votaries of that deluded and degraded mysticism. 1 , Jao, or, perhaps, Jehovah ; 2, Michael, the Archangel; and 3, Raphael, the Archangel. At a late period of the Byzantine Empire, engraved stones were employed for various purposes as talis- mans, love philtres, the cure of diseases, the averting of mis- fortunes, and the neutralising of the effects of the evil eye. Particular properties and virtues were attributed to each variety of hard stone, and the inscriptions contained, in Greek or magical characters, the names of the ^ons, and other powers of the Gnostic and Basilidian sects. The god Abraxas, or Jao, here addressed by name, is represented on some stones as a giant armed with a spear and shield, having his head like a cock, and his legs like snakes. CHAPTEK XVIII. TEEEA-COTTA. STATUES AND STATUETTES PORTRAITS — GROTESQUES — CARICATURES — FIGURES OF BOYS. HE ancient terra-cotta remains which I obtained from Salamis, and other Cypriote sites, are exceedingly numerous. They may he divided into several classes for the sake of description and illustration. I begin with Statues and Statuettes. The greater number of these objects were dis- covered in tombs, and they consist of effigies of the gods and goddesses ; portraits of iconic figures, which are gracefully draped in toga and tunic ; and effigies, about one hundred in all, of females, some of whom carry instruments of music, including lyres and a flute. One of this class bears a tambourine in one hand and a dove in the other. Terra-cotta figures conceived in the Assyrian style are naturally not so frequently found as those in the Greek or native Cypriote styles ; but there is in the collection the upper part of a figure of a man in the Assyrian style, wearing a conical head-dress, or helmet, with tasselled ear-flaps, a reeded gorget round the throat, and a fringed cape of peculiar shape (fig. 211). Another specimen of this Assyrian or Egyptian style is the upper part of a female, with closely-curled hair hanging down in a stiff and formal manner on either side of the neck N 178 TERRA-COTTA. (fig. 212). The two necklaces with which the figure is ornamented have been already alluded to in an earlier chapter.^ Fig. 211. Male Figure of Assyrian Style. Fig. 213. Terra-ootta Statuette— Youthful Hercules. Fig. 212. Terra-cotta. Female of Assyrian Style. Fig. 213 represents a terra- cotta statuette of the Youthful Hercules, standing upon a nar- row plinth, and holding in the right hand a club, his usual and well-known attribute; in the left hand, the wonder-working cornu- copia of Amalthea. Over the right shoulder of this figure, a belt or fillet passes, holding up at the back of the hero the lion's skin with which he is usually- depicted. The annexed illustration re- presents (fig. 214) a figure, in the Phcenician style, with As- syrian influence, apparently of Hera (Juno), or Demeter (Ceres), draped in a chiton poderes, or tunic, reaching down to the feet ; 1 See p. 30, fig. 16. TERRA-COTTA. 179 the hands, with bracelets, at the side, and collar round the neck. A long shawl, or peplos, forming a kind of halyptron, passes over the head like that over the figures of Hera or Juno, and Demeter, indicating a married goddess, possihly Aphrodite. The inscription at the back (fig. 215) is obscure ; possibly. Dr. Birch tells me, Cypriote ; with vertical lines introduced at intervals. The second and seventh characters are not in the usual Cypriote alphabet. It may read : — Ta . xe . lo . le . li . po . e . mo. Ta^tXX.97 iirolei fie; but the reading of this archaic inscription is very uncertain. Fig. 214. Inscribed Figure. Fig. 215. Terra-eotta. Inscription at back of Fig. 214. A very pretty example represents a lady seated and suckling her infant ; a second stands with the child in her arms ; another stands, half draped, in the manner of the Venus of Milo, and in an attitude not unlike that of this famous statue. One of the statuettes of this class is of a very elegant design (fig. 216). It represents a female with the flowing drapery of the best Greek period faUing down over the back and lower parts of the statuette, the body reclining in a graceful curve against a small term or altar, with a carved N 2 180 TERRA-COTTA. Fig. 216. Terra-cntta. Statuette. capital and moulded base. The arms are wanting, but, notwithstanding this defect, the great beauty of the object is readily apparent to the most superficial examina- tion. I owe the use of this woodcut to the kindness of the British Archaeological Asso- ciation. For a similar figure the reader may refer to the accompanying Plate. A similar work resembles the "Pudici- tia". A female figure stands erect, with large wings displayed and rising above her head, and holding in her right hand a fir- cone, which is the frequent emblem of Venus, and in the left hand objects like apples, which cannot now be recognised. An ancient figure of a charming young girl is in the attitude of a Muse playing on a large lyre, which is placed at her side. Her elegantly-disposed draperies bear traces of colour, the toga is still of a pale pink, the tunic is of a redder hue, the sandals are scarlet. It pro- bably represents the Muse Erato, or Polyhymnia (fig. 217). The head of this figure is adorned with a coronal of flower-shaped ornaments, and a cap-like headgear surmounted the coronet. A tall and graceful statu- ette of this class, which shows a pecu- liar style of sculpture, being of a somewhat finer, if not more laboured, order of treatment, seems to be in the act of walking towards the temple, because she holds on her left shoulder a large tray, bearing an offering of a cake, and, in her riorht hand, carries a small hare or cS ^ fig. 217. Terra-cotta. rabbit. The drapery of this figure is The Muse Erato or Polybymnia. TKRRA-COTTA STATUETTE OF VENUS. TERRA-COTTA. 181 extremely beautiful, and has been studied by a very accomplished artist. Two seated statuettes of draped women occur. At the side of each is the figure of a winged youth, very closely resembling that which is described above. It is probable that these figures, althougii those of the females are fully draped, represent Venus and her son. In the Jap of one of the seated figures are what look like flowers. A statuette of a draped female wears a helmet, or cap, with a high crest, like a Phrygian cap. At the side of two figures of women, each of whom holds a bowl, is a pig. The animal looks up, as if it expected to be fed. Both these females have their hair flowing over their shoulders in long tresses, and trained in large coronets above their heads. The one looks slightly downwards, the other has raised her face, and gazes forwards. In another statuette, the hair of a lovely and slender young female is covered with a conical hat. An erect and nearly naked female figure, probably that of Venus, shows strong traces of deep blue on the drapery, a ruddy tint on her flesh. The robe which lies over her shoulder falls behind, and, returning to the front, is thrust between the legs, from whence it issues in full folds. One of her arms is placed akimbo on her left hip, the other hand is on an altar at her side, the left leg is crossed before its fellow. There is a pretty figure of a tall woman draped in a tunic, and walking with a vase upon her head. A garland which is under it is distinctly pink. A lady, the contour of whose figure is very robust, stands erect, her drapery being closely held about her form. She is wearing above her hair a large garland, which is coloured of a deep reddish tint. The face and general style of this statuette are of peculiarly lovely Greek type, and of a noble and pure kind of art.^ Another charming statuette stands fully draped, the toga being held at each shoulder by a fibula, at the side of a tall pedestal, on which her left hand is placed. As this hand is, unfortunately, broken, we cannot say if it originally held anything, or if it is only drapery which seems to fall from over the wrist. On her head is a lofty lunette-shaped coronet. A larger figure is standing fully ^ See Plate, facing page 182. 182 TERRA-COTTA. draped, the ample toga being thrown over the head so as to form a veil. Her mature form suggests that she is a widow ; or this may be the winter costume of a noble Cypriote lady. This example seems to have been painted pure white over the flesh, as well as the garments. There are two other similarly clad figures, one of which is enveloped over the head and its lofty coronet, while her hands are covered by the toga ; the other, the matronly proportions of which have perfect dignity, while the attitude has the freest and most graceful movement, is bareheaded. Over the forehead rises a tall coronet. The face of this work has been finished with unusual care, and possesses great sweetness of expression, with suavity and beauty of features. Among these effigies of draped females, none is more interesting than that of the young woman who stands almost entirely wrapped in her toga, having drawn part of its edge over her mouth and nostrils, as if to keep out cold air. There is an almost exactly similar figure of a girl, who has thus, but not quite so closely, wrapped herself up. Another figure wears a toga folded about her head, and falling closely over both her loins. The iconic statuette of a lady (fig. 218), whose toga is gracefully disposed in a loop under her right arm, while part of that garment is wrapped about her left arm, wears a kerchief on her head, in which she has bound the masses of her hair. The costume is finely treated.^ Besides the above-mentioned figures of ladies, there are ^ This illustration also is kindly lent to me by the British Archaeological Association. Fig. 218. Terra-eotta. Iconic Statuette. TKKUA-COTTA ICONIC STATUETTE OF A DRAPED KEJIALE. TERRA-COTTA. 183 two statuettes of women bearing offerings. Each of them carries a dove held before her body in a highly characteristic fashion. These are probably peasant women, who are bearing offerings to the Temple of Venus. The female who carries the bird, with out-spread tail, has hair coloured of a deep red. A sta- tuette of a portly matron seems to convey a touch of satire such as is of no uncommon occurrence in these works. She sits and holds a partly unrolled scroll on her knees, and, altogether, as if she were one of those "thirsty plants im- bibing", whom the Laureate satirised in his account of the pupils of the "Princess". Two associated examples, seated side by side, are, unfor- tunately, broken ; but enough exists to shew that one has extended on her knees a half-unrolled scroll, coloured blue, from which, as her action unmistakeably declares, she is in the act of singing. In one hand, she holds a spherical object, probably a ball. The companion member of this group is broken. It is believed to have originally carried a musical instrument. A tall damsel bears offerings of grapes in one hand, and fruit of different kinds, or flowers, in a dish in the other. The collection contains also the representation in terra-cotta of a young woman advancing against the wind, as the positions of her legs and hands and the disposition of her draperies suggest. A torch is in her left hand, the flame of which is drawn backwards. On the head is a wreath ; the hair is tied in a long knot. This is probably a Bac- chante, or a Maenad, under the influence of Bacchanalian in- spiration. A tall female figure stands by a lofty pedestal, or column, and, holding upwards her coronetted head, rests her right arm on it, while her drapery drops freely from her fingers. A naked female reclines against a rock, with a vase on her shoulder, and is the nymph of a spring ; water pours from a lion's head at her side. The inscription, in Greek capital letters on the base, " @EA H 0MBPI02", attests that this is the Goddess or Nymph of Bain (fig. 219). Green colour is still distinctly shewn upon the pouring water. A demi-figure, 184 TERRA-COTTA. the lower half of which is lost, carries an infant rolled in her voluminous toga, exactly in the same manner as that of innu- merable groups of the "Virgin and Child". In another ex- ample, a woman carries on her shoulder a draped child, who sits at ease in the most natural manner. A fully-draped lady Fig. 219. The Goddess of Rain. Terra-cotfa. (fig. 220), whose tunic is drawn over her head, stands erect, and carries a draped infant upon her left shoulder. On the front of the stand, or plinth, at the foot of this statuette, perhaps Demeter Kourotrophos, which I obtained from excava- tions at Dali, is the Cypriote inscription : — . se . o . ve . le . ke . mo . ti . which may be read — Tt/io/cXefo?, perhaps a Cypriote name in the genitive case, to be referred to Timocles, who was in all probability the artist who made the statuette. The standing figure of another lady (fig. 221), whose hand is wrapped in her toga, and on whose head is a coronet, retains a complete coat of brilliant white. The plinth, or TERRA-COTTA. 185 base, also bears upon it an impressed inscription in Cypriote characters, which appears to have been scribbled over with Fig. 220. Inscribed Statuettes. Fig. 221. Terra-cotta. black lines, as if it had been intended to cancel the inscription. The Cypriote in- scription is as follows : — >l< ^ T ^ tL^^ . va . bi . na . li . zo . This is probably the proper name of the female personage, as Zolinabia or Zenobia, who is represented by the object, or the name of the artist to whose conception the statuette owes its origin. The accompanying illustration (fig. 222) shews an interesting statuette of a female, at full length, which may be ascribed to Aphrodite, the goddess, who, as I have shewn before, was so universally and so pre- eminently a subject of the Cypriote cult. This figure is in the Phoenician or Assyrian style. Fig. 222. Terra-cotta. Statuette. 186 TERRA-COTTA. resembling the goddess Ishtar, The hands appear to be hold- ing the breasts, and the hair is plaited and bound with a fillet. On the neck, several necklaces are represented with pendants, one of which is apparently in the form of a man. A kind of fringed stole hangs below the upper garment in front of the knees. For similar types Mr. C. T. Newton refers me to the collection recently discovered by Mr. Richter in the Salaminiad, and now in the British Museum. The seated statuette of a lady, in the act of drawing the toga over her right shoulder, while her chiton is held there by a fibula. In her left hand, which lies in her lap, is a round object like an apple or egg. On her head is a coronet of leaves. Another female bears in her left hand a swan, which thrusts up its bill as if to caress her. Is this Leda ? Another statuette, which may well be referred to that mythical heroine, carries a swan under her left arm, and seems to be drawing over her naked figure a voluminous piece of drapery. Her action is that of rising from the earth. A lovely statuette is that of a lady, who sits in a chair, having her toga folded closely about her form, and nearly enshrouding it. She wears also an under-tunic. One of her legs is crossed over the other, in the manner ascribed to Juno Lucina. She rests the chin on one hand, while the elbow of that side is sustained by her raised knee. One foot is supported by a stool. This is the attitude of a woman lost in thought : in this respect, the expression of the face agrees. In the same technical style as the last is the erect lady, whose hair is arranged in crisped masses under a wreath. A third figure seems to be that of a robust woman, having voluminously crisped hair, the bulk of which is turned over her head to form a coronet of plaits. This mode of wearing the hair is frequently seen in Greek and Roman busts, as, for example, in those of the Empress Crispina. There is also a statuette of a woman seated in a chair, with a bird in her lap ; and the figure of a young girl, given in the Plate facing this page. Contrasted with these is the grim, seated statuette of an aged woman, whose much -mutilated form irresistibly sug- TKRRA-COTTA ICONIC STATUETTE OF A YOUNG GIRL. TKRRA-COTTA STATUETTE OK VENUS ANADYOMKNE. TERRA-COTTA. 187 gests that she was a leper. Her nose has been consumed, both her arms ha^ve disappeared, her figure is swollen and distorted, her gaiint fa^ce is seamed and withered. She sits on a stool — a woeful figure of misery. A still more hideous representation of an old vToman grinning, without teeth, and with a tumid body, is in the collection. Seated in a chair with a very high back is a woman, who seems to be feeding a duck, or dove, in her lap. On the hem of the tunic of a standing figure of a lady, above her bust, is a clearly-marked double Greek key-fret interchanged, and coloured scarlet and deep red. Red occurs on the toga worn by this figure, as if that garment had been wholly of that colour ; the tunic was quite white; a red ribbon, or carcanet, is to be traced on the neck. A terra-cotta group, which forms the subject of the accom- panying Plate, comprises a naked Venus standing erect, in the attitude of arranging her ample tresses under a lunette coronet, and as if just risen from the sea. Behind the figure are sportive dolphins, on the shoulder of one of which is perched a Cupid playing on a shell lyre. On the other side is a second Cupid, holding an instrument like a double clapper (or shell box, as figured at page 79), the halves of which are attached to each other by a hinge. It is said that a rude instrument of this nature, which is used to produce a loud clapping noise, was in use in Cyprus not more than forty years ago, at the time of celebrating the Death and Resurrec- tion of our Lord according to the rites of the Roman Church. It may be it is a mirror the boy holds before his mother. The tail of one of the dolphins has been placed so as to conceal the person of the goddess. Another statue of Venus appears riding on a goose, and wearing long thin drapery, so disposed that it falls from her head, and is held open before her to display her naked figure ; it returns from her hands, and is folded over her lower limbs. About the feet of the bird, herbage or grass is represented. There is a third Venus, with wings, riding astride of a dolphin, which traverses the waves of the sea. A very quaint and grotesque little figure* of a Bacchante 188 TERRA-COTTA. concludes my account of the female statuettes in terra-cotta in this collection. She is fat and old, much withered, and clothed in rags ; her action is that of drinking from a small vase, while another such vase is suspended from her girdle, which likewise sustains a patera, or plate, on the back of which is a star-like figure, with traces of yellow pigment. She bears upright in her left hand a large vase, with two handles rising upright from its rim ; a large garland on her head, with large flowers on its outer margin. Her face has the expression of vociferous singing and tipsy jollity. The statuettes of children include several of Eros and some of nameless genii. Of the latter class, I may notice a boy genius, with wings, fluttering over the earth, and dragging behind him a reluctant goat, while he bears on his head a heap of fruit. A similar genius^ is to be seen running, with a large bunch of grapes in one hand, and thus tempting a cock to follow him (fig. 223). He holds in the other hand a vase. There are traces of red, white, and pink on this group. On the back is the name of the maker. A similar winged genius, a little older than the above, carries on one shoulder a large amphora, and on the other a lighted torch. His forehead is shaded by what seems to be a large wreath of flowers. Another boy, clad only in a small mantle, carries under his left arm a swan. There is a second example of this design, in which the figure holds the swan in a somewhat different manner. It is obvious that both these figures were modelled by the same artist. There is a third similar statuette of a boy, a charming little figure, closely wrapped in a mantle, which he holds at his chest with one hand, while it is held at The woodcut is kindly lent by the British Archaeological Association. Fig. 223. Terra-cotta. Genius and Cock. ^ TEBRA-COTTA STATUKTTE OK VENUS RIDING ON A GOOSE. TERRA-COTTA. 189 his shoulder by a fibula. He stands upright, and, with a smiling face, looks downwards. On his head is a wreath, like that which is often represented in such works as these. Another boy stands naked, except for a short cloak, wears a bulla, and carries a bag. A little naked boy, of the chub- biest form, stands with his hands against his hips, exactly in "first position" of modern military drill. It is excellently modelled, and proves to be the work of a skilled hand of a good Greek period. A crouching figure of a lad seems to be writhing on the ground in pain, if he is not in the act of playing with balls. In each of his hands is a ball as big as a large apple. Whatever the attitude of this figure may have been designed to represent, there is no doubt that the action is full of spirit and character. Like many antiquities of this material, it has been covered with a coat of thick white colour. There are, besides the above, several figures of little boys, some seated, and others who are squatting on the earth, one of which plays with a bird ; a second has placed a hand on a tortoise. There are other examples of this action. A third seems to be a snake-charmer, as he sits bound about the body and arms by a large snake, which is biting his breast. There is the figure of a man seated on the earth, about whose body a large serpent is wreathing itself, while, with his left hand, the man grasps the creature's head, and presses it to the earth. A fourth crouching boy holds in one hand a large bird, it may be a goose or a swan ; in the other hand is a ball ; on his head is an ample hood, or cap, turning over at the top, and furnished with large lappels, which fall on his shoulders ; it is, in fact, the famous Phrygian cap, like that with which Paris is represented. Pound his neck is a thong- like necklace, with a pendant which strongly resembles a cross. There is a chubby figure, which, like the last, is naked, except for the cap he wears. This garment is, however, unlike the last-named example. It is formed into a high cone, like an old-fashioned English nightcap. This peculiar cap pertained to the inferior orders of the people. There is a 190 TERRA-COTTA. draped figure of a boy, standing erect in a tunic, and wearing on his neck a collar, like that just now mentioned. He is crowned with a wreath. In one hand, he carries what seems to be a small bag or sack, while, with the other hand, he caresses a little dog with long hair and a bushy tail, exactly such a creature as that which is called a Siberian dog. Another boy has fallen back on the ground, and is assailed by a playful dog of the same kind. This figure is draped. The figures of babes are squatted on frusta of columns, or cylin- drical pedestals, the fronts of which are channelled with undu- lating flut'iigs. There is a very pretty figure of a boy of about ten years of age, whose costume comprises boots, with pendant lappels at each side, and laced up the front. He is wrapped in a large and long mantle, fastened at the shoulder by a fibula, and enclosing both his arms and hands. Jauntily placed on one side of his head is a flat woven cap, exactly like that which the Spaniards call a birreta, and by the red, blue, or white colour of which the wearer indicates his political leanings. Doubtless, this figure represents a,n urchin going to school. The same cap occurs with other statuettes. What is nearly as much like a girl as a boy, stands and holds a dove on one arm. There is a fully-draped figure of a winged boy-genius seated on the ground, with its wings fluttering at its shoulders, and with a duck against its knee. On the head is a flat cap, rising to the back and front of the head, exactly like a cap which English ladies wore not many years ago. A winged boy-genius stands naked, holding a shield, which bears illegible blazonry, and wearing on his head a crested helmet, shaped in the fashion appropriated to Pallas, and leaning on a staff, the head of which seems to terminate in that which closely resembles a fir-cone. A half-clad boy- genius, whose body is bare, stands in a graceful and animated attitude, with his wings expanding from his shoulders. He is crowned with a large garland. He is leaning against a pedestal, with one foot in advance of the other. The execu- tion of this charming statuette is so light and free, that it UNIVERSITY or TERRA -COTTA. 191 reminds me of works of the early renaissance sculptors even more than of that Greek art, of which, nevertheless, it is an unchallengeably delicate illustration. We next approach a group of six statuettes, found by me in a single ruined building at Salamis, four of which are, doubtless, the work of one artist, a suggestion confirmed by the likeness of each figure to its fellows, in treatment, hand- ling, and even in the faces. This is, therefore, a peculiarly interesting class of relics. The most attractive is a very energetic group of two little boys at play. The actions of the hands suggest very strongly indeed that we have here a representation of the extremely ancient game of Morra, which was played by throwing out the thumb, or one or more fingers of one hand, in order that the player's antagonist might guess the number of digits thus thrown forth. A fine large bronze figure of a boy in the act of playing the game is in the select case of the Bronze Eoom in the British Museum, to which Mr. Newton has drawn my attention. This game is still in vogue. The figure on our right is remarkable on ac- count of its cap, which is of the flat, felted kind, like that worn by statues of Mercury, being detached from and inde- pendent of the head. The second figure is that of a winged boy-genius, Somnus, or Hypnos, lying on his left side, with one arm and one wing under his head, his knees bent up, and evidently fast asleep. The third example is that of a boy, who stands in a finely-animated attitude, with one foot before the other, and laughing gaily. One of the arms is lost. The modelling of this pretty thing is very like, and quite equal to, that of a work by Fiammingo. The fourth statuette, which is clad in a short chemise, seems to have been intended for that of a hermaphrodite, the freely displayed body, the proportion of the shoulders and the hips, the plumpness of the contours, and the character of the head, all agree in sup- porting this notion of the nature of the figure. It is note- worthy that this very curious relic has been treated in an unusually realistic manner. The remaining two figures, or, rather, demi-figures, of this company are fragments, of which 192 TERRA-COTTA. the lower limbs have been lost. The larger one is that of a lad in the action of a warrior, holding in one arm a shield, and in the other a sword, or spear. The expression of his features could not be more energetic than it is, and it is ex- tremely well worth noticing, that the high-crested helmet worn by this warrior has evidently been added after the head has been modelled. A portion of its vizor having been broken away, reveals the hair within. A belt is placed at the hips of this statuette. The last work of this class is the demi- figure of a boy in a casque. A group of two boys, playing, or quarrelling, occurs next. One of these urchins holds down his right arm against his chest, while in the left hand he grasps a disk-like object. It may be a cake, or even a garland, which is in dispute between them. It is certain that the other boy is in the act of grasp- ing the extended right arm of his neighbour, and biting the wrist of that member with a good deal of passion. On the pedestal, rude representations of flowers and herbage indicate that this contest occurs in the open fields. Another group comprises an almost naked boy and girl squatting close to each other in loving attitudes, with one arm of each figure over the shoulders of the other. There is a group of rare elegance which comes next on my list. Two chubby infants sit side by side ; the girl, who is represented with great detail, embraces her companion with feminine energy. A flower-holder, in the form of a foot, like those which occur occasionally in glass, has lost its upper portions, but preserves the representation of the shoe and sole attached to it. The bottom of the sole is curiously marked, indentations answering to the stitches, by means of which it was sewn to the body of the boot.^ On the front of the foot, a chubby child is reclining, as if asleep, with his hands placed under his head and among his abun- dant tresses. <» The erect naked youth, in the act of walking, wears a mantle, in the folds of which he has wreathed one arm. In one hand, he holds a short sword of the Greek form. There 1 It is figured in the Chapter on Lamps. TERRA-COTTA. 193 is a Cupid, sleeping at ease in the hollow of a large shell, which, as if it floated on the sea, is supported, or driven, by two dolphins. There is a standing boy, or Autolycus, in a scanty shirt, which does not completely cover his body, hold- ing to his breast a large bunch of grapes. He seems to be laughing. • On his head is a broad fillet with three pendants, one of which. is shaped like a shield. The next pendant is more like an alabastrum on a very small scale ; the third pendant is placed in the centre of the forehead, like the phylactery of a Jew, and, like that object, the lower part of this one is oblong, and seems to comprise a frame enclosing another article, probably an amulet. A small circular object rises, and is attached to this oblong one. These articles or amulets occur on one side only of the boy's head, his hair braided from back to front. At his side stands a large cock. The bird leaps up with one foot raised. On the pedestal of this work is a bas- relief of Cupid in a chariot drawn by two lions, and preceded by a winged genius. A curious class of terra-cotta figures comprises those which appear in the act of riding. A figure belonging to this class re- presents a kind of youthful genius, draped, riding upon a cock, re- sembling the fantastic figures of the Serapeus (fig. 224). From the inscription of the plinth in front of the figure, in Greek capital letters, THI KAEOnATPAI BAXIAI^^AI, "To Cleopatra, the Queen", it is clear that the object is votive in character, and dedicated to one of the queens of that name. The coin of a Cleopatra was found with it. As a remarkable coincidence which occurred during the pro- o Fig. 224. Terra-cotta. A Genius riding on a Cock. 194 TERRA-COTTA. gress of my excavations, it is worthy of recording that this interesting terra- cotta statuette of a Genius riding on a cock was taken from a spot not many feet from that wherein I found the silver coin of a queen named Cleopatra, here figured (No. 225). There is little doubt as to the age of the terra-cotta, or the motive which prompted the addition of the inscription to it, when we bear thus in mind the peculiar Fig. 225. Coin of Qneen Cleopatra. Silver. circumstance that a coin shewing a similar inscription should be found in such close contiguity to the fictile relic. Another figure of the same class shews another boy mounted on a cock and wearing a crown like a nimbus, with rays exactly like those appropriated to Phoebus Apollo. The same nimbus occurs in other cases in my collection of antiqui- ties. This cock is almost a grotesque, the head and beak being unusually large. Another boy, wearing a close-fitting mili- tary dress and round cap, is seen galloping on a pony, with a high action of its forefeet. A boy, wearing a mantle and Phrygian cap, sits his horse easily, and looks aside, while the animal walks to- wards our right. I may here describe the sub- ject of the accompanying illustra- tion (fig. 226). A winged boy, perhaps Eros or Cupid, wearing a kind of skirt fastened by a band round the waist, is riding upon a Fig. 220. Terra-eotia. Eros riding on a Horse. TERRA-OOTTA. 195 horse, designed after the Greek manner, which is walking or pacing in graceful action to the right. The face of the rider is turned to the front, so as to he full face to the spectator. There is no inscription on the plinth at the base of the group. There is a statuette of a little boy, who, lying on his back, between the shoulders of a large goose, or swan, seems to be fast asleep. Like the before-mentioned group of a boy, who plays with a dog, and has fallen on the floor, is the other naked boy, who is assailed by a cock half as big as himself. A boy- genius, riding on a dolphin over the sea, has been already mentioned. A few groups, comprising boys in pairs and with girls, may now be mentioned. These are a boy, clasping in his arms, as if to draw it towards him, an hermaphrodite. The double sex of the latter is unmistakeably expressed by the bust, hair, and other details ; both these figures are winged. Likewise winged are the statuettes in a group which may represent Eros and Psyche embracing. They stand side by side, she has the wings of a butterfly, both wear large gar- lands, she only is draped, and her form is thus partly covered. There is a similar group of larger figures, which are in the act of kissing ; this female is more covered than the former one. There is a bust of an infant, formed of peculiarly white terra-cotta, whose face is laughing with a very lively expres- sion ; on the forehead, on one side only, as in the pre- viously-mentioned instance of the statuette of the boy with grapes and a cock, is a fillet sustaining pendants of circular shapes, like the coins still worn in the same manner by innu- merable women in the East. Round the neck a ribbon carries a round object like a bulla. Among the adult male figures, besides the animated statuette of Hercules, is an Apollo seated on a rock, on which he leans one hand, while the other hand, in a very graceful way, is cast over the side of a lyre, which rests on the rock at his side. The closely-clad effigy of a youth, with wings o 2 196 TERRA-COTTA. displayed from his shoulders, suggests an older Eros. The head is wrapped in drapery, and bound with fillet in that which may be called the Phrygian mode ; two long tresses escape from this hood, and trail before the shoulders of this statuette, which wears likewise a tunic fitted loosely to the torso, bound by a girdle at the waist, and falling thence to the knee. Loose trousers, like those the Romans considered the dress of the barbarians, and which are many times repre- sented on the Column of Trajan, as well as in more ancient Greek examples, occur on the legs of this work, which is in the attitude of standing, with one of the feet crossed before its fellow, while each hand rests on its proper hip, and the slightly advanced head bears a cheerful smile of inquiry on its youthful features. There is a very elegant and well-pro- portioned male figure standing erect, as if about to walk for- ward, wrapped in an ample, beautifully disposed toga, which, while it encloses the hands and arms (one of which is placed against the breast, the other hanging at the side), is fastened on the left shoulder by a fibula. There is another in an attitude nearly identical with the above, the execution of which is not nearly equal to that which gave a nameless grace to the fine Greek relic. Slung by a strap on the shoulder, and lying against the back of this figure, is what looks like a flat cap. The remaining adult male figures are all more or less ludicrous and homely ; some of them are grotesque. A very remarkable one shows an elderly man seated on a rock, with, by way of clothing, only a girdle, the ends of which descend before his figure, and a conical cap, which is on his head. He holds, in his left hand, a large reticulated bag, or net-pouch, completely filled, although what it contains I cannot guess. In his right hand is, at present, a rod of ivory, about the size of a bodkin, one end of which appears in front, and is covered with gold, as if it were intended for a sceptre, or staff of another kind ; the other end of this implement — whatever it may be I have not been able to discover — protrudes behind the statue, and proves to have been broken : no gold is on TERRA-COTTA. 197 this part. The face has a squalid, ugly, and degraded cha- racter; the features are mean and wasted. These circum- stances, and the general aspect of the work, as well as the bag at its side, induce me to think that this is the statuette of a begging priest of antiquity, one of a class analogous to the dervish of the Mohammedan world ; unless, indeed, it is a fisherman. The next instance is that of a water-seller, w^ho is naked, except in respect to a very short tunic, which extends from the hips to the knees. He carries on one shoulder a large amphora with two handles, the foot of which he grasps with one hand, while its weight makes his shoulders and his knees, brawny as they are, bend. The back is further burdened by a cask intended to hold a store of liquid, the spout, or leathern tap of which comes to the front, and is grasped by the right hand of the bearer. A wine-presser, squatting on the ground in the manner of an Indian /aHr, comes next ; his knees are raised, and the downward extended hands are crossed before his person, and hold a rammer, or pestle, with which he crushes grapes ; all the body to his legs is covered by a rough skin, probably that of a bear, from which the hands, the head, and the legs issue ; the feet are in loose boots, or buskins. He sits in a large bowl, or pan, and seems, with the rammer, to be pressing grapes in it ; the spout of the bowl is seen in front, between the feet of the figure. The bearded head is crowned with a wreath, and the face bears an absurd expression of sottish gravity, suggesting that the owner meditated on the deplorableness of drunkenness. This is a complete refutation of the assumption which obtained with many writers that nothing exists among antique sculp- ture of a satirical, or even ludicrous character. So far is this from being the case, that the obscene statues, statuettes, bas- reliefs, and other works on lamps and plaques, might well have suggested that the assumption was fallacious. During the past half-century the discovery of relics of the category, which is so well represented by the Figurines de Tanagra, has effectually dispelled the idea that the nations of antiquity 198 TERRA-COTTA. Fig. 227. Terra-cotta Statuette of an Actor. }iad no ideas capable of ludicrous reproduction in plastic modes. Another grotesque figure is that of a bearded Hercules of a very archaic type, and clad completely in a lion's skin, the head and ears of which are placed on his head, so that the ears project on the right and left. His beard falls on the breast of the statuette, the bare face of which has a stony and energetic expression. In his right hand is a monstrous club, strength- ened with bands of metal ; it rises to the owner's shoulders. In his left hand is a large basket or dish, filled with fruit of different kinds, as well as a piece of flat bread or cake ; his hands and feet are bare. The seated figure of an elderly man comes next ; his face is portrait-like in its quaintness and gaunt character ; he seems to be in the act of calling aloud, as if he noisily solicited alms. He is naked, except a short cloak, failing from his shoulder, and fastened under his chin. At his left crouches a dog of long and lean form, with a slender muzzle, and, in its general aspect, like a greyhound. The man fondles the dog with his left hand, and holds in his right a round object, pro- bably a ball. The groupings represent Ulysses and his dog, Simonides and Anacreon were similarly represented. A similar object occurs with other statuettes. With this group may be classed a figure of a bearded man clad in a lion's skin, standing erect, and, like the before-described woman, carrying a draped child on his left shoulder, and clasping the feet of his burden with one hand, while, in the other hand, he carries a long thyrsus, the fir-cone head of which rises above his right shoulder. As in the abovcrnamed skin -clad examples, the hands and feet are naked. There is shewn, also, a great deal of spirit in the standing youth, who wears a tunic of the proportions of a loose shirt, TERRA-COTTA , 199 reaching from his shoulders to his knees. He seems to have cast over his head a short cloak, and is in the attitude of a playful lad, who shelters himself during a shower. Holding, one in each hand, before him, the fore-hems of the cloak, he looks from between its folds. On his head is a large garland, with a horn-like protuberance over each temple ; the feet and legs are uncovered. This figure may be in the act of playing at "bo peep!" Perhaps it is a figure of Telesphorus, the com- panion of ^sculapius. A group of extravagant grotesques must now be described. The first of these is (fig. 228) the laughable representation of a player, or actor, in the character of a pack- man, trudging with a huge pack on his shoulders, and exactly in the manner of a Scotch pedlar, or pack-man, of our time. He carries the pack by means of a flat stick, the hook at one end of which passes through a strap bound about the burthen, and thus keeps it in its place on his back. The stick passes before his chest, and is furnished with a stud-like second hook. Over this hook, the handle of a small bag or gourd is placed. He grasps the stick with one hand, and in the other, which appears pendent at his side, is a second bag or pouch. That this is the figure of an actor in character is obvious, by means of the comic mask he wears, the mouth of which is shewn, as well as the hair which surmounts it. A broad belt, or scarf, binds his belly below a twisted scarf, or girdle, which he wears. There are other figures very like the above. One, smaller than the last, represents a man in a short tunic, holding up a portion of the mantle which covers this garment by twisting it about his left hand and arm. By this means, a very remarkable phallus is displayed. Before the fe,ce is a large satyric mask. Another, of an old man standing, whose tumid body is distinctly seen under his toga and . tunic. He holds with his left hand a nearly flaccid pouch ; his head is 200 TEKllA-CUTTA. disproportionately large, and its ludicrous features are dis- torted to resemble a mask of extremely bizarre character, and almost Chinese in its grotesqueness, with round, staring eyes, and large, pendulous lips. Among other statuettes, the demi-figure of a man, perhaps Silenus, may be noticed, whose head is shrouded in part of his toga, which expands on each side, as if distended by the wind. That such is the case is supported by the* manner in which the drapery is pressed against the bust. He has a thin, peaked beard. Another represents a fat fellow rolling on the ground, with a two-handled amphora of Rhodes at his side. The mouth of this vessel is closed, and secured by a band, which crosses it, and seems to be attached to the handles. He wears a satyric mask encircled by a wreath. Fig. 229. Statuette— A Pedagogue. Terra-eoHa. He is an actor in a drunken character, and this subject is re- presented with great spirit. I may draw attention also to a similar figure of the same subject which may be studied, com- prising a much larger amphora, on which the man reclines. The example has been adapted as a lamp. A demi-figure of a man in a satyric mask, the features of which are coloured of a deep, still perfectly fresh and sound red, while the hair of the head and beard is coloured a deep yellow. The execution is TERRA-COTTA. 201 fine and carefully finished, and the fragment pertained to an incense-burner. Four grotesques of pig-like figures, which come next, were likewise designed as incense-burners. Of these, one (fig. 229) is the caricature of a pedagogue squatting and holding a scroll extended between his paws. On the scroll is "A B T A", in archaic Greek characters. The others are the caricature of a priest in the act of speaking, with both arms raised ; a similar figure holding a wreath ; and that which holds an object of a serpentine form not easily understood. When some of these relics are placed horizontally and face downwards they repre- sent swine. We may examine a group of three erect, fully- draped figures, each with a staff in its hand ; two have satyric masks, the central one is bare-faced, and its features have a grotesque character. There are traces of yellow on the satyric masks. They are actors in characters. Among the gro- tesques, one represents a large ape. Another is a Bacchic figure of a bloated old man, crowned with a huge wreath, hugging himself with both arms, and having a perfect expres- sion of drunkenness. On the head is a large wreath. It is a Silenus. A statuette which resembles a gladiator holds a large weapon like a hipennis in the left hand, and raised as if on guard. It may be that this is a trident, or relates to the net of a retiarius. The right hand is extended, with the fist clenched, as if a second weapon had been grasped by the man. The lower part of his body is protected by armour suspended by a wide strap. Another statuette has a greave on one leg. In its right hand has been a weapon ; the left hand is lost; the body is naked. Near these specimens were found tiny models of weapons in bronze, the one a lance, or axe, with a very long and heavy blade, like a celt ; the other, a mace, with a ponderous ball at one of its extremities. With these articles, and probably belonging to one of the figures, was found a gladiator's helmet, modelled, of course, in clay, and intended to cover the head of the wearer down to his shoulders ; it is crested, and pierced with eye holes. With the same was dis- 202 TERRA-COTTA. covered a wheel of a chariot with four spikes and a tire. Although of terra-cotta, this wheel evidently represents a bronze original. With the above were found the body and head of a very beautiful horse in the attitude of galloping. It probably belonged to the chariot to which the wheel per- tained. All these things were discovered, with a sarcophagus of terra-cotta, in a tomb at Salamis, which comprised many fragments of other objects. These, being more or less crushed, could not be adjusted. The whole were disposed in an amphi- theatrical form, as if the figures and their accessories repre- sented a dramatic performance. The falling in of the cover of the sarcophagus had been followed by the disarrangement of the original order of the relics, and the breaking of most of the figures. CHAPTER XIX. TERRA-COTTA, (Continued.) SACERDOTAL AND SACRED EFFIGIES, E have come to a very remarkable class of antiquities, which, unlike those above named, as having been found in the ruins of domestic and civic structures, were invariably dis- covered in the built vaults of ancient erec- tions, probably temples, together with larger figures of stone, which were usually broken into fragments either by direct violence of iconoclasts, or by earthquakes. The places in question were not parts of tombs, or other mortuary edifices ; no sarcophagi were found with these figures. The most important of the relics of this class is a statuette, three feet and a half high (fig. 230), of Ariadne, or a lady of great dignity, magnificently adorned with jewellery. She is in the act of carrying offerings to the temple, and the character of the figure is precisely the same as that of the canephoroi of Greek and Roman architecture. Her tunic and body-robe are disposed with rare skill, proving that this work is due to a fine Greek period, though, doubtless, it was executed by a provincial artist. The right hand, hanging at the side of the statue, holds easily the folds of the upper garment. The left hand and arm support a kid — the offering the lady is about to make. Extraordinary wealth of ornaments distinguishes 204 TERRA-COTTA. this figure. On the wrists are large twisted bracelets ; round the neck are two carcanets, the smaller and upper one of which is formed of circular beads ; the lower and larger carcanet comprises pendants of fir-cones suspended to the cord at the intervals of large oval beads, and in the centre is an ornament of square form, and re- sembling a quatrefoil. The hair is carefully dressed, brushed off the fore- head, and falls in four large tresses on the shoulders. Large ear-rings are composed of a rosette with a fir-cone pendant. On the head is a magni- ficent tiara or coronet of extraordinary elevation and sumptuousness. This superb mass of jewellery rises from a broad lunette, or fillet, above which is a line of rosebuds. Over this is a row of disks, paterae, or rosettes (fig. 231). Above these is a line of eagles, or doves, with their wings displayed, and alternating with balls. Between the wings of the eagles, a still higher tier of ornaments has reared itself, but it is now too much injured to be described. Its elements resemble honeysuckles. Much red colour may be seen on this figure. There is another standing sta- tuette of a lady, very similar in many respects to that which is above de- scribed. The figure holds on the left arm a kid. This is her offering. The right arm is lost, but enough remains of the indications of that member to enable us to decide that the position of the limb was not unlike that of the arm in the previous example. Considerable traces of strong red pigment remain Fig. 230. Terra-cotta. Statuette. TERRA-COTTA. 205 Fig. 231. Terra-coUa. Details of the Head-dress. on the tunic of this figure. The jewel- lery which it bears is less magnificent than that of the other work. These ornaments comprise a lofty coronet, consisting of a lunette, surmounted by a row of large balls, or roses. Over this is a fillet, which, in its turn, is topped by a row of flowers and leaves, alternating with disk-like enrichments. The last-named elements are supported behind by a flat lunette, which seems to belong to the body of the coronet. The ear-rings comprise annulets with fir-cone pendants. There is no carcanet. The collection comprises also the half of a statuette which represents another lady, apparently the personification of a city, with an offering, which in this case is a dove. Two carcanets are on the neck, one of which is comprised of oblate beads, while the other exhibits a row of pendants like fir- cones, such as occur with others in the same class. The head- dress of this figure is not inferior in richness to that of either of the above examples. Lowest of all its elements is a narrow fillet. Over this is a row of balls, next a row of rosettes, which are identical with those which are so frequent in Assyrian modes of decoration, that they are habitually asso- ciated in our minds with the art- works of that nation. Next is a line of eagles with their wings displayed, the decorative effect of which is analogous to that of the well-known anthe- mion ornament. The summit of this extraordinary structure represents distinctly a mural crown, or line of lofty and battlemented towers, connected by curtain walls ; in fact, here is the figure of a fortress of the same kind as that so frequently represented by Assyrian sculptures, and including the well-known crenellations of the battlements. The loftiness of such crowns as these is shewn by the proportion of this example to the face of the statuette it enriches. This proportion indicates the altitude of the orna- 206 TERRA -COTTA. ment to have been about fourteen inches. Such crowns must have been extremely hght ; and that they were formed of gold leaf, laid on a stifPening or body, may be surmised. The right hand of this figure seems to have held a small animal, such as a hare, of which the legs alone remain, attached to the drapery of the statuette. Unlike other examples, the lady's girdle is shewn in this instance. The unbroken ear- ring — its fellow has been defaced — has a very long pendant to a large disk. It is an ornament such as is frequently represented on Egyptian paintings. A further example likewise exhibits the Greek costume and a coronet of roses, and other ornaments too much defaced for recognition, and is, like the above, a canephoric figure of a lady. She carries in one hand a dove, by way of offering to the goddess. A kid is in the other hand of the figure. The edges of a veil which descends over the shoulders are cut in Vandykes, as if a fringe of some sort was worn there. This statuette is distinguished by three carcanets, all comprising pendants. The lowest of these ornaments is made of fir-cone- shaped jewels, or bottles, of unusual dimensions, and in their form not unlike amphorae. Very distinct traces of a jewel representing two human figures, which seem to be struggling, or embracing, occur at the centre of and below this carcanet. They seem to belong to it, and may be parts of its largest pendant. The second carcanet exhibits a row of amphora-like pendants. The third consists of pendent beads, or roses, attached to a fillet, or chain, in the centre of which is an unusually long pendant, the much-injured contours of which suggest that it was a bottle in the form of a date fruit, which ,is represented here, similar to those which have been described above as formed of moulded glass. What looks like a chain, or garland of roses, crosses the front of the body of this statuette. Another figure wears the Greek costume, includ- ing the knotted girdle, two carcanets, a towering coronet, ear- rings with long pendants, and shoes. In her right hand is a dove, held against her breast. With her left hand, she seems to grasp a kid by its fore paws,' the creature's body hanging TERRA-COTTA. 207 down before the bearer's figure. Two others, although dif- fering in size from the last, are almost identical with it in other respects. It is noteworthy that all the above-named efiigies exhibit not only the Greek costume pure and simple, and carry offer- ings like the canephorse on their way to the temple of the goddess, while their lofty coronets are to be closely associated with those still worn by brides in more than one province of the Turkish dominions in Europe and Asia Minor, but their faces, as regards the expressions, characters, and forms, even to those which are due to the skulls themselves, are Greek, and of the noblest type. The next company of statuettes display facial and cranial characteristics of an entirely different order, and intellectually, if not morally, speaking, are of an inferior type to that of the above. This type represents that which appears in numerous statues and statuettes in stone, and other materials, found in Cyprus by Mr. R. H. Lang and others, and is so peculiar as to be distinguished as the Cypriote type. It must be remembered that in the so-called Cypriote type of sculptures certain conventions of execution appear to have been in force, and that these principles were evidently analogous to those which ruled the artists of the Nile. Some part of the peculiar appearance of the sculptures in question may be due to these peculiarities of treatment, but I think this does not account for the whole of that degrading con- trast which occurs between the above-named Greek types, which I have already described, and those to which I have now to call attention as more peculiarly Cypriote. It may be that the latter class are exclusively sacerdotal representa- tions, or that they are of greater antiquity than the former. The aspect of these "Cypriote" sculptures is very like that of the Aztecs. Its broad elements consist of unusually large and prominent eyes, which must have been very quick in moving and lustrous ; the noses are uncommonly large, of an exag- gerated aquiline contour, and thin in section ; the low, conical foreheads slope backwards greatly, suggesting defect of mental, 208 TERRA-COTTA. if not moral powers ; the lips are lean, the muzzle is short, the lower jaw is narrow and pointed. In effect, it is to be noticed that of the three regions of the face, the central, or sensuous one, is out of proportion to the upper, or intellectual one, and to the energetic or physically potent one, which is the lowest of the three. Considering the size of the head as a whole in proportion to that of the body of a person of this type, it is obvious that this divergence from a fine model is due, not so much to the excess of size in the central elements of such physiognomies, as to the uncommon smallness of the upper and lower elements of the same. If such is the case, it is not difiicult to recognise physical characteristics which assort well enough with what we are led to expect by the history of the Cypriote people, — a facile, voluptuous, sensuous race, submissive and light-hearted, capable of receiving im- pressions from all around them, but not qualified to retain, and still less likely to improve on, these foreign impres- sions. I presume that the statuettes I have now to describe represent members of a peculiar and, doubtless, sacerdotal class of persons, natives of Cyprus. Their external physical characteristics I have already mentioned. Their costumes are extremely like those still in vogue with the Roman Catholic hierarchy, which are admitted to be of great antiquity, and adopted of yore for sacerdotal offices. Many of these figures bear, hanging before them, the well-known stole, which is used by priests to this day, and comprising those fringed ends which are still in vogue. The surplice, which is familiar to us all, occurs in several examples. Something which strongly resembles a cope is on the shoulders of two figures. The tunic, or petticoat, is the same as in the above-described Greek figures, and in those which I call Cypriote, as well as in Christian ecclesiastical costumes. All these Cypriote terra-cotta figures are females. Many of them exhibit a characteristic attitude of standing with both elbows bent before the breast, while the hands re- spectively hold the mammae. Of this type there are at least TERRA-COTTA. 209 a dozen, more examples. This attitude may be ceremonial, and due to the peculiar cultus of the island. All the figures which exhibit it wear stoles as distinctive parts of their costume. Other figures, although holding their mammae, wear no stoles ; while such examples as that figure which is in the act of playing on a lyre, display the stole, but are not in this peculiar attitude. This effigy belongs to another class. Several figures wear stoles, and carry offerings, one of which grasps a dove by its wings with the left hand. Nearly all the statuettes in question have fully-developed busts. One of the most remarkable of the " sacerdotal" class, which lam now describing, is an unusually large one. It is the portly figure of a lady, or priestess, standing erect, with the above-mentioned action of the hands, and wearing surplice, tunic, and stole. On her head is a crown of disks ; below, a wreath of laurel. Her hair, which appears to be braided, is spread on her shoulders, as in another remarkable example of the same character. Three carcanets are about her neck. Two of them consist of amphora-like pendants, with other pendants in the centre, one. of which is a disk ; the other (as before) like the fruit of a date tree. The third necklace con- sists of beads, with a central disk ornament and its trefoil pendant, as in other examples mentioned below. In front of the waist of this figure, and attached to a large ring, which is suspended round the neck by a chain, or yoke, are depending three of the objects we are accustomed to call "keys", to the size of modern, examples of which, as in other respects, they bear but a very remote likeness indeed. They are not quite unlike " iron hands", or tongs intended for use in gathering the articles together from a distance towards the person who uses the apparatus. This resemblance is rather fanciful than exact, and it is due, not to- the forms of the object singly, but to them when grouped and as a whole. They consist of flattened oval rings of metal attached to a seal ring. They thus afford illustrations of the use and mode of carrying large personal seals, such as those which are comprised in other P 210 TERRA-COTTA. sections of this assembly of antiquities. Similar articles, or "keys", occur in other statuettes, some of which are of inferior mark, all of which wear the stole and chasuble, as noticed above. Two seem to be the work of the same artist. The *'keys" are very large in one of them, while to one of these keys is suspended an ornament, utensil, instrument, or what not, which in modern parlance would be called a "charm", and is in the human form. It is, in fact, a tiny statuette. Such an object is to be seen with another figure, in company with precisely similar "keys". For tiny statuettes, the reader may refer to the notes on gold ornaments in another part of the work. Both of the above-named figures wear large armlets just below their shoulders, and making two "turns" round the limbs in question. Such armlets occur with a statuette which grasps a dove, by the wings, in its left hand. Unlike the others, this one wears a lofty coronet of a design differing from that of any one of those described above. Otherwise, the jewellery and hair of this figure resemble those of' the majority of the statuettes with carcanets. It has been suggested that some of these figures with the lofty coronets, especially the "key" bearers, and that with the mural crown, are really representations of goddesses, Asiatic in their characteristics, and in respect to the cultus of which they may have been the objects. Professor Sayce has recog- nised a likeness between some of these relics and those of similar aspect disinterred by Dr. Schliemann in his jTro?/, The same distinguished antiquary has acutely remarked that works which we know to have belonged to that great people the Hittites, whose memorials are but now emerging from the earth and the gloom of ages, bear a considerable resemblance to both these classes, i.e., the Cypriote remains, and those from Hissarlik. It is presumable that the whole of these antiquities may belong to a widespread and even long-con- tinued cultus. The subject is still so obscure that I dare not venture to write of the crowned and jewelled effigies, whether they are "key" bearers or what-not, in other terms than the above. To them I have applied the old English term "ladies", TERRA-COTTA. 211 and I leave it to future students, after wider researches, and with larger opportunities than now offer themselves, to deter- mine whether these be goddesses or mortals, priestesses, wor- shippers with offerings, or ministrants. In respect to the suggested divinity of some of the examples, I may point out that several of the figures with lofty coronets bear animals, which can hardly be other than votive offerings. Whether the mammse-holding females are devotees, priestesses, or god- desses, I cannot take on myself to determine ; but I think it more than probable that the examples owe their origin to different periods of time, the aggregate of which may be centuries. Difference of style in the sculptures seems to sug- gest this notion. To continue my remarks on the similarities of costume in these figures, and the dresses of the Roman clergy, I may observe that fringes are to be distinctly seen on the wrists of one, which is clad in a fringed cope. In this example, the features, as is the case with most of the bearers of offerings, are decidedly Greek, not "Cypriote" or sacerdotal. Return- ing to two already described, of which the faces are markedly "Cypriotic", the dressing of the heads is to be noticed as altogether different from that of the crowned figures. The former work shows the hair bound by a fillet just above the forehead and ears, and enclosed by a net, while a long veil, similar in form to a veil which occurs in another statuette, is suspended from the back of the head. The crisped hair of another is bound by a broad, flat fillet, and half covered by a drooping veil. One of the mammae -holding effigies has keys at her girdle, large pendent ear-rings, "Cypriote" features, a chasuble, tunic, and head-fillet, likewise a very voluminous veil falling over the wrists, and ample braided tresses falling, like those of the large statuette already described, upon the shoulders. There is the half of a figure, of which the head-dress differs from that of any one of the above-named examples. It includes a conical cap, substantial enough to hide the hair entirely. The peak points backw^ards, and the front of this P 2 212 TERRA-COTTA. garment bears a row of large disks, with smaller disks placed upon them. This fragment exhibits uncommonly large ear- rings, one of which comprises three finger-like appendages to large roses, or disk-like elements. No statuette exhibits more elaborate jewellery than a work which has the "Cypriote" features, a very large and prominent example of head-gear, consisting of two lines of roses and a third intermediate line of ornaments, shaped like little calabashes. The pendants of the ear-rings, which are oval annulets, are comparatively im- mense : three carcanets and the yoke-like ornament which occurs on the figures of the priestesses (?) with the keys. The pendants to these carcanets are — a, at top, a rosette with three leaf-like appendages, exactly like those described in the notes on gold ornaments. The second pendant, h, seems to have the form of an alabastron, or fir-cone. The third pendant is a large disk, w^ith a mammillary stud in the centre. The last-named ornament hangs between the mammae of the wearer, whose dress is cut "square", or straight across the bust, and low enough to expose the throat and half the bosom. This is the mode of leaving uncovered the bust which is still in vogue among the women of Greece and the islands. Coronets similar to those above described are still worn by bishops of the Greek rite. Some of the heads of these terra-cotta statuettes have the brows encircled with fillets, which exactly represent the Figs. 232, 233. Fillets. gold chaplets, or coronals, which I have mentioned in the chapter devoted to the gold relics. I may here introduce figures 232, 233, of two gold-leaf relics of this nature which will supplement those given in the earlier part of the work. terra-cotta statuette of a female musician. TERRA-COTTA. 213 They are the exact types of those carved on some of the heads. The Choir, or Musicians. — In this rather numerous company .of statuettes we have a curious and valuable cate- gory of worshippers. They are to be conveniently divided into three classes, although every individual carries a lyre ; but these instruments differ from each other in greater or less degrees. The first class consists of women whose physio- gnomy, stature, carriage, costume, and coronets are unques- tionably Greek, in which respect they resemble a body of similar personages, whom I have already described as bear- ing offerings of animals for the goddess. The second class consists of figures clad in tunics and togas, carrying lyres, but wearing no lofty coronets, their hair being bound by fillets, while the heads of some of them are partially covered with veils. The third class appears to be more distinctly sacerdotal than the second, although both of these classes differ from the first in exhibiting the ''Cypriote" types of features and forms, as described before. I distinguish the third class as stole-wearers, on account of the stoles which accompany their togas. In the first class, one holds a nearly perfect lyre, of the Greek form, M^hich distinctly shews the use of the little ivory rods with bronze brackets, to which I have already alluded while dealing with examples of the former material. The jewellery of the wearer is very clearly shown in this work. The second class wear garlands, usually of large flowers or disks. Nearly every example of the whole company of three classes shows a large bracelet on the right wrist. Red colour occurs on most of these relics. These members of the choir remind us of the well-known line descriptive of Cy- prus : — " Insula Iteta choris ; blandorum et mater amoriun." CHAPTEH XX. TERRA-COTTA. (Continued.) MASKS CARICATURES ANIMALS — CHARIOTS — WARRIORS — TOYS — AND OTHER OBJECTS. CLASS of small terra-cotta masks, or rather half-heads, of which there is a considerable number, being works of great spirit and variety of character, ought to have place here. One represents an aged faun (fig. 234) wearing a garland and a very long beard which streams downwards in hanks of hair ; another is the half-head of a very young man (fig. 235), the expression of the features of 235. 234. Pigs. 234, 235. Masks. Terra-cotta. which admirably represents drunken hilarity ; another is crowned with ivy leaves and is a true mask of the satyric TERRA-COTTA. 215 order, as the form of the open mouth attests (figs. 236, 237). A large garland, mtert wined with ivy, projects far over the forehead. The last is one of the most animated and beauti- fully executed w^orks of its class, and it deserves a high Figs. 236, 23/'. Satyric Mask. Back view. Terra-cofta. place in that category ; traces of deep purple pigment appear on the features. These examples may have been intended for puppets, to be suspended by strings from above and used in a show ; to this end the two small holes at the top of each head might Pig. 238. Satyric Mask. Terra-cotfa. be applied. But it is much more likely that they served as handles to vessels, probably table vases of a very fine order. A class of larger masks, evidently derived from bronze or carved-wood originals, may follow here. Another of these. 216 TERBA-COTTA. about three inches high, represents the tragic expression, and seems to be of much older date than the above-named three ; the surface is greatly corroded. There is also a quaint satyric Fig. 239. Female Mask. Terra-cotta. mask (fig. 238) nearly life-size, comprising a large aquiline nose dropped over the mouth, a pair of round staring eyes ; the mouth is made more than usually ludicrous by the absurd upward curving of its ends, and by the placing of a pellet Fig. 240. Female Bacchic Mask. Terra-cotta. in each side ; the hair and beard are braided. It is a mask of the same character as to this day appears in use, during festivals, in Milan and other parts of Italy. TERRA-COTTA. 217 A very impressive female tragic mask, with the lips closed, IS of archaic character, and very fine execution, (fig. 239). Then may be placed a bacchic mask (fig. 240) crowned with ivy leaves and berries, and with bunches of grapes indicated at the side of the head, which represents a very young woman ; the holes by which this mask was affixed to the face are distinctly seen at its sides and above the forehead. Traces of deep red colour are on the hair. It may, perhaps, represent Ariadne. There are fragments of other masks, including one which is that of a child — a fine, tragic face of a little more than half- life-size, and with a lofty coronet of hair, crowned by an orna- ment of the usual kind. Another represents by its much- injured features the signs of a fine style and period of art. A considerable number of lions, one (fig. 241) inscribed with /Js. |. cj _j. C^ , partly Cypriote, partly Phoenician cha- racters ; dogs of various breeds, one inscribed with the word AHP, part of a word, or "a gift" (fig. 242); pigs, cocks, swans, Fig. 241. Inscribed Lion. Fig. 242. Inscribed Dog. Terra-coffa. eagles, foxes, horses ; a dove with a ribbon round its neck, and other doves in different attitudes, occur. One of the frag- ments of horses bears trappings about its head, with very distinct pink colour and wreaths. Another is likewise en- riched with wreaths. It is entirely painted. A sow is beauti- fully modelled. There is a shaggy dog with a necklace and pendants over his shoulders, and what looks like a garland encircling its body. These objects are probably votive in their nature. A great number of similar works were disco- vered at Alambra, in Cyprus, near Dali. The collection of terra-cotta toys, if such they are, and 218 TEERA-COTTA. not insignia of the dead, is very curious. Ttiey amount to almost four hundred in all, and many of the forms are repre- sented on the accompanying plate xx. Among the creatures represented by these remains are rattles in the forms of pigs, which retain the pellets inside, a donkey with panniers, a bull and various domestic animals. Probably the most curious of all is a tethrippos, or war-chariot, drawn by four horses (fig. 243) yoked in pairs (fig. 244) by heavy. bars of wood, Fig. 243. Tethrippos, or Four-horse Chariot. Terra-cotta. cylindrical in form, painted yellow, perhaps to represent wood, and passing through straps or head stalls behind the ears. This mode of harnessing is still in vogue whenever bulls are used in agricultural operations. The horses are in a line, like other horses in this collection. Each animal is painted in stripes of deep red and black ; the head-gear is painted black. The chariot is of the true Greek form, but it has no pole. The wheels, which appear to have been made to represent wood, are painted with a deep, bright red ground, on which black radii, felloes, and tires are painted, as well as the fylfot, so frequent in Cypriote fictilia. Red and black orna- ments are depicted on the chariot. The back of the chariot- body shews the door, by means of which the riders ascended to their places. The riders are shewn to be the warrior in a Fig. 244. Terra-cotta. The Yokes. TERRA-COTTA. 219 high conical helmet, the cover of which, painted black, falls about the shoulders like the camail of a mediaeval or oriental warrior. The lappels, like the laces of a modern helmet, fall by the sides of the face, and are united in front of the breast by a brooch, or stud. A band, or coronet, which extends across the forehead, comprises rosettes at its extremities, and a single rosette in the centre. The hinder part of the head- covering falls, like that of a hood, on the neck. The loose body-coat of this champion is now of a pinkish orange, or brown ; it was, probably, originally black. A baldric of crimson crosses two belts on the body. The face is painted, to imitate nature, with a brownish carnation. The arms of this figure comprised a shield, on the surface of which are a large central boss and seven spirals, ending in as many studs, arranged about it. The ground is of the same vivid red as that of the chariot wheel. Radial curved lines of black have been drawn with a brush, so as to form a pattern with the boss and studs, which are likewise painted black. In his right hand is a weapon — a sword, or lance — which has dis- appeared. Squatting low between the knees of the fighting man is the other figure, the driver of the chariot, with his arms extended as if holding the reins and guiding the horses. His black face and the forms of his features indicate that he is a negro. He wears a high, peaked cap of very brilliant red. This very extraordinary specimen of archaic type was found at Salamis in a vase of terra-cotta, and bedded in lime, to which circumstance the brilliancy of the red colour may be due, as well as the perfect preservation of the relic. Traces of the lime are still distinct on the surface of the group. There is another chariot, likewise found at Salamis, in the form of a flat tray mounted on wheels, which still turn on the axletree, so that this a "practicable" toy. In the front of the tray a cylindrical socket occurs, with a hole, into which, pro- bably, a stick was driven, in order that the child-owner might drag the vehicle after his own footsteps. In the tray reclines a lady, with one elbow sustained by a cushion ; the cushion is 220 TERRA-COTTA. still red. This colour was burnt in, and is, therefore, per- manent. This lady's head is decorated with a large garland ; a large disk-like ear-ring is attached at each side of the head ; the open mouth is of a deep red. Traces of a similar colour are on the robe of the lady and the chariot. On the robe are more traces of bright yellow. Another higa or two -horse chariot (fig. 245), of which the wheels are still in perfect order, is adorned with a band of chequer- ed, and a band of chev- roned pattern, on each side. The front is semi- circular, and has a sock- et, into which the pole was fastened before the two horses were attach- ed. A warrior stands within the chariot, wear- ing a tall conical helmet. This object is of a very archaic character. Almost similar to the above is a chariot (fig. 246), also for two horses. The wheels in this case are still perfect, but there is no ornamentation upon the body of the relic as in the former instance. Another extremely quaint toy of terra-cotta repre- sents a centaur (fig. 247), which appears to be a herm- aphrodite, if we compare the female bust of the figure, with the other em- blems which it bears. On the head is a high helmet, the crest of which is like ^. „,„ t h Pijr. 2J6. Terra-coftti. a cock's comb; a small chariot for Uvo Horses. Fig. 245. Terra-eotta. Chariot for two Horses, with Warrior. 25S. TERRA COTTA TOTS AND FIGURES. TERRA-COTTA. 221 buckler with a cross device, is on the left arm ; the right arm is in the act of brandishing a now lost weapon. This figure is painted with red and black, including bands, and a harlequin pattern of these colours. These colours have been burnt in. We have next a toy-soldier, eight inches high, standing, wearing a conical helmet painted red, and a buckler with a rosette pattern painted black ; the right arm is raised near the ear, like a modern soldier in the act of saluting his officer (fig. 248). This odd figure stands on a bell-like base, and its feet hang loosely within, so that the child to whom it belonged could, by shaking the toy, produce a sort of tintin- nabulation. A similar and taller toy represents a soldier with a conical helmet and a long spade-like beard ; the cheek- pieces of the helmet are peculiar. Traces of green pigment occur on this relic. Fig. 249 is a toy-horseman riding a steed whose legs are enriched with a painted zigzag or chevron pattern, and neck with parallel bars. It is ten inches high, and of very archaic art. Another specimen (fig. 250), seven inches high, is rude, and unadorned with any lines or patterns of colour. Another article of this class, measuring ten inches in height, represents a woman carrying a hydria, or water vase, on her head (fig. 251). There is a very similar figure, eight and a half inches high, in the collection, in which the art is still more archaic (fig, 252). A trumpet of terra- cotta, about three feet long, and shorter examples of the same kind, and a model of a boat, seemingly hollowed out of a tree, must not be omitted even in an enumeration of this extra- ordinary treasury of toys, — if toys they were, which has not I believe, been entirely decided. It is certain that considerable numbers of such things have been exhumed. This class embraces rudely-designed figures (figs. 253, eight inches ; 254, ten inches ; and 255, eight and a half high) of goddesses, chiefly Aphrodite, with broad hips, narrow ankles, a triangular hatched ornament on the pubes, large ears with terra-cotta rings in them, the arms brought round and laid upon the breast, one of which (fig. 256) is eleven inches 222 TERRA-COTTA. high ; an ornamented figure of a female goddess, carrying a bird, a Cyprian type of Aphrodite (fig. 257); men wearing conical helmets, and many without legs, seated upon horses, or animals at any rate intended, by a stretch of imagination, for horses, which they hold by the neck or ears ; striped animals of uncertain nomenclature ; and swine with . the mouth so disposed with a funnel-shaped termination, that the object takes the form of an unguentarium or aryhallos when set up on its end. CHAPTEE XXI. TERRA-COTTA. (Continued.) URNS VASES — AMPHORA ARCHAIC ARYBALLI — FUMIGAT0R8 HAND- OR FOOT- WARMERS — STRAINERS — POTS — LATER ARYBALLI MISCELLANEOUS ROMAN, ETC. HE number of these objects in this collection is very considerable indeed, not fewer than four thousand pieces in all. These comprise amphorae of various sizes, from about four feet high to the smallest examples, and of various origins, being Phoenician, Cypriote, and Greek ; some of them bear inscriptions in one or other of these languages re- spectively. Among the vases of this class, more than two hundred exhibit beautiful patterns painted on their surfaces, including birds, bulls, and other creatures ; many of those are extremely precious works, some of them are believed to be unique as to the decorations they bear and as to their origin ; it is supposed that these remarkable in- stances are pure Phoenician ; their decorations agree in general respects with those of other vessels to which the name of the Phoenician nation has been given. The accompanying illustration represents a Phoenician vase of considerable dimensions (fig. 258). It contains an inscription of five letters in the Phoenician language, of which, according to M. Pierides, who has examined it, the Hebrew 224 TERRA -COTTA. transliteration is the following — pnSlj Baal-Hammon ; i.e., "Baal Solaris, or Baal the Sun".^ One of the workmen whom I had employed in my excava- tions found a conical urn or vase, similar in shape to the foregoing specimen, in a tomb to the south-west of Larnaca, and outside the walls of the ancient city of Kitium. The vase is of the ordinary terra-cotta of the island (fig. 258) and bears the Cypriote inscription now engraved in the accompanying illustration. Fig. 258. Inscribed Phoenician Vase. Fig. 259. Terra-cotta. Inscribed Cypriote Urn. On being informed of this discovery I proceeded to the spot, and found that the tomb was about nineteen feet and a half below the surface of the ground. It had been constructed of large stones, cemented together, as they were laid on the earth, with lime. It had an oval shape, except at the bottom, and was six feet nine inches deep, and little more than six feet wide. The entrance had been closed with a square slab of stone, roughly hewn. The earth, sodden with the rain, which had percolated for ages through the defective cementing of the roofing stones, covered the floor to the ^ See Gesenius, Script. Phocnic. TERRA-COTTA. 225 extent of more than eight inches ; but as there was no sarco- phagus in the tomb, and the body which the tomb had re- ceived was laid on the earth, I could find no other vestige of humanity than a small piece of bone which perhaps belonged to the head of a child. No sooner did this relic come into contact with the air than it crumbled away into dust. The inscription upon this vase is, I am told by Dr. Birch, to whom I have submitted it, of a doubtful signification. It appears to read : — mi , e . o . sa . ti . ja . ta . But the first two characters on the right are uncertain. It is evidently the genitive case of a proper name prefixed to Fig. 260. Archaic Red-ware "Vases or Diotas. Fig. 261. Terra-coita. the verb em^, / am, or / belong to ; and may perhaps be read " I belong to Tajatisas," or " Tathasus". A vase very similar to this in general shape has two handles on the shoulder. For a valuable notice of the urns and fictilia which occur in the island, I may refer to the paper " On the Different Styles of Pottery found in Ancient Tombs in the Island of Cyprus", by Thomas Sand with, Esq., H. B. M. Vice Consul. Q 226 TERRA-COTTA, Archceologia, vol. xlv, 1877. Two red ware vases deserve especial mention, because they are unique in exhibiting figures painted in black on their bodies. On one of these (figs. 260, 262) is a standing owl, or swan, and opposite to Fig. 262. Details of Fig. 260. Terra-cotta. it a tree of the sacred or "Hom^' kind, the emblematic palm, or date tree, which was found significant over many regions in Asia, and has been frequently recognised in Assyrian remains, even on the breastplates of the kings in Chaldea, Egypt, India, and China. What may be a reminiscence of the "-Horn" is often seen to this day in Turkey carpets. The Greek anthe- mion, or honeysuckle ornament, has been referred to as the Greek variety of this symbol degraded into an ornament, and with no other significance than that which is due to a lovely combination of harmonic lines. On the other vase (fig. 261) are the figures of two men, both in the act of walking, and carrying bundles of wood, or fas- cines, such as we call "faggots". Doubtless they may be about to attend a funeral pyre. These figures give extraordinary importance and value to the vase on which they appear. Among the thousands of vessels of this kind, no other that is known to me bears a representation of the human figure, or bird, or tree. All other enrichments of this category are geometrical, as for example, in the accompanying woodcut Fig. 263. Terra-cotta. Inscribed Archaic Vase. TERRA-COTTA. 227 (fig. 263), which represents a double-handled vase, perhaps a stamnos,^ enriched with three double rings and a series of disks or double annulets round the widest part of the body, with a dot in the centre. On the space between the inser- tions of the handle is the following Cypriote inscription : — thus read by Professor Sayce : — ma . ta . ru . e . o . or in Greek equivalents : — ft) e'/Of [e] Oa/Jba. " Oh, carry often." The great variety of shapes exhibited by terra-cotta vessels, ornamented with spirals, bands, geometrical devices, animals, and flowers, can be scarcely conceived without a personal view of them. There is hardly a shape known to archaeologists that is not represented by them. Among them may be mentioned large jars with wide mouths, heart-shaped bodies, and two loop handles (see fig. 263), globular bodies with narrower necks, and only one handle (see fig. 264) ; hemispherical bodies, with a mouth having a diameter but little reduced from that of the body itself, and w^ith one handle, the wine jar ; true amphorae of the Rhodian style, as well as the allied forms, the cadus, 07'ca, lagena, and seria; the kylix, the kantharus, the diota.^ The oinochoe, or wine- jug, which evidently ministered the dark sparkling wine at festive entertainments, of proportions sometimes truly heroic ; the hydi'ia, or water-pot ; the kalpis, skyphos, depas, pelike, crater, and prochoos ; tetince,^ with tiny spouts inserted at ^ See Dennis, Cities and Cemeteries of Etruria, New Edition, vol. i, p. cix. 2 See Birch, History of Ancient Pottery, new edition, p. 180. ^ Mr. H. Syer Cuming's Paper " On Early Tetinje", in the Journal of the British ArchaBological Association, gives illustrations of a large number of these objects. The writer quotes Fosbrooke's Encyclopaedia of Antiquities, s.v. Nursing, to show that " among the Greeks the nurses, during the time of sucking, used to carry the children out to air, having with them a sponge full of honey in a small pot, to stop crying". None can doubt, he continues, that in ancient, as in modern days, there were many instances in which hand- Q 2 228 TERRA-COTTA. the widest part of the body, either to enable the holder to pour out a libation in a thin, trickling stream, or to allow a nurse to feed an infant by pouring a few drops of milk at a time into its mouth; wine-cups, with or without handles, long, narrow, and truncated lecythi ; and the nasiterna, or nozzle-mouthed jug, so-called from the length of its spout, many of which are ornamented or enriched with a series of small loops or eyes, either singly at intervals, or in pairs, regularly placed along each side of the body. These are generally glandular or ovoid in shape, with narrow spouts elongated on one side, and pinched together at the extreme end, in order that the liquid contents may be delivered in a very thin stream. Some of this last kind of vessel have three or four short feet, to en- able them to stand up- right more securely.^ I may with propriety introduce here the figure (264) of a charming Cy- priote vase of glazed red ware. There is a" very similar vase to this in the Archaic Vase Koom of the British Museum. It be- longs to the class just spoken of as tetince ; the mouth is closed, but a pipe opens from the base, and the vessel required to be inverted when it was to be filled, and then turned back upon its base. By these m.eans the object could be feeding was forced to take the place of the breast ; and the question is, how was that feeding effected % In this covintry and abroad, many antique vessels of terra-cotta have been discovered, which were formerly regarded as oil- cruses for the service of lamps; but they are now accepted as infants' feeding- bottles, upon which the title of tetince hsi% been bestowed. No doubt some of the long-spouted vessels were employed for libations. ^ For the names of the various forms of archaic Greek fictilia, the reader Fig. 264. Terra-coita, Cypriote Vase. TERRA-COTTA. 229 Fig. 265. Terra-cotta. Inscribed Archaic Vase. filled with perfume for sprinkling the hands of distin- guished visitors to the house of its owner on festive occa- sions. The treatment of the curled hair of the figure, the concentric circles which constitute the deco- ration, and the very shape of the vessel, speak of the archaic times to which it must be referred. In respect of the hydrostatic arrange- ment of the interior, I believe this vessel is of the utmost rarity. I am indebted to Signor Vondiziani, a native of Larnaca, ex-Consul for Russia in Cyprus, for carefully restoring this vessel, which was broken to pieces when it was found. An archaic globular vase, perhaps an askos, decorated in a somewhat similar manner (fig. 265), has a star under the inscription of the handle, and is in like way enriched with an inscription in the Cypriote character : — t^-n-i ^ j^ )^^ which Professor Sayce reads : — ti . pi . ma . ta . o . te . e . ta . that is — Ta riheo Bafxa ttWl. " What you like, often drink." or — ra edeo Oafid irWi. " What thou hast put (here) drink often. " Dr. Deecke^ reads this : — Ta[9] 'ET6o8a/Aa[9]. irWi. may consult the concise and lucid "Appendix on the Forms and Uses of Greek and Etruscan Vases", in Mr. Dennis's new edition of the Cities and . Cemeteries of Etruria, vol. i, pp. cv-cxxvi, where a large number are figured and described. * Ztveiter Nachtrag, p. 160. 230 TERRA-COTTA. Another vessel, or amphora, of the Grseco-Egyptian or Alexandrian style (fig. 266), is of very large dimensions, and beautifully adorned with geometrical patterns, filled in with chequered ornamentations, annulets, and spirals, as shewn in tig. 260. Archaic Vase or Diota. Fig. 265. Archaic Vase. the illustration of enlarged details (fig. 268). The height of this vase is 4^ feet. On the shoulder is the inscription, in Greek capitals, AP^INOH^ 4>IAAAEA0T, evidently purporting to belong to Arsinoe Philadelphus, wife of the second Ptolemy. Fig. 263. Details of Tig. 266. Pig. 269. Details of Ornament on Fig. 267. The accompanying figure (267) illustrates a vase, which, while in other respects resembling many others of the same class, both in the Lawrence-Cesnola and in other collections, has a shield-shaped addition upon the shoulder between the handles, adorned with chevrons and small chequered squares. TERRA-COTTA. 231 It is 4 ft. 2 in. high. The details of the neck of the vase are given in fig. 269. I give here some examples of the geometrical details found upon corresponding parts of other large vases in the Lawrence- Cesnola collection. These comprise chequer patterns, lotus or Fi^. 270. Details of Ornaments. Pig. 271. Details of Ornaments. A Fig. 272. Details of Ornaments. other flowers, wheel-shaped cir- cles (fig. 270), with spokes or radii, zigzags, wavy lines or chevrons, and a peculiar tear- like thickening on the middle of a black line, as seen on the left hand side of the last example (fig. 271). The collection con- tains a good number of these large vessels. The kind of vases shown in figs. 266, 267, are always found inside tombs, full of bones. I think- that in ancient times the owners of the tombs prepared for new arrivals by preserving the bones of pre- vious occupants of the tombs in these vases. Two or more of these vases have been found in one tomb. Fig. 266, with the Greek inscription, I think probably more ancient than the inscription, through the inscrip- tion not being burnt in when the vase was made ; or possibly '^:^ Fig. 273. Terra-cotta. Archaic Jar, with Four Handles. 232 TERRA-COTTA. the vase was made in the ancient shape in the time of Arsinoe, and this is rather confirmed by its bright colours and perfect state of preservation, which is different to fig. 267 ; that appears much older. In Cyprus, at the present day, there are vases of ancient shape in common use, particularly water jugs, which have two little reliefs in form like the female bosom, and tradition says that it represents the bosom of Venus. My learned friend Mr. D. Pierides is of the same idea. It is only another instance of the survival of ancient types. A four-handled stamnos, jar, or urn (fig. 273) of this style, with two narrow bands or rings, and one of wider dimensions, is elegantly painted with four Fig. 274. FragrQ3nt of a Painted Vase of Tyrrhenian Style. Terra-cotta. palm trees in a natural manner that is very remarkable. This vase has an ivy leaf on the shoulder within the area of each handle, and a circular lid with a hole in it, and a knob-shaped handle to it. On the knob are six Cypriote characters. It is 2 ft. 6 in. high. Dr. S. Birch, to whom I submitted the fragment of an early painted vase here figured (No. 274), has kindly given me the following account of it : — " The wood-cut shews a fragment of a vase found in Cyprus, apparently of an amphora, of the style called Tyrrhe- nian, from the supposition that the vases on which it occurs were peculiar to Italy. They were either a development of the archaic style, or else an imitation of it. The figure^ are distinguished by their pointed nose and chin, strong develop- TERRA-COTTA. 233 ment of body, with less marked development of limbs. The figures are painted black on a red ground, and the subject is placed in a panel ornamented at the sides with a border. The subject of this vase, as far as the fragment goes, is the arming of a hero, probably Achilles, in the presence of a female, either Thetis or Athene. He has placed one greave on his right leg and is attaching the other to the left leg. At his feet is an Argolic buckler, and a crested or Carian helmet. The figure standing in front is draped in a talaric tunic and girdle, and, from the size of the breast, is apparently Athene wearing the aegis, and with a helmet on the head. Behind Achilles stands a youthful figure draped in a tunic and peplos, holding a lance, but not with long hair, probably an attendant. Parts of two naked youths are also to be observed in the scene. The inscriptions with which this class of vases is decorated have no meaning, and are rather imitations of Greek letters by ignorant potters than real inscriptions ; just as the art is an aifected archaism introduced in imitation of the figures of so-called Corinthian vases. The age of these vases does not appear to exceed 500 B.C. The fact of their discovery in Cyprus shows that they were not peculiar to Italy, but came from some of the Greek potteries of Corinth or the Isles." An elegant aryballos of archaic Greek style is shewn in the accompanying illustration (fig. 275). It was found with other archaic remains at Paphos, not far from the celebrated Temple of Venus, which has been described in other works upon the antiquities of the island. The ornamentation upon neck and mouth, the style in which the swan, or eag^le, is drawn and coloured, the P Fig. 275. Terra-cotta. radiating tears, or leaves, at the upper Archaic Arybaiios. and under surface of the body, and the rosettes, or flowerets, which are placed in the field, may all be compared by the reader with similar details shewn upon the archaic oinochoe, and the archaic aryballi and other vases in Dr. Birch's History of Ancient Pottery (pp. 184-188, new edition). 234 TERRA-COTTA. Fig. 276 A, B. Terra-cotfa. Kemos, and Cup. Fig. 276 is a beautiful and probably unique example of the vase of the shape called Kernos. To the circular band is attached a kind ofkantharos, or cup with two handles, and an amphoreus (fig. 276a), or small vase with two handles ; the head of a cow or bull is on the circular border ; the pat- terns belong to the geometric class seen on early vases. The eye of the cow is radiated. The other cup (fig. 276b), with two han- dles, has also a geometric pattern. Fig. 2 77 represents a lamp- holder or sconce. At the top is the head of a cow, having a hole above it for a nail to attach it to the wall. A lamp was fixed in the semi-oval part beneath. The ornamentation of this object is geometric, and is of the same age as the preceding vessel. In the accompanying illustra- tion of a group of early fictilia, the first is a kind of stamnos, or honey -jar, but differs from the true form of that name, in hav- ing a single loop-handle over the mouth terminating in lions' heads, instead of two more erect han- dles at the sides (fig. 278). The second figure (279) is an early hydria, shewing the transition from purely exclusive geometric FiK. 277. A. B. Terra-cotta. ^^^^^^ ^^' omameutation to a style Lamp-holder. wherc the geometric patterns are TERRA-COTTA. 235 interspersed with chaplets of leaf work and wavy scrolls of ivy leaves and berries. The last figure in the group (fig. 280) is probably a stamnos, from Salamis, called the "Apulian stamnos" by Dennis/ a small and advanced variety of the 278. 280. Hydria. Stamnos. Terra-cofta. Stamnos. Figs. 278, 279, 280. stamnos. It may have served to hold honey or sweet-meats. It is a variety of the amphora. The ornamentation of this example is elegant, and of comparatively early date. 281. 282. Terra-cotta. Figs. 281, 282. Water Vessel and Jug. The two following vessels, found by me in the ground at Kurium, are of considerable interest, being of archaic insular style. The first (fig. 281) is evidently a water-bottle, not L. c, cix, ex. 236 TERRA-COTTA. unlike the Moorish water-coolers, made of red clay, in Spain, Portugal, and some parts of the northern littoral of Africa to this day. The head of the ox, which adorns the spout, and the acute-angled lines which embellish the surface, are, how- ever, peculiar to this example. The other (fig. 282) is a pitcher, or jug, of an archaic style, having two eyes, with a spout between them for sprinkling libations, or feeding pur- poses. It is also enriched with a number of sets of concentric circles. Fig. 283. Oinochoe. Terra-cofta. At Kurium, I found an interesting specimen of the oinochoe of transitional archaic Greek style, painted with lions face to face (fig. 283). It may be compared, for its shape and style, with an oinochoe adorned with animals and flowers figured in Dr. Birch's History of Ancient Pottery} The custom of adding small ornaments like those above, as well as fylfots, chequers, spirals, and so forth, is commented upon by this authority in the same part of the work mentioned. 1 New Edition, p. 185. TERRA-COTTA. 237 Among the homely curiosities of tliis collection of terra- cotta utensils are several which deserve particular mention. I do not now allude to the numerous stately and beautiful vases, of many sizes and divers fashions in decoration, with which this collection is unusually enriched, nor even to those examples of the same use which are doubtless of greater antiquity, as well as less charmingly decorated than the latter. I allude to the group of fumigators, incense-burners, or foot-warmers of terra-cotta now before us.^ I have called them fumigators, because they were evidently intended to contain charcoal, or peat, and emit the fumes by means of the holes with which the sides of the vessels are furnished. They were, I think, really designed as foot-warmers, and intended for winter use in Cyprus by a luxurious people. The Dutch, and other northern nations, still employ analogous utensils. The ladies of Holland are accustomed to sit with such articles, when made of brass or copper, under their petticoats. The like, also, are not unknown in Venice. Most of them are furnished with handles arching over the tops, so that they may readily be taken from place to place even when ignited. Being from nine to fifteen inches high in the body, exclusive of the foot and overarching handle, one of these utensils would contain sufficient fuel to supply heat for a considerable number of hours, if it was allowed to stand still. They could not have been designed for incense-burners, being on too large a scale for that purpose, although they might have served as fumigators. It is much more likely that they were foot- warmers. Two shallow bowls, perforated with' triangular holes, and marked with chevron patterns, were obviously intended for use as strainers. Not more than half a dozen rhytons have been found in this collection. They are not large, nor rich in ornamentation. They appear to be of Roman origin. As to the amphorae, jars, jugs, ewers, and bottles proper, apart from bowls, paterse, and such like flat vessels, the num- ber before us is very considerable indeed. They are of all 1 See Plate xx, figs. 18, 20. 238 TERRA-COTTA. sizes, and, I doubt not, within the chronology of the ancient world, of nearly all dates. It seems probable that the greater portion are of native manufacture. Cyprus still supplies clay for the potter in the neighbourhood of Famagosta. I consider these works to be mostly of native manufacture, notwith- standing the well-known practice of the ancients to export pots to all parts of the world then known to them. I recollect that even in the remote Britain, countless specimens of Samian ware have been found, as well as examples of the craft of the indigenous potters. The repeated discovery of numerous pieces of foreign earthenware near the foot of the cliff at the mouth of the Thames, where now stand the Reculvers, is believed to indicate that a vessel must .have been wrecked at sea near that point, and that parts of her cargo were reco- vered from time to time ; unless, indeed, the sea now covers the site of a manufactory of Samian ware. Fragments of Roman pottery have been dredged up from below the waves off Winchelsea, and other parts of the southern coast. It is only the pattern depicted in black or red, or incised on the dark grounds of some of these vessels, which gives us anything like a clue to the age, nation, or mode of design to which such works are due.^ It must be remembered that a large number of such antiquities are without patterns, and exhibit shapes so simple and characterless that they may belong to any period except the rudest. Observers of such relics never allow themselves to mistake simplicity or, to be more exact, defect of character, for the proofs of ancientness, ^ Mr. Sandwith, in the notice already referred to, makes an endeavour to classify the pottery into four classes : — 1. The very early Greek red, highly glazed, with incised lines ; and a few black, and red and black blended. 2. Delicate pale black with occasional patterns incised or raised, having a thin siliceous glaze. 3. .Vases with black, brown, and yellow fast colours, red and purple water colours, pale fawn ground upon a brick red body, clay not so fine and thin as that of the previous class. The forms of this class are amphorce, askoi, pinakes, oinochoes — red, with concentric circles and parallel lines, highly glazed ; and pale buff, highly finished. Lamps of the form shown in fig. 304. 4. Style of decadence of native ceramic art. Coarse material ; common design. TERRA-COTTA. 239 or the expression of extreme antiquity. No shrewder trap for tyros than this one is known to exist. On the other hand, it is often true that productions of the finest period of ceramic art are absolutely simple even to severity. Indeed, severity, if not plainness, is an essential in the finest mode of art as applied to "pots", and to everything else. Amphorae and jars are comprised in this collection, than which nothing could be less ornate ; and yet they belong to the best style of Greek design, and are unrelieved by patterns in colour or otherwise. Doubtless,, the greater number of the vases before us are Greek. There can be no question that the largest amphorae, some of which are between four and five feet high, and capa- cious enough to contain a well-grown man, are of the Greek period, although they exhibit the Egyptian lotus (see fig. 266) in exquisite compositions as to lines and proportions. There is nothing archaic or stiff in the enrichments of these vessels, and we could not fail to expect such characteristics as these in works which were due to the Egyptian domination in Cyprus. The contours of these great vessels are perfectly and purely Greek ; the lotus occurs often enough in Greek decorations when combined in the mode before us. The acces- sory ornaments on these amphorae are exclusively Greek. There are two amphorae of the second order as to size, which bear traces of Assyrian influence in some of their decorations ; but even these are not without testimonies to ' the effect of Greek taste on the minds of the makers. The taller of these has dark handles, and round its neck a very broad band, within which, besides other elements, is a floral convention- alised pattern of a volute enclosing within the " horns" re- spectively a rosette. The other work of the two in question is smaller, has a broader base, less elegant proportions of handles, neck, and body, and is of inferior workmanship. About the shoulders, on the line of the handles, are groups, four in each, of the concentric ring ornament, which is more Assyrian than Greek, and less Egyptian than either. This example seems to me older than any of the above-named 240 TERRA-COTTA. instances of the first and second class in the order of size. It may be, however, that its insufiiciency is merely a proof of the comparative incompetence of the maker than a sign of the antiquity of his handiwork. There is a fine specimen, in the second order as to size, of Greek art, comprising the lotus (see fig. 266) in the band at the line of the handles. This is very typical. The throat of this example comprises the guil- loche in upright lines, and compartments of crossed and re- versed chevrons, forming a diaper. The handles are unpainted, and not very well proportioned. Of the third order, in respect to size, is a numerous group of vases, bottles, jars, jugs, or pitchers. Great variety of decoration has been employed on these examples, and, so far as it is possible to judge, I am willing to accept the idea that two classes of this order are Phoenician, or, at least, less Greek than either of the others. The Egyptian and the Greek artists never, I believe, departed from the true logic of design in en- riching anything which came to their hands for the purpose of being decorated. They could, I sincerely believe, never have brought themselves so far to outrage the sense which was within them as to depart from its instinct, and place on a vessel an ornament which did not more or less completely harmonise with the contours of the article itself. Concentric circles, enclosing diapers or collars, of running patterns, as in the lotus bands before-named, all of which are continuous and complete in themselves, whether they include rosettes or chevrons, or what not else, pertain to the Greeks, or their teachers, the Egyptians. Violations of this devotion, this instructive logic of pro- priety, seem to me to indicate the art of a people whose sesthetic conceptions were not high ; and as to who that people were, I think, admits no' doubt. The Phoenicians alone, it seems to me, deserve the credit of making "pots" on which circles are drawn which absolutely contradict the harmonic principle by existing in upright, instead of horizontal, posi- tions. There are very many specimens of this nature, and they are all defective in respect to grace of contour, the pro- TERRA-COTTA. 241 portions of the handles, and the positions of the handles where such members occur, as well as in the proportions of the decorative elements to each other, and, above all, to the vessels to which they give a character. Many of these relics exhibit the concentric ring ornament which I have already associated with an Assyrian mode; nevertheless, this does not militate against the reasonableness of the notion which refers these ill-proportioned vessels to the Phoenicians, or, at least, to a predominance of their influence in Cyprus. As a rule, Greek pots were so far "reasonable", that is, logical, in the relationship of their construction and services, that they do not fail to stand on their own bottoms. Unless they were amphorae, and devised to lean against one another, be buried in sand as cisterns, or otherwise serve as fixtures, or be propped on stands made for the purpose — removableness not being essential in their cases — all the Greek vessels subserve this rule of being capable of standing upright. Now, on the other hand, but a very small proportion of the so- called Phoenician vessels have the slightest power of standing on their bottoms, for the fact is, they will stand in any other position than the upright one. Those which are furnished with base-rings, and are, therefore, enabled to stand upright, have less of the apparently indispensable elementary power of standing on their bottoms. Of course, there are Greek rhytons which will only rest when inverted ; but there was a reason for that odd arrangement, which does not at all affect what I have ventured to suggest. Of late style, reminding one in some respects of the mediaeval bellarmine, I dis- covered a jug (fig. 284) with pyriform body, broad ribbon-shaped handle, and narrow neck. The front of the neck and lip is ornamented in a somewhat unusual manner with the bold relief of a female figure (fig. 285), closely draped, carrying Fig. 284. Terra-cot (a. Jug. R 242 TERRA-COTTA. Details of Fig. 284. a fictile vessel of a shape almost identical with the modern pitcher. This may, per- haps, be attributed to the fancy of a potter, rather than to the conventionalism of a type. The vase itself is 1 ft. 6 in. high'. The forms which are affected by aryhalli are very various. Among others, one in the collection, nicely moulded, takes the form of the head of Hercules (fig. 286), covered with the skin of the lion's head ; the ears, nostrils, and teeth of the vanquished animal being clearly shewn (fig. 287). The orifice by Fig. 286. Aryballos— Hercules. Terra-eoita. which a small portion of the liquid to be preserved was intro- duced into the hollow interior of the vessel is placed at the top of the head. It is not improbable that this vessel, and others of a similar character, were purely ornamental in character, and, like the chimney orna- ments of the present day, never em- ployed to contain anything. The excavations which I conducted at Kitium disclosed an aryballos (fig. 288) in form of a Silenus, with heart-shaped Fig. 287. Terra-4offa. Details of Fig. 286. TERRA-COTTA. 243 beard, kneeling, with the hands placed upon the thighs. The body is hollow, and the mouth is formed upon the top of the head of the figure. Another aryballos is in form of one of the mis-shapen Kerkopes, or thieves of Ephesus (fig. 289). The upper part of a human figure, clasping the hands over the stomach, is united to the hind legs of an animal. These droll and thievish gnomes are reputed, according to the legend, to have robbed Hercules while he was sleeping. Some place the scene of Fig. 288. Aryballos— Silenus. Pig. 289. Aryballos. Terra-eoita, their tricks at Thermopylae, others at (Echalia in Euboea, or in Lydia. Both these types occur in tombs at Camirus in Bhodes, and specimens will be found, as Mr. Newton kindly informs me, among the terra-cottas preserved in the British Museum. Other moulded vases, chiefly of the class designated as aryhalli, take the shape of a goat reposing, with the head turned to the front (fig. 290) ; of a dog in a similar attitude (fig. 291) ; of a sheep, or she-goat (fig. 292). All these figures have the orifice, or neck of the vessel, placed in a small mouth fitted with a lip in the middle of the back of the R 2 244 TERRA-COTTA. animal figure. They were found at Kitium, one of the most prolific sites in the island of Cyprus with respect to archaeo- logical discoveries. Fig. 290. Aryballos in form of a Goat. Fig. 291. Terra-cotta. Aryballos in form of Dog. Of the same class is a cock (fig. 293), having the mouth of the vessel placed in the same position as in the preceding objects. This also comes from Kitium, and the general re- Fig. 292. Ai^ballos in form of a Sheep. Fig. 293. Terra-cotta. Aryballos in form of a Cock. semblance of these four little aryballi makes it reasonable to believe that they owe their origin to one and the same designer. Among the curiosities of pottery to be found in this numerous aggregate is a basket, like a carpenter's basket, containing a bottle, the neck of which emerges at the side, while the edges of the basket have been sewn over the bottle. This relic (fig. 294) has evidently been made in a mould taken from "nature", i.e., from a real basket and bottle, the meshes of the woven rushes are unmistakeably due to "the life". The inscription in relief on one side is AIOAH ; on the other AIOH TERRA-COTTA. 245 — perhaps abbreviations of AIOAllPOS AIOHKAEOTS— "Dio- dorus, the son of Diodes." Some of the oddly-shaped articles A I O A oo A I O OJ Fig. 291. Aryballoa in form of a Basket and Bottle. Ten-a-cotta, in terra-cotta are undoubtedly bottles ; there is, of this class, the figure of a goose, thrusting forth its head ; another is a squatting hen or duck about to take to the water; a third is a dove crouching, as if on the ground. A strange bottle is that which resem- bles an inverted amphora, with a neck stuck in itself; this is a monstrosity which would have shocked a de- cent Greek. Among the oddest of these things is that rather large one shaped like a child's whipping-top, and furnished with three bottle- necks. Several examples illustrate the same types of design, in form and direc- tion, which Dr. Schliemann found at Hissarlik ; a great many Fig. 295. Vase. Terra-eotta. 246 TERRA-COTTA. of them are so bizarre, that not all the courage and learning of that explorer could account for them. Of later styles, I place here a vase, per- haps a variety of the olpe, resembling a lecythus, with a bowl-shaped body (fig. 295) and ample handle, the lower part adorned with petals or leaves, and the upper part of the bowl ornamented with a narrow band or frieze of ivy leaves. Kound the bowl is painted in black colour a scene, which com- mences with a tripod or altar and a faun dancing before it, as in the accompanying woodcut (fig, 296). Two winged boys, play- ing on a pipe or trumpet ; a female harpist, resembling a terra-cotta statuette of a harp- ist in the collection, to which I have already drawn the attention of the reader ; two seated figures with the knees crossed, and the hands resting on them in a pensive and attentive attitude ; and three groups of a male figure apparently lifting or sustaining the frenzied or fainting form of a bacchante or msenad who has become exhausted by the music and revelry in which she has probably borne a conspicuous part. Professional players on the harp and pipe are not uncommon subjects upon painted vases (Birch, Hist., 284). A capacious goblet-shaped Koman vase (fig. 297) has a frieze or upper border of masks or faces, evidently satirical, and the subject painted upon the body appears to be a parody or burlesque of some scene, per- haps of the myth of Circe, the enchantress, in the ancient theatre. It is well known that parody and caricature of myths and histori- TERRA-COTTA. 247 cal legends were largely introduced among the subjects of later painted vases. The subject on the reverse side of this remarkable relic is reproduced in fig. 298. It may possibly represent a scene in connection with some of the ancient Mysteries ; subjects relating to these being of sufE- Tig. 297. Roman Vase. Terra-cotta. cient frequency and importance to be placed by Millingen in a separate class in his classification of vases. It is 21 in. high, and 15 in. broad. I am now compelled, by want of space, to conclude these chapters upon the terra-cottas, which might have been easily augmented in size had I described all the interesting points in the vast collection oi fictilia that the fertile soil of Salamis has, not without trouble and fatigue, yielded to the Lawrence- Cesnola collection. It has been my aim on this occasion, not so much to dilate upon every specimen which I was fortunately enabled to rescue from the silent site where it has slept for hundreds or thousands of years, as to put before the indulgent reader my own account of the points and details which seem to me to be most marked, and to call more especially for pictorial or descriptive illustration. 248 TERRA-COTTA. By these means I have endeavoured to convey to the archaeologist a faithful idea of the ways and means of domestic life in the ancient days of Cyprus, mirrored alone, as is the case with other ancient sites, in the sepulchral surroundings of the shadowy homes of the dead. The field of Greek and Roman archaeo- logy had been, we are told by one who stands in the first rank as the historian of ancient pottery, almost exhausted by the labours of the learned for two centuries ; but the discoveries which recent excavations in Cyprus have revealed, have thrown a new glamour over the ardour with which researches into early and archaic features of any art have always been prosecuted, and in some cases a modification of hitherto accepted opinions has re- sulted. The rearrangement of the archaic pottery of Hellenic origin in the new " First Vase Room" of the British Museum is an important out- come of the hypogeal harvest which those who have eyes to see may gather plenteously in the island of Cyprus ; and a very cursory inspec- tion of that richly-freighted room is sufi&cient to show how greatly the island contributes to the un- rivalled exhibition there made of early strivings of human art in this particular direction — trammelled by technical difiiculties in its inception, nifluenced by a nascent feeling of beauty in simple natural objects in its earlier stages of progress, and ultimately adopting, TERRA-COTTA. 249 during its finest period, the forms of these very objects, and rendering them subservient to rules of conventionahsm and practical utility. Fig. 299. Pumigator. Terra-coita. Perhaps I shall be excused for introducing at the close of this chapter an illustration of a very elegant fumigator (fig. 299), or incense-holder, with perforations to allow the escape of the scented fumes. It may be compared with one figured by Mr. Sandwith {Archceologia, xlv). CHAPTEK XXII. LAMPS. ^^iHE number of lamps recovered from Cypriote ^T|^ sites is very large indeed. Their variety is ^ almost equal to their number, for very rarely are two found to correspond in every par- ticular. According to the writer Clemens of Alex- andria, the Egyptians^ claim the credit of the invention of lamps. And Herodotus not only speaks of the "Feast of Lamps" at Sais on the Nile, but also of the lamp which was kept burning before the cow-shaped sarcophagus of the ancient King Mycerinus, of whom I have already given some account in an earlier chapter f but no lamps, either of terra-cotta or any other substance, have been found which can justly be ascribed to ancient Egyptian times, nor, indeed, older than the Koman times. Lamps, lychni or lucernce, were made both by Greeks and Romans, and have been found in all sites occupied by these two important races of the old world.^ They are almost always of terra-cotta (a few, of better class, being of bronze), and usually of circular shape, with one nozzle, termed nasus, or mykter, for the wick, myxa, thryallis, ellychnion or phlomos, ^ There is an often-quoted legend that Vulcan invented lamps, Minerva supplying the oil, and Prometheus the fire that kindled them. 2 See pp. 137, 138. 2 They were probably imported to the island of Cyprus in the age of the Consuls or during the reign of those native rulers who were dependent on the Imperial rulers of Rome. LAMPS. 251 Fig. 300. Terra-cotta. Dimyxos or Lamp for Two Wicks. and a small handle, ansa; the upper part, discus, being fur- nished with a hole for pouring in the oil, or infundihulum, anciently fitted with a stop- per, of which there are but few specimens now extant. The word Tnyxa gave the appella- tions, c^m^/xos (fig. 300), trimy- xos, polymyxos, to lamps of two, three, or many nozzles. The dimyxos was also termed hily- chnis. Greek lamps are to be distin- guished from the Roman by their greater fineness, smaller size, paler material, and more delicate art, and above all by the inscriptions which they bear. Dr. Birch mentions, in his book on ancient pottery, a lamp formed in shape of two human feet in sandals. This may be compared with one in the Lawrence- Cesnola collection, found at Salamis (see fig. 301), which is here drawn to one- fourth the size of the original. It represents a human leg and foot, sandalled, with a Cupid or Eros reclining on the instep. Another (fig. 302) shews a drunken actor — perhaps Silenus — Fig. 301. Lamp. Terra-cotta. Fig. 302. Lamp. Terra-cotta. masked, reclining on an amphora, and pointing in an expla- natory and suggestive manner to his open mouth. Another 252 LAMPS. (fig. 303) is the grinning head of a negress, with a gold ear-ring in the right ear, to which I have already drawn attention.^ Compare one in the Museum, the head of a negro, or Nubian, with open jaws, through which the wick was inserted (Birch, Hist, of Ancient Pottery, new edition, 536). Most of the Fig. 303. Lamp, with a Gold Ear-ring in it. Terra-cotta. lamps with fanciful shapes are attributed by Dr. Birch to a period between the age of Augustus and that of Constantino. Some are in form of a human foot, or of a slipper. Many are of phallic design. The earliest lamps have an open circular body, with a curved projecting rim (fig. 304), to prevent the oil from being spilled. They are found, not only in the ordinary terra-cotta, but also in the black glazed ware which we are accustomed to associate with the sepulchral Jictilia found at Nola. Many of Fig. 304. Early Open Lamp. Fig. 305. Terra-cofta. Lamp with Hollow Pipe. them have a projecting hollow pipe in the centre, placed there in order to fasten them to a stick or upright peg upon the ' See page 41. LAMPS. 253 top of a candelabrum (fig. 305). These have no handles. Such a kind is shewn in the accompanying illustration. Some of the larger sized lamps, and espe- cially those of Greek origin, have a flat, tri- angular handle,^ not unlike the barb of an anchor, which is either plain (fig. 306) or ornamented in various ways. Another in the collection has two nozzles. Among those of this class in the present collection are, one (fig. 307) having a bust of the Moon- God placed upon a crescent enriched with spirals ; another (fig. 308) with a galley and mariners; a third with an antefixal ornament and two dolphins naiant (fig. 309) ; and a fourth (fig. 310) with a similar antefixal and two palm branches. Fig. 300. Terra-cotta. Greek Lamp. 309. Figs. 307, 308, 309, 310. Ornamented Lamp Handles. Terracotta, Fig. 311 represents a circular lamp of the Roman period, adorned with ten lancet- shaped cusps around its outer border, and a rosette or circular flower in the centre. This lamp, like the others, must be ascribed to a Roman period. Fig. 312 shews an elegant lamp for four wicks, and having two infundibula, or holes for replenishing with oil. This was 1 One has a crescent-shaped handle, like that figured in Birch's Hist. of Ancient Pottery, New Edition, p. 506. Fig. 311. Terra-cotta Circular Lamp. 254 LAMPS. probably intended for use upon a candelabrum. Bound the crater or bowl of this lamp is the limbus, or decorated border of floral or other ornament. Fig. 312. Four-wicked Lamp. Fig. 313. Roman Lamp. Terra-cotta. Another Roman lamp of circular form (fig. 313) has an eagle rising, with the wings expanded, and the head turned over the back to the right. The eagle was a favourite subject of ornamentation among the Romans, on account of its con- nection with victory and military superiority. Another (fig. 314) has a lion's face upon it. The annexed woodcut shews an oval lamp (fig. 315), perhaps of the Christian period, with an ornamental device, Pig. 314. Lamp with Comic Mask. Fig. 315. Oval Lamp. Terra-cotta. which may be a candlestick or a sacred monogram. The small figures appear very like Cypriote syllables. Among the lamps of later date and unconventional style may be mentioned that seen in fig. 316, where the body is constructed in form of decreasing rows or bands, and is fitted LAMPS. 255 with a handle, not unUke those seen on amphorse of a much older period. I will conclude this short ac- count of the numerous lamps with an illustration of the terra- Fig. 316. Late Lamp. Terra-cotta. cotta mould of a lamp (fig. 317), the device upon which is a head of considerable merit as a work of art. Fig. 318 represents a cast taken from it Fig. 817. Fig. 318. Terracotta. Mould of a Lamp. on a surface similar to that which would be afforded by a lamp. The other moulds (figs. 319, 320), of beautiful design, one of which has a figure of Mercury or Hermes, with cadu- Fig. 319. Mould of a Lamp. Fig. 320. Terra-cotta. ceus, and a helmeted warrior, armed with a short sword, may be conveniently placed here. Among the inscriptions I am able to record the subjoined 256 LAMPS. list, among which occur names, in the genitive case, of makers, some of them slaves, or of places and towns where they were made, that of the pottery or the proprietor, dedications, and private trade marks. and PI AO NO C CTPIAflNOC. The name of this potter occurs on lamps in Mr. Sandwith's collection. 2. PI Ai:iNO C The same with an E by mistake for the initial C. 3. 4. COTH PI A A n AT A O T and n AT A OT and E I P H A 6. EP M I AN O for EPMIANOT. 7. and 0E A n P LAMPS. 257 9. 11. 13. 15. 17. HA A TriN O C nPATINOCI onrxii o E n I TAG no c AOTKIO T 16. TO INT and n-A'A-T-a-N. between the leaves, of a six-foil star. 10. 12. MAP 14. NT? A CnTHPIKOT n PAX HO T Among the private marks, or initials only, are : — A hatched parallelogram ; a diamond or lozenge ; a human foot, on the base of fig. 316 ; a bunch of grapes, on that of fig. 281 ; a human hand, on that of fig. 311 ; X, I, T-N-, A. DNO, CE, M. r, I, HNT. ETP; CO©, T, A. y, U, ©,\l/, A.M.. and many others. CHAPTER XXIII. COINS. OINS of a variety of types and countries, , and in great numbers, are constantly found by the watchful excavator in Cyprus, for every dominant power has, in turn, left behind it these ancient and almost imperishable tes- timonies of its existence, buried in the soil where they were in former times the tangible and outward representative of wealth and all that empire possesses of resource and unity. I found numerous examples, in fairly good states of preservation, but generally very much clipped,^ of Phoenician, Cypriote, Greek, Roman, Venetian, and Lusignan numisma- tics ; but, inasmuch as most of these classes are well known, and have been treated exhaustively in works especially de- voted to their elucidation, it is unnecessary for me to describe these coins on this occasion. I shall, however, here put on record a short notice of some of the Cypriote coins, because the knowledge which numismatists at present possess on this branch of Cypriote antiquities is very unsatisfactory, and for the most part tentative. The only works on the subject of Cypriote coins which I have been able to consult are — that by M. le Due de Luynes, entitled Numismatique et Inscriptions Cypriotes, foL, 1852 f a tractate by Mr. E,. H. Lang, late Consul at Larnaca, upon ^ This circumstance has been noticed by the writers on Cypriote coins. 2 A fine work, as far as the numismatics and history are concerned, but greatly marred by the erroneous readings of the Cypriote characters. COINS OF CYPRUS, COINS. 259 two hoards of coins found at Larnaca, or Kitium, in the Numis- matic Chronicle, New Series, vol. xi ; and a paper by M. le Comte de Vogli^, in the Jouryial Asiatique, Aug. 1867, entitled "Inscriptions Phdniciennes de I'lle de Chypre", with some further " Notes Epigraphiques" on the same subject, at p. 479, et seq. I am also indebted to M. Six, of Amsterdam, for notes on some of the early Cypriote coins in my collection. Mr. Lang, describing the early specimens, states that to the coinage which has a punch-mark on the reverse, as in the earliest coins of Athens, numismatists generally assign a date anterior to B.C. 600 ; and as Cyprus was, at that distant period, in no way behind her neighbours in knowledge and practice of the arts, we may safely assume, he says, a similar date for the Cypriote coinage of that character. I believe, however, that all numismatists do not agree with this as- sumption. Of these, I have a coin, bearing on the obverse a sphinx, seated, to the right, the wings expanded ; on the reverse a punch-mark (fig. 321). The sphinx was a common emblem of Assyria, and its use upon a Cypriote coinage may reason- ably indicate the time when the Island of Cyprus was under the government, or a dependency of that mighty empire. This period may, perhaps, be about contemporary with the well- known and oft-recorded visit of the seven Kings of Cyprus to Sargon at Babylon, B.C. 707. The same number of kings are said to have contributed towards the embellishing of the palace of Esarhaddon at Nineveh, about 670 B.C. Mr. Lang gives their names as ^gisthus. King of Idalium ; Pythagoras, King of Kitium ; Ithodagon, King of Paphos ; Eurylus, King of Soli ; Damastes, King of Kurium, and the anonymous Kings of Salamis and of Tamissus. Several variants of the sphinx and punch-mark type are given by Mr. Lang, and the Due de Luynes figures others. I cannot say whether my type is variant from these or not. The ram was a favourite Cypriote emblem. It occurs on a coin of Evelthon, King of Salamis, which bears on the obverse a ram couchant to the left, with indistinct characters s 2 260 COINS. in the field (fig. 322). The reverse is a plain surface, or punch-mark. Mr. Lang mentions a type which bears a ram on the one side and a ram's head on the other, and the Due de Luynes figures several other types on which the ram or ram's head occurs. Another coin of Evelthon in the collection (fig. 323) bears on the obverse a ram couchant to the right, with an inverted crescent enclosing a pellet and Cypriote characters in the field overhead, and in the exergue. On the reverse, within a cushion-shaped depression, an ornamental crux ansata. The devices of this type were known to the Due de Luynes and to Mr. Lang. Another, probably of this class, is undeter- mined (fig. 324). The reverse is the same as that of the previous coin. The coins of Azbaal, King of Gebal, or Gabala, and Baal- melek, of which I possess several types (figs. 325, 326), are attributed, according to Mr. Lang, by the M. Le Comte de Vogud, to Kitium, in the Journal Asiatique. They date about B.C. 560, according to Mr. Lang. In the British Museum col- lection of coins, a date of B.C. 448-410 is attributed to Baal- melek, and B.C. 410-387 to Azbaal. We have in this class (which bears on the obverse a full-length figure of Hercules to the right, wearing a cloak, and lifting up a weapon in the right hand over his head, the left hand being stretched out at full length ; on the reverse, within a pearled or beaded square, is a lion devouring a stag, with Phoenician inscrip- tions in the field above them), the currency of Tyre, a cur- rency which naturally was in large circulation in the Phoeni- cian colonies of Cyprus, and, indeed, generally throughout the island. '' The extensive number and variety of the coins," says Mr. Lang, " both in silver and gold, which have for reverse a lion devouring a stag, seems to me to indicate a currency far greater than the little colony of Kitium could pretend to. This is also the only class of ancient coins which can with any likelihood be attributed to Phoenicia ; so that, in giving it to Kitium, we remain without any known cur- rency for Tyre, then the chief emporium of commerce, and COINS. . 261 naturally needing most largely a circulating medium. In assigning to the coins of Azbaal and Baalmelek so early a date as B.C. 560, I am opposed to the views of the Due de Luynes ; but the learned Duke himself expressed some doubts upon the subject." Mr. Lang then proceeds to examine the history of Tyre contemporaneously with that of Cyprus during the sixth century B.C. With respect to the origin of the device exhibited on the reverse of this type (fig. 327), no satisfactory explanation has been arrived at. Legends state that stags were accus- tomed to swim over to the rich pastures of Cyprus from the mainland of Syria. ^ Another of these coins is a variant of this type (fig. 328). Many of them have been figured by the Due de Luynes,*^ and by Mr. Lang in the works already referred to. A class not far removed from the foregoing bears on the obverse a ram couchant, to the left ; reverse, a punch-mark (fig. 329). The ram appears to be a device pre-eminently of Cypriote use, but I am unable to conjecture the reason, unless the comparison of the form of the Island of Cyprus to that of a fleece^ be connected with it. This type was not included in any of the coins found in the treasured hoards which I have already spoken of M. Six attributes this to Evelthon, King of Salamis. The Cypriote letters equivalent to EvpelxOcov] are placed below the ram. (See De Luynes, Num. Cypr., PI. I, f. 8.) Another coin* of this class, probably of Evagoras I, who 1 " Agri enim fertilitatem ^liauus prodit, cum scribat cervos ex Syria in banc insiilam ad bonam pastionem transnatare," — Ortelius. 2 The Due de Luynes accounts for the device of Hercules on the obverse of later coins as follows : — *' Hercule, qui fut aussi le lib6rateTir de ses contem- porains, est un type naturellement choisi par Evagoras et peut-etre la l^gende devant la tete du dieu y fait-elle allusion. Les lettres EY pour Evagoras sont ici le premier exemplede cet usage suivi depuis paries rois Cypriotes Nicocles, Pnytagoras, Evagoras II, et meme Menelaus, qui placerent seulement quel- ques initiales sur leurs monnaies." 3 " Formam ejus velleri comparari auctor Eustathius." — Ortelius. * M. Six considers this coin to be that of an uncertain town, and refers to De Luynes, Nuvi. Cypr., V\. ii, figs. 2, 9, and PI. vi, fig. 6. 262 COINS. liberated the Island of Cyprus from the Persian yoke, and restored the pure Hellenism of the country, which had been forgotten under the barbarian rule, bears on the obverse, within a pearled or beaded square, the forepart of a lion with open mouth, to the left ; on the reverse an uncertain device, or punch-mark (fig. 330). It is of silver. This type was not included in Mr. Lang's hoards. I may here with propriety introduce the following extract, which gives a graphic and succinct account of the influence of Evagoras I on the history of Cyprus : — " Citium, bien moins religieuse que commer^ante, coaserva sou caract^re primitif : le culte, la langue, les habitudes mercantiles de la mere patrie s'y maintinrent sans alteration, ou du moins suivirent la meme marche que sur le continent phenicien. Elle eut ainsi une existence distincte de celle des villes indigenes et des colonies grecques etablies de toute antiquity sur difFerents points de la cOte. Neanmoins elle suivit toujours le sort de I'ile dans ses rapports avec les puissances voisines; c'est-a-dire que, tout en conservant une certaine autonomic, elle fut successivement vassale des grands empires que se partagerent la domination de I'Orient, I'Assyrie, I'Egypte, la Perse. Elle fut des premieres a se soumettre a Salamanasar et a Nabuchodonosor, quand ces monarques envahirent le littoral M^diterran^en. La preuve mat^rielle de la conquete Assyrienne a 6t6 trouv6e aux portes memes de Citium. C'est la st^le de Sargon, aujourd'hui conserv6e au musee de Berlin. Plus tard quand I'Egypte, sous la vingt-sixieme dynastie, entra dans le concert Europ^en, les flottes de Citium jointes ^ celles de Tyr et de Sidon, furent battues par les vaisseaux d'Apries ou d'Amasis, et I'tle subit la douce domination des souverains jfegyptiens, jusqu'au jour o^ la victoire de Cambyse la fit passer sous la suzerainete de la Perse. " Dans les grander guerres qui mirent aux prises les j^tata naissants de la Grdce et les vieilles races de I'Asie, Cypre ne resta pas neutre, et les galeres de Citium se mMerent aux flottes Pheniciennes qui portaient en Europe les hordes du grand roi. L'ile fut le theatre de luttes violentes dans lesquelles les villes Pheniciennes prirent parti pour les Perses centre les Atheniens, que Boutenaient les colonies helleniques. L'avantage finit par rester aux Asiati- ques ; mais leur puissance sortit affaiblie de la lutte, et, pendant la seconde raoitie du Ve. siecle, I'autorit^ du grand roi fut presque nominale. Les petits dynastes locaux, Grecs ou autres, prirent une plus grande importance, battirent monnaie en leur propre nom comme les Azbaal de Citium, et quand I'esprit hellenique se r^veilla du nouveau sous la vigoureuse main d'Evagoras, il com- battit avec avantage centre I'Asie. La lutte fut longue ; Citium, alliee natu- relle des Perses, fut la derniere a se soumetti-e a Evagoras, mais elle eut la consolation de le voir perdre dans sa rade la victoire navale qui sauva au moins la suzerainet6 persane. COINS. 263 " ^vagoras fut le precurseur d'Alexandre par rimpulsion qu'il donna h. la propagande hellenique en Orient ; avec lui, les lettres, les arts, les sciences de la Grdce prirent en Cypre un d^veloppement nouveau. Le mouvement se continua apres sa mort, si ce n'est peut-etre a Citium, oii la petite dynastie des Melekiathon et des Pumiathon revint a la langue, aux types, aux usages nationaux. Cette reaction toute locale ne pouvait arreter le courant qui poussait rOccident en Asie, et quand Alexandre le Grand, port^ par ce courant, eut envahi la Syrie, les rois grecs de Cypre, conduits par Pnytagoras, vinrent se joindre k lui et prendre leur part des victoires qui consacraient d^finitive- ment le triomphe de la Grece sur la Perse. Citium ne put concourir a I'enva- hissement de la Phenicie a la prise de Tyr, mais elle dut sans doute a sa neutralite de perdre une partie de son territoire ; neanmoins elle conserva son autonomic jusqu'au jour o^ I'lle entiere fut annexee a I'unite gr6co-6gyptienne, en attendant le moment oil elle devait disparaitre dans I'unite de I'Empire Remain." — M. de VogU§, Journ. Asiatique, 6 Ser., tom. x, pp. 113-115. Coins of the type with a lion's head have been placed next to those bearing the punch-marked reverse. They are also probably to be ascribed to Evagoras I. Of these, I have one (fig. 331) upon which the obverse has a lion's head, with open mouth, to the right ; reverse, the forepart of a lion, with the paws elevated, and the head reclining in a somewhat un- usual manner. Fig. 332 represents a class of coin of great interest for the bilingual inscription on it. The Cypriote characters are BA, Ni, and correspond with the B, N. in Greek capitals below. It is to be referred to Nicocles, son of Evagoras I, King of Cyprus. The reverse bears (according to M. Six) a head of Aphrodite to the left, as seen upon several coins of Corinth. I introduce here (fig. 333) another coin of this king. Fig. 333. Coin of Nicocles and Salamis. Silver. The accompanying figure (334) represents a very beautiful silver coin ofNicocreon, or Nicocles, King of Cyprus, inscribed on the obverse ni ; on the reverse ba. for BA2IAETS. 264 COINS. Next in order may be placed the undetermined and un- certain coins of Cyprus, among which is the type which bears on the obverse a bull statant to the left, with or without the so-called mihir, or flying bird, in the field overhead ; on the reverse, with a rectangular countersunk compartment, a flying dove, a bird for which Athenaeus says Cyprus was cele- brated,^ or an eagle (fig. 335). It is not very unlike the coins of Aristokypros, one of the earliest rulers of the island. Another coin in the collection is a variant of this type (fig. 336). They are known to and described by the authors to whom I have already frequently made reference. Another type is that shown in fig. 337. This, M. Six informs me, is a coin of Stasioikos, King of Marion. The obverse bears a head of Jupiter, to the right, crowned with myrtle, before him a branch of myrtle ; the reverse, a head of Aphrodite, to the right, crowned with myrtle ; in the field, the Cypriote letters hVt (Ba. tra.) and MAPI. There is an example of this type in the Berlin Museum. The following figure (338) gives a type of a coin of Eva- goras I, King of Salamis. The obverse bears a head of Her- cules, beardless, to the right ; the reverse, a wheel of four spokes. M. Six, in describing this coin, refers to another type which resembles this, but has on the reverse Hercules seated. A coin, perhaps of Evagoras II, with the same head of a lion with open jaws as in fig. 331, to the left, and below it a fish, on the obverse, and having a head of Pallas with a Corinthian casque to the right on the reverse (fig. 339), I place here, although it may be hereafter shown to be of later date than many which come after it in the series. It is not quite certain that this is a Cypriote coin. The type of coinage which bears on the obverse a lion's head, and on the reverse a cross of the kind called croix ancree, is described by Mr. Lang, and probably comes next in order of date. An uncertain coin of common occurrence in Cypriote dig- ' "Eximias ejus columbus celebrat Athenieus." — Ortelius. COINS OF CYPRUR AXD OTHER PLACES. OF sdL'POPHj^ COINS. 265 gings (fig. 340) bears on the obverse a lion ; on the reverse, a horse, with a star of eight points in the field. The following is a gilt silver coin (341), the obverse of which bears the head of Apollo to the left, and the reverse a device called the croix ancree by Mr. Lang. M. Six calls the cross ansee, and explains the partly obliterated Cypriote letter in the handle, as V=2a. : the lower part of the object repre- senting ^=Ba. The whole device will then read " King of Salamis." It may be perhaps a coin of Nicocreon, King of Salamis. There are two specimens of this type in the collec- tion of the Due de Luynes at Paris. The position in the series of Cypriote coins is as yet undetermined. The following coins, although of no great especial value, are of considerable importance, as showing how numerous were the currencies that passed in the Island of Cyprus in the earliest days of the history of the island. Staters of Alexander the Great (fig. 342) are of frequent occurrence, and another coin of Alexander the Great was found, of silver, the reverse being a seated figure of Zeus to the left, holding a bird on his hand. Fig. 343 represents a coin of Massicytes, in Lycia, in fine preservation, found by me at a great depth of earth in Sala- mis. It is interesting, not on account of its type, which, I believe, is known to numismatists, but as showing what coins were current in Cyprus at an early period. The coins of Antiochus III (fig. 344) ; of Corinth (fig. 345) ; of Eretria in Euboea (fig. 346) ; and many of uncertain and undetermined localities (fig. 347), are in the Lawrence-Cesnola collection. Among others, I may refer to one of Ephesus (fig. 348), with the name of Lysanias, the magistrate ; others of Celenderis in Cilicia (fig. 349) ; of Miletus (fig. 350) ; of Soli in Cilicia (fig. 351) ; of Judaea (fig. 352), with an inscription purporting that the coin is the equivalent of a sixth part of a shekel ; a coin of the Island of Rhodes (fig. 353), with the name of the magistrate, Diognetus, AIOrNHTOS, on the reverse, the obverse being designed with the beautiful portraiture of Phoebus Apollo in his. character of the Sun God ; a coin of a 266 COINS. city of Phoenicia (fig. 354), perhaps Aradus ; and lastly I will mention a coin (fig. 355) of Valerian the Elder, a.d. 253-260, for Attaleia in Pamphylia, bearing on the obverse figures of Nike, Artemis, and Athene. This last coin is believed to be of the greatest rarity. There is no specimen of it in the British Museum. The legends are— Ofev., AT KAI nO AI OTAAEPIANON ET . C. Rev., ATTAAEON. Passing over, for the reasons already given, intermediate currencies of Byzantium and other places, which are well known to numismatists, and all of which are copiously repre- sented by the result of my excavations, I shall conclude with the following observations upon the Latin Kings of Cyprus, of whose coins I found many fine examples. They form an inter- esting and unbroken series in the numismatics of that island. The Lusignan dynasty held possession from a.d. 1192 to a.d. 1489, or for nearly three hundred years, eighteen princes having reigned during that time, of whom six are represented by coins in the Lawrence-Cesnola collection. The events which led to Guy de Lusignan, founder of the dynasty, becoming master of the island, are related in the valuable little volume on Cyprus, published in 1878 by Captain Savile, of the Intelligence Branch, Quartermaster-General's Depart- ment, Horse Guards. Abridged, and with slight alterations, the narrative is as follows : — In the spring of 1191, Bichard Coeur de Lion left Messina to join King Philip of France in the third Crusade. A storm dispersed his fleet, and a vessel which carried his sister, Queen Dowager of Sicily, and hi^ fiancee, Berengaria of Navarre, was driven to Limassol, and, being refused entrance to the port, anchored in the roadstead. Cyprus was then under rule of Isaac Comnenus. He had been appointed " Duke" by the Greek Emperor of Byzantium, but declared his independence, and assumed the title of "Emperor of Cyprus". This treache- rous prince, who had already imprisoned the crews of three other English ships wrecked on the south coast, tried to seize the vessel containing the royal ladies ; but, Richard coming COINS. COINS. 267 up from Rhodes with the remains of his fleet, frustrated the attempt, and avenged it by landing his troops and occupying Limassol. The arrogance and bad faith of Isaac obliged Richard to attack and defeat him at Colossi. The Cypriote army fled into the interior, and rallied again in the Messarian plain. Richard, meanwhile, in the presence of Guy, Lord of Lusignan in Poitou, ex-king of Jerusalem, and the Princes of Antioch and Tripoli, newly arrived in Cyprus, celebrated, on May 12th, 1191, his marriage with Berengaria. The history of the succeeding events is not clear. Probably some new treachery on Isaac's part determined Richard to follow and punish him. Guy de Lusignan occupied Famagusta. Richard himself defeated and captured Isaac at Tremitusia, marched upon Nicosia, which surrendered without a blow, and reduced, one by one, the famous castles, Kyrenia, Hilarion, Bufiavento, and Cantara. Shortly afterwards, Richard sailed with his prisoner from Limassol to S. Jean d'Acre, leaving the island in charge of R. de Canville and Robert de Turnham. Isaac was confined and died at Tripoli. Cyprus was now sold by Richard to the Templars for 100,000 gold bezants, about £300,000 sterling. The rule of the knights was severe and unpopular, and weary of their bargain, they begged that they might be permitted to restore the island to Richard, and to receive back the 40,000 bezants already paid on account. The latter condition the king would not agree to ; but at last, Guy de Lusignan intervened, and, on paying Richard 60,000 bezants, was invested by him with the sovereignty of the island, of which he took possession May 1192. Guy now resigned his claims to the throne of Jerusalem, and devoted himself to restoring order and tranquillity in the island. But he reigned scarcely two years, and, perhaps, never actually assumed the title of King of Cyprus. He died in April 1194, and was succeeded by his brother Amaury. I may appropriately conclude this chapter upon coins with fig. 356, which represents a broken and imperfect jar found at Salamis, containing a mass of bronze coins encrusted together so thoroughly, that very little could be deciphered 268 COINS. upon them. The jar was closed with a flat stone (fig. 357) of irregular shape, having upon it several lines of Greek capital letters, which I am inclined to believe were inscribed Fig. 356. Hoard of Coins in a Jar. Terra-cotta. upon it to resemble an exorcism or anathema, in order that ignorant and superstitious finders might be deterred from Fig. 357. Cover of Fig. 356. Stone. robbing the hoard which the owner and depositor hoped at some future time to recover. INDEX. Abraxas, god, 176 Actor, statuette of an, 199 Adder stones, 50 ^acidffi of ^gina, colonise Salamis, 1 Msicas, 1 JEgina, 1 ^gisthns, king of Idalium, 259 ^ons, 176 ^soulapius, 199 ; on gems, 150, 151 Agate, cones of, 130, 131 Ajax, murder of, 2 Akestothemis, 86 Alambra, near Dali, discoveries at, 217 Alabaster objects, 110, 113 Alabastra, 8, 9; carved, 110, 111, 112, 113; glass, 166, et seq. Aleppo, 119 Alexander, coins of, 11, 265 Alexandrian style of pottery, 230 Alnwick Castle, museum, 28, 29 Altar, carved, 100 Amalthea, 178 Amazons, shield of the, 174 Amber-beads, notice of the occurrence of, 35 ; rarely found in Cyprus, ib. Amen-Ea, name of, on a scarabaeus, 135 Amethyst beads, 32 ; pendants, 34 Ammon-Horus, god, 64 Amphorae, glass, 167 Ehodian, 200 sealed, 72, 73 Amosis, king of Egypt, governs Salamis, 3 Anacreon, 198 Ancient pottery found near Eecnlvers, 238 Animals, figures of, on cylinders, 118, et seq. ; terra-cotta, 193, 194, 217, 221, 222, 244 ear-rings in form of heads of, 39, 40 Animals' teeth, used as pendants, 32 Anthemion ornament, 205 Anticlides, 149 Antiochus I, coins of, 265 Antoninus Pius, 96 Anubis, 157, 158 Ape, golden, 46 Apelles, inscription of, 96 Aphrodite, inscription concerning, 99 ; head on coins, 263, 264 ; statuettes of, 179, 185 ; toys inform of, 221, 222 Apis Bull, carving of. 75 Apollo, head of, on a coin, 265 ; statuette of, 195 ; temple of, 8 ; at Calymna, 67 Amyclaios, a Cypriote sun god, 54 Apostles, the, 109 Apulian Stamnos, 235 Arab invasions of Cyprus, 4, 5 Aradus, coin of, 266 Ariadne, mask of, 217; terra-cotta of, 203, 205 Aristothemis, inscription of, 85, 86 Armlets, bronze, 61 ; gold, 9, 19 Armour, 9 Arrow-heads, iron, 64 Arsinoe, head of, 73 town of, 5 Philadelphus, inscription of, on a vase, 230, 232 Art of vases, 240 Art work of Cyprus, diflSculty in distinguishing, 22 Aryballos, early specimens of, 234, 243 Ashtoreth, symbol of, 126 Asteria, danghter of Teucer, 2 Asiatic goddess, on a cylinder, 120 Asikathiyas, inscription of, 88 Asopus, a Greek river god, 1 Assyrian cylinders, 117, 118, et seq. decorations, 205 influence, 20, 21 monument of the reign of Sargon, 2 style of gold ornament, 23 style of statuettes, 93 style of terra-cottas, 177, 175, 185 types, 36, 37, 39, 40 Atef crown, 53 Athene Nikephoros on gems, 144 Athieno, site of, 101 Attaleia in Pamphylia, coin of, 266 Augustus, coins of, 45 head of, on a gem, 151 Autolycus, statuette of, 193 Azbaal, king of Gebal, coins of, 260, 261 Aztec aspect of statuettes, 207 Baal, symbol of, 126 Baalbec in Syria, 2 Baalraelek, coins of, 260, 261 Baal Eeseph, a Phoenician god, 54 Baal Solaris, inscription of, 224 Babylonian cylinders, 120, et seq. style of gold ornament, 23 Bacchante, statuette of, 187 Bacchic mask, 216, 217 Bacchus holding grapes, 10 on gems, 150 Basket, terra-cotta, 244, 245 Beads, various, 30, 31, 32, 140, et seq. ; cor- nelian, 25, 32; emerald glass, 34; Druids'* 40 ; on a silver wire necklace, 50 270 INDEX. Bee or wasp, chalcedony, 159 Bellarmine, 241 Belus, king of Sidon, 2 Billon, coins in, 12 Birch (Dr. S.), 46, description of an Egyptian patera, 53 description of Egyptian situli, 64 opinions quoted, or descriptions by, 79, 92, 96, 100, 118, 133, 136, 139, 156, 165, 166, 179, 225, 227, 232, 233, 234, 236, 246, 251, 253 Birch (W. de Gray) on the gryllus, 150 Birds on early vases, 233 terra-cotta, 188, 190, 193, 194, 244 Boat of the Sun, 139 Bodkins of ivory, gilt, 73 Bologna Museum, 22, 35 Bone antiquities, 78, 79 Boots turned np at the toe, a characteristic sign of Hittite art, 120, 128 Bottles, gold, 46 Box, containing weapons, 64 of carved bone, 78, 79 ivory, 74, 77 leaden, 67 inclosed in two paterae, 75 Bowl, inscribed. 111, 112 Bracelets, 5 gold, 9, 19 silver, 51 Breast, figure of the, on vases, 232 British Museum, 29, 37, 117, 120, 243 archaic vase room, 228, 248 Bronze found in temple ruins, 9 ; remains, 53 ; paterse, 53-57 ; pipe or flute, 57-61 ; serrula, 61 ; finger-rings, pins, tweezers, buckles, 61 ; miscellaneous mass of objects, 62, 63 ; mir- rors, 63 : buckets, 63, 64 hairpin, 164, 165 Buckets, bronze, 63, 64 Bull, on scarabs, 138, 139 and star on rings, 44, 45 on a gem, 153 Bulls' heads, bronze, 62 Bunsen (Chev.), quoted, 136 Bust, Iconic female, 108 Bustron (Florio), testimony of, 5 Buttons, gold, 9 Byzantine art, 37 coins, 11, 21 seals, 70, 71 Calcaeeocs stone of Cyprus, 84 Calf and hand with a ring, 141 Calymna, temple of Apollo at, 67 Oameiros, pottery of, 169 Candelabra, bronze, 62 Carbuncle, ring with, 44 Carte (Mr. R. and Mr. H.), on the bronze flute, 57 Casket of shell, 79-81 Castellani (Signer), views of, respecting amber, etc., 35 reference to, 46 Cato, governs Salamis as a Roman Pro- vince, 3 Ceccaldi (Signor), 56 Celenderis, in CUicia, coin of, 265 Celtic antiquities, 19 Centaur, terra-cotta, 220, 221 Cerina or Gyrene, Phoenician inscription found at, 84 ; Cypriote, 85, 86 Cervetri, 35 Chalcedony, cylinder of, 128 relics, 155-160 Chaldean ornaments, 226 Chalices, of stone, 95 Chaplets, gold, 9, 19, 22, 23 Chappell (Mr. W.), note on bronze flute, 57-61 Chariot, of four horses, terra-cotta, 218 ; for two horses, 220 leaden, with archaic wheels, 67 subject of, on a scarab, 139 on gems, 151 on pottery, 218 of terra-cotta, 202 Children, statuettes of, 188, et seq. Chittim, 37 Chiusi, 35 Choir ; statuettes of musicians, 213 Chons, god, 159 Christian worship in ancient temples, 9 Cippi, 10 Cippus, sculptured, 101 Circe, myth of, 246, 247 Citium. See Kitium. Clapping instrument, 187 Clemens of Alexandria, 250 Cleopatra, Queen, inscriptions of, 193, 194 ; coin of, 193 Cocatrice. on a gem, 148 Cock, aryballos, in form of a, 244 of terra-cotta, 73 statuette of a, 188, 193, 194 Coins, 8, 10, 11 bronze, 63 number and variety of those found, 258 ; Cypriote, 258-265 ; Greek, 265 ; Jewish, 265 ; Phoenician, 266 ; Roman, 266 ; of Latin Kings, 266 ; Lusignan, 266-267 ; hoards of, 267-8 Cones, engraved, 130-132 Constantia, new city of, 4, 5 inscribed statuette found at, 91, 92 personified, 95, 96 Constantine, the Great, earthquakes at Cyprus in his time, 2 development of Salamis in his time, 4 result of an edict by, 8, 9 Copper relics, 5 Corinth, coin of, 265 Cornelian, beads of, 25, 32 engraved, 30 carved, 36 Cornelian, scarabffii, 138 Corneto, 35 Crispina, Empress, 186 Crocodile, on a scarabasus, 136 Crowned figure on a ring, 50 Crux ansata, 126, 260, 265 Crystal objects, 114, 116 pendant, 31 Cuming (Mr. H. S.) on tetinse, 227 Cupids on gems, 146 ; terra-cotta, 187 Cuttle-fish, chalcedony, 157 Curium. See Kurinm. Cybele, glass figure of, 47 Cylinders, engraved, 117-129 Cyprus, Eune, daughter of, 2 Cyprus, Island of, independence of, 3 variety of the antiquities found in, 8 native style of gold ornament, 23 foreign influences at, 20, 21, 22 kings of, visit to Sargon, etc., 287 invaded by the Greeks, 2 INDEX. 271 Cyprus, history of, during the years 1191-1194, 266-267 . gold coins, 11 coins, 44, 258-265 table of characters, 16, 17, 18 inscription on gold fibulsB, 47 inscriptions, 69, 70 art on cylinders, 119, et seq. inscription on scarab, 139 on a rectangle, 140 on vases, 224, 232 cartography of, 6 Cyrenaica, excavation in the, 36 Dali. See Idalium. Damastes, king of Curium, 259 . Dancing figures, 246-248 Deecke (Prof.), 81, 86, 88, 89, 91, 101, 102, 103 Demeter, statuette of, 144, 178 Kourotrophos, statuette of, 184 Demon-birds, 120 Dennis (Mr. George), note from his work, 20 ; quoted, 35, 227, 229, 235 Diana Paralia, inscription to, 96 Die, ivory, 73 Dimyxos lamp, 251 Diodes, inscription of, 245 Diodorus, inscription of, 245 Dionysiac emblems, 150; scene, 56 Diotse, archaic, 225-227, 230 —;— glass, 169 Discobolus, on a stone, 43 Dog, aryballos in form of a, 243 ; inscribed, 217 Dolphins, on a gold bead, 45 Daves carried by sacerdotal eflSgies, 204-209 Druids, beads of the, 40, 50 Dutch, use of fnmigators by the, 237 Eagle, on gems, 153 on a Roman lamp, 254 Earpick, ivory, 73 Ear-rings, 5 ; gold, 9, 19, 36, 42 ; shell, 79 ; silver, 49 Earthquakes, influence of, 2, 4 Egg, in a glass cup, 169 Eggs, examples of ancient shells of, 169 Egypt, 39, 118 Egyptian art, contrasted with Cypriote, 29, 33, 36,37 buckets, bronze, 63, 64 hieroglyphics on cylinders, 122, et seq. on a stamp, 107 influence in Cyprus, 21, 105 jewellery, 28 patera, 53-57 style of statuettes, 93 scarabsei, 133, et seq. use of lamps, 250 Emerald glass beads, 34 Emery stone, 118 Ephesus, coin of, 365 Epiphanius (St.), tomb of, 5 Erato, statuette of, 180 Eretria, coin of, 265 Eros, carved heads of, 36, 41 head of, in lead, 71 ear-rings in form of, 41 on a horse, 194 reclining on a lamp, 261 with Psyche, 195 Erotes, 146 Esarhaddon of Nineveh, 259 Etruria, gold antiquities of, 19 gold laminae of, 20 jewellery and amber, 35 art of, 35, 37, 39, 40 Etui, or small box of pins and needles, bronze, 61 Evagoras I, 3 ; a descendant of Teucer, his- tory of, 3 ; fate of, ib. coins of, 261, 264 political history of, 262-264 Eune, wife of Teucer, 2 Evoda, tablet of, 98 Euphranor, tablet of, 98 Eurylus, king of Soli, 259 Evelthon, king of Salamis, 259, 261 Evil Eye, precautions against, 71 Eye-pieces, gold, 23 Ezekiel, quoted, 29, 37, 39 Pamagusta, city of, 5 ; tombs at, 82 Faustina, the elder, 95, 96 Fibulte, golden inscribed, 47 silver, 50, 51 Fillets or wreaths of leaves, gold, 212, 213 Finger-rings, bronze and iron, 63 iron, 64 silver, 49-51, 61 gold, 9, 19, 42-45 Flowers, of gold leaf, 22, 23 Flute, bronze, 57-61 Foil, of gold, 9, 19 Fonts, stone, 95 Foot, lamp in form of a, 251 Fortune, on gems, 146, 147 Foabrooke, quoted, 227 Foundations of shallow enclosures, 8 Frontal, indented patterns of a, 20 with archaic ornaments, 23 gold, 19-22 Fumigators, 237, 249 Galley, on a lamp handle, 253 Gazelle, figures of, on cylinders, 124, ei seq. Gebal, king of, 260 Gemellus, tablet of, 99 Gems, 8 Greek, in a necklace, 25 rings, 43-45 use of, 44 engraved, 142-154 in mediaeval setting, 143 Genius, statuettes of, 188, ef seq. Gizeh pyramids, 134, 135 Gladiator, leaden, 66 figure of a, i07 Gladiators, statuettes of, 201 Gladstone (Et. Hon. W. E., M.P.), note on Greek and Egyptian ideas of future life, 105 Glass objects, 36, 161-176 beads, 31 bronzes set with, 61 drops found in a leaden box, 67, 68 pendants, 46 with impressed figures, 51 hairpin, 164 set in a ring, 73, 81 ring with inscription, 164 vessels with studs or tear-drops, 172 subjects on, and variety of the vessels, 10, 11 vessels, 8 272 INDEX. Gnostic, amulet, 175, 176 gems, 148-150, 152 Goat, on a gem, 153 aryballos in form of a, 243 Goddess, on gems, 145 head of a, in glass, 174 Gold relics, 5 ornaments, 8, 9 coins, 11 antiquities, frontals, 19-22, ; groups and leaves, 24 ; Eyes, ib. ; mouths, ib. ; neck- laces, 25-35 ; pins, 36 ; settings, 36 ; ear- rings, 36-41 ; finger-rings, 42-45 ; studs and disks, 45 ; miscellaneous figures, 45-47 ; fibulae, 47 on a statuette, 92 fillets for the hair, 212 leaf crowns, 206 Golgoi, site of, 101 Goose, Venus on a, 187 Gothic coins, 21 Grffico-Cyprian language, 3 Grifiin, on a ring, 50, 137 Greece defeats Xerxes, 1 invasion of Cyprus by, 3 gold antiquities of, 19 gold frontals found in, 22 Greek bronzes, 62 leaden bullet, && church, an ancient wall used as a, 2 coins, 11 . influence, 20, 21 inscriptions moulded on glass, 173 poem, inscription of Phileas, 103 lamps, 250, et seq. relics, destruction of, 5 scroll ornament, 24 statuettes, 93, 303-207 Grotesque statuettes, 187, et seq., 196-201 Group, ivory, 77 ; bone, 79 Gryllus, gems bearing a, 148-150 HEMATITE, cylinders, 118, et seq. Hairpins, various, 36, 164 bone, 79 ivory, 73 silver, 50 Hand with remarkable arrangement of the fingers, 159 Harpocrates, figure of, 159 Hawk, on a scarabseus, 138 Head-dresses of statuettes, 204-206 Heads in coloured glass, 174, 175 Helbig (Hen), 33 Hellenic population of Cyprus, 166 Hera, statuette of, 178 Hercules, aryballos in form of the head of, 242 gold club of, 30 on coins, 260, 261, 264 on gems, 145 statuettes of, 178, 198 Hermaphrodite centaur, 220 ; statuette, 195 Hermes, figure of, 159 terminal figure of, 95, 96 mould for a figure of, 255 Hermianus, name of, on a lamp, 256 Herodotus, his account of Cypriote kings, 2, 3 — — reference to, 250 Hesione, 2 Hippocamp, 154 ' Hissarlik, 127, 210, 245 Hittite art, 210 ; on cylinders, 118, et seq. boss of Tarkondemos, 125 gem, 142 Hom-Tree, the, 226 Homer, quoted, 35 Horse, Eros on a, 194 Horse's head, terra-cotta, 202 Horns, 54 figure of, 159, 160 Hypogsea, 9 Hydria, a, 234 Hydria, glass, 168 Hydrostatic vase, 228 Ibis, carving of, 76 Idalium or Dali, gold objects from, 23 statuette found at, 181 —;— king of, 259 Ilion, gold objects from, 20 Inlaying pieces, 140, et seq. Imperial tablet, inscribed, 105-107 Inscribed rolls, leaden, 68-70 Inscriptions, Cypriote, 12, et seq., 80, 81, 82, 83, 85-92, 100-103, 111-115, 120, 121, 226, 227, 228 mixed Cypriote and Phoenician, 217 Phoenician, 84 doubtful. 111 on finger-rings, 42 Greek, 96-99 on lid of a pot containing coins, 302 Intaglios, 9 Invocation, Cypriote, 101 Iridescence, 10, 11 ; causes of, 170, 171 on glass vessels, 171 on other objects, 174 Iris, 147 Irish ancient diadems, 19 Iron objects, 64 Ishtar, goddess, 186 Ithodagon, king of Paphos, 259 Ivory objects, 36 ; seals, 72, 73 ; miscellaneous objects, 73; boxes, 73, 75; groups, etc., 77 ; hairpins, 73, 165 Jackal, 157 Jao, 148, 152 Gnostic, inscription of, 175 Jars, large, with geometrical patterns, 239 Jasper cylinders, 120, et seq. Jehovah, Gnostic, 175 Jesus Christ, name on a stamp, 107, 108 ; carving of scenes in life of, 108, 109 Jews, 3 revolt against Romans and Cyprus, 4 ; reason of their not settling in the island, 4 John Baptist, St., 109 Joyner (Mrs.), her translation of Von Loher's Cyprus, 4 Judaaa, coin of, 265 Juno Lucina, statuette of, 186 Jupiter, on gems, 142 Jupiter Serapis, on a gem, 143. See Zeus. Kaeapanos, M., 70 Kastamoris, 70 Kerkopes, aryballos in form of one of the, 243 Kemo..>- 3ERKELEY ®s HECTLD m^O'll^M ■7,'33 U. C. BERKELEY LIBRARIES III CDSSEb73ES A