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SALAMINIA 
 
 (CYPRUS) 
 
 THE HISTORY, TREASURES, & ANTIQUITIES 
 
 OF 
 
 SALAMIS IN THE ISLAND OF CYPRUS. 
 
 BY 
 
 ALEXANDER PALMA DI CESNOLA, F.S.A. 
 
 Member of the British Archceologieal Association, and of the Society of Biblical Archaeology ; 
 Son, Member of the Moyal Academy of Medicine, Turin; 
 etc., etc., etc. 
 
 312Eitfj an Ettttotmctton, 
 
 BY 
 
 SAMUEL BIRCH, Esq, D.C.L, LL.D, F.S.A, 
 
 Keeper of the Egyptian and Oriental Antiquities in the British Museum. 
 
 AND 
 
 WITH UPWARDS OF SEVEN HUNDRED ILLUSTRATIONS, 
 AND MAP OF ANCIENT CYPRUS. 
 
 LONDON : 
 TRUBNEK AND CO., LUDGATE HILL. 
 
 1882. 
 
1)S 
 
 ■"Hi ~-> 
 
 /\^J$ol<i> 
 
 T. UICHAKDS, PHIMTUK, 37, GHLAT QUKtlf STBEET, W.C. 
 
 •iU 
 
 n > 
 
THIS WORK IS DEDICATED 
 
 TO 
 
 EDWIN HENRY LAWRENCE, Esq, F.S.A., 
 
 BY 
 
 THE AUTHOR. 
 
 London, June 3rd, 1882. 
 
INTRODUCTION. 
 
 HE antiquities discovered lately in the Island of 
 Cyprus, consisting of all the different periods of its 
 civilisation, have certainly cast a new and important 
 light on the history of art, for they form a connecting 
 link between the Greek and Phoenician, or Aryan and Semitic 
 civilisation. 
 
 That Cyprus received colonists from the three continents 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 its conquest 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 six- 
 teen 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 was placed at the period of the Nostoi, or return of the 
 Greeks from the Trojan "War, and cannot be depressed lower than 
 nine centuries before Christ; and 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. Contem- 
 poraneously, or later, the Phoenicians had emigrated there, and 
 mingled with the Hellenic population. At the seventh century 
 
 h 
 
X INTRODUCTION. 
 
 b.c, the Assyrian annals shew 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 later, ten kings of Cyprus, 
 amongst whom appears a king of Salamis, propitiated Esarhaddon 
 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 considerably modified the sculpture of Cyprus. The only 
 question is to decide 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, which differ at the period, 
 resembling the Egyptian of the sixth century, or the Persian of 
 the fifth, although there are undoubted evidences of earlier imi- 
 tations in the bronze bowls and other objects. It is in this respect 
 that the antiquities discovered in Cyprus possess such great inte- 
 rest 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 civili- 
 sation. The 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, the 
 opaque glass toilet vases, made at an early period in the furnaces 
 of Phoenicia, the bronze bowls or cups, with subjects in relief, like 
 those of Assyria and Etruria, poured into the island by the inter- 
 course kept up with the coasts of Syria and Egypt. These vases, 
 which, by the route of commerce, 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 beautiful examples are in the 
 Lawrence-Cesnola collection. They are amongst the most beau- 
 
INTRODUCTION. XI 
 
 tiful products of ancient art, and the predecessors of the glass 
 chefs-d'oeuvre of Korne and Venice. Amongst those which the 
 Necropolis of Salamis has contributed is a remarkable egg-cup, 
 with the egg still remaining in it, a type not yet discovered 
 amongst the shapes of Hellenic vases of a later period. But also of 
 unrivalled beauty 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, not appearing on works of 
 ancient art till about the first century. Another charming spe- 
 cimen is the lid of a box, with 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 Assy- 
 rian monarch Sargon, which was discovered at Kouyunjik, or 
 Nineveh, 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 Eoman 
 Empire. The quantity of ancient glass found in Cyprus is con- 
 siderable, and many specimens exhibit a rare iridescence of colours. 
 A large proportion of the glass is, however, of the Eoman period, 
 and of the second and third century of the era. 
 
 A class of objects, also of Phoenician fabric, are the scarabsei, 
 made of hard stones, such as sard, sardonyx, agate, cornelians, and 
 jaspers imitated from the Egyptian. A most interesting example 
 occurs in the collection, bearing an inscription in Cypriote cha- 
 racters, and illustrating the fact that these scarabasi were made on 
 the island as well as imported. The earlier engraved were fol- 
 lowed by the usual Greek intaglios, and many of the period of 
 Greek and Eoman 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 Assy- 
 
Xll INTRODUCTION. 
 
 rian and Babylonian art, the deities and figures represented on 
 tliem being derived from that source, while the material and 
 glazing were copied from Egypt, cylinders of glazed steatite having 
 prevailed till fifteen centuries B.C. 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 an 
 indigenous production, and they consequently form a distinctive 
 type of Cypriote art. Many cylinders, however, of haematite, chal- 
 cedony, and other hard stones, some inscribed with cuneiform Assy- 
 rian, 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, descending to the third century B.C. 
 
 Amongst the objects introduced from Egypt are the scarabsei, 
 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 Egyp- 
 tian objects in porcelain to the isles. From Egypt, too, Cyprus pro- 
 bably 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 cen- 
 turies 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 probably 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 
 
INTRODUCTION. xiii 
 
 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 Romans. Silver con- 
 temporaneous with the earliest period does not retain its preser- 
 vation 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. 
 
 The leaden remains are not as a rule of the same antiquity as 
 the metals mentioned before, and a large proportion of those dis- 
 covered 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 seems to 
 end at the Augustan era. The Lawrence-Cesnola collection, how- 
 ever, has also leaden plates, anciently rolled up, of a nature similar 
 to the dirse, or imprecations discovered at Athens and Cnidus, 
 deposited 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 pre- 
 cedes the supremacy of the Hellenic civilisation. The oldest 
 known objects in lead are probably the archaic weights of Athens 
 of the ^Eginetan standard, and which may be attributed to the fifth 
 century B.C. But even for weights, lead subsequently was super- 
 seded 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, 
 
XIV INTRODUCTION. 
 
 owing to the rapid oxydisation 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 flute, con- 
 structed upon a novel 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 else- 
 where 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 found, 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, 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 amphi- 
 theatre, and tesserae 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, pre- 
 vented 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 untrammeled by hieratic influences, which had the 
 effect of producing a pseudo -archaism more interesting to the 
 
INTRODUCTION. X V 
 
 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 repre- 
 sentation of the countenance. But at Salamis have also been found 
 those small naked female figures of Dajdalic 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 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 appear- 
 ance is supposed to be first amongst the ruins of Hissaiiik or Troy, 
 the doubts and difficulties are too great to enable that alone to de- 
 cide 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 statuetles found of the oldest Assyrian or Per- 
 sian style, the middle period of the history of the Island, are suc- 
 ceeded by the Phoenico -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, 
 
XVI INTRODUCTION. 
 
 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 re- 
 markable 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 the Goddess of Bain, or a 
 Naiad; 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 Rhodes and Ialy- 
 sus. The back grounds are pale-yellow; the ornaments geometric, 
 plain bands, and annulets. Yases ornamented with plain bands, 
 annulets, circles, 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 is the employment of 
 birds in its earliest development. 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 a 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 
 
INTRODUCTION. XV11 
 
 antiquity. The vases of the Greek style of the last period are rare, 
 but many interesting specimens of the Roman 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 nourished 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 on the Attic standard, as well as silver, apparently at 
 Paphos. They are beautiful examples of Greek art, inscribed with 
 Greek inscriptions. After Mcocreon 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 vicissi- 
 tudes 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, 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. 
 
!1 INTRODUCTION. 
 
 me present work shows the results of the long and laborious 
 avations of Major di Cesnola in Cyprus, extending over a 
 iod of three years, chiefly at Salamis, one of the most im- 
 tant towns in the island, and colonised by Phoenicians and 
 :eks. This is the third town in the island the Necropolis of 
 ich has yielded such important archaeological results, and ex- 
 ded the knowledge of Anatolian Greek art, as distinguished from 
 t of a purely Hellenic character. The success which has 
 mded the efforts of the excavator is due to his perseverance 
 I discernment, added to his experience of the position and 
 >earance of promising sites, his acquaintance with the native 
 xacter, and requisite resources for conducting the operations to 
 iccessful issue. Hence the acquisition of adequate results, which 
 st be admitted to have been obtained in the Lawrence-Cesnola 
 Lection. 
 
 S. BIRCH. 
 
PREFACE. 
 
 RE tlie reader takes up the following pages, I beg 
 leave to say a few words about the book, and the 
 explorations it describes. 
 
 An Italian by birth, and a soldier by pro- 
 fession, I passed the greater part of my early life in the 
 service of my country, and remained in this profession until soon 
 after the last war of Italian independence. It was due to many 
 circumstances of no public interest, that a few years later on I 
 found myself in the East, and concerned in archaeological re- 
 searches. But I made 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 prepared, 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 associations 
 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, which 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 
 
PREFACE. 
 
 quities in the museum. This acquaintance ripened, on my 
 at least, into a very devoted friendship, and I am at this time 
 ;bted to Dr. Birch for the abundant aid he has given me, in 
 ;ing the introduction to the following chapters. My previous 
 agement in Cyprus having been broken, not through my own 
 i nor my consent, but by others, I accepted the generous offer 
 Hr. Edwin H. Lawrence, F.S.A., to supply a sum of money to 
 ble me to commence digging on my own account, a condition 
 lg, that if I succeeded in forming a collection of antiquities of 
 icient importance, it should be offered to England before any 
 3r country. On arriving in Cyprus at the end of July 1876, I 
 aged the same house and servants in Larnaka I had before, 
 also a country house at Ormidia, the latter being near to 
 ium, Idalium, Salamis, and other localities which are rich in 
 ient monuments. In the month of August I was ready to 
 ime researches, and had collected, partly in Larnaka and partly 
 Dali, twenty skilled workmen, putting at their head an 
 ellent aged digger, who soon proved himself an affectionate 
 . faithful assistant. My intention was to secure a collection 
 vases and glass, so as to have one or two specimens of every 
 pe and kind used by the ancient Cypriotes. The vases being 
 stly funereal were not difficult to discover. My men and I 
 iw where to search, all that was required were patience and time. 
 Ls to the glass, the case was not so simple; some of the 
 ives, and even my own men, were disheartened. Very little 
 3S had been found, they declared, within the last two years; but 
 in happy to say that in the end I obtained a large number of 
 cimens, and a vast variety of glass relics, as well as terra cotta 
 es, the number now in the Lawrence-Cesnola collection, which 
 lereinafter described, being about four thousand of each mate- 
 . Many specimens, among this multitude of ancient art-relics, 
 remarkable for their shape and character. With objects in 
 3S, coins are always found, therefore I have been able to obtain 
 nost valuable and exceedingly interesting collection of more 
 n one thousand six hundred examples, which include specimens 
 
PREFACE. XXI 
 
 in gold, silver, and bronze of every dynasty which has occupied 
 the island in ancient times; the reader will, amongst other descrip- 
 tions 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 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 excava- 
 tors 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 indication 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 expla- 
 nations of which I am greatly indebted to friends, but most 
 especially to the learned and Eev. 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 inscriptions 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. 
 
 From 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 anything 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 
 
1 PREFACE. 
 
 qi with money, and incited their diligence with many promises 
 Future payments, I left them, to seek tombs at Salamis. I 
 lk, and my men had the same opinion, that neither I nor 
 se who worked before me among those ruins, had failed to find 
 proper place for successful explorations. I may explain here why 
 mght the site of the tombs in Salamis before commencing any 
 er diggings. The manner I adopted was that of my predecessors. 
 3e it noticed, that there are two methods of exploring the 
 ique world, — digging in the ruins of the cities, and digging 
 the tombs of their inhabitants. Tombs are found generally 
 r ruins. Digging in ruins is always uncertain, and can only 
 carried out at great expense, which sometimes may be con- 
 led for months without producing anything of importance ; but 
 :he excavator should find but one fine object, it will pay more 
 n all the expenses incurred. When digging in ruins I always 
 .k shafts at the spots which bore indications of temples, palaces, 
 3ther large buildings. These shafts were sunk a few feet apart, 
 I were made more or less deep, the depth of each being dependent 
 the men finding rock or virgin earth. When either of these 
 •stances was reached, I knew there was no hope for researches 
 these directions, therefore abandoning the pits, I tried other 
 ts and dug again. When the shafts disclosed a foundation or 
 r ement, I continued working in the direction indicated, feeling 
 e that something would surely be found there. I have many 
 es hoped to find a famous temple and other remains, and was 
 ;n ready to draw plans, and began to take measures for the 
 cidation of these chateaux d'Uspagne, but all of these visions 
 led in nothing except foundations of common buildings. It is 
 y an excavator who can enter into my feelings. At the 
 nent of expectation, the excitement of a digger can only be 
 lpared to that of a gambler. I. must, however, say that if a 
 rer has many disappointments, he has great pleasures and 
 3h satisfaction in the progress of his work, and this satisfaction 
 rperienced in mine, especially at Salamis. Searching for tombs 
 conducted nearly in the same manner as among the ruins, the 
 
PREFACE. XXlll 
 
 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 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 em- 
 ployed 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 mis- 
 givings about its safety ; and I do not think there is any other 
 island or country where the people are more honest or trust- 
 worthy than the folks of Cyprus are. When I parted from them 
 it was with great regret. 
 
 In October and November of 1876, I was digging at Timbo, 
 Ormidia, and other villages, and I collected in those places a very 
 
XXIV PREFACE. 
 
 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 Curium, 
 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 inde- 
 pendent 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 ship- 
 ment, I am indebted to Messrs. Osmiani Brothers. At Alexandria 
 the cases were passed to another company, en route 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 
 arranging 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 inde- 
 fatigably for about half, a century. He is an honourable gentle- 
 man, 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 continues 
 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 Marium, 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 
 
PREFACE. XXV 
 
 learned lawyer from the University of Paris. This 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 Phoenician inscriptions ; 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 dif- 
 ferent 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 attention 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 par- 
 ticular 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 difficult to explore, because the 
 ruins have been buried and re-buried by earthquakes, 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 moun- 
 tains 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 woik ; in the centre 
 were those of much better art ; and in the lowest stratum they 
 
 d 
 
XXVI PREFACE. 
 
 exhibited most beautiful art. No news came to me from Salami 
 but I knew that the man who was excavating there for me ws 
 keeping his promise, and working hard in our joint interest. 
 my return from Carpazzi I saw him, and bought from him som 
 very good ancient Greek glass, such as is called Phoenician i 
 Cyprus. He said to me, " No tomb yet ; but I hope very soon t 
 have news to bring you." In August I went again to Limassol 
 but only passed the ruins of Kurium, and began digging with te 
 men in the same spot in which one of my predecessors found 
 treasure, which is now in the New York Museum. I recovere 
 many relics, principally in gold or silver, — fibuhe, rings, earrings, an 
 a beautiful necklace. After a fortnight's work, I was advised b 
 a friendly Turkish officer and others in the village, that peop] 
 in the coffee-houses were beginning to speak adversely t 
 my operations, while one of the proprietors thought it would b 
 better to inform the Kaimakan or Chief of the Province ( 
 Limassol, with a view to stopping my work. On hearing this, 
 decided to leave the place for a time, and went back to Larnak* 
 I left only one man to continue the work at Kurium. 
 
 After a month this man returned with many very good objects i 
 silver and bronze, and twenty or more fine earrings. I must say tha 
 in this circumstance, as during all my digging in the island, I wa 
 most obliged to the Turkish authorities. If I have succeeded i 
 gleaning the Lawrence-Cesnola collection from Cyprus, it is due t 
 the kindness of the Turkish officers, from the simple zaptieh c 
 policeman, to the Governors- General ; and I know that this kinc 
 ness continued, although some jealous persons and others di 
 their utmost to deprive me of this indulgence and regard. This 
 however, was not the same when, at a later time, they tried t 
 injure me with the new Government. This jealousy was no 
 limited to the authorities of the island ; but resulted in a com 
 munication to the Minister of Foreign Affairs in Italy. I: 
 thinking of how much other diggers and archaeologists have ha 
 to suffer in foreign countries, principally in the East, before mi 
 for instance, Botta, Layard, Schliemann, and others, I cannot bn 
 
PREFACE. XXV11 
 
 feel that my lot was not so hard as theirs, and so I con- 
 tinued my work without .pay ing 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 succeeded 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 Salamina 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 which 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 collection at that time was not a 
 third of what it afterwards became, in consequence of this dis- 
 covery in Salamina. 
 
 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 
 
XXV111 PREFACE. 
 
 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 honoured 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. Newton, 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. Law- 
 rence's consent, I offered to exhibit the collection in the South 
 Kensington Museum, and for the 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 Department. I took the advice of many friends ; and all 
 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 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- 
 
PREFACE. XXIX 
 
 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. Eenan, Mr. F. 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. 
 
DESCRIPTION OF THE PLATES. 
 
 COLOURED PLATE. 
 
 Two Archaic Phoenician Vases from Idalium (See 
 
 pp. 248-50) .... Frontispiece 
 
 MAP OF CYPRUS 
 
 Face page 4 
 
 PLATE T. 
 
 Gold Objects 
 
 Face page 28 
 
 Fig, 
 1. 
 
 3. 
 
 4. 
 5. 
 6. 
 7. 
 8. 
 9. 
 10. 
 
 11. 
 12. 
 13. 
 14. 
 15. 
 
 16. 
 
 17. 
 
 Necklace with a Pendant, on which is the Head of Phoebus Apollo 
 
 rayed. 
 A Child's Bracelet of small dimensions. There are several in the 
 
 Collection. 
 Portion of a Necklace with cut stones, and Pendant in form of a 
 
 Satyric face or Mask. 
 Adjustable Bracelet with punctured inscription now illegible. 
 Snake-ring. 
 Plain ring. 
 
 Finger-ring : two Erotes wrestling. 
 
 Filigree ear-riug of elegant and elaborate design — one of a pair. 
 Ear-ring of fine design : Cornelian in centre ; three Ruby Pendants. 
 Ring, with Pendant of blue and white mosaic in solid setting, 
 
 perhaps part of a necklace. 
 Ring of similar style ; solid chased setting. 
 Ear-ring of very fine work ; bulla-shaped ornaments. 
 Ear-ring; Pearl Pendant. 
 
 Ear-ring ; Cornelian centre ; six Amethysts in Pendant. 
 Model of a Right Hand, ringed ; the thumb protruded between the 
 
 first and second finger. 
 Ear-ring ; large Pearl in centre. 
 Crescent-shaped Ear-ring ; three Pearl Pendants on Chains. 
 
DESCRIPTION OF THE PLATES. XXXI 
 
 1 8. 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. Earring ; chain pattern ; two Pearls. 
 
 32. Ear-ring ; Turquoise in a rosette ; Pearl Pendant. 
 
 33. Ear-ring ; elegant rosette and drop. 
 
 34. Ear-ring ; five Peai'ls set in a quatrefoil pattern. 
 
 35. 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 II. 
 
 Silver Objects .... Face page 48. 
 
 1. Snake Bracelet, five turns. 
 
 2. Large Ear-ring ; Paste Pendant, a Lion and Crescent. 
 
 3. Reverse of Fig. 2. 
 
 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. 
 
 1 1 . Ear-ring, in form of a Bull's Head. 
 
 12. Plain wire Ear-ring. 
 
XXX11 DESCRIPTION OF THE PLATES. 
 
 13. 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. 
 
 17. Finger-ring; Paste setting. 
 
 18. Finger-ring. 
 
 19. Scarabffius set as a Finger-ring. 
 
 20. Finger-ring ; rectangular Bezel. 
 
 PLATE III. 
 
 Bronze Objects .... Face page 54. 
 Fig. 1, 2, 3. Parts of a Tripod, with ornaments in form of Bulls' 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. 
 
 10. Part of a Breast-band for a Horse. 
 
 11. Axe with two cutting edges, ornamented with Friezes of Lotus and 
 
 other designs. 
 
 12. Early form of Axe or Celt. 
 
 13. Crucible or Pot. 
 
 14. Cylindrical Box. 
 
 15. Key. 
 
 16. Key, on a finger-ring of wire. 
 
 17. Loop with two balance weights of Human Head and Bust. 
 
 18. Handle of a Situla. 
 
 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. 
 
 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 Strigil. 
 
DESCRIPTION OF THE PLATES. XXX111 
 
 PLATE IV. 
 
 Bronze Objects (continued) . . . Face page 58 
 
 1. Group of a Large Jar, showing repairs ; paterce, phiale omphalotos, 
 
 and drinking vessels. 
 
 2. a-e. Mirrors. 
 
 3. A Patera or Plate, Finax. 
 
 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. 
 
 11. 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 60 
 
 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. Iron. 
 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. 
 
XXXIV DESCRIPTION OF THE PLATES. 
 
 PLATE VI. 
 
 Leaden Objects .... Fare page 64 
 
 1. a-d. Portion of a Toy Chariot. The wheels oval; the spokes 
 
 resemble in arrangement those of the chariot wheel painted 
 on the celebrated Panathenaic amphora found by Mr. T. 
 Burgon at Athens, and considered by Mr. C. T. Newton, from 
 its archaic lettering, to be the oldest extant example of the 
 st}de of vase. 
 
 2. Bnllet, with Greek inscription in l'elief. 
 
 3. a-c. BulUe with monograms in relief. 
 
 4. Engraved Frames. 
 
 5. Reeded Jug, perhaps a toy. 
 
 6. Jng resembling an Amphora or Situla. 
 
 7. Alabastrum or Bottle, grooved body. 
 
 8-11. Bulla?, with devices, monograms, and inscriptions in relief. 
 
 12. Funnel-shaped Vase, peidmps 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. 
 
 [IS.] Indented Box. 
 
 PLATE VII. 
 
 Ivory and Bone Objects . . . Face -page 70 
 
 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, betweeu 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. 
 
DESCRIPTION OF THE PLATES. XXXV 
 
 16. Carved Hairpin. 
 
 17. Carved Torso, part of a Hairpin. 
 
 18. Hairpin, with globular top. 
 
 19. Hairpin, with pear-shaped top. 
 
 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 IX. 
 
 Stone Objects . . . Face page 100 
 
 1. Carved Christian Tympanum. {See pages 109, 110.) 
 
 2. Sarcophagus. (See pages 100, 101.) 
 
 PLATE. 
 
 Inscribed Marble Sepulchral Slab . . Face page 104 
 
 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 in a chair, at her side a fawn. 
 
 5. Statuette of a Shepherd wearing conical hat, carrying a Ram over 
 
 the Shoulders. 
 
 6. Sqixatting 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. 
 
XXXVI DESCRIPTION OF THE PLATES. 
 
 PLATE XL 
 
 Alabaster Objects . . . Face page 114 
 
 1. Figr.ro standing on a carved plinth, and carrying a tray of offerings. 
 
 2. A Head, Greek style. 
 
 3. 4. Um-uentaria with their lids. 
 
 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. 
 
 1.3. Slender Vase or Lecythus, with ornamental stopper. 
 
 16, 17. Alabastra. 
 
 18. Urn or Vase with its stoppei-. 
 
 19. Urn or Vase. 
 
 20. Cruse or Alabastron. 
 
 21. Two handled Vase or Amphora. 
 
 22. Vase of elegant design. 
 
 23. Amphora. 
 
 PLATE XII. 
 
 Engraved Cylinders . . . Face page 1 20 
 
 Fig. 1, see p. 121 ; 2-7, p. 122; 8-15, p. 123; 16, p. 124. 
 
 PLATE XIII. 
 
 Engraved Cylinders (continued) , . Face page 124 
 
 Figs. 17-21, see p. 124; 22, p. 125; 23-27, p. 126; 28-32, p. 127. 
 
 PLATE. 
 
 Bilingual Hittite Boss of Tarkondemos . Face page 128 
 
 PLATE XIV. 
 
 Engraved Cylinders (continued) . . Face page 130 
 
 Fig. 33, see p. 127 ; 34, 35, p. 128 ; 36, 37, p. 129 ; 38-40, p. 130 • 
 41-47, p. 131; 48, p. 132. 
 
DESCRIPTION OF THE PLATES. XXXV11 
 
 PLATE XV. 
 
 Engraved Cylinders and Gems . . Face page 148 
 Figs. 49-51, see p. 132 ; 52, p. 133 j 53, 54, p. 134 ; 55, 56, p. 135 
 57, p. 142; 58, 59, p. 141; 60, p. 161; 61, 62, p. 145 
 63, p. 158 ; 64, p. 144 ; 65, p. 147 ; 66, p. 160 ; 67, p. 149 
 68, p. 148 ; 69, p. 150 ; 70, p. 149 ; 71, p. 154 ; 72, p. 152 
 73, 74, p. 158; 75, p. 152; 76, p. 159; 77, 78, p. 158 
 79, p. 154 ; 80, p. 149 ; 81, p. 146 ; 82, p. 150; 83, p. 159 
 84, 85, p. 162 ; 86, p. 153 ; 87, p. 162 ; 88, p. 161. 
 
 PLATE XVI. 
 
 Chalcedony and other Stone Objects . . Face page 164 
 
 Figs. 1-25, see pages 165-169. 
 
 PLATE. 
 Hand-painted Phoenician Glass Vase (see p. 174) . Face page 172 
 
 PLATE XVII. 
 
 Archaic Glass Vessels . . . Face page 180 
 
 1. Hydria. 
 
 2. Hydria. 
 
 3. Amphora. 
 
 4-6. Unguentaria of various forms. 
 7-9. Larger Unguentaria. 
 
 10. Two-handled Vase. 
 
 1 1 . Bottle or Alabastron. 
 
 1 2. Alabastron with handle of two loops. 
 
 PLATE XVIII. 
 
 Iridescent Glass Vessels . . . Face page 18 4 
 
 PLATE. 
 
 Terra-Cotta Statuette of Venus (see p. 194) . Face page 190 
 
 PLATE. 
 
 Terra-Cotta Statuette op a Draped Female . Face page 196 
 
XXXV111 DESCRIPTION OF THE PLATES. 
 
 PLATE. 
 
 Terra-Cotta Statuette of a Young Girl . Face page 200 
 
 PLATE. 
 
 Terra-Cotta Statuette of Venus Anadyomene 
 
 (see p. 204) .... Face page 203 
 
 PLATE. 
 
 Terra-Cotta Statuette of Venus Riding on a 
 
 Goose .... Face page 204 
 
 PLATE. 
 
 Group of Terra-Cotta Statuettes . . Face page 208 
 
 PLATE. 
 
 Terra-Cotta Statuette of a Female Musician . Face page 233 
 
 PLATE XIX. 
 
 Archaic Terra-Cotta Vases, painted in dark brown 
 
 on pale yellow clay . . . Face page 256 
 
 PLATE XX. 
 
 Archaic and Miscellaneous Terra-Cottas . Face page 260 
 
 1-8. Vessels of pale colour with dark brown ornamentation. 
 9. Grotesque Figure. 
 
 10. Lamp, in form of a Fish. 
 
 11. Lamp for two wicks, ornamental design. 
 
 12. Grotesque Figure. 
 
 1 3. Rhy ton, 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. 
 
mM 
 
 LIST OF ILLUSTRATIONS. 
 
 14. 
 
 15. 
 16. 
 
 FIG. 
 
 1. Frontal with archaic ornamentation. Gold 
 
 2. Frontal with ornamental border. Gold 
 3-6. Groups and details of Leaves of Mortuary Chaplets. Gold 
 6 a. Sepulchral Covering for an Eye. Gold 
 6 b. Sepulchral Covering for a Mouth. Gold 
 
 7. Necklace. Gold and Cornelian 
 
 8. Necklace. Gold and Enamel 
 9-12. Various forms of the Pendants of Necklaces. Gold 
 
 13. Necklace with vase-shaped Pendant. Gold 
 
 Upper part of a Statuette showing the manner of wearing 
 
 Necklace. Terra-cotta . 
 Necklace. Gold and Sard Beads 
 Necklace. Gold and Jewelled 
 
 17. Necklace. Gold and Emerald Glass 
 
 18. Engraved Green-stone Scarabaeus. Gold setting . 
 
 19. Ear-ring with granulated ornaments. Gold 
 
 20. Ear-ring with Beads. Gold . 
 
 21. Ear-ring with Ball Pendant. Gold 
 
 22. Ear-ring — a Dolphin's Head. Gold 
 
 23. Beaded Ear-ring — a Cock's Head. Gold 
 24=. Ear-ring — a Goat's Head. Gold 
 
 25. Another. Gold .... 
 
 26. Beaded Ear-ring — a Goat's Head. Gold 
 
 27. Twisted Ear-ring — a Lion's Head. Gold 
 
 28. Beaded Ear-ring — a Female Head. Gold 
 
 29. Ear-ring — a Youth's Head. Gold 
 
 30. Twisted Ear-ring — a Winged Genius. Gold 
 
 31. Ear-ring — a Youth's Head. Gold 
 32-4. Finger -rings, with Inscriptions. Gold 
 
 35. Finger-ring with Engraved Gem — a Discobolus. Gold & Onyx 
 
 36. Finger-ring — Scarabaaus engraved with an Uraaus. Gold 
 
 37. Finger-ring engraved with an Uraaus. Gold 
 
 PAGE. 
 
 15 
 16 
 17 
 ib. 
 
 ib. 
 18 
 19 
 20 
 21 
 
 23 
 
 24 
 
 26 
 
 28 
 
 30 
 
 31 
 
 ib. 
 
 33 
 
 ib. 
 
 ib. 
 
 34 
 
 ib. 
 
 ib. 
 
 ib. 
 
 35 
 
 36 
 
 ib. 
 
 ib. 
 
 37 
 
 38 
 
 39 
 
 ib. 
 
xl 
 
 LIST OF ILLUSTRATIONS. 
 
 38. 
 39. 
 
 40. 
 
 41 
 
 42. 
 
 43. 
 
 44. 
 
 45. 
 
 46 
 
 49. 
 
 50. 
 
 51. 
 
 52. 
 
 53. 
 
 54. 
 
 55. 
 
 56. 
 
 57. 
 
 58. 
 
 59. 
 
 CO. 
 
 61. 
 
 62. 
 
 63. 
 
 64. 
 
 65. 
 
 66. 
 
 67. 
 
 68. 
 
 69. 
 
 70. 
 
 71. 
 72. 
 73. 
 
 74. 
 75. 
 76. 
 
 77. 
 
 Finger-ring. 
 Ring. 
 
 Finger-ring, set with a Carbuncle. Gold 
 
 Engraved Ring — Temple of Venus at Paphos. Gold and 
 
 Cornelian .... 
 Gem Ring — a Figure with Cornucopia and Wreath. Gold 
 
 and Cornelian 
 Gem Ring— a Bull. Gold . 
 Bead or Pendant Boss of a Necklace. Gold 
 Female Figure arranging the Hair. Gold 
 Phallic Ape. Gold 
 Wire Fibula. Gold 
 
 8. Three twisted Fibula? with Cypriote Inscriptions. Gold 
 Finger-ring with engraved Cornelian. Silver 
 Finger-ring with engraved Cornelian Scaraboeus. Silver 
 Finger-ring with engraved Cornelian. Silver 
 Engraved Patera. Bronze . 
 Inside of Engraved Patera — Phcenico-Egyptian subject. Bronze 
 Flute or Pipe. Bronze 
 Serrula or Sacrificial Spoon-saw. Bronze 
 Needlecase with Needles and Thread. Bronze 
 Silver 
 Bronze .... 
 Finger-ring. Silver 
 Armlet. Bronze . 
 
 a, Fibula ; b, reverse side ; c, torque. Bronze 
 Buckle. Bronze .... 
 Pin. Bronze .... 
 
 Tweezers. Bronze. 
 
 Mass of Iron and Bronze Utensils for the Bath, etc. 
 Engraved Mirror — the Temple of Paphos. Bronze 
 Figure of a Gladiator in combat with a Lion. Lead 
 Inscribed Roll. Lead 
 Youthful Head. Lead 
 Two Patera? (a), enclosing a Leaden Box (b), in which was 
 
 found an Ivory Box (c) . 
 Carved Lid of the Box. Lvory 
 Box. Ivory . 
 
 Subject carved on the Box. Ivory 
 Archaic Box and its Contents. Bone . 
 Inscribed Case or Casket. Shell 
 Inscribed Finger-ring : a, Device ; b, Position of the Inscrip 
 
 tion ; c, the Letters. Glass 
 a-h. Set of Eight Ornaments with Cypriote and Phoenician 
 
 Letters. Shell 
 
 40 
 
 ib. 
 
 41 
 ib. 
 
 42 
 43 
 
 ib. 
 44 
 45 
 49 
 ib. 
 50 
 52 
 53 
 56 
 51 
 ib. 
 ib. 
 ib. 
 ib. 
 ib. 
 ib. 
 ib. 
 ib. 
 ib. 
 58 
 59 
 62 
 66 
 G8 
 
 72 
 73 
 ib. 
 
 74 
 77 
 79 
 
 80 
 
 81,82 
 
LIST OF ILLUSTRATIONS. 
 
 xl 
 
 77 
 78. 
 79. 
 80. 
 81, 
 82, 
 83. 
 84. 
 85. 
 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. 
 
 Stone 
 Stone 
 Stone 
 Stone 
 Stone 
 
 St 
 
 one 
 
 * Phoenician Inscription. Stone 
 Cypriote Inscription. 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. 
 Tripod with Cypriote Inscription. 
 Inscribed Bowl of the Tripod. Terra d 'Umbra . 
 Inscribed Gnostic Amulet. Stone 
 
 Inscribed Sepulchral Slab with a Greek Elegy. 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 
 Pendant in form of a Vase. Crystal . 
 Pendant on a Gold Wire Ring. Crystal 
 Wedge-shaped Pendant. Crystal 
 Engraved Cylinder. Haematite 
 Engraved Cylinder. Haematite 
 Engraved Cylinder. Jasper 
 Engraved Cylinder. Haematite 
 
 f 
 
 Stone 
 Terra d' Umbra 
 
 84 
 85 
 ib. 
 86 
 87 
 88 
 89 
 90 
 91 
 92 
 
 93 
 94 
 
 90 
 
 97 
 
 ib. 
 
 ib. 
 
 98 
 
 ib. 
 
 99 
 
 ib. 
 
 100 
 
 101 
 
 103 
 
 104 
 
 105 
 
 106 
 
 108 
 
 112 
 
 ib. 
 113 
 114 
 
 ib. 
 115 
 116 
 
 ib. 
 
 ib. 
 120 
 
 ib. 
 121 
 
 ib 
 
xlii 
 
 LIST OF ILLUSTRATIONS. 
 
 117. 
 
 118. 
 
 119. 
 
 120. 
 
 121. 
 
 122. 
 
 123. 
 
 124. 
 
 125. 
 
 126. 
 
 127. 
 
 128. 
 
 129. 
 
 130. 
 
 131. 
 
 132. 
 
 133. 
 
 134. 
 
 135. 
 
 136. 
 
 137. 
 
 138. 
 
 139. 
 
 140. 
 
 141. 
 
 142. 
 
 143. 
 
 144. 
 
 145. 
 
 146. 
 
 147. 
 148. 
 149. 
 
 150. 
 151. 
 152. 
 153. 
 154. 
 155. 
 156. 
 
 Engraved Cylinder. 
 Engraved Cylinder. 
 Engraved Cylinder. 
 Engraved Cylinder. 
 Engraved Cylinder. 
 Engraved Cylinder. 
 Engraved Cylinder. 
 Engraved Cylinder. 
 a. b. Engraved Cone. 
 
 Jasper 
 Steatite 
 Dark Steatite 
 Haematite 
 Hematite 
 Steatite 
 Jasper 
 Haematite 
 Agate 
 
 Engraved Cone. Hyacinth 
 
 a-e. Engraved Cone. Steatite 
 
 a. b. Engraved Cone. Haematite 
 
 Scarabseus with name " Mycerinus". White glazed Steatite 
 
 Scarabseus set as a Ring. White glazed Steatite 
 
 Pnenomen of Thothmes III, from the preceding Scarabseus 
 
 Engraved Scarabseus. Agate 
 
 Engraved Scarabseus. Steatite 
 
 Engraved Scarabseus. Banded Sardonyx 
 
 Ens-raved Scarabseoid. Steatite 
 
 Engraved Scarabseus with Cypriote Inscription. Cornelian 
 
 Engraved Scarabaeoid. Cornelian 
 
 Engraved Bead. Grey Steatite 
 
 Carved Calf aiid Hand. Steatite 
 
 Engraved Gem — Jupiter. Sardonyx. 
 
 Ancient Gem with Mediseval Setting. Cornelian 
 
 Engraved Gem. Sardonyx 
 
 Engraved Gem. Iridescent and Transparent Paste 
 
 Engraved Gem. Cornelian 
 
 Engraved Gem. Purple Paste 
 
 Engraved Gem Ring — Hercules and the Nemsean Lion 
 Cornelian set in Gold . 
 
 Engraved Gem — Leda and Swan. Heliotrope . 
 
 Engraved Gem — Victory. Cornelian 
 
 Mediseval Gem Seal — a Sphinx [called cockatrice). Cor- 
 nelian or Sard 
 
 Engraved Gem — a Gryllus. Sard . 
 
 Engraved Gem — a Portrait Bust. Sardonyx 
 
 Engraved Gnostic Gem. Calcined Agate 
 
 Engraved Gem — a Portrait Head. Paste 
 
 Inscribed Gnostic Amulet. Cornelian 
 
 Inscribed Situla. Chalcedony 
 
 a. Inscribed Amulet in form of the Cuttle Fish. b. The 
 Shield enlarged. Chalcedony 
 
 124 
 128 
 129 
 
 ib. 
 
 ib. 
 130 
 
 ib. 
 132 
 133 
 
 ib. 
 134 
 
 ib. 
 138 
 
 ib. 
 139 
 
 ib. 
 140 
 142 
 143 
 144 
 
 ib. 
 145 
 146 
 148 
 
 ib. 
 149 
 150 
 
 ib. 
 
 ib. 
 
 151 
 
 153 
 154 
 
 155 
 ib. 
 159 
 160 
 ib. 
 161 
 164 
 
 165 
 
LIST OF ILLUSTRATIONS. 
 
 xliii 
 
 157. 
 158. 
 
 159. 
 160. 
 161. 
 
 162. 
 163. 
 164. 
 165. 
 166. 
 167. 
 168. 
 169. 
 170. 
 171. 
 172. 
 173. 
 174. 
 175. 
 176. 
 177. 
 178. 
 179. 
 180. 
 181. 
 182. 
 183. 
 184. 
 185. 
 186. 
 187. 
 188. 
 189. 
 190. 
 191. 
 192. 
 193. 
 194. 
 195. 
 196. 
 197. 
 198. 
 
 Inscribed Ornament. Chalcedony . 
 
 a. Phoenician hand-painted Amphora. B. Design on the 
 
 back. c. The Golden Lining of the Neck. Glass .Face 
 Hand-painted Dish — Venus. Glass 
 Ring with Inscription. Glass 
 Hairpin. Glass. 
 
 Hairpin. 
 Hairpin. 
 
 Bronze 
 Ivory. 
 
 Phoenician Unguentarium. Glass 
 
 AJabastron. Glass 
 
 Amphora. Glass 
 
 Amphora. Glass 
 
 Two-handled Vase. Glass. 
 
 Phoenician Diota. Glass 
 
 Phoenician Diota. Glass . 
 
 Hydria. Glass . 
 
 Hydria. Glass . 
 
 Egg-cup -with an Egg in it. Glass 
 
 Painted Phoenician Vase. Glass 
 
 Iridescent Bottle or Vase. Glass 
 
 Iridescent Bottle. Glass . 
 
 Bowl. Glass 
 
 Upright Vase ornamented with Studs or Teardrops. Glass 
 
 Bowl of the same style. Glass 
 
 Drinking Cup with Moulded Inscription. Glass 
 
 Drinking Vessel with Moulded Inscription. Glass 
 
 Moulded Drinking Vessel. Glass 
 
 Head of a Goddess, a. Front view 
 
 Seated Female Figure. Glass 
 
 Pendant — a Negro Head. Glass . , 
 
 Pendant — an Archaic Head. Glass . 
 
 Pendant — a Mask. Glass 
 
 Pendant — a Mask. Glass 
 
 Pendant — a Bull's Head. Glass 
 
 Pendant in form of an Animal's Teeth. Glass 
 
 Pendant — a Boar's Head. Glass 
 
 Pendant — a Jug. Glass . 
 
 Pendant — a Vase. Glass . 
 
 Inscribed Pendant. Glass 
 
 Male Figure in Assyrian Style. Terra-Cotta 
 
 Female Figure in Assyrian or Egyptian Style. Terra-Cotta 
 
 Statuette — Youthful Hercules. Terra-Cotta . 
 
 Inscribed Figure. Terra-Cotta 
 
 B. Side view. Glass 
 
 165 
 
 172 
 173 
 174 
 
 ib. 
 
 ib. 
 
 ib. 
 175 
 176 
 177 
 178 
 
 ib. 
 179 
 
 ib. 
 180 
 
 ib. 
 181 
 182 
 184 
 
 ib. 
 185 
 
 ib. 
 
 ib. 
 186 
 
 ib. 
 187 
 
 ib. 
 188 
 
 ib. 
 
 ib. 
 
 ib. 
 
 ib. 
 
 ib. 
 
 ib. 
 
 ib. 
 189 
 
 ib. 
 
 ib. 
 191 
 
 ib. 
 192 
 193 
 
xliv 
 
 LIST OF ILLUSTRATIONS. 
 
 199. Inscription on back of 198. 
 
 200. Statuette — Female of Greek style. Terra-Cotta 
 
 201. Statuette — the Muse Erato or Polyhymnia. Terra-Cotta 
 
 202. Iconic Statuette. Terra-Cotta 
 
 203. The Goddess of Rain. Terra-Cotta . 
 
 204. Inscribed Statuette. Terra-Cotta 
 
 205. Inscribed Statuette. Terra-Cotta 
 20G. Statuette. Terra-Cotta . 
 
 207. Statuette of an Actor. Terra-Cotta . 
 
 208. Genius and Cock. Terra-Cotta 
 
 209. Genius riding on a Cock. Terra-Cotta 
 
 210. Eros riding on a Horse. Terra-Cotta 
 
 211. Statuette — an Actor. Terra-Cotta . 
 
 212. Fumigator — Statuette — a Pedagogue. Terra-Cotta 
 
 213. Statuette of a Female Priest. Terra-Cotta 
 
 214. Details of the Head-dress of 213 
 215-6. Fillets. Gold 
 217-8. Masks. Terra-Cotta 
 
 219. Grotesque Mask. Terra-Cotta 
 
 220. Back of the Mask, No. 219. Terra-Cotta 
 
 221. Satyric Mask. Terra-Cotta 
 
 222. Female Mask. Terra-Cotta 
 
 223. Female Bacchic Mask. Terra-Cotta . 
 
 224. Inscribed Lion. Terra-Cotta 
 
 225. Inscribed Dog. Terra-Cotta 
 
 226. Tethrippos, or Four-horse Chariot. Terra-Cotta 
 
 227. The Yokes of the Chariot. Terra-Cotta 
 
 228. Chariot for two Horses with Warrior. Terra-Cotta 
 
 229. Chariot for two Horses. Terra-Cotta 
 
 230. Armed Centaur. Terra-Cotta 
 
 231. Inscribed Phoenician Vase. Terra-Cotta 
 
 232. Inscribed Phoenician Urn. Terra-Cotta 
 
 233. Archaic Red-ware Vase or Diota. Terra-Cotta . 
 
 234. Details of the Subjects on Fig. 233 . 
 
 235. Archaic Red-ware Vase or Diota. Terra-Cotta. 
 
 236. Inscribed Archaic Vase or Stamnos. Terra-Cotta 
 
 237. Inscribed Archaic Vase. Terra-Cotta 
 
 238. Archaic Vase or Diota. Terra-Cotta 
 
 239. Details of the ornamentation of Fig. 238. Terra-Cotta 
 
 240. Large Archaic Vase. Terra-Cotta . 
 
 241. Details of Ornament on Fig. 240. Terra-Cotta 
 
 242. Details of Ornament of a Vase. Terra-Cotta . 
 
 243. Other Details of Ornaments. Terra-Cotta 
 
 193 
 194 
 
 ib. 
 198 
 199 
 200 
 201 
 202 
 205 
 206 
 
 ib. 
 207 
 218 
 220 
 223 
 224 
 233 
 235 
 236 
 
 ib. 
 237 
 
 ib. 
 238 
 
 ib. 
 239 
 240 
 
 ib. 
 242 
 
 ib. 
 243 
 246 
 247 
 248 
 249 
 
 ib. 
 250 
 252 
 253 
 254 
 
 ib. 
 255 
 
 ib. 
 
 ib. 
 
LIST OF ILLUSTRATIONS. 
 
 xlv 
 
 244. 
 
 245. 
 
 246. 
 
 247. 
 
 248. 
 
 249. 
 
 250. 
 
 251. 
 
 252. 
 
 253. 
 
 254. 
 
 255. 
 
 256. 
 
 257. 
 
 258. 
 
 259. 
 
 260. 
 
 261. 
 
 262. 
 
 263. 
 
 264. 
 
 265. 
 
 266. 
 
 267. 
 
 268. 
 
 269. 
 
 270. 
 
 271. 
 
 272. 
 
 273. 
 
 274. 
 
 275. 
 
 276. 
 
 277. 
 
 278. 
 
 279. 
 
 280. 
 
 281. 
 
 282. 
 
 283. 
 
 284. 
 
 285. 
 
 286. 
 
 Details of a Narrow Ornamentation. Terra-Goita 
 
 Archaic Jar with Four Handles. Terra-Cotta . 
 
 Archaic Aryballos. Terra-Cotta 
 
 A kind of Stamnos. Terra-Cotta 
 
 Hydria. Terra-Cotta 
 
 Apulian Stamnos with Ornamented Cover. Terra-Cotta 
 
 Water Vessel. Terra-Cotta 
 
 Jug or Tetina. Terra-Cotta 
 
 Oinochoe. Terra-Cotta . 
 
 Jug. Terra-Cotta 
 
 Details of Fig. 253 
 
 Aryballos — Head of Hercules. Terra-Cotta 
 
 Details of Fig. 255. Terra-Cotta . 
 
 Aryballos— Silenus. Terra-Cotta 
 
 Aryballos — one of the Kerkopes. Terra-Cotta . 
 
 Aryballos in form of a Goat. Terra-Cotta 
 
 Ai'yballos in form of a Dog. Terra-Cotta 
 
 Aryballos in form of a Sheep. Terra-Cotta 
 
 Aryballos in form of a Cock. Terra-Cotta 
 
 Aryballos in form of a Basket and Bottle. Terra-Cotta 
 
 Olpe or Vase. Painted Terra-Cotta . 
 
 The Subject of Fig. 264 . 
 
 Roman Vase, with Frieze and Cornice. Terra-Cotta 
 
 Details of the Frieze of Fig. 266 
 
 Ornamental Fumigator. Terra-Cotta 
 
 Cypriote Vase of unusual character. Terra-Cotta 
 
 Dimyxos, or Lamp for two Wicks. Terra-Cotta 
 
 Lamp — Child reclining on a Human Foot. Terra-Cotta 
 
 Lamp — Silenus. Terra-Cotta 
 
 Lamp — Negress's Head, with a gold Ear-ring. Terra-Cotta 
 
 Early Open Lamp. Terra-Cotta 
 
 Lamp with a Hollow Pipe. Terra-Cotta 
 
 Greek Lamp. Terra-Cotta 
 
 Lamp Handle — the Moon God. Terra-Cotta . 
 
 Lamp Handle — a Galley. Terra-Cotta 
 
 Lamp Handle — Antefixal Ornament. Terra-Cotta 
 
 Another. Terra-Cotta 
 
 Circular Lamp. Terra-Cotta 
 
 Four-wicked Lamp. Terra-Cotta 
 
 Roman Lamp. Terra-Cotta 
 
 Lamp with Comic Mask. Terra-Cotta 
 
 Oval Lamp. Terra-Cotta . 
 
 Late Lamp. Terra-Cotta . 
 
 255 
 256 
 257 
 
 ib. 
 
 ib. 
 
 ib. 
 258 
 
 ib. 
 259 
 265 
 
 ib. 
 266 
 267 
 
 ib. 
 
 ib. 
 2G8 
 
 ib. 
 269 
 
 ib. 
 270 
 
 ib. 
 271 
 272 
 273 
 274 
 275 
 277 
 
 ib. 
 278 
 
 ib. 
 279 
 
 ib. 
 
 ib. 
 280 
 
 ib. 
 
 ib. 
 
 ib. 
 
 ib. 
 281 
 
 ib. 
 282 
 
 ib. 
 
 ib. 
 
xl 
 
 VI 
 
 LIST OF ILLUSTRATIONS. 
 
 287, 288. Mould of a Lamp. Terra-Cotta 
 2S9, 290. Mould of a Lamp. Terra-Cotta 
 
 291. Early Cypriote Coin — a Sphinx. Silver 
 
 292. Early Cypriote Coin — a Ram. Silver 
 
 293. Coin of King Evelthon. Silver 
 
 29 4. Early Cypriote Com — a Ram. Silver 
 
 295. Coin of Azbaal, or Baal-Melek, Kings of Kitium. Silver 
 
 296. Coin of Azbaal. Silver 
 
 297. A Variant. Silver 
 
 298. Another. Silver 
 
 299. Early Cypriote Coin — a Ram. Silver 
 
 300. Early Cypriote Coin — a Demi-Lion. Silver 
 
 301. Early Cypriote Coin — a Lion's Head. Silver 
 
 302. Cypriote Bilingual Coin of Nicocles or Nicocreon. Copper 
 
 303. Cypriote Coin of Nicocles or Nicocreon. Silver 
 
 304. Early Cypriote Coin. Silver 
 
 305. Early Cypriote Coin. Silver 
 
 306. Cypriote Coin. Silver 
 
 307. Cypriote Coin. Silver 
 
 308. Early Coin. Silver 
 
 309. Coin of Cyprus. Copper . 
 
 310. Coin of Cyprus. JSlectrum 
 
 311. Coin of Alexander the Great. Gold 
 
 312. Lycian Coin. Silver 
 
 313. Coin of Antiochus II, King of Syria. £ fed rum 
 
 314. Coin of Corinth. Silver . 
 
 315. Coin of Eretria in Eubcea. Silver 
 
 316. Uncertain Greek Coin. Silver 
 
 317. Coin of Ephesus : Lysanias the Magistrate. Silver 
 
 318. Coin of Celenderis in Cilicia. Silver 
 
 319. Coin of Miletus. Silver . 
 
 320. Coin of Soli in Cilicia. Silver 
 
 321. Coin of Judsea. Copper . 
 
 322. Coin of Rhodes. Silver . 
 
 323. Coin of a Phoenician City. Copper 
 
 324. Coin of Aitaleia. Copper . 
 
 325. Hoard of Coins in a Jar. Terra-Cotta 
 
 326. Cover of Fig. 325. Stone. 
 Larnaka (Kitium) 
 Coin of Cleopatra 
 Cypriote characters 
 Statuette. Terra-Cotta 
 
 283 
 
 ib. 
 287 
 288 
 
 ib. 
 289 
 
 ib. 
 
 ib. 
 290 
 
 ib. 
 291 
 
 ib. 
 293 
 
 ib. 
 294 
 
 ib. 
 
 ib. 
 295 
 
 ib. 
 
 ib. 
 
 ib. 
 296 
 
 ib. 
 
 ib. 
 297 
 
 ib. 
 
 ib. 
 
 ib. 
 
 ib. 
 298 
 
 ib. 
 
 ib. 
 
 ib. 
 
 ib. 
 299 
 
 ib. 
 301 
 302 
 303 
 310 
 313-15 
 316 
 
CONTENTS OF CHAPTERS. 
 
 CHAPTER 
 
 I. Salaminia .... 
 
 ii. General Idea of Cypriote Antiquities 
 
 hi. 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 
 
 vn. Ivory Objects — Seals or Rings, Carvings, Boxes, Spoons, 
 Articles for the Toilet, etc. 
 
 vin. Bone and Shell Antiquities 
 
 ix. Stone Antiquities — Inscribed Stones, Phoenician 
 Numerals, Cypriote Inscriptions, Statuettes, Greek 
 Inscriptions, Altars, Tripod, Vases, Amulets, Stamps, 
 Tympanum of Early Christian Work 
 
 x. Alabaster, Serpentine, and Crystal Antiquities 
 
 xii. Cylinders. — Cones 
 xiii. ScarabjEi. — Beads. — Inlaying Pieces, etc. . 
 xiv. Engraved Gems and Precious Stones 
 
 xv. Chalcedony, etc. 
 
 xvi. Glass — Number of Specimens, Paterse, Acetabula, 
 Hand-painted Vases, Painted Dishes, Finger-rings, 
 Hairpins, Unguentaria, Alabastra, Amphorae, Diotee, 
 Oinochoae, Hydrise, Iridescent Glass, Bowls, Pendants, 
 etc. ..... 
 
 PAGE 
 1 
 
 12 
 46 
 
 51 
 
 Gl 
 
 69 
 
 76 
 
 83 
 111 
 117 
 
 136 
 147 
 163 
 
 170 
 
xlviii 
 
 CONTENTS OF THE CHAPTERS. 
 
 xvii. Terra-Cotta — Statues and Statuettes, Portraits, Gro- 
 tesques, Caricatures, Figures of Boys . .190 
 
 xviii. Terra-Cotta (continued) — Sacerdotal aud Sacred Effigies 222 
 
 xix. Terra-Cotta (continued) — Masks, Caricatures, Animals, 
 
 Chariots, Warriors, Toys, aud other Objects . 235 
 
 xx. Terra-Cotta (continued) — Urns, Vases, Amphorsc, Ar- 
 chaic Aryballi, Fumigators, Hand or Foot Warmers, 
 Strainers, Pots, Later Aryballi, Miscellaneous, Roman, 
 etc. . . . . .245 
 
 xxi. Lamps . . . . .276 
 
 xxii. Coins ..... 286 
 
 Appendix 
 
 303 
 
 Coin of Nicocles and Salamis. 
 
 Silver. 
 
 " Salamina, o reggia 
 Splendente d'Evagora ! 
 del prudente Nicocle 
 Alta regal dimora ! — 
 Or giaccion frantumate 
 Tue moli smisurate ; 
 
 E sul terren, che Cerere 
 E Bacco fean che s'apra 
 Di frondi al festeggiar, 
 Si vede or ruminar 
 L'irsuta capra." 
 
 B. 
 
CHAPTER I. 
 
 SALAMINIA. 
 
 
 1 
 
 HE ruins of the ancient city of Salamis 1 or 
 Salaminium, 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 remaining vestiges of the 
 ancient and celebrated harbour of Salaminia, which has 
 now almost wholly disappeared beneath the shingle 
 thrown up by the sea. It is situated in the middle of 
 the eastern coast of the island, somewhat north of the 
 river Pediaeus. 2 The powerful agency of earthquakes — 
 frequent in the island — may also account in some measure 
 
 1 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 
 iEacidse of iEgina. Telamon, son of iEacus, 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 ^Egina ; 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, Pedceius, 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. 
 
 B 
 
2 SALAMTXTA. 
 
 for the subsidence of the ancient buildings. The 
 harbour and the city were, doubtless, connected, as is 
 the case in many Greek sites, by a long and strag- 
 gling village, now entirely passed away. It was pro- 
 bably destroyed by the earthquake which took place 
 during the reign of Constantine, and entombed many 
 of the inhabitants. At the present day there only 
 exists one monument which may be considered to be- 
 long to the first epoch. This is a wall ; perhaps 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 constructior. 
 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 Sala- 
 minia 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 distin- 
 guished archseologists and historians, in which it is related 
 that Salaminia was constructed by Teucer 1 , 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 
 thereupon 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 manner makes mention of several royal per- 
 
 1 Teucer is related to have married Eune, the daughter of Cyprus, by 
 wlmm lie became the father of Asteria. 
 
SALAMINIA. 3 
 
 sonages, reigning in Salaminia 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 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 
 continually repeated, until at length the invaders, em- 
 boldened by constant successes, ventured further up the 
 course of the rivers, and there established their infant 
 colonies, which became the nucleus of a petty state. This 
 Greek occupation of the island of Cyprus lasted for a con- 
 siderable period, in concert with the presence of Syrians 
 of Phoenician or Jewish descent, until at length the two 
 races became assimilated both hi speech and customs, and 
 formed but one people. Certain inscriptions, according to 
 Yon Loher, that have been found in the island, were at 
 first quite impossible to decipher, because they were 
 attributed to some very ancient people, older even than 
 the Phoenicians. Further examination of them has, how- 
 ever, resulted in the discovery that the language is of 
 Grseco-Cyprian origin. For a considerable length of time 
 the city of Sal amis 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 Sala- 
 minia, 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 Sala- 
 minia. Evagoras succumbed to a tragic fate, being assas- 
 sinated by an eunuch, who at the same time despatched 
 
4 SALAMINIA. 
 
 his eldest son. Nicocles, the second son of Evagoras, suc- 
 ceeded his father in the year B.C. 374, and was put to 
 death by Ptolemy in B.C. 310. Passing over inter- 
 mediate 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. 
 
 During the reign of the Emperor Trajan, Salamis ex- 
 perienced considerable destruction at the hands of the 
 Jews, who revolted against the oppression of their Roman 
 masters, who organised a great massacre of these unfor- 
 tunate people. Since that time no Jew has ever esta- 
 blished 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, Sala- 
 minia became a town of considerable importance, from its 
 commerce ; it developed itself as a mistress of the whole 
 Mediterranean ; its harbour was rich in exportations 
 and a centre of the grain trade; so much so, that Sala- 
 minia 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 de- 
 stroyed 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 dis- 
 turbances, 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 de- 
 vastation. Hordes of pirates appeared upon the coast, 
 
s 
 
 
 * 
 
 
 1— 
 
 
 s 
 
 6q 
 
 S 
 
 * 
 
 'S 
 
 •> 
 
 
 S 
 
 s 
 
 
 *, 
 
 
 <jj 
 
 
 r > 
 
 
 W^ 
 
 o 'il l 
 
SALAMINIA. 5 
 
 who, landing at every available place, set fire to the towns 
 and villages, and when the inhabitants fled to save them- 
 selves, 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 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 watchmen 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 whatever hindered 
 them in their proceedings ; the others destroyed for de- 
 struction'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 Salaminia was colonised. Among the ruins of Sala- 
 
6 SALAMIN1A. 
 
 minia a village gradually arose, and rapidly increased in 
 size, which afterwards acquired, as has already been said, 
 the name of Constantia. 1 Upon the ruins of this, in its 
 turn, the city of Famagusta was built. Famagusta, too, 
 fell under the power of the Turks. In fact, the village of 
 Varoscia, which represents 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. 
 
 And now that I have briefly recounted the traditions 
 and historical records concerning Salamis and other Cy- 
 priote 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. 
 
 1 The Istoria di Cipro, by Florio Bustron {Brit. Mus. Add. ITS. 
 8630), speaks of discoveries of antiquities in the author's day (seven- 
 teenth century) at Salaminia. He says :" Near to Salaminia was a 
 town called Costanza or Costanzia, a large and strongly fortified town, 
 and very rich, with fine palaces with marble columns. In removing the 
 earth, were found many medals in gold, silver, and copper ; rings, ear- 
 rings, necklaces, bracelets in gold and silver, and other ancient monu- 
 ments 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 1 was the first to carry out on this site systematically, confirm 
 this statement. 
 
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 
 discovered 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 converts to Christianity, in obedience 
 to an edict of Constantine the Great. Some recent ex- 
 cavators 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 there in search of plans and build- 
 ings, 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 signs 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 
 
8 GENERAL IDEA OF CYPRIOTE ANTIQUITIES. 
 
 layer, the torsi in the middle, and the feet of the sta- 
 tuettes on the uppermost layer 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, con- 
 taining parts of more than a thousand statuettes in terra- 
 cotta, of a type representing priestesses bearing offerings. 
 Of these, I reconstructed about two hundred entire figures, 
 of which the tallest was three feet high. They are beau- 
 tifully decorated, particularly their crowned or turreted 
 heads ; but I saw neither columns nor bas-reliefs to indi- 
 cate the site of a temple, while the walls of the quad- 
 rangle were thin, a fact which confirms the notion that 
 they were built for the sole purpose of forming an en- 
 closure. In obedience to the above mentioned imperial 
 order, many temples were destroyed, while others were 
 appropriated to the worship of the Christians. Even 
 now may be seen ancient hypogea, which have been con- 
 verted into Greek chapels. In them traces of their first 
 use may sometimes be discovered ; others, which were 
 probably 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, in- 
 cluding armour, weapons, and implements, such as buck- 
 lers, axe-heads, and spear-heads, statuettes, mirrors, 
 paterae, strigils, and such objects. A few paterae are 
 decorated with sculptures in relief, and in rare cases 
 some were found which had been incised with mytho- 
 logical 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 
 
GENERAL IDEA OF CYPRIOTE ANTIQUITIES. 9 
 
 embossed ornaments. Some children's finger-rings have 
 letters pricked in outline with a votive inscription. 
 
 Intaglios of clumsy work, some of which were artisti- 
 cally engraved, have been found with inscriptions, which 
 are generally personal names. Glass is frequently found 
 among Cypriote antiquities ; the majority of the examples 
 are remarkable on account of their beautiful iridescence, 
 and for the variety of their forms. Coloured glass com- 
 prises articles of blue, purple, and canary tints, and now 
 and then painted unguentarium covers occur, repre- 
 senting 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 discovered 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 with the vessels. 
 Cippi sometimes 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 en- 
 amelled glass which by some excavators 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 amphorse, 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 un- 
 able to say to what age the latter belong ; but it is my 
 intention to examine further into this subject in the 
 chapters devoted to this branch of the work. In point of 
 
 c 
 
10 GENERAL IDEA OF CYPRIOTE ANTIQUITIES. 
 
 variety and value, antiquities of glass may be divided 
 into groups as follows : — 
 
 1st. Those with embossed figures, ornaments, and in- 
 scriptions ; those having the shape of the human head ; 
 and those representing annuals, 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. 
 
 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 
 iridescence are generally found resting on rocks, slabs, or 
 in sarcophagi ; empty vessels deposited under similar con- 
 ditions become brittle, but not iridescent. With regard 
 to examples of Greek and Roman origin, I carefully ex- 
 amined a site near Larnaca, yet I found with them only 
 Ptolemaic coins, principally of the later monarchs ; there- 
 fore 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 
 
GENERAL IDEA OF CYPRIOTE ANTIQUITIES. 11 
 
 much corroded. The series represented in this metal are 
 coins of the Ptolemies ; Roman in general, and Imperial 
 Roman of Cyprus with Greek legends ; and Byzantine. 
 In gold we have coins of Cyprus, with Cypriote, Phoeni- 
 cian, 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 and 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 Boman 
 in general and Imperial of Cyprus ; besants of the Latin 
 kings of Cyprus occur; likewise Venetian coins. The 
 early coins of Cyprus are rare. We now and then meet 
 with coins in billon, which belong almost entirely to the 
 time of the Crusades, and are of the Lusignan dynasty. 
 
 %pj^ 
 
CHAPTER III. 
 
 GOLD OBJECTS. 
 
 FRONTALS — NECKLACES — HAIR PINS — EAR-RINGS — FINGER-RINGS — 
 NONDESCRIPT OBJECTS, AND PARTS OF PERSONAL ORNAMENTS. 
 
 
 . t£f ^feTw 
 
 HE relics of this precious metal consist of 
 frontals and other parts of face-masks for 
 the dead, such as eyepieces and mouth- 
 pieces, besides necklaces, hairpins, earrings, 
 finger-rings, nondescript objects, and parts 
 of personal ornaments. Some of the engraved gems are 
 hereafter described with the finger-rings. A few more 
 occur in the class of nondescript objects. 
 
 It must be understood that many golden antiquities 
 found in the tombs of Cyprus and in other countries, 
 such as Etruria and Greece, are obviously of too fragile a 
 nature for use by the living. They are sometimes so 
 small that children alone could have worn them, if, 
 indeed, they were worn at all. It is evident that a con- 
 siderable proportion of these relics, like those found in 
 other sites, were constructed for mortuary service only, 
 that is, they were designed for the grave alone ; and it is 
 likewise beyond a doubt that these are substitutes or fac- 
 similes in all other respects but solidity 1 of the prototypes 
 which remained above ground with the survivors. 
 
 Frontals. 
 
 No class of golden relics discovered in Cyprus or else- 
 where, not even the diadems or so-called "minds" which 
 1 Id. tombs of the Cyrenaica, sham jewels of lead were often found. 
 
GOLD OBJECTS. 13 
 
 occur in Ireland and other lands of the Celts, equals in 
 interest those face-masks, to the very limited number of 
 which known to be existing I have been fortunate enough 
 to make some very important additions, which were ga- 
 thered in a new field, and exhibit characteristics of their 
 own. Dr. Schliemann, the celebrated excavator of the 
 Troad, who based some very remarkable theories, and 
 historical as well as personal deductions, on the fact, found 
 such masks at Mycense. Gold frontlets were discovered 
 by him on the site of his " Ilion"; others were exhumed 
 at Kertch, Olbia, and other places in the Khersonese — 
 sites which had contributed much wealth of antique 
 golden works to the matchless collection in the museum 
 at St. Petersburg. Such masks have also occurred in 
 Phoenicia and in Mesopotamia, that yet but half-explored 
 world of treasures of ancient use and beauty. 1 
 
 The relics of this kind, however great may be their 
 antiquity — and there can be no doubt they range within 
 considerable spaces of time — are exceptionally interesting, 
 because they exhibit distinct traces of primitive orna- 
 mentation of the nature hereinafter described in respect to 
 each example. Among others, I found a frontal indented 
 en repousse, with lines marked in a pattern which illustrates 
 the art-history and geographical situations of Cyprus, as 
 it was alternately subjected to the influence of Egypt, 
 Assyria, Phoenicia, Greece, or Rome. Lying, as the island 
 does, on the highway between the East and West, at 
 times an entrepot, and occasionally impressed by the taste 
 or education of more than one of these nations at the 
 
 1 Writing of his discoveries in that vast metropolis of the dead, 
 Warka, in Lower Chaldea, Mr. Loft us, in his Ckaldea and Susiana, p. 
 211, stated, of the corpses he exhumed with their slipper-shaped coffins : 
 " Thin gold leaf sometimes appears to have covered the face like a veil ; 
 and one or two broad ribbons of gold not unfrequently occur on each 
 side of the head." "Gold laminse, with archaic reliefs, were found in 
 quasi Etruscan tombs at Monteroni." — See Cities and Cemeteries of 
 Etruria, Dennis, 1878, i, 223, note. 
 
4 GOLD OBJECTS. 
 
 ime time, it is not wonderful that relics which were 
 >und in Cyprus are of an extremely complex character 
 l respect to the art they display, and that in not a few 
 ises it is absolutely impossible to discriminate between 
 lese influences, and thus to decide without a doubt to 
 liich nationality they severally refer. This uncertainty 
 ffects our judgment, and often compels us to hesitate 
 bout the very age of certain relics, which we cannot with 
 srtainty attribute to one more than the other of the 
 owers which have successively dominated in the island. 
 Broadly speaking, however, I cannot be wrong in 
 scribing the greatest antiquity to the remains in which 
 lie older forms of Egyptian designs occur ; the next to 
 hat class which bears traces of Assyria ; the third to 
 hose in which we recognise the marks of Phoenicia. In 
 he last case, however, there is this difficulty, that 
 ^icenician designs, as such, can hardly be said to have 
 xisted independently and without any reference to 
 Hgypt on the one hand, and Assyria on the other. As 
 light be expected, the art-works of Tyre and Sidon, 
 fhich undoubtedly abound in my collections, are dis- 
 inguishable from others by the presence of the combined 
 ifluences of the eastern and southern neighbours of the 
 ;reatest trading and manufacturing people of antiquity, 
 n fact, where we find Egyptian modes corrupted by 
 Assyrian admixture, or Assyrian modes affected by quasi 
 Egyptian rendering, we recognise what is universally 
 ,scribed to Phoenician makers. The fourth order in 
 ,ntiquity among Cypriote remains comprises works which 
 ,re very numerous, and, generally speaking, unusually 
 >eautiful, and emphasized by Greek taste, skill, and 
 earning, in design. The fifth order is Roman, which, 
 trange to say, is hardly ever unaffected by that Greek 
 pirit which thus proves to have been for ages domiciled 
 is paramount in Cyprus. As to later orders than the 
 Ionian it is not necessary for me to be concerned at 
 
GOLD OBJECTS. 
 
 15 
 
 present, beyond what may be required to enable me to 
 state, that in the rich collection of coins which I have 
 formed are specimens of Byzantine, or later Greek manu- 
 facture, of Gothic, Venetian, and even Renaissance origin. 
 
 I have been led into this disquisition by means of the 
 indented pattern on the gold relic which is here engraved 
 (fig. 1), and displays very distinctly the Egyptian influence 
 on the Assyrian type of ornamentation. 
 
 These remarks are applicable to the art-works of 
 Cyprus of all kinds, not to golden instances alone. But 
 the difficulty of discrimination, to which I have referred, 
 is greatly increased by the existence of a numerous body 
 of nondescript antiquities, especially terra- cottas, to which 
 we are accustomed to ascribe a purely native origin, and 
 cannot group them with either of the classes in question 
 
 Kg. 1. 
 
 Frontal, with Archaic Ornamentation. 
 
 GoU. 
 
 above. They are generally rude and uncouth, dispropor- 
 tioned, and without distinguishing style. They are repre- 
 sented by numerous instances in the Lawrence- Cesnola 
 collection ; in that which enriches the Metropolitan 
 Museum at New York ; Dr. Schliemann found the like 
 on his " Trojan" hill, and was much exercised by their 
 peculiarities; they have been found in Greece; and in 
 Etruria. As to the last-named place, the museum at 
 Bologna, and other provincial collections in the north of 
 Italy, are by no means poor in respect to these quaint and 
 rude, if not invariably primaeval relics. We must never 
 forget that mere rudeness of execution does not absolutely 
 affirm the extreme antiquity of any object. 
 
 To return to the golden frontals of this collection, I 
 
GOLD OBJECTS. 
 
 ay indicate one example (fig. 2), which is more elabor- 
 ely decorated, and, perhaps, not so old as the above- 
 Lined example. It comprises a punctured and engraved 
 ittern of a border of alternate broad and flat, and thin 
 id narrow leaves, arranged like the elements of the well- 
 lown echinus moulding, and between lines of punctured 
 )ts ; within this border are what look like bunches of 
 •apes en repousse, in groups of three each, forming twelve 
 
 all. At the angles of this plate of gold are holes, in- 
 sided, doubtless, to attach the strings, by means of 
 hich it was secured on the face of the deceased. 
 
 From the same tomb comes a mouthpiece with a simi- 
 r punctured border to the above, but without the grape- 
 ke granulations. All these objects came from Idalium 
 
 Pig. 2. Frontal, with Ornamental Border. Gold. 
 
 Dali), with another narrow mouthpiece without orna- 
 Lents of any kind. Like the frontal last represented, 
 le other objects exhibit holes for strings. I have speci- 
 Lens also of oval plates of thin gold intended for eye- 
 Leces, the former bears on its edges indented radial lines 
 hich may have been intended to represent the eye- 
 ishes of the wearer. 
 
 Of pure gold there were found during excavations 
 early a dozen flowers of beaten metal, cut to the shapes 
 f leaves, and grouped in cinquefoils, quatrefoils, and 
 .^efoils, and severally indented en repousse to reproduce 
 le fibres and veins of foliage (figs. 3, 4, 5, 6). Ex- 
 mplary specimens are parts of mortuary chaplets and 
 
GOLD OBJECTS. 
 
 17 
 
 very beautiful instances of a class of ornaments which is 
 fairly represented in many European collections, as for 
 example, in the Louvre, and in the museums at Naples 
 and Rome. In the British Museum is a fine bronze helmet 
 of Etruscan form, of the purest type, about which appears 
 the golden wreath worn by the warrior to whom this 
 piece of armour belonged. Other examples of the same 
 kind exist elsewhere. 
 
 I have also an eye (fig. 6a) and a mouthpiece (fig. 6b) 
 decorated by the same means as that mentioned above, 
 and with volutes of a very simple, if not primitive Ionic 
 character; so simple indeed are they, that we seem to 
 trace in their plain forms something which may be called 
 
 5. 6. 
 
 Fig. 6o. Eye. Gold. 
 
 Groups and Details of Leaves. 
 Figs. 3, 4, 5, 6. 
 
 Gold. 
 
 Fig. 66. Mouth. 
 
 Gold. 
 
 the archaic Babylonian or severer Assyrian mood ; these 
 volutes are made to issue from little vase-shaped stems, 
 and were probably designed by a local artist of Cyprus 
 while under Phoenician inspiration. This pattern is en- 
 riched by a border of | I | | ] -shaped, fret. There is, 
 
 from the same site as that illustrated by the last-named 
 relic, another fragment of gold-leaf, which exhibits 
 double scrolls of more distinctly Greek character and, 
 probably, later date than any of the above, the execution 
 of the ornaments being more advanced than that of those 
 mentioned before. In the same class are fragments of a 
 mesh indented with patterns of a nature similar to that 
 which has already been described. 
 
 j) 
 
I GOLD OBJECTS. 
 
 Necklaces. 
 
 There are several fine examples of this class in the 
 llection, and more fragments of such ornaments, being 
 mdants and separate beads. The first which I shall 
 ention consists of a linked chain of gold wires and 
 )long cornelian beads, the angles of which are, after a 
 shion which frequently occurs in Etruscan as well as in 
 reek works, chamfered off (fig. 7). To this is attached an 
 ral Greek gem representing Ceres, and of a good style 
 
 Fie. 7. Gold and Cornelian Necklace. 
 
 id period of design. On the back of the gold setting 
 ■ the stone is the same lattice-like ornament which 
 e observe in the cornelian pendant of the neck- 
 ,ce itself. This may be said to attest the idea that the 
 itiquity of the ornament is, comparatively, not very 
 msiderable ; for the style it exhibits is somewhat in- 
 sfinite, probably Roman derived from Greece, as was 
 mimonly the case in many good instances of the same 
 ind and origin. With this the worn state of the surface 
 
GOLD OBJECTS. 
 
 19 
 
 of the gem agrees well enough, because it contrasts with 
 the sharpness of the state of the oblong beads ; it may 
 be, however, that the gem is a comparatively recent 
 addition to the carcanet, with which it is now associated. 
 There is also a smaller example than the last, which 
 is unquestionably due to the same period and mode of 
 
 Fiff. 8. 
 
 Gold and Enamel Necklace. 
 
 art ; it consists of alternate beads of cornelian, or sard, 
 and twisted links of gold wire. Another necklace which 
 I have found is composed of a group of fragments of 
 several carcanets, probably including some relics of widely 
 differing dates, brought together here for convenience of 
 exhibition and preservation ; among the objects in ques- 
 tion is one of the conventional grapes, or granulations, 
 
20 HOLD OBJECTS. 
 
 en repousse, and a pendant of spiral flutings, which may 
 be of late Greek or Romano-Greek origin ; there are 
 double cones of gold which suggest the Assyrian type of 
 jewellery, to which the mode they illustrate undoubtedly 
 pertains. 
 
 It appears to me that these cones show traces of pro- 
 vincial art, of the period of the Assyrian domination in 
 Cyprus, which may be called ancient even with regard to 
 the exceptional antiquity of works in gold. Similar types 
 appear in another specimen, which comprises, with many 
 other examples of differing types, two very curious sexual 
 emblems, male and female, very delicately and neatly 
 modelled, evidently designed, like numerous similar relics 
 found elsewhere, to be used as personal ornaments. I 
 have no doubt these phallic emblems are pure Greek, and 
 
 Figs. 0, 10, 11, 12. Pendants of Necklaces. GuLl. 
 
 of the best period of the art of that country. They show, 
 with the conventional treatment which could hardly be 
 dispensed with, even in Greece of old or Cyprus, where 
 there would be few scruples as to the use of such orna- 
 ments, a fine order of execution and a great amount of 
 naturalistic character. To the same grouped necklace is 
 appended a lotus flower of gold, with hollows designed 
 to hold enamel or coloured pastes. It is doubtless Greek, 
 with Egyptian characteristics, the latter being more dis- 
 tinctly marked in the choice of the subject than its 
 execution (fig. 8). 
 
 Similar jewels have been found in Lower Italy, Greece, 
 and Egypt. Cyprus furnished similar relics to the Me- 
 tropolitan Museum of New York ; and it is certain that 
 necklaces, either whole or fragmentary, have been found 
 
GOLD OBJECTS. 
 
 21 
 
 in other parts of Cyprus, which, from the designs and 
 devices exhibited by the pendants and other details, may 
 be compared with the specimens that were discovered 
 during the progress of my own excavations at Sala- 
 minia. 1 The well-known works of Sir Gardner Wilkinson, 
 Marie tte, and other writers who have treated on the 
 jewellery and goldsmiths' work of the Egyptians, do not 
 fail to inform the student of the extreme closeness of the 
 likeness which may be recognised between a very large 
 proportion of the relics of that category which have been 
 
 Fig. 13. 
 
 Necklace. 
 
 Gold. 
 
 found in Cyprus and those of Egyptian antiquity gene- 
 rally. The museums at Alnwick Castle, Naples, and 
 London, abound with such instances as might well have 
 been discovered in Cyprus, instead of on the banks of the 
 Nile. In speaking of earrings, and other works of per- 
 sonal ornament, I shall have occasion to refer to this 
 similitude, which may almost be taken to attest the 
 common origin of very considerable numbers of these 
 
 20. 
 
 1 See figs. 9-12, 
 
GOLD OBJECTS. 
 
 tides. Several circumstances, to which I shall allude 
 r -and-by, prompt the notion that we ought to look to 
 e goldsmiths of Tyre rather than to those of Egypt or 
 minis, for the origin and manufacture of the greater 
 •rtion of these beautiful relics, as the examples display 
 yyptian or Assyrian types of subjects, and are not of 
 e highest order in art. The art-work of the Greek 
 ddsmith, of course, surpassed all others, except its con- 
 fer, the marvellously modelled and exquisitely labor- 
 as " Etruscan" works, or rather those which appear to 
 s Phoenician and are found in Etruria as well as other 
 Mediterranean countries. The museum at Leyden con- 
 ins a noble collection of Egyptian jewellery which might 
 •ontably be compared by the student of Cypriote an- 
 quities. The British Museum is rich in personal orna- 
 ents attesting the fact to which I have alluded, i.e., 
 le similitude of much Cypriotic and Nilotic gold 
 ork. Nor is it thus with regard to works in the 
 :ecious metal only: at Alnwick, at Leyden, are nume- 
 ius objects, such as toilet-boxes carved in wood, or 
 oulded in earthenware, in the forms of ducks, geese, 
 ih, and other things, which closely resemble specimens 
 l the collection before us. Bronze and earthenware 
 ises found in Thebes, or represented by wall-paintings 
 -j that place, depart, in but small respects, from those 
 hich I can place before the reader as brought from 
 yprus. There is a picture in the British Museum, brought 
 om Thebes, which represents a party of Egyptian ladies 
 b what may be called an "afternoon tea", eagerly dis- 
 using their ear-rings, the patterns of which are very 
 ke those which occur in gold in this collection, and are 
 ^produced in the statuettes of terra-cotta, to which I 
 rail, farther on, call attention, as illustrating in a 
 ery complete, curious, and perfectly veritable man- 
 er, the Cypriotic fashions in personal decorations with 
 old and other precious materials. " The jewels of 
 
GOLD OBJECTS. 
 
 23 
 
 silver and jewels of gold" which are represented in this 
 collection, may be taken to be of the kind occasionally 
 alluded to in the Scriptures, and like them to be due 
 in no inconsiderable numbers to those Syrian and Sidon- 
 ian artificers 1 whose skill undoubtedly had much to do 
 in furnishing models and types of inestimable value in 
 the development of Greek art, which, of all the classes 
 in question, is the noblest and most pure. 
 
 Besides the phallic and other emblems, i.e., the lotus 
 
 Pig 14. 
 
 Statuette shewing manner of wearing Necklace. Terra-cotta. 
 
 flower, etc., there are two differently shaped beads of 
 cornelian. The mode in which the objects of this group 
 have been attached to each other, proves that they were 
 intended to be worn as a group, as in Fig. 14. 
 
 The surfaces of the beads have suffered by attrition. 
 Among other articles included with the necklace which 
 contains the phallic emblems to which I have drawn the 
 attention of the reader, is a very small pomegranate in 
 gold. A pendant similar to this is in the New York 
 Museum. Both these articles are likely to have been 
 made by the same goldsmith ; they closely resemble 
 
 1 See Ezekiel's denunciation of Tyrns, Chapters xxvi, xxvii. 
 
•24 
 
 GOLD OBJECTS. 
 
 each other, and they were found in the same city. 
 Another in this group is very curious and valuable ; it is 
 a small model of an archaic type of gold, reproducing 
 the great club of Hercules, which appears as if encircled 
 by two bands intended to strengthen the weapon ; the 
 knots on its surface have been given in enamel in a man- 
 ner like that which is known as cloisonnee (fig. 8). Eepre- 
 sentations of Hercules, generally of the skin-clad, satyr- 
 like type, and imbued with a certain element of satyric 
 grotesqueness, will be found in this collection among the 
 
 Fig. 15. 
 
 Gold and Sard Bead Necklace. 
 
 numerous terra-cotta statuettes. The club of this hero 
 is no unfrequent subject in the Greek artistic antiquities, 
 but this minute model in gold, or perhaps electrum, is one 
 of the most curious of its order. Another club is used 
 as the pendant of an ear-ring. 
 
 Another necklace (fig. 15) comprises dark sard beads of 
 an oblong form, similar to those which have been already 
 described in the same terms, and strung on their original 
 gold wires. With these is a tear-shaped bead of glass, 
 
GOLD OBJECTS. 25 
 
 now oxidized and beautifully iridescent, and enclosed in 
 a frame of gold closely fitting its shape. This frame, or 
 setting, has a delicate line of punctured dots by way of 
 border. The exceptional character of this little relic 
 suggests that it was a personal relic, a souvenir designed 
 to commemorate some pathetic event, some death, or 
 event of love. Attached to this carcanet is a pendant of 
 very lovely design, doubtless originally an ear-ring, and 
 including within a lyre-shaped frame a very delicate 
 fern, or acanthus leaf, cut from a plate of gold, modelled 
 with rare artistic tact, and designed with spirit. Three 
 cylindrical beads have terminated this pendant in a sort 
 of fringe ; of these beads a piece of emerald, or glass, re- 
 mains in the centre, while, at the sides, only the wire on 
 which the now missing beads were strung, exists. Two 
 other stones, out of three, are enclosed by gold settings 
 in this pendant. 
 
 There is also a wedge or obelisk of crystal, pierced 
 for suspension, and retaining the wire by means of which 
 it may have been supported as one of the pendants of 
 a necklace. Likewise a second crystal obelisk, which 
 is of octangular section, whereas the section of its com- 
 panion here is oblong ; it is still supported by a care- 
 fully applied band of gold, to which was attached the 
 little chain or wire supporting the object in its place 
 among the pendants of a large carcanet for the neck, or 
 bandeau for the head, such as the before-named Egyptian 
 women wear in the picture which was brought from 
 Thebes. There was found also an object which is un- 
 doubtedly a pendant, like that which is described above, 
 and the companion ear-ring to the latter. It comprises 
 the fern-leaf and similar cylinders of glass or green stone, 
 and, by way of companion for them, a small pearl. 
 
 In the same group is an oval sard set in a square tablet 
 of gold, and furnished with a hook for suspending it with 
 some other objects of personal adornment. 
 
20 
 
 GOLD OBJECTS. 
 
 Another class of pendants appear in the gold or electrum 
 sheathing of the tooth of a beast, which may be a trophy 
 of prowess or good luck in hunting. Another similar ob- 
 ject belongs to two similar remains, both mounted in the 
 above manner ; these teeth are furnished at the back 
 with little tube-like appendages or hollow rods ; the last 
 seem to have been used to attach strings to the mounting 
 of the teeth. 
 
 There was found, in the course of my diggings, a 
 
 Fig. 16. 
 
 Gold and Jewelled Necklace. 
 
 necklet of gold, with a circular pendant disk of the same 
 metal, and embossed with a full face of Phoebus of Greek 
 workmanship ; found at Salamis, this article, like most of 
 its fellows from the same city, attests that place was the 
 most Greek of all the towns of Cyprus. In the collection 
 there is also (fig. 16) a composite circle of beads of glass, 
 amethyst, cornelian and other materials, some of which 
 are engraved and moulded, and disks of gold, which ex- 
 hibit the concentric ring pattern so frequent in the archaic 
 
GOLD OBJECTS. 27 
 
 works of nearly all nations, and recognisable as Egyptian, 
 Assyrian, Greek, or Scandinavian, according to the 
 locality in which they have been found. Such concentric 
 rings occur on terra-cot ta vases, personal jewellery, arms, 
 and, indeed, nearly everywhere. Herr Helbig, in the 
 Annali d'Inst. Arch., 1875, page 221, seems to have 
 supposed that this pattern is due to metal-working 
 artificers. It appears to me that this is archaeological 
 criticism of a somewhat fanciful sort. A pattern of con- 
 centric rings is exactly such as would almost suggest it- 
 self to any one seeking to decorate an object of any 
 material which admitted enrichment by impressions from 
 tools or fingers while being manufactured in a lathe, or 
 subjected to the use of stamps ; indeed, stamps capable 
 of being used to produce such impressions on clay have 
 been found in Egypt and, if my memory does not deceive 
 me, in Assyria. After the chevrons of the almost universal 
 chevron ornament, the primitive type of decorations, were 
 exhausted, the concentric ring arrangement was the next 
 resource of the aboriginal decorator : we need not trouble 
 ourselves with cumbrous affectations of learning on this 
 point, nor send primitive " Indo-European" artists to the 
 East for such crude notions as they, or any one not 
 absolutely imbecile, could be relied on to apply out of 
 their own heads. Undoubtedly this ring pattern very 
 often occurs in works of metal, but, in another mode of 
 application it is the most common of all decorations to 
 vases, paterse, and other vessels of all countries, and, 
 one might say of all ages, from the completely barbar- 
 ous to the most cultivated. 
 
 Another specimen which I have was found at Salamis, 
 and is, as usual, very Greek. It consists (fig. 17) of prisms 
 of emerald glass, strung on knotted wires of gold and 
 having a pendant, like a fir cone, or rather bottle, a tiny 
 amphora, in fact, not intended, of course, for use in hold- 
 ing scent, but simply as an ornament of a kind illus- 
 
•28 
 
 GOLD OBJECTS. 
 
 trated by innumerable examples. Pendants, which may 
 have been applied to ear-rings as well as to necklaces, 
 appear (see Plate I, fig. 34), where amethysts are set in 
 little oblong boxes of gold, with triangular groups of 
 grape-like disks of dark blue glass suspended from them 
 in their turn, each of which is enclosed in its proper 
 frame of gold. Amethysts are not uncommon in this 
 mass of jewellery, but less so than carbuncles, still less 
 so than cornelians and sards. This is generally the 
 order of such remains of antiquity, and it is due to the 
 
 Fig. 17. 
 
 Gold and Emerald Glass Necklace. 
 
 frequency of the materials themselves in the countries to 
 which I refer. There are a few pearls, most of which are 
 of irregular shapes. Amber, which is so extremely frequent 
 in Egyptian, Assyrian, Greek, Crimean, the more ancient 
 Etrurian, and Roman jewellery, and is the most common 
 of the quasi precious materials in northern graves, such 
 as British interments and otherwise, does not occur. The 
 fact that most of the ancient amber was brought from 
 the coasts of the Baltic, which still yield great quantities 
 
GOLD OBJECTS. 29 
 
 of the material, allows us to account for the characteristic 
 abundance of the substance in northern antiquities. 1 
 
 Homer mentioned the offering of a Phoenician trader, 
 " Beads of bright amber, riveted in gold," to the Queen 
 of Syra. 2 Nevertheless, and quite contrary to our expec- 
 tations, amber has rarely been found in Cyprus, and I 
 found none. 3 
 
 I have been compelled by considerations of convenience 
 to group here with the necklaces certain fragments of 
 jewellery which may have belonged to ear-rings; on the 
 other hand, the reader will find among objects described 
 in the class of miscellaneous relics a few which probably 
 were parts of necklaces. 
 
 Hair Pins 
 
 Are represented in the collection by numerous ex- 
 amples, formed of several materials, such as glass and ivory. 
 Among the superior works is one the head of which is 
 composed of a disk of cornelian, sculptured to represent 
 
 1 So abundant is amber in British graves, that in one series of exca- 
 vations made in a cemetery of no great extent in Norfolk, not fewer than 
 seven hunch'ed beads were recovered. In England, Denmark, and Scan- 
 dinavia, it would be an exceptional circumstance to find a group of inter- 
 ments without any amber. 
 
 2 Odyssey, xv, 560. 
 
 3 Signor Castellani, in his valuable tract, Orificeria Italiana (Roma, 
 1872), described the archaic jewellery found in the Etruscan provinces, 
 and noticed the great quantity of amber which, with some silver and 
 less gold, has been discovered at Veii, Cervetri, Corneto, Chiusi, and 
 Bologna, ancient cities of the " pre-historic" people whom he designates 
 as " Tyrrhenes", as well as in places not inhabited by the Etrurians, 
 between whose works and those commonly attributed to the " Tyrrhenes" 
 a great difference is recognisable, to the disadvantage of the former. 
 He is inclined to ascribe the superior works to the Phoenicians, who 
 were always renowned as goldsmiths, workers and dealers in metal. 
 Amber is not mentioned in the English version of the Scriptures. " On 
 amber found in Etruria", see Cities and Ce?neteries,by Dennis, 1878 (new 
 edition). 
 
30 
 
 GOLD OBJECTS. 
 
 the lull face of a chubby child, surrounded by well-grown 
 hair ; the stone is encircled by a flat ring of lead, probably 
 the matrix of a gold or silver ornament from which the 
 more precious metal has perished in course of time. The 
 reader should refer to what is said of the use of lead 
 in Greek jewellery, as shown by excavations in tombs 
 
 Fig. 18. 
 
 Scarabaeus. 
 
 Gold Setting. 
 
 of the Cyrenaica. There is also, among these mis- 
 cellaneous gold objects, a scarabaeus (fig. 18) of green 
 stone, set in a gold band, enriched by a wreath of laurel 
 of exquisite workmanship, in very fine Greek taste. 
 
 Of Earrings, 
 
 The number in this collection is greater than that 
 of any other class of personal ornaments. It is the 
 same in all other collections. This may be not wholly 
 due to the fact that such jewels were usually worn in 
 pairs, for this was by no means invariably the case. One 
 earring is said to have been part of the costume of a slave, 
 and examples occur which illustrate the practice of wear- 
 ing a single ornament of this kind. I may refer to 
 the account given below of the spirited and admirably- 
 modelled black terra-cotta lamp, which, while represent- 
 ing the laughing face of a young negress, retains in its 
 right ear a gold ring of the lion's head type, which is so 
 common in Phoenician, Assyrian, and Greek jewellery, 
 and has been so often found in Egyptian tombs. 
 
 1 See the Ancient Egyptians of Sir J. Gardner Wilkinson, the chapter 
 on ornaments, and the index to that work. 
 
GOLD OBJECTS. 31 
 
 All the forms of this class of jewellery were found 
 in Egyptian remains. Some represent Assyrian types, 
 but with a "difference", as the heralds say, which, 
 as has been hinted above, seems to suggest that a 
 considerable number of the specimens are by Tyrian 
 workmen, who supplied the ladies of the Nile, and those 
 who resided in "Chittim", or the Isles of the Sea, Cyprus 
 among them, with innumerable personal ornaments. These 
 were alluded to in the terrible denunciation of Ezekiel : — 
 " Thus saith the Lord God to Tyrus ; Shall not the isles 
 shake at the sound of thy fall ? Every precious stone 
 was thy covering, the sardius, topaz, and diamond, the 
 beryl, the onyx, and the jasper, the sapphire, the emerald, 
 and the carbuncle, and gold" (xxvi, 15 ; xxviii, 13). 
 
 The number of earrings in this collection is not only 
 relatively but actually considerable. The variety of 
 their patterns is probably as great as the difference of 
 their ages, which extend from very early times to the 
 Byzantine period ; at least, the later class includes ex- 
 amples which exhibit Byzantine fashions as in Venetian 
 use to a date which is, in relation to others, quite modern. 
 It is noteworthy that the extreme simplicity of the 
 forms of some of these relics does not allow us on that 
 account alone to declare the age of many of the works to 
 be great, or even to predicate that they are archaic in 
 their origin. On the contrary, the flat lunettes, which 
 were evidently cut from plates of gold, sometimes from 
 mere films of the metal, are simply of indefinite antiquity; 
 the works may be, so far as this peculiar pattern enables 
 us to affirm, of almost any age. These specimens are 
 chiefly interesting as illustrating popular goldsmiths' 
 work as it was in vogue in Cyprus, and all other countries 
 in the east of the "Great Sea". Other instances of these 
 peculiar types may also be recognised. For example, 
 there is a pair of lunette-shaped earrings, of which the 
 grape-like granulations of gold remind us of the so-called 
 
32 GOLD OBJECTS. 
 
 granulated jewellery attributed to the ancient Etruscans, 
 of which so much gold work is preserved in the British 
 Museum (fig. 19). 
 
 The next class, as regards simplicity of form and design, 
 and as to age and origin, doubtless of equal diversity 
 with the above-named lunettes, are earrings of tube-like 
 contours, crescent-shaped, and tapering at each end, to 
 form the usual loop and pin which, being joined at the 
 extremities, secured the ornament when in use. Of these, 
 several have wires remaining, on which beads were placed 
 (fig. 20). Most of these relics are of thin gold and hollow. 
 They were made thus for cheapness, as well as lightness. 
 An example has been found of a modified form of the 
 same type as the above, to which, by way of pendant, is 
 attached a little disk of gold, which is chased with a 
 
 19. 20. 
 
 Figs. 19, 20. Earrings. Gold. 
 
 satyric mask of free and energetic designs, and doubtless 
 of Greek origin and provincial manufacture. The ring 
 itself is of bronze, covered with thick leaf gold, through 
 which the more perishable alloy within has forced its way, 
 since fracture of the gold covering by some mechanical 
 means exposed the bronze to the action of the atmos- 
 phere, causing extensive oxydisation, so that the green 
 oxyde burst forth and spread itself, rending the gold as it 
 did so. 1 A very large number of objects of this kind 
 occur in collections of antique jewellery. The deterior- 
 ating effect of the process in question has been very 
 great. While thus describing the condition of gold en- 
 crusted bronze objects, I may as well add that examples 
 of the commoner sorts of goldsmiths' works sometimes 
 
 1 See Plate i, fig. 27. 
 
GOLD OBJECTS. 
 
 33 
 
 prove to have been formed on clay or gypsum bodies, 
 other specimens on silver-gilt; others again consist of 
 lead bodies, encrusted with thick gold. 
 
 I found, among others, a wire earring of gold or elec- 
 trum, on which is strung a pear-shaped bead of green glass 
 — another specimen of popular jewellery, and as such very 
 interesting to the student of the "ways and means" of 
 antiquity. A similar wire earring retains its little pendent 
 cylindrical bugles, one of which, being of glass, is splen- 
 didly iridescent. It is in this respect a small example of 
 the effect of decomposition of glass when exposed to cer- 
 tain influences of the same kind which have affected large 
 numbers of glass vessels of many ages and forms, which it 
 will be my pleasure to describe further on. There are 
 
 22. 
 
 23. 
 
 Figs. 21, 22, 23. 
 
 Earrings. 
 
 Gold. 
 
 other instances to be classed with the last-named earring. 
 Many of these ornaments are so small that they must 
 have belonged to children, if they were not, which is 
 equally probable, merely designed for mortuary use. 
 Earrings of great varieties of design and age occur in this 
 collection. 
 
 Here (fig. 21) the pendants are little balls of gold 
 strung on stems of twisted wire of the same metal, and 
 accompanied by disks of the like material, which are 
 enriched with granulated work of no great fineness. 
 One of the most numerous classes of earrings is that 
 of which many specimens have been found by exca- 
 vators in Assyrian sites, as well as in Egypt, Mesopo- 
 
 F 
 
34 
 
 GOLD OBJECTS. 
 
 tamia, Sardinia, and Etruria. These beautiful objects have 
 at one extremity of the ring proper the head of a bull. 
 Other specimens of the same category (figs. 22-26), termi- 
 nate in the heads of goats, cocks, and dolphins. 
 
 More frequent than the latter are the earrings, which, 
 in the same fashion, bear the heads of lions (fig. 27) of 
 exquisite workmanship and noble designs. Bracelets 
 with lions' heads have been found at Kurium and else- 
 where. They were believed to have been of Assyrian 
 origin, but the dispersion of jewellery of the like 
 character and closely resembling the above in artistic 
 style, has led observers to attribute these relics to the 
 famous Tyrian artificers, whose works would be borne all 
 over the ancient world in the ships of Phoenicia and the 
 
 21. 
 
 25. 
 
 26. 
 
 27. 
 
 Figs. 24, 25, 20, 27. 
 
 Earrings. 
 
 Gold. 
 
 merchants who attended Sidonian markets. " The mer- 
 chants of Sheba and Eaamah, they were thy merchants : 
 They occupied in thy fairs with chief of all spices, and 
 with all precious stones and gold." " What city is like 
 Tyrus, like the destroyed in the midst of the sea? 
 When thy wares went forth out of the seas, thou filledst 
 many people ; thou didst enrich the kings of the earth." 1 
 The heads pertaining to these earrings are not all 
 derived from the forms of animals. The largest and 
 finest of this collection is, in the usual way, made of 
 twisted gold wire, enlarging to form a body of some 
 bulk, and terminating at one extremity in a female head, 
 furnished with ample tresses, and of a noble aspect; 
 on the wire are strung four rings of gold, enriched 
 
 1 Ezek. xxvii, 22, 32, 33. 
 
GOLD OBJECTS. 35 
 
 with granulations in the so-called " Etruscan" mode, 
 together with two dark red beads, and one of variegated 
 colour (fig. 28). 
 
 A similar object, of inferior quality, if not greater anti- 
 quity, is accompanied by three beads, two being of green 
 glass, while the third and central one is composed of 
 layers of that material, the one kind being white, between 
 two that are black. This bead may have been intended 
 to imitate an onyx. Of course, the existence of a bead 
 made in this manner at once suggests the place of its 
 manufacture to have been identical with that from which 
 issued those pretty amphora- shaped bottles of alternate 
 stripes of dark blue or black and white, or yellow vitreous 
 material arranged in chevron, of which many examples 
 
 Fig. 28. Beaded Earring. Gold. 
 
 are in this collection. They are universally accepted as 
 Phoenician, and they illustrate a peculiar handicraft, of 
 which I have more to say when treating of beads, the 
 well-known " Druids' Beads", any example of which it 
 was the custom to describe as an Ovum Anguinum, or 
 adder stone. 
 
 Some examples in the cabinet are of like character. 
 They are probably late Greek, or even Eoman, but they 
 preserve the so-called Assyrian type of the ball and lion- 
 headed examples above named. If this idea of the age 
 of these works is correct, the earrings are curious illus- 
 trations of the survival of ancient forms in jewellery, 
 exactly as two examples in the cases, in having pendants 
 
36 GOLD OBJECTS. 
 
 of the Egyptian lotus pattern, as represented in the 
 " Phoenician" mode, may bring before our memories the 
 histories of successive invasions of Cyprus by diverse 
 peoples, each of which in its turn influenced the natives 
 of the island. 
 
 The collection also contains an earring with a long hoop 
 of twisted wire (fig, 30), comprising a little gold figure 
 of a winged genius, Eros, or Cupid, similar in design and 
 treatment to those which were found at Kurium ; and 
 two with the youthful heads of Eros or Cupid in high 
 relief, set in bands of gold (figs. 29, 31). 
 
 The most elaborately wrought examples of this class 
 are a pair of charming earrings of sculptured gold, each 
 of which is furnished with a delicate "honeysuckle" 
 
 29. 30. 
 
 Earrings. Gold. 
 
 pattern of great beauty, and sustaining three pendants of 
 open work, a sort of filigree enriched with granulations. 
 
 Some doubts having been cast on the idea that orna- 
 ments of this category are not earrings, it is well to dis- 
 prove such questionings. This may be done readily, 
 and on the simple evidence, among others, of a black 
 terra -cotta lamp of a laughing negress's head, 1 to 
 which I have before alluded as still retaining in the 
 lobe of the right ear a tiny earring of this order, and 
 most exquisitely wrought in spirals of " granulated" 
 work, terminating in the head of a lion. The single 
 earring indicates that the wearer was a slave. To wear 
 one earring is still the practice of Oriental slaves. 
 
 1 See further on, under the description of the lamps, in the chapters 
 devoted to the consideration of the terra-cottas. 
 
GOLD OBJECTS. 37 
 
 The next object which I shall describe is a beautiful 
 relic, with a pear-shaped pendant of flat gold plate ; this 
 portion may have been the backing of a large stone. The 
 body of this jewel is a circular disk of cornelian, deeply 
 cut with the head of an infant Genius, of beautiful cha- 
 racter and very animated expression. At the side is the 
 name of " Eros" in Greek letters. This example corre- 
 sponds with another which was found not far from it. 
 
 Finger-Rings. 
 
 There is a very large number of these objects in the 
 Lawrence- Cesnola collection, and they comprise — 1. Sim- 
 ple gold rings, with tablets, like modern signets ; but, 
 
 32. 33. 34. 
 
 Figs. 32, 33, 34. Finger-rings, with Inscriptions. Gold. 
 
 with some exceptions, these articles, unlike the modern 
 examples, bear no intaglio work fitting them for use as 
 seals. 2. Another class consists of relics which bear 
 stones and jewels of diverse materials, such as onyx, 
 carbuncle, and cornelian, sculptured and unsculptured. 
 Of the first class, I have two examples unusually sub- 
 stantial ; for, as in other jewels of antique production 
 found in tombs, it is evident that a large proportion of 
 these relics were designed for mortuary service only, and 
 not for personal use. The exception to this is that kind 
 which shows on the tablet punctures or indentations of a 
 small tool, which have been grouped so as to produce a 
 Greek inscription 1 or benediction on the part of the giver 
 
 1 Fig. 33 reads *E$AY; fig. 34, EPOS AMOP, in letters which 
 appear to be of the first century after Christ. 
 
GOLD OBJECTS. 
 
 the owner (figs. 32-34). Another bears in intaglio 
 > winged infant Genii embracing; being small, solid, 
 somewhat worn, this appears to have been used 
 the finger of a Salaminian lady. The style of the 
 ires informs us that the jewel was made by a Greek 
 st of a fine period, if not of the best of all the phases 
 Grreek art in gold. 
 
 . The second class of finger-rings is more numerous 
 . important than the first. The sculptures exhibited 
 the relics which it comprises are mostly human figures, 
 the collection there is a cornelian ring, which shows a 
 ti dancing, and holding an implement, which resembles 
 ir-cone or thyrsus. Another (fig. 40), of black and 
 e onyx, bears the effigies of a man standing and 
 
 Fig. 35. Finger-ring with Engraved Gem— Discobolus. Gold. 
 
 ding in one hand a patera with offerings of fruit, 
 I, in the other hand, nondescript objects, which re- 
 lble pine apples, but are, doubtless, fir-cones. Four 
 rnples of interest exhibit sculptures of the same order, 
 ich, being in intaglio, were doubtless designed for the 
 rate signets of the owners. An onyx shows a Disco- 
 us in the attitude of the Townley statue, and an ille- 
 le inscription (fig. 35). The reader will observe with 
 3rest the position of the head of this disk-thrower, 
 I consider it in reference to the attitude of the head in 
 famous statue in the British Museum, and he will 
 .6 be able to derive light on a subject which has been 
 ily and laboriously discussed by many antiquaries, who 
 r e maintained that the restoration of the head of the 
 tue is wrong, and shows defect of perception on the 
 t of the modern sculptor who ' restored' the figure. 
 
GOLD OBJECTS. 
 
 39 
 
 Several rings are enriched with settings of scarabsei, 
 such as were worn during many ages by the people of the 
 Mediterranean countries, who were more or less influenced 
 by Egyptian fashions, and who employed the sacred 
 Nilotic emblem in jewellery without attaching any sacred- 
 ness to the gems they affected. Fig. 36 is an example 
 of a rare and fine kind, unusually bold and good in its 
 
 Fig. 36. Finger-ring. Scarabseus, engraved with an TTrseus. Gold. 
 
 character, and of much older date than the gold setting 
 which accompanies it. The scarabseus is Egyptian, and 
 its device, the ureeus, appears on another ring in the 
 collection (fig. 37). 
 
 The other scarabseus is one of these reproductions of 
 this famous symbol, which, owing to their inexact and 
 perfunctory sculpturing, are supposed to be of Phoenician 
 
 r^ 
 
 Fig. 37. 
 
 Finger-ring, engraved with Ureeus. 
 
 Gold. 
 
 manufacture for exportation, and designed to serve as 
 personal ornaments, without regard to the sacred sig- 
 nificance of the emblem itself. This scarabseus is set 
 on pivots, and the prettily-designed gold hoop to which 
 it is attached is moulded to resemble a double braid 
 of twisted wire, and very tastefully modelled at the 
 pivots, on which the stone was intended- to turn. 
 Another ring consists of an oval carbuncle, set in con- 
 
40 
 
 GOLD OBJECTS. 
 
 centric mouldings of gold, and very bulky. It appears 
 to be of the Assyrian type, although its general character 
 reminds us of rings which have been found with epis- 
 copal and other interments of mediaeval dates (fig. 38). 
 
 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 
 
 Fig. 38. 
 
 Finger-ring, set with a Carbuncle. 
 
 Gold. 
 
 been worn again by members of nations who were almost 
 wholly ignorant of the very names of the races to one of 
 which the resuscitated relics belonged. Antique gems 
 are often found in mediaeval service, and curious legends 
 attributed magical virtues to Egyptian, Greek, or Roman 
 
 Fig. 39. 
 
 Engraved Ring. 
 
 Gold. 
 
 onyxes, cornelians, or sards, which were innocent of any- 
 thing beyond incontestible power to charm antiquaries by 
 means of their historical associations, artists on account of 
 their artistic merit. Signets of Carlo vingian, Frankish, 
 and French monarchs, and wonder-working fragments 
 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. 
 
GOLD OBJECTS. 
 
 41 
 
 The ring in fig. 39 encloses a cornelian, on which is 
 engraved the outline of a building, composed of a central 
 tower and two lower wings, with indications of doorways. 
 It represents 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 ac- 
 count of a bronze disk, which is included in the chapter 
 dealing- with works of that material in this collection. 
 
 Fig. 40. 
 
 Gem Ring. 
 
 Gold. 
 
 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. 41). The history of the coins 
 
 Fig. 41. 
 
 Finger-ring. A Bull. 
 
 Gold. 
 
 of Cyprus, which is to be found further on, treats of 
 other examples of the use of this emblem. The bull's 
 action of pain and wrath is very finely represented. 1 
 The execution is of excellent quality. 
 
 Another finger-ring consists of a cornelian, with a 
 draped female figure, holding a cornucopia and a wreath. 
 
 i This bull is found on silver coins of Thurium, and is repeated on 
 those of Augustus. 
 
 G 
 
42 UOLD OBJECTS. 
 
 There is also a ring, which is similarly enriched by a cor- 
 nelian, on which is engraved a winged and draped female 
 figure, holding a palm and wreath. This is probably a Vic- 
 tory ; 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 examples 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, 
 
 Fig. 42. Bead of a Necklace. GuU. 
 
 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 Kit- 
 tium is a scarabaeus of amethyst, and also a second 
 scarabseus of green stone, on the back of which is a 
 winged figure in intaglio. Both of these relics are doubt- 
 less 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. 42) deeply engraved in intaglio three dolphin-like 
 
GOLD OBJECTS. 43 
 
 figures, which are not unlike the bull-headed earrings 
 mentioned above in the descriptions of those objects in 
 this collection. These figures are arranged like the 
 spokes of a wheel revolving, and remind us of that 
 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 meet- 
 ing point of the legs, a human face with a grotesque 
 expression. On the gold disk to which I refer are like- 
 wise 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 atten- 
 tion of those distinguished antiquaries, Dr. Birch, Signor 
 Castellani, and Mr. Newton. 
 
 Figs. 43, 44. Female Figure arranging Ape. QuU. 
 
 the Hair. 
 
 In this class there are two little figures of noteworthy 
 interest. The first represents (fig. 43) 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 Anadyo- 
 mene, 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 exceptional emblems, the head 
 of which is much injured (fig. 44). This figure resembles 
 other examples of the same animal which exist among 
 the terra-cotta objects in this collection, and, as such, 
 described below. 
 
44 UOLD OBJECTS. 
 
 Two or three small gold bottles of conical shape, and 
 intended for pendants for necklaces, occur in this section 
 of the body of relics before us. The same form is re- 
 presented 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-sculp- 
 tured scarabseus, 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 oxydised 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 
 
 Fig. 45. Wire Fibula. QulJ. 
 
 delicately in white stone, and highly polished. It be- 
 longed to an earring of the class represented by others in 
 my collection. 1 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 overlap- 
 ping ends of which are moulded to represent a soft sub- 
 stance 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. 
 
 ] Set what is written above, under the head of Ear-rings. 
 
GOLD OBJECTS. 
 
 45 
 
 A very considerable number of fibulae of gold wire 
 occur in tbis collection. Tbey are formed by bending 
 wire like hoops, witb overlapping ends, and they doubt- 
 less answered the purpose 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. 
 45). Some larger examples of this class bear Cypriote 
 inscriptions. See figs. 46, 47 ; 48. 
 
 Some of the larger instances of the same articles show, 
 by the outbreaking of the inferior alloy of which their 
 
 46. 
 
 47. 
 
 48. 
 
 Figs. 46, 47, 48. 
 
 \\ l l> X5LA 71 J,... 
 
 Inscribed Fibulse. 
 
 A- x\\ X C >~ 
 
 Gold. 
 
 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 earrings, 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 breaking of the 
 golden crust. 
 
CHAPTER IV. 
 
 SILVER OBJECTS. 
 
 LTHOUGH anciently the number of objects 
 in silver used for personal adornment and 
 in domestic service must have immeasurably 
 outnumbered those which were formed of 
 the more precious metal, the ratio of pro- 
 portion between the respective classes of relics in these 
 materials has been entirely reversed, so that the number 
 of articles in silver is very far indeed from equalling that 
 of those which are made of gold. This is one of those 
 facts which serve to show how prodigious has been the 
 loss to art of the countless pieces which had occupied the 
 silversmiths of antiquity. Among the fine examples 
 of silver-work which still remain, there is more than 
 enough to prove that beautiful design and fine sculpture 
 were lavished on silver, with not inferior profusion to 
 those which distinguished works in gold. 
 
 The destructive action of time, and powers of atmos- 
 pheric corrosion, fully account for this complete reversal 
 in the number of precious objects remaining for the 
 world. In the collection, the modern rule of proportion 
 more than holds its own, for the articles of silver are few 
 indeed compared with those made of gold, and to which 
 I have already referred. As in Assyria, Egypt, Greece, 
 and Home, and even in the comparatively recent Scandi- 
 navian hoards, so it is with regard to Cyprus, where, 
 
SILVER OBJECTS. 47 
 
 indeed, we might expect such a result to have been due 
 to the moisture of an insular climate. 
 
 ^ Oxydisation has unfortunately caused destruction or 
 disfigurement 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 ex- 
 posed 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 equip- 
 age 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 silver articles to be found in the Lawrence-Ces- 
 nola collection, 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 earrings of silver in the col- 
 lection, 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, 
 
48 SILVER OBJECTS. 
 
 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 trans- 
 ferring scented or costly fluids from one bottle to another. 
 
 There is one form among the spoons which was evi- 
 dently designed to remove marrow from long bones. 
 Similar implements to this have been found in the drift 
 and in bone caves of greater antiquity than those Cypriote 
 relics. Silver hairpins 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 Salaminia, 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, on parts 
 of the same necklace, they comprise beautiful pearls, 
 and a large silver oval object, of which portions re- 
 main. 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 Con- 
 tinent, 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 inter- 
 ference with the course of nature. It has been sug- 
 gested that, as this relic was found in a tomb at 
 
SILVER OBJECTS. 
 
 49 
 
 Salamis, it may have belonged to a face-mask, such as 
 those already described with other golden objects. On 
 this point, it is worth while to notice that the art 
 employed to represent the mouth 1 (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 fur- 
 
 Fig. 49. 
 
 Finger-ring, with engraved Cornelian. 
 
 Silver. 
 
 nished 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 
 
 Fig. 50. 
 
 Finger-ring, with engraved Cornelian Scarabseus. 
 
 Silver. 
 
 to the arm of a lady or of a child, of almost any 
 diameter. 2 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, with a lunette represented over its back 
 
 1 Plate ii, fig. 10. 
 
 2 Plate n, fig. 14. 
 
 H 
 
50 
 
 SILVER OBJECTS. 
 
 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 scarabgei, 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. 49). Another bears a 
 
 Fig. 51. 
 
 Finger-ring, with engraved Cornelian. 
 
 Silver. 
 
 griffin, with large wings extended. On the back a male 
 figure sits astride, in a mantle, wearing a rayed crown, 
 such as often appears in Cypriote statuettes, and carry- 
 ing a staff, with a ball, or fir-cone, at its upper extremity 
 (fig. 50). 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. 51). 
 
CHAPTER V. 
 
 BBONZE AND IBON BEMAINS. 
 
 PATERiE — MIRRORS— BOXES — RINGS — ARMOUR —MISCELLANEOUS OBJECTS. 
 
 Bronze. 
 
 N this material there are about a thousand 
 examples in the gathering. They consist of 
 vases, parts of vases, mirrors, both Greek 
 and Boman, bowls, strigils, weapons, such 
 as lance -heads and daggers, pins, and 
 paterae of different forms, ornaments for horse-trappings, 
 fragments of a tripod, and other miscellaneous 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. 52) engraved with 
 Phoenician and Egyptian figures, and of great antiquity 
 (fig. 53). Dr. Samuel Birch, Keeper of the Egyptian and 
 Oriental Antiquities in the British Museum, to whom I 
 am indebted for much valuable information upon my col- 
 lection 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 Phcenico-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 sur- 
 
52 BRONZE AND IRON REMAINS. 
 
 mounted by a disk, thrice repeated, flanked by ostrich 
 feathers, and placed on the horns of the sheep or 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 '_p« neb ta, ' the Lord of the World'. Bound his 
 loins is the royal 'skenti, or tunic. The rest of his form 
 is undraped, and it is uncertain if he wears sandals. 
 The hair of the monarch shows the rounded form which 
 came into use at the time of the Twentieth Dynasty, or 
 about B.C. GOO ; 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 
 
 Fig. 52. Engraved Patera. Bronze. 
 
 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, 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 Semetic nations. Before the king 
 stands the god Ba or the Sun, hawk-headed, wearing the 
 Sun's disk, draped in a shentl, or tunic, stretching 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 intimates 
 
BRONZE AND IRON REMAINS. 
 
 53 
 
 that victory is accorded to the monarch by the Sun God, 
 the Phoenician Baal Reseph, or Eeseph Mical, a form 
 afterwards converted by the Cypriotes to the Apollo 
 Amyclaios. The prisoners or enemies of the king are, as 
 in Egyptian style, of smaller proportions. So also is the 
 
 Fig. 53. 
 
 Inside of Engraved Patera. 
 
 Bronze. 
 
 attendant 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 
 
54 BRONZE AND IRON REMAINS. 
 
 pointed like the Persian kklaris, or as it is called in the 
 Cypriote dialect, the kittaris. His 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 
 running round centre offers more relation with Greek 
 art, although it is treated in the Egyptian manner. 
 It is, however, Cypriote in some respects ; enter- 
 tainments and similar diversions being represented 
 on other cups of the kind published by M. Ceccaldi, 
 and belonging to the collection of General di Ces- 
 nola. 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 representation of 
 Cypriote sensualism. The central figures may, however, 
 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 krater on a stand ; behind 
 the krater an oinochoos, 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 re- 
 cumbent on the couch on the left, is a man seated on a 
 chair and drinking out of a cup, then a stand, following 
 
co 
 
 < 
 
 o 
 
 tr 
 
 LD 
 
 O 
 UJ 
 
 CD 
 
 O 
 
 UJ 
 
 N 
 
BRONZE AND IRON REMAINS. 55 
 
 which, is a man carrying a female ; a couch with foot- 
 stool, 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 accessaries. 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, 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, 
 formed, it would seem, of two sliding cylinders, so that 
 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. 54). 
 Another remarkable bronze relic is a very ancient 
 serrula (fig. 55), or spoon-saw, its slightly concave 
 body being furnished with a serrated edge, and in- 
 tended to be employed for ladling the blood of sacri- 
 fices, 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 Kittium. A 
 small box, or etui, of bronze (fig. 56), was found, con- 
 taining 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 
 
56 
 
 BRONZE AND IRON REMAINS. 
 
 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 
 \ heen opened, exists in this collection with the 
 
 above. A large armlet of bronze (fig. 60), in 
 the shape of a snake, the eyes being clearly 
 defined, comes from another tomb. It is re- 
 markable because, having been laid up with 
 linen cerements, the patina on its surface 
 retains unmistakeable traces of the threads of 
 I the fabric which accompanied it in the tomb. 
 
 In the tomb which yielded this armlet I found 
 two silver finger rings (figs. 57, 59), the oval 
 bezel of one of which formerly held three oval 
 stones, or pieces of glass ; the central one is 
 now remaining in its setting. Two large 
 • fibulas (figs. 61«, 61b, 61c), a large pin (fig. 
 
 63) with an open eye and wire twisted about 
 its head, a pair of tweezers (fig. 64), or small 
 tongs, a bronze ring (fig. 58), and a buckle (fig. 
 62) 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 Me- 
 tropolitan Museum at New York. Three of 
 these are beautifully -modelled heads of bulls, 
 of a fine Greek type. 1 The eyes of these 
 sculptures are hollow, and have been filled 
 with glass, like many other sculptures of Greek 
 "-' as well as Roman origin. Two pieces come 
 from the feet of the tripod ; one is the claw 
 of a lion, the other the hoof of a bull. 2 
 The miscellaneous bronze antiquities comprise torch- 
 holders, candelabra on tripod bases, and weights of 
 
 Pipe. 
 Fig. 64. 
 Bronze. 
 
 1 Plate III, fig. 1, A, B, C. 
 
 2 Plate in, fig. 1, d, e. 
 
Fig. 55. 
 
 Serrula, p. 55. 
 
 Fig. 5G. 
 
 Needle-case, with Needles and Thread, p. 55. 
 
 (Silver.) 
 Figs. 57, 58, 59. 
 
 Rings, p. 56. 
 
 {Silver.) 
 
 61a. 03. 03. 61. 
 
 Figs. CO, Armlet ; 01<J, Gil, Glc, Fibula; 03, Buckle ; f'3, Pin ; 64, Tweezers. 
 
 p. 56. 
 
 BRONZE ANTIQUITIES, ETC., FROM A TOMB AT SALAMINTA, CVl'RUi- 
 
58 
 
 BRONZE AND IRON REMAINS. 
 
 exactly the shape still employed in Cyprus. Among the 
 latter, two weights adhere by the oxidising of their sur- 
 faces. The latter is a disk, perforated by three triangular 
 holes. A group, or compacted mass, of iron and bronze 
 objects was found at Salaminia, on the top of a sarco- 
 phagus. Most of the articles in the mass were of use for 
 the ,: ath. This group is a very remarkable one indeed ; 
 the articles are all massed by means of the oxidisation of 
 the surfaces of most of them. They comprise a large 
 iron strigil, with a great ring of the same metal, and 
 
 Fijr. 65. 
 
 Mass of Iron and Bronze Utensils for the Bath, etc. 
 
 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 belonged 
 to a casing of that alloy (fig. 65). 
 
en 
 
 < 
 
 CO 
 
 u 
 
 LlJ 
 
 —) 
 CD 
 O 
 
 UJ 
 
 N 
 
 z: 
 o 
 cr 
 en 
 
BRONZE AND IRON REMAINS. 
 
 59 
 
 In addition to the above bronze relics, there are three 
 bronze mirrors, one of which (fig. 66) has an engraving, 
 representative of the Temple of Venus at Paphos, 1 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. 
 
 Fig! C6. 
 
 Engraved. Mirror— the Temple of Paphos. 
 
 Bronze. 
 
 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 
 have been filled with enamel, of which there are, however, 
 but slight indications. Dr. Birch describes the other as 
 " an Egyptian vase, in form of the Roman situlus, used 
 
 i This is a favourite subject of the art of the engraver. See page 41, 
 and fig. 39, p. 40. 
 
60 BRONZE AND IRON REMAINS. 
 
 for carrying holy water, much corroded, with two small 
 eyes for a loop-shaped handle to pass through, by which 
 the little vase was carried in ceremonies. This example 
 is so much corroded that the subject which is on its sides 
 in bas-relief is difficult to make out. The reliefs are in 
 four rows. In the first or upper row are seen Boats of 
 the Sun proceeding through the heavens. In the second, 
 a procession of several female deities of the Egyptian 
 Ritual, crowned with the disk and horns, and holding 
 papyrus sceptres. The third row is illegible. Below 
 this, a frieze, or row of ornaments, in shape of the petal 
 or calix of the lotus flower. In the Egyptian situlus, the 
 form of the god Khem, or Amnion Horus, is generally 
 depicted at the head of the procession of deities whom 
 the worshipper adores. These vases are not of a very 
 early period." 
 
 Iron. 
 
 During the course of my excavations at Salamis, I 
 came upon a box containing a curious collection of 
 weapons of iron. These were, perhaps, formerly worn 
 by a warrior, slain in one of the numerous battles 
 which took place in his native island. There are two 
 swords, with leaf-shaped blades and short cross-handles, 
 by which that material was secured in its place. With 
 these are two lance-heads and a leaf-bladed knife ; two 
 finger-rings and as many arrow-heads forming a group. 
 Iron rings have been mentioned in the account of the 
 bath rings and other objects found at Salamis. The 
 rapid oxidisation and decay of this metal no doubt 
 account for there being fewer relics of iron than of 
 bronze found in digging into sites so ancient as the 
 tombs of Salaminia. The accompanying plate gives 
 representations of the principal iron objects that I have 
 been enabled to gather from the ancient cemeteries 
 and burial cities of Cyprus. 
 
W 
 
 < 
 
 if) 
 
 O 
 
 cc 
 
 h. 
 </) 
 
 u 
 
 Ld 
 -J 
 
 m 
 O 
 
 Ld 
 N 
 z: 
 o 
 
 (X 
 
 m 
 
 D 
 
 z 
 < 
 
 o 
 
 DC 
 
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 adja- 
 cent earth, are naturally not very nume- 
 rous in any collection of antiquities. Never- 
 theless, I was so fortunate as to secure, during the 
 course of my investigations among the tombs of Sala- 
 minia, a not inconsiderable number of relics composed 
 of this metal, which are, indeed, from the peculiarity 
 of their types, worthy of consideration in this place. 
 
 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 personages, 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 manifest a 
 high degree of preservation, while others, by no means 
 the oldest, have suffered in some measure from the in- 
 jurious effects of London air. 
 
62 
 
 LEADEN ANTIQUITIES. 
 
 Groups and Plates. 
 
 Among the moulded objects in this material are the 
 fragments of a group, in very low relief, of a gladiator, 
 (fig. 67) clad in breeches and buskins, whose head indi- 
 cates 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 orna- 
 
 Pig. 67. 
 
 Gladiator in combat with a Lion. 
 
 Lead. 
 
 ments 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 pat- 
 terns, and perforated with large circular openings, as 
 if they formed parts of the covers of caskets. If they 
 are not so, it is difficult 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 
 
LEADEN ANTIQUITIES. 63 
 
 remote antiquity. They closely resemble portions of 
 modern mountings for the frames of miniature portraits. 
 
 Sling Bullets and Boxes. 
 
 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 uncommon among Greek relics. They do not often 
 bear inscriptions such as this one. 1 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. 2 
 
 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 anti- 
 quity, is illustrated by the account given, in the sub- 
 sequent 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. 3 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 sap- 
 phire 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. The infil- 
 tration of water charged with lime through the space 
 between the lid and body of this box had been sufficient, 
 notwithstanding the extreme narrowness of the interval, 
 to fill the interstices of the drops of glass with fine 
 
 1 See Plate vi, fig. 2. Ficoroni has figured several inscribed glandes 
 from Sicily and other localities of the Byzantine Empire. 
 
 2 See Plate vi, fig. 1. 3 See Plate vi, figs. 14, l.i. 
 
64 LEADEN ANTIQUITIES. 
 
 calcareous matter, exactly such as had, by similar means, 
 rilled from the floor to the roof the caves beneath the 
 temple at Kourium, 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 con- 
 tents belonged to the grave of a child, whose toys the 
 pretty little 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. 1 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. 
 
 Inscribed Pvolls. 
 A still more curious and important discovery of the 
 use of lead in Cyprus was made at Salamis under the 
 following circumstances. 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 various pieces in their former posi- 
 tions showed that this relic was a rough toy in the shape 
 of a chariot, the two wheels of which, from whatever 
 cause it would be difficult to determine, are not, as one 
 would have supposed, circular, but undoubtedly oval. 
 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 
 
 1 See Plate vi, fig. 13. 
 
LEADEN ANTIQUITIES. 65 
 
 which my attention was then directed, I did not give 
 much attention to them at the moment, but laid them 
 aside in a corner of my tent. It must be confessed 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 
 purpose, 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 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 ap- 
 proaching, 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 cau- 
 tious 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 account of itself. 
 
 Profiting by the hint of the softening of the metal 
 
 K 
 
66 
 
 LEADEN ANTIQUITIES. 
 
 under the influence of warmth, I exposed it gently to the 
 heat of fire, and, after about two hours of careful mani- 
 pulation, succeeded in unrolling the object. The reader 
 may conceive how greatly I rejoiced when, on carefully 
 examining the inner surface of the unrolled plate, I found 
 that it bore a long inscription 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 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 acci- 
 dents, 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 this ancient Salaminian relic : — 
 
 Fig. 
 
 Inscribed Roll found in a Tomb. 
 
 Lead. 
 
 Professor Sayce reads the above inscription in the 
 following way : — 
 
 je 
 
 si la se ri mo ta sa ka se o le ke o te re no a te 
 to a sa mi te a me to to se le sa se go a te to 
 po vo to a to pa ni yi se lo to pi si pu o 
 
 Transposed into Greek characters, this would become — 
 
 Qeavw/) QcoK\eu<; K.(ioTri/.iwpi<} (or *ras A«/<o/h?) \vacije 
 
 Torn <cyo<; (Tv\?fv 7iv c6fic(v) a?rj(i'\ (rf\fii'au (ivff' fi'(i') 
 
 o NvanrToXo? ytvnra 710 a(i^)9pw7nv 
 
LEADEN ANTIQUITIES. 67 
 
 The English equivalent is as follows : — 
 
 " Theanor, the son of Theokles Kastauioris, (or and Damoris), shall 
 atone for this pollution of sacrilege by giving in full one half of that 
 which (i.e., in return for that which) Pusiptolos charges against the 
 man." 
 
 ' The forms of many of the characters," writes the 
 Professor, " in this inscription are very remarkable. 
 Thus we have new forms for a, yi, o, hi, and ye. 
 The use of avXrj for ' sacrilege', of the future \v<rt,ye> and 
 of yivnra (from ivnrda)) in the sense of bringing a charge 
 against is also to be noticed. The purport of the in- 
 scription is curious in other respects." 
 
 Seals or Stamps. 
 
 Classed with these ancient remains and municipal 
 documents are eight leaden seals from Salamis. They 
 are of Byzantine and early Venetian origin, and they 
 bear monogram inscriptions, or, rather, merchants' marks, 
 very like those familiar to all students of mediaeval 
 antiquities. 1 On one, a representation of St. Nicholas; 2 on 
 another, the head of St. Peter, appears. This is the 
 reverse of a stamp, similar to another in the same col- 
 lection. A third bears an eagle f a fourth bears the 
 inscription, obv., + CEPHOT CKPINIAP[IOT] ; rev., 
 SCRINI : KVPFJ. 4 Each of these seals is pierced with 
 transverse holes, through which a cord could be passed, 
 so that the seal might be used to bind baggage or other 
 goods in the manner still in vogue ; the lead, being- 
 pressed down on the cord, secured the package. These 
 relics have been sought for and treasured up in later 
 times by the ignorant people, who found them, and 
 believed they must needs be charms, because such things 
 were beyond the scope of their knowledge of trade and 
 
 i See Plate vi, fig. 3. 2 Ibid., figs. 8, 9. 3 Ibid., fig. 10. 
 
 4 Sergius, Scrivener of Cyprus. See Plate vi, fig. 11. 
 
G8 LEADEN ANTIQUITIES. 
 
 property. By these persons the seals were again pierced, 
 and attached by strings, so that they might be hung 
 about the necks of their children, and thus do duty as 
 amulets against the Evil Eye, whereas they were designed 
 centuries ago to keep light ringers from surreptitiously 
 conveying goods of value from the rightful owner to 
 another who had no claim upon it. 
 
 The accompanying illustration (fig. 69) shows a relic 
 
 Piff. 69. Youthful Head. Lead. 
 
 in lead, representing a very elegant head of a youth 
 enclosed in a cabled border, which, in its turn, is encircled 
 by a beaded rim or circlet. It was perhaps a badge or 
 ornament, for application to the dress or to a small work 
 of art. The way in which the hair is represented on this 
 head very closely resembles the treatment of the hair on 
 the heads of Eros or Cupid, as shewn in the terra-cotta 
 and bronze figures of that divinity. 
 
CHAPTER VII. 
 
 IVORY OBJECTS. 
 
 SEALS OR RINGS — CARVINGS BOXES — SPOONS — ARTICLES FOR THE TOILET, 
 
 ETC. 
 
 MONG the relics in this material are two to 
 which I may, in the first instance, call 
 attention. They are large seals or rings, 
 and were, doubtless, intended for securing 
 amphorae, or other vessels, by impressing 
 wax with the private marks of the owners of the vessels. 
 In Nineveh, it was found that a similar practice of seal- 
 ing had been in vogue. Certain chambers were found to 
 have been closed by placing lumps of clay against the 
 doors and their jambs, and impressing on the soft 
 material the official or state seals of the proper officers. 1 
 
 1 The Lord answered Job out of the whirlwind, " It is turned as clay 
 to the seal". — (Job xxxviii, 14.) The use of seals is amply illustrated in 
 the Scriptures, especially in the Book of Revelation. Daniel was sealed 
 up in the lion's den (Dan. vi, 17); and in another place the same 
 prophet was bidden to " shut up the words, and seal the book" of the 
 record. — (Dan. xii, 4.) "Is not this laid up in store with me, and sealed 
 up among my treasures V is one of the demands of Moses. — (Deuteronomy 
 xxxii, 34.) The custom of carrying seals in rings on the hand or 
 attached to bracelets, is often shown in the same collection of records of 
 manners and customs. " Set me as a seal upon thine heart, as a seal 
 upon thine arm'" 1 , occurs in Solomon's Song (viii, 6). Judah asked of 
 Tamar, whom he did not know : " What pledge shall I give thee V 
 And she said : " Thy signet, and thy bracelets, and thy staff that is in 
 thy hand." Afterwards, she said : " Discern, I pray thee, whose are 
 these, the signet, the bracelets, and staff?" The stone of the sepulchre 
 of Christ was sealed : " So they went, and made the sepulchre sure, 
 sealing the stone, and setting a watch." — (Matthew xxvii, 66.) 
 
70 IVORY OBJECTS. 
 
 Amphorae of wine have been found still bearing the 
 impressions of the owners' seals upon their mouths, and 
 within retaining traces of the fluids thus guarded during 
 more than twenty centuries. 
 
 The collection contains a similar ring to that which 
 has just now been mentioned. In it is set an oval disk 
 of green glass. 1 Another bears the head of a woman in 
 bas-relief ; it is probably a cameo of Arsinoe. 2 The other 
 articles include the pin of ivory, on which one of the 
 strings of a lyre has been turned ; and parts of ivory 
 boxes, severally sculptured with a Cupid and a lioness, 
 both in animated actions. 3 Scarabsei of ivory are men- 
 tioned below. Some curious rods of ivory were ex- 
 humed, having staples or little braces of bronze. They 
 were designed for attaching the strings to a lyre. 4 In the 
 chapter of this work which contains an account of terra- 
 cotta figures of musicians, other notices of similar objects 
 are given. There are, also, spoons of a kind similar 
 to those of silver which have been already mentioned in 
 the chapter which treats of articles formed of that metal. 
 One hair-pin, round which a woman's tresses were wound, 
 bears a figure of Venus at its extremity. 5 The handle of 
 another ends in a coronetted head. Among miscellaneous 
 objects are a die, an ear-pick, fragments of pins, or bod- 
 kins, which retain parts of their ancient coating of gold, 
 and afford additional examples to many others which 
 illustrate ancient devices for making a little of the pre- 
 cious metal go far. There was found also the engraved 
 head of a hair-pin, of the kind represented more than 
 once in the collection, which is a nearly perfect relic. 6 
 
 During the course of my excavations, I had given 
 particular directions that objects of terra-cotta should 
 be brought to me whenever they were taken from the 
 ground. In such remains, owing to the varieties of their 
 
 1 See Plate vn, fig. 7. 2 Ibid., fig. 2. 3 Ibid., fig. 1. 
 
 4 Ibid., fig. 13. 5 Ibid., fig. 15. c Ibid., fig. U. 
 
IVORY OBJECTS. 71 
 
 forms and dates, I took great interest. One day, a man, 
 who made it his business to discover stones for building, 
 and who, therefore, might be called a quarryman among 
 the ancient ruins he helped to destroy for the convenience 
 of the living, came to me with the terra-cotta figure of a 
 cock, which still remains in my collection, and, in bear- 
 ing traces of colour, has an interest of its own, such as is 
 enlarged on in the account below of such relics. On 
 further inquiry, I was taken to the place where this 
 article had been found. Excavations being made there, 
 resulted in recovering from a hole enclosed by rough 
 stones similar terra-cottas, making six in all, being — 1, a 
 crouching cat ; 2, a ram in a similar position ; 3, a goat, 
 likewise crouching ; 4, the grotesque figure of a fat man, 
 laughing, and with his hands clasped before his belly, 
 and in the attitude of waddling rather than walking ; 
 5, a head of Hercules, laughing, and with the lion's head 
 drawn over his brows, the claws of the creature being- 
 placed against the cheeks of the hero ; 6, the figure 
 of a man, supposed to be a priest, squatting on his 
 haunches ; both hands are on the knees of the figure, his 
 large beard is trimmed to a heart-shape, the face is 
 laughing, and the nose is turned up in a very quaint 
 manner. These works are still in the numerous body of 
 terra-cottas which are alluded to below. 
 
 Close to the spot in question, and evidently deposited 
 there with unusual care, were even more interesting relics, 
 being two paterae of similar form, arranged as a bowl 
 and lid, which cohered so closely at the rims that they 
 could not be separated without fracturing one or both of 
 them (fig. 70a). On breaking into the casket which was 
 formed by the union of these vessels, and satisfying 
 myself that no inscriptions were to be found on either 
 of the paterae, a quantity of earth was removed from 
 between them, and among this earth was a little cylin- 
 drical box of lead (fig. 70b), about two inches in diameter 
 and three inches and a half high. The finder now 
 
72 
 
 IVORY OBJECTS. 
 
 thought that there was a probability of treasure being 
 concealed in the little casket, and he cried out for joy. 
 The box was opened by lifting the lid, and it appeared to 
 be made of lead, like others which had been found else- 
 where ; one of which, from Salamis, filled with glass drops, 
 and the earth which had filtered among them during 
 many ages, has already engaged our attention. 
 
 This leaden casket of Kittium, where this relic was 
 found, contained a very elegant cylindrical box of ivory 
 (fig. 70c), sculptured with figures of men or priests adoring 
 a bull, Apis, and an ibis (fig. 72). Both these creatures 
 are placed on benches or altars (fig. 73). The lid of the 
 ivory box is sculptured in relief, with the head in profile, 
 of a bearded man (fig. 71), whose hair is bound with two 
 
 Fig. 70. Two Pateraa (a) enclosing a Leaden Box (b), in which was 
 
 found an Ivory Box (c). 
 
 fillets. It has been remarked that, not only is this head 
 of very fine execution, but that critics have not decided 
 whether it is of Greek or Roman origin ; and, above all, that 
 the style of its execution differs radically from that of the 
 sculptures on the box itself, which, delicate and elaborate 
 as they are, show the influence of the somewhat stiff and 
 jejune mode of Assyrian designs as transmitted through 
 Phoenicia, and with characteristics which may be due to 
 the local art of Cyprus itself. Considering these circum- 
 stances and conclusions, the latter being based on recon- 
 
IVORY OBJECTS. 
 
 73 
 
 dite criticism of the respective and differing styles of the 
 several parts of this curious casket, we are driven to the 
 conclusion that the body of the relic is a copy from some 
 much more ancient piece of sculpture in ivory, embracing 
 that which is, comparatively speaking, an archaic manner 
 of design and treatment, far removed from the elegant 
 
 Fig. 71. 
 
 Carved Lid of Box. 
 
 Ivory . 
 
 and well-developed style of the medallion on the top, 
 or that the top was made of old, in order to supply the 
 place of the original and far more ancient one, the design 
 
 Fig. 72. 
 
 Box. 
 
 Ivory, 
 
 of which may, broadly speaking, have been similar to 
 that before us in the medallion in profile. 1 I incline to 
 the second hypothesis, and I do so with regard to the 
 
 1 This resembles a tessera or ticket for the theatre, of which there are 
 several in the British Museum, 
 
 L 
 
74 
 
 IVORY OBJECTS. 
 
 differing types of style exhibited by these carvings, and 
 without ignoring the fact that the subjects represented 
 on the body of the box may have been in vogue for 
 gnostic or heretical worship, at a period coeval with the 
 top itself. The evidence of style is, however, unchallenge- 
 able. 
 
 The finder of this very curious relic of Cypriote anti- 
 quity was doomed to disappointment while he fancied 
 that it might contain treasure. The box, being opened, 
 enclosed only a small pebble, which has, unfortu- 
 nately, disappeared. This is the more to be deplored, 
 because, however trivial the vanished object may have 
 seemed to the untutored eyes of its discoverer, there 
 
 Fi?. 73. 
 
 Subject carved on Box. 
 
 Ivory. 
 
 cannot be any doubt that a stone which had been so 
 carefully and, so to say, sumptuously deposited in the 
 earth many centuries ago, must have had a peculiar 
 history and characteristics, all hopes for elucidating 
 which vanished for ever when the pebble was lost. 
 If, as was probably the case with regard to the glass 
 drops of diverse colours found in another leaden box, this 
 little pebble had been piously placed in its casket of 
 ivory by some relation of the dead in whose grave it was 
 found a thousand years and more after the last tears 
 were shed over that grave, how much pathos would have 
 affected those who had sympathy enough with human 
 
IVORY OBJECTS. 75 
 
 sorrow to enter into the history of the apparently 
 insignificant little stone ! 
 
 Another ivory group comprises two little figures of 
 women standing side hy side, and amply draped in the 
 Greek mode ; the figure on our left is veiled ; her com- 
 panion is bare-headed. A column, altar, or term, is 
 between the figures, and may be taken to indicate the 
 religious purposes of the group. 
 
 The ivory rods 1 are conjectured to have been employed 
 on lyres in order to turn the strings of those instruments 
 over the tops of the same ; they are supposed to have 
 served the purpose of a bridge, while other specimens of 
 ivory, already referred to, were undoubtedly used to 
 secure the ends of the strings of the lyre. 
 
 1 Plate vii, fig. 10. 
 

 CHAPTER VIII. 
 
 BONE AND SHELL ANTIQUITIES. 
 
 Bone. 
 
 ONE, as a material employed in manu- 
 facturing arts, is much more common in 
 the north of Europe, than in the south 
 of that continent and in Asia, where the 
 preferable material ivory could be obtained 
 with comparative ease. The bone antiquities of northern 
 races are numerous and valuable ; those of Cyprus are, 
 if not so numerous, at any rate of noteworthy character. 
 In the course of the extensive excavations which I 
 conducted at Salaminium, I found, among other relics 
 composed of bone, an etui, or small case, one foot in 
 height, which takes the form of a statuette of a woman 
 (fig. 74). It was made to open by a socketed joint at 
 the hips of the figure. This little case contained, when 
 found, two or three broken pins of ivory or bone. The 
 art illustrated by the carving of this noteworthy figure 
 is extremely simple, not to say archaic, and indicates the 
 influence of Egyptian modes on the taste of a Greek 
 artist, who disposed the long and severe folds of the 
 drapery with great care, and yet referred to nature for 
 the manner in which they are placed. The eyelids, 
 irides, and eyebrows have been indicated by colour 
 which appears to have been applied in a moist state with 
 a brush ; the lips and nostrils are carved in relief. 
 
BONE AND SHELL ANTIQUITIES. 
 
 77 
 
 The hair, which is in large, freely-disposed masses, is 
 tinted and bound in a large knot over the forehead. 
 From the presence of wings on the head, Dr. Birch 
 conjectures that the figure was probably intended for 
 Medusa. The arms of the little carving have been 
 attached to the body by means of pins, one of which I 
 replaced more firmly in order to secure it against^loss. 
 The fibrous nature of bone, which distinguishes that 
 material from ivory, may be noticed in several parts of 
 the interior of this extremely rare object. An additional 
 
 Fig. 74. 
 
 Archaic Box and Contents. 
 
 Bone. 
 
 and irrefragable proof that bone is in question here, is 
 afforded by the umnistakeable cancellated structure of 
 the interior of the relic. The collection of antiquities 
 also contains an elegantly-worked bone carving of a lion, 
 which originally formed the end or top of a pin or small 
 stick, or the handle of a knife; 1 a stop for a hairpin 
 
 1 Plate vn, fig. 9. 
 
78 BONE AND SHELL ANTIQUITIES. 
 
 carved in the form of a head; 1 bone hairpins of elegant 
 design ; 2 and a small but fine carving of two females, full 
 length, with a column between them. 3 
 
 Shell. 
 
 Among the rarest of the materials employed for 
 decorative purposes by the people of antiquity is that 
 of the shells of the sea ; but for domestic service shells 
 were largely used, as for spoons, and, above all, as 
 strigils for the bath, and otherwise as scrapers, as well as 
 in some of the modern offices of paper. An exceedingly 
 choice and rare example of the application of shell as a 
 decoration, or rather as a luxury, appears in the beautiful 
 casket, which, with a necklace, three beautiful earrings, 
 and some other miscellaneous objects of interest I found 
 in 1877, while digging in a tomb at Salaminium. It is 
 formed of the shells of a large bivalve, probably of the 
 Byssus species, a marine mollusc, the beard of which 
 was prepared and woven into robes of great price, 
 while the preparation of another of its parts furnished 
 the well-known dye. These shells, (fig. 75), measure 
 about five inches in one direction and six and a half 
 inches in the other ; the natural hinge which connected 
 them has been broken, and its office supplied by a 
 hinge of bronze attached by two pins to each valve, at 
 one side. When in use, the sides of the casket have 
 been kept together by a hook of bronze, which, turning 
 on a pin outside one valve, catches in a staple which is 
 fixed in the other valve, and passes through a hole in the 
 former. This contrivance is identical with that of in- 
 numerable modern instances. On each shell is painted, 
 not, as usual, engraved, in brilliant vermilion, a border of 
 a running pattern ; the border on one valve consists of a 
 simple key-fret, or rectangular design, which is marked 
 
 1 Plate vii, fig. 23. 2 Plate vn, figs. 14, 15. 3 Plate vn, fig. 12. 
 
BONE AND SHELL ANTIQUITIES. 
 
 79 
 
 in the intervals of the inner side of the border by small 
 indications of a flower and leaves; these are similarly 
 painted in vermilion ; the intervals of the outer side of 
 the valve are filled with vermilion dots. The border of 
 the other shell is formed of a running wave-pattern with 
 a dot or spot of colour in each curve ; in the centre on 
 this side is an oval mark, also of vermilion, which has 
 been so much obliterated that its character cannot now 
 be explained; perhaps, it was a scaraba3us. The first- 
 named, or upper valve is enriched, on part of the border, 
 with a four-armed cross, like that called a Greek cross, 
 placed at the point of the natural hinge. The place of 
 
 Fig. 75. 
 
 Inscribed Case. 
 
 Shell. 
 
 the bronze hook and staple is distinguished from that of 
 the hinge of the same material by means of a closed 
 hand with extended forefinger, ^p- , which points to 
 the hook. The place of the hinge is marked by the 
 figure of a phallus, surrounded by a row formed of the 
 
 Cypriote letter _j_. Two other inscriptions of the same 
 language and characters are placed transversely on this 
 valve : they are given in the woodcut. 
 
 These inscriptions have been kindly interpreted by 
 Professor Sayce and M. Pierides. They read : — 
 
80 BONE AND SHELL ANTIQUITIES. 
 
 yi o ta ro po a se te 
 
 pi ta 
 Ta{3l tt/s 'Afipordoyi 
 
 I.e., " Toilet Box of Habrotos". 
 
 This word Taftl is apparently borrowed from the Phoe- 
 nician H 1 H tehvdh. 1 The Cypriote letter which has 
 been already referred to, corresponds with the Greek 
 syllables ya, tea, or X a, and is repeated seven times on the 
 shell. 
 
 Infiltrated earth only was found inside this very 
 
 remarkable casket. 
 
 c. 
 
 
 Fig. 78 a, a, c. Inscribed Ring. 
 
 a. The Device ; a. Position of the Inscription ; c. The Letters. 
 
 (Hans. 
 
 Curiously enough, I found in the same tomb a ring 
 formed of glass (fig. 76), which has on the inside surface 
 of the bezel an inscription in the Cypriote language 
 identical with that found on the hinged shell box. The 
 device, which this glass ring bears in a concave depression, 
 is a rosette or a cross of the shape called pattee by the 
 heralds, in red glass upon a white field, over which a thin 
 1 Gen. vi, 14, 15, 16, etc., "ark". 
 
BONE AND SHELL ANTIQUITIES. 
 
 81 
 
 plate of plain glass is placed, and when the ring was com- 
 plete and in use, the cross shone through this flat plate 
 of glass. 
 
 In a tomb near Famagusta I found no less than eight 
 
 Fig. 77 a, a . 
 
 Inscribed Ornaments. 
 
 Shell. 
 
 remarkable ring-shaped objects of shell, graduating in 
 size from three-fourths of an inch to two inches and a 
 
 Fig. 77 c, d, e. 
 
 Inscribed Ornaments. 
 
 Shell. 
 
 quarter. They are of oval form, cusped at the upper 
 end and pierced. The lower end is finished off with a 
 pointed spur-like projection. The lower margins of 
 
 M 
 
82 
 
 BONE AND SHELL ANTIQUITIES. 
 
 these objects have inscriptions, of which most of the 
 characters are those found in the Cypriote language, and 
 a few on the three largest of the rings appear to belong 
 to the Phoenician language. But from the imperfect num- 
 ber of the relics, no satisfactory interpretation has yet 
 been arrived at (figs. 77, A — h). It has been conjectured 
 
 Fig. 77 f, g, a. 
 
 Inscribed Ornaments. 
 
 Shell. 
 
 that these eight rings of shell formed part of a necklace 
 or breast ornament, to be worn by a priest or other 
 public functionary, upon his breast, the smaller pieces 
 overlapping the larger ones, like tiles, in a vertical 
 row ; in which case the inscriptions perhaps run on in 
 grammatical sequence from the less to the greater circles 
 or margins of the relics. 
 
CHAPTER IX. 
 
 STONE ANTIQUITIES. 
 
 EMI 
 
 til 
 
 
 INSCRIBED STONES PHCENICIAN NUMERALS CYPRIOTE INSCRIPTIONS 
 
 STATUETTES GREEK INSCRIPTIONS ALTARS TRIPOD — VASES- 
 AMULETS STAMPS — TYMPANUM OF EARLY CHRISTIAN "WORK. 
 
 HE stone antiquities which rewarded my 
 labours in excavating several prolific sites 
 in the island of Cyprus are not particularly 
 numerous, but in themselves, from the fre- 
 quency with which they are associated with 
 inscriptions, they possess an enhanced interest. It is a 
 curious fact, that the calcareous stone which is found in 
 the island in great abundance contributes almost always 
 the material for these objects ; and from the peculiar 
 nature of its composition, it does not easily discolour from 
 age or exposure : hence, to a casual observer, the stone 
 objects, which undoubtedly range over a period of more 
 than a thousand years, and embrace representations of 
 Egyptian, Phoenician, Assyrian, Greek, Roman, and Early 
 Christian art, appear to have been made within a com- 
 paratively recent time — so fresh and clear is the colour of 
 the stone of which they are formed. Next to the objects 
 in calcareous stone, those in marble are most numerous. 
 I have been able to procure several slabs of this material, 
 with Greek inscriptions, and of a fairly early period. 
 
 The accompanying woodcut (fig. 77*) represents a frag- 
 ment of hard stone, two and three-quarter inches in 
 length, which I found at Cerina, or Gyrene, on the 
 
84 STONE ANTIQUITIES. 
 
 North coast of the Island of Cyprus. M. Pierides con- 
 siders that the inscription which is scratched upon it is 
 probably part of some Phoenician numeration or calcu- 
 lation. The first sign to the right he believes to repre- 
 
 Fig. 77*. Phoenician Inscription. Stone. 
 
 sent 20, and the other strokes, on the first line, 1 each. 
 The numeral 20 is repeated on the second line. 
 
 At Cerina, a site worthy of exploration, I found 
 a calcareous stone of rectangular shape, measuring four 
 inches and three-quarters in length, and two inches and 
 a-half in height, with the left hand upper corner roughly 
 rounded off. It is represented by the accompanying 
 illustration (fig. 78), and contains three lines of Cypriote 
 inscriptions, the final mi of the first line being broken off. 
 
 The reading proposed by Professor Sayce, on the sup- 
 position that the stone is perfect on the right hand side, 
 is as follows : — 
 
 [mi] e se ya pi pa se ta o te 
 
 ke te te ka me ra ta mi a (?) 
 se mi te to se ke 
 . . deov ra<; Tia<$>iya<; rj[fil] . . a(?)fii6pa pe Karedq/ce . . 
 
 "Of the Paphian goddess am T...Armthra set me up....Kestothemis." 
 
 M. Pierides, however, considers that a breadth of stone 
 sufficient to contain two characters has been struck from 
 off the right hand side. He would read : — 
 
 e . se . ja . pi . pa . se . ta . o . te [se . ta] 
 ke . te . te . ka . mi . ra . ta . u [a . mi] 
 se . mi . te . to . se . ri [a] 
 
STONE ANTIQUITIES. 
 
 85 
 
 He transliterates the inscription into Greek in this 
 manner : — 
 
 Td? Oew ra9 Tla<f>tas rjfil avrdpfxt KariO^Ke 'Apio-ro^t?. 
 
 We may thus easily arrive at the very satisfactory 
 interpretation of this votive inscription, which that 
 learned savant has elicited from the stone :— " I am 
 
 Fig. 78. 
 
 ^J6^± F-H; 
 
 ^ts^. 
 
 Cypriote Inscription. 
 
 Stone. 
 
 the statue of the Paphian goddess, and Aristothemis 
 dedicated me." 
 
 The site of Cerina also enabled me to add to the 
 
 ^JP * £ ± P W 
 
 Fig. 79. 
 
 Cypriote Inscription. 
 
 Stone. 
 
 linguistic treasures which I rescued from destruction- — 
 a fragment of calcareous stone (fig. 79) of rectangular 
 shape, measuring five inches and a-half in length, and 
 two inches and a-half in height, with the left hand 
 upper corner roughly rounded off, and the right hand 
 corner broken away. Both the fractured corner and 
 the rounded angle appear to have been in their present 
 
86 STONE ANTIQUITIES. 
 
 condition before the stone was selected by the stone- 
 cutter, who has placed on it a distinct inscription, which 
 commences beyond the break, and follows along the 
 curved edge of the stone. 
 
 Professor Sayce and M. Pierides agree in their de- 
 cipherment of this inscription, in the following lines : — 
 
 [se] . a . pi . pa . se . ta . mi . e . o . te . se . ta 
 Ta? 6ecb rjiM, Ta? ITa<£/a(?) 
 "I belong to the Paphian goddess"; or, "I am [the statue] of the 
 Paphian goddess". 
 
 Paphos, where I spent a considerable portion of my 
 time when in the island of Cyprus, yielded, among other 
 
 j%-*-~ - ** — - ^vs 
 
 
 Pig. 80. Cypriote Inscription 
 
 treasures rescued from the oblivion of centuries, several 
 inscribed stones. The inscriptions, and, indeed, all that 
 are given in this work, having been discovered only sub- 
 sequent to Prof. Moriz Schmidt's exhaustive work on the 
 Cypriote syllabary, will be welcome, it is hoped, to philo- 
 logists as new additions to the very considerable corpus 
 which is now available for analysis and comparison. It 
 has been my good fortune to be the means of adding, in 
 
STONE ANTIQUITIES. 
 
 87 
 
 some degree at least, to this result. Professor Sayce, 
 
 with his accustomed kindness, reads the inscription 
 
 which is contained on the rectangular block of calcareous 
 
 stone, measuring thirteen inches and a-half by seven 
 
 inches and a-half (fig. 80), in three lines, in the following 
 
 way 
 
 a 
 
 te . ka 
 
 mi 
 ne 
 
 e : u . ya 
 ke . pi . e 
 
 .ti.ka.se 
 , ne . sa . ti 
 
 ne . vo . xi 
 
 /caredicrav eVl icivev ov 
 
 'Aaiicadiyav rjjju 
 (or yevev ov ?) 
 " I am of Asikathiyas : They set (me) up over his Cenotaph (?)" 
 
 From Paphos also it was that I obtained for the 
 Lawrence-Cesnola collection of antiquities a fragment of 
 
 V 
 
 f-£'-~*Q** ^ t« 
 
 jH 
 
 Fig. 81. 
 
 Cypriote Inscription. 
 
 Stone. 
 
 calcareous stone, measuring eight inches in length, by 
 four inches and a quarter in height, on which is an 
 interesting Cypriote inscription (fig. 81). Professor 
 Sayce and M. Pierides, to whom I have submitted this 
 inscription, concur in reading the syllables in the fol- 
 lowing manner : — 
 
 . . . ta . si . na . o . a . ra . pa . ku . si . na . o . . 
 
 . ''OvacriKVTrpa a *Ova<Ti§a\jxov\ .... 
 If this be so, of which there can be little doubt, we 
 have here a sepulchral inscription recording the name of 
 " Onasikypra (the daughter or wife) of Onasidamos." 
 
88 
 
 STONE ANTIQUITIES. 
 
 This name is not unknown, from its occurrence among 
 the Cypriote inscriptions. 1 
 
 A third piece of calcareous stone, which measures 
 thirteen inches and a-half in height, and six inches 
 and three quarters in breadth, from Paphos (fig. 82), 
 although in its contour more regular than the two 
 already described, contains portions only of four lines of 
 Cypriote inscriptions ; but Professor Sayce, who has fa- 
 
 Fig. 82. 
 
 Cypriote Inscription. 
 
 Stone. 
 
 voured me with his conjectural reading, finds that "the 
 fragmentary condition of this inscription makes a trans- 
 lation impossible". The syllables he would read in this 
 manner : — 
 
 1 Transactions of the Society of Biblical Archaeology, vol. v. Part i. 
 
STONE ANTIQUITIES. 
 
 89 
 
 o . i . na . o . 
 
 si . na . pa (1) [or to] ne. . 
 mi . ta . o . . . . 
 . mi . e . . . 
 
 In line 3 perhaps we have — ° ra/xla^ " The Steward", 
 and in the fourth line e/w for eipl " I am". 
 
 From Salamis also comes a slab of calcareous stone, 
 measuring ten inches and three-quarters in breadth, and 
 
 Fig. 83. 
 
 Cypriote [nscription. 
 
 Stone. 
 
 twelve inches in height. On it (fig. 83) are three lines 
 of Cypriote characters. 
 
 The third character in line 1 has been erased or tam- 
 pered with. The inscription is, however, in other respects 
 well cut. The reading : — 
 
 se . ra . pa . ku . mo . ti 
 
 mi . e 
 mo . ta . mo . ti 
 
90 STONE ANTIQUITIES. 
 
 is not yet ascertained ; perhaps, " I am of Timokupra ; 
 of Timodamos". The rectangular character with hori- 
 zontal bar, which occurs three times in this inscription 
 and twice in fig. 85, is a new syllable, not known to 
 Schmidt, Deecke, or other collectors of Cypriote in- 
 scriptions. It is taken here, conjecturally, to be equi- 
 valent to the rectangular with a vertical bar, of which 
 the Greek transliteration is /no or /*<». 
 
 One of the smaller fragments of stone which were 
 found at Salamis (three inches long) contains (fig. 84) 
 two Cypriote syllables " se. a." It has been conjec- 
 tured by those who have a knowledge of the language 
 that these characters may form the final part of the 
 
 Fi K- 8fc Fragment of an Inscription. Sfone. 
 
 word IIa(/)/a9. But from the fragmentary condition of this 
 stone, we cannot advance beyond a mere supposition. 
 
 One of the statuettes formed of the native calcareous 
 stone found at Constanzia, near Salamis, bears a Cy- 
 priote inscription (fig. 85). It is ten inches and three- 
 cruarters high, and represents a female figure draped in 
 a closely-fitting dress without many folds. Bound the 
 neck are marks, which appear to indicate a necklace. 
 The right hand is laid upon the breast, the left hand 
 hangs down at the side, coming through a hole of the 
 drapery. The feet are formal, and placed upon a narrow 
 
STONE ANTIQUITIES. 
 
 91 
 
 plinth or pedestal. The inscription, which is vertical, 
 after the style of the Egyptian sepulchral figures, or 
 shabti, commences at the breast, and is continued down 
 the front of the figure to the hem of the robe. The 
 characters, which are in some cases very indistinct, seem 
 to represent the following values : — 
 
 . me . se . te . se . ta . ka . se . mo . te . si . i . 
 
 mo 
 
 Professor Sayce and Dr. Birch consider the Greek 
 equivalent to be : MoialSr]fj,o<i KardaTrjai /j,e — "Moisidemos 
 set me up." 
 
 Kg. 85. 
 
 Inscribed Statuette. 
 
 Stone. 
 
 Moisidemos, apparently a Cypriote form of the Greek 
 name, Musidemos, or Mousidemos, probably dedicated 
 this as an iconic offering or votive memorial to one of 
 the deities of Cypriote cult, in remembrance of a female 
 relative. This figure was found by an ignorant stone- 
 cutter, who had gone to search for materials. He 
 damaged the statuette, in order to get possession of 
 a small quantity of gold leaf which covered the in- 
 scription. I happened to be passing while he was 
 
92 
 
 STONE ANTIQUITIES. 
 
 engaged at his work of desecration, and secured the 
 relic for the collection. 
 
 A convex piece of calcareous stone exhumed at Soli 
 (fig. 86), measuring five inches by three inches and a-half, 
 evidently the middle part of a statuette of the same con- 
 ventional form as the previous figure, with the right hand 
 pendent, contains five lines of Cypriote inscription, of 
 which the first line and the last alone are legible, about 
 three intermediary lines apparently having been erased. 
 Professor Sayce, to whose kindness I am deeply indebted 
 
 Fig. 86. 
 
 Torso of a Statuette with Cypriote Inscription. 
 
 Stone. 
 
 for much help throughout this work, transliterates this 
 inscription thus : — 
 
 se to ka sc su 1 ta i a ne o lie te 
 
 [Erasures] 
 
 se si ka to 
 
 rrjv ovelara . . eayaros 
 
 to /ceteris 
 
10 
 
 
 O 
 
 L0 
 Q 
 
 LU 
 
 O 
 
 h- 
 
STONE ANTIQUITIES. 
 
 93 
 
 Unfortunately, the mutilated condition of the stone 
 militates against a satisfactory interpretation of the 
 imperfect record which it contained. 
 
 There are in this subdivision of the Lawrence-Cesnola 
 collection several stone statuettes of a class which is 
 not unfrequently found, bearing inscriptions in the 
 Cypriote character; but they are not easy of inter- 
 pretation in the present unsettled state of our know- 
 ledge of that language. Besides the perfect statuettes, 
 I found a very large quantity of the heads of similar 
 objects, most of which are Egyptian, Assyrian, Greek, 
 and Eoman, in their characters and origin. 
 
 Fig. 87. 
 
 Head with Mouth-strap and Pipes. 
 b, c, d. Trumpets. 
 
 Stone. 
 Terra-cotta, 
 
 The accompanying illustration (fig. 87a) shews a stone 
 head from Salamis in the Lawrence-Cesnola collection, 
 which may be profitably compared with some similar 
 specimens in the British Museum. In this example 
 the treatment is apparently Phoenician, with Assyrian 
 influence. It is the head of a statuette representing a 
 player on the double pipe, which was secured in its 
 proper position at the mouth of the player by a broad 
 fillet or strap passing over the cheeks and fastened at the 
 
94 
 
 STONE ANTIQUITIES. 
 
 back of the head. Figs. 87 b c d are specimens of the 
 pipe, trumpet or lituus, in terra-cotta, for mortuary pur- 
 poses, which will be described hereafter in the place 
 devoted to a consideration of the jictilia. 
 
 The Phoenician altar, figured on page 99, is worthy of 
 comparison with several stone models in this collection, 
 
 Fig. 88. 
 
 Salamis and Constanzia. 
 
 Stone. 
 
 which have the forms of chalices, or, to speak more 
 strictly, resemble baptismal fonts of very small pro- 
 portions. 
 
 In the year 1877, while I was digging in the land 
 which lies between the sites of the ancient towns of 
 Salamis and Constanzia, I found a very remarkable 
 
STONE ANTIQUITIES. 95 
 
 group carved in stone in the Greek style (fig. 88). It 
 appears to me to be intended to represent a personi- 
 fication of Salamis, here conceived as Teucer, wearing a 
 toga, and leaning against a terminal figure of Hermes. 
 Constanzia, as a female personage, draped in the elegant 
 folds of the chiton, and having her hair bound with a 
 broad fillet, is leaning in an attitude of ease and grace- 
 fulness upon the male figure ; the left hand and arm 
 being placed behind her back, and the right arm, from the 
 elbow to the hand, reposes on the shoulder of the other 
 figure. This group may have possibly marked the spot 
 where some territorial boundary between these two sites 
 existed, or it may perpetuate the memory of some act of 
 confederation or annexation, so to speak, between the 
 authorities of these towns. From the introduction of 
 the terminal Hermes, it is manifest that some question 
 of boundaries is involved in the conception of this 
 spirited piece of statuary. The height of the group 
 is ten inches and a-half. 
 
 Dr. Birch considers that this group is apparently that 
 of a prince and his wife, in the characters of Mars and 
 Venus. The breeches of the male figure are neither 
 Greek nor Roman. The man's face somewhat resembles 
 that of Antoninus Pius, and the portraits of that period ; 
 the woman's is not unlike that of Faustina the elder. 1 
 
 A curious stone carving, unfortunately, imperfect in 
 the upper part (fig. 89), bears the inscription in Greek 
 capitals : — 
 
 APTEMIAI nAPAAIA AI1EAAHC ANEOHKE, 
 "To Diana Paralia Apelles has offered this." 
 
 This is a dedication to Diana " of the Beach" by one 
 Apelles. The letters, which are well formed, and very 
 
 1 This may be compared with Clarae, Musee de Sculpture, pi. 835, 
 No. 2093, Napl. Mus. Borb. ; pi. 887, No. 2278a, Boissard ; pi. 894, 
 No. 2287, Rome, Coll. Giustiniani. 
 
96 
 
 STONE ANTIQUITIES. 
 
 nicely cut, seem to belong to the second century after 
 Christ. Other dedications to this same Diana have been 
 found before. All these come from the Salines of Lar- 
 naca, where probably stood a temple to the goddess, 
 and where I, and those who worked before me, found 
 
 t^A 
 
 Fig. 89. 
 
 Votive Carving-. 
 
 Stone. 
 
 many terra-cotta heads, as well as a large number of 
 gold staters of Alexander and Philip. 
 
 On an elegant stone cippus of columnar form, with 
 plinth and capital of elegant mouldings, two feet high 
 and nine inches and a half wide, which was found at 
 Salaminium, is cut the inscription : — 
 
 CWTHPA 
 
 XPHSTE 
 
 X A I P E 
 
 "Farewell, dearest Soteira." 
 
 There is a village of the name of Sotera still extant in 
 the vicinity of Salamis. Here, however, the word is 
 the name of a female. The sepulchral and conven- 
 tional formula, embodied in the last two words of this 
 inscription, is found very commonly throughout the island. 
 
stone anttquitip:s. 
 
 A broken, but still rectangular, slab (fig. 90) of marble, 
 which measures about seven inches long and five inches 
 high, reads : — 
 
 TTIAOR 
 
 CRT HP 
 
 $IAAAE 
 
 Fig- 90. Inscribed Sepulchral Slab. Marble. 
 
 " Mayst thou be well, Soter, sou of Philalethes." 
 
 Another slab (fig. 91) of marble, nine inches and a 
 quarter broad and five inches and three-quarters high, 
 has the usual sepulchral formula ; but the name of a 
 female on the first line has been altered, traces of letters 
 erased being under those that now stand to represent a 
 somewhat unusual name. 
 
 E T O A A 
 
 XPH2TH 
 X A I P E 
 
 Fig. 91. 
 
 Inscribed Sepulchral Slab. 
 
 "Farewell, excellent Evoda!" 
 
 Marble. 
 
 The following sepulchral inscription is on a marble 
 slab (fig. 92) measuring nine inches and three-quarters in 
 breadth and six inches and a quarter in height : — 
 
 ET$PANIP 
 
 X P H t T E 
 
 X AI P E 
 
 Fig. 92. 
 
 Inscribed Sepulchral Slab. 
 
 "Farewell, excellent Euphranor !' 
 
 Marble. 
 
 o 
 
98 
 
 STONE ANTIQUITIES. 
 
 On a marble slab (fig. 93) measuring six inches in 
 breadth and twelve inches in height, the following Greek 
 inscription occurs : — 
 
 TEMEAAE 
 
 XPHHE 
 
 X A I P E 
 
 EAA$PA 
 
 c o i r h 
 
 Fig. 93. Inscribed Sepulchral Slab. Marble. 
 
 "Farewell, clearest Gemellus! Light lie the earth upon thee!" 
 
 The latter part of this inscription is the equivalent of 
 the Latin formula, "Sit tibi terra levis" , so frequently 
 found on Roman sepulchral slabs. 
 
 The following inscription (fig. 94) is cut on a marble 
 slab, broken on the left hand side, measuring six inches 
 and a half in height and three inches and a half in 
 breadth : — 
 
 Fig. 94. 
 
 „..TNHS 
 
 AN O N T A 
 
 ..PATHN 
 
 ..N 
 ..PITHN 
 
 Inscribed Slab. 
 
 Marble. 
 
 A slab of black marble (fig. 95), broken on both sides, 
 four inches broad and four inches and three-quarters 
 high, contains the following inscription : — 
 
STONE ANTIQUITIES. 
 
 99 
 
 at.. .. ina 
 
 [A$]POAITHl 
 
 TO NTENO. 
 
 T0TAAO V. 
 
 TTNAIKA 
 
 Fig. 95. 
 
 Inscribed Slab. 
 
 Marble. 
 
 The stone remains at Salamis are numerous, but 
 their size and weight make them valuable prizes to the 
 local wants of the mason and stone-cutter ; hence 
 
 Fig. 96. 
 
 Carved Altar. 
 
 Stone. 
 
 destruction and mutilation are rife among these lapidary 
 treasures of the past, and but few carvings of any in- 
 terest or value can any longer be obtained. Among the 
 
100 
 
 STOX E A N TIQU ITIES. 
 
 sculptured stones which I recovered is an altar (fig. 96) of 
 Phoenician origin, which measures eleven inches in height 
 and five inches in width at the base, gradually dimi- 
 nishing upwards towards the carved or embattled cornice. 
 On the front is a carving in low relief, and somewhat 
 coarsely executed, representing, as Dr. Birch supposes, a 
 man vested in flowing drapery, and wearing an Egyptian 
 head-dress, in the act of sacrificing at an altar of a very 
 archaic contour. At the side of this relic another stone 
 represents a man holding a palm-branch, perhaps to indi- 
 cate that he is the victor in one of the public games or 
 
 1<'1L'. !»7. 
 
 Inscribed Tripud. 
 
 Terra d' Umbra. 
 
 in the circus. This circumstance perhaps suggests the 
 cause which led to the erection of the altar. 
 
 In a village now called Tremitusa, the ancient site 
 of Tremithus, near Athieno, the ancient Golgoi, I found 
 a stone cippus, which measures three feet in height, four 
 in breadth, and one in thickness. The pediment, with 
 which it is enriched, has a mythological head in the 
 centre, adorned with ample curls of hair. Perhaps it is 
 the head of Medusa. There are three half-length figures 
 uj)on the panel or entablature. That in the centre is of 
 a man of middle age ; that on the right is of a female ; 
 
STONE ANTIQUITIES. 
 
 101 
 
 the third on the left hand is of a man with a head-dress. 
 All these are evidently iconic, and from the strong family 
 likeness shown by the faces, the three persons must be 
 referred to the same family. The execution of this 
 interesting piece of sepulchral sculpture, although in 
 some degree conventional, is spirited, and the expression 
 is pleasing and animated. 1 
 
 Of the stone which has been designated "Terra 
 
 Fig. 08. 
 
 Inscribed Bowl of the Tripod. 
 
 d'Umbra", I found a sacrificial tripod (fig. 97), which 
 is inscribed with a Cypriote invocation of remarkable 
 length. The height of this object is two inches, and 
 diameter three inches and fifteen sixteenths. 
 
 Professor Sayce, to whom I submitted the inscriptions, 
 writes : — " The inscription which runs in a circle round 
 the edge or rim of the bowl reads as follows : commencing 
 at the dot, the lowest character on the accompanying 
 
 1 See Plate ix, fig. 2. 
 
102 STONE ANTIQUITIES. 
 
 woodcut (fig. 98), and reading along the right hand 
 
 side up to the top, and then down the left side of 
 
 the fio-ure." 
 
 . pa . ti . ve . i . ti . : lo . ve . i . te . 1 . se . ko . la . ma . ti . ni . lo . po . e . 
 
 . ne . te . pa- 
 " This I would translate : — 
 
 Havrl i/€LS[e]t' Xoye rjSeay;(V) kcoKcl, pbdvji, vlXov iroe fidSrjv. 
 
 " For every kind : wash pleasantly (?) the limbs, seer, make a 
 
 walking on foot." 
 
 The centre of the howl is engraved with the character 
 which corresponds with the syllable ne. From this, eight 
 inscriptions of four characters each are arranged to 
 radiate out towards the rim in the symmetrical figure of 
 a star of eight points. " The inscriptions," says the 
 authority above-mentioned, " are : — 
 
 . ti . . po . . u . 
 
 . te . . le . . ve . 
 
 . ti . . po . . le . 
 
 . ya . . o . . to . 
 
 . ka . i . re . te . ne . se . to . po . e . 
 
 . ra . . o . . ru . 
 
 . te . . li . . a . 
 
 . ya . . da . . o . 
 
 . ke . . e . .u.. 
 
 " This," continues the Professor, " I can only partially 
 explain. The end of the sentence is marked by ^alpere, 
 hail. Ti-te-ti-ya, and po-le-po-o, I do not understand. 
 Then we have vyeXero, i.e., eTnye'Ckero, he chose as a suc- 
 cessor. Then rj, 7TOT09, verily a drinking howl. Then 
 v 6dpv, i.e., eVl 6dpv, in the time of that. The last word 
 I read yearrjpa, cc libation bowl. I cannot explain the 
 signification of the o on the bottom of the vessel, and the 
 letters or characters i ve u, one on each foot." 
 
 In a tomb at Salamis I found an amulet of hard 
 stone, in the shape of a rectangle, with the corners cut 
 off obliquely (fig. 99). This has an inscription in five 
 
STONE ANTIQUITIES. 
 
 103 
 
 lines of three letters each upon its face, in irregularly- 
 formed Greek capital letters : — I AH . MIX AHA . PA<£AHA. 
 Some of these letters are of peculiar shape, the P and <l> 
 of the latter word particularly so. It has 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 days of primitive Christianity. The three 
 names here recorded are of potency among the votaries of 
 that deluded and degraded mysticism. 1. Jao, or, per- 
 haps, Jehovah ; 2. Michael, the Archangel ; and 3. Ra- 
 phael, the Archangel. At a late period of the Byzantine 
 Empire, engraved stones were employed for various pur- 
 
 Fig. 99. 
 
 Gnostic Amulet. 
 
 Stone. 
 
 poses as talismans, love philtres, the cure of diseases, 
 the averting of misfortunes, 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 iEons, 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 a shield, having his head 
 like a cock, and his legs like snakes. 
 
 At Salamis, a rectangular marble tablet, nine inches 
 and a quarter in length, and three inches and a half in 
 height, with a sepulchral inscription of six lines in small 
 irregular Greek capital letters, without division of words, 
 forming three elegiac distichs, was found. This elegant 
 
104 STOXE ANTIQUITIES. 
 
 poem is a welcome addition to the Greek anthology, and 
 is evidently the composition of a ]3oet of considerable 
 merit. It reads thus : — 
 
 To irpiv o av/j, Moucrat? arep^a^ f3lov rj\6e irpo M.olpa$ 
 
 'Acr/ceVrof? ve/cvcov eh OaXdpbovs <&ikias, 
 
 Tplaov 677"' iiKocrroyi 7r\r)cra<; eVo9' ol &' oXecravre? 
 
 'E\7r/Sa tciv fiovvav <yr}pa\eoi yeverat, 
 
 ^Lvpovrai tov avvjupov ael yovov, aXXa rov ayvbv, 
 
 t&epcrecpovT), areiXati ywpov e\ evaefieoop. 
 
 Fig. 100. Inscribed Sepulchral Slab. Marble. 
 
 We may translate the Greek poem in these lines : — 
 
 " Phileas, the Muses' hope and love, hath sped 
 To the dark chambers of th' untimely dead. 
 He lived three years and twenty ; now asleep 
 Their extreme hope his aged parents weep — 
 Their brideless son. Dread Goddess ! send in rest 
 This chaste one to the regions of the blest." 
 
 This charming elegy will forcibly remind the reader of 
 the almost parallel passages in the unsurpassed poetry 
 of Milton :— 
 
 " For Lycidas is dead, dead ere his prime, 
 Young Lycidas, and hath not left his peer. 
 Who would not sing for Lycidas 1 He knew 
 Himself to sing, and build the lofty rhyme. 
 
 Weep no more, woful shepherds, weep no more ; 
 
 For Lycidas, your sorrow, is not dead, 
 
 Sunk though he be beneath the watery floor : 
 
 So sinks the day-star in the ocean bed, 
 
 And yet anon repairs his drooping head, 
 
 And tricks his beams, and with new-spangled ore 
 
 Flames in the forehead of the morning sky : 
 
 So Lycidas sunk low, but mounted high, 
 
 Through the dear might of Him that walked the waves ; 
 
 Where, other groves and other streams along, 
 
 With nectar pure his oozy locks he laves, 
 
 And hears the unexpressive nuptial song 
 
s % ? "z. & hi 
 
 
 w ^- 
 iAi uj 5 ? ^J- r* 
 
 *- rr W ^ ° o« 
 
 s 
 
 
 4 fa 
 
 0* 
 
 J.' 
 
 - 
 
 
 jWi.IIi,-. — 
 
 J/? 
 
 11IU 
 
STONE ANTIQUITIES. 105 
 
 In the blest kingdoms meek of joy and love. 
 There entertain him all the saints above, 
 In solemn troops and sweet societies, 
 That sing, and, singing, in their glory move, 
 And wipe the tears for ever from his eyes." 
 
 And, again, we may compare the ix-n-iSa rdv fiovvav of 
 lme four with the sentiment expressed in the sixth 
 stanza of Shelley's Adonais. 
 
 " But now thy youngest, dearest one, has perished, 
 The nursling of thy widowhood, who grew, 
 Like a pale flower by some sad maiden cherished, 
 And fed with true love tears instead of dew ; 
 Most musical of mourners, weep anew ! 
 Thy extreme hope, the loveliest and the last, 
 The bloom, whose petals, nipt before they blew, 
 Died on the promise of the fruit, is waste ; 
 The broken lily lies — the storm is overpast." 
 
 When I commenced my excavations in Cyprus, I found 
 that some native workmen, who were employed in ex- 
 tracting from the ruins of Kitium a selection of stones 
 suitable for building purposes, had met with a large 
 fragment, bearing an inscription in fine Greek capital 
 letters. The site where this was found was on the line 
 of the walls of the ancient town, towards the south-east, 
 and not far from a spot which contains a structure re- 
 taining the shape of a doorway. The stone itself was 
 calcareous, and of the form of a modern door, with semi- 
 circular head (fig. 101). The dimensions were seven feet 
 and three-eights in height, three feet and one-third in 
 length, and four inches and a quarter thick. About 
 three feet and one-third of the stone's height was under- 
 ground. The inscription was cut on the upper part of 
 the stone. It reads as follows : — 
 
 ATTOKPATOPI 
 
 NEROTA TPAIANOI KAlSAPI 
 
 2EBA2TOI rEPMANIKHI 
 
 AAK1KI1T. 
 
106 
 
 STONE ANTIQUITIES. 
 
 This, in Latin, is equivalent to "Imperatori Nervse Tra- 
 jano Ca?sari Augusto Germanico Dacico". After taking 
 the exact dimensions of the stone, I gave instructions to 
 have the upper part, containing the inscription, sawn 
 off, and preserved from injury. At a distance of four 
 
 Fip. 101. 
 
 Inscribed Tablet. 
 
 Stone. 
 
 inches below the last line of the inscription, there were 
 two square holes in a horizontal line, each having the 
 depth of a quarter of an inch, and the diameter of about 
 one inch. In one of these holes, there was a leaf of 
 lead much corroded. 
 
STONE ANTIQUITIES. 107 
 
 From the position of this stone, and of the inscription 
 upon it, I am led to conjecture that it was originally 
 used for posting up edicts sent from Rome for pub- 
 lication, or the public acts of the Consul of the locality. 
 The small holes probably served for securing a tablet of 
 wood or lead, or other material, upon which were in- 
 scribed the sentences which it was desired to promul- 
 gate. The date of Nerva's accession to the purple being 
 September 18th, a.d. 96, and of his death, January 27th, 
 a.d. 98, it is not difficult to infer the age of this in- 
 scription. 
 
 Stone, from the hardness of its nature, would naturally 
 be employed for making stamps. Among this class of 
 
 Fig. 102. Christian Stamp or Mould. Stone. 
 
 objects is a piece of flat stone, carved in intaglio, to serve 
 as a stamp for making ornaments, which are to be placed 
 on the surfaces of terra-cotta vases, lamps, and the like. 
 On one side of this, there are two figures, one of Mercury, 
 the other of a soldier in full armour. It may be that 
 this is a gladiator. On the other side is carved a 
 piece of scroll ornament, a crescent, and a scroll, re- 
 sembling a portion of a capital of a column. Two clay 
 stamps were found, bearing Egyptian hieroglyphics. 
 Another carved stone stamp (fig. 102) was evidently used 
 for impressing the shew-bread, or, perhaps, the conse- 
 crated element in the ritual of the Greek Church. The 
 
108 
 
 STONE ANTIQUITIES. 
 
 letters, which are rightly reversed to enable them to be 
 impressed in proper order, are placed in the spaces 
 formed by the four limbs of a thin and plain cross in- 
 scribed in a square. Dr. Birch and M. Pierides agree in 
 
 I c 
 
 X C 
 
 N I 
 
 K A 
 
 reading :—1[ v <tov]<; x[purrb]<s vttca, " Jesus Christ conquers". 
 Some read the last word vucn[rifp] t "conqueror"; or w[«yr^>] 
 k6[<t(jlov\, "conqueror of the world". 
 
 The iconic bust of a female (fig. 103), formed of cal- 
 
 Fipr. 103. 
 
 Iconic Bust. 
 
 Stone. 
 
 careous stone, eighteen inches and a half high, is of inter- 
 esting art. The hair is in a close and small knot behind, 
 and on the neck a necklace with a crescent, formed pro- 
 bably of a gold ornament, or two teeth of a wild animal, 
 as described above at p. 26. There are traces of colour in 
 the hair and face. This is one of four busts — two male, 
 

STONE ANTIQUITIES. 109 
 
 two female — found on the corners of a sarcophagus. The 
 other three were accidentally destroyed. 1 Round the 
 upper surface of the pedestal or plinth, the following 
 inscription is roughly scratched : — 
 
 T.I. PROCONSVL . P . SERGE 
 
 Of a much later date than either of the above objects 
 is the white marble tympanum of a church door, which 
 comes from a church at Larnaca (Kitium), where it was 
 found while men were digging the foundation for a 
 house. 2 It is in perfect preservation, and as sharp as 
 when the sculptor left it. It could not have been ex- 
 posed to the weather even in Cyprus during any con- 
 siderable period of time. Jesus Christ is here ascending, 
 seated within a vesica-shaped glory, his nimbus is cruci- 
 form. He holds in his left hand a scroll; the other hand 
 is extended in the act of benediction, after the Greek 
 manner, with the first and fourth fingers extended. 
 Four angels are placed at the sides of the glory, with 
 their hands in an attitude of supporting this aureola. 
 At the sides of this central element of the tympanum are 
 represented several subjects, of the kind not unusually 
 found in works of this class, and of much later date than 
 I presume this one to be. On our left is the Crucifixion, 
 with the Blessed Virgin Mary and St. Mary Magdalene 
 weeping. The latter holds her vase, one of the alabastra 
 so well represented by examples in this collection. A 
 skull is at the foot of the cross ; the feet of Christ are 
 placed parallel to each other, after the most ancient 
 fashion. Next to this is a smaller panel, showing the 
 Saviour bearing His cross, and accompanied by two 
 soldiers clad in mail, who pull him along. They wear 
 mail hoods. On the right are three panels, representing 
 
 1 Serge, or Sergius, was Proconsul of Cyprus in the time of Tiberius. 
 The tomb in which the sarcophagus was found probably belonged to his 
 family. 2 Plate ix, fig. 2. 
 
110 STONE ANTIQUITIES. 
 
 the baptism of Christ by St. John the Baptist in the 
 Jordan, in which river appears a fish. Close by is a 
 demon with a tail. The Dove and the Hand of the 
 Lord are seen above. The next panel shows the Annun- 
 ciation. Between the figures stands a tree, seemingly 
 formed of twisted serpents, on which is perched an eagle 
 or vulture, probably intended for the Evil One. On 
 the ground are two birds like partridges. The Virgin 
 holds her distaff or hank of flax in one hand. The next 
 panel represents the angel seated on the tomb of Our 
 Lord. Below it are carved the figures of the three 
 Maries approaching the sepulchre, at the entrance to 
 which two mail-clad warriors sleep. Below this group 
 of panels is a long frieze, in the centre of which stands 
 the Virgin, in the attitude of an ancient Orante. At 
 her side stands an angel with a sceptre, in the act of 
 calling attention to the Mother of Christ. On one side 
 of this group is a palm ; on the other side is an olive tree. 
 The Apostles stand six on each side, with their respective 
 attributes, some in the act of looking up at the ascension 
 of the Lord, as described above. 
 
CHAPTER X. 
 
 ALABASTER, SERPENTINE, AND CRYSTAL 
 
 ANTIQUITIES. 
 
 Alabaster. 
 
 ALAMINIAN tombs and excavations yielded 
 a very considerable number of antiquities 
 formed of alabaster, about two thousand 
 specimens altogether having been recovered 
 from beneath the soil where I dug. These 
 include numerous forms and shapes, some unusual and 
 unconventional ; others, and, of course, the larger, being 
 of types that are not uncommonly to be met with in 
 museums of ancient remains. These alabaster antiquities 
 are in all cases formed for the reception and preservation 
 of precious unguents and perfumes. They comprise 
 alabastra proper, i.e., small vases for containing scented 
 unguents or liquids, which, being absorbed by the mate- 
 rial, rendered back the odours thus imparted to them, 
 and preserved the aroma for longer or shorter periods of 
 time. The annexed figure (fig. 104) shows an alabastron, 
 with handle in form of a knot, and the foot with three 
 letters carved in relief. Some of these examples retain 
 their covers. With these the large cinerary urns, which 
 are probably of Greek or Roman origin, may be classed, 
 one of which is about eighteen inches high, and con- 
 tained human bones. 
 
 Of the small, but not the smallest, works, are three 
 
112 
 
 ALABASTER ANTIQUITIES. 
 
 fine scent vases, with fluted sides, one of which, mea- 
 suring three inches and three-quarters in height (fig. 105) 
 has a winged human figure hy way of handle, and is girt 
 about the body, apparently by a fringe or carcanet, with 
 
 Fig. 104. 
 
 a. Unguent Vase. u. Inscribed Foot. 
 
 Alabaster. 
 
 pendants, such as the terra-cotta statues wear. The 
 base has three letters in relief. Other vases of extremely 
 elegant forms are comprised in this collection. One of 
 these, of which both handles have been lost, and its foot 
 
 Fig. 105. a. Unguent Vase, with Handle in form of a Winged Figure. Alabaster. 
 
 -u. Inscribed Foot. 
 
 fractured, comprises the original stopper of alabaster. 
 These works are undoubtedly Greek. Fig. 106 is a flat 
 basin, measuring four inches and three-quarters in dia- 
 meter, like the bowl of a small fountain, having three 
 projections from its sides, besides a spout. Round the rim 
 
ALABASTER ANTIQUITIES. 
 
 113 
 
 of this article is a doubtful inscription, which must 
 have been cut long after the making of the object, and 
 has not been read. This comes from Kurium. I am 
 inclined to consider that, although a true piece of anti- 
 quity, its value has been sought to be enhanced by the 
 addition of this mysterious inscription, some of the 
 letters of which are of a nondescript character. On 
 a slab of the same material, now forming a mantel- 
 
 Fig. 106. 
 
 Inscribed Basin. 
 
 Alabatier. 
 
 piece in the house of a miller in the same town, I ob- 
 served an inscription in similar characters. The fire- 
 place which it adorns is of the Lusignan period. There 
 is also among these alabaster antiquities a vase, like a 
 water-cooler, with a wide neck (fig. 107); it bears a band 
 of lancet-shaped leaves, with their points downwards, en- 
 closing the greater part of the body of the relic, but not 
 the whole of it. On a flat space, which has been ground 
 
 Q 
 
114 
 
 ALABASTER ANTIQUITIES. 
 
 out of one part of the girth, is an illegible inscription in 
 archaic Greek, the form of which, not less than the con- 
 tour and carved band of this vase, indicates its consider- 
 able ancientness. Two other vases have Cypriote letters 
 
 Fig. 107. 
 
 Inscribed Vase. 
 
 Alabaster. 
 
 in relief, being probably the name of the owner or the 
 maker. 
 
 The accompanying figure represents an alabastron of 
 remarkable form, with three ears, each for a loop to pass 
 through when it was carried. There are in this case 
 
 Fig. 108. 
 
 Inscribed Vase. 
 
 Alabaster. 
 
 also three Cypriote letters, which read "Pa . ve . o", 
 and may, perhaps, be rendered $ ay so, i.e., " Of Phaveos". 
 The height of this vase is 4 inches (fig. 108). 
 
 The plate here introduced gives figures of several 
 alabaster vases and unguentaria of interesting and note- 
 worthy types. 
 
SERPENTINE AND CRYSTAL ANTIQUITIES. 115 
 
 Serpentine. 
 
 A very elegant vase, measuring five inches in height, 
 and carved out of serpentine stone (fig. 109), comes from 
 Salamma. It is of pear shape, with stripes down the side, 
 which commence from a double circle of a kind of cabled 
 pattern running round the middle of the vase. There 
 
 Pig. 109. 
 
 a. Vase. u. Inscribed Base. 
 
 Serpentine. 
 
 are two pierced handles for securing a cover with a tie. 
 The circular base of this perfume vase is inscribed with 
 three Cypriote characters — " ko . la . pa", which Professor 
 Sayce reads TraXaxov, i.e., "[The vase or bottle] of 
 Palakhos". 
 
 Crystal. 
 
 Crystal antiquities are excessively rare throughout the 
 island of Cyprus. During the whole of my sojourn there, 
 the number of such relics hardly exceeded ten or twelve ; 
 so that I may be considered fortunate in obtaining 
 during the progress of my investigations three crystal 
 objects. Of these, the first (fig. 110) is about an inch 
 
116 
 
 CRYSTAL ANTIQUITIES. 
 
 and a half in height, carved or turned in a very elegant 
 manner, in form of a little vase or pendant. The base is 
 square, the body ovoid ; and the top carries a small 
 silver ring, by which it was, no doubt, attached to a 
 necklace or chain. 
 
 110. 
 
 Figs. 110, 111, 112. 
 
 Crystal. 
 
 Another piece of crystal (fig. Ill) of somewhat smaller 
 height is attached by a gold wire ring, upon which is a 
 small scarabayus in gold-foil, to a necklace (fig. 15), 
 described at pages 24, 25. On page 25, I have given 
 particulars of the third crystal object (fig. 112) in the 
 Lawrence-Cesnola collection, which, from its form and 
 general appearance, must also be taken as a pendant 
 or personal ornament. 
 
CHAPTER XII. 
 
 CYLINDERS. — CONES. 
 
 YLINDERS are, according to Mr. King, 1 the 
 most ancient form of the signet. They are, 
 for the most part, perfectly cylindrical 
 stones, from about one to three inches in 
 length, the respective magnitudes being 
 regulated by the wealth, importance, and social rank of 
 the owner. The diameter of these cylinders is generally 
 less than half their length. In a few examples, the form 
 is varied, by a kind of entasis, into a barrel shape ; in 
 others the converse is found, their sides being like those 
 of a dice-box, slightly concave. A comparatively large 
 hole was pierced longitudinally through the cylinder, to 
 admit a soft woollen cord, by means of which it was tied 
 round the owner's wrist, like a bracelet. This method of 
 use accounts for their never having metal mountings 
 when disinterred amongst Assyrian remains, and my own 
 experience among the tombs of Salamis confirms this 
 fact. These objects have been found in many sites of 
 the Assyrian world in vast abundance. The British 
 Museum possesses a very large series, many with royal 
 names, and composed of a variety of hard stones. The 
 very rare examples extant, mounted on swivel rings 
 in massive gold, prove, by the hieroglyphics engraved 
 upon them, that they were mere adaptations by the 
 1 Antique Gems and Rings. By C. W. King. 2 vols. 1872. 
 
1 1 8 CYLINDERS. CONES. 
 
 Egyptians to their national fashion of the swivel-mounted 
 scarabasus, during the time of the subjugation of Egypt 
 to the rule of the Persians. 
 
 It is not necessary here to examine the different 
 archaeological points of general interest which are ex- 
 hibited by engraved cylinders. The student who wishes 
 for information on this subject may with advantage 
 consult an article by Dr. Birch, entitled " Engraved 
 Stones", in the English Cyclopaedia, Arts and Sciences 
 Supplement (p. 882), where several examples are figured, 
 and references given to the principal works on this 
 branch of ancient art. The chapters in Mr. King's book 
 which are devoted to the consideration of Oriental en- 
 graved cylinders may also be perused with beneficial 
 results. As regards the cylinders which were discovered 
 by me during my labours in Salamina, these objects of 
 antiquity consist for the most part of the dark green and 
 black loadstone or hsematite, of steatite or of jasper, these 
 being the materials commonly employed in their manu- 
 facture. The mythological and miscellaneous engravings 
 on their surfaces are usually extremely archaic and rude, 
 if not rough, in respect to the art which was employed in 
 their manufacture and execution. The tools were shaped 
 with an obtusely angular edge, probably fragments of 
 ukovv or emery stone, a material of great antiquity as to 
 its use by the lapidary and gem engraver, which, down 
 to the age of Theophrastus, was imported from Armenia 
 for the needs of the engraver. 
 
 Most of the cylinders in the Lawrence- Cesnola col- 
 lection are of Assyrian style — the second or Archaic- 
 Babylonian period of Mr. King's arrangement — after the 
 seat of government had been removed to Babylon about 
 B.C. 1675. Several shew Hittite art. I am indebted to 
 the kindness of Professor Sayce for the greater part of 
 the following notes, descriptive of the styles and sub- 
 jects of the most important of these very ancient 
 remains from Cyprus. 
 
CYLINDERS. CONES. 119 
 
 " These intaglios are partly Assyro-Phoenician, partly 
 Greek, partly what I would term Cypriote. The latter are 
 by far the most numerous, and form a peculiar and very 
 interesting class apart, which has already become known 
 to us from the excavations of General di Cesnola. But 
 their number has been largely increased by Major A. P. di 
 Cesnola's discoveries. The art displayed in them is ex- 
 tremely rude, and is modelled after a Babylonian proto- 
 type. But I doubt whether they are direct attempts to 
 imitate the products of Babylonian art ; they rather 
 presuppose an intermediate stage of art. This is not 
 Phoenician, as is usually supposed, but, as I believe, 
 Hittite. Hittite carved stones found in the neighbour- 
 hood of Aleppo display exactly the same style of art, 
 and represent the same subjects as the engraved gems of 
 Cyprus. The latter, however, it must be remembered, 
 are not confined to Cyprus ; similar intaglios have been 
 found elsewhere in the Levant ; and the art, therefore, 
 which they exhibit, has, I believe, like the so-called 
 Cypriote Syllabary, made its way from the Hittite ter- 
 ritory through Asia Minor into Cyprus. The art of the 
 Hittites, so far as we are acquainted with it at present, 
 was based upon that of early Babylonia, not of Assyria. 
 
 " Among the numerous intaglios in the Lawrence- 
 Cesnola collection, there are very many which I must 
 pass over in silence, as I have nothing to say about them. 
 Those which I shall specify are remarkable either from 
 their designs or from the presence of inscriptions. 
 
 " The large number of objects of Cypriote art gives this 
 collection of engraved stones a special interest, and is of 
 great importance in settling the relation of the art of 
 the early gems found in the Levant to that of the gems 
 of Western Asia, and more particularly Babylonia. 
 Among the symbols which most frequently recur in this 
 class of antiquities of the Lawrence- Cesnola collection, 
 attention should be specially paid to the representation 
 
120 
 
 CYLINDERS. CONES. 
 
 of the image of the Paphian goddess, the ox-head, the 
 sun-circle, the figure which may perhaps he intended to 
 represent the winged solar disk, the serpent, and the 
 curious spear-like instrument placed in the hand of a 
 human figure." 
 
 In the following list, the paragraphs marked [S.J are 
 Professor Sayce's notes. 
 
 1. A fine cylinder (fig. 113), of which the engraving is 
 a Cypriote imitation of Babylonian work. Merodach, in 
 battle with the dragon Tiamat, wears the flounced dress 
 of the Babylonian priests, and holds the harpe* in his 
 hand. There are perhaps two Cypriote characters on 
 the gem, ba-si, for Bao-iXew?. [S.] 7-8ths inch long (see 
 No. 54). 
 
 Fig. 113. 
 
 Engraved Cylinder. 
 
 Ma mat He. 
 
 2. This cylinder is manifestly a rude imitation of a 
 Babylonian gem, representing the battle between the 
 god Merodach and the demon-birds. [S.J 7-8ths inch 
 long. 
 
 Pig. 114. 
 
 Engraved Cylinder. 
 
 Hamatite. 
 
 3. A cylinder engraved (fig. 115) in the style known to 
 be Pheenico-Egyptian, but strongly coloured by Assyrian 
 art. A dove is being presented to Astarte. [S.J A 
 
■a. 
 
 OJJ, 
 
 lt|iio 
 
 
 x 
 
 
 
 
 
 V 
 
 t|>6 
 
 j.. y 
 
 ^8 
 
 1' 
 
 9 
 
 T|? 10 
 
 t|? 
 
 V 12 - 
 
 t 15 
 
 \° 14 
 
 1 I? J5 
 
 3S(i.>j a Vol 
 
 
 r^riMfi 
 
 MiQ^i 
 
 7|M« 
 
 
 CYLI NDERS FROM SALAM I S 
 
CYLINDERS. — CONES. 
 
 121 
 
 griffin winged, and a lion sejant, are also represented, 
 with an emblem like a goat's head, perhaps of Hittite 
 origin. 3-4ths inch long. 
 
 Fig. 115. 
 
 Engraved Cylinder. 
 
 Jasper. 
 
 4. This cylinder (fig. 116) is of Babylonian workman- 
 ship. Three winged figures, two of which have birds' 
 heads, with crests or crowns, stand side by side, the chief 
 one being the Asiatic goddess, with two animals' heads 
 on her own head. All three figures have boots with 
 turned-up ends, and two hold the sacred tree. [S.J Two 
 of the figures hold gazelles by the hind legs. Fine work. 
 1 inch long. 
 
 Fig. 116. 
 
 Engraved Cylinder. 
 
 Hcematite. 
 
 5. In the Babylonian style. The Asiatic goddess 
 stands on a pedestal with an animal in either hand. 
 At the side is a winged monster, and two crosses or stars 
 below (see No. 15). A worshipper stands before an altar, 
 with a priest in a flounced dress below. [S.] 1 inch 
 high. Haematite. (See Plate xii, fig. 1.) 
 
 6. The peculiar and rude design of the Paphian 
 goddess occurs on this cylinder as before, a priest with 
 an offering in the hand, and the shoes with turned-up 
 ends, which we now know to characterise Hittite art 
 (as may be seen on the monolith lately acquired by Mr. 
 
 R 
 
122 CYLINDERS. CONES. 
 
 Rassam for the British Museum), and a winged gry- 
 phon behind, which must be carefully distinguished from 
 the Egyptian sphinx. Compare Nos. 10, 11, 19, 25, 
 and 58. [S.] 1 inch long. Steatite. (See Plate xii, 
 
 *%• 2.) 
 
 7. This is a curious design. Two animals stand 
 on either side of a pedestal, on the top of which is a 
 human head, with wings (or the canopy which protects 
 the Paphian goddess) on each side. A worshipper stands 
 before the image. [S.J The work is very good. 1 inch 
 long, Green Jasper. (See Plate xii, fig. 3.) 
 
 8. This is a good example of Cypriote art. The 
 symbol of the Paphian goddess, with four doves on either 
 side, and a canopy overhead, stands by the side of a 
 priest, who presents an offering. Behind him is the head 
 of an ox, a well-known Hittite character. The ox-head 
 occurs on coins of Salamis, as well as on one of the gold 
 rings discovered by Dr. Schliemann at Mykense. Com- 
 pare Gen. di Cesnola's Cyprus, pi. xxxiii, 25. The ox- 
 head alone occurs on another specimen in the collection. 
 [S.J 1 inch long. 
 
 9. The symbol of the Paphian goddess, accompanied 
 by a flying dove, [S.J is engraved on this cylinder in 
 archaic style. 7-8ths inch long. Steatite. (See Plate 
 xii, fig. 4.) 
 
 10. This may be compared with No. 58. A winged 
 gryphon, seated in adoration before the Paphian goddess. 
 3-4ths inch long. Steatite. (See Plate xii, fig. 5.) 
 
 11. The subject here is a gryphon segreant adoring a 
 figure of the Paphian goddess, the ox-head, cushion, and 
 another symbol. 1 inch long. Steatite. (See Plate xii, 
 fig. 0.) 
 
 12. On this cylinder occur the figure of the Paphian 
 goddess, ox-head, and seated animal without wings. 
 Compare No. 11. 7-8ths inch long. Dark Steatite. 
 (See Plate xii, fig. 7.) 
 
CYLINDERS. — CONES. 123 
 
 13. Symbol of the Paphian goddess, somewhat cur- 
 tailed, a lion, or other animal, and ox-head. 5-8ths inch 
 long. Steatite. (See Plate xii, fig. 8.) 
 
 14. The symbol of the Paphian goddess, with three 
 priests wearing banded or flounced dresses, two ox- 
 heads, and other emblems. 7-8ths inch long. Steatite. 
 (See Plate xii, fig. 9.) 
 
 15. Professor Sayce describes this cylinder thus: — 
 Two worshippers stand on either side of an altar ; 
 behind them are a dog, cock, and gazelle, beneath which 
 is a cross ►$< (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.) 
 
 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. Pude 
 archaic work. 1 l-8th inch long. Jasper. (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. Eude work. 1 inch long. Jasper. (See Plate 
 
 xii, fig. 13.) 
 
 19. Full-length figure, seated figure, and animal deity. 
 Curious work. 3-4ths inch long. Steatite. (See Plate 
 
 xii, fig. 14.) 
 
 20. Full-length figure and two animals ; much obli- 
 terated. 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, one of which is being grasped 
 
1-24 
 
 CYLINDERS. CONES. 
 
 by a human figure, together with an ox-head [S.J ; and 
 other emblems (fig. 117). 1 inch long. 
 
 Fig. 117. 
 
 Engraved Cylinder. 
 
 Jasper. 
 
 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 ©, 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 three 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.) 
 
 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.J 5-8ths inch long. Steatite. (See Plate 
 xiii, fig. 20.) 
 
 28. The symbol sam (see No. 27), between two wor- 
 shippers with uplifted hands ; the sacred tree, and disk. 
 5-8ths inch long. Steatite. (See Plate xiii, fig. 21.) 
 
Pl.XH. 
 
 GrL I N B -E- R S FROM SALAMIS. 
 
CYLINDERS. CONES. 125 
 
 29. The same dirk-like instrument held by two men, 
 one seated with a serpent in front, the other standing 
 with an ox-head and a symbol like the egg-pouch of the 
 skate at the side. This symbol appears in No. 48 as a 
 sun, with three beams or wings at the corners (see also 
 No. 39). I fancy it is a degenerated form of the winged 
 solar disk. It is found on many of the products of 
 Cypriote art. 1 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. It is possible that what I have called 
 a star between the horns of the ox-head in No. 45 is 
 really intended for it. 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. The design is archaic 
 Babylonian. In No. 53 the place of the sacred tree is 
 occupied by a human figure, with a canopy above, re- 
 sembling the bar drawn over the human head in the 
 Hittite inscriptions, 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 
 with the winged sun (?); below and in front are the ser- 
 pent and an altar (?) (see No. 30). 2 The dirk-like instru- 
 ment may be an oar. [S.J 3-4ths inch long. Steatite. 
 (See Plate xiii, fig. 22.) 
 
 1 See General di Cesnola's Cyprus, xxxii, 13, 15, 21; xxxiii, 27, 
 
 30. 
 
 2 For the serpent and sacred tree in archaic Babylonian art, see 
 
 George Smith's Chaldean Genesis, p. 91. 
 
1 2 6 CYLINDERS. CONES. 
 
 30. This closely resembles No. 29. In that cylinder, 
 we have a seated figure holding a dirk or sam, snake, 
 sistrum, full-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, star, full length figure, 
 ox-head, and other emblems. 3-4ths inch long. Steatite. 
 (See Plate xiii, fig. 23.) 
 
 32. Emblems and figures already described, but dif- 
 ferently arranged. 7-8ths inch. Slate y Stone, (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. Pro- 
 fessor Sayce considers this to be Phoenico-Egyptian, or 
 perhaps Egyptian, with Egyptian hieroglyphics. [S.J 
 Pude 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 sacri- 
 fice of the gazelle. In the first compartment are two 
 men, a gazelle, and a tree, which denotes 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 head of the gazelle 
 in front. [S.J 1 inch long. Steatite. (See Plate xiii, 
 fig. 27.) 
 
 36. This is a very interesting intaglio. It repre- 
 sents a huntsman throwing his spear at a gazelle which 
 
CYLINDERS. CONES. 127 
 
 is attacked in front by a dog. On one side of the hunts- 
 man is a hand, on the other a symbol, which may repre- 
 sent a musical instrument, but is rather, I think, a man's 
 arm with three reeds in the clenched hand. The sym- 
 bols on either side of the head of the huntsman may be 
 Hittite characters; but they may, less probably, be meant 
 for the Egyptian sep-hhnem, or perhaps sep-t. It must 
 be noticed that the huntsman is represented as wearing 
 boots with turned-up ends, that characteristic 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©. 15-16ths inch long. Hcematite. (See Plate xiii, 
 fig. 29.) 
 
 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 O, 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 Q disks, alternating with a 
 
128 
 
 CYLINDERS. CONES. 
 
 l-8th inch long. 
 
 Hcematite. 
 
 cross and two bars. 1 
 (See Plate xiv, fig. 34.) 
 
 44. This cylinder is of a very interesting character. 
 It is noticeable for the symbols upon it, among which 
 are 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, 1 as well as the crescent moon, 
 and a hare. A fracture 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 accompanying 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 TarJcu. [S.J 3-4ths inch long. Steatite. 
 (See Plate xiv, fig. 35.) 
 
 45. This (fig. 118) is an imitation of an archaic Baby- 
 lonian cylinder, the cuneiform characters being replaced by 
 an ornamental design in form of two triangles united at 
 
 Fig. 118. 
 
 Engraved Cylinder. 
 
 Steatite. 
 
 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-heacl, with a star 
 between the horns, as on gold objects from Mykense, 
 and an annual below. [S.J 3-4ths inch long. 
 
 46. A cylinder of coarse work (fig. 119), bearing two 
 
 Figured in Trans. Soc. Bibl. Arch., vol. vii, p. 298. 
 
HITTITE BOSS OF TARKONDEMOS. 
 
 This Woodcut kindly lent by the Society of Biblical Archaology . 
 
CYLINDERS. — CONES. 
 
 129 
 
 priests, ox-head, and other emblems, one of which re- 
 sembles B,flagellum. 7-8ths inch long. 
 
 Fig. 119. 
 
 Engraved Cylinder. 
 
 Dark Steatite. 
 
 47. Ox-head between two full length human figures, 
 one holding a sacrificial patera ; gazelles, disk 0, and 
 other emblems. 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 offerings, with a lion and 
 
 Fig. 120. 
 
 Engraved Cylinder. 
 
 Hematite. 
 
 winged disk on one side, and a hog and flying dove 
 on the other, with other symbols in the field (fig. 120). 
 50. In this archaic cylinder we may observe animals in 
 
 Fig. 121. 
 
 Engraved Cylinder. 
 
 Hamatite. 
 
 heraldic style on either side of an eagle, which resembles 
 
 s 
 
130 
 
 CYLINDERS. — CONES. 
 
 that on a gem in Gen. di Cesnola's Cyprus, pi. xxxiv, 24, 
 and has affinities with the donble-headed eagle of Hittite 
 art. Compare the eagle of gold found at Hissarlik in 
 Schliemann's Uios, p. 504. Headless figure in front of 
 the animals. [S.] 5-8ths inch long. 
 
 51. According to Prof. Sayce this cylinder has two 
 winged gryphons in the Babylonian style and a priest 
 with flounced dress, as on archaic Babylonian gems. [S.J 
 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 Phcenico- 
 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. Winged 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 and sphinx, ox-head, and a full-length figure 
 
 Fig. 122. 
 
 Engraved Cylinder. 
 
 Steatite. 
 
 of a priest in an ornamental dress, holding a crooked im- 
 plement (see fig. 122). 7-8ths inch long. 
 
 55. A finely engraved cylinder, in a style evidently 
 
 Fig. 123. 
 
 Engraved Cylinder. 
 
 Jasper. 
 
 Phcenico-Egyptian (fig. 123). Sphinxes and gazelle above, 
 
11-33 ,-^ 
 
 n 
 
 \° 
 
 ! 34 ,-. 
 
 X 
 
 35 
 
 \« 36 
 
 H.I7 
 
 HJ3I 
 
 1iv 5f 
 
 
 At 
 
 
 
 
 i 
 
 
 
 J^J 
 
 
 
 |«i^M 
 
 
 
 (/ 1/ s ' 
 
 1' 
 
 -H 
 
 1^+2. 
 
 ^72 
 
 J 
 
 
 4 
 
 fjJ+5 
 
 f.'i 
 
 £■* 
 
 X 
 
 4 + 
 
 1? 
 
 4<3 
 
 1 V 4Y 
 
 tf*.r 
 
 
 ^ 
 
 ■^^-ni 
 
 e 
 
 
 Mm 
 
 , «M 
 
 -£v-*j£r 
 
 *\f\\ < ~*< 
 
 ._3. 
 
 
 pa 
 
 
 V\ O ( ' 
 
 ^ 
 
 » o ^ 
 
 
 
 i^-fcj 
 
 
 
 CYLINDERS FROM SALAMIri 
 
CYLINDERS. — CONES. 131 
 
 on a kind of frieze or heraldic chief, figures in the 
 Egyptian style below the disk of the sun, and the crux 
 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 
 standing beside a seated sphinx or gryphon with up- 
 raised wings. 5-8ths inch long. Steatite. (See Plate 
 xiv, fig. 42.) 
 
 58. Winged sphinx adoring a tree. Nice work. Half- 
 inch long. Steatite. (See Plate xiv, fig. 43.) 
 
 59. Sphinx couchant, with long and elaborately- 
 feathered wing, the head regardant, with three feathers 
 for a crest, the 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. 
 Paide work. 3-4ths inch long. Green porcelain, (See 
 Plate xiv, fig. 44.) 
 
 6 1 . 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 a man bending before a full-length 
 figure with turned-up boots. Half-inch high. Htematite. 
 (See Plate xiv, fig. 46.) 
 
 63. A kind of fretwork, or fretty pattern. 3-8ths inch 
 long. Steatite. (See Plate xiv, fig. 47.) 
 
 64. Fretty device, which may be compared with No. 
 63. The centre has some cuneiform characters arranged 
 
132 
 
 CYLINDERS. — CONES. 
 
 horizontally to form an ornament. 1 inch long. White 
 calcined chalcedony. (See Plate xiv, fig. 48.) 
 
 65. A subject of difficult interpretation (fig. 124). It 
 is in an archaic style, and of good work. 5-8ths inch 
 
 long. 
 
 Fig. 121. 
 
 Engraved Cylinder. 
 
 HtemutUe. 
 
 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 0, 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. Ucematite. 
 
 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. 
 
 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. 3-4ths inch long. Steatite. 
 
 Cones. 
 
 These objects are but little, if at all, later in point of 
 date than the cylinders. In the collection which I ga- 
 thered from the tombs of Salamis, among others, are : 
 
CYLINDERS. CONES. 
 
 133 
 
 1. A spheroidal cone, pierced and ornamented with a 
 series of circular facets (fig. 125a). The subject (b) en- 
 
 Fig. 12j a, u. 
 
 Engraved Cone. 
 
 Agate. 
 
 graved on it is a bird, apparently an eagle. Rude work 
 of an early period is shewn in this ancient signet. 
 
 2. Rectangular-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. 126), is engraved upon 
 another of these matrices. This was, naturally, as 
 favourite a device for a seal among the votaries of Venus, 
 
 Fig. 126. 
 
 Engraved Cone. 
 
 Hyacinth. 
 
 as the fleur-de-lis, the emblem of the B. V. Mary, was 
 in the middle ages in Christian countries. This is a 
 beautifully transparent deep red stone. 1 inch long. 
 
 4. A fine cone or seal, not pierced, bearing on the face, 
 which is very convex, according to Professor Sayce, the 
 rude imitation of an Assyrian gem, representing a priest 
 
134 
 
 CYLINDERS. — CONES. 
 
 standing- in front of an altar with the crescent moon 
 above. [S.J 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. 127 e) are a 
 gazelle and tree. This is repeated on the two sides (b, d). 
 
 Fig. 127 A, B, o, ii, a. 
 
 B. u. D. 
 
 Engraved Cone. 
 
 Steatite. 
 
 The first 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. 128a) 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 kneels imploring mercy, with a palm-tree 
 
 Fig. 128 A. u. 
 
 Engraved Cone. 
 
 Hamatite. 
 
 between. [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.J Half-inch long; half-inch 
 high. Hcematite. (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 
 
CYLINDERS. — CONES. 135 
 
 rudely-cut figure of 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 
 regardant, 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. Rude work. Half-inch high. Calcined agate. 
 
 12. Pyramidal conoid, pierced. A star, and some un- 
 certain emblems. 3-8ths inch. Steatite. 
 
 13. Conoid, pierced in two ways. An uncertain figure. 
 Half- inch high. Dark stone. 
 
te^a£^ 
 
 CHAPTER XITI. 
 
 SCARABiEL— BEADS.— INLAYING PIECES, Etc. 
 
 SCARAB^EI. 
 
 ESIDES 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 Salamis 
 yielded, during my excavations, a number of engraved 
 gems and stones, used as seals and rings. In this 
 class, I include glass, pastes, crystal, cornelian, 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 scara- 
 bsei, and scarabseoids. Some of these are obviously 
 of Egyptian origin. From the old civilisation of the 
 Egyptians, it may be taken that these scarabs re- 
 present 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 
 representations of deities, men and animals, are en- 
 
SCARABJEI, BEADS, INLAYING PIECES, ETC. 137 
 
 graved. 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 to hold them. But they are some- 
 times 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 scarabasi of porcelain, 
 which were used only for the outer beaded work, or 
 decoration of mummies. The scarabseus cheper, or che- 
 jieru, 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 in- 
 scribed with the names of priests, and other classes of 
 society. An idea has prevailed amongst recent authors, 
 writes the above authority, that the scarab?eus was used 
 for the purposes 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. Al- 
 though, therefore, it is difficult to determine 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 
 following scarabsei in the Lawrence- Cesnola collection as 
 being of interest. 
 
 1. An important Egyptian pierced scarabasus. On 
 the face, two winged urcei, with disks and horns, sup- 
 porting between them a cartouche, hi which is inscribed 
 the name of Ka-men-ka, 1 or Mycerinus, an Egyptian 
 
 1 See The Egypt of the Past, by Erasmus Wilson, F.R.S., pp. Go, 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'. 
 
 T 
 
138 SOARAB.EI, BEADS, 
 
 onarch of the Fourth Dynasty. Below these are two 
 
 in 
 
 seated fVures of the Nile river, personified as a Androgy- 
 
 se 
 
 Fig. 129. 
 
 Scaralwus with the name of Mycerinus. 
 
 nous, 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 deli- 
 cate proportions. 3-4ths inch long. White glazed 
 steatite. (See fig. 129.) 
 
 2. Egyptian pierced scarabaeus. The figure of a ruler, 
 seated, holding a whip or flail, nexex; behind him a 
 crook, heg, emblem of rule, power, or dominion, distinctive 
 
 
 Fig. 130. 
 
 ji. Scarabasus Ring. 
 
 b. Engraved Face. 
 
 of Osiris (fig. 130b). Overhead, in a cartouche, the word 
 (fig. 131) Ra-men-eliepcr, the praenomen of Thothmes III, 
 the illustrious monarch of the Eighteenth Dynasty. That 
 
 From the floor of this chamber a descending passage led to the second 
 chamber, in "which was found a sarcophagus of basalt, of beautiful work- 
 manship, 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 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." 
 
INLAYING PIECES, ETC. 
 
 139 
 
 the value of this royal scarab was appreciated by the 
 Cypriote owner from whose grave I obtained it, is shewn 
 by the fact that it has been set in gold as a ring (fig. 130a), 
 part of the eye for the swivel and all the bezel being still 
 
 o 
 
 Fig. 131. 
 
 Prsenomen of Thothmes III. 
 
 attached to the relic. 3-4ths inch long. White glazed 
 steatite. 
 
 3. Egyptian scarabeeus, the name of Thothmes III, 
 Ra-men-chepev , as above, in a cartouche ; and other un- 
 certain symbols. 3-4ths inch long, set in a gold ring. 
 Glazed steatite. 
 
 4. Egyptian pierced scarabeeus. On the face the 
 
 A i' '[ G) -r 
 
 hieroglyphics (I Amen-Ra Neb, " The Lord 
 
 Amen-Ra". Amen-Ra was the principal deity of the 
 Theban triad. A large number of scarabsei are extant 
 with the name of or with reference to the cult of the 
 god. 3-4ths inch long. White glazed steatite. 
 
 5. Egyptian pierced scarabeeus, engraved with a mytho- 
 logical subject. The sacred beetle, or cheper, in his 
 
 Fig. 131. Engraved Scarabasus. Agate. 
 
 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 
 
140 SOARABJEI, BEADS, 
 
 Sun's Disk. To the lower wings are attached two 
 symbols of life, the cross tan or ankh. This is a some- 
 what rare subject of Egyptian art. It belongs to the 
 fifth century B.C. 
 
 6. Egyptian scarabreus of ancient style. On it a 
 crocodile, sacred to, and emblem of, the god Sebak, or 
 Souch is, one of the principal deities of the Egyptian 
 Pantheon, especially yenerated at Arsinoe, or Crocodi- 
 lopolis. Many names were attached to this reptile, and 
 in the Ritual of the Dead, 1 chapter lxxxviii, 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, 2 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, words probably mystical — at any rate, not 
 clearly and satisfactorily explained by Egyptologists. 
 3-4ths inch long. White glazed steatite. 
 
 7. Fig. 133 is an Egyptian scarabseus, engraved with 
 
 Fig. 133. Engraved Scarabjeus. Steatite. 
 
 the sacred hawk and feathers of Thmei, or Ma, the 
 Goddess of Truth. 3 
 
 1 See Bunsen's Egypt's Place in Universal History, London, 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." 
 
 3 I may here refer the reader to another scarabseus with an Egyptian 
 goddess. It is a Phocnico-Egyptian scarab, on which is a full-length 
 
INLAYING PIECES, ETC. 141 
 
 8 - Egyptian scarabseus. On the face a sphinx, wear- 
 ing disk and plumes, seated to the right; behind it a 
 vulture ; in front of it an urseus. The meaning of this 
 combination of Egyptian symbols is uncertain. 1 3-4ths 
 inch long. Wliite glazed steatite. 
 
 9. Egyptian scarabseus. On the face a figure of a 
 man, kneeling, holding a palm-branch, symbol of a (good, 
 or fortunate) year. 5-8ths in. 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. 2 Eude 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 neb, or "lord", and other 
 uncertain characters. 3-4ths in. long. TT7? ite glazed steatite. 
 
 13. An oval scarabseoid, engraved with an archaic 
 figure of a lion enraged, walking to the right. Half- 
 inch long. Cornelian-. 
 
 14. Scarabseus, pierced. A lion enraged, regardant. 
 5-8ths inch long. Steatite. (See Plate xv, fig. 58.) 
 
 15. Pierced scarabseus. Ptude and archaic work. A 
 lion and a bull, back to back, between them a tree. 
 Half-inch long. Steatite. 
 
 figure of the Goddess Pasht or Sekhet, with four wings expanded. On 
 the bead a disk of the sun and urseus snake. It has been already men- 
 tioned (see fig. 51, page 49). Half an inch long, set in the revolving 
 bezel of an ancient silver ring of solid substance. Cornelian. 
 
 1 Compare another pierced Egyptian scarabasus in the collection, on 
 which occurs a sphinx seated, holding a sceptre ; in the field are some 
 uncertain hieroglyphics. 5-8ths inch long. Glazed steatite. 
 
 2 Compare with this another scarabaeoid, on which is a figure seated 
 on a griffin, as figured and described in an earlier part of the work (see 
 fig. 50, pp. 49, 50). 3-4ths inch long, set on a wire so as to revolve in 
 a plain silver ring. Striped cornelian. 
 
142 Sl'ARAH-EI, BEADS, 
 
 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, ankh; 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, j^, and leg, J , ha, or bu, between 
 
 two {(f\ uraei. 1 This is a mystical combination not yet 
 satisfactorily explained. 5-8ths inch long. Reddish white 
 glazed steatite. 
 
 20. Egyptian pierced scarabseus. On the face a double 
 urceus, scarabseus beetle, eheper, a basket, neb, and other 
 hieroglyphics of uncertain import. 5-8ths inch. White 
 glazed steatite. 
 
 21. Egyptian pierced scarabseus, with several uncer- 
 tain 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 Phcenico- 
 
 Fi S- 134. Engraved Scarabjeus. Banded Sardonyx. 
 
 1 The urceus 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. 
 36, page 39). Milky agate. 
 
INLAYING PIECES, ETC. 143 
 
 Egyptian style (fig. 134). On the face, a seated figure of 
 the gryphon of Set, with the reed, a ; water-line, en ; and 
 other Egyptian hieroglyphic syllables. 3-4ths inch long. 
 24. A Phoenician scarabaeoid (fig. 135). The winged 
 solar disk above the Boat of the Sun and Ursei, or 
 Egyptian asps, is engraved on the base. 
 
 Fl £- 135 - Engraved Scarabaeoid. 
 
 Steatite. 
 
 25. Scarabaeus. On the face a star of six points. 
 3-8ths inch long. Cornelian. 
 
 26. Pierced scarabaeoid. The work very archaic, in 
 the style seen in Plate xv, fig. 53. 3-4ths inch long. 
 Cornelian. 
 
 27. Pierced scarabaeoid. Eude animal or combination 
 of lines. Half-inch long. Steatite. 
 
 28. Pierced scarabaeoid. Eude and arbitrary combi- 
 nation of crossing lines. Half- inch long. Steatite. 
 
 29. Pierced conoidal scarabaeoid of early Cypriote de- 
 sign and workmanship. On the face, in a cartouche, 
 a full-length figure holding a spear or staff. 5-8ths inch 
 long. Steatite. 
 
 30. Pierced scarabaeus. 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 engraved gems, I shall mention two ex- 
 amples. 5-8ths inch long. Dark steatite. 
 
 31. Pierced scarabaeoid. A winged bull statant. 
 
144 
 
 SCARAB/EI, BEADS, 
 
 Curious and good work of the Cypriote style. Half- inch 
 lone. Jasper. (See Plate xv, fig. 64.) 
 
 32. This pierced scarabaeus is of considerable interest. 
 The work of the beetle is very fine, and is considered 
 by Dr. Birch to be of the fourth century before Christ. 
 The work and design on the face — a lion devouring a 
 
 Fig. 136. 
 
 Engraved Scarabceus, with Cypriote Inscription. Cornelian. 
 
 boar, upon a hatched ground or estrade — is of very 
 beautiful execution. The inscription is read by Pro- 
 fessor Sayce to be : — 
 
 ko ni to e te mi e. 
 r} fit tyerjTOvltcov. 
 
 "I belong to Theetonikos." 
 
 33. Fief. 137 is a scarabaeus of unfinished form, with 
 the under surface engraved with a figure of Mercury, 
 
 Fig. 127. 
 
 Engraved Scarabscoid. 
 
 Con. cl inn. 
 
 draped, and holding in his right hand his customary 
 attribute, the caduceus. The style is Greek, and it 
 appears to be of some merit as a work of art. 
 
INLAYING PIECES, ETC. 
 
 145 
 
 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 cha- 
 racters in the Phoenician or Cypriote language. 3-4ths 
 inch long. Grey stone. 
 
 2. A rectangular bead, engraved with the Paphian 
 goddess under her canopy, on one side, and the cone 
 
 Fig. 138. 
 
 Engraved Bead. 
 
 Grrey Steatite. 
 
 under its canopy, on the other. Compare the cylinders 
 described on pp. 121-123. 5-8ths inch long. 
 
 3. Another, with the cone replaced by an uncertain 
 object. 3-4ths inch long. Gray steatite. 
 
 4. Rectangular pierced bead. 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. Bark steatite. (See Plate xv, 
 fig. 61.) 
 
 7. Rectangular pierced bead. On each face an uncer- 
 tain device. Perhaps a lion. Compare No. 51, p. 130. 
 3-4ths by half-inch. Dark steatite. 
 
 8. Rectangular pierced bead. On each side a floral 
 
 u 
 
146 SCARAB.EI, BEADS, INLAYING PIECES, ETC. 
 
 ornament 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 toy assumes the appearance of a hand grasp- 
 
 Fig. 139. Carved Calf and Hand. Steatite. 
 
 ing a ring. The work is of the style characteristic of 
 Cypriote art, and may be attributed to a considerable 
 antiquity. 
 
OHAPTEE XIV 
 
 ENGRAVED GEMS AND PRECIOUS STONES. 
 
 Bk3f 
 
 , KVy 
 
 HE ancient graves of the inhabitants of 
 Cyprus, I found, yielded many gems and 
 precious stones engraved with various 
 classical 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 work- 
 manship ; 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. 
 
148 
 
 km; raved gems 
 
 3^8ths inch long. Onyx or niccolo. (See Plate xv, 
 fig. 68.) 
 
 4. Circular intaglio. A bust of Jupiter Serapis (fig. 140) 
 in profile, to the left, The beard is long and pointed ; 
 the hair rolled or curled at the ends, and filleted. The 
 
 Fig-. 140. 
 
 Engraved Gem — Jupiter. 
 
 Sardonyx. 
 
 treatment is manifestly archaic, and the gem may be 
 considered to be of great age, perhaps the fourth century 
 before Christ. Half-inch long. 
 
 Ancient gems, resembling the above, with subjects in 
 intaglio, were especially objects of care and admiration ; 
 and especially 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 personages are frequently 
 met with by the seal collector, either in the form of 
 
 Fig. 141. 
 
 Ancient Gem with Mediaeval Setting. 
 
 Cornelian. 
 
 matrices, or as original impressions appended to char- 
 ters, enriched with a legend of Christian import. 
 A good example of this use is shewn in fig. 141 (kindly 
 lent by "the British Archaeological Association), 1 where a 
 
 1 From Journal, vol. iii, p. 330. 
 
CYLINDERS AND GEMS FROM SALAMIS. 
 
AND PRECIOUS STONES. 149 
 
 Roman cornelian, engraved in intaglio with a female 
 head, is enclosed in a metal rim, with an inscription 
 shewing that the owner considered the head as a por- 
 trait of Jesus Christ, Christ us caput omnium. Numerous 
 instances of the similar treatment of gems could be ad- 
 duced, where precisely the same result is obtained, but it 
 is unnecessary here to refer to them. It is sufficient 
 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 
 Minerva to the left, draped and helmeted, and hold- 
 ing distaff and lance. Early workmanship. Half-inch 
 long. Cornelian 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 century B.C. 5-8ths inch 
 long. Bloodstone. (See Plate xv, fig. 67.) 
 
 8. Oval for a ring. Finely-executed head of a warrior 
 or the goddess Minerva, to the right, helmeted. The 
 
 Fig. 112. 
 
 Engraved Gem. Sard - 
 
 date may be referred to the first century before Christ 
 (fig. 142). 7-16ths inch long. 
 
150 ENGRAVED GEMS 
 
 9. Convex oval intaglio. A full-length figure of a 
 
 Fig. 143. 
 
 Engraved Gem. Iridescent and Transparent Paste. 
 
 goddess with a weapon, perhaps Minerva (fig. 143). 
 Very archaic. 3-4ths inch long. 
 
 10. Oval intaglio. A full-length figure of Minerva, 
 
 Pip;. 144. 
 
 Engraved Gem. 
 
 Cornelian. 
 
 helmeted, to the left, holding up or supporting a warrior 
 with a spear in his hand (fig. 144). 5-8ths inch long. 
 
 1 1 . Convex oval intaglio. A figure of Athene Nike- 
 phoros, 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, 
 
 Fig. 145. 
 
 Engraved object. 
 
 Purple Paste. 
 
AND PRECIOUS STONES. 151 
 
 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 orna- 
 mented with a small beading 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 cadu- 
 ceus and wallet, as in Museo Borbonico, torn, 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 
 
 Fig. 146. Hercules and the Nemsean Lion. Cornelian. 
 
 and the NemaBan lion. The workmanship is Greek, and 
 there is an elegant style of art in the treatment of this 
 
152 ENGRAVED GEMS 
 
 beautiful intaglio. The date may be placed at the third 
 century B.C. 3-4ths inch long. Cornelian. 
 
 20. Oval intaglio, engraved on both sides. The ob- 
 verse has a representation of Hercules strangling the 
 Nemsean lion, the first 1 of the twelve labours performed 
 at the bidding of 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 arrange- 
 ment of this scene is exactly the same as that engraved 
 by Smith 2 from a Roman lamp. On the reverse the 
 
 letters H H H 
 
 K K K 
 
 The H probably stands for HPAKAHC. It is difficult to 
 
 conjecture the signification of the K. 3-8ths inch long. 
 
 Jasper. (See Plate xv, fig. 72.) 
 
 2 1 . 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 EPftTOC. Greek style. 3-8ths inch. 
 Burnt cornelian. 
 
 24. Oval intaglio in archaic style (fig. 147). Leda 
 reclining on a bank receiving the blandishments of the 
 Swan. In this elegant gem we may indeed behold — 
 
 " olorinis Ledam recubare sub alia". 3 
 
 The treatment of the subject indicates that the artist 
 was well acquainted with the myth which he had under- 
 
 1 " Prima Cleonrei tolerata cerumna Leonis". 
 
 Auson., Idyll, xix ; cf. also Apollodor. ii, 5, § 1. 
 
 2 Class. Diet, 196. 3 q v Mctam., vi. 
 
AND PRECIOUS STONES. 153 
 
 taken to illustrate. 5-8ths inch long, set in a silver 
 finger-ring. 
 
 Fl S- li7 » Engraved Gem— Leda. Heliotrope. 
 
 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 government 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 god- 
 dess, to the right, perhaps Fortune, with a cornucopiae, 
 and other uncertain emblems. Half-inch long. Cor- 
 nelian. 
 
 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. 
 Cornelian. 
 
 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 a 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. 148). The flowing 
 drapery shewn here resembles that sometimes seen on 
 figures of Iris in the Greek gems. 5-8ths inch long, set 
 
 x 
 
154 ENGRAVED GEMS 
 
 in an ancient plain gold finger-ring of small propor- 
 tions. 
 
 Fig. U8. Engraved Gem— Victory. Cornelian. 
 
 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 Vic- 
 tory, winged, and holding a palm-branch, full-length, to 
 the left. 3-8ths inch long. 
 
 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 cornucopias. Good workmanship. 
 7-16ths inch long. Cornelian. (See Plate xv, fig. 79.) 
 
 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 Jour- 
 tal of the British Arehceological Association, vol. xxxii, 
 pp. 115-117. In this example, the gem is a dark red 
 cornelian or sard, 7-lGths inch diameter, engraved with 
 the sphinx (fig. 149) sejant, the head bound with a vitta, 
 and the tail elevated and coiled. Immediately in front 
 
 i 
 
AND PRECIOUS STONES. 155 
 
 of the fore feet of the sphinx is a human skull ; and 
 beneath the ground line a headless skeleton is extended, 
 the remains of one of those who had unfortunately failed 
 to guess the riddle of the sphinx, and so fallen a victim 
 
 Fig. 149. Gem Seal— A SphiDx. 
 
 to his temerity. 1 The Norman-French inscription on 
 this seal ring is reversed. It reads li cocatrix. The 
 engraver probably 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 
 consisting 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 Gnostic deity Jao, an elephant's head, 
 
 Fig. 150. Engraved Gem— A Gryllus. Sard. 
 
 holding a thyrsus or caduceus in the trunk, and 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. 
 
 1 I am indebted for the use of this woodcut also, to the kindness of 
 the British Archseological Association. 
 
156 ENGRAVED GEMS 
 
 By this particular name, gryllus, which appears to 
 derive its origin from a classical word signifying a 
 cricket, is designated that peculiarly fantastic combi- 
 nation 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 ex- 
 hibited by these engravings, cannot be determined 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 the separate sym- 
 bols each imparted their attributed virtue to the for- 
 tunate possessor of the gem, or protected him from ills 
 not to be otherwise averted. At any rate, the gems of 
 the Gnostics exhibit many such crude combinations as 
 these so-called grylli. Among the most prevailing com- 
 binations is generally found the face of a man in profile, 
 with a bald head, and nose of that type which is gene- 
 rally referred to Silenus ; and there is little doubt that 
 the constantly-recurring expression on the face is in- 
 tended for a portrait of some well-known individual. 
 Why Silenus should have been chosen to fill a place 
 in these fantastic riddles is not difficult to solve. In an 
 impression of an oval gem, in the British Museum, occurs 
 a gryllus composed of a human head surmounted by that 
 of a horse holding a thyrsus or branch in its mouth, while 
 a cornucopia, 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, 1 has engraved 
 several fine examples of the gryllus. Of the connection 
 
 1 Antique Gems and Rings, PI. xxxix, lvi, lvii, etc. 
 
AND PRECIOUS STONES. 157 
 
 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 
 gryllus 2 or astrological talisman, perhaps as passing for 
 the emblem of universal knowledge. 
 
 Another gryllus shews the same equine and human 
 combination united with legs of a rapacious bird, and 
 a ram's head, holding a caduceus 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, display 
 great ingenuity and originality. Mr. W. de G. Birch, in 
 an article upon these relics, 3 has recorded a considerable 
 number of varieties. The only one which I may mention 
 in this place is a pointed oval seal of the fifteenth cen- 
 tury, in which is set an antique oval gem of the gryllus 
 kind, engraved 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, 
 
 1 Antique Gems and Rings, pp. 263, 264. 
 
 2 "Especially prominent in that favourite one an elephant's head, carry- 
 ing 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.] 
 
 3 Engl. Cyclop., Arts and Sciences, Swppl. 
 
158 ENGRAVED GEMS 
 
 if correct, affords a clue to the meaning of other com- 
 binations. It is an hexameter verse : — 
 
 " ' Scriptum signat equus, mittit vir, devehit ales.' " 
 
 38. Oval cameo. A figure of yEsculapius, 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 blackish red cameo onyx. (See Plate xv, 
 
 %• 77.) 
 
 39. Oval intaglio. A figure of iEsculapius, 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, offering corn and fruit. Half-inch long, set in 
 a plain and massy ancient gold finger-ring. This has 
 been figured in another part of this work. 1 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 quad- 
 riga, or chariot of four horses abreast at full speed, to the 
 right, is here represented. In the field, the inscription 
 in ac. Half- inch long. Jasper. (See Plate xv, fig. 
 
 7i-) 
 
 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 
 
 1 See fig. 40, pp. 38, 41. 
 
AND PRECIOUS STONES. 159 
 
 emperor. The cutting of this gem is of first-rate ex- 
 cellence. It may be referred to the first century of our 
 era. Half-inch long. Sardonyx. 
 
 Fig. 151. Engraved Gem— A Portrait 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 
 preceding number, and of the same size. Green paste. 
 (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 earlier chapter. 1 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 looking up at a tree on the right hand. Over head 
 is the inscription ©EOAHPOC, the name either of the 
 artist or the owner of the ring. Half-inch long. (See 
 Plate xv, fig. 76.) 
 
 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, or cornelian. 
 
 51. Oval. A satyr, full-length, to the left, elevating 
 
 1 See fig. 35, p. 38. 
 
160 ENGRAVED GEMS 
 
 the right leg, and holding a jxchm, 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 : — I Aft MIX[AHL], a Gnostic inscription, record- 
 
 Fig. 152. Engraved Gnostic Gem. Calcined Agate. 
 
 ing the names of two potent personages in that faith. 
 The reader may refer to a former chapter for some obser- 
 vations on an amulet of Gnostic art. 1 
 
 53. Small circular piece for setting in a ring. A por- 
 
 Fig. 153. Engraved Gem— A Portrait Head. Paste. 
 
 trait 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 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 difficult to inter- 
 pret. 5-8ths inch long. Jasper. (See Plate xv, fig. 66.) 
 
 55. Oval intaglio, perhaps Gnostic, carved on both 
 sides. On the obverse, within an engrailed border, a 
 
 1 See p. 103. 
 
AND PRECIOUS STONES. 
 
 161 
 
 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. Very archaic and indistinct. On 
 the reverse, an uncertain inscription in four lines, of 
 
 Fig. 154. 
 
 Cornelian. 
 
 a character which resembles Greek. Half-inch long. 
 Cornelian. 
 
 56. Oval. A bull and star, as described in the ac- 
 count of gold rings in a previous chapter. 1 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, hold- 
 ing in its beak a chaplet or crown. 3-8ths inch long, set 
 in a plain and massy ancient gold finger-ring of some- 
 what small dimensions. Cornelian. 
 
 59. Oval intaglio. An eacde, close, regardant, to the 
 right, holding a garland or chaplet, at its feet an un- 
 certain 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 perched upon a rock between two palm-branches. 
 3-8ths inch long. Jasper. (See Plate xv, fig. 88.) 
 
 61. Oval scarabaeoid, 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.) 
 
 1 Sec fig. 41, page 41. 
 
162 ENGRAVED GEMS, ETC. 
 
 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. 3-8ths inch long. Cornelian, (See 
 Plate xv, fig. 85.) 
 
 63. Oval for setting. A seven-stringed lyre. The 
 sounding board carved in the form of a small animal, 
 probably a dog, lying curled up. Half-inch long. Ame- 
 thyst. (See Plate xv, fig. 87.) 
 
 64. Oval intaglio, engraved on both sides with uncer- 
 tain 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 numer- 
 als, perhaps of mystic or magical import. The numbers 
 are — x, vi, in, n. This edge of the engraved stone is 
 frilled or engrailed. Half-inch long. Agate. (See 
 Plate xv, fig. 84.) 
 
 66. Oval. The Temple of Paphos, as figured and 
 described in a former part of the work. 1 3-8ths inch 
 long, set in a gold ring. Cornelian. 
 
 1 See fig. 39, pp. 40, 41. 
 
CHAPTER XV. 
 
 CHALCEDONY, ETC. 
 
 HE number of objects which I discovered at 
 Salamis and other sites composed of chalce- 
 dony and other hard stones is not very 
 large, but, considering the rarity of such 
 antiquities, my collection is fairly well sup- 
 plied 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 Europe. The name of this substance 
 is believed to be derived from Chalcedon, in Bithynia, 
 where the first specimens 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 tunes 
 heavier than water. 
 
 A modern author on precious stones states that chalce- 
 dony 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 yellowish, which is owing to the presence of 
 
164 CHALCEDONY, ETC. 
 
 oxide of iron. It is often found lining agate geodes, in 
 trap rocks, and sometimes stratified, various tints alter- 
 nating. 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 pur- 
 pose from the most ancient period. 1 
 
 That the chalcedony was esteemed by the ancients to 
 be one of the most precious stones is sufficiently shewn 
 by St. John the Divine, who, in his account of the foun- 
 dations of " that great city, the holy Jerusalem", writes: 
 " And 2 the foundations of the wall of the city were gar- 
 nished with all manner of precious stones. The first 
 foundation was jasper ; the second, sapphire ; the thud, 
 a chalcedony." 
 
 Fig. 155 represents a small chalcedony vase found in 
 a tomb at Salamina in 1867. The vase is of late Egyp- 
 tian style, and of the shape of the Egyptian situla, or 
 
 Fi S- 1&5 - Inscribed Situla. Chalcedony. 
 
 bucket. Around the upper part of this small vase is 
 an ornament like a Phoenician inscription, but the letters 
 
 1 H. Emanuel, Diamonds and Precious Stones, 1867. 
 
 2 Rev. sxi, 19. 
 
U~) 
 
 < 
 
 CD 
 
 O 
 
 cc 
 
 Ll_ 
 
 o 
 □ 
 
 Ld 
 O 
 _1 
 
 <; 
 
 ze 
 
 LJ 
 
CHALCEDONY, ETC. 
 
 165 
 
 are so indistinct, that it is impossible to conjecture the 
 signification of the writing. Inside, suspended by a gold 
 wire from two small handles and the top of the vase, is a 
 little amulet of uncertain shape. 
 
 The accompanying figure (156) represents an amulet, 
 or toy, carved in form of the cuttle fish, or sepia. The 
 shield-shaped body is adorned with an inscription in 
 
 Fig. 166. a. Inscribed Amulet, in form of the Cuttle Fish. 
 
 b. The Shield Enlarged. Chalcedony. 
 
 Phoenician letters, but they are unfortunately so indis- 
 tinct from age, and so nearly obliterated, that it would 
 be rash to hazard a conjecture as to their meaning. 
 
 An inscribed roundle, or plaque, perhaps an amulet or 
 inlaying piece (fig. 157), which I found in the ground at 
 Salamis, has upon it an eagle or other bird displayed, sur- 
 
 Fig. 157. 
 
 Ornament. 
 
 Chalcedony. 
 
 rounded by an illegible and nearly obliterated inscription 
 in characters 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 moveable head, and a lid of the back and wings, now 
 wanting. This is formed of a bluish-white chalcedony. 
 
166 CHALCEDONY, ETC. 
 
 There are two necklaces or bracelets in the collection, 1 
 composed of bugles of ovoid, cylindrical shapes, alter- 
 nating 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 pen- 
 dant, undoubtedly in form of a 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 
 on one side that object in a quiescent state, and on the 
 other as the emblem of the god of gardens. Of chalce- 
 dony, I found also a handsomely-shaped bowl or drink- 
 ing- cup of a yellowish tinge, 2 with fluted body, and wide 
 swelling lip ; the whole hi some respect resembling the 
 bowl of a modern goblet. In the same plate, I have 
 figured an enamelled female head of great beauty. 3 
 
 Plate xvi, fig. 6, represents an Egyptian amulet inform 
 of Anepu, or Anubis, the jackal-headed god, who, ac- 
 cording to Greek legends, was the son of the goddess 
 Nebta, or, according to other and, perhaps, more or- 
 thodox 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 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 sanctifica- 
 tion 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 light blue colour, almost white. It 
 appears to be a rude and uncompleted figure of a female. 4 
 A kneeling figure of uncertain period and style is placed 
 1 PL xvi, figs. 2, 3. 2 Fig 4_ 3 Fig. 5. 4 Fig. 7. 
 
CHALCEDONY, ETC. 167 
 
 next in order. 1 A symbolic eye, called itta by the Egypt- 
 ians, to whose workmanship this little amulet must be 
 assigned, 2 is of interest, coming, as it does, from Cypriote 
 tombs. These symbolic eyes are attributed to the " Sun 
 and Moon"; or they may be taken as the "Eyes of the 
 Hawk of Ra", the Sun God, by the opening of which 
 that deity illuminated the universe. To the pointed 
 oval opening of the eyelids were attached two appen- 
 dages, — 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 perforated, or provided with a 
 ring carved out of the same substance, 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, ser- 
 pentine, haematite, obsidian, red jasper, green felspar, 
 cornelian, and even porcelain. There are several very 
 fine specimens 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, 3 shew- 
 ing 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 off, on the hips, 
 is given in the same plate. Another object is a figure of 
 1 PL xvi, fig. 8. 2 Fig. 9. 3 Fig. 10. 
 
168 
 
 CHALCEDONY, ETC. 
 
 the god Chons, or Chonsu, 1 the divine son of Anion and 
 Mutt the third element in the Triad of Theban Divi- 
 nities, 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 pro- 
 perly 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 f a pendant, in form of a ram or goat, also with 
 a pierced ring f a terminal figure of Hermes ; 5 a bunch 
 of grapes ; 6 a bee, or wasp, the head wanting ; 7 a stud, 
 or pin, with a hole pierced in the head ; 8 and a clenched 
 hand, 9 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 ungitentarium, 10 
 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 contain a small quantity of precious 
 ointment or perfume to be placed near to the body of 
 a departed relative in the Salaminian tomb from which 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 seated, 
 naked, in the attitude of being in his mother's lap, with 
 the symbolical 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 11 shews a standing 
 
 1 PI. xvi, f. 12. 
 
 2 Fig. 11. 
 
 3 Fig. 13. 
 
 4 Fig. 16 
 
 5 Fig. 11. 
 
 6 Fig. 15. 
 
 7 Fig. 17. 
 
 8 Fig. 19. 
 
 Fig. 21. 
 
 10 Fig. 18. 
 
 11 Fig. 22. 
 
 
CHALCEDONY, ETC. 169 
 
 figure of the same Horus, also with the finger in the 
 mouth. An elegant aryballos in sapphirine chalcedony, 
 with a body imitating the markings of a fir-cone ; l 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 
 gardant, back to back f and a plain bowl of somewhat 
 thick substance, marbled with dark blue veins, 3 complete 
 the description of the most important chalcedony relics 
 which the tombs of Cyprus yielded to my diggings. 
 
 1 Plate xvi, fig. 23. 2 Fig. 26. 3 Fig. 2-5. 
 
 x 
 
^£^ 
 
 CHAPTER XVI. 
 
 GLASS. 
 
 NUMBER OP SPECIMENS PATERJE ACETABULA HAND-PAINTED VASES 
 
 PAINTED DISHES FINGER-RINGS HAIRPINS UNGUENTARIA ■ — ■ 
 
 AI.ABASTRA AMPHOR/E DIOT.E OINOCIIOiE 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 
 suhject will recur to the minds of most 
 readers ; and there are, indeed, few anti- 
 quaries who do not know where to turn for information 
 as to the various characteristics which ancient glass ex- 
 hibits, 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 refinement 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 Phoenician workmen, who were for a long 
 time the sole possessors of the craft of producing and 
 
GLASS. 173 
 
 shaping the material. Others, again, are Greek, and 
 many belong to the Roman period. It 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 unguentarmm, 
 lachrymatory, or " tear-bottle", which was doubtless used 
 to contain scented fluids or essences of unusual precious- 
 ness, 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 patera of differing 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 pa- 
 terse comprise 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 patterns. These, like many 
 other examples, reproduce patterns of metal ware. 
 Many acetahula 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 
 " Amazonian" 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 ex- 
 hibit 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 
 
172 ULASS. 
 
 articles surest their employment as window-panes. 
 These were found in Salamis, and connected with terra- 
 cotta sarcophagi of the Roman period, which were gene- 
 rally made with covers, while few of them consist of one 
 piece. Usually, they are composed of two or more square 
 tiles cemented together. The glass was intended to 
 allow the faces of the dead to be seen within the coffins. 
 The bodies of these sarcophagi 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 this class are two beautiful amphorse, 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. The greatest variety 
 of the kind before us is a small lachrymatory (fig. 158) 
 of very dark colour, and richly painted with flowers and 
 birds in a spirited 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. 
 
 There is a figure of a peacock in the centre of the 
 bottle (fig. 158 a), perched upon flowering foliage, 
 elegantly depicted, and on the other side (fig. 158 c) 
 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 
 (fig. 158 b) 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. 150). on which is a figure of Venus, undraped, 
 
^^^:^|| ^||^p|f ! ;^|! ; jj||^^||S^ 
 
 m 
 
 '-<■ ■'-"■■' : - ■ - "■" ; " ::r:::L: L_ :: 
 
 HAND- PAINTED l'HCENICIAN GLASS VASE. 
 
GLASS. 
 
 173 
 
 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 our- 
 selves without difficulty the great variety of subjects and 
 
 Fiir. 150. 
 
 Painted Lid— Venus. 
 
 GluM. 
 
 styles which the ancient Cypriotes adorned, when ex- 
 amples 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 sur- 
 vived to point to the refined civilisation of five-and- 
 twenty buried centuries. 
 
 Among other forms and uses to which glass appears to 
 
174 
 
 GLASS. 
 
 have been applied in ancient times in the island of Cy- 
 prus are finger-rings 1 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 and attached by cement. 
 One of these rings bears an inscription in a Cypriote 
 character. These rings were used for the same purpose as 
 
 X A F h 
 
 Fig. ICO. 
 
 Ring with Inscription. 
 
 Ohms, 
 
 those in ivory. Hairpins of glass (fig. 161), 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 WOrkmail- 
 
 FigS. 161-163. 
 
 163. 
 
 l\/o Ry 
 
 Hairpins. 
 
 SQ 
 
 ship. They may be compared with the shapes of 
 bronze (fig. 162), and ivory (fig. 163) hairpins which 
 I have placed here in juxta-position to them. 
 
 Some of the vases and small bottles having dark 
 violet, or blue, bodies are enriched with fine lines of white 
 opaque glass wound spirally about them in a very elegant 
 
 1 See fig. 76, p. 80. 
 
GLASS. 175 
 
 manner, and ending in heads of serpents of the same 
 material. Others of the bottles of smaller sizes are 
 moulded like the fruit of the date tree, and then colour is 
 of dark maroon, as if to indicate the natural colour of the 
 fruit. 
 
 A numerous and very interesting group of these relics 
 consists of small amphorae of dark bodies enriched with 
 pale orange and other coloured chevrons, and rings of 
 semi-opaque glass. 
 
 There can be no doubt, says Dr. Birch, that the 
 Phoenicians exercised, if they did not discover, the art 
 of glass-makhig at a very early period. According to 
 the legends, Phoenician traders, on their return from 
 Egypt to their Syrian homes with a cargo of natron 
 or soda, while cooking on the sand under the shadow 
 of Mount Carmel, accidentally produced glass, and thus 
 
 Fig. 164. Phoenician Unguentarium. Glaes. 
 
 discovered the art. The district of Tyre, and, at a later 
 period, that of Sidon, subsequently become central sites 
 of glass manufacture, and, indeed, specimens of Phoe- 
 nician glass, both transparent and opaque, have been 
 discovered on those ancient sites. This material became 
 a staple product of their commerce, and small glass vases, 
 of which fig. 164 in this collection is a good example, 
 
176 
 
 GLASS. 
 
 resembling Egyptian types, of a pale or dark blue, or 
 white colours with undulating or zigzag lines white, 
 yellow, or light blue, which do not pass entirely through 
 the substance, moulded in sand matrices, were exported 
 by the makers to Asia Minor, Cyprus, Greece, the Isles 
 of the iEgean and Adriatic Seas, and even to Etruria, the 
 Mediterranean shores, and, in fact, wherever these enter- 
 prising traders penetrated in the ancient world. They 
 were highly valued, sometimes mounted on gold stands. 
 Their use appears to date from the fourth century B.C. to 
 the commencement of our era. The above figure repre- 
 sents in half-size a bottle of dark blue ground with 
 yellow dancettee bands and lines. I found these, and 
 many similar vases, always in tombs containing alabaster 
 vases of closely-allied forms, but never in connection with 
 terra-cottas, coins, or other glass vessels. The same re- 
 mark applies to these primitive glass vessels, 
 which Dr. Birch 1 has stated with respect to the 
 archaic Jictilia, that many of the vases found in 
 Cyprus are probably Phoenician, but the early 
 population of that island was so mixed in its 
 Semitic and Hellenic elements that it is diffi- 
 cult to determine, in the absence of inscriptions, 
 to which race they belong. 
 
 Another form of alabastron, also of Phoe- 
 nician manufacture, is that shewn in fig. 165. 
 For the loan of the woodcut representing it, 
 I am indebted to the kindness of the Council 
 of the British Archaeological Association. It 
 is a long and thin body, without any neck 
 or lip, the base rounded off in form of a 
 bluntly-pointed oval, the shaft tapering gradu- 
 ally to the mouth. The colours of this beauti- 
 ful vase are beyond description. Pink, opal, 
 blue, and pearly colours flash from it when turned round 
 1 History of Ancient Pottery, new edit, p. 110. 
 
 Wrf 
 
 mm 
 
 Alabastron. 
 
 Fig. 165. 
 Glass. 
 
GLASS. 
 
 177 
 
 slowly before the eyes, and beneath the iridescent granu- 
 lar surface, deeper and darker shades of colour appear 
 to lie. The capacity of these vessels is not very great, 
 but they could no doubt contain an appreciable quantity 
 of perfume or precious unguent. 
 
 Fig. 166 represents one of those beautiful amphorae of 
 the style called Phoenician. It is of elegant form and 
 proportion. The handles are very delicately made. Al- 
 
 Fisf. 166. 
 
 Amphora. 
 
 Ohms. 
 
 though in form of a wine jar, there can be no doubt that 
 this little vessel was intended for the safe keeping of 
 balsams, or costly unguents for the toilet. 
 
 Another small amphora (fig. 167) of proportions not 
 quite so delicate as the preceding example, has a broad 
 band of light colour round the neck in an oblique di- 
 rection. The handles are broader and flatter in this 
 specimen, for the woodcut of which I am indebted to the 
 kindness of the British Archaeological Association, before 
 whom the vase, with several others, was exhibited by 
 me lately. The contrast of the colours— deep blues and 
 
 A A 
 
178 
 
 GLASS. 
 
 pale yellows — is very beautifully arranged in this elegant 
 relic. 
 
 Fir. 1G7. 
 
 Amphora. 
 
 Glass. 
 
 Of the same style and manufacture, but of somewhat 
 different form, are the two-handled vases, of which a 
 specimen (fig. 168) is here given. Resembling the am- 
 phora as to its body and neck, the foot is enriched with 
 a small thick round base, hardly sufficient to enable the 
 
 Fipr. 168. 
 
 Two-handled Vase. 
 
 Glass. 
 
 vase to stand upright securely, and the handles are more 
 elaborately designed. The colours of these vessels are 
 exceedingly beautiful, but they are blended so intricately, 
 that it is difficult to describe them. 
 
 Another form not uncommonly affected by Phoenician 
 manufacturers of unguent vases is that known as the 
 
GLASS. 
 
 179 
 
 diota, or vessel furnished with two handles, in form of 
 the human ear. These little vessels, like the amphorae 
 already described and figured, derive their form from the 
 large ceramic jars destined to contain wine, but, from 
 
 Fig. 169. 
 
 Phoenician Diota. 
 
 Glass. 
 
 their small size and very moderate capacity, can only 
 have been employed to store liquid perfumes of great 
 price, and cosmetic preparations for the bath or the toilet. 
 Fig. 169 represents a diota of this sort, with dark opaque 
 body-colour traversed spirally by bands of creamy yellow, 
 
 Fig. 170. 
 
 Phoenician Diota. 
 
 Glass. 
 
 the body well proportioned, the neck short, and the foot 
 and lipped mouth small in proportion to the bulk of the 
 body. For this illustration and the following three I am 
 indebted to the British Archaeological Association. 
 
180 
 
 GLASS. 
 
 A closely allied form of diota, but of very different 
 proportions to the foregoing example, is shewn in fig. 
 170, where the relative size of the body is reduced, and 
 the neck, lip, ears, and foot are enlarged. In this instance, 
 the light-coloured portions seem to develop more sym- 
 metry in their application, and partake of a more defined 
 pattern, evidently an advance upon the simple undu- 
 lations of the examples already described. 
 
 Fiff. 171. 
 
 Hydria. 
 
 Glass. 
 
 The elegant form of the Greek hydria, or water vessel, 
 no doubt recommended itself to the Phoenician makers of 
 unguenturia, for we find the form seen in fig. 171 exten- 
 
 Fitf. 172. 
 
 Hydria. 
 
 Glass. 
 
 sively used by them for these objects. In the example 
 before us, the method of laying on the light-coloured 
 pattern is clearly shewn. Beginning at the lowest part 
 of the body, the operator appears to have laid on a liquid 
 
GLASS. 
 
 181 
 
 or viscid slip from a receptacle with an orifice, or, per- 
 haps, a fine rod of glass. Taking a rapid spiral turn, he 
 reached the wide part of the body, and there commenced 
 a zigzag, which at the first was irregular, but gradually 
 attained accuracy of measure. On reaching the upper 
 limit of the body, the zigzag melts away into a few 
 circular lines, and a rapid spiral brought the embellish- 
 ment to a close near the lip. Perhaps the coloured sur- 
 faces were rolled afterwards while still hot, so as to 
 impress the pattern into the dark body -ground of the 
 glass. Fig. 172 is another hydria, not so upright in its 
 contour, but equally remarkable as a work of art, and 
 equally representative of the Phoenician art-manufacture. 
 One of the most curious discoveries which I made in the 
 tombs of Salaminia was that of an egg-cup of Phoenician 
 
 Pig. 173. 
 
 Egg-cup with an Egg in it. 
 
 Ghus 
 
 glass of dark blue ground, with pale, whitish-yellow 
 bands (fig. 173), containing still within its bowl the 
 shell of an egg placed with the cup as a votive offering 
 to the departed friend of the giver, in the grave. 1 In 
 
 1 A cothon, or small two-handled cup of black ware, has recently been 
 found at Cameiros in Ehodes, containing the remains of a sepulchral offer- 
 
 ing of five eggs and two knuckle-bones. 
 
 It is now in the British Museum. 
 
2g2 GLASS. 
 
 shape, this ancient relic of more than two thousand 
 years'' antiquity differs but little, if at all, from a modern 
 egg-cup, but the manufacture is totally different, as 
 this has been made hollow, in ovoid form, and then 
 pressed inwards, so as to form two hollow cups one 
 within the other. This method of blowing glass vases 
 has of late years been resuscitated, and the application of 
 quicksilver to the inner surfaces produces in some of 
 these modern glass vases a peculiar and fictitious effect. 
 
 The Phoenician vase, or bottle, which forms the subject 
 of the accompanying illustration (fig. 174), half-size of 
 
 Fig. 17 i. Painted Phoenician Vase. Glass. 
 
 the original, is painted by hand, to imitate marbling, with 
 black, white, blue, and yellow pigment upon the natural 
 translucent glass which constitutes the substance of the 
 relic. This specimen, and, indeed, all the others of the 
 Lawrence- Cesnola collection, which antiquaries have 
 agreed — in my opinion, somewhat arbitrarily — to call 
 Phoenician, were found associated in tombs of Salamina, 
 and other ancient Cypriote cemeteries, with ancient 
 Greek coins and statuary, or terra-cotta, which I con- 
 sider to belong to an archaic Greek period. 
 
 With regard to the causes of that superbly brilliant 
 iridescence and gorgeous colouring which have supplied 
 
GLASS. 183 
 
 some of the greatest attractions to the Greek and Roman 
 classes of glass antiquities, I may state the results of my 
 experience and very careful investigations of the subject. 
 Very many examples yet remain, which are as clear and 
 unchanged as they were left by the ancient workman. 
 They have undergone no alteration except a considerable 
 loss of weight. No traces of iridescence appear on their 
 surfaces, and yet their antiquity cannot be questioned ; 
 for I found some of them in situations where they were 
 not in contact with earth, that is, standing on stones, or 
 in amphorae, and thus entirely protected from the effects 
 of the air. Some of these relics, on being touched, fell 
 to small pieces, that is, they thus returned to their 
 elements. Other articles have been in contact with the 
 earth over parts only of then surfaces. Wherever this 
 has been the case, iridescence occurs on those portions 
 which have been subject to the influence of the earth. 
 Many more relics are entirely iridescent, and exhibit 
 flashings of the most lovely colours. These have been 
 in close contact with earth, and experienced its effects. 
 It is to be added that the character of the decomposition 
 in question varies according to the nature of the earth 
 which surrounded the relics. Diggers who were expe- 
 rienced in seeking them were able to decide in what kind 
 of earth any given relic has been discovered. Some of 
 these examples have been subject to diverse influences, 
 e.g., the inside of a vase has contained a liquid, or other 
 substance, which produced one kind of iridescence, and 
 the surface of that part of the example is granulous, 
 while the outside of the same has been affected by 
 other causes, or affected by the earth itself, which has 
 produced another kind of iridescence, and the substance 
 of this glass has become flaky. I have reason to believe 
 that these facts have not been recorded until now. They 
 are at once curious and instructive. 
 
 Of the numberless varieties of iridescent glass bottles 
 
184 
 
 GLASS. 
 
 and vases, I have selected a few for illustrating this part 
 of my work. The accompanying woodcut (fig. 175) 
 shews an elegant shape of the Greek period, fifteen 
 inches in height, richly coloured now by the effects 
 
 Fig. 175. 
 
 Iridescent Bottle or Vase. 
 
 QlilSS. 
 
 of time, which has enhanced its beauty with an iri- 
 descent lustre of opalesque and golden flashes of light 
 and colour. The depressions are made round the body 
 in two rows, probably for ornament, rather than for 
 rendering the grip of the vessel in the hand more secure. 
 
 Fig. 176. 
 
 Iridescent Bottle. 
 
 Glass. 
 
 Another (fig. 176), of equal height to that which has 
 been already mentioned, comes also from Salamis, and in 
 form may be considered somewhat rare. The depressions 
 
CO 
 
 < 
 
 CO 
 
 o 
 
 cc 
 u. 
 
 CO 
 
 o 
 
 Ld 
 
 ~i 
 CO 
 
 O 
 
 CO 
 CO 
 
 < 
 
 LJ 
 O 
 
GLASS. 
 
 185 
 
 in this example are in size larger, and smaller in number. 
 The depth to which they are pressed into the body 
 reduces the capacity of the vessel very much. 
 
 Closely resembling these bottles, and of the same date, 
 is a flat bowl (fig. 17 7), with a circular lip, widening out- 
 
 Fig. 177. 
 
 Bowl. 
 
 Glatt. 
 
 wards all round, and having four well-marked depressions 
 on the side. 
 
 There are twelve small and very heavy archaic un- 
 guentaria of bluish-green colour, with a small orifice, all 
 of which come from Phoenician tombs. Vessels of the 
 kind shewn in the annexed illustrations (figs. 178, 179) 
 are also of considerable rarity. The tall cup is eighteen 
 
 Fig. 178, 179. 
 
 Vases ornamented with Studs or Teardrops. 
 
 Glaxs. 
 
 inches high, and has a small foot and banded lip or mouth 
 The bowl is five inches high, and nine inches in diameter. 
 Both these, as well as others in the collection, are studded 
 with little tears or drops of glass, and produce a bizarre 
 effect. The iridescence upon them is of a magnificent 
 nature. These also come from Salaminian tombs. 
 
 B B 
 
186 
 
 GLASS. 
 
 The elegant drinking vessel which forms the subject of 
 the accompanying woodcut (fig. 180), from a friend's 
 collection, I introduce here for comparison with the 
 moulded glass in the Lawrence- Cesnola collection. But 
 it so closely resembles the form and style of glass vessels 
 
 1 i n imi rv V <3 
 
 Fig. 180. 
 
 Giant. 
 
 found in the island of Cyprus, that it may well have been 
 found in the island. On this is moulded, or impressed 
 in relief, the Greek inscription in capital letters : — 
 
 KAI ETWAINOT. 
 
 The entire legend on a few other specimens of the 
 same kind of drinking cup, found in Cyprus, is Kard^aipe 
 teal ev<f>paivov, signifying, "Rejoice, and be merry". There 
 is a very similar glass in the British Museum. 
 
 Fig. 181 represents a drinking vessel (of which the 
 British Museum also possesses an example), moulded with 
 
 Fig. 181. 
 
 Drinking Vessel with Moulded Inscription. 
 
 Glass. 
 
 an ornament, consisting of palm branches and chaplets 
 for a victor's brow, appropriately enriched with a Greek 
 
GLASS. 
 
 187 
 
 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". 
 
 Among other specimens of this moulded glass, I have 
 found a deep cup, or drinking vessel (fig. 182), on which 
 are embossed 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. 
 
 Fig. 182. 
 
 Moulded Drinking Vessel. 
 
 Cta**. 
 
 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 
 
 Fig. 183. 
 
 Head of a Goddess. 
 Front view. a. Side view. 
 
 Gin us. 
 
 glass is that represented by fig. 183 (a, b), a flat piece 
 of glass moulded with the full face of a goddess upon 
 
188 
 
 GLASS. 
 
 both sides. The expression, which is evidently the work 
 of a good artist, appears 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 conjectured to be a representation of that 
 divinity. 
 
 A small object in blue moulded glass represents a seated 
 female figure, with a high head-dress and ample robe 
 
 Fig. 184. 
 
 Moulded Figure. 
 
 Glass. 
 
 (fig. 184). 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 have already mentioned, I found a considerable 
 number of coloured pendants for bracelets and necklaces, 
 
 185. 
 Figs. 185-188. 
 
 186. 137. 
 
 Pendants in form of Human Heads. 
 
 189. 
 
 Glass. 
 
 composed of quaintly curious heads of men (fig. 185), some 
 of very archaic proportions (fig. 186), and others, perhaps, 
 
 189. 
 Figs. 187-189. 
 
 190. 
 Pendants of Animal Forms. 
 
 191. 
 
 Gluss. 
 
 intended to represent tragic and comic masks (figs. 187, 
 188). One of these pendants is in form of a bull's head 
 
GLASS. 
 
 189 
 
 (fig. 189) of very fine workmanship and excellent propor- 
 tion ; another (fig. 190) 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, 1 and in the notice of the 
 
 192. 
 Figs. 192-194. 
 
 193. 
 Vase-shaped Pendants, 
 
 194. 
 
 Gloss. 
 
 stone iconic bust of a lady of rank. 2 The head of a pig, 
 or boar, forms the subject of another of these objects 
 (fig. 191), and there are others in form of jugs (fig. 192) 
 and vases (fig. 193). They are all of an early date, 
 beautifully iridescent from their contact with terra- 
 queous substances in their places of deposit. 
 
 A circular pendant of a similar nature (fig. 194) is 
 inscribed with the Greek letters TEIO or TEIOT. 
 
 Page 26. 
 
 2 Page 108. 
 
CHAPTER XYII. 
 
 TERRA 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 
 be divided into several classes for the sake 
 of description and illustration. I begin 
 
 
 IS 
 
 with the 
 
 I. — Statues and Statuettes. 
 
 The greater number of these objects were discovered 
 in tombs, and they consist of effigies of the gods and 
 goddesses ; portraits or iconic figures, which are grace- 
 fully draped in toga and tunic ; effigies, about one 
 hundred in all, of females, some of whom carry instru- 
 ments 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 
 
TKRRA-COTTA STATUETTE OF VENUS. 
 
TERRA-COTTA. 
 
 191 
 
 tasselled ear-flaps, a reeded gorget round the throat, 
 and a fringed cape of peculiar shape. 
 
 Fig. 195. 
 
 ilale Figure of Assyrian Style. 
 
 Terra-cotta. 
 
 Another specimen of this Assyrian or Egyptian style 
 is the upper part of a female, with closely-curled hair 
 
 Fig. 196. 
 
 Female of Assyrian Style. 
 
 Terra-cotta. 
 
 hanging down in a stiff and formal manner on either 
 side of the neck (fig. 195). The two necklaces with 
 which the figure is ornamented have been already 
 alluded to in an earlier chapter. 1 
 
 Fig. 196 represents a terra-cotta statuette of the 
 
 1 See p. 23, fig. 14. 
 
192 
 
 TERRA -COTTA. 
 
 Youthful Hercules, standing upon a narrow plinth, and 
 holding in the right hand a club, his usual and well- 
 known attribute ; in the left hand, the wonder-working 
 
 Fig. 197. 
 
 Statuette— Youthful Hercules. 
 
 Terra-cotta. 
 
 cornucopia of Amalthea. Over the right shoulder of 
 this figure, a belt or fillet passes, holding up at the back 
 of the hero the lion skin with which he is usually de- 
 picted. 
 
 The annexed illustration represents (fig. 197) a figure, 
 in the Phoenician style, with Assyrian influence, ap- 
 parently of Hera (Juno), or Demeter (Ceres), draped 
 in a chiton poderes, or tunic, to the feet ; the hands, with 
 bracelets, at the side, and collar round the neck. A 
 long shawl, or peplos, forming a kind of kalyptron, 
 passes over the head like that over the figures of Hera 
 or Juno, and Demeter, indicating a married goddess, 
 possibly Aphrodite' . The inscription at the back (fig. 
 
TERRA -COTTA. 
 
 193 
 
 199) is obscure; possibly, Dr. Birch tells me, Cypriote ; 
 with vertical lines introduced at intervals. The second 
 
 Fig. 198. 
 
 Inscribed Figure. 
 
 Terra-cot lu. 
 
 Fig. 199. 
 
 Inscription at back of Fig. 198. 
 
 and seventh characters are not in the usual Cypriote 
 
 alphabet. It may read :— 
 
 Ta . xe . lo . le . li . po . e .mo. 
 
 Ta&Wv eVow/o-e fie; 
 but the reading of this archaic inscription is very un- 
 certain. 
 
194 
 
 TERRA-COTTA. 
 
 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 
 
 Fig. 200. 
 
 Statuette. 
 
 Terra-cotta. 
 
 of this class is of a very elegant design (fig. 200). 
 It represents a female with the flowing drapery of the 
 best Greek period, falling 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 capital 
 and moulded base. The arms are wanting, but, notwith- 
 standing this defect, the great beauty of the object is 
 readily apparent to the most superficial examination. I 
 owe the use of this block to the kindness of the British 
 ArchaBological Association. 
 
 A similar work resembles the " Pudicitia". A female 
 female figure stands erect, with large wings displayed 
 and rising above her head, and holding in her right 
 
TERRA-COTTA. 
 
 195 
 
 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 probably represents the Muse Erato, or Polyhymnia 
 (fig. 201). The head of this figure is adorned with a 
 
 Fig. 201. 
 
 The Muse Erato or Polyhymnia. 
 
 Terra-cotta. 
 
 coronal of flower-shaped ornaments, and a cap-like head- 
 gear surmounted the coronet. A tall and graceful sta- 
 tuette of this class which shows a peculiar style of 
 sculpture, being of a somewhat finer, if not more laboured, 
 order of treatment, seems to be in the act of walking 
 
196 TERRA-COTTA. 
 
 towards the temple, because she holds on her left shoulder 
 a large tray, bearing an offering of a cake, and, in her 
 right hand, carries a small hare, or rabbit. The drapery 
 of this figure is 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, al- 
 though those of the females are fully draped, represent 
 Venus and her son. In the lap 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 women figures, 
 each of which 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 then 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 
 
■■■■H 
 
 TERRA-COTTA ICONIC STATUETTE OF A DRAPED FEMALE. 
 
TERRA-COTTA. 197 
 
 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 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 fore- 
 head 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 her- 
 self up. Another figure wears a toga folded about her 
 head, and falling closely over both her loins. The iconic 
 statuette of a lady (fig. 202), whose toga is gracefully dis- 
 posed 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. 1 
 
 1 This illustration also is kindly lent to me by the British Archaeolo- 
 gical Association. 
 
198 
 
 TERRA-COTTA. 
 
 Besides the above-mentioned figures of ladies, there 
 are two statuettes of women bearing offerings. Each of 
 them carries a dove held before her body in a highly cha- 
 racteristic fashion. These are probably peasant women, 
 who are bearing offerings to the Temple of Venus. The 
 female who carries the bird, whose tail is spread out, has 
 
 Fig. 202. 
 
 Iconic Statuette. 
 
 Terra-cotta. 
 
 hair coloured of a deep red. A statuette 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, alto- 
 gether, as if she were one of those " thirsty plants im- 
 bibing", whom the Laureate satirised in his account of 
 the pupils of the " Princess". 
 
TEKRA-COTTA. 
 
 199 
 
 Two associated examples, seated side by side, are, 
 unfortunately, broken ; but enough exists to shew that 
 one has extended on her knees a half-unrolled scroll, 
 coloured blue, from which, as her action unmistakably 
 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 dif- 
 ferent kinds, or flowers, in a dish in the other. The 
 
 Fig. 203. 
 
 The Goddess of Rain. 
 
 Terra-cotta. 
 
 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 
 Bacchante, or a Maenad, under the influence of Bac- 
 chanalian inspiration. 
 
200 
 
 TERRA-COTTA. 
 
 A demi-figure, the lower half of which is lost, carries 
 an infant rolled in her voluminous toga, exactly in the 
 same manner as that of innumerable groups of the 
 "Virgin and Child". 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, " 0EA H OMBPI02", attests that this is the 
 Goddess or Nymph of Rain (fig. 203). Green colour is 
 still distinctly shewn upon the pouring water. In another 
 example, a woman carries on her shoulder a draped child, 
 
 Fig. 204. 
 
 Inscribed Statuette. 
 
 Terra-colta. 
 
 who sits at ease in the most natural manner. A fully- 
 draped lady (fig. 204), whose tunic is drawn over her 
 her head, stands erect, and carries a draped infant upon 
 her left shoulder. On the front of the stand, or plinth, 
 
TERRA-COTTA ICONIC STATUETTE OF A YOUNG GIRL. 
 
TERRA-COTTA. 
 
 201 
 
 at the foot of this statuette, perhaps Demeter Kouro- 
 trophos, which I obtained from excavations at Dali, is 
 the Cypriote inscription : — 
 
 . se . o . ve . le . ke . mo . ti . 
 which may be read — TL/xoKkeovs, 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. 205), whose 
 hand is wrapped in her toga, and on whose head is a 
 coronet, retains a complete coat of brilliant white. The 
 plinth, or base, also bears upon it an impressed inscrip- 
 
 Fig. 205. 
 
 Inscribed Statuette. 
 
 Terra-cut ta. 
 
 tion in Cypriote characters, which appears to have been 
 scribbled over with black lines, as if it had been intended 
 to cancel the inscription. The Cypriote inscription is as 
 follows : — 
 
 . va . bi . na . li . zo . 
 This is probably the proper name of the female per- 
 sonage, as Zolinabia or Zenobia, who is represented by 
 
 D D 
 
202 
 
 TERRA-COTTA. 
 
 the object, or the name of the artist to whose conception 
 the statuette owes its origin. 
 
 The accompanying illustration (fig. 206) shews an in- 
 teresting 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 Phoe- 
 nician or Assyrian style, resembling the goddess Ishtar. 
 
 Fig. 206. 
 
 Statuette. 
 
 Terra-cotta. 
 
 The hands appear to be holding 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. 
 
 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 
 
TERRA-COTTA STATUETTE OF VI NU> ANADYOMENE. 
 
TERRA-COTTA. 203 
 
 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 sta- 
 tuette is that of a lady, who sits in a chair, having 
 her toga folded closely about her form, and nearly en- 
 shrouding 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. 
 
 Contrasted with these is the grim, seated statuette of 
 an aged woman, whose much-mutilated form irresistibly 
 suggests that she was a leper. Her nose has been con- 
 sumed, both her arms have disappeared, her figure is 
 swollen and distorted, her gaunt face is seamed and 
 withered. She sits on a stool — a woeful figure of misery. 
 A still more hideous representation of an old woman grin- 
 ning, 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 
 
204 TERRA-COTTA. 
 
 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 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 resurrection 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 
 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 
 
TERRA-COTTA STATUETTE OF VENUS RIDING ON A GOOSE. 
 
TERRA-COTTA. 
 
 205 
 
 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. 
 
 Fig. 207 represents a terra-cotta statuette of an actor, 
 dressed in hairy skin, in the role of Silenus, or Hercules, 
 
 Fig. 207. 
 
 Statuette of an Actor. 
 
 Teri'tt-cntfLf. 
 
 holding a banded club in the right hand, and a basket of 
 fruit in the left ; it is referred to more fully at page 216. 
 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 1 is to be seen 
 running, with a large bunch of grapes in one hand, and 
 thus tempting a cock to follow him (fig. 208). 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 
 
 1 The woodcut is kindly lent by the British Archaeological Associa- 
 tion. 
 
206 
 
 TEIIRA-COTTA. 
 
 maker. A similar winged genius, a little older than the 
 above, carries on one shoulder a large amphora, and on 
 
 w^rihtd 
 
 Fig. i!08. 
 
 Genius and Cock. 
 
 Terra-cofta. 
 
 the other a lighted torch. His forehead is shaded by 
 what seems to be a large wreath of flowers. Another 
 
 /;iKAEonA#*;BAH#4' 
 
 1 
 
 Fie. 209. 
 
 A Genius riding on a Cock. 
 
 Terra-cotta. 
 
 boy, clad only in a small mantle, carries under his left 
 arm a swan. There is a second example of this design, 
 
TERRA-COTTA. 
 
 207 
 
 in which the figure holds the swan in a somewhat dif- 
 ferent manner. It is obvious that both these figures 
 were modeled 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 his shoulder by a fibula. 
 He stands upright, and, with a smiling face, looks down- 
 wards. On his head is a wreath, like that which is often 
 represented in such works as these. 
 
 A figure belonging to this class represents a kind of 
 youthful genius, draped, riding upon a cock, resembling 
 the fantastic figures of the Serapeus (fig. 209). From the 
 inscription of the plinth in front of the figure, in Greek 
 capital letters, 
 
 THI KAEOnATPAI BA2IAI22AI, 
 
 " To Cleopatra, the Queen", it is clear that the object is 
 
 Fig. 210. 
 
 Eros riding on a Horse. 
 
 Terra-cotta. 
 
 votive in character, and dedicated to one of the 
 queens of that name. The coin of a Cleopatra was 
 
 found with it. 
 
 I may here describe the subject of the accompanying 
 illustration (fig. 210). A. winged boy, perhaps Eros or 
 
208 TERRA-COTTA. 
 
 Cupid, wearing a kind of skirt fastened by a band round 
 the waist, is riding upon a 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 be full face to the spectator. There is 
 no inscription on the plinth at the base of the group. 
 
 Another boy stands naked, except for a short cloak, 
 wears a bulla, and carries a bag. A little naked boy, 
 of the chubbiest 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 anti- 
 quities 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 Avith 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 
 

 
 
 
 
 ^fift 
 
TERRA-COTTA. 200 
 
 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 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 cylindrical pedestals, the 
 fronts of which are channeled with undulating flutings. 
 
 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 an 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 hoy- 
 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, 
 
 E E 
 
210 TIvRRA-COTTA. 
 
 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 execution of this charming statuette is so light and 
 free, that it 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 con- 
 firmed by the likeness of each figure to its fellows, in 
 treatment, handling, 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 Mora, 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. This game is 
 still in vogue. The figure on our right is remarkable on 
 account of its cap, which is of the flat, felted kind, like 
 that worn by statues of Mercury, being detached from 
 and independent 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 
 
TERRA-COTTA. 211 
 
 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 members, 
 the proportion of the shoulders and the hips, the plump- 
 ness of the contours, and the character of the head, all 
 agree in supporting this notion of the nature of the 
 figure. It is noteworthy 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 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 extremely 
 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 grasping the extended right arm of 
 his neighbour, and biting the wrist of that member with 
 a good deal of passion. On the pedestal, rude repre- 
 sentations of flowers and herbage indicate that this con- 
 test 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 
 
21 "2 TERRAH'OTTA. 
 
 great detail, "cuddles" 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 por- 
 tions, 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. 1 On the 
 front of the foot, a chubby child is reclining, as if asleep, 
 with his hands placed under his head and among his 
 abundant 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 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, holding 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. In one instance, a 
 chubby girl is astride of a huge cock, and, being clad only 
 1 It is figured in the Chapter on Lamps. 
 
TERRA-COTTA. 213 
 
 in a mantle, seems quite at ease, while the bird carries 
 his burden well. At foot is in Greek characters the 
 name of Cleopatra. 1 A boy guides the cock, which car- 
 ries him, by means of a bridle. A third 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 antiquities. 
 This cock is almost a grotesque, the head and beak being 
 unusually large. Another boy, wearing a close-fitting 
 military 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 towards our right. A 
 winged genius is mounted on a horse, which is rapidly 
 trotting in the same direction. The horse's mane has 
 been " hogged" in the Greek manner. The expression of 
 his head in chafing of the curb is full of spirit ; indeed, 
 could not be better than it is. 2 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 
 
 i Compare fig. 209, page 206. 
 2 Compare fig. 210, page 207. 
 
214 TER.RA-COTTA. 
 
 wear large garlands, 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, the face of which is laughing with a very 
 lively expression ; on the forehead, on one side only, as 
 in the previously-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 innumerable 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 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 Phry- 
 gian 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 re- 
 presented 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 enquiry on its youthful features. There 
 is a very elegant and well proportioned male figure 
 standing erect, as if about to walk forward, wrapped in 
 an ample, beautifully disposed toga, which, while it en- 
 
TERRA-COTTA. 215 
 
 closes 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 name- 
 less 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 re- 
 ticulated 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 this part. The face has a squalid, ugly, and degraded 
 character ; the features are mean and wasted. These 
 circumstances, 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 who 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 
 
'216 TERRA-COTTA. 
 
 a store of liquid, the spout, or leathern tap, of which 
 comes to the front, and is grasped by the right hand of 
 the hearer. A wine-presser, squatting on the ground in 
 the manner of an Indian fakir, comes next ; his knees are 
 raised, and the downward extended hands are crossed 
 before his person, and hold a rammer, or pestle, with • 
 tvhich 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 sculpture 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 Figu- 
 rines de Tanagra, has effectually dispelled the idea that 
 the nations of antiquity had 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. 1 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, strengthened with bands 
 of metal ; it rises to the owner's shoulder. In his left 
 
 1 See fig. 207, p. 205. 
 
TERRA-COTTA. 217 
 
 hand is a large basket or dish, filled with fruit of dif- 
 ferent 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, falling 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, probably 
 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 above-named 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, 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 " bopeep". Perhaps it is a figure of Teles- 
 phorus, the companion of iEsculapius. 
 
 A group of extravagant grotesques must now be de- 
 
 F F 
 
218 
 
 TERrvA-COTTA. 
 
 scribed. The first of these is (fig. 211) 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 own 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 
 
 Fij?. 211. 
 
 An Actor. 
 
 Terra-cot tir. 
 
 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, repre- 
 sents 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 remark- 
 
TERRA-COTTA. 219 
 
 able phallus is displayed. Before the face is a large 
 satyr ic 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 disproportionately large, and its ludicrous features 
 are distorted to resemble a mask of extremely bizarre 
 character, and almost Chinese in its grotesqueness, with 
 round, staring eyes, and large, pendulous lips. 
 
 Appearing below a long beard, 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 dis- 
 tended 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 re- 
 presents 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. He is an actor 
 in a drunken character, and this subject is represented 
 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 re- 
 clines. 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 fine and care- 
 fully 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. 212) 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 
 
220 
 
 TERRA-COTTA. 
 
 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 
 
 TV-.. 
 
 Fig. 212. 
 
 Statuette— A Pedagogue. 
 
 Terra-cotta. 
 
 horizontally and face downwards they represent 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 grotesques, 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 expression 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 bipennis 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 work has a 
 greave on one leg. In its right hand has been a weapon ; 
 
TERRA-COTTA. 221 
 
 e left hand is lost ; the body is naked. Near these spe- 
 nens were found tiny models of weapons in bronze, the 
 ie a lance, or axe, with a very long and heavy blade, 
 le a celt ; the other, a mace, with a ponderous ball at 
 ie of its extremities. With these articles, and probably 
 slonging to one of the figures, was found a gladiator's 
 jlmet, modelled, of course, in clay, and intended to cover 
 Le head of the wearer down to his shoulders ; it is 
 ested, and pierced with eye holes. With the same was 
 scovered a wheel of a chariot with four spikes and a tire, 
 lthough of terra-cotta, this wheel evidently represents 
 bronze original. With the above were found the body 
 id head of a very beautiful horse in the attitude of 
 illoping. It probably belonged to the chariot to which 
 ie wheel pertained. All these things were discovered 
 ith a sarcophagus of terra-cotta in a tomb at Salamis, 
 hich comprised many fragments of other objects. These, 
 eing more or less crushed, could not be adjusted. The 
 hole were disposed in an amphitheatrical form, as if the 
 onres and their accessories represented a dramatic per- 
 trmance. The falling in of the cover of the sarcophagus 
 ad been followed by the disarrangement of the original 
 rder of the relics, and the breaking of most of the 
 gures. 
 

 MM^ 
 
 CHAPTER XVIII. 
 
 TERRA COTTA 
 
 (Continued.) 
 
 SACERDOTAL AND SACRED EFFIGIES. 
 
 
 
 
 E have come to a very remarkable class of 
 antiquities, which, unlike those above 
 named as having 1 been found in the 
 ruins of domestic and civic structures, 
 were invariably discovered in the built 
 vaults of ancient erections, 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. 213), 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, hang- 
 ing at the side of the statue, holds easily the folds of the 
 upper garment. The left hand and arm support a kid — 
 
TERRA-COTTA. 
 
 223 
 
 the offering the lady is about to make. Extraordinary 
 wealth of ornaments distinguishes 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 hah is 
 carefully dressed, brushed off the 
 forehead, and falls in four large 
 tresses on the shoulders. Large 
 earrings are composed of a rosette 
 with a fir-cone pendant. On the 
 head is a magnificent tiara or coro- 
 net of extraordinary elevation and 
 sumptuousness. This superb mass 
 of jewellery rises from a broad lu- 
 nette, or fillet, above which is a 
 line of rosebuds. Over this is a 
 row of disks, paterae, or rosettes 
 (fig. 214). Above these is a line 
 of eao-les, 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 de- 
 scribed. Its elements resemble 
 honeysuckles. Much red colour may be seen on this 
 
 figure. 
 
 There is another standing statuette of a lady, very 
 similar in many respects to that which is above de- 
 
 Statuette. 
 
 Fig. 213. 
 
 Terra-cotta. 
 
224 
 
 TERRA-COTTA. 
 
 scribed. The figure holds on the left arm a kid. This 
 is her offering. The right arm is lost, but enough re- 
 mains 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 on the tunic of this figure. 
 The jewellery 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, 
 
 Fig. 214. 
 
 Details of the Head-dress. 
 
 Terra-coita. 
 
 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 personifi- 
 cation 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 
 
TERRA-COTTA. 225 
 
 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 
 associated in our minds with the art-works of that 
 nation. Next is a line of eagles with their wings dis- 
 played, the decorative effect of which is analogous to 
 that of the well-known anthemion ornament. The sum- 
 mit 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 repre- 
 sented 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 
 ornament to have been about fourteen inches. Such 
 crowns must have been extremely light ; and that they 
 were formed of gold leaf, laid on a stiffening 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 sta- 
 tuette. 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 cos- 
 tume and a coronet of roses, and other ornaments too 
 much defaced for recognition, and is, like the above, a cane- 
 phoric 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 
 
 G G 
 
22G TERRA-COTTA. 
 
 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 car- 
 canet 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 de- 
 scribed 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, including 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 down before 
 the bearer's figure. Two others, although differing in size 
 from the last, are almost identical with it in other respects. 
 
 It is noteworthy that all the above-named effigies ex- 
 hibit not only the Greek costume pure and simple, and 
 carry offerings 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 
 
TERRA-COTTA. 227 
 
 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 distin- 
 guished 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 conventions 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 conven- 
 tionalities of treatment, but I think this does not account 
 for the whole of that degrading contrast 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 representations, 
 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 un- 
 usually large and prominent eyes, which must have been 
 very quick in moving and lustrous ; the noses are un- 
 commonly large, of an exaggerated aquiline contour, and 
 thin in section ; the low, conical foreheads slope back- 
 wards greatly, suggesting defect of mental, 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 in- 
 tellectual 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 
 
228 TERRA-COTTA. 
 
 excess of size in the central elements of such physio- 
 gnomies, as to the uncommon smallness of the upper 
 and lower elements of the same. If such is the case, it 
 is not difficult 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 impressions from all around them, but not qua- 
 lified to retain, and still less likely to improve on, these 
 foreign impressions. 
 
 I presume that the statuettes I have now to describe 
 represent members of a peculiar and, doubtless, sacer- 
 dotal 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 re- 
 sembles 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 stand- 
 ing with both elbows bent before the breast, while the 
 hands respectively hold the mammae. Of this type 
 there are at least 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, al- 
 though holding their mammae, wear no stoles; while such 
 examples as that figure which is in the act of playing 
 
TERRA-COTTA. 229 
 
 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 I am 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 bands, 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 con- 
 sist 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 consists 
 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 accus- 
 tomed 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 sections of this assembly of 
 antiquities. Similar articles, or " keys", occur in other 
 
230 TERRA-COTTA. 
 
 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, instru- 
 ment, 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 Math a sta- 
 tuette 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 then characteristics, and in respect 
 to the cult us of which they may have been the objects. 
 Professor Sayce has recognised a likeness between some 
 of these relics and those of similar aspect disinterred by 
 Dr. Schliemann in his Troy. 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-continued cultus. The subject is still so obscure 
 
TERRA-COTTA. 231 
 
 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", and I leave it to 
 future students, after wider researches, and with larger 
 opportunities than now offer themselves, to determine 
 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 mammae- holding females are devotees, 
 priestesses, or goddesses, 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 suggest 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 " Cy- 
 priote" or sacerdotal. Returning to two already de- 
 scribed, of which the faces are markedly "Cypriotic", the 
 dressing of the heads is to be noticed as altogether dif- 
 ferent 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 
 
232 TERRA -COTTA. 
 
 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 backwards, and the front 
 of this garment bears a row of large disks, with smaller 
 disks placed upon them. This fragment exhibits uncom- 
 monly large ear-rings, one of which comprises three 
 finger-like appendages to large roses, or disk-like ele- 
 ments. 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 pen- 
 dants of the ear-rings, which are oval annulets, are com- 
 paratively immense : 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, b, seems to have the form of an alabas- 
 tron, or fir-cone. The third pendant is a large disk, with 
 a mammillary stud in the centre. The last-named or- 
 nament hangs between the maramse 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. 
 Similar coronets 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 gold chaplets, or coronals, which I have mentioned in 
 the chapter devoted to the gold relics. I may here in- 
 troduce figures 215, 216, of two gold leaf relics of this 
 
TKRRA-COTTA STATUETTE OK A FEMALE MUSICIAN. 
 
TERRA-COTTA. 
 
 233 
 
 nature which will supplement those given in the earlier 
 part of the work. They are the exact types of those 
 carved on some of the heads. 
 
 Figs. 215, 216. 
 
 Fillets. 
 
 Gold. 
 
 The Choir, or Musicians. 
 
 In this rather numerous company of statuettes we 
 have a curious and valuable category 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 
 physiognomy, stature, carriage, costume, and coronets 
 are unquestionably Greek, in which respect they re- 
 semble a body of similar personages whom I have al- 
 ready described as bearing 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, which distinctly shews the use of the 
 
 H H 
 
234 TERRA-COTTA. 
 
 little ivory rods with bronze brackets, to which I have 
 already alluded while dealing with examples of the for- 
 mer material. 1 The jewellery of the wearer is very 
 clearly shown in this work. The second class wear gar- 
 lands, usually of large flowers or disks. Nearly every 
 example of the whole company of three classes shows a 
 large bracelet on its right wrist. Red colour occurs on 
 most of these relics. These members of the choir re- 
 mind us of the well-known line descriptive of Cyprus: — 
 
 "Insula leeta choris; blaudorum et mater arnorura." 
 
 1 See pages 74, 75. 
 
CHAPTEE XIX. 
 
 TERRA-COTTA. 
 
 (Continued.) 
 
 MASKS — CARICATURES — ANIMALS — CHARIOTS — WARRIORS — TOTS — 
 
 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. 
 217) wearing a garland and a very long beard which 
 
 217. 
 
 218. 
 
 Figs. 217, 219. 
 
 Masks. 
 
 Tei'ra-cotta. 
 
 streams downwards in hanks of hair; another is the 
 half-head of a very young man (fig. 218), the expression 
 of the features of which admirably represents drunken 
 hilarity; another is crowned with ivy leaves and is a 
 
236 
 
 TERRA-COTTA. 
 
 true mask of the satyric order, as the form of the open 
 mouth attests (figs. 219, 220). A large garland, inter- 
 twined with ivy, projects far over the forehead. The 
 
 219 
 
 220. 
 
 B&ck. View 
 
 Figs. 219, 220. 
 
 Satyric Mask. 
 
 Terra-cotta. 
 
 last is one of the most animated and beautifully executed 
 works of its class, and it deserves a high 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 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 de- 
 rived from bronze or carved-wood originals, may follow 
 here. Another of these, about three inches high, repre- 
 sents 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 mask 
 (fig. 221) 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 in each side; the hair and beard are braided. 
 
TERRA-COTTA. 
 
 237 
 
 It is a mask of the same character as to this day appears 
 in use, during festivals, in Milan and other parts of Italy. 
 
 Fig. 221. 
 
 Satyric Mask. 
 
 Terra-cotfa. 
 
 A very impressive female tragic mask, with the lips 
 closed, is of archaic character, and very fine execution, 
 
 Fig. 222. 
 
 Female Mask. 
 
 Terra-coita. 
 
238 
 
 TERRA-COTTA. 
 
 (fig. 222). Then may be "placed a bacchic mask (fig. 223) 
 crowned with ivy leaves and berries, and with bunches 
 of grapes indicated at the side of the head, which repre- 
 sents 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. 
 
 Fig. 223. 
 
 Female Bacchic Mask. 
 
 Terra-cotta. 
 
 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, 
 
 Fig. 221. 
 
 Inscribed Lion. 
 
 Terra-cotta. 
 
 crowned by an ornament 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. 224) inscribed 
 
TERRA-COTTA. 239 
 
 with I T 7 y 7 , partly Cypriote, partly Phoenician 
 characters ; dogs of various breeds, one inscribed with the 
 word AHP, part of a word, or " a gift" (fig. 225), pigs, 
 cocks, swans, eagles, foxes, horses, a dove with a ribbon 
 round its neck, and other doves in different attitudes 
 occur. One of the fragments of horses bears trappings 
 about its head, with very distinct pink colour and wreaths. 
 Another is likewise enriched with wreaths. It is entirely 
 painted. A sow is beautifully modelled. There is a shaggy 
 dog with a necklace and pendants over his shoulders, and 
 
 A 
 tf 
 
 Fig. 225. Inscribed Dog. Terra-cotta. 
 
 what looks like a garland encircling its body. These 
 objects are probably votive in their nature. A great 
 number of similar works were discovered at Alambra, in 
 Cyprus, near Dali. 
 
 The collection of terra-cotta toys, if such they are, and 
 not insignia of the dead, is very curious. They amount 
 to almost four hundred in all. 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 tethrvppos, or war-chariot, 
 drawn by four horses (fig. 226) yoked in pairs (fig. 227) 
 by heavy bars of wood, cylindrical in form, painted yel- 
 low, 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 
 
240 
 
 TERRA-COTTA. 
 
 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. 
 Red and black ornaments are depicted on the chariot. 
 The back of the chariot-body shews the door, by means 
 
 Fig. 226. 
 
 Tethrippos or Four-horse Chariot. 
 
 Terra-cotta. 
 
 of which the riders ascended to their places. The riders 
 are shewn to be the warrior in a high conical helmet, the 
 cover of which, painted black, falls about the shoulders 
 like the camail of a mediaeval or oriental warrior. The 
 
 Fig. 227. 
 
 The Yokes. 
 
 Terra-colia. 
 
 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 
 
TERRA-COTTA. 241 
 
 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 car- 
 nation. 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 men 
 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 spe- 
 cimen 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 is a " practicable" toy. 
 In the front of the tray a cylindrical socket occurs, with 
 a hole, into which, probably, 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 still red. 
 This colour was burnt in, and is, therefore, permanent. 
 This lady's head is decorated with a large garland ; a 
 large disk-like earring 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 
 
 I I 
 
242 
 
 TERRA-COTTA. 
 
 chariot. On the rohe are more traces of bright 
 
 yellow. 
 
 Another biga or two-horse chariot (fig. 228), of which 
 the wheels are still in perfect order, is adorned with a 
 
 Pi or. 228. 
 
 Chariot for two Horses, with Warrior. 
 
 Terra-cotta. 
 
 band of chequered, and a band of chevroned pattern, on 
 each side. The front is semicircular, and has a socket, 
 
 Fig. 229. 
 
 Chariot for two Horses. 
 
 Terra-cotta. 
 
 into which the pole was fastened before the two horses 
 were attached. A warrior stands within the chariot, 
 
TERRA-COTTA. 
 
 243 
 
 wearing a tall conical helmet. This object is of a very 
 archaic character. 
 
 Almost similar to the above is a chariot (fig. 229), 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 represents 
 a centaur (fig. 230) which appears to be a hermaphrodite, 
 
 Fig. 230. 
 
 Armed Centaur. 
 
 Terra-cotta. 
 
 if we compare the female bust of the figure, with the 
 emblems of virility below. On the head is a high hel- 
 met, the crest of which is like a cock's comb ; a small 
 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. 
 
244 TERRA-COTTA. 
 
 We have next a soldier-toy 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. 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 tintinnabula- 
 tion. 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 pig- 
 ment occur on this relic. Another article of this class 
 represents a woman carrying a hydria, or water vase, on 
 her head. 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 yet, I believe, been entirely decided. It is certain 
 that considerable numbers of such things have been ex- 
 humed. 
 
 This class embraces rudely-designed figures of god- 
 desses, chiefly Venus, 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; 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 aryballos 
 when set up on its end. 
 
CHAPTER XX. 
 
 TERRA-COTTA. 
 
 (Continued.) 
 
 URNS — VASES — AMPHORAE — ARCHAIC ARYBALLI — PUMIGATORS — HAND- OK 
 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 com- 
 prise 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 respectively. Among the vases of 
 this class, more than two hundred exhibit beautiful pat- 
 terns 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 sup- 
 posed that these remarkable instances are pure Phoeni- 
 cian; their decorations agree in general respects with 
 those of other vessels to which the name of the Phoeni- 
 cian nation has been given. 
 
 The accompanying illustration represents a Phoenician 
 vase of considerable dimensions (fig. 231). It contains 
 an inscription of five letters in the Phoenician language, 
 
246 
 
 TERRA-COTTA. 
 
 of which, according to M. Pierides who has examined it, 
 the Hebrew transliteration is the following — prbl> 
 Baal-Hammon; i.e., "Baal Solaris, or Baal the Sun'' 
 
 ." i 
 
 S'°\ B 1,9 
 
 Pig. 231. 
 
 Inscribed Phoenician Vase. 
 
 Terra'cotta. 
 
 One of the workmen whom I had employed in my ex- 
 cavations 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 
 Kitim. The vase is of the ordinary terra-cotta of the 
 island (fig. 232) and bears the Cypriote inscription now 
 engraved in the accompanying illustration. 
 
 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 
 
 1 See Gesenius, Script. Phoenic. 
 
TERRA-COTTA. 
 
 247 
 
 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 extent of more than eight 
 
 Fig. 232. 
 
 Inscribed Cypriote Urn. 
 
 Terra-cotta. 
 
 inches; but as there was no sarcophagus in the tomb, 
 and the body which the tomb had received 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 to dust. 
 The inscription upon this vase is, I am told by Dr. 
 
248 
 
 TERRA-COTTA. 
 
 Birch, to whom I have submitted it, of a doubtful sig- 
 nification. 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 pre- 
 fixed to the verb ami, I 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. 
 
 There are about eighteen hundred lamps, partly Greek, 
 partly Roman, of which nearly three hundred bear in- 
 scriptions of the names of the potters. The designs 
 moulded, or impressed on these lamps, are of the usual 
 character, mythological, historical, domestic, satirical, 
 and obscene. They will be treated of in a subsequent 
 chapter. 
 
 A large bowl of Samian ware is enriched on the body 
 
 Fig. 233. 
 
 Archaic Red-ware Vase or Diota. 
 
 Terra-cotta. 
 
 with several dancing figures, some of which are 
 winged, while others bear musical instruments. It is 
 precious, on account of the spirit and elegance of the 
 
TERRA-COTTA. 
 
 249 
 
 design. A description of this will be given further on. 
 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. 233, 234) is a 
 
 Fig. 234. 
 
 Details of Fig. 233. 
 
 Terra-cotfa. 
 
 standing owl, or swan, and opposite to it a tree of the 
 sacred or " Horn 1 kind, the emblematic palm, or date 
 
 Fig. 235. 
 
 Archaic Red-ware Vase or Diota. 
 
 Terra -cotta. 
 
 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 Chal- 
 
 K K 
 
250 
 
 TERBA-COTTA. 
 
 dea, Egypt, India, and China. What may be a remi- 
 niscence of the li IIoin is often seen to this day in Turkey 
 carpets. The Greek anthemion, or honeysuckle orna- 
 ment, 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. 235) are the figures of two 
 men, both in the act of walking, and carrying bundles of 
 wood, or fascines, 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. 
 
 Anions; the thousands of vessels of this kind, no other 
 
 Fig. 236. 
 
 Inscribed Archaic Vase. 
 
 Terra-col/a. 
 
 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 accom- 
 panying woodcut (fig. 236), which represents a double- 
 handled vase, perhaps a stamnos, 1 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 
 
 1 See Dennis, Cities and Cemeteries of Etruria, New Edition, 
 vol. 1, p. cix. 
 
TERRA-COTTA. 251 
 
 centre. On the space between the insertions of the 
 handle is the following Cypriote inscription : — 
 
 v h >_< +h: £ 
 
 thus read by Professor Sayce : — 
 
 ma . ta . ru . e . o . 
 or in Greek equivalents : — 
 
 Si epv[e] Ba/xd. 
 " Oh, cany often" 
 
 The great variety of shapes exhibited by terra-cotta 
 vessels, ornamented with spirals, bands, geometrical de- 
 vices, 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. 237), globular bodies with narrower 
 necks, and only one handle (see fig. 238) ; hemispherical 
 bodies, with a mouth having a diameter but little re- 
 duced from that of the body itself, and with one handle, 
 the wine jar ; true amphorae of the Ktiodian style, as 
 well as the allied forms, the cad us, orca, lagena, and 
 sena; the kylix, the kantharus, the diota. 1 The oinochoe, 
 or wine-jug, which evidently ministered the dark spark- 
 ling wine at festive entertainments, of proportions some- 
 times truly heroic ; the hydria, or water-pot ; the kalpis, 
 shyphos, depas, pelike, crater, and prochoos ; tetince, 2 with 
 
 1 See Birch, History of Ancient Pottery, new edition, p. 180. 
 
 2 Mr. H. Syer Cuming's Paper " On Early Tetinge", in the Journal of 
 the British Archaeological Association, gives illustrations of a large num- 
 ber 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 
 
252 
 
 TERRA-COTTA. 
 
 tiny spouts inserted at 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, nar- 
 row, and truncated kcythi ; and the nasitenia, 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 
 
 Fig. 237. 
 
 Inscribed Archaic Vase. 
 
 Terra-cotta. 
 
 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 to- 
 gether at the extreme end, in order that the liquid 
 contents may be delivered in a very thin stream. Some 
 
 many instances in which hand-feeding was forced to take the place of 
 the breast ; and the question is, how was that feeding effected 1 In 
 this country 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 has been bestowed. 
 
TERRA-COTTA. 
 
 253 
 
 of this last kind of vessel have three or four short feet, 
 to enable them to stand upright more securely. 1 
 
 An archaic globular vase, perhaps an askos, decorated 
 in a somewhat similar manner (fig. 237), has a star under 
 the inscription of the handle, and is in like way enriched 
 with an inscription in the Cypriote character 
 
 t^ -rc-i ^i 
 
 which Professor Sayce reads : — 
 
 ti . pi . ma . ta . o . te . e . ta 
 
 *H 
 
 that is- 
 
 ra r/Seo Bafid rrWt, 
 " What you liked, often, drink. 
 
 or- 
 
 ra Weo Oa^d 7tl8k. 
 "What thou hast put (here) drink often." 
 
 Another vessel, or amphora, of the Grseco-Egyptian or 
 
 Fig. 238. 
 
 Archaic Vase or Diota. 
 
 Terra- cotta. 
 
 1 For the names of the various forms of archaic Greek fictilia, the 
 reader may consult the concise and lucid " Appendix on the Forms and 
 
254 
 
 TERRA-COTTA. 
 
 Alexandrian style (fig. 238), is of very large dimensions, 
 and beautifully adorned with geometrical patterns, filled 
 m with chequered ornamentations, annulets, and spirals, 
 as shewn in the illustration of enlarged details (fig. 
 239). The height of this vase is 4£ feet. On the 
 shoulder is the inscription, in Greek capitals, AP2INOH2 
 
 ysGooocoa>o?>!>a>^sxxv>xs 
 
 '■XVVXVXVvVvVvVvVvVVVVyX^V^ 
 
 Fig. 239. 
 
 Details of Fig. 238. 
 
 Terra-cotla. 
 
 <J>IAAAEA<M)T, evidently purporting to belong to Arsinoe 
 Philadelphus, wife of the second Ptolemy. 
 
 The accompanying figure (240) illustrates a vase, which, 
 
 Fig. 2K>. 
 
 Archaic Vase. 
 
 Terra-cotta. 
 
 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 num- 
 ber are fijmred and described. 
 
TERRA-COTTA. 
 
 255 
 
 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 
 
 Fig. 241. 
 
 Details of Ornament on Pis. 234. 
 
 Terra-cotta. 
 
 and small chequered squares. It is 4 ft. 2 in. high. The 
 details of the neck of the vase are given in fig. 241. 
 
 I give here some examples of the geometrical details 
 found upon corresponding parts of other large vases in 
 
 Fig. 242. 
 
 Details of Ornaments. 
 
 Terra-cotta . 
 
 the Lawrence-Cesnola collection. These comprise che- 
 quer patterns, lotus or other flowers, wheel-shaped circles 
 (fig. 242), with spokes or radii, zigzags, wavy lines or 
 
 Fig. 243. 
 
 Details of Ornaments. 
 
 Terra-cotta. 
 
 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. 243). The collection contains a 
 good number of these large vessels. The kind of vases 
 
 n 
 
 TniiiiiiiiiiJiiiiJiiiN 
 
 Fig. 244. 
 
 Details of Ornaments. 
 
 Terra-cotta. 
 
256 
 
 TERRA-COTTA. 
 
 shown in figs. 238, 240, 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 previous occupants of the tombs in these vases. 
 Two or more of these vases have been found in one tomb. 
 
 Fig. 245. 
 
 Archaic Jar, with Four Handles. 
 
 Terra-cotta. 
 
 Fig. 238, 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 the vase was made in the ancient shape in the 
 time of Arsinoe, and this is rather confirmed by its bright 
 
< 
 
 o 
 o 
 
 < 
 
 o 
 
 o 
 
 DC 
 
 < 
 
TETIRA-OOTTA. 257 
 
 colours and perfect state of preservation, which is dif- 
 ferent to fig. 240 ; 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. 245) of this style, with 
 two narrow bands or rings, and one of wider dimensions, is 
 elegantly painted with four 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. 
 
 An elegant aryballos of the oldest Greek style is 
 
 Fig. 246. Archaic Aryballos. Ten-a-colta. 
 
 shewn in the accompanying illustration (fig. 246). 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 eagle, is drawn and coloured, 
 the radiating tears, or leaves, at the upper and under 
 surface of the body, and the rosettes, or flowerets, which 
 are placed in the field, may all be compared by the 
 
 L L 
 
258 
 
 TERRA-COTTA. 
 
 reader with similar details shewn upon the archaic 
 oinoehoe, and the archaic aryballi and other vases in 
 Dr. Birch's History of Ancient Pottery (pp. 184-188, new 
 edition). 
 
 In the accompanying illustration 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 having a single 
 loop-handle over the mouth terminating in lions' heads, 
 instead of two more erect handles at the sides (fig. 247). 
 The second figure (248) is an early Injdria, shewing the 
 transition from purely exclusive geometric forms of orna- 
 
 217. 
 
 2±S. 
 
 219. 
 
 Ptamnos. 
 Figs. 217, 218, 249. 
 
 Hychia. 
 
 Stamnos. 
 Terva-cotta. 
 
 mentation to a style where the geometric patterns are 
 interspersed with chaplets of leaf work and wavy scrolls of 
 ivy leaves and berries. The last figure in the group (fig. 
 249) is probably a stamnos, from Salamis, called the " Apu- 
 lian stamnos" by Dennis, 1 a small and late variety of the 
 stamnos. It may have served to hold honey or sweet- 
 meats. It is a variety of the amphora. The orna- 
 mentation of this example is elegant, and of early date. 
 
 1 L.c, cix, ex. 
 
TERRA-COTTA. 
 
 259 
 
 The two following vessels, found by me in the ground at 
 Curium, are of considerable interest, being of archaic insular 
 style. The first (fig. 250) is evidently a water-bottle, not 
 
 25(1. 
 
 251. 
 
 Figs. 250, 251. 
 
 Water Vessel and Jug. 
 
 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, however, peculiar to this example. The 
 other (fig. 251) is a pitcher, or jug, of an archaic style, 
 having two eyes, with a spout between them for 
 sprinkling libations, or feeding purposes. It is also 
 enriched with a number of sets of concentric circles. 
 
 At Curium, I found an interesting specimen of the 
 oinochoe of transitional archaic Greek style, painted with 
 lions face to face (fig. 252). 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. 1 
 The custom of adding small ornaments like those above, 
 as well as fylfots, chequers, spirals, and so forth, is com- 
 mented upon by this authority in the same part of the 
 work mentioned. 
 
 Among the homely curiosities of this collection of 
 
 1 New Edition, p. 185. 
 
2 GO 
 
 TEHHA-COTTA. 
 
 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 en- 
 riched, nor even to those examples of the same use which 
 are doubtless of greater antiquity, as well as less charm- 
 ingly decorated than the latter. I allude to the group 
 
 Fig. 252. 
 
 Oinochoe. 
 
 Terra -cut tit. 
 
 of fumigators, incense-burners, or foot-warmers of terra- 
 cotta now before us. 1 I have called them fumigators, 
 because they were evidently intended to contain char- 
 coal, 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 in- 
 tended for winter use in Cyprus by a luxurious people. 
 The Dutch, and other northern nations, still employ 
 
 1 See Plate xx, figs. 18, 20. 
 
TERRA-OOTTA. 2G1 
 
 analogous utensils. The ladies of Holland are accus- 
 tomed to sit with such articles, when made of brass 
 or copper, under their petticoats. The like are not un- 
 known in Venice likewise. 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 about 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 con- 
 siderable 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 in- 
 tended 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 number before us is very considerable indeed. 
 They are of all sizes, and, I doubt not, within the chro- 
 nology of the ancient world of nearly all dates. It seems 
 probable that the greater portion are of native manu- 
 facture. Cyprus still supplies clay for the potter in the 
 neighbourhood of Famagosta. I consider these works to 
 be mostly of native manufacture, notwithstanding 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 nu- 
 merous pieces of foreign earthenware near the foot of the 
 cliff at the mouth of the Thames, where now stand the 
 
2 02 TERRA-COTTA. 
 
 Reculvers, is believed to indicate that a vessel must have 
 been wrecked at sea near that point, and that parts of 
 her cargo were recovered 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 give 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 anti- 
 quities 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, 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 seve- 
 rity. Indeed, severity, if not plainness, is an essential in 
 the finest mode of art as applied to " pots", and to every- 
 thing 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 capacious enough to contain a well-grown man, 
 are of the Greek period, although they exhibit the 
 Egyptian lotus (see fig. 238) 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 
 
TERRA-COTTA. 263 
 
 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 
 accessory 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 conventionalised pattern of 
 a volute enclosing within the "horns" respectively 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 instances of the first and second 
 class in the order of size. It may be, however, that its 
 insufficiency is merely a proof of the comparative incom- 
 petence of the maker than a sign of the ancientness of 
 his handiwork. There is a fine specimen, in the second 
 order as to size, of Greek art, comprising the lotus (see 
 fig. 238) in the band at the line of the handles. This is 
 very typical. The throat of this example comprises the 
 guilloche in upright lines, and compartments of crossed 
 and reversed 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 ex- 
 amples, and, so far as it is possible to judge, I am willing 
 to accept the idea that two classes of this order are 
 
264 TERRA-COTTA. 
 
 Phoenician, or, at least, less Greek than either of the 
 others. The Egyptian and the Greek artists never, I 
 helieve, departed from the true logic of design in en- 
 riching anything which came to their hands for the pur- 
 pose 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 them- 
 selves, 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 
 propriety, seem to me to indicate the art of a people 
 whose aesthetic conceptions were not high ; and as to who 
 that people were, I think, admits no doubt. The Phoe- 
 nicians alone, it seems to me, deserve the credit of 
 making " pots" on which circles are drawn which abso- 
 lutely contradict the harmonic principle by existing in 
 upright, instead of horizontal, positions. There are very 
 many specimens of this nature, and they are all defective 
 in respect to grace of contour, the proportions of the 
 handles, and the positions of the handles where such 
 members occur, as well as in the proportions of the deco- 
 rative elements to each other, and, above all, to the 
 vessels to which they character. Many of these relics 
 exhibit the concentric rino- ornament which I have al- 
 ready 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, 
 
TERRA-COTTA. 
 
 265 
 
 logical, in the relationship of their construction and ser- 
 vices, 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 stand- 
 ing 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 
 
 Figs. 253, 254. 
 
 Jug. 
 
 Details of Fig. 253. Terra-cotta. 
 
 medieval bellarmine, I discovered a jug (fig. 253) 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 
 * MM 
 
266 
 
 TERRA-COTTA. 
 
 female figure (fig. 254), closely draped, carrying a fictile 
 vessel of a shape almost identical with the modern 
 pitcher. This may, perhaps, 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 aryballi are very 
 various. Among others, one in the collection, nicely 
 
 I//' »' 
 
 Fig. MS. 
 
 Aryballos— Hercules. 
 
 Ten'a-rolla, 
 
 moulded, takes the form of the head of Hercules (fig. 
 255), covered with the skin of the lion's head, the ears, 
 nostrils, and teeth of the vanquished animal being clearly 
 shewn (fig. 256). The orifice by which a small portion 
 
 -Fig. 2M. 
 
 Details of Fig. 255. 
 
 Terra-cotta. 
 
 of the liquid to be preserved was introduced 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 cha- 
 
TERRA-COTTA. 
 
 267 
 
 racter, and, like the ^chimney ornaments of the present 
 day, never employed to contain anything. 
 
 The excavations which I conducted at Kitium dis- 
 
 Fig. 257. 
 
 Aryballos— Silenus. 
 
 Terra-coiia. 
 
 closed an aryballos (fig. 257) in form of a Silenus, with 
 heart-shaped beard, kneeling, with the hands placed upon 
 
 Fig. 258. 
 
 Aryballos. 
 
 Terra-cotta. 
 
 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 
 
268 
 
 TERRA -COTTA. 
 
 Kerkopes, or thieves of Ephesus (fig. 258). 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 their tricks at Thermopylae, 
 others at (Echalia in Eubcea, or in Lydia. 
 
 Other moulded vases, chiefly of the class designated as 
 aryballi, take the shape of a goat reposing, with the head 
 
 Fig. 259. 
 
 Aryballos in form of a Goat. 
 
 Terra-cotta. 
 
 turned to the front (fig. 259); of a dog in a similar atti- 
 tude (fig. 260): of a sheep, or she-goat (fig. 261). All 
 
 Fig. 260. 
 
 Aryballos in form of Dog. 
 
 Terra-cotta. 
 
 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 animal figure. They were found at Kitium 
 
TERRA-COTTA. 269 
 
 one of the most prolific sites in the island of Cyprus with 
 respect to archaeological discoveries. 
 
 Fi £- 261. Aryballos in form of a Sheep. Terra-cotta. 
 
 Of the same class is a cock (fig. 262), having the 
 mouth of the vessel placed in the same position as in the 
 
 Fig. 262. Aryballos in form of a Cock. Terra-cotta. 
 
 preceding objects. This also comes from Kittium, and 
 the general resemblance 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 
 aumerous aggregate is a basket, like a carpenter's basket, 
 3ontaining a bottle, the neck of which emerges at the side, 
 tvhile the edges of the basket have been sewn over the 
 Dottle. This relic (fig. 263) has evidently been made in a 
 nould taken from "nature", i.e., from a real basket and 
 Dottle, the meshes of the woven rushes are unmistakably 
 lue to " the life". The inscription in relief on one side is 
 1IOAO; on the other, AIOX2 — perhaps abbreviations of 
 UOAI2P02 AIOflKAEOTS — "Diodorus, the son of Diodes". 
 
270 
 
 TERRA-COTTA. 
 
 Some of the oddly-shaped articles in terra-cotta are un- 
 doubtedly bottles ; there is, of this class, the figure of a 
 
 AioAoo 
 
 A I O (JL5 
 
 Fig. 263. 
 
 Aryballos in form of a Basket and Bottle. 
 
 Terra-cotta. 
 
 goose, thrusting forth its head ; another is a squatting 
 hen or duck about to take to the water ; a third is a 
 
 Fig. 26i. 
 
 Vase. 
 
 Terra-cotta. 
 
TERRA-COTTA. 
 
 271 
 
 jzr*' 
 
 <c 
 
 J^ 
 
 dove crouching, as if on the ground. A 
 strange bottle is that which resembles an 
 inverted amphora, with a neck stuck in 
 itself; this is a monstrosity which would 
 have shocked a decent 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 
 direction, which Dr. Schliemann found 
 at Hissarlik ; a great many 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, 
 perhaps a variety of the olpe, resembling 
 a lecythus, with a bowl-shaped body (fig. 
 264) 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. 
 Round the bowl is painted in black 
 colour a scene, which commences with 
 a tripod or altar and a faun dancing 
 before it, as in the accompanying wood- 
 cut (fig. 265). Two winged boys, play- 
 ing on a pipe or trumpet ; a female 
 harpist, resembling a terra-cotta statu- 
 ette of a harpist in the collection, to 
 which I have already drawn the atten- 
 tion of the reader ; two seated figures 
 with the knees crossed, and the hands 
 resting on them in a pensive and atten- 
 tive attitude ; and three groups of a 
 male figure apparently lifting or sustain- 
 
272 
 
 TERRA-COTTA. 
 
 ing the frenzied or fainting form of a bacchante or 
 msenad who has become exhausted by the music and 
 
 Fig. 266. 
 
 Roman Vase. 
 
 Terra cvflu. 
 
 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 Roman vase (fig. 266) 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, perhaps of 
 the myth of Circe, the enchantress, in the ancient 
 theatre. It is well known that parody and caricature of 
 myths and historical 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. 267. It may possibly represent a scene in connec- 
 tion with some of the ancient Mysteries; subjects relating 
 to these being of sufficient frequency and importance to 
 be placed by Millingen in a separate class in his classifi- 
 cation of vases. It is 21 in. high, and 15 in. broad. 
 
TERRA-COTTA. 
 
 273 
 
 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 
 of Jictilia that the fertile soil 
 of Salamis has, not without 
 trouble and fatigue, yielded to 
 the Lawrence-Cesnola collec- 
 tion. It has been my aim on 
 this occasion, not so much to 
 , ,,,, 7 dilate upon every specimen 
 
 K\ sM=£-/ f\^S*S which I was fortunately en- 
 
 abled 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 ac- 
 count of the points and de- 
 tails which seem to me to be 
 most marked, and to call 
 more especially for pictorial 
 or descriptive illustration. 
 
 By these means I have en- 
 deavoured to convey to the 
 archaeologist a faithful idea of 
 the ways and means of do- 
 mestic life in the ancient days 
 of Cyprus, mirrored alone, as 
 is the case with other an- 
 cient sites, in the sepulchral 
 surroundings of the shadowy 
 homes of the dead. The 
 field of Greek and Eoman archaeology 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 
 
 N N 
 
 a 
 
 DQ 
 
 T3 
 
 a 
 
 a 
 
 ■a 
 
 p. 
 
 3 
 O 
 
 
 3 
 02 
 
 
274 TERRA-COTTA. 
 
 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 resulted. The rearrange- 
 ment of the archaic pottery of Hellenic origin in the new 
 " First Vase Boom" of the British Museum is an im- 
 portant outcome of the hypogeal harvest which those 
 who have eyes to see may gather plenteously in the 
 
 Fip. 208. Fumigator. Terra-cotta. 
 
 island of Cyprus ; and a very cursory inspection of that 
 richly-freighted room is sufficient to show how greatly 
 the island contributes to the unrivalled exhibition there 
 made of early strivings of human art in this particular 
 direction, — trammelled by technical difficulties in its in- 
 ception, influenced by a nascent feeling of beauty in 
 simple natural objects in its earlier stages of progress, 
 and ultimately adopting, during its finest period, the 
 forms of these very objects, and rendering them subser- 
 vient to rules of conventionalism and practical utility. 
 Perhaps I shall be excused for introducing at the close 
 
TERRA-COTTA. 
 
 275 
 
 of this chapter a figure (269) of a Cypriote vase of glazed 
 red ware, which properly should have been placed in an 
 earlier part of the work. There is a very similar vase to 
 this in the Archaic Vase Room of the British Museum. 
 It belongs to the class already 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 means 
 the object could be filled with perfume for sprinkling the 
 hands of distinguished visitors to the house of its owner 
 
 Fig. 269. 
 
 Cypriote Vase. 
 
 Terra-cotta. 
 
 on festive occasions. The treatment of the curled hair 
 of the figure, the concentric circles which constitute the 
 decoration, and the very shape of the vessel, speak of 
 the archaic times to which it must be referred. In re- 
 spect of the hydrostatic arrangement of the interior, I 
 believe this vessel is of the utmost rarity. I am in- 
 debted to Signor Vondiziani, a native of Larnaca, ex- 
 Consul of Russia in Cyprus, for carefully restoring this 
 vessel, which was broken to pieces when it was found. 
 
CHAPTER XXI. 
 LAMPS. 
 
 Br S 'A 
 
 
 
 H E number of lamps recovered from Cypriote 
 sites is very large indeed. Their variety 
 is almost equal to their number, for very 
 rarely are two found to correspond in every 
 particular. 
 
 According to the writer Clemens of Alexandria, the 
 Egyptians 1 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; 2 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 Roman times. Lamps, lychni 
 or lucenue, were made both by Greeks and Romans, and 
 have been found in all sites occupied by these two im- 
 portant races of the old world. 3 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, thry- 
 attis, ellychnion or phlomos, and a small handle, ansa; 
 
 1 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. 
 
 3 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 de- 
 pendent on the Imperial rulers of Rome. 
 
LAMPS. 
 
 277 
 
 the upper part, discus, being furnished with a hole for 
 pouring in the oil, or infundibulum, anciently fitted with a 
 stopper, of which there are but few specimens now extant. 
 The word myxa gave the appellations dimyxos (fig. 270), 
 trimyxos, polymyxos to lamps of two, three, or many 
 
 Fig. 270. 
 
 Dimyxos or Lamp for Two Wicks. 
 
 Terra-cotta. 
 
 nozzles. The dimyxos was also termed bilychnis. Greek 
 lamps are to be distinguished 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 
 
 Fi*. 271. 
 
 Lamp. 
 
 Terra-cotta. 
 
 collection, found at Salamis (see fig. 271), which is here 
 drawn to one-fourth the size of the original. It repre- 
 sents a human leg and foot, sandalled, with a Cupid or 
 
278 
 
 LAMPS. 
 
 Eros reclining on the instep. Another (fig. 272) shews 
 a drunken actor— perhaps Silenus — masked, reclining on 
 an amphora, and pointing in an explanatory and sug- 
 
 Fig. 272. 
 
 Lamp. 
 
 Terra-cotta. 
 
 gestive manner to his open mouth. Another (fig. 273) is 
 the grinning head of a negress, with a gold earring in 
 the right ear, to which I have already drawn attention. 1 
 Compare one in the Museum, the head of a negro, or 
 
 Fig. 273. 
 
 Lamp, with a Gold Earring in it. 
 
 Terra-cotta, 
 
 Nubian, with open jaws, through which the wick was in- 
 serted (Birch, Hist, of Ancient Pottery, new edition, 536). 
 Most of the lamps with fanciful shapes are attributed by 
 Dr. Birch to a period between the age of Augustus and 
 that of Constantine. 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. 274), to prevent the oil from 
 
 1 See page 36. 
 
LAMPS. 
 
 279 
 
 being spilled. They are found, not only in the ordinary 
 terra-cotta, but also in the black glazed ware which we 
 
 Fig. 274. 
 
 Early Open Lamp. 
 
 Terra-cotta. 
 
 are accustomed to associate with the sepulchral jlctilia 
 found at Nola. Many of them have a projecting hollow 
 
 Fig. 276. 
 
 Lamp with Hollow Pipe. 
 
 Terra-cotta. 
 
 pipe in the centre, placed there in order to fasten them 
 to a stick or upright peg upon the top of a candelabrum. 
 
 Fig. 276. 
 
 Greek Lamp. 
 
 Terra-cotta. 
 
280 
 
 LAMPS. 
 
 (fig. 275). These have no handles. Such a kind is shewn 
 in the accompanying illustration. 
 
 Some of the larger sized lamps, and especially those of 
 Greek origin, have a flat, triangular handle, 1 not unlike 
 the barb of an anchor, which is either plain (fig. 276) or 
 ornamented in various ways. Another in the collection 
 has two nozzles. Among those of this class in the 
 present collection are, one (fig. 277) having a bust of the 
 
 279. 
 
 278. 
 Figs. 277, 278, 279, 280. 
 
 280. 
 
 Ornamented Lamp Handles. 
 
 Terra-cotta. 
 
 Moon-God placed upon a crescent enriched with spirals ; 
 another (fig. 278) with a galley and mariners ; a third 
 with an antefixal ornament and two dolphins naiant 
 (fig. 279) ; and a fourth (fig. 280) with a similar ante- 
 fixal and two palm branches. 
 
 Fig. 281 represents a circular lamp of the Roman 
 
 Fig. 281. 
 
 Circular Lamp. 
 
 Terra-cotta. 
 
 1 One has a crescent-shaped handle, like that figured in Birch's Hist, 
 of Ancient Pottery ', New Edition, p. 506. 
 
LAMPS. 
 
 281 
 
 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. 282 shews an elegant lamp for four wicks, and 
 having two infundibula, or holes for replenishing with 
 oil. This was probably intended for use upon a can- 
 
 Fig. 282. 
 
 Four-wicked Lamp. 
 
 Terra-rotta. 
 
 delabrum. Round the crater or bowl of this lamp is 
 the limbus, or decorated border of floral or other orna- 
 ment. 
 
 Another Roman lamp of circular form (fig. 283) has an 
 eagle rising, with the wings expanded, and the head 
 turned over the back to the right. The eagle was a 
 
 Fig. 283. 
 
 Roman Lamp. 
 
 Terra-cotta. 
 
 favourite subject of ornamentation among the Romans 
 on account of its connection with victory and military 
 superiority. 
 
 o o 
 
282 
 
 LAMPS. 
 
 The annexed woodcut shews an oval lamp (fig. 285), 
 perhaps of the Christian period, with an ornamental 
 
 Fig. 281. 
 
 Lamp with Comic Mask. 
 
 Terra-cotta. 
 
 device, which may be a candlestick or a sacred mono- 
 gram. The small figures appear very like Cypriote 
 syllables. 
 
 Fig. 285. 
 
 Oval Lamp. 
 
 Terra-cotta. 
 
 Among the lamps of later date and unconventional 
 style may be mentioned that seen in fig. 286, where 
 
 Fig. 266. 
 
 Late Lamp. 
 
 Terra-cotta. 
 
LAMPS. 
 
 283 
 
 the body is constructed in form of decreasing rows or 
 bands, and is fitted with a handle, not unlike those seen 
 on amphoraB of a much older period. 
 
 I will conclude this short account of the numerous 
 lamps with an illustration of the terra-cotta mould of a 
 lamp (fig. 287), the device upon which is a head of 
 considerable merit as a work of art. Fig. 288 represents 
 a cast taken from it on a surface similar to that which 
 
 287. 
 
 2S3. 
 
 Figs. 287, 288. 
 
 Mould of a Lamp. 
 
 Terra-cotta. 
 
 would be afforded by a lamp. The other moulds (figs. 
 289, 290), of beautiful design, one of which has a figure 
 of Mercury or Hermes, with caduceus, and a helmeted 
 warrior, armed with a short sword, may be conveniently 
 placed here. 
 
 289. 
 
 290. 
 
 Terra-cotta. 
 
 Figs. 289, 290. Mould of a Lamp. 
 
 Among the inscriptions I may record the subjoined 
 list, among which occur names, in the genitive case, of 
 
284 
 
 LAMPS. 
 
 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. 
 
 1. 
 
 C^TPI 
 AflNOC 
 
 and 
 
 C 3>T 
 
 pi a a 
 
 N O C 
 
 for C^TPIAONOC. 
 
 2. 
 
 E <£ T 
 P I A n N o c 
 
 The same with an E by mistake for the initial C. 
 
 3. 
 
 4. 
 
 CUT H PI A A 
 
 n A T A O T 
 
 and 
 
 n AT A 
 O T 
 
 and 
 
 EI P H 
 A C 
 
 6. 
 
 EP M I 
 AN O 
 
 for EPMIANOT. 
 
 0EOAO 
 POT 
 
 and 
 
 e E O A n P 
 
LAMPS. 
 
 285 
 
 8. 
 
 9. 
 
 11. 
 
 13. 
 
 15. 
 
 17. 
 
 IIA A 
 
 tun 
 
 n a a 
 
 Tft N 
 
 oc 
 
 nPATINOCI 
 
 c n t x 1 1 o 
 
 En i 
 
 TAG 
 
 noc 
 
 AOTKIOT 
 
 TO INT 
 
 and n-AA-THN. 
 
 between the leaves 
 of a six-foil star. 
 
 16. 
 
 18. 
 
 10. 
 
 1 
 C L A 
 
 
 
 
 
 12. 
 
 MAP 
 
 
 
 
 
 
 14. 
 
 N T P A 
 
 
 
 
 
 CHTHP T KOT 
 
 
 
 
 
 nPAIHO 
 T 
 
 
 Among the private marks, or initials only, are : — A 
 hatched parallelogram ; a diamond or lozenge ; a human 
 foot, on the base of fig. 286 ; a bunch of grapes, on that 
 of fig. 281 ; a human hand, on that of fig. 284; X, I, T-N\ 
 A, LTNO, CE, M, I\ I, LINT, ETP ; CO©, T, A. y, II, =), 
 
 yL, A.M., and many others. 
 
CHAPTER XXII. 
 
 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 repre- 
 sentative 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, 1 of Phoenician, Cypriote, Greek, Roman, 
 Venetian, and Lusignan numismatics ; but, inasmuch as 
 most of these classes are well known, and have been 
 treated exhaustively in works especially devoted 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, 
 
 1 This circumstance has been noticed by the writers on Cypriote 
 coins. 
 
coins. 287 
 
 fol. 1852 ; T a tractate by Mr. R H. Lang, late Consul at 
 Larnaca, upon two hoards of coins found at Larnaca or 
 Kitiuni, in the Numismatic Chronicle, New Series, vol. xi; 
 and a paper by M. le Comte de Vogiie, in the Journal 
 Asiatique, August 1867, entitled "Inscriptions Pheni- 
 ciennes de l'lle de Chypre", with some further " Notes 
 Epigraphiques" on the same subject, at p. 479, et seq. 
 
 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 as- 
 sume, he says, a similar date for the Cypriote coinage of 
 that character. I believe, however, that all numismatists 
 do not agree with this assumption. 
 
 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. 291). The sphinx was a 
 common emblem of Assyria, and its use upon a Cypriote 
 coinage may reasonably indicate the time when the 
 
 Fig. 291. Early Cypriote Coin. Silver. 
 
 Island of Cyprus was under the government, or a de- 
 pendency of that mighty empire. This period may, per- 
 haps, 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 
 1 A fine work, as far as the numismatics and history are concerned, 
 but greatly marred by the erroneous readings of the Cypriote characters. 
 
288 coins. 
 
 gives their names as iEgisthus, King of Idalium ; Pytha- 
 goras, 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 
 
 Fig. 292. Early Cypriote Coin. Silver. 
 
 characters in the field. 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 bears (fig. 
 293) on the obverse a ram couchant to the right, with an 
 
 Fig. 293. Coin of King Evelthon. Silver. 
 
 inverted crescent enclosing a pellet and Cypriote cha- 
 racters in the field overhead, and in the exergue. On 
 the reverse, within a cushion-shaped depression, an orna- 
 mental crux ansata. The devices of this type were 
 known to the Due de Luynes and to Mr. Lang. Another, 
 
COINS. 
 
 289 
 
 probably of this class, is undetermined. The reverse is 
 the same as that of the previous coin. 
 
 Fig. 29-1. 
 
 Cypriote Coin. 
 
 Copper. 
 
 The coins of Azbaal, King of Gebal, or Gabala, and 
 Baalmelek, of which I possess several types (figs. 295, 
 296), are attributed, according to Mr. Lang, by the 
 M. Le Comte de Vogue, to Kitium, in the Journal 
 Asiatique. They date about B.C. 560, according to 
 Mr. Lang. In the British Museum collection of coins, a 
 date of B.C. 448-410 is attributed to Baalmelek, and B.C. 
 410-387 to Azbaal. We have in this class (which bears 
 
 Fig. 295. 
 
 Coin of Azbaal or Baalmelek, King of Kitium. 
 
 Silver. 
 
 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 
 
 Fig. 296. 
 
 Coin of Azbaal. 
 
 Silver. 
 
 out at full length ; on the reverse, within a pearled or 
 beaded square, is a lion devouring a stag, with Phoenician 
 inscriptions in the field above them) the currency of 
 Tyre, a currency which naturally was in large circulation 
 
 p p 
 
290 
 
 COINS. 
 
 in the Phoenician colonies of Cyprus, and, indeed, gene- 
 rally 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, 
 seem 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 currency for 
 Tyre, then the chief emporium of commerce, and naturally 
 needing most largely a circulating medium. In assigning 
 to the coins of Azbaal and Baalmelek so early a date as 
 
 Pig. 297. 
 
 A Variant. 
 
 Silver. 
 
 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, 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. 1 
 
 Another of these coins is a variant of this type. Many 
 
 Fig. 29R. 
 
 A Variant. 
 
 Silver. 
 
 1 "Agri euim fertilitatem yElianus prodit, cum scribat cervos ex 
 Syria in hanc in&ulara ad bonam pastionem transnatare. " — Ortelius. 
 
COINS. 
 
 291 
 
 of them have been figured by the Due de Luynes, 1 and 
 by Mr. Lang in the works already referred to. 
 
 Fig. 299. 
 
 Early Cypriote Coin. 
 
 Silcer. 
 
 A class not far removed from the foregoing bears on 
 the obverse a ram couchant, to the left; reverse, a 
 punch-mark. 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 2 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. 
 
 Another coin of this class, probably of Evagoras I, who 
 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 
 
 Fig. 300. 
 
 Early Cypriote Coin. 
 
 Silver. 
 
 1 The Due de Luynes accounts for the device of Hercules on the ob- 
 verse of later coins as follows : — " Hercule, qui fut aussi le liberateur de 
 ses contemporains, est un type naturellement choisi par Evagoras et 
 peut-etre la legende devant la tete du dieu y fait-elle allusion. Les 
 lettres EY pour Evagoras sont ici le premier exemple de cet usage suivi 
 depuis par les rois Cypriotes Nicocles, Pnytagoras, Evagoras II, et meme 
 Menelaus, qui placerent seulement quelques initiales sur leurs monnaies." 
 
 2 " Formam ejus velleri comparari auctor Eustathius." — Ortelius. 
 
292 coins. 
 
 uncertain device (fig. 300). 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 ^graphic and succinct account of the influence of 
 Evagoras I on the history of Cyprus : — 
 
 " Citium, bien moius religieuse que commercante, conserva son carac- 
 tere primitif : le culte, la langue, les habitudes mercantiles de la mere 
 patrie s'y maintinreut sans alteration, ou du moins suivirent la meme 
 inarche que sur le continent pbenicien. Elle eut ainsi une existence 
 distincte de celle des villes indigenes et des colonies grecques etablies de 
 toute antiquite sur differents point3 de la cote. Neanmoins elle suivit 
 toujours le sort de 1'ile dans ses rapports avec les puissances voisines; c'est- 
 a-dire que, tout en conservant une certaine autonomic, elle fut succes- 
 sivement vassale des grands empires que se partagerent la domination 
 de l'Orient, l'Assyrie, l'Egypte, la Perse. Elle fut des premieres a se 
 soumettre a, Salamanasar et a Nabuchodonosor, quand ces monarques 
 envahirent le littoral Mediterranean. La preuve materielle de la con- 
 quete Assyrieune a ete trouvee aux portes memes de Citium. C'est la 
 stele de Sargon, aujourd'hui conservee au musee de Berlin. Plus tard 
 quand l'Egypte, sous la vingt-sixieme dynastie, enti'a dans le concert 
 Europeen, les flottes de Citium, jointes a celles de Tyr et de Sidon, 
 furent battues par les vaisseaux d'Apries ou d'Amasis, et I'll© subit la 
 douce domination des souverains Egyptiens, jusqu'au jour ou la victoire 
 de Cambyse la fit passer sous la suzerainete de la Perse. 
 
 " Dans les grands guerres qui mirent aux prises les Etats maissants 
 de la Grece et les vieilles races de TAsie, Cypre ne resta pas neutre, et 
 les galeres de Citium se melerent aux flottes Pbeuicienues qui portaient 
 en Europe les hordes du grand roi. L'ile fut le theatre de luttes violen- 
 tes dans lesquelles les villes Pheniciennes prirent parti pour les Perses 
 contre les Atheniens, que soutenaient les colonies helleniques. L'avan- 
 tage finit par rester aux Asiatiques : mais leur puissance sortit affaiblie 
 de la lutte, et, pendant la seconde moitie du Ve. siecle, l'autorite 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 l'esprit hellenique se 
 reveilla du nouveau sous la vigoureuse main d'Evagoras, il combattit 
 avec avantage contre TAsie. La lutte fut longue ; Citium, alliee natu- 
 relle des Perses, fut la derniere a s^e soumettre a Evagoras, mais elle eut 
 la consolation de le voir perdre dans sa rade la victoire navale qui sauva 
 au moins la suzerainete persane. 
 
 " Evagoras fut le precurseur dAlexandre par l'impulsion qu'il donna a 
 la propagande hellenique en Orient ; avec lui, les lettres, les arts, les 
 
COINS. 
 
 293 
 
 sciences de la Grece prirent en Cypre un developpement nouveau. Le 
 mouvement se continua apres sa mort, si ce n'est peut-etre a Citium, ou 
 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 l'Occident en Asie, et quand Alexandre 
 le Grand, porte par ce courant, eut envahi la Syrie, les rois grecs de 
 Cypre, conduits par Pnytagoras, vinrent se joindre a lui et prendre leur 
 part des victoires qui consacraient definitivement le triomphe de la 
 Gi-ece sur la Perse. Citium ne put concourir a l'envahissement 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 auto- 
 nomie jusqu'au jour ou. l'ile entiere fut annexee a l'unite greco-egyp- 
 tienne, en attendant le moment ou elle devait disparaitre dans l'unite de 
 l'Empire Romain." — M. de Vogue, Journ. Asiatique, 6 Ser., torn, 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. 301) upon which the obverse has a lion's 
 head, with open mouth, to the right ; reverse, the fore- 
 
 Fig. 301. 
 
 Early Cypriote Coin. 
 
 Silver. 
 
 part of a lion, with the paws elevated, and the head 
 reclining in a somewhat unusual manner. 
 
 Fig. 302 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 
 
 Fig. 302. 
 
 Cypriote Bilingual Coin. 
 
 Copper. 
 
 capitals below. It is to be referred to Nicocles, or 
 Nicocreon, son of Evagoras I, King of Cyprus. 
 
294 
 
 COINS. 
 
 The accompanying figure (303) represents a very beau- 
 tiful silver coin of Nicocreon, or Nicocles, King of Cyprus, 
 inscribed on the obverse ni; on the reverse ba. for 
 BA2IAETS. 
 
 Fig. 303. 
 
 Cypriote Coin. 
 
 Silver. 
 
 Next in order may be placed the undetermined and 
 uncertain 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 counter- 
 sunk compartment, a flying dove, a bird for which Athe- 
 nseus says Cyprus was celebrated, 1 or an eagle. It is not 
 very unlike the coins of Aristokypros, one of the earliest 
 
 Fig. 301. 
 
 Early Cypriote Coin. 
 
 Silver 
 
 rulers of the island. Another coin in the collection is a 
 variant of this type (fig. 305). They are known to and 
 
 Fig. 305. 
 
 Early Cypriote Coin. 
 
 Silver. 
 
 described by the authors to whom I have already fre- 
 quently made reference. 
 
 1 "Eximias ejus columbas celebrat Athenseus." — Ortelius. 
 
COINS. 
 
 295 
 
 Another undetermined type is that shewn in fig. 306. 
 On each side is a head in profile to the right. 
 
 Fig. 306. 
 
 Cypriote Coin. 
 
 Silver, 
 
 The following figure (307) gives another undetermined 
 type, the reverse bearing a wheel of four spokes. 
 
 Fig. 307. 
 
 Cypriote Coin. 
 
 Silver. 
 
 A coin with the same head of a lion as in fig. 301, to 
 the left, on the obverse, and having a head of Pallas with 
 a casque to the right on the reverse (fig. 308), I place 
 
 Fig. 308. 
 
 Early Coin. 
 
 Silver. 
 
 here, although it may be hereafter shewn to be of later 
 date than many which come after it in the series. 
 
 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 
 
 Fig. 309. 
 
 Coin of Cyprus. 
 
 Copper. 
 
296 
 
 COINS. 
 
 diggings (fig. 309) bears on the obverse a lion ; on the 
 reverse a horse, with a star of eight points in the field. 
 The following is an electrum coin (310), the obverse of 
 
 Fig. 310. 
 
 Coin of Cyprus. 
 
 Electrum. 
 
 which bears the head of Apollo, and the reverse a device 
 called the croix ancree by Mr. Lang. 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 shewing how 
 
 Pig. 311. 
 
 Alexander the Great. 
 
 Quid. 
 
 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. 311) 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. 312 represents a coin of Massicytes, in Lycia, in 
 
 Fig. 312. 
 
 Lycian Coin. 
 
 Silver. 
 
 fine preservation, found by me at a great depth of earth 
 in Salamis. It is interesting, not on account of its type, 
 
COINS. 
 
 297 
 
 which, I believe, is known to numismatists, but as shew- 
 ing what coins were current in Cyprus at an early period. 
 
 Fig. 313. 
 
 Antiochus ITT, King of Syria. 
 
 Eltctrum. 
 
 The coins of Antiochus III (fig. 313) ; of Corinth (fig. 314) ; 
 
 Fig. 314. 
 
 Corinth. 
 
 Sileer. 
 
 of Eretria in Eubcea (fig. 315) ; and many of uncertain and 
 
 Fig. 315. 
 
 Eretria in Euboea. 
 
 Silver. 
 
 undetermined localities (fig. 316), are in the Lawrence- 
 
 Fig. 316. 
 
 Uncertain Greek Coin. 
 
 Silver. 
 
 Cesnola collection. Among others, I may refer to one of 
 
 Fig. 317. 
 
 Coin of Ephesus : Lysanias, Magistrate. 
 
 Silver. 
 
 Q Q 
 
298 
 
 COINS. 
 
 Ephesus (fig. 317), with the name of Lysanias, the magis- 
 
 Fig. 318- 
 
 Coin of Celenderis in Cilicia. 
 
 Silver. 
 
 trate ; others of Celenderis in Cilicia (fig. 318); of 
 
 Fig. 319. 
 
 Coin of Miletus. 
 
 Silver. 
 
 Miletus (fig. 319) ; of Soli in Cilicia (fig. 320) ; of Judsea 
 
 Fig. 320. 
 
 Coin of Soli in Cilicia. 
 
 Silver. 
 
 (fig. 321), with an inscription purporting that the coin is 
 
 Fig. 321. 
 
 Coin of Judsea— the sixth part of a Shekel. 
 
 Copper. 
 
 the equivalent of a sixth part of a shekel ; a coin of the 
 
 Fig 322. 
 
 Coin of Rhodes. 
 
 Silver. 
 
COINS. 
 
 299 
 
 Island of Rhodes, 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 city 
 of Phoenicia (fig. 323), perhaps Aradus ; and lastly I will 
 
 Fig. 323. 
 
 Coin of a Phoenician City. 
 
 Copper. 
 
 mention a coin (fig 323) 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 speci- 
 men of it in the British Museum. 
 
 Fig. 324. 
 
 Coin of Attaleia. 
 
 Copper. 
 
 The legends are — Obv., AT KAI no AI OTAAEPI- 
 ANON ET . C. Rev. , ATTAAEHN. 
 
 Passing over, for the reasons already given, inter- 
 mediate currencies of Byzantium and other places, which 
 are well known to numismatists, and all of which are 
 copiously represented 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 interesting and un- 
 broken series in the numismatics of that island. The 
 
300 coins. 
 
 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 repre- 
 sented 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, Quarter- 
 master-General's Department, Horse Guards. Abridged, 
 and with slight alterations, the narrative is as follows : — 
 In the spring of 1191, Richard Cceur de Lion left 
 Messina to join King Philip of France in the third Cru- 
 sade. A storm dispersed his fleet, and a vessel which 
 carried his sister, Queen Dowager of Sicily, and his fiancee, 
 Berengaria of Navarre, was driven to Limassol, and, being 
 refused entrance to the port, anchored in the roadstead. 
 Cyprus was then under the 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 treacherous 
 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 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, mean- 
 while, in the presence of Guy, Lord of Lusignan in Poi- 
 tou, 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. 
 
COINS. 301 
 
 Richard himself defeated and captured Isaac at Tremi- 
 tusia, marched upon Nicosia, which surrendered without 
 a blow, and reduced, one by one, the famous castles, Ky- 
 renia, Hilarion, Buffavento, and Cantara. Shortly after- 
 wards, Richard sailed with his prisoner from Limassol to 
 S. Jean d'Acre, leaving the island in charge of R. de Can- 
 ville 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 ster- 
 ling. 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 tranquility 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. 325, which represents a broken and imperfect jar 
 
 Fig, 325. Hoard of Coins in a Jar. Terra-cotta. 
 
 lound at Salamis, containing a mass of bronze coins en- 
 crusted together so thoroughly, that very little could be 
 
302 
 
 COINS. 
 
 deciphered upon them. The jar was closed with a flat 
 stone (fig. 326) of irregular shape, having upon it 
 several lines of Greek capital letters, which I am in- 
 clined to believe were inscribed upon it to resemble an 
 
 n 
 
 
 *> 
 
 *A. 
 
 
 *$*■ 
 
 
 J* 
 
 
 Vftf 
 
 Fig. 826. 
 
 .tf^ 3 *** 
 
 Cover of Fig. 325. 
 
 ji 
 
 Stone. 
 
 exorcism or anathema, in order that ignorant and super- 
 stitious finders might be deterred from robbing the hoard 
 which the owner and depositor hoped at some future 
 time to recover. 
 
Larnaka (Kitium). 
 
 APPENDIX. 
 
 " HE 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 Athenmum, 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 
 Recherches Scientifiques en Orient, entreprises par les Ordres du 
 Gouvernement (Frangais) pendant les Annies 1853 et 1854, par M. 
 Albert Gaadry, 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 de- 
 tailed maps are of the sixteenth century, made in the time of the 
 Venetian rule, one of the oldest being engraved by Bertelli, Rome, 
 1562 ; then follow those of the general atlases and other works of 
 Ortelius, 1570; Mercator, 1595; Bleau, 1635; Coronelli, 1696; 
 De Lisle, 1726; Dapper, 1688; Pococke, 1743; Drummond, 1754; 
 Ali 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 
 mentioned, and that contained in the Essai d'unc Carte Agricole 
 de Vile de Chypre, par MM. Albert Gaudry et AmkUe Damowr, 
 dressd d'aprls la Carte Giographique intdite de M. de Mas Latrie, 
 
304 APPENDIX. 
 
 Paris, 1854. The last mentioned map was reproduced and geo- 
 logically coloured in the Mimoircs dc la Socie'tS Ge'ologique de 
 France, 2me sdrie, torn, vii, Mem. 3, Paris, 1859, 4to., but dated 
 1860. In 1862, the map of M. de Mas Latrie was published in 
 his Histoire dc Vile de Chyprc sous le Itlgnc des Princes de la 
 Maison de Lusignan, with a statistical table which forms a complete 
 " Index Geographicus" of the whole of the island. The geological 
 map above mentioned was reproduced by Unger and Kotschy in 
 their work entitled, Die Insel Cypern, considerably reduced. 
 There is also a good map in Von Loher's Cyprus. The writer of 
 the Athenseitm article also draws attention to the thirteenth 
 century map in the Pcutinger 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 
 nap that I have introduced at page 4, to which (Melius has 
 ipplied the name of Salaminia. Of this district, Salamis was the 
 centre, or chief city. Now, as my discoveries and excavations 
 vere, with few exceptions, carried on within this area, I have 
 selected, and I trust appropriately applied, the name for the title 
 )f my work. But, if the reader be inclined to criticise the use of 
 his name in classical or ante-classical times, he may consider the 
 vord to be a neuter plural of the adjective 2,a\a/u,ivio<;, and to 
 efer to the Salaminian things of which the Lawrence-Cesnola 
 ollection is composed. 
 
 The use of the golden foil of larger or smaller dimensions, and 
 esembling one or other of the organs of the face, to lay upon the 
 aces of the dead, a practice which has been well illustrated by 
 iy discoveries, and referred to at page 17, has been lately shewn 
 d have prevailed in Egypt, by the discovery of a golden mouth 
 lodelled to represent the lips, upon a mummy of a somewhat late 
 eriod, unrolled by Mr. C. Park of Eussell Square. These golden 
 ps are considerably thicker than the very thinly beaten foil which 
 
 and others have found in Cypriote tombs. 
 
 According to Ebers, 1 the late Mariette Pacha found in an older 
 ortion of the Apis catacombs of Memphis, a human body, with a 
 3lden mask on the face, and with many costly ornaments and 
 nulets on the breast. From the accompanying inscriptions, it 
 ecame known that these were the remains of Khamus, the eldes 
 
 1 Egypt, vol. i, p. 164. 
 
APPENDIX. 305 
 
 son of the monarch Barneses II, who was high priest at Memphis, 
 and is often mentioned as a particularly pious prince. He died 
 during the lifetime of his father, and seems to have been buried 
 among the sacred Apis Bulls as a special distinction above others. 
 
 I am indebted to Mr. William Chappell, F.S.A., the author of 
 TJie History of Ancient Music, for the following notes on the 
 flute figured at p. 56. 
 
 " The Greek bronze flute discovered by Major di Cesnola, during 
 his excavations in the Island of Cyprus, is 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 measurements, an exact copy has 
 been made in brass, by Mr. E. 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 chro- 
 matic scale, the lowest note being C in the bass staff, while the 
 treble extends to G-, an octave and 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. How- 
 ever, one of the latter has a B below the bass C, and it has both F 
 sharp and G sharp, which seem 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 longitudinally, 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 succeeded 
 in- producing the above named scale. 
 
 "In place of the keys used in modern flutes to sound extra notes 
 
 R R 
 
306 APPENDIX. 
 
 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. 1 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 requirements, 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 2 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 deter- 
 mining 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 experi- 
 ment for reconstruction, which he undertook with the double 
 object of preserving these precious instruments from the too fre- 
 quent handling of the curious, and of determining their tone and 
 compass. The pipe in question measures exactly twenty-one 
 English inches, and it is composed 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 
 establishing 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 ?" M. Mahillon fortunately was acquainted 
 with the Egyptian arglwol flutes, an instrument of reed-cane, 
 described by Villoteau, a specimen of which is in the Brussels 
 Museum. The arglwol is of cylindrical bore, pierced with 
 lateral holes, like the Pompeian flute. The latter is of Greek 
 origin, the Greeks, again, having borrowed the greater number of 
 their instruments from Egypt. M. Mahillon therefore chose the 
 reed of the arglwol flute, which is a striking reed, with which to 
 make his experiment ; and, after one or two trials as to the dimen- 
 
 1 A careful examination of the flute shows several rings of this nature 
 upon it. 2 Musical World, March 1878. 
 
APPENDIX. 307 
 
 sions to be given to it, he succeeded in making the pipe speak a3 
 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 
 cylindrical. 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 different 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 introduced. 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 
 permissible, therefore, to believe that the right reed was found 
 if the thirteenth sound was the octave of the first. This M. 
 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 line 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 open- 
 ing gives B flat is on the other side of the instrument, 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 
 restoration 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 mouthpiece. 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. 
 
308 APPENDIX. 
 
 Gavaert, Director of the Conservatoire 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, corresponding, allowing for the elevation of pitch, to 
 one 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 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, ap- 
 plying again the striking reed of the arghoul in connection with 
 the cylindrical pipe, and has got the following 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, 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 effect is just a quarter lower than the note written. 
 
 As a curious survival of ancient forms, the broken head of a 
 musician, part of whose double pipe still remains carved on his 
 lips, and held in position by the <f)op^€ta, or cpopfiiov, figured at 
 p. 93, represents the practice of a kind of music even yet in 
 vogue among the swains of the Mediterranean islands. In a 
 communication recently inserted in the Standard (February 7), 
 Mr. H. John states : — " I have frequently seen the player of the 
 tibia contriving to play upon two pipes at once in Sicily. In that 
 island, the pastoral life of ancient Europe is mirrored, or, at least, 
 represented with little change. I once lived in a farmhouse in 
 the province of Messina, and I remember how much I was struck 
 with the skill of one of the farmer's sons in constructing and 
 playing on the double flute. The two members of the instrument 
 were fashioned out of the local reed with his pruning-knife. One 
 was designed for the sharp notes, the other for the droning accom- 
 paniment. He inserted the two mouthpieces between his lips, 
 
APPENDIX. 
 
 309 
 
 close together, the ends spreading out in the manner that is 
 familiar to every one in classical paintings. The music was rude, 
 and, perhaps, to ears that have been over-cultivated with the 
 mosaic melodies of the present day, it might sound barbarous ; 
 but to me, in the short twilight, with the mountains behind, the 
 Straits of Messina and the Calabrias in front, these rustic airs, 
 simple and plaintive — perhaps the same notes that might have 
 been heard in the days of Virgil, and perhaps even of Homer — 
 were inexpressibly beautiful." 
 
 My readers will, I am sure, pardon my introducing here, apropos 
 of the " double pipe", a charming sonnet, recently published by 
 Mr. Gosse, in which that poet, like Mr. John, recognised the 
 plaintive sweetness of the music : — 
 
 " Cool, and palm-shaded from the torrid beat, 
 
 The young brown tenor puts bis singing by, 
 
 And sets the twin -pipe to bis lip to try 
 Some air of bulrush -glooms wbere lovers meet. 
 swart musician ! time and fame are fleet ; 
 
 Brief all delight, and youth's feet fain to fly ! 
 
 Pipe on in peace ! To-morrow must we die 1 
 What matter, if our life to-day be sweet ! 
 Soon, soon, the silver paper-reeds that sigh 
 
 Along the Sacred River will repeat 
 
 The echo of the dark-stoled bearers' feet, 
 Who carry you, with wailing, where must lie 
 Your swathed and withered body, by and by, 
 
 In perfumed darkness with the grains of wheat." 
 
 As a strange coincidence which occurred during the progress of 
 my excavations, I am desirous of recording that the interesting 
 
 Coin of Queen Cleopatra. 
 
 Silver, 
 
 terra-cotta statuette of a genius riding on a cock, having the 
 plinth furnished with the Greek inscription given on p. 207, was 
 
310 APPENDIX. 
 
 taken from a spot not many feet from that wherein I found the 
 coins of a Queen Cleopatra figured above. 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 circumstance that a coin shewing a similar inscription 
 should be found in such close contiguity to the fictile relic. 
 
 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 Numismatique et Inscriptions Cypriotes, published 
 privately in 1852. In this work, we are told, 1 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 frequent occur- 
 rence 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 iden- 
 tified 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 Koth of Heidelberg, who, following in the same track as 
 the Due de Luynes, published a memoir, entitled Proklamation 
 des Amasis, in 1855, under the auspices of the Due de Luynes, 
 who had already published a facsimile of his inscription in the 
 work mentioned above. Professor Both, however, unfortunately 
 accepted as proved the identification of the words Salamis and 
 Amathus, and, starting from this erroneous point, proposed pho- 
 netic 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. According 
 to the Professor, this was a decree of Amasis, King of Egypt, 
 B.C. 571-527, addressed to the inhabitants of Cyprus. 
 
 1 English Cyclopaedia — Arts and Sciences (supplement), col. 1369. 
 
APPENDIX. 311 
 
 After this attempt at decipherment of the inscriptions, a con- 
 siderable number were added to the known list by Mr. E. H. Lang, 
 formerly British Consul at Larnaca, the Comte de Vogue (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 Eosetta 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 the group of characters which the Due de 
 Luynes had read Salamis, to signify king ; x but, at the time, the 
 sound of the Cypriote word, and therefore the nature of the lan- 
 guage, 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 Prom 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 characters, of which about twelve repre- 
 sented different forms of the vowels, while the others were used 
 for the consonants. There were about three forms for each con- 
 sonant, each one representing it combined with a different vowel. 
 Mr. Smith gave a translation of the opening passage on the bilin- 
 gual 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 published 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 
 
 1 These observations were laid before the Society of Biblical Archeo- 
 logy on the 7th November 1871. 
 
312 APPENDIX. 
 
 which occupies the same important relation to Cypriote philology 
 that the Eosetta Stone does to the philology of Egyptian Hiero- 
 glyphics, passed. He established the fact that the language of 
 the Cypriote inscriptions was closely allied to the Greek : — 
 
 " KuTrpo? 1 TroXt? /j,eya\T) m hrjfxoi ttjv jXcorrav afcpL(3a)<;"EX\7)ve<;" , 
 
 and published, in the Transactions of the Society already men- 
 tioned, 2 tentative translations of the bilingual text and the inscrip- 
 tion upon the bronze tablet of Dali, in which he makes a number 
 of comparisons between the Cypriote words and their Greek equi- 
 valents. 
 
 Subsequent attention has been given to this interesting subject 
 by M. Halevy, whose researches, now rejected by scholars, were 
 published in 1872; in the Sammlung Kyprischer Tnschriftcn in 
 EjriJeorischer Schrift of Moriz Schmidt, Professor at Jena, published 
 at that city in 1876 ; and in Dr. W. Deecke's Der TTrsprimg der 
 Kyprischer Sylbenschrift, Strasburg, 1877, as well as in several other 
 works. 
 
 Mr. Hyde Clarke has kindly furnished me with some philo- 
 logical notes on the early language of Cyprus, which I regret I 
 am unable to introduce on this occasion. I will be content to 
 quote the concluding sentences of his communication, which are 
 as follow: — "With regard to the comparative philology and 
 grammar of the Paleeocypriote, the Akkad, of course, supplies 
 materials, as also do the living languages which are allied to the 
 Akkad. Although the old languages of the Mediterranean were 
 related, they differed greatly in vocabulary and development. 
 Thus I know that Cypriote differed from the Etruscan and Palajo- 
 Latin on the west, and from the Cretan and the Khita, the 
 Canaanitic and the Lydian on the east. The Cypriote characters 
 are, like all others, derived from an earlier stock, of which even 
 the Khita only constitutes a secondary representative, and it has 
 most probably only a general relationship to those characters 
 which we now know as cuneiform ; the approximations of Pro- 
 fessor Deecke proving the community of origin without always 
 establishing identity." 
 
 For the convenience of reference I subjoin a table of the cha- 
 racters and their equivalents as far as they are at present de- 
 ciphered : — 
 
 1 Himerius, Ed., xviii, 1. (Schmidt). 
 
 2 Vol. i, Part n (read January 2nd, 1872). 
 
APPENDIX. 
 
 313 
 
 Equivalents. 
 
 a. 
 
 e. 
 
 Cypriote Characters. 
 
 O, CO. 
 XL 
 
 ka, ga, 
 or % a. 
 
 ke, ge, 
 or %e. 
 
 or % i. 
 
 ko, go, 
 or%o. 
 
 ku, gu, 
 or ^u. 
 
 ta, da. 
 or 0a. 
 
 te, etc. 
 ti, etc. 
 
 to, etc. 
 
 tu, etc. 
 
 ba, pa, 
 or <£a. 
 
 be, etc. 
 bi, etc. 
 
 H /(s ^ ?r or }|* (leaden plate) 
 ^ ^ X- '-X\ ZV t(f (Suwarfti) "Mi (Do!i) 
 
 X X 
 
 ^ 32 (J. to at PapUs ) A. Af if X 
 Y ~N~ X "^^ A ( A Ktima) V* 
 
 1 it^tA. 
 
 M 
 
 
 
 3^ -2? -^ 
 
 5^' 
 
 
 r\<Ati>J\ 
 
 n n 
 
 
 %%z 
 
 
 
 MY 
 
 
 
 ^ ik r<?.j 
 
 . i & 
 
 </ 
 
 TMA 
 
 'N /t 
 
 
 T F f a" 
 
 X A 
 
 UMd 
 
 fii fT, K\ 
 
 
 
 * =f 
 
 
 
 s ** 
 
 
 
 V 
 
 
 
 At Paphos. 
 
 2 At Golgos. 
 S S 
 
314 
 
 APPENDIX. 
 
 Equivalents. 
 
 bo, etc. 
 bu, etc. 
 
 la. 
 
 le. 
 
 li. 
 
 lo. 
 lu. 
 
 ra. 
 
 re. 
 
 ri. 
 
 ro. 
 ru. 
 
 na. 
 
 ne. 
 
 ni. 
 no. 
 
 ma. 
 
 me. 
 mi. 
 
 Cypriote Characters. 
 
 n f\ <\ ? (j p.) r 
 
 ±U ill 
 
 8(<?.)X(/» P) S? (P.) ^ (K.) A 
 L L _L_ 
 
 + 
 
 /Z\^Jw (l.p.) 
 
 3. .Q £ o, 
 
 f^ H^\m\ fTT ^. (G.) fa (l.p.) 
 
 f t \ \ V 
 
 T T ? 
 
 ifi '/i i\i <|i vy >|h (<?.) 
 *i £. £ Ui ^i£ 
 
 ^ i ;a it (i.p.) 
 
 re )X 
 
 1 Ktima. 
 
APPENDIX. 
 
 315 
 
 Equivalents. 
 
 Cypriote Characters. 
 
 mo. 1 
 
 mu. 
 
 ja. 
 
 je- 
 
 ji- 
 
 *a. 
 
 (digamma). 
 
 sa. 
 se. 
 
 si. 
 
 so. 
 
 su. 
 xe. 
 
 © ^7 ^c cb cb en. (D 
 -X- 
 
 2 2 X !C 
 
 # 0„C 3|C OIC $ Jfc $ 
 I T I N(G.)Z (P-) 
 
 jj/ pj p* Y Y uj u-f 
 
 ©• 3£. £ G: Qi £ ^S? 
 
 ^ & ft £ p?£ /r^ v 
 
 £ <$> -S & (p.) 
 
 <-i h <-i y-i 
 
 Y T 
 Jf 
 
 1 To this may be added I — I the rectangle with horizontal bar, 
 instead of perpendicular, as seen in the inscription given by me at page 
 89, fig. 83, which I read provisionally as mo, also. 
 
Terra-cotta Statuette. 
 
INDEX 
 
 Abraxas, god, 103 
 
 Actor, statuette of an, 218 
 
 Adder Stones, 48 
 
 iEacidae of JEgina,, colonise Salamis, 1 
 
 iEacus, 1 
 
 jEgina, 1 
 
 ^Egisthus, king of Idalium, 288 
 
 ^Eons, 103 
 
 JEsculapius, 217 ; on gems, 158 
 
 Agate, cone of, 134 
 
 Ajax, murder of, 2 
 
 Alambra, near Dali, discoveries at, 239 
 
 Alabaster objects, 111-114 
 
 Alabastra, 7, 8 ; carved, 111, 112, 114 ; 
 
 glass, 176, et seq. 
 Aleppo, 119 
 
 Alexander, coins of, 11, 296 
 Alexandrian style of pottery, 254 
 Alnwick Castle, museum, 21, 22 
 Altar, carved, 99 
 Amalthea, 192 
 Amazons, shield of the, 187 
 Amber-beads, notice of the occurrence of, 
 
 28 ; rarely found in Cyprus, 29 
 Amen-Ra, name of, on a Scarabfeus, 139 
 Amethyst beads, 26 ; pendants, 28 
 Ammon-Horus, god, 60 
 Amphorae, glass, 177, 178 
 
 Rhodian, 219 
 
 sealed, 70 
 
 Amosis, king of Egypt, governs Salamis, 3 
 
 Anacreon, 217 
 
 Ancient pottery found near Reculvers, 
 
 261-262 
 Animals, figures of, on cylinders, 118, 
 
 et seq. ; terra cotta, 208, 209, 244 
 
 earrings in form of heads of, 33, 34, 36 
 
 Animals' teeth, used as pendants, 26 
 
 Anthemion ornament, 225 
 
 Anticlides, 156 
 
 Antiochus I, coins of, 297 
 
 Antoninus Pius, 94, 95 
 
 Anubis, 166 
 
 Apelles, inscription of, 95, 96 
 
 Ape, golden, 43 
 
 Aphrodite, inscription concerning, 99 ; 
 
 statuette of, 202 
 Apis Bull, carving of, 74 
 Apollo, head of, on a coin, 296 ; statuette 
 
 of, 214 ; temple of, 7 
 Amyclaios, a Cypriote sun god, 53 
 
 on a 
 
 dis- 
 
 Apostles, the, 110 
 
 Apulian Stamnos, 258 
 
 Arab invasions of Cyprus, 4, 5 
 
 Aradus, coin of, 300 
 
 Ariadne, mask of, 238 ; terra cotta of, 
 
 222, 223 
 Aristothemis, inscription of, 85 
 Armlets, bronze, 56 ; gold, 8, 12 
 Armour, 8 
 
 Arrow-heads, iron, 60 
 Arsinoe, head of, 70 
 
 town of, 5 
 
 • Philadelphus, inscription of, 
 
 vase, 254, 256 
 Art of vases, 264 
 Art work of Cyprus, difficulty in 
 
 tinguishing, 15 
 Arybailos, early specimens of, 257 
 Ashtoreth, symbol of, 128 
 Asteria, daughter of Teucer, 2 
 Asiatic goddess on a cylinder, 121 
 Asikathiyas, inscription of, 87 
 Asopus, a Greek river god, 1 
 Assyrian cylinders, 117, 118, et seq. 
 
 decorations, 225 
 
 influence, 13, 14 
 
 monument of the reign of Sargon, 2 
 
 style of gold ornament, 17 
 
 style of statuettes, 93 
 
 style of terra cottas, 190, 191, 202 
 
 types, 30, 31, 34, 35 
 
 Atef crown, 51 
 
 Athene Nikephoros on gems, 150 
 
 Athieno, site of, 100 
 
 Attaleia in Pamphylia, coin of, 300 
 
 Augustus, coins of, 41 
 
 head of, on a gem, 159 
 
 Autolycus, statuette of, 212 
 
 Azbaal, king of Gebal, coins of, 287, 290 
 
 Aztec aspect of statuettes, 227 
 
 Baal, symbol of, 128 
 Baalbec in Syria, 2 
 Baalmelek, coins of, 289, 290 
 Baal Reseph, a Phoenician god, 53 
 Baal Solaris, inscription of, 246 
 Babylonian cylinders, 120, et seq. 
 
 style of gold ornament, 17 
 
 Bacchante, statuette of, 204 
 Bacchic mask, 238 
 
318 
 
 INDEX. 
 
 Bacchus holding grapes, 9 
 
 gems, 157 
 
 Basket, terra cotta, 269, 270 
 
 Beads, various, 24, 25, 26, 145, et seq. 
 
 cornelian, 18, 26 ; emerald glass, 27 ; 
 
 Druids', 35 ; on a silver wire necklace, 48 
 Bee or wasp, chalcedony, 168 
 
 Bellarmine, 265 
 
 Belus, king of Sidon, 2 
 
 Billon, coins in, 11 
 
 Birch (Dr. S.), 43, description of an Egyp- 
 tian patera, 51-55 
 
 description of Egyptian situli, 59, 60 
 
 opinions quoted, or descriptions by, 
 
 77, 91, 95, 100, 118, 137, 140, 144, 167, 
 175, 176, 193, 248, 251, 258, 259, 272, 
 277, 278, 280 
 
 Birch (W. de Gray) on the gryllus, 157 
 
 Birds on early vases, 257 
 
 terra cotta, 208, 209, 213 ; 270 
 
 Boat of the Sun, 143 
 
 Bodkins of ivory, gilt, 70 
 
 Bologna Museum, 15, 29 
 
 Bone antiquities, 76-78 
 
 Boots turned up at the toe, a characteristic 
 sign of Hittite art, 121, 131 
 
 Bottles, gold, 44 
 
 Box, containing weapons, 60 
 
 of carved bone, 76, 77 
 
 ivory, 70-74 
 
 leaden, 631 
 
 inclosed in two paterae, 71 
 
 Bowl, inscribed, 113 
 
 Bracelets, 6 
 
 . gold, 8, 12 
 
 ■ silver, 49 
 
 Breast, figure of the, on vases, 257 
 
 British Museum, 22, 32, 117, 122 
 
 archaic vase room, 274, 275 
 
 Bronzes found in temple ruins, 8 
 
 Bronze remains, 51 ; paterse, 51-55 ; pipe 
 or flute, 55, 305, ; serrula, 56 ; finger- 
 rings, pins, tweezers, buckles, 56; miscel- 
 laneous mass of objects, 58 ; mirrors, 
 59 ; buckets. 59, 60 
 
 hairpin, 174 
 
 Buckets, bronze, 59, 60 
 
 Bust, Iconic female, 108 
 
 Bull, on scarabs, 141, 143 
 
 and star on rings, 41, 42 
 
 on a gem, 161 
 
 Bulls'- heads, bronze, 56 
 
 Bunsen (Chev.), quoted, 140 
 
 Bustron (Florio), testimony of, 6 
 
 Buttons, gold, 8 
 
 Byzantine art, 31 
 
 coins, 11, 15 
 
 seals, 67, 68 
 
 Calcareous stone of Cyprus, 82 
 Calf and hand with a ring, 146 
 Cameiros, pottery of, 181 
 Candelabra, bronze, 56 
 Carbuncle, ring with, 40 
 
 Carte (Mr. It. and Mr. H.), on the bronze 
 
 flute, 305 
 Casket of bone, 78-80 
 Castellani (Signor), views of, respecting 
 
 amber, &c, 29 
 
 reference to, 43 
 
 Cato, governs Salamis as a Koman 
 
 Province, 4 
 Ceccaldi, (Signor) 54 
 Celenderis, in Cilicia, coin of, 298 
 Celtic antiquities, 13 
 Centaur, terra cotta, 243 
 Cerina or Cyrene, Phoenician inscription 
 
 found at, 83 ; Cypriote, 84, 85 
 Cervetri, 29 
 Chalcedony, cylinder of, 132 
 
 relics, 163-169 
 
 Chaldean ornaments, 250 
 Chalices, of stone, 94 
 Chaplets, gold, 8, 12, 16, 17 
 Chappell(Mr. W.),note on bronze flute, 305 
 Chariot, of four horses, terra cotta, 239- 
 
 241 ; for two horses, 242, 243 
 
 ■ ■ leaden, 63 
 
 subject of, on a scarab, 143 
 
 on gems, 159 
 
 on pottery, 240-242 
 
 of terra cotta, 221 
 
 Children, statuettes of, 205, et seq. 
 
 Chiusi, 29 
 
 Chittim, 31 
 
 Choir ; statuettes of musicians, 233, 234 
 
 Chons, god, 168 
 
 Christian worship in ancient temples, 8 
 
 Cippi, 9 
 
 Cippus, sculptured, 100-101 
 
 Circe, myth of, 272, 273 
 
 Clapping instrument, 204 
 
 Clemens of Alexandria, 276 
 
 Cleopatra, Queen, inscriptions of, 207, 213; 
 
 coin of, 309 
 Cocatrice, on a gem, 155 
 Cock, aryballos in form of a, 269 
 
 of terra- cotta, 71 
 
 statuettes of a, 206, 213 
 
 Coins, 7, 9, 10, 11 
 bronze, 53 
 
 number and variety of those found, 
 
 286 ; Cypriote, 287-296 ; Greek, 296- 
 298 ; Jewish, 298 ; Phoenician, 299 ; 
 Roman, 299 ; of Latin Kings, 300 ; 
 Lusignan, 300, 301 ; hoards of, 301, 302. 
 
 Cones, engraved, 132-135 
 
 Constantia, new city of, 4, 6 
 
 inscribed statuette found at, 90, 91 
 
 personified, 94, 95 
 
 Constantine, the Great, earthquakes at 
 Cyprus in his time, 2 
 
 development of Salamis in his time, 4 
 
 result of an edict by, 7, 8 
 
 Copper relics, 6 
 
 Corinth, coin of, 297 
 
 Cornelian, beads of, 18, 26 
 
 engraved, 49 
 
 carved, 29, 30 
 
INDEX. 
 
 319 
 
 Cornelian, scarabaei, 141 
 
 Corneto, 29 
 
 Crispina, Empress, 203 
 
 Crocodile, on a scarabaeus, 140 
 
 Crowned figure on a ring, 50 
 
 Crux ansata, 128 
 
 Crystal objects, 115-116 
 
 pendant, 24, 25 
 
 Cuming (Mr. H. S.), 251 
 
 Cuneiform characters on a cylinder, 131 
 
 Cupids on gems, 152 
 
 Cuttle-fish, chalcedony, 165 
 
 Curium, vase from, 259, 260 
 
 Cybele, glass figure of, 44 
 
 Cylinders, engraved, 117-132 
 
 Cyprus, Eune, daughter of, 2 
 
 Cyprus, Island of, independence of, 3 
 
 variety of the antiquities found in, 7 
 
 native style of gold ornament, 17 
 
 foreign influences at, 13, 14, 15 
 
 kings of, visit to Sargon, &c, 287 
 
 invaded by the Greeks, 3 
 
 history of, during the years 1191- 
 
 1194, 300, 301 
 gold coins, 11 
 
 coins, 41 
 
 table of characters, 314 
 
 inscription on gold fibulae, 45 
 
 inscriptions, 66 
 
 art on cylinders, 119, et seq. 
 
 inscription on scarab, 144 
 
 on a rectangle, 145 
 
 on vases, 247, 257 
 
 cartography of, 303, 304 
 
 Cyrenaica, excavation in the, 30 
 
 Dali, See Idalium 
 Damastes, king of Curium, 288 
 Damoris, 67 
 Dancing figures, 248 
 Demeter, statuette of, 150, 192 
 
 Kourotrophos, statuette of, 201 
 
 Demon- birds, 120 
 
 Dennis, (Mr. George), note from his work, 
 
 13 
 
 quoted, 29, 250, 254, 258 
 
 Diana Paralia, inscription to, 95, 96 
 Die, ivory, 70 
 Dimyxos lamp, 277 
 Diocles, inscription of, 269 
 Diodorus, inscription of, 269 
 Dionysiac emblems, 157 
 
 scene, 54 
 
 Diotse, archaic, 248-250 
 — glass, 178-179 
 Discobolus, on a stone, 38 
 Dog, aryballos in form of a, 268 
 
 inscribed, 239 
 
 Dolphins, on a gold bead, 42 
 
 Doves carried by sacerdotal effigies, 223- 
 
 229 
 Druids, beads of the, 35, 48 
 Dutch, use of fumigators by the, 261 
 
 Eagle, on gems, 161 
 
 Eagle on a Roman lamp, 281 
 Earpick, ivory, 70 
 Earrings, 6 
 
 gold, 8, 12, 30-37 
 
 Ear-rings, shell, 78 
 
 silver, 47 
 
 Earthquakes, influence of, 2, 4 
 Egg, in a glass cup, 181 
 Eggs, examples of ancient shells of, 181 
 Egypt, 33, 118 
 
 Egyptian art, contrasted with Cypriote, 
 22, 27, 30, 31 
 
 buckets, bronze, 59-60 
 
 hieroglyphics on cylinders, 124,e< seq. 
 
 on a stamp, 107 
 
 influence in Cyprus, 14 
 
 jewellery, 21 
 
 patera, 51-55 
 
 style of statuettes, 93 
 
 scarabaei, 136, et seq. 
 
 use of lamps, 276 
 
 Emerald glass beads, 27 
 Emeiy stone, 118 
 Empress, on gems, 159 
 Ephesus, coin of, 297 
 Epiphanius (St.), tomb of, 6 
 Erato, statuette of, 195 
 Eretria, coin of, 297 
 Eros, carved heads of, 30, 37 
 
 head of, in lead, 68 
 
 earrings in form of, 36 
 
 on a horse, 207 
 
 reclining on a lamp, 277 
 
 with Psyche, 213 
 
 Erotes, 152 
 Esarhaddon of Nineveh, 287 
 Etruria, gold antiquities of, 12 
 gold lamina? of, 13 
 
 jewellery and amber, 29 
 
 art of, 29, 31, 34, 35 
 
 Etui, or small box of pins and needles, 
 
 bronze, 55, 56 
 Evagoras I, 4 
 a descendant of Teucer, history of, 
 
 3 ; fate of, 4 
 
 coins of, 291 
 
 political history of, 292, 293 
 
 Eune, wife of Teucer, 2 
 Evoda, tablet of, 97 
 Euphranor, tablet of, 97 
 Eurylus, king of Soli, 288 
 Evelthon, king of Salamis, 288 
 Evil Eye, precautions against, 68 
 Eye-pieces, gold, 16, 17 
 Ezekiel, quoted, 23, 31, 34 
 
 Famagusta, city of, 6 
 tombs at, 81 
 
 Faustina, the elder, 94, 95 
 Fibulae, golden, inscribed, 44, 45 
 
 silver, 48, 49 
 
 Fillets or wreaths of leaves, gold, 233 
 Finger-rings, bronze and iron, 58 
 
 iron, 60 
 
 silver, 47-50, 56 
 
320 
 
 INDEX. 
 
 Finger-ring, gold, 8, 9, 12, 37-42 
 Flowers, of gold leaf, 16, 17 
 Flute, bronze, 55, 305 
 Foil, of gold, 8, 12 
 Fonts, stone, 94 
 Foot, lamp in form of a, 277 
 Forms of glass vessels, 172, 174 
 Fortune, on gems, 153 
 Fosbrooke, quoted, 251 
 Foundations of shallow enclosures, 7 
 Frontal, indented patterns of a, 13 
 
 with archaic ornaments, 15, 16 
 
 gold, 12-16 
 
 Fumigators, 262, 274 
 
 Galley, on a lamp handle, 280 
 
 Gazelle, figures of, on cylinders, 126, et 
 
 seq. 
 Gebal, king of, 289 
 Gemellus, tablet of, 98 
 Gems, 7 
 
 Greek, in a necklace, 18 
 
 rings, 38-42 
 
 use of, 40 
 
 engraved, 147-162 
 
 in mediseval setting, 148 
 
 Genius, statuettes of, 205, et seg. 
 Gizeh pyramids, 137, 138 
 Gladiator, leaden, 62 
 
 figure of a, 107 
 
 Gladiators, statuettes of, 220, 221 
 Glass objects, 29, 170-189 
 
 beads, 25 
 
 bronzes set with, 56 
 
 drops found in a leaden box, 63, 64 
 
 pendants, 44 
 
 with impressed figures, 49 
 
 hairpin, 174 
 
 set in a ring, 70, 80 
 
 ring with inscription, 174 
 
 vessels with studs or tear-drops, 185 
 
 subjects on, and variety of the 
 
 vessels, 9, 10 
 
 vessels, 7 
 
 Gnostic, amulet, 102, 103 
 
 gems, 155-157, 160 
 
 Goat, on a gem, 161 
 
 aryballos in form of a, 268 
 
 Goddess, on gems, 151 
 
 head of a, in glass, 187 
 
 Gold relics, 6 
 
 ornaments, 7, 8 
 
 coins, 11 
 
 antiquities, frontals, 12-16 ; groups 
 
 and leaves, 17 ; eyes, ib. ; mouths, ib.,30 4 ; 
 
 necklaces, 18-29 ; pins, 29, 30 ; settings, 
 
 30 ; earrings, 30-37 ; finger-rings, 37- 
 
 42 ; studs and disks, 42 ; miscellaneous 
 
 figures, 42-44 ; fibulae, 44-45 
 
 on a statuette, 91 
 
 fillets for the hair, 233 
 
 leaf crowns, 225 
 
 Golgoi, site of, 100 
 Goose, Venus on a, 204 
 Gothic coins, 15 
 
 Graco-Cyprian language, 3 
 Griffin, on a ring, 50, 141 
 Greece defeats Xerxes, 1 
 
 invasion of Cyprus by, 3 
 
 gold antiquities of, 12 
 
 — — gold frontals found in, 15 
 Greek bronzes, 560 
 
 leaden bullet, 63 
 
 church, an ancient wall used as a, 2 
 
 coins, 11 
 
 influence, 13, 14 
 
 inscriptions moulded on glass, 186, 
 
 187 
 
 poem, inscription of Phileas, 104 
 
 lamps, 276, et seq. 
 
 relics, destruction of, 5 
 
 scroll ornament, 17 
 
 statuettes, 9S, 225, 226, 231 
 
 Grotesque statuettes, 203, et seq., 215-220 
 Group, ivory, 75 ; bone, 78 
 Gryllus, gems bearing a, 155-158 
 
 Haematite, cylinders, 118, et seq. 
 Hair-pins, various, 29, 174 
 
 bone, 77, 78 
 
 ivory, 70 
 
 silver, 48 
 
 Hand with remarkable arrangement of 
 
 the fingers, 168 
 Harpocrates, figure of, 168 
 Hawk, on a scarabteus, 142 
 Headdresses of statuettes, 223-225 
 Heads in coloured glass, 188 
 Helbig (Herr), 27 
 
 Hellenic population of Cyprus, 176 
 Hera, statuette of, 192 
 Hercules, aryballos in form of the head of, 
 
 266 
 
 gold club of, 24 
 
 on coins, 289, 290, 291 
 
 - on gems, 151, 152 
 statuettes of, 192, 205, 216 
 
 Hermaphrodite centaur, 243 ; statuette, 
 
 213 
 Hermes, figure of, 168 
 
 — terminal figure of, 94, 95 
 mould for a figure of, 283 
 
 Hermianus, name of, on a lamp, 284 
 Herodotus, his account of Cypriote kings, 
 
 2, 3 
 — — reference to, 276 
 Hesione, 2 
 Hippocamp, 161 
 Hissarlik, 130, 230, 271 
 Hittite art, 230 ; on cylinders, 118, et seq. 
 
 boss of Tarkondemos, 128 
 
 gem, 147 
 
 Horn-Tree, the, 249, 250 
 Homer quoted, 29 
 Horse, Eros on a, 207 
 Horse's head, terra cotta, 221 
 Horus, 52 
 
 figure of, 168, 169 
 
 Hypogaa, 8 
 Hydria, a, 258 
 
INDEX. 
 
 321 
 
 lydria, glass, 180 
 lydrostatic vase, 275 
 
 bis, carving of, 74 
 
 dalium or Dali, gold objects from, 16 
 
 statuette found at, 201 
 
 king of, 288 
 
 Eon, gold objects from, 13 
 
 inlaying pieces, 1 45, et seq. 
 
 imperial tablet, inscribed, 105-1C7 
 
 inscribed rolls, leaden, 64-67 
 
 [inscriptions, Cypriote, 79, 80, 81, 82, 
 84, 85-92, 100-102, 112, 114, 115, 120, 
 123, 250, 251, 252, 310, et seq. 
 
 mixed Cypriote and Phoenician, 239 
 
 Phoenician, 83 
 
 doubtful, 113 
 
 on finger rings, 37 
 
 Greek, 95-99 
 
 on lid of a pot containing coins, 302 
 
 [ntagbios, 9 
 
 Invocation, Cypriote, 101 
 
 Iridescence, 9, 10 ; causes of, 182, 183 
 
 on glass vessels, 184 
 
 on other objects, 187 
 
 Iris, 153 
 
 Irish ancient diadems, 13 
 
 Iron objects, 60 
 
 Ishtar, goddess, 202 
 
 Ithodagon, king of Paphos, 288 
 
 Ivory objects, 29 ; seals, 69, 70 ; miscel- 
 laneous objects, 70 ; boxes, 71; groups, 
 etc., 75 ; hairpins, 174 
 
 Jackal, 166 
 Jao, 155, 160 
 
 Gnostic inscription of, 103 
 
 Jars, large, with geometrical patterns, 263 
 
 Jasper cylinders, 122, et seq. 
 
 Jehovah, Gnostic, 103 
 
 Jesus Christ, name on a stamp, 107, 108 ; 
 
 carving of scenes in life of, 109, 110 
 Jews, 3 
 revolt against Romans and Cyprus, 
 
 4 ; reason of their not settling in the 
 
 island, 4 
 John Baptist, 113 
 Joyner (Mrs.), her translation of Von 
 
 Loher's Cyprus, 4 
 Judaea, coin of, 298 
 Juno Lucina, statuette of, 203 
 Jupiter, on gems, 147 
 Jupiter Serapis, on a gem, 148. See Zeus 
 
 Kastamoeis, 67 
 
 Kerkopes, aryballos in form of one of the, 
 
 268 
 Kertch, gold objects from, 13 
 Key-fret, ornament, 17 
 Key-like objects on statuettes, 229-231 
 Khem, god, 60 
 Khersonese, gold objects from, 13 
 
 King (Mr. C. W.), 117, 118, 156 
 Kitium, Kittium, or Larnaca, 72, 109 
 
 inscribed stone found at, 105 
 
 kings of, 288, 289 
 
 serrula from, 55 
 
 urn found at, 246. See Larnaca. 
 
 Knife, leaf-bladed, iron, 60 
 Kurium, or Kourium, 34, 36 
 
 inscribed bowl from, 113 
 
 - king of, 288 
 temple at, 7, 64 ; tripod found at, 
 
 56 
 
 Laminae, of gold, Etruscan, 13 
 
 Lamp, with an earring attached, 36, 278 
 
 Lamps, various Greek, Roman, inscribed, 
 
 etc., 248 
 antiquity of 276 ; examples of, 277- 
 
 283 ; moulds of, 283 ; inscriptions and 
 
 marks of, 284, 285 
 Lance-heads, iron, 60 
 Lang (Mr. R. H.) 227 
 
 on the coinage, 286, et seq. 
 
 Larnaca, glass from, 10 ; tomb at, 246. 
 
 See Kitium 
 Latin kings of Cyprus, coins of the, 300- 
 
 302 
 Leaden antiquities, 61 ; groups, 62 ; vases, 
 
 plates, ib. ; sling-bullets, 63 ; boxes, ib. ; 
 
 inscribed rolls, 64 ; seals or stamps, 67 ; 
 
 plaques, etc., 68 
 Lecythus, with painted subject, 270-271 
 Leda and Swan, on a gem, 152 ; statuette 
 
 of, 203 
 Lefkosia, plain of, 1 
 Leyden Museum, 22 
 Libyan race, 52 
 Lion, bone carving of, 77 
 
 figures of the, on scarabsei, 141 
 
 devouring a stag, on coins, 289-290 ; 
 
 and on a seai-ab, 144 
 
 head of, on coins, 291, 293 
 
 inscribed, 239 
 
 leaden, 62 
 
 Loftus (Mr.) discoveries by, 13 
 Loher, Von, testimony of, 3, 4 
 Lotus, gold pendant, 20 
 
 as an ornament, 262 
 
 Louvre, gold objects at the, 17 
 
 Lucius, name of on a lamp, 285 
 
 Lusignan (Guy de), 309, 301 
 
 Lusignan Period, coins of, 11 
 
 Luynes (Le Due de), on coins, 286, et seq. 
 
 Lycian coins, 296 
 
 Lysanias of Ephesus, 297 
 
 Ma, goddess of Truth, 140 
 Magical gem, 162 
 Marble, 82 
 Marriette (A.), 21 
 Mars, rigure of, 94, 95 
 
 on a gem, 149 
 
 Mask, comic, on a lamp, 282 
 
 T T 
 
o o o 
 
 INDEX. 
 
 Mask, terra cotta, 
 
 238 
 
 Mary, the B. Virgin, 109, 110 
 
 Magdalene, 109, 110 
 
 Medals, 6 
 
 Mediaeval cuius, 11 
 
 Mediterranean, Salamis the mistresa of 
 
 the, 4 
 Medusa, 77 
 
 head of, 100 
 
 Mercury, figure of, 10/ 
 
 on gems, 151 
 
 on a scarali, 111. See Hermes. 
 
 Merodaeh, 120 
 Mesopotamia, 33 
 
 gold masks from, 13 
 
 Messaria, 1 
 
 Michael, Gnostic inscription of, 103 
 
 on a gem, 160 
 
 Miletus, coin of, 298 
 Millingen's arrangement of vases, 272 
 Milton, cpiotation from, 104 
 Minerva, 276 
 
 on gems, 149, 150 
 
 Mirrors, 8 
 
 bronze, 59 
 
 Moisidemos, inscription of, 91 
 
 Monteroni, gold objects found at, 13 
 
 Moon god, on a lamp handle, 280 
 
 Moorish water coolers, 259 
 
 Mora, game of, 210 
 
 Mould for the ornament of a lamp, 282 
 
 Moulded glass cups, 186, 187 
 
 Mouthpieces, gold, 16, 17 
 
 Mouth strap, or (popfieia, 93 
 
 Musician, a female, 232, 233, 234 
 
 Mycena?, or Mykense, relics from, 13, 
 
 128 
 Mycerinus, king, scarabaeus with name of, 
 
 137 ; sarcophagus of, 138 
 
 lamp burned before his tomb, 276 
 
 Mysteries, scenes from the, 272, 273 
 
 Nail, iron, 58 
 
 Naples Museum, ancient objects at the, 
 
 17, 21, 47 
 Necklaces, 6 
 
 gold, 8, 12, 18, et seq. 
 
 shell, 76 
 
 — silver, 48 
 
 Needles, bronze, 55 
 
 Negress head and jewelled earring, a 
 
 lamp in form of, 36, 278 
 Nemacan lion, 151, 152 
 Nerva, Emperor, inscription of, 105, 107 
 New York Museum, 15, 21, 23, 47 
 Newton (Mr. C. T.), 43 
 Nicocles, succeeds his father Evagoras, 4 ; 
 
 his fate, ib. ; coin of, 293 
 Nicocreon, son of Evagoras I, 293 
 Nike, on gems, 153, 154 
 Nile, River, personified, 138 
 Norfolk, amber beads of, 29 
 
 Oinochoe, with lions, 260 
 Olbia, gold objects from, 13 
 Olpe, a late style of, 270, 271 
 Olympus, Mount, 1 
 Ouasidarnos, inscription of, 87 
 Onasikypra, inscription of, 87 
 Ornaments, gold and silver, 7, 8 
 
 of early Cypriote vases, 253, 256 
 
 Osiris, 52 
 
 Palaces of Salanaiuia, 6 
 Palachos, inscription of, 115 
 Palm trees painted on a vase, 256, 257 
 Paphian goddess, inscriptions to the, 
 84, 85, 86 
 
 cult of, 121, 122, et seq. 
 
 Paphos, king of, 288 
 
 inscriptions found at, 86, 87, 88 
 
 temple at, on a gem ring, 40, 41 ; 
 
 on a mirror, 59 ; on a stone, 162 
 vase from, 257 
 
 Paris, Museums at, 47 
 
 Park (Mr.), finds a gold mouth on a 
 
 mummy, 304 
 Parody, represented on a vase, 272, 273 
 Pasht, goddess, 50 
 
 on a scarabams, 141 
 
 Paste, gems, 40 
 Patera, 8 
 
 bronze, 51-55 
 
 two enclosing a box, 71 
 
 Patterns, primitive, 27 
 
 Paulus, name of, on lamps, 284 
 
 Peace, hieroglyphic of, 142 
 
 Peacock, painted on glass, 172 
 
 Pearls, use of, 25, 28 
 
 Peckeius, Pedias, or Pediteus, River, 1 
 
 Pendants, amethysts, 28 
 
 crystal, 24, 25, 115, 116 
 
 glass, 188, 189 
 
 gold, 18 
 
 Persians defeated by the Greeks, 1 
 
 rule Salamis, 3 
 
 Phallus, on bracelets, 166 
 
 devices of, on lamps, 278 
 
 objects in form of, 43, 79 
 
 gold pendant, in form of, 19, 20 
 
 Phileas, elegy in honour of, 104 
 
 Philip, staters of, 11 
 
 Phocus, murder of, 1 
 
 Phoebus Apollo, 213 ; disk with head of, 26 
 
 Phoenician coins, 11, 289, 290, 300 
 
 commerce, 175, 177 
 
 glass, 9, 10, 173-179, 180-181 
 
 hand-painted glass, 170-173, 182 
 
 — — gold masks, 13 
 
 influence, 13, 14 
 
 statuettes, 202 
 
 styles, 30, 36 
 
 style of gold ornament, 17 
 
 style of vases, 264, 265 
 
 vases, 245, 246 
 
 Phoenicians in Cyprus, 3 
 
 Phcenico- Egyptian cylinders, 120, et seq. 
 
INDEX. 
 
 o o .-> 
 
 hrygian cap, 208, 213 
 
 ierides (Mr.), 79, 84, 86, 87, 257 
 
 ig-like figures, 219, 220 
 
 ins, bronze, 55, 56 
 
 ipe, head of a player on the double, 93 
 
 ipe or flute, bronze, 55, 56 
 
 lates, leaden, 62 
 
 'lato, name of, on a lamp, 2S5 
 
 'olyhymnia, statuette of, 195 
 
 'oniona, 150 
 
 'ottery, various forms of, 251-253. See 
 
 Terra-cotta. 
 'riapus, 152 
 'rometheus, 276 
 'syche, 213 
 
 •"tah-Socharis-Osiris, 167 
 3 tolemy, puts Nicocles to death, 4 
 ^tolemies, glass of the time of the, 9, 13 
 
 coins of the, 11 
 
 5 usiptolos, 67 
 
 Pythagoras, king of Kitium, 288 
 
 I a, god, or sun, 52 
 
 Rain, statuette of the goddess or nymph 
 
 of, 199, 200 
 Jam, on coins, 288, 289, 291 
 Ramencheper, or Thothmes III, name of 
 
 on scarabEei, 138, 139 
 Ramenka, or Mycerinus, scarabeeus of, 
 
 137 ; sarcophagus of, 138 
 Ran-ran-ran, mystical Egyptian word, 140 
 Raphael, Gnostic inscription of, 103 
 Rassam (Mr.), 122 
 Reseph Mical, a Phoenician god, 3 
 Rhytons, various, 261 
 Rings, 6 
 
 ring-shaped objects of shell, 81, 82 
 
 ivory, 70 
 
 Rhodes, coin of, 299 
 River god, a, 1 
 Rods, of ivory, 75 
 Rolls, leaden, 64-67 
 Roman coins, 11 
 
 glass, 9 
 
 influence, 13, 44 
 
 lamps, 276, et seq. 
 
 lead, 62 
 
 remains, 5 
 
 statuettes, 93 
 
 vase, with painted subjects, 272, 
 
 273 
 Romans, masters of Salamis, 4 ; revolt 
 
 against them, ib. 
 Rome, Museums at, 47 
 
 Sacerdotal effigies, 222, et seq. 
 3t. Petersburg, Museum at, 13 
 Sais, on the Nile, 276 
 Salamis, Salamina, Salaminia, or Sala- 
 minium, ruins of the ancient city, 1 
 
 legend concerning its origin, 2 
 
 kings of, 3 
 
 harbour of, now disappeared, 1 
 
 Salamis, spread of its importance, 4 
 
 becomes a lloman province, 4 
 
 massive wall of, 2 
 
 etc., subject to Arnosis, King of 
 
 Egypt, 3 
 the most Greek of all the towns of 
 
 Cyprus, 26, 27 
 
 testimony of Bustron concerning 
 
 antiquities found at, 6 
 
 inscribed stone from, 88 
 
 stone head from, 93 
 
 Phoenician altar from, 99 
 
 tombs at, lU2, 117 
 
 Greek poem on a stone at, 104 
 
 notice of, 76, 78, 115, 118, 168 
 
 tombs of, 132, 134, 137, 221 
 
 kings of, 2S8 
 
 hoard of coins found in a pot at, 301 
 
 district of, 304 
 
 Salamis personified, 94, 95 
 
 Salamis, daughter of Asopus, 1 
 
 Salamis, in Attica, 1 
 
 Samian bowl, 248 
 
 Sarcophagus, a, 109 ; one destroyed, 221 
 
 Sard bead necklaces, 24, 25 
 
 Sardinia, 34 
 
 Sargon, king of Babylon, 2, 287 
 
 Satyr, on a gem, 159 
 
 Satyric masks, 235-237 
 
 Savile (Captain), on the later coinage, 301, 
 302 
 
 Sayce (Prof. A. H.), reading of inscrip- 
 tions, etc., 66, 79, 84, 86, 87, 88, 91, 92, 
 101, 102, 115, 118-120, 124, 126, 130, 
 133, 251 
 
 Scandinavian art, 27 
 
 Scarab-beetle engraved on a scarabseus, 
 139 
 
 Scarabcei, 44, 136 144 
 
 set in silver rings, 49, 50 
 
 Scarabseus, engraved, set in gold, 30 
 
 rings, 39, 42, 141, 142 
 
 Schist, talcose, scarabs of, 136 
 
 Schlieniann (Dr.), noticed or quoted, 13, 
 15, 130, 230, 271 
 
 Schmidt (Prof. Moriz), 86 
 
 Scyphati, 11 
 
 Seals, ivory and miscellaneous, 69 ; an- 
 cient use of, ib. 
 - leaden Byzantine, 67, 68 
 
 Sebak, an Egyptian god, 140 
 Sekhet, goddess, 50, 141 
 Semitic population of Cyprus, 176 
 Sensualism of Cypriotes, 54 
 Sepulchral figures, 90, 91 
 
 slabs, with Greek inscriptions, 96, 99 
 
 Serge or Sergius, proconsul of Cyprus, 109 
 
 Sergius the scrivener, seal of, 67 
 
 Serpentine vase, inscribed, 115 
 
 Serrula, or spoon-saw, bronze, 55 
 
 Set, the gryphon of, 143 
 
 Sexual emblems in a gold necklace, 19. 20 
 
 Shears, bronze, 58 
 
 Sheep, aryballos in form of a, 269 
 
 Shell antiquities, 78-S2 
 
324 
 
 INDEX. 
 
 Shelley, quotation from, 105 
 
 Shenti, or tunic, 52, 53 
 
 Sidon, art-works of, 14 
 
 artificers of, 23 
 
 Sidon, glass manufacture of, 175 
 
 king of. See Belus. 
 
 markets of, 3-1 
 
 Signets, 40 
 
 Silenus, 155-157, 160 
 
 statuettes of, 205, 210, 220 
 
 aryballos in form of the head of, 267 
 
 lamp in form of, 27S 
 
 Silver, relics, 6. 
 
 ornaments, 7 
 
 coins, 11 
 
 objects, 46-50 ; rarity of, 46 ; rings, 
 
 earrings, 47 ; spoons, pins, fibula?, vo- 
 tives, 48, finger-rings, 49, 50 
 
 Simonides, 217 
 
 Situlus or situla, or bucket, 59-60 ; chal- 
 cedony, inscribed, 164 
 
 Sleep personified, 210 
 
 Sling-bullets, leaden, 63 
 
 Smith (George), quoted, 125 
 
 Solar disk, winged, 143 
 
 Soldier, on a gem, 159 
 
 Soli in Cyprus, inscribed stone from, 92 
 
 Soli in Cilicia, coin of, 298 
 
 Soteira, tablet of, 96 
 
 Soter, tablet of, 97 
 
 Sotericus, name of, on a lamp, 285 
 
 Souchis, an Egyptian god, 140 
 
 Sphinx on a coin, 286 
 
 on gems, 154, 155 
 
 on scarabaji, 141 
 
 Sphyridon, name of, on lamps, 284 
 
 Spoons, ivory, 70 
 
 silver, 47, 48 
 
 Stags, fable concerning, 290 
 
 Stamnos, inscribed with a Cypriote legend, 
 250 
 
 specimens of the, 258 
 
 Stamp or mould, Christian, 107, 108 
 
 Stamps on lamps, 284, 285 
 
 Star, on a scarab, 143 
 
 Statuettes, stone, and heads of statuettes, 
 93 
 
 found in temples 7, 8 
 
 terra cotta, 190, et seq., 316 
 
 inscribed, 91 
 
 Steatite cylinders, 118, et seq. 
 
 scarabsei, 138, et seq. 
 
 Stone antiquities, 7, 82-110; inscribed, 83 
 
 Strigils, 8 ; iron, 58 
 
 Sun-circle, on cylinders, 125, et seq. 
 
 Survival of types, 35, 40 
 
 Swan, 213 
 
 Symbolic eye, 167 
 
 Syrians, in Cyprus, 3 ; nrtificers, 23 
 
 Tamissus, king of, 288 
 Tajatisas, inscribed vase of, 247, 248 
 Tanagra, figurines of, 216 
 Tarkondemos, Hittite boss of, 128 
 Tathasus, inscribed vase of, 248 
 
 Taxille, inscription of, 193 
 Teated jug, or early tetine, 259 
 Telamon, son of iEacus, 1, 2 
 Telesphorus, 217 
 Temple of Apollo, 7 
 
 of Paphos, on a gem, 40, 41, 162; 
 
 on a mirror, 59 
 Temples, statuettes found in, 7, 8 
 Terminal figure, 94, 95 
 Terra-cotta, relics, 6, 7 
 
 - diacritical marks for age, 262 
 finding of, 71 
 
 trumpets, 94 
 
 antiquities, 190-285 
 
 ■ statues and statuettes, 190 
 
 Terra d' Umbra, tripod of, 100-101 
 
 finding of, 71 
 
 Tetines, 251-2 
 
 curious form of one, 275 
 
 Teucer, legend concerning, 2 ; marries 
 
 Eune, ib. ; his descendant, Evagoras, 3 
 Theanor, 67 
 
 Theetonikos, scarab of, 144 
 Theodoras, on a gem, 159 
 
 name of, on a lamp, 284 
 
 Theokles, 67 
 
 Theophrastes, 118 
 
 Thothmes III, name of, on scarabsei, 138- 
 
 139 
 Throni, site of, 8 
 Thurhun, coins of, 41 
 Tiamat, the dragon, 120 
 Timocles, inscription of, 201 
 Timodamos, inscription of, 89, 90 
 Timokupra, inscription of, 89, 90 
 Tombs, most of the objects found in, 7 
 Tomb of St. Epiphanius, 6 
 Torch-holders, bronze, 56 
 Tortoise, a, 208 
 
 Toy, chariots, 239-243 ; warriors, etc., 244 
 Toys, leaden, 63, 64 
 Trade, influence of on Jews, 4 
 Trajan, events in his reign, 4 
 column of, 214 
 
 Tree, sacred, on cylinders, 123, et seq. 
 Tremitus or Tremitusa, site of, 100 
 Trinacria, cognizance of, 43 
 Tripod, bronze, 56 
 
 inscribed, 100-102 
 
 Trojan war, the, 2 
 
 Trumpets, terra-cotta, 93, 94 
 
 Turks, possess Cyprus, 6 
 
 Tweezers, bronze, 56 
 
 Tympanum of a church door, finely 
 
 carved, 109-110 
 Tyre, art works of, 14 
 
 glass manufacture of, 175 
 
 Tyrian, goldsmiths' art, 22, 31 
 Tyrus, denunciation of, 31, 34 
 
 Ulysses and dog, statuette, 217 
 Unguentaria, glass, 175 ; chalcedony, 168 
 Urams, 141,142,143 ; on scarabsei, 39, 142 
 Urns, large cinerary, 111 ; terra-cotta, 
 245 
 
INDEX. 
 
 325 
 
 Valerian the elder, coin of, 300 
 Varoscia, village of, 6 
 Varus, silver treasure of, 47 
 Vases, 7 
 
 bronze, 51 
 
 inscribed, 245, et seq. 
 
 leaden, 62 
 
 Veii, 29 
 
 Venice, fumigators used in, 261 
 Venetian coins, 11, 15 
 Venus, archaic figures of, 244 
 
 ■ figures of, 94, 95 
 
 on glass, 9, 173 
 
 gold figure, 43 
 
 ivory figure of, 70 
 
 statuette of, 190 
 
 on a goose, 204 
 
 temple of, on a mirror, 59 
 
 of Milo, 194 
 
 — i — Anadyomene, statuette of, 202, 204 
 Vogue" (M. le Comte de), on the coinage 
 of Cyprus, 286, et seq. 
 
 Vondiziani (Signor), 275 
 Votive offerings, 48 
 Vulcan, 276 
 Vyse (Colonel H.), 137, 138 
 
 Warka in Chaldea, gold masks found by 
 
 Mr. Loftus at, 13 
 Warrior, mould in form of a, 283 
 Weapons, 8 
 
 iron, 60 
 
 Weights, bronze, 56 
 Wilkinson (Sir J. Gardner), 21, 30 
 Wilson (Sir Erasmus), quoted, 137 
 Winged figure, carved on a vase, 112 
 
 Xerxes, defeat of, 1 
 
 Year, a fortunate, symbol of, 141 
 
 Zenobia, or Zolinabia, inscription of, 201 
 Zeus, 126 
 
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