Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/argiveheraeum01wald THE ARGIVE HERAEUM archaeological institute of Sincrtca American ^c^ool of Clascal ^tutiteg at It^ens THE ARGIVE HERAEUM BY CHARLES WALDSTEIN Pit. D., L. H. D., Litt. D. SOMETIME DIRECTOR OF THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS SLADE PROFESSOR OF FINE ART , UNIVERSITY READER IN CLASSICAL ARCHAEOLOGY, AND FELLOW OF KING'S COLLEGE, CAMBRIDGE SOMETIME DIRECTOR OF THE FITZ WILLIAM MUSEUM, CAMBRIDGE, ETC., ETC. WITH THE COOPERATION OF GEORGE HENRY CHASE, HERBERT FLETCHER DE COU, THEODORE WOOLSEY HEERMANCE, JOSEPH CLARK HOPPIN, ALBERT MORTON LYTHGOE, RICHARD NORTON, RUFUS BYAM RICHARDSON, EDWARD LIPPINCOTT TILTON HENRY STEPHENS WASHINGTON, AND JAMES RIGNALL WHEELER IN TWO VOLUMES VOLUME II TERRA-COTTA FIGURINES, TERRA-COTTA RELIEFS, VASES AND VASE FRAGMENTS, BRONZES, ENGRAVED STONES, GEMS, AND IVORIES, COINS, EGYPTIAN, OR GRAECO-EGYPTIAN, OBJECTS BOSTON AND NEW YORK HOUGHTON, MIFFLIN AND COMPANY Wi)t MtoerstDe press, CambrtDgr 1905 COPYRIGHT, 1905 BY THE TRUSTEES OF THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS ALL RIGHTS RESERVED Published April , 1905 NOTE This work is issued by the authority and under the auspices of the Archaeological Institute of America and the American School of Classical Studies at Athens, which share the financial responsibility for it. The supervision of its publication has been intrusted to a Committee which consists of representatives of both bodies. Each contributor has been left entirely free to express his opinions and sentiments regarding the subjects treated by him-—even where in these he differed from his asso¬ ciates — and is therefore solely responsible for the statements made in the articles written by him. Committee on Publication : — JOHN WILLIAMS WHITE, HAROLD N. FOWLER, EDWARD ROBINSON, On behalf of the Institute. THOMAS D. SEYMOUR, JAMES R. WHEELER, JOHN H. WRIGHT, On behalf of the School at Athens. PREFATORY NOTE TO VOLUME II. In the preface to the first volume of this publication I expressed my regret at the delay in bringing before the world the results of our excavations which were completed in 1895. I also regretted that we were obliged to issue the first volume before the completion of the second. I then thought myself justified in announcing that the second volume would “ follow within a few months.” Circumstances over which I have had no control have extended this period of a few months to what will now in all probability exceed a twelvemonth. As in the case of the first volume I deplore this, not only because it has kept from the archaeological world the material which we have to offer for study, but also because full justice cannot be done to my collaborators, especially to Dr. Hoppin and Mr. Chase, whose work has been completed and in type for several years. Quite apart from the question of priority with regard to the antiquities we have excavated as well as the deductions we may have drawn from them, the work of my collaborators may not be justly appreciated when considered in the light of more recent discoveries, — I mean those that have been made since our excavations were completed. I have in mind especially the important discoveries made in Crete, Melos, and the more recent excavations of Thera. In any case, the complete and final publication of the work on those sites was not available for our purposes; while in the case of Crete, notably of Cnossos, the exca¬ vations themselves have not been brought to a termination, and the material furnished does not present itself in a form admitting of final conclusions and general deductions. Still, it may not seem right that, covering as we do similar fields of inquiry to that of recent work on other Aegean sites, we should not have considered at least the suggestions which they offer in the elaboration of our own material; and it may not be unfair to criticise us for not having redistributed all the type set years ago and rewritten all that had been written. But I venture to think that the scientific value of the archaeological material which we here offer in our publication, and even of the conclusions which we have drawn from the study of them, is increased by the fact that in our study we have confined ourselves to what was actually before us in our own material, and to the defi¬ nitely published results of the work that had preceded us. Whether our results as here published are confirmed, rejected, or modified by those of future excavators and inquirers, our exposition can but gain in its claim to trustworthiness from not having been biased by premature side-glances at the foreshadowed results of contemporary exca¬ vation ; while those who must elaborate the discoveries made since our own will be able to make the better use of ours in their independent presentation, even if this use should be to controvert our conclusions. A similar explanation may be called for with regard to the fact that we have not PREFATORY NOTE viii considered the work done since our excavations were completed on wider questions of historic and prehistoric archaeology, in which our own material must find a place as evidence. These include especially the wide and complicated problems of the earliest ethnology of the ancient world, together with the greatly expanded study of Hellenic and primitive mythology. The whole question of the Mycenaean age and the periods that preceded and followed it has entered a new phase, owing to the remarkable work done by such writers as Professor Ridgeway and Dr. J. G. Frazer, and to the cognate discoveries and inquiries of explorers and scholars like Professor Flinders Petrie. I have been directly criticised for not having, in my General Introduction in the first volume, clearly taken sides on the main issues raised by such important inquiries. Dr. Rouse, in his review of our first volume, 1 says: “Dr. Waldstein has not thought well to examine the bearing of this book (Professor Ridgeway’s Early Age of Greece) on his Introduction, part of which might have been modified by it. He does indeed mention Professor Ridgeway in a footnote, not without approval; but there was time to have formed a more definite opinion than he gives on the new theories, whether to accept them or to reject.” Now, all that I have urged above regarding the undesirability of entering into wider inquiry beyond the range of our own material in this publication applies still more emphatically to the questions raised by Professor Ridgeway’s bold and far-reaching work. I wish in no way to discourage this stirring expansion of the study of classical antiquity into wider spheres, where it establishes its immediate relationship to general ethnology,— nay, to anthropology. The day may come when all our views of the early history of man, including the peoples of Ancient Greece and Rome, will present a picture containing a full and organic composition instead of the smaller groups and single portraits which we now have before us; and when the whole image of the past in the eyes of our poster¬ ity may gain in truth and even in clearness. But to my mind this day has not yet come; because the material for such wider generalization, which we may reasonably hope for in the future, is not yet to hand. Excavations, not only in Egypt, in Assyria, in the whole of Asia Minor, in the northern portions of Ancient Greece, in the islands of the Aegean, in Sicily and in Italy, but also in many other centres of Europe and other parts of the world, will have to yield their treasures of the past, before a great genius, happily arising, is prepared to fuse the disjointed ingots of evidence together, at the slow and steady fire of sober yet imaginative induction, into the great and malleable bar of precious metal out of which the monumental forms of truth are forged and cast. In the mean while, how¬ ever, truth is advanced by a select few who form legitimate scientific hypotheses in presenting theories by means of which, for the time being, we can in some way grapple with the vast mass of material before us. But in presenting the results of our excava¬ tions of one site, and in drawing our conclusions from the material before us, we are emphatically not called upon to take sides on problems of much wider issue, the solution of which may ultimately be furnished by our facts and our exposition. 2 1 Classical Review, October, 1903, p. 308. opinions tended to support those of Professor Ridgeway, 2 I think it right to state that wherever my results and they were on my part arrived at quite independently PREFATORY NOTE IX Still, since the first volume was published, the final and official publication of Troja and Ilion has been issued by Dr. Dorpfeld and his collaborators. Furthermore, the work done and the wonderful results attained by Dr. A. J. Evans and his colleagues in Cnossos of Crete, as well as that of Professor Halbherr and his colleagues at Phaestos, though the excavations are not completed, have led to preliminary publications in which final conclusions have in some instances been drawn which hear directly upon essential points of our discoveries at the Argive Heraeum. As the conclusions thus arrived at by the excavators of Cnossos seem to militate against my main contention with regard to the Argive Heraeum, I feel that I must in a few words touch upon this question, even at the risk of being premature. I claimed preeminent importance for the Argive Heraeum, because, as compared with sites like Troy and other early “ classical sites ” including Crete, it was one about which there could be no doubt in regard to its intrinsic association from the earliest times with what is to us Hellenic life; while, on the other hand, in contradistinction to Tiryns and Mycenae, which only present definite periods in the development of Hellenism, the Argive Heraeum was continuously, in all ages about which we know anything, an important centre of that life. I maintained, and I still maintain, that our excavations have yielded material giving undeniable proof that this site was occupied in what is commonly called the Neolithic period. By an oversight the first volume contained no illustrations of stone implements found in our excavations. I wish here to supplement this deficiency by inserting specimens of such Neolithic articles of use. Stone Implements from the Argive Heraeum. From the Neolithic age onward there is abundant evidence of a continuous occupation of that site, be it as a citadel or as a temple, down to Roman times. I wish here to emphasize more strongly than I have done in the first volume that the earliest walls and dwellings, together with the stone implements, confirm the tradition which I maintained 1 from him. Any suggestion I received from him has been some of our material before publication. We are nei- duly acknowledged ; just as he has acknowledged, both in tlier of us responsible for the other’s views and conclu- his article in the Hellenic Journal in 1896, as well as in sions. his book, the cases in which I enabled him to consider 1 Classical Review, December, 1900, pp. 473 ff. X PREFATORY NOTE is given in Bacchylides (xi. 43-84), that the site of the Temple of Hera was also that of the Pre-Proetean citadel of Argos. On every side there is thus evidence of a Pre- Mycenaean civilization at the Heraeum; and in tradition, monuments, and minor works we have there an illustration of the systematic origin and organic growth and develop¬ ment of the Mycenaean civilization and the periods following it. No doubt there is evi¬ dence (which moreover we should a priori expect) of waves of foreign influence. But the main current of civilization leading up to the Mycenaean age, through it and beyond it, is central and continuous on the site of the Argive Heraeum. As far as our evidence goes, there is no reason for assuming that the Mycenaean civilization came to the Argolid from without, and that it was not continuously developed in that centre of ancient life. Now, the conclusions which Dr. Evans has drawn from his Cnossian discoveries tend to make Crete the earliest focus of Mycenaean civilization from which it radiated to other parts of the world, including Greece Proper. Mr. Mackenzie, moreover, in a very ingen¬ ious and able article 1 has endeavored to prove this definitely by the evidence of the vases found at Cnossos. He maintains that the evolution of the Mycenaean ceramic style out of the Kamares ware, which again is evolved from Cretan Neolithic ware, is to be found in Crete. He further maintains that from Crete it found its way into the Argolid and the other parts of the ancient world. In short, it is maintained that Crete is “ the cradle of the Mycenaean, and hence of Hellenic, civilization.” This seems to me improbable. Moreover, if it were true, my own conclusions with regard to the position of the Argive Heraeum would he unfounded. In spite of the prematureness of any attempt to arrive at a final decision on the nature of the Cnossian excavations while they are not yet completed, and before the objects there found have been subjected to a thorough examination in their completeness, I wish, in view of the partial publication of such conclusions on the part of the excavators, to enumerate briefly my doubts, and to commend them to the consideration of the Cretan explorers. On the one hand, I do not doubt of the ample evidence as to the early settlement of the Cnossian and other Cretan sites in the Neolithic period, and I view favorably Dr. Evans’s suggestion of a chronology reaching back much farther than we have hitherto been wont to conceive, namely, well into the third and even the fourth millennia b. c. As Dr. Dbrpfeld has admitted, the earliest layers of Hissarlik distinctly point to such remote ages; and I have always expressed my belief that we should have to go much farther back when looking for the beginnings of early Greek civilization. But, on the other hand, we are informed that the objects on the Cnossian site end witli the Mycenaean period, that there are no objects belonging to a later date found there, and that therefore the life they reflect antedates that of the sites in Greece Proper, and that the Mycenaean civilization found in the latter is derived from Crete. It is now some years ago 2 since I expressed the view that it is a mistake to believe that the Mycenaean and Geometric forms of art production ceased in all parts of Greece at the same time, and were superseded in the same period by the archaic forms of 1 J. II. S. XXIII. 1903, pp. Iu7 £f. 2 At a public meeting of the American School of Athens in 1892. PREFATORY NOTE XI distinctly “ Hellenic ” character. It then appeared to me that, especially in ceramic art, the familiar polychrome, black-figured and red-figured vases never became the indigenous manufacture of certain portions of the ancient world; but that the Mycenaean and the Geometric forms of ornamentation as well as the so-called u Proto-Corinthian ” (our later Argive-Linear) maintained themselves long into the historic period. Of this survival, this persistency of earlier styles, Crete seems to me a most probable instance. Though the Cnossian city reach far back into the remotest antiquity, and nothing later than Mycenaean ware has as yet been found there, we must at least await the completion of those excava¬ tions and those of other Cretan sites before we exclude the possibility, nay, the probability, that the latest of the “ Mycenaean ” remains at Cnossos reach far down to the gates of the historic Greek periods when elsewhere in the Hellenic world other Hellenic forms had been developed. The grounds for my doubt in the face of the mass of evidence which is even now adduced by the Cnossian excavators are based upon the intrinsic char¬ acter of this evidence itself. To begin with the more general point of view (though I cannot enter upon a minute critical estimate of the ethnological “ evidence ”), the confused tangle of ancient tradition concerning the early inhabitants of ancient Crete,—the Eteocretans, Pelasgians, Achaeans, Dorians, the Carians, Leleges, and their relation to the Lycians, — does not point to a unity of organization and civilization which could have produced the Mycenaean style foreshadowing the typically Hellenic art. Moreover, I cannot feel that the literary traditions concerning the Minoan Cycle in any way warrant us in assigning a central position to it in the formation of Hellenic tradi¬ tion. In its relation to the established and predominant body of earliest tradition it par¬ takes of what I should like to call an u episodical ” character. We can conceive of the organism of Hellenic myth and heroblogy retaining its organic character if this cycle were expunged. An intimate connection with Greece Proper, so as to suggest an essen¬ tial influence in the form of civilization, is not manifest, certainly not as regards the Argolid. The only real point of union in this sphere is with Attica in the Thesean story ; and here it is of a passing nature, indicating a war which implied no conquest or lasting occupation of the country. On the contrary, the balance of evidence in the tradition of Daidalos points, as regards art and style, rather to an influence from the mainland (in this case Attica) upon Crete, than from Crete on Greece Proper. This is quite different from the wave of influence which we can clearly trace in sculpture in the Daedalids, the so-called Ionian period, when we are at the very gates of the Historic period. 1 In fact, I cannot help feeling that the Minoan and Thesean tradition is comparatively late, as the complex elaboration of the tradition concerning the life and deeds of Theseus and his worship bears traces of contamination and points to a late date compared with the body of Greek myths and heroology. There was one period when the influence of Crete upon the mainland of Greece was 1 See my article on ‘ Dddale et l’Artdmis de Ddlos,’ 2 Cf. Essays on the Art of Pheidias, pp. 254 £f. Rev. Archeologique, December, 1881, pp. 321 fE. Xll PREFATORY NOTE paramount, when accordingly the life in Crete, especially at Cnossos, must have been most thriving and have manifested itself in active art-production. This is the period which in the history of sculpture we call the Ionian period: when the craft of making temple-statues, the profession of the dyaX^aTonoLo^ was really established and introduced from these centres into Greece Proper. According to the literary traditions the chief centres whence this art sprung were Crete, Chios, and Samos. The activity of these schools of sculptors, immediately derived from Daidalos (in my opinion the historical Daidalos), and the most effective transmitters of this skill, were the Cretan Daidalidae, Dipoinos and Skyllis. These we can trace in their journeys through the Greek continent engrafting their craft at Sicyon, through the Peloponnesus, and as far north as the Aetolian Ambracia. Is it not startling to find that of this period, corresponding to the orientalizing wave in ceramic art in Greece, concerning which we have undoubted evi¬ dence as to the predominant position of Crete, not a single trace should have been found, especially in such centres as Cnossos ? Is this conceivable ? Are we not justified in ask¬ ing for some reasonable explanation of such a singular phenomenon ? And may I not suggest that, however early some of the Cnossian remains and the earliest building may be, some parts of the palace, especially its plastic decoration in stucco as well as some of the wall-painting, belong to this later historical period? We need not expect to find “archaic Greek” objects there, unless they were imported ; hut the native orientalizing style, which presents a continuous survival of the Cretan-Mycenaean art down to these later historical times, we can expect. 1 But let us turn to the more specifically archaeological evidence. (1) The architecture of Cnossos in its “ Minoan ” periods appears to me to be of a distinctly later date than the Cyclopean structures of Tiryns and of those parts of the Heraeum of the “ Tirynthian ” period — a fortiori the earlier walls of more primitive settlements. If the Cnossian walls correspond most closely to the sixth layer of Hissarlik- Troy, it stands to reason that the earliest Heraeum walls, which correspond to the first, second, and third layers of Hissarlik, are distinctly earlier. The walls of the Heraeum present a continuous development from these primitive beginnings through all ages to the later Roman period, and thus admit of no break or hiatus. 2 1 Since I wrote the above, my attention has been drawn to a passage which I overlooked in Mr. Evans’s Report on the Excavations of the Palace of Knossos in the Annual of the British School at Athens, vii. (1900-1901), p. 118 ff. In it is an account of the find of “ bone ‘ fish ’ ” upon which were incised signs. “ Out of twenty-one varieties, ten are practically identical, both in shape and position, with later Greek alphabetic forms, while four more are the same, though in a different position. Thus we have A, A, H, A/,1, n, P, Y, + and a form approaching the digamma, etc. . . . Yet the Mycenaean date of these bone pieces is as well ascertained as anything' found within the walls of the Palace.” I must ask : What is the “Mvcenaean date ” here referred to as an established fact ? The date of the “ later Greek alphabet ” we do know. Do not these later Greek objects speak rather in favor of my view, that the Mycenaean style survived in the Palace of Cnossos down to historical Greek times ? 2 Quite recently Professor Noack ( Homerische Palaste, 1903) has pointed out that there is a “ contrast ” (ein Gegensatz) between the elevation and ground-plan of the “ Greek ” (Troy, Tiryns, Mycenae, and Arne) and the Cretan palaces. It seems strange to me that he should nevertheless consider the Greek palaces to have been in¬ fluenced by the Cretan form, especially when he (pp. 27 ff.) refers the principle of the breitstirnige Front which distinguishes Cretan from “ Greek ” palaces to the East, Syria and Egypt, for its origin. This “ oriental ” ele- PREFATORY NOTE xm (2) Though the Terra-Cotta figurines from Cnossos have not yet been published sys¬ tematically, occasional publications have given enough to show that they do not present that full and organic development which Mr. Chase and I have endeavored to demon¬ strate in this publication. None of the specimens from Crete which I have since seen represent the earliest beginnings as illustrated by our first and second class; nor do they show the continuity of development of our Tirynthian-Argive class out of its primitive beginnings. The causes for regret at the delay in our publication are exemplified by the fact that in the excellent publication of ancient Terra-Cottas just issued by Dr. Winter 1 he should have had to rely for the choice of his terra-cottas from the Heraeum upon my preliminary publication of our first year’s work published in 1892, and that he has thus been unable to use for his general exposition the richest find of such objects, represent¬ ing the most varied classes and presenting instances of such continuous development. In view of what I had put in the first volume 2 on the nature of the typically Mycenaean terra-cottas and their “ ceramic ” style, he could hardly have given to them a position earlier than our Tirynthian-Argive, still less than our primitive class. 3 (3) As regards the pottery from Cnossos, we are already in possession of much fuller publication ; and quite recently Mr. Duncan Mackenzie 4 in a very thoughtful and able article has made an attempt to give a systematic account of the evolution of Cretan pottery. The discovery of Mr. J. L. Myres established the fact that the pottery to which he gave the name Kamares ware is peculiar to, and characteristic of, Crete. Mr. Mac¬ kenzie has in a conclusive manner shown how the earliest form of this Kamares ware is immediately developed out of the primitive Neolithic pottery with incised patterns. Upon this follows a class of “ early Minoan ” ware which, according to him, is the precursor of the Mycenaean ware, out of which, in fact, he maintains the Mycenaean style grew. But this Minoan class presents two different, if not antagonistic, groups : the one monochrome, the other polychrome in its decoration. On his own showing (p. 171) the polychrome was the more favorite style of the two. Now he maintains that these two groups contend with one another, as it were, mingle their influence, the monochrome ultimately winning the day, and that the final result is the establishment of the Mycenaean style. It is on this most important point with regard to the evolution of the Mycenaean style that Mr. Mackenzie’s arguments have failed to convince me. For the whole nature of this polychrome style in the Kamares as well as in the Cretan-Mycenaean ware is to my ment (contrasted with the “Greek” element) in the Mycenaean style of Crete would correspond exactly to what I maintain below characterizes the Cretan pottery of the Mycenaean age. 1 Die Antiken Terrakotten, etc., by R. Kekule von Stradonitz, vol. III. 1903. 2 Vol. I. p. 45. 3 When Dr. Winter, l. c. (p. xxx.), says of these earliest classes : Die Entstehungszeit auch der primitiv gebildeten Stiicke diirfte kaum sehr iveit fiber das achte Jalirhundert zuriickreichen, it is enough to point to the tray, examined by Mr. Chase, containing the objects from a tholos tomb at Mycenae in which a Heraeum terra-cotta of our second (Argive-Tirynthian) class was found, to prove that even our second class can at least not be later than the Myce¬ naean period. Cf. p. 10 2 . 4 J. Hellen. Stud. XXIII. (1903) pp. 157 ff. Other articles dealing with Cnossian pottery have appeared by Mr. D. G. Hogarth, British School Annual, VI. 1899- 1900, p. 74 ; by Dr. A. J. Evans, B. S. A. VII. 1900- 1901; by the same writer, B. S. A. VIII. 1901-1902, pp. 88 ff. XIV PREFATORY NOTE mind a most characteristic differentiation of Cretan pottery; one, moreover, which also differentiates it from the essential characteristics of the Mycenaean style as presented to us in the representative vases from the mainland of Greece and other sites. The very first specimens of Mycenaean vases found in Crete which were shown to me some time ago gave me the impression that they had local characteristics mixed up with the Mycenaean style which distinguished them from the general run of Mycenaean ware, and which I con¬ sider foreign to the main feature of Mycenaean ware, in some sense antagonistic to it. For want of a better word I should describe this differential characteristic as “ orientalizing.” I mean by that term those features of decoration which are found in a much later age, namely, the “ orientalizing ” period as illustrated in the Corinthian vases preceding the development of the archaic black-figured vases which are more purely Greek in style. The distinctive decorative features of this “ orientalizing ” style are a tendency towards the polychrome or piebald in color and towards a redundancy of ornaments in design. Plate XII. vol. XXII. of the Journal of Hellenic Studies will illustrate my meaning. The bronze age vase (No. 1 in the middle) from Zakro is in shape and general ornamen¬ tation distinctly Mycenaean. But the manner in which the partly naturalistic and other ornaments have been scattered about the whole body and neck of the vase (with a redun¬ dancy which has led German archaeologists to talk of such as “ Fullornamente ”) is foreign to the essential characteristics of the pure Mycenaean vase and style. Yet we must not he astonished to find this characteristic in a Mycenaean vase from Crete when it is manifestly already the leading characteristic of the “ early Minoan ” style, the precursor of the Mycenaean period, in that island. The primitive Cretan painted vases published by Messrs. Hogarth and Welsh in 1901 1 with the polychrome and characteristic Kamares vases given on Plates VI. and VII. will illustrate this more fully; while the polychrome cups Nos. 1 and 2 on Plate VI. of Mr. Mackenzie’s article will most strikingly illustrate the principle of the “Fullornamente'' at the early stage of Cretan ware preceding the Mycenaean period. Thus, through a careful and sober study of the style in the Cretan remains themselves, without the intrusion of any further theory, I cannot feel on the one hand that this polychrome style could ever lead to the Mycenaean style, and, on the other hand, that the distinctive characteristics which it embodies could ever be entirely expunged from the ware manufactured in Crete at any period of its production. It is to be found in the Mycenaean ware of distinctly Cretan origin, and, in some form or other, the devel¬ oped Kamares ware manifests a similar character. It is a significant and interesting fact that the place where these characteristics of Cretan style manifest themselves in a strong survival most clearly in a far later period is Naucratis, where we find the main features of the Kamares ware in the ornamentation of the interior of the characteristic Naucratite pottery. With the evidence furnished up to this moment before us, it seems to me more probable that the active influence which won the day in Crete for the monochrome decoration contending with the polychrome style was the introduction of pure Mycenaean patterns 1 II. S. 1901, pp. 78 ff. PREFATORY NOTE XV which probably came into Crete from elsewhere, and which were never assimilated in their complete purity of character. This course in the history of ceramic decoration seems to me more probable than that the elements of the Mycenaean style were engrafted from Crete upon the ware of those centres, notably the Argolid, where the Mycenaean style has hitherto been supposed to have had its native home. As far as the Heraeum is concerned, there appears to me to be no room for Mr. Mackenzie’s hypothesis. For we have there, as I have endeavored to trace it, 1 a continuous and organic development from the incised and early painted ornamentation of the Neolithic ware, through the dull-colored linear ornament with free-hand drawing of the early Mycenaean ware, to the fully developed forms of that style; and it appears to me that, out of the principle of free-hand drawing with spirals and curved lines and waved patterns in the dull-colored vases, the natural¬ istic ornament of the period of advanced ceramic art in the Mycenaean age naturally follows. There is no room in the chain of development for the intrusion of the peculiar early Minoan vase. One important point Mr. Mackenzie has succeeded in making highly probable, namely, that the use of glaze-color in vase decoration, which is to be found at the very earliest period in Crete, may have originated there, and may have spread thence to other parts of the Mycenaean area. This is most probable in view of the large numbers of such specimens found in Crete; though all sites of the ancient world have not yet been exca¬ vated. But the introduction of such a technical innovation is readily made from one part of the world into another ; not so the introduction of a characteristic style. The isolated specimens of distinctively Cretan Mycenaean ware which have been found in other parts of the Mycenaean world do not justify the conclusion of such a predominant influence on the part of the Cretan style, when we consider the paucity of these isolated specimens in their proportion to the pure Mycenaean ware found in the Argolid and elsewhere. We must wait for a careful differentiation between the peculiar Mycenaean ware found in Crete and the ware which is purely Mycenaean and corresponds to the predominant class of Mycenaean vases found in the Argolid, and, comparing their relative numbers, we must then ask whether there is not actual evidence which makes it probable that a great quantity of Mycenaean ware may have been imported into Crete from the Argolid. I may finally add that the evidence from Troy confirms me in this supposition; for we there find a pronounced and distinctive form of primitive ware with its characteristic material, shape, and ornaments; while the advent of the Mycenaean style in the sixth layer is foreshadowed in the adoption of spiral ornaments in the previous layer, which, though incised in the predominant system of Trojan vases, manifests a decorative feeling intro¬ duced and adopted from elsewhere. Dr. Dorpfeld says of these ornaments : 2 “ Ebenso neu, aber nicht eigentlich troisch, sind die eingetieften Spiralen, welche in der Zeit der dritten Periode aufkommen.” These designs correspond to the usual ornaments as we find them on the earliest dull-colored vases in the beginning of the Mycenaean period. These remarks on the Cretan question in its relation to our discoveries may, as I have 1 Vol. I. pp. 53 ff. 2 Troya und Ilion, 1902, p. 279. XVI PREFATORY NOTE said before, be premature, and I am quite ready to retract the statements here made when fuller evidence warrants such a change. But as it was not proper to ignore the brilliant results and the excellent work of the Cretan excavators while presenting this volume to the public, it was not possible to consider them without giving such a critical estimate of the bearings of their work upon ours. In the preface to the first volume I announced that “ the principle which I followed in this publication was to allow each member intrusted with a department as much inde¬ pendence as possible; ” and that “ I have not stood in the way of expression of well- founded individual opinion for which each collaborator deserves the credit and retains the responsibility.” This clearly applies to Dr. Hoppin’s conscientious publication of the Vases. It will be seen from his own statement that there is a point on which we differ, namely, the question of the Argive-Linear Avare. But upon examination it will be found that the difference is but slight and not of essential importance. Dr. Hoppin accepts what is, after all, the most important point, which I raised some years ago, and which to my knoAvledge had not been put before, namely, that the linear ornament (we might call it the geometric system of ornamentation — not to be confused with the later geometric period of Greek ceramics) preceded the naturalistic ornamentation of the Mycenaean vases. As far as I can ascertain, the more recent excavations in Crete and Melos and other ancient sites have strongly supported the view I urged in 1892. I have not yet come across any specimen of early dull-colored Mycenaean vases, nor of Neolithic vases from classical sites, which can be held to contain ornamentation that is not purely linear in character. Moreover, Dr. Hoppin admits that in the more advanced and wheel-turned vases of the Mycenaean period an important part of the ornamentation ahvays remains linear; Avhile in many of the small vases which he attributes to the Mycenaean period this linear system alone appears. Furthermore, in some small vases which he attributes to the Geometric period, the same principle applies ; Avhile, of course, in the succeeding period his own Argive-Linear, there is nothing but linear ornamentation. He can thus not deny my contention that in the early vases from the Heraeum the linear principle of ornamenta¬ tion Avas never absent, from its beginnings in the incised Neolithic Avare to the end of the Prehistoric period. Our difference of vieAV thus narrows itself down to what is almost a difference of Avords. In vieAv of the continuous presence of a certain system of ornament, its predominance at the earliest period, as Avell as at the latest, I have maintained that there Avas thus in the vase decoration a continuous Argive-Linear system at the Heraeum, the pedigree of which goes back to the Neolithic period, and the flourishing day of which is to be found in the later Argive-Linear period, formerly called Proto-Corinthian. Dr. Hoppin believes that my later Argive-Linear ware marks the degeneration of the Mycenaean system, and he proposes to restrict the term Argive-Linear to that later development. I am quite Avilling and quite ready to grant the main point of Dr. Hoppin’s observation, namely, that the linear principle could not have asserted itself so strongly in the later period if the naturalistic element, predominant in the Mycenaean period, had not lost its vitality. But in vieAv of the fact that in none of the previous periods had the linear PREFATORY NOTE XVII principle of decoration been eliminated, it cannot be correct to imply that there is any new departure in its more exclusive assertion when the Mycenaean style lost its vitality. Nor can it be correct to maintain that in this later period it originated out of the decline of the Mycenaean system immediately preceding it, when it was the predominant principle in the period preceding the Mycenaean, out of which this grew. The conscientious work that Mr. DeCou has bestowed upon the publication of the Bronzes will be manifest to all readers. But they cannot realize the infinite care and persevering labor which, before he wrote, he bestowed for several years upon the cleaning and sorting of the confused mass of shapeless material with which he had to deal. He has chosen to avoid drawing any wider conclusions from his facts, — a course which is thoroughly justifiable and has much in its favor. But we should have also been grate¬ ful to him if he had given us the fruits of his experience in further historic and archaeo¬ logical appreciation of his material, seeing that there is hardly any archaeologist alive who has had more experience in dealing with ancient bronzes than he. Professor R. Norton’s work is of high interest. If he is right in his classification, there are two distinct classes of engraved stones preceding the distinctly Mycenaean stones. This would furnish very strong evidence of artistic activity on our site before the developed Mycenaean period. Moreover, the numerical preponderance of the u new type Argive ” stones over the Mycenaean stones is significant. I would suggest as an explanation of the comparative paucity of Mycenaean stones on this site, that this class of gem was not commonly used as a votive offering. They are thus generally found in graves, and were used in life as ornaments or amulets. At the same time, the presence of comparatively large numbers of stones on the Heraeum site antedating the Mycenaean period might be a confirmation of our view that in these earlier times the site was a citadel and not merely a sanctuary, as it became in the later period. Mr. Lythgoe’s publication of the Egyptian objects confirms the views he previously expressed, and which are embodied in the General Introduction in the first volume . 1 CHARLES WALDSTEIN. King’s College, Cambridge, February 28, 1904. 1 Since this has been in type, and nearly two years after Volume I. of this publication appeared, a review is published in the Berliner Philologische Wochenschrift (June 25, 1904, pp. 811 If.) by Professor Furtwangler which is a caricature of all that a fair review ought to be. This I answered in No. 39, September 24, of the same journal. To all who are acquainted with the nature of the controversies carried on at present between us his action will be intelligible. In this long review he passes over the most important question of the Polycleitan char¬ acter of the Heraeum sculptures — the main subject of controversy between us — with a few lines. Readers of Volume I. (pp. 184 ff., and elsewhere) will remember how fully I dealt with the question of the Polycleitan character of the sculptures, and how I controverted in detail Professor Furtwangler’s dogmatic statement that “ all these sculptures have not the least relation to Polycleitus and his school. . . . The head of Hera and most of the sculptures from the Heraeum known to me are certainly Attic.” While denying all my views in his review, he inserts the phrase that two of the metope heads “ may he admitted to have something of Polycleitan style.” What does this retreat from his former position mean ? That two heads of this chief Argive temple, in which Polyclei¬ tus, the leader of the Argive school of sculpture, made his famous statue, are admitted by him to be Polycleitan in character. If any of the metopes show Polycleitan style, the leading art of the place was present in the sculptured decorations. As a matter of fact, with minor differences among each other (such as the Parthenon marbles and all other temple-sculptures show), all these Argive sculptures from this temple are of the same style. C. W. January 30, 1905. CONTENTS THE TERRA-COTTA FIGURINES BY CHARLES WALDSTEIN AND GEORGE HENRY CHASE PAGE Introduction. 3 I. Primitive Argive.10 II. Tirynthian Argive.17 Group 1: Slightly Developed Plastic Ornamentation.17 Group 2 : Considerably Developed Plastic Ornamentation.18 Group 3 : Elaborate Plastic Ornamentation ..19 III. Mycenaean.22 IV. Geometric.23 V. Advanced Argive.24 VI. Figures under Oriental Influence.'.28 VII. Early Archaic. 29 Group A : Hand-made Figures.29 Group B: Mould-made Figures.31 VIII. Advanced Archaic.38 IX. Free Style. 39 X. Animals.39 XI. Various Objects.42 THE TERRA-COTTA RELIEFS BY CHARLES WALDSTEIN AND JOSEPH CLARK HOPPIN Introduction.47 Reliefs Nos. 1-10.49 THE VASES AND VASE FRAGMENTS BY JOSEPH CLARK HOPPIN Preface.57 Abbreviations Employed.59 Introduction. 60 Chapter I. Primitive Vases.68 Chapter II. The Mycenaean Style.71 Vases with Dull Decoration.72 Fragments.72 Vases.74 Vases with Lustrous Decoration.74 Class I., Not represented.74 Class II., Division 1.78 Class II., Division 2.79 Class III., Division 1.81 Class III., Division 2.82 Flower Buds.83 Circles, Diamonds.84 Spiral Forms and their Development.84 XX CONTENTS Flower Patterns. 85 Flower Branches. 85 Murex, or Purple Fish Patterns.86 Linear and Textile Patterns.86 Class IV.89 Birds, Animals, and Human Figures.90 The Bee-Hive Tombs near the Heraeum .91 Jugs with Handle.92 Amphoras.93 Three-handled Vases.94 Teapot-shaped Jugs.94 Pseud-amphora.95 Kylixes .95 Cups .95 Miscellaneous Vases .96 Saucers .96 Bowls .98 Jugs .99 I. Without Decoration.99 One-handled Jugs.99 Three-handled Jugs.100 II. With Decoration.100 Two-handled Vase .101 Chapter III. The Geometric Style .101 Class I. Transitional Stage.104 Class II. Purely Geometrical Types.106 Class III. The Introduction of Human and Animal Motives.107 A. Birds.108 B. Horses.109 C. Men .Ill D. Women.114 E. Miscellaneous.115 Other Miscellaneous Types .115 Chapter IV. The Argive Style .119 Class I. Early Argive .124 Lekythoi.124 Kalathoi.124 Saucers.125 Class II. Linear Argive .126 Lekythoi.126 Oinochoai.128 Skyphoi.132 Pyxides.136 Covers.139 Knobs.140 Plates.141 Miscellaneous Forms.143 Kothons.143 Ring-form Aryballos.143 Jugs.143 Openwork Vases.144 Class III. Oriental Argive .144 Lekythoi.145 Oinochoai.148 Skyphoi.151 Pyxides.153 Jugs.153 CONTENTS XXI Plates.154 Alabastra.155 Aryballoi.155 Note on the Use of Applied Color in Certain Styles.156 Mycenaean.156 Dull Finish.156 Lustrous Finish, Class III.156 Geometric.157 Argive.157 Polychrome Vases, or Decoration on a White Ground.158 Chapter V. Miscellaneous Types.159 Chapter VI. The Corinthian Style.165 Old Corinthian Style.167 Skyphoi.167 Oinochoai.168 Pyxides.168 Covers.169 Sugar-bowl Form.170 Tripod Bowls.170 Alabastra.171 Amphora.171 Aryballoi.171 Askos.171 Kylikes.172 Plates.172 New Corinthian Style.172 Foreign Types.173 Early Attic.173 Cyrenean.173 Chapter VII. Black- and Red-Figure Styles.174 Black-Figure Style.176 Kylikes.176 Skyphoi.177 Tripod Bowl.177 Amphora.178 Lekythos.178 Plate.178 Polychrome Ware.178 Red-Figure Style. 178 Severe Style.179 Later Style.179 Polychrome Ware.179 Chapter VIII. Vases in Relief and Later Vases.180 Red Ware.180 Megarean Ware.182 Lamps.183 Glass.184 Byzantine.184 INSCRIPTIONS ON VASES BY THEODORE WOOLSEY HEERMANCE I. Painted Inscriptions.185 II. Incised Inscriptions.185 XXII CONTENTS THE BRONZES OF THE ARGIVE HERAEUM BY HERBERT FLETCHER DE COU Introduction.191 Catalogue.194 I. Fragments of Statues, Nos. 1, 2.194 II. Statuettes and Fragments of Statuettes, Nos. 3-7.194 III. Animals (free and attached), Nos. 8-51.197 1. Horses, Nos. 8-18.197 2. Deer, Nos. 19-21.200 3. Sheep, No. 22 . 201 4. Cattle, Nos. 23-28 201 5. Lions, Nos. 29, 720, 946, 2204 . 203, 235, 249, 293 6. Rodent, No. 30 203 7. Frog, No. 31.203 8. Serpents, Nos. 32-35. 204 9. Birds, Nos. 36-51 204 IV. Ornament and Toilet, Nos. 52-1849 . 207 1. Pins, Nos. 52-948 . 207 A. Straight, Nos. 52-807 . 207 B. Safety, Nos. 808-946 . 240 C. Pseudo-safety, Nos. 947, 948 . 249 2. Needle, No. 949 250 3. Rings, Nos. 950-1546 250 A. Finger-rings, Nos. 950-970 h .250 B. Bracelets, Nos. 971-974 . 251 C. Decorative, Nos. 975-1524 . 251 D. Structural, Nos. 1525-1540 . 263 E. Pieces of wire twisted into the form of rings, Nos. 1541-1546 . 264 4. Beads, Nos. 1547-1552 . 264 5. Pendants, Nos. 1553-1559 . 264 6. Mirrors and Mirror-handles, Nos. 1560-1589 a ... . .264 7. Objects in Sheet Bronze, Nos. 1590-1846 . 266 A. Diadems, Nos. 1590-1599 . 266 B. Disks, Nos. 1600-1718 b .267 C. Binding strips, Nos. 1719-1747 . 269 D. Ornamented hands, Nos. 1748-1751 . 270 E. Coatings, Nos. 1752-1796 . 270 F. Rims, Nos. 1797-1800. .. 272 G. Plates, Nos. 1801-1827 .. 272 H. Cut ornaments, Nos. 1828-1832 a .274 I. Figures, Nos. 1833-1838 . 274 J. Uncertain objects, Nos. 1839-1846. 274 8. Leaves, Nos. 1847, 1848. 274 9. Leather gear, No. 1849 . 275 V. Vessels, Nos. 1850-2251 . 275 1. Vases and Cauldrons, Nos. 1850—2217 . 275 A. Without shoulder, Nos. 1850-2019. 275 B. Witli shoulder, Nos. 2020, 2021 . 286 C. With shoulder and neck, Nos. 2022-2047 . 286 D. Handles, Nos. 2048-2207 . 288 E. Connecting rods, Nos. 2208—2214 . 294 F. Ornaments, Nos. 2215-2217 . 294 2. Tripods and Standards, Nos. 2218-2234 . 294 A. Fragments of large tripods, Nos. 2218-2224 . 294 B. Low tripod standards, Nos. 2225-2230 . 295 C. Feet of standards, Nos. 2231-2234 . 296 CONTENTS xxiii 3. Miscellaneous Forms, Nos. 2235-2251 . 296 A. Containers, Nos. 2235-2244 . 296 B. Handles, Nos. 2245-2251 . 297 VI. Implements, Utensils, Structural Pieces and Materials, Nos. 2252-2841 .... 298 1. Parts of Vehicles, Nos. 2252-2255 . 298 A. Fragment of antyx, No. 2252 . 298 B. Small wheels, Nos. 2253-2255 . 298 2. Strigil, No. 2256 . 299 3. Bell, No. 2257 299 4. Cymbals, Nos. 2258-2261 . 299 5. Key, No. 2262 299 6. Knives, Nos. 2263-2272 . 299 7. Spits, Nos. 2273-2711 e .300 8. Spear-butt, No. 2712 . 323 9. Pestle or Plektron, No. 2713 . 324 10. Hooks, Nos. 2714-2728 . 324 A. Free, Nos. 2714-2722 . 324 B. Attached, Nos. 2723-2728 ... 324 11. Nails, Nos. 2729-2764 . 324 12. Button, No. 2765 . 327 13. Fasteners, Nos. 2766-2772 . 327 A. Wire, Nos. 2766-2769 . 327 B. Chain, Nos. 2770, 2771 . 327 C. Eyelet, No. 2722 . 328 14. Clamps, Nos. 2773-2776 . 328 15. Caps, Nos. 2777-2782 . 328 16. Centre-piece, No. 2783 . 328 17. Binding, No. 2784 . 328 18. Decorative Braces and Strips, Nos. 2785-2808 . 328 A. Straight applied braces, Nos. 2785-2787 . 328 B. Curved applied brace, No. 2788 . 329 C. Strips and rods, Nos. 2789-2808 . 329 19. Inserted Disks, Nos. 2809-2812 a .330 20. Other Decorative Attachments and Fragments, Nos. 2813-2816 . 330 21. Supports, Nos. 2817-2818 a.330 22. Rods, Nos. 2819-2821 .. 330 23. Bars, Nos. 2822-2827 . 330 24. Ball, No. 2828 . 331 25. Castings, Nos. 2829-2841 . 331 A. Partially formed objects, Nos. 2829-2835 . 331 B. With accidental resemblances to various objects, Nos. 2836-2839 . 331 C. Formless, Nos. 2840, 2841 331 Appendix : Inscriptions on the Bronzes.332 ENGRAVED STONES, GEMS, AND IVORIES BY RICHARD NORTON The Stones and Gems.343 Class I. Prehistoric or Primitive.345 Class 11. New Type — ‘ Argive ’.346 Class III. ‘Geometric’.349 Class IV. Mycenaean.350 Class V. Nondescript.350 The Ivories.351 Articles of Apparel or of Household Use.353 Human or Animal Figures.353 Miscellaneous Objects.353 XXIV CONTENTS COINS FROM THE ARGIVE HERAEUM BY HERBERT FLETCHER DE COU Introduction.357 Catalogue.357 A. Greece (Autonomous and Municipal) .357 Addenda to Coins of Argos.359 B. Rome (Empire).361 C. Rome (Eastern Empire).362 D. Venice .363 E. Uncertain . . 363 EGYPTIAN, OR GRAECO-EGYPTIAN, OBJECTS BY ALBERT MORTON LYTHGOE Introduction.367 Catalogue.370 Index. 375 ILLUSTRATIONS IN THE TEXT PAGE Stone Implements . ix Terra-Cotta Figurines. — Primitive Argive Type.16,17 Terra-Cotta Figurines.—T irynthian Argive Type, Group 1.17,18 Terra-Cotta Figurines. — Tirynthian Argive Type, Group 2. 19 Terra-Cotta Figurines. — Tirynthian Argive Type, Group 3.19-22 Terra-Cotta Figurines. — Mycenaean Types.22, 23 Terra-Cotta Figurines. — Geometric Types. 23 Terra-Cotta Figurines. — Advanced Argive Types.24-27 Terra-Cotta Figurines. — Under Oriental Influence . ..28, 29 Terra-Cotta Figurines. — Early Archaic : Hand-made.29-31 Terra-Cotta Figurines. — Early Archaic : Mould-made.31-38 Terra-Cotta Figurines. — Advanced Archaic.38, 39 Terra-Cotta Figurines. — Free Style. 39 Terra-Cotta Figurines. — Animals.40, 41 Terra-Cotta Figurines. — Various Objects.42-44 Vases and Vase Fragments. — Primitive Vases.70,71 Vases and Vase Fragments. — Mycenaean Style: Dull Decoration.73,74 Vases and Vase Fragments. — Mycenaean Style : Lustrous Decoration, Class II. 1 .... 79 Vases and Vase Fragments. — Mycenaean Style: Lustrous Decoration, Class II. 2 ... . 80 Vases and Vase Fragments. — Mycenaean Style: Ldstrous Decoration, Class III. 2 . . 83, 84, 87, 89 Vases and Vase Fragments. — Mycenaean Style : Lustrous Decoration, Class IV.90,91 Vases and Vase Fragments. — Mycenaean Style : Contents of Bee-Hive Tomb.92-95 Vases and Vase Fragments. — Mycenaean Style : Miscellaneous Vases.96-101 Vases and Vase Fragments. — Geometric Style : Amphora, etc.117,118 Vases and Vase Fragments. — Early Argive.124,125 Vases and Vase Fragments. — Linear Argive ..126-143 Vases and Vase Fragments. — Oriental Argive. 146, 147, 151, 155 Vases and Vase Fragments.—M iscellaneous Types.159,161 Vases and Vase Fragments. — Old Corinthian Style.171,172 Vases and Vase Fragments. — New Corinthian Style. 172 Vases and Vase Fragments. — Local Style. 176 Vases and Vase Fragments. — Glass Vase. 184 Vases and Vase Fragments. — Byzantine Ware. 184 Inscriptions on Vases. — Painted Inscriptions. 185 Inscriptions on Bronzes. 332, 337, 338 Engraved Stones. — Argive Style. 348, 349 Engraved Stones. — Geometric Style. 349 Engraved Stones. — Mycenaean .. 350 Engraved Stones. — Nondescript. 350 Ivories . 351, 352, 354 Archaistic Scarab op Thothmes III. from Eleusis. 369 Scarabeoid from Eleusis. Probably of Phoenician Origin. 372 Porcelain Whorl. 373 PLATES *** The descriptions of the Plates begin at the pages indicated, but the Plates themselves are grouped and placed as follows: Plates XL1I.-XL VIII., after page 44 ; Plate XLIX., after page 54 ; Plates L.-LXIXafter page 188; Plates LX X.-CX X X VII ., after page 340 ; Plates CXXXVIII.-CXL., after page 354 ; Plates GXLI., CXLII., after page 304 ; and Plates CXLIII. and CXLIV., after page 374. *** Plates I.-XLI. are in Volume I. Plate Page XLII. Terra-Cotta Figurines. — Primitive and Tirynthian Argive Types: Standing Figures 16 XLIII. Terra-Cotta Figurines. — Tirynthian Argive Type : Seated Figures.17 XLIV. Terra-Cotta Figurines. — Advanced Argive Type.24 XLV. Terra-Cotta Figurines. — Advanced Argive Type : Heads.26 XLVI. Terra-Cotta Figurines. — Early Archaic Type.33 XLVII. Terra-Cotta Figurines. — Early Archaic, Advanced Archaic, and Free Style Types : Heads.31, 37 XLVIII. Terra-Cotta Figurines. — Animals. 23, 29, 39 XLIX. Terra-Cotta Reliefs.47 L. Vase Fragments. — Primitive Vases.69 LI. Vase Fragments. — Mycenaean Style : Dull Finish, and Lustrous Finish, Class II. 1 72 LII. Vase Fragments. — Mycenaean Style : Classes II. 2, and III. 1.79 LIII. Vase Fragments. — Mycenaean Style : Class III. 2.83 LIV. Vase Fragments. — Mycenaean Style: Class III. 2.85 LV. Vase Fragments. — Mycenaean Style : Classes III. 2, and IV. 87 LVI. Vase Fragments. — Geometric Style : Linear Motives, Horses, Birds, etc.105 LVII. Vase Fragments. — Geometric Style : Human and Animal Figures.Ill LVIII. Vase Fragments.—G eometric Style: Dipylon and Aeginetan.115 LIX. Vase Fragments. — Argive Style. 128, 130, 134, 138, 141, 148, 151, 152 LX. Vase Fragments. — Local Style. 156, 159, 164 LXI. Vase Fragments. — Corinthian Style.167 LXII. Vase Fragments. — Early Attic, Cyrenean, Red-Figure, Black-Figure, and Megara Ware, etc. 173, 177, 183 LXIII. Vase Fragments. — Vases in Relief.180 LXIV. Vase Fragments. —Various Argive Types (in color ). 91, 134, 145, 147 LXV. Vase Fragments. — Argive Style : Class III. (in color ). 135, 150, 153, 158 LXVI. Vase Fragments. — Geometric, Argive, and Local Types (in color ) . 153, 154, 157, 165 LXVII. Vase Fragments. — Local Type (in color ).161 LXVIII. Vase Fragments. — Fragments of a Polychrome Kylix (in color) .179 LXIX. Vase Fragments. — Inscriptions Incised on Vases.185 LXX. Bronzes.—F ragments of Statues, Statuettes.194 LXXI. Bronzes. — Statuette.194 LXXII. Bronzes. — Animal Figurines.197 LXXIII. Bronzes. — Animal Figurines.199 LX XIV. Bronzes. — Animal Figurines.200 LXXV. Bronzes. — Animal Figurines.201 LXXVI. Bronzes. — Animal Figurines.203 LXXVII. Bronzes. — Animal Figurines. 205, 20 1 LXXVIII. Bronzes. — Animal Figurines, Straight Pins. 205, 206 LXXIX. Bronzes. — Straight Pins.210 LXXX. Bronzes. — Straight Pins.2L> LXXXI. Bronzes. — Straight Pins.220 LXXXII. Bronzes. — Straight Pins.224 XXV111 PLATES LXXXIII. Bronzes. — Straight Pins.229 LXXXIV. Bronzes. — Straight Pins, Safety Pins.235 LXXXV. Bronzes. — Safety Pins.240 LXXXVI. Bronzes. — Safety Pins.242 LXXXVII. Bronzes. — Safety Pins.244 LXXXVIII. Bronzes. — Safety Pins, etc.; Needle, Finger-Rings.247 LXXXIX. Bronzes. — Finger-Rings and Bracelets.250 XC. Bronzes. — Decorative Rings.252 XCI. Bronzes. — Decorative and Structural Rings.259 XCII. Bronzes. — Structural Rings, etc.; Beads, Pendants, Mirrors.263 XCIII. Bronzes. — Mirrors.265 XCIY. Bronzes. — Mirrors.265 XCV. Bronzes. — Mirrors.265 XCYI. Bronzes. —Mirrors.265 XCVIX. Bronzes. — Mirror. 266 XCVIII. Bronzes. — Mirrors 266 XCIX. c. Cl. CII. cm. civ. cv. cvi. CVII. CVIII. CIX. cx. CXI. CXII. CXIII. CXIV. cxv. CXVI. CXVII. CXVIII. CXIX. cxx. CXXI. CXXII. CXXIII. CXXIV. CXXV. CXXVI. CXXVII. CXX VIII. CXXIX. exxx. CXXXI. CXXXII. CXX XIII. (XXXIV. cxxxv. C XXXVI. CXXXVII. CXXXVIII. Bronzes. — Diadems, etc.; Disk.266 Bronzes. — Disks.268 Bronzes. — Disks, Binding-Strips.269 Bronzes. — Binding-Strips, Ornamented Bands, Coatings.270 Bronzes. — Coatings.271 Bronzes. — Coatings, Rims, Plate.271 Bronzes. — Plate, Cut Ornaments.272 Bronzes. — Plate with Inscription. From Photograph. Bronzes. — Plate with Inscription. From Drawing. Bronzes. — Figures, etc.; Leaves, Thongs, Plates. Bronzes. — Plates, Platters. Bronzes. — Plates with Inscriptions. Bronzes. — Plates, Platters. Bronzes. — Platters, Saucers. Bronzes. — Saucers. Bronzes. — Saucers. Bronzes. • — Saucers, Bowls. Bronzes. — Bowls. Bronzes. — Bowls, Suspension Vase, etc.; Pitcher, Jars. Bronzes. — Jars, Basin. Bronzes. — Cauldron, Bosses, Horizontal Handles. Bronzes. — Horizontal Handles. Bronzes. — Horizontal Handles. Bronzes. — Horizontal and Vertical Handles. Bronzes. — Vertical Handles, Various Ornaments, Fragments of Large Tripods . . Bronzes. —Fragments of Large Tripods, Small Tripod-Standards. Bronzes. — Feet of Standards, Miscellaneous Vessels. Bronzes. — Miscellaneous Vessels and Handles, Various Implements and Utensils . Bronzes. — Various Implements, Spits. Bronzes. — Spits. Bronzes. — Spits. Bronzes. — Spits. Bronzes. — Spits. Bronzes. — Spits . Bronzes. — Spits, Various Implements and Utensils. Bronzes. — Various Utensils and Constructive Pieces. 273 273 274 275 277 277 278 279 281 283 284 285 286 287 288 289 292 293 294 296 297 299 302 309 313 315 319 321 326 Bronzes. — Constructive and Decorative Pieces . 329 Bronzes. — Castings.. 831 Bronzes. — Miscellaneous Addenda . . . 199, 211, 215, 217 n., 251, 263, 266, 268, 269 Engraved Stones. — Classes I., II. 345,347 PLATES XXIX CXXXIX. Engraved Stones. — Classes III.-V. — Ivories . 349,351 CXL. Ivories. — Articles of Apparel or of Household Use, Human or Animal Figures, Miscel¬ laneous .352 CXLI. Coins. — Mainly Greek.357 CXLII. Coins. — Mainly Roman.360 CXLIII. Egyptian, or Graeco-Egyptian, Objects .370 CXLIV. Egyptian Objects. — From the Heraeum and from Aegina.373 THE TERRA-COTTA FIGURINES THE TERRA-COTTA FIGURINES By CHARLES WALDSTEIN and GEORGE HENRY CHASE The great bulk of the Terra-cotta Figurines found at the Heraeum belong to what must be called pre-archaic Greek types. When we consider the find as a whole, we dis¬ cover the following significant facts : — I. The number of terra-cottas dating from the clearly historical periods of Greek civilization, i. e. the eighth century b . c . and later times, is very small. Out of 2865 figures preserved by us, not counting the ordinary figures of animals and small objects, which cannot be accurately classified, there are 2557 of pre-archaic style to 308 of archaic and later types. 1 II. Among the terra-cottas of the archaic and later periods, a strikingly small pro¬ portion belong to the periods of advanced archaism and technical freedom ; in fact, there are only fifty-two specimens of the former and two specimens of the latter. Thus it will be seen that the closest parallelism exists between the main conditions of the find in terra-cottas and those of the vases, bronzes, and other objects; namely, the absolute preponderance of “ prehistoric ” material, the absence of works of the later Greek periods, and the fact that in the layers which we excavated, hardly any object is syn¬ chronous with the erection of the Second Temple or of a later period. 2 The bulk of the find in terra-cottas was made in the black layer about and below the foundation walls of the Second Temple, as well as in the deposits on the southeast and southwest slopes of the Second Temple terrace. 3 But this general statement must be qualified by the following significant facts: — 1. We can assert as practically established the fact that no terra-cotta figurines were found beneath the surface of the upper or Old Temple platform. 2. Nearly all the specimens of the archaic and subsequent periods were found on the southern slope and the southeast corner and slope of the Second Temple (not in the black layer about the foundations of the Second Temple). 3. No prehistoric Greek specimens were found within the large West Stoa (one speci¬ men of a draped female figure, belonging to the archaic period, was found here), and none at all on the site of the Roman Building. The fact that no terra-cottas were found on the site of the Old Temple, as it pre¬ sented itself to us for excavation, may lead us to any one of three conclusions : (1) that our terra-cottas belong to a later period than that marked by the site; or (2) that the custom of offering such figurines did not exist at the time when the temple was built — 1 Cf. the Table, p. 9. 2 Cf. General Introd. vol. I. pp. 37 ff. 3 The custom of burying the smaller objects dedicated in temples, often apparently with great care (cf. the find of terra-cottas made by Orsi at Terravecchia near Gran- michele in the Province of Catania, Mon. Ant. VII. pp. 201-274, esp. pp. 212 ff.), is one which has been illustrated by a large number of excavations upon Greek soil and elsewhere (cf. Homolle, ‘ Donarium ’ in Daremberg et Saglio, Diet, des Ant. Gr. et Rom. II. pp. 363 ff., esp. p. 371, note 130). In the case of the Heraeum, these offerings seem to have been used as “ dry rubbish ” in leveling up about the Second Temple, just as the offer¬ ings upon the Acropolis which were demolished by the Persians were later used in leveling that site. 4 THE TERRA-COTTA FIGURINES that it was an aniconic period; or (3) that the site in question was not the natural reposi¬ tory for such votive offerings. We are inclined to one of the latter views. 1 The two other points, while they show that the main sites excavated about the Second Temple were pre-archaic Greek, and that the Argive .period of the Heraeum marks the change in the entrance from the west side to the south slope, also show that the main hulk of our terra-cottas belong to the pre-archaic period. With such a mass of material before us, even in the selected specimens which we brought to Athens, our first care was to find some principle of classification. Two courses seemed open to us : We might classify our figures either according to their form and style, or according to their decoration. On mature consideration, the former method has appeared preferable, especially as a classification by decoration must confine itself almost entirely to plastic decoration— the paint having disappeared entirely from many of our figures. Moreover, no systematic chronological development could be established on the decora¬ tive principle only. At the same time, the principle of classification by decoration has seemed to us a sound one, and we have employed it as a secondary principle for dis¬ tinguishing a few classes, 2 and for drawing distinctions within one class. 3 Class I. — Such, then, being our principle, our first class, which we have called “ Prim¬ itive Argive,” consists of a great number of very rudely modeled figures, to which, in fact, the term “ modeled ” can hardly be applied. They are really nothing but a small lump of clay, elongated, then pinched in the middle to indicate a waist, the resulting projection above forming two stumpy arms, while another pinch at the top indicates the head. This head soon develops into the well-known bird-like head, in which the beak-like nose is formed by a compression of the clay between the two fingers of the “modeler.” 4 These are the characteristics of the earliest specimens. 5 * Later, two disks are plastered to the sides of the “ beak ” to represent the eyes, 5 a lump of clay is added to form a kind of pilos or cap, 7 or a strip of clay wound about the head forms a stephane, 8 while in many figures one or more short strips of clay are added to the back of the head to represent the hair 9 (exceptionally the hair is indicated in a few early specimens by grooves at the back of the head). So one sometimes finds — though this is quite exceptional — a fig¬ ure in which the artist has tried to imitate nature more closely, in which two lumps of clay are added to the front of the figure to represent the breasts; 10 the fall of the dra¬ pery in front is rudely reproduced by one or more grooves, 11 or a cutting across the “ beak ” forms a rude mouth. 12 But even in the most advanced figures of this class, the development is exceedingly slight, and the body always remains essentially a rude lump of clay. 13 Class II. — A distinct advance is made when the rude standing figure is converted into a seated one. 14 The technical change, indeed, is not great; the standing body is simply 1 Cf. General Introd. vol. I. pp. 39 ff. - Such, for instance, as the Mycenaean and the Dipy¬ lon classes, in which the influence of vase painting is very apparent. 8 Cf. p. 11. 4 It should be noted that this lack of modeling is partially accounted for by the fact that nearly all our figures are female (cf. p. 13, note 5). The drapery of such figures in the early stages does not admit of fine dis¬ tinctions in modeling, such as the indication of the legs, the torso, and its articulations. * Cf. No. 1. 0 Cf. Nos. 2, 3, etc. 7 Cf. No. 3. 8 Cf. Nos. 4, 5, etc. 9 Cf. No. 4. 10 Cf. No. 8. 11 Cf. No. 9. 12 Cf. Nos. 9 and 10. 18 We might have subdivided this first “Primitive” class into three minor classes, according to the differences enumerated above. But we find it desirable at this stage not to confuse by too minute classification, leaving it to future inquiry to accentuate these, or even to estab¬ lish further distinctions. 14 Cf. Nos. 12 ff. PRINCIPLES OF CLASSIFICATION 5 bent at the middle and supported by two stumpy legs, 1 a process which prevails down to the latest period of this class. Even in the most advanced specimens, the employment of a separately made chair as a support is rare. But although this change is of little impor¬ tance technically, it is of great importance historically. It marks the change in the con¬ ception of the goddess which is represented in the traditions of Argos by the story of Pirasus and his seated figure of Hera dedicated at Tiryns. 2 Now it is a striking fact that, aside from the Heraeum and Tegea (of which we shall speak later), Tiryns is the place where these seated figures have been found in greatest numbers. We have there¬ fore ventured to call the figures of this class “ Tirynthian Argive,” and we believe that they represent roughly the period of the supremacy of Tiryns in the Argive plain. 3 In these “ Tirynthian Argive ” figures, we have a long and complicated development of the drapery; while the figures themselves, although constantly increasing in size, remain, with very few exceptions, a mere oblong piece of clay, bent forward into the seated posture, and the heads still have the “ bird face.” This development of the drapery even affects the standing type, and we find in our later standing figures a tend¬ ency to elaboration which corresponds closely to the development in the seated types. The various steps in this development are exceedingly interesting, and we shall revert to them later. Suffice it here to say that, for practical purposes, we have divided our “ Tirynthian Argive ” class into three subordinate groups, basing our distinctions upon the greater or less elaborateness of the ornamentation. 4 The next step in the development of this type, of terra-cotta figurines is the change from the “ bird face ” to the human face, with all the features carefully distinguished. But before we take up this class of “Advanced Argive” figures, we must speak of two intermediate classes, which we have set apart by reason of their decoration as well as their form and style. We mean the Mycenaean and Geometric classes. Class III. — The “ Mycenaean ” terra-cottas differ from those of the Primitive and Tirynthian Argive classes in that they show a quite different technique, both in regard to the fineness of the clay and in regard to ornamentation. A careful comparison of the Mycenaean figures with the preceding classes, moreover, brings out the following facts: (1) They are numerically very weak — there are only sixty-three fragments of Myce¬ naean types among our selected terra-cottas, and of these ten are fragments of animals. 5 (2) Prima facie, the schematic outline of these figures, ending below like the foot of a vase, and above with the polos, like the neck of a vase, G the whole crossed by round or pelta-shaped body and arms, 7 is much less naturalistic than the figures of the primi¬ tive and Tirynthian Argive classes. On the other hand, the detail workings of the body, such as the indication of the breasts, 8 show far greater knowledge and skill in modeling than we find in Classes I. and II. Both these facts would seem to indicate that we are dealing with a later class of figures. Moreover, the color decoration shows the same use of glaze color, applied in a similar manner, that we find in Mycenaean vases. We thus consider this class of terra-cottas an intrusion into the general and con¬ tinuous scheme of Argive terra-cottas, which began and ceased during the period of our first and second classes, but which, strangely enough, was but very little influenced by the Primitive and Tirynthian Argive styles, and exercised little influence on them.' 1 1 As it happens, the most primitive specimen of the seated type which we found (No. 12) is provided witli a separate four-legged chair, but this is exceptional. 2 Of. Paus. II. 17. 5, and General Introd. vol. I. p. 44. 8 Cf. General Introd. vol. I. p. 44. ^ Cf. p. 11. 5 Cf. the Table, p. 9. 6 Cf. No. 07. 7 Cf. Nos. Go, 07, 70. 8 Cf. especially No. Go. 9 See, however, our remarks on No. 70. 6 THE TERRA-COTTA FIGURINES The peculiarities of this Mycenaean style, we believe, are due to the fact that it was essentially a development from vase painting, perhaps even the work of the Mycenaean /cepap-eu?, not of the coroplast proper. 1 We believe this for these three reasons: — These figures are never found, to our knowledge, except where there are also Myce¬ naean vases (whereas our “ Primitive ” figures were found together with all classes of vases). The conventionalization of the figure, notably at head and foot, points to ceramic art. The use of glaze color is certainly borrowed from vase painting. In this matter of the use of glaze color, we have come to a question which requires much greater amplification, and which will lead us much further afield. In the figures of Classes I. and II. (as also, to a less extent, in the later classes), the whole figure was usually covered with a white, chalky slip, and upon this was applied a simple line deco¬ ration in red and black. 2 * This white slip, owing to its flaky character, has in many cases been entirely lost,' 5 and is often preserved only in cracks and holes. 4 The isolated instances in which figures of Classes I. and II. have a glaze color applied directly to the clay seem to us to point to an introduction of this specifically Mycenaean technique to contemporary specimens of those classes. Indeed, we have a number of specimens in which the white coat is used for the upper part of the body, while the lower part is given a solid color, applied directly to the clay, 6 and this is common in the later, “ Ad¬ vanced Argive ” specimens. 7 The use of the white slip, however, appears to have been the specifically coroplastic method, which obtained throughout all periods down to the latest times s — a fact which strongly confirms our contention that these terra-cottas (in which the color is applied directly) were made under the influence of the /cepa/xeus- 9 Class IV. — The single female figure (No. 75), which we have assigned to a distinct “ Geometric ” class, seems to us to warrant this distinction by reason of its peculiar decora¬ tion, which, with its bands of geometric ornaments, divided by straight lines, is very similar in plan to the decoration of the large Geometric vases which form this class. Its position in the series is determined by the fact that the face was evidently of the primitive “ bird- faced ” type. With this figure we have grouped another distinctly Geometric specimen (No. 76), a horse of the type so common upon the covers of Geometric vases. 10 The two specimens do not represent the entire influence of the Geometric style upon our terra¬ cottas. Traces of that influence are to be seen in a number of other figures, especially among the animals and small objects, 11 but the two which we have placed together are the only ones which are so distinctly Geometric in character as to warrant a place by themselves. In fact, though at Olympia a large number of Geometric animals (espe- cially horses) have been found, it is a noteworthy fact that we can hardly identify any plastic representations of the human figure with this period. It appears to us that this 1 Cf. General Introd. vol. I. pp. 45 ff. 2 Cf. Nos. 7, 11, 12, 13, 14, etc. 2 Cf. Nos. 1, 2, 3, 5, 9, etc. 4 It is this perishability of the white slip, doubtless, that led Schliemann to speak so often of “ unpainted ” terra-cottas from Tiryns (cf. Tiryns, pp. 150 ff.). In the light of our discoveries, there can be no doubt that nearly all, if not all, the figures from Tiryns were originally painted. ■ Cf. Nos. 10, 21, 25. 6 Cf. Nos. 4, 24. 7 Cf. p. 7. 8 Cf. Martha, in the introduction to his Catalogue des Figurines en Terre Cuite du Musee de la Societe Archeo- logique d'Athenes. 9 This matter of the interaction of vase painting and coroplastic art has never been carefully worked out. The early Tanagra “ irairaSes,” for instance, show distinct traces of the Geometric influence. The white Athenian lekythi, on the other hand, seem to be a result of the ap¬ plication of coroplastic technique to vase painting. 10 Cf. Rayet et Collignon, Hist, de la Ceramique Grecque, p. 33, fig. 21. 11 Cf. Nos. 248, 272. PRINCIPLES OF CLASSIFICATION 7 arises out of the constructive nature of that style, which is essentially decorative and conventional — in so far un-naturalistic and opposed to plastic art. Class V. — A very marked advance in the development of the terra-cotta figurines found at the Heraeum from the earliest primitive type onward is made when once the “ bird face,” which obtains in all the classes hitherto mentioned, is superseded by the human head. 1 This type we have called “Advanced Argive.” The figures of this class are plainly a development from our second, Tirynthian Argive, class. Even in the most advanced specimens, with very few exceptions, 2 the bodies of these figures are essentially the same flat oblong which we found in the figures of the Tirynthian Argive class. The heads, on the other hand, are of archaic type, with wide, staring eyes, large ears placed high, the mouth often having the well-known archaic smile. 3 Most important of all, these heads, almost without exception, were made in moulds. Here, then, we see the beginnings of that use of moulds which later became the prevailing mode, and revolu¬ tionized the manufacture of terra-cottas. Another characteristic of this class of figures is the tendency to elaborate ornamentation, of which we shall have more to say later. 4 In the colored decoration of the figures of this class, also, we find again the two pro¬ cesses which we have before noted. Thus, while the use of the white slip as a basis for decoration in color is always retained for the upper parts of the figure, and in many cases is used for the entire figure as well, 5 in the large specimens the color is often applied directly to the chiton, usually a red stripe at the top, and dark brown for the rest of the garment. 6 It is also a noteworthy fact that in these figures the seated type prevails almost exclu¬ sively. Indeed, the only standing figure which we have ventured to place among the advanced Argive specimens differs from them so widely that we have even doubted whether it ought not to be placed in a category by itself. This is No. 107, a figure which again illustrates the influence of ceramic upon eoroplastic art. This figure has traces of a human head. In the upper part of the figure there is a certain degree of naturalness, but the lower part of the body is emphatically conventionalized, without any attempt at naturalism. The roundness is so complete that it at once suggests mechanical work, such as the turning of the potter’s wheel. The use of the wheel is still further confirmed by the application of the brush in making the accurate parallel lines in groups of three, and the broad line at the waist around the cylindrical body. The ornamentation, as well as the structure of the figure, thus points to the influence of the Kepafievs, belonging to the period of the fully developed Argive-Linear, 7 as the Myce¬ naean terra-cottas showed the influence of the Mycenaean Kepapevs. We have placed it among the advanced Argive figures on the ground that it has a human head and a conventionalized body, 8 and that the decoration would mark it as belonging to about the period to which we must assign our advanced Argive figures. Class VI. — Our next class, “ Figures under Oriental Influence,” consists of a small number of figures which are marked out as a separate category by their subjects — two lions, heraldically grouped, winged female figures like the so-called Nike of Arehermus, 9 1 Cf. Nos. 77 ft. 6 Cf. Nos. 86, 90, 91, 92. 2 Figures like Nos. 90 and 91, in which the bodies 7 Cf. pp. 126 ft. have a considerable thickness and there is some attempt 8 It should be noted, however, that the conventionali- to represent the waist, are extremely rare. zation in this figure is quite different from that which we 3 Cf. Nos. 93 ft. have seen in the Mycenaean figurines. 4 Cf. pp. 10 ft. 9 Cf. Collignon, Hist, de la Sculpture Grecque, I. p. 136, 5 Cf. Nos. 79 and 80. fig. 68. 8 THE TERRA-COTTA FIGURINES several figures of the Egyptian lies, and a number of representations of the Sphinx. 1 With these we have grouped a small figure of a horseman, 2 which is certainly of Egyp¬ tian manufacture. It would of course have been possible to catalogue these figures under our next class of archaic figures, as they are all archaic in style; but it has seemed to us more desirable to collect in one category the specimens which distinctly show the influence of the East, just as in vases this influence is recognized in the so-called Corin¬ thian vases. It is the analogy of the history of vases, moreover, in which the Corinthian style follows the Argive style, that has led us to place this category immediately after the class of advanced Argive figures. 3 Class VII. — With the beginning of the historical Greek period, the art of terra-cotta making becomes more dependent upon sculpture, and from this time on, its history is bet¬ ter known and more easily traceable. To the beginning of this archaic period we must assign a number of figures rudely made by hand, 4 which, although they still preserve a high degree of conventionalism, manifest an endeavor on the part of the eoroplast to imi¬ tate more closely the forms of the human body. Their conventionalism, moreover, is the conventionalism with which we are familiar in the early statues of Greek art (the tjoava), beginning with the Nieandra statue from Delos. 5 * We have therefore classed these figures, and those immediately following them, as “ Early Archaic,” but have subdivided them into two groups : — Group a. — Hand-made Figures. These we regard as in a certain sense a transitional type from the earlier, hand-made Argive figures to the moulded figures of the archaic period proper. Group b. — Mould-made Figures. The archaic period proper begins with the intro¬ duction of the use of moulds for the whole figure, the second step — the modeling of the heads of the advanced Argive figures being the first — toward the developed terra- cotta figurine of later centuries. Here we have, at the beginning of the class, a very interesting transitional specimen, 1 in which we have a mould-made torso, decked out at the shoulders with two disks, 7 such as are common in the primitive and advanced Argive types. 8 After this we have a long series of both seated and standing figures, in which we can trace, as in the work of the sculptor, the struggle of the artist with his material, the gradual advance in the representation of the folds of the chiton, 9 the development of the arms from mere stumps to well-modeled members of the body, 10 which are raised to the breast, 11 and carry attributes. 12 The final period of this de¬ velopment corresponds to the period of the well-known female figures on the Athenian Acropolis. 13 As to color technic pie, we find in the archaic terra-cottas the same two opposing influ¬ ences which we have noted in our earlier classes. The great majority of our archaic 1 Cf. Nos. 108-116. 2 Cf. No. 117. ; Here, too, might be placed Nos. 207-213, which also show traces of Oriental influence ; but it seemed better to catalogue them among the archaic heads, for in them it is the archaic, rather than the Oriental ele¬ ment, which is most characteristic. * Cf. Nos. 118-131. Cf. Collignon, Hint, de la Sculpture Grecque, I. p. 120, fig. 59. « Cf. No. 132. 7 Cf. p. 10. 8 It should be noted, however, that this figure is almost without a parallel in our finds. For the most part, these archaic terra-cottas were very little influenced by the Ar¬ give type, although the two classes must have existed side by side for a considerable period. 9 Cf. Nos. 153, 157, 163, etc. 10 Cf. No. 157 with No. 148 and No. 154. 11 Cf. Nos. 153, 155. 12 Cf. No. 165 ft’. 13 Cf. Collignon, Hist, de la Sculpture Grecque , I. pp. 341 ff., figs. 170 if. NUMBER OF SPECIMENS IN EACH CLASS 9 figures show numerous traces of the white slip, which we have described as the typically coroplastic method of decoration; 1 but some have paint applied directly to them, at least in parts. 2 Class VIII. — Of terra-cottas belonging to a later age than this early archaic period we have but few specimens, and these are almost exclusively heads of figures and votive busts, in which, owing to the very gradual development of the archaic style, no sharp line of demarcation can be drawn between early and later specimens. We believe, however, that the forty-two specimens 3 which we have included in an “Advanced Archaic” class will be found to mark a higher stage of development than is attained by any specimens of Class VII. Class IX. — Finally, we come to the last group, which, as has been said above, is re¬ presented by a remarkably small number of specimens. In regard to Nos. 239 and 240, there can be no doubt that they belong to the best period of Greek terra-cotta work, and we have not hesitated to place them as “ Figures of Free Style,” in a separate class. The figures of animals and of various small objects are in general so rudely modeled that they do not lend themselves to any classification based upon style. 4 We have therefore been led to adopt the manifest principle of classification according to subject, and thus to distinguish two further classes, — “ Animals ” (under which Ave include fig¬ ures of men and women seated upon animals) and “ Various Objects.” So much for the principles upon which Ave have based our classification, and the gen¬ eral development of the manufacture of terra-cottas at Argos, as represented by our finds. But, as Ave ha\ T e already suggested, these classes are by no means of equal importance. Nothing, indeed, is more instructive than the table of the numerical strength of the classes, which is as follows : — NUMBER OF SPECIMENS IN THE VARIOUS CLASSES. I. Primitive Argive . . . . 122 VII. Early Archaic 249 II. Tirynthian Argive 1961 VIII. Advanced Archaic . 42 III. Mycenaean .... 63 IX. Free Style . o IV. Geometric ..... 2 V. Advanced Argive . . . . 409 Animals ..... 715 VI. Figures under Oriental Influence 15 Various Objects . 433 That is, of 2865 specimens, not counting animals and various objects, 2492, or over 85 per cent., are figures of the flat-bodied type, with either the “ bird face ” (2083 speci¬ mens) or Avith the archaic head Avhich is its successor (409 specimens). It is the pre¬ ponderance of this type which justifies us in calling these specimens distinctively Argive. They have been found, it is true, in other places, notably at Tiryns 5 6 (as Ave have recognized by our qualification of a certain class of them as Tirynthian), at Haghios Sostis (Tegea), G 1 Cf. Nos. 132, 1.35, 140, etc. 2 Cf. Nos. 137, 138, 103, etc. 3 Cf. Nos. 227-238. 4 The only exception which we have made to this rule is in the case of Mycenaean and Geometric animals, where the decoration leaves no possible doubt as to their place. 3 Cf. Schliemann, Tiryns, pp. 149 If., figs. 70-96. 6 Cf. Lenormant, Gaz. Arch. 1878, pp. 42-48; Pervano- glou, Nuove Mem. clell ’ Ins. II. pp. 72-70, pi. vi.; Martha, Cat. des Fig. du Mas. d’Athenes, Nos. 541 ff. These Tegean figures present the closest parallels to our Argive types. They occur with human as well as with “ bird faces,” and the later specimens are often very elaborately decorated. They were found in such numbers as to preclude the theory that they were imported from Argos. We must conclude, therefore, that the art of the coroplast passed through much the same development at Tegea as at Argos, 10 THE TERRA-COTTA EIGURINES and sporadically elsewhere. 1 But nowhere have they been found in such numbers or exhibiting such a clearly marked development as at Argos. They are hardly found at all at Mycenae." We feel justified, therefore, in giving them the distinctive name of “ Argive.” But if these Argive figures form the great bulk of our find in terra-cottas, they also present the most serious and difficult problems of all our figures. How, for instance, shall we designate the great mass of plastic ornament which is so characteristic of the later “advanced” type, and also, to some extent, of the earlier specimens? In the pre¬ liminary publication of the Heraeum finds, it was suggested that the elaborate orna¬ ments upon the shoulder of the Argive figures might be bunches of flowers, having some reference to Hera Antheia. 3 But further consideration has convinced us that, for the great mass of our figures, this view is untenable. In the first place, the large orna¬ ments for which this interpretation was suggested 4 are plainly developed from the small round bosses of earlier figures. 5 The beginning of this development is very plain in one specimen, 11 where the wedge-shaped ornament at the shoulder is no more than an elongated boss. Now in many later specimens 7 this boss develops into a regular fibula of the “four-leaved clover” type, 8 which Helbig 9 proposes to identify with the Homeric eXt^. 111 Moreover, in one fragment 11 we have the most evident attempt to represent a bronze fibula of the usual “bow” shape; 12 while with the elaborate ornaments like or (what seems to us more probable) that the coroplasts of Tegea were strongly influenced by those of Argos, and that there was an intimate connection between these two places (cf. Ridgeway, J. II. S. XVI. [1896], p. 99, on the close connection between Tegea and Argolis); Curtins, as Ridgeway remarks, pointed out (Gr. Gesch. I. p. 156) that Nauplius is represented as the servitor of the king of Tegea. We may also point to the fact that the priestess Chrysis sought and found refuge at Tegea after leaving the Heraeum (Pans. III. 5. 6). 1 At Bathos, on a spur of Mt. Lycaon (cf. Bather and Yorke, J. II. S. XIII. [1893], p. 228;; in Cyrenaica (cf. Heuzey, Fig. Ant. pi. xl. 1); at Thisbe in Boeotia (cf. Arch. Anz. 1895, p. 220, 4) ; one or two specimens were found by the English School at Phylakopi in Melos. There are a few specimens very similar to ours (all with human faces) in the museum at Syracuse, but the Sicilian terra-cottas are for the most part of a far less primitive character than those of Argos ; cf. the figures from Agrigentum (cf. Kekule, Ant. Terrakotten, II. pp. 17, 18, figs. 21-27), from Gela (ibid. p. 22, fig. 47), and the specimens from the vicinity of Terravecchia near Gran- miehele, published by Orsi (Mon. Ant. VII. pp. 239 If., figs. 31, 32). Finally, a number of vases from Cyprus in the British Museum, of Geometric style, are decorated with figures very similar to our advanced Argive type ; they are placed on the neck of the vase, and hold in one hand a small jug which served as a spout to the vase. 2 A tray in the Central Museum at Athens (numbered .3071) contains a number of figures of the type of our primitive and advanced Argive specimens, which came from a tholos tomb near Mycenae. Dr. Tsountas in¬ forms us, however, that the roof of this tomb had fallen in and the contents had been disturbed, so that no sure conclusions can be drawn from them. The tray con¬ tains — Primitive standing figures, no ornamentation • . .2 Primitive standing figures, one necklace .... 5 Primitive sitting figures, no ornamentation .... 1 Primitive sitting figures, one necklace .... 2 Primitive sitting figures, two necklaces.8 Primitive heads ......... 2 Advanced sitting figures ........ 1 Advanced heads ..2 Warriors . . ..11 Animals.6 Animal with bird face (probably a centaur). Fragment of a Mycenaean vase. Several of the figures have pins of the “ dumb-bell ” shape (cf. No. 84), while the “clover-leaf” type (cf. su¬ pra) also occurs. One of the advanced heads has a cala- thos and a double taenia, closely resembling Nos. 101- 104. We think it right to draw attention to the fact that this beehive tomb, even if it was disturbed, contained no object later than the Mycenaean period. In so far, the presence of the “ Tirynthian Argive ” terra-cottas would place them not later than the Mycenaean period. 3 Cf. Waldstein, Excavations of the American School at the Heraeum of Argos, 1892, p. 20. Cf. No. 52, where the ornament certainly suggests a mass of flowers. 4 Cf. Nos. 83 and 93. 5 Cf. Nos. 27, 28, 40. 6 Cf. No. 43. 7 Cf. Nos. 54, 90, 91. 8 Cf. Montelius, La Civilization Primitive en Italie, pi. xxi. 286-289; Furtwangler, Olympia; Ergebnisse, IV. pi. xxi. 360. 9 Cf. Das Horn. Epos aus den Denkmdlern erlautert, 2te Aufl. pp. 280 ff. 10 But cf. Studniczka, Beit, zur Geschichted. Gr. Tracht, Abh. d. Arch.-Epig. Seminars d. Universitdt Wien, VI. p. 114, footnote. 11 No. 82. 12 Cf. Montelius, loc. cit. pis. i., iv., v., viii., ix. tup: argive type 11 No. 84, we may compare fibulae found in our own excavation, 1 and others published by Montelius. 2 It thus appears evident that these ornaments are intended to represent simply the pins by which the Doric chiton was fastened at the shoulder, whether this be the straight pin (nepovr)), or the fibula of the clover leaf or bow form; and we have therefore had no hesitation in so designating them in our descriptions. There is room for doubt, perhaps, in the specimens which have only the simple round boss, whether this boss is meant to represent a fibula of the type or a simple straight pin. We have used the term u pin,” therefore, to include both fibulae and 7repocat. The bands across the breasts of our figures 3 are in many cases evidently meant to represent necklaces, and we can perhaps distinguish in some cases between the lo-0/juov, or close-fitting necklace, of Homer 4 and the op/ro?, 5 or long necklace. Certainly the many cases in which we find bands ornamented with pendants 1 * ’ can be meant for nothing but necklaces. But very often our band extends only from shoulder to shoulder, and appears to have some intimate connection with the pins which we have just discussed.' Schliemann 8 called such ornaments simply “ bands,” while Perrot, 9 in describing a figure very similar to No. 34, calls the ornament “a sort of scarf.” In the later development, 10 when the figures are adorned with a large number of these bands, the lower one is usually so wide, and is stretched so straight from shoulder to shoulder, that there can be no doubt that it is the fold of the Doric chiton. 11 Moreover, in specimens like No. 30, the band is plainly the fold of a garment arranged like the t/xart ov in later works. 12 It must be said, however, that even in fairly early specimens the “ bands ” often become subordinated to a general principle of elaborate ornamentation, so that it is impossible to assign a given ornament to one class or the other, to say categorically, it is a neck¬ lace or it is a fold. In the most advanced Argive specimens 13 we find a further com¬ plication in the elaborate plastic ornaments across the breast, which seem to be made in imitation of lace or metal adornments attached to the fold itself, or possibly of long- chains, such as the women of modern Greece wear on feast days. But even if they are such, they are plainly developed from the earlier necklace and simple fold, and these are the most characteristic forms of decoration of the Argive type. It is the constant recurrence of these bands which has led us to adopt, as convenient subdivisions of our Tirynthian Argive class, the following categories : 14 — 1. Figures with slightly developed plastic ornamentation at shoulder (no decorative bands). 2. Figures with considerably developed plastic ornamentation (one band). 1 Cf. p. 242, No. 852. 2 Loc. cit. pis. xvii. ancl xviii. 3 Cf. Nos. 27 ff. 4 Cf. Nos. 27 and 36. Compare also Od. xviii. 300 : — 'tadpiov tjveiKev depdiroov, wepiKaAAes ayaApa. And Schol.: — tadpLov’ ladpbs b TpaxyAos. toOpiov obv irepLTpaxvAiov Kitrpov irepiireirAeypevov, ov pevroi Koap-ppard rt va iKKpep.dp.eva. Kal HaAois’ neptTpaxyAiov, evdev ku\ irapiadpia■ Siacpepei Se tov ttppov. t b pev yap -rrpoaex^TaL tQ rpaxvAcp, b Se oppos KexdAa- arai. 5 Cf. Hym. Horn. v. 10 (Gemoll) : — Seiprj S’ dpcp’ anaAfj Kal crrijOeaiv. apyvpeoimv oppoiai xpv&tOKTL eKiapeov, oToi irep avrai T Clpai Koopeiadpv xpv ( ; cross-bars and two rosettes, and curves for¬ ward at the ends. Ground color white, cross-bars marked with red and black criss-cross lines, rosettes with radiating red and black lines ; lower tip red. Height, 7 cm. Clay, yellow. Cf. pp. 11, 242. Head and left arm of seated, flat-bodied figure, with an infant on her arm (only legs and feet of infant preserved). Of the hair, only a single mass, with horizontal grooves, is preserved over the left temple. The figure wears a necklace with three pendants. General traces of white, red lines below neck¬ lace, red band at infant’s knees. Height, 8 cm. Red clay. Cf. p. 13. 86. (Plate XLIV. 3.) Large seated female figure, broken at neck and at left lower edge. She held an infant in her arms, of which traces are pre¬ served only in her lap. Elaborate adornment with double necklace, which carries two pendants at the sides, double waved band, double straight band, and wide fold. The pins, strangely enough, are only small disks, as in the earlier types. Left arm disproportionately short. The chair was made separately. Traces of white, with applied red on upper body and child. Lower body is painted brown with red horizontal lines. Height, 18 cm. Yellow clay. 85. (Fig. 37.) Fig. 37. 87. (Fig. 38.) Similar KOVpOTp ocfros figure with large infant on left arm. The infant’s head is missing. Both woman and child are entirely enveloped in a thin layer of clay, which includes the back of the chair as well (cf. Nos. 56 and 60) ; but a break on the right side shows that Fig. 38. the figures were com¬ plete before the appli¬ cation of this layer. The woman has a necklace with pen¬ dant, which was entirely hidden. The child wears the chiton, with small, round pins at the shoulders. The woman’s face is round, with protrud¬ ing eyes. The hair is treated in notched strands. Traces of white, of red on shawl. Height, 7.5 cm. 4 el- low clay. 88 . (Fig. 39.) Bust of very large seated figure, with three necklaces Fig. 39. 26 TERRA-COTTA FIGURINES (plain necklace between two twisted ones), double waved band and wide fold. On the back are traces of hair treated as a mass, and of back of chair. General traces of white, with red on fold. Height, 12 cm. The entire figure must have been fully 40 cm. tall. Red clay. 89. (Fig. 40.) Similar large fragment, with three necklaces and wide fold, topped by two narrow bands with round pendants. Traces of white, fold red. Height, 10 cm. Yellow clay. 90. (Plate XLIV. 4.) Torso of seated figure with very elaborate adornment. About the neck runs a simple necklace decorated with a line of holes, followed by a twisted chain with large pen¬ dants, which are decorated alternately with grooves and rows of holes. The chiton is a distinct layer of clay. From shoulder to shoulder, over the chiton, runs a waved band, adorned with fine holes ; between the turns of this band are rosettes (an imitation of lace ? or should we find here a trace of the metal ornaments found by Schlie- mann, which were intended to be sewn to the garment? cf. p. 11). The pins are of the “clover-leaf” type, with double bosses in the centre, and single bosses on the leaves. At the back are traces of curls, and two notched bands are stretched from shoulder to shoulder over the chiton. General traces of white on neck and neck¬ laces, body brown. Height, 8 cm. Clay, light yellow. 91. (Plate XLIV. 5.) Similar elaborate torso. The chiton is a separate layer of clay. Two twisted necklaces. Over the chiton in front is stretched a waved stripe, decorated with incuse disks (such as are found in ceramic ware) followed by a line of pendants, with similar incuse disks, bosses at top and notches at bottom (cf. p. 11). The pin is similar to that of No. 90, but larger. Behind, there are traces of curls and a line of pendants from shoulder to shoulder. Traces of brown paint on chiton. Height, 8 cm. Clay, yellow. 92. One hundred and eighty fragments of figures similar to Nos. 77-91. The plastic decora¬ tion is throughout very elaborate ; the painted decoration consists sometimes of red and black lines on a white ground. Sometimes this treatment is applied only to the upper part of the body, and the lower part is given a solid brown color, applied directly to the clay. 93. (Plate XLV. 11.) Head and shoulder of advanced Argive type. The headdress is broken away. The hair was a row of curls over the forehead, topped by a notched mass, with the usual simple mass at the back, now broken away. The figure has two close-fitting necklaces with three pendants, followed by three larger ones (one of them twisted), decollated at the shoulder with a pin of the round boss type. The fold of the chiton is represented by two narrow bands ; it was held by a large fibula of the usual elaborate kind, of which only the upper part remains. White slip, red on ornaments. Height, 12 cm. Yellow clay. 94. (Plate XLV. 13.) Similar head and shoulder, color well preserved. Close-fitting necklace with pendant, followed by three others (simple band between two twisted bands) and double waved band. The pin is placed altogether too high, so that it can only be intended for ornament, — possibly as a pendant to the necklace. Disk earrings with pendants. Hair, two masses above forehead, with horizontal grooves, large mass at back, notched at sides of neck, The headdress consists of a calathus, bound by a wide taenia. The ground color is white ; black is found on hair (except at sides of neck), above the eyebrows, and inside of eyes; in radiating lines on ear¬ rings, in dots on pin and waved band; red appears in radiating lines on earrings, in dots on pin and waved band, and in two wide streaks above and below close-fitting necklace. All the colors are carelessly applied, and seem to be meant simply to enliven the figure, without much regard to its anatomy. Height, 12 cm. Clay, yellow. 95 . ( Plate XLV. 2.) Head of advanced Argive type, with double stephane. The hair consists of four loops over forehead, single long curl at each side. Ground color, white ; traces of red on hair. Height, 5.5 cm. Gray clay. Fig. 40. ADVANCED ARGIVE 27 96. (Plate XLV. 4.) Similar head, with stephane and boss. Hair, two notched strands over forehead, topped by two masses with horizontal grooves ; single strand over shoulder. Simple disk earrings. Traces of white. Height, 5.5 cm. Yellow clay. 97. (Plate XLV. 8.) Similar head ; has stephane with double boss, bound by a taenia. Hair, two notched strands over forehead, and mass at back. Double boss earrings. Traces of two necklaces. Ground color, white ; stephane, red; hair, brown. Height, 6 cm. Yellow clay. 98. (Plate XLV. 9.) Head of advanced Argive type, in high calathus with three bosses and double taenia. Hair, two masses over forehead, wedge-shaped mass at back. One earring is pre¬ served — a simple disk. Traces of one plastic necklace, with pendant and boss, and of two painted necklaces, red. Ground color, white ; hair, black ; red stripes on calathus, necklace, and neck. Height, 9 cm. Yellow clay. 99. (Plate XLV. 5.) Similar head. The calathus has three bosses and is bound by double taenia. Hair, two notched strands, topped by two masses over forehead, large mass at back. Plain disk earrings. White slip; taenia, red ; hair, black. Height, 7 cm. Clay, yellow. 100. (Plate XLV. 7.) Head of advanced Argive type with high calathus, fronted by two plumes (cf. p. 13) with a disk at the base. Hair, notched mass over forehead, topped by wide strands, which extend to shoulders. Earrings, large disks. A wide band represents the fold of the chiton. White coat; traces of red on brows, earrings, side hair, and fold. Height, 8.5 cm. Dark yellow clay. 101 . (Plate XLV. 10.) Similar head, plumes broken away. Double taenia. Hair, two notched masses over forehead, topped by large curls, mass at back. Plain round earrings. Traces of necklace. White slip ; hair, black ; red on taenia. Height, 9.5 cm. Red clay. 102 . (Plate XLV. 1.) Similar head, calathus small, plumes large. Double taenia. Hair, two large curls over forehead, mass at back. Rosette earrings. General traces of white. Height, 7.5 cm. Clay, gray. 103. (Plate XLV. 6.) Similar head. The plumes are here connected behind the calathus, and the one that is preserved is adorned with a disk. Double taenia. Round earrings. Hair, large curl over each temple, mass at back. Traces of necklace with pendants. Slight traces of white. Height, 11 cm. Clay, dark yellow, shading to red. 104. (Plate XLV. 12.) Similar head, with large rosette between plumes, which here, also, are connected behind calathus. Double taenia. Rosette earrings. Hair, mass over forehead and at back, topped by two large curls. Slight traces of necklace with pendant. White slip ; hair black ; red on necklace. Height, 9 cm. Dark yellow clay. 105. (Plate XLV. 3.) Head of advanced Argive type. The features are very sharp and dis¬ tinctly archaic, — indeed, it may be a question whether this head ought not to be placed in the “ Archaic ” class. The eyes are wide and staring, mouth accentuated, in that the region separating the mouth from the cheeks and the chin is here defined by a round hollowing, which at the same time gives hardness. Hair, tight curls over forehead, treated in a conventional manner, like inverted wave pattern, spirals at back, now broken. Simple band about hair, traces of another ornament (perhaps calathus) on crown of head. Simple earrings. Traces of white on face ; hair, black. Height, 4 cm. Clay, yellow. 106. Two hundred archaic heads, similar to Nos. 93-105, always showing the same tendency to elaborate headdresses. Here, too, we have placed (see p. 7) —- 107. (Fig. 41.) Body of standing female figure, broken at neck. The body is a perfect cylinder; in fact, it seems to have been made on the wheel. The hair was a simple mass at back, red. The ornamentation consists of a broad stripe at waist, and four series of thi'ee fine red lines below waist — very similar to Argive-Linear work (see p. 3) in vases. Height, 8.5 cm. Reddish yellow clay. Cf. for round body, Heuzey, Fig. Ant. pi. ix. No. 3 (from Cyprus). Fig. 41. 28 TERRA-COTTA FIGURINES VI. FIGURES UNDER ORIENTAL INFLUENCE. 108. (Fig. 42.) Fig. 42 Plaque with heraldic lions, broken at right lower corner. The position of the lions is very schematic; each rests one fore paw on a pedestal, and raises the other horizontally, so that the two raised legs meet for their whole length. The tail is curved over the back. The heads turn and look backward. The surface is treated rather superficially, and the muscles are but little developed. No trace of color. Height, 10 cm. Clay, red, in many places burned black. The Lion gate at Mycenae is strikingly similar to this plaque, as well as some Mycenaean gems (for instance, the one published by Tsountas, ’E. ’A px- 1888, p. 175, 2 ; pi. x. 2). Between the two lions of our plaque probably stood a pedestal or altar (the upper edge can still be made out) similar to those of the gate and the gem. The plaque would seem to belong to the end of the Mycenaean civilization. On the whole subject of heraldic animals, see Curtins, ‘ Uber Wappengebrauch u. Wappenstil im gr. Alterthum,’ in his Gesammelte Abhandlungen , II. pp. 77-115, pi. i. (cf. with our plaque especially Nos. 8 and 11). 109. (Fig. 43.) Upper part of winged female figure, broken at waist. The face is badly worn, but plainly archaic. Three notched strands of hair fall to each shoulder. The head is surmounted by a stepliane. Arms akimbo, — the hands held sickle-shaped objects, badly worn. Hair, red ; red bands on stephane, body, and wings. Height, 7 cm. Yellow clay. This figure is very similar to the Delos statue (A 5 . C. II. III. [1879], pp. 393-399, pis. vi. and vii.), and, like it, was undoubtedly a running figure with one knee touching the ground. In terra-cotta, we have similar figures in Martha, Cat. des Fig. du ]\Ius. d' Athene s, No. 9, and in Dumont et Chaplain, Les Ceramiques de la Grece Propre , II. p. 229, No. 46. These are both explained as gorgons, and that is the interpreta¬ tion. we are inclined to give to our figure. On the subject of running figures, cf. Curtins, ‘ Die knieenden Figuren d. altgr. Ivunst,’ in Gesarn- L bhandlungen , II. pp. 116 ff. pi. ii., and Gerhardt, ‘Uber die Fliigelgestalten der alten Ivunst,’ in his Gesammelte Akad. Abhandlungen , I. pp. 157 ff. pis. ix.-xii. 110 . (Fig. 44. ) Fragment of a similar figure, running to right, badly broken. All that appears is the body, with arms akimbo, a small part of right wing, right leg to knee, and left leg to middle of thigh. But the figure is plainly an archaic running; figure. Traces of white ; some red on chiton. . 15; Ileuzey, Fig. Ant. pl. xl. 2; Martha, Cat. cles Fig. du Mus. d'Athenes, No. 735. 173. Very similar fragment, broken at neck and thighs. Left hand holds a fruit; attribute of right uncertain, but probably also a fruit. Traces of white. Height, 5 cm. Fine yellow clay. 174. Fragment of archaic figure, broken at neck and waist. Left hand at breasts, holds flower. Traces of white. Height, 4 cm. Red clay. This type is very common; cf. Orsi, ‘Megara Hyblaea,’ Alon. Ant. I. p. 924, pl. vii. 4, pl. viii. 3 ; idem, ‘ D’ Una C^ta Greca a Terravecchia presso Granmichele in Provincia di Catania,’ Fig. GO. EARLY ARCHAIC ibid. VII. pp. 230 ff., pi. iv.; Clarac, Musee de Sculpture, pi. dcxxxii. ,T. 1449 II ; Lechat, ‘Terres Cuites de Corcyre,’ B. C. H. XV. (1891), p. 30, No. 7, pi. i. 2; p. 33, No. 14, pi. i. 3. 175. (Plate XLVI. 8.) Fragment of archaic figure, broken at neck and at waist. She wears the himation falling from right shoulder to left side, and holds in front of her, with her right hand, a wreath. Traces of red on himation. Height, 4.5 cm. Clay, yellow and fine. Cf. the statue from the Acropolis (Collignon, Hint, de la Scidpture Grecque , I. p. 353, fig. 178), which holds a wreath in the right hand and a jar in the left; Orsi, ‘ D’ Una Citta Greca a Terravecchia presso Granmichele in Provincia di Catania,’ Mon. Ant. VII. p. 234, fig. 24; Kekule, Ant. Terrahotten , II. p. 9, fig. 4. It seems not unlikely that this figure has reference to the cult of Hera Antheia. 176. (Plate XLVI. 7.) Standing figure in chiton (edge at neck and waist, with folds at shoulder and below girdle carefully rendered). Broken at neck and at knees. Right hand holds a small animal (probably a hare) ; left grasps edge of sleeve of chiton at breast. At back are marks of a thumb and two fingers. Traces of white. Height, 11 cm. Dark red clay. Cf. the fragment of a poros statuette, Salzmann, La Necropole de Camiros , pi. ix.; Bernouilli, Aphrodite , p. 38. 177. Fragments of two replicas of No. 176, showing the same finger-marks at back. Traces of white. Height, 7.5 cm. and 8.5 cm. respectively. Same clay as No. 176. 178. Twenty fragments of figures similar to Nos. 176 and 177, principally small bits of drapery. Dark red clay. 179. (Plate XLVI. 11.) Similar archaic figure, broken at neck. She wears chiton with thick fold between legs, and long overgarment like that of No. 172. Both hands hold attributes — right, an animal (stag?), left, bow (cf. p. 15). The break at the left shoulder is interesting, as it shows the method of manufacture by layers — the outer layer is of much finer clay than the inner (filling) layer. Traces of white. Height, 11.5 cm. Fine, light yellow clay. Cf. Heuzey, Fig. Ant. pi. xviii. bis. 1 (from Tliespiae) ; Stephani, Compte Hendu , 1872, p. 161, pi. iii. 4 (from Kertsch ; the figure looks as if it had come from the same mould as No. 179) ; Lechat, ‘ Terres Cuites de Corcyre,’ B. C. H. XV. (1891), p. 48, No. 37, pi. iii. 2 ; p. 51, No. 40, pi. iii. 1; Berlin Museum, 6831 (Attica) and 6262 (Thespiae) ; Syracuse, large terra-cotta room, case III. (Megara Hyblaea). 180. Four fragments of figures similar to Nos. 166-179, attributes indistinguishable on account of breakage. Traces of white. Clay, fine, varying from yellow to red. 181. Eight fragments of drapery very similar to that of Nos. 166-179, but belonging to hollow figures with thin walls. Traces of white slip; slight traces of red. Heights, 4 cm. to 13 cm. Clay, light yellow to red. 182. Basis of large statue of archaic type, with fragment of the figure from the knees down. The feet are carefully modeled and fairly correct. The bottom is pierced by a round vent. The chiton was red. Height, 7 cm. Height of plinth, 2 cm. Length, 6 cm. Width, 5 cm. Clay, reddish yellow. 183. Six fragments of similar bases, usually with traces of feet only. General traces of white. The dimensions vary from 3 cm. X 3.5 cm. to 5.5 cm. X 7.5 cm. Clay, light red to yellow. 184. (Fig. 67.) Very rude seated figure, broken at bottom. The figure varies little from the standing type, except that it is slightly bent at the middle and has two supports behind (cf. No. 135). The arms, which are resting on the knees, are little better than two stumps. On the breast is a pendant. The upper part forms a rude stephane. The figure hardly appears to be modeled at all, yet the surface shows plainly that it was. Traces of white. Height, 5.5 cm. Red clay. 185. Similar figure with supports behind. She wears stephane and necklace with pendant (these made in the mould), and long veil falling to shoulders (a separate piece added after the figure was complete). Traces of white ; three red lines on bottom of chiton. Height, 10.5 cm. Reddish yellow clay. 186. Third figure of the same sort witli arms bent at elbows, and hands raised to shoulders. Traces of white. Height, 8 cm. Light yellow clay. 36 TERRA-COTTA FIGURINES 187. (Fig. 68 .) Seated figure, very summary modeling — only feet, hands, and features brought out at all. The figure rests on a high plinth, which was moulded with it. The hair is a simple band above forehead. She wears a stepliane, from which a veil falls over shoulders. Solid, pierced only by air-vent. Traces of white. Height, 8 cm. Dark red clay. 188. (Plate XLYI. 12.) Replica of No. 187, only that plinth was made lower. Traces of white, of red on lower part of chiton. Height, 7 cm. Dark red clay. 189. Similar figure, but not from same mould. Modeling very summary. Traces of white. Height, 6.5 cm. Red clay. 190. Similar figure, but with high polos instead of stepliane. Traces of red. Height, 8 cm. Red clay. 191. Similar figure, seated on wide chair (broken at waist). Here, also, the veil covers the hair and falls to shoulders; cf. No. 187). White slip. Height, 6 cm. Red clay. For all these carelessly modeled figures, cf. Heuzey, Fig. Ant. pi. xi. ; Perrot et Chipiez, Hist, de VArt, III. p. 425, fig. 299 ; Ivekule, Ant. Terrakotten, II. p. 9, fig. 3 ; Martha, Cat. dcs Fig. du Mas. dk Athene s, Nos. 227 If.; Panofka, Terrakotten des K. Mas. zu Berlin, p. 12 , pi. ii. 192. (Fig. 69.) Hastily modeled seated figure, wrapped in flowing chiton, under which, how¬ ever, the outlines of arms, hands, and breasts are carefully brought out. The figure is pierced by an air-vent. Traces of white. Height, 7.5 cm. Reddish yellow clay. Cf. Gerhard, Ant. Bild. pp. 338 tf., pi. xcv. 1, 2 (Sicily); also in stone, the seated figures, discovered at Branchidae by Newton ( Discoveries at Halicarnassus , pp. 530 ff., pis. Ixxiv., lxxv.), and the archaic statue in the National Museum at Athens (Kavvadias, No. 6 ; ’E<£. ’Apy. 1874, p. 480, pi. lxxi. Aa and A/3). 193. F our fragments of similar figures, not, however, from the same mould. Slight traces of white ; some red on chairs, feet, and chitons. Clay, yellow and red. 194. Similar figure showing an attempt at reproducing the folds of the chiton where it falls across the breast. Arms still at sides, hands resting on knees. Fragments of two supports at back. White slip with red lines on arms and breast. Height, 6 cm. Yellow clay. 195. T wo similar figures, not from same mould. Traces of white; one figure has red lines (criss-cross pattern) on breast and above knees. Height, 6 cm. and 7.5 cm. Clay, yellow. 196. Lower part of large seated figure on high plinth, with considerable treatment of the folds at sides and between legs. Traces of white. Height, 7.5 cm. Dark red clay. 197. (Plate XLVI. 16.) Figure similar to No. 192, but with much better treatment of folds across breast and at waist. The outlines of the legs are also well brought out. The hands rest on arms of chair, and both hold round objects (probably apples; cf. Nos. 172, 173, and p. 15). The figure is pierced by an air-vent. Traces of white. Height, 7 cm. Dark red clay. 198. (Plate XLYI. 13.) Similar figure, with careful, though stylistic representation of folds by deep vertical lines, from breast to feet. Hands at knees ; fingers rudely indicated. The figure lias an air-vent. Red line at neck. Height, 6.5 cm. Clay, light yellow and very fine. 199. (Plate XLVI. 15.) Similar figure without indication of folds, but with right hand raised, holding a bird to breast. Left hand rests on left knee. The throne on which she sits is carefully distinguished. Traces of red on chair. Height, 6 cm. Clay, light yellow and very fine. Cf. Nos. 166-171; Kekule, Ant. Terrakotten , II. p. 10, fig. 10, p. 11, fig. 13; also figures in Case VI., large terra-cotta room, Syracuse. 200 . Fragments of five replicas of No. 199, all solid. Traces of white, with red on chair. Fine, light yellow clay. EARLY ARCHAIC 37 Fig. 70. 201. (Fig 70.) Hastily modeled figure of a child, broken at waist. On her right arm she holds a small doll. Traces of white. Height, 5.5 cm. Red clay. 202. Thirteen small heads belonging to the type of Nos. 198 and 199. They are flat at back, of pronounced archaic style. The hair is usually a mass falling to shoulders, slightly notched over forehead, with polos or stephane. General traces of white. Heights, 2.5 cm. to 5 cm. Clay, fine, ranging from yellow to red. 203 . Th ree very similar heads, not, however, flat at back. The features are archaic. Hair, mass. One head has the polos. Traces of white, of red on polos. Heights, 3 cm., 3.5 cm., and 4 cm. Clay, light yellow to red. 204 . Lower part of crouching male figure with hands (disproportionately large) on knees. The figure corresponds very closely to one from Megara Hyblaea (cf. Mon. Ant. I. pi. vi. 5), and was undoubtedly a satyr or silenus. Traces of white. Height, 6 cm. Reddish yellow clay. 205 . Lower part of squatting figure, probably a satyr, broken at waist. Hands rest on knees. Traces of white, sporadic bits of red. Height, 4.5 cm. Light yellow clay. There is a similar figure in Syracuse, large terra-cotta room, Case III., from Megara Hyblaea. 206 . Rude seated Pan — hollow figure, which probably served as a vase. Modeling very flat, only face, arms, and syrinx brought out. Slight traces of white. Height, 8.5 cm. Reddish yellow clay. 207 . Head of archaic type, hollow, with vase orifice at the top. The hair seems to be held close to the skull by a veil. Traces of white. Height, 7.5 cm. Red clay. 208 . (Plate XLVII. 13.) Very similar head, also with orifice at top, and casque-like hair¬ covering. Traces of white. Height, 6.5 cm. Red clay. 209 . Eight fragments of similar heads, badly broken. General traces of white. Yellow clay, shading to red. These heads (Nos. 207-209) have the marks of the Rhodian ware as described by Heuzey ( Cat. des Fig. du Mus. du Louvre , p. 220), “ la machoire inferieure osseuse et developpee a l’exces, ce que nous appelons le menton galoche ; de gros yeux triangulaires, dont la paupiere superieure est seule arquee.” They are probably, therefore, imported, although a few may be local imitations. Cf. Heuzey, loc. cit. pp. 229, 230; Kekule, Ant. Terrahotten , II. p. 12, fig. 16, and p. 18, fig. 34; Winter, Arch. Anz. 1893, p. 147, No. 28 ; Orsi, ‘ Megara Hyblaea,’ Mon. Ant. I. p. 805. 210 . (Plate XLVII. 15.) Head of pronounced archaic type — eyes set obliquely to nose, mouth raised at corners. The headdress is very high, a sort of tiara (the kydaris ?), and from it a veil falls to the shoulders. Traces of white. Height, 7.5 cm. Clay, light yellow. 211. Three very similar heads, all with same headdress and veil. Slight traces of white. Heights, 5.5 cm., 5.5 cm., and 7 cm. Yellow clay. These heads (Nos. 210 and 211) again resemble very closely a Rhodian type (cf. Heuzey, Fig. du Mus. du Louvre , pi. xi. 2), which is found pretty generally distributed in the basin of the Mediterranean — in Greece, in Sicily, in Italy, and even in Phoenicia. 1 Yet they show some di¬ vergences, for instance, the eyes are not set quite so obliquely as those of the Rhodian figures, and they are not so narrow ; so that they are probably of local manufacture, imitating Rhodian work, like the Syracusan figures mentioned by Heuzey. 2 212. (Plate XLVII. 14.) Archaic head, with elaborate treatment of the hair. This consists of two rows of curls over the forehead, moulded in the form, then a row of elaborate applied spiral curls, with eight curls at the back (now broken), the whole topped by a double, twisted taenia. The eyes are wide and very long, nose in two planes, mouth straight, ending in a pad of flesh at each corner; a deep furrow extends from cheek-bone to chin on each side of nose. Traces of white. Height, 5 cm. Yellow clay. 213 . (Plate XLVII. 12.) Large archaic head, very similar to No. 212. Same type of face. The hair here consisted of a row of scallops moulded in the form, with a row of applied curls above and large mass behind. The figure had large earrings, now broken. Traces of white. Height. 8.5 cm. Light yellow clay. These two heads (Nos. 212 and 213) differ greatly from the Argive type. Their nearest 1 Cf. Heuzey, Cat. des Fig. du Mus. du Louvre, p. 240. 2 Ibid. p. 227, it. 3. 38 TERRA-COTTA FIGURINES analogy in the Heraeum finds is the bronze bust, 5, pi. II. 1, 2 ; and in terra-cotta, the head pub¬ lished by Cesnola, Coll, of Cypriote Ant. Ill pi. xv. No. 117 (cf. the sculptures, ibid. II pi. xciii. Nos. 622 and 623; pi. xcvii. Nos. 662 and 663). We are inclined, therefore, to regard these two heads as imported. 214 . (Plate XLVII. 4.) Head of archaic style, with very sharp features. The hair is an applied mass at back, marked with notches and bound with a taenia. The ground color is greenish yellow, to which red was applied on eyes, cheeks, and brows. Hair, red, shading to black. Height, 4.5 cm. Yellow clay. 215 . Small, very rude bearded masque, slightly chipped at sides. Eyes and mouth marked by wide grooves, beard by coarse vertical lines. No trace of color. Height, 5 cm. Red clay. 216 . (Plate XLVII. 8.) Archaic female masque, original edge all around. The hair is moulded in masses. Hole for suspension above forehead. Traces of white. Height, 5.5 cm. Light yellow clay. 217 . Large votive head, broken at right side and at neck. The hair is a row of round bosses, surmounted by stephane with suspension hole. Modeling superficial. Traces of white. Height, 9 cm. Dark red clay. 218 . Very similar head, almost replica, broken at neck, left side of face chipped away. Traces of white. Height, 7 cm. Clay, dark red. 219 . Right side of large votive head, with treatment of hair in four lines of zigzags. Narrow stephane. Traces of white. Height, 6 cm. Dark yellow clay. 220. Similar fragment, with large round earring. Hair modeled as a mass, topped by stephane. Traces of white. Height, 8.5 cm. Light yellow clay. 221. (Pi ate XLVII. 9.) Similar masque with stephane. The hair is treated as short curls. Hole for suspension in front of stephane. Traces of white. Height, 5.5 cm. Red clay. 222. (Plate XLVII. 6.) Small masque with very high stephane, broken at neck. Hair, a line of notches above forehead. Customary hole for suspension. No trace of color. He ig'ht, 4 cm. Light yellow clay. 223 . Th ree replicas of No. 222, same clay. 224 . Small bust of hasty workmanship, original edge preserved all around. The hair is a simple mass. Hole for suspension. No trace of color. Height, 8 cm. Greenish yellow clay. 225. (Plate XLVII. 10.) Archaic masque in high stephane, broken only at upper right hand corner. The hair is treated in two rows of loops. Traces of white. Height, 6.5 cm. Clay, straw. 226. Eight fragments of archaic masques, similar to Nos. 221-225, both with and without stephane. The suspension hole is common. General traces of white. Yellow clay. VIII. ADVANCED ARCHAIC. suspension hole. Traces of white. 227. (Fig. 71.) Upper part of standing figure with high stephane (broken at waist). Hair, a simple roll below stephane. At the shoulders were two projections (now broken off), which doubtless served to suspend the figure. Some traces of white coat. Height, 9.5 cm. Reddish yellow clay. 228. Very similar smaller figure, broken at waist. This figure also lias stephane and projections at shoulders. Two strands of hair fall in front of left shoulder, one in front of right. Traces of white. Height, 6 cm. Yellow clay. 229. Lower part of seated figure with hands on knees. The figure is hollow, like the later terra-cottas of free style. The folds of the chiton, however, are still represented in a stiff, archaic fashion. The color is well preserved — white slip, with traces of applied red. Height, 5 cm. Clay, reddish yellow. 230. (Plate XLVII. 11.) Votive head, hair treated in waves above forehead, and in notches at sides. Stephane, pierced by Ileight, 5.5 cm. Dark red clay. ANIMALS 39 231 . Three exact replicas of the preceding, same traces of color; same clay. 232 . Seven heads similar to No. 230, hut not replicas. Same treatment of hair; stephane with hole for suspension. General traces of white. Height, 4 cm. to 5 cm. Clay, light yellow to red. 233 . Twenty-three fragments of similar advanced archaic heads, much mutilated, but probably all votive heads. General trace of white. Clay, usually red ; one or two specimens are of yellow clay. 234 . (Fig. 72.) Head of advanced archaic style, solid. Hair- treated as a simple mass. Traces of white. Height, 3.5 cm. Light yellow clay. 235 . (Plate XLVII. 1.) Similar head, solid. Hair, mass. Traces of white. Height, 4.5 cm. Clay, light yellow. 236 . (Plate XLVII. 2.) Similar head, solid. Hair, mass, but -Fig 7? ^ # treated in waves over forehead. Traces of white, of red on hair. Height, 4.5 cm. Dark yellow clay. 237 . (Plate XLVII. 5.) Similar head, solid. High coiffure, treated as a mass. Traces of white. Height, 4 cm. Dark red clay. 238 . (Fig. 73.) Head of similar style. Hair, wavy curls over forehead, and at sides of neck; mass at back under veil. Traces of white. Height, 6 cm. Clay, reddish yellow. IX. FREE STYLE. 239 . (Plate XLVII. 7.) Fragment of large votive head, broken at left side. The whole treatment is in large surfaces, free from archaic restraint; the mouth has the natural curve, the outlines of the eye are correctly given, even to the lapping of the upper lid over the under. A ridge down the middle of the face seems to show that the head was made in two pieces. Traces of white. Height, 8.5 cm. Red clay. This head, in spite of its fragmentary condition, seems to us to represent the great style of the fifth century, and has inherent traces of the influence of some large statue. The peculiar marking of the hair, undercut and thus relieved from the face, and falling on either side in a mass of curls (here boldly sketched, though not elaborately modeled), is closely analogous to the Argive coin in which a copy of the Polycleitan Hera has been identified. It also suggests a comparison with the newly identified marble head in the British Museum (see General Introd. to Sculpture, p. 23). We are thus encouraged to consider this terra-cotta head as immediately related to the great Polycleitan Hera. Cf. Waldstein, 1 The Argive Hera of Polycleitus,’ J. II. S. XXI. (1901), pp. 30 ff., especially pp. 43, 44, and fig. 2. 240 . (Fig. 74.) Votive bust, broken at neck, but with original edge at waist. The folds of the chiton and of the long veil which falls over the shoulders and the arms are all given with perfect freedom and naturalness. The figure is covered with a white coat. Height, 9 cm. Clay, reddish yellow. Fig. 74. X. ANIMALS. 241 . (Plate XLVIII. 7 and Fig. 75.) Group, representing a bull attacked by a lion. The lion grasps the bull around the shoulders and bites him in the neck. The bull is plainly exhausted ; his head sinks to one side, and one of his hind legs is curled up under him, while the other is stretched straight out behind, as in the well-known Acropolis group. The execution of the group is fair — the anatomy of the bull’s head is quite well given, and the muscles are fairly well brought out. The fore legs of the lion are too long, otherwise he is well modeled; his mane is formed of a number of round disks, close together. Technically, it may be noted that the bull seems to have been made complete (his tail curls over his back), and the lion was then “ applied.’’ so to speak, to him. White slip ; black lines on forehead of bull and front legs of lion ; red 40 TERRA-COTTA FIGURINES streak at lion’s mouth, extending across the bull’s neck (probably a representation of blood). Length, 10 cm. Height, 5 cm. Clay, light yellow. The motive of a bull attacked by one or more lions is one of the oldest, and one of the com¬ monest in Greek art. In Mycenaean times, we find representations of this subject on gems (cf. Tsountas, ’E0. ’A px- 1888, p. 177, No. 25, pi. x. ; ibid. 1889, p. 166, No. 18, pi. x.; Perrot et Chipiez, Hist, de VArt, VI. p. 771, pi. xvi. 21) ; and on an ivory placjue from Sparta (B. C. II. II. [1878], p. 213, pi. xvi. 4). In archaic art it is very common ; cf. for example, the frieze of the temple of Assos (Clarac, Musee de Sculpture, II. pi. cxvi. B, No. 5) ; the Lycian relief (Clarac, op. cit. II. pi. ccxxiii. No. 189) ; the relief from Marsala (Arch. Zeit. 1872, pp. 133, 134, pi. li.) ; group from Myra (Fellows, Discoveries in Lycict , p. 197) ; relief from Xanthus (ibicl. p. 174) ; frieze from Aezani (Le Bas et Waddington, Voyage Archeologique en Grece et en Asie Mineure, atlas, under ‘Asie Mineure,’pl. xiv.) ; and especially the Acropolis group (B. C. II. XIII. [1889], p. 139, and Rev. Arch. XVIII. [1891], p. 137, pi. xiv. bis.). The motive is also common in branches other than sculpture in stone ; cf. the shield from Amatlius published by Cesnola (Cyprus, pi. xx.) ; the tripod from Vulci (Braun, Annali, 1842, pp. 62 ff.; Mon. III. pi. xliii.) ; and the oenoclioe (Gerhard, Aus. Vas. II. p. 134, pis. cxxii., cxxiii). In terra-cotta, I know of no examples except two reliefs — one in Berlin (Gerhard, Ant. Bild. p. 317, pi. Ixxviii. 2), the other in Palermo (Kekule, Ant. Terrakotten , II. p. 82, pi. liv. 2). Of all these groups, the Acropolis one approaches most nearly to ours. In both, the bull is plainly exhausted and overcome; the hind legs even have the same position in both — that of the “ split,” and the decoration in red stripes is common to both. In fact, it seems probable that our group was copied from a work of sculpture similar to the Acropolis group, and dates from about the same time, i. e., the first half of the sixth century b. C. 242 . (Plate XLVIII. 11 .) Fragment of a centaur, top of head, legs, and horse’s body missing. The break at buttocks shows plainly that the figure was a centaur. He has a long, pointed beard, in which a triangular hole marks the mouth. The left hand is pressed against the left hip ; the right was apparently raised. White slip. Height, 6.5 cm. Light yellow clay. Cf. the figure from Limniti, Arch. Anz. 1889, p. 88, E. 243 . (Plate XLVIII. 6.) Horse carrying a woman of primitive type. She faces the horse’s right side, and no saddle is represented. Eyes and breasts of woman and eyes of horse are applied disks. White slip, with applied red lines on neck, waist, and knees of woman. Height, 6.5 cm. Red clay. Reinach, in a study of female figures associated with horses (La Necropole de Myrina , pp. 401 ff.), comes to the conclusion that “ l’on pent hesiter entre Eos, Selene et Aphrodite, mais sans exclure la possibility d’une antre hypothese.” At Argos, a figure like No. 243 is much more likely to be associated with Hera IWios (cf. Paus. V. 15. 5), but this cannot be regarded as anything more than a conjecture. 244 . (Plate XLVIII. 2.) Mounted warrior of the ordinary primitive type. Face, a beak, with disks for eyes ; high helmet. He has no shield, but extends his arms to the sides of the horse’s head. Traces of white. Height, 7.5 cm. Red clay. 245 . (Plate XLVIII. 4.) Similar warrior, with large shield on left arm. Only neck and shoulders of horse are preserved. Traces of white. Height, 9 cm. Red clay. 246 . (Plate XLVIII. 3.) Similar warrior, no part of horse preserved. The warrior wears a peculiar helmet, the effect of which resembles that of the American “cocked hat.” White slip. Height, 7 cm. Light yellow clay. 247 . F orty-five fragments of similar figures, all more or less broken. They usually show traces of a white slip. Clay, usually red. For this very common type, cf. Martha, Cat. cles Fig. du Mus. d'Athenes, Nos. 602, 603 (from Tegea) ; Jamot, B>. C. II. XIV. (1890), pp. 217 ff. (Tanagra figures); Cesnola, Coll, of Cypriote Antiquities, IIP pi. lxix. ANIMALS 41 248 . (Plate XLVIII. 8.) Horse with pannier on eacli side, bound by straps which pass around neck, under belly, and under tail. Ornamented with black lines across breast, black dots on straps. Length, 7.5 cm. Yellow clay. Cf. the horse with a basket on his back found at the sanctuary of the Kabiri (Wolters, Ath. Mitt. XV. [1890], p. 358). 249 . (Plate XLVIII. 10.) Horse’s head of good style. The forelock is carefully brought out, and even the wrinkles over the eyes. Traces of white. Height, 5 cm. Clay, light yellow and fine. 250 . (Plate XLVIII. 12.) Small animal (dog?), legs broken. The eyes are holes bordered by raised rims. Traces of white. Height, 3.5 cm. Yellow clay. 251 . (Plate XLVIII. 1.) Bull’s head of good style, complete except right horn. Traces of white. Height, 6.5 cm. Clay, red. 252 . (Plate XLVIII. 5.) Similar head, horns broken. Traces of white. Height, 6.5 cm. Clay, red. 253 . (Plate XLVIII. 17.) Bull’s head in profile, good workmanship. Traces of white. Height, 5.5 cm. Dark yellow clay. Cf. the large finds of similar bulls at the sanctuary of the Kabiri (Wolters, Ath. Mitt. XV. [1890], pp. 355 ff.). 254 . (Plate XLVIII. 24.) Serpent’s head of good style. Body, black ; head, green, bordered by maroon line ; eyes and nose touched up with black. Length, 5.5 cm. Yellow clay. 255 . (Plate XLVIII. 9.) Small dove with young under her wings. Traces of red. Height, 2.5 cm. Red clay. 256 . (Plate XLVIII. 23.) Cock, pi’actically unbroken. White slip, traces of red on comb and wattles. Height, 7 cm. Yellow clay. 257 . (Plate XLVIII. 14.) Small human-headed bird, with ring for suspension. The face is archaic, with high coiffure, two braids falling over right shoulder and one over left; mass at back. Traces of white with applied red. Height, 5 cm. Dark yellow clay. Cf. Martha, Cat. des Fig. du M^ls. d'Athenes, Nos. 241, 242, 964; Ivekule, Ant. TerraJcotten, II. p. 26, figs. 63 and 64 ; Ileuzey, Fig. du Mus. du Louvre, pi. xiii. 6. We agree with Heuzey (Joe. cit. p. 11), in regarding this figure as a Siren or Harpy, borrowed by the Greeks from the Egyptian representation of the soul. 258 . (Fig. 76.) Cock, broken at neck. The background is cut away all around, and the plaque is pierced by two holes for suspending it or for fixing it upon a background. Traces of white. Height, 5.5 cm. Dark red clay. This type is very common. Cf. Martha, Cat. des Fig. du Mus. d'Athenes, Nos. 11-13; Dumont et Chaplain, Ceramiques de la Gr'ece Propre, II. p. 229, No. 45; Girard, ‘ Sur Quelques Necro- poles de la Grece du Nord,’ B. C. Id. III. (1879), p. 217, No. 2 ; Stepliani, Compte Bendu, 1868, p. 71, pi. iii. 14 ; Rayet, Cat. de la Coll, d'Ant. Gr. de M. 0. Payet, p. 8, No. 30 ; there are similar specimens in Syracuse. 259 . (Plate XLVIII. 19.) Dog’s head, broken at neck, which is decorated with a twisted collar. The modeling is very careless. Traces of white. Height, 6 cm. Clay, red. 260 . (Plate XLVIII. 18.) Rude ram’s head, broken at neck. Traces of red. Height, 5 cm. Light yellow clay. Cf. Sehliemann, Tiryns, p. 106, fig. 22. 261 . Bear’s head, broken at neck, very rude eye and mouth marked by long grooves. Traces of red. Height, 5 cm. Gray clay. 262 . (Plate XLVIII. 15.) Head of griffin, broken at neck. The mouth is wide open. The hair is represented by notches above the forehead and at sides of neck. Traces of white. Height, 6 cm. Red clay. 263 . (Plate XLVIII. 20.) Squatting pig, fore legs (which were extended horizontally) broken. No trace of color. Height, 6 cm. Dark red clay. Fig. 76. 42 TERRA-COTTA FIGURINES 264 . (Plate XLVIII. 21.) Sitting monkey, arms broken. No trace of color. Height, 9.5 cm. Light yellow clay. Cf. Martha, Cat. des Fig. du Mus. d’Athenes, No. 100; Frohner, Collection Barre , No. 464. It is probable, from the position of the arms and from a remnant of some object on the left shoulder, that our figure held a spear in the right hand, and carried a shield on the left arm — the attitude of a similar figure from Megara Hyblaea in Syracuse (vase room, central case). 265 . (Plate XLVIII. 22.) Tortoise, head missing. Traces of white. Length, 4 cm. Dark red clay. 266 . Six hundred and forty-six fragments of animals, similar to the types here described, all more or less mutilated. XI. VARIOUS OBJECTS. Fig. 78. 267 . (Fig. 77.) Fragment of dish with cakes. Length, 6 cm. Clay, reddish yellow. Undoubtedly an offering “ by sub¬ stitution ” to the gods; cf. Pottier and Reinach, La Necropole de Myrina , pp. 246 ff. 268 . (Fig. 78.) Table, legs broken close to top. The edges are grooved to form an ornamental pattern. On the table, thin strips of clay, applied irregularly, seem to us to represent food (cf. No. 267). Traces of white and some red. Length. 7.5 cm. Yellow clay. 269 . (Fig. 79.) Top of a table, legs broken. At each corner is a boss, meant, possibly, to represent a bronze nail-head. Top painted with cross-lines and round dots in maroon, shading to black. Length, 5.5 cm. Width, 5 cm. Yellow clay. 270 . Forty-eight fragments of similar tables, mostly small, flat pieces of tops, with incised patterns of parallel and criss-cross lines. They are usually painted solid red, but a few have the reg¬ ular white coat, with applied red and black lines. The largest fragment measures 7.5 cm. X 6 cm. Yellow clay. 271 . (Fig. 80.) Fragment of bed, legs broken. The sides are covered with incised patterns; on one side, in the centre, meander, and at sides, criss-cross. No traces of color. Height, 3.5 cm. Length, 4.25 cm. Width, 2.75 cm. Yellow clay. 272 . (Fi g. 81.) Armchair, legs and back broken, a hole at the end (to receive a bronze nail-head?). Tr aces of a seated figure in the chair. Decoration in straight and zigzag lines, brown to black. Height, Fig. 79. Fig. 80. The arm has Length, 6 cm. Width, 4.5 cm. Light yellow Fig. 81. clay. Cf. Schliemann, Tiryns , p. 148, pi. xxiii. fig. c.; Furtwiingler, Lamm. Sobouroff', II. pi. cxliv. 3; Mon. Ant. VI. p. 107, pi. iv. 9; ibid. p. 129, pi. v. 10. 273 . Simil ar armchair, containing fragment of a female figure of the seated, Fig. 82. fiat-bodied type, legs and back broken. One arm has a round boss at the end. Decoration in brown criss-cross lines on back of chair. The body of the woman was painted black. I flight. 7 cm. Length, 6.75 cm. Width, 5 cm. Dark yellow clay. Cf. No. 272. VARIOUS OBJECTS 43 274 . (Fig. 82.) Leg from a similar chair or from a table, with ornamental nail-head, decorated by eight radiating grooves, with a boss at the centre. Clay, yellow. The end is painted red. Height, 4.5 cm. 275 . Fifty-two fragments of similar legs, all decorated on the ends, usually with a boss or a rosette or radiating lines. They usually show traces of white or red color. Length, 2 cm. to 8 cm. Clay, yellow or red. 276 . (Fig. 83.) Foot with sandal. The sole is a separate piece, and there is an elaborate No trace of color. Length, 6 cm. Yel- . Fig. 83. another bow on the instep, low clay. 277 . (Fig. 84.) Terra-cotta mould. The objects repre¬ sented come out more plainly in the impression (which is here given) than in the mould itself; but they are difficult to determine with certainty. Two are plainly shells, one seems to be a pear, another a fig, a nut. Length, 4 cm. Width, 2.6 cm. Clay, yellow. The objects represented in this mould make it appear probable that the mould was used for making offerings of food, “ by substitution,” to the goddess. Cf. No. '267, and the reference there given. 278 . (Fi g. 85.) Small set of three large-handled vases, set into one another. They served no practical purpose, but were simply a votive offering. Traces of white. Height, 6.25 cm. Dark red clay. Orsi, in his article ‘ Megara Hyblaea ’ (. Mon. Ant. I. p. 874 ), quotes a case of two stanmi set into each other in a grave (No. cxciii. of his enumera¬ tion). 279 . (Fig. 86.) Fragment of a bake-shop scene. All that is preserved is a portion of the long table, with two boards upon it, each car¬ rying a cake of dough. On the base, beside this table, traces of three figures of prim¬ itive type. Traces of black. 7.5 cm. Yellow clay. Cf. the bake-shop scenes in Athens, Martha, Fig. 85. \ ^■pHI < “’O/ „~KV' ■ fc**—— ■ Fig. 86. Height, 4.5 cm. Length, 10 cm. Width, 39, Cat. des Fig. du Mus. 40, published by Kourouniotes, ’E<£. ’A px- 1896. pp. Fig. 87. d’Athenes, Nos. 201 ft'., pi. xi. 280 . (Fi g. 87.) Small tree (?) with seven projections about main stalk (to represent branches?). White coat, ornamentation in red and black lines. Height, 7 cm. Clay, reddish yellow. 281 . (Fig. 88.) Two flower-like disks, fastened together by the stems. One is painted solid red, the other has cross-lines in red, shading to black ; stems, dark red. Length, 5 cm. Yellow clay. 282 . Twenty-two fragments of similar disks. They are all painted, usually in maroon and black, sometimes in solid color. Length, 1.5 cm. to 5 cm. Yellow clay. 283 . (Fi g. 89.) Four-sided cone, perforated at the top. Ornament, a wide stripe in dark red to black, on each face. Fig. 88. Height, 5 cm. Red clay. Cf. p. 15, note 10. Fig. SO. 44 TERRA-COTTA FIGURINES 284 . (Fig. 90.) Similar perforated cone; on each side, six horizontal lines. Color, light red, shading to dark red, brown, and black. Height, 7 cm. Yellow clay. 285 . Thirty-one similar cones. Decoration is rare, and is never more than a simple scheme of line ornament. Height, 3.5 cm. to 6.5 cm. Clay, yellow to red. 286 . (Fig. 91.) Large spool. On one face, a stamp, consisting of curved lines, radiating from a centre. Slight traces of red. Height, 4 cm. Diameter, 5 cm. Clay, greenish yellow. 287 . (Fig. 92.) Similar spool. On one face, an ani¬ mal (cat or dog), stamped in deep lines. Traces of white. Height, 5.5 cm. Diameteig 5.75 cm. Yellow clay. 288 . Forty-nine similar spools, with simple designs, usually a single circle or simple rosette; two have a Gi’eek cross. They almost never show traces of color. Heights, 3 cm. to 5 cm. Diameter, 3 cm. to 4.5 cm. Clay, light yellow to red. ^ 289 . One hundred and seventy-eight plain spools, sometimes rounded at the ends. Almost no traces of color. Heights, 2.25 cm. to 6 cm. Diameters, 2.25 cm. to 6 cm. Clay, light yellow to red. 290 . Large pear-shaped weight (probably loom-weight), perforated 4.5 cm. from top. The bottom, which is flattened, is pierced by three holes, apparently unconnected, and another hole, parallel to the axis, enters at the side. On one side, at bottom, is stamped an anthemion. No trace of color. Height, 14.5 cm. Greatest diameter, 7 cm. Dai-k yellow clay. 291 . Twenty fragments of similar large weights, perforated at top, and with one to five holes at bottom, but without decoration. No ti-aces of color. Height, 7.5 cm. to 13 cm. Clay, usually red. 292 . Fight whorls of the ordinary type, all plain except one, which has four radiating grooves on one side. No decoration. Diameters, 2.75 cm. to 5 cm. Clay, yellow to red. Cf. Schliemann, Tiryns, pp. 147 ff.; Mycenae and Tiryns , p. 77. 293 . Three objects in the form of a Greek cross with rounded ends, pierced by a hole at the centre. No color. Lengths, 4.75 cm., 5.5 cm., 6.5 cm. Clay, red. 294 . Four small rings with notched edges. They are painted red. Diameters, 2.75 cm. to 4 cm. Red clay. Cf. Schliemann, Tiryns , p. 148, No. 73. Fig. 92. NOTE. It is to be regretted that these pages were in type before the appearance of Hadaczek’s two articles, ‘ Zur Schrauckknnst des altgriechischen Mittelalters ’ and ‘Die Fibel des Odysseus, Helikes und Kalykes ’ ( Jahres- hefte d. oester. arch. Inst, in Wien , Y. [1902], pp. 207 ff., and ibid. VI. [1903], pp. 108 ft’.), so that it was impossible to give definite references to the Argive figures which he mentions. We are pleased to note that his conclusions as to the dress of these figures are substantially in agreement with our own, as expressed on pp. 10 ft. and po.ssim. The Arrive Heraeum Plate XLII 2(30) 5( 36) 4(27) 3(25) 7(42) 8(45) 13(41) 12(28) 10(40) 11 (37) TERRA COTTA FIGURINES. - PRIMITIVE AND TIRYNTHIAN ARGIVE TYPE: STANDING FIGURES The Argive Heraeum Plate XLIII 1 ( 12 ) 4(57) 2(33) 3(34) 8(53) 5(60) 6(49) 9(54) 11(59) 10(51) TERRA COTTA FIGURINES. - TIRYNTIIIAN ARGIVE TYPE: SEATED FIGURES The Argive Heraeum Plate XLIV 4(90) 5(91) TERRA COTTA FIGURINES.-ADVANCED ARGIVE TYPE Plate XLV The Argive Heraeum 3(105) 4(96) 1 ( 102 ) 5(99) 8 ( 97 ) 7(100) 9(98) 10 ( 101 ) 6(103) 12(1041 11 (93) 13(94) TERRA COTTA FIGURINES. - ADVANCED ARGIVE TYPE: HEADS The Argive Heraeum Plate XLVI 1(153) 4(172) 2(157) 3(163) 6(155) 5(148) 10(164) 7(176) 11(179) 12(188) 13(198) 14(150) 15(199) 16(197) TERRA COTTA FIGURINES. - EARLY ARCHAIC TYPE The Argive Heraeum Plate XLVII 1(235) 5(237) 4(214) 2(236) 3(130) -'' • '<.1 8(216) 7(239) 9(221) 11(230) 10(225) 14(212) 15(210) 13(208) 12(213) TERRA COTTA FIGURINES. EARLY ARCHAIC TYPE (Nos. 3 , 4 , 6 , 8 — 10 , 12 - 15 ); ADVANCED ARCHAIC TYPE (Nos. 1 , 2 , 5 , n); FREE STYLE (No. 7 ) The Argive Heraeum Plate XLVIII 1(251) 3(246) 2(244) 4(245) 9 (255) 6(243) 7(241) 8(248) 12(250) 10(249) 11(242) 13(76) 14(257) 15(262) 17(253) 16(1 14) 18(260) 19(259^ 20(263) 24(2541 21 (264) 23(256) TERRA COTTA FIGURINES.-ANIMALS THE TERRA-COTTA RELIEFS THE TERRA-COTTA RELIEFS 1 By CHARLES WALDSTEIN and JOSEPH CLARK HOPPIN The Terra-Cotta Reliefs form a portion of the interesting finds among the objects of the lesser arts which the excavations at the Argive Heraeum has yielded. The greater number of them were found during the first season in 1892, in what we termed the “ black layer ” below the foundation walls of the Second Temple. Though we are not justified in saying that this black layer ran continuously round the foundations of the whole Temple, earth of this consistency, containing objects of the same character, was found at so many points in the filling for the Second Temple that a certain degree of continuity may be assumed. Still, at times, the black earth was found in greater thickness and the objects in greater profusion ; so that we were led to use the term “ pockets.” Other specimens were discovered, chiefly on the south and southwest slopes, in the third layer of earth which had been massed as filling for the Second Temple ; so that on the whole, the provenience of all these objects may be designated as the filling below the Second Temple. The chronology of all objects found in this filling would thus be fixed in the one direction as being prior to the year 423 b. c. The other limit cannot be determined in the same way by the conditions of excavation ; especially as objects mani¬ festly belonging to widely different periods were found together in this filling. We may, however, anticipate and mention one fact which will necessitate fuller explanation on some future occasion, namely, that none of these terra-cottas were found on the same level as the Mycenaean walls erected on the bed-rock below the filling. Further points, in so far as they can now be determined, will be noted as we examine each individual fragment. The terra-cotta reliefs will be considered in two groups: first, those that ornamented flat objects of terra-cotta — plaques, files, pinakes, bricks, etc.; and, secondly, those that evidently formed parts of terra-cotta vessels or vases decorated in relief. We shall in this chapter confine our study to the former group. These plaques (Plate XLIX.) are ten 2 in number; they are all, with the exception of Nos. 9 and 10, in a more or less fragmentary condition. 1. Winged figure to right, legs in profile, head and body eiiface. Upper left corner missing. Length, 0.14 m. ; width, 0.085 m.; thickness, 0.008 m. Found on the Second Temple Terrace. 2 - 4 . Rectangular reliefs, bordered by incuse circles, the centres of which are raised, inclosing two square fields. In each field, a winged figure running or flying to left. 2 . Length, 0.07 m.; width, 0.085 m.; thickness, 0.026 m. 3. Length, 0.10 m.; width, 0.085 m. ; thickness, 0.027 m. 4 . Length, 0.117 m.; width, 0.073 m.; thickness, 0.023 m. All these were found in or back of the South Stoa. 5. Form similar to No. 2, rectangular field. Two men facing each other with uplifted arms. Length, 0.096 m. ; width, 0.086 m.; thickness, 0.031 m. Second Temple Terrace. 1 This chapter, descriptive of them, is here reproduced 2 An eleventh fragment, similar in form to No. 2, but as published in the American Journal of Archaeology with only a foot showing in the field, was too much muti- (vol. II. 1898, pp. 173-186), with slight corrections and lated to be published, additions. 48 THE TERRA-COTTA RELIEFS 6. Part of a rectangular relief, representing a bearded man in a chariot, driving a quadriga. Length, 0.085 m.; width, 0.087 m.; thickness, nearly 0.01 m. 7. Fragment with similar subject, only one horse, much smaller and less well preserved. Length, 0.069 m.; width, 0.43 m.; thickness, 0.01 m. Both Nos. 6 and 7 from the Second Temple Terrace. 8 a and b. Two fragments from the same relief. Incuse circles as in No. 2, bordering square fields. Also a rosette with eight leaves. (a.) Fore part of Centaur to right, holding a branch. In the field, rosettes formed of four leaves and four diamonds alternating. Length, 0.091 ns.; width, 0.079 m.; thickness, 0.018 m. (b.) Lower portion of a kneeling figure to left. Length, 0.067 m.; width, 0.056 m.; thickness, 0.02 m. Found back of the South Stoa. 9. Small square relief, well preserved. Above, an extension pierced by a hole. In the field, a lion to right. Length, 0.05 m.; width, 0.045 m.; thickness, 0.014 m. From east of the Chambers on the Second Temple Terrace. 10. Small rectangular relief. Two women in a chariot to right, driving a quadriga. Upper part pierced by a hole. Length, 0.054 m.; height, 0.046 m.; thickness, 0.01 m. Probably found back of the South Stoa. All these plaques, with the exception of No. 8, are made of a fine reddish clay. No. 8, however, is made of a very coarse greenish yellow clay, in which small stones are visible. The question what purpose these plaques served is not easily determined. There are two classes of ancient metal relief work : repousse, or beaten work, and pressed, or stamped work. The stamped work, especially in soft and thin gold, was evidently made from a mould 1 upon which the thin metal was pressed.' The use of so brittle a material as clay, however hard the baking may have made it, and however thick such brick-like plaques as Nos. 2, 3, 4, and 5 may be, would be strange. Still it is not impossible that the examples just mentioned may have served that purpose. All these reliefs are influ¬ enced to some degree by the style suggested by metal work. It is not impossible that they may have served as “ backing ” for a thin coating of metal. But this is not likely, because for this the same objection of the softness and brittleness of the material might be adduced. Moreover, there is no trace whatever on their surface that such a covering existed. And, considering the peculiar adhesive effect the oxydization of bronze exerts on extraneous objects (many vases being found at the Heraeum to which bronze objects were stuck fast), it is inconceivable that no traces of such a covering should have been found. A specimen of a mould in terra-cotta was found at the Heraeum, 0.11 m. in length, 0.7 m. in width, and about 0.01 m. in thickness, flat on one side and curved on the other. In the flat side were several holes of varying shapes, sunk to a depth of several millimetres. A cast taken from this mould showed a series of objects, one of which undoubtedly represented a mollusk, the rnurex , or purple shell, so common on Mycenaean vases. The artist has made the common mistake in representing this shell sinistral instead of dextral; he has also made the anterior canal too wide. Whether the others represent nuts, fruit, or seeds of various shapes, we cannot decide. The nearest analogies to such a mould are found in Naucratis, 2 and the so-called “ cake-stamps ” (JVau/cratis, 1. p. 45, pi. 29), which are clearly of a very late date. Mr. Cecil Smith 1 See a good instance of this in the bronze mould in the 2 Cf. also Evans, J. H. S. VII. p. 44, and Introduc- Ashmolean Museum, Oxford, published by II. Stuart tion, p. xiiv. Jones, ./. II . S. 1890, p. .‘128. RELIEF NO. 1 49 informs us that there are in the British Museum, thus far unpublished, stamps of a similar shape to ours, but none with the same subject. The presence of the raurex might point to a somewhat early date for our mould, but there is no further clue to the date. That all these plaques are ex votos is the only natural explanation of their existence at the Heraeum. Nos. 9 and 10 certainly serve that purpose, as the holes in their upper parts for hanging them up show, and Nos. 1, 6, and 7 can hardly be anything else. The technical method seems to have been the same in all, namely, that the clay was stamped while soft, and afterwards fired. Nos. 8 and 9 present the peculiarity of being treated with a sharp knife after firing, in order to express details and to emphasize lines; this is apparent from the knife-marks on the surface of the clay, and from the fact that in several places the outlines have been trimmed down, leaving a fainter line at the back of the relief. No. 1 . — This relief is especially interesting in that while, as we shall see, it manifests Hellenic elements, it has traces of Oriental influence more strongly marked than the others. In fact, we may say that the terra-cottas in relief manifest the ‘ Oriental ’ charac¬ ter in far greater proportion and pronouncedness than is the case with the terra-cotta figurines in the round. While we found but few specimens among our many hundred figurines which bore clear traces of Oriental influence, the proportion of terra-cotta reliefs which show this influence is very large, and, as in No. 1, this Oriental character is clear and pronounced. This is a very significant fact, strengthening, as it does, our convic¬ tion, based upon much testimony from other quarters, that Greek sculpture in the round, the statue of pure art, is a specifically Greek development; while Oriental influences only find their way into Greece through the channels of decorative art, especially through ornamental vessels in ceramic art and metal ivork. The subject represented is, at first sight, quite simple. It is a nude, winged figure. The upper part of the body, as well as the head, is in full face, while the lower part from the waist downwards is in profile. This want of unity in composition is the rule with reliefs, as well as figures in the round, of this early period. Such inconsistency in atti¬ tude, by a curious effect of conventionalism, survived long after the artists had advanced beyond this point of archaic awkwardness. Ceramic art is a case in point, since not till after the Persian wars was this conventionality abandoned, and instances in sculpture are too numerous to mention. The head 1 is surrounded by a mass of hair, which falls down to the shoulder on both sides in a heavy, ribbed mass, while over the forehead it lies in waves. On the left eye is a slight indentation which at first sight seems like an iris, but which on a careful examination proves to be merely accidental, no such hole being apparent in the other eye. The nose is flat and the mouth hard and straight, a slight effort being made to model the lips and chin. The scheme of the hair is strikingly like that of the Melian or the Tenean Apollo. The wings present this peculiarity, that they grow directly from the breast, in front of the shoulders, which they entirely conceal. The arms are comparatively thin, a result, perhaps, of the difficulty the artist found in dealing with several different planes, the arms being drawn behind the wings. Whether the figure is male or female is difficult to decide, but it is more probably the 1 The head of this figure resembles slightly that of the female Centaur on the Relief Vase in the Louvre. Cf. De Ridder in B. C. H. 1898, pis. iv. and v. 50 THE TERRA-COTTA RELIEFS former. When it is carefully examined, the traces of a very short wavy chiton can he discovered, at a slight distance below the waist. Female figures in archaic art are never represented, as far as we know, in a chiton of such shortness. Though there are many points of difference, a comparison of this plaque with the bronze relief from the Acro¬ polis 1 induces us to believe that our figure is male. The thighs are large in proportion to the body, with careful modeling of the muscles, especially about the knee. The nates are small in proportion to the thighs, a peculiarity seen also on the Selinus Metope of Heracles and the Cercopes. The legs from the knee downwards are extremely thin, similar to those of the Tenean Apollo. In fact, our relief seems to afford a mixture of the exaggerated muscularity of the Selinus Metope and the slimness of the Tenean Apollo. The attitude of the figure is not necessarily that of one walking, hut is due rather to the inability of the artist to represent the legs and feet from the front. What the hands hold is clearly not a wreath, but a conventionalized flower or branch. This forms part of the action itself, since each hand holds an end of the ornament, and it thus becomes a sort of contaminatio of a plant and scroll ornamenting the background, introduced at the same time into the action of the figure itself. This action is, in reality, a reminis¬ cence of the well-known “ Thierbandigerschema,” 2 of which the Persian Artemis, 3 falsely so called, is a good example. The winged figure in this connection was one of the types adopted by the Greeks, and was remodeled to suit their own peculiar needs, since, though the Hellenic character of the Persian Artemis is now established, no one denies that the original type was a foreign importation. The addition of the wings seems to be a fea¬ ture of the later archaic art, 4 since they are certainly unknown as attributes of the human figure in Mycenaean or Geometric art, nor do we find them on the “ Island Stones.” 5 The mythological significance of the relief, if such it has, is not clear to us. We can only say that it is a winged figure treated in an ornamental manner. We use the term “ ornamental ” advisedly, with a more literal signification than is generally given ; for one of the most peculiar and striking features of this representation is the action of the figure. The winged “ genius ” is holding in both hands a mere ornament, a decorative design, which certainly is no implement of use, nor has it any special significance. But the use made of it here is quite distinctive and original. It is as if the decorative feeling of the modeler of the plaque had been so strong that it obtruded itself into his represen¬ tation of a human figure, becoming an integral part of the attitude and action, at the expense of the logic of representation, as far as the human figure itself is concerned. This introduction of the ornament seems to point to two customs in the decoration or framing of scenes and representations of figures on vases, bronzes, terra-cottas, etc.; namely, the continuous scroll or other ornament bordering these scenes, as with a frame, and the introduction of ornaments into the field or background, which the Germans have called “ Fullornamente.” Such framing bands and “ Fullornamente ” are the composite motives which appear to have led the artist to introduce this new form of ornament into the field of this relief. We have had occasion to cite the “ Persian Artemis ” as an analogy to our figure. A direct repetition of the motive of our plaque may be found on a bronze plaque from 1 ./. //. S. 1893, ]>. 259, fig. 20 (Bather). ’E. 280. 5 Griechische Gcschiclde, I. p. 282. c Cf. Head, Historia Numorum, Introduction, p. 38. 7 Op. cit. I. p. 214, Note 3. 8 Loc. cit. and Pallat, Athen. Mitt. XXII. (1897), pp. 265 if. 9 As the question of the origin of such styles as the Mycenaean, Geometric, Argive (so-called Proto-Co¬ rinthian), and Corinthian, which are found in Aegina, Argos, and Attica could not he settled with positive cer¬ tainty from the outward appearance of the fragments themselves, a microscopical analysis of the clay by an expert geologist seemed to offer the only solution of the MICROSCOPICAL ANALYSIS OF THE FRAGMENTS G5 some other man was ruler of Argos at that time is not essential to the argument, hut it would seem that Holm and Stais are right in considering him king of Argos and assigning to him a date in the first half of the eighth century. That this connection lasted until the sixth century, when the Argives assisted the Aeginetans in repelling an Athenian invasion, 1 the presence of the vase fragments at Aegina would seem to show. So far as can he judged from the extremely small number of fragments of vases of foreign (i. e. outside of the Argolid) make, such as Dipylon, Early Attic, Corinthian, Cyrenean, Attic Black and Red-Figured, etc., it seems probable that almost all the rest were made in the Argolid. Without doubt all fragments belonging to the Mycenaean style were of such origin. This I judge from the fact that all such vases bear the closest relation to those from Mycenae and show none of the features characteristic of other Mycenaean types difficulty. Accordingly I sent to Dr. H. S. Washington a number of sherds of the Primitive, Mycenaean, Geo¬ metric, Argive (Proto-Corinthian), Corinthian, Black and Red-Figured styles selected from the following sites : the Heraeum, Mycenae, Tiryns, Nauplia, Melos, Attica (Athens, Menidi, Markopoulo, Thorikos), and Eretria. His report is to appear elsewhere, hut we may here men¬ tion the following facts quoted from Dr. Washington’s letter, which were given in reply to the following ques¬ tions : (1) What is the connection between pottery found at Argos and Aegina ? (2) What is the connection be¬ tween pottery found at Attica, Argos, and other sites ? (1) “ The primitive fragment from Aegina is coarse and contains fragments of mica-schist. As this rock is not found on the island, the presumption is that this especial piece is of foreign (i. e. extra-Aegina) manufac¬ ture. In the Peloponnesus the nearest localities of these rocks are in the Xiris mountains, and near and south of Doliana towards Sparta; they also occur in Attica. The Geometric fragments of Aegina are coarse with quartz and feldspar grains, possibly derived from schist, but no remains of this or of volcanic rock are visible ; it may be native. The two Mycenaean fragments from Aegina are rather coarse, and show fragments of quartz, feldspar, and augite (a mineral of volcanic rocks on the island), so that these are almost certainly of native (Aeginetan) manu¬ facture. “ The Proto-Corinthian and Corinthian fragments from Aegina do not differ in any essential respect from the corresponding specimens of Argos. The Proto-Corin¬ thian are much finer than the Corinthian, and I should say that the Aegina Corinthian are rather coarser than the Corinthian fragments found at Argos. “ Of the Argive specimens, the Proto-Corinthian are by far the finest, though the Corinthian come close to them. A fragment of a ‘local type’ (v. p. 161, Plate LXVII.) is also dense, as are two of the red-figure style. A prim¬ itive fragment is also quite fine, but shows carelessness in manufacture in areas of coarser material and in the presence of limestone fragments. The fragment of the Geometric plate (v. p. 116, Plate LVIII.) resembles the corresponding one from Aegina, and may possibly contain a little augite (in very small crystal fragments), which would indicate an Aeginetan derivation. All the Geo¬ metric fragments are coarser than the Proto-Corinthian, but the Mycenaean are rather better, though less dense, than the Proto-Corinthian. “ On the whole, the only pottery which is, one may say, undoubtedly Aeginetan is the Mycenaean from there, the Argive Mycenaean being distinctly different. There is practically no difference between the respective Proto- Corinthian and Corinthian, and either might come from any good clay bed, and with the material well washed, which would tend to eliminate all heavy portions such as augite. (2) “ Argive, Attic, etc. The fragments of the Myce¬ naean style from Mycenae, Tiryns, Daulis, Markopoulo, and Nauplia are all practically identical with that of Argos. The Geometric fragments from Markopoulo and Eretria are coarser and resemble the Geometric from Argos. The only specimen from Athens (Dipylon) is also coarse, and contains much feldspar, an evidence of carelessness in washing. “ The pottery from Melos is quite distinctive in con¬ taining fragments of minerals of volcanic rocks of the island, as well as here and there fragments of the rocks themselves, such as obsidian, etc.” “ Pottery is made of decayed rocks in which most of the original and distinctive minerals have disappeared, and those left are still further done away by the washing of the clay, so that it would be only in the most early and archaic periods that we should expect to find tell-tale minerals.” Although Dr. Washington’s report is somewhat incon¬ clusive, the following conclusions would seem to be jus¬ tified: (1) That with the exception of a few fragments of the Mycenaean style and the Geometric plate mentioned on p. 116, none of the sherds of the Geometric, Argive (Proto-Corinthian), or Corinthian styles are indigenous to the island, but were most probably imported there. (2) The Geometric fragments from Attica, except the pure Dipylon style, resemble very strongly those from Argos. But these same conclusions do not seem to militate against the theories advanced on pp. 119 ft', and 103 ft\, that the Argive (Proto-Corinthian) style originated in the Argolid, and that the earliest beginnings of the Geometric style proper are to be sought for in that locality, al¬ though, as stated on p. 104, no attempt has been made to prove that the Geometric style necessarily originated in the Argolid, and was taken up by the other states, but ratlier that the external influence which probably created the Geometric style first made its appearance in Argos, and penetrated into Attica in a very short time. 1 Herod. V. 87 ft’.; cf. also chapter VII., below. 66 THE VASES AND VASE FRAGMENTS such as Tlieran, Cypriote, and those from the various islands. At the same time, the complete absence of the first class, lustrous finish of the Mycenaean style, would seem to exclude Mycenae itself as the only factory. With such a large output of Mycenaean vases there must have existed a dozen vase factories scattered through the plain. Though it is a point that admits of much discussion, I am inclined to follow Furtwangler and Loeschcke’s view that the Dorian invasion proved the downfall of the Mycenaean civilization, and that the Geometric style arose in consequence of this invasion 1 and can¬ not be traced to the Ionians, Carians, 2 or Egyptians. 3 This point will be further elabo¬ rated in the third chapter, but we may anticipate a little. It is oidy recently that the connection between the Mycenaean and Geometric styles has been satisfactorily estab¬ lished. Wide 4 has analyzed the survival of Mycenaean elements in the Geometric style and shown how much more the Island types of the Geometric followed the Mycenaean than those of the mainland, but his assumption that, owing to the lack of these Myce¬ naean features in the Geometric style of the mainland, the centre of the Mycenaean fabrics lay in the islands is not necessarily true, since these same features can be detected in the Geometric vases from the Heraeum. The recent excavations of Flinders Petrie in Egypt, Cecil Smith and Hogarth in Melos, and Evans in Crete have thrown new light on the beginnings of the Mycenaean style, since a large number of sherds have been found there which, though akin to the Myce¬ naean, are nevertheless earlier, and have been called “Aegean.” These sherds would seem to show a greater tendency towards a naturalistic or pictorial form of ornamentation than towards a linear. As yet the connection between them and the Mycenaean sherds of Greece proper has not been thoroughly established, but it may be assumed that such a connection exists. The Mycenaean style in Greece proper would seem to show the following development. As Professor Waldstein has already pointed out, the earliest Mycenaean fragments show the embodiment of a Linear principle which would naturally be expected in vases which succeed the so-called “ Primitive ” style. In a very short time, owing no doubt to the maritime character of the Mycenaean civilization, and more probably to the influence of the Aegean pottery, the tendency to employ a species of pictorial or naturalistic orna¬ mentation, especially of marine life, became widespread. Later again the spirit of conventionality crept in, and in the last days of the Mycenaean style we find a wealth of ornament treated in a purely conventional and rather flamboyant manner, but without the introduction of any fresh ideas; in fact, the general tendency seems a return to the early Linear feeling. After the Dorian invasion we see this same linear principle marching off in two different styles, the Geometric and the Argive or Proto-Corinthian, which flourished side by side in the Argolid for a considerable period. During the seventh century the increasing commercial and trading facilities brought about the introduction of foreign, especially eastern influences, into Greece, with the result that the Geometric style died out, while the Argive absorbed the new influences, from which the Corinthian style probably had its origin (see p. 123). Attica in the meanwhile, after experimenting largely with the Geometric style, had worked her way into the Early Attic style, and after absorbing the Oriental influence from Corinth through the so-called Corinthian-Attic, evolved the Black-Figured style which, during the best part of the sixth century, was the most prominent form of Greek ceramic art. 4 Athen. Mitt. XXII. (1897), pp. 233 ff. and XXI. (189G), pp. 385 ff. 1 Myk. Van. p. xii. 2 Rayet and Collignon, Hint. p. 32. 3 Kroker, Jahrb. J. (188G), pp. 95 ff. NATURAL DEVELOPMENT OF VASE-CLASSES 07 A glance at the accompanying figure shows the way in which this development took place, and how the elementary principle, starting from the Mycenaean style, and working its way through two separate channels, united again in the Attic Black-Figured style. Geometric Mycenaean Argive I. Dipylon Early Attic Argive II. Argive V., Corinthian So-called Corinthian-Attic Corinthian with Attic elements Black-Figured Style. It cannot, of course, be said that the progress traced above is absolute, nor can it he worked out exactly with mathematical precision. It is the result of a careful study of the progress of ceramic art as illustrated by the two great centres of Argos and Athens, with especial reference to the vases from the Heraeum. To trace the development of ceramic art in any given place is, after all, largely a matter of theory, and though I do not wish to maintain that the theories of development here expressed are the only ones possible, it is upon them that the whole of this work is based. As the term “ Proto-Corinthian ” is now so thoroughly unsatisfactory, 1 fully agree with Professor Waldstein that it should be abandoned, and that, as the Argolid offers greater claims for being the home of this style (as I shall endeavor to show later), it is best to call the style Argive. But, as stated before, the use of the term in this part of the publica¬ tion is rather more restricted than that employed by Professor Waldstein, since it is here used entirely with reference to those vases which are post-Mycenaean, and does not include all the varieties which Professor Waldstein would include under the title of “ Argive Linear.” CHAPTER I. PRIMITIVE VASES. The pottery representing the “ primitive ” period, i. e. all pottery (prior to the Myce¬ naean civilization) which shows the employment of the usual incised linear decoration, so common on the various sherds in the lower settlements of Hissarlik, is rather scarce at the Heraeum. For this fact two explanations are possible : (1) As we have pointed out before, a large number of fragments, without decoration of any kind, wheel or hand made, which might well belong to vessels of the earliest periods, were not preserved, since there Avas no evidence of any kind to sIioav what their age was. (2) Sites in which such AA r are has been found in greatest quantities, such as Hissarlik, Tiryns, Thera, etc., Avere all settlements Avliere the pottery Avas in actual use by the inhabitants. The Heraeum Avas a sanctuary and not a settlement; and as the cult of Hera Avas probably not developed until the Mycenaean period, the custom of dedicating pottery would not have been general, and hence Ave should not expect to find many primitive sherds on the site. If, however, there had been here an early settlement, vases would have been in constant use, and would therefore not have been found in large quantities, as Avliere in a sanctuary only there Avere constant deposits of votive offerings in vases. Of the plain pottery already mentioned in the Introduction, a great number of frag¬ ments seem to have belonged to large jnthoi, similar to those at Hissarlik. Such large vases, of coarse unpainted clay, are characteristic of all periods, and may just as Avell fall in the later as in the earlier Greek times. Many of them, in fact, are not dissimilar to common pots used by the people of Greece to-day. The bulk of this “ primitive ” ware consists of fragments of yellow or reddish clay Avith incised ornamentation, only a feAv vases being preserved entire. Most of the frag¬ ments are hand-made; but as Avheel-made ones are found, no general laAv can be stated for the use of the Avheel. It is probable that some of the wheel-made prehistoric frag¬ ments are older than hand-made Mycenaean vases. Beside the fragments already men¬ tioned, a large number of very coarse Avheel-made fragments Avere found, decorated only Avith a series of incised parallel lines very close together, evidently made by some pointed instrument held against the clay as it revolved on the wheel. To date them is impos¬ sible; the nearest analogies maybe found in Phoenician Avare in the British Museum and the Louvre. 1 Not more than tAVo baskets of the total number contained sherds Avith incised decora¬ tion, and it Avas extremely doubtful in the case of many of the fragments whether they could with propriety be classed among the primitive vases. Some, by their similarity to the vases from Hissarlik, the tumulus at Bos-ojiik in Asia Minor (Koerte, Athen. Mitt. xiv. (1899), pp. 1 ft*., pis. i.—iii.), and the Cyclades (Tsountas, ’E^p/x. ’Apy;. 1898, pp. 137 ft*., pis. ix., x.) seemed to belong to the last of the third or the beginning of the second mil¬ lennium in c. Probably none of them are earlier than the second settlement at Hissarlik, and the majority contemporaneous Avith the sherds of the third, fourth, and fifth settle- 1 Foltier, Vases Ant. du Louvre, pi. iv. fig. 2. PRIMITIVE VASES 60 ments. Some, again, though essentially primitive in their technique, show Mycenaean and Geometric elements without seeming to belong to either style. No attempt can he made to give anything hut an approximate date to the fragments of the primitive period from the Heraeum. As the primitive vases from the Cyclades furnish the nearest parallels to many of our fragments, we may date them as Tsountas does the island tombs, b. c. 2500-2000; those which show a more advanced style of decoration may he placed in the first part of the second millennium b. c. ; hut it is doubtful if any of our fragments to which the term “ primitive ” can he applied are later than the beginnings of the Mycenaean civilization. FRAGMENTS. PLATE L. 1. Bright red clay, fairly fine. Wave pattern between bands. Cf. Ilios, figs. 298, 317. Koerte, loc. cit. pi. iii. 19. 2. Coai’se dark yellow clay with small black stones, hand-made. Probably part of amphora. Handle missing. Decoration of small circles, evidently done with some instrument like a punch. To left of the handle, breast-like protuberance. 3. Reddish clay. Hand-made. Same decorations, large circles. Cf. Ilios, fig. 162. 4. Top of oinochoe, of fine dark reddish clay. Same decorations with very small circles, which extend over the lip. Fragments of this type were common at the Heraeum. They possess, however, no affinity with the sieve vases from Troy, as the circles do not go clear through. Two variations in the type occur; (1) where the circles have a central part left (as in 2) and (2) where the circle is a complete hole. (3) Similar decoration occurs on ivory objects from Troy (Ilios, p. 566), as well as from the Heraeum, and on fragments from graves of the Hallstatt period in Vienna. Nos. 5-8 are all of a yellow or reddish clay, hand-made and ornamented with scratched lines. Similar fragments were quite numerous at the Heraeum, and probably belong to the earliest period. The plastic band on 5, with its perforated ornament, is a common feature in prehistoric ware. 1 Cf. Schliemann, Ilios , p. 491, fig. 454. 9. Low bowl; height 0.27 m. ; diameter 0.17 m. Reddish clay. Incised dots on outer edge of base. Rim has an incised herring-bone pattern. Two holes through edge of base. 10 . F rom shoulder of large vase, coarse reddish yellow clay. Ornamentation probably ran round the shoulder like a frieze. 11 . Handle of vase, coarse reddish yellow clay, hand-made. Plastic ornament resembling the knuckles of a hand. 12. Same. Coarse, dark reddish clay, hand-made ; probably burnt. In plastic form, with four divisions, two large and two small. Several other similar handles, belonging to large amphoras were found, which vases, as far as can be told from the fragments, possessed no decoration whatsoever. 13. Handle, reddish yellow clay, ornamented with a series of V-shaped incisions. Cf. Ilios , fig. 1000. 14. Reddish clay. Wave patterns incised in similar fashion to 1. In left-hand corner of the fragment a projection like a button. 15 2 a and b. Bright red clay, hand-made. Base of tall jar. Around bases plastic mould- 1 This would seem to be one of the earliest examples xxii. (1898), p. 441, note 1 ; B. C. H. xix. (1895). p. 179. of a snake, which, though common in Mycenaean and later note 0. times, is probably not of Mycenaean origin ; cf. B. C. H. 2 A fragment very similar to No. 15 has been found by Wide at Aphidna ( Allien. Mitt. 1896, pp. 394, 407. pi. 70 THE VASES AND VASE FRAGMENTS ing with scratches. Above, narrow band of triangular indentations and two bands of ray pattern, incised. The same triangular indentations occur on a fragment from the Cyclades ’Ec^/a. ’A p%. 1898, pi. ix. 10 and 23. The following fragments are all wheel made, and belong certainly to a later time, probably just prior to the beginning of the Mycenaean period. 16. Greenish yellow clay. From base of a vase with tall foot. Double herring-bone pattern and lines, incised. 17. Greenish-yellow clay, from vase similar to 16. Rays and bands incised. 18. Reddish clay, inside entirely covered with a dark brown glaze. Rays and scratches incised. As the technique of this fragment is distinctly Mycenaean and rather advanced, it seems most probable that it should fall in that period. 19. Light yellow clay, probably from an aryballos. Herring-bone pattern and lozenge contain¬ ing a swastika , incised. 20. Bright yellow clay, with black core. From neck of a vessel. Three raised bands, cross- hatched, inclosing two bands, upper with rosettes and herring-bones, lower with herring-bones alone. 21. Reddish yellow clay. From neck of aryballos. Plastic tongue pattern on shoulder. The technique of 19-21 is decidedly more advanced than that of the other fragments. At the same time it is open to question whether, with the possible exception of 21 , they can be regarded as later than the Mycenaean period. VASES. 1. (Fig. 1.) Three-legged bowl, two of the feet restored. Hand-made; height, 0.092 m. ; diam¬ eter of opening, 0.08 m. Black clay with brick-red slip, burnt dark brown. Scratched ornamentation on rim, neck, and belly. The handle is divided into two twisted divisions, also ornamented with scratches. On the front, two breast-like protuberances. This arrangement of scratches is similar to that of ’E<^^. ’Apy. 1898, pi. x. No. 1, but not so regular, and is undoubtedly earlier. The shape is similar to Ilios , Figs. 59 and 1130. (Cf. also Koerte, Hoc. cit. pi. ii. 9.) Such vessels have usually been classed among cooking-pots. 2. (Fig. 2.) Vase with long neck, without handle; height, 0.07 m. Black clay, polished and burnt. The shape of our vase is similar, though a trifle more advanced, to a vase from the same place. Cf. Ivoerte, loc. cit. pi. ii. 8. The polishing of the clay is a common feature among primitive vases. It may 1 m; observed on a large number of vases and sherds from Hissarlik, and also on the vases from Bos-ojiik. Cf. Koerte, loc. cit. p. 25. 3. (Fig. 3.) Oinoclioe ? Neck and handle missing: height, 0.025 in. Black clay, burnt, with incised border on shoulder. Shape of vase cannot be determined, but it rather recalls the latter oinoclioe type. Similar decoration may be found on a Trojan vase of the Fig- 3. fourth settlement. Cf. also, ’E’Apy. 1899, pi. ix. 24. xv. 3), and assigned l>y him to his early indigenous Geo¬ metric class. This would seem significant for dating our fragment, and also for showing that the pre-Dorian ele¬ ments in the Geometric style in Attica are to be found in the Argolid. This point will be discussed more thoroughly in Chapter III. THE MYCENAEAN STYLE 71 Further, about twenty very small hand-made vases were found, which had no decora¬ tion, but were uniformly of a dark gray or reddish clay, showing traces of burning. They included two-handled vessels, similar to ’E^/r. ’A px- 1898, pi. ix. 2, and Koerte, loc. cit. pi. ii. 7 ; several three-handled jugs of similar shape to those on p. 100, and a vase without handles, similar to Koerte, loc. cit. pi. ii. 9. A series of vases, which, though not prehistoric in character, seem more nearly related to the earlier than the later vases, is represented by 4 6. They are all of a very dark clay, hand-made and burnt black in most cases, some with a decoration of incised lines running from neck to foot, others without decoration, and chiefly remarkable for a very brilliant polish, giving nearly the effect of dull jet. These vases are very similar to several from Rhodes in the British Museum, and it may be questioned whether our vases are not as are those, a product of the eighth century. At the same time, owing to their scratched ornamentation, they are more fitly included in this chapter, and if of a later date are probably the last links of the chain begun in prehistoric times. 4. (Fig. 4.) Aryballos; height, 0.045 in. Much of the outer surface worn off. Several others were found at the He- raeum. An aryballos precisely similar is in the British Museum (A. case 6, No. 658, from Rhodes). Black clay, burnt, with decoration of parallel lines. 5. (Fig. 5.) Aryballos ; height, 0.034 m. Fig. 4. Fig. 5. Fig. 6. Black clay, with very brilliant polish. Below handle parallel scratches and a figure shaped like a bow or a crescent. 6 . (Fig. 6.) Oinochoe ; height, 0.045 m. Black clay, polished and burnt, without ornamentation. Several similar jugs were found. CHAPTER II. THE MYCENAEAN STYLE. The development of the Mycenaean style at the Heraeum finds its parallel in the Mycenaean fragments from Mycenae and Tiryns. But unfortunately the Heraeum frag¬ ments throw no light on the question whether the Mycenaean style is of Achaean (as is usually supposed), Pelasgian (cf. J. II. S. XVI. [1896], pp. 77 ff.), or foreign origin. That prototypes of the Mycenaean style exist in the Aegean pottery is now, I think, gener¬ ally admitted, and it may well be the case that the beginnings of the civilization are to be looked for in the Aegean islands, especially Crete. The connection, however, between the Mycenaean ware at the Heraeum and the Aegean pottery is not easy to establish ; the earliest elements of the style in the former site are, as Professor Waldstein has pointed out, distinctly linear in character; and that, as far as I can judge from the island pottery I have seen (e. g. Melos), does not seem to be the case in Aegean pottery. If anything, the characteristics of the Aegean pottery are more naturalistic than linear. Perhaps the most probable explanation is that the Mycenaean style in the Argolid developed directly from the primitive linear types, and that the influence of the islands brought about the change to naturalistic forms of ornamentation. The two great classes of the Mycenaean style, vases with dull decoration (J lattmetierei) and with lustrous decoration ( Firnissmalerei ), are both represented at the Heraeum, the former in very small quantities. Although it is usually supposed that “ dull ” vases are 72 THE VASES AND VASE FRAGMENTS older than “ lustrous,” certainty on this point is impossible. The character of the dull style is linear and as such more in keeping’ with the prehistoric motives; also as the invention of a lustrous glaze is a distinct innovation in ceramic art, it is probably an improvement on the u dull ” technique. But that the manufacture of dull vases continued almost as long as that of lustrous vases, is proved by the fact that both dull and lustrous fragments lay side by side in the same levels. VASES WITH DULL DECORATION. Four small vases (to be described later) and about fifty fragments of this style were found, none belonging to very large vases. To establish a classification with a material so scanty and unsatisfactory is impossible. Furtwangler and Loeschcke divide this type into two classes: («) vases made of red clay (“ Rotthonig ”) and (b) vases of pale clay (“ Blassthonig ”). Such a classification in the case of the Heraeum fragments proved im¬ possible, since the clay ran through the various shades of red, yellow, gray, and green, and no vital difference in the decorative forms of fragments of red or pale clay could be distinguished, and the polish, according to Furtwangler and Loeschcke, a characteristic feature of class a, was noticeable only on vases of pale clay. It is true that the majority of our dull fragments show a decoration decidedly linear in feeling, and also that some show a pictorial or naturalistic decoration very similar to vases of the lustrous style. That the first are the earlier of the two seems probable. At the same time the difference is not so great as to warrant our assigning; the fragments to different classes, since many fragments bearing linear motives may well have belonged to vases which also showed pictorial ornamentation and vice versa. The classification of fragments alone is far more unreliable than that based upon entire vases. Hence, in the case of “ dull ” fragments, no attempt has been made to separate them into two classes, though they have been arranged with a view to the character of their ornamentation, be it linear or pictorial. Only the most important fragments are shown in Plate LI. There were many which bore no decoration, though clearly belonging to the same vases as some of the fragments here reproduced; many again bore only a part of a band or stripe running around the belly. A certain difference can be detected in that in some of the fragments the clay is covered with a fine slip and in some not. The majority of the fragments show this feature, which seems to have been a characteristic of the style from its beginning, since even those vases with the simplest linear decoration show it. As it runs through all the shades of clay, it offers no ground for classification. The polishing of the surface seems to have been the general custom. The clay runs through all varieties and colors, from a very coarse variety with black stones still apparent on the surface to extremely fine clay, cleaned and polished. The majority of the vases and fragments were made on the wheel, though a few are hand-made. FRAGMENTS. PLATE LI. 1. From bowl with large opening. Form, Myh. Vets. xliv. 48: height, 0.165 m.; width, 0.125 in. Coarse pale greenish clay, polished on outside and inside. On inner part of rim series of three short parallel dashes. Decoration in black, faded. Cf. Myh. Thong, iv. 17. 2. From one-liandled-cup. Form, Myh. Vas. xliv. 98: width, 0.118 m.; height, 0.068 m. THE MYCENAEAN STYLE: “DULL” DECORATION Coarse brownish yellow clay with whitish yellow slip on exterior. Dashes on rim similar to 1. In rim hole pierced for suspension. Black decoration. 3 . Lip and handle of bowl similar in shape to 1: width, 0.112 m.; height, 0.095 in. 4. Neck and shoulder of jug. Form, Myk. Vas. xliv. 20: height, 0.105 m. ; width, 0.125 m. Coarse reddish yellow clay ; yellowish slip with decoration in violet brown. Cf. Myk. Thong. iv. 13 5. Reddish yellow clay, fairly fine in texture. Pale slip on exterior with violet black decora¬ tion. Cf. ’E<£? 7 /x. ’A px- 1899, plate viii. 104 (vase from Syra). 6. Neck and shoulder of jug similar to 4. Fine reddish clay with greenish yellow slip. 7. Fairly fine pale reddish clay, dull polished surface. Three narrow black bands inclosing a dark red zigzag, and a broader band of dark red ; traces of another zigzag also in dark red. This fragment is almost identical with Myk. Thong, v. 20. This use of two different colors, one (in this case the red) added after the first firing, is an extremely common feature in the Heraeum fragments, and will lie analyzed more thoroughly in a later chapter. No. 7 was the only fragment of the dull finish which showed its employment. A few fragments of a very dark red clay with a dark red slip on exterior and interior and black decoration were found. They are in all respects similar to the vase from the Bee-Hive tomb near the Heraeum. Cf. Myk. Tliong. xn. 52 ; Athen. Mitt. III. p. 271. 8 . Neck, shoulder, and base of handle, probably from an amphora. Fine gi-eenish clay, pol¬ ished, with light brown decoration. 9. From large bowl, similar in form to Myk. Vas. xliv. 75, but with single handles, about 25 cm. in height and 24 cm. in diameter. Coarse reddish clay, which has received a very high polish and presents a peculiar soapy feeling to the touch. Zigzag band below rim in dark red, very much faded. (Fig. 7.) A few other vases and fragments from the Heraeum showed this same peculiar surface, which otherwise is unknown to me. It is probably due to some accident either in the composition of the clay or the peculiarity of the soil in which it is found. 10 . Coarse brownish clay with white slip outside. Violet brown decoration. All these fragments show a decided “ linear ” tendency ; the rest (10-16) are more nat¬ uralistic in character. The similarity of decoration in 14-16 to vases of the lustrous finish would warrant our assigning them to a later period. They evidently do not belong to the earliest essays in dull decoration. 11 . Shoulder and handle of small three-handled amphora (form Myk. Vas. xliv. 35), with brown black decoration. 12 . Rim and spout (broken off) of a bowl, similar in shape to Myk. Vas. xliv. 103. Very coarse brick red clay, with a pale white slip on exterior and interior. Decoration in black, laid on heavily and badly worn. 13. Shoulder of small jug. Similar technique to 11 and 12. 14. Spiral in black. 15. Rim of bowl. Fine brick red clay, with bright yellow slip, highly polished; decoration in violet brown. This fragment, from the excellence of its technique, as well as the form of the spiral, is clearly synchronous with vases of the best period of the lustrous style. 16. From bowl similar to 15. Greenish clay, with brown decoration. Technique similar to vases of the later (not the best) lustrous style. Fig. 7. 74 THE VASES AND VASE FRAGMENTS 17. VASES. (Fig. 8.) Height, 0.06 m.; diameter, 0.07 m. Bowl with high foot, being a cross between a kylix and a skyphos, one handle missing. Bands and a continuous spiral. Another vase of exactly the same shape and dimensions, but in¬ tact, was found in the same tomb. The surface is completely cov¬ ered by a hard incrustation of lime, hut as far as can be seen the decoration is the same as 17. 18. (Fig. 9.) Height, 0.028 m. ; diameter, 0.066 m. Slight variation of Fig. 8. Myk. Vas. xliv. 87. Bands on rim, belly, and han¬ dle, and row of dotted semicircles. 19. (Fig. 10.) Height, 0.036 m.; diameter, 0.056 m. Three-legged bowl, handle restored. Continuous spiral on sides, and on bottom be¬ tween the legs a design like an S reversed. Clay shows traces of burning. These four vases come from the grave Fig. 9. found April 13, 1894, back of the peribo- los wall above the South Stoa. The technique is the same in all, a fine yellow clay, highly polished, without a slip, the decoration in violet black, laid on heavily. All are hand¬ made. For photograph of tomb see vol. I. p. 41, fig. 13. VASES WITH LUSTROUS DECORATION. The introduction of lustrous paint in the manufacture of Mycenaean vases was revolu¬ tionary in its effects. Henceforth all vases exhibit this feature. But as we have said, on its introduction the dull finish was not at once abandoned, but continued side by side with the lustrous technique for a considerable period; just how long it is impossible to say, but certainly until after the best period of the lustrous style. Until lately Furtwangler and Loeschcke’s division of the lustrous style has been univer¬ sally followed. This classification has, however, proved inadequate for our vases, and for those from the Acropolis and Thoricus. A second classification, 1 proposed by Wolters, is more satisfactory, and has proved a better standard for arranging ours. But in spite of its many advantages, it is somewhat unwieldy, so that I have ventured to adopt a middle course, in order to reconcile both Furtwangler and Loeschcke’s and Wolters’ arrangements. The three are here presented side by side. Furtwangler and Loeschcke. I. W1 leel-made vases of a very coarse clay, entirely covered with a fairly dull black slip, on which the ornamentation is thinly laid in white and dark red. This class was chiefly found in graves iv. and v. at My¬ cenae, at Tiryns, and at Thera. 1 This classification has never been Wolters. I. The same. Only a few frag¬ ments of this style were found on the Aci’opolis. published, so far as I know, and has HorriN. I. The same. This class is not found at the Heraeum at all. n drawn from the author’s lectures. THE MYCENAEAN STYLE: CLASSIFICATIONS 75 ii. Vases of coarse clay, covered with a thin slip of finer clay, now white (in the case of vases from the Bee-Hive tomb near the Heraeum),nowyellowish brown, (v. Mylc. Thony. vn. 42 ; Myh. Vas. p. 21, fig. 7.) The de¬ coration is painted on this slip in dark brown, with the occa¬ sional addition of white, as if an echo of the technique of the first class. ill. Fine cleaned clay, with a pol¬ ished surface of warm yellow color. The colors in the deco¬ ration run through all shades from yellow to dark brown. This, through action of fire, becomes bright red in many cases, which, especially in vases of the finest technique, is evidently inten¬ tional. Details are occasion¬ ally added in white. II. No radical change. The main point of difference lies in the close connection between II. and the following class, which varies from it only in the qual¬ ity of the work. The style throughout is distinctly a natu¬ ralistic or pictorial one, there being no thought of convention¬ ality. The vase from Tliorikos is an extremely good example of the class as a whole. Cf. ’E (pri/A. ’A px- 1895, pi. xi. No. 1. III. 1. Fine clay, with purely pic¬ torial ornamentation, precisely similar to II., save that the exe¬ cution is more delicate, which is natural, seeing that the vases are uniformly smaller. 2. The pictorial motives have become conventionalized. In jiroportion, however, the tech¬ nique has also advanced and reaches its highest point in this division, and may easily be de¬ tected by the extreme fineness of clay and extraordinary bril¬ liancy of the glaze. This class is not the most common of the Mycenaean styles. II. 1 and 2. In the first division of II. have been included all vases which in the other two classifi¬ cations are counted as II. In the second division are in¬ cluded a number of vases be¬ longing to Furtwangler and Loescbeke, III., and AVolters, III. 1. hi. 1. Seeing that vases of this class differ from the succeeding one only in superiority of technique, while the principle of ornamen¬ tation remains the same, there seems to be little gain in sepa¬ rating them by the boundary line of a class. 2 In this division are included those vases which form the bulk of III. of Furtwangler and Loeschcke. They are the most common at the Heraeum. The clay has become inferior and the lustre duller, while the orna¬ mentation has become conven¬ tionalized in the extreme, and presents a certain mechanical air. It is only in its technical features that it differs from class III. 1. 76 THE VASES AND VASE FRAGMENTS IV. Tlie surface of the clay is greenish or a somewhat dull yellow, occasionally reddish yel¬ low, hut far duller than the pre¬ ceding- class. The decoration is black or yellowish brown, occa¬ sionally burnt red, but never at¬ tains to the brilliancy of vases of class III. In the case of vases with a wide mouth, the interior is always glazed. IV. 1 . In this division are placed those vases included by Furt¬ wangler and Loeschcke in III., and by me in III. 2. 2 . In this division fall all vases in IV. of Furtwangler and Loeschcke. Vases of this type show a more florid and perhaps decadent style of decoration. The ornamentation abounds in a wealth of detail not seen in the other classes. It has been found in fairly large cpiantities at Athens, on the Acropolis, and at Aegina and Thoricus. IV. This class remains undis¬ turbed as in Furtwangler and Loeschcke. Only a few frag¬ ments were found at the He- raeum. It may be noticed that in Professor Wolters’s classification the separation of Mycenaean lustrous vases into two great periods is hinted at, if not expressed. We may commence by drawing a sharp line between the pictorial and the conventional, since the progression from naturalism to conventionalism is a greater one than from one plane of technical skill to a higher. We may therefore keep Furtwangler and Loesc-hcke’s four classes and separate them into two groups, I. and II., III. and IV. It will thus be seen that dividing III. and IV. into two classes each, as Wolters does, and connecting III. 1 with II., and III. 2 with IV. is somewhat awkward. Also the line between naturalism and conventionalism is not properly emphasized, since they occur in the same class, which is clearly impossible if Ave are to follow a classification based on ornamental development. By separating II. into two divisions we adhere to the close connection emphasized by Wolters Avliile confining the principle of naturalism to one class. With III. Ave enter upon the second or conventional group, and Ave divide this into tAvo classes, III. 1 and III. 2, which correspond to Wolters’s III. 2 and IV. 1. Their connection is too strong (the difference between them being purely technical) to warrant their being separated as they are by Wolters, Avliile at the same time we are more in accord Avith Furtwangler and Loeschcke, except for the transferring of a small part of their class TIT. to II. There seems to be no valid reason for separating IV. into tAvo groups. Cer¬ tainly the difference betAveen IV. 1 and IV. 2 (Wolters) is as great, both from a technical and ornamental standpoint, as betAveen III. and IV. (Furtwangler and Loeschcke). The following table aa ill sIioav briefly the results thus obtained: — Furtwangler and Loeschcke. Wolters. Hoppin. I. II. I. II. j III. 1 s I. > \ II. 1 \ II. 2 1 ' Naturalistic or picto- | rial style. III. III. 2 ) ) IIL 1 ) IV. 1 )' l III. 2 • Conventional style. IV. IV. 2 IV. J TIIE MYCENAEAN STYLE: EVIDENCE FOR DATE i i Wliat the chronological differences are between these various classes it is difficult to say. According to Furtwangler and Loeschcke, I. is the oldest; but it is extremely doubt¬ ful whether any difference in time exists between I. and II. As I. is found in but few other places outside of Mycenae, it is fair to suppose that it was a style more or less local. Judging from the entire lack of this class at the Heraeum, and the fact that the style of ornamentation of II. 1, which is the oldest class of lustrous vases at the Ile- raeum, is practically identical with that of I., there seems good reason for supposing that the two are synchronous. Moreover, the difference between II. 1 and the dull vases is so extremely slight that it can be detected only by a carefully trained eye, and even then cases occur where the decision is doubtful. This would show that the lustrous technique at the beginning did not differ materially from the dull, and is another point in favor of assigning II. 1 to the beginning of the lustrous style. II. 2 differs from II. 1 mainly in the technical advance, but this advance is sufficiently apparent to enable us to see in II. 2 the successor of II. 1. The step between II. 2 and III. 1 is even greater, since the style of ornamentation has radically changed, and all motives which II. drew from the marine life that played so great a part in the mari¬ time civilization of the Mycenaean epoch have become conventionalized and are used more with a view to their decorative effect than as an attempt to reproduce nature. Such a change could have come only during the acme of the Mycenaean epoch. With IV. we see the point to which the bad taste of a decadent art had come. The wealth of ornamentation, elaborated from a given motive, with the introduction of foreign motives, illustrated by “ Heraldic ” designs and those taken from Oriental embroideries, may be accounted for by this rampant spirit of conventionalism combined with the increased commercial activity of the age. A few words may here be said as to the latest results in dating the whole Mycenaean period. Through the numerous excavations recently conducted on Greek soil, and the corresponding increase of Greek pottery brought to light, the chronology has been worked backwards to the fourteenth century. But the excavations of Flinders Petrie 1 in Egypt, and the finding, in the towns of Illahun, Tel-el-Amarna, Kahun, and Gurob, of rubbish heaps containing large masses of “ Aegaean,” i. e. Mycenaean pottery, may be said to have absolutely established the date of the Mycenaean civilization, since the objects of Egyptian workmanship lying in these rubbish heaps, along with the pottery, can be dated not later than this eighteenth dynasty, circa b. c. 1450. Pseud-amphoras of Class III. were found in tombs of a date not later than b. c. 1300. The placing of the acme of the Mycenaean period during the fifteenth century thus accords with the hypo¬ thesis advanced by Furtwangler and Loeschcke on the basis of Egyptian wall paintings. 2 As Class IY. was not found by Petrie, we may assume that it is later than b. c. 1300; but there is no reason for assuming' that the manufacture of Class III. ceased after that date. We must also allow at least a hundred years for the development of the Mycenaean style from its beginning, so that to place the manufacture of dull vases as early as the sixteenth or seventeenth centuries is permissible. We thus obtain a period of about five 1 For a more detailed account of Petrie’s results, v. hurt, and Gurob, p. 10, pis. xvii.-xxvi. ; Kahun, Gurob, and Tel-el-Amarna, pp. 1G, 17, pis. xxvi.-xxx. ; lllaliun, Ka- Hawara, pi. xxviii. 2 Myk. Fas. p. xiii. 78 THE VASES AND VASE FRAGMENTS centuries from the rise of the Mycenaean style to its downfall at the time of the Dorian invasion, or whatever the upheaval was which led to its decline. That all the vases of the Mycenaean style found at the Heraeum were manufactured in the Argolie plain, and not imported from some other centre, seems unquestionable. Whether the Argolid was the chief centre of the Mycenaean civilization or not cannot be absolutely affirmed, though the evidence seems to point to this supposition. At any rate, the amount of vases found at Mycenae, Tiryns, Nauplia, and in the various tombs throughout the plain, is so great that we can safely assert them to be of home manufacture. That Class I. is found at Mycenae and not at the Heraeum may perhaps be accounted for by a difference of taste in the two places. The Heraeum, which was one of the largest sanctuaries in Greece, must have kept several potters’ factories busy to supply the faithful with the requisite vases for ex votos, and that certain styles should have been popular there and others not so is not extraordinary. Several facts may be noticed in regard to our fragments which are significant. The singular uniformity of all the fragments of the Mycenaean style, both in clay and technique ; the complete absence of Class I., and, lastly, the equally complete absence of any foreign variations (e. g. Tlieran, Melian, Cypriote, etc.) of the regular Mycenaean types. These facts would seem to indicate: (1) That the potteries which produced the ware found at Mycenae were not the same as those which produced our fragments ; had such been the case it is scarcely credible that no traces of Class I. should have been found. (2) That all Mycenaean pottery found at the Heraeum was the product of one or more particular centres of activity, situated near the sanc¬ tuary. (3) That this manufactory reserved its wares exclusively for home consump¬ tion, and neither exported its product or imported similar wares. This last assumption is based on the fact that those particular varieties which are indigenous to some foreign spots are hardly represented at the Heraeum, and the few exceptions to this rule are probably accidental. On the other hand, no Mycenaean vase found outside of the Argolid can be proved to have been manufactured near the Heraeum. CLASS II., DIVISION 1. Of this class only a few dozen fragments were found, and no whole vases. Only a few fragments clearly belonged to the same vases, and the reconstruction of any vase proved impossible. The characteristics of these fragments are similar to those of a jug in Athens ( Myk . Vas. p. 49, fig. 29) and a three-handled vase from Thoricus ("EcfiTjjjL. ’A px- 1895, pi. xi. 1), though the decoration is extremely simple and monoto¬ nous, with no attempt at any elaborate design. Only a few of the fragments are here reproduced. The technical features are: very coarse quality of clay, with frequent small stones, varying through the different shades of red and brown to green ; a thin wash of white, yellow, or red; ornamen¬ tation in violet, brown, or red. 1. (Plate LI. 17.) From belly of vase, form uncertain. Dark red clay, with a darker central core, and light red wash, dark red decoi’ation. Two fishes advancing - towards a monster of some sort whose head and forelegs alone are visible. To identify the character of the fishes or the monster is impossible. Cf. Myk. Vas. x. 63, xxxix. 401a ; Schliemann, Mycenae , Fig. 317; Imhoof-Blumer and Keller, Tier und Pftanzenbilder , vi. 47, 48, vn. 3. 2. (Plate LI. 18 a-d.) Four fragments from same vase, form uncertain, clay dark red, THE MYCENAEAN STYLE: CLASS II., DIVISION 2 79 white wash, with faded violet brown decoration. The design cannot be restored, but that the spiral formed part of it is certain. 3. (Plate LI., 19 a and b.) Two fragments of same vase. Thick brown clay, yellow wash, brown decoration. Flower pattern. 4. (Plate LI., 20.) Greenish clay and wash, violet black decoration, with a greenish tinge. Flower pattern. 5 . (Plate LI., 21.) Brown clay, with yellow wash. 6. (Fig. 11.) Fragment of large amphora: height, 0.108 m. ; width, 0.12 m. ; very coarse brick red clay, pale reddish wash, dark red decoration. (Flower pattern.) The height of the amphora cannot be determined, but the opening mea¬ sured certainly 18 cm. in diameter. Cf. Myl'c. Vas. xxi. 156. CLASS II., DIVISION 2. The fragments of this particular class were far more numerous than those of the pre¬ ceding, and are uniformly of a finer character, though the pictorial style of ornamentation remains the same. They represent throughout smaller vases. The clay is of a better cpiality, carefully cleaned, running through all the shades of red, brown, yellow, and pale green, the decoration generally red or brown. The technical method is the same in all. Over the natural clay a slip is laid, of very fine red or yellow clay, on which the design is painted and the surface polished. In some cases the slip is on the inte¬ rior as well. Occasionally the decoration is laid on so thickly as to stand out from the surface of the clay, and be easily friable. Cases occur where a whitish wash has been applied, as in Class II., 1. Fragments which resemble this class very strongly have been found in the Bee-Hive tomb near the Heraeum, already referred to. In only a few cases were fragments clearly part of the same vase and no entire vases were found. The style of ornamentation is uniformly naturalistic or pictorial, the motives being taken almost exclusively from flowers, while marine subjects are hardly used at all. In but a few instances can the form of the vase be determined. PLATE LII. 1 a and b. Two fragments from the same vase, form uncertain. Reddish clay, yellow slip, red brown decoration. Flower wreath, a is perhaps the best example of Class II. 2 at the Heraeum. Fragments very similar have been found in Crete ; v. Haussonlier, Rev. Arch. XL. (1880), p. 359, pi. xxiii., and more recently by Evans at Cnossus. Cf. Arch. Anz. 1900, p. 149, fig. 6. Cf. also 3Iyk. Vas. p. 23, fig. 12, and the fragments from the Bee-Hive tomb near the Heraeum: Myk. Thong, xn. 64; cf. also 3Iylc. Vas. xxvii. 213, 217 : A. J. A. VI. (1890), pi. xxii. 2 . Reddish yellow clay, brilliant red brown slip, red brown decoration. Two other small fragments from the same vase were found. This fragment is an exact duplicate of one from the Bee-Hive tomb; v. Myk. Thong, xii. 57. 3 . Similar to 1 but slightly coarser clay, slip, and flaky decoration. Probably part of shonlder of a three-handled vase (form, Myk. Fas. xliv. 32). A similar smaller fragment, but from a different vase, was also found. 4 . Yellow clay, flaky black decoration. Cf. Myk. Thong, xn. 60. 5 . Yellow clay, brilliant black decoration. 6. Double flower. Cf. Myk. Thong, xii. 73 ; R. C. H. X. (1886), pi. iii. 5. 7 . Rim of small bowl. Flower ; similar technique to 2 . 8 . Black border to stalks, changing to red in the centre. Fig. 11. 80 THE VASES AND VASE FRAGMENTS 9. Whitish wash on exterior, with red brown glaze on interior. 10 . Part of a plate, with branches on the reverse similar to 12 . Clay has a peculiar ribbed surface. 11 . Decoration ranging from brown to red. Presents same ribbed surface as 10 . 12 a and b. Two fragments from a vase of clay and technique similar to 8. Cf. Mylc. Vas. p. 58, fig. 34. 13. Rim of a large bowl. Clay rather coarse. 14. Grayish clay, evidently burnt. A few other fragments of similar technique and decoration were found. Cf. Mylc. Thong, hi. 10 ; Mylc. Vas. xxi. 153, xxvi. 195. 15. Flower pattern in dark red. Polish on exterior and interior. 16. The same. 17. F rom shoulder of three-handled vase. Arrangement of petals similar to 1. Cf. Mylc. Vas. xxxvi. 376. 18. Dark core in the clay. Decoration in red. 19. From a vase of form Mylc. Vas. xliv. 59, probably. Whitish yellow slip. Cf. Mylc. Vas. xiii. 89. 20. Combination of branches (watergrass, perhaps), similar to 12, and snakes or eels. 21 . Rosette. 22 . Form uncertain. This fragment, as well as several others, shows a peculiar technique, the addition of a white streak to the decoration after firing, but before glazing. For similar technique, cf. Mylc. Vas. xxvi. 203. 23. Black and red decoration. Uncertain what the complete design was. 24. From a plate. Reddish clay, with yellow slip on obverse, red on reverse. Flower pattern, the same on both sides in dark red. Cf. Mylc. Tlxong. xn. 68. 25. Part of plate, with pattern similar to 3, in flaky dark brown. 26. Greenish clay. Cf. Mylc. Thong, ill. 9. 27 a and b. Two fragments from the same vase. Reddish clay and decoration. Alternate buds and flowers. In spite of a certain conventionality of treatment, and indifferent technique, the resemblance of these fragments to those from Tlierasia ( Mylc. Vas. xn. 78) justifies their position in this class. A considerable number of fragments representing three-handled vases similar to Myk. Vas. vn. 45, ix. 52, were found. This seems to have been one of the favorite shapes of this class. As a rule, ornamentation is introduced into the space above the scallops. Fig. 12 a and b. Fragments of large bowl which measured 45 cm. in diameter. Form uncer¬ tain. Whether it had a foot is doubtful, so that the height cannot be estimated. Coarse reddish clay (thickness 0.012 m.), with a yellow slip, more reddish in tone on the inside. Decoration in light and dark red. On the outside (b) a row of tall leaves, separated by stalks ; on the inside, on rim a variety of “ tongue pattern,” with a milled border. In field two fishes and an eel. Fig. 12. This plate is perhaps the most interesting specimen of Class IT., 2. The form is unknown to me in any other vase. It varies from the regular plate type in that the subject is different on the two sides. The pattern on the rim is clearly a very early instance of the “ tongue pattern” so common THE MYCENAEAN STYLE: CLASS III., DIVISION 1 81 in later vase-painting. Cf. Myk. Vas. xxxiv. 344. The leaf pattern on the outside is only a symmetrical arrangement of the design on Myk. Vas. xxxn. 314. The species of the. fishes (perhaps carp) remains doubtful, but the naturalness of the drawing is an advance of No. 1 on Plate LI. CLASS III., DIVISION 1. We now cross the great bridge which divides the Mycenaean style and find that the old naturalism has given place to conventionalism. But this is not the only dif¬ ference between Classes II. and III. ; technique itself has made great progress. The clay used is generally red or yellow in color, of a fine clear quality, carefully cleaned from impurities. The quality of the decoration is more lustrous and glossy, while in the best specimens the glaze takes on an intense brilliancy. The style of ornamentation changes, and certain motives used occasionally in the previous classes now become the favorites, such as spirals, etc. The old plant and marine motives with a few exceptions (e. g. the murex) have disappeared, and those which are now prominent are paralleled in other forms of Mycenaean art in stone and metal. Though the conventionalism of Class III. follows the naturalism of Class II., and in this sense is a later style, we are not to assume that the manufacture of Class II. ceased. In fact there is positive proof that the two flourished side by side, since in the Bee-Hive tomb which we excavated (cf. p. 91 ff) were found vases of both classes. Such a radical change as that from naturalism to conventionalism is not the work of a day; it must have extended over a long period. But such a fact does not argue against a classification based on ornamentation, where a difference of time is not necessarily demanded. Nor should the relation of III. 1 to III. 2 be misunderstood. We cannot regard them as two absolutely distinct and unrelated styles. I do not for a moment intend to imply that for a certain period of years Mycenaean potters continued to manufacture vases of a certain “ hall-marked ” excellence and then suddenly began to go down hill. What we call III. 1 is undoubtedly the best work of a certain period of Myce¬ naean ceramic art; III. 2 is the general average of such a period. As the best work of a given period is only a small proportion of the whole, the small amount of III. 1 com¬ pared to III. 2 bears this out. III. 1 bears the same relation to III. 2 that the work of Euphronios, Hieron, Duris, and Brygos does to the mass of red-figured vases produced in Athens prior to the Persian wars ; it is the best ceramic art of the time. The fragments reproduced on Plate LII. are not all that were found, but the number was not large, and those represented illustrate the group. The technique of all the fragments is substantially the same, the clay red or bright yellow (more often the former), the decoration varying from red to brown, with black occasionally used and the glaze of surpassing brilliancy and fineness. The favorite ornaments seem to be the spiral and the murex. The majority of the fragments are rims of two-handled bowls or kylixes similar in form to Myk. Vas. xliv. 76, 83. 28. Rim of bowl. Decoration shades from brown to red. Part of a spiral row, spirals uncon¬ nected. Cf. Myk. Vets. viii. 46. 29. Rim of one-handled bowl. Clay extremely delicate. Outer band of spiral brown, inner bands red. Cf. Myk. Vas. xxix. 258. Both form and decoration seem to be the same as on the vase in Cassel. Ai'ck. Anz. 1899, p. 57, fig. 1. 82 THE VASES AND VASE FRAGMENTS 30. Rim of bowl. Spiral chain. The majority of the fragments of this class bore the decoration of spirals, in chain or single. Most of the fragments were extremely small. 31 a-c. Three fragments from rim of a bowl. Reddish clay, with bright yellow slip and red decoration. For the toothed edge of c, cf. Myh. Vas. xxm. 171. The murex or purple fish ornament is extremely common. It is curious that tve cannot trace its origin to an earlier class, since it does not occur in Classes I. and II. Even in Class III. it is impossible to trace any preliminary steps unless we recognize one of the early essays in the cup from Ialysos; 1 that, however, seems rather too conventionalized for a prototype. The arrangement of the pattern varies, the most common being a row of double murexes as in Myk. Vas. xxxi. 297, or else they are laid diagonally on their sides. 32. Rim of bowl. Series of murexes placed diagonally to the line of the rim. Cf. Myh. Vas. viii. 47. Decoration bright red and technique extremely fine. 33. The same. 34. Clay a trifle coarser than is usual in this class and appears burnt. Glaze extremely brilliant. Undoubtedly part of a large vase, as the murex is far larger than is usual. Various Designs. 35. Rim of bowl. Series of parallel zigzags, decreasing in size towards the base. Cf. Myh Vas. xxx. 273. 36. ( freenish clay. The design cannot be reconstructed. The nearest similarity lies in two fragments of Class IV. {Myh. Vas. xxxvn. 378, 379), and it is possible that we may have here as there the combination of a spiral and a ray. 37 a and b. Two fragments from same vase. Net ornament. Cf. Myh. Vas. xx. 146. 38. The same. 39. Rim of bowl. Undoubtedly a suggestion of a guilloche. Cf. Myh. Vas. xxxiv. 337 ; xix. 134. 40. Rim of bowl. Probably a design similar to Myh. Vas. xxx. 280. 41. Rim of bowl. Cf. Myh. Vas. xxxi. 288. 42. Fine red clay, with whitish slip, red brown decoration. Similar pattern to 37, save that a cross is placed at each corner of the mesh. 43. Similar clay and slip. Half circle at corner of each mesh. CLASS III., DIVISION 2. Class III. 2 forms the bulk of all Mycenaean pottery, no matter where found. Though the largest class of all, it is, as a whole, uninteresting save in regard to its bearing on contemporary art. There is little exercise of skill on the part of the potters, who seem to have been contented to turn out large numbers of vases varying little in form or decoration. The class differs principally from its predecessor in that the quality as a whole is decidedly inferior. The clay is coarser and not so carefully cleaned, varying in shade, red and yellow predominating. The decoration is of many colors, the different shades of red and brown being the favorites. The paint also is of a very inferior quality, and on many vases has almost entirely faded. The glaze is generally dull, and never reaches that lustrousness so characteristic of the preceding class. In the arrangement of the fragments, the order adopted by Furtwangler and Gaz. Arch. 1879, pi. xxvii., also in Myk. Vas. ix. 56. 1 THE MYCENAEAN STYLE: CLASS III., DIVISION 2 83 Loeschcke has been followed, since the general succession of our fragments differs in no great degree from that of other Mycenaean fragments. Only a few of the Heraeum fragments are here presented, but they illustrate all the principal types and the gen¬ eral development of the ornamentation. The condition of the fragments was extremely had. Out of the whole class we succeeded in reconstructing only three vases, one of which coming from a small tomb had almost all the fragments preserved. Another half dozen had about half their fragments remaining, and twenty or more were represented by perhaps a dozen frag¬ ments apiece. More than a hundred were represented by from two to five fragments apiece. What the total number of vases represented by the fragments was, is impos¬ sible to say, as no calculation can come near the truth ; the number certainly ran into the thousands. As a rule where several fragments from the same vase were forth¬ coming, only one or two are here given, unless the scheme of ornamentation was not plain. As so many cases occurred where fragments of identically the same clay and technique clearly belonged to different vases, the relation of several fragments to one vase has been ignored, unless their common origin was clearly shown by a joining or otherwise. The field in which our fragments lie is practically covered by plates xvn.-xxxv. of the Mykenische Vasen. The fragments corresponding to plates xxv. and xxvi. we have already assigned to Class II. 2. It has proved impossible in all cases to follow Furtwangler and Loeschcke’s arrangement exactly, and such variations as are introduced are justified by the demand of the particular frag¬ ments under discussion. I have endeavored to discuss the natural sequence of the ornamentation, i. e. to treat the conventionalizing; of naturalistic motives first and the linear ones last, since we find the Mycenaean style as a whole passing from linear to naturalistic motives and through the conventionalizing of the latter, receding to linear themes again, as illustrated by Class IV. Fig. 13. Amphora, from Myk. Vas. xliv. 45 ; height, 0.33 m.; diameter of opening, 0.105 m. Reddish clay, with yellow slip and dull black decoration. From a grave back of the peribolos wall above the South Stoa. Small part of vase re¬ stored in plaster. This was the only vase which allowed a fairly complete reconstruction. The ornamentation is similar to that of the amphora in Myk. Vas. xxvi. 223, save that the central design and the buds of the flower are treated in a slightly different fashion. PLATE LIII. Fig. 13. Flower Buds. 1. Rim and handle of bowl. The bud has here been cut in half, this vase was found. 2 . Flower buds in series. Cf. Myk. Vas. xxvi. 218, 220. 3. Flower bud and diamond. Cf. Myk. Vas. xxvui. 24(3. Another smaller fragment of 84 THE VASES AND VASE FRAGMENTS Circles , Diamonds , etc. 4. Circle ; dotted row outside. Cf. Myk. Vas. xxvm. 229. 5. Same ; dotted row inside. 6. Handle of bowl. Same as 4, with addition of central dot to the circle. Cf. Myk. Vas. xxvm. 237. 7. Rosette in simplest form. 8. Lozenge with central cross ; similar to Myk. Vus. xxvm. 240, save for omission of outside lines. 9. Diamond chain. Cf. Myk. Vas. ill. 18. 10 . Diamond, diagonals inside. Cf. Myk. Vas. xxix. 256. 11 . Diamond circle in centre. Spiral Forms and their Development. 12. Rim of bowl. Another bowl of precisely similar form and decoration is in the Louvre, Room A, left hand window case (no number given). Spiral in its most elementary form. 13. Spirals in chain, simplest form. Cf. Myk. Vas. xxvm. 242. Fig. 14. Jug with spout and one handle. Height, 0.135 m. Pale yellow clay, with greenish slip, faded black decoration. Row of spirals unconnected. For form, cf. Myk. Vas. xi. 66. This jug was labeled as coming from the same tomb as the four small vases of the “ dull ” finish mentioned on p. 74. Professor Waldstein informs me that the label is wrong, as a photograph of the tomb shows only the four vases already referred to. It is probable that this jug comes from the same tomb as Fig. 13. 14. The same. Introduction of ornament (semicircle) in field. Similar to Myk. Vas. xxvini. 245, save that here the ornament is unconnected with the spiral. 15. The same ; greenish clay, with faded decoration. 16. The same; ornament resembling an E reversed. Cf. Myk. Vas. xxxii. 312. 17. Two semicircles in field. Cf. Myk. Vas. xxxm. 319. 18. Double row of spirals, alternating. 19. Similar arrangement of spirals to that of our amphora (Fig. 13). Cf. Myk. Vas. xxix. 256. 20. Cf. Myk. Vas. xxix. 253. Several other fragments of this bowl were found. Its chief peculiarity lies in the greenish yellow slip of the exterior. The decoration is considerably faded. Though no fragments fitted each other, it is plain that the scheme of decoration was a row of spirals, the loops curving upwards and unconnected. 21. Rim of bowl. Reddish clay and red brown decoration. 22. Yellowish clay, pale slip. Stripe on inside. Cf. Myk. Vas. xxix. 255. 23. SI loulder of three-handled vase. Double row of spirals. 24. From a cup of precisely similar form and decoration to one from Nauplia. Cf. Myk. Vas. xxi. 150, p. 146 ; also xxxii. 302. 25. Rim of bowl; dull red glaze on interior. Undoubtedly same shape and design as Myk. Vas. xv. 93. 26. Clay of a bright brick red color. Whether the floral or marine influence is most prominent here is hard to say, as the movement strongly suggests the arms of a polyp. Cf. Myk. Vas. xvn. 110. 27. Handle with spirals. Introduction of swastikas. THE MYCENAEAN STYLE: FLOWER PATTERNS 85 Flower Patterns. The flower pattern in Mycenaean art is one of the earliest motives; we have already found it in Class II. 2 (cf. Plate LII. 6 and 7), and similar though not identical plants may be found on the sword-blades from Mycenae. 1 A comparison of our fragments with those in Myk. Van. xxx. shows many points of similarity, but the progression towards conventionalization mentioned by Furtwangler and Loeschcke (p. 60) can hardly be seen here, since in none of our fragments is the drawing of the pistils, seed-bags, and leaves at all apparent, and all our fragments have arrived at the conventional stage. The pseud-amphora is the commonest form, though many fragments of bowls like Myk. Vas. xxx. 276, were found. 28. Shoulder of pseud-amphora. Two clays together, pale red inside, dark red outside, with a bright yellow slip. Cf. Myk. Vas. xviil. 124 ; xxx. 266. 29. The same. 30. From belly of a bowl. Cf. Myk. Vas. viii. 48 ; xxi. 157. 31. Rim of bowl. Several other fragments found. Cf. Myk. Vas. xvm. 122. 32. Similar design. 33. Similar design. Top of flower ends in a loop. Several other fragments from the same vase were found. 34. The zigzag corona of the flower now stands by itself. This is one of the commonest motives, and may be found on dozens of our fragments. Cf. Myk. Vas. ix. 51. 35. Series of zigzags used as border lines. 36 a and b. Two fragments from the same vase ; another smaller fragment was also found. Brick red clay, probably burnt. The zigzag pattern is used almost exclusively, and suggests a transition style to the geometric. The half circles as ornaments in field are used in similar fashion to the “ Running Dog ” pattern. Cf. Flinders Petrie, Tel-el-Amarna , xxvil. 41-43 ; Myk. Vas. xv. 96. 37. Flower branch. Cf. Myk. Vas. xxxi. 286. PLATE LIV. Flower Branches. 1. Simple form. Dotted row above and below corona. 2. Flower branch similar to Plate IV. No. 32, corona of zigzags. In field toothed wheel. 3. Similar treatment to No. 1. 4. Interior dotted row omitted. 5. Similar to No. 1. Clay burnt to a dark gray. 6. Lower part in form of two spirals curved like volutes. 7. Waving branch to each side, probably as an imitation of a palm-tree. Cf. Myk. Vas. xxxi. 293. 8 . Top arranged in triple form, half circles unconnected. 9. Part of large bowl. Triple arrangement of corona, in elaborate form, combined with the murex. Cf. Myk. Vas. xxxi. 298, p. 61. Whether the murex is paired or single cannot be told with certainty, but probably the former case is true. This combination is a common feature on vases of this class. 10 . Cf. Myk. Vas. xi. 72. Similar, but not as elaborate. 11 . Half a dozen other fragments of almost identical clay and technique were found. Those fragments, however, had different motives, and it seems impossible that so many different themes should be combined on one vase. Hence no reconstruction was attempted. The arrangement of the motive here is clearly connected with the flower branch just discussed. 12. For the scroll ornament cf. Schliemann, Mykenae, p. 291, fig. 369, Jahrb. II. (1887). p. 55. 1 Athen. Mitt. VII. (1882), p. 245, pi. viii. ; cf. also the wall paintings from Therasia. Myk. Fas. xii. 73, 74. 86 TIIE VASES AND VASE FRAGMENTS Murex , or Purple Fish Patterns. The murex pattern is generally arranged in series of single ones, or pairs, the tops touching the border of the rim of the vase. Furtwangler and Loeschcke’s statement, 1 “ das Ornament wird besonders haiifig an Bechern und Napfen verwendet, docli nur an solchen deren Innenseite ungefirnisst ist,” is not correct, since on several of the Heraeum fragments, with glaze on the interior, was this ornament found. 13. Side of a large bowl, form Myk. Vas. xxxi. 297, about 30 cm. in diameter. Height cannot be determined, but it was probably the same as the diameter. The clay is of a warm yellow, but with a tinge of red and yellow slip. Decoration changes from black to brown and dark red. Muriees in single series. Several other fragments of same vase were found. 14 a and b. Two fragments of a kylix, yellow clay. Murexes in single series, rosette under handle. Several other fragments of same vase were found. 15. Rim of bowl. Simple murex combined with another diagonally. Cf. Myk. Vas. vi. 30. 16. Murex laid diagonally. Dark red glaze on interior. 17. Murex arranged diagonally. Cf. Myk. Vas. vm. 47. Dotted circle inside head of murex. 18. Murex laid horizontally. Brilliant dark red glaze on interior. 19. Rim of large bowl. Dotted circle outside head of murex. The zigzag pattern at the side is curious and suggests the imitation inscriptions found on black-figured work. Cf. Myk. Vas. xv. 96, xx. 146, xxi. 154. 20. Muriees in pairs, points curving outwards. Dotted circle between the pairs. This varia¬ tion where the points curve outwards, and the pair combined in single form, is extremely rare. Cf. Schliemann, Tiryns , pi. xxii. 1), Myk. Vas. xxxi. 299. 21. Alternate murex and pistil. 22. Reddish clay, brown decoration. This ornament is probably a development of the murex pattern. Linear and Textile Patterns. The conventionalization of the pictorial ornaments now leads to a steady employment of linear and textile patterns. Whether the latter are really drawn from those used in embroideries is impossible to say.‘ J 23. E rom a bowl of precisely the same form and decoration as Myk. Vas. xxxii. 306, save that here the lozenges of the upper row are double instead of triple in form. 24. Alternating larger and smaller arches. Cf. Myk. Vas. xxxii. 308. 25. The arches are bounded above and below by circles. 26. Small arches in series. 27. F rom a large bowl. Suggestion of a guilloche. Cf. Myk. Vas. in. 21. 28. The ornaments in field here consist of circles whose diameter is broken. Cf. Myk. Vas. xxxii. 313. Perhaps a representation of a mussel-shell open. Cf. B. C. H. II. pi. xv. 10. 29. Similar, with the addition of a smaller circle inside the larger one. 30. Orn ament resembling a reversed E surrounded by semicircle. Cf. Plate LV. 16 ; Myk. Vas. xxxii. 304, 307, 312. Perhaps the half of a mussel-shell; cf. Myk. Vas. p. 61, No. 304. The principle in the following fragments seems to be the division of the vase into a series of metope-like squares by vertical lines, the vacant spaces being filled by natural ornaments conventionalized or else textile motives. 31. Simplest form of design. Series of semicircles back to back separated by a series of lines, not quite vertical. 32. Similar decoration. Outer vertical lines bounded by series of loops, which is one of the commonest motives at this time. 1 Myk. Vas. p. 61, No. 297. 2 Cf. Myk. Vas. p. 62. THE MYCENAEAN STYLE: LINEAR AND TEXTILE PATTERNS 87 33. Semicircles almost contiguous. Between the vertical lines, series of parallel zigzags. Cf. Myk. Vas. xxxm. 317. 34. Double semicircles in upper right-hand corner with central dots. Cf. No. 29. 35. Vertical lines interlaced by diagonal lines. 36. Double semicircles, large and small. Herring-bone pattern between the vertical lines. Cf. Myk. Vas. xxxm. 318. 37. Three double semicircles bounded by mussel ornament in series. 38. Interior semicircle in loop form. Cf. Myk. Vas. xxxm. 324. 39. Dull brown glaze on interior. Square divided into four triangles by diagonals, with arcs. Cf. Myk. Vas. xxxm. 316. 40. The same ; double semicircles in each triangle. 41. Diamond in square, divided by double semicircles into three sections. Another smaller fragment from the same vase was found. Cf. Myk. Vas. I. 5, xv. 99, xxxiv. 345. PLATE LV. 1. Reddish clay with darker core, plastic mouldings on upper and lower edges. Form uncer¬ tain, but probably that of a three-liandled pyxis with rounded base, as in Myk. Vas. xliv. 34. Ornament a variation of the “ Running- Dog ” pattern (see below) growing out of the loops already mentioned. Perhaps the ornament may have been intended for a guilloche. Cf. Myk. Vas. xxxiv. 347. 2. Similar clay, but from rim of a bowl. Perpendicular loop pattern, the ends car¬ ried out to a point (as in No. 1) with rosette in field. Fig. 15. Bowl. Form, Myk. Vas. xxxm. 328; height, 0.104 m.; diame¬ ter, 0.145 m. Light red clay, with warm yellow- slip, circular bands on interior. Sim¬ ilar decoration on both sides, three perpen¬ dicular series of lines, the outer inclosing a lieri-ing-bone pattern, the central one zigzags with a dotted semicircle on each side. Cf. Myk. Vas. xxxm. 327, 330. Numerous other fragments of precisely this scheme of ornamentation were found. 3. Rim of bowl, reddish yellow clay, continuous zigzag between the perpendiculars and dotted rosettes. Good technique. 4. The ornament is probably a variation of the palm-tree (cf. Myk. Vas. xxxi. 296). I have been unable to find another instance exactly similar. Lozenge chain introduced between the perpendiculars. Another small fragment of the vase was also found. 5. Exactly the same clay and technique as Plate LIV. 11, but it is doubtful whether it belongs to the same vase. The herring-bone, as on Plate LIII. 34, is here introduced. 6. Herring-bone between the verticals; one of the commonest Mycenaean motives. Cf. Myk. Vas. xxxiv. 336. 7. Lozenge chain between the verticals as on 4. 8. Continuous zigzag between the verticals as on 3. 9. The zigzags are here separated. Cf. Myk. Vas. xxxiv. 340. A common motive. 10 . The same, broader lines, verticals in pairs. 11 . The same, verticals in pairs, closer together. 12 . The lines between the verticals are here treated as on 2 . 13. Interlacing diagonal lines between the verticals. This form of decoration is especially characteristic of the shoulder decoration on pseud-amplioras, or three-handled vases. Cf. Myk. Vas. xxn. 159. Fig. 15. 88 THE VASES AND VASE FRAGMENTS 14. “ Running Dog ” and scale patterns. Cf. Myk. Vas. xix. 136 ; xx. 146. 15. Red glaze on interior. Dotted scale pattern. Cf. Myk. Vas. x. 62 ; Schliemann, Mykenae , pi. xiii. 63 ; Dumont and Chaplain, Cer. pi. iii. 19. 16. Scale pattern with dotted cii’cles. Similar in character to Myk. Vas. xi. 70. 17. The same, double lines to each scale. Cf. Schliemann, Tiryns, fig. 36. 18. Scales in branch form. Cf. Myk. Vas. vi. 32 ; xi. 70. 19. Rim of bowl, another fragment from the same vase also found. Parallels inclosing cross lines meeting at an obtuse angle. 20. Lozenge chain laid horizontally. Cf. No. 7. 21. The same, chain bounded by an outer line on each side. 22. Similar to 21, the interior pattern a “ Running Dog.” Another fragment of the same vase also found. It is very probable that in 21 and 22 a guilloche was represented. Cf. Myk. Vas. xxxiv. 328; Schliemann, Tiryns , pi. xxvi. c. 23. “Running Dog” pattern. Cf. Myk. Vas. xvm. 131. 24. Probably the same pattern. The ends, however, do not overlap. Cf. Myk. Vas. xv. 96. 25. “ Running Dog ” pattern, simplest form. 26. The same, double pattern arranged vertically. 27. Probably a development of 24. Cf. Myk. Vas. xv. 96 ; xxi. 154. It is well to consider here the line decoration, or linear principle, which runs all through My cenaean decoration from the earliest times. The examples here cited (Plate LV.) ought strictly to fall in several of the classes already considered; but as this linear prin¬ ciple has a peculiar bearing on later periods, especially the Argive style, it is best to treat these fragments for a moment in one special class. Only those fragments have been selected which afford an example of fine line decoration ; fragments of large vases with broad lines as their only decoration were extremely common. Though some line decoration occurs on almost every vase of the Mycenaean epoch, it is only during this period, when Class III. flourishes, that we find the steady employ¬ ment of the fine as well as the heavy line, used chiefly on vases of the pseud- amphora type. The shoulders of such vases are generally filled with various motives, hut from the shoulder to the base the vase is ornamented with a series of parallel lines, heavy and fine. Such fragments were extremely common at the Heraeum. Their rela¬ tion to vases of the Argive style will be more fully discussed in chapter iv. 28. Lower part of funnel-shaped vase, of the so-called “ Ialysos ” type. Cf. Myk. Vas. vn. 42 ; xi. 71. The opening runs the whole length of the vase. Fragments of such vases were fairly common at the Heraeum, and as far as could be seen the only form of decoration on them was linear. 29. Belly of pseud-amphora. 30. Base of pseud-amphora. 31. F rom shoulder of pseud-amphora. On shoulder traces of a flower pattern similar to Plate LIII. 28. The central lines are bordered by a loop pattern, in series. 32. The same. The spirals are treated in a more naturalistic fashion, which, combined with the excellent technique, would seem to denote its standing between Classes II. 2 and III. 1. There still remain several kinds of vases to he mentioned, which, to judge by technique and style, are certainly not older than Class III. 2, and most probably belong to it. Vases of a reddish yellow clay, carefully polished, but without decoration. Frag¬ ments of these vases were numerous and filled several baskets. Some specimens were found in the Bee-Hive tomb (see p. 91). Only a few vases could he restored from the fragments, and represent mostly kylixes and amphoras. THE MYCENAEAN STYLE: CLASS IY 89 Another series, which seems to belong to a separate class, was formed by fragments exactly similar to the one-handled cups from the Bee-Hive tomb. (Cf. Fig. 32.) The clay is generally fine, red or yellow in color, with a brilliant glaze, the rims and feet being ornamented with bands. The body of the vase is covered with a decoration hard to describe; it seems as if the color had been sprayed on the surface of the vase. Whether this is the same technique exhibited by the vases from Aliki (Myk. Vas. xviii. 119, 125), I cannot say; it is not common, and thus far the only similar speci¬ mens I have been able to note are from the Acropolis at Athens and Aegina. Just what position they occupy in the Mycenaean style is doubtful, but the several points of technique, clay, glaze, and color would seem to assign them to Class III. in the first division rather than the second. Of the class of small, hand-made vases, mentioned in Myk. Vas. p. 63, the Heraeum furnished one intact (Fig. 16) and numerous fragments of others. This is a one-handled jug (height, 0.065 m.) of light reddish clay, with yellow slip, the decoration varying be¬ tween black and red. Cf. Myk. Vas. xv. 101, 102, xvi. 108 ; Schliemann, Mycenae, p. 66, No. 27. Another vase belonging to Class III. is Fig. 17 ; height, 0.06 m.; diameter, 0.051 m. Two legs and handle restored. Greenish clay, with black bands on body and legs, dots on rim. The form of this vase is identical with Myk. Vas. xliv. 192, save that the legs do not turn up at the bottom. Cf. Jahrb. I. (1886), p. 134, fig. 3006. CLASS IV. The number of fragments belonging to Class IV. is very small. In only a few cases were more than three fragments of the same vase found, and even then the design could not always be reconstructed. The peculiar fact is that the fragments of this class which we possess do not show the wealth of ornamentation we should have expected. A very slight study of vases belonging to this class from other localities shows that it is thor¬ oughly decadent, with a wealth of ornamentation linear rather than pictorial in charac¬ ter. The Heraeum fragments show this linear feature, and even though the wealth of ornamentation be lacking, the similarity between them and other vases of the class, in decoration, clay, technique, etc., is strong enough to warrant our placing them in Class IV. without question. The clay of all our fragments of this class is much coarser than in the previous class, and is generally greenish in tone. The color has lost the lustre which was prominent before, while the glaze is generally dull and never rises to the level of that of Class III. in point of brilliancy. Though the forms of the vases cannot always be determined, it is safe to say that bowls were the most common. It may also be stated that fragments of this class which belong to vases with large openings do not always have the interior glazed (Myk. Vas. p. 63), or, to put it differently, the absence of glaze on the backs of large fragments of bowls is no proof that they are not connected with Class IV. In fact, among the Heraeum fragments of this class, glaze on the back was the exception rather than the rule. As the number of fragments is so few, no attempt has been made to arrange them in 90 THE VASES AND VASE FRAGMENTS chronological order, nor, indeed, could any satisfactory classification of ornamentation be found, since in an over-elaborate style like Class IV. it is a difficult task, when dealing with a few scattered fragments, to evolve any definite scheme. In the main the order is based upon plates xxxv. and xxxvi. of the Mykenische Vasen. 33. Pattern similar to Plate L1V. 38. Alternate diamonds in the interspaces of the arches. Cf. Mylc. Vas. xxxv. 351. Two other fragments of the same vase were found. 34. From side of bowl. Greenish clay. Cf. Mylc. Vas. xxxv. 357. Fig. 18. Half of bowl. Form, Mylc. Vas. xxxiii. 318 ; height of fragment, 0.069 m.; clay light red, with warm yellow slip, red decoration fairly brilliant. Though half of the design is miss¬ ing, there can be no doubt that it was somewhat similar to Mylc. Vas. xxxi. 296, with a lozenge of interlaced lines on either side. Throughout Class IV. the “ Heraldic ” scheme or “ Wappenstil ” plays a prominent part and is illustrated by several of our fragments. 35. Similar “ Heraldic ” scheme. Band on interior just below the rim. Cf. Mylc. Vas. xli. 424. 36. Similar arrangement. Continuation of design to a circle of interlacing lines. 37. Decoration much faded. Evidently a development of Mylc. Vas. xxix. 256 ; cf. Mylc. Vas. xxxv. 357. 38. Possibly a development of Mylc. Vas. xxxi. 296. Though dots are frequently employed as the groundwork of a design, their use in place of the line is very curious. A somewhat analogous use occurs in fragments from Tiryns. (Cf. below No. 46.) The “Heraldic” scheme suggests Mylc. Vas. xxxv. 356. 39. Shoulder of pseud-amphora. Ellipse inclosing series of zigzags. 40. Perhaps similar arrangement to Mylc. Vas. xxxvi. 376. 41. F rom a bowl. Band below rim on inside. Similar “ Heraldic ” scheme to Fig. 18. 42. From a large vessel. 43. Reddish clay, fine technique. Elliptical lines inclosing series of zigzags curving to a point. 44 a-d. Four fragments from same bowl. Greenish clay, with black decoration. The arrange¬ ment of the design is extremely difficult to restore. That a bird was intended seems fairly evident if a (the head) be compared with Mylc. Vas. xxxvi. 364, and c (the wing) with xxxvi ii. 383. Perhaps like Schliemann, Tiryns , pi. x. 45. BIRDS, ANIMALS, ANI) HUMAN FIGURES. Though the use of figures, animal or human, is one of the later innovations of the Mycenaean style and a characteristic feature of Class IV., all vases which show this use do not necessarily belong to that class. Such figures seem to have been introduced during the latter period of Class III. Only half a dozen of such fragments were found at the Heraeum, but no satisfactory explanation of the lack of such fragments is forth¬ coming. All except the last (No. 47) belong to Class III. 45 a and b. Two fragments from the same vase. Brick red clay, with dark red decoration. Two birds, somewhat resembling a wild duck, are represented. Both fragments show an ex¬ tremely advanced style of technique and belong to Class III. 46. Rear part of base of the well-known “ Tiryns ” type. The legs and body of the horse are filled in by dots as in No. 38. An identical use may be found in a fragment from Tiryns (Schlie¬ mann, Tiryns , pi. xxi. a). Fig. 19. Fragment of a large bowl of 34 cm. in diameter. Height of fragment, Fig. 18 . THE MYCENAEAN STYLE: TIIE BEE-HIVE TOMBS 91 0.125 m. ; length, 0.22 m.; thickness of clay, 0.006 m. Reddish clay, with lighter core and pale reddish slip, dull red decoration. Upper part of two fishes represented. Class III. The arrangement of fishes in a symmetrical series with a flower branch between them is a natural characteristic of the third class. The use of crosses instead of dots as decoration for the body is quite akin to that on plate xi. 48 of Schlie- mann’s Mycenae. A similar arrangement may be noted on a lebes from Cyprus in the British Museum. (Excavations in Cyprus, p. 35, fig. 66, No. 1038.) Cf. also Petrie, Kahun , Gurob , and Ilawara , pi. xxviii. 9. Reddish yellow clay, with black decoration. Lower part of human figure Fig. 19 47 Base of a bowl,, with a tree or branch. This is the only Mycenaean fragment from the Heraeum on which the human figure occurred. Its treatment is somewhat curious, and savors more of those figures on Geo¬ metric vases. However, it seems doubtful whether any Geometric influence can lie here recognized.. Fig, 20 (Form, Myli. Vas. xliv. 63 ; drawing on Plate LXIV. 1.) One-handled jug : height, 0.054 m. Found at the southeast of the Second Temple. Yellow clay and slip with decoration varying from black to red. On base rays, and figure zone on the body; another figure zone on the shoulder, and stripes on the neck and rim. Vertical zigzag on the handle between two perpendicular lines. Intact. This vase is of special interest, since it shows the transi¬ tion between the Mycenaean and Argive styles. Clay and technique are unmistakably Mycenaean, but the general scheme of decoration savors more of the Argive style, since we have an animal zone and a very primitive example of a ray pattern around the base. On the shoulder are represented three animals, but so rudely drawn that it is impossible to identify them. They have large open mouths, three projections above, which may represent ears and horns, and a tail almost like an extra let division. Three animals precisely similar are represented on the main zone, inverted. This inversion gives an extremely curious effect, as the animals thus resemble boats with their sailors, the ray pattern serving as waves; but it is plain that such an effect is acci¬ dental. This inversion of the figures is paralleled by two skyphoi from the Heraeum (v. p. 151), and does not, as far as I know, occur on any Mycenaean vase. This vase has been assigned to the Mycenaean class purely on technical grounds, for it shows so perfectly the characteristics of both the Mycenaean and Argive styles that it is difficult to decide to which class it really belongs. It must be admitted that no animal on any Mycenaean vase resembles these figures in any way; but, for that matter, no similar animal can be found on any Argive vase. Fig. 20. Each leg ends in a triple THE BEE-HIYE TOMBS NEAR THE HERAEUM. Two tombs were discovered on the 20th and 23d of April, 1891. Both have been described in the previous volume of this publication, and consequently there is no need of devoting any time to the consideration of their architectural features. The contents of these tombs was as follows : — 92 THE VASES AND VASE FRAGMENTS TOMB I. TOMB II. 49 vases, 32 entirely or nearly whole, and 17 Fragments of vases, in fragments. 4 steatite whorls. 3 terra-cotta figurines. 1 red agate bead. 1 terra-cotta chair. 1 bronze ring. 1 island stone. 4 steatite whorls. 1 ivory needle. Glass beads. The few vase fragments from the second tomb were mostly undecorated, and per¬ mitted no reconstruction. A few fragments of bones were also found; but in the main the contents of the tomb are not worth a detailed consideration. In the first tomb the results were more gratifying. Three layers were found, the upper containing bones and four vases (mostly cups), at a depth of 2.79 m.; the second, which contained a skull, some calcined bones, and the majority of the vases and frag¬ ments, at a depth of 3.28 m. Ten cm. below the second came the last layer, which, besides a few fragments of bones and a cup (No. 18 ), contained a small separate grave near the entrance of the dromos (length, 1.26 m.; width, 0.45 m.; depth, 0.66 m.). Through some accident during the transportation to Athens, several of the labels were lost, and it is now impossible, in the case of some of the vases or fragments, to decide from which layer they came. The classes represented were II. 2 and III. 2. No specimens which showed the advanced technique of III. 1 were found, nor were there any rough pieces which could belong to II. 1. At the same time there appears to have been no distinction in the matter of layers, since vases of both classes were scattered about in each layer. Certain it is, however, that all these vases are products of the same period. The shapes represented were as follows: — 11 jugs with handle. 2 jugs with handle and spout. 9 three-handled vases. G amphoras. 3 cups. 9 cups with handle. 4 kylixes. 1 pseud-amphora. 4 vases, represented by fragments, but not permitting a complete restoration. Jugs with Handle. Fig. 21. 1. Height, 0.207 in. Form, Mgh. Vas. xliv. 63. Coarse reddish clay, without any decoration. Base of handle pierced by a hole. Intact; first layer. Fig. 22. Two more jugs (height, 0.235 m. and 0.22 m.) were found in the second layer, of precisely simi¬ lar form and technique. Both had a small hole at the base of the handle. 2. Height, 0.155 m. Similar shape to 1, but with handle a lit¬ tle more flaring. Reddish clay, with a highly polished yellow slip, without any decoration. Half of another vase of same form and technique was found. 3. (Fig. 21.) Height, 0.103 m. Same form as 1. Red clay, with herring-bone pattern in a series of four on the shoulder in red brown. THE MYCENAEAN STYLE: THE BEE-HIVE TOMB 93 Another jug precisely similar, but with spirals on the shoulder and plastic boss under the handle was also found. 4. (Fig. 29.) Height, 0.078 rn. Handle missing. Form similar to 1, but rather more rounded and squat in appearance. Reddish clay, with black decoration laid on very thickly and cracked in places. Bands and continuous spiral chain on the shoulder, with dots in the field. Another similar jug with leaf pattern on shoulder was found. 5. (Fig. 23 a and 6.) Height, 0.074 m.; diameter of cover, 0.075 m. One-handled vase with cover. Form similar to Myk. Vas. xliv. 115, except that here the foot is lacking. Coarse red clay, with dark core pierced by two rows of holes, with a single row in the cover. The use of this peculiar ves¬ sel has never been satisfactorily ex¬ plained ; similar examples have been found at Troy in the fourth city (Schliemann, llios, p. 557, fig. 11, 96), and at Ialysos. ( Myk. Vas. n. 15.) According to Furtwangler and Loeschcke these ves¬ sels were used to burn incense or some sweet-smelling powder for sanitary reasons, and this expla¬ nation seems very plausible, especially as we find the cover also pierced with holes. Amphoras. Form, Myk. Vas. xliv. 44, except for a slight variation in the foot. Coarse brick red clay without decoration. The exterior has been entirely covered with a white wash, almost entirely worn away. The principal feature of this amphora lies in the white wash. This, as is shown by many of our fragments, was a very common feature, and half a dozen baskets are filled with fragments showing it. Generally it seems to be employed on vases of coarse clay, large pithoi or small wheel-made saucers. AYhile this technique is employed very often on Mycenaean terra-cotta figurines and later vases (e. g. the white lekytlioi), it is ex¬ tremely rare on archaic vases (two in Berlin, 1309, 1629), and I know of no other instance in the Mycenaean style. From its frequency in our fragments, it may perhaps be considered as a local fashion. Another small amphora (height, 0.09 m.) similar in shape, of yellowish clay with a reddish tinge, but without the white wash, was found in the second layer. 7. (Fig. 25.) Height, 0.105 m. Light red clay, with yellow slip. Faded black glaze over all, inside and out¬ side (except base). This vase differs from the ordinary Mycenaean am¬ phora in that the handles have no connection with the mouth of the vase. The absence of all decoration and the presence of the glaze proves that a large part of the glazed fragments which the Heraeum furnished must be placed in the Mycenaean period. 8. Height, 0.07 m. ; form, Myk. Vas. xliv. 73. Yellow clay, with red decoration very much faded. Second layer. This vase was identical with Myk. Vas. x. 64, xv. 99, except that around the shoulder ran a series of ornaments similar to Plate LV. 24. 6 . (Fig. 24.) Height, 0.17 m. Fig. 24. Fig. 25. 94 THE VASES AND VASE FRAGMENTS Three-handled Vases. Three varieties were found: (a) form, Myk. Vas. xliv. 25, tall with wide opening; (b) form, Myk. Vas. xliv. 32 ; (c) form, Myk. Vas. xliv. 33. a. 9. (Fig. 26.) Height, 0.213 m. Reddish clay, with black decoration turning to dark red. One handle missing. Three pairs of spirals on shoulder, separated by the handles and bands, heavy and fine. Second layer. The form of this vase does not quite correspond to Myk. T as. xliv. 25, as the mouth is a little wider and the foot less pronounced ; it lies between forms 25 and 27. When found it was completely full of ashes, which are probably human. The upper part of a similar vase, but much smaller, was also found. Shoulder decoration, interlaced lines. Fig. 26. Fig. 27. tern similar to Plate Eli. 6, with dotted rosettes in field, with a wave pattern and series of radiating lines on base. The decoration varies from black to red brown. 11. ( Fig. 28.) Height, 0.05 m. ; diameter, 0.185 m.; diam¬ eter of opening, 0.085 m. On shoulder three fishes. Usual decoration of bands in dark brown. First layer. Four more vases of this type were found varying in height from 38 to 84 cm. The decoration was the same in all, a wave pattern on the shoulder similar to Myk. Vas. vm. 45. Bands on 10. (Fig.27.) Height, 0.098 m. ; diameter, 0.172 m.; diameter of opening, 0.098 m. On shoulder flower pat- base, the upper joined Fig. 28. c. 12. Height, 0.06 m. ; diameter, 0.109 m.; diameter of opening, 0.07 m. Dark and light red decoration, identical with Myk. Vas. xxii. 159, save that tlie stripes on the body run horizontally, not vertically. Interlaced lines on shoulder. 13. (Fig. 29.) Height, 0.065 m. ; diameter, 0.10 m.; diameter of opening, 0.07 m. Brilliant black decoration. On shoulder double line loop pattern, bands on body in red and on base spirals in light brown. The form of 13 is a cross between Myk. Vas. xliv. 32 and 33, being higher in the body than 32, but lower Fig. 29. than 33. Teapot-shaped Jugs. 14. Height, 0.13 m. Form, Myk. Vas. xliv. 68. Bands on body and handle and series of spirals on shoulder precisely similar to Myk. Vas. IX. 54. 15. II eight, 0.12 m. Form, practically the same as Myk. Vas. xliv. 15, except that the foot is fiat. Entire vase covered with a dark red glaze except under handle and on the bottom. THE MYCENAEAN STYLE: THE BEE-HIVE TOMB 95 Pseud-amphora. 16. Height, 0.115 m. Form, Myh. Vas. xliv. 50. Ordinary decoration of heavy and fine bands similar to Plate LV. 29, in red and brown. First layer. Kylixes. Four of these were found, of red or yellow clay, without any decoration. Two were of the same form as Myh. Vas. xliv. 83 ; one, the same as Myh. Vas. xliv. 82; while the fourth probably corresponded to form 85, but as one side was completely broken away, it cannot be told whether the vase possessed one or two handles. They were all from 10 to 12 cm. in height and from 11 to 15 cm. in diameter. One (form 82) was elliptical in shape, having a diameter across the handles of 13 cm. ; at right angles to the handles, 14^ cm. Caps. Two varieties of cups were noted (a) without handle ; (b) with handle. a. 17. (Fig. 30.) Height, 0.027 m.; diameter, 0.07 m. Brilliant red stripes around body, with another stripe on the rim inside. Two others of similar shape were found, one a little more rounded at the base, measuring 43 and 44 mm. in height, 9 and 11 cm. in diameter, with no decoration whatever. b. Two varieties of b were noted : (1) Those with a handle curving upwards, above the rim, and ( 2 ) those with a handle curving downwards, below the rim. 1. 18. Height, 0.0G m. ; with handle, 0.14 m. ; diameter, 0.153 m. Form, Myh. Vas. xliv. 102. Entire vase, ex¬ cept base and under the handle, is covered with a brilliant red glaze. 19. (Fig. 31.) Height, 0.06 m. ; diameter, 0.104 m. Red clay, red glaze on interior, outside plain. Three other cups of similar shape but with the rim less emphasized, were found, two undecorated, one ornamented with stripes. It is probable that 18 and 19 are direct p, imitations of metal work. 1 2 . 20. (Fig. 32.) Height, 0.045 m.; diameter, 0.113 m. Form, Myh. Vas. xliv. 87. Red clay, with light red stippling. This cup is a good instance of the technique men¬ tioned on p. 89. Three more cups were found, all of the same shape, one showing the same technique, one with a row of ornaments on the side similar to those on No. 8, and the third plain. The terra-cotta figurines and the chair are described in the chapter on Terra-Cotta Figurines (p. 42). 1 Cf. Perrot and Chipiez, Hist. VI. p. 965, fig. 533. Fig. 32. 96 THE VASES AND VASE FEAGMENTS MISCELLANEOUS VASES. Of the vases found intact, or partially so, mentioned in the Introduction, by far the greater part consisted of small, hastily made vases, with or without decoration, the exact date of which is extremely doubtful. The quality of the clay is distinctly inferior to that of the Mycenaean vases, and in many respects corresponds to that used in vases of the Geometric style, so that the majority of them may Avell belong to that period. A comparison of the vases without decoration with the decorated vases is the onlv means for establishing a date for the former, and in the case of the latter the following data are available: (1) The most primitive examples (the saucers) show a use of “ dull ” color, which, together with their rather hasty technique, may perhaps assign them to the earlier periods of the Mycenaean style. (2) One small three-handled jug, which, from its polished surface, belongs more properly to the class discussed on p. 99, had a linear band of ‘‘dull” color. (3) Practically all the jugs, amphorae, and bowls were made of a coarse clay, more resembling that used in the Geometric vases, and if they are to be included in the Mycenaean style at all, would seem to belong to the very latest period. These, I shall endeavor to show later, constitute the real link between the Mycenaean and Argive styles. At the same time, I do not regard tlieir sequence from primitive times as existing without a break, and for that reason I do not consider them as examples of the “Argive Linear” style which Professor Waldstein would consider them to be. It cannot, however, be assumed that their influence on any particular style was marked; they are simply the examples of the low level to which the potter’s trade could sink, and from their large number it is reasonable to suppose they were the cheapest vases which the devotee at the shrine could buy. Being rough and small, they were not so easily broken, and were thus in far better preservation than larger vases of better technique. To assign an exact date to them is impossible, nor can they be arranged in any exact chronological order, except where the development of the shape can be readily seen. Three general types may he distinguished : — Saucers. Bowls (with or without handles). Jugs (with one, two, or three handles). Saucers. Three distinct varieties may be noted : — a. Plain, hand or wheel made. b. With central boss. c. With handles. a. Fig. .'52 a . Diameter, 0.05 m. 1. The most primitive examples seem to be a series of small hand-made saucers, of grayish or reddish clay, pierced by a hole near the rim, and varying from 5 to 7 cm. in diameter, and 2 to 3 cm. in height. Several hundred were found in- tact or in fragments. The ornamentation is of the simplest character, consisting of two lines crossing each other at right angles. Whether they belong to the dull or lustrous Mycenaean vases is difficult to decide, as the decoration is extremely poor, hut they are more probably examples of the “ dull ” technique. Variety is obtained by increasing the number of cross-lines, TIIE MYCENAEAN STYLE: SAUCERS 07 which vary from two to eight. As a rule the ornamentation is confined to the interior, but cases occur with the same design on the exterior as well. The earliest of the series is a saucer of red clay 5 cm. in diameter, with ribbed edges and two incised cross-lines on the interior. This probably falls in the primitive period. Similar saucers were found in large numbers at Hissarlik, Mycenae, and Tiryns. In some respects they resemble saucers from Bos-ojiik (Koerte, Athen. Mitt. 1899, pi. iii. 7) and Syra (’E^/x. ’Apy;. 1899, pi. ix. 25). 2. As a development of these we have a series of wheel-made saucers, of reddish clay (e. g. Fig. 32 b), from 4 to 7 cm. in diameter, of which about fifty were found. The inner edge of the rim is either sharply defined or rounded, and none have any decoration. The clay is of a slightly coarser variety than that used in the preceding examples. b. Fig. 32 b. Diameter, 0.062 m. Height, 0.013 m. they resemble the earliest ex¬ amples of class a, save for tic. 32 ft. . . Diameter, 0.062 m. their lack of decoration and Height, 0.013 m. the addition of the boss. 2. The wheel-made type (Fig. 32 c) corresponds in character of clay (wheel-made) and lack of decoration to a, 2. The principal variations lie in the height of the boss, which in some cases rises above the edge of the saucer. As in a, 2, the edges of the saucer are either rounded or sharp. A few examples were found with a series of parallel dashes of paint (dull) 011 the rim. Fig. 32 c . Diameter, 0.061 m. Height, 0.016 m. Height of boss, 0.026 m. C. Two varieties may be noted with one handle, and one with two handles. The simplest form of the one-handled saucer is hand-made, the edges rolled over so as to form a curve down to the bottom of the vase, and the handle, of the simplest form, parallel with the sides. (Fig. 32 d.) This type was extremely common. A varia¬ tion is introduced occasionally, where a plas¬ tic dab of clay is placed on each side of the handle along the rim, similar to those on the shoulders of our terra-cotta figurines (Fig. 32 e) ; this saucer was entirely covered with a brown glaze, worn away in places. A few specimens were noted with one handle, and three plastic dabs of clay, arranged so as to form a symmetrical scheme on the four sides of the vessel. While the majority of these saucers are undecorated, some few are covered with a dull dark glaze, badly worn. All the saucers with two handles show these plastic projections on each side of the Fig. 32 d. Diameter, 0.04 m. Height, 0.012 m. Fig. 32 e . Diameter, 0.044 m. Height, 0.015 m. 98 THE VASES AND VASE FRAGMENTS handle. The earliest example is hand-made, of precisely similar clay and technique to those first mentioned under a, with four cross-lines on the interior. The wheel-made types show a decided advance in execution. They are almost flat (a trifle over a centi¬ metre in height, and from six to seven centimetres in diameter), the edges well defined, and they are made of a dark red clay without decoration. About a dozen specimens were found. As the quality of the clay resembles more closely the Geometric clay, and as they are exactly paralleled in shape by several of our bronze saucers, it is certain that they must fall in a rather later period, perhaps about the eighth century. Bowls. The earliest examples of bowls seem to be contemporary with the most primitive saucers mentioned above; they are hand-made, of very rude technique, the sides raised a trifle. In some cases a small dab of clay is added to the rim to represent a handle. None have any decoration. The total number of bowls found was between one and two hundred; of these a few are hand-made, but the greater part are wheel-made. Slight variations in the forms may be detected, but hardly enough to warrant a regular classification. The hand-made bowls are either plain or decorated, rounded at the base or else provided with a flat base. None have handles. The decoration invariably consists of one, two, or three narrow bands encircling the bowl just below the shoulder. A dozen examples were found where the vase had been covered with a white paint (as in No. 6 of the Bee-Hive tomb : Fig. 24). On one example a straight or a wavy band had been painted in red ; this was added after the final firing as in the case of terra-cottas, and is easily friable. None of these bowls exceeded 3 cm. in height or 5 cm. in diameter. Something over a hundred wheel-made bowls were found, the majority of a coarse reddish clay, similar to that of the wheel-made saucers. Only a few examples bore any decoration. The form is generally the same with the following variations. The rim is either flat, slightly curved, or sharply emphasized as in the saucers ; the profile sometimes flares sharply outward and downward so that the diameter is greater at the base than at the opening. As a rule the profile curves inward towards the base, which is flat. The usual form of decoration consists of one or two broad or fine wavy bands on the shoulder. The following is the best example : — Fig. 33. Height, 0.024 m.; diameter, 0.047 m. Dark clay, seemingly burnt. On shoulder dark brown wavy band with yellow dots. Similar dotted band on rim. This is probably one of the latest of the series, as the clay is more like that of the Geometric vases in texture and the technique more advanced. It is probably one of the earliest instances of the Geometric snake. The use of yellow dots seems to be a peculiarity of the Argolid and will be discussed later. A few bowls were found, the rims ornamented by three plastic heads of animals, probably calves. Fig. 34. Height, 0.026 m. ; diameter, 0.048 m. Red clay. Further another class may be mentioned of a technique slightly more advanced, where the bowl is provided with a foot and two large handles rising above the rim, similar in form to Myk. Vas. xliv. 16, Fig. 34. but without any decoration. THE MYCENAEAN STYLE: JUGS 99 Jugs. These numbered over five hundred and formed the majority of all the Heraeum vases intact or partially so. The greater part of them are wheel-made. As usual two classes of these were observed, those with decoration and those without. The greater part of the undecorated vases were exactly similar in size, form, and technique to the decorated vases, but a special class of hand-made undecorated vases existed which demands a more careful discussion. i. Without Decoration. These vases all show the same peculiarities. The clay is of a dark red or yellow, the outside of which has undergone a very brilliant polish, and in some cases through the action of the fire has become bright red in places. Two shapes are represented. One- handled jugs or oinochoai and three-handled jugs. All are small, the largest not more than 12 cm. in heiMit. O We are able to date with a fair degree of certainty the period in which these vases fall. First, one specimen of the handled jugs had on the shoulder a wavy band which is decidedly dull, not lustrous in character; secondly, other specimens have been found in a grave at Syracuse along with vases of the Argive style (second period). 1 Thus we obtain two termini , which show that these vases were manufactured as early as the Mycenaean dull period (fifteenth century) and as late as the Middle Argive period (eighth century). Most of the shapes are similar to those used in the Argive style, only slightly more primitive in character, and naturally so, seeing that they are hand-made. A very few, which show the most developed form, are wheel-made and are probably the latest. At the same time the example from the Syracusan grave is certainly hand-made, showing that the use of the wheel was not universal even in that period of advanced archaism. One-handled Jugs. Two distinct forms may be noted, those with a circular and those with a trefoil rim (oinochoe). The latter show a technique more advanced, which fact, together with the form, assigns them to a later date than the first essays. At the same time it is certain that the oinochoe with trefoil lip is a form known to the Mycenaean epoch.' 2 Further we find that the body is either round with a handle rising above the rim, or cylindrical with the top of the handle level with the rim. Fig. 35. Height, 0.035 m. Handle restored. On either side is a small boss, perhaps repre¬ senting a handle. On shoulder two straight lines and a wavy band in dull technique. Several other examples of this same shape were found, but this jug alone pos¬ sessed any decoration. A few examples were found where the neck is slightly longer in proportion to the body and the handle dropped lower than the rim. Cf. Itios, Fig. 1140. 1 Tomb 305. Tomb G5 from Megara Hyblaea also by Wide at Aphidna (Athen. Mitt. p. 385 ft’, pi. xiv.) contained a similar vase. The same polish was observed seem to show a similar technique, but are not so ad- on a lekythos from the Heraeum (height, 0.05 m.),of dark vanced in form. It would seem fairly safe to assign both gray clay, the shape rather advanced, being that of the our vase and that from Syracuse to the period succeeding lekythos on p. 127. fig. 54. At Syi’acuse (tomb 428), a the Mycenaean style. specimen exactly identical was found along with lekythoi 2 Vide Furtwangler, Arch. .4/ir. 1893, p. 9. belonging to the oriental Argive period. The vases found Fig. 35. 100 THE VASES AND VASE FRAGMENTS Fig. 36. Height, 0.112 in. Found east of the North¬ west Building. The base is thicker in proportion to the opening than in most of our vases of this type. Fig. 37. Height, 0.044 m. This would seem to be a prototype of the oinochoe form which is so common during the Argive period (p. 128). It is the commonest type of these small vases, and at least forty other specimens were found. I have noted several other examples, two in Syracuse (Syracuse, tomb 305, and Megara Ilyblaea, tomb 65) and three in the Louvre (Room A, case N, 496, 497, 498) from Attica. Those from Syracuse and Megara Hyblaea were found with vases of the second Argive period. Fig. 38. Height, 0.74 m. Oinochoe. Burnt in parts to a brilliant red. The base is slightly flatter than most of the oinoelioai of this type, but otherwise shows no important variation. About a dozen oinoelioai were found. One example, wheel- made, was remarkable for the handle rising above the rim and having two small breast-like protuberances on the shoulder, a somewhat unusual feature on vases of the Mycenaean epoch. Three- licet idled -Tags. Twenty or thirty of these were found, but save for the addition of a small handle on each side of the body they differed in no way from the one-handled jugs already de¬ scribed. The trefoil lip does not occur. They are all smaller than the one-handled jug, the highest not measuring more than 6-7 cm. Fig. 36. II. those with one handle; (b) With Decoration. Two types may be noted, as in the undecorated jugs, those with three handles. Of the one-handled jugs, almost all followed the same type with but slight variations, the opening being circular and the neck broad or narrow. The trefoil lip was seen only in a few examples. The decoration on all is practically the same, lines around the body with a zigzag or wavy band on the neck in some cases. Fig. 39. Height, 0.105 in. ; diameter of opening, 0.069 m. (form, Myk. Vas. xliv. 65); grayish clay with a greenish tinge, black decoration. On neck zigzag band, with parallel stripes on neck, body, foot, and inside rim. On shoulder oppo¬ site the handle dotted rosette. This is by far the best specimen of the type and the most advanced. The clay is not cpiite so characteristically Mycenaean as in some other cases, but it cannot very well be included in the Geometric or Argive classes. Fig. 39. The th ree-handled jugs were the most numerous, as several bundled were found, and seem to belong to a later period. The form does not TIIE GEOMETRIC STYLE 101 seem to be Mycenaean, while the quality of the clay is decidedly inferior. But as this principle of decoration is practically the same as that already considered, these vases are properly to be discussed here. The shapes are fairly uniform, though slight variations may be detected in the height of the neck, size of the handles, fullness of the body, separation of the foot from the body, etc. The decoration follows a consistent scheme, in that the body is reserved for parallel stripes or bands and the shoulder for other motives, as rays, vertical lines, wavy bands, zigzags, rosettes, etc. The neck is occasionally ornamented in similar fashion. Fig. 40. Height, 0.09 in. Coarse reddish clay, with red decoration. Parallel stripes on body, with rays on shoulder. Stripes inside rim and on handle. The foot is separated from the body. Fig. 40 is a typical example of the class. About half of these vases have a flat base, without a foot. Two-handled Vase. Fig. 41. Height, 0.05 m. Yellowish clay, with dull brown decoration. Two handles (restored), with a hole running through the sides; no open¬ ing in the top. I have been unable to find any example similar to this vase. It must be regarded as a mere freak Fig. 40. of the potters’ art, with no definite raison d'etre. Fig. 41. CHAPTER III. THE GEOMETRIC STYLE. It would seem at first sight as if vases of the Geometric style were the most nu¬ merous at the Heraeum, since their fragments filled about twice as many baskets as either those of the Mycenaean or Argive styles. But as Geometric fragments are generally fairly large in size, since they belong to large vases, and the Argive fragments extremely small, it was found that the actual number of vases represented by Argive fragments was considerably larger than those represented by the Geometric. For many reasons an intelligent presentation of the Geometric fragments has proved extremely difficult. Owing to the larger size of the vases, hardly a single one was found intact, and in no case could more than a third of any vase be reconstructed, though some vases were represented by several hundred fragments apiece. Although the num¬ ber of shapes represented is extremely large, many are so closely allied to each other — the chief variations being in the number of handles, the shape of the neck, etc. — that, without the whole, or at least the greater part of a vase, a systematic classification based upon shapes becomes difficult, if not impossible. Then, too, almost the entire surface of the vase is covered with a decoration combining many different motives, and in such a case it was difficult to decide which fragments should be presented and which not, since there was danger, in a classification based on ornamentation alone, of treating sep¬ arately motives which belonged to the same vase. Finally, hardly a single new type of this style was found at the Heraeum ; the decoration on almost every fragment repre¬ sented may be paralleled by dozens of vases scattered through the museums of Europe. The style also presents this peculiarity, that it is far more conservative than any other 102 THE VASES AND VASE FRAGMENTS style, and seems less susceptible to progressive ideas. The Heraeum fragments, which probably cover a period of two centuries, are marked by their monotony and consistent adherence to a general scheme. Types are to be distinguished, of course, but such a classification as proved practicable with the Mycenaean and Argive styles becomes impos¬ sible here. 1 The fragments here presented illustrate the development of the various motives so extensively employed. At the same time this classification has been adopted solely as a working hypothesis, since the nature of the material forbids even an approach to finality; that can only be secured by a classification based upon material larger, more comprehen¬ sive, and in better condition than that furnished by the Heraeum. As the character of the decoration on our fragments is practically identical with that of Dipylon ware, the question immediately arises whether our fragments were made in the Argolid or imported from Attica, since no other districts can well claim their manufacture. Though certainty on this point is impossible, the evidence seems to point to the former hypothesis. Fragments of this style have been found at both Mycenae and Tiryns in large quantities, showing that the style was a common one in the Argolid. As the amount of Mycenaean ware found there is so large as to point to a very flourishing vase industry, there seems no valid reason why Geometric ware should not have been manufactured there also. Lastly, the clay of the Heraeum fragments is heavy, carelessly cleaned, and of a yellowish or greenish tinge, while that of the Dipylon vases is lighter, cleaner, and of a reddish shade; the decoration also of the Heraeum fragments is in general of a duller lustre and less decided in its character than the Attic*. One of the radical points of difference between the Mycenaean and Geometric styles lies in the clay, and the difference is especially apparent to the touch. The quality of the grain in the Geometric is far coarser than in the Mycenaean vases, and never, even in the best examples, does it attain to the lightness and smoothness of the latter. Whether this difference results from the employment of claj from a different bed or from different technical methods in its preparation, I am unable to say. But as the differ¬ ence between the clay of Mycenaean vases found in Attica and the Dipylon vases is just as great as in the case of our fragments, 2 it does not necessarily argue that none of our Geometric vases were manufactured in the Argolid; it would rather be a cause for wonder if they were not made there. It can hardly be said that the Geometric fragments from the Heraeum throw much light on the vexed question of the origin of the Geometric style in Greece. Up to the present moment three widely different views have been proposed: (1) the old view, which has now, I think, been generally abandoned, that it was the result of some Eastern influence (Egyptian, Carian, or Ionian); (2) the view expressed by Furtwangler and Loeschcke, that the style was the result of the Dorian invasion; (3) the last and most radical view, advocated by Wide and Wolters, that the Geometric style is an autoch¬ thonous growth, a u Bauernstil,” as opposed to the “ Herrenstil ” of the Mycenaean civilization, and the direct result of the primitive forms of decoration, but subject to some external influence which may have been supplied by some such movement as the Dorian invasion. 1 Since the above was written, Dr. Wide’s analysis of same time an effort will be made to mention all the types the Geometric style has appeared in the Jahrbuch for cited by Wide which could be identified among the He- 1 HDD ([>]). 2fi ft'., 78 If., and 188 ft'.) and 1900 (p. 49 ff.). raeum fragments. It may he readily seen that such an arrangement as that 2 See p. G5, note, on the results of Dr. Washington’s adopted by Wide is out of the question with the material investigations touching this point, from the Ileraeum, for the reasons given above. At the ORIGIN OF THE GEOMETRIC STYLE 103 From Wide’s investigations at Aphidna, his contention that the primitive elements for the Geometric style are to he found in Greece seems to lie satisfactorily established; also, from his analysis of the survival of Mycenaean motives in the Geometric style (. Athen. Mitt. XXII. (1897), p. 233 ft'.), it may he easily seen how close is the connec¬ tion between the two styles. But neither theory is sufficient to account for the true Geometric style, which, as he admits himself, does not show the transitional stages of development which were to have been expected if the style were derived directly from the Mycenaean. For the Heraeum fragments it must be said that only a few scattered specimens (e. g. Plate L. 15, 16, and 17) show the existence of Wide’s pre-Dorian elements; such speci¬ mens, however, are more in line with Professor Waldstein’s linear theory, and are not good examples of the “ Bauernstil.” That a small number of fragments, which, though Geometric as far as clay and technique were concerned, also show distinctly the sur¬ vival of Mycenaean motives, points to a close connection between the two styles. At the same time, the difference between such fragments and those of the pure Geometric style is so great that it is difficult to believe that the Geometric style could possibly have originated as the natural sequence of such prototypes. The need for some decided infusion of fresh ideas is the chief obstacle against the entire acceptance of Wide’s theory. As we can hardly assume that the finished Geo¬ metric style is the natural outcome of previous conditions, subject to no outside influence, we must seek some reason for such a phenomenon, and of all the solutions offered, the theory of the Dorian invasion seems to my mind the most satisfactory. While the actual occurrence of such a migration has never been conclusively estab¬ lished, it is generally agreed that some great upheaval took place in Greece during the eleventh century n. c. Certainly all the phases of the civilization which succeeded the Mycenaean period show a radical change of style, which can hardly be accounted for by a purely natural and unaided development. It is too much to assume that the people who brought about such a change were necessarily identical with the people of the “ Hallstatt ” period, though the similarity between objects of that period and the Geo¬ metric style is extremely striking. As the Geometric style is found at the Heraeum practically full-grown (as is also the case in Attica), it remains to be seen whether some external movement can account for its growth. Now, granting for the moment that the Geometric style could have developed in Attica along the lines laid down by Wide, the same can hardly be true at Argos; were such the case we should certainly expect to find a steady and continuous development from primitive or Mycenaean times. The linear theory for the origin of the Argive style can hardly apply here. Since an autochthonous growth can scarcely account for the style at the Heraeum, some external influence is absolutely necessary. It would seem that at a time when the Mycenaean civilization in the Argolid was on its decline there appeared a new influence, which effectually finished the Mycenaean civilization, and brought in with it no new elements (since almost all of them had been in use before), but a new and radical combination of those elements. Seeing that these ele¬ ments are linear, and thus characteristic of at I peoples during the primitive stages of their civilization, it matters little who these people were, though they may well have been the Dorians; the main point is that they brought with them a new style, or new arrange¬ ment of motives already in use. It is hard to see how any other explanation can account for the rise of the Geometric style in the Argolid; with Attica the case is not so evident. 104 THE VASES AND VASE FRAGMENTS We have already pointed out that, except for a few slight technical differences, the Geometric style in the Argolid is practically identical with that of Attica. If we assume that Wide’s theory of an autochthonous development for the style in Attica is true, and that some external influence created the style in the Argolid, we are confronted by a most surprising contradiction of facts, — that two different influences at work in two different places should produce substantially the same results. Theoretically such a case might be possible, but not practically ; one influence must be responsible for both styles. Therefore it does not seem difficult to assume that this external influence (if Dorian it be) was felt in Attica as well as Argos. Such a theory would supply the lacuna, which Wide admits, in the complete development of the style, and does not preclude the existence of an earlier, primitive Geometric style in Attica. Although the Attic historians always claimed that Attica had never been overrun by the Dorians, the legend of Codrus shows that she was not untouched by their movement, and there seems no reason why the legend of the movement of some tribe against the Attic frontier should not be symbolical of a steady movement from the Peloponnesus along the shores of the Saronic gulf to the very confines of Attica. To assign a chronology to these events is impossible. They cannot have taken place at once, but were probably spread out over half a century. But while by this reasoning the Dipylon style is shown to be slightly younger than the Argive Geometric, it is not implied that the former is the result of the latter, but that it is the result of the same principle as the latter which first made itself felt in Argos, and finding the conditions in Attica practically the same, naturally accomplished there the same results. The relation of the Geometric style to the Argive, with which it is closely connected, will be discussed in chapter IV. In the Argive Geometric fragments three distinct types may be detected : — I. 'fhe earliest or transitional stage from the Mycenaean. II. Purely Geometrical style. III. The introduction of animal and human figures, genre scenes, and development of bands of figures. CLASS I. TRANSITIONAL STAGE. Fragments of this class were not very numerous, and, as no vases were preserved entire, they do not lend themselves to a satisfactory arrangement. Two variations of this class were noted, — fragments of distinctly Geometric clay with Mycenaean ornamentation, and fragments of Mycenaean clay with Geometric ornamentation. At the same time the scheme of decoration is treated rather from a Mycenaean than a Geometrical standpoint, and it cannot be assumed that these fragments are the result of the new influence; it is most probable that they mark the low ebb to which the Mycenaean style was sinking, as the fourth class lustrous finish declined. The difference in the clay would seem to show, either that at the end of the Mycenaean period some change had been made in the pre¬ paration of the clay, or that for some reason it was taken from different beds. How¬ ever, in view of the similarity in clay of all Geometric vases, wherever found, it seems more likely that the difference between it and Mycenaean clay lies solely in the manner of preparation. If, therefore, this change in the preparation of the clay took place before the Dorian invasion, the Geometric style is simply the supplanting of the Mycenaean motives bv purely Geometrical ones. GEOMETRIC STYLE: EARLIEST EXAMPLES 105 Wide has endeavored in his article on the survival of Mycenaean motives in the Geo¬ metric style (Aiken. Mitt. XXII. [1897], p. 233) to trace the development of the vari¬ ous motives which had their origin in the Mycenaean style during the later period. I cannot, however, agree with his assertion that the centre of the Mycenaean activity lay in the islands. Wide bases this claim on the supposition that the vases which show this connecting link between the Mycenaean and Geometric styles have been found only on the islands. Such a supposition cannot now he entertained, since not only are many of these types to he seen on our fragments, but also on vases recently found in Attica. Of the motives mentioned in Wide’s article, the following occur at the Heraeum on various fragments mentioned below. (The page references are from Wide’s article.) Toothed wheel and star (p. 235, fig 1 . 3). One-handled-jug (p. 237, fig. 5). Numerous fragments of jugs with precisely similar decora¬ tions were found. Also several handles with a plastic snake. Amphora (p. 238, fig. 6). Fragments of similar amphoras were extremely numerous at the Heraeum. Dozens of fragments belonging to rims showed a lozenge chain, with or without a cen¬ tral dot. Equally numerous were the lozenge chains formed by interlacing lines, the rhomboids (single) and “ Running Dog ” patterns. (P. 238, fig. 7.) Several fragments from the shoulder of a vase showing similar decoration were found. The form is uncertain, but as the base of a spout was apparent, it is probably a jug similar to the Mycenaean ones with one handle. The clay is coarse and of a dark red color. The decora¬ tion on both shoulder and belly consists of a net pattern (not a meander, as in the Munich vase), the spaces filled by rosettes or dotted lozenges. Under the base of the spout is a leaf pattern. (P. 240, fig. 8.) Circles with cross in the centre, arranged singly in pairs or in series, were among the commonest types on the Heraeum fragments. (P. 244, fig. 14 a.) Several fi •agments with this motive were found. (P. 246, fig. 17.) At least a hundred fragments from the rims of large bowls showed this com¬ bination of a wave pattern and dotted circles. The preceding enumeration of the various types is valuable as showing the occurrence of Wide’s types at the Heraeum. The following fragments are here introduced to show the use of Mycenaean motives on a Geometric clay. It must be remembered, however, that the difference in clay is hardly perceptible in the plate ; in all these fragments it is generally greenish or yellowish in tone (sometimes reddish), coarse in quality, and not very carefully cleaned, never possessing, except in a few cases, the smooth surface so characteristic of Mycenaean clay. PLATE LVI. 1. Fragment of a large vessel, probably an amphora. Coarse yellow clay; decoration varying from dark to light brown. Checkerboard and circles. The quality of the decoration resembles the Mycenaean more closely than does that of any other fragment. We have here the circles (as in Wide, loc. cit. p. 244, fig. 14 a ) with the Geometric checkerboard. Both are treated in a slightly freer fashion than we shall find usual. Several other similar fragments were found. 2. From a bowl. Reddish clay, with a yellow slip. Spirals in dark red. 3 . The same. Red glaze on interior, bright red decoration. 4 . The same ; coarse yellow clay. Red decoration. 2-4 show the employment of purely Mycenaean motives on Geometric clay. 5 . From rim of large bowl. Greenish yellow clay, with bands on interior below rim : brown decoration very faded. The Mycenaean spiral is here preserved intact. 6. Greenish clay, with light brown decoration. Combination of zigzags and Mycenaean flower branch (cf. Wide, loc. cit. p. 242, fig. 12 a). Fragments with this combination were very numerous. 106 THE VASES AND VASE FRAGMENTS 7 . Light brown clay, with polished surface. Lustrous brown glaze on interior. This fragment is extremely curious, since beside the zigzags it has the eye, nose, and hair of a human face with a rosette beneath. A similar instance is unknown to me. 8. From large vase, probably an amphora. Dark yellow clay, with decoration varying from greenish brown to black. 9. From rim of amphora. Greenish clay. 10. From a large bowl. Brick red clay, with red glaze on interior. Red decoration faded. Rosette and zigzags. Fragments similar to 8 and 10 were very numerous (certainly a basket full) and seem to con¬ stitute the earliest essays in the Geometric style proper. While the clay is coarse, it has been covered with a whitish slip (as in Mycenaean vases) and the decoration applied rather thinly without any lustre. Some of the fragments had a dark brown glaze on the interior, which, together with their size, seems to show that they belong to anaphoras or bowls. Outside of the Heraeum this ware is not common; the nearest approach seems to be a variety found at Syracuse. On none of these fragments was any decoration found which included the human or animal figure, the established scheme being straight lines and zigzags. In fact, on Argive Geometric vases the use of the zigzag seems to be carried to a far greater extent than in Attic work. Besides the motives already mentioned, we find wavy lines (for rim and shoulder), rays, rosettes, lozenges (entirely black), and a single zigzag hue used exclusively on the rims of howls. Further, we may mention a number of fragments (chiefly handles and necks) which seemed to belong to amphoras similar to those in Jahrbuch, XV. (1900), p. 51, fig. 107, the only decoration being a wavy band on the neck and stripes on the body and handles. These fragments evidently belong to Class I. CLASS II. PURELY GEOMETRICAL TYPES. Fragments with purely Geometrical ornamentation formed the bulk of this style at the Heraeum. The vases are almost entirely covered with a brown glaze (in the case of bowls the glaze is also used on the interior), with a series of parallel bands running round the body, which in many cases formed the sole decoration. The principal mo¬ tives are placed on the shoulder, neck, or rim, and consist generally of a meander pattern arranged singly or in series. These meanders are formed by single lines, or by double lines with a series of short parallel cross-lines, straight or diagonal, between them, which give the effect of shading. In some cases the cross-lines are omitted. Other motives O o are : — Zigzags, singly or in series. These are either drawn in a single line or else double, with a shading of cross-lines as in the meander patterns. Checkerboards. These are treated in a variety of ways. The simplest form is a series of squares, alternately black and plain (i. e. the natural color of the clay). Variety is secured by the insertion of a lozenge into the plain squares, or else shading the black squares by a network of lines. Jiays. Generally in series around the base or rim. These are either in outline, black, or of interlaced lines. In some cases the rays are drawn in double outline, with a row of dots between the lines. Wave pattern. Generally a single broad line, sometimes with the addition of a dotted row on each edge. This, an original Mycenaean motive, eventually develops into the Geometric snake. Loz,enges. In their most elementary form as a rhomboid, such as is found on Mycenaean vases of the fourth class. Generally in the Geometric style we find them in chain, with or without a THE GEOMETRIC STYLE: HUMAN FIGURES 107 central dot. Owing to carelessness or hasty technique the chain often resembles a series of ovals. Net pattern. In many cases this is nothing but a lozenge chain in parallel lines, the whole giving the motive its net-like appearance. Circles. Generally two or more concentric circles, with a central dot, singly or in series, some¬ times connected, sometimes not. liosettes or stars. Generally treated in series, either as an independent band or else as a border to the wave pattern. Cases occur, especially in plates, where the rim is surrounded by a border of leaf or flower petals, with a shading of lines. Pot-hooks. As in early Attic work. “ Punning Dog .” Generally used on the rims of bowls. Gnilloches. Generally on the base of a vessel with a tall foot. Swastikas. As ornaments in field. Dotted lines. Used as a variation of the plain circular band. Since none of these motives are new in the Geometric style, and as no peculiar combi¬ nations of them occur on our fragments, none are given in our plates. All these motives may he found on vases where “ animal ” motives are introduced; at the same time a large number of fragments show clearly that this animal decoration does not occur on a great part of the vases. As practically none of the vases are preserved intact,'any list of the various forms found must be incomplete. Roughly speaking, the following shapes were represented by fragments : — Amphoras. One-handled jugs {oinochoai). Bowls ( skyphoi ). Plates. Bowls with a tall foot. Cups with one handle. The rarer forms will be discussed later when dealing 1 with their fragments. o r> CLASS III. THE INTRODUCTION OF HUMAN AND ANIMAL MOTIVES. The third class of the Geometric style is by far the largest, not only at the Heraeum, but in almost all the other places in Greece where the style is found. The introduction of the human or animal figure must have taken place at an early period, though hardly at the very beginning of the style. It is true that we find these figures in the fourth class of the Mycenaean style, hut their treatment differs materially from that usual in the Geometric period. Moreover, the Geometric types which are certainly the oldest, such as the transitional types found on the islands (cf. Wide, loc. cit.) and those more recently discovered in Attica and Corinth, exhibit pure Geometric decoration, with no traces of a human or animal motive. At the same time, no great chronological distinc¬ tion can be demanded between Classes II. and III. of the Heraeum fragments, since the scheme of ornamentation, except for the introduction of human or animal figures, is practically the same in both. The variations of the different motives in Class III. are numerous, but their develop¬ ment seems fairly clear. We find two distinct groups. 1. Where the motive is treated simply with few, if any, ornaments in the field. 2. Elaborate treatment of the motive and wealth of ornaments in the field. By all general laws of art, fragments in the second division are younger than those in the first, since the horror vacui, as exemplified by other styles, is the result of a realiza- 108 THE VASES AND VASE FRAGMENTS tion of the fundamental principles of art, without the ability to attain the end desired. Exceptions may be found, since some fragments show a decided lack of ornaments in the field combined with a technique extremely advanced, but such fragments are not so com¬ mon as to warrant the reversal of our order. We must either assume that they are exceptions to the rule or else that they are merely advanced specimens of the first division, contemporaneous with the second, but still, through conventionality of taste, adhering to the earlier principles. The choice of subjects in both divisions is the same. While the greater part of the vase is occupied by purely Geometrical decoration, the key-note of the ornamentation con¬ sists of one of the following types : — A. Birds. a. In friezes (water birds). b. As the principal subject, singly or in groups. B. Ilorses. a. Singly or in frieze. b. “ Heraldic ” scheme. C. Men. a. In frieze. b. “ Heraldic ” scheme. c. “ Genre ” scenes (hunting, rowing, fighting, etc.). a. In frieze. D. Women. E. Miscellaneous. Deer, dogs, and other animals, usually in frieze, but often introduced as ornaments in field. A. Birds. The bird as a motive of decoration is not only the most common one in the Geometric style, but there is good reason for assuming it to be the earliest of the motives included in Class 111. It is found on many fragments which through their primitive technique appear to belong to the earlier period of the style, where the other animal motives are wanting. We find it as a common feature on Mycenaean vases of Class IV., though treated in a different fashion, showing that the motive is not original in the Geometric style. But as the similarity between the earliest type of the water bird frieze in the Geo¬ metric style and the band of vertical zigzags common on the rims of Mycenaean bowls is so marked, there is reason for supposing that while the bird itself was borrowed directly from the Mycenaean fourth class, its arrangement in a frieze was suggested by the use of the zigzag band. Fragments having this water bird motive were extremely numerous, belonging to the rims of small bowls around which ran a frieze of birds. 1 The earliest examples are mere zigzag lines, the later more elaborate, the figure of the bird being shaded by cross-lines, and the head and beak more sharply defined. Ornaments in field are then introduced, principally dots, rosettes, and zigzags. Soon after the introduction of the frieze the bird itself becomes the real subject of decoration, but rapidly passes to the position of an ornament in field itself. Some slight differences may be detected in the various birds, but it is of little use to 1 As on a skyphos said to come from Mycenae ( Julirb. the Geometric vases from the Heraeum, there can be no XVI. [1899], p. 85, fig. 48). From the close similarity to doubt that the vase referred to comes from the Argolid. THE GEOMETRIC STYLE: BIRDS AND HORSES 109 try and identify them with any particular species. As some have a tuft of feathers at the back of the head, they may perhaps represent cranes or herons. PLATE LVI. a. 11 . Ri in of bowl; black glaze on interior. This is the commonest type of the frieze, and was found in very large quantities at the Heraeum. The type is too common to cite any further examples. 12 . Rim of bowl; dark brown glaze on interior. Treatment of bird more elaborate, the body being shaded by cross-lines, zigzags in field. 13 . From large bowl with dark brown decoration on interior. Brown decoration rather faded. Stars in field; above zigzag band and meander. The birds are shaded as in 12 , the tails sharply defined. It is noteworthy that the birds are alternately large and small, 1 a feature I have not observed elsewhere. The use of the star as an ornament in field is by no means usual. 14 . Birds treated rather freely. Checker square in field. 15 . The birds are here represented with heads down, feeding; this type, though by no means rare, is not as common as the type that is represented by 11 - 13 . b. In Group b the water bird becomes the chief feature and is generally treated in a simple fashion, the bird standing alone in the centre of a panel formed by vertical and horizontal lines. A transitional type from a was observed in the case of several frag¬ ments from the neck of a large vase (probably an amphora) where a row of birds was represented, each one separated from the other by two patterns, one consisting of two upright lines with horizontal lines between and the other a vertical guilloche treated as a silhouette. The technique was poor and the birds drawn as silhouettes without any shading. Other cases were observed where the panel was hounded by rows of horizontal zigzags one above the other. 16 . From a bowl about 17 cm. in diameter; height cannot be determined. Dark red clay. Brilliant black glaze on interior, black decoration. Several other fragments found. The bowl seems to have been divided into four panels, the intervening spaces being filled by a meander pattern (not visible on 16 ). The birds are treated as silhouettes. The ornament in field is a common one in this style. 17 . From a large vase. Brick red clay, with decoration varying from black to brown. The birds are more elaborately treated with stars as ornaments in field (cf. No. 14 ). From several other fragments belonging to the same vase it seems probable that the birds were the principal theme, the rest of the vase being ornamented with purely Geometrical motives. The ornaments in the field on most of the fragments of type b are lozenges, zigzags, concentric circles, stars, etc. The treatment of the water bird as an ornament in the field will be discussed later. B. Horses. One of the most characteristic features of the Geometric style is the fondness for representing horses, either singly, in pairs (“Heraldic” scheme), or attached to a wagon. The horse in Greek art was a well known feature before this period ; one recalls the grave stelae, and the sword blade from Mycenae. Also on Mycenaean vases of the fourth class the horse may be found, although not so often as to assume that the animal 1 A bowl from Boeotia ( Jnhrb. XIV. [1899], p. 83, fig. 40) shows two large and two small water birds, which are arranged in a panel, and not, as here, in a frieze. 110 THE VASES AND VASE FRAGMENTS was a great favorite with the Mycenaean potters. To account for its popularity during the Geometric period is difficult. From the Homeric poems we know what a part was played by it in the Mycenaean civilization, so that we cannot assume a sudden increase of popularity for it during the later period. The chief point of difference lies in the fact that during the Mycenaean period the horse is always used as a yoke-animal, never as a beast of burden. In the Geometric period we find frequent representations of the horse as a mount as well as a beast of burden. A very superficial study of the Mycenaean vases shows that the drawing of animals was more or less tentative, with rather unsatisfactory results. Of course the Vapliio cups show that it was possible for the Mycenaean artists to reproduce animals with wonderful accuracy, but then the toreutic art of the Mycenaean period is far in advance of that of the vase painter. Hence we can only assume that an increase of skill in drawing on the part of the vase painters was responsible for so many representations of horses on Geometric vases. Being a common factor in the life of the period, it could not be ignored. But it is certain that the horse did not become popular until the Geometric style was firmly established, since it is not found on the earliest vases of the style. a. 18 . From rim of large bowl. Dark red clay, with brown glaze on interior. Head and rear part of two horses. On the inside, below the rim, a band of vertical and horizontal lines crossing each other at right angles. No ornaments in field. Numerous other fragments having a single horse, or a band of them, were found, hut all in had condition, showing in most cases only the head or hind-quarters of the animal. 19 . Part of the foot of a large bowl. Red clay, with darker core, lustrous black and brown decoration. Frieze of horses, with rays, stars, swastikas , etc., as ornaments in field. Below, two zigzag bands (shaded). Separated by a moulding appears what may be another similar frieze. Though the shape of the base cannot be determined, it is probably a large bowl mounted on a tall foot, somewhat similar in character to one in Athens ( Jahrb . XIV. [1899], p. 81, fig. 37), but with a taller foot. The majority of the fragments with a frieze of horses had a wealth of ornaments in the field. The type of horse was generally the same in all, the only difference lying in the quality of the execution. One fragment (without ornaments in the field) showed a frieze of horses grazing. 20 . Greenish clay, with dark brown decoration. Horse in panel. Duck, meander, swastikas, and zigzags as ornaments in field. Above, zigzag band (shaded). The treatment of the horse by itself in a panel is not as common as in the case of the birds. Only a few other similar fragments were found. The bird is here used as an ornament in the field. Whether the zigzag which falls from the bird’s beak is intended to represent a worm is uncertain. It is of frequent occurrence, not only on the Heraeiun fragments hut on Geometrical vases found elsewhere. n b. The representation of two horses facing each other in the so-called “ Heraldic ” 1 scheme is of common occurrence on vases of this style. The symmetrical arrangement of motives in this same scheme was a characteristic of the Mycenaean fourth class. The usual arrangement called for the figure of a man between the two horses; hmvever, it is 1 For a discussion of the “Heraldic” scheme, see Curtins, ‘ Wappengebrauch und Wappenstil im Alterthum,’ Gexammdte Abhandlungen, II. pp. 110 ff. THE GEOMETRIC STYLE: HORSES AND MEN 111 certain from other fragments belonging to the same vases as 21 and 22 that the space between the horses was occupied by ornaments in the field, and fragments from other vases show this same peculiarity. As the treatment of the horse is that peculiar to the style, no further comment is neces¬ sary. Only a very few fragments showed a lack of ornaments in the field ; the greater part have a very elaborate series of ornaments, with many variations. In each panel (the group is almost invariably in panel form) five spaces may be found, two above and two below the bodies of the horses, and one between them. The filling of the latter space by a human figure will be discussed later. The most usual ornament in the spaces above the bodies is a simple meander or zigzag, sometimes combined. Besides these we find rosettes, lozenges, squares, crosses, circles, etc., in fact, all the common Geometric themes. Water birds are occasionally introduced, singly or in a row. The space beneath each body is usually occupied by a fish or a water bird; the other Geometric motives are often used, but by no means with the same frequency. In case the space to be filled is a very large one, half meanders, crosses, rosettes, etc., are em¬ ployed as filling around the body of the fish or bird. 21 . Reddish clay, with red brown decoration. Noticeable is the object beneath the horse’s belly, a shaded half circle with lozenge chain. Several other fragments of this vase were found. 22 . Coarse greenish clay, with greenish brown glaze on interior, and brown decoration. Row of water birds above on a dotted meander. Between the hind legs a water bird, between the fore legs a vertical “ Running Dog ” pattern. Beneath the belly a square containing a rosette. Sev¬ eral other fragments of this vase were found. C. Me n, Although the human figure is introduced into Mycenaean vase-painting, its use there is not very common. As the earliest examples of Geometric vases do not employ it, there is good reason to believe that not until the later period of the style was its use at all universal. Once introduced, however, its development was rapid, and in the latest examples of Geometric ware we find the human figure as the chief motive of decoration. Among the Heraeum fragments this motive plays a large part. At the time of its introduction the use of ornaments in the field seems to be firmly established, and frag¬ ments with human figures, but without ornaments in the field, are rather scarce. Such cases as do occur are marked by an advanced technique, which forbids their belonging to the earlier period of the style. a. Whether the introduction of the human figure in the “ Heraldic ” scheme between two horses is earlier than in the frieze cannot be told. The former is by far the more com¬ mon, and on the Heraeum fragments is the most usual motive. The general type is always the same: a nude male figure, in profile, holding a horse with each hand, 1 either by a halter, or else grasping the horse’s nose. Such variations as occur lie in the dif¬ ferent ornaments in the field and in the treatment of the man and horse — either less or more advanced. PLATE LVII. 1. Light reddish clay, with decoration in light brown. This is probably one of the earliest instances of the type, the figures being hardly more than a series of straight lines such as a child might draw. 2 . From a large vase. Dark red clay, with brilliant dark red decoration. Here the hips and 1 Ann. dell’ Inst. 1872, tav. d’agg. I. 1; Jahrb. XIV. (1899), p. 34, lig. 12. 112 THE VASES AND VASE FRAGMENTS legs of tlie man are treated more naturally, and the distinction between the nose and chin sharply emphasized. 3 . Clay and technique similar to Plate LVI. 19, but rather more advanced in style. The legs are here extended beyond their natural length, and the calf is sharply marked. Meanders as ornaments in field. 4 . From a very large vase, perhaps an amphora. Reddish clay, with dark red decoration. At least a dozen other fragments belonging to this vase were found, showing that the horse and man were treated in panels, and the rest of the vase ornamented in the usual Geometric fashion. The head of the man has a very curious headdress, and the neck ridiculously lengthened. Such exag¬ geration is not common. Fish as ornament in field. It sometimes occurs that a man and one horse are represented in a panel, the man leading the animal. As such cases generally have a corresponding group on the other side of the lines bounding the panel, it cannot well be called a genre scene, although the “ Heraldic ” idea does not appear so prominently. 5 . Reddish yellow clay, with dark brown decoration. Here a distinct profile is given to the man. For the object in his left hand, which may be a staff, I know of no parallel instance on Geometric vases. 6. From a bowl; reddish clay, with dark red glaze on interior, red decoration, fairly lustrous. Rim sharply separated from the shoulder. Wave pattern on rim. In spite of the extremely archaic appearance of this fragment we cannot but assign it to the later period. The eye of the figure is clearly defined, and an attempt is also made to show the fingers. It is uncertain whether the object in the figure’s left hand is a whip or a halter. b. The use of the male figure treated singly or in a frieze is not as common on the Heraeum fragments as on the Dipylon vases. 7 . Rim of bowl. Dark red clay, with lustrous dark red glaze on interior. Clay shows traces of burning. Frieze of men to right; the right-hand figure holds a kithara in his hands. That the object in question is really a kithara 1 would seem certain. That held by the terra¬ cotta figurines from Keros ( Athen. Mitt. IX. p. 156, pi. vi.), which is thought by Koehler to be the sambuJca , is probably the earliest instance of a lyre in Greek art. This fragment, however, would seem to show one of the earliest instances of a lyre in vase painting. Fi ■iezes of men, especially on the rims of bowls, were quite common at the Heraeum, and were found on numerous other fragments. Another type, though found on but a few fragments, in bad preservation, is a frieze of warriors, the shield 2 covering the entire body, and the two spears projecting diagonally upwards from the shield on each side of the head. 8. Rim of bowl; greenish clay, with black decoration. The figure undoubtedly formed part of a frieze. This fragment is probably one of the later essays; the nose and chin are sharply defined, and the eye is incised. The body seems to be covered with a cloak. 9. Reddish yellow clay, with lustrous brown red decoration. Bodies of two men joined together; double axe and stars in field. At first sight it would appear that the artist had tried to represent some monster of the Geryon 1 Cf. the fragment from Amyklae ( Jahrb . XVI. [1899], ]>. 81, fig. 42), and an early Attic vase, Baum. Denkmuler, p. 1918. fig. 2078. 2 One or two of our fragments showed round shields, as on a vase in Athens (Jahrbuch , XIV. [1899], p. 197, fig. 01). Several had only the upper part of the shield preserved, which had a pattern of dots below the rim. Judging by the skyphos from Eleusis ’A px- 1898, pi. v. 1), it seems most probable that the shield was of the Boeotian type, which is fairly common on Geometric vases. Cf. Jahrb. XIV. (1899), p. 85, fig. 44. THE GEOMETRIC STYLE: GENRE SCENES 113 type. The most probable explanation is that two figures, one behind the other, were represented, and that the artist, having no knowledge of perspective, got decidedly mixed in his drawing. The double axe is quite a common ornament in field, but whether there is any connection between this ornament and the Labyrinth in Cnossus (the house of the Double-axe, according to Evans) is decidedly problematical. c. Fragments representing genre scenes at the Heraeum were comparatively scarce. As a rule the technique of such fragments is slightly better than the average. That such should be the case is not surprising, since in a style like the Geometric the introduction of genre scenes would come only after the treatment of the ordinary motives had been thoroughly developed and some new treatment was demanded. 10 . From a large bowl; reddish clay, with lustrous dark brown decoration on interior; decora¬ tion a brilliant brown. A battle scene is evidently represented. The central warrior is preparing to shoot an arrow, and it may be presumed that the other two figures are about to do the same. At the right of the fragment is the foot of a fourth warrior. On the left an arrow as an ornament in field. The treatment of the bow is precisely identical with that on the fragment of the silver vase from Grave IV. at Mycenae (Tsountas, ’E^p.. ’A px- 1891, p. 19, pi. ii. 2), and the Mycenaean sword blade from the same grave ( B . G. H. 1886, pi. ii. 3, 4). This would show that during the Geometric period the same bows were employed as in the Mycenaean epoch. A comparison of the figures on the large Dipylon vase in Athens ( Mon . delV Inst. IX. pis. 39, 40) shows that the arrow which seems to pierce the figure with the bow is supposed to be girded to the side 1 in lieu of a quiver. 11 . Reddish clay, with lustrous red brown glaze on interior. Lustrous black decoration. That a boxing match over a tripod as the prize of the contest is represented is the most prob¬ able explanation. At first sight it would appear that the left-hand figure is holding out some object to the other, but a closer examination shows that the object in question is really the figure’s arm (since the fingers are denoted) very badly drawn. Similar contests are rare on Geometric vases. Cf. the bowl in Copenhagen (Arc/t. Zeit. 1885, pi. 8, 2), where a similar contest without the tripod is represented. (This fragment has already been published by Laurent, B. C. II. 1901, p. 150, fig. 3.) 12 . Reddish clay with red brown decoration. Man in chariot driving. As three tails are vis¬ ible, it seems probable that a quadriga was represented. Two other fragments showed the same scene, but not enough of the chariot to draw any conclusion as to its form. 13 . Brick red clay, with brilliant black glaze on interior, black decoration. On the right the upper part of some animal; in centre, a man about to shoot an arrow (as in 10 ) ; and on the left the prow of a boat, with the back of one of the rowers. Fishes as ornaments in field near the boat. This fragment, as far as technique is concerned, belongs to a class which will be considered later. It is the only fragment found at tlie Heraeum on which a ship 2 was represented. The treatment of the boat, however, differs materially from the usual boats found on vases of this period. Only a portion of the bow is presexwed, but it is plain that the stem of the vessel did not end in a sharp point, as in the modern ram, but was shorter and blunter. Also, the line of the bulwark curves backward instead of directly towards the bow. (Cf. Rayet et Coll. Ilist. p. 29, fig. 20; Baumeister’s Denkm. p. 1597, fig. 1G58.) No other fragments which could properly be included under the head of genre scenes were found. 1 Whether this is a sword is extremely doubtful. Cf. Athen. Mitt. XVII. (1892), p. 219, fig. 7. On a skyphos from Eleusis ('Et 7 /x. ’A px- 1895, p. 262 ff., pi. xii. THE GEOMETRIC STYLE: AMPHORA 117 12 a and b. Two fragments of a pinax. Greenish yellow clay, with brown decoration faded. a. Length, 0.10 m.; width, 0.085 m. b. Length, 0.62 m. ; width, 0.10 m. The design, as far as it can be restored, consists of two female figures bounded by four elliptical bands, and the usual Geometric ornaments in field; outside of the ellipse a row of water birds. The dimensions of the pinax cannot be estimated. 13. Similar clay and technique. Undoubtedly belonged to a pinax whose ends were slightly curved. Water birds in panels. Edges are toothed like a saw. (As 12 and 13 were taken from a photo¬ graphic plate with a slightly different scale, they are slightly smaller than they appear. The difference between this scale and that of the other fragments on Plate LVIII. is 6 to 5.) There still remain to be considered a few vases which are either intact or else in such condition as to make their form cer¬ tain. Fig. 42. Amphora. Height, 0.495 m.; di¬ ameter of opening, 0.235 m. Part of neck, one handle, and various parts of the body supplied in plaster. On edge of rim, zigzag band ; on neck, verti¬ cal and horizontal series of zigzags bounding a panel of interlacing lozenges with a black cen¬ tre. Below, narrow band of vertical zigzags and double crosses. Handles in fine plastic bands. Below each handle a lozenge. A. Horse and rider to right. The rider (bearded, with three strokes to denote his hair) clad in a short chiton, which seems to be tucked up around his waist, holds in his left hand the leading rein and in his right hand a whip; chiton ornamented with vertical lines. The horse is more carefully drawn than usual, with the eye clearly defined. No signs of a mane can be detected. On either side of the horse, a fish with a single vertical meander along the body. B. Exactly the same, save that the horse has no rider. On base, single meander pattern. This amphora was the only large Geometric vase the Heraeiun yielded which could be restored almost entire. That it is one of the latest examples of the style seems proba¬ ble, since the body is not entirely covered with decoration and the horse is represented as a beast of burden, not as in the earlier types attached to a chariot or in the usual “ Her¬ aldic ” scheme. A jug was also found intact, 10 cm. in height, of precisely the same shape as Jcihrb. II. (1887), p. 50, fig. 9, with similar decoration to Ann. dell Inst. 1872, tav. d’ agg. K. No. 3. Several small skyphoi with vertical and horizontal handles, their sides ornamented with meanders and zigzags, were found. Fig. 43. Height, 0.18 in. ; diameter at base, 0.28 m.; at top, 0.21 m. Red clay, with red 118 THE VASES AND VASE FRAGMENTS decoration. Lozenge band at top, usual Geometric motives on body and water bird frieze on base. Several other fragments found, one of which showed that the sides were arranged in panels con¬ taining two horses and man in the “ Heraldic ” scheme. Handle in centre, mouldings with dots half way between handles and edges. To assign this vase to its proper place is not easy. It is almost identical in shape with Ann. del! Inst. 1881, tav. d’ agg. R. 1 and 2, except for the lack of handles. These are said to have been found on a similar vase from Chiusi (v. Bull, dell ’ Inst. 1884, p. 178, 179). But no trace whatsoever of a partition dividing the vase inside into two cups can be found, so that it is impossible that it should have been used in the same fashion as the Italian vases. (For discussion of their use, see Helbig, Das Homerische Epos 1 , p. 361.) Nor is there any reason to suppose that would be needed on any support handles of a vase. Fragments representing such supports (cf. Plate LVIII. 7) were found. About two hundred or more fragments belonging to one vase were found. This was evidently an amphora similar in shape to the large Dipylon vases in Athens, 1 of a light reddish clay, burnt in places, and must have measured nearly one and a half meter in height. No reconstruction of the vase was possible, and the foot could not be found. The vase was entirely covered with ornamentation, that on the body consisting of a series of large wheels, 2 arranged vertically and horizontally, separated by panels containing the usual “ Heraldic ” motives. Panels again were arranged on the shoulder, and the neck covered for the most part with zigzag and meander patterns. All fragments showed the usual Geometric types. In conclusion it remains to enumerate briefly some of the forms of vases not mentioned before, which from the evidence of various fragments must have existed at the Heraeum. The forms are taken from Wide’s articles in the Jahrbuch for 1899 and 1900. Jalirb. 1899, p. 29, fig. 1. This form was represented by numerous fragments of feet, handles, and rims. Ibid. p. 34, fig. 11. Several similar handles were found. Ibid. p. 38, fig. 20. Represented by handles. Ibid. p. 80, fig. 34. Many fragments, especially of feet, belonged to a similar vase. Ibid. p. 82, fig. 37. A similar arrangement of double handles was shown by at least a dozen fragments. Ibid. p. 205, figs. 71, 72, and the following pages. Large numbers of fragments be¬ longing to similar jugs, and handles with a cross-piece were found. At the same time it is impossible to state whether all the combinations illustrated in Wide’s article were found. Ibid. ])]>. 214 and 215. A large number of fragments belonging to similar shallow skyphoi were found, mostly of the type of fig. 100. Some seemed to have a high foot, as fig. 102. Juhrb. 1900, p. 53, fig. 113. Most of the fragments representing skyphoi were of this type or that of fig. 121 on page 55. Ibid. p. 54, fig. 116 and 117. Numerous fragments of handles were found which probably belonged to similar skyphoi. ' Cf. Jahrb. XIV'. (1899), i>. 201, fiy. 69. a Cf. ibid. p. 199, figs. 65 and 66, p. 200, figs. 67 and 68. THE ARGIVE STYLE 119 CHAPTER IV. THE ARGIVE STYLE. The Argive (so-called Proto-Corinthian) style is not only the most characteristic vase fabric at the Heraeum, but the one best represented by entire vases as well as frag¬ ments, and seems to have been the’most popular style in the Argolid from this end of the Mycenaean epoch down to the beginning of the Corinthian style, a period of perhaps from three to four centuries. The term “ Proto-Corinthian,” 1 as is well known, was invented by Furtwangler and applied by him to certain vases, of which the small lekythoi with human and animal figures as the chief scheme of decoration are the best examples. Furtwangler never intended this name as an exact designation, but used it to show that this class bore a close relation to the Corinthian style which it preceded. Since the invention of this term twenty years have elapsed, and in that time the num¬ ber of these vases has increased. Originally not more than half a dozen examples from Thebes, Tanagra, or Corinth were known, but we now have numerous examples from Attica, Aegina, Eleusis, Tiryns, Argos, Syracuse, Megara Hyblaea, Southern and North¬ ern Italy. To the class identified by Furtwangler has been added a series of vases the decoration of which consists entirely of fine parallel lines encircling the body of the vase and Geometric motives. At the same time the term “ Proto-Corinthian,” though univer¬ sally adopted, has never been considered thoroughly satisfactory, and numerous attempts have been made to discover the real provenience of the style; none of the sites proposed as the original home of the style (Chalcis, 2 Corinth, Sicily, etc.) has yet been univer¬ sally accepted. It has been generally believed that the style was the outcome of the Geometric ware 3 and originated about the middle of the eighth century. It appears to me that the Argolid is the original home of this style, and I venture to adopt a new system of classification and chronology, which differs materially from that heretofore offered. 4 The conclusions about to be stated have been forced upon me after a careful study of the Heraeum fragments, and while I am far from claiming them to be the only possible ones, they form the basis for the whole of this chapter. Briefly, the so-called Proto-Corinthian style is Argive in its origin, and a direct offshoot of the Myce¬ naean style, being contemporaneous with the Geometric. From the very beginning of the excavations, when it was seen how large a proportion of the vase fragments was formed by this ware, in 1892 Professor Waldstein asserted that it was really Argive. Since then Professors Furtwangler 5 and Loeschcke G have also come to the same conclusion. The arguments in favor of its Argive origin are : — (a) The quality of this ware found at the Heraeum. (b) The steady development from the earlier periods, especially the Mycenaean. (a) The style is found in greatest quantities outside of the Argolid, in the Necropole del Fusco at Syracuse, 7 and at Megara Hyblaea, 8 and Orchomenos. 9 The amount fur- 1 Bronzefunde von Olympia, pp. 47, 51. given by me in the American Journal of Archaeology, 2 The Chalcidian origin was proposed by Helbig ( Die 1900, p. 441 ff. Italiker in der Po-Ebene, p. 84). Stuart Jones follows 8 Berl. Philol. Wochens. 1895, p. 202. the same view (J. H. S. XVI. [1896], p. 333). 6 Athen. Mitt. XXII. (1897), p. 262. 3 B. C. H. XIX. (1895), p. 182. 7 Cf. Not. d. Scavi, 1893 and 1895. 4 A brief outline of the following has already been s Mon. Ant. vol. I. 9 B. C. H. XIX. (1895), pp. 182-188. 120 THE VASES AND VASE FRAGMENTS nished by the three most important excavations in the Argolid, the Heraeum, Mycenae, and Tiryns, more than equals that of the rest of the Greek world, including the Sicilian excavations. With such a vast amount found in the Argolid alone, it is extremely improbable that any other state should have been the inventor, or that the importation of the style should have taken place into a state which during the Mycenaean period had a flourishing vase industry of its own. Furthermore, as we have already pointed out, so few types were found at the Heraeum which were clearly made outside of the Argolid, that we must hesitate before calling any doubtful style a foreign importation. And as the largest part of the ware found in the Argolid is furnished by the Heraeum, it is there rather than at Mycenae that the origin of the style must be sought. In Aegina the style shows the same development as at the Heraeum, but as no attempt has ever been made to show that Aegina had a vase industry of her own, 1 and as we know that histori¬ cal evidence points to a close connection between Argos and Aegina during the eighth and seventh centuries, the vases of this style found at Aegina may well have been imported from Argos. (6) As far back as 1887, Dummler 2 had pointed out the fact that fragments of this style had been found at Aegina in the lowest levels along with Mycenaean fragments, and the same is true at the Heraeum, though, as we have seen, the presence of definite chronological levels was not observed. This would show clearly that some vases of the style are as old as the Mycenaean period. Many fragments of this ware are found at Aegina as well as at the Heraeum, which bear the strongest resemblance to the Myce¬ naean style. Moreover, the steady development of the style from its beginning can be better traced in the Argolid than in any other site, where the earliest examples are not to be found. Therefore, as Aegina cannot really claim the origin of the style, 3 the enor¬ mous quantity of it found at the Heraeum, as well as the steady and complete develop¬ ment, would make it reasonably probable that the style originated in the Argolid. As stated in the Introduction, the all-pervading characteristic of the Argive style is, as Professor Waldstein maintains, “ Linear,” pure and simple. We have already seen that the Primitive and Mycenaean styles were Linear in their origin, and that the latter, after passing through the pictorial stage when naturalism prevailed, returned in Class IV. to the Linear principle again, which, as we know from the presence of the broad and fine bands on the bodies of Mycenaean vases, was never entirely lost. Practically, therefore, the earliest specimens of the Argive style are small vases, akin in clay and technique to the Mycenaean style. The question here arises, whether such vases form a step beyond the Mycenaean style, or whether they are only the best illus¬ trations of a continuous principle which originated in primitive times, and arrived at its perfection at the end of the Mycenaean period. Professor Waldstein maintains 4 “ that the Proto-Corinthian development of the Argive-Linear is but the natural development out of the linear decoration as found in Argive vases at the Heraeum from the earliest Primitive vases through the dull-colored vases and the Mycenaean periods. In the two first periods (Primitive and Dull-colored) this linear decoration is in free-hand drawing, sometimes with rudest implements and in awkward and grotesque uncertainty of touch. This uncertainty corresponds to the ruder hand-made technique of the ceramist. The 1 The plates mentioned of Mycenaean vases are were surd// manufactured p. 65, note. on p. 11(5 and a few fragments the only vases known which in the island ; v. Introduction, 2 Jahrb. II. (1887), p. 19. 3 Cf. p. 65, note. 4 The words in quotation stein’s. marks are Professor Wald- THE ARGIVE STYLE: ORIGIN 121 greater accuracy and skill in this linear decoration naturally comes in when the ceramist himself makes skillful use of the wheel, and produces such line specimens of the potter’s craft as are to be found with the rise of the Mycenaean lustrous vases. The parallel lines ornamenting the lower portions of these are thus firm and accurate. At the same time the feeling for ‘ free-hand ’ drawing has not died out, and in its turn advances with the progress of ceramic art during the Mycenaean period, so that when the feeling and desire for naturalism grows, the decoration above the lines reaches a stage of per¬ fection comparatively as high in technique in these lustrous vases as is the linear decora¬ tion and the ceramic art in the shape and manufacture of the vase itself. In the larger vases of the Mycenaean period the linear decoration is thus never entirely superseded; while in the smaller vases it still maintains its predominance through this and all early periods. At the Heraeum, and we may say in the Argolid, the Linear principle of decoration, which finds its highest and purest expression in the later Argive (Proto- Corinthian) vases, had therefore never died out.” This theory of Professor Waldstein’s I accept in part, and I agree with him that the Linear principle was never quite discarded even in the best period of the Mycenaean style. If it could be proved, as Professor Waldstein thinks, that from the Primitive times to the close of the Mycenaean civilization a distinct class of vases exists, which, though show¬ ing elements of Mycenaean decoration, have as their chief characteristic this same Linear principle, I should see no objection to accepting his theory entirely. This class I have not succeeded in finding, and I do not regard the various examples already quoted by Professor Waldstein as establishing the existence of such a class beyond question. It is true that there exists a large class of vases at the Heraeum, the date of which is not absolutely fixed, which show only the Linear principle; but whatever their date may be, I do not consider them as earlier than the end of the Mycenaean period, nor do the few scattered fragments with incised linear ornamentation, which may possibly belong to the acme of that period (though that point is extremely doubtful), constitute to my mind a distinct and unmistakable link between the Primitive times and the rise of the Arrive style. It is possible to regard these same small vases as the beginnings of the Argive style, but only as the poorest examples of it. They show at least that they are the result of a principle which filtered through the Mycenaean civilization, just as a river flows through a lake, but which I, for my part, do not regard as a separate entity from Primi¬ tive times. Hence the earliest class of the Argive ware is probably an offshoot of the Mycenaean style. This class I shall call “ Early Argive.” We have seen that some great movement (perhaps the Dorian invasion) in Greece caused a revival of the various Geometric or primitive motives at a time when the My¬ cenaean civilization was dead or dying, but when the Argive style had begun. Under the new influence the Argive style is quick to respond. Accordingly we find that as the Geometric style flourishes, the Argive style borrows freely the Geometric motives, but keeps them subordinate to its characteristic Linear principle of parallel bands as the main decoration. This is the class “ Linear Argive,” which forms the bulk of the style at the Heraeum and is widely represented in Sicily and Italy. The ordinary Geometric motives, zigzags, meanders, squares, lozenges, etc., are the ones most commonly used, and as the vases are generally of a small size, these motives are confined to the rims or shoulders, seldom if ever used on the body of the vase. That the spread of Oriental influence in Greece caused the decline of the Geometric style is universally admitted. In the Argolid we find the Geometric style ceasing almost 122 THE VASES AND VASE FRAGMENTS abruptly, while the Argive style becomes, as it were, emancipated. The reason is simply that as tills style was confined to smaller vases on which the Geometric motives played a subordinate part, the introduction of orientalized animals and human figures, together with the fuller development of ornaments in the field, did not necessarily interfere with its Linear principle of encircling bands. Again, as it was the distinctive style of the Argolid, and more popular than the Geometric, it was more easily influenced by the new ideas from the east. On the other hand, it would seem as if no attempt was made by the Argive potters to adapt the Geometric style to the new conditions, and hence it died out. In Attica, however, as the Geometric style affords the chief and only ware, some attempt had to be made to remodel the style to suit the new influence, or else to evolve a completely different fabric ; accordingly we find the Dipylon style developing into the Early Attic. It would seem probable that the Phaleron jugs which illustrate this devel¬ opment were influenced in some way by the Argive style; such a theory, however, lacks actual confirmation. We therefore find a third class of the Argive ware (Oriental Argive). It is to this class that the lekythoi in Berlin, London, and the other museums belong, which caused the invention of the term, u Proto-Corinthian.” The period of its production probably lies in the early part of the seventh century, and it cannot have lasted beyond the end of that century, since the rise of the Corinthian and Early Attic styles probably supplanted it; also, no fragments of the style have been found at Naucratis. Cf. Cecil Smith, •/. II. S. 1890, p. 176. A difficult question is presented by the relation of Class III. to the Corinthian style. That the latter is directly developed from Class III. I see no reason to doubt. Couve 1 lias recently denied such a connection absolutely, but as his arguments do not take the Heraeum fragments into consideration, they carry less weight. Previous to the excavations at the Heraeum and at Aegina, Class III. was mainly represented by the small lekythoi already mentioned, but with the material from Aegina and the Heraeum the class is seen to include numerous larger vases of various shapes, the lekythoi being in the minority, so that any argument which bases the relation of the Argive style to the Corinthian on the lekythoi alone possesses little value. It is true that the lekythoi belonging to Class III., which show the most advanced technique, are not found in the Argolid, but in Thebes and Corinth. The shape, however, is fairly well represented at the Heraeum. Now all these lekythoi found outside of the Argolid seem to be a finished product; they are similar to the Corinthian vases, but vases which show the transitional stages between Class III. and the Corinthian are wanting. Such connecting links, as far as I know, are found only at Argos and Aegina, but the quantity of true Corinthian ware found at both those sites is small compared to that found at Corinth or in other parts of Greece. As Corinth is universally admitted to be the originator of the Corinthian style, that point may be regarded as settled. A survey of comparative history will help us here. We have seen that during the Myce naean epoch the Argolid was the great source for the bulk of Mycenaean pottery found in Greece, just as Athens became the great producer of the Black and Red-Figure styles in after years. At the time we are considering (the seventh century), Argos had behind her centuries of skill in ceramic arts, with (presumably) a correspondingly large Athens did not begin her commercial activity until the eighth century, 1 Rev. Arch. 1898, p. 218. commerce. THE ARGIVE STYLE: ORIGIN. 123 and Corinth, although beginning at this time to figure as a commercial factor, had not the previous years of industrial activity. If, then, the question arises as to which soil the spread of Oriental influence in Greece found most receptive, antecedent probabilities would certainly point to Argos. It would be most extraordinary to find such a finished product as Class III. originating in Corinth; as a matter of fact, the real difference between Class III. and the Corinthian style is simply this — a new influence at work upon skilled, as opposed to unskilled labor. Argos, then, originates Class III. Its wide range does not militate against such an assumption; while not all the vases of this class so common outside of Argos are probably of Argive manufacture, still the bulk of them were most probably exported from Argos. That they do not exist in very large quantities at Argos itself is no proof to the contrary; it may perfectly well have been the case that local taste preferred the larger, finer vases, while the bulk of the smaller was exported. We know that during the sixth and fifth centuries the bulk of Attic work was exported to Italy, and were it not for the cemeteries of Chiusi, Ruvo, Nola, etc., etc., our knowledge of Attic- pottery would be small indeed. At the same time it would have been perfectly pos¬ sible for potters in Corinth, Thebes, Syracuse, and elsewhere to make copies of originals imported from Argos. Hence it is probable that the importation into Corinth of Argive vases gave the inspiration to the Corinthian style. The ware evolved by Corinth was really a poor imi¬ tation of the Argive, and, owing to a lack of technical experience, the former started on a much lower plane than the latter. It is worthy of remark that as Class III. develops at Argos it becomes more like the Corinthian, only much finer in technique. This is not surprising, seeing that the external influence in both places was the same. The actual points of similarity between fragments of Class III. and the Corinthian style will be dis¬ cussed later. The question of clay is important, but difficult to define in default of microscopic investigation. In Class I. the clay is almost Mycenaean ; practically the only difference is that the clay of Argive vases is lighter. The general treatment of glaze and decora¬ tion varies somewhat from the Mycenaean, in that the surface is seldom polished, and the paint less lustrous and applied less thickly. This is especially apparent in Class II. Here, however, the general scheme of decoration has advanced beyond all similarity with the Mycenaean. But though in the earlier classes the clay seems to be similar to that of the Mycenaean vases, the greatest difference exists between it and that of the Geome¬ tric vases, the Argive being of a different color (generally reddish), finer, cleaner, and lighter. In fact, during the later period of the Argive style, the art of making light vessels reaches its highest point; in some cases the clay is almost as thin as a sheet of very fine cardboard. Owing to the smaller size of the vases the material is in much better preservation, and in almost every case the exact form of the vase could be determined. Hence it has been possible to evolve a classification based on the various forms. All through the style three shapes are most prominent — lekythos (oinochoe), skyphos, and pyxis; each exhibits many variations, which will be discussed later. The use of some color, red, white, yellow, etc., applied to the vase after the first firing, is especially characteristic of the Argive style. As it is found in the Mycenaean and Geometric styles as well, its use will be discussed more thoroughly at the end of this chapter. 124 THE VASES AND VASE FRAGMENTS CLASS I. EARLY ARGIVE. We may include in this class many of the small jugs mentioned on pp. 99-101. Their only decoration is encircling bands with the occasional introduction of a Mycenaean motive, and as they belong to the end of the Mycenaean period they represent virtually the first stages of the Argive style. The forms used in this class are not very numerous; besides the jugs already mentioned we have examples of lekythoi, kalathoi, and small saucers, all three akin to various Mycenaean forms. That so few shapes are to be found is not surprising ; the new style being still an experiment, potters would he likely to begin with familiar shapes. Lekytlioi. Only one form of the lekythos was noticed; it is a one-handled jug of about the same form as Myk. Vas. xliv. 63. It is, however, all through the Argive style one of the most popular shapes, and one which was clearly taken from a Mycenaean prototype. Fig. 44. Height, 0.07 m. Southeast of Second Temple. Intact. This lekythos is the most perfect specimen of Class I. found at the He- raeum. The clay is of a yellow tinge, and the decoration a lustrous black. In point of technique it possesses the greatest affinity with Mycenaean vases. The quality of the clay is of a slightly lighter and thinner texture, and the scheme of decoration distinctly linear. At any rate, its connection with the Mycenaean style is so strong as to show that it is certainly contemporaneous with the later period of that style. Half a dozen similar vases were found in good condition, and as many more in frag¬ ments. The scheme of decoration was the same in all, some, however, having a series of fine lines beween the broad bands. Several other vases, in shape more like the jugs on p. 100, were found, on which the linear decoration was apparent, but of extremely careless execution. Kalathoi. These small vessels form a distinct series in the Argive style. Those which show the most advanced technique undoubtedly fall into Class II. To avoid confusion, they have been placed together. They seem to have been a common shape, since about fifty were found, most of them intact. The earliest examples are hand-made, very small (not more than 35 mm. in height or 55 mm. in diameter), with one or two broad bands very carelessly applied. Next, a series of wheel-made specimens, some without any decoration, more commonly with several broad stripes. Finally a number of kalathoi, carefully made with a decoration of stripes in series of two or three. These last probably belong to Class II. In some cases the rim is W formed of a series of plastic mouldings with dots on them, but with¬ out any other decoration on the vase except a glaze on the interior. Fig. 45. Height, 0.04 m. ; diameter, 0.07 m. Reddish yellow clay, with dark brown bands on interior as well as exterior. Cf. Ann. dell' ,, This kalathos belongs to the second series. Judging from its simi- larity to the bowl found in the Bee-Hive tomb (p. 95, Fig. 30) and the style of decoration, we cannot date it as any later than the end of the Mycenaean period. 1 A kalathos of similar shape hut with purely Geometric decoration has been found at Eleusis ; cf. ‘Ecpijn. ’A px- 1898, pi. ii. 17. Fig. 44. THE ARGIVE STYLE: KALATHOI AND SAUCERS 125 The hand-made vases were exactly similar save for a rougher style of execution. Slight but unim¬ portant variations in the curve of the sides were found. Fig. 46. Height, 0.068 m.; diameter, 0.10 m. Reddish yellow clay, burnt red at base, with red bands and dots on rim. Two bands inside. Found above the burnt layer on the west end of Old Temple Ter- p IG 40 p IG . 47 . race. Fig. 47. Height, 0.053 m.; diameter, 0.093 m. Red clay, burnt bright red at base, with dark brown bands above, red below. Dark red glaze inside. This change from brown to red in the decoration is evidently intentional. Fig. 48. Height, 0.045 in.; diameter, 0.078 m. Red, clay witli yellow slip burnt red at base. Upper bands black, lower red, evi¬ dently intentional. Dots on rim, and five bands inside. A dozen other vases of this type were found. The last three belong to the later series of the kalathoi, though the interval between them and the earlier ones is not great. The technique is far superior and the clay finer. They illustrate the three varie¬ ties of the form. Fig. 48 has a certain resemblance to the bowls already mentioned. Saucers. Just at this point we place a series of small saucers, of which quite a number were found. They vary from 3 to 5 cm. in diameter and 10 to 15 mm. in height, and would seem to be developed from the Mycenaean saucers (p. 96) with the addition of Argive decoration of concentric bands. Extra color bands. Two types may be detected. a. Flat base, straight or sloping sides, with a A small boss is occasionally found on the interior, and small projections are often added to the rim as if for handles. b. The base is either flat or curved, with curved sides, no flange to the rim. a. Fig. 49. Height, 0.01 m. ; diameter V 0.051 m. Light red clay, with black bands \ alternating with applied red bands on inte¬ rior. No decoration on exterior. (generally red) is added to some of the sharply defined rim, flange curving outwards. Fig. 49. Fig. 50. b. Fig. 50. Height, 0.014 m. ; diameter, 0.028 m. Reddish yellow clay, with black decoration burnt red in parts. Bands inside with dots on rim. O 11 exterior, below rim, broad band of applied red. Boss in centre. Numerous other similar saucers were found and fragments of others of larger size. One, of which about half was preserved, measured 12 cm. in diameter and 5 in height. Clay and decoration were identical. 126 THE VASES AND VASE FRAGMENTS Fragments of a few others were found, of a very fine thin clay, with a brilliant glaze and arrangement of lines exactly similar to the lekythoi below. These clearly belonged to Class II. CLASS II. LINEAR ARGIVE. We now come to the class which includes almost all the Argive style, from its begin¬ ning in the Mycenaean times down to the rise of the Oriental influence, a period of perhaps nearly two centuries. Three periods may be noted, though as the transitional stages between them are so gradual, they will not be used as a basis for classification. 1. The survival of certain Mycenaean motives, still retained from the older style. 2. Pure linear treatment. 3. The introduction of the animal figure and the development of the Oriental influ¬ ence. We also find three distinct technical methods, a. The ordinary technique, similar to that already discussed. t>. The application of extra color, c. The contrast obtained by the action of fire, when half the vase is burnt bright red and half left in its natural decoration in black or brown. The principal shapes are : — Lekythos, Oinochoe, Skyphos, Pyxis, Aryballos, Alabastron, Plate. Several other shapes will be met with, but such are comparatively rare and will be discussed as they appear. Lekythoi. Two varieties of the lekythos may be found, one rather globular in shape (cf. Not. d. Scam, 1895, p. 138, fig. 15) and the other (Bert. Cat. pi. v. 102) slightly more devel¬ oped. The latter shape is a modification of the former, and becomes very common during the later period of the Argive style. Types. Fig. 51. Height, 0.065 m. Bands on neck, handle, and body, with pot-hooks on shoulder, and below a broken wave pattern. The shape of this lekythos is somewhat similar to the Mycenaean form (v. Myk. Vas. xliv. 63). In the wave pattern we still see a survival of Myce¬ naean motives. A similar lekythos is at Syracuse (v. Not. d. Scavi , 1893, p. 473). From the form and ornamentation this lekythos may be considered as one of the earliest of Class II. Fragments of several other similar lekythoi were found. Fig. 52. Height, 0.085 m. Part of rim broken away. Bands on neck, handle, and body, Geometric snake on shoulder. Decoration in dark and light Fig. 51. brown. Cf. Not. d. Scavi , 1895, p. 138, fig. 15 ; Brit. Mus. A. 1061. This seems to he slightly more advanced in form than the preceding, and Fig. 52. THE ARGIVE STYLE: LEKYTHOI, CLASS II 127 is a common type at the Ileraeuin. Half a dozen more examples were found, more or less intact, and fragments representing perhaps a hundred. Fig. 53. Height, 0.075 in. On shoulder, two birds with a scroll between them. Incised lines. Identically the same form as the preceding. As in the Geometric style, the birds are the first living subjects in¬ troduced on a vase. The heraldic scheme of the birds suggests the fourth class of the Mycenaean style. Cf. Mylc. Vas. xxxvi. 364. This seems to be one of the ear¬ liest instances of the incised line. The chief variation in these lekythoi lies in the ornamentation on the shoulder. The following - types were noted in the fragments: — Rays. These include several varieties. They are either single, radiating from the centre, or else double, one set Fig. 53 . radiating directly from the neck, alternating with a second set which radiate from a band drawn just around the neck; rays drawn in outline; rays composed of interlacing lines. All have their points outwards. In some cases a second band of zigzags is added on the body just below the rays. Checkerboard. This is generally used as a band on the body. The plain squares are occasion¬ ally dotted. Lozenges. As an ornament in field on the shoulder, combined with a ray or pot-hook. Fig. 54. Height, 0.06 m. Fig. 54. Fig. 55. Neck and handle restored; on shoulder ray pattern. This is an example of the simplest form of this second type, of which about twenty-five more were found. The majority had a ray pattern around the base, and the place of one of the broad bands taken by a checkerboard band. Pot-hooks were occasionally found on the shoulder instead of rays. Fig. 55. Height, 0.062 m. Yellowish clay, burnt red on one side. Circle of dots on rim. Sign like the letter II on handle, vertical zigzags on rim. On body, frieze of three animals. Below, rays. Above and below animal frieze, two lines of dark red paint applied. The vase is intact. This lekytlios represents the most advanced stage of the second type, and can equally well be considered as the first stage of Class III., or the last of Class II. I 11 fact, it forms a link between the two, since the animal figure is now introduced, through the Oriental influence. A dozen more of this type were found intact, and at least a basket¬ ful of fragments belonging to similar vases. The application of the extra dark red lines now becomes quite a feature in the style, and few vases belonging to Class III. are without it. Several lekythoi of this shape, without any animal decoration, showed this same feature. One was adorned with two broad bands of brown, on which six alternating thin stripes of purple and yellow had been applied. A similar instance is at Syracuse {Case VII. No. 2893). Also several lekythoi were found with checkerboards on the body (with applied bands of dark red between), and a leaf rosette on the neck, similar to those in the Louvre, v. Pottier, Vases de Louvre, pi. xxxix. E, 309; cf. also Mon. Ant. I. p. 824 (from Megara Hyblaea). Several examples are in Rome (Museo Papa-Giulio) and Florence. The type seems to be very common. 128 THE VASES AND VASE FRAGMENTS Oinochoai. Three distinct types of oinochoai are to be noted. 1 . Short neck, body slightly curved. 2 . Long neck, cone-shaped body. 3. Short neck, square shoulder. Each type is subject to occasional variations. Fig. 56. Height, 0.124 m. Fig. 56. I am Type 1. diameter at base, 0.115 m. Missing portions restored in plaster. Reddish clay, with dark brown decoration. Three bauds of ver¬ tical zigzags on shoulder. This was the only example of the type which was preserved entire. As few other fragments of similar vases were found, the form does not appear very common at the Heraeum. 1 a and b (Plate LIX.). Two fragments from a large oinochoe, whose height cannot be determined. Reddish clay, with dark brown decoration. On the neck, an elaborate flower pattern between vertical “Running Dogs.” On shoulder, alter¬ nating rays of interlaced lines whose tops end in two hooks with a border of fine vertical lines ; below, dotted lozenge chain. Several other fragments from the same vase were found. The pattern on the neck is similar to that on an oinochoe in Athens ( Jahrb . II. (1887), p. 52, fig. 14) as well as the Analy- tos jug (Jahrb. II. (1887), pi. iii.), and seems to be drawn from unable to find any similar treatment of the ray pattern on the a Mycenaean prototype, shoulder. The form of this vase is a slight modification of Fig. 56, as the diameter of the body is not so large in proportion to the neck. Only one other vase of exactly this form was found with a decoration on the body of rays, bands, and checkerboard. The form, however, is quite common at Syracuse. Cf. Not. d. Scav. 1893, p. 468; 1895, p. 153, fig. 38. In the Corinthian period it becomes a favorite shape. The few fragments of oinochoai of this form (Fig. 56 and Plate LIX. 1) did not show any great variety in their scheme of ornamentation. Zigzags, checkerboards, and rays (especially on the base) were the usual motives. Type 2. This type seems to be the most favorite form of oinochoe at the Heraeum, judging by the number of the vases. Thirty or so were preserved more or less complete, varying between 10 and 15 cm. in height. An equal number had the necks and handles broken away, but the bodies intact, while the number of fragments belonging to vases of this form filled several baskets. Something like a hundred necks were found, but in only a few instances did they fit any of the bodies. The total number of vases represented must have numbered several hundred. Fig. 57. Height, 0.165 m.; diameter, 0.135 m. Handle restored. On neck, two bands, the upper containing a zigzag figure like an N, and the lower a lozenge chain. Both bands are broken by a figure resembling two triangles with contiguous points. On shoulder, Geometric snake with swastikas, dots, and zigzags as ornaments in field. This vase is still somewhat allied to the preceding type, save for the lengthening of the neck, and seems identical in form with an oinochoe from Eleusis (’Apy. 1898, p. 106, fig. 26). THE ARGXVE STYLE: OINOCIIOAI, CLASS II 129 Fig. 58. Height, 0.17 m. ; diameter, 0.12 m. Riin and handle restored. On neck, four bands of lozenge chains, separated by a broad band of horizontal zigzags. On shoulder, rays (interlaced lines), with swastikas as ornaments in field. Below, checkered hand ; on base, rays. Decoration in bright red and black. This is the best specimen of the type that was found. The form is seen here in its complete development, the body cone- shaped, and the neck very long (about once and a half times the height of the body). The technique of all these vases and fragments is very similar, the clay red¬ dish or greenish in tone, with a yellow slip, and the decoration (often very lustrous) in black or brown, changing to red, in many cases intentionally so. As no two vases have exactly the same ornamentation, it will be well to consider that more in detail. As in almost every case, the main body of the vase is ornamented with fine parallel hands; the variation occurs in the following places : neck, handle, shoulder, base, and bottom of the vase. Fig. 57. Fig. 58. Neck and rim. The rim as a rule is never ornamented, but is entirely covered on the outside with a dark glaze. A few fragments were found which showed that the orna¬ mentation (lozenge chain) had been carried on to the rim itself. The neck, however, offers the greatest variety of ornamentation. From over a hundred necks, forty-five dis¬ tinct systems of designs were counted, which fall into several classes. The design never completely encircles the vase, but leaves a vacant space from rim to shoulder, just back of the handle. In a few cases the neck is covered with parallel horizontal lines the whole length. This, however, is not common, and was observed on only a few fragments. The usual type is a series of broad friezes containing the various motives, separated by the parallel line system. These figures are either arranged in series of equal width, or else broad and narrow friezes together. The ornaments in them are always zigzags (vertical or horizontal), lozenge chains, meanders, rays, or water birds. A few examples showed a water bird in a panel. The following represent the most striking examples (Plate LIX.): — 2. Length, 0.107 m. Reddish yellow clay, with yellow slip. Brilliant red decoration. Meander frieze bounded above and below by friezes of lozenge chain (interlaced lines). Below, part of a frieze of N ornament similar to fig. 57. 3. Length, 0.054 m.; width, 0.045 m. Brick red clay, with yellow slip. Brilliant decoration in light and dark red. Guilloche. Reckoning the diameter of the neck as one fourth of the length, we obtain an oinoclioe of about 25 cm. in length (the neck being about once and a half times the height of the body). Several fragments of necks of an even larger size were found, which, together with the size of some of the fragments from the bodies, shows that oinoclioai of a very large size (25 to 35 cm. in height) existed at the Heraeum. Oinoclioai of such a large size are rather rare; the largest existing specimen with which I am familiar was formerly at Callaly Castle, 1 in Northumberland (Forman collection), and measures 22} cm. in height, and 21 cm. in width at the base. 1 What has become of this vase I am not able to say. No mention of it occurs in the Catalogue of the Forman Sale. 130 THE VASES AND VASE FRAGMENTS Shoulder. Less variety was exhibited in the decoration of the shoulder. The usual motives are, rays (in silhouette, or formed by interlaced lines), radiating outwards from the neck. A few fragments showed rays pointing inwards; zigzags, vertical and horizontal, singly or in series; checkerboard. The shoulder has occasionally a double frieze, as in Figs. 57 and 58. Fig. 59. Fragment of oinoclioe. Height, 0.057 m. Brick red clay, with bright red decoration. On shoulder, frieze of birds (lozenges and pot-hooks as ornaments in field), and a narrow border of vertical zigzags. Usual arrangement of bands on body. Incised lines freely used. This fragment represents the latest stage of the oinochoai belong¬ ing to Class II., and corresponds to the lekythos on p. 159, fig. 55. As in the Geometric style, birds seem to be the earliest animate motives used. Handle. Out of over fifty handles, twenty-three distinct designs were counted. The decoration is almost invariably on the outside of the handle, the inside being left plain. One fragment showed glaze on the inside. The usual types are, — Horizontal lines, Meander, Vertical lines, Geometric snake, Both combined, Guilloche, Zigzags, vertical or horizontal, Rosettes. Herring-bone, The following are the most striking examples : — PLATE LIX. 4. Length, 0.087 m. Yellow clay, dark brown decoration, rather thin. A similar meander exists on the handle of an oinoclioe at Syracuse, tomb 344. Cf. Not. d. Scavi , 1895, p. 152, fig. 38. 5. Length, 0.095 m. Light red clay, with yellow slip. Dark red glaze on inside. Guilloche alternately in outline and silhouette. The same peculiarity may be found on a Mycenaean frag¬ ment (Myk. Vas. xxxiv. 339). Another instance occurs on the rim of an amphora found at Cynosarges by the British School at Athens (J. II. S. XXII. [1902], pi. ii.). 6 . Length, 0.069 m. Light yellow clay. Snake and rosettes in black (cf. J. H. S. XI. [1890], p. 175; Jahrb. I. [1886], p. 135), very much faded. Incised lines are here used. 7 . Length, 0.135 m. Reddish clay. Decoration originally red, but burnt quite black. The arrangement of a half rosette at the base of the handle is extremely curious. Base. The decoration on the base is usually confined to a ray pattern. Little variety is introduced, except in the height of the rays which on the larger fragments measure as much as three centimetres. A frieze is occasionally added above the rays of zigzags or some other design. One fragment showed a Mycenaean spiral chain. In some cases the line system is continued clear to the base, or a frieze of zigzags may be introduced in place of the rays. Bottom. The decoration of the fiat surface on the bottom with a design is a curious feature among Argive vases of this type, and may be also seen on an oinochoe from Aegina ( Athen. Mitt. XXII. [1897], p. 294, fig. 19). The Aegina oinochoe follows the usual scheme, which is a series of parallel lines crossing each other at right angles. The other scheme is simply a series of parallel lines across the diameter of the base. Other fragments showed the fore feet of a horse, scroll and lozenge patterns. On the Fig. 59. THE ARGIVE STYLE: CLASS II., OINOCHOAI 131 bottom of one fragment of the base, the upper part of a human face, similar in character to the face on Plate LVI. 7, appeared. A similar face occurs on a Ionic hydria in the Louvre (Pottier, Vas. Ant. de Louvre, pi. lii, E 696). To this type of oinochoe belong a number of vases, which through their decoration seem to form a class by themselves. About a dozen were found more or less intact, and perhaps fifty more represented by fragments. These vases were not more than 10 cm. in height, and are entirely covered with a black glaze, except on the base, where a natu¬ ral band of the clay is left on which is a ray pattern. Around the body of these vases run thin lines of red or yellow, applied after firing, and on the shoulder an incised tongue pattern, the divisions of which are alternately red and yellow. The clay of all these vases is of a light yellowish tone, and the glaze varies between black and brown. The only variety lies in the arrangement of the applied red and yellow lines, which are arranged in many different ways. The three fragments on col¬ ored Plate LXIV. 6 to 8, illustrate clearly the characteristics of this type. 8 . (Plate LIX.) Neck of oinochoe. Length, 0.115 m. Light reddish clay, entirely covered with a lustrous black glaze, on which are added three rosettes in yellow. No other fragments of this vase were found, but it seems certain that it belonged to a large oinochoe, entirely glazed, with the usual ‘ tongue ’ pattern on the shoulder. The presence of an orna¬ ment on the neck of oinochoai of this type seems unique; I know of no similar instance. In Greece itself vases of this type do not seem common. A few similar fragments were found at Aegina ( Atlnen. Mitt. XXII. [1897], p. 126). Outside of Greece, especially in Italy, the type appears frequently (cf. Not. d. Scav. 1895, p. 139, fig. 18). Similar examples may be found in the British Museum and the Louvre. As a rule the vases were small; but one exception (No. 8) occurs. Type 3. This type differs principally from the preceding, in that the shoulder is set more squarely to the body, the line between being furnished, in some cases, with a slight moulding. The shape is not common ; one may be found at Syracuse (from Megara Hyblaea, tomb 898), and another in Naples (Heydemann, Cat. pi. iii. 130). Few vases of this type were found at the Heraeum ; not more than five intact or partly so, and as many more in fragments. The scheme of decoration did not differ materially from what we have already discussed ; two of the vases were entirely covered with a dark brown glaze on which were applied lines of dark red and white. Others again showed a shoulder pattern of rays or leaves, and on one fragment the body was ornamented with a “ Running Dog ” pattern. Fig. GO. Fig. 60. Height, 0.086 m. Rim and handle restored (rim falsely so, as it should have had a trefoil opening). Light red clay, with red deco¬ ration. Leaf pattern on shoulder and body, and applied dark red bands on neck, shoulder, and body. The oinochoe in Naples, mentioned above, has similar ornamentation. Miscellaneous Types. Under this head may be mentioned a few oinochoai which show some slight variations from the types already discussed. One small jug of greenish clay was found. 5 cm. in height, which though in shape similar to lekythoi of Type 1, had a trefoil lip ; except 132 THE VASES AND VASE FRAGMENTS for two bands on the body, the jug bore no decoration. The body of another was also found which belonged to Type 2 of the oinochoai, but which had a moulding around the bottom, so that the base was slightly raised. On the bottom was a wheel with four spokes, having a square of interlaced lines between each spoke. Another, which belongs to the same type, is given below. Fig. 61. Height, 0.055 m. ; diameter, 0.062 m. Rim and handle miss¬ ing. Reddish clay, with brown decoration. This vase is more squat and rounded than those included in Type 2, and is paralleled by a Geometric jug from Eleusis, ’E<£r;/i. ’Apy. 1898, pi. ii. 10. Fig. 61. Further w 7 e may mention several small jugs, with a globular shaped body, neck and handles missing. One in particular (height, 0.65 m.) had a Geometric snake on the body, and similar shoulder decoration to a jug from Eleusis (ibid. 1898, p. 102, pi. ii. 5). Skyphoi. The bulk of all the Argive fragments found at the Heraeum belonged to skyphoi, which were presumably the favorite shape. As these skyphoi are usually small and made of fine clay, they are generally broken, and few were preserved intact. The varia¬ tions, however, are few, and the general scheme of decoration is the same in all. Three distinct forms can be noted. 1. Skyphoi with vertical handles. 2. Skyphoi with horizontal handles. 3. With similar handles to Type 2, but more closely allied to the kylix form. The interior in every case is covered with a dark glaze. Type 1. Fig. 62. Height, 0.069 m.; diameter, 0.08 m. Handle and part of rim restored. Dark clay, Fig. 62. Fig. 63. with decoration in black and brown. Arrangement of vertical and horizontal lines on rim, stripes on handle. The majority of the fragments of 1 belong to similar vases. A similar one is in the British Museum, A 543. Cf. also Zannoni, Scavi , XXXVIII. 6. Fig. 63. II eight, 0.077 m. | diameter, 0.07 m. Reddish clay, veitical lines on rim inclosing three series of zigzags in a panel; stripes on handles. 11 ere the separation of the rim and body is more sharply defined than usual. Both Figs. 62 and 63 are from the Old Temple Terrace. Skyphoi of Type 1 were not very common at the Heraeum, nor, in fact, is it one of the usual shapes. It is evidently derived from a Mycenaean shape (cf. Myk. Thong. x. 49), as there we see the same sharp definition of rim and body. As a rule the THE ARGIVE STYLE: SKYPHOI 133 skyphoi of both types had a flat base, but some showed a well-defined foot (as in Fig. 66); the presence of the foot seems peculiar to each type. Type 2. Type 2 is the usual form of skyphos found not only at the Heraeurn, but all over Greece- Sicily, and Italy. The form is that in Berlin Cat. pi. v. 98. Some thirty or so from the Heraeurn (mostly very small) were preserved intact, while the number of frag¬ ments filled several baskets. They vary largely in size, some being as high as 20 to 30 cm., and some measuring less than 5 cm. in height. The only variation in the form lies in the fact that some are much taller in proportion to their diameter than others. The scheme of decoration falls into two classes. a. Exterior ornamented with the usual linear motives. b. Entire vase covered by a dark glaze except for a band around the rim on which the various linear motives are placed. In some cases only the lower half of the skyphos is glazed. a. A large number of fragments belonging to skyphoi exactly similar to those published by Pallat, Athen. Mitt. XXII. (1897), p. 276, fig. 8, were found. The prevailing style of decoration seemed to be rays on the base, bands around the centre, and vertical lines and zigzags on the rim. Rays are almost invariably used on the base, and in only a few cases are the bands continued down to the base. The chief variations occur on the rim; we have rays, zigzags, water birds (Pallat, loc. cit. p. 278, figs. 10 and 11), or a meander pattern. All these motives are generally included in a panel bounded by vertical lines. In some cases a smaller panel with a double triangle (as in Pallat, p. 279, fig. 12) is added at each side of the main panel. The space covered by the handles is usually left undecorated. Several fragments also showed that in lieu of handles the vase had a small boss on each side. The greatest variations occur in the technique. The clay runs through all shades of red, with a slip that is generally red but in some cases a vivid yellow. The most inter¬ esting technical feature is the contrast obtained by subjecting a part of the vase to a stronger fire, in such a way that half of the vase is black and the other half red. As the line of separation is very strongly marked in many fragments, we can only suppose that the result was obtained by covering over witli moist clay that part of the vase on which the decoration was to remain black, leaving the other part exposed to the full action of the fire. The interior, of course, was treated in similar fashion, as the glaze shows the same contrasts of red and black. This same peculiarity may be seen on Mycenaean vases, but on them the contrast obtained is not quite so decided or regular. Outside of the Heraeum this peculiarity occurs but seldom. A pyxis cover from Aegina (Pallat, loc. cit. p. 306, fig. 24) shows this same technique, and similar instances occur on a few fragments from the Acropolis and on a skyphos at Syracuse, Case VIII. No. 2132, the upper part of which is grayish green, and the lower yellowish red, the line of separation being strongly marked. It is not clear from Orsi’s words (Not. cl. Scav. 1891, p. 415, “ due skyphoi neri ” etc.), whether similar fragments have been found there. On the whole, as this technique is met with but seldom outside of the Argolid, it is possible that Ave may detect here a distinct Argive peculiarity. The following fragments best illustrate the technique; the clay is practically the same in all, — reddish, with a yellowish or greenish slip. 134 THE VASES AND VASE FRAGMENTS PLATE LXIV. 2 . Rays and triangle in dark brown. Bands in red. 3. Zigzags and upper series of bands in black ; deep red glaze on lower part. 4. Geometric snake, zigzags, and vertical bands in black: upper bands of rim and below the main frieze in red. The introduction of the snake on these skyphoi is rather rare; no other similar instance was found at the Heraeum. Quite a number of fragments, mostly of skyphoi, of which Plate LXIV. No. 5, is an example, showed a peculiarity which is probably accidental. These were all of reddish clay, with a bright yellow slip, but with their glaze and decoration worn off in streaks. The decoration had assumed a brilliant pink color. Whether this is the result of the nature of the soil in which these fragments lay, or some peculiarity in the glaze, I cannot say. A skyphos of precisely the same appearance is at Syracuse {Not. cl. Scav. 1895, p. 183). Lastly a small number of fragments, which probably came from the burnt layer of the Old Temple, though the places where they were found are not specified in any note of the excavation. These fragments had been burnt almost black, and in such a way that their decoration, which was originally black, now appears dark red. This is clearly the result of some action of fire after the vase was completed, and was not intentional. Besides the motives mentioned above, a few more may be mentioned which were only found on scattered fragments. PLATE L1X. 9. Lozenge chain, of interlaced lines. Two distinct rows of lozenges are used combined together. The upper part of this fragment is black; the lower, red. 10 . Here a second narrow frieze with a lozenge chain is introduced below the meander border. Similar technique to 9. 11 . The panel is here separated from the rim by the Linear system, and contains a fish and part of a second. Incised lines are used. This is the only example of a fish among the Argive fragments from the Heraeum. b. Fig. 64. Height, 00.72 m. ; diameter, 00.85 m. Reddish yellow clay, with dark red glaze. Border, vertical lines, and zigzags on rim, horizontal stripe on each handle. This type is too common to need any comment. Fragments of similar vases were found in large quantities at the Heraeum. The combination of Classes a and b is shown by Plate LXIV. No. 3. Many vases of Class b, espe¬ cially the very small ones, have a broad band of dark red applied to the glaze beneath the rim, or a series of narrow purple bands. Type 3. Skyphoi belonging to Type 3 are not very numerous, only half a dozen being found intact, and very few represented by fragments. These are very low in proportion to their diameter, with large handles. The rim is sharply defined, and there is no indica¬ tion of a foot. The decoration follows the usual Linear scheme. THE ARGIVE STYLE: MISCELLANEOUS VASES 135 This shape seems to be more usual in the Geometric style. Cf. Wide, Jahrb. XIV. (1899), p. 214, ligs. 96-98, and p. 215, fig. 100. Fig. 65. Height, 0.047 m. ; diameter, 0.095 m. Red¬ dish yellow clay, with black decoration changing to dark red. Border of zigzags and vertical lines. Several others were found with their exteriors com¬ pletely glazed except for a narrow border along the rim as in Type 2, Class b. Similar skyphoi are at Syracuse (Case VII.) and at Naples ( Rcic . Cum. left-hand case, No. 85184). Miscellaneous. 12 . From rim of skyphos, with a handle arranged as in the ‘ amphora a colonnette.’ On shoulder, Geometric snake. This skyphos does not seem to agree with any of the types already mentioned. Although no other similar fragment was found at the Heraeum, several may be found in Syracuse ( Not. d. Scav. 1893, p. 477; 1895, p. 176). Such cases are clearly older than the Corinthian style and form a preliminary step to the ‘amphora a colonnette.’ Cf. Jahrb. I. (1886), p. 135, fig. 2941; Wilisch, AltJcorinthische Thonindustrie , p. 27. Fig. 66. Fragment of skyphos. Reddish clay, with black decoration. On the border of rim a lozenge of interlaced lines and two vertical lines separating a panel in which the rear part of a water bird is visible. As no other fragments of this vase were found, a conjectural restoration based on the similar vase from Aegina (Pallat, loc. cit. p. 272, fig. 7) is here offered. This skyphos belongs to a series of vases of which several are already known. 1 Our fragment resembles the vase from Aegina so closely that it might be considered as belonging to the same vase. The general char¬ acter of the fragment is much more in keeping with the Argive style than the Geometric, and hence I feel no hesitation in classing it with the former style. In spite of vases of this description having been found at Rhodes, there is certainly no reason for calling them Rhodian, since they have nothing in common with the style of that name. Plate LXV. 1 a and b. Five fragments of a large skyphos, height and diameter uncertain. Fine reddish yellow clay, with brilliant yellow slip, slightly greenish in places, with decoration varying between dark brown and red. Brownish yellow paint has been applied in some places after the first firing. No glaze on the interior. From the large size of the vase, together with the absence of glaze on the interior, the form would seem to be a deinos rather than a skyphos. An elaborate system of palmettes is here seen, separated from a ray pattern below by the usual Linear system. The central leaves of each alternate palmette are in brownish yellow. The centres of each palmette are formed by three lines, the intervening spaces being cut out, and no slip being left; and the same is true of the spaces which divide the central petals. A fragment, almost exactly similar, was found at Aegina (Pallat, loc. cit. p. 279, fig. 12, p. 280, fig. 12 a), for whose restoration our fragment formed the basis. From the presence of a meander border above the palmettes on the Aegina fragment, it may be 1 These are : Syracuse, Ann. dell’ Inst. 1877, tav. d’ agg. fragments from Daphne and Naukratis, Boston, Museum C D 5; Rome, Villa Papa Giulio, Thera (Pallat, loc. cit. of Fine Arts, which also has a vase almost precisely p. 272); Louvre (2), Pottier, Vases, pi. xi. A, 290 (both similar from Cyprus (deviations in red), from Rhodes); British Museum, from Rhodes; also similar Fig. 65. 136 THE VASES AND VASE FRAGMENTS inferred that the same motive figured on our vase. The restoration of our fragment differs materially from that of the Aegina fragment, in that the lower portions of each palmette are closed by the line border. It must, however, be said that the restoration of the tops of each palmette is conjectural, at least in the case of the four-leaved palmettes. Symmetry demands that the central lobe of the three-leaved palmettes should be the same at the top as at the bottom, and for the same reason the two central lobes of the four¬ leaved palmette should correspond at the top to the broad base. In spite of the advanced character of the palmettes, the presence of the meander border on the Aegina fragment is sufficient to warrant this vase being assigned to Class II. Sugar-Bowl Form. The form is akin to Berl. Cat. pi. v. 104, and Wilisch, op. cit. pi. i. 11. Fig. 67. Height, 0.066 m. Greenish clay, with black decoration. Six purple stripes added on body and shoulder: rays on base, vertical zigzag borders on body. Intact. This was the only example, whole or in fragments, among the Argive vases, of the sugar-bowl vase, which is such a characteristic shape of the Corinthian style. The cover was not found, or could not be identified. Pyxides. The fragments of pyxides and their covers filled some¬ thing over two baskets. Few of these could be restored entire. The number of covers found was far in excess of the vases represented by the fragments, — in fact, three or four times as many covers were found. No explanation for this fact is forthcoming, unless the covers were intended for skyjdioi and other vessels with a wide opening. As very few of the covers could be identified as belonging to any particular vase, and as the variations in their form are somewhat marked, they will be discussed separately. Two types of pyxides may be noted. 1 . Those whose covers rest directly on the rim (Wilisch, op. cit. pi. i. 3). 2 . Those whose body is entirely hidden by the cover, like a modern cheese-jar (Wilisch, pi. i. 4). Tjl )e 1 falls into two divisions. a. Pyxides with curved or sloping sides ( Bert. Cat. pi. v. 103). b. Pyxides with straight sides (Berl. Cat. pi. v. 101). Type 2 falls into two divisions. a. Sides sloping inward, without moulding. b. Moulding on base, into which the cover rim fits. The pyxis seems to be a commoner type in Class II. than in Class III. of the Argive period. The decoration does not vary to any extent. As a rule the body is covered with parallel bands, leaving a border at the bottom for a ray pattern, and one, sometimes two, borders below the rim, which are filled with the usual Geometrical designs. The interior is invariably covered with a dark glaze, which is never found on the under side of the cover. Fig. 67. THE ARGIVE STYLE: PYXIDES 137 Type 1 a. Few vases are represented by the fragments of this type. The only one preserved whole was 5 cm. in height and 9 in diameter, and was made of a coarse reddish-yellow clay, without any decoration. The other fragments show a ray pattern at the base and an incised tongue pattern as a rim border, with the alternate spaces colored very much yellow or red, faded. Type 1 b. To this type belong the bulk of the pyxis fragments. About dozen vases were re¬ stored almost entire. As a rule the vases are rather small, varying from 4 to 5 cm. in height and 8 to 10 cm. in diameter. The decoration shows generally the following characteristics : — Entire side covered with parallel bands. Border on rim (generally zigzags in series). Border on base (ray pattern, zigzag or “ Running Dog ”). Fig. 68 a and b. Pyxis and cover. Height, 0.182 m. Missing portions restored in plaster. Greenish yellow clay, with black glaze on interior almost obliterated. Black decoration faded in parts. Pyxis. On rim border with Geometric snake. Ver¬ tical and horizontal zigzags as ornaments in field. In¬ cised dots on snake’s body. “ Running Dog ” pattern on handle. Below, a frieze of rays at top and bot- p IG gg a tom alternately ("incised lines) and scroll pattern. On bottom of pyxis, four series of three concentric bands. Cover. In centre five-pointed star. Border of cover precisely similar to upper border on the pyxis. On button four pot-hooks. A similar snake may be found on a Geometric amphora cover; v. B. C. II. XIX. (1895), p. 276, fig. 2. A few fragments of another pyxis (9 cm. in height) of pre¬ cisely similar clay and decoration were found. The glaze, how¬ ever, was in better condition, and the concentric bands on the bottom more finely drawn and more numerous. Fig. 69 a-f. Pyxis and cover, found on Old Temple Terrace. Height, 0.13 m.; diameter, 0.28 m. Missing portions restored in plaster. Light red clay, with black decoration burnt red in parts. Glaze on interior varying from black to deep red. Pyxis. On edge of rim short parallel stripes. On rim border of three meanders in separate panels, with an eight-pointed star separating them from the handles. Single meander on the handles. Separated from the upper border by a checkerboard and band of “ Running’ Dogs ” is the main frieze, with an elaborate floral pattern, the vacant spaces being filled by lozenges in series of fours and flower scrolls. On base rays. On bottom (Fig. 69 b ) lotos pattern with incised lines. Cover. Clay slightly redder in tone, with ornamentation similar to that on the Fig. 69 a. Fig. 68 b. 138 THE VASES AND VASE FRAGMENTS bottom of the pyxis, and a ray border. The slip is burnt bright red as far as the ray border and then changes to a light gray. The button is restored, but the shape is probably correct. This pyxis would seem to fall in the latter period of the Linear Argive class, at a time when the eastern influence was beginning to make itself felt, since the elabo¬ rate flower and lotos motives on the body and cover are certainly derived from some foreign source. At the same time the presence of the purely Geometrical motives is sufficient warrant for including the pyxis in Class II. The restoration of the design is simple in the case of the body, but difficult for the cover and bottom. A peculiarity may be noted that on the reverse of the body (not shown in the cut) three flower scrolls are placed together in the vacant spaces between the roots of the large flowers, with no lozenge pattern in the alternate spaces. Moreover, a close examination shows that all the Fig 69 b scrolls are not precisely alike, some ending in a bud. Details of three of the scrolls are shown in the cut. The ornamentation on both cover and bottom seems to have followed a similar scheme, and though it cannot be restored with absolute certainty, it is probably treated in similar fashion to the flower scrolls on the side. A skyplios in the British Museum (. Athen . Mitt. XXII. [1897], p. 286, pi. vii. 3) shows precisely the same form of lotos or palmette under the handle. With that exception, I have failed to find a similar instance, nor do I know of any case where the bottom of a pyxis contains such an elaborate ornamentation as here. The change in color on the cover finds its parallel in a cover from Aegina (v. Pallat, loc. cit. p. 300, fig. 24). Type 2 a. Fragments of this type were ex¬ tremely scarce, and generally belong to the bases of these vases. Such fragments had pure linear deco¬ ration. 1 The following fragments alone are worth noticing. 13 a and b. (Plate LIX.) Two fragments of pyxis, a base, b cover. Greenish clay, black decoration, with black glaze on interior of pyxis and cover as well. Around base band of vertical zigzags ; above oblique parallel lines. Decoration on cover precisely the same. same vase were found Two other fragments of the Fig. 69 c. 1 Several fragments clearly belonged to pyxides similar to Ann. dell' Inst. 1877, tav. d’ agg. C D 9. THE ARGIVE STYLE: COVERS 139 Type 2 b. Fragments of this type were quite numerous, but all, with a few exceptions, belong to covers. Fig. 70 shows the profile of one of the bases of the pyxis. The decoration on both pyxis and cover was always the same, and is usually more elaborate than on the covers of Type 1. 14 a and b. Two fragments of a cover. Height, 0.046 m.; diameter, 0.112 m . * 1 2 Dark yellow clay, with brown black decoration. Ribbed moulding on corner and plain moulding on base. Vertical zigzags, bounding a panel in which the rear part of an animal (bull, probably) is seen. Leaf rosette p IG on top of cover. 15. Fra gment of cover. Height, 0.031 m. ; diameter, 0.088 m. Reddish clay, with red decora¬ tion. Simple moulding on corner and base. 16. Top of cover. Diameter, 0.152 m. Yellow clay, with red decoration. Four borders of zig¬ zags, tongue pattern, checkerboard and tongue pattern. Dark red color is applied to the tongues in series of threes and twos. Other fragments showed the usual Linear motives, one having a frieze of water birds. Covers. The covers which belong to pyxides of Type 1 were so numerous as to demand a separate discussion. A large number were recovered almost intact (the knob being gen¬ erally broken away) and the fragments filled about a basket. __ Some four or five hundred covers were represented, a number far = N) exceeding the pyxides found. Fig. 72 . Two types are represented. 1 . Without flanges. These fall into two divisions. a. Those which sink down in the centre and whose edges fit directly on the rim of the pyxis. b. Those whose edges turn down sharply at the end and fit over the rim of the pyxis ( Fig. 72). 2. With flanges. These are provided with a small flange just under the edge, which fits inside the rim of the pyxis, like the cover of a lady’s powder box. The variations lie principally in the angle formed by the upper part of the cover and the varying distance between the flange and the edge of the cover. (Fig. 73.) As all the covers follow a stereotyped system of linear orna¬ mentation, none have been included in our plates. Such as are noteworthy are shown in outline. 1 The dimensions of 14-16 are the original diameter of the covers. Fig. 71. 140 THE VASES AND VASE FRAGMENTS Type 1 a. Only one specimen of this type was found (Fig. 71), 10 cm. in diameter. The entire surface of the exterior was covered with a black glaze, with a broad hand of the natural clay near the rim. Type 1 6. No covers of this type were found intact. The decoration consists invariably of broad or fine parallel lines, in black and red. On many the two are seen together with a sharp line of demarcation. The clay is much thinner than in covers of Type 2, which may account for all being in a fragmentary condition. Fig. 74 illustrates a type of cover which is equally connected with both Types 1 and 2. Type 2. The covers belonging to Type 2 were by far the most numerous. Though exhibiting considerable variation in their decoration, the general scheme seems fairly distinct. Fig. 74. Entire surface glazed. Entire surface covered with parallel lines. Both combined: i. e. the centre is glazed and the bands are confined to the outer part. Rays in centre (usually six or eight pointed star) surrounded by bands. Covers showing the finest technique belong to this type. Checkerboard on rim. Zigzag's in series on rim. o o Tongue pattern on rim. Incised lines used to mark each tongue, with the application of purple, yellow, or white on alternate divisions. Knobs. Nearly a basketful of the knobs which form the top of the covers was found, and these also show a surprising amount of variation. As few of the covers were found with Fig. 75. their knobs, a separate treatment is again demanded. These knobs do not seem to be governed in any way by the cover types, but fall into peculiar types of their own. THE ARGIVE STYLE: PLATES 141 Three types are represented (Fig. 75). 1 . Truncated cone. Double division. a. Simple truncated cone (1) ; top is occasionally rounded. b. With a flange at the top. This may he either an inverted truncated cone (2) or a section of a cylinder (3). 2 . Ball shaped. Double division. a. Plain (4). b. Small nipple or projection in the centre (5). 3. Flat. Double division. a. Inverted cone; often with a slight sinking in the centre of the flat top ( 6 ). b. Section of a cylinder (7). The decoration is generally the following: — Glazed. Vertical parallel hands. Rays. Zigzags. Checkerboard. Leaf rosette. Tongue pattern. As the available space for decoration is small, these motives are not combined, except in one case where a leaf rosette was bordered by a checkerboard pattern. Plates. Fragments of plates were quite numerous at the Heraeum, about two basketsful being found. While many belong to the Geometric style, the majority of them belong to the second class of the Argive style. No fragments belonging to the first class were found, and only a few which belonged to the third. Two types can be distinguished, 1 . Flat base, without foot. 2. With foot. Of Type 2, three variations appeared. a. Form similar to 1 save that a small flange runs around the edge of the base. The angle of the base and sides varies largely, being in some cases a right angle, in others an obtuse angle. The sides are usually straight, but occasionally curve slightly inward. b. The flange becomes a decided moulding and the sides are laid back very flat, forming with the base a line very nearly straight. The rim is also provided with a moulding. c. The curve from centre to rim is continuous and slight ; the flange being placed around the centre of the base. Type 1. 17. (Plate LIX.) Half of a plate, measuring 0.127 m. in diameter. Dark reddish clay, with dark brown and red decoration. Exterior. On base border of zigzags and bands ; on side two narrow borders of zigzags and bands. Interior. Similar decoration, with one zigzag border around the centre. Fig. 76 gives the profile. The other fragments belonging to this type (no plate being preserved entire) repeated the same scheme of decoration, with dots, vertical lines, or squares in place of the zigzags ; the diameter of these plates varied between 12 and 142 THE VASES AND VASE FRAGMENTS 15 cm. Another variety, represented by Fig. 77, showed a small moulding on the top and bottom of the exterior. Fig. 77. Fig. 78. Type 2 a. 18 a and b. Two fragments from the same plate (profile in Fig. 78) ; diameter, 0.20 m. Dark red clay, showing traces of burning. Dark brown decoration on exterior, dark red on interior. Exterior (a). “ Running Dog ” border around centre and bands; splashes on foot; “ Running Dog ” pattern on sides, splashes on rim. Interior (b). Leaf rosette in centre with a border of alternate checkerboards and eight-pointed stars. “ Running Dog ” on sides. 19 a d. Four fragments from same plate (profile in Fig. 79). Grayish clay, with black decoration. Exterior (a and b). Base entirely covered with a black glaze on which the ornamentation is incised. Series of diamonds radiating from the centre, each inclosing an eight-pointed star which in turn incloses a diamond. Alternating with the points of the large diamonds are smaller ones. On sides bands and “ Running Dog ” border. Interior (c and d). The bottom is left the natural color of the clay with radiating series of diamonds, similar to exterior, in black; with¬ out incised lines. Side pattern same as exterior. On rim, splashes. Two technical methods are seen on this plate, painted decoration on interior, and incised on exterior. This, in a way, is paralleled in later times by the combination of b. f. and r. f. work on the same vase. Type 2 b. Other fragments (generally from large plates, 15-20 cm. in diameter) show the usual motives, checkerboards, zigzags, snakes, rosettes, rays, etc. None present any marked peculiarities. Fragments of this type showed no new features in their decoration. Figs. 80 and 81 show the principal variations of the form. The plates were usually of a large size, 25 cm. in diameter. Fig. 80 had bands for its sole decoration, purple being applied Fig. 80. freely. Type 2 c. Fig. 82 (profile). Diameter, 0.191 m. Entire, save for a small piece. On rim vertical lines and just below rim on exterior Geometric snake (incised lines). 1 Outside and inside ornamented with concentric bands in series. This was the only plate which was recovered en¬ tire. Fragments of similar plates were numerous, but all showed the same decoration of concentric Fig. 82. bands. 1 The exterior was practically identical with the cover p. 27G, fig. 2), the snake being treated in precisely similar of a Geometric vase from Athens (B. C. H. XIX. [1895], fashion. THE ARGIVE STYLE: MISCELLANEOUS FORMS 143 MISCELLANEOUS FORMS. Kothons. (Berl. Cat. VI. Ill and 112.) This form of vase is shown by a few dozen fragments, none of which permitted any restoration. Furtwangler, in his catalogue (1100—1107), assigns all the vases in Berlin to the Corinthian style. The bulk of the Heraeum fragments, however, belong to the Argive style. One fragment was distinctly Mycenaean in character and another Geo¬ metric. Several of the handles showed traces of decoration which would warrant their belonging to the Corinthian style. No fragments have been reproduced in our plates, since their decoration differed in no way from the usual Argive scheme. Bands encircling the rim, leaving the body of the vase plain, were the usual type, though lozenge and zigzags on the body were also found. Ring-Form Aryballos. Fig. 83. Height, 0.126 m.; diameter, 0.10 rn. Dark red clay, side restored. 1 Around neck and base, rays. On front side inter¬ laced lozenge pattern, with small circles at corners. On one side double guilloche; on other (almost entirely gone) a frieze, prob¬ ably of animals. About a dozen fragments from similar vases were found. The form differs somewhat from Bevl. Cat. V. 110. Several of the smaller vases which clearly belong to the Linear Argive class show a marked connection with the Geometric style. The clay in these vases is distinctly that used in Geometric, not Argive vases. The presence of sim¬ ilar vases in other parts of Greece has induced Diimmler 2 and Pallat 3 to regard them as imitations of Argive ware. It seems hardly likely that these small and unimportant vases should be avowed imitations of the Argive style made by potters who manufactured Geometric vases ; more probably they are really Argive vases, the clay for some reason or other being that usually employed in the Geometric style. Half a dozen complete vases of this kind were found at the Heraeum and quite a number of fragments. Jugs. Fig. 84. One-handled jug. Height, 0.065 m. Lip (probably trefoil) broken away. Coarse dark red clay, with reddish brown slip, decoration varying from brilliant black to dark brown. Stripes and triangles (interlacing lines) on shoulder ; stripes on neck and handle. On either side of base of the handle a breast-like protuberance. Similar examples have been found in Boeotia 4 and Tiryns. 5 The protuberances seem to denote a survival of prehistoric characteristics. Fig. 85. One-handled jug. Height, 0.055 m. Reddish clay, with polished yellowish brown slip, dark brown decoration. Stripes on neck, handle, and base, three borders of zigzags and rays (points downwards, inclosing lozenges) on shoulder. 1 That a foot was represented is clear from the rays 3 Atlien. Mitt. XXII. (1897), p. 271. around the base and a comparison of an aryballos in the 4 Jahrb. III. (1888), p. 353, fig. 32, and XIV. (1899), British Museum from Kameiros, A 1075. Cf. Jahrb. II. p. 53, figs. Ill and 112. (1887), p. 56, fig. 21. 5 Schliemann, Tiryns, p. 400. No. 135. 2 Jahrb. II. (1887), p. 20. Neck, handle, foot, and one 144 THE VASES AND VASE FRAGMENTS Some three or four other jug’s similar to Fig. 85 were found, also fragments of oino- choai with the usual zigzag decoration, and a few fragments of skyphoi, with water birds in panels. Openwork Vases. The following fragments form a separate type by themselves, though not found in very large quantities. They belong to vases of the kalathos form, whose sides are pierced at intervals by openings, giving the effect of a basket. We have already seen this openwork principle applied to the supports of Geometric vases; Argive vases of the openwork type, however, were probably never used as supports, being far too small and fragile. Moreover, having a distinct kalathos shape, it is probable that we have here a separate variety of that form. It seems certain that these were a direct imitation of metal work, but an imitation which did not arise until after the Mycenaean epoch, seeing that metal vases of this description are not found in Mycenaean times. In view of their technique, it is probable that they belong to the early period of Class II. Two separate forms of openings may be distinguished: (a) either the vase is divided into a series of legs with a long narrow opening sloping slightly from rim to base (in some cases these legs are joined halfway, thus giving a double series of openings), or (b) the vase is divided into two or three sets of triangular openings. Both methods may be employed on the same vase. The scheme of decoration is simple, the available space being extremely small. Either the entire vase is covered with a dull black or brown glaze with parallel stripes of applied purple, or else to the natural clay parallel stripes are applied, leaving the rim free for a border of some pattern, zigzag, etc., etc. 20 a and b. (Plate LIX.) Two fragments form a vase 13 cm. in diameter. Height cannot be determined. Greenish clay, with decoration in black and dark brown. Parallel stripes on sides, zigzags in series on rim. This was the best preserved vase of form a. Some half a dozen bases and numerous fragments were found; one base showed a rather high foot with ray pattern. Of form b only a few bases and fragments of sides, in very bad condition, were found. Instances of such vases outside of the Argolid are not very common. There are three in Athens (No. 232 from Corinth, No. 10969 from Eleusis, 1 and a third) which have the series of triangular openings; one in Syracuse (Megara Hyblaea, torn!) 640 ), one in the British Museum (A 1601 ), and one from Falisco [Mon. Ant. IV. pi. vii. 17). Somewhat allied is the kalathos in Jahrb. III. ( 1888 ), p. 241, fig. 23. Cf. also Jahrb. VI. (1891), p. 116, No. 9. What the purpose of these vases was cannot be told with any certainty. CLASS III. ORIENTAL ARGIVE. It is a difficult problem to decide how much outside influence caused the development of the Argive style from Class IT. to Class III., and whence such an influence originally came. That the third class developed unassisted by such outside influence is impossible; at the same time the elements which are vital to the style, the parallel bands, incised lines," ornaments in field and application of color have been seen either in Class II. or else 1 I am not certain whether this is the vase described as the earliest use of the incised line. Several of our by Skias,’E8, pis. xlii. and xliii., and Schliemann, Tiryns, pis. xiv., xv., xvii. b, xxi. a, b, xvii. e) ; Aristono- phos Vase (Mon. dell’ Inst. IX. pi. iv.); Gamedes oinochoe (Rayet and Collignon, Hist. p. 81, fig. 42); two Phaleron jogs (Boehlan, Jahrb. II. [1887], p. 45, figs. 3, 4 e, 4 /); plate in British Museum (A 1539; Campanari Col.). The body of the stag on this plate is filled in with white dots; oinochoe in Zurich (Mon. dell’ Inst. IX. pi. v. 2) (frieze of warriors, dots on shields); two vases from Falisco (Mon. Ant. IV. p. 267, fig. 127; p. 291, fig. 147). The list might doubtless be materially increased. 2 Cf. Furtwangler, Arch. Zeit. 1885, p. 135, pi. viii. 2. For discussion of the lion in the art of this period, v. Boehlan, l. c. p. 35. MISCELLANEOUS TYPES 161 b. Scroll ending at each end in a trefoil. Base of handle preserved. Fig. 94 shows the restoration of the design. The form is not absolutely certain, nor can the height be determined, though, judging from the size of the fragments, the vase must have measured about 30 cm. in height. It seems fairly certain, however, that no other decoration existed on the vase, unless we suppose a similar design on the reverse and that the restoration here given is correct. The technique is precisely similar to Fig. 93, and as the resemblance between the lions is so strong we may almost assume that both vases were painted by the same artist. The scrolls which bound the panels are interesting, and so far a similar case does not occur to me. There is a certain resemblance between the trefoils and the ivy leaf on Myce¬ naean vases (cf. Myh. Vas. xxi. 152; also J. II. S. XI. [1890], pi. xiv. 1), but whether the trefoils represent a development of the latter ^ ^ cannot be told. 18. Fragment of a large vase, perhaps an amphora. Dark reddish clay, exterior covered with a dull dark brown glaze. Broad band of white with, a row of small dots on each side. This fragment, though differing considerably from the two vases just considered, has been included here on account of the presence of the white dots. It presents this peculiarity that the broad band of white is not painted over the glaze, since no trace of glaze can be found under it. The clay is coarse and more akin in texture to vases of the Geometric style, but it cannot belong to that class, since it seems certain that the entire vase was covered with a glaze, a peculiarity entirely foreign to Geometric vases. We have already seen this peculiarity in the case of other Argive vases, and it is probable that we have here a fragment of a vase which belongs to the same class as those discussed on p. 158. PLATE LXVII. Seven fragments from the base of a bowl with tall base. From Old Temple Terrace (proba¬ bly). Height cannot be determined. The fragments have been joined together to form the base (8). Height, 0.425 m.; diameter at base, 0.29 m.; diameter at top, 0.16 in. The original vase probably measured about 80 cm. in height. Brick red clay, covered with a brownish yellow slip. Decoration uniformly black, with yellow paint added freely. Incised lines used on the figures of the animals around the base. The form of the vase was probably a large deep bowl resting on a tall base, similar to a vase in Athens from Menidi ( Jahrb . XIV. [1899], p. 108, fig. 10, or p. 126, fig. 29). Of the bowl only a small part is preserved in fragment 8 ; all the other fragments belong to the base. Around the base are three friezes, and a narrow frieze at the bottom of the bowl. Base. Lower frieze (4, 6, 7). Border, a guiiloche of black and white strands (as in Plate LIX. 5). Separated from this by three stripes, a frieze of animals. What these animals are can¬ not be determined. On 4 and 6 we have an animal crouching, with traces of what may have been a horn on its head, and the tail of another, which projects into the frieze above. The first animal is clearly crouching, and the body is covered with scales similar to Athen. Mitt. 1897, p. 309, fig. 31. Incised lines on the foot, and on tail. Separated by three stripes is another frieze, 1, 2, 4, and 5, on which a combat is represented. Portions of eleven warriors are preserved, six to right, four to left, and a fallen warrior in the centre. In the centre of the frieze (4), a dying warrior to right stretching his arm behind him. His leg is drawn in outline, and as no filling in with black or application of yellow is seen, it seems probable that carelessness on the artist’s part was responsible for this deficiency. On his shield is a rosette, with yellow applied to five of the lobes ; yellow is also applied to the headpiece of the helmet. On the left are two warriors advancing to right, both armed with helmet, shield, greaves, spears, and sword. 1 Yellow is applied to the headpieces of the helmets and to the greaves. The 1 This is not absolutely certain, except in the case of the first figure, where the object is too thick to be a spear. 162 THE VASES AND VASE FRAGMENTS first warrior has a checkered border on his helmet, and a whirl pattern with a lozenge border on his shield; the warrior behind has a four-pointed star inclosed by a checkered border for his shield device. Facing them to left, parts of two warriors ; nose, tip of helmet, shield, and one leg of the first warrior preserved, shield and one leg of the second. Yellow applied to greaves. The first warrior is armed with a spear or sword exactly like his opponent; on his shield, four-pointed star with checkered border. His companion has as a shield device a rosette elaborately drawn in black and white with a border of rays. Between the warriors, over the fallen man, a bird flying. On fragment 2 we see the back of one warrior’s helmet in black with the point of a spear, and the helmet (in outline) and eye of another warrior, likewise the point of a spear. From a com¬ parison of 5 it seems probable that the spear to the left belongs to the right-hand warrior and the spear at the right to another not preserved. On the right of 1 again we see the trace of another helmet (checkered border) projecting into the pattern above. On 5 we have three warriors ; the one at the left resembles the foremost warrior on the left of 2, except that the border of his shield is a ray pattern, and the helmet has no border: he is armed with a spear. The warrior in the centre differs from the others in having a very tall helmet, with a single checkered border, which projects into the upper pattern as in 1 ;. a faint line marks the outline of the head, evidently done in the preliminary drawing. This feature may be observed on almost all the figures. His shield seems to have had a four-leaf rosette for its device, the leaves being left plain and the entire shield covered with yellow; a fainter line encircles the shield inside the rim. He is armed with a spear (since the lower curved line behind him is clearly the continu¬ ation of his spear) and a sword. Between his legs a bird similar to the one on 4. Of the right- hand warrior only the head and part of a leg are preserved. All the figures are bearded, and as the bulk of the face is covered by the helmet a triangular space is formed by the nose and eye. It may be noted that in no two cases is the device of the shields the same. Faint black lines are seen on several of the figures, which in most cases marks the preliminary drawing. On 4 the lines of the legs of four figures cross each other, due, of course, to careless drawing. Separated from the frieze just described by a narrow border containing a double guilloche (drawn in outline and stippled in black) is the third frieze (1 and 3). At the left of 1 are the body, hind leg and fore legs of a horse : to right, a broad band around the chest, with the reins along the back. Behind the horse the figure of a man from the waist down¬ wards carrying a shield (in outline ; device a rosette) and two spears. Around his waist is a belt with a row of dots. Yellow is used on his body and legs as well as on the body and legs of the horse, with the addition of faint black lines. Before the horse to left a woman, from the waist downward (in outline), holding a staff in her hand and clad in a chiton reaching almost to the ankles, stippled above in black, with three borders, a zigzag, meander, and dots. Behind her the leg and foot of another man, drawn in outline, but evidently wearing a boot. Between the horse’s fore legs a water bird and above the reins a flying bird, as in the lower frieze. Incised lines are used to denote the reins. At the back of the horse is a projection to which the reins are fastened, from which goes a diagonal line to the top of the frieze representing a goad or whip. The arrangement of 3 is somewhat problematical. 1 At the left is the upper part of a female figure (with long hair in ribbed locks) clad in a sort of bodice and a long skirt, stippled with black dots; she is stretching out her right arm. Behind her the figure of a bearded centaur, with a belt around his waist, looking to left, but his body turned to right; the line of the nates and the calf is visible at the lower part of the fragment. He is formed in the Archaic tyjie, the entire figure of a man joined to the body and hind legs of a horse. The horse’s body is seen to left and the woman seems to have her left arm around it. The waist of the centaur is pierced by an arrow, and the blood is marked by dark streaks. The attitude of his right hand is uncertain. The eyes of both figures are drawn as dotted circles. In field, flying bird. Above is the last frieze which forms the base of the vessel proper. Some animal is represented to left, as three legs, body, and neck (ornamented with a scale pattern) are visible, but what the animal is cannot be told. Under its fore leg a row of dots and beneath the body a swastika. For tliis interpretation I am indebted to Mr. Edward Robinson, Director of the Museum of Fine Arts, Boston. l NESSOS AND DEIANEIRA 163 The chief interest of the vase lies in the two main friezes, but owing to the fragmentary condi¬ tion of the vase their arrangement is extremely doubtful. It is perfectly plain that the subject of the lower frieze was the combat over some fallen warrior, and if we place 5 below 1, and transfer 2 to a position directly over 4, we shall obtain six warriors on the left and four (or perhaps only two, if 2 forms the head of the two warriors to the right of 4) on the right. How many warriors were represented, or whether the two sides of the base represented different scenes, we cannot say. Less clear is the arrangement of the upper frieze. We have the figures of a horse, man, two women, and a centaur, and as it is certain that the subject of 3 had no connection with 1, both fragments were probably on opposite sides of the base. That the horse on 1 was harnessed to a chariot seems certain. Although we have only one horse, we know the single teams were com¬ mon during the Archaic period. 1 As three reins are certainly represented, it is possible that a pair of horses was intended (which would be more appropriate to the period of the vase). If a wagon be supplied, then the object to which the reins are fastened must be the top of the pole. Although it is placed just over the flank, we find it set as far back on the shoulder of a black figure hydria (Gerhard, Aus. Vas. pi. 253). It cannot possibly be the uvtv ( of a chariot, as it is far too close to the body of the horse. That the diagonal line which begins at the end of the pole is a goad held in the driver’s hand, a comparison of Aus. Vas. pi. 251 shows clearly. Not enough of the scene is preserved to warrant an identification. With 3 the subject is plain. Deianeira and the centaur Nessos are represented. The round object at the back of the woman’s head is probably the sword of Herakles; at least it is precisely similar to the sword on the lower frieze, and on a Chalcidian vase in the Louvre we find Herakles attacking the centaur with a sword ( Aus. Vas. 117-118, 1). The attitude of the centaur is par¬ alleled by another centaur on the Argive lekythos in Berlin (Arch. Zeit. 1883, pi. x.), who, pierced by an arrow, is flying to right while looking back over his shoulder. Deianeira is repre¬ sented in a rather singular fashion ; she seems to be clinging to the centaur’s body with one hand while stretching out her right hand as if to call for assistance. Such a treatment of the scene is, as far as I know, unique. This representation of Herakles’s encounter with Nessos (if such it be) seems to be the earliest instance we have where Deianeira is represented (cf. Roscher’s Lex. II. p. 2194). Several points in the matter of detail must be noticed. The type of helmet is peculiar; for the simple helmet, that worn by the warrior on the Melian vase (Conze, Melische Vasen , pi. iii.), offers the nearest resemblance, but the tall helmet differs from any I have yet seen. The female figure on 3 wears her hair in a ribbed band behind, an extremely common form during the late Argive and Corinthian periods. The treatment of the eye varies in the two principal friezes ; in the lower we have a pear-shaped space for the nose in white with the eye as a small dot; in the upper we have the usual type on Melian or Rhodian vases, 2 the dotted circle. The shields are the round form which is found in the Geometric style, but the addition of a device is characteristic of a later period. In spite of its many peculiarities, I see no reason to doubt that the vase is of Argive fabrication and belongs to the early stage of Class III. of the Argive. Of purely Geometrical motives we find no trace, except the water bird on 1, but all the various motives, the swastika , guilloche, birds, etc., can be traced to earlier examples. The arrangement of the figures savors of a Mycenaean prototype, but the animal frieze shows a certain amount of Oriental influence. The application of color is probably, as we have seen, an Argive peculiarity. At the same time the general execution is primitive in its character, in spite of the advanced tendency of the composition, and shows little trace of the technical skill so characteristic of the later Argive vases. It is of course possible that this may be a foreign product, imported into Argos, and if such were the case we should expect to find analogous vases in other places, which, with one exception, the Aristonothos vase, 3 are not forthcoming. Melian, Rhodian, and Ionian vases which belong to the same period as our vase (perhaps a trifle later) seem to offer some slight resemblance, but it may be easily seen, if their styles be analyzed, that there is no connection between them. The Aristonothos vase, though treating a different subject from ours, is the only vase which 1 Cf. the Mycenaean grave stelae and Geometric Vases, 2 Also on the Mycenaean ‘Warrior ’ Vase, flelbig, Epos 2 , p. 139, fig. 33. 3 Mon. dell ’ Inst. IX. pi. iv. 164 THE VASES AND VASE FRAGMENTS shows any similarity of style, and has therefore been assigned by Furtwangler to an Argive fabric. 1 It may be bold to use that vase as a criterion, but the view of a scholar like Furtwangler calls for careful attention, and if at Argos we find a vase similar to the Aristonothos vase, which, though exhibiting several new features, shows clearly the elements of the Argive style, there would seem to be good reason for assigning both to an Argive fabric. We find that on the Aristonothos vase the type of figures, profiles, etc., is identical. The round shields are used with similar devices. Also on many of the figures small white dots are added such as we have seen on the vases just discussed, a strong point in favor of the Argive origin of that vase. We find a rosette precisely similar to that on the shield of our fallen warrior with black and white leaves. Except for the white dots, there is no application of extra color on the Aris¬ tonothos vase. If what we have just said holds good, then our vase must fall at the beginning of the seventh century; later than that it cannot be. PLATE LX. 19 a-h. Eight fragments from a large vase. 2 The shape is uncertain but it may have been some sort of a pyxis. The diameter was about 28 cm., greenish yellow clay with a dirty brownish yellow slip, decoration in black to dark brown. Incised lines used. Rim ends in a moulding. No trace of glaze on interior. A pyxis seems the most probable shape, though the addition of a moulding to the rim is unusual. On a we have a bearded man in a chariot to right drawn by a single horse, holding the reins in his left hand and a goad or spear in his right hand. Pie is clad in a single long garment with a zigzag pattern down the front. The body of the chariot is ornamented with a zigzag border, incised, and the eye of the man is denoted by a dotted circle. The chariot has a single wheel. Behind the man three vertical lines bordering the panel. On b we have a large cauldron and a tripod with double legs, ending at the sides in a wheel on which a horse is perched. Over the tripod is a helmet. Between the cauldron and the tripod some object, perhaps a cleaver, c shows portions of two deer (eyes incised) to right, and d and e show the head and horns of a stag-. On the bottom of the vase (e-h) some design was represented, though not enough is left to conjecture what the actual design was. We have already seen this peculiarity on the base of another pyxis (Fig. 69). It seems certain from the presence of the vertical lines on a that two scenes were represented, each in a panel; a and b belong to one side, c, d, and e to the other, f is probably the bottom of b (showing the continuation of the cauldron), while g and h belong to the other side, g being the lower part of c. It is difficult to say what the principal scene represents . perhaps the most probable explanation is that a chariot race is represented (there is room for two more teams on the vase), and that the cauldron, tripod, and helmet are the prizes. If this is correct, we obtain the year 776 B. c. as a terminus ante quern , since before that date the representation of a contest for prizes never occurs on any Greek vase. Only one horse is attached to the chariot, which is similar to that found on Geometric vases with a curved uvtv£ (cf. Helbig, Epos 2 , p. 138, fig. 32); but as three reins are represented in the driver’s hand, and the head and feet of the horse are missing, the usual num¬ ber of two was probably represented. The cauldron is similar in shape to the large Dipylon vases, but differs from them as to the handles. The tripod has double legs (contrary to the ones found at Olympia, 3 which have single legs), and seems to belong to a different type, as the legs run clear to the rim of the bowl. The peculiar form of the latter is due entirely to the desire to make room for a helmet (Corinthian type). The tripod has a characteristic quite common in the tripods from Olympia, 4 as well as in other early bronze work, in having rings or, as here, wheels at the sides on 1 Bert. Pliilol. Wochens. 1895, p. 202. “ Nun liaben die Ausgrabungen am Ilcraeon von Argos sowohl Scherben jener von mir der Fabrik der ‘ Aristonothos-Vase ’ zu gerechneten Art als auch Protokorinthische zu Tage gebraclit.” Our fragments are the ‘ Scherben ’ referred to. 2 A fragment (b) of this vase has already been pub¬ lished by Laurent, B. C. H. 1901, p. 151, fig. 4. 3 Furtwangler, ‘ Die Bronzen,’ Olympia, IV. pp. 72 ff. 4 Ibid., pi. xxx. 574, 624 ; xxxiii. 607 and a. THE CORINTHIAN STYLE 165 which a horse is perched. What the object to the right of the cauldron represents is difficult to say; 1 from f it seems certain that a similar object was placed on the other side, but the size of the vase precludes our considering them as supports. The animal frieze presents no peculiarity of any kind. The general style of the vase is decidedly that of the early period of the Oriental Argive class, a at first sight seems to show the same style of drawing in the case of the male figure as is generally found on Geometric vases; but the style of the horse as well as the presence of the incised lines show that by no possibility can the style be Geometric. It is possible that the artist may have drawn the male figure after some Geometric prototypes. All things considered, there seems no good reason why we should not have here a vase of distinctly Argive fabric. PLATE LXVI. Three fragments, 4 a-c, from the same vase, found east of the Northwest Building. Brick red clay, with a bright yellow slip on exterior, chocolate-brown decoration with free use of incised lines. Form of vase uncertain. That two friezes of animals were represented is certain. Traces of a lower frieze appear on a. On a and b we have some animal to right, on b the wing and body of a seated sphinx, and on c the fore part of another animal similar to a. Of all the fragments yielded by the Heraeum these are the most unique and extraordinary. With the exception of an animal on an Early Attic vase (Couve, B. C. II. 1893, p. 25, pis. ii. and iii.), which bears an extremely superficial resemblance, I have been unable to find any vase or fragments which offer any analogy whatsoever. The fact that an animal frieze is represented as well as the presence of the sphinx shows that the fragments cannot be earlier than the third class of the Argive style, though, stylistically considered, these animals show none of the particular Argive features. Certain technical points deserve notice; the drawing is extremely curious, especially at the juncture of the body and fore leg, where a crescent-shaped cut is incised to show the modeling of the leg. An oval space is left for the eye, which is denoted by a dot, and resembles that of a toad ; the ears stand upright. The mouth, denoted by a slit, gives a savage expression to the head. We can only guess at the identity of the animals, but that they represent boars seems most probable. It would appear at first sight as if the feet of the animal on a were the paws of a car¬ nivorous animal, but since the details of the body are so carefully incised, and as the paws of carnivora during this period are always denoted by incised lines, we must conclude that they are hoofs. The absence of horns shows clearly that they are not cattle, sheep, or goats, so that a boar is the only other animal possible. Whether we can recognize here a foreign interpretation is impossible to say, but until some analogous example is found elsewhere, it seems most natural to regard it as an Argive product, perhaps a caricature ; not a representative of any type, but merely an isolated case of some potter’s fancy ; in short, a ‘ freak.’ Taking the technique, clay, and style into consideration, we may assign the fragments to the early part of the seventh century. CHAPTER VI. THE CORINTHIAN STYLE. The relations of the Argive and Corinthian styles to each other were discussed at length in the Introduction and in Chapter IV. In the present chapter only those vases and fragments which belong to the Corinthian style proper will he considered. The Corinthian style 2 is so thoroughly well known and its origin so firmly established, that any discussion of the various questions which here arise in regard to it is out of 1 Laurent (loc. cit .) identifies this as a sword, which 2 For general discussion of the style, v. Wilisch. Alt- seems doubtful. korinthische Thonindustrie. 166 THE VASES AND VASE FRAGMENTS place. It was fairly well represented at the Heraeum ; whole vases were scarce, hut the fragments filled nearly half a dozen baskets. Such fragments as are preserved show nothing new; the forms of the vases differ in no way from the usual Corinthian types, and the scheme of decoration is identically the same. Whether all the Corinthian fragments found at the Heraeum were manufactured at Argos is impossible to say. It has not been proved that the various vases of the style scattered over the Greek world were all made in Corinth, 1 and it is undoubtly true that after the style became thoroughly known its manufacture was carried on in other places than Corinth, just as a great deal of the Mycenaean ware found in Greece must have been manufactured outside of the Argolid. As Corinth lies so near Argos (only thirty miles away), the importation of the style into the latter place would be per¬ fectly possible. At all events, the internal evidence of the Corinthian fragments found at the Heraeum throws no light on the question. Wilisch has divided the Corinthian style into two classes, the elder and the younger. With the exception of three fragments the elder class only is found at the Heraeum. This may serve to show that the Corinthian vases were manufactured in the Argolid and not imported, since after the Corinthian style very few fragments of any class of vases are found at the Heraeum, while if the reverse were the case, it would be an extremely curious fact to find the importation of a style suddenly ceasing, without any definite reason. There is no literary evidence to show that Argos ever enacted an embargo against the products of Corinth as she did in the case of Athens. The forms found at the Heraeum are: — Skyphos, Aryballos, Oinoehoe, Amphora, Pyxis, Askos, Sugar Bowl, Kylix, Tripod Bowl, Kothon, Alabastron, Plate. Wilisch’s statement {op. cit. p. 21) that the skyphos is the only form peculiar to both the Argive and Corinthian styles is certainly incorrect, since several fragments belonging to oinochoai of the type on p. 127 were found with Corinthian decoration, 2 and as we have seen, the Argive style included all the forms in the above list with the exception of the kylix and the tripod bowl. The decoration on all the fragments was distinctly poor, few showing really good technique. Most of them were found on the Second Temple Terrace in the pocket towards the southeast and under the retaining wall of the West Building (southwest corner). The number of bottoms (of skyphoi and oinochoai) far ex¬ ceeded the fragments which belonged to the upper part of such vases. Though as a rule the clay of the Corinthian vases is rather more grayish in tone than in the Argive, it was impossible in most cases to decide whether such fragments belonged to Argive or Corinthian vases, the decoration in both styles (ray pattern) being identical. Some of these vases, however, showed just enough of the main zone to established their identity as Corinthian. 1 It is perfectly certain, through the presence of in¬ scriptions, that vases of this style were manufactured in Sikyon (Kretschmer, Griechische Vaseninschriften, p. 50 ; cf. also p. 185, No. 1). Hence Argos may well have made some herself. 2 The British Museum possesses such an oinoehoe (A 1035) with three zones of figures. I noted in the Naples Museum an oinoehoe of the Argive style, which had Corinthian decoration over the parallel bands. I was unable to examine the vase, but feel sure that the Corin¬ thian decoration is modern. Cf. H. S. XI. (1890), p. 175. OLD CORINTHIAN STYLE 167 In but a few cases could a vase be reconstructed from the fragments, and as the num¬ ber of whole vases was so small no such classification as was followed in Chapter IY. could be used, nor does the class represented admit of any chronological subdivisions. OLD CORINTHIAN STYLE. Skyphos. This form, being the commonest, will be treated first. Two types may be detected, those having a glaze on the interior and those without. The latter type is represented only by fragments in a very poor condition, and seems to have been confined to small vases. The clay is greenish or gray in tone, the foot projecting in a slight moulding, and the base ornamented with a ray pattern, the rays being very fine and close together. Above the rays, separated by a broad stripe on which narrow stripes of red or white color are applied, is the principal zone. As the type is so common, no examples are given here. Fragments belonging to the former type, though not so numerous, were in better pre¬ servation as far as the figure decoration is concerned. They are generally of a red or yellow clay, the glaze black, though in some cases it has been burnt to a brilliant red, and in others is almost entirely obliterated, owing doubtless to the nature of the soil. The form of the vase is always that of Fig. 64, and the only variation is found in the proportion between the height and the diameter. The motives of decoration are the usual ones, zones of animals (lions, panthers, bulls, goats, deer, etc.), birds, fabulous mon¬ sters (sirens and sphinxes), and flower patterns (generally lotos). Red color is univer¬ sally applied to the figures themselves and the bands which border the zone; red stripes are often applied to the interior, just below the rim. Incised lines are almost invariably used, but extremely carelessly, as no attempt has been made in many cases to prevent such lines running into the background of the zone. The bases are usually ornamented with rays, and the rim with a border of zigzags, water birds, or flowers, placed over the main zone ; in some cases the border is omitted and the main zone extends clear to the rim. Ornaments in field are almost invariably used. PLATE LXI. 1 a and b. Two fragments of a skyphos, of reddish clay, dark red glaze on interior. On main zone sphinx and siren to right (a) and sphinx to left (b). Two broad stripes of applied red separate the rim border (vertical zigzags). Red applied to the wings of the figures, and to two stripes below the rim on the interior. 2 . Grayish clay, dark glaze on interior almost obliterated. Heads of sphinx and goose to left. Toothed and zigzag border above. The sphinx is almost the commonest motive on our fragments. Dozens of others were found showing a similar design. 3. Light yellow clay, with brilliant black glaze on interior. Fore part of boar to right. Ray pattern below. Red applied on boar’s neck. This fragment belonged to a large skyphos, probably 15 cm. in height. 4. From a large skyphos, about 20 cm. in height. Grayish clay, glaze and decoration very much faded. Above main zone (two panthers back to back) border of palmettedotos chain, only visible through the incised lines, as the decoration has almost entirely faded. 5. Yellowish clay, with dark brown glaze. Zigzag border on rim. On main zone, hind part of bull to right. Red applied to bull’s belly. 6. Yellow clay, with faded black glaze. On main zone haunch of a goat and tail of another animal. Above palmettedotos chain. Applied red band below rim on interior; red on the centres of the palmette and on goat’s body. Cf. Wilisch, op. cit. pi. iii. 36. 168 THE VASES AND VASE FRAGMENTS 7. Reddish clay, with bright red glaze. Panther, full front, and rear part of another animal. Above, zigzag border. The zone is burnt bright red, the rim border black. As in the case of some of the Argive fragments, the difference in color between the two parts of the vase is strongly marked, and is no doubt intentional. 8. Bright yellow clay, with brilliant black glaze. Rooster to left. Red applied to the wattles, wing's and rosettes in field. 9 a and b. Two fragments from rim of skyphos. Yellow clay, with dark brown glaze. On principal zone head of sphinx. Above, separated by a checkered border, zone of water birds to right broken by a panel containing a star. Red applied to wings of the bird. These fragments show an upper zone which in its drawing is similar to that of the Oriental Argive, without any ornaments in field. The lower zone is in the typical Corinthian style. 10. Yellow clay, with brilliant dark brown glaze and bright red decoration. Main zone occu¬ pied by a very elaborate palmette-lotos chain in squares, with red color frequently applied. Below, zone of wafer birds. It is probable that a similar zone formed the upper border. For palmette, cf. Wilisch, op. cit. pi. iii. 35. The fragments here given are paralleled by dozens of others of varying technical skill. Some of the fragments showed the figures of the animals stretched out to an abnormal length. Oi 'nochoai. Two types were represented. 1. Tall-necked oinochoe (p. 127). 2. Corinthian type. Wilisch, op. cit. pi. ii. 18. The first type was represented only by a few fragments in bad preservation. These were entirely covered with a black glaze, except for the animal zone on the body, and had on the shoulder an incised tongue pattern, red and yellow being applied to the alternate divisions. Of Type 2 fragments of only one vase were found which permitted a fairly satisfactory reconstruction, and several fragments of others. Curiously enough, no neck belonging to these oinochoai was found, nor is it certain whether some fragments 1 did not belong to another variety of oinochoe (Wilisch, op. cit. pi. ii. 16). 11 a-c. Three fragments of an oinochoe. Reddish clay. On base, rays, with three bands (middle band black, the others applied in red, dividing lines in white) separating them from the main zone. Panther to right (head full front) and goat to left. On b an owl, to right head full front; on c, deer feeding to left and feet of a sphinx. Above, two applied red bands inclosing toothed border. On shoulder, another zone, with lower part of a bird to right. Red is freely applied to all the figures. A few other unimportant fragments of this vase were found. 12. Dark yellow clay, with decoration varying from black to red. Ram’s head to right, dotted circles as ornaments in field. Good technique. The other fragments were unimportant. They included an owl, panther, goat, etc. Pyxides. Very few fragments belonging to this form were found, but the covers were much more numerous, showing the same discrepancy of proportion already mentioned in the case of the Argive fragments (p. 136). Two types were represented. 1. Pyxis with curving sides (Perl. Oat. v. 103). 2. Pyxis witli straight sides (Perl. Cat. v. 101). l Two fragments of yellow clay with an animal zone on the body and another on the shoulder were found, which, judging from the curve, may have belonged to this form. CORINTHIAN STYLE: COVERS 169 The few fragments belonging to Type 1 followed the same scheme of decoration, ray pattern on the base and a sort of tongue pattern incised on the body, red and yellow color being applied to the alternate divisions. The interior was not glazed in every case. 2 . 13. Reddish yellow clay, with bright red glaze on interior. On main zone, procession of women to right. Two other fragments were found, one showing the women facing to left so that two pro¬ cessions were represented. This fragment differs slightly from the usual form in that the base does not rest flat on the ground, but the sides are continued down lower than the base, so that the vase rests on a low foot. Of the other fragments, three belonged to a pyxis of greenish gray clay, adorned with the usual animal zone (lion, bull, boar, and goat). Another showed a palmette-lotos chain as the main zone, very hastily done. Covers. A very large number of these, mostly in fragments, was found. Only one type could be distinguished, that with a flange fitting inside the rim of the pyxis (v. p. 139, fig. 73). In only a few cases was the knob preserved, and in those it was conical or flat in shape. The commonest type (at least thirty covers were represented) had a ray pattern or leaf rosette in the centre, and a zone of animals of the usual type as a border on the rim. Almost equally common was the tongue pattern with red lobes. A few fragments showed a procession of warriors armed with round shields and spears. 14. Diameter, 0.106 m. Greenish clay. In centre leaf rosette, outside animal zone, four lions, two boars, stag, and duck. Decoration vei'y much faded, with frequent traces of applied red color. This was the only cover preserved almost intact. Its wealth of decoration suggests the “Dodwell” vase. 15. Fra gment of cover. Original diameter, 0.155 m. Very fine bright yellow clay, with black decoration, red color freely applied. In centre, ray pattern. Main zone bounded by two bands applied in red. Bird, male figure, sphinx, and two lions in an heraldic scheme. The bearded figure on the left is dressed in a long chiton with a border down the front, and a long himation which falls in a fold at the right. The arms are not visible, but may perhaps be denoted by the incised lines starting from the shoulders. The figure presents this peculiarity, that while the himation is filled in with red, the skirt of the chiton is drawn in outline. This peculiarity, as far as I know, does not occur on vases of the Old Corinthian style. 1 The identity of the bird is doubtful; it resembles a crow more than any other bird. The sphinx shows no new features. The group of the two lions is the most interesting. Though the heraldic scheme was no new feature in Greek art during the earlier periods (e. g. the Lion Gate at Mycenae, Geometric vases, etc.), it is not until the use of the Corinthian style that the scheme is generally used. The attitude of our lions is paralleled by two bronze reliefs, one from the Acropolis (Bather, J. II. /S. XIII. [1892-93j, p. 256, fig. 25) and the other in Athens (Furtwangler, Ann. dell Inst. 1880, p. 135, tav. d’ agg. H), and by a terra-cotta relief from the Heraeum. In the latter the lions are standing, not sitting. Analogous is the relief in Curtius ( Wappengebrauch unci Wappenstil im Altertlium, pi. i. 11). Except for Chalcidian vases (v. Ann. 1880, p. 135, note 2) I have been able to discover this motive on but one other example of Archaic vases (A. C. II. XIX. [1895], p. 76, fig. 4). From the various analogies mentioned, it is certain that our fragment cannot be older than the bronze reliefs, i. e. the end of the seventh century. The fineness of the clay, style of drawing, and lack of ornaments in field is consistent with this view, and shows that the fragment, if not belong¬ ing to the New Corinthian style, belongs at least to the transitional period between the Old and the New Corinthian styles. i Cf. Wilisch, op. cit. p. 99. 170 THE VASES AND VASE FRAGMENTS Sugar-Bowl Form. Two types of these bowls were represented. 1. Without handles (Wilisch, op. cit. pi. i. 10). 2. With handles in plastic form ( Ibid. pi. i. 13). As no fragments were found with handles, it is uncertain whether a third type (Wilisch, op. cit. pi. i. 11 and 12) was represented. All the fragments show a zone of figures; the interior is always unglazed. The base is invariably ornamented with a ray pattern. 1. 16 a and b. Two fragments from same bowl ; original height about 12 cm. Greenish yellow clay, decoration very much faded. On base, rays ; above, main zone, bounded on each side by two dotted rows. Procession of women to left; the right-hand figure holds a pomegranate in her hand. Dots as ornaments in field. Rim ends in a moulding. On b the skirt of one woman’s dress is drawn in a triangular outline. Judging by the extremely primitive character of the drawing, we have here one of the earliest examples of the style. 17. Fragment of bowl; original height about 15 cm. Yellow clay, with black decoration, red freely applied to the figures. On main zone, two sphinxes. Dotted bands above. 18. Fragment of base. Reddish brown clay, with black decoration burnt red. On base, rays; above, animal zone with lower part of a sphinx and leg of a panther showing. It is not absolutely certain that this fragment belongs to a bowl; the curve would suit an oinochoe equally well. None of the other fragments possessed any interest except one very small fragment on which traces of a row of warriors armed with shields, helmets, and spears could be seen. 2. The presence of this type is established only by a dozen fragments representing, with one exception, a plastic female head. 19. Fragment of bowl. Plastic female head ; light yellowish brown clay, with brown decora¬ tion. Red bands applied to the surface of the vase. The hair is arranged on either side of the head in three strands. Examples of this type are fairly numerous. Cf. Furtwangler, Sammlung Sabouroff, pi. xlvii. 1; Wilisch, op. cit. p. 22, note 82. 20. Plastic head of a sheep. Similar technique to 19. Tripod Bowls. (Form, Bert. Cat. v. 198.) Though this form can hardly he called a very characteristic one of the Corinthian style, it is by' no means rare. Wilisch ignores it entirely. The number of fragments of this type found at the Heraeum was not very numerous ; of these the majority were legs, with fragments of the bowl itself still attached. Whether these bowls possessed covers originally is impossible to say; a bowl in Berlin (No. 1153) has none, nor were any covers which clearly belonged to these bowls found at the Heraeum. Except for difference in the proportion of the depth of the bowl and the height of the legs, no separation into classes is possible, and all the fragments follow one type. 21. Fragment of bowl. Height, 0.05 m.; original diameter, 0.127 m. Yellow clay. The rim is ribbed on its outer and upper sides. Interior covered with a dark brown glaze, extending over the rim, with two concentric circles uncolored, with a narrow stripe of red applied between them. CORINTHIAN STYLE: VARIOUS VASES 171 On exterior, zone of animals, very much faded, on body, and a single animal (lion) on each leg. Another fragment of a leg was found. The other fragments of the type all followed the same scheme of decoration, a zone of animals on the body and single figures (panthers, lions, sphinxes, birds, etc.) on the legs. One leg showed a palmette-lotos pattern in place of a figure. Alabastra. Two types may be distinguished. 1. With a slight moulding on the base, allowing the vase to stand upright (Wiliseh, op. cit. ii. 15). 2 . With round base ( Berl. Cat. v. 109). 1 . Only a few scattered fragments of this type were found. The moulding is placed directly in the centre of the base, with a leaf rosette radiating from it, and the body of the vase ornamented with one or two zones of animals, in the usual style. 2. Fragments of the second type were fairly numerous, especially the rims. Very few vases were preserved whole and no vase could he reconstructed from the fragments. Fig. 95. Height, 0.072 m. Intact save for small fragment of rim. On rim, leaf rosette, with dots at the side. On neck, leaf rosette, alternate leaves applied in red. On body, three gryphons. On base, leaf rosette. Red color freely applied on their bodies. Rosettes as ornaments in field. None of the other vases were in as good condition. They show the usual figures, lions, panthers, geese, etc., One fragment showed three gorgoneia around the base, while another had the lower part of a female figure. A mphora. The neck and handle of an amphora similar to Wiliseh, op. cit. II. 21, was found, with traces of Corinthian decoration, very much faded. V * Fig. 95. Aryballoi. (Wiliseh, op. cit. ii. 14.) Only one type of aryballos could he detected. Curiously enough, in spite of the shape of the aryballos, which is well calculated to withstand the pressure of the earth in which it is buried, not a single specimen was recovered intact. Frag¬ ments were numerous, especially rims, hut none of them showed any interesting features. 1 They were usually of a gray or greenish clay, though some fragments of red or yellow clay were found. The decoration is the usual type, a leaf rosette on the base with some figure or other on the body and a leaf rosette or tongue pattern on the rim. Half a dozen fragments showed a wheel pattern with curving spokes on the base. The technique in almost all cases was extremely indifferent. As&os. (Wiliseh, op. cit. ii. 22.) Only one vase of this type was found, very nearly whole. Height, 0.13 m. Wheel 1 The only fragment which possessed any remarkable decoration bore a Sikyonian vase-inscription: see below, Inscriptions on Vases, p. 185, No. 1. 172 THE VASES AND VASE FRAGMENTS pattern on base, 1 zone of female figures in procession to right (red applied to the dresses), and dotted bands on the shoulder. The execution was hasty. Kylikes. (Wilisch, op. cit. ii. 19.) Of this type, one vase was found represented by two fragments. The clay was yellow, the interior covered with a dark brown glaze, to which three stripes of red were applied. On the exterior a zone of figures was represented, of which only an owl could be recog¬ nized. The rim Hared sharply outwards, in a fashion slightly more marked than the type given by Wilisch. Plates. Fragments of plates were not very numerous. The general type is that of p. 142 with a flat base, sides curving outwards and a moulding on the base. The profile of each plate was different, no two being found alike. Most of the fragments belonged to the sides, hardly more than half a dozen fragments from the centres of these plates being found. The principal decoration is confined to the interior, the exterior being usually orna¬ mented with the system of parallel bands as in the Argive style- 22. ( Fig. 96.) F ragment of plate. Original diameter, 19 cm. Brick red clay with black decoration. In rim, two holes. Exterior. On side, rays. The entire centre seems to have been occupied by a single figure, a sphinx and siren, of which only the tip of the wing is visible. Interior. On side, zone of animals, sphinxes, and a siren or bird with very long tail. In centre, two sphinxes facing each other. Red applied freely to the bodies and wings of the figures. This was the only fragment which showed animal decoration on both sides. 23. Fragment of plate. Original diameter, 32 cm. Light red clay, with sharp profile. On interior, palmette-lotos chain, red frequently applied. On exterior, bands. Two other fragments of the rim were found, one pierced by two holes. No trace of the central decoration was found, or could not be identified on any fragment. A bronze plate with similar ornamentation on the rim was also found. NEW CORINTHIAN STYLE. 23 a and b. T wo fragments from the same vase (amphora a colon¬ nette or stamnos). Brownish clay, covered with a light brown slip, polished. Above, main zone, tongue pattern, with alternate red and yellow divisions applied. On a warrior to right armed with helmet, greaves, shield, and two spears. Below the shield A ( Behind him head of a horse. Red (faded to a paler tint) applied on the horse’s neck and on the warrior's helmet, shield, and greaves. b. Foot race. Two men, nude (heads wanting), running to right. Below, traces of a second zone, probably of animals. Under the handle the tip of a wing. A third fragment was found, representing a goat to left, which may possibly have belonged to the lower zone. The shape of the vase cannot be determined with any certainty, as not enough of the handle is preserved. The curve of the fragments would suit a stamnos as well as an amphora. It seems probable that the main zone represented a warrior’s departure or combat on the obverse and an athletic scene on the reverse, with a zone of animals below. Sphinxes or sirens were perhaps placed below the handles as ornaments to separate the two scenes. The letters of the inscription 1 Exactly similar to that on the Timonidas jug, Arch. Zeit. 18G3, pi. clxxv. o. FOREIGN TYPES 173 suggest A ^ [FAM] (AiFas) or A^ [IVBAM](Atreas). The technique of the fragments marks the latest and most advanced type of the Corinthian style. The figure is paralleled by a Corinthian skyphos representing the combat between A jax and Aeneas ( Ann. dell. Inst. 1862, tav. d’ agg. B), except that the warrior on our fragment is not fighting and that only one horse is represented. The warrior’s squire was evidently mounted on the horse as in the skyphos. FOREIGN TYPES. EARLY ATTIC. A few fragments were found which bear a close similarity to the Early Attic style; in fact, they show more of the elements of the Early Attic technique than of the Argive. Whether they were actually imported from Attica cannot be said. PLATE LXII. 1 a and b. Two fragments of a large bowl, exact shape uncertain. Coarse reddish clay, with brown glaze on interior, brown decoration faded. On rim, a palmette chain, with a row of pot¬ hooks below. The clay seems remarkably like that of the Early Attic vases, and the palmette chain is very similar to the palmettes on the Eai’ly Attic vases in Athens ( Jahrb. II. [1887], pis. ii. and iii.). 2. Fragment from the handle of a large vase, probably an amphora a colonnette. Coarse red, dish clay, exterior covered with a whitish slip, decoration in dark red. This fragment shows all the technical characteristics of Early Attic ware very plainly. None of the other fragments were worth reproducing. CYRENEAN. Not more than fifty fragments or so of this ware were found, nor is it certain that they were imported from Cyrene. In the opinion of Professor Ernest Gardner, who exam¬ ined them carefully, the quality of execution was almost too poor for genuine Cyrenean work. On this account he was disposed to regard them as an Argive imitation. That these fragments are distinctly Cyrenean in style is evident, hut it is equally true that they are greatly inferior to the vases which represent the style elsewhere. That Mr. Gardner’s view of them is correct seems to me most probable. We have found all along that foreign importations were extremely scarce at the Heraeum, 1 and that the great mass of vases was made on the spot. There is nothing to forbid the presence at Argos of Cyrenean ware, which is the only ware in Greece during the latter part of the sixth century that seems to have contested the field with Athens. At the same time we know that all Attic vases were excluded from Argos during the latter part of the sixth century, and not enough of this Cyrenean ware is found to make up for the lack of black and red figure vases. The kylix was the only form represented, and seemed to fall into two types. 1. Attic type (Arch. Zeit. 1881, pi. xii. 2a). 2. Rim and shoulder sharply separated (ibid. pi. xii. 4). It was not possible in every case to identify the form from which the fragment came. The clay corresponds in every respect with other Cyrenean vases, and the decoration follows the same scheme. The interior has a design in a circle, on an exergue. Red is frequently applied to various details. The exterior as a rule is given up to the usual sequence of Cyrenean motives, rays, tongue pattern, and pomegranate chain ; a few fragments show r ed traces of a figure zone on the exterior. 1 Except the Corinthian style, and that, we have seen, might possibly have been manufactured in the Argolid and not imported. 174 THE VASES AND VASE FRAGMENTS The execution is certainly inferior to the ordinary vases of the style. Not enough figures are preserved to judge accurately on this point, but in the ornamental motives there appears a certain lack of firmness and crispness in the drawing. 3. Fragment of kylix, Type 2. White slip, palmette and pomegranate border. Below, zigzag pattern and rays. C£. Arch. Zeit. 1881, pi. x. 3; Nauhratis , I. pi. ix. 4. Fragment of kylix. Glaze on exterior.. Interior covered with a white slip. Eagle with snake in its beak. Decoration faded. 5 a and b. Two fragments of kylix, white slip on both sides. On exterior, pomegranate border; on interior, warrior to left with helmet and spear mounted on horseback, the neck of the horse showing to left. On b, part of hind leg of horse. 6. Fragment of kylix. On exterior, tongue pattern and rays. On interior, two feet of a woman (probably) on some object, perhaps a foot stove (cf. B. C. H. XVII. 1893, p. 236, fig. 4). On the left, part of a scroll. The other fragments possessed little interest. A few showed portions of the central pictures, a bird, horn of a goat, legs of some animal, palmette, etc. The larger part of the fragments possessed only the usual Cyrenean motives on the exterior. CHAPTER VII. BLACK- AND RED-FIGURE STYLES. Fragments of the Black- and Red-figure styles were represented at the Heraeum in extremely small quantities — not more than a basketful of the former and hardly more than fifty of the latter. Considering the extreme popularity of this ware during the latter part of the sixth century throughout the whole of the Greek world, the explanation of its absence presents one of the most interesting problems afforded by the Heraeum. That the fragments of these two styles found at the Heraeum are of Attic manufacture there can be no question. We have seen already that vases of foreign workmanship were extremely scarce at the Heraeum, but no certain explanation of this deficiency was to be found; in the case of the Attic vases, however, the explanation of their absence at Argos is perfectly satisfactory and agrees with the historical evidence at our command. When, after the reforms of Kleisthenes, the rise in power of the Athenians had driven back her envious neighbors, Thebes and Chalkis, the former turned to the Aeginetans for assistance, who gladly gave it on account of an ancient feud with the Athenians . 1 The origin of this feud was as follows : — Once, in early times, the land of Epidauros suffered through a failure of the crops ; 2 to bring relief, the Delphic oracle ordered the Epidaurians to erect statues of Damia and Auxesia , 3 not in bronze or stone, but of cultivated olivewood. For this material they applied to Athens, ostensibly because there existed no olive-trees in Greece outside of Attica, and the request was granted by the Athenians on condition that an annual tribute to Athena Polias and Erechtheus should be paid. This condition was scrupulously car¬ ried out so long as the Epidaurians retained possession of the holy statues. But Aegina, a colony of Epidauros, grown overbearing through her rapidly increasing sea-power, asserted her independence, and during the course of an incursion into Epidauros carried away the statues and set them up at Oia, twenty stadia from the capital, where a cult to the two goddesses was inaugurated. The Epidaurians then refused to pay their annual tribute 1 Ilerodot. V. 81 ft'. 8 Paus. II. 30, 4 ; cf. Roscher’s Lex. I. p. 738. 2 Ibid. V. 82 ft. THE ARGIVE EXCLUSION OF ATTIC POTTERY 175 to Athens, and the latter endeavored to obtain the statues from Aegina, but, failing to persuade the Aeginetans to give them up, sent an expedition consisting of one trireme (according to the Athenian tradition) or (according to the Aeginetan tradition, which is more probable) of a whole fleet. While the Athenians were unsuccessfully endeavoring to remove the statues, they were attacked and completely destroyed, with the exception of one man, by the Argives, whom the Aeginetans had called to their aid. This survivor, on his return to Athens, was attacked by the wives of his slain comrades and stabbed to death by their brooches. The use of the brooch was then forbidden in Athens, and hence the introduction of the Ionic chiton came about. The Argives and the Aeginetans made it a custom that women should dedicate brooches in preference to other offerings in the temples of their goddesses and also passed a law “' Attik'ov Se /xifre ti a Wo npocrepe- peiv irpos to Ipov pujre k 4 papov, dkX’ Ik ^vt piho)v iiri^opiecDV vopov to \olttov avTodi elvaL ttlvelv” 1 (“that nothing of Attic manufacture should be dedicated in the temples, not even vases, but that they [the Argives and the Aeginetans] should in future drink from vessels made from the clay of the country ”). In spite of the legendary character of this tale, there seems no valid reason for reject¬ ing it. Herodotus does not mention the date, but Studniczka 2 has shown that the expe¬ dition referred to must have taken place between 570 and 550 b. c., since Athens could hardly have undertaken such an expedition before the increase of her naval power under Solon and Peisistratos; nor would the expedition be likely during Peisistratos’s third period of power ( circa 540 b. c.), as his wife then was an Argive. Also the history of Argos shows that she was at war with Sparta from 585 to 570 b. c., and with Sikyon from 549 onwards. 3 Now a survey of Attic vase painting shows that the black-figure style did not come to its full development earlier than 550 b. c., and the period before that date is represented by such potters as Nikosthenes and the ‘ Lesser Masters ’ group. The red-figure style was not introduced until some twenty years later, and its finest work falls in the period between the end of the sixth century and the Persian wars. An examination of the black- and red-figuire fragments at the Heraeum reveals the following facts: that of the scanty number of black-figure fragments barely a dozen belong to the better period (i. e. after 550 b. c.), while of the red-figure fragments, which are earlier than the Persian wars, hardly more than half a dozen were found. 4 Here at Argos, then, we have a period of seventy years, represented by hardly twenty fragments of the most popular styles throughout the Greek world. That the cause of this is the embargo passed by the Argives against Athenian products in the sixth century becomes a fact too plain to be doubted, and shows that the date assigned is the true one. Thus Argos puts herself on record with perhaps the first recorded case of an absolutely prohibitory tariff or embargo. That the act was a case of pure spite and not due to any desire to protect ‘ home industries ’ is plain, since no increased activity on the part of the Argive potters is the result. The presence of the few fragments mentioned does not affect the truth of the statement, for if we consider the enormous amount of vases of these two styles exported from Athens, it may be seen that no tariff measure could be so completely effective as to prevent a single Attic vase from entering the Argolid, and as the absence of this ware at Argos must have some explanation, it would be difficult to find a neater one than the passage just quoted from Herodotus. 1 Herod. V. 88. The same statement is found in Atlie- 3 Curtius, Griechische Geschichte 5 , I. p. 308. naeus, Deipn. XI. 502 c. This passage has been com- 4 Mr. Stais informs me that very few fragments of mented upon by me in the Class. Rev. 1898, p. 88. either style were found by him at Aegina. 2 Beitrdge zur Geschichte der altgriechischen Tracht, p. 4. 176 THE VASES AND VASE FRAGMENTS If, then, we have for seventy years an absolute lack of Attic ware at the Heraeum, the question arises, “ What took its place?” since it is hardly conceivable that no vases should have been manufactured at the Heraeum. Three suggestions are possible : — 1. The early style (Argive) may have continued. This is unlikely, as it was contrary to Greek taste in the developed periods of art to use old-fashioned types. 1 2. Some other foreign type was imported to take the place of Attic vases. No such type was found. 3. Some local type must have been used. This is the most natural explanation, hut it cannot be affirmed with certainty that this type has been found. A large number of fragments of a certain type of vases (four basketsful) was found, which type, as far as I know, is peculiar to the Heraeum. These were of red or yellow clay, covered on both sides with a black glaze, the only decoration consisting of two par¬ allel stripes of applied red on the exterior, just below the rim (most of the fragments belonged to skyphoi), varying in thickness, but never more than 2 mm. broad. So common was this type, and its characteristics so unvarying, that we soon came to the conclusion that a special Argive type was represented. Any chronological classification is impossible, but the following points of difference were observed. Half the number were of coarse clay, with a very dull glaze, while the other half consisted of fragments of a fine red clay, carefully cleaned, with a glaze of extreme brilliancy. At first sight it would appear that the latter were Attic, but a close inspection shows that the clay is not as fine or light as in Attic vases, nor the glaze as even, distinct irregularities being pre¬ sent in the surface of the clay, under the glaze, both to the sight and touch. In Attic vases of the best black- or red-figure periods, the clay is always carefully smoothed before applying the glaze, and such irregularities are not usual. These seem to be the only fragments which answer the requirements of our third sug¬ gestion. The Attic influence is plain, through the fineness of the glaze, and it is prob¬ able that the Argive potters borrowed this feature from their Athenian contemporaries. At the same time the application of red stripes is distinctly an Argive feature, and fol¬ lows a fashion instituted several centuries before. No vases were found intact, nor could any be restored from the fragments. Fig. 98 shows an example of this particular style (red clay, width, 0.05 m.; height, 0.052 m.). BLACK-FIGURE STYLE. Fragments of the following vases were found: kylix, skyphos, amphora, lekythos, and plate. No vase was recovered intact, nor could any be restored from the fragments, as in hardly any case were more than four or five fragments from the same vase preserved. Fig. 98. Kylilces. Fragments of the kylix shape were most numerous. Two types were represented 1. With tall foot, deep bowl (‘Lesser Masters’ shape. Berl. Cat. vi. 171). 2. With short foot, shallow bowl (Jierl. Cat. vi. 172). Few of the bases were preserved, but it may be seen from the fragments of the rims that Type 1 was the more common. None of the bases found showed any central pic¬ ture on the interior of the kylix. 1 It may bo urged in reply to this that Athens continued to use the archaic type of coins through the fifth century, but that was due to a special cause. BLACK-FIGURE STYLE 177 1. Plate LXII. 7. Fragment of rim. Band of glaze on rim. Panther’s head full-front, and back of some other animal. This would seem to be one of the earliest fragments of the style found at the Ileraeum. The panther on the animal zone shows the Corintho-Attic influence. 8 . Rim. Same technique. Rider to left clad in a white chiton ; behind him a spear or a goad of another figure. Incised lines used on hair, eye, and arm. This fragment is by all odds the finest bit of black-figure work we found. 9. Warrior, armed with shield, greaves, and corselet. Five white balls on the shield. This addition of a shield device in white is extremely common in black-figure work. Half a dozen similar fragments were found. 10 . Lower part of driver with long white chiton in chariot to right. Behind him rear part of horse to left, white dots on legs. Other fragments showed figures of men or women in procession, animals, etc. White is always used to mark the flesh color for the female figure and red very frequently for the men. The glazed band is generally separated from the main zone by a slight projection. 2 . Main zone directly along the rim. 11 . Head of man to right. 12 . Head of horse to right. This fragment in point of drawing is among the best we found. 13 . Female head to left; flesh white, incised lines along edge of hair. Red fillet in hair. 14 . Satyr to right; ivy vine in field. Satyrs were found on quite a number of fragments. The drawing in every case was extremely careless. 15 . Eye with iris in white, and white circle ; in field, ivy vine. To the right of the eye what appears to be a satyr stooping with one hand on the ground. Streak of white marking perhaps a wine skin which the satyr is carrying. With ivy border along rim. 16 . Head of sphinx (part of wing showing) to left, flesh white, red fillet in hair. Fragments of this description were extremely numerous. Quite a number of frag¬ ments were found which showed only a palmette system around the exterior, ornamented at intervals by white or yellow dots. STcyphoi. ( Berl. Cat. vi. 190.) Fragments belonging to this form were not very numerous. 17 . Fragment of skyphos. Reddish yellow clay, with black glaze on interior. Herakles and the Nemean lion. If the interpretation of the scene is correct this fragment is clearly later than 550 B. c., since the type of Herakles strangling the lion without the aid of any weapon is not introduced in vase- painting till after this date (Roscher’s Lex. I. p. 2197). The form of this vase differs slightly from that of the Berlin type, as the rim is not so sharply defined. It was very difficult in the case of the other fragments to tell whether they should be considered as belonging to this or the kylix form. Tripod Bowl. 18 . Le g with rim of bowl similar to Plate LXI. 21. Slight moulding on rim, glazed. Two male heads facing each other and a third head on the left. This was the only fragment of a black- figure bowl of this description. 178 THE VASES AND VASE FRAGMENTS Amphora. 19 . Foot and leg to left. The style of the drawing suggests a Panathenaic amphora. Fragments of amphoras were extremely scarce. Some half a dozen belonged to the rims of large amphoras and showed the usual lotos chain on the flat surface of the rim. One fragment of the side showed the lower part of three seated figures. Several bases and a few fragments of amphora covers were found, the latter showing a ray pattern in the centre and an animal zone around it. Lehythos. 20 . Side of lekythos; horse and rider to right. Fragments of lekythoi were quite common. Such as had any decoration showed a remarkable lack of finish. 20 is the best specimen. Horses, single, double, or in a quadriga, formed the usual subjects. Plate. 21. Fragment of plate, exterior glazed. On interior, heads of Dionysos and satyr, red applied on the hair and beard of each. Above Dionysos’s head, ivy leaves. 22. Same. Head of cock. The exact form of these plates cannot be determined, as it is impossible to tell whether they were provided with a foot. No other fragments were found. We also found a fragment of a phiale precisely similar to one in Syracuse {Not. d. Scav. 1893, p. 479) and a fragment of a patera. The latter had no decoration except a tongue pattern (red and black lobes) on the flat surface of the rim. POLYCHROME WARE. Only four fragments of this ware were found. 23 . Fragment of kylix. Black glaze on exterior; interior covered with a white slip on which is the arm of a figure in black and the corner of a garment (?) in red. Below, what seems to be a spear. 24 . Base of alabastron, white ground. Border of rays, points downward, and the feet of a figui’e in black. Two other very small fragments were also found. These had a white ground on which was the haunch of some animal with red dots on the leg. One fragment showed a human hand over the animal’s body. Judging by the style, the last two fragments belong to the early part of the black-figure period. The following fragments are selected from a dozen similar ones. Their identification is difficult, hut it seems most probable, owing to the presence of the applied stripe in red, that they belong to the class just mentioned p. 176), which may possibly have taken the place of Attic products at the Heraeum. The technique in all is the same; light red clay, covered on both sides with a black glaze, to which the decoration is applied in white and red. A few fragments from Naukratis in the British Museum show a similar use of white, but the motives are different, nor are the red stripes employed. 25 . Fragment of kylix. On rim, red stripe; flower pattern in white laid sideways. 26. The same. Two bands of flower pattern were evidently represented. Below, two red stripes. 27 Central part of kylix. Lotos pattern in white. RED-FIGURE STYLE. It is difficult to make any selection of the red-figure fragments. Less types are repre¬ sented than in the black-figure style, and, furthermore, such as we have are, with one RED-FIGURE STYLE. POLYCHROME WARE 179 exception, of little importance. As far as can be told from the various bases and handles preserved, three shapes were represented, — kylix, amphora, and skyphos. Exactly six fragments of the first period of the severe style were found, of which five are here repre¬ sented. Of a rhyton, representing the head of a satyr probably, the eye, one ear, and part of the beard were also found, but no reconstruction was possible. SEVERE STYLE. 28 . Fragment from rim of kylix. Palmette. 29 . Fragment of kylix. Backs of two horses. On the flank of the first, a small wheel orna¬ ment, and a band on the shoulder. 30 . Fragment of kylix. Female figure, draped, with arm extended. Perhaps an Athena. 31 . Form uncertain. Leg of a warrior to right armed with shield, with a frieze border. Glaze badly worn ; traces of preliminary drawing. The fifth fragment of this period is the polychrome kylix (see below). The sixth fragment represented a palmette similar to 28 . LATER STYLE. 32 . Fragment of amphora. Upper part of woman’s head to left (maenad probably), with a saccos, holding a tliyrsos ; above, tongue pattern. 33 . Fragment of kylix or skyphos. Boy holding torch to right. 34 . F ragment of amphora. Man in mantle with staff, facing another figure (probably a woman) clad in chiton and himation. The other fragments showed the upper part of a youth wrapped in a mantle, very poorly drawn ; two hoofs of a horse clear of the ground, probably represented as galloping; parts of garments of several figures, and various bits of palmettes, tongue patterns, etc. POLYCHROME WARE. Plate LXYIII. Two fragments 1 of a kylix (form, Berl. Cat. vi. 224). Exterior entirely covered with a black glaze, fairly brilliant. The original form seems to have been the squat-footed type with a thick base, characteristic of the smaller kylikes with no decoration on the exterior. The entire interior is covered with a whitish yellow slip slightly reddish in places. The central picture, bounded by a plain circle, represents a group on an exergue, a nude satyr (upper part of head missing) leaning on some object, probably a rock. He has a horse's tail and long shaggy beard; his chest and abdomen down to the pubes are thickly covered with hair. Faint red lines are used for the muscles of the stomach and the knee cap. On b a foot projecting from a garment to right upon an exergue. In the field of a, inside the circle, E A (ey[pao-er] ?). The subject of the composition is not quite clear. We have a group of two figures, a satyr and another figure, which may be male or female ; the circle is too small for a third figure. Three interpretations are possible, — Satyr and Dionysos, Marsyas and Athena (Roscher's Lex. II. p. 2446), Satyr and Maenad. The first is possible, but unlikely, as Dionysos is generally repre¬ sented with an attendant satyr on each side. The second is extremely doubtful, for the object in the centre rather speaks against it, at least if we imagine such a scene conceived in the spirit of the Berlin lekythos (Baum. Denk. p. 1001, fig. 1209). The last interpretation is the most likely, though how the group was represented is impossible to say. The loss of the larger part of the subject is irritating enough, but the mutilated inscription is still more perplexing. That ‘i-ypafyaev was written, and that the artist’s name followed the verb seems most probable, but what the name was cannot be conjectured on such slight indications. If, as is possible, the vase is by some well-known artist, more can be gained through the stylistic features. The class of polychrome vases known to us at present is not very large. Hartwig 2 enu- 1 Another fragment with part of the handle was found 2 Meisterschalen, p. 499, note 1. which had no decoration except the white slip. 180 THE VASES AND VASE FRAGMENTS merates twenty-five, and there are two in the Louvre; 1 the number is increased to twenty-eight by our vase. The attitude of the satyr on a polychrome kylix from Ruvo 2 with ’AA./«/ 3 id< 5 ? 7 s «aA.Tav[_8po<;~\, [H]az'rdz'[ajp], [n]az'raz'[Spo 9 ], [II ]ttZ'7dz'[€//.G9]. 13. I jow bowl, which resembles in shape Furtwiingler, Berl. Cat. vi. 215, restored INSCRIPTIONS ON VASES 187 from several fragments. One horizontal and one vertical handle. Diameter of top, 0.096 m. Black glaze inside and out. The inscription, which is complete, encircles the top of the vase, and is divided into two parts by the handles. Though every character is perfectly clear, no satisfactory interpretation of the inscrip¬ tion is here offered. A close parallel in letter-forms is afforded by an incised inscription on a fragment of black glazed ware from Mycenae (/. G. A. 29). In both this and in the inscription from the Heraeum hepoos corresponds exactly, letter for letter, even to the small o-signs and the narrow four-barred sigma. Yet to change rpv- of the Heraeum inscription to to is entirely too violent, and no other explanation suggested has more in its favor. 14. Brown clay, with dull black glaze. Silenus head in relief on top of vertical handle to left of inscription, which is set in a frame of incised lines. ep - Can this be the same as No. 13? The letters appear to be later. Nos. 15-20 are incised on the outside of their respective vases; Nos. 21-23 on the inside; and Nos. 24-29 on the bottom. The characters of No. 16 are similar to those of No. 2. No. 22 is on the reverse of No. 16. No. 26 shows the Corinthian form of beta. 30. On bottom of small unglazed vase of dark gray clay. Inscription pressed into the moist clay before firing. 'Hpa/cXet - ov - This inscription is shown by its letter-forms to be some centuries later than Nos. 1-29. The Argive Heraeum Plate L s ****S*Jf Wifmi mum o o OOOoO'^o mU/Muto •./VV <' "... : . ^ VASE FRAGMENTS.—PRIMITIVE VASES The Argive Heraeum Plate LI &*»>»» W> VASE FRAGMENTS MYCENAEAN STYLE : DULL FINISH AND CLASS II, i LUSTROUS FINISH The Argive Heraeum Plate LII VASE FRAGMENTS.—MYCENAEAN STYLE: CLASSES II, 2 AND III, i. The Argive Heraeum Plate LIII VASE FRAGMENTS.—MYCENAEAN STYLE: CLASS III, 2 . The Argive Heraeum Plate LIV kr luouuu' VASE FRAGMENTS.—MYCENAEAN STYLE : CLASS III, The Argive Heraeum Plate LY VASE FRAGMENTS.—MYCENAEAN STYLE: CLASSES III 2 AND IV The Argive Heraeum Plate LVI VASE FRAGMENTS.-GEOMETRIC STYLE: LINEAR MOTIVES, HORSES, BIRDS, ETC The Argive Heraeum Plate LVII 25 VASE FRAGMENTS. GEOMETRIC STYLE: HUMAN AND ANIMAL FIGURES. The Argive Heraeum Plate LVIII ItPiiP L w , '* ■■ ^B/gS^^SS^ VASE FRAGMENTS.—GEOMETRIC STYLE: DIPYLON AND AEGINETAN. The Argive Heraeum Plate LIX VASE FRAGMENTS.—ARGIVE STYLE. The Argive Heraeum Pi.ate LX VASE FRAGMENTS.—LOCAL STYLE. The Argive Heraeum Plate LXI VASE FRAGMENTS.—CORINTHIAN STYLE. The Argive Heraeum Plate LXII VASE FRAGMENTS.—EARLY ATTIC, CYRENAEAN, RED AND BLACK-FIGURE. MEGARA WARE, ETC. The Argive Heraeum Plate LXIII ^ VsVv.. t. s ^ s ^ '■n^TJT-,T T 7 T ! l jlijJHlMi '" '' ><<«U<<<< & 2 T! > 1 ® 5) £ r 1 0 3 .ft 3 K J w @ w w W W J a £ a * 0.011(5) *0.014(5) 0.006(5) 0.006(5) 0.006(5) 0.007 0.004 *0.012 *0.005 * 0.008 *0.018(5) Canon. 0.018(5) 0.018(5) 0.007 0.004 0.018(5) 0.018(5) *0.012 *0.014 0.006 0.006 0.006 0.006 0.004 *0.012 * 0.006 *0.008 *0.018 0.018 0.018 0.006 0.004 0.018 0.018 Ears about normal, but superficially treated. Project nearly at right angles. Upper edge of lobe on line with outer corner of eye. Top on line with eyebrows. Slight attempt at detail. Hair much injured on top. 2 Original treatment uncertain. Bound by taenia, which is visible at back and up to ears, but uncertain whether it 1 Note brachycephalism (cephalic index 90 !) as com¬ pared with shape of later Peloponnesian heads. 2 Cf. B. M. Cat. of Bronzes , No. 210, and Perrot and Chipiez, Histoire de l’Art, I. ( Egypte ), p. 6G4, fig. 452. 3 End of tip folded under in Nike of Archerinus type, Acropolis Museum, No. 690, as is shown by lines of en¬ graving. For doubtful cases, cf. Francois vase, olvox&v of Cholchos in Berlin (Wiener Vorlegebl. 1889, pi. i. 2 b), hydria of Timagoras in the Louvre (ibid. pi. v. 4 c), and b.-f. amphora (Gerhard, IV. pi. cclxiv. 1). 4 Thus differing from early “ Apollo ” type (Orcheme- passed over top of head or over forehead, and was covered at sides by overhanging locks. Former seems more probable. At back, hair falls to shoulders in heavy rounded mass, ending in flat tip. Originally engraved with fine lines running toward tip. Of this only slight indica¬ tions remain. Tip at end shows tying of ends of hair. No folding either under or over. 3 No trace of cord, but trace of depression where it passed. Height of tip, 0.007 m.; width, 0.008 m. Falls circ. 0.009 m. below top of shoulder. Front of hair formed by three carefully engraved curls starting behind ears and falling backward in a curve towards tip. 4 Neck large and thick. Height, 0.004 m. Period to be determined from head, which is more advanced than body. Later than the “ Apollo ” figures of the first group (Thera, Orchemenos, Melos, etc.), but earlier than the Apollo of Canachus at Didyma or its replicas (Payne-Knight, Piombino, Naxos, etc.). Probably a little later, to judge from hair and arms, than the statue at Delphi by Polymedes (Homolle, B. C. H. XXIV. [1900], pp. 445 ft.). The bronze reliefs, Olympia , Nos. 707 (pi. xxxix.), 707 a, are not closely similar in style. Plate LXX. 4 . Bearded standing male figure. Proveni¬ ence unknown. Height, 0.0605 m. Cast solid. Surface suffered from oxidation. Arms hang- stiff, with hands open and flat, with extended fingers attached to thighs. Arms small, with no modeling. Left thumb seems to show a nail. Length of arms, including fingers, right, 0.0235 m. i, left, 0.024 m. Arms separated from body by relatively large opening which is cut higher on right side. Legs and feet fastened together, even to tips of toes. Toes partially indicated on left foot. Contour of legs fairly good. Length of feet, left, 0.008 m.; right, 0.007 m. Broad square shoulders. Body and waist not exces¬ sively thin. No indication of belly, navel, or nipples, but chest slightly fuller than abdomen. Circumference at shoulders, 0.047 m.; at waist, nos, Thera, Melos, etc.) on the one hand, and on the other from types represented by statuettes from Naxos (Frankel, A. Z. 1879, p. 84, pi. 7) and from Ptoon (Holleaux, B. C. H. X. p. 190, pi. 9). An intermediate or combination type also from Ptoon (Kabbadias, KardA 070 s tu>v TXvktuv, No. 16, Holleaux, B. C. H. X. pp. 73 ff., pi. 7), with one curl over breast and two over shoulder behind. See in general, Conze, Nuove Mem. dell ’ Inst. pp. 408 ff., Waldstein, J. H. S. I. pp. 168 ff., Sehreiber, Ath. Mitth. VIII. pp. 246 ff., IX. pp. 232 ff., Studniczka, Jahrbuch, XI. (1896), pp. 289 ff. 196 THE BRONZES 0.03 m. Back sliort. Rump high and promi¬ nent, parted by groove, which continues straight down to bottom of feet. Head high and wide, but shallow. Height, 0.0145 m. Width above ears, 0.0125 m. Depth from bridge of nose to back, 0.011 m. Face retreats sharply from tip of nose to top of forehead. Top of forehead seems to form ridge running nearly from ear to ear. It may be a diadem, but probably not. Nose short and prominent. Eyes large, in large sockets. Left more rounded than right. Mouth short (0.0035 m.) and wide. Under lip flattened, with groove near the top, thus making mouth seem wide open. Chin long. Beard mainly de¬ stroyed, showing chiefly in sharpness of angle along line of jaws. Ears large and prominent, set high. Slight attempt at modeling interior of ear, noticeable especially in right. Top of forehead to bridge of nose, 0.0075 m. Tip of nose to mouth, 0.002 m.; to chin, 0.0065 m. Bridge of nose to ears, 0.008 m. No indication of particular dressing of hair. 5. Upper part of female figure. From south slope. Height, 0.094 m. Cast solid. Figure broken at navel. Arms also broken. Front of hair damaged on the right side, between centre and right rosettes, and the right rosette (not ear¬ ring) is destroyed. Headdress broken, so that original form is uncertain. On right side, lower right volute was apparently attached to the lotus- blossom above by transverse piece, of which only stub remains. On lotus-blossom just above lower right corner is seen place where something was attached. Centre of this place, 0.00125 m. from upper right side of flower. On left side, left volute gone. On left side of lotus, 0.012 m. from top of left side is similar attachment place to that on right side. Top of headdress slightly irregular but does not appear to be broken, as lines of engraving of the back piece continue over top. Surface of bronze well preserved ex¬ cept for abrasions. Figure was probably stand¬ ing. Left hand probably held object. Action of right arm uncertain, but probably held some¬ thing 1 stretched out from elbow. Action of lower part of figure uncertain but seems probable that it was a free-standing statuette, though it may have stood on a base. Figure entirely nude, 2 as shown by indication of navel. 3 Style of fig¬ ure archaic of advanced type, marked by ease and sureness of technique. Breasts, slight and angular, ending in blunt and rounded points. No indication of nipples. Body modeled in two planes; the upper from neck to nipples, lower continuing thence straight downward. Between breasts and navel two broad shallow furrows, connected by similar perpendicular furrow. 4 Back without details. In general, body of this figure shows artist’s effort to escape from uni¬ formity and sexlessness of the nude type. Con¬ siderable skill, relatively, is shown in modeling of arms. Position of right arm together with muscle shows that it did not hang loosely, but was probably extended at elbow. Neck full and rather long. Length, 0.007 m. Sharply dif¬ ferentiated from the body. On chest just be¬ low neck is necklace in zigzag pattern. 5 Head high and somewhat shallow. Height from chin to top of headdress in front, 0.021 m. Depth from bridge of nose to back, circ. 0.0175 m. Forehead appears low because of headdress, but quite full over eyes. Eyes large, set in plainly defined sockets. Ball of eye full. Upper and lower lids shown. No prolongation of upper lid over lower at outer corner. Indication of eye¬ brows uncertain. Nose straight and regular. Mouth short (0.0035 in.). Lips prominent, rather thick. 6 Chin pointed and prominent. Cheek¬ bones high. Cheeks well modeled. Kalkmann’s measurements: — 0.000 0.007 0.016 0 "2 £ V . S OS ’3 ■ g 5 a5©rt U -f* 05 | 1 ]>. 177 ff., pi. vi. 3 Aia^w/ua, as in mirror-handle, ’A px- 1805, pi. vii. (Re Ridder), not excluded. 4 Cf. Naxos statuette, Arch. Zeit. XXXVII. (1870), pi. vii. (Friinkel),and horseman from Peloponnese,De Ridder, Bronzes de la Soc. Arch. No. 860, pi. ii. 6 Cf. Perrot and Chipiez, Histoire de I’Art, I. (Egypte), p. 762, fig. 511; III. ( Cypre ), p. 531, fig. 358. Design occurs also on several terra-cottas from the Heraeum. 6 Cf. archaic female terra-cotta head in Acropolis Museum (A Idovcra. E 15w\lcov, case 7 ?), bronze statuette in National Museum at Athens (No. 6576), and terra-cotta mask from Tanagra in same museum (No. 4143). ANIMALS: HORSES 197 Ears slightly indicated under headdress. Ro¬ settes projecting from headdress opposite angle of jaw, undoubtedly earrings. If lobe of ear is considered as coming as far down as these rosettes, the ears would be placed remarkably correctly for an archaic work. Head on top and behind covered with sort of wig of nearly uni¬ form thickness. This wig lies low on forehead. From temples it slopes off to the ears, beneath which it swells forward to about middle of side of neck. Hair falls down at back to a blunt point. No indication of tying at tip or of folding under. From top of shoulders, two flat curls, hanging- downward on either side of the breast. Head¬ dress ornamented with rosettes 1 above the tem¬ ples and the centre of forehead. They consist of slightly concave disks, with tiny knob in centre. From this centre engraved lines radiate to outer edge. Hair and curls ornamented with short, oblong punch-marks, except on left side of head. For front hair (forehead, neck, and curls) a smaller punch seems to have been used. Above headdress is ornament of lotus flower and bud, rising from volutes. 2 Height, 0.0305 m. Of these volutes, three remain, of which the two larger are placed back to back. The other at the right curls under end of bar which con¬ nects the former. Whether there was another volute is uncertain. These volutes ornamented with irregular engraving. The larger volutes were meant to be connected by oblong ornament across their face. This ornament consists of a zigzag inclosed by a rectangle, and seems to have been stamped with a concave punch. The lotus ornament rises above central volutes and consists of bud, sides of flower and palmette- shaped back of same. Bud ornamented by fine line running near edge, all around from top of stalk, and by slight punch-marks struck between the lines. Back of ornament is entirely plain, and rests against nail-like support 3 growing out of top of head, with which it is cast in one piece. Lotus and volute seem cast separately and welded on to head. 4 Probably to be understood as Aphrodite with Orientalizing headdress. Cf. De Bidder, Bronzes de VAcropole, Nos. 806, 820, 799 ff., and Petersen, Athen. Mitth. XI. p. 375. For indirect analogies, cf. Astartewith Hathor crown, Roscher, Lexilcon d. Mythologie , I. coll. 652 f. (E. Meyer), the Syrian, Cypriot, and Graeco- Roman combination Aphrodite-Isis, ibid. II. coll. 495 (Drexler), and the Hellenistic identification of Isis with Io, ibid. coll. 439 f. Not to be iden¬ tified with Isis, because earlier than introduction of her cult into Greece. Period about that of Apollo of Canaclios at Didyma. 6. Fragment of leg. Provenience not known. Badly preserved. Length, 0.0325 m. Cast solid. Probably of male figure. Modeling- superficial. Knee-cap appears to have been especially indicated. From appearance of back on the left seems to be right leg. 7 . Fragment of leg. Length, 0.022 m. Pro¬ venience unknown. Solid. Left side slightly flatter than right. So probably piece of left leg. No details. Bent slightly at knee. III. ANIMALS FREE AND ATTACHED FIGURES 1. HORSES. GEOMETRIC STYLE. Type a. Plate LXXII. 8 . Stallion. Found back of South Building'. © Solid. Base broken off in cleaning 1 . Tail gone 1 Cf. Cesnola, Descriptive Atlas of the Cesnola Collection, II. pi. xlviii., Perrot and Cliipiez, op. cit. III. ( Cypre ), p. 545, fig. 371, and head from Cyprus in Nat. Mus. at Athens (No. GO). 2 Cf. volutes on sphinx-heads on scrap of archaic bronze relief from Corinth. Jahrb. IX. Anz. p. 117, fig. 10. 3 Top of support flat, closed, and ornamented with zig¬ zag near edge. Represents mouth of lecythus. Cf. except where attached to base. Hind legs, front left leg, and nose close to neck broken. Other¬ wise fairly well preserved. Original height, 0.068 m. Present height with base, 0.064 m. Body cylindrical and rather long. Attempt to indicate shoulders. Legs flat, especially near body, where they are slightly hollowed on inside. Heuzey, Figurines de terre cuite du Louvre, pi. xiii. Nos. 4 and 6 (Rhodes), Korte, Arch. Zeit. XXXV. pp. 116 f., pi. ii. (Orvieto), Winter, Jahrhuch, XIV. pp. 73 ff. 4 Ornament appears to be translation of Osiris crown into terms of lotus. Thus the crown of upper Egypt is represented by bud, plumes by sides of flower, ram’s horns by extended volutes at base, and asp heads perhaps by last upper portions of volute. 198 THE BRONZES Hocks and knees indicated by knobs or pro¬ tuberances. Neck wide and flat, with curve where inane should be. Bent slightly to right. Nose rectangular, upper head flattened. Fore¬ lock indicated. Eyes and ears not clearly dis¬ tinguishable. Base 1 ornamented on under side with line running entire length. On left side of line, tooth-ornament. On right side a heavy zigzag, outside of which along edge a narrow tooth-ornament pointed inward. Near front right corner, small indentation. Front left corner broken off. This animal is of the severe or angular geometric style, marked by long body with angular jointing of neck and legs, crupper rising very little above back. Extreme flatness of neck also a feature of this phase of the style. 9. Hind part of horse. Stallion. Provenience unknown. Fragment. Heavily oxidized. Height, 0.032 m. Solid. Body slightly almond- shaped, being narrower at top. Legs flat, joined to body angularly. Parts between legs and under tail deeply undercut. Type b. 10. Horse with base. Provenience unknown. Neck and tail broken. Solid. Height, 0.004 m. Length of base, 0.0355 m. Width in front, 0.0135 m. Body short, slightly almond-shaped, as No. 9. Crupper high. Legs long and flat. Hips and shoulders not sharply set off, nor is joining to body angular. Attempt to show dif¬ ference between fore and hind quarters at juncture with body. Knees and hocks shown by sudden decrease in thickness on outside, the inside lines being straight. Body undercut be¬ tween legs, especially at back. No indication of sex. Feet not distinguished. Neck flat. Base plain on top. Below deeply undercut so as to show zigzag in relief, running lengthwise, with field at either side inclosed on front and sides by rim or frame, which is omitted at back. Short¬ ness of body, lack of angularity of joining of legs, and treatment of back mark this as milder geometric style. Antiquity shown by treatment of knees, hocks, and plainness of neck. 11 . Horse with base. Found southeast of temple, near wall, 1893. Right hind leg broken. Solid. Height, 0.0445 m. Length, 0.046 m. Length of base, 0.04 in. Width, 0.016 m. Body small, nearly cylindrical ; rather long. Crupper high, joining back with natural curve. Neck joins body more angularly, but softened 1 Cf. Olympia, No. 213 a. 2 Cf. Olympia, No. 217 a. with attempt to imitate nature. Legs small; shoulders scarcely marked, and hind quarters very small. Knees indicated only by outward bend. Left hock fairly truthful. Tail hangs straight down and is attached to base. No indication of sex. Neck flat, slightly curved along the mane. Ears indicated. Between them ridge for forelock. No certain indication of eyes, but an engraved line from right ear to top of nose, continued on other side to mouth. Joined on right side (of animal) by similar line. A semicircle engraved close to end of nose. Top of base plain, but bottom ornamented with zigzag pattern, consisting of double row of teeth running lengthwise, one in one direction, one in the other. 2 Each pair has centre line in com¬ mon. Style similar to No. 10, but more ad¬ vanced, as shown by treatment of neck, where it joins body, and by joints of legs. 3 Type c. 12. Horse with base. Found east of North¬ west Building, 1895. Legs broken. Solid. Height, 0.0765 m. Length, 0.069 m. Length of base, 0.048 m. Width (front), 0.0165 m. Width (back), 0.0185 m. Body rather short, slightly almond-shaped. Crupper fairly high, Legs long. Shoulders and hind quarters care¬ fully distinguished from body. Hocks indicated by slight projections with notch above. Tail curves outward and is attached to base. Legs undercut at body, more behind than in front. No mark of sex. Mane not indicated, but there is high forelock and crest, which with part be¬ neath was probably conceived to be covered with hair. Crest undercut above nose, which is nearly round. No mouth or eyes visible. Lumps at side of head are ears. Base plain on to]); bottom divided into two rectangular fields of about equal size, each surrounded by a rim. In left field, under hind legs, lion in relief to right with tail over back. Above neck, indistinct ob¬ ject, possibly upper part of a man. In right field a horse to left, moving. No details given, but head and body long, neck short, tail hangs straight. Above horse, a lizard (probably), to light. In upper right corner a serpent (per¬ haps) rampant. In this base and in that of the others, except No. 15, technique is that of carved design (probably in wood) impressed on clay model. This horse is a further development of type of Nos. 8 and 9. 3 Similar, but with flatter legs, Olympia, No. 200. HORSES 199 Type d. Plate LXXIII. 13 . Horse with base. Provenience unknown. Tail broken. Solid. Height, 0.066 rn. Length of base, 0.0485 m. Width (front), 0.024 m. Width (back), 0.026 m. Body short. Slightly almond- shaped. High crupper. Neck attached angularly, but not as sharply as in No. 12 . Shoulders not sharply differentiated from body. (Cf. No. 11 .) Left hind quarter distinguished a little more carefully than right. Knees shown by sudden narrowing in front, as though part of leg were cut out. Hocks given in same way. No feet. Undercut between fore legs up to line of body, square across. Partially undercut at back, especially between legs, which are wide apart, and under tail. Uncertain whether sex was indi¬ cated. Tail attached to end of base. On right side of neck a little back of centre, two concen¬ tric circles. Between this and head, traces of double line of dots across side of neck. Close to head similar line running across neck. Be¬ low circles a line of dots which does not at either end come to edge of neck. Beneath it, three other parallel rows. In front, the ends connected by irregular convex line of dots. At the back, first and second lines are connected square across. Connection between other lines doubtful. At right of rings there seems to be a broad zigzag connecting the lines at top and lower part of neck. On left side of neck, double row of dots just below ears. At bottom of neck an¬ other double row. Above second row, a wavy row. Across middle of neck, an indistinct pat¬ tern, perhaps a zigzag, in middle of which and of neck, a punch-mark, around which a small ring. Between right side of this zigzag and lines at top of neck apparently a similar irregu¬ lar zigzag. No indication of inane. 1 Nose long and cylindrical. Mouth indicated. Right eye shown by dot and circle. No certain trace of left eye. Right ear has engraved line down centre. Left ear has two such lines. Crest between ears. Base appears to have line of dots down both sides on top, near edge. Between front and back legs, cross of a double line of dots. At back, between tail and left side, double row of dots about 0.0015 m. apart. Bottom of base divided by raised line into two rectangular fields, surrounded on front and sides by a double 1 For body, neck, and legs, cf. Olympia, No. 200 a. 2 No clear stylistic parallel from Olympia. The near¬ est, Olympia, No. 1G3, having flat neck and other charac- raised frame. At back, single frame, from tail to bottom ; none above. In left field under hind feet, horse standing to right with neck, head, and ears fairly natural. Above horse, in field, indistinct animal, showing head, four legs, and short tail. In right field, a lion to left walking, with tail curled over back ; mouth open. Eye re¬ presented by knob in relief. End of tail bushy. This horse unites severe and milder types (a and b) before described. More advanced in technique, but in spite of certain softnesses, clings tenaciously to style as against nature. Type e. Early naturalistic and transi¬ tional. 14 . lloi \se. Found under Cyclopean wall above the east end of Stoa, 1893. Condition very poor. Base broken off in cleaning. Legs and tail gone. Solid. Height with base, 0.041 m. Length of base, 0.044 m. Width of base, 0.02 m. Body long ; nearly cylindrical, though slightly narrower in upper part. Crupper fairly high. Hock shown in left hind leg, marked by bend, and clearly defined exterior angle. Left knee indicated by bend and slight swelling. Body roughly undercut between legs. No indi¬ cation of sex ; probably female. Neck attached to body at obtuse angle with easy curve; about cylindrical. No mane. Top of head and face a triangle. No trace of eyes, mouth, or ears, due probably to bad preservation. Base plain on top. Bottom ornamented with parallel rows of arrowheads in relief running towai'd back, the whole inclosed by raised frame which forms outer edge of base. This animal is of geometric style, as base and undercutting between legs show. Body, shoulders, hips, and legs are of Type b. The neck is devoid of style and con¬ vention and more naturalistic. The head ex¬ cessively rude and clumsy. The piece is prob¬ ably as early as Nos. 8 and 9 , and earlier than Nos. 10 or 11 . In view of the radical stylistic characteristics of even the earliest and rudest geometric work, it is better to regard it not as preparatory to the geometric period but as the outgrowth of coexistent naturalistic tendencies. 2 15 . Horse with base. 3 Provenience unknown. Preservation fair. Solid. Height, 0.028 m. Length, 0.042 m. Length of base, 0.0305 m. Width of base, 0.015 m. Body somewhat ovoid in profile : rather long. Slopes from neck to tail. teristics of geometric style clearly indicated. For style of base, cf. Olympia, No. 217 a. 2 Base, Plate CXXXYII. 200 THE BRONZES No crupper. Legs short and thick. No shoul¬ ders, hips, knees, or hocks. Tail descends in curve to base. Body not undercut. Between hind legs remains a wall of metal, though it is undercut or hollowed out a little in front and rear. No sign of sex. Neck a flat ellipse, thinner at back than in front, joined to body at obtuse angle, with easy curve. Head rather flat. Mouth indicated, but not eyes. Ears rudimentary. No mane. Base of flatiron shape, plain on top. Bottom has one lengthwise line a little to right of centre, also some irregular lines at front and back and irregular diamond pattern at centre. Head, back, and body of free geometric style. Neck shows naturalistic influences. Base probably geometric, although the rude engraving might belong to any time. 1 16 . Horse with base. From Northwest Build¬ ing, 1894. Bits of legs and tail broken off. Solid. Height, 0.03 m. Length, 0.055 m. Length of base, 0.032 in. Width, 0.016 m. Body short and cylindrical, swelling quickly into shoulders and hips. Crupper high and round. Shoulders and hips attached as in Nos. 10 and 11 , but more freely. Hips light as compared with shoulders. Knees shown by bend ; hocks indicated plas¬ tically. Body not undercut in front, but cut out broadly between hind legs. Sex not shown. The animal is shown as looking forward and down. Neck nearly cylindrical. Ears project forward and up. Eyes formed by two holes close together. Mouth open, and on left side are notches, probably to imitate teeth. Notches not so plain on right. Upper side of base plain. Bottom ornamented with transverse zigzags arranged to make double line of arrowheads. o No border. Base is geometric; body and legs also of less severe type (b). Neck and head naturalistic. 2 Plate LXXIV. 17 . Horse with base detached. Found below east end of Cyclopean wall, 1893. Legs and tail broken, stubs remaining on base. Badly pre¬ served. Solid. Height, with base, 0.068 m. Length of base, 0.0515 m. Body cylindrical, but short. Crupper fairly high. Neck attached angularly. Fore quarters heavy, showing con¬ siderable attempt to imitate nature. Hind quarters lighter. Hocks carefully modeled. Body not undercut in front, and but slightly 1 Cf. animals of so-called terra-cotta style ; Olympia, Nos. 128, 130, 135, etc. 2 Style not paralleled at Olympia, but cf. with Olympia, between hind legs. Sex not indicated. Neck flat, but not thin ; only slightly curved. Mane not indicated. Head short. Eyes shown by two holes 3 bored from sides. Beneath ej^es and running back are the ears. Upper side of base has row of dots at back near edge, and apparently a double row on right side. Bottom divided by line made by cutting either side of it into lengthwise fields, each of which is en¬ graved with two parallel zigzag lines. These lines produce effects of zigzag in relief, with line of tooth-ornament also in relief at either side. In this figure the freer and more natural shape of body and shoulders, lack of undercutting, and greater thickness of neck are marks of emancipation from the geometric style, which, however, is still shown in the base, and in the flatness of neck. NATURALISTIC STYLE. Plate LXXIV. 18 . Horse (uncertain whether originally with base). Provenience unknown. Ears, legs, and tail broken. Solid. Height, 0.057 m. Length, 0.08 m. Body full, tends to cylindrical form. Back terminates in ridge from tip to tail. Body long, crupper slight. Shoulders slight, but full in front. Hips carefully marked. Hock indi¬ cated. Cut roughly between hind legs, but not undercut. No mark of sex. On middle of back two short cuts, and three at base of neck, which is short and thick. Neck thicker behind than in geometric types, and has sort of dewlap in front. Head short and thick. Eye indi¬ cated by circle. Forehead between eyes high, and marked by arrowhead over nose. This animal shows no true geometric influence, but imitates nature in manner of early archaic period, scarcely any detail being correct. 2. DEER. GEOMETRIC STYLE. Type a. Rigid. Plate LXXIII. 19 . Deer with antlers, on base. From north¬ west corner of West Building, 1894. Fair pre¬ servation. Solid. Height, 0.0525 m. Length, 0.037 m. Length of base, 0.021 m. Width of base, 0.0135 in. Body short and rather flat. Nos. 181 ff., regarded by Furtwangler as geometric of exceptional naturalism. For base, cf. Olympia, No. 217 a. 3 Now appear as groove, owing to bad preservation. DEER, SHEEP, CATTLE 201 Slight rise over hips. Legs flat, and slightly wider at top to indicate shoulders and hips. Knees and hocks unindicated. Legs under¬ cut, but not deeply. No mark of sex. Ears and mouth not shown. Uncertain whether eyes were represented. Horns rise in upright branches, each having short projecting prong near top and longer prong at bottom. Rec¬ tangular base, worked to represent frame, in¬ closing zigzag shaped like a three-stroke sigma. Body, neck, and legs indicate geometric style of severer type. Type b. Less rigid. 20. Deer with base. From northwest side of Upper Terrace, 1891. Fair preservation. Solid. Height, 0.041 m. Length, 0.045 m. Length of base, 0.029 m. Width of base (front), 0.0165 m. Width of base (back), 0.018 m. Body nearly cylindrical at shoulder. Slopes toward crupper like a cone. Crupper high and pointed. Upper front legs heavy. Hips not shown. No under¬ cutting, but legs well separated. No mark of sex. Neck (almost cylindrical) rises nearly straight, but increases slightly toward head and body. Head broad and flat. No ears or mouth. Uncertain whether eyes were indicated. Right horn projects up and back. Left horn broken. Top of base has zigzag across ends and diagonal cross from leg to leg. Bottom has rudely cut intaglio figure of uncertain significance, around which is a zigzag. Neck, body, and hind legs mark less rigid type. EARLY NATURALISTIC STYLE. Plate LXXIV. 21. Deer (uncertain whether with base). Found 1891. Condition poor. Solid. Height, 0.096 in. Length, 0.1185 in. Body long and nearly cylindrical, swelling and rising slightly towards crupper, which is long and high. Hind legs are naturally attached. Hock shown by swelling and bend of leg. Front legs drawn up for a spring. Manner of drawing up and attachment of front legs stiff and awkward. Back of front legs are deep holes. Neck round¬ ish. Head roughly triangular. Ear projects straight out, and slightly downward and for¬ 1 In Brit. Mus., First Vase-room, Case E, is a bronze statuette of goat from Camirus, similar to above speci¬ men, but with geometric elements slightly more marked. 2 Cf. Olympia, No. 214. 3 Cf. cow in Nat. Mus., Athens, No. 7392. Head shows similar eyes and rosette, but simpler. Bursian and ward. Eyes set slanting, nearly in line with axis of head, and somewhat protuberant. Mouth probably indicated. This animal falls not far from end of geometric period, of which holes between legs and distance between hind legs are a reminder. Eyes probably also in that style. Remainder of figure naturalistic, but there is a slight stiffness throughout, marking the re¬ cent emancipation from geometric forms. 1 3. SHEEP. EARLY NATURALISTIC STYLE. 22. Ram (probably) with base. From North¬ west Building, 1894. Preservation fair. Solid. Height, 0.014 m. Length, 0.0235 m. Length of base, 0.0145 m. Width of base, 0.0075 m. Body short and rounded, but higher than wide, rather flat on bottom. Legs short, thick, and without joints. No shoulders, but clumsy trace of hips. Crupper fairly high. Neck short and thick; hole through base. No certain indica¬ tion of mouth or eyes. Not undercut between legs. Hind legs not completely separated. Base plain on top. Below, divided by two engraved lines running lengthwise. Contemporary with geometric work, which is shown by rudeness of base, but rather naturalistic in style. 2 4. CATTLE. NATURALISTIC STYLE. Type a. Geometric influence. Plate LXXV. 23 . Head of cow. 3 Attached figure. From northwest of West Building, 1894. Condition good (except for loss of left ear). Head solid; neck hollow. Length of top from rim to fore¬ head, 0.0435 m. Length of bottom from rim to nose, 0.0435 m. Attached to slightly convex surface by thin rim at base. Neck of natural shape, lower side representing folds of dewlap. Above, neck distinguished from head by line drawn back of horns, which line forms base of triangle, apex being 0.005 m. from rim. Within triangle are eight lines drawn from base toward apex. Cheeks ornamented with engraved line, 4 Rangabe found “ una piccola testa di bue veduta dalla parte d’ innanzi che sembra esser stata affissa a qualche parete a guisa d’anatema.” Bull. d. Inst. 1854, p. xvi. 4 Here and elsewhere in this object probably executed in the model rather than in the cast bronze. 202 THE BRONZES close to edge around curve, and by seven lines drawn from it diagonally downward. Ear simi¬ lar to No. 21 , but hollowed out more on under side. Horns 0.064 m. between tips. Engraved lines on front of forehead continued over top to line behind ears. Eyes set almost vertically. Consist of nearly round ball with oblong lids meeting in acute angles. Between eyes rosette and half-diamond. 1 From lower corners of eyes three parallel lines run toward end of nose. Mouth shown by engraved line. Nostrils shown by curved lines at outer corners of upper jaw and by slight swelling. End of nose covered with irregular punch-marks. On sides of nose one row of marks to show nasal swelling and lower jaw. Length of face, 0.05 m. Geometric influence seen in angular lines of head, eyes, and ornamentation. Modeling and style natu¬ ralistic. Type b. Geometric and Oriental influence. 24 . Bull. From Northwest Building, 1894. Legs broken. Solid. Height, 0.033 m. Length, 0.0685 m. Body modeled with skill and fidelity to nature. Knees and hocks indicated. Shoul¬ ders indicated by bands running toward middle of back. Hips more successful, though too prominent. Left fore leg ends in swelling, which was probably attached to base. Hind legs per¬ forated lengthwise, just back of and above hock. In left leg the pin remains by which leg was fastened to base or other object. Tail bent un¬ der. Dewlap carefully modeled. Head distin¬ guished from neck on top by ridge of horns. Horns 0.021 m. between tips. Between them, in front, engraved 2 lines. Eyes vertical, made by punched ring. No ears. Nose and mouth care¬ fully modeled. Above end of nose, two engraved lines cross face. Nostrils shown by swelling and on end of nose by slight oblong holes. The eyes and engraving are geometric. Term Oriental is here used for a certain softness of modeling found in figures of animals, especially lions (cf. Nos. 29 , 720 , 946 ), which belong to species which began to be employed after Oriental de¬ signs had been introduced. Neither technique nor subject is due to that influence. 3 Type c. Oriental influence (to be under¬ stood as above). 25 . Head of ox or cow. Attached figure. 4 From south slope, southwest corner, 1895. Pre- 1 Mr. I), G. Hogarth suggests that the engraving represents ornamental fillets and frontlet for sacrifice. 2 As No. 23 (p. 201, note 4). servation fair. Solid. From behind seems to be cast in two pieces, but welding so skillful that this does not show in front. Length, 0.052 m. Width, 0.088 m. Height, 0.0525 m. Horns between tips, 0.043 m. Attached to convex sur¬ face by triangular plate. Holes for fastening at corners. Around the edges is lead. Short neck, nearly round, but broader in upper part. No dewlap. Head not distinguished from neck, except by bonis and nose. From top of fore¬ head, between horns, hangs sort of forelock: height, 0.014 m. ; width, 0.0175 m. Horns curl forward and slightly upward. Eyes very con¬ ventional, indicated merely by slightly oblong swellings. No mouth or nostrils. No trace of geometric influence. Naturalistic style, but con¬ ventionalized for decorative purposes. Type d. Naturalistic. 26 . Cow, uncertain whether originally with base. Found 1892. Preservation poor. Solid. Height, 0.074 m. Length, 0.113 m. The animal was shown as walking. Body, legs, hips, and shoulders rendered with skill and fidelity to na¬ ture. Knees shown by carefully modeled swell¬ ing. Hocks by modeling. Neck slightly convex on top, full and deep, with carefully modeled dewlap. Horns short, curved out and up. Ridge between horns engraved in front and on top with fine wavy lines. Eyes made with simple punched circle. Over the eyes are swellings of frontal bone, each with two engraved lines in plane of face. Between these, rosette of fine lines radiat¬ ing irregularly. Nostrils indicated by two slits. Mouth closed. This cow shows entire freedom from conventionality or stylistic influence and is based simply upon study of nature. It is some¬ what plainer than No. 27 , especially in treatment of neck, and does not show quite the same sure¬ ness of technique. 27 . Cow, without base. From south slope, 1895. Condition poor. Legs, tail, ears, and horns broken. Solid. Height, 0.111 m. Length, 0.217 m. Body somewhat long, but modeled after nature with care and skill, as seen in treat¬ ment of shoulder-blades, hips, and flanks. Knees indicated by swelling; hock by careful model¬ ing. The tail broader at top than bottom. Upper part perhaps engraved. Bag large. Neck high and narrow. Dewlap carefully rendered, with clearly marked folds, reaching on right to 3 For a somewhat different view, see Bather, J. H. S. XIII. (1892-3), p. 232. 4 Cf. Olympia, No. 877. LIONS, RODENT, FROG 203 line between ear and mouth. On back of neck, irregular marks and indentations, possibly of an inscription. Between horns in front and on top of head, engraving to represent hair. Transi¬ tion from ridge of horns to face better than in No. 26 . The ears were correctly placed. Eyes consist of two curves, the upper larger, its arc passing that of the lower at lower corner of eye. Ball of eye rounded. Length of eye, 0.000 m. Width, 0.005 m. In front of eyes, prominent folds of skin, marked also by two engraved lines. Between eyes, rosette of convex-concave lines radiating from centre. Nostrils and upper lip indicated and with great care. Mouth closed and indicated by line on back side of face as in No. 26 . Distinction between head and neck along angle of jaw modeled without any harshness. Mistakes shown in this part of No. 26 avoided. Animal was represented moving, probably walk¬ ing. Of early part of classical period. 28 . Foot of ox or cow. From south slope. Badly oxidized. Solid. Length, 0.047 m. Hoof broad and flat. Probably cloven, though slightly. Above hoof, concave band, running all round. Above this, raised ring around three sides, ter¬ minating in low protuberances, higher up on one side of leg than on the other. Probably left leg. Lower part at very low angle, suggesting rearing animal or animal crushed. Work of good pe¬ riod. 5. LIONS. NATURALISTIC STYLE. Type a. Oriental influence. Plate LXXVI. 29 . Lion on base, to which is attached long iron bar. Provenience unknown. Condition fair. Cast hollow and bar inserted. Height, 0.186 m. Length of bar, 0.134 m. Length of figure, 0.035 m. Width of bar at top, 0.0165 m. Thick¬ ness, 0.0075 m. Lion seated upright, tail over back. Body simple but correct. Hips prominent. Paws heavy and toes marked. Tail indicated by ridge along back. Breast and neck marked off by heavy modeling of neck along line drawn from front legs over shoulders to tip of tail. No mane. From ears to lower edge of lower jaw is a raised ring ; this is flattened below ears and heaviest back of mouth. Ears slightly indicated. Nose and eyes marked off from top of head by raised modeling of latter between ears. Eyes set at upper back side of large sockets, which are wide 1 For another example of this type, cf. fibula, No. 946. and deep in front of eyeball. Nose short and thick; no nostrils. Mouth open, showing four teeth at corners. Front and hind legs connected by flat base that hides the insertion of bar. Up¬ per part of base projects over lower, forming sort of cornice. The iron bar much corroded, and shape thereby altered. It seems to have been inserted into some wooden object, such as staff or sceptre. Style in general true to nature but somewhat conventionalized for decorative pur¬ poses. Modeling soft; all sharp outlines avoided. 1 Type b. Purely naturalistic conventional¬ ized for decorative purposes. Pin-head, No. 720 , and attached figure, No. 2204 . 6. RODENT. NATURALISTIC STYLE — DECORATIVE. 30 . Mouse on human right forearm attached to iron rod. From West Building. Condition fair. Arm cast hollow for insertion of rod. Entire length, 0.114 m. Length of mouse, 0.034 m. Height of mouse, 0.021 m. Mouse crouches on upper side of arm, tail extended toward hand. Body full and rounded. Hind¬ quarters shown with low modeling. Shoulders scarcely indicated, toes not at all. Head sepa¬ rated from body by low groove. Cheeks full. Ears drawn back over groove in neck shown in low relief, slightly undercut. Eyes round, slightly raised. Mouth indicated. Arm and hand less carefully done; wrist poor. At junc¬ tion with rod a raised ring circ. 0.004 m. broad, rudely done. Hand closed. Fingers poor, and no nails. Through hand passes round hole in which was once some object held by the hand. Shape of iron rod uncertain, but probabty rec¬ tangular. 7. FROG. NATURALISTIC STYLE — DECORATIVE. 31 . Provenience unknown. Condition poor. Feet broken and surface abraded. Solid. Length, 0.046 m. Length of tail, 0.009 m. Fig¬ ure worked only on back and sides, flat below. Body tapers slightly to waist, between which and lower hind legs two wrinkles on each side. These form the hips. No details except en¬ graved 2 lines diagonally over ends of legs, per¬ haps to indicate toes. Head flattened from back to front. No mouth. Eyes oblong and raised. Round hole pierced through tail. — Much eon- 2 Cf. No. 23 (p. 201, note 4). 204 THE BRONZES ventionalized for decorative purpose. Perhaps attached or suspended by hole in tail. 1 8. SERPENTS. GEOMETRIC INFLUENCE — DECORATIVE. 32 . Head attached to bronze tube. Proveni¬ ence unknown. Condition fair. Hollow. Length, 0.052 in. Diameter of tube inside, 0.0095 m. Head shaped like truncated cone, but top slightly convex. Corners on lower side beveled. Bot¬ tom and sides plain- Mouth given by straight line. Eyes of two concentric circles, above which raised lid inclosed by two lines. Top of head engraved with double crescent at back and down centre oblong ornament of two elliptical lines. Space between the parallel lines en¬ graved with oblicpie strokes, giving rope effect. Midway between eyes and end two crescents open outward, one on each side. They are formed of two lines running to edge of top. Mouth round. Head and tube hollow for passage of water, forming small spout. 33 . Serpent, attached. From back of South Building. Preservation good. Length, 0.1215 m. Width, 0.045 m. Body and lower neck plain. Nine lines on upper neck. Head tapers to a rounded point and flattens from back to front. Sides and bottom of head plain. On top, four half-circles, turned outward, two on each side. Each consists of two lines. No indication of mouth. Probably not much of original figure lost, as serpent seems to have been intended to project from behind aegis or part of clothing of statue, e. g. Athena. Technique (hammering) and engraving are geometric, but figure is prob¬ ably not of geometric period, but of archaic art. NATURALISTIC STYLE. Type a. Decorative. 34 . Head of serpent. Formerly attached. Pro¬ venience unknown. Preservation poor. Length, 0.0265 m. Sides and bottom plain. Ridge along top. Traces of two circles near mouth, one on eacli side. Probably not meant for eyes. Mouth large and open. Line round inside of lower jaw, probably only fissure in bronze. Hollow. Served as spout. 1 Cf. Friinkel, ‘ Geweiliter Froscli,’ Jahrh. d. hist. I. j>]>. 50 ff. Somewhat similar is Brit. Mas. Cat. of Bronzes, No. 1002. 2 For use, cf. Olympia, No. 810 a, De Ridder, Bronzes de VAcropole, No. 558. Projecting protome, probably from ring of support of kettle. Cf. also Brit. Mus., Bronze Type b. Purely naturalistic. 35 . Serpent. Provenience unknown. Body broken close to neck. Preservation poor. Solid. Length, 0.04 m. Neck and body plain. Head broad and flat and at back stands out prominently from neck. Eyes prominent, set at forward corners of rectangle of head. Probably formed by single ring, over which rises the puffy eyelid. Mouth open. Line round inner edge of upper jaw. Probably work of archaic or classical period. 2 9. BIRDS. GEOMETRIC STYLE — CONVENTIONALIZED. I. AQUATIC. Type a. Geometric. 36 . F rom West Building, 1893. Condition fair. Solid. Height, 0.0525 m. Length, 0.036 m. Body flat, plain underneath. On top slightly rounded. Legs bend slightly forward, are plain, and of uniform size. Neck rises from lower edge of body. At base of neck, hole, for suspension, 0.003 m. in diameter. Head about at right angles with neck. No eyes or mouth. Probably had base, to judge from roughness at end of left foot. 3 37 . Bird on standard. Probably originally on base. From below Cyclopean wall and above Stoa. Preservation poor. Legs and standard broken. Head and tail damaged. Solid. Height, 0.036 m. Length, 0.034 m. Adjoining legs, but separate, a round standard. It is placed between legs, slightly forward, and comes through to upper side of back, where it is raised slightly above surface. Legs straight and round. Neck somewhat elliptical. Probably had no eyes. 38 . Bird on standard. Probably ornamental stud or nail, but possibly attached to base. Un¬ cleaned. Preservation bad, and badly oxidized. Solid. Height, 0.036 m. Length, 0.027 m. Height of standard, 0.0195 m. Round body, like nail-head, with narrow extension at back, which may be either body or tail. Eyes marked by two pointed projections. From eyes, head sharpens to point, in three planes on upper side and one convex plane below. No decorations. Shape of neck and addition of eyes mark this as more ad¬ vanced than preceding number. Room, Centre Cases C.: circular bronze dish; on handles male and female figures reclining ; four serpents attached beneath rim, with heads projecting over rim toward inside. Castellani (1562). 3 For style (flat wide tail and beak, and long legs), cf. Ohjmpia, No. 210, with base. BIRDS 205 39. Complex of two birds, attached to base. Found in bank, east of chambers (III), just above poros wall, 1894. Preservation fair. Base rough at back as though broken. Solid. Height, 0.036 m. Length, 0.041 m. Length of base, 0.028 m. Width of base, 0.0055 m. So constructed that right legs, which are very large, serve as standards, keeping the poise of whole figure, and left legs and bodies so combined that bodies seem to be a continuous bar attached to short left legs; portions of bar belonging to each, marked by obtuse angle close to right leg of rear bird. In front figure, bar projects nearly to front of right leg. Heads have small projec¬ tions for eyes. Beaks rounded, slightly thicker than wide. Base rectangular. Has round hole, 0.0123 m. from front end, 0.0019 m. in diameter. Seems like hole for suspension, but slant of figure toward left makes possible to drive nail through from right side. 40 . Bird with base. Provenience unknown. Preservation good. Solid. Height, 0.035 m. Length, 0.0325 m. Height from centre of base to centre of body, circ. 0.025 m. Base, 0.013 m. square. Body has hole diagonally through from base of neck to front just above standard. Di¬ ameter, 0.0018-0.003 m. Back of body shows two bands of two lines each, on top and sides. Base of head, similar band of two lines. Tail fan-shaped; nicked along back edge. Head flat but slightly rounded. No eyes or other details. Standard ornamented with three raised rings just beneath body. Below these, rounded swelling. Line of top of base projects slightly, forming ridge, and on bottom is indented square, circ. 0.007 m. on a side. Outside this, another square. Space inside smaller square sunk more deeply than space between squares. First ex¬ ample so far with ornamentation, though form is very primitive or conventionalized. 1 41 . Bird on standard, probably originally with base, similar to No. 40 . Provenience unknown. Badly preserved. Solid. Height, 0.032 m. Length, 0.024 m. Body shows no details, but seems to have had three lines at top of neck. Similar ornament perhaps, at base of tail. Hole in neck, similar to preceding. Standard has nar¬ row swelling immediately beneath body, followed by a wide, full band. Probably belongs with preceding, though shape of head may have been different. 1 Cf. Olympia, No. 418. Plate LXXVII. 42 . Bird with base, which is circular and perforated. Provenience unknown. Preservation fair. Solid. Height above base, 0.04 m. Di¬ ameter of base, 0.028 m. Hole in neck of bird. Diameter, 0.0045 in. Body has prominent breast, but short back. Eyes prominent. Bill long and clearly marked. Standard nearly round. Base flat on top, but slightly hollowed below, leaving uneven rim around the edge. Neck, eyes, head, and bill the most advanced so far. In these points and in short body resembles No. 38 , in which, however, body has different shape. 2 43 . Bird with standard, resting on perforated circular base. Provenience unknown. Preser¬ vation fair. Base less well preserved. Solid. Height, 0.04 m. Length, 0.042 m. Length from neck to end of tail, 0.0265 m. Diameter of base, 0.035 m. Diameter of hole in body, circ. 0.004 m. Prominent breastbone. Body tapers above and below toward tail. Standard circular, swelling where it joins base, which is plain on top, and below, the rim taking form of a roll. Type b. Naturalistic influence. 44 . Duck. From cutting at east end of Upper Temple, toward the tents. Preservation fair. Cast hollow. Height, 0.019 m. Length, 0.045 m. Body rounded, of natural shape. Wings indi¬ cated by line down back, from upper end of which, 0.05 m. from base of neck, are drawn lines to show curve of wings. Curve of neck slightly stiff and too small. Eyes almond-shaped, slightly con¬ vex, surrounded by engraved line. Bill rather flat. Inside, partially filled with some dark sub¬ stance, uncertain whether core or dirt. Behind hole in breast are shown the flippers. No cer¬ tain mark of attachment below, though less care¬ fully finished. Work of considerable skill. While more naturalistic than geometric, belongs to a period before naturalism became a style. II. LAND-BIRDS, CHIEFLY COCKS. Type a. Purely geometric. 45 . B ody of bird. Solid. Provenience un¬ known. Badly preserved. Head, neck, legs, and tail broken. Solid. Height, 0.014 m. Length, 0.0425 m. Tail spade-shaped. Resem¬ bles more a peacock with folded tail. More primitive than No. 46 , as shown by rectangular lines of body and neck. 46 . Cock. Provenience unknown. Preserva- 2 With this and No. 43, cf. Olympia, No. 210 b, which has round perforated base and is also similar in style. 206 THE BRONZES tion poor. Solid. Had no legs, but possibly standard, through vertical hole in body. Height, 0.023 m. Length, 0.039 m. Diameter of hole, on top, 0.003 m. Neck deeper than wide. On both sides of comb, circle inclosing dot. At base of comb, two parallel lines. Eyes uncertain, but probably given. Each side of tail has two circles surrounding dots. 1 At base of tail, four lines of engraving on each side. Neck better than No. 47, but body less good. Probably had no standard, but was a pendant. 47. Cock. Provenience unknown. Preser¬ vation poor. Ring or contrivance on back broken. Large irregular hole in left side of body, showing inside to be hollow. Height, 0.055 m. Length, 0.0995 m. Height of body and knot on back, 0.026 m. On top of body, vertical hole, 0.002 m. in diameter, through to interior. In middle of back, piece of uncertain purpose, perhaps part of suspension ring. Legs about 0.008 m. long. Bottom slightly concave. Body rises at either end in two spouts toward neck and tail. Not certain whether hollow en¬ tire length. On inside, reed or tongue-like strip of metal, 0.0035 m. wide, and 0.0004 m. thick, projects from about centre of right side horizon¬ tally across body. At base of tail, two raised rings. Length of tail, 0.032 m. Ornamented on each side with five sets of concentric circles, three of which are larger, and consist of small round hole, surrounded by two circles, tlie outer fainter than the inner. Above these, a dot sur¬ rounded by circles. Upper circles are fainter than lower. At upper end of neck, two raised rings. Eyes raised. Beak round and tapers to point. Convex above, concave below. On each side of comb, dot inclosed by two circles, as on tail. Between these and top of comb, on each side, five dots each in circle. Type b. Naturalistic influences. 48. Cock. Provenience unknown. Condi¬ tion rather poor. Probably hollow, as it seems too light for solid mass. Height, 0.0445 m. Length, 0.0472 m. Body rounded, broad across bottom, pot-shaped. On back, sort of dowel, which seems to have terminated in an eye, now broken. It seems to have been let into the body, not cast with it. On right side of body two dots, each surrounded by circle. Same on left, where between circles is pierced hole. On lower part of breast, to right and left of 1 Owing to frequency of this decorative motive in early Greek and other arts, it would form here, as well as in legs, two similar dots and circles. At rear end of body, in centre, a similar dot and circle. Straight legs attached to outer corners of body. Bottom of feet slightly concave. Lines on outer side of legs. Two lines on back end of body on right side, run from circle toward base of tail. Similar on left side. Round base of tail on body, four lines, discernible on right; faint traces on left. Tail semicircular. Each side has three dots inclosed by circles. Lines from base of neck run diagonally, three from one side and two from the other, joining on cen¬ tre of breast. Beneath these another line on each side. Top of neck on right side has traces of three lines. Eyes round projections. Not certain whether originally had comb. Body and legs show advance over No. 47 in naturalism. Neck, bead, and tail as good. Ornamentation rather more elaborate. NATURALISTIC STYLE. Type a. Geometric influence. 49. Tail of bird. Provenience unknown. Preservation fair. Solid. Extreme length, 0.053 m. Width, 0.052-0.089 m. Thickness, 0.004-0.0065 m. Upper side slightly convex in both directions. At end, nine scallops. Per¬ forated near centre, toward base. Upper side engraved with two lines of feathers, ending in before-mentioned scallops. Engraver worked from left to right, as shown by miscalculation for commencement of dividing line between feathers of back row. Each feather divided by quill; sides engraved with slanting lines. Geo¬ metric influence in stiff angularity in form and decoration. Type b. Naturalistic. Plate LXXVIII. 50. Head and neck, probably of swan. Pro¬ venience unknown. Preservation fair. Solid, except for depth of 0.022 m. from lower end. Height, 0.098 m. Length, 0.092 m. Circum¬ ference of neck at base, 0.096 m. Neck without ornamentation. Head differentiated plastically from neck. Sides of bead concave in region of eyes. Eyebrow projects sharply. Top of bead somewhat concave, especially between eyes, and narrows rapidly from back to front. Eyes, in clearly marked sockets, consist of elliptical ring rising from bed of socket. Inside ring, promi¬ nent eyeball. Projecting corners of head above Nos. 47, 48, an unsafe basis for identification with pea¬ cock. Cf. Heim, Kulturpjlanzen und Hausthiere 6 , pp. 342 ff. PINS: STRAIGHT 207 eyes distinguished as eyebrows plastically and by engraving. Fleshy parts of head separated from bill, on under side, by depression of plane for the bill and slight change in direction. On sides of head, distinction is made by a band, sep¬ arated from behind by engraved line and in front by a difference of plane. Feathers on head indicated by engraving. Toward back they are fainter than in front. They are not perfectly regular in shape, size, or arrangement. Bill is modeled with care. Upper and lower mandibles separated by sharply marked groove. Nostrils suggested by bulge. On lower half of upper surface of bill, on each side, are two or three very shallow, slightly diagonal grooves. Work of severe style, of much skill and care; probably late archaic or transitional, possibly of early classical period. Plate LXXVII. 51 . Feather of bird. From West Building. Preservation fair. Solid. Length, 0.074 m. Back and sides plain. Divided into three divi¬ sions, which taper to tip, two outer divisions sloping slightly inward. Three divisions cov¬ ered by cross-lines. Belongs probably to ar¬ chaic period. IV. ORNAMENT AND TOILET 1. PINS. A. STRAIGHT. Type a. Simple, plain head. Pins of this type sometimes difficult to distin¬ guish from ends of spits. Head and body one piece of metal. 1 Form 1. Body round throughout. Head a simple knob. Plate LXXVIII. 52 . Provenience unknown. Preservation fair. Length, 0.0838 m. Head oblate. Sides roughly rounded. Head separated from body by shallow groove. Point dull. 2 Form 2. Body rectangular in upper PART, ROUND BELOW. HEAD SIMPLE AN¬ GULAR KNOB. 3 Class a. Undecorated body. 53 . Well preserved. Length (as bent), 0.08 m. Round part begins 0.005 m. from point, which is dull. Neck slightly pinched in. 54. Point broken. Length, 0.111 m. Round part begins 0.09 m. from head. Head flat on top, perhaps broken. Neck sharply pinched in. 55. Poor. Broken and oxidized. Length, 0.06 m. 56. Poor. Broken and oxidized. Length, 0.185 m. Head pointed at top. 57-61. Heads blunt. All are poor, being broken and oxidized. Length, resp. 0.235, 0.142, 0.141, 0.18, 0.232 m. 1 The simple-headed pins from Troy, No. 4339, Athens Mus., Schmidt, Schliemann’s Sammlung Trojan. Altertiimer, Nos. 6262 if., are not exact parallels to this type, but are, for the most part, ruder and more primitive. 2 Cf. Schmidt, op. cit. No. 6266. Class (3- Rectangular part of body deco¬ rated. 62 . Point gone ; upper part oxidized. Length, 0.123 m. Decorated probably with zigzag on all four sides. 63-66. Similar to No. 62 . Lengths, 0.116 m.; 0.222 m.; 0.06 m.; 0.0915 m. No. 63 from back of South Building, No. 66 from West Building. 67 . Point gone. Oxidized. Length, 0.22 m. Rounds circ. 0.037 m. from head. Transition plain and abrupt. On all four sides decorated with zigzag. 68. Point gone. Oxidized. Length, 0.083 m. Rounds gradually circ. 0.043 m.from head. Col¬ lar at top of body. Broad zigzag on all four sides. 69. Point gone. Oxidized. Length, 0.099 m. Rounds gradually. Zigzag on all four sides. Collar as in No. 68. 70. Point gone. Oxidized. Length, 0.104 m. Rounds abruptly. Zigzag on all four sides. Collar as in No. 68, color medium. 71 . Point gone. Much oxidized. Length, 0.068 m. Rounds abruptly at 0.029 m. from head. Zigzag on all four sides. Small collar. Class y. Rectangular and round part of body decorated. 72 . Point dull. Condition fair. Length, 0.168 m. Rounds at 0.117 m. from head. Traces of zigzag on upper part on all four sides ; round part engraved to represent broadly threaded surface ; the threads break irregularly. 3 With this form compare an Italic type with round shaft ornamented with two rings near head; Montelius, Civ. Prim. It. pi. 42, 7 (col. 229), from Monencco near Como. For heads, cf. Schmidt, op. cit. Nos. 6321 ft’., and note 1 above. 208 THE BRONZES 73-86. Fragments resembling No. 72. 1 Form 3. Head with ornamental con¬ tinuation ABOVE KNOB. EXAMPLES UN¬ CERTAIN. 87 . End broken. Oxidized. Length, 0.104 m. Rounds abruptly at 0.03 m. from neck. Zigzag on rectangular part. At transition to round part, three fine lines. Collar at neck. From head rises short point like end of wire ; if due to corrosion, probably not a pin. 88. Broken and oxidized. Length, circ. 0.023 m. Rectangular body with collar. Un¬ certain whether ornamented. Above head, ta¬ pering blunt stub, as in No. 87 . 89 . Broken near head. Oxidized. Length, circ. 0.038 m. Body round, with collai\ Not decorated. Head oblong spheroid. Small stub of uncertain character above. Form 4. Knob reduced to thick disk, WITH COLLAR ABOVE AND BELOW. 90 . End broken. Oxidized. Length, 0.0545 m. Above and below head, collar. Above upper col¬ lar, short rounded stub. 91. Similar to No. 90 . Length, 0.147 m. Form 5. Head truncated cone. Body CORRUGATED IN UPPER PART. HEAD CONICAL. 92 . End gone. Much corroded. Length, 0.0455 m. Top of head uneven. Sides con¬ cave. Body has four corrugations of different sizes in upper part. 93. Uncleaned. Length, 0.076 m. Head a low cone. Beneath head, two corrugations. Form 6. Wide, flat head. 94 . F iom south slope. Somewhat oxidized. Length, 0.09 m. Head slightly concave. On inside line of engraving from bottom up¬ ward. Type b. Flat head, corrugated or beaded body. Head small and rather thick. Usu¬ ally appreciably larger than body. Some¬ times not. Some possibly headless .' 2 Form 1. Two beads. 95 . Head probably gone. Otherwise condi¬ tion fair. Length, 0.1095 m. Below beads, rectangular block surmounted by low collar. Point sharp. Filed ; color medium. 1 No. 73 from upper terrace toward tents; Nos. 75 and 80 from south slope. 2 Cf. headless ivory pins from Mycenae (outside of tombs), with corrugations, No. 2565, and from Tiryns, No. 164C>; also from Troy, No. 4413. Those under No. Form 2. Three beads. Class a. Headless , by accident or design. 96. Point gone. Corroded. Length, 0.527 in. Filed ; color medium. 3 97 . From back of South Building. Length, 0.10. Commencement of body rectangular. Point sharp. Filed ; color medium. 98. End gone. Much corroded. Length, 0.0475 m. Top uneven. Sharply defined rec¬ tangular block with heavy collar. Filed : color slightly reddish. Class ft. With heads. 99 . Point gone. Oxidized. Length, 0.114 m. Body round from start. Color light. Head has form of half corrugation. 100. End gone. Corroded. Length, 0.047 m. Diameter of head, 0.0069 m. Color medium, with trace of red. Form 3. Four beads. Class a. Without heads. 101. End gone. Length, 0.058 m. Clearly marked rectangular block. 102 . End gone. Somewhat corroded. Length, 0.045 m. Upper bead complete. Sharply defined rectangular block with collar. Class ft. With heads. 103 . Head mostly destroyed. Length, 0.113 m. First corrugation slight, with long neck above. Clearly marked rectangular block with collar. 104. Mucli corroded. Length, 0.0265 m. 105 . End gone. Oxidized. Length, 0.0805 m. Diameter of head, 0.008 m. Beads uneven in size. 106. Oxidized. Length, 0.064 m. Diameter of head, 0.007 m. Color medium. 107 . From south slope. End gone. Some¬ what oxidized. Length, 0.076 m. Diameter of head, 0.0085 in. 108. Corroded. Broken. Length, 0.048 m. Diameter of head, 0.008 m. 109. From south slope. Broken. Length, 0.036 m. Diameter of head, 0.0085 m. 110. From cutting east of Upper Temple to¬ ward tents. Broken. Length, 0.048 m. Diameter of head, 0.0085 m. 111. Broken. Length, 0.0415 m. Diameter of head, 0.0085 m. Edge of head grooved. 1000 (outside of tombs) have three to six corrugations. All in National Mus. at Athens. 8 Cf. somewhat similar pin, Montelius, Civ. Prim. It. col. 177, pi. 32, fig. 5. The Italian specimen has no block, but appears to have slight ornamentation of shaft ; Bronze Age. PINS: STRAIGHT 209 112. From south slope. Broken. Much cor¬ roded. Length, 0.045 m. Head small. Form 4. Five beads. Class a. Headless , probably by accident. 113 . From south slope. Broken. Oxidized. Length, 0.074 m. 114. Broken. Oxidized. Length, 0.0245 m. Transition to shaft rectangular. 115. Broken. Oxidized. Length, 0.0565 in. Transition as in No. 114. Class [3. With heads. 116 . From south slope. Corroded. Length, 0.068 in. Long neck. Body rectangular at beginning. 117. Corroded. Length, 0.08 m. Upper part of body rectangular. 118-120. Fragments of similar pins. No. 120 from south slope. 121 . Length, 0.11 m. Diameter of head, 0.006 m. 122-132. Similar. Nos. 123,125 from south slope. Lengths, 0.0487-0.117 m. Diameter of heads, 0.0065-0.0095 m. 133. Fragment. Beneath lowest bead, three narrow rings. 134. Fragment. At transition to body, block, above which narrow grooved collar. 135. From West Building. Fragment. Head grooved. Block with grooved collar, as in No. 134. 136 . Fragment. From south slope. Length, 0.04 m. Doubtful whether collar should be classed as one or two separate beads. Form 5. Six beads. Class a. Headless , by accident. 137-139. Fragments. Rectangular block at transition to body, surmounted in Nos. 138, 139 by heavy collar. Class (3. With heads. 140. Point injured. Length, 0.094 m. Diam¬ eter of head, 0.005 m. 141 . Length, 0.1035 m. Diameter of head, 0.006 m. 142-149. Fragments. Nos. 142, 149 from south slope. Diameter of heads, 0.007-0.01 m. 150 . End gone. Oxidized. Length, 0.07 m. Diameter of head, 0.008 m. 151 . Broken. Oxidized. Length, 0.044 m. Diameter of head, 0.012 m. Beneath corruga¬ tion, rectangular block, on which five engraved lines, and sixth separating block from round part of body. 152 . Point gone. Corroded. Length, 0.147 m. Diameter of head, 0.012 m. Above rectangular block, grooved collar. On one side of block, en¬ graved cross. Head grooved. Form 6. Seven beads. Solid body. 1 153-156. Fragments. No. 153 from West Building. Diameter of heads, 0.003-0.01 m. 157 . Point gone. Oxidized. Length, 0.09 m. Head grooved. Diameter, 0.0085 m. 158 . End gone. Length, 0.082 m. Rectan¬ gular block. 159 . F rom south slope. End gone. Corroded. Length, 0.0602 m. Head grooved. Diameter, 0.009 m. Separable body. Head, beads and rec¬ tangular block beneath. Round part inserted into hole in bottom of block. 160. Fragment. Pin gone. Length, 0.03 m. Diameter of head, 0.01; grooved. 161. Fragment. Pin gone. Length,0.0275 m. Diameter of head, 0.007. Collar above block. 162 . Pin gone. Corroded. Length, 0.03 in. Diameter of head, 0.0125. Rectangular block with diagonal cross engraved on each side. Above and below block, heavy collar. Form 7. Eight beads. Class a. Headless , by accident and design. Solid body. 163 . From West Building. End gone. Oxi¬ dized. Length, 0.076 m. Rectangular block with diagonal cross on each side. Separable body. 164 . From West Building. Pin mainly gone. Length, 0.054 m. Cross on top. Rectangular block. Each side ornamented with three circles, having dot in centre. Pin of iron. Class ft. With heads. Solid body. 165. Fragment. Length, 0.0375 m. Diam¬ eter of head, 0.0095 m. 166 . End gone. Oxidized. Length, 0.092 m. Diameter of head, 0.0075 m. On top, cross from side to side. 167 . Fragment. Oxidized. Length, 0.057 m. Diameter of head, 0.009 m. Beginning of body rectangular. Head grooved. Top ornamented with dots in circles, probably five, though only four show. Separable body. 168 . From back of South Building. Pin gone. Oxidized. Length, 0.034 m. Diam- 1 Cf. pin from Mycenae (outside of shaft-graves) in Athens Mus., No. 4546. 210 THE BRONZES eter of head, 0.01 m. Rectangular block with round hole. Above block, grooved collar. 169. From West Building. Similar to No. 168. Length, 0.034 m. Diameter of head, 0.012 m. Head grooved. Cross on head. Rec¬ tangular block, above which grooved collar. Form 8. Nine beads. 170. Point gone. Oxidized. Length, 0.118 m. Diameter of head, 0.011 m. 171. Fragment. Length, 0.047 m. Diam¬ eter of head, 0.0085 m. Head seems to have had ornament like No. 167. 172. Pin broken. Oxidized. Length, 0.065 m. Diameter of head, 0.007 m. Beginning of pin rectangular. Sides with engraved lines. On top of head, two dotted circles. Form 9. Ten beads. Class a. Headless, by accident. Separable body. 173. Fragment. Length, 0.0445 m. Rec¬ tangular block with double collar. In bottom hole, 0.002 m. in diameter. Pin probably of iron. Traces of engraving on block. Class (3. With heads. Separable body. 174. Pin gone. Corroded. Length, 0.062 m. Diameter of head, 0.0115 m. Lai’ge cross on top of head. Pin was riveted into slit in block. In slit traces of ii’on pin remain. On two sides of block, cross. Form 10. Eleven beads. Solid body. 175. Pin gone. Oxidized. Length, 0.077 m. Diameter of head, 0.014 m. Rectangular block with collar, sharply distinguished from pin. In centre of head, dot in circle. On each side of block, three dots in circles, one above the other. Separable body. 176. Fragment. From West Building. Length, 0.0575 m. 177. Pin gone. Oxidized. Length, 0.06 m. Diameter of head, 0.011 m. Slit block with riveted pin. In slit traces of bronze pin. Form 11. Fourteen beads. 178. From West Building. Pin broken at block. Length, 0.067 m. Diameter of head, 0.0105 m. On each side of block, dot in circle. 179. Fragment. Length, 0.034 m. Form 12. Fifteen beads. Form 13. Seventeen beads. 181. Fragment. Length, 0.055 m. Form 14. Twenty beads. 182. Fragment. Length, 0.0605 m. Slit block surmounted by low collar. Form 15. Twenty-two beads. 183. Fragment. Pin gone. Corroded. Length, 0.083 m. Rectangular block with double grooved collar. In bottom hole, 0.0032 m. in diameter. On sides, cross. On three sides, dot in circle between upper limbs of cross. Traces of dot in circle between lower limbs of cross on one side. Form 16. Twenty-six beads. Head double. Upper part as usual. Lower part a large truncated cone. 184. 1 Eight beads. Head similar to that of No. 184 a. Rectangular block with double collar. Inserted iron pin. Plate LXXIX. 184 a. From West Building. Corroded. Length, 0.127 m. Head consists of truncated cone, with round lower edges, surmounted by low inverted truncated cone. Top has ten-barred cross. Block slit entire length, with rivet holes in lower part. Pin of iron, as remaining portion shows. Cross carved on two sides of block. Addenda. The following probably accident¬ ally headless pins could not be arranged under the above forms, because of danger of fallacious conclusions respecting introduction of ornament. Solid body. 185. Fragment. Length, 0.105 m. Rectan¬ gular block, on all four sides of which cross. 186. Fragment. Length, 0.0475 m. Rectan¬ gular block with heavy grooved collar. All four sides have cross. 187. Fragment. Length, 0.051 m. Short rectangular block with deep cross on each side. 188. 189. Fragments. No. 189 has on sides of block dots inclosed in double circles. 190. Oxidized. Length, 0.19 m. Rectangu¬ lar block with double grooved collar. On sides of block, cross in circle. On pin next to block, six grooves. Separable bodies. 191. Fragment. From south slope. Grooved block. Dots in circle. 192. 193. Fragments. Grooved blocks with traces of engraving. 194. From first chamber at east end of Lower Terrace, 1893. Slit block with remains of iron pin. 180. Fragment. Length, 0.0385 m. 1 Inserted here inconsistently because of similarity to No. 184 a. PINS: STRAIGHT 211 Uncertain object. 195. Pin or end of spit. Uncertain whether complete. Thirty-three fragments discarded. Plate CXXXVII. 195 a. Fragment. From south slope. Length, 0.0375 m. Type c. Pins with large, fiat, thin head and corrugated or beaded upper part of body. Fokm 1. Solid stem and pin. Head some¬ times ATTACHED TO STEM. Class a. Two corrugations. 196. Fragment. Length, 0.074 m. Diam¬ eter of head, 0.0125 m. Plate LXXIX. 197. From West Building. Point gone. Head damaged. Length, 0.052 m. Diameter of head, 0.018 m. Beginning of body rectangular. 198. Length, 0.116 m. Diameter of head, 0.013 m. Corrugations slight. Underneath, about seven fine grooves very close together. Class (3. Three corrugations. 199. Head about two thirds gone. Length, 0.12 m. Class y. Four corrugations. 200. Fragment. From south slope. Length, 0.053 m. Diameter of head, 0.014 m. 201. Fragment. Length, 0.083 m. Diameter of head, 0.0095 m. 202. Fragment. Length, 0.0375 m. Diam¬ eter of head, 0.0085 m. 203. Fragment. From south slope. Length, 0.05 m. 204. Fragment. Length, 0.0565 m. 205. Fragment. From above east end of Stoa, under Cyclopean wall, 1893. Length, circ. 0.09 m. Diameter of head, 0.0125 m. Block¬ like beginning of body. 206. Fragment. Length, 0.087 m. Body begins as in No. 205. 207. Fragment. From south slope. Length, 0.027 m. Diameter of head, 0.0125 m. Short rough block. 208. Fragment. Length, 0.0725 m. Diam¬ eter of head, 0.013 m. Short rectangular block. 209. Fragment. From south slope. Length, 0.065 m. Diameter of head, 0.015 m. Rectan¬ gular block. 210. Fragment. Length, 0.046 m. Diameter of head, 0.014 m. Rectangular block. 211 . Fragment. From south slope. Length, 0.104 m. Diameter of head, 0.012 m. Rectangu¬ lar block. 212-215. Fragments. Diameter of heads, 0.009-0.0115 m. Rectangular blocks. 216. Fragment. From south slope. Length, 0.065 m. Diameter of head, 0.013 m. Rectan¬ gular block. 217. Fragment. From West Building. Length, 0.054 m. Diameter of head, 0.012 m. Rectangular block. 218-220. Fragments. Diameter of heads, 0.012, 0.013 m. Rectangular blocks. 221 . Fragment. Length, 0.021 m. Rectan¬ gular block. 222. Fragment. From south slope. Length, 0.018 m. Diameter of head, 0.0125 m. Slight rectangular block. 223. Fragment. Diameter of head, 0.01 m. Rectangular block. 224. 225. Fragments. From south slope. Diameter of heads, 0.015, 0.012 m. Rectangu¬ lar blocks, that of No. 225 with collar. 226. Fragment. Diameter of head, 0.013 m. Rectangular block with heavy collar. 227. Fragment. From back of South Build¬ ing. Length, 0.128 m. Diameter of head, 0.016 m. Rectangular block with collar. In centre of top of head slight depression, corresponding to place of attachment. First case in this type where this is plain. 228. Fragment. Diameter of head, 0.0135 m. Rectangular block with overhanging col¬ lar. 229. Fragment. From south slope. Length, 0.108 m. Diameter of head, 0.009 m. Sharply cut corrugations on slender stem. Short rec¬ tangular block with collar marked off by groove. 230. 231. Fragments. From south slope. Diameter of heads, 0.01, 0.011 m. Blocks as in No. 229. 232. Fragment. From West Building. Block as in No. 229. 233. Fragment. From south slope. Block as in Nos. 229 and 228. 234. 235. Fragments. Diameter of head, 0.009, 0.0115 in. Blocks with collar as in Nos. 229, 233, respectively. Class 8. Five corrugations. 236. Point gone. Length, 0.0785 m. Diam¬ eter of head, 0.0125 m. Elementary rectangular block. 237-240. Injured and fragmentary. No. 239 from West Building. Diameter of heads, 0.01-0.013 m. Rectangular blocks. 212 THE BRONZES 241. From south slope. Length, 0.122 m. Diameter of head, 0.013 m. Short rectangular block. 242-244. Fragments. Diameter of heads, 0.012-0.013 m. Rectangular blocks. 245. Fragment. From south slope. Short heavy rectangular block. 246. Fragment. From back of South Build¬ ing. Diameter of head, 0.013 m. Short rectan¬ gular block. 247-250. Fragments. Diameter of heads, 0.011-0.012 m. Rectangular blocks, which in Nos. 249, 250 have overhanging collar. 251. Fragment. From south slope. Diam¬ eter of head, 0.0135 m. Rectangular block. 252. Fragment. Rectangular block with small collar. 253. Fragment. From south slope. Diameter of head, 0.012 m. Block as in No. 252. 254. Length, 0.118 m. Diameter of head, 0.012 m. Rectangular block with small col¬ lar. 255. Fragment. From back of South Build¬ ing. Diameter of head, 0.0135 m. Rectangular block with projecting collar. 256. Point and part of head gone. Length, 0.063 m. Diameter of head, 0.013 m. Block with projecting collar. 257. Fragment. Diameter of head, 0.012 m. Block as in No. 256. 258. 259. Fragments. Diameter of heads, 0.013, 0.011 in. Blocks as in No. 256. 260. Fragment. From back of South Build¬ ing. Diameter of head, 0.0145 m. Block tapers toward top. Heavy projecting collar. 261. Fragment. Block similar to that of No. 260. 262. Fragment. From south slope. Length, 0.065 m. Diameter of head, 0.013 m. Block as in No. 255. Cross on all four sides. Proba¬ bly also on head. 263. 264. Fragments. Diameters of heads, 0.015, 0.01 m. Blocks as in No. 255. 265. Fragment. From back of South Build¬ ing. Diameter of head, 0.012 m. Grooved collar on block. 266. Fragment. Rectangular block, with collar separated by groove. 267. Fragment. End gone. Oxidized. Length, 0.0715 m. Diameter of head, 0.01 m. Rectan¬ gular block with projecting grooved collar. 268. Fragment. From south slope. Diam¬ eter of head, 0.0105. Block as in No. 267. 269. Fragment. From West Building. Length, 0.0515 m. Rectangular block with grooved collar. Discarded: one. Class e. /Six corrugations. 270. Head and point broken. Length, 0.088 m. Diameter of head, 0.02 m. Three lower corrugations small and separated by shallow rings. 271,272. Fragments. 272 from south slope. Diameter of heads, 0.0075, 0.0115 m. 273. Point blunted. Length, 0.1215 m. Diam¬ eter of head, 0.01 m. 274. Length, 0.145 m. Diameter of head (nicked), 0.0125 m. Rectangular block. Cor¬ rugations not strung. 275. Condition poor. Point gone. Length, 0.0615 m. Diameter of head, 0.0125 m. Rec¬ tangular block. Corrugations sharply defined. 276-278. Fragments. Diameter of heads, 0.0105-0.012 m. Blocks. 279. Point gone. Length, 0.084 m. Diam¬ eter of head, 0.012 m. Rectangular block with raised collar. 280. From back of South Building. Frag¬ ment. Diameter of head, 0.011 m. Rectangular block separated from pin by groove. Raised collar. 281-285. Fragments. Diameter of heads, 0.009-0.014 m. Rectangular blocks tapering toward raised collar. 286. Fragment from south slope. Diameter of head, 0.011 m. Block as in Nos. 281 ff. 287. Fragment. Diameter of head, 0.017 m. Long rectangular block with raised grooved collar. 288. Fragment from back of South Building. Diameter of head, 0.01 m. Short rectangular block with grooved raised collar. Class t- /Seven corrugations. 289. Point and most of head gone. Length, 0.09 m. Rectangular block with collar. Traces of cross on sides of block. Class y]- Eight corrugations. 290. Point gone. Length, 0.0915 m. Diam¬ eter of head, 0.011 m. Corrugations elongated with shallow grooves between. 291. Length, 0.127 m. Diameter of head, 0.012 m. Rectangular block, separated from pin by slight groove with raised grooved collar. Possibly traces of cross on sides. Of this form nine fragments were discarded, including one from south slope. PINS: STRAIGHT 213 Form 2. Separable pin. Pin inserted in RECTANGULAR BLOCK,BENEATH CORRUGA¬ TIONS. HEAD ATTACHED LIKE RIVET. 1 Inserted pins are later than introduction of rectangular block. No pin-shafts preserved. Class a. Five corrugations. 292. Head broken. Length, 0.027 m. Diam¬ eter of head, 0.014 in. Rectangular block broken at lower end. Has slit instead of hole. 293. Length, 0.027 in. Diameter of head, 0.018 m. Stem shows plainly on top. Block. 294. Fragment from West Building. Slight remains of iron pin. Block. 295. Fragment. Length, 0.0263 m. Diam¬ eter of head, 0.0215 m. Rectangular block with small raised grooved collar. In bottom, hole, 0.003 m. across. 296. F rom south slope. Head mostly gone. Length, 0.03 m. Stem shows above head. Rectangular block with raised grooved collar. Traces of iron pin. Class /3. /Six corrugations. 291. Fragment. From south slope. Length, 0.03 m. Rectangular block with slight groove near top. Pin probably of iron. 298. From south slope. Length, 0.031 m. Diameter of head, 0.019 m. Slight trace of stem on top. Rectangular block with slightly grooved collar. Pin of iron. 299. From south slope. Length, 0.029 m. Diameter of head, 0.023 m. Top of head has row of dots inclosed by circles close to edge. 300. Condition poor. Length, 0.032 m. Diameter of head, 0.0195 m. Trace of stem on top. Dots in circles same as in No. 299. Pin probably of iron. 301. Length, 0.029 m. Diameter of head, 0.022 m. No trace of stem. Pin of iron. Dots in circles as above, and one where stem should appear. Class y. Seven corrugations. 302. F rom back of South Building. Length, 0.0365 m. Diameter of head, 0.017 m. No trace of stem on top. Pin probably of iron. Dots in circles on head round edsre. 303. From south slope. Length, 0.036 m. Diameter of head, 0.018 m. Rectangular block with slight grooved collar. Pin probably of iron. 304. Length, 0.031 m. Diameter of head, 1 With this form cf. pin-head from Lusi, Jahreshefte, IV. p. 55, fig. 97 (Reichel and Wilhelm). 2 Cf. bronze pin of tack-form with large flat head and 0.016 in. Dots in circles on head. Rectangular block with raised grooved collar. Pin of iron. 305. Fragment. Length, 0.035 in. Rectan¬ gular block with heavy collar. Pin probably of iron. Class 8. Eigl/t corrugations. 306. Fragment. Length, 0.041 m. Rectan¬ gular block with raised collar. Iron pin. Bronze when filed showed reddish. 307. Fragment. Two rows of dots in circles on head. Class e. Nine corrugations. 308. Head mostly gone. Length, 0.042 m. Dots in circles on head. Pin probably of iron. Fine groove on block. 309. Length, 0.0465 m. Diameter head, 0.0215 m. No trace of stem on top. Rectan¬ gular block with raised collar. Pin probably of iron. Class £. Eleven corrugations. 310. From south slope. Length, 0.039 m. Diameter of head, 0.0125 m. Rectangular block with slightly raised grooved collar. Pin prob¬ ably of iron. 311. Head mostly gone. Length, 0.054 m. Dots in circles on head. Slight rise at centre of head above stem. Rectangular block with grooved collar, probably ornamented on all sides with dots in circles. Class 7], Fourteen corrugations. 312. Poor condition. Length, 0.0435 m. Di¬ ameter of head, 0.0135 m. No certain trace of stem on top. Rectangular block ornamented on all sides with cross ; raised grooved collar. Pin probably iron. Class 0. Sixteen corrugations. 313. Condition poor. Length, 0.04 m. No certain trace of stem on top of head. Dots in circles on edge of head. Rectangular block with raised grooved collar. Pin of iron. Bronze when filed showed medium color. Of this form four fragments were discarded. Form 3. Body solid, with alternate BROAD AND NARROW SWELLINGS. HEAD ATTACHED. 314. Fragment. Length, 0.028 m. Diameter of head, 0.022 m. Stem shows in centre of head. 2 Addenda. The following (Nos. 315-317) are of too uncertain character to treat as a separate small corrugated body from Menidhi, Athens Mus., No. 1928. 214 THE BRONZES type, inasmuch as the length being unknown, they may be rivetSo Not corrugated . 1 315. End gone. Diameter of head, 0.011 m. Stem shows on top of head. 316. End gone. Diameter of head, 0.014 m. Stem projects through head. Body rectangular. 317. Similar to No. 316. Diameter of head, 0.02 m. Type d. Pins usually with conical head and solid body, of which upper part is ornamented with threading and bead¬ like corrugations, or with a disk substi¬ tuted for a corrugation. Form 1. Threading and corrugations. Class a. One corrugation. 318. End gone. Length, 0.074 m. Thread¬ ing faint. 319. Length, 0.117 m. Screw threading. 320. Head partly gone. Length, 0.152 m. Traces of threading between head and corruga¬ tion. Class (3- Two corrugations. 321. F rom south slope. Broken. Length, 0.096 in. Coarse screw-threading between head and first corrugation. Rectangular beginning of pin. 322. End gone. Length, 0.102 m. Screw¬ threading between head and corrugation. Be¬ ginning of pin rectangular. 323. Head and point gone. Length, 0.128 m. Plain, coarse threading between top and first corrugation. Rectangular beginning of pin. 324. Head gone. Length, 0.12 m. Rather fine screw-threading above first corrugation. Rectangular beginning of pin. 325. From West Building. Point broken. Length, 0.073 m. Threading above first corru¬ gation. Beginning of body rectangular. 326. From West Building. End broken. Length, 0.1105 m. Above upper corrugation, fine threading. 327. Point broken. Length, 0.108 m. Screw¬ threading between head and first corrugation. 328. Point broken. Length, 0.155 m. Coarse screw-threading between head and first corruga¬ tion. 329. Point broken. Length, 0.084 m. Fine threading between head and first corrugation. 330. Point broken. Length, 0.198 m. Top of head rounded. Irregular screw-tlireading be¬ tween head and lower corrugation. ' Cf. flat-beaded bronze tacks from Mycenae (outside tombs), Athens Mus., No. 3201. 331. Broken. Length, 0.097 m. Medium ir¬ regular screw-threading from head to lower cor¬ rugation. 332 Length, 0.208 m. Medium screw-tliread- ing beneath head and between corrugations. Above upper and beneath lower corrugations, grooves, forming in each case a small corrugation. 333. Point broken. Length, 0.1865 in. Threading fine from head to lower corrugation. Secondary corrugations as in No. 332. Begin¬ ning of pin rectangular. Under side of upper corrugation flat. 334. Length, 0.12 m. Head to first corruga¬ tion, 0.0155 in. Medium coarse screw-tlireading between head and first corrugation. Second cor¬ rugation smaller than first. Above it small cor¬ rugation, as in No. 332. 335. Both ends broken. Length, 0.104 m. Above first corrugation, coarse plain threading. Second corrugation smaller than first. Begin¬ ning of pin rectangular. Class y. More than two corrugations. Group i. Under side of main corrugation flat. 336. Fragment. Length, 0.072 m. Between corrugations, rather fine threading. Beginning of body rectangular. Group ii. More elaborate. 337. Both ends gone. Length, 0.187 m. From top to second corrugation (reckoning from the top), probably coarse threading. Second and third and third and fourth seem divided by two grooves. Below fourth ring, perhaps origi¬ nally disk. Between ring and fifth corrugation, a very low corrugation, which probably has groove in middle. Above and below, coarse threading. Below fifth corrugation, clearly marked rectangu¬ lar block, tapering to pin. 2 Form 2. Threading and corrugation ; WITH DISK SUBSTITUTED FOR CORRUGATION, USUALLY UPPER ONE. Class a. Disk and one corrugation. 338. Both ends gone. Length, 0.116 m. Un¬ certain whether upper part threaded. Disk larger than corrugation. Beginning of pin rectangular. 339. Fragment. Top and most of body gone. Above disk, four small corrugations. Lower one grooved. Beginning of pin rectangular. 340. Both ends gone. Length, 0.10 m. Grooved above disk, forming four small corru¬ gations. 2 Of tliis form, seven were discarded, of which six were of two corrugations and one uncertain. PINS: STRAIGHT 215 341. Top and most of body gone. Length, 0.045 m. Above disk, irregular screw and plain threading. Below disk, a narrow, then a longer lower corrugation, followed by two rings. Be¬ ginning of pin rectangular. The following have two or more plain raised surfaces above disk, which in some cases ap¬ proach character of subordinate corrugations. 342. End gone. Length, 0.07 m. Between head and disk, two low corrugations separated by threading, which continues to head. Below disk, plain space, then low corrugation, then ring. Prominent rectangular beginning of pin. 343. Fragment. Length, 0.062 m. Above disk, stem tapers, and is ornamented with convex plain surfaces and four groups of three rings. Between disk and corrugation, similar surface with rings. 344. End gone. Length, 0.089 m. Raised surface close to collar of disk. Space above di¬ vided into three parts, separated by two raised surfaces. Fine threading. Ring above corruga¬ tion. Beginning of body rectangular. Plate CXXXVII. 345. Ends gone. Length, 0.13 m. Above disk, stem tapers in four raised surfaces, divided by rings. Below disk, plain convex surface be¬ tween group of three rings. Rectangular begin¬ ning of pin, with groove at top. Class /3. Disk and two corrugations beneath. Plate LX XIX. 346. End gone. Length, 0.096 m. Head has rounded top. Upper part probably had plain surfaces and rings. 347. Head and most of body gone. Length, 0.042 m. Beneath corrugation, rectangular piece. Above disk, screw-threading. Rings between disk and first corrugation, and between corruga¬ tions. 348. Perhaps belongs to Class y. Most of body gone. Length, 0.074 m. Between head and disk, coarse screw-threading. Between cor¬ rugations, single low ring. 1 Class y. Disk and more than two corruga¬ tions, of which the one beneath disk is slightly larger. 349. End gone. Length, circ. 0.155 m. Plead 1 Cf. the fragment, Olympia , No. 1134 (upside down), said by Furtwangler to be completely preserved. 2 Type found at Tiryns (No. 1587), and at Heraeum tomb (No. 3325); Athens Museum. Possible also that Olympia, No. 431 b, belongs here (though not stated that head has hole for shaft), rather than to pendants, as Furtwangler takes it. With this type may be compared, to disk threaded downward from right to left. Beneath corrugations, small ring, then rectangu¬ lar block, beneath which round body of pin. Space between disk and lowest corrugation plain. Of this form two were discarded. Addenda. The following two may be of either form. 350. Fragment. Length, 0.047 m. Head and fourteen corrugations. Bottom filed. Solid. Color medium. 351. F rom West Building. Lower end broken. Length, 0.054 m. Entire length from head to last corrugation with fine threading. Six unclassified discards. Type e. Pins with body similar to preced¬ ing (Type d, Form 1), and oblong rivet¬ shaped head, usually with conical top. Pin inserted into middle of rivet bar. Ends of heads attached, except perhaps in No. 352.^ Class a. All or part of body preserved . 3 Group i. Body has threading and one corru¬ gation. Plate LXXX. 352. Head damaged. Length, 0.0988 m. Length of head, 0.013 m. Pin top shows on upper side of head, which has four grooves on each side. Next head, two small threads. Then convex surface, beneath which screw-thread to corrugation. Beneath corrugation, beginning of body rectangular. Here two threads. 353. Possibly belongs under ii. Broken at base of corrugation. Length, 0.019 m. Length of head, 0.0205 m. Top of pin shows. Ends of head convex and rounded. Shaft finely threaded to ends on both sides. Head to corrugation also. Group ii. Body has threading and two corru¬ gations. 354. Ends of head and of pin gone. Length, 0.059 m. Length of head, 0.028 m. Coarse screw-threading on both sides of head. From head to lower corrugation rather fine irregular screw-threading. Beginning of pin-shaft rec¬ tangular. 355. From northeast part of excavation, near Cyclopean wall, 1893. End of pin and head gone. Length, 0.075 m. Length of head, in general, a silver pin with eyelet above bar, but other¬ wise similar in shape to simpler Greek forms, from Remedello, prov. of Brescia. (Montelius, Civ. Prim. It. p. 196, fig. 13, pi. 36.) Italian specimen one piece. 3 Though degree of preservation is not a proper basis for classification, it is adopted here because corresponding in the main to the material employed, i. e. bronze or iron. 216 THE BRONZES 0.0215 m. Pin shows on top of stem of head. Threading of head, similar to that of No. 354. Finer between corrugations. Beginning of pin rectangular. 356. Broken at base of second, corrugation. Head ends injured. Length, 0.037 m. Length of head, 0.0275 m. Stem shows on top. Ends of head hollow, thin, and originally quite large. Space circ. 0.005 m. each side of centre has screw-threading; from right to left. Between head and second corrugation, slightly finer threading from right to left. O O Class ft. Head only preserved. Group i. Stem threaded; with break in threading at centre. 357 [on Plate wrongly numbered 367]. Length, 0.019 m. Ends rounded. Screw threaded. Diameter of pinhole, 0.0015 m. Nos. 357 a, b, c, fragments; latter two from south slope. Form series leading to conical ends in No. 358. 358. Both ends injured. Length, 0.025 m. More damaged end seems to show the construc¬ tion, the conical end of stem being covered with thin conical cap. Medium fine threading. 359. From back of South Building. Ends injured. Length, 0.027 m. Fragment remains of pin, probably of iron. 360. From cutting above Upper Temple to¬ ward tents. Ends injured. Length, 0.025 m. Medium screw-threading. Fragment of probable iron pin. 361. Condition poor. Length, 0.0265 m. Medium screw-threading. 362. Ends much injured. Length, 0.027 m. Medium threading. 363. Ends injured. Length, 0.0285 in. Character of threading uncertain. 364. Corroded. Length, 0.034 m. Stem with three grooves on one side and six on other. © Coarse screw-threading. Remains of pin, proba¬ bly iron. 365. Corroded. Length, 0.0335 m. Traces of fine threading of uncertain character. 366. From south slope. Much corroded. Length, 0.0315 m. Threading coarse, and of uncertain character. 367. From cutting above Upper Temple to¬ ward tents. Much corroded. Length, 0.039 m. Coarse screw-threading. Remains of iron pin. 368. From south slope. Much corroded. Length, 0.036 m. Threading rather fine. 369. From northeast corner between Cyclo¬ pean wall and Stoa, 1893. Much corroded. Length, 0.0405 m. Ends solid, one larger than the other. Slight traces of fine threading. Re¬ mains of iron pin. 370. Ends gone. Length, 0.041 m. Medium threading. Group ii. Stem threaded. Ends ornamented with grooves. 371. From northeast corner below Cyclopean wall, 1893. Condition poor. Length, 0.026 in. Line engraved on each end. Medium threading from right to left. Remains of pin, probably iron. 372. Length, 0.0325 m. Ends solid ; diam¬ eter, 0.021 m. Groove on each head. Fine screw¬ threading. 373. Injured. Length, 0.038 m. Groove on each end. Remains of iron pin. 374. Poor condition. Length, 0.0465 m. Three grooves on ends. At either side of pin¬ hole, fine screw-threading. Remains of iron pin. 375. Poor condition. Length, 0.042 m. Four grooves on one end, and three now visible on other; probably had four. Remains of bronze pin. Medium fine threading. 376. Poor condition. Length, 0.05 m. On each end six grooves. Medium fine threading of uncertain character on shaft. 377. Poor condition. Length, 0.051 m. Traces of grooves on end. Fine threading of uncertain character on shaft. Pin probably bronze. 378. Poor condition. Length, 0.055 m. Three grooves on ends. Medium threading of uncer¬ tain character on shaft. Pin probably iron. One was discarded from each of tbe above groups. Group iii. Ends round and thick at edge. Body tends to rectangular form. 379. Much corroded. Length, 0.024 m. Di¬ ameter of ends, 0.012 m. Stem seems inset into ends. Pin iron. This pin is between type of Nos. 357 and 380, but closer to No. 357. 380. Poor condition. One head gone. Length, 0.029 m. Thickness of ends, 0.006 m. Thread¬ ing not certain. 381. From West Building. Much corroded. Length, 0.032 m. Diameter of ends, 0.013 m. Stem rectangular, with rounded sides. Traces of threading. Class y■ Miscellaneous. 382. From south slope. Length, 0.031 m. Diameter of ends, 0.019 m. Stem rectangular, with one side broader than the other. Metal dark reddish brown, probably copper. 383. From West Building. See No. 2217. Of this Class y, one was discarded. PINS: STRAIGHT 217 Type f. Pins often with separable heads. Heads flat, and upper part of body com¬ pound, consisting of one main corrugation, flanked on each side, but especially be¬ low, by narrow bands and rings, which develop into one or more subordinate corrugations. 1 Form 1. Upper part of body elongated AND USUALLY WITH LARGE TIIIN HEAD." Class a. No ornament , or simple threading at sides of corrugation. Body solid. 384. F rom south slope. One fourth head and end of point gone. Oxidized. Length, 0.095 m. No ornament. Diameter of head, 0.0085 m. 385. Head nicked. Oxidized. Length,0.086 m. Diameter of head, 0.0075 m. Above corruga¬ tion, groove. 386. Slightly corroded and oxidized. Length, 0.091 m. Diameter of head, 0.006 m. Above corrugation, three small rings. Beginning of pin below corrugation rectangular. 387. Head nicked. Corroded and oxidized. Length, 0.083 m. Diameter of head, 0.008 m. Above corrugation, five small rings separated by irregular grooves only apparently resembling- screw. 388. End gone. Somewhat corroded. Oxi¬ dized. Length, 0.048 m. Diameter of head, 0.0065 m. Above and below corrugation, low ring or minor corrugation. Class (3. At either side of corrugation , or at least on under side , is rise to sort of ring, falling o f abruptly on outside , be¬ ing beginning of subordinate corrugation. Group i. No ornamentation at ends or centre. 389. F rom south slope. End gone. Oxidized. Length, 0.034 m. Diameter of head, 0.0135 m. Stem projects through head circ. 0.001 m. Di¬ ameter of stem, 0.0019 m. Round edge a row 1 Cf. bronze pins from Mycenae (outside shaft-graves) with flat head and single hall or swelling (Athens Mus., No. 2558). A more advanced type, of ivory, with two balls and double rings between convex spaces, ibid. No. 2608. Bronze pin with flat head with small corrugation, at either side of which grooved or double ring, and simple jacket-efFect beneath, from above the palace at Mycenae (Tsountas, ’E in gone. Length, 0.03 m. Diameter of head, 0.0245 m. Edge of head has two bands. Only one ring above upper corrugation. Filing showed iron pin. Color of bronze medium. Head, knob, and jacket probably one piece. Group v. Ring under head increased in size to nearly that of subordinate cor¬ rugation. Plate LXXXI. 441. I length, 0.113 m. Diameter of head, 0.018 in. Head thin, outer rim slightly raised on to]). Five rings. Top one separated from head by shallow groove. Pin probably one piece. 1 Very similar to pin from Lusi, Jahreshefle, 442. End gone. Length, 0.0855 m. Di¬ ameter of head, 0.021 m. Edge of head grooved. Rings at either side of main corrugation grooved. Pin and head as in No. 417. 443. Most of pin gone. Length, 0.037 m. Diameter of head, 0.0235 m. Row of dots near edge on top of head. Edge of head grooved. Corrugations larger than in No. 442, but arrange¬ ment similar. Both probably from one factory. Group vi. Similar to Groups iii. and iv., but with two rings just under head. 444. From south slope. End gone. Length, 0.075 m. Diameter of head, 0.015 m. Raised rim round upper edge of head. Grooved ring beneath head. Below main corrugation, shaft smaller than at beginning of pin. Pin and head as in No. 417. 1 445. Pin gone. Length, 0.024 m. Diameter of head, 0.0185 m. Edge of head grooved. Beneath, two rings, the upper one being the larger. Filing showed color medium light. Pin and head as in No. 417. 446. End gone. Length, 0.045 m. Diameter of head, 0.016 m. Slight rim round top of head. Edge of head grooved. Rings beneath head as in No. 445. Pin and head as in No. 417. 447. End gone. Condition poor. Length, 0.045 m. Diameter of head, 0.016 m. Slight rim on top of head. Two grooves round edge of head. Ring nearest head largest. Pin proba¬ bly one piece. 448. Point gone. Condition poor. Length, 0.095 m. Diameter of head, 0.014 m. Top ring largest. Lowest ring goes with pin. Head and pin as in No. 417. 449. Condition poor. End gone and most of head. Length, 0.045 m. Rings beneath head as in No. 446. Filing showed color me¬ dium light. Whole pin probably one piece. 450. Condition poor. Length, 0.0315 m. Diameter of head, 0.0165 m. Rim round top side of head. Raised band round centre of edge of head. Head and pin as in No. 417. Perhaps from same factory as No. 449. 451. End gone. Length, 0.05 m. Diameter of head, 0.0195 m. Edge grooved. Conical knob. Rim (raised) round edge top side of head. En¬ tire pin probably one piece. 452. End gone. Condition poor. Length, 0.05 m. Diameter of head, 0.0195 m. Traces of groove on edge of head. Pin and head as in No. 417. IV. p. 54, No. 9G (Reichel and Wilhelm). PINS: STRAIGHT 221 453. From south slope. End gone. Condi¬ tion poor. Length, 0.042 m. Diameter of head, 0.0175 m. Knob high and undercut. Edge of head grooved. Pin and head as in No. 417. Group vii. Similar to Group vi., hut with apparently compound jacket, caused by deeper grooves between the parts ; perhaps all from one factory. 454. Most of pin and head gone. Length, 0.029 m. Diameter of head, 0.019 m. Edge of head grooved. Top ring closely attached to head. This pin differs from preceding class only in greater depth of groove. Pin and head as in No. 417. 455. End gone. Length, 0.049 m. Diameter of head, 0.022 m. Raised rim round top side of head. Raised band round edge of head. Rings similar to No. 454. First and third from top about equal and larger than others. Lowest three rings smaller than second. Pin and head as in No. 417. 456. Fragment. Length, 0.02 m. Diameter of head, 0.023 m. Slight raised rim around top of head. Edge of head grooved. Seems separa¬ ble into (1) head, (2) three rings with connect¬ ing parts., (3) corrugation, (4) ring, (5) stem and knob, but probably as in No. 417. Group viii. Similar to Group v., but with grooved rings just under head, the upper one being largest. Probably from same factory as Group v. 457. End gone. Length, 0.0685 m. Diame¬ ter of head, 0.017 in. All parts separated by slight grooves. Entire pin probably one piece. 458. Pin gone. Length, 0.028 m. Diam¬ eter of head, 0.0195 m. Jacket same as No. 457. The following have two rings under main corrugation and two at each side of lower cor¬ rugation, and are very probably from same factory. 459. End gone. Condition poor. Length, 0.0505 m. Diameter of head, 0.0235 m. Edge of head grooved. Raised rim on upper side. Rings next to corrugation grooved. Pin and head as in No. 417. 460. End gone. Length, 0.062 in. Diameter of head, 0.021 m. Considerable raised rim on top of head. Edge of head has two grooves. 461. F rom back of South Building. End gone. Length, 0.0635 m. Diameter of head, 0.0228 m. Raised rim round top of head. Edge of head probably grooved. Head trifle thinner than those of Nos. 459, 460. Top ring larger than in No. 460. Group ix. Two or more narrow sharply cut rings just under head, and two sim¬ ilar rings on one or both sides of either or both corrugations. 462. Length, 0.138 m. Diameter of head, 0.015 m. Slight raised rim round head. Edge of head grooved. Above each corrugation, grooved ring. Beneath, plain ring. Pin and head as in No. 417. 463. End gone. Condition poor. Length, 0.076 m. Diameter of head, 0.02 m. Edge of head grooved. Grooved ring just beneath head. Smaller grooved rings, one at either side of each corrugation. Parts crowded together. Pin and head as in No. 417. 464. Most of pin gone. Length, 0.027 m. Diameter of head, 0.016 m. Slight raised rim round top of head. Beneath head, four rings, or one ring with three grooves. Grooved ring either side of main corrugation. Plain ring either side of lower corrugation. Whole pin probably one piece. 465. Condition poor. End and most of head gone. Length, 0.0555 m. Grooved ring either side of main corrugation and on upper side lower corrugation. Ring on lower side lower corruga¬ tion probably simple. Filing showed color me¬ dium light. Whole pin one piece. Group x. Similar to Groups iii. and iv., but with projecting edge or band about centre of main corrugation. 466. Pin mainly gone and about one fourth of head. Length, 0.034 m. Diameter of head, 0.0235 m. Head thin. Pin and head as in No. 417. 467. F 'rom south slope. Most of pin and lower corrugation gone. Length, 0.044 m. Diameter of head, 0.0219 m. Slight raised rim on head. Edge of head, two grooves. Similar to No. 466. Possibly from same factory, though heads of dif¬ ferent style. 468. Point gone. Length, 0.098 m. Diame¬ ter of head, 0.017 m. Slight raised rim round head. Head rather thin. Whole pin probably one piece. Group xi. Similar to Groups iii., iv., v., but with raised grooved ring about cen¬ tre of corrugation. 469. From back of South Building. Point gone. Corroded. Length, 0.148 m. Diameter of head, 0.021 m. Small ring above corruga- 222 THE BRONZES tions. All grooves shallow, except that next to head, which is of moderate depth. Slight raised rim around head. Edge of head has two grooves. Traces of groove round centre of lower corruga¬ tion. Pin probably one piece. 470. From West Building. Most of pin gone. Condition poor. Length, 0.0405 m. Di¬ ameter of head, 0.021 m. Slight raised rim. Traces of two grooves round edge of head. Up¬ per corrugation has three grooves. Separating grooves all rather shallow. Pin and head as in No. 417. 471. Most of pin gone. Condition poor. Length, 0.0415 m. Diameter of head, 0.023 m. Possible traces of groove on edge of head. Also of raised rim. Main corrugation has raised grooved band. Lower corrugation plain. Pin and head as in No. 417. 472. From back of South Building. End gone. Condition poor. Length, 0.0465 m. Di¬ ameter of head, 0.025 m. Slight raised rim. Edge grooved. Upper corrugation has raised grooved band. Lower corrugation plain. Head and pin as in No. 417. 473. End gone. Length, 0.0525 in. Diame¬ ter of head, 0.025 m. Raised rim round head. Two grooves in edge of head. Upper corruga¬ tion has raised band with two grooves. Lower corrugation has raised band with one groove. All rings have fine rope-threading. Pin and head as in No. 417. 474. End gone. Condition poor. Length, 0.0965 m. Diameter of head, 0.0205 m. Raised rim around head, which has two grooves round edge. Upper corrugation with raised grooved band. Lower corrugation plain. Ring beneath head has fine oblique threading. Grooved ring at either side of secondary corrugation. Pin and head as in No. 417. 475. End and part of head gone. Length, 0.057 m. Diameter of head, 0.023 m. Rather high knob. Grooves shallow. Raised grooved band around main corrugation. Lower corruga¬ tion plain. Pin and head as in No. 417. Group xii. Similar to Groups vi. and x. 476. From south slope. Most of pin gone. Length, 0.027 m. Diameter of head, 0.0175 m. Groove round edge of head. About centre of corrugation narrow raised band. All grooves shallow. Head and pin as in No. 417. 477. End gone. Length, 0.048 m. Diameter of head, 0.019 in. Rounded knob. Edge of head grooved. Three rings between head and cor¬ rugation. Corrugation has narrow raised band. Grooves shallow. Pin and head as in No. 417. 478. End gone. Length, 0.06 m. Diameter of head, 0.022 m. Flat undercut knob. Top of head slightly concave. Edge grooved. Corru¬ gation has narrow raised band. Lower corruga¬ tion plain. Grooves plain but not deep. Pin and head as in No. 417. Group xiii. Similar to Groups vi. or vii., and xi. 479. End gone. Head abraded. Length, 0.0365 m. Diameter of head, 0.0155 m. Low rounded knob, slightly undercut. Main corru¬ gation with prominent raised grooved band. All grooves shallow. Pin and head as in No. 417. 480. End gone. Condition poor. Length, 0.058 m. Diameter of head, 0.0185 m. Low rounded knob. Edge of head grooved. Both corrugations have raised grooved band. All grooves shallow. Head and pin as in No. 417. Group xiv. Two rings just beneath head. One or two rings at each side of the corrugations. Raised grooved band which may also ornament the lower corrugation. 481. Pin gone. Condition poor. Length, 0.0315 m. Diameter of head, 0.0175 m. Low knob. Top of head slightly concave. Edge of head grooved. Lower corrugation with band, with trace of groove. Grooves all shallow. Pin and head as in No. 417. 482. From back of South Building. Condi¬ tion poor. Length, 0.032 m. Diameter of head, 0.0165 m. Rim of head raised. Grooved ring beneath head and at either side of each corruga¬ tion. Pin and head as in No. 417. 483. Condition poor. Length, 0.0435 m. Diameter of head, 0.0165 m. Low knob. Lower corrugation plain. Grooved ring at either side of both corrugations. Pin and head as in No. 417. 484. From south slope. End gone. Length, 0.065 m. Diameter of head, 0.0225 m. Knob flat. Top of head slightly concave. Edge of head has two grooves. Between head and cor¬ rugation three rings. Each corrugation has two raised rings. Pin and head as in No. 417. 485. Point damaged. Head half gone. Length, 0.0915m. Diameter of head,0.0185 m. Rounded undercut knob. Each corrugation has raised grooved band. Filing showed color medium light. PINS: STRAIGHT 223 Group xv. Three rings of unequal size beneath head. Single ring at each side of corrugations. Grooved band on main corrugation and sometimes on lower one. 486. Most of pin gone. Condition poor. Length, 0.036 m. Diameter of head, 0.0205 in. Low undercut knob. Edge of head grooved. First two rings beneath head larger than third. Lower corrugation plain. Pin and head as in No. 417. 487. End gone. Length, 0.108 m. Diame¬ ter of head, 0.0219 m. Low undercut knob. Rim of head raised. Edge of head grooved. Lower corrugation plain. Pin and head as in No. 417. ] 488. From West Building. Length, 0.175 m. Diameter of head, 0.0295 m. Slight raised rim. Rather high round knob. Raised grooved bands on both corrugations. Whole pin probably one piece. Group xvi. Double groove about main corrugation. 489. Point and part of neck gone. Length, 0.023 m. Diameter of head, 0.022 m. Low undercut knob. Rim of head raised. Edge of head grooved. Single ring beneath head and at either side of main corrugation. Head and pin as in No. 417. 490. End gone. Length, 0.075 m. Diameter of head, 0.021 m. Round undercut knob. Rim of head raised. Edge of head has raised band, with fine threading. Main corrugation has raised, double-grooved band. Lower corruga¬ tion has raised grooved band. Beneath head thick, broad ring with vertical threading. Single ring, with threading on each side of each corru¬ gation. Grooves shallow. Pin and head as in No. 417. Cf. Group viii. Form 2. More advanced. Elongated jacket. Head large or medium size, AND USUALLY THICK. Class a. Two plain corrugations with single ring at either side of each. Two grooves wider head. Represented only by No. 491. 491. Head gone. Length, 0.151 m. Rec¬ tangular knob at top for insertion into head. Groove near ring. Whole fragment probably one piece, though possibly pin inserted. 1 Olympia, No. 485, is quite similar, except that it has double ring at each side of main corrugation. 2 Cf. archaic Greek pin with three plain knobs, of Class ft- Two large rather thin corruga¬ tions , with clearly defined, ring at either side tending to he completely separated, from corrugations. Mingle similar ring under head. 492. From West Building. End gone. Length, 0.065 m. Diameter of head, 0.018 m. Low slightly undercut knob. Edge of head lias two grooves. Rim of head raised. Rings and corrugations plain. Pin and head as in No. 417. 493. F rom West Building. End gone. Length, 0.0725 m. Diameter of head, 0.0275 in. Knob rather high and undercut. Edge of head has two grooves; rim raised. Two rings be¬ neath lower corrugation. Lowest ring and ring above each corrugation and band between grooves on edge of head have fine oblique thread¬ ing. Pin seems to be inserted in jacket, which seems of one piece with head, but this not cer¬ tain. Possibly from same factory as No. 492. 494. Pin gone. Length, 0.0385 in. Diameter of head, 0.031 in. Rather high undercut knob. Edge of head has two grooves ; rim raised. Top of head decorated with two bands of curved meander pattern, separated by band of circles. Rings and band between grooves on edge of head obliquely threaded. Head and jacket seem one piece. Pin probably of iron. Class y. Two or more large plain corruga¬ tions of nearly equal size, with single ring on either side? Group i. No special ring beneath head, there being only one between corruga¬ tion and head. 495. Fragment of top. Length, 0.024 m. Diameter of head, 0.034 m. High undercut knob with three grooves. Edge of head has raised band ; rim raised. Filing showed stem to be of separate piece from jacket. Group ii. Single small ring beneath head. 496. Pin gone. Length, 0.048 m. Diameter of head, 0.044 m. Rim of head raised: edge grooved. Two rings between corrugations. Pin of bronze, probably inserted. Head and knob with first ring probably separate piece from jacket. 3 497. F rom south slope. End gone. Length, 0.101 m. Diameter of head, 0.023 m. Knob which middle one is largest, from Megara Hyblaea, pub¬ lished by Orsi in Mon. Ant. Line. I. col. S09. 3 Somewhat similar are two pins in museum at Florence (Vitrine V), from Borgo S. Sepolcro, 1S88. 224 THE BRONZES undercut. Kim of head raised; edge has three grooves. Whole pin probably one piece. Group iii. Two rings under head, upper one being the larger. Cf. Form 1, Class y, Group viii. 498 . From cutting above Old Temple toward tents. End gone. Length, 0.0285 m. Diam¬ eter of head, 0.027 m. High undercut knob. Rim of head raised ; edge has two grooves. The two rings above corrugations have fine threading. Probably lower corrugation and its rings were strung on stem. 499. End gone. Length, 0.135 m. Diameter of head, 0.037 m. Knob undercut. Rim of head raised and beveled inside. Edge has three grooves. All small rings have vertical threading. Pin is inserted. Jacket thin. Head and jacket probably all one piece, though perhaps jacket separates from head beneath large top ring. 1 Class 8. Two plain corrugations with ring above top of one and between them. Next to head , plain neck. Beneath corruga¬ tions , sloping surface , tipper end of which rises abruptly. Below this slope , one or more rings. 500 . Pin gone, bottom of jacket injured. Length, 0.026 m. Diameter of head, 0.0165 m. Grooves on edge cut unevenly, so one does not go all round. Lower corrugation slopes off on lower side. Pin was of iron. Head and jacket probably one piece. 501 . Pin gone. Length, 0.028 m. Diameter of head, 0.021 m. In edge of head, two grooves. Raised rim. Long neck. Sloping surface short, followed by ring. Pin of iron. Head and jacket probably one piece. 502 . 1 ’in gone. Length, 0.037 m. Diameter of head, 0.0215 m. In edge of head, two grooves. Raised rim. Ring below sloping surface followed by straight surface, with ring in middle and lie- low. Pin of iron. Head and jacket one piece. 503 . 1 > in gone. Length, 0.039 in. Diameter of head, 0.0215 m. In edge of head, two grooves. Raised rim. At base of sloping surface, ring, followed by low convex surface, ending in small ring. Pin of iron. Head and jacket probably one piece. Addendum. The following number may per¬ haps be placed here. 504 . F rom cutting above Upper Temple to¬ ward tents. Pin gone. Length, 0.0205 m. Diameter of head, 0.0155 m. One corrugation 1 Pin confused in photogr; with three rings above, the middle one being- largest, and three below, the lowest being largest. Top of head slightly concave. Three grooves on edge. Band between two upper grooves has vertical thread. Same on all rings except bot¬ tom one. Pin of iron. Probably head and jacket one piece. Class e. Similar to S, but with closely en¬ graved lines on one or more corrugations and rings. 505 . Pin gone. Length, 0.034 m. Diameter of head, 0.02 m. Knob conical, undercut. Edge of head with three grooves. Band between two upper has fine horizontal and oblique nicking. Raised rim. Neck straight. Round centre of main corrugation raised nicked band. Rings be¬ tween corrugations nicked. Sloping surface con¬ vex. At bottom, two rings. Head and jacket probably one piece. Pin of iron. 506. Head and pin gone. Length, 0.036 m. Two large corrugations, each with raised nicked band. Between and above corrugations single nicked ring. Sloping surface has nicked ring at bottom, and nicking at upper edge. Jacket probably one piece. Pin of iron. Filing showed medium color. 507 . Pin gone. Length, 0.049 m. Diam¬ eter of head, 0.0255 m. Conical undercut knob. Edge of head has three grooves. Upper band nicked. Raised rim. Band in corrugations and rings above same nicked. Sloping surface has nicked upper edge and nicked ring, below which two other rings. Head and jacket probably one piece. Probable traces of iron pin. Class C Similar to Class 8, but with cor¬ rugations ornamented. Upper one by heavy oblique grooves , arranged in groups of three. Lower one by antithetic semi¬ circles. 508 . Pin gone. Length, 0.048 m. Diameter of thread, 0.029 m. Knob conical, undercut. Surface of top convex. Raised rim. Band round edge nicked. Iron pin. Head and jacket probably one piece. Class r]. Similar to Class £, but with deep perpendicular lines in corrugations , and with one or more rings under head. Group i. One ring under and probably attached to head. Plate LXXXII. 509 . Pin gone. Length, 0.042 m. Diameter of head, 0.0255 m. Round undercut knob. ,ph with head of No. 531. PINS: STRAIGHT 225 Edge has three rings. Raised rim. Within each of grooves on corrugations are three finer grooves, sometimes four. Pin probably of iron. Group ii. Two rings under head, of which upper is larger. Probably not attached. 510 . End gone. Length, 0.073 m. Diam¬ eter of head, 0.037 m. Knob made of two su¬ perposed cones with cylindrical cap. Upper cone has grooves radiating from cap. Each groove surrounded by line. Lower part of knob has fine lines. Top of head slightly concave. Raised rim on lower side of head also. Edge has band round centre, from which run toward each rim grooved ornament. Below second ring, short neck, followed by line of cleavage, showing jacket separable at this point. Corru¬ gations as in No. 509 . Sloping surface slightly concave. Ornamented with pattern similar to knob. Pin of iron. 511 . Pin and head gone. Length, 0.0465 m. Similar to jacket of No. 510 below division. Pin probably of bronze. Class 0. Two corrugations with vertical lines. Above, between head and corru¬ gations, two small rings. Between cor¬ rugations, two similar rings. Beneath, one or two rings. Rim as before. Head grooved. Group i. Head has two grooves. (a!.') One ring beneath corrugations. 512 . From south slope. Length, circ. 0.155 m. Diameter of head, 0.023 in. Knob deeply un¬ dercut. Raised rim. On main corrugation, grooves in groups of three. On lower, in groups of two. 513. From south slope. End gone. Length, 0.067 m. Diameter of head, 0.023 m. Grooves on both corrugations in groups of two. 514. Pin gone. Length, 0.0265 m. Diameter of head, 0.0235 m. Grooving coarse. Pin was inserted. 515. Point and lower part of jacket gone. Length, 0.141 m. Diameter of head, 0.021 m. Grooving coarse. 516. From south slope. End gone. Length, 0.0965 m. Diameter of head, 0.0217 m. Lines on corrugations oblique from right to left. Lowest ring part of same piece with pin. Cor¬ rugations appear as though strung. 517 . From south slope. Pin and lower part of head gone. Length, 0.02 m. Diameter of head, 0.0215 m. Grooving oblique from right to left. Filing showed medium light color, and no trace of composite structure. 518 . F rorn south slope. End gone. Length, circ. 0.145 m. Diameter of head, 0.0155 m. Slight groove below lowest ring, as though pin were inserted there. 519. Length, 0.143 m. Diameter of head, 0.021 m. Grooves oblique. Lowest ring seems to go with pin. 520. End gone. Length, 0.05 m. Diameter of head, 0.0135 m. Grooves slightly oblique. Lowest ring belongs to pin. 521 . From West Building. Length, 0.155 m. Diameter of head, 0.022 m. Unbroken. (65) Two rings beneath corrugations. 522. From West Building. End gone. Length, 0.1015 in. Diameter of head, 0.023 m. Grooves slightly oblique. Ring below lower corrugation faintly grooved. 523 . End gone. Condition poor. Length, 0.143 m. Diameter of head, 0.021 m. Grooves oblique. Group ii. Head has three grooves. Rim raised and beveled. (a'.) One ring beneath lower corruga¬ tion. 524. End gone. Length, 0.088 in. Diam¬ eter of head, 0.0205 m. Grooves on corrugations in groups of three, one group of four on lower corrugation. 525 . From WestBuilding. Endgone. Length, 0.08 m. Diameter of head, 0.018 m. Lowest ring seems to belong to pin. 526. Pin gone. Length, 0.026 m. Diam¬ eter of head, 0.021 m. Grooves in groups of three, one group of two on upper corrugation. Pin seems to have been of copper. 527. From WestBuilding. Endgone. Length, 0.0865 m. Diameter of head, 0.021 m. Lower ring seems to belong to pin. 528. From south slope. End gone. Length, 0.087 m. Diameter of head, 0.02 in. 529. From West Building. End gone. Length, 0.072 in. Diameter of head, 0.022 m. 530 . End gone. Length, 0.111 m. Diam¬ eter of head, 0.29. Rings have fine vertical cuts. 531 . Cf. No. 499 , note. End gone. Length, 0.147 m. Diameter of head, 0.04 m. Pin has slight groove at joining with lowest ring and seems separate. 1 532. Endgone. Length, 0.075 m. Diameter of head, 0.017 m. 1 Cf. Olympia, No. 481, for form and size. 226 THE BRONZES 533. End gone. Length, 0.073 m. Diameter of head, 0.021 m. 534. End gone. Length, 0.094 m. Diameter of head, 0.025 m. 535. End gone. Length, 0.044 m. Diameter of head, 0.0185 m. 536. End gone. Length, 0.115 m. Diameter of head, 0.0235 m. Rings have oblique thread¬ ing. 537. End gone. Length, 0.068 m. Diameter of head, 0.0175 m. Lowest ring seems to go with pin. 538. End gone. Length, 0.11 m. Diameter of head, 0.016 m. Lowest ring seems to go with pin. Grooves on lower corrugations closer than on upper. 539 . From West Building. Length, 0.138 m. Diameter of head, 0.018 m. Top of head slightly concave. 540. Length, 0.059 m. Diameter of head, 0.018 m. Lowest ring probably goes with pin. 541. End gone. Length, 0.095 m. Diameter of head, 0.02 m. Lowest ring probably goes with pin. 542. End gone. Length, 0.0425 m. Diameter of head, 0.0195 m. 543. End gone. Length, 0.0765 m. Diameter of head, 0.019 m. 544. End gone. Length, 0.0835 m. Diameter of head, 0.0165 m. Lowest ring probably goes with pin. 545. End gone. Length, 0.0705 m. Diameter of head, 0.017 m. Top ring larger than usual and shows trace of groove. 546. End gone. Length, 0.0875 m. Diameter of head, 0.021 m. 547. From back of South Building. Pin gone. Knob injured. Length, 0.028 m. Diameter of head, 0.019 m. Pin probably was of iron. 548. From West Building. End gone. Length, 0.15 m. Diameter of head, 0.021 m. Lowest ring probably goes with pin. 549. From back of South Building. End gone. Length, 0.0825 m. Diameter of head, 0.0205 m. Corrugations rather thick. 550. End gone. Length, 0.083 m. Diameter of head, 0.021 m. 551. F roin back of South Building. End and lower part of jacket gone, also part of head. Length, 0.0255 m. Diameter of head, 0.0185 m. 552. From West Building. End gone. Length, 0.063 m. Diameter of head, 0.019 m. 553 . Pin corroded. Length, 0.173 m. Di¬ ameter of head, 0.0205 m. Rim has convex beveling. Lowest ring probably goes with pin, and possibly pin inserted into lowest corruga¬ tion. 554. End gone. Length, 0.0815 m. Diameter of head, 0.02 m. Knob undercut and resting on a raised base. Lowest ring seems to go with pin. 555. From West Building. Present point not original. Length, 0.118 m. Diameter of head, 0.0175 m. Only one ring between corru¬ gations. ( b Two rings beneath corrugation. Only one uncertain example. 556. From south slope. Pin and about half of head gone. Length, 0.03 m. Diameter of head, 0.022 m. Filing showed color medium light, and no trace of composite structure. Group iii. Head has four grooves. 557 . End and lower part of jacket gone. Length, 0.022 m. Diameter of head, 0.026 m. Addenda. Pins of this class with heads broken off. One ring beneath lower corrugation. Lower corrugation only preserved. 558. From back of South Building. Length, 0.156 m. Filing showed color medium light. 559. Point gone. Length, 0.0825 m. Ring beneath corrugations double usual width. 560. Point gone. Length, 0.1145 m. 561. Point gone. Length, 0.0985 m. Both corrugations preserved. 1 562. Point gone. Preserved through first ring above upper corrugation. Length, 0.05 m. 563. Point gone. Length, 0.086 m. 564. Point gone. Length, 0.083 m. 565. Point gone. Length, 0.111 m. 566. Point gone. Length, 0.085 m. 567. Point gone. Length, 0.0975 m. Form 3. Advanced. Rather short CROWDED JACKET. LARGE, RELATIVELY THIN HEAD. Class a. Two plain corrugations; upper with ring on lower sides ; lower has ring on each side. Below , foot with slight concavity in middle. 568 . Pin gone. Length, 0.0205 m. Diameter of head, 0.02 m. Low flat rim, groove near edge on top. Edge of head grooved. Upper corrugation the largest. Traces of iron pin. With the following cf. Olympia, No. 487, which is not said to be headless. PINS: STRAIGHT 227 Class /3. Two plain, broad, slightly rounded corrugations. Between head and upper corrugation, three rings (or a flat corrugation with two grooves'). Be¬ tween corrugations, two rings of similar construction, and two similar rings be¬ neath lower corrugation. In highest group of rings, grooves less deep than in two lower groups. 569 . F rom West Building. Pin gone. Length, 0.038 m. Diameter of head, 0.0325 m. Edge of head has two grooves. Remains of iron pin. Jacket probably all one piece. Class y. Two corrugations with flat raised ring about centre and ring ( attached ) at either end. Edge of head recedes down¬ ward in two steps. 570 . Length, 0.144 m. Diameter of head, 0.0225 m. Rim raised very little. First step (next head) on lower side head higher than second. Both are notched obliquely on edge. Neck between head and first corrugation thicker than neck between the corrugations. Upper cor¬ rugation continued beyond its lower ring. Edges of rings and bands on corrugations notched. Head and upper corrugation seem one piece. Possible that pin passes through lower corru¬ gation into upper one ; also possible that jacket is of one piece. Class 8. One or two ornamental corruga¬ tions. Knob conical. Group i. Upper corrugation has raised ring at centre. Ring between head and corrugation. Beneath corrugation, two rings. Below, small plain corrugation, followed by ring. 571 . Pin gone. Length, 0.024 m. Diameter of head, 0.025 m. Raised rim. Lower edge of head notched. Upper three rings and band on corrugations notched. Remains of iron pin. Group ii. Upper corrugation has raised grooved ring and ring at either side. Lower corrugation has raised ring and ring at either side. Beneath, a broad and a narrow ring. Probably all from the same factory. 572 . Pin gone. Length, 0.038 m. Diameter of head, 0.036 m. Raised rim. Lower edge of head notched. Lower corrugation much smaller than upper. Bands on corrugations and all rings except top one notched. Pin probably was of iron. Head and jacket probably one piece. 573 . Pin gone. Length, 0.033 m. Diameter of head, 0.031 m. Raised rim. Lower edge of head notched. Jacket similar to that of No. 572 , but lower corrugation larger. Pin probably of iron. 574 . Pin gone. Length, 0.035 m. Diameter of head, 0.0335 m. Inside beveled rim of head, a notched band. Top of head slightly convex. Edge of head has two grooves. Jacket similar to that of No. 573 . Remains of iron pin. 575 . From cutting upon hill toward tents above Old Temple. Length, 0.034 m. Diam¬ eter of head, 0.036 m. Rim and band on head similar to No. 574 . Edge has two grooves with band between notched. Jacket similar to that of No. 574 . All rings notched. Pin probably of iron. Form 4. Pins of various stages of devel¬ opment, USUALLY WITH SHORT CROWDED JACKET AND THICK HEAD. Class a. With one, two, or three plain cor¬ rugations. Beneath these usually one or more rings. Group i. Simple style, with two plain cor¬ rugations. With or without ring or rings beneath. , 576 . Point gone. Length, 0.0525 m. Di¬ ameter of head, 0.009 m. Knob on head looks like projecting stem, but under side of head looks like one piece with neck. Corrugations and pin probably one piece. 577 . Point gone. Length, 0.0765 m. Di¬ ameter of head, 0.011 m. Round edge on top row of dot in circles. Edge grooved. Ring grooved. Head seems of one piece with pin. Whole pin probably one piece. The two following fragments probably belong here. 578. Head gone. Length, 0.041 m. 579. Head and end gone. Length, 0.057 m. Two small rings between corrugation. Group ii. One corrugation. Beneath, two or more rings. Head usually only slightly larger than corrugation and rings. (a'.) Rather crowded. 580 . From south slope. Length, 0.067 m. Diameter of head, 0.0065 m. Edge of head has two grooves. Filing showed medium color. Whole pin probably one piece. 581 . From south slope. End gone. Length, 0.031 m. Diameter of head, 0.0085 in. Traces of four grooves on edge of head. 582 . End gone. Length, 0.038 m. Diam- 228 THE BRONZES eter of head, 0.009 m. Edge of head has two grooves. (o'.) Less crowded. 583. End gone. Length, 0.0275 in. Diam¬ eter of head, 0.06 m. 584. End gone. Length, 0.062 m. Diameter of head, 0.0095 m, Rim slightly raised. On top marks that look like letters, but probably not. Edge of head has two grooves. Whole pin probably one piece. 585. Length, 0.0987 m. Diameter of head, 0.011 m. Low raised rim beveled inside. Edge of head lias one groove. Corrugation ring has two grooves. 586. Point gone. Length, 0.127 in. Diam¬ eter of head, 0.012 m. Edge of head has five grooves. Corrugation ring has three grooves. Head and jacket taper downward. Possibly head and beads are strung. Group iii. One plain corrugation, be¬ neath which one or more rings. Head broader, proportionally, than in Group ii. 587. Length, 0.096 m. Diameter of head, 0.008 m. Edge of head has two grooves. Two rings below corrugation. 588. Tip gone. Length, 0.062 m. Diameter of head, 0.0094 m. Slightly raised rim. Edge of head has two grooves. Beneath corruga¬ tion, three rings, the lowest being raised end of pin. 589. Bent. Length, 0.097 m. Diameter of head, 0.0085 m. Head has four grooves. Below corrugation, grooved ring and two plain rings. Whole pin probably solid. Group iv. Similar to Group iii., but with two corrugations, usually with ring or rings beneath. (a'.) Without rings. Corrugation plain. 590. Length, 0.085 m. Diameter of head, 0.007 m. Edge of head has two grooves. Space between head and upper corrugation nar¬ row. Lower corrugation smaller than upper. Perhaps belongs to Group iii. 591 . Condition poor. Length, 0.0225 m. Diameter of head, 0.012 in. Edge of head has two grooves. Corrugations look separable. 592. Present end not original. Length, 0.044 m. Diameter of head, 0.0115 m. Edge of head lias two grooves. Stem of jacket larger than pin at top. (5'.) With one ring. 593. End gone. Length, 0.02 m. Diameter of head, 0.0075 m. Edge of head has one groove (perhaps two). Ring about half as large as lower corrugation. Stem of jacket larger than pin. 1 594. Length, 0.059 m. Diameter of head, 0.0055 m. Edge of head has three grooves, Whole pin probably one piece. 595. End gone. Length, 0.022 m. Diame¬ ter of head, 0.009 m. Edge of head has at least two grooves. Lower corrugation smaller than upper. Stem of jacket larger than pin. 596 . End gone. Length, 0.058 m. Diam¬ eter of head, 0.014 m. Edge of head has three (perhaps four) grooves. Lower corrugation has two grooves and band between of rectangles. Jacket and stem taper downward from head. (ch) With two rings (really perhaps a grooved corrugation). 597. End gone. Length, 0.059 m. Diameter of head, 0.011 m. Grooving on edge of head doubtful. Beneath lower corrugation grooved ring, of which lower part forms end of pin. Jacket tapers downward and has stem larger than top of pin. Whole pin probably one piece. 598 . End gone. Length, 0.069 m. Diam¬ eter of head, 0.012 m. Edge of head has two grooves. 599. From West Building. End gone. Length, 0.045 m. Diameter of head, 0.0123 m. Edge has two grooves. Stem of jacket larger than head of pin and tapers. 600. Head of pin. Length, 0.0135 m. Di¬ ameter of head, 0.013 m. Two grooves in edge. Under side of head convex. Traces of iron pin. 601 . Most of pin gone. Length, 0.018 m. Diameter of head, 0.0145 m. Two grooves in edge. Pin of bronze. Stem of jacket larger than pin. 602. Point gone. Length, 0.071 m. Diam¬ eter of head, 0.0145 m. Top of head slightly concave; rim raised. Edge of head tapers downward, and has two grooves. Stem of jacket larger than pin. Head and jacket taper con- cavely. 603. Pin gone. Length, 0.0205 m. Diameter of head, 0.02 m. Top of head concave. Knob on low base and outside it band of small circles. Edge of head tapers, and has two grooves. Jacket tapers (slightly concave). Pin of iron. 604. Pin gone. Length, 0.0155 m. Diameter Cf. the somewhat similar bronze pin from Villanova (iron age), Montelius, Civ. Prim. It. pi. 91, fig. 5. PINS: STRAIGHT 229 of head, 0.019 m. Around knob, band of spiral maeander. Top of head concave. Edge of head tapers concavely and has two grooves. Lower edge finely notched. Lowest ring notched on upper edge. Remains of iron pin. 605 . From back of South Building. Pin gone. Length, 0.0185 m. Diameter of head, 0.016 m. Around bottom of knob, band of circles. Top of head concave, with slight rise in centre. Edge of head tapers downward, and has two grooves. Head and jacket taper concavely. Remains of iron pin. Probably from same factory as No. 606 . 606 . Pin gone. Length, 0.0215 m. Diameter of head, 0.0188 m. Knob rests on base, on which band of circles. Edge of head tapers down¬ ward, and has two grooves. Head and jacket taper concavely. Remains of iron pin. 607 . Pin gone. Length, 0.022 m. Diameter of head, 0.0185 m. Top of head concave, with rise in centre. Edge of head stepped. Remains of iron pin. 608 . Pin gone. Length, 0.024 in. Diameter of head, 0.022 in. Top of head concave. In edge, two grooves. Band between them notched. Corrugations have oblique grooves. Head and jacket probably one piece. In the following number the second corruga¬ tion and the grooved ring have changed places. 609 . Pin gone. Length, 0.0155 m. Diameter of head, 0.012 m. Top of head slightly concave. In edge, two grooves. Jacket tapers irregularly. Remains of bronze pin. Color medium. (^'.) With raised band between the two rings. 610 . Pin gone. Length, 0.016 m. Diameter of head, 0.0105 m. Knob nearly cylindrical with groove across top. Top of head concave ; edge has three grooves and perhaps four. Head and jacket taper. Stem of jacket tapers. Color medium. 611 . Most of pin gone. Length, 0.0335 m. Diameter of head, 0.0122 m. Rim of head raised. In edge, two grooves. Band between them nicked. Lower ring nicked. Group v. Three corrugations and grooved ring. Corrugations plain. Plate LXXXIII. 612 . F rombackof South Building. End gone. Length, 0.064 m. Diameter of head, 0.0125 m. Edge of head one groove. Taper downward from middle corrugation. 613 . Pi n gone. Length, 0.027 m. Diameter, of head, 0.0205 m. Top of head concave, with slight rise in centre. Edge of head stepped, as in No. 607 . Corrugations decrease in size down¬ ward. Remains of iron pin. Probably from same factory as No. 607 . Addenda. 614 . Pin gone. Length, 0.0165 m. Diameter of head, 0.016 m. Top of head concave, with raised rim. Edge of head has one groove. Middle corrugation thickest. Edges of all cor¬ rugations notched. Remains of iron pin. 615. From back of South Building;. Pin gone. Length, 0.016 m. Diameter of head, 0.019 m. Top slightly concave. Edge of head tapers down¬ ward, and has two grooves. Pin of iron. Class /3. One or more broad corrugations with rings. Group i. Simple. One broad plain cor¬ rugation, with one or two rings (or grooved ring-corrugation) at either side. Some of the heads thin. («'.) Upper ring single. 616 . Point gone. Length, 0.0555 m. Di¬ ameter of head (corroded), 0.055 m. One ring above corrugation, grooved ring below. Groove at top of pin where it joins grooved ring. (5'.) Both rings double. 617 . From back of South Building. Pin bent. Length, 0.0885 m. Diameter of head, 0.007 m. No knob. Edge of head grooved. 618 . Most of pin gone. Length, 0.0165 m. Diameter of head, 0.013 m. Band of dotted circles on top of head at edge. 619. End gone. Length, 0.041 m. Diame¬ ter of head, 0.0115 m. Faint groove in edge. 620 . Point gone. Length, 0.066 m. Diame¬ ter of head, 0.0105 m. Stem of jacket larger than pin. 621. End gone. Length, 0.053 m. Diame¬ ter of head, 0.0105 m. Edge of head grooved. Jacket tapers downward from upper ring. Group ii. Kindred miscellaneous forms. 622 . Point blunted. Length, 0.09 m. Di¬ ameter of head, 0.01 m. Rim of head raised: edge grooved and lower edge notched. Two plain corrugations, of which the upper is the larger. It has notched ring on either side. Small ring beneath lower corrugation. 623 . Point gone. Length, 0.0785 m. Diame¬ ter of head, 0.0145 m. Edge of head has two grooves. One large spherical corrugation, above which heavy ring. Below, two groups of rings, the upper of three, the lower of two. Stem of 230 THE BRONZES jacket larger than pin. Whole pin seems to be of one piece. 624. End gone. Length, 0.045 m. Diameter of head, 0.018 m. Edge of head has one groove. Under side of head has flat, slightly elevated surface. Two corrugations ; upper, the larger, with raised grooved ring. King on either side of each corrugation. Group iii. Two corrugations, of which one or both is thick. Usually ornamented with raised bands, which may be grooved. Rings above, below, and between. (a 1 .) Both corrugations ornamented with raised band. Above upper and beneath lower corrugation, and also between corrugations, a single ring. 625. From south slope. Pin gone. Length, 0.0255 m. Diameter of head, 0.0175 m. Knob conical. Top of head deeply concave, with centre raised above rim. Edge of head grooved. Lower edge notched, as also bands on corrugations and lowest ring. Remains of iron pin. Head and jacket seem one piece. 626. Pin gone. Length, 0.0275 in. Diame¬ ter of head, 0.0215 m. Knob cylindrical. Edge of head has two grooves, with band between notched vertically. All bands and rings notched. Remains of bronze pin. Head looks welded to jacket. (5'.) Two plain corrugations, with sin¬ gle ring above and below each. 627. Point gone. Length, 0.0865 m. Di¬ ameter of head, 0.009 in. Top of head con¬ cave. Edge of head has two grooves, with band between notched. Possible traces of notching' © on rings. (V.) Upper corrugation has raised band. Otherwise same as above. 628. End gone. Length, 0.046 m. Diame¬ ter of head, 0.0127 m. Top of head slightly concave. Edge of head has one groove and tapers downward. 629. Point gone. Length, 0.094 m. Diame¬ ter of head, 0.013 m. Rim of head slightly raised and edge lias two grooves. Lowest ring forms top of pin. 630. From West Building. End gone. Head damaged. Length, 0.059 m. Diameter of head 0.011 m. Upper corrugation about twice the size of lower and has low raised band. 631. End gone. Length, 0.05 m. Diameter 1 Very similar, of head, 0.014 m. Edge of head has one groove and tapers downward ; rim beveled. Lower rim of head notched, as also band on corrugation, and rings. 632. Length, 0.128 m. Diameter of head, 0.0115 m. Head, corrugations, and rings same as in No. 631. 633. Pin gone. Head damaged. Length, 0.0225 m. Diameter of head, 0.0175 m. Top of head depressed. Knob on base. Head, cor¬ rugations, and rings probably same as in No. 631. Remains of iron pin. {d'.') Similar. Upper corrugation has raised grooved band, lower has plain band. 634. End gone. Condition poor. Length, 0.069 m. Diameter of head, 0.0145 m. Edge of head has two grooves. Band between has fine notching. Stem much larger than jacket. 1 (e'.) Similar. Both corrugations have raised grooved band. 635. Pin gone. Head much corroded. Length, 0.03 m. Diameter of head, 0.0215 m. Rim of head raised and top concave. Edge of head has two grooves. Uncertain whether pin of bronze or iron. 636. Pin gone. Length, 0.042 m. Diameter of head, 0.0255 m. Top of head has two con¬ cave circular surfaces. Edge of head has two grooves. Beneath lower ring of lower corruga¬ tion, another ring and small corrugation. Re¬ mains of iron pin. The following may belong with either (cZ') or («')• 637. Pin and lower part of jacket gone. Length, 0.021 m. Diameter of head, 0.025 m. Edge of head has three grooves; lower band notched. Ring on either side of corrugation. Bands on corrugation notched. 638. From West Building. Pin and lower part of jacket gone. Length, 0.002 m. Diam¬ eter of head, 0.0265 m. Edge of top tapers and has two grooves with notched band. Band on corrugation notched. Filing showed color medium. (f.') Two plain corrugations, with ring at either end of each and another ring just under head. 639. End gone. Head corroded. Length, 0.0425 m. Edge of head has one groove. 640. Most of pin gone. Head corroded. Length, 0.0235 m. Diameter of head, 0.0145 m. Olympia, No. 484. PINS: STRAIGHT 231 Filing showed color medium. Pin probably all one piece. 641. Most of pin gone. Length, 0.0285 m. Diameter of head, 0.011 m. Edge of head has three grooves. (g 1 .) Similar. Upper corrugation has raised grooved band. Lower has plain raised band. 642. Most of pin gone. Length, 0.035 m. Diameter of head, 0.0155 m. Edge of head has two grooves. 643. F rom south slope. End gone. Length, 0.0635 m. Diameter of head, 0.0215 m. Rim raised. Edge of head has two grooves with notched band. All rings and bands notched. Pin was inserted. ( h'.) Similar. Both corrugations have raised grooved bands. 644. End gone. Length, 0.082 m. Diameter of head, 0.0155 m. Edge of head has two grooves with band perhaps notched. The following, No. 645, possesses an elemen¬ tary form of the head-ring, and may be placed under either ( g') or (h'). 645. Pin and lower part of jacket gone. Length, 0.025 m. Diameter of head, 0.026 m. Rim raised; edge of head has two grooves with notched band. Filing showed color medium. (Y.) Similar. Upper corrugation has raised double groove ; lower corruga¬ tion has raised single groove. 646. End gone. Length, 0.088 m. Diameter of head, 0.0215 m. Knob on notched base. Edge of head has two grooves and notched band. Class y. One rather large corrugation. Above, a single ring or ring-corrugation, which may be grooved. Beneath, two or more rings or ring-corrugations. Group i. Single ring between corruga¬ tion and head. (a'.) Single grooved ring beneath cor¬ rugation. Edge of head grooved. Corrugation plain. 647. From south slope. End gone. Length, 0.056 m. Diameter of head, 0.0105 m. Edge grooved. 648. End gone. Length, 0.045 m. Diameter of head, 0.0117 m. Row of dotted circles on top of head. Edge grooved. ( V .) Corrugation with raised notched band. Beneath, small plain corruga¬ tion with heavy ring at each side. 649. From back of South Building. Pin gone. Length, 0.028 m. Diameter of head, 0.021 m. Top of head concave, and lower rim probably notched. Under side of head stepped. Upper and lowest ring have notches on both edges. Remains of iron pin. (V.) Corrugation plain; beneath, three rings, the middle being thickest and grooved. 650. From back of South Building. Length, 0.158 m. Diameter of head, 0.015 m. Top of head concave. Edge of head tapers downward concavely and has four grooves. Rest of jacket tapers convexly. Traces of notching on the three single rings. Group ii. With double or grooved ring between corrugation and head. The following, Nos. 651, 652, have only one ring beneath corrugation, but the general ap¬ pearance and style resemble the others. Corru¬ gation plain. 651. End and most of head gene. Length, 0.0335 m. Small knob resembling end of stem. Filing showed color medium. 652. End gone. Length, 0.032 m. Diameter of head, 0.0095 m. Edge of head grooved. Stem about same size as pin. Probably all one piece. The following, No. 653, has beneath corru¬ gation a grooved ring above rectangular block. 653. From south slope. End and part of head. Length, 0.052 m. Diameter of head, 0.0095 m. Stem about same size as pin. Rec¬ tangular block has grooved collar. (ah') Simple. Plain corrugation with grooved ring above and below. 654. End gone. Point not original. Length, 0.049 m. Diameter of head, 0.0095 m. Edge of head grooved. Stem of jacket about same size as pin. Whole pin probably one piece. 655. Point gone. Condition poor. Length, 0.064 m. Diameter of head, 0.0115 m. 656. From south slope. End gone. Length, 0.0475 m. Diameter of head, 0.012 m. 657. End gone. Length, 0.0705 m. Diame¬ ter of head, 0.0108 m. Edge of head grooved, and on top ring of dotted circles. ( b’.) Similar, but more advanced, and with single ring added underneath. 658. End gone. Length, 0.061 m. Diame¬ ter of head, 0.014 m. Edge of head has two grooves. Jacket tapers downward. Stem of jacket larger than pin. 659. From south slope. Length, 0.022 m. Diameter of head, 0.0135 m. Edge of head 232 THE BRONZES grooved. Jacket similar to that of No. 658. Stem of jacket slightly larger than pin. Filing showed color medium. (o'.) Similar to last, but with two rings underneath. Second ring small and grooved. 660. End gone. Point not original. Length, 0.059 m, Diameter of head, 0.0155 m. Edge of head has two grooves. Jacket tapers down¬ ward convexly. Stem of jacket larger than pin. Pin probably one piece. (d 1 .) Beneath corrugation, smaller one with plain ring on either side. (Cf. No. 649.) Uppermost ring grooved as before. 661. End gone. Length, 0.059 m. Diame¬ ter of head, 0.0165 m. Top of head slightly con¬ cave. Edge of head has two grooves. First three members of jacket have nearly same di¬ ameter ; last two taper. On lower side of top ring, and on first ring beneath main corrugation, and on bottom ring, traces of notching. Pin seems inserted into lowest ring. Probably from same factory as No. 662. 662. Pin gone. Length, 0.024 m. Diame¬ ter of head, 0.0165 m. Edge of head has two grooves, with notched band between. Jacket similar to that of No. 661. Class S. Head assimilated to jacket, which (including head') co?isists of tzvo or three members placed close together , and tapers downward slightly. Group i. Two members in jacket. Up¬ per thin and plain. Lower thicker and with two grooves. 663. From south slope. End gone. Length, 0.0805 m. Diameter of head, 0.011 m. Stem projects through top. Group ii. Three members tapering slight¬ ly downward. Upper and lower ones grooved. (a'.) Middle member plain, top plain. 664. End gone. Condition poor. Length, 0.0425 m. Diameter of head, 0.01 m. Edge of head has three grooves. (7/.) All three members grooved. Knob on top. 665. F rom south slope. Most of pin gone. 1 For more elaborate rosette, cf. Orsi, ‘ Necropolis del Fusco,’ Not,, degli Scavi, 1895, p. 169. Orsi sees (note 2) reminiscence of Mycenaean style. Tomb early archaic. Cf. rosettes on bone objects from the Dictaean cave, British School Annual, VI. p. 113, fig. 49 (Hogarth), and Length, 0.018 m. Diameter of head, 0.0105 m. Edge of head has two grooves. Second and third members also two each. (V.) Middle member plain. Eyelet on top. 666. From West Building. End gone. Length, 0.114 m. Diameter of head, 0.009 m. Height of eyelet, 0.0025 m. Head has four grooves. Lowest member two. Pin probably separate from jacket. Unclassified addenda to Type f. 667. From south slope. Head and corruga¬ tions preserved. Length, 0.0215 m. Diameter of head, 0.022 m. In centre of top of head, rec¬ tangular opening as though punched through from below. Stem projects. On top surface of head, rosette. Rim raised. Close to rim, very fine zigzag. Stem and corrugation are of iron. 1 668. From south slope. End and head gone. Length, 0.118 m. Cf. Nos. 460 and 485. In top, hole, looking as if upper part of jacket had been fitted to it. 669. Most of pin gone, and perhaps a head also. Length, 0.0295 m. Stem projects through top. Lowest ring has traces of notching. Jacket seems to be of one piece. Discards of 'Type f: sixty-five, of which two from back of South Building, and one from south slope. Type g. Headless. Jacket of two corruga¬ tions, one or both of which are orna¬ mented, and have on either side a ring. 2 On top, an eyelet. Form 1. Ornamentation encircles cor¬ rugations HORIZONTALLY. Class a. Upper corrugation has raised band. Group i. Lower corrugation plain. (a 1 .) All rings and bands plain. 670. Eyelet broken. End gone. Length, 0.051 m. Diameter of upper corrugation, 0.013 m. (Cf. No. 699.) 671. Most of pin gone. Length, 0.0235 m. Diameter of upper corrugation, 0.012 m. 672. Point probably gone. Length, 0.1055 m. Diameter of upper corrugation, 0.012 m. ( b 1 .) All rings have fine notching. 673. Length, 0.144 m. Diameter of upper the gold rosette from a tholos tomb at Praesos, ibid. VIII. p. 243 (Bosanquet). 2 With this type may be compared Olympia, No. 488 , which is different in style (has vertical grooves and coni¬ cal apex), and is said by Furtwangler to be of later date. PINS: STRAIGHT 233 corrugation, 0.015 m. Stem of jacket larger than pin. 674. Point gone. Length, 0.1275 m. Di¬ ameter of upper corrugation, 0.017 m. Pin possibly inserted. Group ii. Both corrugations have raised grooved band. 675. End gone. Eyelet broken. Length, 0.076 in. Diameter of upper corrugation, 0.012 m. Stem of jacket larger than pin, which is pos¬ sibly inserted. 676. End gone. Length, 0.0625 m. Di¬ ameter of upper corrugation, 0.0105 m. Stem of jacket larger than pin, which is possibly in¬ serted. 677. Length, 0.123 m. Diameter of upper corrugation, 0.013 m. Stem about same size as top of pin. Class (3. Upper corrugation has raised double (or grooved') band. Group i. Lower corrugation plain. 678. End gone. Length, 0.037 m. Diame¬ ter of upper corrugation, 0.012 m. Stem between corrugations smaller than top of pin. 679. From back of South Building. End gone. Length, 0.081 m. Diameter of upper cor¬ rugation, 0.0115 m. Group ii. Lower corrugation has raised band. Bands and rings notched in almost every case. 680. End gone. Length, 0.0675 m. Diame¬ ter of upper corrugation, 0.0125 m. Stem same size as pin, which looks inserted. 681. End gone. Length, 0.0395 m. Diame¬ ter of upper corrugation, 0.0123 m. Stem same size as pin, which is perhaps inserted. 682. From south slope. Point gone. Length, 0.117 m. Diameter of upper corrugation, 0.012 m. 683. Point probably not original. Length, 0.095 m. Diameter of upper corrugation, 0.012 m. Stem larger than pin. Top of head has grooves from centre to rim. 684. Most of pin gone. Length, 0.0385 m. Diameter of upper corrugation, 0.013 m. Same grooves on top as in No. 683. 685. End gone. Length, 0.081 m. Diam¬ eter of upper corrugation, 0.013 m. Head as in No. 683. 686. From south slope. End gone. Length, 0.098 m. Diameter of upper corrugation, 0.0125 m. Head as in No. 683. Pin perhaps inserted. 687. Most of pin gone. Length, 0.047 m. Diameter of upper corrugation, 0.0135 m. Dead as in No. 683. 688. From south slope. End gone. Length, 0.057 m. Diameter of upper corrugation, 0.0165 m. Stem larger than pin. Upper part of pin round. Below, rudely diamond-shaped. 689. End gone. Length, 0.072 m. Diame¬ ter of upper corrugation, 0.016 in. Head as in No. 683. Stem lai-ger than pin. The following three have or had pins of iron. 690. Pin gone. Length, 0.0195 m. Diame¬ ter of upper corrugation, 0.013 m. Top as in No. 683. Stem larger than pin. 691. From south slope. Pin gone. Length, 0.022 m. Diameter of top corrugation, 0.015 m. Top as in No. 683. Stem larger than pin. 692. Length, 0.023 m. Diameter of toji corru¬ gation, 0.0155 m. Head similar to that of No. 683, but grooves fewer. On under side of lower corrugation, low flat ring. The following number has two rings above upper corrugation. 693. End gone. Length, 0.099 m. Diame¬ ter of top corrugation, 0.0115. Lower corruga¬ tion somewhat larger. Head as in No. 683. Stem larger than pin. Class y. Upper corrugation has raised band with double grooves. Group i. Lower corrugation plain. 694. End gone. Length, 0.064 m. Diame¬ ter of upper corrugation, 0.011 m. 695. End gone. Length, 0.0645 m. Diame¬ ter of upper corrugation, 0.012 m. On upper and lower halves of corrugation leaf ornament. Pin perhaps inserted. Group ii. Lower corrugation has raised grooved band. 696. From back of South Building. End gone. Length, 0.0815 m. Diameter of upper corrugation, 0.0115 m. Head as in No. 683. Stem larger than pin. Group iii. Lower corrugation has double grooved band. Double ring beneath lower corrugation. 697. Present point probably not original. Length, 0.092 m. Diameter of upper corruga¬ tion, 0.012 m. On both halves of upper corruga¬ tion, leaf ornament as in No. 695. All rings notched. Form 2. Ornamentation of corrugations VERTICAL. 698. From back of South Building. End gone. Length, 0.134 m. Diameter of upper cor- 234 THE BRONZES rugation, 0.014 m. Both corrugations have light double vertical grooves, and on upper side of top corrugation circles between grooves. Addenda to Type g. In the following the eye¬ lets, if such existed, have been lost. This fact, and their peculiar form, renders their classifica¬ tion uncertain, although they probably belong to this type. 699. From back of South Building. End gone. Length, 0.056 m. Diameter of upper corrugation, 0.011 m. Rings small. Upper cor¬ rugation plain. 1 Discards of Type g: seven, of which one from south slope. Type h. Iron pins with round rectangular and polygonal bronze heads. Form 1. Pin inserted directly into head WITHOUT ANY NECK. 700. Pin mostly gone. Length, 0.024 m. Di¬ ameter of head, 0.019 m. Possibly not a pin, but iron rod with knobs. The following numbers are of more uncertain classification. 701. From south slope. Pin gone. Length, 0.0135 m. Diameter, 0.014 m. Pierced by rec¬ tangular hole, in which are remains of iron pin or rod. 702. F 'rom south slope. Pin gone. Length, 0.0135 m. Diameter, 0.0135 m. Form 2. Pin inserted into projection on LOWER SIDE OF HEAD. Pin gone in all examples of Classes a, ft, y, S. Class a. Round -plain heads , mostly with ornament at top. 703. Length, 0.0125 m. Diameter of head, 0.01 m. Length of neck, 0.004 m. Top of head broken as though ornament had been lost. Neck lias two grooves. Remains of iron pin. 704. F rom south slope. Ornament on head injured. Length, 0.019 m. Diameter of head, 0.0125 m. Ornament consists of four petals about a low stem. 2 Remains of iron pin. 705. F rom south slope. Ornament injured. Length, 0.021 m. Diameter of head, 0.0115 m. Filing showed color medium. Class ft. Similar to Class a, hut with poly - gonal heads. Group i. Hexagonal. 706. From back of South Building. Orna¬ ment injured. Length, 0.019 m. Diameter of head, 0.015 m. Lower neck lias three rings, of 1 Perhaps No. 670 should be put here. 2 Professor Norton regards these heads with flower which central one is notched. Remains of iron pin. Group ii. Pentagonal. 707. Ornament injured. Length, 0.018 m. Diameter of head, 0.014 m. Filing showed color medium. 708. From south slope. Length, 0.022 m. Diameter of head, 0.016 m. Ornament of five petals about a stem. Lower neck has four rings, of which second from top is notched. Sides of polygon separated by segments of original cir¬ cumference. Class y. Similar , hut with rectangular heads. 709. Length, 0.017 m. Ornament injured. Has five petals. 710. Length, 0.018 m. Ornament of five petals injured. Ring beneath notched. Neck has three rings. 711. Length, 0.022 m. Flower of four petals. Heavy ring with notching beneath. Neck has three rings. Traces of iron pin. 712. Length, 0.0225 m. Flower injured; of six petals. Ring beneath notched. Neck has three rings. In the two following numbers the flower is modified. 713. Ornament not divided (the present fis¬ sures due to corrosion). Length, 0.0205 in. Neck has three rings. Traces of iron pin. 714. Length, 0.0175 m. Ornament injured. Neck has three rings. Remains of iron pin. Class S. Round and conical heads with sides ornamented. Top with or without ornaments. Group i. With fluted sides. 715. Length, 0.02 m. Diameter, 0.0155 m. Originally probably had ornament. Sides di¬ vided by five grooves. Neck has three rings. Pin probably of iron. 716. Originally probably had ornament. Sides divided by seven grooves. Neck has large corru¬ gation, with ring on either side. Corrugation has eight grooves. Traces of iron pin. In the following number the grooving is con¬ tinuous through head and neck, which is not sharply marked from head. 717. Top injured. Length, 0.014 m. Diame¬ ter, 0.011 m. In top round hole, in which ap¬ pears short stub as of stem. Head divided into five main segments. Of these two in the lower ornament at top as imitations of pomegranates, and refers to Pausanias, II. xvii. 4. PINS: STRAIGHT 235 part and one in the upper are subdivided each into two smaller segments. Group ii. With engraved sides. (a'.) Rounded. 718. Length, 0.0155 m. Diameter, 0.0085 m. Head divided into three parts by zigzags from top to bottom. Neck has three rings, of which the upper two are notched, and below these two others, of which the upper one is notched. ( b '.) Conical. 719. Length, 0.0245 m. Diameter, 0.012 m. Head divided into four segments. On these, on lower half, run dotted lines meeting at acute angle just above middle. Dotted circle at base of each segment. Neck has three rings; centre one notched. Filing showed medium color. Type i. Head separate and has form of animal (lion). Plate LXXXIV. 720. From West Building. Pin gone. Length, 0.0425 m. Below lion’s head are corrugations separated from it by deep grooves, in the bottom of which low ring. Forehead of lion full, with heavy furrow down centre. Eye sockets round, with prominent brows. Nostrils marked. Muzzle marked with grooves. 1 Lower part of pin head has five corrugations, tapering concavely, and below these a rectangular block. Type j. Ring headed. 721. From south slope. Length, 0.11G5 m. Outer diameter of ring, 0.015 m. Bar of ring diamond-shaped in section. Pin broad and flat at junction with ring. 2 Type k. Head consists of disk, with or without prolongation above, and, at some distance beneath it, one or two balls, or beads. 3 Form 1. No prolongation of stem above disk. Group i. Upper part of shaft round. 722. Length, 0.299 m. Diameter of head, 0.0195 in. Length of neck, 0.044 m. Much copper in pin, shown by color and flexibility. 1 For classification see III. 5, Type b (p. 203, above). 2 Similar (but for swelling of shaft), Montelius, Civ. Prim. It. pi. 15, No. 12, from Terramare of Campeg- gine of Reggio nell’ Emilia. Age of Bronze. Cf. also Olympia, No. 492, which differs in having end of ring bound about shaft. 8 Pins of this type numerous at Tegea. Cf. Milchhofer, Athen. Mitth. V. p. G7. Milchhofer regards them as “ Heftnadeln oder Werkzeuge fur Handarbeit.” He seems to consider these and the spits (according to him spindles) Group ii. Upper part of shaft rectangu¬ lar. 723. End gone. Length, 0.138 m. Diame¬ ter of head, circ. 0.011 m. Length of neck, 0.034 m. Ball oblong. 724. End gone. Length, 0.185 m. Length of neck, 0.036 m. Head concave in centre. Ring at either end of ball nearly rectangular. Discard of Group ii. : one fragment. Form 2. Shaft has short extension ABOVE DISK . 4 Class a. One ball. Group i. Entire shaft round. Extension above disk short, and so far as preserved consisting of single sec¬ tion. 725. End broken. Length, 0.078 m. Ex¬ tension, 0.005 m. Neck, 0.015 m. Extension rather thick. Neck smaller than body. Ball nearly round, with ring at either side. 726. Present point probably not original. Length, 0.112 m. Extension, 0.007 m. Neck, 0.016 m. Extension rather flat. Neck smaller than shaft. Ball elongated. 727. Condition poor. Shaft and extension both broken. Length, 0.0525 in. Neck, 0.015 m. Neck slightly thicker than shaft. Ball nearly round, with ring at either side. Group ii. Neck round. Upper part of shaft beneath ball rectangular. («() Thick extension, of one section, rounded at the top, and resting on low base. 728. Condition poor. Shaft mostly gone. Length, 0.054 m. Extension, 0.0075 m. Neck, 0.019 m. Ball oblate, with ring at either side. 5 (b 1 .) Extension which rests on base, with flat cap on top which overhangs the tapered upper portion of the ex¬ tension. Rectangular part of shaft usually ornamented with engraved zigzag and separated from round part by one or more grooves. 729. End gone. Condition poor. Length, as essentially the same class of object. —A pin of this type is in the museum at Eleusis and a bundle of them in Nat. Mus., Athens, No. 10081. Example of Forms 1 and 2 are in the museum at Sparta. 4 The example from Boeotia now in Berlin (Boehlau, Jahrb. III. p. 3G3 g) differs in details from Argos speci¬ mens. 5 Cf. Athen. Mitth. V. pi. iv. (lower right-hand cor¬ ner), from Tegea (Milchhofer). 236 THE BRONZES circ. 0.205 m. Extension, 0.008 m. Neck, 0.019 m. Ball oblate, with ring at each side. Shaft beneath, rectangle, then two shallow grooves, then rounded. Traces of zigzag on rectangular part of shaft. 730. End gone. Condition poor. Length, 0.108 m. Extension, 0.007 m. Neck, 0.024 m. Ball round, with rings. Details as in No. 729. 731. Length, 0.316 m. Extension, 0.0155 m. Neck, 0.024 m. Ball with ring at either side. Zigzag on rectangular part. Group iii. Transition at neck, which is generally rectangular in form, but with rounded corners. Extension like Group ii., (5'). 732. Length, 0.227 m. Extension, 0.0065 m. Neck, 0.019 m. Traces of zigzag on rectangle. Ball slightly elongated. Material largely cop¬ per. 733. Condition poor. Length, 0.237 m. Extension, 0.007 m. Neck, 0.019 m. Possible traces of zigzag on rectangle. Material mainly copper. 734. Point gone. Condition poor. Length, 0.209 m. Extension, 0.008 m. Neck, 0.0235 m. Sides of rectangle have zigzag. 735. Length, 0.0233 m. Extension, 0.0065 m. Neck, 0.0235 m. Neck octagonal. Ball round. Probably traces of zigzag on rectangle. Group iv. Rectangular neck, usually with corners somewhat rounded. («'.) Extension has rounded top with¬ out cap. 736. Length, 0.131 m. Extension, 0.004 m. Neck, 0.013 m. Ball oblate, with ring at either end. 737. Condition poor. Pin gone. Disk dam¬ aged. Length, 0.085 m. Extension, 0.0075 m. Neck, 0.022 m. Ball with ring at either end. The following, Nos. 738-741, have ornamen¬ tation on both neck and rectangle. 738. Length, 0.139 m. Extension, 0.0045 m. Neck, 0.023 in. Two sides of neck have zigzag. Traces of zigzag on rectangle. Good deal of copper in pin. 739. Point injured. Length, 0.228 m. Ex¬ tension, 0.006 m. Neck, 0.033 m. Zigzag on two sides, and also on three sides of rectangle. Pin mainly of copper. The two following, Nos. 740, 741, are less certainly to be put here, on account of poor con¬ dition of extensions. 740. J’oor condition. Length, 0.175 m. Ex¬ tension, 0.0078 m. Neck, 0.023 m.; has on two sides traces of zigzag. On all sides of rectangle traces of zigzag. Pin mainly of copper. 741. Most of pin and disk gone. Condition poor. Length, 0.092 m. Extension, 0.008 m. Neck, 0.034 m. Has on all sides zigzag, as also rectangle. Pin mainly of copper. ( b '.) Extension has cap and usually a base. (1'.) Single plain cap. (a 7 .) Neck plain. Rectangular part of body ornamented. 742. End gone. Length, 0.0234 m. Exten¬ sion, 0.008 m. Neck, 0.0245 m. Traces of zig¬ zag on rectangle. Pin of copper. 743. End and most of disk gone. Condition poor. Length, 0.186 m. Extension, 0.002 m. Neck, 0.0165 m. Traces of zigzag on rectangle. 744. Condition poor. Length, 0.057 m. Ex¬ tension, 0.008 m. Neck, 0.021 m. Zigzag on rectangle. 745. From south slope. End gone. Length, 0.144 m. Extension, 0.006 m. On rectangle, traces of lines close to edges, with zigzag between. Probably largely of copper. 746. Bent into coil. Extension, 0.008 m. Neck, 0.014 m. Rectangle has two grooves at end and on one side three. Sides have frame of two lines, one close to each edge, with zigzag between. 747. End gone. Length, 0.138 m. Exten¬ sion, 0.0085 m. Neck, 0.0275 m. Rectangle has two grooves at end and traces on two sides of zigzag. (/3 7 .) Neck and rectangle orna¬ mented. (i'.) Extension without base. 748. End and most of disk gone. Condition poor. Length, 0.125 m. Extension, 0.0055 m. Neck, 0.024 m. Has on two sides traces of zigzag. Rectangle terminates with two grooves; on sides traces of zigzag. 749. End gone. Condition poor. Length, 0.1825 m. Extension, 0.0075 m. Neck, 0.022 m., witli traces of zigzag on all sides. Rectangle with grooves at end and traces of zigzag. (ii 7 .) Extension has no base, but has a double link. 750. End gone. Condition poor. Length, 0.099 m. Extension, 0.009 m. Neck, 0.02 m. Rectangle has probably two grooves at end. Traces of zigzag on two sides of neck and rec¬ tangle. PINS : STRAIGHT 237 750 a. From south slope. Condition poor. Length, 0.045 m. Extension, 0.0085 m. Neck, 0.019 m. Sides taper slightly toward top. Traces of zigzag on three sides of neck, also on three sides of rectangle. (iii'.) Extension has base, link, and cap. 751. End gone. Condition poor. Length, 0.133 m. Extension, 0.006 m. Neck, 0.0235 m., with sides tapering toward top. Probably double groove at end of rectangle, sides of which taper downward. Traces of zigzag on neck and rec¬ tangle. Pin mostly of copper. 752. End gone. Condition poor. Length, 0.187 m. Extension, 0.008 m. Neck, 0.022 m., with sides increasing toward either end, and zig¬ zag on all four. Rectangle has two grooves at end, and zigzag on sides. 753. Most of shaft gone. Condition poor. Length, 0.083 m. Extension, 0.008 m. Neck, 0.032 m., with zigzag on sides and line along edge; and on one side part way down centre. Sides of rectangle taper downward. Traces of zigzag. 754. End gone. Condition poor. Length, 0.169 m. Extension, 0.0075 in. Neck, 0.028 m., with traces of zigzag on three sides. Rec¬ tangle has two grooves at end, and lines around edges of sides, inclosing zigzag. 755. From above last part of Stoa, under Cyclopean wall, 1893. Point injured. Length, 0.26 m. Extension, 0.01 m. Neck, 0.0265 m., with sides tapering toward top. Probably traces of zigzag on one side. Rectangle has groove at end, and zigzag on all sides. Material mainly copper. 756. End gone. Length, 0.209 m. Exten¬ sion, 0.008 m. Neck, 0.003 in., tapering slightly upward, with zigzag on sides, and traces of fram¬ ing line along edges. Rectangle has three grooves at end and zigzags, with framing line as on neck. Material mainly copper. 757. Point dull. Length, 0.2635 m. Ex¬ tension, 0.0085 m. Neck, 0.0275 m., with zigzag on sides, and traces of framing line. At end of rectangle, two grooves. Sides of rectangle taper downward and have zigzag and traces of fram¬ ing line. Material largely copper. 758. From West Building. End gone. Length, 0.142 m. Extension, 0.028 m. Neck, 0.017 m., with sides tapering toward top, and traces of zigzag. Rectangle with sides tapering downward, and traces of zigzag. 759. End gone. Length, 0.157 m. Exten¬ sion, 0.0075 m. Neck, 0.022 m.; tapers slightly upward; traces of zigzag. Rectangle tapers downward ; traces of zigzag. 760. Point injured. Length, 0.192 m. Ex¬ tension, 0.009 m. Neck, 0.0195 m. ; tapers slightly toward top. Traces of zigzag. Rec¬ tangle tapers downward; has traces of zigzag. Material largely copper. 761. Point injured. Length, 0.212 m. Ex¬ tension, 0.0065 in. Neck, 0.0315 m., with traces of zigzag. Rectangle tapers downward, with traces of zigzag. Material largely copper. 762. End gone. Condition poor. Length, 0.233 m. Extension, 0.01 m. Neck, 0.031 m., tajiering toward centre from both ends, and with traces of zigzag. Rectangle has groove at end, and zigzags. 763. Condition poor. Length, 0.235 m. Extension, 0.008 m. Neck, 0.022 m., tapering from top for short distance. Zigzag on all sides. Rectangle has two grooves at end and zigzag on all sides. 764. From south slope. Most of shaft gone. Condition poor. Length, 0.067 m. Extension, 0.0085 m. Neck, 0.0215 m. Tapers upward. Zigzag on sides, also on sides of rectangle. 765. Length, 0.319 m. Extension, 0.0105 m. Neck, 0.035 m., tapering from ends toward centre, with zigzag on sides. Same ornament on sides of rectangle. Material largely cop¬ per. 766. Point injured. Condition poor. Length, 0.262 m. Extension, 0.01 m. Neck, 0.026 m., tapers from ends to centre, with zigzag on sides. Rectangle has two grooves at end and zigzag on sides. Material largely copper. 767. End gone. Length, 0.2 m. Extension, 0.0095 m. Neck, 0.0315 m., tapering from bottom up, and with zigzag on sides. Rectangle has two grooves at end, and zigzag on sides. Material largely copper. 768. End gone. Length, 0.169 m. Exten¬ sion, 0.0095 m. Neck, 0.033 m., tapers upward from base. Traces of zigzag on two sides. Rec¬ tangle has zigzag. Material largely copper. 769. End coiled, but pin complete. Exten¬ sion, 0.01 m. Neck, 0.0365 m., tapering from ends to centre. Traces of zigzag on sides, also on rectangle. Material as above. 770. Length, 0.342 m. Extension, 0.0175 m. Neck, 0.034 m., with zigzags. Zigzags also on rectangle. 238 THE BRONZES 771. Pin mainly gone. Condition poor. Length, 0.098 m. Extension, 0.011 m. Neck, 0.035 in., tapers from ends to centre, with traces of zigzag. Rectangle tapers downward, traces of zigzag. 772 . End gone. Condition poor. Length, 0.265 m. Extension, 0.0125 m. Neck, 0.039 m., tapers from top toward centre, with traces of zigzag. Rectangle tapers downward, with traces of zigzag. Material largely copper. 773. End gone. Length, 0.205 m. Exten¬ sion, 0.01 m. Neck, 0.033 m., tapers from ends toward centre. Rectangle tapers downward. Both neck and rectangle with zigzags. Material largely copper. 774. End coiled, like No. 746. Extension, 0.012 m. Neck, 0.03 m., with zigzags, as also rectangle, which tapers downward. Material largely copper. The following number has double ring on each side of ball. 775. End gone. Condition poor. Length, 0.302 m. Extension, 0.0065 in. Neck, 0.027 m. The rings farthest from ball, on each side, form ends of neck and rectangle, which tapers down¬ ward. Zigzags on neck and rectangle. Two grooves at end of rectangle. (iv'). Extension has base and cap. 776. Most of shaft gone. Condition poor. Length, 0.054 m. Extension, 0.007 m. Neck, 0.0305 in., tapers from ends to centre. On neck and rectangle, traces of zigzags. Material mostly copper. 777. Most of pin gone. Condition poor. Length, 0.085 m. Extension, 0.0085 m. Neck, 0.033 in., tapers from ends toward centre. Traces of zigzag, as also on rectangle, which tapers downward. Material mostly copper. Undeaned addenda to (l'). 778. End gone. Condition poor. Length, 0.12 in. Extension has base, two links, and cap. Length of extension, 0.011 m. Neck, 0.029 m., tapers toward top. Rectangle tapers down¬ ward . 779. End gone. Condition poor. Length, 0.137 in. Extension, 0.0182 m., has base, three links, and cap. Neck, 0.025 m. Rectangle tapers downward. 780. Point gone. Condition poor. Length, 0.177 in. Extension, 0.016 in., consists of base, two or three links, and cap. Neck, 0.038 m., with centre smaller than ends. (2'.) Double cap, also base, link (or links). Both neck and rectangle orna¬ mented. 781 . Point gone. Condition poor. Length, 0.217 m. Extension, 0.008 m. Neck, 0.0235 in. Cap double or grooved. Rectangle has traces of zigzag. 782. Length, 0.133 m. Extension, 0.0075 m. Neck, 0.023 m., tapers from bottom upward. Rectangle tapers downward, with groove at lower end. Neck and rectangle have zigzags. Material largely copper. 783 . End gone. Condition poor. Length, 0.159 m. Extension, 0.0095 m. Neck, 0.029 m. Rectangle tapers downward, has two grooves at lower end. Neck and rectangle have zigzag within frame. Material largely copper. The following three numbers probably belong here, though they could possibly go with fol¬ lowing Class /3. 784 . From south slope. Most of shaft gone. Condition poor. Length, 0.052 m. Extension, 0.0075 m. Neck, 0.024 m. Zigzag (traces) on neck and rectangle (broken). 785 . Broken at neck. Condition had. Length, 0.036 m. Extension, 0.008 m. Neck, 0.026 m. Traces of zigzag. 786 . From West Building. Broken at lower end of hall. Condition poor. Length, 0.061 m. Extension, 0.013 ro. Neck, 0.035 m. Exten¬ sion has double ring between base and link. Two rings above the ball, of which upper is end of neck. Traces of zigzags. Undeaned addendum to (2'). Doubtful. 787 . Point gone. Condition poor. Exten¬ sion, 0.0175 m., consists of base, four small cor¬ rugations, and cap. Neck, 0.035 m. Rectangle tapers down. (3'.) Triple cap. 788 . Undeaned. Broken. Condition had. Length, 0.09 m. Extension, 0.0088 m. Neck, 0.021 m. Double ring on each side of ball. Class f3- Two balls. Group i. Neck ami section between halls round. Beneath lower ball rec¬ tangle. Extension with base, link, and cap. 789. Point probably not original. Length, 0.289 m. Extension, 0.008 ni. Upper neck round, with length, 0.023 m. Lower neck has six unequal sides, 0.011 m. Ring at either side of each hall. Grooved at lower end of rec- PINS: STRAIGHT 239 tangle. Traces of engraved lines on sides of rectangle. Group ii. Both necks rectangular. Be¬ neath lower ball, rectangle. Extension with base, link, and cap. 790. End gone. Length, 0.22 m. Exten¬ sion, 0.0075 m. Upper neck, length, 0.0235 m. Tapers for short distance from bottom. Lower neck, 0.0145 m. Ring on each side of balls. Rectangle below lower ball tapers. Traces of zigzag on one side of upper neck, and of frame and zigzag on lower neck. Material chiefly copper. 791. Pin mainly gone. Conditionpoor. Length, 0.11 m. Extension has link also above ring; length, 0.012 m. Upper neck, length, 0.034 m. Lower neck, 0.012 m. Rectangle tapers down¬ ward. No trace of ornament left on necks; trace of zigzag on rectangle. Addenda to Type k (Nos. 792 - 807 ). i. The following cleaned fragments are inter¬ esting chiefly because the provenience of many is known. (a'.) Disk preserved. 792. From south slope. Extension, disk, and neck. Length, 0.04 m. Length of extension, 0.0065 m. No certain traces of ornament. 793. Broken at bottom of ball. Length, 0.045 m. Length of extension, 0.0065 m. Length of neck, 0.023 m. Traces of zigzag on neck. 794. From back of South Building. Broken at neck. Length, 0.024 m. Length of exten¬ sion, 0.0115 m. 795. From West Building. Broken at neck. Condition poor. Length, 0.026 m. Length of extension, 0.0105 m. (&'.) One ball with piece at each side. — While a doubt is possible whether these pieces belong here rather than under spits , they are, mainly, quite certainly pins, because of the relative smallness of the necks as compared with the rectangle. 796. Fragment of neck, ball, and rectangle. Length, 0.086 m. Elongated ball. Rectangle has groove at lower end, and zigzag on sides. Material largely copper. 797. Fragment as No. 796. Length, 0.074 m. Oblong ball with ring at each side. Rectangle tapers down, and has traces of zigzag on all sides. 798. From south slope. Fragment as No. 796. Length, 0.088 m. Ball elongated. Rectangle tapers down, and has traces of zigzag. Material largely copper. 799. Fragment as No. 796. Length, 0.104 m. Ball has ring at each side. Rectangle tapers for short distance down. Zigzag on rectangle; probably also on neck. 800. From first chamber at east end of ter¬ race below Cyclopean wall, 1893. Fragment as No. 796. Condition bad. Length, 0.043 m. Ball has ring at either side. Rectangle has three grooves at end. No trace of ornament remains. 801. From back of South Building. Frag¬ ment as No. 796. Condition poor. Length, 0.061 m. Ring above ball. Probable traces of zigzag on neck. 802. From south slope. Fragment as No. 796. Length, 0.054 m. Ball elongated with ring at either end. Two grooves at lower end of rectangle. Traces of zigzag within frame on neck and rectangle. 803. Fragment as No. 796. Condition poor. Length, circ. 0.185 m. Slightly oblate ball with ring at either side. Rectangle ended by groove and tapers slightly downward. No cei'- tain traces of ornamentation on neck. Traces of frame on l'ectangle. Material largely copper. ii. The following uncleaned pieces probably belong under Form 2, Class a, Group iv. 804. Extension, disk, and piece of neck. Condition poox\ Length, 0.035 m. Extension has three grooves near bottom, with coarse screw¬ threading above. Length of neck, 0.016 m. Owing to small size, pi-obably had one ball. 805. Extension, disk, and piece of neck. Con¬ dition poor. Extension has horizontal threading at bottom, and coarse screw-threading above. Length, 0.017 m. Length of neck, 0.016 m. Sides of neck taper for a little way from top, and then enlarge. Owing to small size, prob¬ ably had one ball. 806. Extension, disk, and part of neck. Con¬ dition poor. Length, 0.0435 m. Neck, 0.028 m.; probably had one ball. Extension consists of base, 31 corrugations (lowest runs only half¬ way round), and cap. Length, 0.0175 m. 807. End gone. Disk injured. Condition poor. Length, 0.168 m. Extension consists of base, three links, and cap. Between links a single ring (two rings in all). Length, 0.017 m. Length of neck, 0.0285 m. Ball with ring at either side. Rectangle tapers slightly down¬ ward. Discards of Type k : cleaned pieces and fragments, fifteen, of which three from south slope; uncleaned pieces and fragments, one hundred and sixty-two. 240 THE BRONZES B. SAFETY-PINS. DIVISION I. SIMPLE HEAD . 1 Type a. High bow. Short foot (simple hook). 808. Uncleaned. Foot and end of pin gone. Condition poor. Length, 0.078 m. Height, 0.062 in. Consists of single piece of heavy bronze wire. Pin tapers gradually. Twists in wire accidental. Originally probably end of spit, but use as safety-pin indicated by shape. Somewhat doubtful owing to shortness of pin. 809. Uncleaned. Pin broken. Condition poor. Wire slightly thicker at head and foot than else¬ where. Never had coil. Distance between legs (outside), 0.035 m. Type b. Medium high bow. Long pin. Somewhat doubtful. 810. End of pin gone. Condition poor. Most of hook gone. Length, 0.057 in. Height, 0.0189 in. Pin projects beyond foot. Of single piece of wire. Probable use as fibula shown by shape of bow. DIVISION II. SPIRAL HEAD. Type c. Flat bow. Plain. 2 811. Uncleaned. Fragment of bow and coil. Condition poor. Length, 0.0833 m. Wire in head much smaller than in bow. Somewhat doubtful whether the following number belongs here. 812. Uncleaned. End of bow and part of coil gone. Length, 0.0605 m. Bow rectangular near coil. Wire of coil smaller than bar. Type d. Flat bow of sheet bronze to which some object was formerly attached. 3 Form 1. With hook at foot. 813. Complete except for the loss of orna¬ ment. Length, 0.052 in. Height, 0.0101 m. 1 An analogy to this form of head may be seen in cer¬ tain bronze fibulae from Bologna (Benacci II.) of liorned snake type, in which bead is represented only by a swell¬ ing or knob. These, however, stand at the end of a de¬ velopment, not at the beginning. Montelius, Civ. Prim. It. pi. 79, figs. Id, 15, 1G. Similar with disk instead of ring, ibid. pi. 83, figs. 20, 21 (Arnoaldi). A closer parallel is offered by a pin of fibula bent to form safety-pin from Sikel village near Matera in Apulia, published by Patroni, Mon. Ant. Line. VIII. col. 497,507, fig. 107. Other fibulae without coil, partly of secondary use, Brit. Mus. Cat. of Bronzes, Nos. 1944 f., 1935. 2 Cf. fibulae from Mycenae, chamber tombs, ’Ecp-nfi. ’A px- 1888, col. 1G7, pi. 9, Nos. 1,2 (Tsountas). n With Type d, cf. Montelius, Civ. Prim. It. pi. 8, Nos. 5 7, from late dwelling of Peschiera. These, however, Near end of flat piece, two rivets, projecting above slightly, but flattened to under surface. Material largely copper. 4 Form 2. With disk at foot. 814. Coil broken. Disk injured. Length, 0.0695. Rivets as in No. 813. Disk seems to have been leaf-shaped and convex. Type e. Flat bow, consisting of broadband. 815. Coil gone. Condition poor. Length, 0.071 m. Material largely copper. 816. Band, with foot and coil mainly gone. Length, 0.025 m. Probably a simpler form of pins of following type. 5 Type f. Flat bow, which consists of two connected spirals. 817. Condition bad. From south slope, below Second Temple, 1893. Broken. Pin gone. Length, 0.075 m. Plate LXXXV. 818. From cutting above Upper Temple, to¬ ward tents, 1893. Part of pin now gone. Length, 0.1245 m. Entire pin made of single piece of wire, which is diamond-shaped except hook and bar. These latter are round. Mate¬ rial largely copper. 6 Plate LXXXIV. 819. Only coil of foot preserved. Length, 0.0235 m. 820. From West Building. Foot only pre¬ served. Wire is diamond-shaped. Length, 0.029 m. 821. From West Building. Only a fragment preserved. Wire diamond-shaped. 822. From northwest corner of Old Temple, 1893. Only a fragment preserved. It is uncertain whether the following numbers belong here. 823. From West Building. Condition poor. Wire diamond-shaped. 7 have no attached ornament, and are otherwise somewhat different. Flat bow, Olympia, pi. xxi. No. 343. 4 Very like fibula from Lusi, Jahresh. IV. p. 52, No. 76 (Reichel and Wilhelm). Cf. fibula from Suessula, ibid. VI. p. 113, fig. 58 (Hadaczek). 6 Perhaps Nos. 815 and 816 are to be regarded as ornamental strips of sheet bronze, e. g. diadems. Cf. Olympia, Nos. 313 and 315 ff. 6 Cf. Montelius, Civ. Prim. It. pi. 21, No. 283, from southern Italy. Exactly similar in shape, but to judge from drawing, made of rounded wire. Cf. also Olympia, No. 359, and Boehlau, Jahrb. III. p. 363 b, from Boeotia. Double-coiled spiral fibula, Nat. Mus., Athens, No. 8196. 7 Cf. coils from Sikel village in Apulia. Mon. Ant. Line. VIII. col. 471 (Patroni). SAFETY-PINS 241 Plate LXXXV. 824. Broken at both ends. Length, 0.125 rn. Wire diamond-shaped. Color medium. 825. Fragment. Not certain that it is piece of a fibula. Condition poor. Small coil of wire, oval in section. Type g. Plain rounded high bow. Foot a narrow hook. Form 1. Transitional modification of STRAIGHT BOW. 826. F rom south slope. Foot and point gone. Length, 0.04G m. Entire pin of one bit of round wire of nearly uniform size. Form 2. High bow. 827. End of pin gone. Length, 0.079 m. Height, 0.0535 m. Of one bit of metal. Bow oval and uniform in size. Form 3. Low bow. Class a. Bow of uniform size. 828. Fragment. Condition poor. Length, 0.0615 m. Height, 0.0365 m. Of one bit of metal. Bow of wire slightly oval in section. Foot forms triangular blade. 829. From West Building. Fragment. Length, 0.375 m. Height, 0.0215 m. One bit of metal. Wire of uniform size. 830. Still flexible. Length, 0.038 m. Height, 0.017 m. Bow uniform in size and of wire slightly oval in section. Wire of pin larger than in spiral. Hook low and open. 1 Class /3. Slight swelling in arch of ho w. 831. Fragment. Length, 0.054 m. Has hook on left 2 side. Swelling in bow to left of centre. Color dark. 3 Type h. High bow. Long foot coming to a point. Form 1. Bounded wire. Class a. Uniformly thick wire. The following is of transitional type, the foot being as yet only partially developed. 832. Uncleaned. Most of foot and pin gone. Condition poor. Length, 0.0625 m. Height, 0.025 m. Form of foot uncertain. Class (3. Bow thickens toward centre. 833. Foot gone. Length, 0.081 m. Height, 1 Cf. fibula from Lusi, published by Reichel and Wil¬ helm, Jahresh. IY. p. 52, No. 75. 2 Left as one holds fibula with head toward one. 3 Cf. Montelius, Civ. Prim. It. pi. 5, No. 41, from Chiusi, and pi. 50, No. 2, from Este (period I.). The latter has ring passing through head. 4 Cf. Montelius, Civ. Prim. It. pi. 8, No. 85 (Villa- nova). 6 Cf. Montelius, Civ. Prim. It. pi. 8, No. 84 (Villanova). 0.0315 m. Single piece of metal. Hook on left side. Bar oval in section, the broad sur¬ faces being on sides near foot, but on top and bottom near head. 4 Form 2. Rectangular wire. 834. Found west of Second Temple. Length, 0.0665 m. Height, 0.0215 m. Foot a long thin blade with left side bent up to form hook. Color medium dark. 5 835. Uncleaned. Fragment. Condition poor. Length, 0.0865 m. Hook on left side. Type i. High bow. Rectangular blade at foot forming one piece with bar. Bar rounded. Form 1. Bar of uniform size. 836. Head and pin gone. Length, 0.066 m. Height, 0.039 in. Bar oval, with broad surface at side. Hook on right side. Form 2. Bar thicker at middle. Bow somewhat lowered. 837. Fragment. Condition poor. Length, 0.07. Bar as that of No. 836. Addenda. It is uncertain to which of the Types g, h, i, the following belong. 838. Fragment. From south slopfe. Shape of bow indicates it is a fibula. Length, 0.054 m. 839. Fragment. Length, 0.0475 m. Wire slightly oval. 840. Fragment of coil and bow. Length, 0.031 in. 841. Fragment shown by shape to be fibula. Length, 0.0665 m. 842. Fragment. Length, 0.061 m. Oval wire. 843. Fragment. Length, 0.06 m. Centre of bow broad and thick. Three grooves on either side of centre. Type j. High bow. Rope wire. 6 844. Head and pin gone. Length, 0.07 in. Height, 0.05 m. Grooves in wire broad and shallow. 7 845. Most of pin and foot gone. Length, 0.047 m. Bow has four screw-threadings. Wire flattens where it passes into coil. Head on right side. Bow of uniform size. 846. Uncleaned. Pin and foot gone. Length, 6 Cf. the very similar Italian type, Montelius, Civ. Prim. It. pi. 5, No. 40 (Bismantova). 7 Cf. twisted bronze wire used in straight fibula from Mycenae (outside shaft-graves), No. 2563. 'Etp-q/x. ’A px- 1888, pi. 9, No. 1 (Tsountas). Similar pins from Lusi, Jahresh. IV. p. 52, Nos. 78, 79 (Reicliel and Wilhelm), and from Kavousi, from tomb of first part of the iron age, Am. Jour, of Arch. Second Series, Y. p. 136 (Harriet A. Boyd). 242 THE BRONZES 0.071 m. Height, 0.0275 m. Bow of uniform size, with four threadings. Head on right side. Type k. High bow with one or more loops. Form 1. One loop. Class a. Plain round bar} 847. Uncleaned. Pin complete. Length, 0.058 m. Height, 0.032 m. Of single piece of round wire, which flattens at foot and tapers at point. Hook low. Class /3. Par partially rectangular. Group i. Rectangular swelling near foot, or head, or both. 848. Uncleaned. Head and foot gone. Con¬ dition poor. Length, 0.0585 m. Height, 0.0325 m. Loop in bar near head; between loop and foot, liar swells. 849. Uncleaned. Head gone, foot injured. Condition poor. Length, 0.0595 m. Height, 0.043 m. Bar round, with loop slightly for¬ ward of centre, swelling near head. Another swelling between loop and hook. Group ii. Bow in part rectangular and in part round, with screw-threadings. 850. Uncleaned. Fragment. Condition poor. Length, 0.0475 m. Height, 0.031 m. Bar with four threads. On shorter side of loop, bar rec¬ tangular. Not certain this is fibula, but proba¬ ble from shape. Group iii. Wire rectangular in loop ; ■else¬ where round. Only example uncertain. Plate LXXXVI. 851. Uncleaned. Fragment. Condition poor. Length, 0.031 m. Height, 0.061 m. Nearly uniform rounded wire, becoming rectangular at 0.017 m. from top. Head large and rudely coiled; owing to bend of wire at rectangular part, uncertain that pin belongs in this type. Possibly it compares with the others as the head in Division I. with that of the other Divisions. Form 2. Double loop. 852. Uncleaned. Fragment. Condition jioor. Length, 0.0665 in. Rounded wire with slight swelling just back of loops, perhaps due to ox¬ idation. Upper loop largest. Type 1. More advanced Sharp inward bend from angle of bow. Bar has three 1 With this form in general, cf. the essentially different Italian style. Montelius, Civ. Prim. It. pi. 16, No. 219; also ibid. pi. 72, No. 17, from Bologna (S. Francesco). 'I’lie example Olympia, No. .353, is more like the Italian. 2 Cf. Montelius, ibid. pi. 17, No. 242 (S. Francesco, Bologna). Curve of pin probably different. Somewhat similar, Olympia, No. 35C, with two pairs of horns. reinforcements on each side, opposite each other, one pair at each of the outer curves and one at the inner angle. 853. Foot, pin, and part of head gone. Length, 0.06 m. Bar consists of two arches, the angle of connection being nearly right angle. Ori¬ ginally probably two full rings in coil. Coil and bar probably one piece. After forward rein¬ forcement, the broader side of bow becomes the narrower, and vice versa , indicating commence¬ ment of foot. Type m. Similar, but one of reinforcements has form of dumb-bell. 854. Fragment. Length, 0.0435 m. Two arches connected by heavy inverted arch. At top of left arch dumb-bell. Bar between here and coil, oval in section. The right or foot end seems to have a groove on top. Resembles ser¬ pent's head, but probably accidental. 1 2 Type n. Single arch, having form of in¬ verted boat. Geometric ornamentation. Form 1. Solid. 855. From back of South Building. Head, pin, and part of foot gone. Length, 0.0245 m. The metal oval-sliaped, broad side being up. Sides have cleft between, which leads one to suspect that pin may not be solid. Top of pin engraved with fine and rather faint diagonal lines arranged in three fields, centre and ends. Form 2. Hollow. 856. Head and foot gone. Length, 0.025 m. Opening in under side roughly triangular. Top engraved with diagonal lines running from cen¬ tre rib, starting on each side of middle of bow, which is left plain. 3 857. Head and foot gone. Condition poor. Length, 0.0335 m. Commencement of tail lead¬ ing to coil is preserved. Engraved with lines running from centi’al rib to sides. Type o. Sail or saucer pattern. 4 858. From east of Temple, 1894. Fragment. Length, 0.077 m. Bow of three nearly round, shallow connected saucers, having their longer axis in line with axis of bow. Very slightly raised narrow band runs along the longer axis. Commencement of blade of foot. 3 Cf. Olympia, pi. xxi. No. 350. 4 Large engraved example of this type, Olympia, No. 364. Another in Berlin from Boeotia, Jabrb. III. p. 362 (Boehlau), with engraved plate. Another, ibid. p. 363 (c), without pinching of bow, i. e. navicella. SAFETY-PINS 243 The following numbers are fragments of pins of this type, and of types more or less similar as regards the general shape of the bow. 859. Uncleaned. Fragment. Length, 0.0365 m. Bar flat and diamond-shaped. Tapers down¬ ward. Part of coil preserved. 860. Uncleaned. Fragment. Length, 0.047 in. Bar diamond-shaped in section. At upper end, knob attached to stem by short thick neck. 861. Part of upright, with short piece of bow. Length, 0.052 m. Five low raised rings at bend. 862. Upright, commencement of coil, and be¬ ginning of bow. Length, 0.0G55 m. Upper side has fine engraving. 863. Fragment. Length, 0.0815 m. Diamond¬ shaped in section, tapering downward. 864. Fragment. Upright, with beginning of head and bow. Length, 0.094 m. Diamond¬ shaped in section, and tapers downward. Outer side of upright engraved in geometric style, with zigzags and diamond-patterns in fields. Neck between upright and bow. Commencement of bow engraved with straight and zigzag lines running lengthwise. 865. From West Building. Fragment, as No. 864. Length, 0.122 m. Diamond-shaped up¬ right, tapering downward. Between upright and bow, neck, similar to but smaller than that of No. 864. Bow engraved similarly to that of No. 864, as is also outer side of upright. 866. F ragment. Piece of upright and bow (probably). Length, 0.043 m. Upright round. Upper portion of bar rectangular. Bow flat and flaring. 867. Fragment. Part of bow and foot. Length, 0.055 m. Bow engraved on upper side. Neck similar to that of Nos. 864 and 865. Blade en¬ graved on both sides with geometric patterns, inclosed in fields. 868. End of bow and most of foot preserved. Length, 0.069 m. Middle portion of upper side of bow ornamented with straight lines. Edge seems to have had similar engraving. Neck with usual form. Blade of foot attached nearly at right angles. Both sides engraved with geo¬ metric designs inclosing a principal field, in which, on one side, head and neck of horse, on the other, probable traces of head. 1 1 Cf. Olympia, Nos. 302, 302 a, with engraved geome¬ tric designs. Jahrb. III. p. 250 (Furtwangler), and pp. 301 ff. (Boeblau), 'E, as tail is shorter (0.0025 m.)than that of the p’s (0.0038 in.-0.005 m.). At left end of line slight trace of bevel. Line 2 (left to right).hecrw^eoi :: rasapas :: ras • . . Lille 3 (right to left) .... pta 7 reSaT i: (Taieypa- (t. ’Apy. 1883, col. 215, 1. 125 (the last two also in P.-B.). For -cto-t- see G. Meyer, Griech. Gram? p. 304, Brugmann, Griech. Gram ? § 100, 1 a and § 119, 1. — i"]r)[?] : it seems better to assume a blank space between the words than to supply this word, which is not of the Argive dialect. — 'EAAaSt[ou: see P.-B. s. v. and also C. I. A. III. 1343, C. 1. S. 53, 179. Another pos¬ sibility would be 'EAAai/tb[r or 'EAAaiao[i'os, but the nominative case of the former is an objection, and for the latter there is hardly space. The word occurs B. M. /.III. § 1, p. 65 (Iasos),'EAAanW Tapcreus. 1581. Pl ate XCVI. (photograph and drawing). Copy below. Retrograde-boustrophedon, beginning with lower right corner. Height of letters, 0.002 m.— 0.0047 m. Letters in lines 1 and 2 increase in size with the direction of the writing. The letters of the first line are very legible, inas¬ much as they are clearly cut and well preserved. Those of the second line, however, have been nearly effaced by the oxidation of the bronze, and were ex¬ tremely difficult to decipher. Nevertheless, the forms of the letters as given in drawing and copy are for the most part fairly sure. The single letter of the third (middle) line is faint hut certain. Apurraa Eks | #aioc(?) aveOeK | € Translation: Aristeia offered (me) on behalf of Ekethaio. For ’Aptcrreta, cf. C. I. G. 155 (Attic), quoted by P.-B., and there accented ’Aptcrrcia. The first letter of the second (top) line may be either 0 or <£, but the balance of probability is in favor of 6. Neither ’E«e- 6aul> nor ’Efcec^aioj seems to occur. For ’E«£kA^s, ’FiKe^iSrjs, ’Eko/dAos, which present the nearest anal¬ ogy, see B. C. H. Index. The reading of the word as a feminine form from an oj- stem instead of a mas¬ culine form from an o- stem is arbitrary. Dedica¬ tion on behalf of another person in an inscription from Athens published by Kiirte, Athen. Mitth. XXI. p. 294, Mi'?70T7rroAep,77 {nrep AiKaLotfidvovs ’Ao-KXrjTruZ ’A/mvvoj dvehr/Ke. That Ekethaio or Ekepliaio is an unknown name of a person is more probable than that it is an unknown epithet of Hera. 1746. Plate CII. (photograph). Drawing be¬ low. A single letter. Height, 0.008 ni. Initial letter of r, Hpas or "Hpat. Cf. No. 1985, and B. M. Catalogue of Greek Coins, Peloponnesus, Introd. p. Iv. 1824, 1825. Plates CVI., CVII. (photograph and copy). Retrograde. Height of letters, 0.0055 m.- 0.008 m. ] iAA f i /a] a§ ^ 6% The reading makes it probable that the fragments are to be combined, in spite of the difficulty of adjust¬ ment. This part of the inscription probably con¬ tained names only. It is probable that the fathers’ names were added in a second column at the left, but even if they were placed under the names of the sons, the first name on the fragment, as next to the last, would still be in the nominative. The first name is probably 4>iAAtas, cf. C. I■ G. 1514 (cited by Pape-Benseler), IltcmKAijs w iAAiSa ’A/x^to'a'rg'Js; p. 414, No. 23,11.14, 15, iAAi8as. It may also have been 7AAig. Cf. A. (7. H. Index, 1877—86, and vol. XX. p. 206 (Delphi), 1. 35, <3?iAig ’Apyeiog, tAAis ’Apyeiog. For «3?iAAiSag and 4dAAig in literature, see P.-B. The second name is probably the nominative, possibly the genitive, of 2uj8ap.os. Cf. the indices to the various Corpora , and to B. C. H., and ’Ev in the inscrip¬ tion from Hermione {Mon. Ant. Line. I. col. 598). Neither indicates the process by which *grabh-ma becomes ypa-8p.a or ypa-oyxa. 4 Frankel reads -p or o]d#;uaTa without explanation. To these con¬ jectures may be added pd9p.ara — *pdap.ara = pdp.- p.ara ( C. I. G. S. 2421). For the sense of this, as also of vefadap-ara above, cf. the prescriptions for dress in the sacrificial inscription from Andania (Cauer, Delectus ? p. 33, No. 47). However, as in the case of ypa-0p.a above, it is difficult to account for the sub¬ stitution of suffix-initial 8 or cr for the final labial con¬ sonant of the root without a somewhat extensive and perhaps unsafe application of the principle of analogy. — a8ev: if this word begins the paragraph, it can scarcely be anything but dSev (in sense of 8e86\6ai) or aSev 5 (in sense of eSo^er), from dvSdvto. The diffi¬ culty with regard to the breathing is pointed out by Rogers, l. c. pp. 163 f.; nor do examples of t/dAtocrig like’l7r(-n-)o/zeSw, I. G. A. 30 (cited by Kiihner-Blass, I. p. 109), and Hpag, iapop.vdp.ove.s, A. J. A. XI. pia published in the Jahreshefte d. Oesterreich. Arch. Instituts, I. p. 197 (Szanto). 4 For a discussion of this word see Helen M. Searles, A Lexicographical Study of the Greek Inscriptions, s. v. ypaaopa. s Mentioned as a possibility by Rogers, l. c. p. 163. 334 THE BRONZES (1896), p. 43 (cited by Rogers), quite suffice to obviate it. —- ayvo[v(?) : as the amount of text lost at the sides of the plate is uncertain, it is useless to try to fill out the lines. From the position of the word and that of crw^eoi below, it may be that the sense of the begin¬ ning of the sanction was something like dyvov to d'Sos tovto • al 8e tis ravra 7ra.pj3a.Lvoi hr] aw^eoi k.t.A. Line 2. trw^eot: L. and S. s. v. II. 2. Cf. I. G. A. 500 , tov] vopLov tovtov r/v Tts 6£\r/ [cnryjxtai r) tt po6rj- ra[i] iprjcfrov ware [/ary ejtvai rov vop.ov tovtov. Slightly different in sense in the inscription of the Labyadae, B. C. II. XIX. p. 12,1. 28 (Homolle). — apas: genitive. The apodosis begins here. The form rds dpas ras shows that a definite curse, described in the missing jrart of the line, is meant. For similar formulae see Rogers, l. c. p. 168. Something like evokes ottw may be supplied with Rogers. Cf. Cauer, Delectus 2 , No. 430 (Eresos), A 11. 24 f. [*]a[i] ruAAa e[r Joyces [eQoTw ra> vopaa [raj or TW £7 TL TO)] r civ oraWav dvfXdvTL ; also D 1. 16, evo^ot[s e/x/xeji'cu raj vopuo (dative or genitive). Speci¬ mens of apal (public),/. G. A.497 (Teos) and (private), C. I. A. III. ii. 1417-1420 (Herodes Atticus) ; cf. Wuensch, C. I. A. Appendix, p. ii., and Ziebarth’s article there cited, ‘ Der Finch im Griech. Reclit,’ Hermes, XXX. (1895), pp. 57 ff., where other ex¬ amples are given. Line 3. Besides inclusion in the curse mentioned above, the culprit is to be banished from Argive ter¬ ritory and his property (7rd/u[ara) is to be confiscated. Cf. the tablet from Hermione above mentioned, 1. 5, : rpiro ku'l irapevecrcrOo : iv s | ’A Oavalav : . Rogers quotes appositely, I. G. A. 500 (Halicarnassus), 11. 35-37. Line Jj.. -«a [0]dvaro v or Ka[i] dvarov, Rogers. /<[a 6j\dvaTov, Frankel. There is sufficient trace of con¬ cavity in the edge at the left of a (see s. n.) to make it likely that 6 is the correct reading. There is room for «a[l 0], but the letters would be somewhat more crowded than they are in other parts of the line. -Ka [^Juraror is therefore epigraphically preferable. So far as concerns the context, it is too scanty to afford a sure basis for choice, but it is at least clear that the verb of which \_Q~\dvarov is the object cannot be directly connected with the verb of which 7rup[ara is the subject, because death is not a penalty which can be inflicted after confiscation of property and banishment. Some new set of circumstances must intervene. On the other hand, consistency with the general view of the inscription taken above requires that the [0] dvarov hi/ dAAo rt ku^ov refer to the same person with the subject of , and by the occurrence of a if among the builders’ marks on the stereobate of the New Temple; cf. Brownson, A. J. A. VIII. p. 219), neither of which has been found in Greek. Unfortunately, the fol¬ lowing clause is itself so mutilated and difficult as to afford no assistance. Here Rogers reads (l. c. p. 174) r/[ro]i pLcrljAr] or e]v ]i (sc. iv huh), provided the absence of the -v could be explained. As we have no right to assume errors in an inscription so carefully cut, and as assimilation of v before h is out of the question, it seems necessary to assume a parallel form es, derived from iv% (cf. the inscription, Mon. Ant. Line. I. col. 594, 1. 5, of an earlier period than I. G. A. 38, 1. 4, -avs Tilv s), in accordance with the principle stated by Brugmann (Griech. Gram ? p. 75, 3), and like eV used with cases of rest. Proclitic preposition and object forming practically one word, the -5 would become medial between vowels and change to -h ac¬ cording to the principle also exemplified in I. G. A. 38, so that e’B- would represent €’(h)h.— What fol¬ lows is read by Rogers Firrleu] and explained as el8etrj. Context and usage make this interpretation seem very probable. The presence of tr£(£) is, however, diffi¬ cult to account for (FiS-e(o-)-i?/). Elean is, of course, of no assistance because of £ucaios, etc. (Cf. G. Meyer, Griech. Gram ? p. 269.) The weak form of the root seems to encourage the conjecture that we may possibly have here a trace of the direct applica¬ tion of the optative suffix (irj) to the root (flS), the sibilant thus produced being afterward extended to the sigmatic aorist. Cf. Brugmann, Griech. Gram 3 . p. 337, and Grundriss, II. p. 1302. Rogers also sug¬ gests and rejects “ f'is (yis • . . . to-^us, Hesychius) £eU (*(,r)/u).” To add another improbability, it might be possible to think of a *fls, nominative of Foi, flv (large inscription from Gortyna, col. II. 40 ; Roeld, Ima¬ gines, p. 45, No. 6 = Roberts, Introduction to Greek Epigraphy, No. 304 a), as a parallel form of l, Sopho¬ cles, Frag. 427 (Nauck), cf. Ktihner-Blass, I. pp. 583, 595 f., G. Meyer, Griech. Gram 3 p. 508, n. 1. — At the end of the line Rogers reads, ?o[#apbs or to^vtov, andFrankel [t(?)]o-. As has been stated before (s. n.), conditions of space and preservation admit t, ?, or u, with slight, if any, preference. Beyond the o the edge has a vertical bevel, 0.0105 m. in length, show¬ ing that the right hasta of the missing letter was a straight upright stroke. This renders both 6 (9o9a- pos) and v ( rovrov ) impossible. Owing to the position it is unlikely that the indirect object of ej^r^rJe^voitTo (e. g. <£uyaSi, (fivydariv, [t]o[ 7; ’Apyeiois) is to be supplied. It is more probable that this is the beginning of the apodosis, which stated the con¬ templated result of the preceding clause, i. e. reward if the action of e]7ri[-r]exi/a>iro was directed against the exiles, punishment if it was directed against state or people. Line 6. As Rogers has remarked (l. c. p. 170), the line treats of property (presumably the 7rdp.[ara of 1. 3), which is to be bought. The word ending in -os at the beginning evidently designated the person who was to have the first right of purchase. Rogers infers Sapxopy[bs from the following line, or, with less probability, os e^wv p.eyic rrov veAjos. — For the fol¬ lowing word Rogers reads 7rpo[y]po[<)>]os, Frankel, 7 r pd[r]p o [ 7r ]os. As the left side of the hole termi¬ nates with an upright bevel with no trace of protrac¬ tion of a top-bar to the left, the latter reading is im¬ possible. The former reading is plausible so far as concerns the sense, but it is rendered doubtful by the fact that the upper edge of the hole, while it can scarcely be said to be beveled, is nevertheless hori¬ zontal, and suggests cleavage along the line of a hori¬ zontal stroke. Furthermore the point of departure of a downward stroke seems to be visible in the upper edge at about 0.0055 m. from the left hasta. As there is no trace of a corresponding stroke on the under side of the lacuna, the letter thus outlined could not well be other than P. If this is correct, it is not easy to see just what the reading was. Setting aside evident impossibilities like 7rpo[V]pd [h]ds and 71 -pd [7r]po[u<]ds, one might perhaps think of hefVjpo- poe on a bronze basis from Ligourib, from which Kretschmer in Jahresliefte, III. pp. 134 f., evolves Trputpol. (for (f)povpoi ). But that the person designated could be qualified as TrpoVpojpos even in a transferred sense, or the action of the verb as 7rpo7rpo)pcos (i. e. ‘as a precautionary measure’), seems a hazardous supposition. — The condition of the bronze at the end of the line is described s. n. As there is an upright bevel at the right edge of fragment d, it is possible to read i£vpud[o-0iD with Rogers, or e^7rp«a[(.ro or e^7rptid[p,eros. The first is preferable. For -u- see on next line. Line 7. al 81 p,]e Sap,uo[p]yoZ t is: so Rogers and Frankel, except that at the beginning they bracket only the first letter, inasmuch as the letters 1 8e (qu. and p, ?) were traceable when the plate was found (cf. Rogers, l. c. p. 160). — Sap,uo[p]yot: with the-a- cf. e^7rpaa- above, Kapreuas (1877), 2i /ceAuas (2252), and the dAuo? yepw inscription I. G. A. 34 ( = Col- litz, S. G. D. I. No. 3261 = Olympia, IV. pp. 101 ff., pi. xxxix., V. No. 693). For relations with Cypriot and Pamphylian see Brugmann, Griech. Gram ! p. 18, and ibid 3 p. 37. Cf. G. Meyer, Griech. Gram 3 , p. 220, and Rogers’ note, l. c. p. 171. It is perhaps worth while to notice that, while in Cypriot in every case between i + vowel (and u + vowel) a corresponding semivowel -i- (or -u-) is developed (cf. Hoffmann, Griech. Dialekte, I. pp. 37 ff.), in Pamphy¬ lian this semivowel is written at least, chiefly in the 336 THE BRONZES older inscriptions (Sillyon and coins of Aspendos and Perge). As to the character of the sound there appears to be substantial agreement between Pam- phylia and Argos, for there exist in both probable cases of an inherited -ip. suffix, e. g. ra/xitas, emrrjSuws (Pampli.), dAuos (Argive), along with cases like 7 roXiie (Pampli.) and Kapveuos (Argive), where pri¬ mary inheritance is less certain, and again instances where a secondary t appears in the place formerly occupied by an entirely different consonant, e. g. Pamphylian hapoicn (-s-, cf. Sansk. -s-), Fereia (-S-), Argive 8apuio [p]y ot (-F-). Pamphylian and Argive also approach each other and differ from Cypriot in allowing the £ to be developed after other sonants than simple i, e. g. Fereia, Kapvetias. In this in¬ scription, however, ’Apycias is written without i. — The next word is uncertain owing to the difficulty of deciding between sail and /a at the end of the line. From t’ne description previously given (s. n.) there seems to be a slight preference in favor of sail. We may therefore, with due allowance, read ols. Rogers suggests hots (viz. rpb nois ois [ho ro'pos xeXevei Foi and ot p-]eyterra reAea e[ yoi-rt). That here and in the following lines there are, as Rogers has observed ( l. c. p. 171), provisions for the carrying out of the confis¬ cation of the property of the exile, and for the punish¬ ment of the magistrates who fail of their duty in the matter, seems probable, hut there are not sufficient data for any probable completion of the lines. For a variety of ingenious attempts, see Rogers’ article. Line 8. rds] may he supplied at the beginning. Frankel remarks that the absence of punctuation (cf. 11. 3 and 10) points to the article, yas may have preceded. Banishment of the Sapaopyos, or of the officials upon whom the duty would next devolve, is probably indicated. In the former case kui ot foi, with which Rogers reads e[yyrVara elec, would be ap¬ propriate, in the latter oTfoi (as in Cypriot for epic otoi, also suggested by Rogers), with which we might perhaps supply t[v rdt dpdi kve\oir to (cf. 1. G. A. 110 ). Line 9. The first letter might be the end of an optative, e. g. fiuiXoivTo, as Rogers conjectures, or possibly of a pronoun, e. g. tovto, avro. Under cer¬ tain circumstances, specified in the preceding lines, the tribe of the Ilylleis (cf. A. J. A. XI. p. 43, No. xii. 1. 5, and Richardson’s note, pp. 45 f.) are to sell the property (u7roSdp.[eroi), probably, as Rogers sug¬ gests, for the benefit of the sacred treasury. The edge at the end of the line is beveled, indicating Line JO. yu for ye ; so Rogers and Frankel. The territory of Argos is contrasted with some other dis¬ trict or place specified in the inscription, or with extra-Argive territory in general. — At the end of the line the left bevel of the left hasta of an a is pre¬ served for nearly its entire length. Rogers, who sup¬ plies KaruK^akioi, is probably right in assuming that the sentence refers to the recall of the banished per¬ son. It is also conceivable that in this and the following line approval in the sight of Hera is invoked for any one who shall slay a fugitive (original offender or derelict official) from Argive territory at least, in which case KaraK^dvoi could be read. Line 11. The y at the beginning is certain. Ac¬ cording to the view which may be taken of the intent of the preceding line, the word may be completed as di'ajyi'ov or oTuJyrov (both suggested by Rogers), or, if Kara«[drot (or something of similar meaning) be read, as liayroV. — ttoZ for irpos (cf. Prellwitz, Etym. Woerterb. s. v. -ttot'i, Searles, Lexicog. Study, s. v., G. Meyer, Griech. Gram? p. 389, n. 1). — H[ipas: the right bevel of the upright of the e is preserved. 1827. Plates CAT., CATI. (photograph and copy). Height, 0.0085 m. and 0.0035 m. TO It is possible but not probable that part of an a remains on the right. 1877. Plate CX. (photograph and copy). The letters faint but certain. Height, 0.007 m. ©u/xoc/xAos ye areOexe rai Hepai : ras Kaprcuas Translation : Thamophilos dedicated me to Hera from (i. e. perhaps spoil from) the Karneia. ®ap.6pos, C. I. A. TV. Add. No. 23, 1. 4. See Fick-Bechtel, Griech. Eigennamen, p. 139. — aveOexe : cross-bar of a uncertain, but lowest of the three possibilities indicated in copy is the most probable. — Kapredas: the dotted line in copy of K represents a false stroke in the original. Right side of p un¬ certain owing to oxidation. The lines indicated by dots in copy are fairly clear, but probably do not belong to the letter. Preller-Robert, Griech. Mythologie, I. p. 250, n. 3, assume a festival of Apollo Carneios at Argos on the basis of Schol. to Theocritus, Y. 83, and Hesycli. s. v. ayr/rip, according to whom Apollo Carneios was called ’Ayr/Twp at Argos, and was wor¬ shiped at the festival called aygropia. The use of the singular is noticeable. Elsewhere ra Kdpreia. Here it probably agrees with the genitive singular of eoprrj, a word used by the Scholiast above cited in speaking of the Carneia, and by Herodotus, I. 31, in referring to the Heraea (eovary oprrjs rrj "H prj tokti ’Apyel- okti), or possibly with dp.epas (genitive singular), cf. K apveliu yyepai (J. H. S. IX. p. 328, from Cos). The genitive is slightly freer than in rapyeioi aveOev toj Ain to iv Kopiv6b6ev ( I. G. A. 32), but resembles that in «r]i 'PayordSai IIo#tW pie [/care^/Ke v - - ] Aai'7ret- Sov Sbei'iScu on a bronze fragment from the Acropolis. Bather, J. H. S. XIII. p. 129. For-a-, see on No. 1826, 1. 7. APPENDIX: INSCRIPTIONS 337 1878. Plate CX. (photograph and copy). Let¬ ters faint and in part illegible owing to oxidation. Height, 0.0045 in. N[t]/cacrtas pte avtOexe rat Hepai. Translation : Nikasias dedicated me to Hera. Nucacrtas: right bar of N and following letter hid¬ den by oxidation. Instead of -at-, -vu- may be read, as the upper right hasta of the san is faint and not quite certain. It does not seem to have been joined at the top to the remainder of the letter. For Nt/carta?, which does not seem to occur, cf. Ava-avtas, IIuvo-- avias. For -a- see on No. 1826,1.7; Nucacrias, for Nu erai . . 2 Translation uncertain. Perhaps a record of de¬ posit with Hera for the benefit of the people. The first letter looks like half of an o, but may be only an accident of incrustation. On the latter sup¬ position possibly to be supplied . . —arr/p or ptrjTrjp pre¬ ceded by a personal name in gen. Cf. I. G. A. 495 (Erythrae) .... roSe a\_rf\p.a p.gTrjp itriOyxe 0 avorri : probably -ov (rather than to), as was usage after the introduction of the Ionic alphabet. Absence of article could be taken to indicate the presence of a proper name, i. e. Damos. — even =: r/vau or perhaps better etrai, to be consistent with 8dp.ov. The form seems here to be Arcadian. — In the third space after even there seems to be a % It may have been preceded by es ( = £«). Otherwise possibly similar to J. H. S. XIII. p. 128, No. 53, ’Atbp'ouas M, where Bather suggests M»;8cor. Cf., however, Rouse, Greek Votive Offerings, p. 105, n. 1. — For use of shrines on Acropolis at Athens as places of deposit, see Bather, ibid. p. 129. 2239. Plate CXXV. (photograph and copy). Length, 0.052 m. Letters much damaged by corro¬ sion. Height, 0.0044 m.-0.013 m. ras Hepas ras: upper cross-bar slightly heavier and probably to be preferred.—"Hpas: tail of p certain. In case of last letter the fourth stroke seems to have been at the lower edge of the upper excoriation, hut the cor¬ rosion renders the intention of the engraver somewhat doubtful. For interpretation, cf. lepov rijs ’ A6 grains, J. H. S. XIII. p. 126, No. 10, and ’AOrjrals, ibid. }). 128, No. 52. On an axe from Calabria, raU'Hpas iapos ei/M, I. G. A. 543. Cf. also the inscriptions from the Cabirion near Thebes, Szanto, Athen. Mitth. XV. pp. 388 ff. 2252. Plate CXXVI. (photograph). Copy be¬ low. Length, 0.115 m. Letters not engraved, but struck with chisels. Height, 0.005 m.-0.007 m. Translation : Eudamas of Sicily dedicated me. EiSd/xas: the penultimate letter is badly made, but probably was intended for an a. The name oc¬ curs also in C. I. G. II. 2266. I. G. A. Add. 43 a, said to be from Argos, has EYA ... 5. —- e %u for Ik. Cf. e Nav7ra ktw (I. G. A. 321), e ris XaXfi'Sos, £ rds O lav6l8o2t«£Aaas APPENDIX: INSCRIPTIONS 339 reading could be adopted, viz., 3 IF 1 - i. e. Hep[as. At certain times and in a certain light this seems almost plausible. In any case some word like SaK-rdAxos is probably to be supplied with kcl\6 s, and the inscrip¬ tion will have nothing to do with the /caAds-inscrip- tions on vases. 1 SILVER PIN IN BRITISH MUSEUM, SAID TO BE FROM NEAR THE HERAEUM. Plate CXXXVII. For description, see after No. 490, p. 223, and for inscription, Insc. Argol. (/. G. IV.), No. 508, and cf. No. 2239 above. 1 Cf. Rolfe, ‘ An Inscribed Kotylos from Boeotia,’ Harvard Studies in Class. Philol. II. pp. 89 ff. The Argive Heraeum Pl.ATE LXX BRONZES.-FRAGMENTS OF STATUES. STATUETTES. The Argive Heraeum Plate LXXI BRONZES.— STATUETTE The Argive IIeraeujvi Plate LXXII BRONZES.— ANIMAL FIGURINES The Argive Heraeum Plate LXXIII BRONZES.— ANIMAL FIGURINES. The Argive Heraeum Pi.ate LXXIV BRONZES.— ANIMAL FIGURINES. The Argive Heraeum Plate LXXV BRONZES.— ANIMAL FIGURINES The Argive Heraeum Plate LXXVI BRONZES.— ANIMAL FIGURINES The Argive IIeraeum Plate LXXVII (421 BRONZES.-- ANIMAL FIGURINES. The Argive Heraeum Plate LXXVIII (LiA.ili BRONZES.—ANIMAL FIGURINES, STRAIGHT PINS 1 he Argive Heraeum Plate LXXIX BRONZES.—STRAIGHT PINS The Argive Heraeum Plate LXXX 415 BRONZES.—STRAIGHT PINS The Argive Heraeum Plate LXXXI 495 BRONZES.—STRAIGHT PINS. The Argive Heraeum Plate LXXXII BRONZES.—STRAIGHT PINS. The Argive Heraeum Plate LXXXIII 682 BRONZES.—STRAIGHT PINS The Argive Heraeum Plate LXXXIV BRONZES.—STRAIGHT PINS. SAFETY PINS The Argive Heraeum Plate LXXXV BRONZES.—SAFETY PINS The Argive Heraeum Plate LXXXVI BRONZES.—SAFETY PINS The Argive Heraeum Plate LXXXVII BRONZES.—SAFETY PINS The Argive Heraeum Plate LXXXVIII BRONZES.—SAFETY PINS ETC. NEEDLE, FINGER-RINGS The Argive Heraeum Plate LXXXIX BRONZES.—FINGER-RINGS AND BRACELETS The Argive Heraeum Plate XC 1015 1022 1032 1033 1054 1025 1028 1027 1078 1104 1105 1118 1096 1119 1250 1095 1190 1188 1357 1358 1294 1342 1326 1343 1359 1379 1372 1380 BRONZES.—DECORATIVE RINGS The Argive Heraeum Plate XCI 1448 1452 1464 ^ A/ vvvvvvvv ( 1482 ) ( 1495 ) 1487 1509 'i -y " ' ' ( 1515 ) 1526 1527 1525 BRONZES.—DECORATIVE AND STRUCTURAL RINGS The Argive Heraeum Plate XCII 1533 1530 1534 1542 1537 1544 1539 1547 1550 1549 1554 1553 1556 ( 1557 ) 1560 1558 BRONZES.—STRUCTURAL RINGS ETC. BEADS, PENDANTS, MIRRORS The Argive Heraeum Plate XCIII BRONZES.—MIRRORS The Argive Heraeum Plate XCIV ( 1565 ) BRONZES.—MIRRORS The Argive Heraeum Plate XCV 1577 ( 1566 ) BRONZES.—MIRRORS The Argive Heraeum Plate XCVI BRONZES.—MIRRORS ( 1581 ) The Argive Heraeum Plate XCVII 1588 BRONZES.—MIRROR The Argive Heraeum Plate XCYIII 1589a BRONZES.—MIRRORS The Argive Heraeum Plate XCIX 1604 1607 1599 (1599) 1632 1664 1665 1655 1669 1672 1674 BRONZES.—DIADEMS, ETC. DISCS The Argive Heraeum Plate C 1679 1685 i ‘o 1687 1686 1692 1693 1698 1694 1702 1696 1705 BRONZES.—DISCS The Argive Heraeum Plate Cl 1707 1712 1714 1716 1717 ' 1715 1728 1737 1738 BRONZES.—DISCS, BINDING-STRIPS The Argive Heraeum Plate CII 1743 1746 (1746) 1747 1748 1749 (1749) 1750 1752 1754 1755 1762 1758 1767 fwfVii 1770 1771 1768 1772 BRONZES.—BINDING-STRIPS, ORNAMENTED BANDS, COATINGS The Argive Heraeum Plate CIII 1790 BRONZES.—COATINGS The Argive IIeraeum Plate CIV 1796 (1792) 1795 1797a (1793) 1797b .’•vivL 1799a T -.Ja nnt g 1809 1803 BRONZES.—COATINGS,RIMS, PLATE The Argive Heraeum Plate CV BRONZES.—PLATE, CUT ORNAMENTS The Argive Heraeum Plate CVI BRONZES.—PLATE WITH INSCRIPTION 1826 The Argive Heraeum Plate CVII BRONZES.-PLATE WITH INSCRIPTION ( 1826 ) The Argivf. Heraeum Plate CVIII 1837 m 1836 o© © 1834 1835 (1837) 1839 1846 1847 (1847) 1848 BRONZES.—FIGURES, ETC. LEAVES, THONG, PLATES The Argive Heraeum Plate CIX 1879 BRONZES.—PLATES, PLATTERS The Argive Heraeum Plate CX BRONZES.—PLATES The Argive Heraeum Plate CXI KRONZES.—PLATES, PLATTERS (1883) (1883) 1885 (a) 1888 The Argive Heraeum Plate CXII 1884 1893 1894 (1895) 1889 (b) (1889) (1889) (1898) 1899 1898 1900 ’ ' L > (1901) 1904 1905 BRONZES.—PLATTERS, SAUCERS The Argive Heraeum Plate CXIII BRONZES.—SAUCERS The Argive Heraeum Plate CXIV _>■ 1953 (1957) 1957 1960 1963 1966 1968 itilm 1974 1970 1973 1972 1977 (1975) (1975) BRONZES.—SAUCERS The Argive IIeraeum Plate CXV BRONZES.—SAUCERS, BOWLS The Argive Heraeum Plate CXVI BRONZES.'—BOWLS The Argive Heraeum Plate CXVII 2003 (2003) 2006 2007 2008 (2007) 2014 2024 BRONZES. BOWLS SUSPENSION VASE, ETC. PITCHER, JARS The Argive Heraeum Plate CXVIII BRONZES.—JARS, BASIN The Argive Heraeum Plate CXIX m&tM '‘MMZ 2039 tomb v : T - ' ®ipy jPyj'gSfiA 2040 2044 2046 2042 -Jzk: ;i"'r 2045 2043 2049 2047 2056 2048 2054 m M rS (|fpy ■m : M 2050 i $ : BRONZES.—CAULDRON, BOSSES, HORIZONTAL HANDLES The Argive Heraeum Plate CXX BRONZES.—HORIZONTAL HANDLES 2070 The Argive Heraeum Plate CXXI 2077 2078 2081 2079 2074 2084 2088 2117 2087 2098 2111 2114 2104 2108 2115 2120 V-Sitwp 2118 2136 2138 2142 SttasafiBaw 2160 BRONZES.—HORIZONTAL HANDLES The Argive Heraeum Plate CXXII 2163 2165 2167 2169 2168 2174 2180 2170 2179 2184 2186 2177 2189 2195 2190 2197 2193 (2195) 2194 BRONZES.—HORIZONTAL AND VERTICAL HANDLES ilb ' r The Argive Heraeum Plate CXXIII 2201 (2201 j 2200 2210 ( 2202 ) 2204 2214 (2206) (2205) (2216) 2217 2220 (2219) BRONZES.—VERTICAL HANDLES, VARIO'JS ORNAMENTS, FRAGMENTS OF LARGE TRIPODS. ( 2218 ) ( 2218 ) ( 2221 ) ( 2221 ) The Argive Heraeum Plate CXXIV BRONZES.—FRAGMENTS OF LARGE TRIPODS. SMALL TRIPOD-STANDARDS The Argive Heraeum Plate CXXV 2233 2231 2234 2239 BRONZES.—FEET OF STANDARDS, MISCELLANEOUS VESSELS The Argive Heraeum Plate CXXVI BRONZES.—MISCELLANEOUS VESSELS AND HANDLES, VARIOUS IMPLEMENTS AND UTENSILS The Argive Heraeum Plate CXXVII BRONZES.—VARIOUS IMPLEMENTS, SPITS The Argive Heraeum Plate CXXVIII BRONZES.—SPITS The Argive Heraeum Plate CXXIX BRONZES.—SPITS The Argive Heraeum Plate CXXX BRONZES.—SPITS The Argive Heraeum Plate CXXXI BRONZES.—SPITS The Argive Heraeum Plate CXXXII 2640 BRONZES.—SPITS The Argive Heraeum Plate CXXXIII 2680 2704 2706 2707 2715 2744 2677 2716 2747 2740 2751 1 1 't 1 !; 1 jl / 2712 j J 2727 2758 BRONZES.—SPITS, VARIOUS IMPLEMENTS AND UTENSILS The Argive Heraeum Plate CXXXIV 2780 (2775) BRONZES.—VARIOUS UTENSILS AND CONSTRUCTIVE PIECES The Argive Heraeum Plate CXXXV FHPaeg>qMgnanaiiaji;.'.w 2805 2801 2808 2809 2814 (2827) i;*vONXES.—CONSTRUCTIVE AND DECORATIVE PIECES The Argive Heraeum Plate CXXXVI 2840 BRONZES.—CASTINGS The Argive Heraeum Plate CXXXVII 1533a WAX IMPRESSION OF SEAL OF ABOVE SILVER RING (enlarged) 345 195 a 972 b 970 b 1596 1718b 1685 a 1718a SILVER K 4 L O } in) ON ABOVE RING BRONZES.—MISCELLANEOUS ADDENDA ENGRAVED STONES, GEMS, AND IVORIES FROM THE ARGIVE HERAEUM ENGRAVE!) STONES, GEMS, AND IVORIES By RICHARD NORTON THE STONES AND GEMS The engraved stones found (though only in limited numbers) at the Heraeum might disappoint one who sought among them things of beauty. It is not that they are second- class works of their kind, but they belong to the beginnings of Greek art before the craftsmen had attained to the power which later enabled them to turn into shapes of beauty even the commonest article of daily use. But such disappointment is more than counterbalanced by the interest of another kind inherent in them, — a double interest, in fact, connected in part with the Heraeum and in part with the broader question of the early stages of Greek art. Not one of these stones is much later than the seventh century b. c., and most of them are probably much earlier. This phenomenon of the absence of late work is the same in the other classes of objects found on the site, the very large majority of which belong to prehistoric and archaic times. But beside this fact there is another equally noteworthy, which is that a large proportion of the stones are of a style heretofore but little known. That is to say, they put before us a new local art, and it can be shown, I believe, that the most probable home of this art was the Heraeum, 1 by which name must be understood the town in the vicinity (which of the many there were we cannot with certainty say) that supplied the needs of the sanctuary. That they are the product of one locality is suggested by the following facts. (All are, of course, intaglios.) 1. The material is the same in almost all. It is steatite. 2. There is little variety in the shapes, and one or two peculiar forms are frequently repeated. If the stones had been imported from many places, it is certain that they would vary much in form. 3. The range of subjects carved upon them is very limited. 4. The style of the carving is practically the same in all, and in most cases so rude that it would be hard to believe that the ancient Argives should have found it worth their while to import such work. It is worth noting that there is scarcely a trace of the use of the drill, which was con¬ stantly employed by the Mycenaeans. On Nos. 17 , 21 , 33 , and a few others, there seem to be traces of it, but the rule is for the design to be cut. This was perhaps induced by the softness of the stone; or the fact that, in the main, only soft stone was used may imply that the drill was not generally known. The drawing of the human figures and of horses, the representation of birds and snakes (also found in great numbers on the vases from the Heraeum), remind one of 4 geo¬ metric ’ vases. A few gems were found that distinctly belong to the ‘ geometric ’ style, 1 I shall use the word Heraeum throughout this article, embracing all the neighborhood of the temple where lived not as meaning the sacred temenos, but in a broader sense, the people to whom the sanctuary belonged. 343 344 ENGRAVED STONES, GEMS, AND IVORIES and those of what is I believe a new type may, perhaps, be the forerunner of the £ geo¬ metric.’ It is noticeable that on the true £ geometric ’ stones occur none of the odd or inexplicable forms that we see on the new class. It might be thought that the use of steatite, a mineral not found in Greece proper, was a proof that the stones were imported from some distant place; but when one considers that, as noted above, stones of this style have been found in considerable numbers only at the Hemeiisn, it seems more likely that it was merely the material and not the finished product that was imported. The carving was then done at the Heraeum. This statement is borne out by the fact that only a very insignificant amount of objects of unquestion¬ able foreign make were found in the excavations, and also by the finding of one or two stones all ready shaped but without any design. For the detailed study of the stones several methods of classification are possible: according to their material, shape, subject represented, or style. As there are a few stones absolutely different in style from the others while the material is the same, it is manifest that any attempt at classification according to material would be barren of result. Similar reasons make classification according to shape or subject undesirable, so that nothing is left but to classify them, so far as my own judgment goes, according to style. Others may consider that individual stones belong to other classes than those in which I have arranged them, but the separation of the classes in general will, I trust, find acceptance. Before discussing the stones in detail a word must be said in regard to the use to which such objects were put. They are often spoken of as seals , but it seems improbable that their owners used them as such. Had they done so, it is incredible that no impressions of them should ever have been found. I refer of course only to Greece, and not to the coun¬ tries in the farther east where seals were in common use. Furthermore, what imaginable way is there for their use as seals ? Documents that could be sealed by any such stones as these were unknown in the days when they were made. They are too small and insig¬ nificant to have been used as marks of proprietorship of objects, — were this extravagant hypothesis to be brought forward,— and the fact that there is a very noticeable repeti¬ tion of design disproves any such idea. That most of them are bored shows that they were meant for suspension, but were they seals, it is quite certain they would have been given some stiff and permanent setting. Gold rings like those found at Mycenae, or others of less valuable material, might (so far as usability is concerned) — except for the other reasons I have adduced — be called seals. Such rings, however, form but an infinitesimal division of the whole class of these objects. If they were not seals, what were they ? Probably, in the majority of cases, amulets. The fact that they are bored suits this explanation. They may well have been worn in old times, as they are still to-day by the women in Crete, hung by a string round the neck. The style of subject carved upon them is well suited to amulets. Religious scenes, for instance, or the figures of strange beings are what one would expect on amulets. When we remember the close relation of animals to deities in ancient times, we see how stones which to our ignorant eyes present only the picture of a cow or lion may, in every likelihood, have conveyed a religious and sacred impression to the original owner. Others, too, suggest from their shape, or size, or carving, that they were merely beads, for it is not at all likely that all were used in the same way. Evans 1 in his epoch-marking works shows reasons to believe that he has found a form of writing on the earliest of these stones. 1 Cretan Pictographs and Prae-Phoenician Script and Further Discoveries of Cretan and Aegean Script. PRIMITIVE CLASS 345 This, however, is no reason for thinking them to be other than amulets; though no one has been able to read the signs found by Evans, and they may possibly be abbreviated prayers or sacred and evil-averting signs. There is one more question difficult of explanation, and that is how there came to be so many stones of this sort at a place like the Heraeum. I can only suggest the explana¬ tion that if these stones were amulets, it may well be that such powerful and sacred objects were made by the priests, -— that they were issued from the temple somewhat as indul¬ gences are given out by the Catholic Church. Or it is possible that perhaps after the death of the owner, or at some such solemn moment, they were dedicated in the temple. These are, of course, mere hypotheses. CLASS I. PREHISTORIC OR PRIMITIVE. Only eight stones of this sort were found (Nos. 1-8). The only carving on them con¬ sists of scratches, and they show no trace of true masterly cutting. Similar scratchings were found by Schliemann on whorls he dug up at Troy, and by other excavators. It is possible that these lines conveyed some meaning to the original owner of the object, but, at present, it is impossible to say what it was. Evans 1 suggests that certain somewhat similar carvings found by him stand for letters. None of the examples from the Heraeum suggest this or anything more than being the haphazard work of an untrained carver. They seem to be merely attempts to decorate the stones with more or less symmetrical patterns. In shape they show some variety, and it is difficult to explain why the makers of these stones should have been satisfied with such rude carving of designs when they were able to model the forms so comparatively well. PLATE CXXXVIII. 1. Circular; both sides slightly convex. Bored. Both sides scratched. Dark blue steatite. 1.5 cm. Perhaps a bead. Found during first year’s work. 2. Button shape. Double bore-hole. Design: star. 2.8 cm. The stone is broken, but both parts were found. Found on stairs south of Second Temple. 3. Hemispherical. Bored. Scratches on flat surface. Red steatite. Diameter, 1.9 cm. Found back of West Building. 4. Circular; both sides convex. Bored. Both sides scratched. Dark green steatite. 1.8 cm. Found on southeast slope near bottom. 5. Spool shape. Ends concave. Cross lines and circle scratched on one end. Dark red steatite. Diameter, 1.7 cm. The form is, perhaps, an imitation of a fish’s vertebra. Found back of South Building, at southwest corner of Second Temple terrace. 6. Flat; circular. Bored through centre. Light green steatite. 1.5 cm. No engraving; accidental scratches. Perhaps a bead. This is one of those which being formed but not decorated implies that the decoration was done at the Heraeum, as do the following. Found back of South Building near No. 5. 7. Circular and slightly spool-shaped. Not bored. Mottled green steatite. Diameter, 1.8 cm. Thickness, 0.8 cm. Like No. 6, this is apparently unfinished. Found east of chambers on Second Temple terrace. 8. Steatite pebble. 1.7 cm. long. Perhaps shows the sort of stone used by the engravers. Found during first year’s work. 1 Cretan Pictographs and Prae-Phoenician Script, fig. 16, and p. 16 (285). 346 ENGRAVED STONES, GEMS, AND IVORIES CLASS II. NEW TYPE— ‘ ARGIVE.’ The following are stones of a new, or at least very unusual type. There are thirty- three (Nos. 9-41) of them. They vary considerably in shape: — 1. Hemispherical; 11 (Nos. 9-19). 2. Button shape; 4 (Nos. 20-23). 3. Cylindrical; 1 (No. 24). 4. Shield shape; 1 (No. 25). 5. Rectangular; 8 (Nos. 26-33). 6. Lenticular and lozenge ; 5 (Nos. 34-88). 7. Rectangular and oval with animal on top; 3 (Nos. 39-41). The designs vary less than the shapes. They fall into three classes: — 1. Human. 2. Animal. 3. Geometric. Perhaps a fourth class unintelligible ought to be added. The stones are often carved on all their various surfaces, whether curved or flat. Of the hemispherical group six have carving only on the flat surface, and the other five have their rounded back deco¬ rated with zigzag's. The button-shape group contains but one exception (No. 23) to the rule that the speci¬ mens of this shape have both of their flat surfaces carved. The one cylindrical stone has one end carved and the other smooth. The shield-shaped stone is carved only on the flat surface. The rectangular group also shows one exception (No. 31) to the same rule. Three of the five lozenge-shaped stones are carved on both sides; one on only one. One is doubtful (No. 36). Of the animal group, No. 41 is the only example that has more than one surface adapt¬ able to carving. In this case the animal is on the edge of the stone and both flat sur¬ faces are carved. On first sight one sees that these stones have little or nothing to do with the true Mycenaean stones with which it seems, from the proximity of the Heraeum to Mycenae, they might well have had some connection. The few Mycenaean stones that were found in the excavation are easily differentiated from those of the new class, and that so very few Mycenaean ones were found appears to be another bit of evidence to show how little the Heraeum depended on foreign trade for the satisfaction of its needs. The nature of the carving on the new stones, rude and awkward as it is, is quite unlike that of true Mycenaean work. Nor did the Mycenaean carvers show any special preference for steatite, while the subjects which they were fond of representing, such as lions, cows, fish flying, religious and hunting scenes, do not occur on the Heraeum stones. A few stones of the same character as those under discussion have been found in other parts of the Greek world, and they will be noted in connection with the special specimens to which they bear the closest resemblance. Further excavation will undoubtedly bring others to light, but for the present the Heraeum must be considered if not the original source of this work, at least a place where it was in considerable demand. One curious point in regard to their discovery which may throw light not only on the stones themselves but also on the history of the Heraeum is that none were found on the Old Temple terrace, but all came from the neighborhood of the Fifth-century Temple and ARGIVE TYPE 347 the majority from the south slope, — a spot that seems to have been used for the laying aside of discarded objects. The enormous number of objects of all sorts found in this one place suggests that it may have been used as a sort of burying-ground for things that had, for some now unknown reason, become too sacred for such further mortal use as they had originally served. That there were such burying-grounds is, of course, proved by the discoveries on the Acropolis of Athens. Hemispherical. All are bored. 9. Zigzag pattern in different directions over back. Design : man and horse, also irregular marks to fill space. Diameter, 2.4 cm. Dark red steatite. Found during first year’s work. 10 . Smooth back. Design : horse and decorative marks. Red steatite. 2 cm. Much rubbed. Found east of chambers on Second Temple terrace. 11 . Zigzags on back (cf. No. 12 ). Design: horse and decorative marks. Red steatite. Diam¬ eter, 2.9 cm. Found at east end of Stoa below Cyclopean wall. 12 . Zigzag on back. Design: horse, beyond which stands man with upraised arms, holding perhaps a sword over the horse’s head. Slightly fractured. 3 cm. Found in Northwest Building. 13. Smooth back. Design : man holding something in raised hand ; behind him marks similar to those Evans 1 takes to have to do with a house. Red steatite. Diameter, 1.8 cm. Found dur¬ ing first year’s work. 14. Zigzags on back. Design: man seated, arms raised. Cf. No. 39. Red steatite with yellowish streaks. 2.2 cm. Found east of chambers on Second Temple terrace. 15. Half stone, broken along bore-hole. Smooth back. Design : man seated. Cf. No. 14. Dark blue steatite. 2 cm. Found above east end of Stoa below Cyclopean wall. 16. Smooth back. Design : man standing. There are other marks, but the gem is so broken they are inexplicable. Light blue steatite. 2.1 cm. Found back of West Building in the large deposit. 17. Elongated hemispherical. Smooth back. Design : two men, perhaps fighting. It suggests one of the gold rings from Mycenae. Dark red steatite. 3 cm. x 2.5 cm. Found above east end of Stoa below Cyclopean wall. 18. Not absolutely hemispherical. Three divided rows of arrowhead pattern on back. Design : circle divided into quarters by crossed lines. Each quarter has three ‘ arrow ’ markings one within the other. Blue steatite. 2 cm. Found during first year’s work. 19. Elongated hemispherical. Smooth back. Design: double axe. 2 Blue steatite. Length, 2.7 cm. Found back of West Building in the large deposit. Button shape. All are bored (except No. 23). 20. Much broken. Design, Large side: branches of trees 3 surrounded by circle of cog-wheel pattern. Small side : snake (?) and lines that are distinct, but scarcely explicable. They do not re¬ semble any of Evans’s pictographic signs, and it is plain from the sureness of the cutting that they are not haphazard. They are also quite unlike the ordinary space-filling patterns. It is possible that they represent a horned animal lying down ; the head to the left. Red steatite. Large side, 3.5 cm. x 3.75 cm. Small side, 2 cm. Found east of chambers on Second Temple terrace. 21. Design, Large side : two figures holding a bough upright between them; below the bough a crescent-shaped object. Snake surrounding left half of design. Small side : sunk circle with raised cross, the arms of the latter having incision down the middle. Green steatite. Large side, 2.5 cm. Found near the southeast corner of the Second Temple. 22. Design, Large side : two figures holding hands, and in free hand branches ; between their feet a bird upside down , and below this a snake (?). Between the heads of the figures traces of another bird (?). Cog-wheel circle surrounds the group. Small side: scarcely explicable. Per¬ haps animal with branch above and below. Red steatite. Large side, 3.5 cm. Found on south 1 Cretan Pictographs, p. 38 (307). 3 Cf. Evans, Cretan Pictograplis, p. 43 (312), and Further 2 Cf. Evans, Cretan Pictographs, p. 35 (304). Discoveries , fig. 16. 348 ENGRAVED STONES, GEMS, AND IVORIES slope. A stone of about this size anti carved with figures like those on the larger side of this one is in the Museum in Athens. It is uncatalogued, and I could not find whence it came. 23. Not engraved or bored. Pale green steatite. Largest diameter, 2.1 cnx. Found at south¬ east corner of Second Temple terrace, outside peribolus wall. Cylindrical. ~ At other end traces JJ1 was never wholly Decorative markings. Incised above east end of Stoa below 24. Double branch pattern. One end with geometric design, thus: of three drill holes directed along the long axis; stone is broken and ' drilled. Red steatite. Found during first year's work. Shield shape. 25. Bored. Smooth back. Design : man upright, arms raised, line around whole. Dark red steatite. 2.8 cm. long. Found Cyclopean wall. Bectangular. All hut No. 31 bored. 26. Stone broken through bore-hole, only half preserved. Design : on one side cattle superposed. (For somewhat similar representation of cattle, cf. Evans, Cretan Pictography, fig. 11 a.) Behind cattle unintelligible curved lines. On other side cattle (? ) facing, and between them snake (?). On the unbroken edge pattern (see cut). Found back of West Building in the large deposit. 27. Flat (brick shape). Both sides engraved; edges smooth. Design, one side: winged horses. Other side: distinct but unintelligible. Red steatite. 4 cm. x 3 cm. Found at southeast corner of Second Temple terrace, outside peribolus wall. 28. Brick shape. Both sides engraved; edges smooth. Design (same on both No. 2G. sides) : animal and decorative marks, framed by straight lines. 1.6 cm. x 2 cm. x 1.1 cm. Found on surface of ground of the Old Temple terrace. 29. Broken along bore-hole, only half found. Both sides and the complete edge engraved. Design : each side divided into two compartments. When the stone was complete there were undoubtedly four such divisions. On one side are squares, one within the other, the smallest having its diagonals drawn. On the other side each division has merely lines drawn parallel to the diagonal, — those in one division from left to right, the other from right to left. On edge ‘ arrowhead ’ pattern. Red steatite. 4 cm. Found in the deposit at southwest corner of Second Temple terrace. 30. Broken ; only part found. Both sides engraved ; edges smooth. Design : on one side deeply cut, but unintelligible (but cf. Evans’s sign for a house, Cretan Pictography, p. 37 [308]). Green steatite. 5 cm. x 1 cm. (thick). Found near East Building. Another stone very similar to this one was shown me by Mr. Evans. He obtained it in Delos. It is now, I believe, in the Ash- molean Museum. 31. Bored, and bit of original bronze fastening still in hole. Both sides engraved. Design: on one side two men ; one holds branch, other holds weapon (?). The former seems to be clad differently from the latter. Other side: four compartments, each filled with patterns of straight lines. Green steatite. 2.7 cm. x 2.3 cm. Found in deposit at southwest corner of Second Temple terrace. 32. Both sides engraved. Design, on one side: man fighting or hunting; the disk in front of him may be his shield. On other side: animal. Dark blue steatite. 1.7 cm. x 1.4 cm. Found at southeast corner of Second Temple terrace. 33. Only one side engraved. Design : crab or spider 1 and snake. Light green steatite ; not bored. 1.9 cm. square. Place of discovery not known. Lozenge. All are bored. 34. Both sides engraved and deeply cut all around edge, so that it resembles shape. Design, one side: flying bird. Other side: branch. Light green steatite. Place of discovery unknown. 1 Cf. Evans, Further Discoveries, figs. 5, G, and p. 339, pi. ii. 14, 15. No. 33. the ‘spool’ 2.1 cm. GEOMETRIC TYPE 349 35. Engraved on one side. Design: two winged creatures face to face. Dark red steatite. 1.6 cm. Found at southeast corner of Second Temple terrace. 36. Broken through bore-hole; only half found. Both sides engraved. Design, on one side : bull’s-head, full front. On other side : starfish pattern. 1.2 cm. thick. Diameter, circ. 4 cm. Red steatite. Found in deposit back of West Building. 37. Both sides apparently engraved, but are so worn as to be undecipherable. Red steatite (?). 2.4 cm. Found during first year’s work. 38. Engraved on both sides. Design, on one side: flying bird. On other: winged animal. Dark red steatite. 1.5 cm. Found on south slope. IVos. 39-41 have animals on top. 39. Bored. Cow (?) lying down. Design: man seated (cf. No. 14). Red steatite. Length, 1.3 cm. Found during first year’s work. 40. Bored (below belly of animal). Monkey-like animal crouching. Design : animals, —-very rude and much scattered over field, — perhaps also a scorpion. No. 39. (Cf. Evans, Further Discoveries , fig. 31.) Light red mottled green steatite. Design: 2.5 cm. x3 cm. Height, 2.5 cm. Found east of the Northwest Building. 41. Animal much worn. Both sides and all three edges engraved. Design on both sides unde¬ cipherable. On the edges are these patterns : — AAA/ - '1 Fkont End. Found on south slope. Light blue steatite. 2.8 cm. x 2.3 cm. Bottom. Back End. CLASS III. ‘ GEOMETRIC ’ {CIRC. TENTH CENTURY B. C.). The next class of stones to consider are of a type which, though by no means common, is less strange than that of the preceding stones, and can be dated by external evidence. It is the ‘ geometric ’ type; a type that is plainly of the same epoch as the i geometric ’ vases. These show a distinct advance over the earlier stones in being made of harder material, and in the carving being much stronger and more certain. They show none of the sketchy and tentative quality of the more primitive work. In shape and material, too, they vary from the earlier and from Mycenaean work. All are of a fine-grain white marble, and all are square. One peculiar shape, that of a low truncated pyramid, occurs. The backs have no figure design. The bore-hole runs from hack to front, hence these could not be used as seals. 42. Bored from back to front. Shape: truncated pyramid. Back smooth. Design : two ‘ geometric ’ figures to right holding branches (?). Decorative marks. White marble. 3.4 cm. square. (In the Ashmolean Museum is a stone closely resembling this one ; it was found in Melos in 1894.) The design is of two figures, and between them a branch. Found at east end of Second Temple terrace, near East Building. PLATE CXXXIX. {upper part). 43. Broken at corners. Bored from front to back. Shape : truncated pyramid. On one sloping side of back are cut circles with dots in their centres. Design: divided into four equal divisions. Only one, a human figure with space-filling markings, decipherable. Lower part of human figure in a second division. White marble. Circ. 4.5 cm. Found in West Building. 44. Fragment. Similar to No. 43. Square, brick shape, not pyramidal. Design in compart¬ ments, but destroyed. Human figure visible on left. White marble. Size originally about same as No. 43. Found at east end of Second Temple terrace, near East Building. No. 42. 350 ENGRAVED STONES, GEMS, AND IVORIES 45. Bit of white marble similar to that used for Nos. 41-44. Square, 4.2 cm. Edges and both sides carefully worked. Edges curve very slightly outward, which is not the case in Nos. 41-44. Possibly an unfinished work. Found near No. 44. 46. Bored from back to front. Back smooth, and edges only beveled very slightly. Design undecipherable. It seems to be merely decorative, and perhaps is a connecting link between the preceding and those that follow. Found above Stoa and below Cyclopean wall. 47-51. All bored from back to front. Backs flat and smooth. Design : decorative (?). White marble. Size : (No. 47) 2 cm.; (No. 48) 2 cm.; (No. 49) 1.8 cm.; (No. 50) 2.1 cm.; (No. 51) 1.8 cm. It is noteworthy that the cutting of these differs from that of the preceding in being less angular, and the hollows are curved instead of being sunk to an edge. The designs of Nos. 47, 48, and 49 are exactly the same. Another stone of this same sort was bought by me in Athens in the spring of 1898. It is 3.3 cm. square and fractured at one corner (see adjacent cut). No. 47 was found near East Building. Nos. 48, 49, 50, found in deposit back of West Building. No. 51, found at southeast corner of Second Temple terrace, within the peribolus wall. CLASS IV. MYCENAEAN. The Mycenaean stones do not call for special comment. It is, however, noteworthy that so few stones of this class were found. Considering- the proximity of Mycenae, one might well have expected them to be among the objects often found at the Heraeum. 52. Circular-lenticular. Bored. Design : animal to left and bough over its back. Blue stea¬ tite. 2 cm. Found in South Building. 53. Circular-lenticular. Bored. Design: horned animal (bull ?) to right, head turned over back. Branch vertically in front of animal and below the beast decorative marks. Dark blue steatite. 1.7 cm. Found in South Building. 54. Circular, flat. Bored. Design: horned animal to right. Red steatite. 1.3 cm. Stone very much rubbed. Found at southeast corner of Second Temple terrace. 55. Fragment of large (probably 3-4 cm. diameter) circular-lenticular stone. Undoubtedly bored. Cornelian. Design : two cattle to left, the further one turn¬ ing head backward. Best Mycenaean work. Place of discovery unknown. 56. Circular, flat. Bored. Design : two fore-quarters of horned animal joined; branch in front of one of the animals. Found in deposit at southwest corner of Second Temple terrace. 57. Circular. Back slightly convex. Bored. Design: anthropomorphic mon¬ ster running. White calkspar. 1.3 cm. Found near West Building. 58. Lenticular. Bored. Design : griffin to right and below dolphin upside down to left. Hard white stone. 1.9 cm. long. Found near West Building. No. 57. { V ; ^ No. 55. iffi® CLASS V. NONDESCRIPT. 59. Cylinder. Bored. Design : eagle, snake (above its head star), and fore-part of lion (with something in front of head). Light green steatite, mitr 1 cm. long. Found at southeast corner of Second Temple terrace. 60. Earth glazed with gray slip now much destroyed. Circular. Bored. Back smooth. Design : three rows of three crosses or dots divided by two pairs of parallel lines. Diameter, 1.3 cm. Found on south slope. 61. Earth glazed. Glaze destroyed. Circular. Bored. Incised line around edge. Design: griffin seated to right and snake (?). Rosette on back. Diameter, 1.7 cm. Cf. Ivory, No. 7. Found on south slope. No. 59. THE IVORIES 351 THE IVORIES. Among the smaller antiquities found at the Heraeum were a considerable number of objects of ivory representing many different purposes, most of which can be easily under¬ stood. Some are more difficult to comprehend, and are particularly interesting because of the similarity they bear to certain of the stones that have been described above. The use of the following objects is uncertain. They are all of them bored, and this, taken into consideration with their peculiar shape (in section q- ^ ), has led me to wonder whether they might not have been used as covers of bottles or vases. The fact that they are carved on both sides does not preclude the possibility of such a use. One similar bit of worked ivory was found at Olympia ( Olympia , ‘ Bronzen,’ p. 188, 1194). There are several points that are common to all five examples to be noted. All are bored. All are engraved on both sides. All are the same shape and nearly the same size. All have a more elaborate border on the smaller side, the larger side having merely a line. PLATE CXXXIX. (lower jmrt). 1. Design, Large side: Winged griffin seated to left. Right paw raised. Small side : Lioness seated, head turned back, right paw raised. Between front legs star of dots. Greater diameter, 4.6 cm. Broken. Found at southwest corner of Second Temple. 2 . Design, Large side: Winged man-headed griffin with orna¬ ment projecting from head, seated to left. Right paw raised; be¬ tween paws flying double-headed bird to left. Small side: Lion in same position as lioness on No. 1 , with three stars of dots and lines between front feet. Greater di¬ ameter, 4.5 cm. Found in black No. 4. layer at west end of Second Temple. 3. Design, Large side : Lion seated to right. Right paw raised. Head turned back. Decorative dot in front of and behind head. Small side : Eagle flying to right. Greater diameter, 4.6 cm. Broken. Found during first year’s work , probably at west end of Second Temple. 4. Design, Large side: Two winged gorgons holding branches. Small side: Lion running to right. Head with crest turned back. Decorative stars. Greater diameter, 4.4 cm. The lion is less Ori¬ ental in type than those on the preceding ivories. The drawing of the paws suggests the early Attic vases. Found at southwest corner of Second Temple terrace. 5. Design, Large side: Double, winged, single-headed gorgon, seated with front paws on support shaped like an Ionic capital. The n 0 _ 5 ^ hair is rolled, as on the Tenean Apollo. Small side: Eagle flying to right. Elaborate detail. Six ornamental dots, one above bird, one below, one above and one below head, one above and one below root of tail. Greater diameter, 5.3 cm. Found at southeast corner of Second Temple terrace. The following are apparently ornaments of various sorts. 6 . Circular bit of ivory. One side convex, other flat and edge beveled. Small hole in centre of flat surface. No decoration. Diameter, 4.2 cm. Found on south slope. 352 ENGRAVED STONES, GEMS, AND IVORIES 7. Circular. Design : griffin. Back of ivory slightly convex, decorated with raised rosette Cf. stone No. 61. Found at east end of Second Hole bored through. Diameter, 3.6 cm. Found in burnt having small hole in centre. Diameter, 2.7 cm. Temple terrace, near East Building. 8. Similar to No. 7. No design, layer at west end of Second Temple. 9. Circular. Elat on both sides. Bored. Design : frog (?) with tail (?), seen from above. On back of ivory rosette. Diameter, 1.5 cm. Found in same place as No. 8. 10 . Circular. Flat. Bored. Design: five circles with centres dotted (like a dice), the outer circles connected with the inner one by straight lines. On other side rosette. Diameter, 1.7 cm. Found during first year’s work. 11 . Button shape. Bored. Design, Large, side: Bird flying to right within circle. Small side: Four-leafed rosette within ‘cog-wheel’ circle. Greater diameter, 1.8 cm. Found at south¬ east corner of Second Temple terrace, outside peribolus wall. 12 . Circular. Flat. Bored, and little hole in centre of each side. Design: eagle with snake in beak flying to left, circumscribed by three circles. On other side rosette. Diameter, 2 cm. Found in burnt layer at west end of Second Temple. 13. Same shape as Nos. 1-5. Bored. Design, Large side: Swan to left; behind head four- pointed star, circumscribed by two circles. Small side: Flying fish (?) to right, circumscribed by two circles. Greater diameter, 2 cm. Found in same place as No. 12 . 14. Circular scarab. Broken. Design : bird flying to right, circumscribed by two circles. Diameter, 1.4 cm. Found in same place as No. 12. 15. Circular. Bored (split through bore-hole and top not found). Design : bird flying to right. Diameter, 1.5 cm. Found during first year’s work. 16. Button shape. Bored. Design : Androsphinx to right, circumscribed by circle on each side. Greater diameter, 2.7 cm. Found in West Building. 17. Circular. Flat. Bored. Design : bird flying to right, circumscribed by three circles. On other side Diameter, 2.3. Found in West Building. 18. Circular. Flat. Bored, — broken through bore-liole. Design : on one side, butterfly (?). On other side, rosette, so much rubbed that it is impossible to be sure of the design. Diameter, 2.5 cm. 19. Circular. Bored. Fragment of one side showing rosette. Diameter, 3.2 cm. Found in burnt layer at west end of Second Temple. 20 . Circular. Flat and very thin. Small hole through centre. Design: six-petaled star. Back smooth. Diameter, 2.1 cm. Found near East Building on Second Temple terrace. 21 . Circular. Bored. Too much worn to tell what the decoration was. Probably animal to left. Diameter, 1.6 cm. Found in West Building. 22 . One half of spool-like object. Bored. Diameter of top, 2.6 cm. Found near East Build¬ ing on Second Temple terrace. 23. Fragment, probably of No. 22. 24. Button shape. Unengraved. Place of discovery not known. 25. Oval slice with bit of bronze through centre. Perhaps orna¬ ment of a fibula. Found during first year’s work. 26. Rectangular bead. Bored lengthwise. Arrowhead pattern 27. on opposite sides. 2 cm. x .9 cm. x 5 cm. West Building. PLATE CXL. 27. Cubical bead. Bored. Circles cut round bore-hole. Two ends and two sides engraved. On one end, head of griffin, on other bird. Both sides decorative. Length, 2.1 cm. Found on south slope. 28. Similar to last. On two sides flying bird. On two ends decorative pattern of wings (?) similar to last. Length, 3.6 cm. Found at west end of Second Temple. 29. Fragment. Shape similar to last. Design. Seated figure. Seated Length, 2.1 cm. Found probably in West Building. No. 28. griffin. THE IVORIES 353 30. Fragment of flat disk. Bored. Diameter, 2.7 cm. Place of discovery unknown. 31. Fragment. Shaped like a large-necked flat aryballos. Both sides split off. Height, 2.1 cm. Found at west end of Second Temple. ARTICLES OF APPAREL OR OF HOUSEHOLD USE. 32. Fibula, of which the bronze pin is oxidized away. Design: one thin strip of ivory cut to resemble three disks in a row. Each disk decorated with patterns of circles. Length, 6.6 cm. Found in the deposit at southwest corner. 33. Fragment of fibula similar to last. Bronze pin still attached. Central one of the three disks represented by only a section. The hollowed-out circles in centres of two end disks and on each side of central section probably originally inlaid. Length (of fragment), 4 cm. Found at southwest corner of Second Temple. 34. Fragment of end disk of fibula of same design as No. 32. Found at southwest corner of Second Temple. 35. Fragment of end disk of fibula of same design as No. 33. Found at southwest corner of Second Temple. 36. Fragment. Perhaps head of large pin (like a hairpin). At base two rams back to back. Length, 7 cm. Found east of Northwest Building. 37. Fragment. Perhaps of pin. Both sides decorated with incised circles. Length, 3.3 cm. Found at southeast corner of Second Temple. 38-43. Fragments of worked ivory, the uses of which cannot be made out. Lengths : (No. 38) 4.1 cm.; (No. 39) 2.7 cm.; (No. 40) 1.5 cm.; (No. 41) 1.1 cm. ; (No. 42) 3.4 cm.; (No. 43) 3.6 cm. Nos. 42 and 43 are bored lengthwise, and in the hole is bronze wire. All found in deposit at south¬ east coi-ner. 44-46, 47-58, 59. Ivory bodkins and heads of bodkins of simple undecorated type. Most were found in the deposit at the southeast corner, as were also the following items. 60. Head of bodkin of more elaborate type or pin. 61-65, 66 , 67, 68 . Ivory pins. Many were found in or near the West Building, or in the deposit at southwest corner. 69. Head of pin. Same shape as that of numerous bronze pins found at the Heraeum. 70-72. Fragments, perhaps of pins. 73-83. Fragments of bodkins or pins. 84. Small circular-bowled spoon. 85. Use uncertain, perhaps a stylus. 86 . Use uncertain. HUMAN OR ANIMAL FIGURES. 87. Animal lying down. Head and upper half of body destroyed. Base formed of thin sheet of ivory 3 cm. x 1.6 cm. Found in West Building. 88 . Plaque, on which in low relief are the lower halves of two figures. On left a man moving to right towards what was probably meant for a xoanon. The latter from the drapery was evi¬ dently of a goddess. The tunic of the man and the chiton of the statue are very carefully orna¬ mented with patterns of squares and diamonds. Style of the end of the sixth century B. C. 89. Figure like the Egyptian god Bes. Bored. Much broken. MISCELLANEOUS OBJECTS. About a dozen fragments of colored gdass (“ Phoenician ”) bottles. Several glass and two or three stone beads. Few fragments of obsidian. Many small steatite whorls. Several were found in the deposit at the southeast corner. Bit of shell of bird’s egg — probably ostrich. 354 ENGRAVED STONES, GEMS, AND IVORIES Two beads of glazed paste. Terra-cotta disk with turtle in high relief. Circ. 2.5 cm. Small stone arrowhead. 90. Leg of stand for vase (?). Decorated with zigzags. Red steatite. 7.3 cm. high, 3.5 cm. broad. Same style of work as the early engraved stones. 91. Bit of terra-cotta. Decorated on one side with zigzags. Perhaps leg of vase-stand. Length, 5.5 cm. 92. Bit of coral. Length, 5 cm. 93. Rectangular bit of shell conglomerate. Bored in centre of side. 2.7 cm. x 2.2 cm. x 1.1 cm. Found at southeast corner of Second Temple terrace. 94. Disk of terra-cotta. Relief on both sides. Traces of glaze. Not bored. Design : figure driving a biga to right. On other side enthroned woman (?) to left holding an object, now not to be made out, in each hand. Found in the West Building. This figure may well be a representa¬ tion of the statue of Hera at the Heraeum which is shown on coins in almost exactly this form. (Cf. Frazer, Pausanias, vol. III. p. 184, fig. 29.) IVORIES.—ENGRAVED STONES: CLASSES I-II The Argive Heraeum Plate CXXXIX ENGRAVED STONES: CLASSES III-V; IVORIES The Argive Heraeum Plate CXL ?5?2PSP®9!BS* • i>, > il ' Cy t IVORIES, ARTICLES OF APPAREL OR HOUSEHOLD USE, HUMAN OR ANIMAL FIGURES, MISCELLANEOUS COINS FROM THE ARGIVE HERAEUM COINS FROM THE ARGIYE HERAEUM By HERBERT FLETCHER DeCOU The coins described in the following list were found in the excavations on the site of the Argive Heraeum, 1892-1895. The finding-places are given so far as they are known. When they are omitted, it is to be assumed that no record exists. Details of finding-place, depth, etc., are not indi¬ cated. Of the 46 coins of known provenience, 21 come from the West Building, 9 from the South slope, and 2 from the same neighborhood, i. e. from back of the South Building. The remainder are from various parts of the excavation. No relations between the period of the coins and the building in which they were found can he established. It may, however, he noticed that the Byzantine coins are with one exception probably from the Lower Stoa (X). The small proportion (about y L) of the coins belonging to the period of free Greece is somewhat remarkable, as well as the fact that for the archaic period Corinth alone is represented. However, it scarcely needs to he pointed out that the circumstances do not in this case warrant any conclusions based on negative evidence. For the later period, in particular, it would he quite futile to attempt to explain the absence of any particular pieces, and nearly so to explain their presence. Nevertheless, though the coins tell us nothing about the later history of the Heraeum, or of its condition at the period they were minted, still in the obscurity which enshrouds the latter days of the sanctuary, even these slight records of the occasional presence of human beings on the site are not with¬ out a certain interest. CATALOGUE A. GREECE (AUTONOMOUS AND MUNICIPAL). Thessaly. Larisa. Plate CXLI. 1. From West Building. Bronze. Size, 0.018 m. Obv. Female head (Larisa), three-quarter face, 1. Loosely floating hair confined by fillet. Lev. Horseman, r., clad in petasus and chiton, and holding lance. Horse prancing. Above, 1. A A. Incrustation beneath horse prevents letters, if any, from showing. Phocis. 2 . From South slope. Bronze. Size, 0.0215 m. Obv. Three bull’s heads, full-face, forming tri¬ angular pattern. Lev. Broad wreath within which T. Corinthia. Corinth. 3 . From South slope. Silver. Weight, 9 grammes. Size, 0.0245 m. Obv. Pegasos, bri¬ dled with curled wing, walking 1. Beneath, ?. Lev. Incuse square consisting of eight triangu¬ lar compartments alternately raised and indented. Of the indentations one is flat, another repeated. Fabric rather flat. 4 . Silver. Weight, 8.50 grammes. Size, 0.0245 m. Obv. Pegasos with curled wing trot¬ ting or flying 1. Uncertain whether with bridle. 358 COINS Beneath, ?. Rev. Quadripartite incuse square resembling swastika. Fabric flat. 5. From South slope. Silver. Weight, 8.50 grammes. Size, 0.0225 m. Obv. Pegasos. At¬ titude uncertain. No trace of ?. Rev. Quad¬ ripartite incuse square resembling swastika. Fabric flat. Hole for suspension, 0.0025 m. in diameter. 6. Bronze. Size, 0.0115 m. Obv. Pegasos flying, 1. Rev. Trident. At r., in field, torch. ( Municipal .) 7 . Bronze. Size, 0.0213 m. Obv. Head of Roman emperor, r. (resembles Augustus). In¬ scription illegible. Rev. Pegasos, flying, r. Un¬ certain whether with rider. At 1., in field, CO I (remainder illegible). 8 . Bronze. Size, 0.0215 m. Obv. Head of Tiberius, 1., lain*. At 1., I - ERE. At r., C. Re¬ mainder of inscription effaced. Rev. Front of hexastyle temple. Seems to be Doric with three steps. In upper 1. field, LA. At r. of gable, RE §|. At r. of columns, IIVII. Beneath temple, ^ DR for (COR). Duovirate of L. Aerius Peregrinus and L. Furius Labeo. 9 . Bronze. Size, 0.0205 m. Obv. Female bust (Tyclie, according to B. M. C. Corinth , p. 71, No. 572), r., turreted. At 1., ROMAL. At r., ETIMPER (for Romae et imperio). Rev. Tetrastyle temple on high base, seen from cor¬ ner. In field, LCANAGRIPPAE IIVI. Beneath, COR. L. Caninius Agrippa, Duovir. 10. Bronze. Size, 0.032 m. Obv. Head, beard¬ less, and laureate, r. Rev. Horseman moving rapidly to r. 51 uch worn. Resembles B. M. C. Corinth , No. 580 (Domitian), but features of head of obv. are not quite the same. Attribution to Cor¬ inth doubtful. 11. Bronze. Size, 0.02 m. Obv. Head of Ro¬ man emperor, r. Resembles Domitian. Rev. Perhaps temple on Acrocorinthus as in B. M. C. Corinth, No. 541 (Claudius). Patinated. Attribution uncertain. 12. Bi •onze. Size, 0.0245 m. Obv. Draped bust of youthful Marcus Aurelius, laureate, r. In 1. field, VIAVKLAIVS. Rev. Zeus, with lower part of body draped, seated on throne, 1. Holds Nike in r., and rests uplifted 1. on sceptre. In 1. field, CLI, in r. COR. 13 . From West Building. Bronze. Size, 0.026 m. Obv. Head of Commodus, beardless and laureate, r. In 1. field, COMMIO|§|. In r. field, |f|V|f|AVC. Rev. Aphrodite standing, body in front view, face 1., holding shield. Nude to groin. In 1. field, CLI, in r., COR. 14 . From East Building. Bronze. Size, 0.025 m. Obv. Plead of Commodus, laureate, r. In r. field, NVS (Antoninus. Remainder of in¬ scription illegible). Rev. Aphrodite upright, 1., looking into shield which she holds in hands. Possible traces of Eros at her feet. In field at r., COR (remainder of inscription illegible). 15 . Bronze. Size, 0.028 m. Obv. Head of Ro¬ man emperor, laureate, r. Features resemble those of Antoninus Pius rather than those of Commodus. At 1., IMPCAESCOM. In r. field, MH|AVCCERM||| (perhaps two illegible letters after CERM). Rev. Wreath of pine within Sicyonia. Sicyon. 16 . From Roman Building, season of 1895. Silver. Weight, 2.50 grammes. Size, 0.015 m. Obv. Chimaera, 1. Letters, if any, invisible owing to incrustation. Rev. Dove flying, 1. Achaia. Patrae (Colonia Augusta Aro'e Patrensis ). 17 . From N. W. of West Building. Bronze. Size, 0.024 m. Obv. Head of Commodus, beard¬ less, and laureate, r. At 1., o|§|o (remainder effaced). Rev. Three military standards. The central standard is surmounted by an eagle perched on a thunderbolt. Above, COL (remain¬ der illegible). Laconia (Roman emperors'). 18 . From West Building. Bronze. Size, 0.0235 m. Obv. Draped bust of L. Verus or M. Aurelius, laureate, r. In 1. field, illegible inscription. Rev. Winged thunderbolt. In 1. field, N " INoMMA|H (the first part perhaps for \Anto]neinos). In r. field, uncertain letters, i. e. LAA. The attribution to Laconia rests on slight ground, as the winged thunderbolt is common also in Elis ; cf. B. M. C. P eloponnesus, p. 215. 19. Bronze. Size, 0.023 m. Obv. Draped bust of youthful Commodus, r. In r. field, MOAOS. Remainder of inscription illegible. AAKG Rev. Wreath, within which AAI MONI ADDENDA 359 20. From South slope. Bronze. Size,0.0205 m. Obv. Bearded male head, laureate, r. Inscrip¬ tion illegible. Rev. Draped female figure, stand¬ ing, 1. Holds in r. sistrum and in 1. situla. In 1. field A A a. In r. field 1/1 (0 N. Put here because of uncertain identification of head of obverse. Argolis. Argos. 21. Found March 22, 1894, at west end of Stoa. Bronze. Size, 0.0155 m. Obv. Head of Hera, r., wearing steplianos. Rev. Quiver. At A , 1. in field, B , at r., !(. T X (. Municipal .) 22. From South slope. Bronze. Size, 0.025 m. Obv. Male bust, r. Seems to be beardless. Per¬ haps Hadrian. In field at 1., |§|AN. Remainder of inscription effaced. Rev. Nude male figure, bearded, standing, 1. In r., long spear. L. rests against side. In 1. field, G (of ’Apye£c . 30. Size, 0.0074 m. Obv. Struck on one side. Only AL appears, which is probably part of dra¬ pery of shoulder. Rev. Perhaps £ in wreath. 31. Size, 0.009 in. Obv. Head, r. Rev. ?¥. 32. Size, 0.0085m. Obv. Head, r. Rev. Un¬ certain symbol, resembling tree, i. e. 3iL. 360 COINS 33. Size, 0.009 m. Obv. Uncertain head. Rev. I ¥. 34. Size 0.0085 m. Obv. Uncertain, perhaps head. Rev. Worn. At side, 35. Size, 0.009 m. Obv. Uncertain. Possible traces of head. Rev. W. 36. Size, 0.0095 m. Obv. Possible traces of head, r. Rev. Perhaps symbol similar to that of No. 29. 37. Size, 0.0095 m. Obv. Possible trace of face, r. Rev. Uncertain symbol or letter, re¬ sembling A. 38. Size, 0.0094 m. Obv. Incrusted. Rev. X ¥. 39. Obv. Uncertain. Rev. 9 40. Obv. Uncertain. Rev. Perhaps IX. 41. Obv. Uncertain. Rev. Perhaps-#*. 42. Obv. Uncertain. Rev. Similar to that of No. 41. 43. Size, 0.0105 m. Obv. Worn away. Rev. Uncertain. Perhaps 9-4 . 44. Size, 0.008 m. Obv. Uncertain. Rev. Flower or tree, cf. Nos. 27, 35. 45. Size, 0.009 m. Obv. Uncertain. Rev. Shrub or flower W' . 46. Obv. Uncertain. Rev. Tree. 47. Obv. Uncertain. Rev. Perhaps tree. 48. Obv. Uncertain. Rev. Perhaps tree. 49. Obv. Uncertain. Rev. Perhaps tree and 0. 50. Size, 0.009 m. Obv. Beardless head, r. Rev. Perhaps A. 51. Size, 0.0083 m. Obv. Head, wearing dia¬ dem or crown, and upper part of shoulders, r. Head apparently beardless. Rev. Large A. The circle under the bar of the alpha seems nearly certain. 52. Size, 0.0095 m. Obv. Head, uncertain whether bearded, radiate, with upper part of draped shoulders, r. Rev. A . 53. Size, 0.0085 m. Obv. Head, with draped bust, r. Rev. A . 54. Size, 0.008 m. Obv. Faint but prob¬ able traces of head and draped shoulders, r. Rev. A. 55. Size, 0.0092 m. Obv. Faint but probable traces of head, r. Rev. A ■ (Height, 0.005 m.) 56. Size, 0.0085 m. Obv. Incrusted. Rev. A. 57. Size, 0.0079. Obv. Worn away. Rev. FI. For this N, cf. JB. M. C. Pelop. p. 146, No. 124 NG HI and p. 148, No. 153 MG I A 58. Size, 0.0085 m. Obv. Uncertain. Rev. N. 59. Size, 0.009 m. Obv. Beardless head, r. Rev. W, i. e. letter and symbols combined. 60. Size, 0.008 m. Obv. Perhaps head. Rev. & . 61. Size, 0.0085 m. Obv. Uncertain. Rev. M . 62. Size, 0.0088 m. Obv. Uncertain. Rev. W. 63. Size, 0.008 m. Obv. Uncertain. Rev. . 64. Size, 0.008 m. Obv. Uncertain. Rev. Ft (incrusted). 65. Obv. Uncertain. Rev. xf- (not very certain). 66. Half gone. Size, 0.0145 m. Obv. Upper part of head with diadem, r. Rev. Worn and incrusted. 67. Size, 0.0085. Obv. Beardless head and bust, r. Upper lip heavy, as though with mus¬ tache. Two locks of hair down back of neck. On breast of garment, spiral ornament. Rev. Uncertain. 68-102. Sizes 0.0065-0.0115. Oxidized and effaced. 103. Plain on both sides. 104. Plain on both sides. Perhaps not a coin. A ttribution uncertain. 105. From West Building. Bronze. Size, 0.0135 m. Much oxidized. Probably Greek. 106. Bronze. Size, 0.02 m. Obv. Head of Roman emperor, perhaps (Nero or Titus ?), r. Rev. Effaced. 107. Found at E. end of Stoa, April 4, 1893. Bronze. Size, 0.03 m. Obv. Bearded head. r. Perhaps Antoninus Pius or Hadrian. Much worn. Rev. Draped female figure, standing 1., with r. hand outstretched. 108. From West Building. Bronze. Size, 0.027 m. Obv. Youthful and probably male bust, r. Neck thin. Rev. (ri. In field, slight but probable traces of letters. Plate CXLII. 109. Found in Northwest Building, 1894. Bronze. Size, 0.027 m. Obv. Head, r. Rev. -ft- 110. From West Building. Bronze. Size, 0.028 m. ROMAN 361 B. ROME (EMPIRE). Antoninus Pius. 111. Bronze. Size, 0.0195 m. Obv. Head of Antoninus Pius, r. In 1. field, AN1 ON I NVS|f| (remainder incrusted). Pev. Standing draped figure. In 1. field, |||PX. In r. £., COS Nil |§|. Incrusted. Julia Domna (?). 112. From West Building. Bronze. Size, 0.018 m. Obv. Draped female bust, r. Head¬ dress of style which begins about time of Julia Domna (also Titiana and Manila Scantilla). Inscription effaced. Rev. Draped female figure standing, 1., with r. hand extended and with cornucopia in 1. Inscription illegible except for E in r. field. Pupienus. 113 . Bronze. Size, 0.031 m. Obv. Draped bust of Pupienus, laureate, r. In field, IM P- CAESPV PI EN M AX! MVSAVC. Rev. Draped female figure seated in chair, 1., holding in out¬ stretched r. olive branch, in 1. transverse sceptre. Inscription beginning in 1. field, PAX PVBLICA. Beneath, SC . Cf. Cohen, Medailles Imp. vol. Y. p. 17, No. 24. Gallienus. 114. Found on South slope, west end, 1894. Bronze. Size, 0.0205 m. Obv. Head of Gal¬ lienus, r., radiate. Military drapery. Begin¬ ning in 1. field, CAL LI ENVSAVC. Rev. Draped female figure standing 1., holding in r. hand olive branch, in 1. transverse sceptre. In 1. field, PAX. In r. field, a . Unless these characters are for AVC the coin is not included in Cohen, op. cit. The characters are clear. Aurelian. 115. From South slope. Bronze. Size, 0.0223 m. Obv. Draped bust of Aurelian, r., radiate. Beginning in 1. field, IMPAVRELIA- NVSAVC Rev. Two upright figures, 1., man in toga, r., r. draped woman, clasp hands. Begin¬ ning in 1. field, CON CORD I AM ILITVM. Be¬ neath, Psfc. 116 . From West Building. Bronze. Size, 0.0205 m. Obv. Draped bust of Aurelian, r., ra¬ diate. Beginning in 1. field, IM PC AV RE LI AN VS AVC. Rev. Sol upright, radiate, with mantle falling over 1. shoulder, faces 1., with r. arm raised, and 1. hand extended and supporting perhaps a globe. In 1. field a star. At his feet on either side, a captive. The 1. captive has his hands bound behind his back. Beneath, S. Be¬ ginning in 1. field, ORIENSAVC. Probus. 117. Bronze. Size, 0.0235 m. Nearly half gone. Obv. Probus, with helmet, shield, and spear, 1. Helmet radiate. Inscription, |§P PROB VSAUC. Rev. Horseman (Probus) gal¬ loping, 1. R. hand raised, in 1. spear or sceptre. In front under raised leg of horse, possible trace of figure. Beginning in 1. field, ADVEN TVSAV (remainder lost). 118. Bronze. Size, 0.024 m. Obv. Bust of Probus, r., radiate with military drapery. Be¬ ginning in 1. field, IM PCPROBVSPFAVC. Rev. Draped female figure, upright, L, holding in either hand military standard. Beneath, 111 XXT. Beginning in 1. field, FIDESM I LIT. Carus. 119. From East Building. Bronze. Size, 0.0224 m. Obv. Bust of Carus, r., radiate. Mili¬ tary drapery. Beginning in 1. field, |f|PCMAVR- CARVSPFAVC. Rev. Female figure draped, standing 1., and pointing with staff at object (globe) lying at feet. In her 1. hand, long upright sceptre. Beginning in 1. field, PRO¬ VIDE N TIAAVCC. Constantius Chlorus. 120. Probably from Lower Stoa. Bronze. Size, 0.0215 in. Obv. Draped bust of Con¬ stantius Chlorus, r., radiate. In field, FL^CON- STANTIVS NOB CAES. Rev. Draped figure, upright, facing r., receiving figure of Victory from figure with mantle over shoulder (other¬ wise nude), facing 1. In field, CONCORDIA Ml LITVM. Beneath, Victory, HA Galerius. 121. Bronze. Size, 0.021 m. Obv. Draped bust of Galerius, r., radiate. Beginning in 1. field, CALVALMAXlMIANVSNOBCAE(ff. Rev. Draped male figure with cloak hanging over shoulder, r., joins hands with nude figure hold¬ ing long sceptre, 1. Their joined hands support small draped female figure. Beginning in 1. field, CONCORD I AM I LITVM. Beneath, HB. 362 COINS 122 . From West Building. Bronze. Size, 0.019 m. Obv. Male head, r., radiate, with features resembling those of Galerius. Inscrip¬ tion partly illegible, |f|XIM]ANV5PLAVC. Rev. Two upright figures clasp hands. Their hands support small figure. In field, CONCORDI- A^^^TVM. Beneath, HS. L icinius. 123 . Bronze. Size, 0.02 m. Obv. Bust of Licinius, r., laureate. Military drapery. Be¬ ginning in 1. field, IMPUCIN|p|FAVC. Rev. Partially draped male figure (genius), upright, L, holding some object in extended r., and in 1. cornucopia. Inscription nearly effaced. In 1. field, H|II II I . In r. field, |f|o. In inner r. field, F. In exergue, uncertain letters. Constantins II. 124 . Bronze. Size, 0.0173 m. Obv. Beard¬ less draped bust of Constantins, r., with diadem. In 1. field, DNCONSTAN ; in r. field, TIVS PFAVC. Rev. Two figures fighting, one partly down, the other thrusting spear into him from above. In 1. field, slight traces of inscription (FELTEMP), in r., REPARATIO. Beneath, QC. 125 . Bronze. Size, 0.0162 in. Obv. Head of Constantins, r., with diadem. In r. field, TIVSPFA||. Remainder of inscription illegi¬ ble. Rev. Soldier rushing to 1. upon prostrate enemy. In r. field, REPARATIO (remainder of inscription illegible). In exergue, uncertain traces of letters. 126 . Found back of South Building in “ grave of April 13,1894.” Bronze. Size, 0.015 m. Obv. Head, laureate or diademed, similar to that of Constantins. Inscription illegible except for AVC in r. field. Rev. Wreath, within which v o t I n exergue, four letters, of which the third xx L x * s ^ Cf. Cohen, op. cit. vol. VII. p. 492, No. 335. Julian (called the Apostate). 127. Bronze. Size, 0.0165 in. Obv. Bust of Julian, r. Head bare and beardless. Begin¬ ning in 1. field, |§|LIVIL||| (remainder incrusted and illegible). Rev. Soldier upright, 1., pier¬ cing with spear fallen enemy (horseman). On ground, a shield. In r. field, PARATIO (re¬ mainder illegible). In exergue, SMKA. Gratian. 128. Bronze. Size, 0.017 m. Obv. Bust of Gratian, r., wearing diadem. Beginning in 1. field, DNCRATIA|f|PFAVC. Rev. Draped hel- meted female figure (Roma) seated front, look¬ ing 1. Holds sceptre in r., and has 1. raised. In 1. field VIRTVSRO ; in r. field, MANORv - . In exergue, TES. Attribution uncertain. 129. From West Building. Bronze. Size, 0.021 m. Obv. Bust of emperor, r., radiate. Uncertain whether with beard. Heavy features ; thick neck. Inscription, HCDH (remainder incrusted). Rev. Two male figures, the 1. draped, the other nude except for cloak over shoulder, clasp hands, above which, figure. Figure at r. holds in 1. long sceptre. In field, CON CORD I AM I LITVM. Beneath hands above exergue, F. In exergue, ALE. Cf. Nos. 121 f, but the inscription |f|C(aesar) D(omitius)H| would seem to point rather to Aurelian, under whom coins of a similar type (Jupiter presenting globe to emperor) were struck. 130 . Found in Northwest Building, 1894. Bronze. Size, 0.019 m. Obv. Draped bust, r. Rev. Standing draped figure. 131 From West Building. Much damaged. Bronze. Size, 0.014 m. Obv. Head, r. Illegi¬ ble inscription. Rev. In centre, figure. About edge, letters, all illegible. 132. Much incrusted. Bronze. Size, 0.018 m. Obv. Head, 1. Inscription illegible excepting COS|ffC in r. field. Incrusted. 133. From South slope. Condition bad. Bronze. Size, 0.02 m. Obv. Head, r. Rev. Draped standing figure, 1. C. ROME (EASTERN EMPIRE). Arcadius. but with head turned to r., has r. hand raised, 134 . From West Building. Bronze. Size, and with 1. drags captive. In 1 . field, SA|||RE|§|; 0.0143 m. Obv. Draped bust of Arcadius, r., in r. field, PVBLICAE. In inner 1. field,-F. In wearing diadem. Infield DNARCADIVS PFAVC. exergue, SMKA Rev. Draped male figure upright, moving to 1., EASTERN EMPIRE AND VENICE 363 John Zimi8Q.es, (a. d. 969-976). 135. Probably from Lower Stoa. Perforated. Bronze. Size, 0.0345 m. Ohv. + O' i t Rev. Bust of Christ in halo and h As i ie cross facing, and holding- proba- b a s i lc bly book of gospel. At side, TC-XC. In 1. field, + EMMA. 136. Probably from Lower Stoa. Perforated and much worn. Bronze. Size, 0.0282 m. Ohv. +1 h : i m Rev. Bust of Christ with halo h i an d cross facing, and probably holding book of gospel. 137. From East Building. Bronze. Size, 0.028 m. Ohv. I S I XS Rev. Bust of Christ with halo I A 5 11 L € and diadem facing, and holding li AS | 1 L€ gospel. Struck twice, the sec- -— . ond time to 1. of first. To second impression belong 1C in 1. field and +EMMA. To first impression belong in r. field XC and NOVN. + 138. Probably from Lower Stoa. Perforated. Condition poor. Bronze. Size, 0.0255 m. Ohv. | s ► Rev. Head and bust of Christ k As **• facing. Details effaced. 1 * yj Attribution uncertain. 139. Probably from Lower Stoa. Perforated. Bronze. Size, 0.025 m. Ohv. Indistinct male figure, perhaps laureate. Above head there seems to be a small +. Rev. t. At 1., two or three balls • If on this coin the head is that of Christ, the words “ Ohv.” and “ Rev. ” are to change places. D. VENICE. 140. Bronze. Size, 0.016 m. Ohv. Head and mane of lion. About edge, VEN ET I • + • S • Ma 1 Rev. + around which partly effaced inscription, ^ ARBATICO • DV+ . 141. Found in West Building, April 25,1893. Bronze. Size, 0.028 m. Ohv. Head and mane of lion. About edge, 4= S • MARC - VEN- In exergue, 11 >(c Rev. I SOLE E T Above and beneath, rosette. ARMATA Corfu, Cephalonia , Zante. 142. Bronze. Size, 0.0263m. Ohv. Lion’s head with mane. About edge, % |||ARCVS • VE % In exergue, 4: I |f| Rev. CORFV CEFAL- ZANTE E. UNCERTAIN. 143-155. Numbers 143-148 from West Much worn or oxidized or both. Bronze. Sizes, Building. Numbers 143-145 found in 1894. 0.0135-0.0212 m. The Argive Heraeum Plate CXLI COINS.—MAINLY GREEK EGYPTIAN, OR GRAECO EGYPTIAN, OBJECTS FROM THE ARGIYE HERAEUM 1 By ALBERT MORTON LYTHGOE The intercourse between Egypt and her neighbors on the north, which we should expect to trace, first to the nearer islands and then on to Greece itself, has been proved by recent evidence to have begun at least as early as the XYItli Egyptian dynasty. This earliest fixed date lies in the finding by Mr. Arthur Evans, in the palace of Cnossos, of the lid of an alabaster vase inscribed with the names of Kliyan, one of a group of kings who have now been proved beyond all doubt to belong to the intermediate period between the Xllth and XVIIIth dynasties, and to be in all probability Hyksos. 2 The evidence of an earlier intercourse than this between these two centres of civiliza¬ tion is yet problematical, in the absence of any earlier material to which an absolutely certain dating can be given. Types of pottery and other objects, similar to the earlier Aegean types though not identical with them, have been found by Flinders Petrie in the Xllth dynasty town site of Kahun, and in the royal tombs and old temple of the Is! dynasty at Abydos; 3 but in these cases the types themselves lack identification as known Aegean types, and the evidence of their occurrence is not sufficiently conclusive to war¬ rant ascribing them to the periods in apparent relation to which they were found. Until known material of this character comes to hand, which can he dated firmly by its occur¬ rence, under undisturbed conditions, with fixed Egyptian types, we can hardly go beyond this earliest date which Crete has now given us. On the other hand, the evidence of the intercourse between Greece and Egypt from that date on is conclusive. Beginning with the dated objects of Egyptian origin found in the Mycenaean sites of Greece and the islands, which prove that period in Greek civilization to have been contemporary, in part at least, with the XVIIIth dynasty, the connection appears to have been interrupted during the disturbed period of the XXIst to the XXVtli dynasties, and then finally, with the influx of Greeks into Egypt in the XXVItli dynasty, trade and intercourse between the two countries becomes so constant that they both furnish, from that time on, abundant evidence of their common relation. It is of this evidence, of the period known as the Late New Empire, — the XXVItli and succeeding dynasties previous to the conquest by Alexander, — that the Egyptian objects from the Heraeum are a part, and objects of identically the same character have been found also at Eleusis, 4 Aegina, 5 and Camirus, 6 and in Egypt itself at Naukratis. 7 In fact, it is this Greek colony of Naukratis, which rose to great importance under the privileges granted it by Amasis (569-526 b. c.), and which, as the capital of the Egyptian Greeks, 1 I am indebted to Mr. P. Kabbadias, Director-General fessor Petrie is in Methods and Aims in Archaeology, of Antiquities, for permission to photograph the Egyptian London, 1904. objects from Aegina (now in the Museum at Athens), 4 Cf. Philios, ’Eft. 'Apx-, 1889, 171 ff. for comparison with these from the Heraeum (Plate 5 Cf. Staes, ’Eft. ’Apx-, 1895, 193 ff. and 201-255. CXLIV.). 6 Cf. Murray, Cat. of Gems in Brit. Mus. pp. 46-58. 2 Cf. Griffith, Arch. Report, 1901, p. 37. 7 Cf. Naukratis, parts I. and II., by W. M. Flinders 3 The most recent discussion of this material by Pro- Petrie, E. A. Gardner, and others. 367 368 EGYPTIAN, OR GRAECO-EGYPTIAN, OBJECTS was visited by Herodotus nearly a century later, that we now see to have been the original source of all this evidence, and to it the origin of the Egyptian objects, both from the Heraeum and the other sites mentioned, is to be traced. If we start with the fact that at Naukratis itself examples were found of nearly all the types which have come from the Greek sites named, and that the examples of each type, though coming from places widely separated, are in many cases so closely identical that they might almost have been cast in the same moulds, then we must surely look to Naukratis as their common source. We find, for example, that the series of scarabs from the Heraeum (Plate CXLIII. Nos. 1 to 39) have their counterparts in those from Nau¬ kratis 1 and also in those from Aegina (Plate CXLIV. Nos. 1 to 6) ; similarly, the figures of Apollo from the Heraeum (Plate CXLIII. 51 and CXLIV. 53) duplicated at Naukratis 2 ; the figure of Bes (Plate CXLIII. 47) also occurring at Aegina (Plate CXLIV. 10); and the two whorls (Plate CXLIV. 58 and 59) reproduced in one from Aegina (Plate CXLIV. 8). With such a repetition in so limited a range of subjects, the source of them all cannot be a matter of doubt. There were found at Naukratis, moreover, not only most of the types which are duplicated in these from the Greek sites, but even the moulds in which certain types of the scarabs, for example, were cast. That the examples from the Greek sites were not locally made is obvious, and it is equally clear not only that they must all have been drawn from a common Egyptian source, but that, from the evidence, that source must be Naukratis, the largest and most important centre of trade between Greece and her colonists in the Delta. There not only did the Greeks erect temples and statues to Greek divinities and carry on the manufacture of Greek pottery, figurines, and other objects of the same types and in the same manner as in Greece itself, but they became skilled in the arts of Egypt, and learned to reproduce Egyptian types of deities, Egyptian forms of decoration, and Egyptian hieroglyphics. In some cases they copied the hieroglyphics correctly, and in others their errors show clearly they had little knowledge of the language. They learned, moreover, to work in the materials in common use among the Egyptians, and we find in greatest number scarabs, vases, and figurines of glazed porcelain. On the scarabs they not only reproduced Egyptian inscriptions and designs, but they ornamented them with scenes reminiscent of their own Greek art, as the two running stags, and the stag pur¬ sued by a hound (Plate CXLIII. 32 and 33), while in the case of the porcelain figures they both imitated well-known Egyptian subjects — such as the animals sacred to the gods, as the cat (Plate CXLIII. 48) and the rabbit (Plate CXLIV. 54), and the Egyptian divinities themselves, as Bes (Plate CXLIII. 47) — and also introduced their own Apollo (Plates CXLIII. 51 and CXLIV. 53), here represented as playing on the double pipe. 3 In date this whole class of objects does not vary, but, without a single exception, is to be assigned to this period of the XXVItli and following dynasties of the Late New Empire, when Naukratis was the centre of Greek influence. None of this material from the Heraeum, or that from any other of the Greek sites mentioned, can be dated more closely to any particular dynasty or reign, from evidence contained in itself. The only objects from the Heraeum inscribed with a royal name are the three scarabs (Plate CXLIII. 17, 18, and 19), the first of which, and possibly the last two also, is inscribed with the name of Thothmes III., of the XVIIlib dynasty. (See Catalogue below.) None 3 Cf. also Naukratis, I. § 17, and pi. ii. 1 Cf. Naukratis, I. pis. xxxvii. and xxxviii. 2 Cf. Naukratis, i. pi. ii. 7 and 13. EGYPTIAN, OR GRAECO-EGYPTIAN, OBJECTS 369 Fig. 1. — Scarab FROM ELF.USIS. It is inscribed with name of Thothmes III., but is of later date. of these, however, date from the reign of that king, but rather from this period begin¬ ning with the XXVIth dynasty in which we have already included them. The well- known custom in this later period of copying and repeating upon scarabs the names and titles of the earlier kings is of such common occurrence that we find them even em¬ ploying the names of the kings of the Old Empire, — a period when the inscribed scarab had not yet come into existence. The name of Thothmes III. seems, however, to occur much more frequently in these later copies than any other royal name, and in Egyptian cemeteries of this XXVIth dynasty as many as ten to twenty per cent, of the scarabs have sometimes been found to bear this cartouche. It is therefore not surprising that scarabs of this type should have been found not only here at the Heraeum, but at Camirus 1 and at Eleusis also (Fig. 1). Apart from these Egyptian, or Graeco-Egyptian, objects from the Heraeum, which are thus to be grouped in a single class of obviously the same date and origin, there are in addition two glass scarabeoids (Plate CXLIII. 40 and 41) which, while seemingly Egyptian in character, need special consideration. They are clearly Egyptian in form and partly in device, but in style and treatment they belong to a class of scarabs and scarabeoids which show Asiatic influence, and which have been identified in general as of Phoenician origin. The extent to which the Phoenicians borrowed Egyptian forms and imitated Egyptian designs both in metal working and in the engrav¬ ing of gems is attested by the considerable number of objects known in which this fact can be easily identified.' 2 Scarabs and scarabeoids of this class are generally found to bear a design either purely Egyptian or adopted from the Egyptian, but in rare cases they actually occur with an inscription in Phoenician characters. 3 As to the origin of these two scarabeoids from the Heraeum, whether they were made by Phoenician colonists in the Delta or were brought there by Phoenician merchants and then exported to Greece, we have no evidence; but that they are of the same date and were brought into Greece at the same period as the other objects of Egyptian character is made certain by the occurrence at Eleusis of a similar glass scarabeoid (Fig. 2), found under exactly similar conditions, — with some fifteen scarabs of the same character as these from the Heraeum, one of which is inscribed with the name of Thothmes III. (Fig. 1, referred to above), but is of later date just as is No. 17 from the Heraeum. This double occurrence certainly disposes of all doubt in the matter of dating these scarabe¬ oids, but apart from the fact that they were evidently brought into Greece at the same period as these other objects we are considering, they are clearly not of the same origin and not to be classed with them. 1 Cf. Murray, Cat. of Gems in Brit. Mus. p. 13. 3 For description of such scarabs in the British Museum, 2 Cf. Maspero, Struggle of the Nations, pp. 580 tf. cf. Budge, The Mummy, p. 250. 370 EGYPTIAN, OR GRAECO-EGYPTIAN, OBJECTS CATALOGUE Plate CXLIII. ( scale 1 : 1). 1. Inscribed Amen Ra neb = ‘ Amen Ra, the Lord.’ Here, and also in Nos. 2, 3, and 4, the maker has shown his unfamiliarity with the signs in having mistaken this sign of the ostrich- feather, the symbol of the goddess Ma’at, or Truth (cf. No. 13, where it occurs properly) for the reedleaf, in the name of the god Amen (cf. No. 5). For the feather, see Griffith, Beni Ha¬ san., part III. pi. v. 72 ; and for the reedleaf, Griffith, Hieroglyphs , pi. vii. 106. Blue-glazed frit. 2. Same inscription as No. 1, and same error in the reedleaf sign. In addition, the men sign is very badly formed, and in other cases, as No. 4, has become quite shapeless. Blue-glazed frit. 3. Same inscription. Blue-glazed frit. 4. Same inscription. Cf. No. 2. Blue-glazed frit. 5. Same inscription. Here the reedleaf is cor¬ rectly represented. Frit, the glaze completely gone. 6. Same inscription. Characters more care¬ fully rendered than usual. Blue-glazed frit. 7. Probably to be read Amen Ra neb ma at = ‘ Amen Ra, Lord of Truth.’ The middle signs are badly moulded and are fused together. Blue-glazed frit. 8. Probably to be read as No. 7. The last sign certainly seems to be the ostrich-feather. Frit, with traces of blue glaze. 9. Anlch ma'at = ‘ Living is Truth.’ Blue-glazed frit. 10. Ra neb ma'at — 1 ' Ra, Lord of Truth,’ fol¬ lowed by the uraeus, the protector of the sun-god. Frit, glaze completely gone. 11. Probably to be read as No. 10. The third sign seems to be a misshapen ostrich-feather. Lastly, an unintelligible sign, possibly an at¬ tempt at an ankh sign. Blue-glazed frit. 12. Ranef er neb ma'at — ‘ The good Ra, Lord of Truth.’ Frit, no traces of glaze. 13. Ra neb ma'at — ‘ Ra, Lord of Truth.’ Blue-glazed frit. 14. Ma'at nefer — < ‘ Truth is beautiful.’ This sign which we have read as nefer must be the lute-sign, as in No. 12, but crudely represented. (Cf. Griffith, Hieroglyphs , pi. ix. 164.) Blue-glazed frit. 15. Probably same inscription as No. 13. Frit, badly worn and glaze gone. 16. Same inscription as No. 13. Blue-glazed frit. 17. I nscribed with the prenomen of Thoth- mes III., Men kheper Ra = ‘ Established (i. e. enduring) is the being of Ra.’ Outside the car¬ touche are the red crown of Lower Egypt ( dsrt, cf. Griffith, Hieroglyphs , p. 56), and the mallet sign ( hn , cf. Griffith, op. cit. pi. vii. 104), both symbols of royalty. Of steatite, with traces of a deep yellow glaze. The whole style of the scarab, and especially the cutting of the back, would assign it to the XXVI th dynasty, or the period immediately following. 18. In upper register: stni-biti — ‘King of Upper and Lower Egypt.’ Below in the car¬ touche : At the top, the sun’s disk, Ra. At the bottom, the beetle sign, kheper; and between the two an indistinct sign, which seems in all prob¬ ability to be the men, and which would thus give us again the prenomen of Thothmes III., as in No. 17. On either side of the cartouche is an uraeus, the protector of royalty. Of frit, the glazing completely gone; and in style, of same period as No. 17. 19. Too badly worn to be read with any de¬ gree of certainty. At lower right side is a car¬ touche, of which the upper sign is certainly the sun’s disk, and the lower sign possibly the kheper. The intermediate sign cannot be dis¬ tinguished, but it is possible that we may have again the name of Thothmes III. Scarabeoid, of soft paste or frit, bordered by a moulded band ornamented around the side with a twisted rope pattern. (Cf. Petrie, Deco¬ rative Art, fig. 169.) 20. Above, the barque of Ra, surmounted by the sun’s disk. Beneath, the figure of a hawk, symbolic of the sun-god. Of a deep blue-colored frit; glaze gone. 21. Intended to read Amen Ra, but in Amen the sign of the eagle is incorrectly used, instead of that of the reedleaf. Of a blue frit, like No. 20, and glaze also gone. EGYPTIAN, OR GRAECO-EGYPTIAN, OBJECTS 371 22. The figure of a sphinx, recumbent, the in¬ carnation of Ra, the sun-god, as the protector of mankind. (Cf. Wiedemann, Religion , p. 197.) Above, the sun’s disk ; and in front, the feather, symbol of divinity. Blue-glazed frit. 23. Above, the barque of Ra, surmounted by the sun’s disk. Below, the uraeus, protector of the god. Frit, glaze gone. 24. At the right the crooked sceptre, which as a word-sign has the value hk = ‘ ruler, prince ; ’ then the uraeus, symbol of royalty ; followed by a third sign, the form and significance of which cannot be determined. Blue-glazed frit. 25. Human-headed sphinx, standing, crowned with the white crown of Upper Egypt, with uraeus at front, and represented bearded. Same significance as in No. 22, — the incarnation of Ra, the sun-god. Above, the sun’s disk. Before the sphinx, the crooked sceptre as in No. 24. (Cf. Griffith, Hieroglyphs , fig. 39.) Blue-glazed frit. 26. Above, the sun’s disk. Below, seemingly a squatting figure, as of the god himself (Ra). Frit, with traces of a yellow glaze. 27. Standing figure, representing some god or royal personage. In the right hand a uraeus, in the left a sceptre, and evidently crowned with the white crown of Upper Egypt. Frit, all traces of glazing gone. 28. Representation of some animal of long and slender body, and with long snout, — per¬ haps the jackal. (Cf. Davies, Mastaba of Ptahhetep , part I. fig. 63.) Frit, glaze gone. 29. Amen Ra before a seated god or king. Amen Ra is represented as hawk-headed, crowned with the crown of Upper Egypt and the double plume, and in his left hand the yjas sceptre. (Cf. Griffith, Hieroglyphs , p. 59.) The seated figure is represented with the same sceptre, and is bearded. Blue-glazed frit. 30. The ankh sign, or sign of life, with two uraei intertwined, — a design which occurs in Egypt as early as the Vlth dynasty. (Cf. Petrie, Methods and Aims in Archaeology , fig. 62.) Frit, glaze gone. 31. Representation of the griffin, one of the fantastic beasts which inhabited the desert, in the belief of the Egyptians. (Cf. Maspero, Dawn of Civilization , p. 83.) Frit, glaze gone. 32. Two running ibexes. (For the Egyptian ibex, cf. Newberry, Beni Hasan , part I. pi. xxviii.) Pottery, pale blue-gray color, surface glaze gone. 33. Ibex pursued by a hound. (For similar representations in Egyptian art, cf. Newberry, Beni Hasan , part I. pi. xxx., and Davies, Mas¬ taba of Ptahhetep, part I. pis. xxii. and xxv.) Blue-glazed pottery. 34. Duck rising from a marsh or swamp. (For the duck, cf. Griffith, Beni Hasan , part III. pi. ii. figs. 1 and 8.) Behind is a tall-stemmed plant tipped with a clump of leaves, and before the duck is the so-called sedge, a plant identified with the South, or Upper Egypt. (Cf. Bor- chardt, Pflanzensaule , Abb. 35.) The scarab is broken at this end and another character can¬ not be determined. Porcelain, of a dark brownish color, as if subjected at some later period to the action of fire. Glaze gone. 35. In upper register a recumbent sphinx, with tail raised. Over the animal the sun’s disk. (Cf. No. 22.) Below, a hawk, symbolic of the sun-god, is represented in a papyrus-marsh, with a clump of three papyrus stems behind. (Cf. Griffith, Beni Hasan , part III. pi. iii. fig. 16.) Blue-glazed frit. 3Q. Representation of some animal. Frit, badly worn, glaze gone. 37. So worn that the design is undetermin¬ able. Frit, glaze gone. 38. The winged uraeus protecting the sun’s disk. Frit, glaze gone. 39. T wo winged uraei, protecting a seated di¬ vinity, who appears to have the sun’s disk on his head and to be holding a sceptre. Frit, traces of greenish blue glaze. 40. Above, the hawk-headed Ra, winged, and crowned with the double crown. Below, a scara- baeus with wings outspread, — an emblem of the sun-god. Scarabeoid, of blue glass. Although the subject of this design is Egj T p- tian, yet it is non-Egyptian in stjde and charac¬ ter, and is certainly of a class of Phoenician scarabs of which a considerable number are 372 EGYPTIAN, OR GRAECO-EGYPTIAN, OBJECTS known. (Cf. Murray, Cat. of Gems in Brit. Mas. pi. B, 146.) 41. Apparently, a conventionalized design, of which the centre is a scarabaeus with outspread wings. Scarabeoid, of yellow glass. Of same style and undoubt¬ edly of same origin as 40; cf. scarabeoid of Fig. 2. — Scara¬ beoid of Asi¬ atic. AND PROB¬ ABLY Phoeni¬ cian, origin. Found at Eleusis. Fig. 2, a similar greenish blue glass found at Eleusis (Athens Mus. 10960). 42. Papyrus-capital amulet. As a hieroglyphic word-sign the papyrus stem has the value wad = green, flourishing (cf. Borchardt, Pjlan- zensdule, p. 26, and Griffith, Hieroglyphs, fig. 125). Here, as an amulet, with its suggestion of use as a column, it seems to have borne the idea of solidity, strength, and hence well-being. Blue-glazed porcelain. Pierced, at the base of the die, for suspension. 43. Pendant or amulet, of unknown meaning. Of crystal. Similar pendants occur in Egypt at nearly every period, from the Xllth dynasty on. 44. Like No. 43, but of blue-glazed porcelain, and pierced perpendicularly in the base by a small square hole, as if for use as a knob. 45. Head of a male figure, of blue-glazed porcelain. The modeling of the head, with its thick, massive wig, is characteristically Egyp¬ tian. 46. Head of a male figure, evidently of the “ Apollo ” type. See below, No. 51. Blue-glazed porcelain. 47. Figure of the god Bes. Represented in a characteristic attitude, as a bearded dwarf, with long ears, bowed legs, and arms resting on thighs. He is sometimes represented also with protruding tongue, and dressed in the skin of an animal, with tail hanging down at the back. (Cf. Wiedemann, Religion , pp. 159 ff.) This figure originally had a crown of feather’s, which has been broken off. Of blue-glazed porcelain. There is nothing to prove the generally ex¬ pressed idea that this god was one of foreign origin brought into Egypt at a later period, per¬ haps at the beginning of the New Empire. Amulets in the form of this god are now known as early as the Vth or Vlth dynasty, and his worship certainly began as early as that. In the period of the Late New Empire (to which our figure belongs) these representations of him be¬ came extremely common, and they have been found at nearly all the Greek sites to which Egyptian influence spread. (Cf. also the one from Aegina, Plate CXLIY. 10.) 48. Seated figure of a cat. White-glazed porcelain. The cat figures in Egyptian art as the sacred animal of the goddess Bast, the centre of whose cult was at Bubastis, in the Delta. Innumera¬ ble representations of this animal, in bronze as well as in porcelain, have been found there, and from its proximity to Naukratis it is easy to account for the manner in which these figures have found their way to Greek sites. A similar figure to this was found at Aegina (cf. Plate CXLIV. 9). 49. Figure of Ptah, in the form Ptali-Sekei’- Osiris, a composite deity, who figures principally as a god of the dead. As such he is represented as here, as a squatty figure crowned with feathers, and with bowed legs and hands on his hips. Blue-glazed porcelain. 50. Figure of a deity (? ), bearded and with • the heavy wig falling down before the shoulders. Originally crowned with some attribute, now missing. Blue-glazed porcelain. 51. Figure of the “ Apollo ” type, represent¬ ing the god as playing on the double pipe. Blue-glazed porcelain. This motive, of playing on the double pipe, occurs in Egyptian art in mural paintings of the XVIIIth dynasty and onwards, in scenes of feast¬ ing and dancing (cf. Erman, Life in Ancient Egypt, p. 250), but is unknown in the case of faience or bronze figures. Figures of this type are solely the product of Graeco-Egyptian art, and were first identified at Naukratis (see above). Another example was also found here at the Heraeum. (Plate CXLIY. 53.) 52. Figure similar in type to No. 51, which may possibly represent one of the other types of Apollo identified at Naukratis. (Cf. Naukratis, I. § 17.) Blue-glazed porcelain. The figure is represented with the heavy wig, broadening out over the ears and falling behind them on the shoulders. In feature this type has nothing in common with Egyptian art of the period, the long face narrowing down at the chin and the eyes protruding from their sockets being EGYPTIAN, OR GRAECO-EGYPTIAN, OBJECTS 373 strongly characteristic, rather, of contemporary Greek art. These same characteristics appear also in Nos. 46 and 51, and they are all un¬ doubtedly due to one and the same influence. Plate CXLIV. ( scale 5 : 6 [left], 1: 1 [right]). 53. Same motive as in No. 51. Apollo playing- on the double pipe. Blue-glazed porcelain. 54. Figure of a hare, recumbent. Blue-glazed porcelain. As a hieroglyphic word-sign, the hare has the value = ‘ to be.’ It is the common desert hare of Egypt, and is generally represented, as here, with greatly exaggerated ears (cf. Griffith, Hieroglyphs , pi. i. 2). This animal was sacred to Osiris Wen-nefer, and votive figures and amulets in this form are very common. 55. Fragment: form undeterminable. Blue-glazed porcelain. 56. Fragment of a porcelain vase, blue-glazed. The ornamentation consists of a double band moulded in relief; the upper, of perpendicular parallel lines between two horizontal ones, and the lower, of a series of rectangles, each with a circle at the centre, separated by two perpen¬ dicular lines. Both of these forms are well-known Egyptian ones, and occur regularly as border patterns in wall-decoration and the like. (Cf. Petrie, Deco¬ rative Art , figs. 186 and 194.) 57. Fragment of a vase, with decoration simi¬ lar to the upper band on No. 56. Blue-glazed porcelain. 58. Porcelain whorl, blue-glazed. In shape, like two truncated cones base to base, and with a hole through centre perpendicularly. (Fig. 3.) Decoration, on both sides, of a rosette. This form of ornament, the rosette, is one of the commonest in Egyptian art at all periods, but it is often so conventionalized that it is difficult to determine its derivation. In this form, with broad, round-ended petals, it has been identified by Petrie (Decorative Art , pp. 56-58) as the daisy, and by Borchardt (PJlanzensaule, p. 4, note 1) as the chrysanthemum coronarium. Among the objects from Aegina, however, is the cover of a kohl pot in blue-glazed porcelain ( Plate CXLIY. 7), which, with its centre in relief, certainly represents the daisy; and it Fig. 3. — Porcelain Whorl. would seem, from the more common occurrence of the daisy, that that would more likely have been taken as a motive. It also occurs with petals with pointed ends, as, for example, on another whorl from the He- raeuni (Plate CXLIY. 59), but in such cases it is certainly derived from another source. One of the earliest occurrences of the rosette is the eight-petaled form on the headband of the statue of Nefert, of the IVth dynasty, from Medum, now in the Cairo Museum, and we find it employed afterwards in innumerable ways, — not only as an ornament on sculpture, but, in combination with other patterns, as a border- pattern in wall-painting (cf. Petrie, op. cit. figs. 125, 126), as a motive in ceiling decoration (cf. Wilkinson, Ancient Egyptians , 2d ed. I. pi. viii.), in the glazed-porcelain tile decoration of Tell el-Amarna (cf. Petrie, Tell el-Amarna , pis. xiii. ff.), and the similar decoration of the palace of Raineses III. at Tell el-Yaliudieh (cf. Hayter- Lewis, in Trans. Soc. Bibl. Arch. vol. vii.). It likewise occurs as a pattern in the cloth and leather coverings of royal thrones (cf. Wilkin¬ son, op. cit. I. Frontispiece), in bead-work (cf. Garstang, El Arabah , pi. xxii.), and in decora¬ tive metal-work, as in the silver bowls from Mendes, now in the Cairo Museum (cf. Maspero, Manual Egypt. Arch. figs. 285 and 286). 59. Porcelain whorl, blue-glazed, of same shape as No. 58. Here the decoration consists of a flower with petals sharply pointed, — a form which occurs constantly and has been identified with certainty by Borchardt as derived from the nymphaea caeruleCi (cf. PJlanzensaule, p. 12). 60. Fragment of a group of two figures, in blue-glazed porcelain. The right figure is male, and the left female, with breasts clearly pro¬ nounced. They are represented side by side, a position which occurs so frequently in Egyptian sculpture, both in standing and seated groups of husband and wife. Each has the heavy wig, — which here shows traces of having been originally colored black, — falling down behind the ears upon the shoulders, while on the right breast of the female figure are two black dots, as if a neck¬ lace had been represented. 61. Base and lower part of a half-kneeling figure, of blue-glazed porcelain. Represented kneeling on the left knee, with right knee raised and foot squarely on base. It is the position of one about to rise, or to upraise an object, from the ground, and occurs in figures 374 EGYPTIAN, OR GRAECO-EGYPTIAN, OBJECTS of the god Shu, who is represented with arms uplifted and supporting the horizon and sun’s disk above his head (cf. Maspero, Dawn of Civ¬ ilization , p. 127). Shu was the “uplifter” of the heavens from the earth. These representa¬ tions of him are very common in the Late New Empire, and are the only ones in which this un¬ usual position occurs, so far as I know. Conse¬ quently we may have here the lower part of such a figure. The Argive Heraeum Plate CXLIII EGYPTIAN OBJECTS FROM THE HERAEUM The Argive Heraeum Plate CXLIV EGYPTIAN OBJECTS FROM THE HERAEUM ( 5 : 6 ) EGYPTIAN OBJECTS FROM AEGINA ( 1 INDEX INDEX By MAY LOUISE NICHOLS Achaean League, 183, 359. Achaean origin of Mycenaean style, 71. Achaia, coin of, 358. Acropolis (Athens), development in terra-cotta figu¬ rines, compared with that of female figures from, 8, 18 ; poros heads from, 29 ; terra-cottas from, 34; statue from, compared with terra-cotta figurine, 35 ; group of bulls attacked by lions from, com¬ pared with terra-cotta group from Heraeum, 40; bronze reliefs from, compared with terra-cotta re¬ liefs from Heraeum, 50, 51 ; marble relief of charioteer from, compared with terra-cotta relief from Heraeum, 53 ; vases from, 74, 76, 89, 133; bronze relief from, compared with design on vase, 169 ; bronzes from, compared with bronzes from Heraeum, 194 n. 2, 204 n. 2, 274 n. 1, 288, 289, 295, 296, 324, 326, 327, 329, 336. Advanced Archaic terra-cotta figurines, 9, 38 f. Advanced Argive terra-cotta figurines, 5, 7, 8, 9, 24 ff. “ Aegean ” pottery, 66, 71, 77. Aegina, relief from, compared with terra-cotta relief, 51; vases from, 64, 76, 89, 116, 119, 120, 130, 131, 133, 135, 138, 152, 153, 158, 175 n. 4; men¬ tion of, 174,175 ; suspension vase from, similar to bronze one from the Heraeum, 286; Egyptian objects from, 367, 368, 372. Aeolian vases, 150, 151. Agrigentum, terra-cotta figurines from, 10 n. 1. Agrippa, L. Caninius, name on coin, 358. At Fas (?), on vase, 173, 185. Atveas (?), on vase from Heraeum, 173, 185. atcpcp/eipicr/Ads, represented on terra-cotta plaque (?), 52. Alabastra, 126, 155, 166, 171, 178. Aliki, vases from, 89. Amathus, shield from, 40 ; fibula from, 251 n. 3. Amen Ra, on scarabs from Heraeum, 370, 371; barque of Ra, 370, 371. Amorgos, bracelet from, 251 n. 2. Amphora a colonette, preliminary step to, 135 ; frag¬ ments of, 172, 173 ; in Berlin, 185. Amphoras, primitive, 69 ; Mycenaean, 73, 79, 83, 84, 88, 92, 93, 96 ; geometric, 105,106,107, 109, 112, 117, 118, 137, 157; miscellaneous types, 160; Corinthian, 166, 171, 172, 173 ; black-figured style, 176, 178 ; red-figured style, 179. Amulets, 344, 372, 373. Amyclae, vase fragment from, 112 n. 1. Analysis of clay of vase fragments, 64 n. 9. Androsphinx, on ivory, 352. Animal figures, on vases, in Mycenaean style, 90, 91, geometric style, 104, 107 ff., Argive style, 127, 139, 143, 145, 149, 153, 155, on miscellaneous types, 160, 161, heads of (calves ?), 98 ; in Corinthian style, 167, 168, 169, 170, 171, 172 ; in black-fig¬ ured style, 177 ; on engraved stones, 343, 346, 347, 350, winged, 349, monkey-like, 349. Animals, of terra-cotta, 5, 9, 15, 23, 39 ff. ; of bronze, 193, 197—207 ; for head of bronze pin, 235 ; in ivory, 353. Anthedon, knife from, 299. “ Anthropomorphic ” vases, 148. Antoninus Pius, coin of, 358, 360, 361. Antyx (olvtv£), on terra-cotta plaque, 53 ; on vases, 163, 164 ; of bronze, 298. Aphidna, vase fragment from, 69, 99. Aphrodite, represented in terra-cotta figurines (?), 14, 15, 34; bronze statuette, probably of, 197 ; on coins, 358. Apollo of Canachus, 195, 197. Apollo of Melos, compared with figure on terra¬ cotta plaque, 48 ; with bronze statuette, 195 and n. 4. Apollo, Ptoan, bronze reliefs from temple of, com¬ pared with terra-cotta reliefs from Heraeum, 51, 52. Apollo, Tenean, compared with figure on terra-cotta plaque, 48, 49 ; treatment of hair similar to that of, in figure on vase, 154, in gorgon on ivory, 351. “ Apollo ” type, 14, 29 ; bronze statuette compared with, 195, treatment of hair in, 195 n. 4 ; porcelain figure of, 372, 373. Apparel, articles of, in ivory, 353. Apples, terra-cotta figurine holding (?), 36. Applied color, use of, in vases, 123,156-159,160,163. Apulia, Sikel village in, pin from, 240 n. 1 and 7 ; ring from, 251 n. 3. Arcadius, coin of, 362. Archaic heads on terra-cotta figurines, 7, 9, 14 n. 5. Archaic terra-cotta figurines, 8, 9, 14. Archermus, Nike of, 7, 52, 195 n. 3. Argive-Linear decoration, on terra-cotta figurines, 7, 27 ; on vases, 126-144. See also Linear. 378 INDEX Argive (“ Proto-Corinthian ”) style in vases, Argive origin, 62 f., 64 n. 9, 67,119 ft. ; linear character¬ istics, 66, 120 ; derived from Mycenaean style, 121; contemporaneous with geometric, 121 ft. ; absorption of Oriental influence, 122 ft., 144 ft. ; relation to Corinth, 123, 153. Argive embargo against Attic vases, 175, 180, 183. Argive type of engraved stones and gems, 346-349. Argolid, the, as centre of Mycenaean civilization, 78 ; silver pin from, now in British Museum, 191 n. 1, 217 n. 2, 339; coins of, 359. Argos, vase fragment at, compared with Heraeum fragment, 114 ; vases from, 119 ; coins of, 359 f. Aristeia, name in inscription on bronze, 332. “ Aristonothos ” vase, compared in technique with one from Heraeum, 160 n. 1, 163, 164 and n. 1. Arrow, on vases, 113, 151, 162, 163, 181. Arrowhead pattern, on bronzes, 199, 200, 259, 262, 283, 285, 293, 295 ; on engraved stones, 347, 348 ; on ivory, 352. Arrowhead, of stone, found at Heraeum, 354. Artemis, represented in terra-cotta figurines (?), 14, 15, 35. See also Persian Artemis. Aryballoi, 70, 71, 126,143, and 148 n. 1 (ring-form), 153, 166, 171, 185 ; of ivory, 353. Askos, 166, 171. Astarte, 13 n. 10; with Hathor crown, compared with bronze statuette, 197. Athena, represented in terra-cotta figurines (?), 14; on vase, 179 ; bronze serpent from aegis of, 204. Athena Cranaea, temple of, bronze fibulae from, 244 n. 2 ; handle from, 289. Athenaeus, quoted, 13 n. 11, 175 n. 1. Athens, vases from, 142, 154 ; bronze relief in, com¬ pared with design on vase from Heraeum, 169; bronzes found at, relation to Heraeum bronzes, 193 ; embargo on pottery from, 175 ; inscription from, 332. See also Acropolis. Attica, vases from, 64, 107, 119. Augustus, head of, on coin, 358. Aurelian, coins of, 361, 362. Aurelius, Marcus, head of, on coin, 358, 359. Auxesia, story concerning statue of, 174. Bakeshop scene, terra-cotta, 15, 43. Ball, bronze, 331. Balls, on vases, 159, 177 (on shield) ; on coin, 363. Bands, bronze, ornamented, 270. Bars, bronze, 330 f. Bather, A. G., references to, 50 n. 1, 51 n. 8, 54 n. 3, 192 n. 2, 202 n. 3, 274 n. 1, 336, 338. Bathos, terra-cotta figurines from, 10 n. 1. “ Bauernstil,” 103. Heads, bronze, 264 ; engraved stones used as, 344, 345; of glass or stone, 92, 353; of glazed paste, 354. Bear, terra-cotta, 15, head of, 41. Bed, terra-cotta, 42 ; bronze fragment of, 329. Bee-hive tomb, near Mycenae, 10 n. 2; tombs near Heraeum, 73, 75, 79, 81, 88, 89, 91-95, 98. Beetle, intaglio on bronze seal ring, 251. Bell, bronze, 299 ; bell-shaped pendant, 264. “ Bell ” of wheel, bronze, 298 f. Berlin, tripod vase from Tanagra in, 52 ; Corinthian pinakes in, relation to pinakes from Heraeum, 54; Argive lekytlios in, 145, 163, 179 ; tripod bowl in, 170 ; vase in, 195 n. 3; armlet in, compared with bronze from Heraeum, 267 n. 1. Bes, terra-cotta figures of type of, 8, 13, 28, 29; on seal of silver ring, 338 ; ivory figure of, 353; porcelain figure of, 368, 372. Biga, on vase, 154; on terra-cotta disk, 354. Binding, bronze, 328. Binding-strips, bronze, 269. Bird, human-headed, terra-cotta, 41 ; “ bird-face ” in terra-cotta figurines, 4, 5, 6, 7, 9 and n. 6, 14 n. 5, 16 ff. Birds, terra-cotta, 15 ; terra-cotta figurine holding, 36; on vases, 90, 108, 109, 111, 114, 115, 116, 117, 118, 127, 129, 130, 133, 135, 139, 144, 146, 149, 150, 152, 153, 162, 163, 167, 168, 169, 171, 172, 174, 183, 185 ; of bronze, aquatic, 204 f., land, 205-207, on safety-pin, 244, head and neck of, wing of, 274, head, beak of, 297 ; 331 ; on en¬ graved stones, 343, 347, flying, 348,349 ; on ivory, 351, 352 ; shell of egg of, 353. Black-figured style, 60, 62, 65, 66, 174-178. Boar, on vases, 147, 152, 165, 167, 169. Boat, on vase, 113 and n. 2, 115 ; inverted, form of arch of bronze safety-pin, 242. Bodkins, of ivory, 353. Boehlau, J., references to, 54 n. 6, 144 n. 2, 145, 150 n. 2, 151, 160 notes 1, 2, 235 n. 4, 240 n. 6, 242 n. 4, 243 n. 1. Boeotia, terra-cotta figurines from, 10 n. 1, 14 and n. 5 ; vases from, 109,116, 143 ; bronze pin from, 235 7i. 4, 240 n. 6, 242 7i. 4 ; armlet from, 267 n. 1. Bologna, fibulae from, 240 n. 1, 242 notes 1 and 2, 244 7i. 4. Borgo S. Sepolchro, pins from, 223 n. 3. Bos-ojiik, vases from, compared with those from the Heraeum, 68, 70, 97. Boston, Argive lekythoi in, 135, 146, 152 n. 1. Bottle, of colored glass (“ Phoenician ”), 353. Bow, terra-cotta figure holding, 15 n. 4, 35 ; on vases, 113, 181. Bowls, 72, 73, 74, 79, 80, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 96, 98, 105, 106, 107, 108, 109, 110, 112, 113, 114, 115, 116, 158, 161, 170, 173; three-legged, 70, 74 ; bronze, 284—286. Boxing-match, represented on terra-cotta plaque, 52 ; on vase, 113. Boyd, Harriet A., reference to, 241 n. 7. Bracelets, bronze, 251. INDEX 379 Brachycephalism, in head of bronze horseman, 195 n. 1. Braid-pattern. See Guilloche. Branchidae, seated figures from, 14, 36. Bread, woman kneading, terra-cotta figurine, 18. Bricks, terra-cotta, 47. Bridle, on vases, 148, 154, 184. British Museum, vases in, compared with Heraeum specimens, 131, 132, 135, 138, 143 n. 1, 144, 146, 154, 155, 160 n. 1, 166 n. 2, 180 ; silver pin in, from Argolis, 191 n. 1, 217 n. 2, 339 ; bronzes in, compared with Heraeum bronzes, 204 notes 1, 2, 217 n. 1, 240 n. 1, 244 n. 3, 251 n. 3, 294, 300. Bronzes from the Heraeum, 191-339 ; introduction, 191-193 ; process of cleaning, 192 and n. 2 ; classi¬ fication, 192; various periods in, 193; technique of, 193; relation to metal work of other centres, 193 ; catalogue, 194-331; fragments of statues, 194, statuettes and fragments of statuettes, 194-197, an¬ imals, 197-207, ornament and toilet, 207-275, ves¬ sels, 275-298, implements, utensils, structural pieces and materials, 298-331; appendix, inscriptions on the bronzes, 332-339. Buckles, bronze, 249. Bud, bronze nail-head representing, 327. Bull, attacked by lion, terra-cotta group, 15, 39 f., motive in Greek art, 40 ; on vases, 139, 146, 167, 169. See also Cattle. Bull’s head, in terra-cotta, 14, 23, 41; on vases, 146, 183 ; on engraved stones, 349 ; on coin, 357. Bulle, H., reference to, 265 n. 1. Butterfly (?), on ivory, 352. Button, bronze, 327 ; button-shape, in engraved stones, 345, 346, 347, 348 ; in ivory, 352. Byzantine coins, 357, 362 f. Byzantine ware, vases, 180, 184. Cabirion near Thebes, potters at, 64 ; vases found at, 180 ; inscription from, 338. Cakes, dish of, terra-cotta, 15, 42. Calathi, representation of, on terra-cotta figurines, 10 n. 2, 12 f., 26, 27, 32 ; vases, 124 f., 145. Callaly Castle (Forman Collection), oinochoe formerly at, 129. Camirus, poros statuette from, compared with terra¬ cotta figurine, 35; gold horvnus from, compared with terra-cotta plaque, 51; vases from, 143, 155, 181 ; bronze statuette of goat from, 201 n. 1 ; Egyptian objects from, 367, 369. Canachus. See Apollo of. Caps, bronze, 328. Captive, on coin, 361. Caracalla, head of, on coin, 359. Carneia, in inscription on bronze, 336. Carus, coin of, 361. Castings, bronze, 331. Cat, porcelain figure of, 368, 372. Cattle, bronze, 201 ff.; on engraved stones, 348, 350. Cauldron, on vase, 164, 165; of bronze, 275 ft'., 329. Centaur, terra-cotta, 15, 40 ; on terra-cotta plaque, 48, 53 f.; on relief vase in Louvre, 49 n. 1 ; on vases, 162, 163, 181. Centre-piece, bronze, 328. Cephalonia. See Corfu. Cervetri, gold breastplate from, design of, compared with that of bronze from Heraeum, 251 n. 1. Cesnola, L. P. di, references to, 38, 40,197 n. 1, 250 n. 1 . Chaeronea, bronze rings from, in Athens Museum, 250 n. 3. Chain, bronze, 327 f. Chair, terra-cotta, 5 and n. 1, 42, 92. Chalcidian origin of “ Proto-Corinthian ” style, 119. Chalcidian vases, 163, 169. Chariot, on terra-cotta plaques, 48, 53, 54 ; on vases, 113, 163, 164, 177. Charioteer, on terra-cotta plaque, 53. Chase, G. H. See Waldstein. Checkerboard pattern, on vases, 105, 106, 109, 114, 127, 128, 129, 130, 137, 139, 140, 141, 142, 151, 152, 153, 155, 162, 168. Cheramyes, statue, 30. Chimaera, on coin, 358. Chisel, bronze, 300. Chiton, method of fastening as shown by terra-cotta figurines, 11 ; on terra-cotta plaque, 50 ; on vases, 117, 169; on bronze, talaric, 265 ; on coin, 357. Chiusi, vase from, 118. Chloris (in group with Leto), on coin, 359. Christ, bust of, on coins, 363. Circles (with or without central dot), on vases, 69, 84, 86, 87, 88,105,107,109, 111, 115, 145,146, 149, 157,158, 163, 170,183 ; on lamp, 184 ; on bronzes, 206, 209, 210, 213, 220, 223, 227, 228, 229, 231, 235, 248, 249, 250, 265, 266, 268, 269, 270, 274, 275, 278, 283, 284, 285, 297, 311, 314, on en¬ graved stone, 349 ; on ivory, 352, 353. Cist, bronze, in Museo Gregoriano, compared with Heraeum bronze, 290. Clamps, bronze, 328. Claw, bronze, 274. Clazomenae, technique of sarcophagi from, compared with that of vase fragments from Heraeum, 150. “Clover-leaf ” type of fibula, on terra-cotta figurines, 10 and n. 2, 21, 23, 26, 31. Coatings, bronze, 270. Cock, terra-cotta, 15, 41; on vase, 178; of bronze, 205 f., 274 n. 2. Codrus, legend of, 104. Coins from the Heraeum, 357-363 ; general discus¬ sion, 357 ; catalogue, 357-363 ; of Greece, 357- 360 ;• of Rome (Empire), 361 f., (Eastern Empire), 362 f.; Venice, 363 ; uncertain, 363. Color, use of, on terra-cotta figurines, 5, 6, 7, 8. 9 : 380 INDEX use of extra or applied, in vases, 123, 156-159, 160, 163. Commodus, head of, on coins, 358, 359. Cones of terra-cotta, 15 and n. 10, 43 f. Constantius Chlorus, coin of, 361. Constantius II., coins of, 362. Containers, bronze, 296 f. Conventionalism, in Mycenaean vases, 76, 81. Conze, A., reference to, 54 n. 4, 163, 195 n. 4. Copenhagen, vases in, 52, 113, 114, 115. Copper, 272, 275. See also Pins. Coral, hit of, 354. Corcyra, terra-cotta figurines from, 14 n. 4, 34, 35. Corfu, Cephalonia, Zante, coin of, 363. Corinth, vases from, 107, 144 ; its connection with Argos in history of vase painting, 122, 123, 145, 166; archaic bronze relief from, 197 n. 2; coins of, 357 f. Corinthia, coins of, 357 f. Corinthian pinakes in Berlin, connected with those from Heraeum, 54. Corinthian style, in vases, 8, 60, 62, 65, 66, 119, 122, 145,165-173,182,185 ; Old, 167 if.; New, 172 ff. Cornucopia, on coin, 361, 362. Coroplastic art, interaction of vase painting and, 6 and n. 9, 7. Corselet, on vase, 177. Cotilon (Bassae), mirrors from, 265 n. 2, 266 n. 1. Cover-knobs, 140. Covers, horses on covers of geometric vases, 23 ; of vases, 115, 116, 137, 138, 139, 140, 169. Cow, terra-cotta, 15, head of, 14, 23 ; on vases, 151; of bronze, 201 and n. 3, 202 ; on engraved stone, 349. See also Cattle. Crab, on engraved stone, 348. Crepereia Tryphaena, sarcophagus of, 269 n. 1, 278. Crescents, on vase, 71; on bronze, 204, 276, 283, 285. Crete, winged human figures from, 50 n. 5 ; as possi¬ ble centre of source of Mycenaean civilization, 66, 71; vases from, 79, 115, 156. Cross, Greek, on terra-cotta spools, 44 ; of terra-cotta, 44. Cross, on vases, 82, 105, 111, 149, 151, 154; on lamps, 184; on bronzes, 209, 210, 213, 264, 295, 297,310, 312, 315; on engraved stone, 350; on coins, 212, 363. Cups, 72, 92, 95, 107, 180, 184. Curtins, K., concerning “heraldic” animals, 28, 110 u. 1 ; concerning running figures, 28 ; other refer¬ ences to, 50 n. 2, 52 n. 1, 175 n. 3. Cut ornaments, bronze, 274. Cybele, represented in terra-cotta figurines (?), 14. Cyclades, primitive vases from, compared with those from Heraeum, 68, 69, 70. Cylixes, vases, 74, 81, 86. 88, 92, 95, 166, 172, 173, 171. 176, 177, 178, 179; eylix on bronze mirror- handle in hand of satyr, 265. Cymbals, bronze, 299. Cyprus, influence of, in terra-cotta figurines, 15; terra-cotta figurines from, 27 ; vases from, 10 n. 1, 66, 135, 148; head from, compared with bronze statuette, 197 n. 1 ; rings from, 251 n. 3. Cyrenaica, terra-cotta figurines from, 10 n. 1, 19, 34. Cyrenean vases, 62, 65, 148, 173. Daimons, on reliefs from Olympia, compared with winged figures on terra-cotta plaques from He¬ raeum, 52 ; on silver ring from Heraeum, 338. Daisy, design on porcelain whorl, 373. Damia, story concerning statue of, 174. ScquiopyoZ, in inscription on bronze, 333. Dancing, represented on vase, 114. DeCou, H. F., Bronzes of the Argive Heraeum, 191- 331; Inscriptions on the Bronzes, 332-339 ; Coins from the Argive Heraeum, 357-363 ; theory as to headdress of terra-cotta figurines, 13 n. 4. Dedicatory use of vases at the Heraeum, 64. Deer, terra-cotta figure holding, 15 n. 4 ; on vases, 108, 115, 116, 150, 151, 164,167,168 ; of bronze, 200 f. Deianeira, earliest representation of, on vase, 163. Deinoi, 135, 185. Delos, Nicandra statue from, 8 ; winged female figure from, compared with terra-cotta figurine, 28; en¬ graved stone from, 348. Deljihi, statue by Polymedes at, 195; retrograde writing in names of Argive kings at, 333. Demeter, terra-cotta figurines dedicated to, 13 ; re¬ presented in terra-cotta groups (?), 14, 22. Deposits of terra-cotta figurines, 3 n. 3. De Bidder, A., references to, 49 n. 1, 51 n. 9, 52, 181 and n. 3,194 notes 2, 4,196 notes 2, 3, 4, 197, 204, n. 2, 288, 289, 296. Diadems, bronze, 196, 240 n. 5, 265, 266 f.; on coins, 360, 362, 363. Diamonds, on terra-cotta plaque, 48 ; on vases, 83, 84, 87, 90, 142; on bronzes, 200, 243, 282, 283, 284, 309 ; on ivory, 353. Dictaean Cave, pins from, 217 n. 1 ; rosettes on objects from, 232 n. 1, 299 n. 1. Digamma, in inscription on bronze, 333. Diodorus Siculus, quoted, 51 n. 4. Dionysus, on vase, 178 (head of), 179. Dipylon style, on terra-cotta plaques, 53, 54, in vases, 65, 102 f., 115, 118, 122, 157 ; in bronzes, 193. Disks, as earrings of terra-cotta figurines, 12 ; flower¬ like, 15, 43 ; of bronze, 267-269 ; use of, 267 n. 2, 269 n. 1 ; gold disks from Mycenae, 269 n. 2; inserted disks, 330; terra-cotta disk, 354. Dodona, bronze plaque from, compared with terra¬ cotta plaque from Heraeum, 50 f. ; bronze reliefs from, compared with terra-cotta reliefs from He¬ raeum. 51 ; bronzes from, compared with bronzes from Heraeum, 193, 295, 297, 308, 316 n. 1. INDEX 381 “ Dodwell ” vase, 169. Dog, terra-cotta head of, 15, 41 ; on vases, 108, 115, 147,149,151,152,153,182 ; on scarabs, 368, 371. Doll, in arms of terra-cotta figurine, 37. Dolphin, bronze, 274 ; on engraved stone, 350. Domitian, head of, on coins, 358. Dorian Invasion, 66, 102, 103, 121. “ Dorian ” technique, 156. Dorpfeld, W., references to, 30, 300. Doryphoros of Polycleitus, Furtwangler’s view sup¬ ported by relief on lamp from Heraeum, 184. Double-axe, on vases, 112 f., 116; on engraved stones, 347. Double writing of consonants in Argive inscriptions, 333. Dove, terra-cotta figure holding, 15 n. 4, 34; of terra¬ cotta, 41; on coin, 358. Dresden, terra-cotta figure from Thisbd in, 24 ; vases in, compared with Heraeum specimens, 146, 148 n. 1. Duck, on vases, 90, 110, 169 ; on scarab, 371. “ Dumb-bell ” form of safety-pin, on terra-cotta figu¬ rines in Athens Museum, 10 n. 2 ; from Heraeum, 25 ; of bronze, 242. Dummler, F., references to, 120, 143, 181. Eagle, on vase, 174; on engraved stone, 350; on ivory, 351, 352 ; on coin, 358. Ear, on vase, 179. Early Archaic terra-cotta figurines, 8, 9, 29 ff. Early Argive vases, 121, 124 If. Early Attic vases, 62, 65, 66, 122, 145, 165, 173, 351. Early Naturalistic style in bronzes, 199, 201. Earrings, forms of, on terra-cotta figurines, 12. Edgar, C. C., reference to, 276 n. 1. Eel, on vases, 80. Egg, bit of shell of, 353. Egypt, excavations in, as throwing light on date of Mycenaean civilization, 77 ; Mycenaean ware from, 156. Egyptian (or Graeco-Egyptian) objects from the Argive Heraeum, 367-374; general discussion, 367-369; catalogue, 370-374. Egyptian horseman in terra-cotta of Egyptian manu¬ facture, 8, 29. Eileithyia, represented in terra-cotta groups (?), 14. See also Hera Eileithyia. Ekethaio (?), name in inscription on bronze, 332. Eleusis, skyphoi from, 112 n. 2,113 notes 1, 2 ; vases from, 119, 124 n. 1, 128, 132, 144, 158; pin in museum at, 235 n. 3 ; gold ring in museum at, 261 n. 2 ; bronze plated with gold in museum at, 273 n. 1; Egyptian objects from, 367, 369, 372. represented on terra-cotta figurines, 10, 11, 21. Ellipses, truncated, decoration on bronze, 276, 277. Engraved stones, gems, and ivories, 343-354; gen¬ eral discussion, 343-345 ; classification and cata¬ logue, 345-354. Epklaurus, story concerning, 174. Eros (?), on coin, 358. Este, buttons from, 327. Eudamas, name in inscription on bronze, 338. Euphronios, vase in style of, 180. Evans, A. J., references to, 48 n. 2, 66, 79, 113, 344, 345, 347, 348, 349, 367. Exergue, 173, 179. Eye, on vases, 177, 179. Fasteners, bronze, 327 f. Female figures, large proportion of, among terra-cotta figurines, 4 n. 4, 13 and n. 5 ; on terra-cotta plaque, 48 ; on vases, 108, 114, 162, 163, 169, 170, 172, 174, 179, 183; of bronze, 196 f. ; on terra-cotta disk, 354; on coins, 359, 360, 361, 362. Fibulae, forms of, on terra-cotta figurines, 10 f. ; bronze, 191, 193, 203 n. 1, 240 n. 1 ; of saiujui- s%uja type, 244 n. 4; of ivory, 353 (with bronze pin). See also Safety-pins. Figurines. See Terra-cotta. Finger-rings, bronze, 250 f. See also Rings. Fish, on vases, 78, 80 f., 91, 94, 111, 112, 113, 115, 117, 134 ; bronze handle in form of (?), 293 ; on ivory, 352. Flower, terra-cotta figure holding, 15 n. 4, 34; on terra-cotta plaque, 50 ; in mouth of lion on gold breastplate from Cervetri, 251 n. 1; on handle of vessel, 288 ; nail-head representing, 327 ; on coin, 359, 360 ; on porcelain whorl, 373. Flower pattern, on vases, 79, 80, 83, 85, 88, 94, 105, 128,134, 137, 138, 167, 178 ; on bronze pins, 234 n. 2, 251. Flute-player, terra-cotta, 17, 18. Fly, in intaglio on bronze seal ring, 251. Foot with sandal, terra-cotta, 16, 43. Fortune (Tyche), on coin, 358. Francois vase, group on, compared with group on terra-cotta plaque, 53 ; other reference to, 195 n. 3. Frankel, Max, references to, 195 n. 4, 196 n. 4, 204 n. 1, 333 and n. 1, 334, 335, 336. Free style, terra-cotta figurines of, 9, 39. Frog, bronze, 203 ; ivory, 352. Fruit, terra-cotta figure holding, 15 n. 4, 34; on terra-cotta mould, 43, 48 ; nail-head representing, 352. Furtwangler and Loeschcke, classification of My¬ cenaean vases, 62, 72, 74-77, 82 f.; theory for origin of geometric style, 66, 102 ; other references to, 85, 86, 93, 119. Furtwangler, A., interpretation of winged figures on Olympia reliefs, 52; concerning the Aristono- thos vase, 164 ; on bronze relief in Athens, 169 ; view as to Doryphoros of Polycleitus supported by relief on lamp from Heraeum, 184 ; theory as to INDEX bronze safety-pin, 249 ft. 1; dating of vase similar to Heraeum specimen, 287 n. 1, other references to, 10 n. 8, 15 ft. 5, 17, 42, 51 n. 6, 52 n. 7, 53 ft. 1, 54 ft. 5, 64 ft. 2, 99 n. 2, 119, 143, 160 n. 2, 164 ft. 3, 170, 183 ft. 1, 186, 194 n. 5, 200 n. 2, 215 notes 1, 2, 232 ft. 2, 243 n. 1, 246 n. 3, 247 ft. 2, 261 ft. 1, 287 ft 1, 293, 294, 325, 338. See also Olympia. Galerius, coins of. 361 f. Galley, on vase, 113 ft. 2. Gallienus, coin of, 361. Gamedes oinochoe, compared with one from the He¬ raeum, 160 and ft. 1. Gardner, E. A., references to, 29, 173, 367 ft. 7. Gear, leather, imitated in bronze, 275. Gela, terra-cotta figurines from, 10 ft. 1. Gems, Mycenaean, compared with terra-cotta plaque from Heraeum, 28. See also Engraved stones. Genre scenes, on vases, in geometric style, 104, 108, 113, 157. Geometric, terra-cotta figurines, 5, 6, 9, 14, 23; geometric style in vases, 60, 62, 64, 101 ff., result of Dorian Invasion, 66, 102, method of classifica¬ tion, 101, 102, 104, difference from Mycenaean vases, 102, 104, theories as to origin of, 102, de¬ velopment of, 103, 104, connection with Dipylon style, 104, 115, date of, 104, relation to Argive style, 121, 157 ; “ geometric ” period in bronzes, 193, geometric style in bronzes, 197, 200, 204, geometric ornamentation on safety-pins, 242, 243; engraved stones, 343, 346, 349 f. Girdle, bronze, 266. Glass, vases, 184; bottles of, 353. Glaze color, use of, on terra-cotta figurines, 6. Globe, on coin, 361, 362. Goad, on vases, 162, 163, 164, 177. Goat, on vases, 150, 153, 154, 167, 168, 169, 172, 174; bronze statuette from Camirus in British Museum, 201 n. 1. Gold, bronze plated with, 273 and ft. 1; tacks from Mycenae, 325, fragments of sheet gold, 329, rivet, 338. Goose, on vases, 159, 167. Gordion, fibulae from, 246 notes 2, 4. Gorgon, terra-cotta figurine representing (?), 28 ; on terra-cotta plaque ('?), 52 ; gorgoneion on vase frag¬ ment, 171 ; on ivory, 351. Gospel, book of the, on coins, 363. Graeco-Egyptian. See Egyptian. Gratian, coin of, 362. Greaves, on vases, 161, 162, 172, 177. Greece, coins of, 357 ff. Griffin, terra-cotta, head of, 41 ; on vases, 152, 171 ; on bronzes, 193, 274, 294; on engraved stones, 350; on ivory, 351, 352; on scarab, 371. Griffith, F. LI., references to, 367 ft. 2, 370, 371, 373. Guilloche, on vases, 82, 86, 87, 88, 107, 109, 129, 130,143,145,158,161,162,163 ; on bronzes, 266, 293. Gurlitt, W., reference to, 196 ft. 1. Hadaczek, C., references to, 44 ft., 240 ft. 4. Hadrian, head of, on coins, 359, 360. Haghios Sostis, terra-cotta figurines from, 9. Hair, development of, on terra-cotta figurines, 12 ; treatment of, on terra-cotta plaque, 49, on vase, 154; bronze, lock of, 194, treatment of, 195 and notes 3, 4, 197, 287. Hallstatt period, vase fragments in Vienna from graves of, 69; in relation to geometric style, 103. Halo, on coins, 363. Handles, bronze, rings used as, 254 n. 1, of mirrors, 264-266, plates with, 275-277, bowls with, 285, of vessels, 288-294, of tripods, 295, miscellaneous, 297 f. Hare, terra-cotta figure holding, 15 ft. 4, 35; on vases, 146, 147 ; porcelain figure of, 373. Harness, bronze, 275. Harpy, terra-cotta, 41. Hartwig, P., enumeration of polychrome vases, 179 f. Hawk, on scarabs, 370, 371. Hebe, represented in terra-cotta groups (?), 13, 22. Heermance, T. W., Inscriptions on Vases, 185-187. Helbig, W., references to, 10, 53 ft. 1, 118, 119, 163 ft. 1, 164, 295. Helladios, name in inscription on bronze, 332. Helmet, on terra-cotta figurines, 40; on vases, 148, 152, 161, 162, 164,170, 172, 174, 183; on coins, 361, 362. Hemispherical engraved stones, 345, 346, 347. Hera, seated figures of, 5, 15, represented in terra¬ cotta figurines (?), 13, 22 ; cult of, 68 ; name in inscriptions, on vases, 185 f., on bronze, 332, 336, 337, 338 ; on terra-cotta disk (?), 354 ; head of, on coin, 359. Hera Antheia, 16, 35 ; terra-cotta figurines repre¬ senting (?), 10, 21. Hera Eileithyia, 13 ft. 7, 15 ft. 4, 30. Hera IVtuos, 40. Hera, of Polycleitus, 13, 39 ; in group with Hebe, 22. Heraea, 22 ft. 1, 336. Herakles, on vases, 163, 177, 181. “ Heraldic ” schema, lions on terra-cotta plaque, 7, 28 ; on vases, 90, 108, 109, 110, 111, 112, 117, 118, 127, 169. Herodotus, references to, 65 ft. 1, 174 notes 1, 2, 175 and ft. 1, 193, 336. Herring-bone pattern, on vases, 69, 70, 87, 92, 130, 146, 181. Heuzey, L., concerning development of “ Bes ” type. 28; concerning Rhodian ware, 37 ; other references to, 10 ft. 1, 14 ft. 5, 18, 19, 22, 27, 28, 34, 35, 36, 37, 41, 197 ft. 3. INDEX 383 Himation, on vase, 169 ; on bronze, 265. Hinge, bronze, 328. Hissarlik, primitive vases from, 18, compared with those from Heraeum, 68, 70, 97. See also Troy. Hogarth, D. G., statement as to winged human figures of “ Mycenaean ” style discovered by him in Crete, 50 7i. 5 ; excavations in Melos, 66 ; other refer¬ ences to, 202 n. 1, 217 n. 1, 232 n. 1, 299 n. 1. Holleaux, M., references to, 51 n. 9,194 n. 5,195 n. 4. Homer, quoted, 11 notes 4 and 5. Homolle, Th., reference to, 195. Hooks, bronze, 324. Hoppin, J. C., The Vases and Vase Fragments, 57- 184. See also Waldstein. Horse, terra-cotta, 6, 15, 23, 29, 40, 41 ; head of, terra-cotta, 41; on terra-cotta plaques, 48, 53, 54 ; on vases, in Mycenaean style, 90, in geometric style, 108, 109 ff., 114, 115, 116, 117, with human figures, 111, 112, 117, 118 ; in Argive style, 130, 148, 150, 152, 154, 162, 163, 164, 165; in Corin¬ thian style, 172, 173, 174; in black-figured style, 176, 177, 178 ; in red-figured style, 179 ; on “ red ” ware, 182 ; on Megarean ware, 183; on lamp, 184; of bronze, 197-200; on bronze, 243, 265, 273 re. 1; on engraved stones, 343, 347, with hu¬ man figures, 347, winged, 348 ; on coins, 357, 361. Horseman, terra-cotta, 8, 29; on vases, 177, 178, 182, 183 ; bronze statuette of, 194 f., 196 n. 4, po¬ sition as shown on vases, 194 7 1 . 3, and in bronze rider in National Museum, Athens, 194 n. 4, com¬ pared with other examples in marble, 194 n. 5 ; on coins, 357, 358, 361, 362. Horseshoe ornament, on bronze, 249, 266, 299 ; shape, in links of bronze chain, 327. House, on engraved stones, as in Cretan pictographs, 347, 348. Household use, articles for, in ivory, 353. Human figure, on vases, in Mycenaean style, 90 f., in geometric style, 104, 107 ff., Ill ff., in Orien¬ tal Argive, 150, 151, 152, in miscellaneous types, 162, 163, on Corinthian vases, 169, in black-fig¬ ured style, 177, 178, on “red” ware, 182, 183; on lamp, 184; on bronze, bearded, draped, 265 ; on engraved stones, 343, 346, 347, 348, 349 ; in ivory ; 353 ; on coins, 359, 361, 362, 363 ; in porcelain, 373. See also Horse. Human head, on vases, 106, 131, 146, 148 (plastic), 170 (plastic), 177 ; on coins, 357, 358, 359, 360, 361, 362, 363 ; of porcelain, 372. Hylleis (HuAcs), in inscription on bronze, 333. Ialysos, vases from, 82, 93. “ Ialysos ” types (funnel-shaped vases), 88. Ibex, on scarab, 371. Idols, terra-cotta, 22 ; resemblance of bronze to, 272. icpos yd/zos, represented in terra-cotta groups (?), 22 ; relation of Heraea to, 22 n. 1. Imhoof-Blumer and Keller, reference to, 78. Implements, utensils, structural pieces and materials, in bronze, 298-331. a for t, in inscription on bronze, 333. Ind, fibula from, 247 n. 1. Inscribed bronzes, ring, 250, mirror-handle, 265, binding-strip, 270, inscribed plates, 273 f., vessels of bronze, 277, 278, 284, 297, antyx, 298, bar, 331. Inscriptions, on vases, painted, 185, incised, 185- 187 ; on bronze, 332—339 ; on silver ring from Heraeum, 338 ; on silver pin in British Museum said to be from near Heraeum, 339. See also In¬ scribed bronzes and Egyptian objects. Intaglio, ornament on seals, bronze, 250 f. Interaction of vase painting and coroplastic art, 6 and n. 9, 7. Inverted design, 91, 151 ff. Io, Hellenistic identification of Isis with, 197. Iron, 203, 243, 270, 274, 296, 302, 324, 327, 329, 330. See also Pins. Isis, 197 ; headdress of, compared with that of terra¬ cotta figurine, 13 n. 4. “ Island stone” from bee-hive tomb near Heraeum, 92. 'tcrdiuov , represented on terra-cotta figurines, 31. Ivories, 351-353. Ivory, pins from Mycenae, Tiryns, and Troy, 208 7i. 2, from Mycenae, 217 7i. 1; seal of, 251. Ivy pattern, 145, 146, 161, 177, 178. Jackal, on scarab, 371. Jars, bronze, 286. John Zimisces, coins of, 363. Jones, H. Stuart, reference to, 48 7i. 1. Jugs (Kannen), 73, 84, 92, 93, 96, 99, 105, 107, 114, 118, 131, 132, 143, 145, 153,154; tea-pot shaped, 94,117, 143 ; with three handles, 71, 96, 100, 101. Julia Domna, head and bust of, on coin, 359 ; coin of, 361. Julian (called the Apostate), coin of, 362. Jupiter, on coin, 362. Kabbadias, P., references to, 36, 195 n. 4, 367. Kabirion. See Cabirion. Kalathoi, 124, 125, 144. See Calathos. Kalkmann, A., his measurements, 195, 196. Kameiros. See Camirus. Karneia. See Carneia. Kavousi, pin from, 241 n. 7. Kekule von Stradonitz, R., references to, 35, 36. 37, 41, 52. Keros, terra-cotta figurines from, 112. Kertsch, terra-cotta figurine from, 35. Key, bronze, 299. Kithara, on vase, 112. Knives, bronze, 299 f. Knobs of covers, vases, 140 ff. Koehler, U., references to, 112, 333. 384 INDEX Koppa, on inscribed vase, 186; on coins, 357 f. ?opcoros, name inscribed on vase, 186. Kor£, represented in terra-cotta groups, 14, 22. Korte, A., references to, 68, 70, 71, 97, 332. Korte, G., references to, 196 n. 2, 197 n. 3. Korte, G. and A., references to, 246 notes 2, 4. Kothons, 143, 166. KovpoTpo^ns figures, of terra-cotta, 12 n. 1, 13, 19, 21, 25. Kylix. See Cylix. Labeo, L. Furius, name on coin, 358. Laconia, coins of, 358 f. Ladle, bronze, 296 f. Lamps, 180, 183 f. Larisa, coin of, 357 ; head of, on coin, 357. Laurent, M., fragment of vase from Heraeum pub¬ lished by, 113, 164 n. 2, 165 n. 1. Leaf pattern, on vases, 80, 81, 93, 105,131, 146, 183 ; on bronzes, 233, 266, 282, 283, 285, 287, 288, 296, 297, 299, 328. Leather gear, imitated in bronze, 275. Leaves, bronze, 274. Lecliat, H., references to, 14 n. 4, 34. 35. Lekytlioi, 119, 122, 123,124,126,127,131,145, 146, 148, 151, 158, 176, 178, 197 n. 3. Lenticular shape, engraved stones of, 346, 350. Leto, in group with Clitoris, on coin, 359. Licinius, coin of, 362. Linear development of Argive style, in vases, 62, 66, 88, 120, 121. See Argive-Linear. Lion, terra-cotta, attacking bull, 15, 39 f., heraldic, on plaque, 7, 28, on plaques, 48, 54 ; on vases, 146, 151, 153, 159, 160, 161, 167, 169, 171, 177, 182; bronze, in relief, 198, 199, 293, in the round, 202, 203, 235 (head of), on bow of safety-pin, 249, in¬ taglio on seal ring, 250, on gold breastplate from Cervetri, 251 n. 1, lion’s feet tripod standards, 295 f., paw of, 331; on engraved stone, 350; on ivory, 351 ; skin of, on coin, 359 ; head of, on coin, 363. Lion Gate at Mycenae, compared with terra-cotta plaque from Heraeum, 28. Lizard, on vases, 115, 147; on bronze, 198. Local varieties of vases at the Heraeum, 62, 176. Loeschcke, G. See Furtwangler and Loeschcke. Loop pattern, on vases, 86, 87, 88, 94. Lorimer, II. L., reference to, 298. Lotus, on vases, 137, 138, 145, 167, 178 ; on bronzes, 196 f., 285. Louvre, relief vase in, 49 n. 1 ; other vases in, com¬ pared with Heraeum vases, 84, 100,127,131, 163, 180 ; torso from Aetium in, 194 ; hydria of Tima- goras in, 195 n. 3. Lozenge, on vases, 70, 84, 86, 87, 88, 90, 105, 106, 107, 109, 110, 111.114. 116, 117, 118, 121, 127, 128, 129, 130, 134, 135, 137, 143, 147, 148, 152, 157, 162 ; lozenge shape, engraved stones, 346, 348. Lusi, pin-head from, 213 n. 1 ; pin from, 220 n. 1 ; fibula from, 240 n. 4, 241 notes 1 and 7. Lythgoe, A. M., Egyptian or Graeco-Egyptian Ob¬ jects from the Argive Heraeum, 367-374. Maeander, on vases, 106, 109, 110, 111, 112, 114, 115, 116, 117, 118, 121, 129, 130, 133, 134,135, 136, 137, 157, 158, 162; on bronze, 229. Maenad, on vase, 179. Marcus Aurelius, head of, on coins, 358, 359. Martha, J., references to, 6 n. 8, 9 n. 6, 14 n. 5, 19, 21, 24, 28, 32 n. 1, 34, 36, 40, 41, 42, 298. Maspero, G., references to, 369 n. 2, 371, 373, 374. Masques of terra-cotta, 38. Medical instruments, bronze, 303, 323. Megara Hyblaea, terra-cottas from, 14 n. 6, 28. 34, 37, 42, 43; vases from, 99 n. 1, 100, 119, 131, 144, 154,155 ; pin from, 218 n. 2, 223 n. 2; rings from, 251 n. 3, 264 notes 1 and 3, 327. Megarean vases, 62, 180, 182 f. Melian vases, 159, 163. Melos, terra-cotta figurines from, 10 n. 1, pottery from, 66, 71, 154, 276 n. 1; engraved stone from, 349. Menidhi, vase from, 161 ; bronze pin from, 213 n. 2. Mikos, name on inscribed vase, 186. Milchhofer, A., theory as to bronze pins and spits, 235 n. 3 ; other references to, 50 n. 4, 52 n. 5, 181, 235 notes 3 and 5, 313 n. 1, 329. Mirrors and mirror-handles, bronze, 264-266 ; mirror- handle, 196 n. 3. Miscellaneous types of vases, 159-165. Moncucco, pins of Italic type from, 207 n. 3. Monkey, terra-cotta, 15, 42 ; on seal of silver ring from Heraeum (?), 338. Montelius, O., references to, 10 notes 8 and 12, 11 and n. 2, 207 n. 3, 208 n, 3, 215 n. 2, 228 n. 1, 235 n. 2, 240 notes 1, 3, 6, 241 notes 3-6, 242 notes 1, 2, 244 n. 4, 298, 327. Moulds, use of, for terra-cotta figurines, 7, 8 ; of terra¬ cotta, 43, 48 ; vases, 181. Mouse, bronze, 203. Murex, on terra-cotta mould, 48, 49; on vases, 81, 82, 85, 86, 157. Murray, A. S., references to, 191 n. 1, 217 n. 2, 367 n. 6, 372. Mycenae, terra-cotta figurines from, 10 n. 2, 22 ; whorls from, 44 ; bull’s head from, 23; vases from, 71, 78, 97, 102, 108, 113 (silver), 161, 181; pins from, compared with bronze pins from Heraeum, 208 n. 2, 209 n. 1 ; bronze tacks from, 214 n. 1; pins from, 217 n. 1; fibulae from, 240 n. 2, 241 n. 7, 244 n. 4 ; gold ring from, 250 n. 3, 251 n. 3, gold disks from, 269 n. 2 ; bronze saucer from, 278 ; gold cu}> from, 283 n. 1; amphora from, 287 INDEX 385 n. 1 ; knives from, 300; gold tacks and bronze nails from, 325. Mycenaean style in vases, 60, 61, 62, 65, 66, 70, linear development of, 66, 88, origin of, 71, with “dull” decoration, 71-74, 156, with “lustrous” decoration, 74-91, 156, from bee-hive tombs, OI¬ OS, classification of, 74-77, date of, 77, 78, survival of Mycenaean style, 105, 126 ; in bronzes, 193. Mycenaean, terra-cotta figurines, 5, 9, 14, 22 f.; en¬ graved stones, 346, 350. Nails, bronze, 324-327. Naples, vases in Museum at, compared with He- raeum specimens, 131, 135, 155, 166 n. 2. Naturalism, in Mycenaean vases, 76, 81. Naturalistic style, in bronzes, horses, 200, cattle, 201, lion, rodent, frog, 203, serpents, 204, birds, 206. Naucratis, “ cake-stamps ” from, 48 ; pottery from, 135, 159, 178, 180 ; Egyptian objects from, 367, 368, 372. Naukydes, group of Hera and Hebe by, 22. Nauplia, vases found at, 78, 84. Necklace, forms of, on terra-cotta figurines, 11; in zigzag pattern, bronze, 196 ; compared with terra¬ cottas from Heraeum, 196 n. 5 ; on terra-cotta figurines from Terravecchia, 267 n. 2. Needle, bronze, 250 ; ivory, 92, 353. Nemean lion, Herakles and, on vases, 177. Nero, head of, on coin, 360. Nessos, on vases, 163. Net ornament, on vases, 82, 105, 107. Neuchatel and Brienne lakes, pins from, 217 n. 1. Nicandra, statue, 8, 30. Nikasias, name in inscription on bronze, 337. Nikd, on vase, 183; on coins, 358, 361. Nik£ of Archermus. See Archermus. Norton, R., Engraved Stones, Gems, and Ivories, 343-354 ; theory as to flower ornament on bronze pin-lieads, 234 n. 2; suggestion as to cut figure of bronze, 274 n. 2. Novilara, bronze ring from, compared with bronzes from Heraeum, 258 n. 1. Nude female type, fragment of bronze statuette of, 196 and n. 2. Nymphaea caeruleci , 373. Obsidian, fragments of, found at Heraeum, 353. Oinochoai, 69, 70 (?), 71, 99,100,107, 126, 128-131, 144, 145, 148-151, 159, 160, 166, 168, 170. Olive branch on coins, 361. Olympia, figures of animals found at, 6; bronze re¬ liefs from, compared with terra-cotta reliefs from Heraeum, 51, 52; tripods from, 164; bronzes from, compared with Heraeum bronzes, 193, 194 n. 2, 195, 198 notes 1, 2, 3, 199 notes 1, 2, 200 notes 1, 2, 201 n. 2, 202 n. 4, 204 notes 2, 3, 205 notes 1, 2, 215 notes 1, 2, 219 n. 1, 223 n. 1, 225 n. 1,226 n. 1, 230, 232 n. 2, 235 n. 2, 240 notes 5, 6, 242 notes 1-4, 243 notes 1, 3, 244 n. 1, 246 notes 1, 3, 247 notes 1, 2, 249 n. 1, 250 n. 1, 259 n. 1, 261 notes 1, 4, 262 notes 1, 2, 264 notes 1-6, 265 n. 3, 267 n. 2, 269 n. 3, 270 n. 1, 275, 283, 287 n. 1, 288, 289, 291, 292, 293, 294, 295, 296, 297, 298, 299, 325, 326, 327, 329; ivory from, 351. Open-work vases, 144. Orchomenos, vases from, 119, 153, 155; “Apollo” statue from, 195 n. 4. Oriental influence in terra-cotta figurines, 7, 8 n. 3, 9, 13 and n. 4, 28 f .; in terra-cotta plaques, 49, 52, 54; in vases, 66,121,122,144,145, 163, 182 ; in bronzes, 193 ; in lotus headdress of bronze statu¬ ette, 196 f., in cattle, 202, explanation of term Oriental as used in connection with the bronzes, 202, in lion, 203, in ivories, 251. opyo s, represented on terra-cotta figurines, 11 ; gold liormus from Camirus, 51. Ornament and toilet, bronze articles, 207-275 ; cut ornaments of bronze, 274; ornamented bronze bands, 270 ; ornaments of bronze vessels, 294. Orsi, P., Sicilian terra-cottas published by, 3 n. 3, 10 n. 1,14 n. 6; on “ Bes ” type, 28 ; on “ Spes ” type, 34; other references to, 35, 37, 43, 133, 218 n. 2, 223 n. 2, 232 n. 1, 251 n. 3, 254 n. 1, 264 notes 1, 3, 267 n. 2, 295, 327. Osiris crown, translation of, into terms of lotus, 197 n. 4. Oven, terra-cotta, 15. Owl, on vases, 147, 148, 168, 172. Ox. See Cattle. Oxides, process of removing, 192 and n. 2; iron oxide, 330. Pallat, L., references to, 133, 135, 138, 143, 152, 153, 158. Palm-tree, on vases, 85, 87. Palmette, on vases, 135, 136, 138, 145, 146, 147, 154, 157, 158, 159, 167, 168, 169, 171, 172, 173, 174,177,179,182 ; on bronzes, 197, 265, 285, 287. Pan, terra-cotta, 37. Panther, on vases, 115, 147, 149,150, 151,152,153, 154, 167, 168, 170, 171, 177, 182. Patera, vase, 178 ; bronze, from Tiryns, 275. Patrae, coin of, 358. Pausanias, references to, 5 n. 2,13, 22 n. 1, 174 n. 3, 234 n. 2, 333. Peacock (?), of bronze, 205, 206 n. 1. Pegasus, on coins, 357, 358. “ Pelasgian ” origin of Mycenaean style, 71. Pendants, earrings with, on terra-cotta figurines, 12 ; bronze, 264 ; inMuseo Kircheriano, 264 n. 5 ; from Megara Hyblaea, 327. Peregrinus, L. Aerius, name on coin, 358. Pernice, E., references to, 113 n. 2, 154. 386 INDEX 7 repovai, represented on terra-cotta figurines, 11, 18, 19, 20. See Pins. Perrot and Chipiez, references to, 11 and n. 9, 18, 23, 36, 40, 95 n. 1, 195 n. 2, 196 n. 5, 197 n. 1. “ Persian Artemis,” analogy of figure on terra-cotta plaque to, 50, 52, 54. Pestle, bronze, 324. Petasus, on coin, 357. Petersen, E., reference to, 197. Petrie, W. M. Flinders, references to, 29, 66, 77, 85, 91, 156, 367 and notes 3, 7, 370, 371, 373. Plialeron jugs, 122, 153, 160 and n. 1. c f>d6/j.ara , in inscription on bronze, 333. Phiale, 178. See Saucers and Plates. Phidon, of Argos, date of, 64 f. Phillias (?), name in inscription on bronze, 332. Philostratus quoted, 15 n. 4. Phocis, coin of, 357. Phoenician ware, in British Museum and Louvre, analogous to Heraeum vase fragments, 68 ; bottle, from Heraeum, 353. Phylakopi, terra-cotta figurines from, 10 n. 1 ; deco¬ ration on fragment of pottery from, 276 ?i. 1; knives from, 300. Pig, terra-cotta, 15, 41. Pilos, on terra-cotta figurine, 16, 17. Pinakes, terra-cotta, 47, 54 ; pottery, 117. Pindar, quoted, 51 n. 4. Pins, bronze, 203, straight, 191, 207-239, 309, 311, 321, safety-pins, 240-249, pseudo-safety-pins, 249 f.: pin of iron separable from bronze head, 209, 210, 213, 216, 223, 224, 225, 226, 227, 228, 229, 230, 231, 232 (stem and corrugation of pin of iron), 246, 247, 248, pin of copper, separable from bronze head, 216, 225, 236, 237, 238, 239, 240; of ivory, 353. Pipes, on lamp, youth playing, 184 ; porcelain figure of Apollo playing, 373. Pirasos, seated figure of Hera by, 5, 13. Pitcher, bronze, 286. Pithoi, 68, 116, 181, 182. Plaques, terra-cotta, 47-54. See Terra-cotta reliefs. Plates, pottery, 80, 107, 115, 116, 126, 141, 142, 145, 154, 159, 166, 172, 176; from Aegina, 116, 120 n. 1 ; bronze, 272-274, 275-277. Platters, bronze, 277 f. Plektron, bronze, 324. Polos, representation of, on terra-cotta figurines, 5,12, 13 and n. 6. Polychrome vases, 158, 178, 179 f. Polycleitus, group of Hera and Hebe by, 22 ; Dory- plioros of, 184. See also Hera. Polymedes, statue at Delphi by, compared with bronze statuette, 195. Pomegranate, terra-cotta figure holding (?), 15 n. 4; on vases, 148, 170, 173, 174 ; on bronzes, 234 n. 2. Pot-hooks, on vases, 107, 126, 127, 130, 137, 145, 148, 154,173. Potter’s wheel, use of, in terra-cotta figurines, 7. Pottery. See Vases. Pottier, E., reference to, 68 n. 1, 127, 135, 155,181. Pottier and Reinach, interpretation of terra-cotta cones, 15 n. 10, 42. Praesos, gold rosette from, 232 n. 1. Prehistoric style. See Primitive. Primitive Argive, terra-cotta figurines, 4, 9, 16 f. Primitive style in vases, 60, 62, 68 ff.; date of, 68, 69. Primitive period in bronzes, 193. Primitive style in engraved stones and gems, 345. Probus, coins of, 361. “ Proto-Corinthian vases,” 61, 62, 63, 64 and n. 9, 66, 67, 122. See also Argive. Pseud-amphoras (Bugelkanne), 77, 85, 87, 88, 90, 92, 95. Pseudo-safety-pins, bronze, 249 f. Ptah, porcelain figure of, 372. Ptoan Apollo. See Apollo. Punctuation in inscriptions, 333. Pupienus, coin of, 361. Purple fish. See Murex. Pyramid shape in engraved stones, 349. Pyxides, 87, 123, 126, 133, 136-139, 145,148, 153, 164, 166, 168, 169, 181. Quadriga, on terra-cotta plaques, 48, 53 ; on vases, 113, 178. Quiver, on coin, 359. Rabbit, porcelain figure of, 368. Radowitz, Herr von, lekythos in collection of, 146. Ram, terra-cotta, 15 ; head of, 41; on vases, 168 ; of bronze, 201; ram’s horn in Osiris crown, 197 ; on ivory, 353. Rayet, O., and M. Collignon, references to, 6 n. 10, 23, 160 n. 1. Rays, on vases, 70, 82, 91, 101, 106, 110, 111, 114, 127, 128, 129, 130, 133, 134, 135, 136, 137, 138, 140, 141, 142, 143, 145, 146, 147, 148, 149, 150, 151, 152, 153, 154, 157, 158, 159, 162, 166, 167, 169, 170, 172, 173, 174, 178 ; on bronzes, 269, 280, 281, 282, 331. Rectangular engraved stones, 346, 348. Red-figured style, in vases, 60, 62, 65, 174, 178-180. “ Red ” ware, vases, 180-182, and 180 n. 4. Reichel, W., and A. Wilhelm. See Lusi. Reinach, S., concerning female figures with horses, 40. See also Pottier. Relief, vases in, 180. Reliefs, terra-cotta. See Terra-cotta. Remedello, silver pin from, 215 n. 2. Retrograde inscriptions, on vase, 186; on bronze, 332 f. Rhodes, influence of, in terra-cotta figurines, 15, 37, in vases, 151 ; connection with Argos, 51; vases INDEX 387 from, compared with those from Heraeum, 71, 135, 154, 159, 163. Rhyton, 179. Richardson, R. B., reference to, 338 n. 1. Ridgeway, W., references to, 9 n. 6, 250 n. 2. Rims, bronze, 272. Ring-form aryballos, 143, 148 n. 1. Rings, of terra-cotta, 16, 44 ; of bronze, 92, 191, 250-264, finger-rings, 250 f., bracelets, 251, decora¬ tive, 251-263, structural, 263 f., wire twisted into form of, 264 n. 1 ; silver ring from Heraeum, 338. Robinson, E., interpretation of vase, 162 and n. 1. Rodent, bronze, 203. Rods, bronze, 294. Rogers, J. D., references to inscription from He¬ raeum published by, 273 n. 2, 333 and notes 1, 3, 5, 334, 335, 336. Rolfe, J. C., references to, 299, 339. Roma, on coin, 362. Roman ware, 62, 180, 183 f. Rome, coins of, 361 ff. Rooster, on vase, 168. Rosettes, on earrings of terra-cotta figurines, 12, 21, 27, on brooch of same, 21, 25, on dress of, 26, on headdress of, 13, 27 ; on terra-cotta spools, 44 ; on terra-cotta plaques, 48, 54; on vases, 70, 80, 84, 86, 87, 94,100,101, 105, 106,107, 108, 110, 111, 127, 130, 131, 139, 141, 142, 145, 146, 147, 149, 150, 151, 152, 153, 154, 155, 157, 158, 159, 160, 161,162,164,168,169,171,183,184 ; on bronzes, 196, 197, 201 n. 3, 202, 203, 217 n. 2, 218, 219, 232 and n. 1, 251, 265, 268, 269, 270, 276 n. 1, 277, 281, 283, 325, 330; on engraved stone, 350 ; on ivory, 352 ; on coin, 363 ; on porcelain whorl, 373. Running-dog pattern, on terra-cotta figurine, 31 ; on vases, 85, 87, 88, 105, 107, 111, 116, 128, 131, 137, 142, 157, 159. Ruvo, cylix from, compared with one from Heraeum, 180. Safety-pins. See Pins. Sail or saucer pattern safety-pins, bronze, 242. Salamis, bronze rings from, 250 n. 3. Sambuka, Koehler’s theory as to, 112. Sandal, terra-cotta foot with, 16, 43. Sanguisuga type of fibulae, 244 n. 4. o-am type, of terra-cotta figurines, 30. Sanitary vases, 93. Satyr, terra-cotta figurine representing (?), 37 ; on vases, 177, 178,179, 180 ; on bronze mirror-handle, ithyphallic satyr, 265. Saucer pattern. See Sail or saucer pattern. Saucers, vases, 96 ff., 125 ff., 158,159 ; bronze, 278- 284. Scale pattern, on vases, 88, 155, 162; on bronzes, 265, 274, 285. Scarabaeus, on scarabeoids, 371, 372. Scarabeoids, from Heraeum, 369, 371, 372. Scarabs, 352, 368, 370 f. Schliemann, H., concerning “ unpainted ” terra-cottas from Tiryns, 6 n. 4; concerning “ bands ” on terra-cotta figurines, 11 ; other references to, 9 n. 5, 16, 17, 18, 19, 20, 22, 24, 26, 30, 41, 42, 44, 78, 85, 86, 88, 89, 90, 91, 143 n. 5, 160 n. 1, 283 n. 1, 345. Schreiber, Tli., reference to, 195 n. 4. Scorpion, on vases, 115,147 ; on engraved stone, 349. Scraper, bronze, 300. Seals, bronze, 250 f., 264; use of engraved stones as, 344. Searles, Helen M., reference to, 333. Serpent, terra-cotta, 15, head of, 41; bronze, 198, 204, 242, 251, 286, 289, 293. See also Snake. Sheep, on vase, 170 (plastic) ; bronze, 201. Sheet bronze, objects in, 266-274. Sheet gold, fragments of, 329. Shield, on terra-cotta figurines, 40; on vases, 112 and n. 2, 148, 161, 162, 163, 164, 169, 170, 172, 177, 179, 183 ; shields from Hictaean Cave, 299 n. 1; shield rim, binding of, 328 ; shield shape, engraved stones, 346, 348 ; on coins, 358, 361, 362. Ship, on vase fragment, 113 and n. 2. Sickle, bronze, 299. Sicily, terra-cottas from, compared with those from Heraeum, 3 n. 3, 10 n. 1, 14 notes 4 and 6, 52 ; vases from, 64 ; name in inscription on bronze, 338. See also Orsi. Sicyon, coin of, 358. Sicyonia. See Sicyon. Sicyonian inscription, 117 n. 1, 185. Silenus, head of, in relief on vase, 187. Silver, pin from Heraeum in British Museum, 191 n. 1, 217 n. 2, 339 ; pin from Remedello, 215 n. 2 ; ring from Heraeum, 338 ; coins of, 357, 358. Siren, terra-cotta, 41; on vases, 150, 151, 152, 153, 167, 172. Sistrum, on coin, 359. Situla, silver, in Florence, compared with vase from Heraeum, 148; on coin, 359. Skyphoi, 74, 91, 107, 108 n. 1, 112 n. 2 and 113 n. 1, 2 (from Eleusis), 117, 118, 123, 126, 132-136, 138, 144, 145, 148, 151-153, 158, 166, 167, 168, 173, 176, 177, 179. Slip, use of, on terra-cotta figurines, 6, 7, 9. Smith, Cecil, concerning stamps in British Museum similar to terra-cotta mould from Heraeum, 48 f.; excavations in Melos, 66 ; other references to, 64 n. 2, 122, 156. Snake, on vases, 69 n. 1, 80, 98, 105, 106, 126, 128, 130, 134, 135, 137, 142, 159, 160, 174; bronze, head of, 249, 274; on engraved stones, 343, 347, 348, 350, 352. See also Serpent. Sodamos (?), name in inscription on bronze, 333. 388 INDEX Sparta, pins in Museum at, 235 ft. 3. Spatula, bronze, 299. Spear, on vases, 112, 150, 161, 162, 164, 169, 170, 172, 174, 177, 178, 182, 184; on coin, 357, 361. Spear-butt, bronze, 323 f. “ Spes ” type, terra-cotta figurines, 34. Sphinx, terra-cotta, 8, 29 ; on vases, 148, 149, 150, 154, 165, 167, 168, 169, 170, 171, 172, 177, 182; bronze, 197 ft. 2, 287 ; blue-glazed frit figure of, 371. Spider, on engraved stone, 348. Spirals, on vases, 73, 74, 79, 80, 81, 82, 84, 85, 88, 93, 94, 105, 130, 154, 156; on coin, 360. Spits, bronze, 239, 300-323, 326. Spool-feet. See Tripods. Spool shape, engraved stones, 345, 348. Spools, terra-cotta, 15, 44. Spoon, of ivory, 353. Stag, terra-cotta figurine holding (?), 35 ; on vases, 150, 164, 169; on scarabs, 368. Stamnos, 172. Standards, bronze, 331. See also Tripods. Star pattern, on vases, 105, 107, 109,110, 112,137, 142, 154, 168 ; on bronze, 275, 281; on engraved stone, 345 ; on ivory, 351, 352; on coin, 361. Star-fish pattern, on engraved stones, 349. Statues, fragments of, in bronze, 194. Statuettes, in bronze, 194-196, fragments of, 196 f. See also Terra-cotta figurines. Steatite, as material for engraved stones, 343, 344. Stephan^, representation of, on terra-cotta figurines, 12, 13 and ft. 6, 16, 17, 18, 19, 20, 22, 24, 26, 27, 28, 31, 33, 35, 36, 37, 38. Stephanos, representation of, on terra-cotta figurines, 12, 13 and ft. 6; worn by Hera, on coin, 359. Stove, on vase, 174. .Straight pins. See Pins. Strigil, bronze, 299. Strips, binding, bronze, 269, decorative braces and strips, bronze, 328-330. Studniczka, F., references to, 10 n. 10, 11 n. 11, 50 ft. 3, 175, 195 ft. 4, 247 n. 1. Stylus (?), of ivory, 353. Suessula, fibula from, 240 ft. 4. Sugar-bowl vases, 136, 166, 170. Suidas quoted, 13 ft. 12. Sun’s disk, on scarabs, 370, 371. Supports, bronze, 330. Suspension vase, bronze, 193, 286 ; one from Aegina, similar to specimen from Heraeum, 286. Swan, bronze, 206 ; on ivory, 352. Swastika , on vases, 70, 84, 107, 110, 114, 128, 129, 162, 163; on coin, 358. Sword, on vases, 113 ft. 1, 148, 150, 161, 162, 163. Syra, vases from, 73, 97 ; knife from, 299. Syracuse, terra-cotta figurines in Museum at, similar to Heraeum specimens, 10 ft. 1, 35, 36, 41, 42; vases from, 99 and ft. 1, 100, 106, 119; vases at, 126, 127, 128, 133, 134, 135, 144, 152, 178. Syrinx, terra-cotta figure playing, 18. Tables, terra-cotta, 15, 42. Tanagra, tripod vase from, in Berlin, 52. Tear jugs, 183. Technique, of the bronzes, 193. See also “ Dorian ” technique. Tegea, terra-cotta figurines from, 5, 9 and ft. 6, 14 ft. 4, 19, 21; type of bronze pins at, 235 notes 3 and 5 ; pendant from, 264 ft. 6; spit from, 313 ft. 1; bed in archaic relief from, 329. Temple, on coins, 358. Terra-cotta figurines, 3-44 ; number of, 3, 9 ; finding places of, 3 ; classification of, 4 ff.; interpreta¬ tion of, 13 ff. ; catalogue of, 16 ff.; Primitive, 4, 9, 16 f.; Tirynthian Argive, 5, 7, 9, 17 ff.; My¬ cenaean, 5, 9, 14, 22 f. ; geometric, 5, 6, 9, 14, 23 ; Advanced Argive, 5, 7, 8, 9, 24 ff.; under Ori¬ ental influence, 7, 9, 28 f.; Early Archaic, 8, 9, 29 ff.; Advanced Archaic, 9, 38 f.; Free style, 9, 39; animals, 9, 15, 39 ff.; various objects, 9, 42 ff. ; from bee-hive tomb near Heraeum, 92. Terra-cotta reliefs, 47-54; finding places of, 47; classification of, 47 ; purpose of, 48; detailed de¬ scription of, 49-54 ; reference to, 169. Terramare, pins from, 235 ft. 2. Terraveccliia, terra-cotta figurines from, 3 ft. 3, 10 ft. 1, 14 ft. 6, 267 ft. 2. Textile patterns in vases of Mycenaean style, 86 ff. Thamophilos, name in inscription on bronze, 336. Thera, fibulae from, vases from, 66, 68, 135 ; “Apollo ” statue from, 195 ft. 4, 243 ft. 2. Therasia, vases from, 80; wall painting from, 85. Thessaly, coin of, 357. Thisbti, terra-cotta figurines from, 10 ft. 1, 24. Thoricus, vases from, 74, 75, 76, 78. Thunderbolt, on coins, 358. Thyrsos, on vases, 179. Thystia, name in inscription on bronze, 332. Tiberius, head of, on coin, 358. Tiles, terra-cotta, 47. Timonidas jug, 172 ft. 1. Tiryns, terra-cotta figurines from, 5, 6 ft. 4, 9,16,17, 18, 19, 20, 22, 24, 41, 42, 44; vases from, 68, 71, 78, 90, 97, 102, 119, 143, 181; pins from, 208 ft. 2, 215 ft. 2, 217 ft. 1; bronze patera from, 275 ; knife from, 300 ; 328. Tirynthian Argive terra-cotta figurines, 5, 7, 9,17 ff. Titus, head of, on coin, 360. Toilet. See Ornament. Tongue pattern, on vases, 70, 80, 131, 137, 139,140, 141, 159, 168, 169, 171, 172, 173, 174, 178, 179, 182. Tooth ornament, on bronze, 198, 200. Torch, on vase, 179 ; on coins, 358, 359. INDEX 389 Tortoise, terra-cotta, 15, 42. Trau Collection, bronze statuette in, 196 n. 1. Tree, terra-cotta, 16, 43; on vase, branch of, 181 ; on engraved stone, 347 ; on coins, 359, 360. Trefoil, on vase, 161. Triangles, on vases, 87, 116, 133 ; on bronze, 275, 276, 277. Tripod, on vases, 113, 164, 183; tripod bowl, 166, 170, 177. Tripod-standards, bronze, 292 ; tripods and tripod- standards, bronze, 294-296; fragment of large, 294, low standards, 295, feet, block, spool, lion’s, 295 f. Troy, ivory objects from, 69; vases from, 70, 93; pins from, 207 n. 1, 208 n. 2. See also Hissarlik. Truth, goddess of, on scarab, 370. Tsountas, Ch., concerning terra-cotta figures from bee¬ hive tomb near Mycenae, 10 n. 2, references to, 13 n. 11, 28, 29, 40, 50 n. 4, 54 n. 2, 240 n. 2, 241 n. 7, 251 n. 2, 299. Turtle, on terra-cotta disk, 354. IJraeus, on scarabs, 370, 371. Utensils. See Implements. Vases and vase fragments from the Heraeum, 57- 184 ; introduction, 60 ff.; method of sorting and cleaning, 60, estimated number of fragments, 60, finding places of, 61, indigenous and foreign types, 62, classification of, 63 ff. ; primitive, 68 ff.; My¬ cenaean style, 71 ff. ; geometric style, 101 ff.; Argive style, 119 ff. ; miscellaneous types, 159 ff.; Corinthian style, 165 ff.; black- and red-figured styles, 174 ff. ; vases in relief and later vases, 180 ff.; of bronze, 275-294. Vases with three handles, Mycenaean, 78, 79, 80, 84, 87, 92, 94. Vehicles, parts of, bronze, 298. Venice, coins of, 363. Verus, L., head of, on coin, 358. Vessels, of terra-cotta, 47 ; of bronze, 275-298. Villanova, objects from, 228 n. 1, 241 notes 4, 5. Volutes, on vase, 85 ; on headdress of bronze statu¬ ette, 196, 197 and n. 2, 296. Vulci, Polledrara tomb, vase from, 294, 297, wheel on sarcophagus from, 298. Wagon, on geometric vases, 109. See Chariot. Waldstein, C., and G. H. Chase, The Terra-Cotta Figurines from the Argive Heraeum, 3-44. Waldstein, C., and J. C. Hoppin, Terra-Cotta Reliefs from the Heraeum, 47-54. Waldstein, C., references to, 39, 64 n. 1, 120, 195. Warrior, terra-cotta, mounted, type of, 13, 40; on vases, 112, 113 and n. 1, 148, 150, 161-164, 169, 170, 172, 173, 174, 177, 179, 183; on coins, 362. “Warrior vase” from Mycenae, compared with He¬ raeum vase, 148,160 n. 1, 163. Washington, H. S., results of analysis of clay of various vase fragments, 64 n. 9, 102 n. 2, 116. Wave pattern, on vases, 69, 94, 105, 106, 107, 112, 126, 148, 183, 184. Weights, terra-cotta, 15 and n. 10, 44. Wheels, on vases, 85, 105, 116, 118, 132, 146, 164, 171, 179; bronze, 298 f. Whip, on vase, 112 (?), 162, 182. Whorls, terra-cotta, 16, 44; of steatite, 92, 353 ; of porcelain, 368, 373. Wide, S., on origin of geometric style, 102 ; classifica¬ tion of geometric types of vases, 102 n. 1, 103 ff., 118 ff. ; other references to, 66, 69 n. 2, 135. Wilhelm, A. See Reichel. Wilisch, E., references to, 135, 136, 149, 165 n. 2, 166, 167, 168, 169 n. 1, 170, 171, 172. Winged figures, on terra-cotta plaques, 47, 49 ff. Winged thunderbolt, on coin, 358. Winter, F., references to, 14 n. 4, 34, 37, 194 n. 5, 197. Wire, bronze, 264, 327. Wolters, P., classification of Mycenaean vases, 74- 76 ; theory as to origin of geometric style in vases, 102 ; other references to, 41, 51 n. 8, 243 n. 1. Wreath, terra-cotta figurine holding, 15 n. 4, 35 ; on vases, 79, 145 ; on coins, 357, 358, 359, 362. Xoana , 8, 353. Zante. See Corfu. Zeus, on coins, 358. Zigzag pattern, on terra-cotta figurines, 23, 42 ; on vases, 73, 82, 85, 86, 87, 90, 91, 100, 101, 105, 106, 108, 109, 110, 111, 115, 116, 117, 118, 121, 127, 128, 129, 130, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 146, 147, 149, 152, 157, 158, 159, 162, 164, 167, 168, 174; on bronzes, 196, 197 and n. 3, 198, 199, 200, 201, 207, 232, 235, 236, 237, 238, 239, 243, 250, 260, 261, 262, 263, 265, 266, 267, 269, 270, 271, 273, 274, 276, 281, 282, 283, 285, 293, 294, 295, 297, 299, 300, 307, 308, 309, 310, 311, 312, 313, 314, 315, 316, 317, 318, 319, 320, 324, 329; on en¬ graved stones, 346, 347 ; on other objects, 354. THE END. (€bc Stitoerjribe Electrotyped a?idprinted by H. O. Houghton dr 3 Co. Cambridge, Mass., U. S. A. $TP? 7 v ; :.';'- l A" • l‘\ ■ : : SiMly \ ■,:■■.*<•:■: tr. : * ■/. v.7 v- : .■; ; i ; v ■.■ . ■i.y. . ■ ■ , :. • ■ • ■• ■ : if. ' ,T ,:‘.v ■' s' ■■;■ ■ . ■• :•■■■ :. ,■'.■. •• ,, .... M 'I;j $1 j|;j Sf&i ■'! ■ I B a .. 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