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 88-B 
 
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CATAL OGUE 
 
 OP 
 
 THE MUSEUM OE ANTIQUITIES 
 
 OF 
 
 THE SYDNEY UNIVERSITY, 
 
 COMPILED BY 
 
 % 
 
 >■ 
 
 THE CURATOR, 
 
 Mr EDWARD REEVE, 
 
 1860 — 1870 . 
 
 PUBLISHED BY PERMISSION OF THE SENATE. 
 
 
 . SYDNEY: 
 
 1’. CUNNING1IAME & CO., STEAM MACHINE PK1NTERS, 
 ISO Pitt street, near king street. 
 
srDflir: 
 
 F OUNNNIGIIAME & CO., PRINTERS, 
 PITT STREET. 
 
 *• 
 
 
 * 
 
 ‘ 
 
 
 A- M 
 
 
PREFACE 
 
 The Museum of Antiquities, in connection with the Sydney University, 
 frequently designated in honour of its Patriotic and Liberal Founder, 
 (theFirst Chancellor of that Institution) “The Nicholsonian Museum,” 
 contains a large and well-chosen Collection, ever to be regarded with 
 much interest, and studied with very great improvement, by those who 
 care to avail themselves of such a facility for the acquisition of a 
 particular kind of knowledge—constituting, as it does, a Means certainly 
 not elsewhere afforded in New South Wales. In this Museum there arc 
 now upwards of 3000 Objects, classified, authenticated, and described ; 
 an attentive consideration of which cannot but materially tend to 
 familiarize the Australian Student of History with many things that 
 might here, probably have otherwise remained unknown to him • or with 
 which he could, under other circumstances, only have hoped to become 
 but partially acquainted, through the more imperfect medium of books 
 and engravings. In regard to the Department of Mediaeval History, and in 
 much that relates to the Grand, Classical Epochs of Greece and Rome—• 
 and to those far moi*e Remote Ages, when Egypt, Assyria, and Etruria were 
 Great, though Isolated Centres of a now almost forgotten Civilization, 
 —there are, in the Sydney University Museum, many valuable illustra- 
 trations, exemplifying the different ways in which some of the 
 Races of Man have developed their active thoughts,—leaving after them 
 significant monuments of their ever-varying manners, of their modes of 
 life, and of their respective laws and religions. The Arts of War, and the 
 Customs of Men in Times of Peace can scarcely be more clearly or more 
 acceptably represented to the Human Mind than by an Antiquarian 
 Museum —one in which an assorted assemblage of suggestive objects 
 serves as a kind of Intellectual Store, out of which ideas may be taken 
 and circulated on the most unfamiliar subjects; a Volume, (as it were) 
 which, by the use of a little patient application, can readily be made to 
 give really valuable instruction on History, in its broadest and most 
 
11. 
 
 PREFACE 
 
 comprehensive sense. Whether men desire to study the progressive 
 efforts of Art during the Middle Ages (as manifested, for example, in a 
 Series of the Great Seals of England) or prefer to turn back to the 
 chefs d' oeuvres of Sculptors in the Olden Days of the Pharaohs, the advan- 
 vantages found to be derivable from a good Museum of this character 
 can hardly be over-stated, or misunderstood; and this may possibly, in 
 some degree, help to account for the popularity of the “ University 
 Museum of Antiquities,” which has been visited, week after week, by 
 large numbers of persons since it was first opened to the public, about 
 nine years ago. It is chiefly for the use of such courteous visitors, 
 prepared to be pleased, and not armed with a hostile criticism, that this 
 Catalogue, not without some considerable amount of labour, has been 
 compiled by the Curator. 
 
 The first 408 Objects, herein described, were collected by Sir 
 Charles Nicholson, Baronet, during a Tour made by that gentleman in 
 Egypt in the year 1856-7 This nucleus of the present Collection was 
 originally arranged and described in England under the superintendence 
 of Joseph Bonomi Esquire, F.S.A.; that very eminent Egyptologist, 
 Mr. Samuel Birch (Director of the Department of Egyptian Antiquities 
 at the British Museum) having kindly supplied translations of several 
 of the Papyri and Stelae. In the Original Catalogue of these Objects— 
 which (for the sake of distinction) may, perhaps, be called “ Bonomi’s ” 
 —all the translations and more elaborate descriptions supplied by Mr. S. 
 Birch, and several others, were printed in extenso, and will ever be found 
 to be of the greatest possible interest to the more advanced Student in 
 Egyptology. The principal translations and explanations supplied by 
 Mr. Birch were, apparently, those comprised in the descriptions of Nos. 2, 
 5, 26, 41, 85, 92, and of several of the Inscribed Bandages not particu¬ 
 larized. The illustrations and translations specially contributed by Mr. 
 Bonomi were almost equally numerous; and amongst them are (seem, 
 ingly) those to be met with at Nos. 43, 297, 405, and, doubtless, many 
 of the Mummy Swathes. Sir Charles Nicholson was also under special 
 obligations to his friend, the llev. D. I. Heath—late Fellow of Trinity 
 College, Cambridge—from whom came the descriptions and translations 
 in Nos. 23, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 97, 301, 349, 403, 
 404, 405, and some others. For the most part Mr. Heath’s valuable 
 contributions to the “ Bonomi Catalogue ” had reference to Fragments 
 of the Hieratic; but, besides those, Mr. Heath also supplied transla¬ 
 tions of Portions of Hieroglyphic Writings on Mummy Swathes, Papyri, 
 and Wood. Nearly all of these translations were excerpts from the 
 celebrated “ Ritual, or Book of the Dead,” and their publication fur¬ 
 nished probably the very first occasion in which so large a portion of 
 
PREFACE. 
 
 ill. 
 
 that Ancient and Mysterious Formula was ever printed in the English 
 Language. Some of the Greek Inscriptions in this nucleus of the 
 present Collection were deciphered by Professor EL Malden of University 
 College, London; whilst the Coptic Fragments (which must naturally 
 be a matter of peculiar interest to every ardent Egyptologist) were 
 translated for Sir Charles Nicholson by C. W. Goodwin, Esq., M.A., of 
 the Inner Temple,—a gentleman distinguished for his philological 
 attainments, and for his profound acquaintance u with Early Egyptian 
 Literature. 
 
 The Curator, in the New Catalogue of the above-mentioned portion 
 of the University Museum, has very freely availed himself of the 
 literary labours of Messrs Bonomi, Birch, Heath, Malden, and Goodwin ; 
 but most of the descriptions so furnished, have, in passing through the 
 press, received large additions, alterations, and abridgments, wherever such 
 changes might, in the humble judgment of the Curator, render the “ New 
 Catalogue” yet more instructive and serviceable to the ordinary 
 visitor. The Curator’s intention, in this part of his task—as, indeed, 
 in the rest of his Catalogue of the Museum—has been to connect objects 
 with other objects of a similar character; or witli such as might, 
 more or less directly, serve to elucidate the matter of the description 
 given. Information derived from reliable sources (such as Chevalier 
 Bunsen’s Great Work on “ Egypt ”—and other costly books) has also 
 been largely introduced to enhance the general interest of this work, 
 and for convenient reference by such as may desire, without much 
 difficulty, to acquire a competent knowledge of the subjects adverted 
 to, and hereby specially illustrated. 
 
 These four hundred and eight objects formed (as above intimated) 
 the nucleus of the “ University Museum of Antiquities,” but since they 
 were first handed over by Sir Charles Nicholson to the Sydney Univer¬ 
 sity, many hundreds of other valuable objects, Egyptian, Etruscan, 
 Greek, Roman, and Mediaeval, have been added to the Original Collec¬ 
 tion, by the Founder and by others. The Museum now contains not 
 less than three thousand of these “ Tokens of the Dead.” All the 
 Objects will be found carefully enumerated and described in the 
 Catalogue now published, in which the consecutive numbers are extended 
 from 409 to 1363. For the descriptions of all of these several Objects, 
 and for the New Catalogue generally, the Curator holds himself per¬ 
 sonally responsible. That Officer has felt himself bound to preserve 
 the original numbering of the Bonomi Catalogue (as far as it went) for 
 the convenience of all who may wish to use the more voluminous 
 descriptions of some of the Egyptian Antiquities comprised in that 
 
IV. 
 
 PREFACE. 
 
 Catalogue, in preference to the explanations appearing in the New and 
 Amended Catalogue now respectfully presented. 
 
 In conclusion the Curator begs to express his grateful acknowledg¬ 
 ments to the Fellows of the Senate for their liberality in enabling their 
 Officer to print this Catalogue,—one which he ventures to hope will be 
 found calculated to awaken a yet deeper interest in the admirable 
 Collection, for so many years past confided to his immediate charge. 
 
 Sydney University Museum, 3rd August, 1870. 
 
OATA TjOGrXJB 
 
 OF 
 
 THE MUSEUM OF ANTIQUITIES 
 
 OF 
 
 THE SYDNEY UNIVERSITY, 
 
 COMPILED BY 
 
 THE CUEATOE. 
 
 1870 . 
 
 1. Statue of an Egyptian Scribe (of the era of the XVIII Dynasty) 
 
 in a kneeling posture ;—holding before him a circular-headed 
 Tablet of Hieroglyphics, the commencement of the usual formula 
 of Funereal Inscriptions. Inscription partly defaced ; blue paint 
 of hieroglyphics restored. Fine limestone ; eleven inches high. 
 
 2. Portion of Perpendicular Inscription in Hieroglyphics. Accord¬ 
 ing to Mr. Samuel Birch, of the British Museum, this is the end 
 of the sepulchral formula for a person named Sa-Sati, the letters 
 being in the fashion of those of Thebes, during the XVIII Dynasty. 
 The hieroglyphics are incised and coloured. Limestone; ten 
 inches and half high. 
 
 8. The Upper Part of a Figure of Osiris, as Judge of Amenti —the 
 Western Eegion, or the World to Come. He holds in his left 
 hand the flail or whip ( ncha ), and in his right, the pastoral crook. 
 This bust is in the style of the period of the First Greek Kings of 
 Egypt. Bronze; three inches and three quarters high. Note.— 
 The Historical Osiris is said to have been a Greek, who married 
 an Egyptian Princess, and who, having reigned as King of Egypt 
 for several years, was treacherously slain by his brother, and 
 afterwards Deified. See No. 14. 
 
 4. Funereal Tablet, representing a woman making an offering to 
 her deceased husband, or father, on an Altar Table. Figures in 
 low relief, with hieroglyphics incised. Limestone ; eight inches 
 high, and 6 inches wide. ( Egyptian .) 
 
 5. Perfect Tablet, representing a man making aD offering of cakes, 
 fruits, and onions, which he has laid on a table before the figure 
 of a male personage sitting in a high backed chair, having a lotus 
 in his left hand, and a kerchief in his right. The man making 
 the offering stands pouring out a libation, at the same time holding 
 a trussed goose in a dish. Above the figures is the Egyptian 
 
 B 
 
2 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 Symbol of the Two Eyes and the Signet between them. Below 
 are two lines of hieroglyphics. Limestone ; nine inches high, and 
 six inches and a quarter wide. 
 
 6. Portion of a Tablet representing a man and a woman. Above 
 their heads are three lines of hieroglyphics, placed horizontally. 
 ( Egyptian.) 
 
 7. Tablet representing a man and woman sitting on a raised seat. 
 Their children—four sons and a daughter—are standing in a row, 
 on the opposite side of a Table of Offerings. Each figure has its 
 name written in front. The figures are carefully sculptured in 
 low relief, the ground being of a yellowish tint. Limestone ; 
 eleven inches wide, and five inches and a half high. (Egyptian.) 
 
 8. Portion of Terra Cotta Tablet. —This curious fragment consists 
 of six lines of hieroglyphics, cut into the surface of a tile after it 
 was baked. Red Terra Cotta Slab, six inches and three quarters 
 high, and six inches wide. (Egyptian.) 
 
 9. Fragment of a Mohammedan Tombstone from the Ancient 
 Cemetery near Assuan, in Upper Egypt. The only legible word 
 on this fragment of Nubian Sandstone is the last word of the 
 commonly used formula at the commencement of the Koran. 
 Date uncertain. 
 
 10. Portion of Tablet representing two men carrying offerings. Is 
 in the ancient style of work; probably of the time of Thothmes III., 
 B.C. 1500. Theban Limestone; eight inches wide, and five 
 inches high. 
 
 11. Fragment of Tablet in gray granite, engraved on both sides, 
 with hieroglyphics in vertical columns. On one side the word for 
 “Thebes,” (AMN with a Manger, the Symbol of Thebes), occurs 
 twice. The city of Thebse (or Thebes) in Upper Egypt wms called 
 “Tepe,” “No,” and “ Amunei,” by the Egyptians. The Greeks 
 also called it Diospolis. 
 
 12. Portion of Tablet representing two men sitting on ornamented 
 chairs inhaling the fragrance of the Lotus. In the upper part is 
 the Symbol Uta—the Solar Eye, and the Signet; and below are 
 the figures in relievo. Then follow hieroglyphics in perpendicular 
 lines. 
 
 13. Statue of a Man in a Fringed Garment. The figure is sitting 
 on a square seat, with its right arm exposed. Hieroglyphics 
 scratched on the obelisk at the back. Head and feet wanting. 
 Black Granite ; seven inches and a half high. ( Egyptian ) 
 
 14. Head of Statue of Ostris, of the Ptolemaic, or Roman Period. 
 Talcose slate, with octahedral crystals of magnetic iron. The 
 Egyptian form of the Name of Osiris was “ Hysiris ” or “ Hesiri,” 
 the Eye of Isis. He was the Eldest Son of Nutpe, begotten by 
 Seb, or Chronos. He is styled “ Onnophris,” the Revealer of Good. 
 According to Plutarch, “Osiris” means Many Eyed. The well- 
 known Osiris-Typhon Myth, is of later date than Rhameses the 
 Great, whose era was about 1300 b c. Osiris represents the Good 
 Principle; Typhon or Apophis (with whom Osiris contends), the 
 Evil Principle. Osiris has been called by some old Alexandrian 
 
OF THE SYDNEY UNIVERSITY. 
 
 3 
 
 Writers, Aoyos Klyvnnos. In the Latter Ages of Ancient Egyptian 
 History he was identified with the Apis. See No. 56. 
 
 15. Head of Amun-Ba, the Principal Deity of Thebes. On the top 
 of the cap is a groove for the insertion of the two Feathers of 
 Truth—the ancient characteristic head-dress of this Divinity. The 
 place of the eyes has likewise been excavated for the insertion of 
 some other material. Probably very ancient; belonging to a period 
 antecedent, to the time when statues of this God were broken. 
 Dark Limestone, resembling Purbeck Marble; two inches and a 
 quarter high. At the base is the lower part of a standing figure, 
 of similar material. The Greeks called the Pam-Headed God, 
 “Ammon” and “Zeus.” On the later monuments we find 
 “Jupiter Ammon,” “ Cenubis” in Elephantina, and “Amenebis” 
 in the Oasis. The common title of Ammon Ea is “ Amn-Ea Suten 
 Neter-u ”—Ammon Ea, King of the Gods. (See Bunsen’s Egypt ? 
 vol. 1, page 369.) Befer to Nos. 224 and 387 in this Catalogue. 
 
 16. Head and Shoulders of Isis nursing Horus. Appears to have 
 been anciently mended. Dark Limestone ; seven inches high. 
 The eyes have been of some other material. (See No. 51.) 
 
 17. Well executed Statue of a Female, in the ancient style of 
 work. No Inscription; head and feet wanting. Slate stone ; 
 fifteen inches high. [Egyptian.') 
 
 1 8. Part of Emblematical Figure of a Crocodile (Sebec) on an altar. 
 Limestone ; three inches and half high. On the same stand is the 
 fragment of the ear and corner of the head-dress of some royal 
 personage. [Egyptian.) 
 
 19. Part of the Hand of a Statue, the size of life. Of a Divinity, 
 or Eoyal Personage, as is evident from the piece of plaited dress 
 attached. Black Granite ; five inches long. ( Egyptian) 
 
 20. Plinth of a Statue. Two feet, and two lines of hieroglyphics. 
 Limestone. [Egyptian.) 
 
 21. Small Statue of an Egyptian Female, lower half wanting. A 
 column of hieroglyphics on square block behind. Hard green 
 stone ; four inches and a quarter high. 
 
 22. Fragment of Statue of Embalmed Person. Four lines of an 
 inscription—the hieroglyphics of which are engraved in outline. 
 Clay stone ; four inches high. 
 
 23. Mummy Cloth inscribed with several chapters of The Eitual, or 
 Book of the Dead in the Hieratic, or Sacred character, with illus¬ 
 trations in outline over each chapter. Original length of piece 
 of linen—twenty feet four inches. The name of the Deceased 
 Person referred to was “ Hemet Unna,” or “ Hemet Unnu.” 
 
 24. Fragment of the Cover of a Mummy. Consists of what covered 
 the right ear and part of the cheek of the Mummy of a Eoyal Lady. 
 
 25. Two Frames containing fragments of Papyri in Greek, and in 
 Enchorial or Demotic—the ordinary character anciently used by 
 the Egyptian people. 
 
 26. Mummy of Little Girl in its inner wrappings, many of which 
 are of dyed linen. These wrappings were found enclosing two 
 
4 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 folds of papyri in the Hieratic character (Vide 26e.) This 
 mummy is about three feet six inches long, and seems (from the 
 style of its decoration) to belong to the Roman Period. Prom the 
 inscription it would appear that the name of the child was 
 Haranth, the daughter of a lady of the House of Ta-ur. The 
 sketch 26c shews the original position of these Papyri. Probably 
 not more ancient than the time of the Emperor Trajan, or about 
 a.d. 90. 
 
 27 Wooden Case Containing Mummy of a Priestess of one of the 
 temples. On the lid of the case the Figures of the Divinities, 
 occupying the compartments on each side of the central divisions, 
 are seen in relief, while the representations on the side walls of 
 the lower half of the case are only painted. The face of the mummy 
 is painted yellow —the conventional colour adopted by the artists of 
 Egypt for representing the complexion of the females of that country. 
 The arms of the figure are crossed below her breast over an ample 
 collar, or necklace, composed of lotus flowers and lotus leaves. 
 The mummy is further decorated with representations of Osiris, 
 of Isis, of Nephthys, of the Four Infernal Divinities, or Genii of 
 Amenti (Hape, Kebhsnauf, Sioumautf, and Amset)—of Anubis 
 (in the form of a Jackal), of Thoth, of the goddess of the Sycamore, 
 and other mythological personages. Besides these figures there is 
 a profuse ornamentation in which are prominently introduced the 
 Scaraboeus, the TJrseus (or Cobra) the symbolical Feathers of Truth, 
 the Nilometer, the Winged Eye, and other significant emblems. 
 The wood of the Sarcophagus is made of the Ficus Sycomorus, now 
 called in Egypt, Elgemaise. Probably of a late Roman Period, 
 shortly before the transition to Christianity. 
 
 28. Mummy Case, and Mummy of a Man. This case is constructed 
 of Sycamore Wood, Stucco, and Canvass,—formed into the pre¬ 
 scribed shape of an embalmed person, and covered with figures 
 and hieroglyphics. Presumed to be of the period of the Psammetici 
 (From b.c. 680 to 525.) The face is painted red , the colour 
 adopted by the artists of Egypt for the complexion of the male 
 population of that country. On the top of the head is painted the 
 Scarabceus or Sacred Beetle (the ancient emblem of Phtah, the 
 Egyptian Vulcan), and the hair is brought down in front in two 
 massive locks over the breast, which is covered with an ample 
 necklace or collar, composed of beads and lotus leaves. Below 
 the necklace is a composite figure, representing Amun-Ra, having 
 the head of a ram, with the body and wings of a vulture stretching 
 over the mummy. Then follow a series of small compartments 
 in which are depicted certain divinities, amongst whom are Thoth 
 and Horus and the Four Genii of Amenti. Lastly, at the feet, is 
 Anubis, in the form of a jackal, at his post as the cpv\a£ or Guardian 
 of the Body. Several lines of hieroglyphics— passages from the 
 Ritual—occupy the rest of the surface of the case till within a little 
 of the underpart, on which is painted a large figure of the Goddess 
 of the Western Region (the World to Come), her arms furnished 
 with ample wings, and stretched out to receive the dead. She 
 stands on a well-known figure, kabi , signifying Splendour. The 
 
OF THE SYDNEY UNIVERSITY. 
 
 5 
 
 elaborate finish of this Mummy Case (made at an age when the 
 Religion of Old Egypt was fuJly believed in) presents a stinking 
 contrast to the slovenly style in which the mummy case No. 27 
 has been completed, in the last stage of Heathenism in Egypt. 
 
 29. Cedar Mummy Case, from Memphis, shaped into the prescribed 
 form, the lid fitting closely to the lower part. Indications of the 
 emblems and hieroglyphics with which this exterior case was once 
 adorned are yet to be seen; and there are traces of the red 
 pigment with which the face was originally coloured Probably 
 of the same period as No. 28, below which it is now placed in the 
 Museum. 
 
 30. Mummy of a Cat —one of the Sacred Animals of the Ancient 
 Egyptians. The Cat was sacred to Pasht, one of the early forms 
 of Isis. In the explanation, or comment, upon the 17th Chapter 
 of the Ritual, it is stated that a Divinity in the form of a cat feeds 
 upon the Damned (See No. 370). Pasht was the daughter of Phtah, 
 or Hephaistos. Pasht was the Goddess of Bubastis (Pibeseth) and 
 was styled the Mistress of Memphis. Cats are also, in some way, 
 connected with Horus. (See 13th Chapter of the Book of the Dead, 
 No. 382.) 
 
 31. Legs of a Mummy of a Child, in a high state of preservation and 
 in the best mode of embalming. 
 
 32. Tiie Embalmed Head of a Man, preserved by being immersed in 
 bitumen, or pitch, liquified at a very high temperature. Supposed 
 to be the head of a foreigner; not improbably, an Israelitish 
 inhabitant of Lower Egypt—one of those referred to in the ix. 
 Chapter and 6th verse of Hosea. This is a good specimen of the 
 inferior mode of embalming as formerly practised in Egypt. 
 
 33. ErAGMENT OF THE PASTEBOARD CANVASS COVERING OF THE MUMMY 
 of A Female. The face is gilt, and the hair painted blue. 
 
 34. Coarse Terra Cotta Yase of globular form, such as are to be 
 seen in the hands of beings making offerings to the gods, and in 
 the hieroglyphic inscriptions. The prenomen of Thothmes, or 
 Thothmosis III. b.c. 1500 is impressed on this vase, in rudely 
 executed hieroglyphics. The vase is 5f inches high. 
 
 35. Coarse Terra Cotta Yase containing the mummy of an Ibis 
 from the Ibis pits at Sakkara, near Memphis. The cover has 
 never been removed, for the ancient plaster is unbroken. 
 
 36. Terra Cotta Yase, from the same locality, but opened. 
 
 37. A Canopic Yase of oriental alabaster, with the Human Head 
 Cover (for Amset) and five lines of hieroglyphics, perfectly distinct 
 and placed vertically. The hard and beautifully marked limestone 
 of which it is composed is found in great abundance in the margin 
 of the desert on the Eastern side of the Nile, about a hundred 
 miles south of Cairo, at a place anciently called Alabastron, in the 
 Cynopolite Nome. It was usual to place four of these jars 
 (containing viscera of the embalmed person) with the sarcophagus 
 in the tomb. Each of these jars, or vases, had a different cover 
 severally representing the heads of the Four Infernal Genii, or 
 Gods of Arnenti —the Western Region, or the World to Come. 
 
6 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES. 
 
 These Genii were Amset (the Human Headed), Hape (the Baboon 
 Headed), Sioumautf (the Jackal Headed), and Kebhsnauf (the 
 Hawk Headed). The face of Hape, or Apis, is often represented 
 as much like that of a Dog as like that of a Baboon. It is not 
 always easy to distinguish Hape, or Apis, from Hapi, the Nile. 
 The Figure of Hape resembles that of Anubis. 
 
 38. Portrait Statue of a Scribe, in soft calcareous stone. He is 
 seated on a cushion, his left knee raised, on which he holds, with 
 his left hand, the roll or volume of papyrus, which is kept 
 sufficiently tight to write on, by being passed over the thigh. The 
 right hand is raised holding the stylus, or brush, to his mouth, 
 whilst considering the sentence to be written. There are well cut 
 hieroglyphics on three sides, on the top of the plinth, and also 
 on the papyrus. The head and arms have been restored. Ac¬ 
 cording to the translation of the Reverend D. J. Heath, the 
 inscription is addressed to “ The Queen of Heaven,”—on the part 
 (as it would appear) of “ta sha,” the son of a Scribe “ auee.” 
 
 39. Head of a Statue in dark granite, 9 inches high. 
 
 40. The upper part of a Female Statue. This statue was in a 
 sitting position, and probably of an important personage. The 
 style of work is that of the Late Greek or the Roman period. 
 Syenite, 19-^ inches high. The head and left arm have been restored. 
 
 41. Upper part of the Statue of the Wife of Tirhakah, King of 
 Ethiopia (see Isaiah xxxvii. 9, and 2 Kings, 19). The Royal 
 Husband of the Lady here represented, marched to the assistance 
 of Hezekiah, King of Judah, when the territory of that sovereign 
 was invaded by Sennacherib, King of Assyria. Tirhakah was 
 the last king of the XXV Manethonian Dynasty. This statue was 
 probably broken at the time of the Babylonish iuvasion of Egypt, 
 under Nebuchadnezzar, which happened only a few years after the 
 reign of Tirhakah, or at the subsequent invasion under Cambyses. 
 The entire face is modern, having been injudiciously, restored. She 
 holds in her left hand the Lotus Sceptre, carried by royal ladies. 
 On the plain part of the back are the remains of an inscription in 
 two columns of beautifully formed characters, in which the name 
 of Tirhakah occurs; after which, doubtless, once followed the 
 name of the person represented—as may be conjectured by the 
 sign (somewhat resembling a crescent) immediately below the 
 cartouch, which signifies HMA, “a Lady,” and which usually 
 precedes the ovals containing the names of queens. This bust 
 represents the wife and not a daughter of Tirhakah, as is proved 
 from the fact that she wears the Aspidal Crown, in addition to the 
 Ureeus, or Royal Serpent, or “Basilisk,” upon her forehead. 
 This interesting fragment, bought at Thebes, is of black granite, 
 23 inches high. 
 
 42. The Feet and part of the Plinth of the Statue of a Queen, for 
 on the pedestal, or plinth, was a figure of Nilus, the Sustainer of 
 the Throne of Egypt, bringing the Papyrus, the Lotus, and three 
 water jars. The feet are well executed. The statue was in a 
 walking position, and must have been about three feet high. 
 Alabaster. A portion of the pedestal has been restored. 
 
OF THE SYDNEY UNIVERSITY. 
 
 7 
 
 43. Fragment of a Granite Statue of the Queen of Egypt who was 
 the Wife of Psammeticiius III. The Pharaoh-Hophra of the 
 Bible mentioned by name, by the prophet Jeremiah—xliv. 30— 
 and again in chapter xlvi. 2, when this Pharaoh was with his 
 army “ by the river Euphrates in Carchemish, which Nebuchad¬ 
 nezzar king of Babylon smote, in the fourth year of Jehoiakim the 
 son of Josiah king of Judah.” And he is alluded to twice in the same 
 chapter, as well as in the book of Ezekiel—xxix. 23. The frag¬ 
 ment consists only of the right hand part of the body of the statue ; 
 but fragmentary as this piece of antiquity is, those few signs in the 
 oval at the back (Schapenate ?) identify it with indisputable cer¬ 
 tainty, as the statue of the wife of Pharaoh-Hophra, and a work of 
 art of the period, giving to it an importance as a tangible evidence 
 of the truth of Scripture History, which makes it of great value. 
 "We read—Jer. xliii. 13, that images in the temples of Egypt were 
 broken at the time of the Babylonish invasion which took place 
 about eight years after the death of Pharaoh-Hophra; at which 
 time, this statue, of the Wife of a King who had been so recently 
 allied with the enemies of the invader, would be an object of 
 peculiar vengeance, and, therefore, be greatly mutilated. It has been 
 noticed by the learned, that the name here given dilfers slightly 
 from r that of the same queen given in the ‘ ‘ Chronology and 
 Geography of Ancient Egypt,” by Mr. S. Sharpe. 
 
 44. Fragment of the large fallen Obelisk of Karnak (Thebes). 
 The companion obelisk of which this is a fragment is one block of 
 Syenite, or rose-coloured granite, ninety-three feet long, eight feet 
 square at its base, and six feet square at the base of the pyramidion. 
 See Transactions of the R. S. L., vol. 1. Second Series, p. 158. 
 
 45. Fragment of soft Limestone from the Apis cave, near Sakkara. 
 On it is an inscription in the Enchorial or Demotic character. 
 
 46. Fragment of an inscription from the Tomb of a Priest, in the 
 nummulite rock of the locality of the great Pyramids of Ghizeh. 
 This stone will be found extremely interesting as a geological 
 specimen. 
 
 47. Head of the Dog-faced Baboon. This is the cover of one of the 
 four jars that contained the viscera of the mummified person in 
 whose tomb it was found. The Baboon-Headed God, or Genius 
 Amenti, was called Hape, or Apis—not, according to Bunsen, to 
 be confounded with ITapi, the Personification of the Nile. It is, 
 of course, also to be distinguished from the Apis Bull of Memphis, 
 into the body of which the Soul of the Slain Osiris passed. 
 See No. 56. 
 
 48. Human-headed Cover of a Canopic Vase. This Divinity or 
 Genius of Amenti was called Amset. 
 
 49. Fragment of the Statue of a Mummified Person, in a beautiful 
 style of Egyptian Art. This figurebears none of the emblems which 
 are common to the more ordinary figures of the same class, nor 
 has it the curved beard. The work and the hieroglyphics seem to 
 be of the time of Psammeticiius—Limestone, 8 inches high. 
 
8 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 50. Rude Statue of a Person in the Dress of a Scribe of tiie 
 Eighteenth Dynasty. Limestone, 7| inches high. 
 
 51 . Perfect Funereal Tablet. In the semicircular top is the arch- 
 formed heaven and the Winged Globe ,—the Symbol of Horus the 
 Elder, Her Her, the Lord of Het (Edfu or Apollinopolis) the 
 A gathodmmon, and the “ Apollo ” of the Greeks. Below is a man 
 making an offering and prayer to the three great divinities of 
 Egypt—Osiris, Horus, and Isis. Below this again are three 
 women and a man, probably the children of the person in the 
 compartment above. Three lines of inscription placed horizontally 
 terminate this tablet. (For Horus the Younger, see No. 331.) 
 The Winged Globe in this tablet resembles the Royal Emblem of 
 the Assyrian Kings. (See No. 1127.) 
 
 52. Tablet dedicated to Osiris in the 26th Year and 3rd Month of 
 the Reign of Amosis. The royal name occurs twice, once in the 
 first column (where there is Aah, the moon, for A.; the Thongs of 
 a Whip, for M. S.; and the Back of a Chair for S.), and again in 
 the seventh column, where there is a similar cartouch, or oval. 
 The number of years is expressed, not in the usual ciphers, but 
 by a sign or hieroglyphic (Sti, a sunbeam) which is used to signify 
 light. A succession of these forms is usually seen proceeding from 
 the figure of the sun, and, in harmony with this idea, the emblem 
 is sculptured on the sides of the only opening for light in the 
 ceiling of a dark chamber in the temple of Dendera, or Tentyra, 
 the City of Hathor. Possibly, in the highly figurative writing of 
 Egypt, the hiero-gramatist intended to convey an idea of the 
 splendour of the reign of Amosis by the use of this figure, and to 
 say in the 26th period of splendour, or year of the reign of 
 Amosis, &c., &c. The circular part of the tablet is occupied by the 
 dedication to Osiris. Then follow eight vertical lines of inscription, 
 and one horizontal line at the base of the tablet. The hiero¬ 
 glyphics are coarsely engraved intaglio on a slab of limestone, 
 22| inches high and 12 wide. 
 
 53. Tablet beginning with the usual formula, the two Eyes, 
 and the Seal or Ring. (See No. 5.) Below the Symbol is a 
 young man and a woman making an offering to a person seated 
 on an ornamental chair, holding in his left hand a lotus, and in 
 his right a fold of linen. At the foot of the elevated dais or platform 
 on which the chair of the seated person is placed, is a Table of 
 Offerings with a bundle of onions, the leg of a gazelle, and some 
 cakes. Over this a young man is pouring a libation. Two lines 
 of hieroglyphics terminating below in a short sentence, complete 
 this tablet. It is of Theban style, and retains much of the ancient 
 pigment. Of soft limestone, 17 inches high and 11| inches wide. 
 
 54. Tiie Left Breast and Pendant Shoulder-piece of the Head-dress 
 of a Royal Person. Granite, 7% inches high. 
 
 55. Portion of the Head of a Statue in Granite, that must have 
 been of some consideration, as it has been most ingeniously 
 restored by the ancient Egyptians. It probably represented one 
 of those divinities which fell into disrepute, and in a subsequent 
 reign was restored to favour. 
 
OF THE SYDNEY UNIVERSITY. 
 
 9 
 
 56. Figure of Osiris sitting on his Throne as Judge of Amenti. 
 It is of steatite, about five inches high. The head is modern. 
 (Refer to Nos. 3, 14, 51.) Osiris was also venerated under the 
 forms of the Sacred Bulls —Apis at Memphis, and Mnevis at 
 Heliopolis. In later ages he was represented as a Human Figure 
 with a Bull’s Head, when he was called Apis-Osiris or Serapis. By 
 Jablonski and others he is (as the Supreme God) identified with 
 the Nile. It was believed by some that the soul of Osiris, at his 
 death, passed into the body of the Bull Apis. 
 
 57. The Cover of a Basket made of the Palm Leaf —a manufacture 
 still carried on in Egypt, particularly south of Assuan, in Upper 
 
 Egypt. 
 
 58. Extremely rare Terra Cotta of a late Epoch, representing 
 a woman as entombed alter the Greek or Roman fashion. On her 
 right side is her mirror placed on a stool; on her left, are two 
 vases and two cakes. Rude work ; 6 inches high 4 wide. 
 
 59. The Upper Part of a Statue of a Woman. Terra cotta, 4i inches 
 high. 
 
 60. Rude Figure of a horse’s Head in Terra Cotta. It seems to have 
 belonged to a vase. 
 
 61. Fragment of a square-formed Mass of Baked Earth, on the 
 end of which are impressed four lines of hieroglyphics placed 
 horizontally, and bounded by a circle. 
 
 62. Fragment of a Cone, on the base of which have been impressed 
 two square cavities containing hieroglyphics. The base of this 
 cone is 21 inches in diameter. 
 
 63. Fragment of a Terra Cotta Cone, of a light coloured clay, on 
 which three lines of hieroglyphics, arranged perpendicularly, are 
 impressed. The object or use of these cones is not known. They 
 are found in great abundance on the western side of Thebes. 
 Cones of terra cotta, but very much smaller than those of Egypt, 
 have lately been found inserted into the clay walls of some 
 Assyrian buildings, forming patterns, and at the same time pro¬ 
 tecting the wall from the effect of rain. 
 
 64. Globular Terra Cotta Vase, precisely of the form of those seen 
 in the hands of kings, and in the hieroglyphics. (See No. 34.) 
 4 inches high. 
 
 65. Piece of Wood carved into the shape of a Yase, with a handle, 
 and painted to imitate granite of the rose colour. inches high. 
 
 66. Vase of Terra Cotta with long neck and handle. The handle is 
 broken. This vase is of Greek form, 5£ inches. 
 
 67. Terra Cotta Yase with two handles. The body of the vase is 
 circular in one aspect, and gibbous in another, 4J inches. 
 
 68. Yase of Hard Black Earthenware, 5A- inches. 
 
 69. Solid Piece of Wood turned into a shape imitating an alabaster 
 unguent vase and its cover. It has an illegible inscription in two 
 short lines painted on it. It is 6^ inches high. 
 
 70. Rudely executed Figure of Ostris, or of a mummified person. 
 It is painted white, and has a line of hieroglyphics down the front 
 
10 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 and back. In the fore part of the pedestal is a square excavation, 
 the cover of which is shaped into the form of a hawk. The figure 
 is of sycamore wood, 14 inches and three quarters high, and the 
 pedestal, of the same wood, is 13 inches long. 
 
 71. Similar Figure and Pedestal, but less decorated, and smaller- 
 Sycamore fig wood, Ilf inches. 
 
 72. Figure of Isis in a kneeling position. The face is entirely cor-- 
 roded, and there is only a slight stain of the former painted 
 decorations. 12 inches high, and of Sycamore. For Isis, see No. 
 307. 
 
 73. Figure of Isis in a like position ; of excellent sculpture, probably 
 of the Greek period. Sycamore wood, 12 inches in length. 
 
 74. Rude Figure of a Mummy, no inscription, Sycamore Wood, 8f 
 inches. 
 
 75. Figure of a Mummy with an inscription down the back front, and 
 sole of foot in black pigment, on the bare wood, it is 8 inches high. 
 
 76. Statue of a Oat in Sycamore wood, 7f inches. (See No. 30.) 
 
 77. Fragment of a Mummy Case. On the inside of the case, where 
 the shoulders of the mummy rested, is depicted a man habited in 
 garments made of the fine linen of Egypt, pouring out a libation 
 over a Table of Offerings placed before Osiris. Among the 
 offerings is a bundle of young onions, an undistinguishable 
 vegetable, the leg of a gazelle, the head of an ox, a basket of flat 
 cakes, the ribs of some quadruped, a pomegranate, an oval cake 
 with seeds, a basket (made of the same material, as the specimen 
 No. 57.) containing picked grapes, then another oval cake, a bunch 
 of grapes, and two circular cakes. Underneath the Table is an 
 emblem usually placed before this divinity. An inscription in 
 niue lines occupies the space between the mortal and the god, six 
 of which relate to the former. The piece of wood on which this 
 ancient picture is painted is 24 inches high, and 17 inches wide. 
 
 78. Lower part of the same Case, in which are two cartouches 
 containing variants of the name of Amunothph III. (b c. 1250?) 
 with which period both the style of work, and the costume of the 
 figure in the former piece of the sarcophagus agree. Between the 
 cartouches is the figure of Lunus, the God of Periods, holding two 
 palm branches, to which are pendant the hieroglyphics of Life 
 and of Stability. This piece of wood is 22 inches high, and forms 
 the back part of the sarcophagus, where the legs and feet of the 
 mummy rested. Two figures of Anubis occupy the lower division. 
 
 79. Funereal Tablet painted on wood. It represents a female in the 
 attitude of prayer before Ra and the four Genii of Amenti, placed 
 in the following succession :—The human-headed (Amset), the 
 monkey-headed (Hape or Apis), the jackal-headed (Sioumautf), 
 and the hawk-headed (Kebhsnauf). Five lines of hieroglyphics 
 placed horizontally fill up the remainder of the space ; 20^ inches 
 high, 13£ inches wide. 
 
 80 . The Canvass Pasteboard Cover of the upper part of the Mummy 
 of A lady ; of the Roman period. The purple stripe about an inch 
 wide on the tunic, is common to the figures painted on the walls 
 
OF THE SYDNEY UNIVERSITY. 
 
 11 
 
 of the Christian Catacombs of Home. Besides this decoration on 
 the tunic, there is a brown coloured square ornament on one edge 
 of the outer garment with certain white lines placed systematically 
 from the edge inwards. This ornament is evidently a cross; one 
 of the Symbolical Signs of The Early Christians. (Vide Seroux 
 D’Agincourt’s “ History of Art ” plate vii. vol. ii. No. 20). A 
 veil of ornamented tissue is also represented on the head, to which 
 part of the female dress of this period (’E£otma) St. Paul alludes in 
 the Epistle to the Corinthians (1 Cor. xi. 10). There are also an 
 ornament round the neck—worn probably from some superstitious 
 motive—a vase in the right hand, and some flowers in the left. 
 It is not improbable that this mask belonged to the embalmed 
 remains of a Christian inhabitant of Egypt soon after the 
 Apostolic Era. 
 
 81. Funereal Tablet representing a Man in the attitude of prayer 
 before Osiris, Ra, Isis, and the four Genii of Amenti who stand in 
 the approved succession. Four lines of hieroglyphics placed 
 horizontally, complete this tablet. 16 high ; 9^ wide. 
 
 82. Fragment of the back of the lower part of a Mummy Case, in 
 which the buckle or bow of the waistband is the leading feature. 
 15^-by 13^-inches. 
 
 83. Two Pieces of Canvass Pasteboard, part of the inner covering 
 of a Mummy. 
 
 84. Part of the Wall or Side of the Outer Wooden Case of a 
 Mummy of the same period as No. 27. It represents an offering 
 composed of a lotus flower and three cakes, placed in the shrine 
 of two of the Genii or Gods of Amenti, namely, the jackal-headed 
 (Sioumautf) and the hawk-headed (Kebhsnauf.) Over the offering 
 is the Human Eye, with the Wing. 
 
 85. Fragment of the First Chapter of the Ritual, written in a 
 beautiful Hieratic handwriting, and adorned with highly finished 
 illustrations in outline. From the style of this manuscript, and 
 the forms of the figures, it is supposed to be of the time of the 
 Psammetici, or Early Greek period. It is to be remarked that in 
 these most ancient of all manuscripts the first word of a sentence 
 in each chapter is written in red ink, a custom that was adopted in 
 after times in Church Service Books—such writing being called 
 from the circumstance of the color, the ‘‘Rubric.” This volume is 
 12| inches wide; and the length of the fragment, rather more 
 than 22 inches. In the British Museum there is a narrow roll of MS. 
 precisely in the same hand. The inscription reads, “ Saith Osiris, 
 dwelling in the West, Great God, Lord of the East, Eternal Lord, 
 Shepherd of the Living, Great God, Shepherd for ever.” 
 
 86. Fragment of Papyrus in the Hieratic Hand, divided into eleven 
 columns of irregular width. The upper part of the MS. is 
 imperfect. It is 9 inches wide and 23 long. It belongs to Ptah, 
 son of Ta-Amen; it contains the 91st chapter of the ritual, the 
 chapter on not allowing the soul of such a one to smell in purgatory. 
 
 87. Five Fragments of Hieratic Writing, which belonged apparently 
 to that of No. 85. Below is a portion of the Ritual written on a 
 
12 
 
 CATALOGUE OP THE MUSEUM OF ANTIQUITIES 
 
 strip of linen, 24 inches long and 4 inches wide. The vignettes 
 are those belonging to Chapter XVI. and XYJI. of the Ritual. 
 The name of deceased is a short one, but being faded cannot be 
 made out. 
 
 88. Eight Hieratic Fragments on Linen, of different qualities, in 
 three distinct hand-writings. The deceased was named Ta-kukee, 
 son of Chroti. 
 
 89- Frame containing Nine Specimens of Hieratic on linen of 
 different qualities. 
 
 90. Seven Fragments of the Running Illustrations in outline, from 
 the top of the chapters of the Ritual. These illustrations are by 
 the same artist, or hiero-gramatist, and on the same quality of 
 linen. They are about fifteen inches long and 2 inches wide. 
 
 91. Nine Fragments of Hieratic by different scribes, and on various 
 qualities of linen. The handwriting on some of these pieces is 
 identical with that on four of the slips in No. 89. The strip 
 marked (F) belongs to the same individual mentioned in No. 301. 
 (B) is the 132nd chapter of the Book of the Dead. The chapter 
 on allowing so and so to go to see his house in purgatory. (I) 
 contains the title of chapter 94, and (H) that of 95. These 
 chapters are the chapters on addressing the pen and ink in the 
 abode of Thoth, and the chapter on being unswathed in the abode 
 of Thoth. These fragments are remarkable from the deceased 
 being named Uonofer in a royal ring. The mother’s name not 
 being written altogether phonetically is uncertain. 
 
 92. Manuscript upon fine Linen, with a vignette or picture in colors. 
 The style of the handwriting is that of the XVIII. Dynasty. 
 Mr. Samuel Birch, of the British Museum, examined this 
 MS. He states that the vignette represents the deities Isis, Horus 
 (or perhaps Thoth) Kheper, and Garnu or Mu, followed by the 
 deceased female, Tani , for whom the Ritual has been written. 
 The text contains chapter 129 of the Ritual (Lepsius Todt. Taf. lii 
 c. 1 29). It is preceded by a parapraph not in the Ritual. In the 
 129th chapter occur the remarkable words : “I have turned back 
 (smitten) Apophis, the Serpent; 1 have made him to recoil.” 
 
 93. Fragment of a Beautifully Inscribed Ritual in quasi hiero¬ 
 glyphics. The illustration, which is outline, represents the last 
 piece of the last chapter of the Ritual The arms of the Sun are 
 stretched out to receive the mummy. The first and last figures in 
 the boat are named “look-out man ” and “ steersman”— Ap-heru 
 and Nahash. The others probably represent symbolically the 
 deceased man’s food and other necessary articles. This fragment 
 is 23 inches long, by 9^ inches wide. 
 
 94. Papyrus. 11 feet 7 inches long and 5^- inches wide. This 
 papyrus is inscribed on both sides in a fine bold Hieratic hand. 
 The inscription begins at the most imperfect end, reading from 
 right to left, and proceeding to the end on that side where there is 
 a piece written upside down; here the volume was turned, and 
 the inscription was read from this end to the beginning. 
 Unfortunately the upper part of the roll is wanting; possibly 
 
OF THE SYDNEY UNIVERSITY. 
 
 13 
 
 there is not more than half the width of the volume left. “ The 
 columns,” says the Rev. D. J. Heath, are all incomplete, but we 
 can recognise what is called “ the Negative Confession.” This 
 forms part of the 125th chapter, and it is entitled, “ The Book of 
 tbe Approach to the Hall of the Two Truths, where confession is 
 made by each individual of the wickednesses he has done, so that 
 he may look upon the face of the gods.” 
 
 95. Box made of Five Planks of a kind of fir fths of an inch thick. 
 On each side is painted one of the figures of the Four Infernal 
 Genii, or Gods of Amenti, each with his legend in a single line of 
 hieroglyphics before him. Probably used as a substitute for the 
 common Four Canopic Vases. Each Figure holds the Feather, 
 (see No. 27) ; and over each is the heaven with tbe stars supported 
 by the hukufa or Tam Sceptre, rudely expressed. The box is of 
 coarse work, the pieces being joined by pegs made of the acacia. 
 The box is 12 inches high, 7^ inches wide at the bottom, and 
 contrary to the usual style of Egyptian work, wider at the top. 
 
 96. A Fragment of White Calcareous Stone, containing an Inscrip¬ 
 tion in the Sahidic (or Dialect of Upper Egypt), which is too much 
 mutilated to give any connected sense. It appears to be a deed 
 of sale or gift. In line 5 the name of Mount Djeme occurs, and it 
 is probable that the sale or gift was made to the principal of the 
 Monastery of St. Phoebamon, of Mount Djeme, near Hermonthis. 
 In line 7 the word Tr.KafxoyX “ the Camel,” occurs. On the back of 
 the stone are the signatures of the witnesses. This fragment is 
 6f inches long, inches wide. 
 
 97. Fragment of Fine Lime Stone, inscribed on both sides in a 
 beautiful hieratic writing in black ink, of the time of Rhameses the 
 Second. The same piece of stone had been used before for a 
 writing in the same character, but in red ink. The fragment is 
 nearly flat but not quite square, and probably the inscription is 
 almost perfect. It measures 4^ inches long by 3 inches wide. 
 This fragment has been translated by the Rev. D. J. Heath. 
 
 98. Fragment of Fine Lime Stone, on which is a Demotic writing in 
 fine black ink. Irregular in form, 7 inches long by 5 inches wide. 
 
 99. Fragment of the same quality of Stone, containing fourteen 
 lines of Egyptian, in the Sahidic Dialect—that of Upper Egypt. 
 It is a letter from some person to “ the most reverend the deacon (?) 
 and anchorite Father Ka/xovy (Camel).” The ends of the lines 
 being broken off, the purport of the letter is not clear. Size : 
 5^ inches by 4£ inches. 
 
 100. A Fragment of White Calcareous Stone, containing eleven lines 
 in the Sahidic, or Theban Dialect. It is a letter from some person 
 to a superior, and begins thus :—“ I prostrate myself to the sole 
 of the feet of your honoured reverence, with ail ceremony (or in 
 all manners).” The rest is too much defaced to give any sense. 
 Irregular in form, 4 inches long, 3 inches wide. 
 
 101. Small Tablet of the Prescribed Form, with five vertical lines of 
 hieroglyphics, from the Apis caves at Sakkara, near Memphis. 
 6 inches long, 8f inches wide. 
 
14 
 
 CATALOGUE OE THE MUSEUM OP ANTIQUITIES 
 
 102. Fragment op a Large Jar. This fragment contains sixteen lines 
 in the Demotic character, apparently a reckoning or settlement of 
 account. There are a few letters on the inner side. Porous earthen 
 vases were used in great abundance for cooling water in all the 
 districts of Egypt. Every ancient site is marked by an accumu¬ 
 lation of fragments of coarse pottery, and it would appear these 
 fragments were often used for writing on. This fragment is 
 9 inches long, 6J inches wide. 
 
 103. Another Fragment op a Large Jar, having four lines of Demotic 
 on one side, and two on the other. Size : 8^ inches by 3 inches. 
 
 104. Fragment op Red Pottery. Part of a round vessel containing 
 thirteen lines in the Sahidic, or Dialect of Upper Egypt. It 
 is a letter from some person to a superior, whom he 
 addresses as “your fatherhood,” and to whom he recommends 
 some young person who was probably the bearer of the 
 missive. Unfortunately the ends of all the lines are broken 
 off, so that it is impossible to ascertain the exact meaning of the 
 whole. In line 5 occur the words crov pyre p nei eftor v To-, “ the 
 10th day of this month of Tobe (?)” Size: 3| inches by 3^ inches. 
 
 105. A Fragment of a Red Eartiiern Vessel, containing six lines in 
 Demotic characters—apparently a reckoning. Size : 6 inches 
 by 5^ inches. 
 
 106. Bugle Beads, from a mummy. 
 
 107. Fragment of a Red Earthen Vessel, containing six lines (and 
 a fragment) of Greek, as follows :— 
 
 Evrjptpos HpaicAeiSfi ran 
 ^iXraraL yaipe iv 
 Sapairicovi NtKo/xayou 
 TOV (pi\oV Kvj3fpVT]TT}L 
 (V ois eav rov xptiav 
 cxrji as eprjv rip 
 <£••*• rrpos 
 
 “Euemerus to his dear friend Heracleides, greeting. [Assist. J 
 Sarapion, the son of my friend Nicomachus, a pilot, in whatever 
 matters he may have need of you, to my charge.” Size: 4 inches 
 by 3^ inches. 
 
 108. Canvass Pasteboard op the Mummy of a Lady of the Roman 
 period. The eyes excessively staring; eyelashes and eyebrows 
 extravagantly coarse. Size of life. [Probably Christian ; compare 
 No. 80.] 
 
 109. Canvass Mask of a Young Nubian. Size of life. 
 
 110. Canvass Mask op a Young Female somewhat smaller than life. 
 
 111. Head of a Wooden Statue op a Queen. The head is about 
 3 inches from the chin to the top of the head. 
 
 112. Hand of Wood of the statue of a female. 5 inches long from 
 wrist to end of middle finger. 
 
 113. Basket of a Circular Figure, made of the palm leaf, such as 
 are still made in Nubia. 4 inches wide and 2 inches high. 
 
OF THE SYDNEY UNIVERSITY. 
 
 15 
 
 114. Two Circular Pieces of Leather neatly sewn together; the 
 under piece dyed red, and the upper of a natural color, ornamented 
 with a radiating device. It was probably fitted to the top of the 
 head of a mummy. Diameter 4 inches. 
 
 115. Oval Shaped Mirror; width 7 inches, heigth 6f in’ches. 
 
 116. Admirable Drawing in black outline, on a piece of fine blue 
 glazed earthenware, of the figure of a man with a piebald dog. This 
 is a tile of the fine white composition of the pottery of the mummy 
 figures, 2-| inches wide and 3f inches long. Such pieces of glazed 
 tile with colors burnt in, and also with ornaments and hieroglyphics 
 in relief, were inserted into walls; and there is a chamber under 
 the step pyramid of Sakkara (near Memphis) which was once 
 entirely incrusted with these small tiles of fine earth covered with 
 a light blue glaze. The style of work of this fragment is of the 
 XVIII Dynasty. The man seems to be a foreigner, and the dog 
 is much too large in proportion to the man. 
 
 117. Rudely Formed Vase, which is sealed up,—and to the sealing 
 matter is attached some bugle mummy beads. The vase has been 
 carelessly decorated with colour. 3f inches high, 2^ inches wide. 
 This vase has since been opened by boring a small hole in it, and 
 was found to contain beads. 
 
 118. Head of a Female in hard wood, smaller than life. The face is 
 4 inches long. 
 
 119. Small Yase, containing some aromatic drug, over which is placed 
 some mummy rag. Coarse red baked earth; 2 inches high, 21 
 inches wide. 
 
 120. An Ornament in Pottery, covered with a blue glaze, 2 inches 
 long. Apparently the handle of a vase. 
 
 121. Glass Bottle, 3 inches long, 1 wide. 
 
 122. Dark Green Glass. 
 
 123. A Tubular Yessel, with coarse furrows on it, made out of the 
 cylindrical bone of a ruminant. It is stopped up at one end by a 
 piece of mummy cloth, and probably contained some greasy 
 matter. 4f inches long, £ inches wide. 
 
 124. Square Piece of Heavy Bone, probably of the hippopotamus, 
 rudely decorated with unmeaning furrowed lines. 3-| inches long, 
 | wide 
 
 125. Stibium Yase of Hard Black Stone. 1^ inches by H. 
 
 126. Two Alabaster Vases. If inches high, . f inches wide. 
 
 127. Two Small Globes of Wood, divided into four quarters by furrowed 
 lines, and subdivided into twelve meridians of yellow and red. 
 These globes are flattened at the poles. 
 
 128. The Fruit of an Unknown Plant. 
 
 129. Five Vegetable Products that look like nutmegs. 
 
 130. Two Ibis Eggs. 
 
 131. Some Pieces of Mummy Bread and a Whole Cake, nearly 
 circular. 7£ inches diameter. 
 
 132. A Small Wooden Spoon, with a long handle. 
 
16 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 133. Rude Vase, similar in form to No. 117, and like it sealed up and 
 some beads adhering to the cement. This vase has also been 
 opened, and was found to contain some resinous gum broken up, 
 and some sand. 
 
 134. The Right Hand of a Mummy with a porcelain ring on the middle 
 finger, bearing a figure of Typhon, or Set, Seth, or Nubi—forms of 
 Apophis. Another Greek version of the name of Typhon was Canopus. 
 This divinity was particularly cherished by women, and very 
 commonly found engraved on the foot of the wooden pillow, in 
 full armour, and in a heroic position, as if in the act of striking a 
 foe. Probably then to bo considered as the Terrifier of Evil 
 Spirits—the Expeller of Frightful Dreams. Typhon was also 
 identified with “ Sothis,” “ Sutech ” (the Great Destroyer), and 
 Bar, Baal or Bel; also called Apeep (the Great Serpent), and 
 Bebon, and Baba the Beast, &c. See “ Egypt’s Place in 
 Universal History” (Bunsen), vol. 1, page 425. The animals 
 sacred to Typhon were the Ass, the Crocodile, the Hippopotamus, 
 and the Wild Boar, {Ibid. vol. 1, page 428). In Greek Mythology 
 Tvcf)cov was the Great Disturber, buried by Zeus in Cilicia. 
 
 135. The Right Hand of a Female Mummy. 
 
 136. The Left Hand of a Mummified Person, clenched. It has a 
 scarab ring on the ring finger. 
 
 137. Two Pieces of Plaited Hair, calcined. 
 
 138. A Scarabceus of Soft Limestone, with an inscription. This 
 scarab is a modern forgery by the Arabs of Gorna, near Luxor. 
 It has been greased and smoked to assist the fraud. 2f inches 
 long. The inscription is without sense. 
 
 139. Head of a Cat, in hard porcelain, covered in a blue glaze, If 
 inches (see No. 30). 
 
 140. Porcelain Scarab, that belonged to a network of beads, with 
 which the mummies of a certain class and of a certain period were 
 covered. Into this network of beads was also interweaved 
 porcelain figures of the four Genii of Amenti, and other emblems 
 connected with the superstitious rites of the Egyptian belief as 
 regarded the Future State. The holes at the sides are for the 
 attachment of the wings of the scarab. 2 inches long. The 
 Scarabceus Sacer, or Beetle ( Kheper , to create), was an emblem 
 of Phtah, the Demiurgos; and it was sacred also to Ra or the Sun. 
 Many thousands of these Emblems are found in the Tombs of 
 Egypt. See No. 1161. 
 
 141. Scarab, in soft black stone, 1^ inches long. 
 
 142. Rudely Formed Scarab, in hard green stone, If inches. 
 
 143. Circular Piece of Porcelain, flat on one side, curved on the 
 opposite, and ornamented with an unknown device ; the whole is 
 covered with a thick blue glaze in which are five black streaks. 
 It is perforated through its longest diameter. If inches. 
 
 144. Head of a small Wooden Statue of Hercules, of the same 
 period of Greek art as the celebrated work of Glycon. 1 f inches. 
 
OF THE SYDNEY UNIVERSITY. 
 
 17 
 
 145. Admirable small Statue, carved in wood, of a man wearing the 
 Nubian Kilt ( schenti ) and in the perfectly erect position. At the 
 back is a column, on which are some hieroglyphics in black ink, 
 2-i 3 e of an inch high. 
 
 146. Perfect small Statue of Osiris, as Judge of the Dead, in 
 copper, silvered or tinned. Whether the coating of tin or silver 
 was put on by the ancient artist, it is difficult to say. It is certain, 
 however, that the Statue is out of an antique mould. 3| inches 
 high. (Respecting Osiris refer to Nos. 3, 14, 56.) 
 
 147 and 148. Probably belonging to the same fibula turned in 
 alabaster. 1 inch diameter. 
 
 149. Porcelain Disk, covered with a blue glaze. It is perforated in 
 the centre. ^ inch diameter. 
 
 150. Figure of the Buckle of the Waistband. Porcelain dark green 
 glaze. If inch. 
 
 151. Scarab, bearing the name of Thothmosis III., b.c. 1500. It is 
 carved out of a very hard stone and covered with a vitreous green 
 glaze, and perforated through its longest diameter. 4-8ths of an 
 inch in diameter. 
 
 152. Scarab, in the same material as the last, without any glaze, 
 apparently white jasper, an extremely hard stone. On the 
 reverse are engraved two scorpions. Perforated through the 
 longest diameter. 6-8ths of an inch. 
 
 153. Dobule Figure of the God Phtah Sokariosiris, porcelain, 
 covered with a blue glaze, f of an inch. This is the same God 
 as Phtah Tatanen — Lord of the Lower World, See Nos. 165, 
 171, 173, 182, and 278. 
 
 154. A Tablet of Hard Porcelain, covered with a blue glaze. Four 
 furrows traverse the back and front, crossing each other in the 
 middle, 1 inch long f wide, and perforated through the longest 
 diameter. 
 
 155. Figure of Typhon, or Setii, in combination with figures and 
 emblems not to be made out. It has a contrivance for suspending 
 it at the top, and probably belonged to a necklace. Hard porce¬ 
 lain blue glaze. If inch. Seth was the Father of Judseus and 
 Palestinus. He is the Ass God of the Semitic Tribes,—and has 
 the complexion of his hated race. Bunsen’s Egypt, vol. i, page 442. 
 In the later Myths this God seems identified with Apophis, the 
 Evil One, the Foe of Osiris. Refer to No. 134. 
 
 156. Two Cowries. These shells are still held in great estimation in 
 Nubia, and in the interior of Africa generally. 
 
 157. An Amulet, representing the human eye, with certain curious 
 appendages to the lower lid, rarely omitted. It is in hard porce¬ 
 lain, covered with a blue glaze, the pupil and eyebrow black. It 
 is perforated for suspending, f of an inch. 
 
 158. Fragments of Plain Blue Glazed Porcelain Rings, from f of an 
 inch to | of an inch in diameter. 
 
 159. Two Rings, of porcelain, of a fine blue vitreous glaze. The 
 larger f of an inch, bears the device of the eye; the smaller, 
 
 c 
 
18 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 6-8ths of an inch, the device of the cobra snake (Royal Serpent, 
 or Basilisk, or Urdus'), with disk on head. 
 
 160. Two Rings, of the same material and glaze, and bearing the same 
 devices. 
 
 161. Two other Rings —the larger of an inch, covered with a black 
 glaze ; the smaller 9-16ths of an inch, with a light blue glaze. 
 
 162. Two Rings— the larger -J of an inch, covered with a white glaze; 
 the smaller not ^ an inch in diameter, of dark blue glass. 
 
 163. Rude Figure of the God of Periods, sometimes called the god 
 Lunus. Identified by Bunsen as one of the forms of Thoth. Hard 
 porcelain, light blue glaze. | of an inch. 
 
 164. Figure of the same Divinity. Hard porcelain green glaze, 
 4-8ths of an inch. 
 
 165. Rude Figure of Phtaii Sokari. Hard porcelain blue glaze. 1£ 
 of an inch. 
 
 166. Figure of Thotii, or Tet —the “ Recording Angel” of Egyptian 
 mythology. Often identified as the Hermes of the Greeks, or God 
 of Letters. See No. 195. This figure is of porcelain blue glaze, 
 | of an inch. 
 
 167. Thotii, excessively rude work. Hard porcelain blue glaze. 1J inches. 
 
 168. Rude Figure of Anupu or Anubis ; also called (by the Greeks) 
 Hermes Psuchopompos. The figure is of soft porcelain, blue glaze. 
 11 inches. Anubis was the Deity who presided over Funerals, and 
 acted as a sort of Mediator for Man, after death, until his soul was 
 admittted to the presence of Osiris. 
 
 169. Figure of the Hippopotamus-headed Goddess, or She Daemon. 
 Of porcelain blue glaze. I5 of an inch. (See No. 175.) 
 
 170. Anubis, porcelain green glaze. \ an inch. 
 
 171. Phtaii, rude work, porcelain blue glaze. £ of an inch Phtah 
 was the Egyptian Vulcan (Hephaistos) the Demiurgos—the Creator 
 or Inventor of this World. He is the Tubalcain of the Hebrews. 
 His wife was Neith or Athena, the Goddess of Sais. Phtah is 
 usually styled Kheper (or Ter) the Creator. 
 
 172. Statue of the God Ra (the Sun) of porcelain blue glaze, f of 
 an inch. The names of this God are Ra, Phra, Phre, and (in 
 Greek) Helios. Ra is the God of Heliopolis or On. The name of 
 Pharaoh is identical with Phra or Ra. 
 
 173. A well-defined figure of Phtah, hard porcelain, no glaze. 
 If inch. The Temple Representation of Phtah; like the 
 Pataikos of the Phoenicians. (See Nos. 171, 182. ) 
 
 174. Fragment of an admirable Statue of Anubis, hard porcelain 
 green glaze. If of an inch. (See No. 168.) 
 
 175. Rude Figure of the Hippopotamus Goddess. Coarse porcelain 
 blue glaze. 1^ inch. This Being is also called the Devourer. 
 (See No. 344.) She seems to have an affinity with the Tisiphone 
 of the Greeks and Romans, and the “Nameless Horror” of the 
 Ancient Mystics. 
 
 176. Upper Part of a Statue of the same Divinity, equally coarse 
 work. Soft porcelain light green glaze. 1 inch high. 
 
OP TIIE SYDNEY UNIVERSITY. 
 
 19 
 
 177. Anubis, hai’d porcelain blue glaze, f of an inch. 
 
 178. An unknow Object, hard porcelain grey glaze. f of an inch. 
 
 179. The Figure of a Head Rest, unfinished. Hard stone jasper. 
 & of an inch. Exactly resembles the wooden pillows still in 
 common use in Polynesia. 
 
 180. Rude Figure op the Hippopotamus Goddess. Hard porcelain 
 blue glaze. If inch. 
 
 181. Another Figure op the same Divinity. Hard porcelain blue 
 glaze. If inch. 
 
 182. Figure op the God Phtah Sokari. Porcelain blue glaze, f of an 
 inch. Phtah, the Creator of the World, was said to have sprung 
 from the mouth of Kneph or Num, through the Mundane Egg. 
 
 183. Rude Figure of the Goddess Nephthys, the sister of Isis. Hard 
 porcelain blue glaze. If inch. Nephthys was the sister of Isis 
 and the wife of Typhon or Apophis. Isis represented Immortality ; 
 and Nephthys, Corruption. Nephthys was also the mother of 
 Anubis. (See No. 168.) Nephthys was identified as Hestia, or 
 Vesta—like Anuke. The Egyptian form of her name was 
 “ Nebthi”—“Mistress of the House.” 
 
 184. Small Figure op the Hippopotamus Divinity. Hard porcelain, 
 f of an inch. 
 
 185. Excessively rude Figure op the God Lunus, in the usual position 
 of this divinity,—viz., the left knee raised, the arms extended 
 upwards towards the disk on his head. This same divinity is 
 figured on the back of the wooden sarcophagus, No. 78 of this 
 collection. Hard porcelain light grey glaze, f of an inch. 
 
 186. Two Figures op the Vase, resembling somewhat the shape of the 
 human heart. A vase of this particular form is put into one scale 
 of the balance of the picture in the Ritual representing the judg¬ 
 ment scene. (See No. 344.) 
 
 187. Figure op an Elephant, extremely rare, but of inferior work. 
 Hard porcelain blue glaze. f an inch. 
 
 188. The Hippopotamus Goddess ; soft porcelain blue glaze. 1| of an 
 inch. 
 
 189. Group of Isis nursing Horus, —either Aroeris, or Horus the 
 Younger. Soft porcelain light green glaze. If of an inch. 
 
 190. Lower Part op the Figure of a Male Divinity ; excellent work. 
 Hard porcelain green glaze. | of an inch. 
 
 191. Figure op thf God Atmu or Atum —sometimes identified with 
 Pluto. Inferior work. Hard porcelain blue glaze, f of an inch. 
 The God Atmu, the son of Phtah, has by some been supposed to 
 be a traditional deification of the Adam of Hebrew Cosmogony. 
 He is twice addressed in the Ritual as the Demiurgos. 
 
 192. Rude Figure op Typhon. Hard porcelain blue glaze. 1 inch. 
 (See No. 134.') 
 
 193. The Figure of a Hawk. Hard porcelain green glaze, f of an inch. 
 
 194. The Hippopotamus Divinity, but slightly developed. Hard 
 porcelain. 1 inch. 
 
20 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 195. Figure of the Divinity Tiioth, but imperfectly formed. Hard 
 material. f of an inch. Tet, Thot, Thoyth was called the 
 “Lord of Schmun,” (Hermopolis Magna) the “ Lord of the Divine 
 Words,” “The Scribe of Truth,” Pahitnuf (the Good-Natured), 
 Pannubes, &c. He recorded the sentences on the souls of the dead. 
 The Ibis was sacred to this Deity, who was the (supposed) Pather of 
 Osiris. Refer to No. 166. Hermopolis Magna was on the Southern 
 frontier of Heptanomis or Middle Egypt. The Temple Consort of 
 Thoth is Safech, or Safre. 
 
 196. Figure of a Divinity, too imperfectly formed to determine. Soft 
 porcelain green glaze. 1 f inch. 
 
 197. The Hippopotamus Divinity. Hard porcelain green glaze. If inch. 
 
 198. Another of the last named. Soft porcelain blue glaze. If inch. 
 
 199. The God Atmu or Atmoo. Of hard porcelain dark green glaze. 
 I inch. Perfect. 
 
 200. Anubis, hard porcelain green glaze, f of an inch. 
 
 201. Sitting Figure of the Goddess Pasht, the Cat-headed Goddess 
 Hard porcelain. If inch. (See No. 30, No. 370, and No. 409.) 
 
 202. Figure of an Animal, in porcelain light blue glaze, f of an inch. 
 
 203. The Human Eye. f an inch. The Eye is an emblem frequently 
 found in the Tombs of Egypt. It is one of the emblems of Osiris. 
 
 204. Two Disks of wood gilt. | of an inch in diameter. Probably 
 represent the Sun. 
 
 205. The Figure of a Sow or Hippopotamus. This is a common figure 
 in porcelain, but rarely so large and so well defined as this 
 example. Hard porcelain light blue glaze. If inch. It had a 
 loop for suspending. 
 
 206. The Human Eye and its Appendages. Hard porcelain blue 
 glaze. If inch. 
 
 207. A Seal, without an impression, coarse porcelain green glaze* 
 f of an inch. 
 
 208. A Flat Circular Seal, with a radiating ornament, Hard 
 porcelain blue glaze, f of an inch. 
 
 209. Unknown Figure, unless it be the figure of the buckle of the 
 waistband. Hard porcelain green glaze. 5-10ths of an inch. 
 
 210 . Part of a Collar or Necklace. It represents probably a 
 pomegranate, and occurs in the necklace on the mummy case, 
 No. 27, interwoven with the leaves of the flower of the lotus and 
 other ornaments. This specimen has lost the loop by which it was 
 suspended, and that which kept it in its place. Hard porcelain 
 blue glaze, f of an inch long. 
 
 211. Pound piece of Green Glass, with black stripes, f of an inch 
 diameter. 
 
 212 . Two pieces of Transparent Glass, blue and green. 
 
 213. Three Eyes, two in porcelain, one in carbonate of lime, unfinished. 
 All about f of an inch long. 
 
 214. Two Eyes, one in a hard red vitreous compound, the other in 
 obsidion, or black glass; both unfinished. About f of an inch long. 
 
OE THE SYDNEY UNIVERSITY. 
 
 21 
 
 215. Three similar Figures, in porcelain, each having four lines 
 crossing obliquely on the flat sides. 
 
 216. Two Eyes, unfinished work. Carbonate of lime, ^ of an inch. 
 
 217. Head of Typiion, hard porcelain blue glaze. If inch (see No. 155). 
 
 218. Two Eyes, in a hard brown substance, f of an inch. One 
 unfinished. 
 
 219. Two Emblems, representing vases in the shape of the heart. 
 Both are in an unknown substance, and both of unfinished work. 
 About f of an inch. The Heart represented the Soul (see No. 344.) 
 
 220. Two Eyes ; one in porcelain, rude, the other in a kind slate stone. 
 £ of an inch. 
 
 221. Two Eyes, hard porcelain, dark and light blue glaze. The 
 eyebrows and pupil in black, f of an inch. 
 
 222. Fragment of a Beautiful Vase, in a variegated glass pattern. 
 Vases of this manufacture, and made in Egypt, are found in the 
 tombs of Etruria, as well as those peculiarly shaped vases of 
 alabaster, in which it is probable unguents were kept. 
 
 223. Two rude Figures of the Papyrus, one in porcelain light blue 
 glaze, | of an inch ; the other in a hard unknown substance, 1£ inch. 
 
 224. Small Bronze Figure of Kiiem, 1 ^ inch. Khem (or Kam), read 
 “ Uta ” by Lepsius, is identified with Pan, the Phallic God of 
 Cbemmo, or Panopolis, now called El Khemin. The Phallic God 
 Khem afterwards merged into Amun Pa, which was (itself) an 
 Incorporation of “A nmn” the “Concealed God,’’and u Ra ” the Sun, 
 with“.ZVwm,” “Nu,” “Kneph,’’or“Chnubis,’’the “CreativeSpirit.” 
 This is a votive figure. (See Bunsen’s Ideographic Signs, No. 70.) The 
 Temple Consort of Khem was Mut (the Mother), the goddess of 
 Buto or Latona in the Delta. It seems doubtful whether Amun-Khem 
 was not the original of Apophis, that is of Set or Seth, Nubi, or 
 Typhon. 
 
 225. Porcelain Cylindrical Bead, bent in fusing. 1^ inch. 
 
 226. Two Pieces of Glass. One flat, 1^ inch long, § of an inch wide> 
 of a blue colour; the other § of aD inch long, 3-10ths of an inch 
 wide, of a black colour. 
 
 227. Two pieces of Transparent Blue Glass. One straight, covering a 
 piece of opaque white glass; the other curved and lined on the 
 concave side with a thin strip of opaque white glass. 
 
 228. Fragment of a perforated Tablet, in which Typhon (?) and Isis 
 nursing Horus occurred. This curious work is perforated through 
 the middle of the tablet in its thickness. Hard porcelain blue 
 glaze. 1£ inch high, 1 inch wide. 
 
 229. Two Eyes ; one porcelain, the other (unfinished) of beautiful blue 
 glass, f of an inch. 
 
 230. Two Porcelain Eyes, i of an inch. 
 
 231. Four Porcelain Eyes, two of them with black projecting 
 eyebrows and eyeball. 
 
 232. Figure of a Hare, coarse porcelain blue glaze, | of an inch long. 
 
 233. Figure of tile God Lunus, rude work, | of an inch. Scarce glaze. 
 
22 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 234. Some Bugle Beaus and some small Beads, that were used for 
 ornamental bead-work for the mummy. They have been fused 
 together. 
 
 235. An unfinished Figure of the Buckle of the Waistband, in hard 
 slate stone, If inch long. 
 
 236. Rude Figure of Typiion, in hard porcelain (see No. 134). 
 
 237. Porcelain Disk, part of an ancient necklace, 7-16ths of an inch. 
 
 238. A Disk of Egyptian Porcelain, notched all round the edge. On 
 one side is impressed the figure of the eye, the other plain. A 
 hole is drilled through the longer diameter. If inch. It has 
 formed part of a necklace. 
 
 239. Globular Bead of Black Glass, with white circular streaks 
 ingeniously disposed. | of an inch in diameter. 
 
 240. Four Beads, two of blue glass, barrel-shaped, of an inch ; two 
 of porcelain blue glaze. 
 
 241. Three Beads, of carnelian. 
 
 242. Large Barrel-shaped Bead, hard green limestone. If of an inch 
 long. 
 
 243. The upper Eyelid of a Glass Eye, in blue glass, with an opaque 
 white back. 
 
 244. An Ornament, representing a papyrus in full bloom. Porcelain 
 blue glaze. If inch high. 
 
 245. Scarabceus, remarkably circular in form. Hard porcelain green 
 glaze, f of an inch. 
 
 246. Some Glass Beads, fused together. 
 
 247. A Circular Fibula, Slate stone. of an inch in diameter. 
 
 248. Small Figure of a Hawk, wanting the head; in stone glazed 
 with a blue glaze, streaked with black. Six-eighths of an inch. 
 
 249. Four Short Cylindrical Beads, joined side by side to keep 
 separate the strings of a necklace. Hard porcelain, f of an inch. 
 
 250. A Parallelogram of Limestone, perforated in its longer diameter, 
 four-eighths of an inch. 
 
 251. Bead in Greenish Transparent Glass, in the shape of the last 
 row of beads in the necklace of Rameses II., at Abusimbal. 1 six¬ 
 teenth of an inch long. 
 
 252. Another, similar in form and substance, but of a light purple 
 hue. f of an inch. 
 
 253. Unknown Device. Hard brown porcelain which has had a 
 black glaze. In length 1 inch. 
 
 254. Triangular Bronze Arrow-head, of excellent work. 1 $ inches. 
 
 255. Rudely formed Scarab, in red sandstone, f of an inch. 
 
 256. Scarab, rudely sculptured in a hard greenish stone. Six-eighths 
 of an inch. 
 
 257. Well-formed Scarab, soft porcelain blue glaze. It has some 
 hieroglyphics on its fiat side, among which is one of rare occur¬ 
 rence. 1 five-sixteenth inches. 
 
OF THE SYDNEY UNIVERSITY. 
 
 28 
 
 258. Worn out Scarab, in a red sandstone, f of an inch. 
 
 259. Ill-formed Scarab, in carbonate of lime. 1£ inch. 
 
 260. Indistinctly formed Scarab, in a white marble. | of an inch- 
 
 261. Green Jasper or Pebble, flat on one side and round on the other, 
 somewhat in the shape of a scarab. £ of an inch. 
 
 262. Disk of Copper, probably a defaced coin. | of an inch. 
 
 263. The Cap or Crown of Upper and Lower Egypt, belonging to a 
 porcelain statue of a divinity or a king. Hard porcelain blue 
 glaze, f of an inch. This United Crown was called the “ Pschent.” 
 It signified Almighty . 
 
 264. The Left Eye ; hard porcelain light blue glaze. | of an inch. 
 
 265. The Right Eye; hard porcelain light blue glaze, -i- an inch. 
 
 266. Large specimen of the same Emblem, impressed on both sides of 
 a piece of porcelain covered with a light green glaze. If inch. 
 
 267. Small unknown Device, hard porcelain blue glaze. § of an inch. 
 
 263. Disk ; on one side of which is impressed the eye, on the other 
 
 some unknown device. ^ an inch. 
 
 269. An irregular piece of Porcelain, on which the eye has been 
 impressed several times, one impression nearly obliterating the 
 other. It is of hard porcelain, and covered with a blue glaze. 
 Six-eighths of an inch. 
 
 270. A Bead, of unusual form, porcelain light green glaze. Five- 
 tenths of an inch. 
 
 271. Head of a Cat, hard porcelain light green glaze. Seven-six¬ 
 teenths of an inch. (See No. 30.) 
 
 272. Tablet of hard Stone, apparently quartz. ^ of an inch long, 
 five-sixteenths of an inch wide. 
 
 273. The lower part of the Statue of a Female ; of soft limestone. 
 
 274. The lower part of a Miniature Head Rest ; haematite iron ore. 
 | of an inch long. (See No. 179.) 
 
 275. The Feathers of the Cap of Amun-ra. Hard black porcelain. 
 1 inch. (See No. 15.) 
 
 276. Part of an Equilateral Triangle £ of an inch. 
 
 277. Figure of the emblem called Nllometer. Hard limestone. £ of 
 an inch. The Nilometer was the Emblem of Stability. 
 
 278. Card, containing three objects:—( a .) The upper half of the 
 name of an ancient Pharoah, in the form of a seal or stamp. Hard 
 porcelain. (5). A barrel-shaped bead. Hard porcelain light 
 green glaze, f of an inch, (<?.) Small figure of Phtah, wanting 
 its head. Hard porcelain light green glaze, f of an inch. 
 
 279. Figure of an Ox tied up for Sacrifice. It is in red semi-trans¬ 
 parent glass. The figure is in basso-relievo. 
 
 280. Inscribed Scarab, of soft flakey stone, of which the Egyptians 
 very commonly made scarabs, covering them wfith a vitreous glaze. 
 £ an inch long, fifteen-sixteenths of an inch wide. 
 
 281. Rude Scarab, white jasper, perforated in a traverse direction. 
 
 1£ inch. 
 
24 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 282. Scarab, of hard limestone, the wing-case coarsely striated. 1 inch 
 long. 
 
 283. Porcelain Scarab, coarse work. | of an inch. 
 
 284. A piece of Crystal, oval in form, perforated in its longest 
 diameter. 1 inch. 
 
 285. Statue of a Hippopotamus, hard porcelain light green glaze 
 L of an inch. On the same card is a piece of porcelain, impressed 
 with an unknown device. It is perforated in its longest diameter, 
 which is | of an inch. 
 
 286. Statue of the Dog-faced Baboon, or the Cynocephalus, in a 
 sitting position, with a disk on his head representing the moon. 
 This animal was sacred to Thoth, or Tet. 
 
 287. Fragment of Glass, on which is represented a Greek comic 
 mask, or possibly the head of Typhon. It is a kind of glass 
 mosaic, of a most extraordinary character. The head or mask is 
 represented on a green ground, hexangular in form, about 1^ inch 
 in diameter. The face is yellow, the lips and corners of the eyes 
 are red, the outlines of the eyelids are black, and the nose blue ; 
 the eyeballs and mouth appear black, but on being held up to a 
 strong light, show a rich amethyst colour. The hair at the side 
 of the face is composed of triangular bits of glass, and the beard, 
 moustaches, eyebrows, and hair over the forehead, are formed of 
 separate bits of glass, beautifully laid in. This exquisite piece of 
 work exhibits a consummate knowledge not only in the art of 
 fusing variously coloured glasses together, so as not to render 
 indistinct the different forms and colours, but also a most dextrous 
 manipulation of the various pieces forming the picture. With this 
 must be connected an extensive knowledge in metals and the other 
 substances employed in making and imparting colour to glass. 
 Each piece of glass forming the eyebrow, although so small, must 
 have been drawn out into a slender stick, and placed side by side 
 with the other pieces, making up the entire design altogether like 
 a bundle of minute sticks of various forms and colours. This 
 bundle of sticks, possibly of 2 or 3 inches in length, was then 
 surrounded by a mass of green glass, which fused at a less 
 temperature than the other coloured glasses forming the design ; 
 the whole making a round stick of 2 or 3 inches in length, 
 and inches in diameter. This now solidly-fused stick was then 
 sawn transversly into slices, a little more than £ of an inch in 
 thickness, and polished on one or both sides. By this means a 
 great number of exactly similar pictures were obtained. If 
 polished on both sides, they were transparent mosaic pictures ; if 
 only on one side, they were opaque mosaics, adapted to insert into 
 ornamental caskets or other ingenious works of art of the kind. 
 Whether this specimen is of ancient Egyptian work may be 
 reasonably doubted; but that the Egyptians were the inventors of 
 this kind of work, and, indeed, of every kind of glass work known 
 to the ancients, is proved by the great antiquity of some of those 
 party colored glass bottles, inscribed with the names of ancient 
 kings. The same kind of work was employed by the Egyptians 
 in producing a series of stars, in a blue ground, representing the 
 
OF THE SYDNEY UNIVERSITY. 
 
 25 
 
 heavens, in which the mode of operation is most distinctly 
 traceable as already described. (For “ Typhon ” see No. 134, 
 No. 155, and No. 224.) 
 
 288. Three perfect Rings, two of horn, and one of ivory, with a 
 fragment of a large one of horn or tortoise shell, measuring 2£ 
 inches in diameter. 
 
 289. Fragment of a flat piece of Porcelain, otherwise irregular in 
 form, but of a beautiful blue colour, 1 inch high. 
 
 290. Right Eye out of a Mummy case or of a Statue. It is of 
 porcelain and glass. If inch from corner to corner. 
 
 291. Shoe or Boot of Red LExITHEr, for the right foot, 9£ inches 
 long, 2| inches at the widest part of the sole. The upper leather 
 has been ornamented with pieces of green leather inserted in 
 various parts. 
 
 292. Smaller Shoe or Boot, of the same fashion as the last, but in 
 better preservation. The place formerly occupied by the four 
 smaller toes of the left foot of the wearer is distinctly impressed 
 on the upper leather. This shoe is 7f inches long, and 2 -B- wide. 
 
 293. A Pair of Sandals, 6^ inches long, and 2f inches wide. The 
 fastenings are entirely wanting. 
 
 294. Sandal for a Child, having the front or point of the toe carried 
 far beyond the foot to protect the toes from injury, as we learn was 
 the fashion in the time of Rameses II., by the pictures and statues 
 of that period. 
 
 295. Statue sitting. The plinth, feet and legs, are of granite (syenite), 
 the other parts have been restored. This is the ordinary position 
 of the seated statues of ancient Egypt. The hands lay stretched 
 on the thighs, and the joints bent at right angles. The colossal 
 statues of Amenoph in the plain of Grom a, near Thebes, were each 
 of a single block of conglomerate. 
 
 296. Fragmented Leaf of a set of Tablets, still retaining the wax 
 and some Greek letters marked on it with the pointed end o'f the 
 stylus, or instrument that was commonly used for the purpose. 
 The other end of the stylus was chisel shaped and was used for 
 obliterating and smoothing the wax. From this ancient writing 
 apparatus is derived several of the phrases used in talking of 
 writing as in Proverbs iii. 3—“ Write them on the table of thine 
 heart;” and our phrase, style of writing, is derived from the 
 Latin name of the bone or brass instrument ( Stylus) used to 
 scratch or mark the wax. The wax was deposited or melted into 
 the cavity bounded by the half-inch margin, and it seems to have 
 been mixed with red powder to render it opaque, and the letters 
 or writing consequently more visible. This tablet is 7 inches 
 long, and was probably 4 inches wide. 
 
 297. Part of the Canvass Pasteboard Cover of a Mummy. This 
 is the chest necklace, collar, or breast-plate, on which is elegantly 
 depicted the figure of a human-headed bird with expanded wings 
 representing the soul. It is painted in a water colour called by 
 the Italians tempera , and on the prepared canvass which has been 
 
26 
 
 CATALOGUE OF THt MUSEUM OF ANTtQUITlfcS 
 
 cut out of the entire cover in a semiluna form, the diameter measur¬ 
 ing 1 foot. The Human Headed Bird ( Ba ) was a common mode 
 of representing the Soul. 
 
 298. Fragment of the Pasteboard Cover of a Mummy, with a 
 dedication to Osiris, and a significant picture representing the de¬ 
 ceased or mummified person stretched on the Lion-Shaped Bier, 
 at the head of which stands Nephthys with her arms elevated 
 towards the Winged Globe, from whence proceeds the Emblem of 
 Life—the “ Ank ” or Tau —which is directed to the heart or chest 
 of the mummified person. At the foot of the bier stands Isis 
 with her arms likewise directed to the same mysterious emblem. 
 Below the bier are four sealed bags which take the place of the 
 four jars with the covers formed into the heads of the four Infernal 
 Genii, or Gods of Amenti. These bags in which were deposited the 
 contents of the great cavities of the body, are very commonly found 
 in the tombs. Beneath this significant picture is the Hawk-Headed 
 Scarab with outstretched wings, and below this again are the 
 variously shaped beads, of which the necklace was composed. A 
 single line of hieroglyphics containing the dedication before 
 alluded to, 13 inches long, 4^ inches wide. 
 
 299. Fragment likewise cut out of the canvass pasteboard covering of 
 a mummy. It represents the necklace made of some of those 
 porcelain emblems that are found in such abundance in the great 
 cemeteries of Egypt. This piece is also semicircular in form, fol¬ 
 lowing the contour of the necklace, 13 inches in its largest 
 diameter. 
 
 300. Three Compartments apparently cut from the same mummy 
 cover as No. 298. The uppermost contains a figure of Amset, 
 the Human Headed Genius of Amenti; the second compartment, 
 a figure of Sioumautf, the jackal headed; the third compartment 
 is detached, and represents Nephthys in a kneeling position. 
 From the style of work this and No. 298 must be from a mummy of 
 the Ptolemaic period. 
 
 301. Large Frame containing various specimens of hieratic writing 
 on linen, from different funereal papyri. The first line is from 
 Chapter 142 of the Ritual or Book of the Dead, line 3. The por¬ 
 tions at the bottom are principally from what is called the Nega¬ 
 tive Confession in Chapter 125. The deceased was a daughter of 
 a person named Chroti-Onch ( i.e . the child liveth). Her name 
 was probably pronounced Ta-Chuckee, or Ta-Kukee, meaning 
 “The Whip. ” 
 
 302. The Cover of a Basket, made of date leaves 5^ inches in 
 diameter. 
 
 303. Beard of a Mummy Figure, in wood. 
 
 304. Statue of Anubis, wanting only the top of the long ears. Red 
 porcelain, black glaze, 3£ inches. For Anubis see No. 168 and 344. 
 
 305. Bronze Figure, somewhat resembling a Bird. This figure, 
 has nothing in common with Egyptian art. It may be a figure of 
 Nergal, the divinity of the men of Cuth, inches. (See 2 
 Kings xvii. 30, etc.) The Cock was sacred to Anubis. 
 
OF TI1E SIDNEY UNIVERSITY. 
 
 27 
 
 306. Admirable Specimen of what is usually called a “Nilometer”; 
 —the Emblem of Stability. This figure is found in the fiagments 
 of the Ritual No. 301, and is connected in some Avay with the 
 divinity Phtah Osiris. The emblem has acquired its name from a 
 supposition that an instrument of this form was placed in the 
 fields to ascertain the rise of the Nile, or the depth of water, 
 whether it rose to the first, or second, or third, or fourth bar; 
 according to which the tax was imposed on the land, the greater 
 depth producing the greater fertility, and consequently the heavier 
 tax. Hard porcelain green glaze, 3^ inches. 
 
 307. Bronze Group of Isis nursing either her Eldest Son Her 
 Her { i . e . Aroeris), or else - Horus the younger—also called 
 Herpechrut or Harpocrates. Isis was one of the Chief Deities 
 of the Third (or Osiridian) Order in Egyptian Mythology. She 
 was the Sister, or Sister Wife of Osiris (See No. 3) who concurred 
 with her in endeavouring to civilize their subjects—the Egyptians 
 —by teaching them Agriculture and the other necessary Arts of 
 Life Amongst the higher and more philosophical theologians 
 Isis w r as made the Sj^mbol of Pantheistic Divinity. By the 
 People she was worshipped as the Goddess of Fecundity. Suc¬ 
 ceeding somewhat to the more ancient Hathor (the Aphrodite of 
 the Greeks) the Cow was sacred to her. Isis was variously repre¬ 
 sented ; very often (as in this instance) as Hathor with the 
 Horns of a Cow, and the Disk of the Sun on her head. The 
 latter emblem was to shew that she was the Daughter of Ra, —in 
 other words, a Child of Light. The Semitic Astarte is identical 
 with the Wandering Isis. See Bunsen’s Egypt, vol. i, page 442. 
 The back part of this group is not formed, the disk and horns are 
 remarkably large. Note :— Bathor was the Daughter of Ra. She 
 was (anciently) Mistress of Amente. Her type was a Cow. Her 
 principal Shrine was at Tentyra (Dendera). In later Myths Hathor 
 is sometimes fabled to be the “ Nurse of Horus,” Son of Isis and 
 Osiris. Hathor is considered by some to have been the female 
 form of Thoth, as Amente was undoubtedly the female form of 
 Amun. The feet are wanting. 3^ inches high. 
 
 308. Porcelain Statue of a Mummified Man, in excellent condition, 
 having lost only a piece of his beard. The implements of agri¬ 
 culture with which it appears the deceased person should be 
 provided for the cultivation of the Elysian Fields in the Future 
 Life, are held in both hands, which are crossed over the breast. In 
 the right is held a kind of plough, or hoe; and a cord passing over 
 the left shoulder, sustains a coarse canvass bag, which is supposed 
 to contain the seed for the cultivation of the Elysian Fields. In 
 the left hand he holds an instrument resembling one which is still 
 in use in Egypt, of which the name in Arabic is Faas. It is a 
 stick with an Ron chisel fixed on it. With this instrument many 
 of the operations of agriculture are yet performed—such as dig¬ 
 ging to remove earth or sand. A line of hieroglyphics placed 
 horizontally below the elbows, contains the usual Dedication to 
 Osiris, and down the front of the figure is a vertical column, in 
 which the name of the deceased and his mother will probably be de¬ 
 ciphered. Soft porcelain, abundant green glaze, 6| inches long. 
 
28 CATALOGUE OP THE MUSEUM OP ANTIQUITIES 
 
 309. Two Figures op Mummies, with inscription down the front ; light 
 blue glaze, 4 inches. 
 
 310. Two Figures op Mummies, without hieroglyphics; light blue 
 glaze, inches. 
 
 311. Figure op a Mummy, without hieroglyphics; light blue glaze, 2£ 
 inches. 
 
 312. Five Figures of Mummies, without inscription, all about 3 inches 
 long. 
 
 313. Human Eye ; an emblem made of glass. 
 
 314. Coarse Porcelain Figure of a Mummy, imperfect glaze, and 
 indistinct inscription down the front, 4 5 inches. 
 
 315. Eude Figure op a Mummy, with inscription down the front and 
 the column behind ; porcelain, green glaze, 3£ inches. 
 
 316. Two ditto, of another manufacture, with inscription in front and 
 back, abundant glaze, 3f inches. 
 
 317. Ditto of another manufacture, with inscription in front and on 
 back. Abundant glaze, 3§ inches. 
 
 318. Eudely formed Figure of a Mummy, inscription down the front. 
 Coarse porcelain, blue glaze. 
 
 319. Five ditto, in the style of No. 316, but no inscription down the 
 back. Imperfect glaze, 4j inches. 
 
 320. Figure of a Mummy, with illegible inscription in eight horizontal 
 lines, and a few hieroglyphics down the column at the back. 
 
 321. Unformed Figure op a Mummy, blue glaze, 2 £ inches; much 
 decayed. 
 
 322. Figure op a Mummy, with nine lines of horizontal inscription. 
 Coarse porcelain, imperfect glaze, 5£ inches. 
 
 323. Eude Porcelain Figure of a Mummy. A line of hieroglyphics, 
 and the usual instruments in black pigment, burnt in with the blue 
 glaze. Coarse earthenware. 
 
 324. Two excessively Eude Figures in red baked earth, about 3 inches. 
 
 325. Figure of Amun Ea, with the head of a Earn. This little figure, 
 which is only an inch in height, is in perfect proportion. The 
 impression is not quite perfect, nor the glaze, which is partly 
 brown. The porcelain is of the hard quality. Note.— Amun Ea 
 is often represented Ram-Headed, and Num, or Kneph, very gene¬ 
 rally so ; but Amun himself is always Human-Headed. (See No. 387.) 
 
 326. Two Hawk-Headed Figures, about an inch high. One, the god 
 Ea, the personification of the Sun, has the disk and Urreus on his 
 head. The other, the god Horus, wears the Pschent, the United 
 Crown of Upper and Lower Egypt. Hard porcelain, grey glaze. 
 
 327. Statue op a Man, wearing the royal head-dress, composed of 
 horns, snakes, and feathers. Eude work, hard porcelain, grey 
 glaze, £ of an inch. 
 
 328. Two Figures of Thoth, the Ibis-headed God of tile Egyptians. 
 This divinity is the God of Letters, and is called Thoth, or Tet. 
 The larger specimen is l£. The smaller, only 1 inch high. Hard 
 porcelain, light green glaze. See No. 166 and No. 195. 
 
OF THE SYDNEY UNIVERSITY. 
 
 29 
 
 329. Statues of two Female Divinities. The shorter (a rude figure 
 of the Hippopotamus Divinity) is in hard porcelain, with a blue 
 glaze; 1 inch high. The taller, a statue of Nephthys—of the 
 same material, but in green glaze—is 1 l-16th of an inch. 
 
 330. Sitting Statue of Tefnu the Lion-headed Goddess, in excellent 
 preservation, holding in her left hand the papyrus plant, the stalk 
 of which is bent. Hard porcelain, light blue glaze, 2 inches. 
 On monuments Tefnu is often seen in the company of Khunsu, the 
 Egyptian Hercules. She is sometimes called the Daughter of Ea. 
 Tefnu , the Lion-Headed Goddess, appears to have been only an 
 ancient form of Pasht. (See Nos. 30, 370, and 409.) 
 
 331. A Group of Nephthys, Horus the Younger, and Isis. This 
 Egyptian triad is very common in porcelain of this size. The 
 emblems on the heads of the two goddesses are a little indistinct; 
 but the single lock of hair proceeding from the right side of the 
 head of the youthful Horus is very clearly defined. Horus, the 
 younger, is the Eros of the Greeks, and the Cupid of the Eomans; 
 Horus the Elder, or Aroeris, is Apollo. From llerpechrut also 
 came the “ Harpocrates ” of the Greeks. 
 
 332. Two Statues of Horus the Younger. The larger, which is a 
 perfect specimen, has been covered with a superabundant coating 
 of vitreous glaze, so that the minute folds on the garment of the 
 figure have been obliterated. It is of hard porcelain light blue 
 glaze, and high. The other figure is of rude work, and only f # 
 
 333. Figure of an Ox tied up for sacrifice. It is of rosso antico; 
 there are numerous similar specimens, in this material, probably 
 because it represents in some measure the ordinary color of the 
 animal, of an inch long. 
 
 334. Scarab -with the name of Thothmosis, surmounted by the two 
 Feathers of Truth ; some other emblems occupy the field. In the 
 ordinary material, | of an inch. 
 
 335. Ornament; beautifully made, representing the plant which 
 typifies Upper Egypt. Hard porcelain red glaze, i an inch. 
 
 336. A Cartouch, of long proportion, surmounted by the Feathers. 
 Hard black stone, H. 
 
 337. The Two Feathers of the Cap of Osiris. Slate stone, of an 
 inch. These Ostrich Feathers are Symbols of Truth. 
 
 338. The Buckle of the Waistband. Eosso antico, rude work, 1 inch. 
 
 339. Tablet, in hard, green stone, a material frequently used for this 
 emblem. 
 
 340. A Carpenter’s Square, made of haematite, a very usual material 
 for this emblem, § of an inch. 
 
 341. A Cylinder of f of an inch, and about iV in diameter, from one 
 end of which protrudes the head of an animal, perhaps a snake. 
 The material is white jasper. 
 
 342. Pyramidal Figure, of beautiful hard porcelain, blue glaze, 
 perforated half way up, of an inch. 
 
 343. Two rudely formed Fingers. This is a very ordinary emblem, 
 and it is supposed to have served for smoothing the papyrus; 
 black limestone, 2 inches. 
 
30 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 344. One side of a Wooden Sarcophagus of the Roman period, 
 representing the Deceased being embalmed and laid out on a couch, 
 made in the form of a lion. Anubis, the Jackal-headed Conductor 
 of Souls, or tyvxoTronnos of the Egyptians, stands in his quality as 
 Embalmer or Physician, by the side of the couch holding a small 
 vase in his right hand, which may be supposed to contain some of 
 the drugs used in the operation. The well-known four vases for 
 the preservation of the viscera of the deceased, for the Genii of 
 Amenti, are disposed on the ground ; two on this, and two on the 
 other side of the bier. At the head of the embalmed, is seated on 
 her knees Isis, (Perpetuity, or Incorruption) and at the foot, in the 
 same posture, Nepthys, (Decay, or Corruption.) Both goddesses 
 are veiling their faces in the attitude of mourners, or of persons 
 wrapped in the contemplation of the dread mystery of the Future 
 State. In one hand each Figure extends an inscribed swathe, or 
 mummy bandage towards Anubis for the Deceased. Three shrines 
 containing snakes with human arms and legs, two of them bearing 
 Scorpions, are placed between the mummy and the end of the 
 picture—perhaps intended to express that the biting, stinging, and 
 painful diseases to which the Deceased was subject during life, 
 were passed away and closed in their shrines, when the spirit 
 departed from the body. Between the embalmer Anubis, and 
 Anubis introducing into the place of judgment the person of the 
 Deceased, are four youths, bearing food and flowers towards the 
 Hall of Judgment. These are the offerings made to the divinity 
 by the friends and relations of the Deceased, for the safe conduct 
 of the soul, through the various trials it will have to sustain in its 
 progress, through Amenti (Hades)—or they are to represent, that 
 the Deceased during his life reverenced the gods and made offerings 
 at their shrines. The Deceased, attended by Anubis, stands at a 
 distance from the throne of the Judge, at the threshold of the Hall 
 of Judgment, with elevated arms, in the prescribed position of one 
 in the presence of Majesty. Next, on an altar,, sits the Female 
 Hippopotamus, her head decorated with the Feathers of Truth, 
 and in her paw the pointed knife. This large-jawed monster is in 
 some of these significant pictures called the Devourer. (See 
 No. 175.) Then follows the ceremony of weighing the heart or 
 soul of the Deceased, which is supposed to be contained in, or 
 represented by the heart-shaped vase placed in one scale, while in 
 the other is the counterpoise, an image of Truth. On the side of 
 the heart stands Anubis, and on the other side, the side of the 
 weight, the god Ra. Both these divinities are employed like 
 counsel, on opposite sides, addressing the Jury, (the forty-two or 
 thirty-six assessors, who do not appear in this picture) or what is 
 analagous thereto, in adjusting the Balance which is to decide on 
 the future condition of the soul of the Deceased. Placed in artistic 
 antagonism to the figure of the Devourer, on an altar, is a 
 Bird with a Human Head, ( Ba , a personification of the soul 
 of deceased), with out-stretched arms, as if in adoration, or 
 supplication, or asserting its innocence ;—for in the more ancient 
 pictures on this subject, the Deceased is represented standing at 
 the entrance of the Hall of Judgment, making the Negative 
 
OF THE SYDNEY UNIVERSITY. 
 
 31 
 
 Confession, declaring tliat he was not guilty of any of the 42 or 36 
 crimes personified by the like number of figures, usually placed in 
 one or two rows in the Hall of Judgment. Finally, Anubis appears 
 again as the Faithful Guardian (c pv\a £) of the dead, ushering into 
 the presence of the dread judge, Osiris, or as here, Osiris Ra, the 
 now justified (or mummified) person of the Deceased. Behind the 
 throne of the judge stands Isis and Horus. It will be observed 
 that in this judgment scene, the god Thoth (who usually appears 
 in the more ancient pictures as the Recorder of the Judg¬ 
 ment of the Balance) is wanting, and that only two active, and 
 apparently antagonistic principles are recognized. The hieroglyphic 
 inscription over the figure consists of an address to the infernal 
 deities of the Nome of the Deceased with a prayer for assistance 
 in his numerous transformations. (Respecting Osiris, refer to 
 Nos. 3, 14, 56, &c. For Isis, see No. 307, &c. For Nephthys, see 
 No. 183. For Anubis, see No. 168, &e. 
 
 345. Fragments of Papyrus, on both sides of which is some Greek 
 writing 5 inches high and 8 wide. In the same frame there is 
 another fragment 9^ wide and 5 high, with sentences in 
 Enchorial on both sides the sheet. 
 
 346. Frame containing Three Fragments of Papyrus, viz. :—The 
 upper part of an Illuminated Ritual in Hieratic, 11 inches wide, 
 but irregular in shape. A nearly square piece with Enchorial 
 writing 7 inches by six. And a fragment 3 by 3^. 
 
 347. Papyrus, 17 high, 7 5 wide, in Coptic running hand, with short 
 deed of gift, made by some person to tne Monastery of St. 
 Phoebamon, of Djeme. Probably the name of the donor and of 
 the witnesses to the gift were added. The dialect in which this 
 document is written is declared by Mr. G. W. Goodwin to be 
 Sahidic (Ancient Coptic of the Theban Dialect) but with some 
 unusual or corrupt modes of spelling. —Several words occur which 
 are not contained in the Coptic Lexicons, and of which it is not 
 easy to guess the meaning. The deed may be thus translated : 
 “ In the name of God. Imprimis, after this I give the “ kathem ” 
 and the “baimau” and the “ hee ” of iron and the “baienhe” 
 of the house which is towards the canal (?) to the south, (?) I 
 give them every one to the holy Father Phoebamon of Mount 
 Djeme. And may the Father and the Son and the Holy Spirit be 
 witnesses to this deed, and whosoever shall oppose it, let him be 
 under a curse accordingly.” The date of this deed is probably 
 of the 9 th century. 
 
 348. Two Fragments of Papyrus containing Coptic inscriptions. 
 («) This fragment has formed the end of a deed. It contains 
 merely the signature of the notary w r ho drew the deed. 
 
 A i. )jlou TTcrev ko>£ ecTKaro) 
 
 (. b ) Fragment from the end of a deed, containing little more 
 than the signatures of the witnesses. Mr. G. W. Goodwin 
 explains this fragment as follow's: The name of the city, or 
 name of eppov r (Hermonthis) occurs. The following names of 
 witnesses occur:—“ Seroute, the son of Psimo ; ” “ Abraam, the 
 son of Demetrius,” who also signs the name of another person, 
 
32 
 
 CATALOGUE OP THE MUSEUM OF ANTIQUITIES. 
 
 “because he did not know how to write;” Dioscurus, the son 
 of Smo, deceased (pcucapios ); ” “ Klautius (i.e. Claudius), the son 
 of Stephanus,” deceased; and “ Demetrius, the son of Pmai,” 
 who also signs for another person who does not know how to 
 write. 
 
 349. Piece of Linen, of fine texture, of the extraordinary length of 
 78 feet 4 inches ; 3 feet 9 inches in width, to which must be added 
 1^ inch, the width of a fringe woven into one edge, the whole 
 length of the piece. At 25 feet from one end is one line of 
 Hieratic writing, beginning from the fringe, and extending for 
 7^ inches towards the opposite edge. This inscription bears the 
 name of the person “Ra-skote-p-het man,” born of Anta-m-nofre 
 deceased, or justified. The remaining few characters are not 
 legible. According to Mr. Heath, this piece of linen is of the date 
 of Amen-m-ha I. (b.c. 2100 ?) one hundred years before Abraham. 
 
 350. Linen, of various textures ; (a) 16ft. 12 inches long, 4ft. 6 inches 
 wide, 2^ inches fringe. ( b ) 10ft. 3 inches long, 3ft. 6 inches wide, 
 (c) 10ft. long, 3ft. 8 inches wide, 1 inch fringe, (d) 6ft. 2 inches 
 long, 4ft. 2 inches wide, 2 inches fringe. The name of the original 
 owner has been written in the corner, but is so faded as to be 
 scarcely legible. 
 
 351. An entire and perfect Tunic or Shirt, of moderately fine 
 cloth. Its dimensions are 4ft. 3 inches wide, 4ft. 8 inches long. 
 The aperture for the head, 6 inches diameter. In this dress the 
 two sides were sewn up to within 7 inches of the top, to allow the 
 arms to come through. It will be observed that the hole for the 
 head is entirely in the front. The remarkable part is the small¬ 
 ness of this aperture for the head, particularly with the abundant 
 mass of hair that Egyptians are represented as wearing, except 
 the sacerdotal class, who were shorn. It is therefore only 
 reasonable to conclude that the garment once belonged to a man 
 of that class. 
 
 352. Six Bronze Figures of Osiris, all of them about three inches in 
 height. The larger has the disk surmounting the cap, the smaller 
 a loop attached to the left ankle. Bronze, rude work. 
 
 353. Figure of a god Sitting with a Triple Crown on his Head. 
 This is a bronze much injured by incrustation. Has been described 
 as “ Atmoo,” or Atum, but is (more probably) Pa-Neb-Ta, the 
 Lord of this World, the Son of Horus. See Bunsen’s Ideographics, 
 No. 101, and the Sarcophagus of the Queen of Amosis, in the 
 British Museum. 
 
 354. A BEAUTIFUL SPECIMEN OF THE Ur.®US, OR ROYAL ASP (KETBl), 
 with the disk on its head, as worn on the forehead of the ancient 
 Egyptian monarchs. It is made of bronze ; has been inlaid 
 with coloured enamel, a portion of which only remains, and was 
 originally gilt. (See No. 41). The snake represented is the Vipera 
 Haje, of Dandin, a noxious serpent celebrated as the Instrument 
 of Death, by which Cleopatra (the last of the Ptolemaic Dynasty) 
 is said to have terminated her existence. It is closely allied to 
 the Cobra di Capello, of India; the chief apparent difference being 
 its want of the singular yellow mark at the back of the neck, from 
 
OP THE SYDNEY UNIVERSITY. 
 
 33 
 
 which the latter species derives its name. The Ancient Egyptians 
 made the Asp a Symbol of Divinity and of Royalty. This serpent 
 is still worshipped in India, and some parts of Africa. 
 
 355. Chapter 80, op the Book op the Dead. The Chapter on 
 undergoing transformation into a deity who throws a ray into the 
 path of darkness. This version has been translated, and found to 
 vary somewhat from the published edition. It begins, “I am the 
 dark zone of Oannes, a bright ray unto the watchman, &c.” 
 
 356. Chapter 54, op the Book of the Dead. The Chapter on giving 
 breath to so and so in Purgatory. Spoken by the Deceased. 
 “ 0 Atum grant me the pleasant breath of your nostrils. I am 
 the egg of Nagagul. I wait on the great egg which Seb (Chronos) 
 laid on the earth—it quickens. I quicken in my turn—it lives—I 
 live in my turn, and have the command of breath.” The inscriptions 
 B. and C. are invocations to different deities. 
 
 357. Portions probably op the 15th Chapter, of the Book of the Dead. 
 
 358. Part op the 145th Chapter, op the Book of the Dead. In 
 this Chapter the Deceased after many wanderings is supposed to 
 arrive at the portals of the Fields of Aneru near the temple of 
 Osiris at Memphis. He contemplates the twenty-one gates thereof, 
 each guarded by a deity. He goes the circuit of them and reads 
 the name of each gate and each guardian deity. 
 
 359. Fragments op the Ritual. (A) is part of the same subject as 
 
 No. 358. (B) consists of the naming by Deceased of the different 
 
 parts of the barque in which he pays a visit to his Father Osiris. 
 In (C) the enigmatical letters, spread out to such a distance, are 
 only the names of Deceased and his mother. It would appear that 
 the Deceased was Hemut TJnnu. 
 
 360. Fragments of the Ritual, or Book op the Dead ; no headings. 
 
 361. Fragments op Chapter 84, in the Ritual. “The Chapter on 
 the Manifestation into Light. The first rank thereof.” 
 
 362. Chapter 71 of the Ritual. Chapter on Manifestation. On re¬ 
 pelling hostility, and on not allowing so and so while in Purgatory 
 to have his soul healed in Tasor. It begins thus :— “ Saith the 
 Osirian Hemut TJnnu deceased. 0 Hawk manifested in Primeval 
 Water, Lord of the Flood;—0 Great Cow, I am healed as thou too 
 thyself wert healed ;—I arise, I gird me, I soar over the earth, 
 may my Lord love me pre-eminently, &c., &c.” This Chapter 
 declares that “Flames of Fire rest upon the Wicked,” and that 
 “ quivering hearts are to be scorched on the Brazier at the Lake of 
 Fire.” Note:— The Great Cow here apostrophized is readily 
 identified with “Mut,” or “Muth ” (the “ Mother”—the “Mistress 
 of Darkness”) the Temple Consort of Khem. She is also iden¬ 
 tified, yet more closely, with Neith —a further developement of the 
 Conceptive Element,—one of whose chief names was “The Cow.” 
 The Cow was also the Chief Type of Hathor (Daughter of Ra or 
 Helios, the Son of Neith) a yet further developement of that 
 Element. When Isis came to be treated at the last developement 
 of the same Element, the Cow, of course, became her Principal 
 Emblem. Isis, and her Female Prototypes, represented Nature, 
 
 D 
 
34 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 in contradistinction to God. The far-famed and highly suggestive 
 inscription over the Shrine of Neith at Sais, was : 11 1 am all that 
 was, and is, and is to be ; no mortal hath lifted v/p my veil, and the Fruit 
 that I bore is Helios .” (See Plutarchus, De Iside et Osiride, Cap. 
 IX.; Clemens Alexandrinus, Strom: Lib. V., pagina 155 ; Proclus, 
 Lib. I., in Timmum. p. 30, etc.) 
 
 363. Names of Deities, Things, and Places, on a Mummy Swathe. 
 
 364. Chapters 51 and 52 of the Book of the Dead. Chapter 51. The 
 chapter on not going into the refectory, in Purgatory. “ Saith 
 the Osirian Hemut JJnnu deceased, This fish, this fish, I cannot eat 
 it, this rotten fish, I cannot eat it. My mind is made up, I will 
 not sniff it. I will not lift it with my arms, I will not approach it 
 with the soles of my feet.” Chapter 52. The chapter on not 
 eating rottenness in Purgatory. “ Saith the Osirian Hemut Unnu 
 deceased, This fish, this fish, I cannot eat it; this rotten fish, I 
 cannot eat it. Don’t alarm yourselves, it sticks in my gizzard. 
 I will not lift it with my arms, &c, &c.” The chapter ends with 
 an expression of supreme content and celestial repose: “I am 
 enlarged; I am widened. I have run my course; I sit in the place 
 I prefer.” On the Inscribed Bandages, here displayed, the Great 
 Serpent, (or Apophis, &c.) stabbed, or pinned down, by Horus, 
 appears twice. The “Injurer of Osiris ” is represented in the same 
 manner in No. 23. The Myth of the Strife between Horus and 
 Seth, or Typhon, is at least as old as the XIX. Dynasty. It is con¬ 
 sidered by some to be alluded to in the Book of Job, 26th chap¬ 
 ter, 13th verse (LXX. Version) ; and again in Isaiah, XXVTI., 1. 
 
 365. Part of the 84th Chapter of the Kitual The chapter on under¬ 
 going transmigration into the form of a stork. In this wild rhapsody 
 the soul of the Deceased is supposed to be addressing the brazen 
 image of a stork. It begins: “ Strong is the metal in the section 
 of their heads, &c.” 
 
 366. Passages from the Ritual. (A) is from chapter 23 and 24. (B) is 
 from chapterl2. (C) gives the names of the four oars of the sun in 
 chapter 148. Chapter 12 is very short: “I adore thee 0 Sun, the 
 guide through the mysteries of the House of Glory, into this arc of Seb, 
 (Chronos) into this Balance of Ra which is balanced with Truth 
 daily, grant that I may glide alongthe earth and be a director.” The 
 24th is the chapter on taking food to every body in Purgatory: “Says 
 the deceased Hemut Unnu, son of Per-het, I am Kheper (the 
 creator) who created himself from the body of his mother, who 
 fulfilled the wishes of the inhabitants of the Primaeval Water, 
 and imported the Phoenix to the companions of the deities named 
 the Forerunners [Thoth and Atum]. Then I gathered together food 
 here in every spot where it exists, for every individual who existed 
 there, prowling like cats awaiting the light of Mu. Do thou there¬ 
 fore, 0 Osirian Hemut Unnu, deceased, son of Per-het deceased 
 bring out the boat and engrave the oar blades for thy forward course 
 to Aat-n-Huh in Purgatory, and do thou collect the food shot into 
 every corner therein, for every individual existing there, prowling 
 like cats awaiting for the light, &c., &c.” 
 
OP THE SYDNEY UNIVERSITY. 
 
 35 
 
 367. Chapter 26 of the Ritual. The chapter ongivingapersonhisheart 
 in Purgatory. “ Spoken by the Osirian, &c. My heart is given me in 
 the chamber of hearts ; my heart is given me in the chamber of 
 hearts; my heart is given me, it is at rest within me. Nothing 
 now but to eat food in the chamber of Osiris, in this Region of the 
 East—a cargo full of it. Nothing now prevents me from thinking 
 with thee. My mouth is given me to speak with, and my feet to walk 
 with; my arms are given me to overthrow my accusers. Open to 
 me 0 doors of Heaven. I pass Seb (Chronos) the leader of the 
 gods. Ourti opens my eyes, the Shop (?) raises my arms, and 
 Anubis tattoos the legs, which extend to him. I stand erect with 
 Pasht, Heaven opens to me, I give my orders in Ha-ha-Ptah. [ The 
 name for Memphis theoriginal of “ E-gy-pV'—means the Hall of the form 
 of Ptahi] I think with my heart, I am strong with my heart, I 
 am strong with my arms, I am strong with my legs, my mouth is 
 of pleasing form. My soul is not kept asunder from my body in 
 the Abodes of Glory in the West.” 
 
 368. Chapter 68 op the Ritual. The Chapter on manifestation in day¬ 
 light. This Chapter begins as follows:—“ The Osirian Bemut Unnu 
 deceased has opened the doors of Heaven. I open the doors 
 of Earth, the bolts of Seb are withdrawn, the upper temple opens 
 into sight, the Osirian Hemut Unnu deceased approaches. I am 
 the Royal Bondsman of the Deity “Lovely Arm,” who carries the 
 arrow that reaches to the earth. The Osirian Hemut Unnu, 
 deceased, opens carefully and passes out carefully, the Osirian 
 Hemut Unnu, deceased, appears in any place he chooses, he is 
 potent with his heart, he is potent with his arms, he is 
 potent with meat, he is potent with drink, he is potent with drink 
 offerings, he is potent with libations, he is potent with what he 
 does in purgatory, he is potent with the excursions he undertakes 
 on to earth, he is so far born that the Osirian Hemut Unnu 
 deceased may say he lives spiritually by the Bread of Seb 
 (Chronos) etc., etc.” Respecting the bread of Seb refer to the 
 ancient Hebrew Book “Midrash Coheleth,” quoted by Cardinal 
 Wiseman, in his Lectures on the Catholic Church, vol. II., p. 141. 
 
 369. Fragments from the Ritual. (B) belongs to a different linen to 
 the foregoing, as it contains the words:—“ 0 Thoth justify Osiris 
 against his enemies, justify the Osirian Pet-Atum .” (C) contains the 
 7 3rd Chapter. The chapter on climbing into Amenti, the Land of the 
 West (or the Future World) on the day of climbing into the 
 Amhet, (some place or building. J “ Saith the Osirian Hemut Unnu 
 deceased. 0 Spirit of the Great Rams, let me approach, let me 
 see; let me climb the House of Glory, let me see my Father Osiris, 
 I have passed through the darkness to my Father Osiris, I am one 
 who loves him, &c., &c.” 
 
 370. Chapter 17 of the Book of the Dead. This Chapter is a 
 long one, and immediately preceding this portion of it occurs the 
 curious and important allusion the “ Fall of Satan.” It is well 
 known that we derive many of our notions on this point from 
 Milton, rather than from the Bible. This Book of the Dead, or 
 * ‘ Ritual, ” existed hundreds of years before Moses, the tradition of the 
 
36 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 imaginary fall of Satan previons to Man’s creation having been 
 apparently handed down to us from this heathen source. In line 
 54 of this chapter we read as follows:—“ This is Saham the Injurer 
 of Osiris. Others say , This is the Serpent who used to he at the very head 
 of Righteousness. Others say, This is the Hawk who used to he among 
 the heads. He was the First in Righteousness and afterwards in 
 Wickedness. He caused Wickedness to make Righteousness succumb. 
 Others say, This is Horus worshipped in Sichomp. Others say, 
 These be Thoth and good Atum son of Milt, the Harbinger Gods 
 who pull away the Sacrifices from the enemies of the Legitimate 
 God. Oh save ye the Deceased Justified Osirianfrom the watchers 
 and the pullers, from the second rates and the first rates, from 
 disease and injury. May they never be discovered lying in wait 
 against the Osirian, may they never prevail over me, may I never 
 fall into their flames, for I am aware of them, I am aware of the 
 name of this Mazd among them in the Dwelling of Osiris, with a 
 dart in his hand, invisible, wandering upon the earth in fiery 
 flame, whose measure Hapi has written. Never has the Deceased 
 Justified Osirian Hemut Unnu seen such healthy exercise on the 
 earth with Ha, nor such pleasant rest with Osiris. My dinners 
 there cannot be exceeded in daintinesses even because he is a servant 
 of the True God, in the ordinances of the Creator. The Osirian 
 Hemut Unnu deceased soars like a hawk, and swills like a goose, 
 and like Nahvek he will never be destroyed.” Explanation. — 
 “This is Anubis. This is Horus, worshipped in Sichomp. 
 Others say, this is Horus of the (grove ?); others say, the 
 Harbinger Gods who keep off the enemies of the True God 
 from him. Others say, this is Horjennu, of the (grove.) Let 
 them not toss me therein, let me not go near their horns.” 
 Explanation. —“ These dishes of exceeding daintiness signify, the 
 image here of Ra, with the image of the Eye of Horus. 0 Lord 
 of the Palace, Captain of the Gods, save thou the Osirian, Hemut Unnu 
 deceased from this Divinity therein, in the form of a CAT, with the hrows 
 like mankind, who feeds upon the Damned. This circuit of the Lake of 
 Fire devours the body, pierces the heart, and tears corpses in a way that 
 never was seen, the explanation whereof is—Its name is Devourer of 
 myriads of years, and it is at the lake in Phcenicia, which is hard hy 
 the Lake of Fire, in Fmperoft (“ the desert.”) 
 
 371. 19th Chapter of the Ritual. The chapter on the Flowers of 
 Justification (probably a crown of flowers). 4 4 Saith the Osirian Hemet 
 Unnu deceased, Thy Father Atum presents to thee on a salver this 
 beautiful coronet of justification for this living forehead, dear to 
 the ever-living gods. Osiris, Lord of Amenti, justifies thee against 
 thy enemies. Thy father Seb (Chronos) orders for thee all his 
 joints of meat. May Hor-si-esis, Son of Osiris, honour thee on 
 the throne of the Father—Ra the Sun—to overthrow thine 
 enemies, etc., etc.” The chapter repeats the justifications in the 
 different chief regions of Egypt on different chief festivals, and 
 ends with the usual promises that if the chapter be chanted, and 
 the proper offerings made for the dead, the result shall be 
 satisfactory to the soul of the Deceased. Note. —The Temple 
 Consort of the abovementioned Seb (or Chronos) was Nutpe, or 
 
OP THE SYDNEY UNIVERSITY. 
 
 37 
 
 (as the Greeks called her) Rhea. The Symbol of Seb (or Chronos) 
 was the Star. 
 
 372. Vignettes. (B) belongs apparently to Chapter 110 where the 
 Deceased is represented reaping gigantic corn in the Fields of 
 Aneru, near Memphis. (A) is the beginning of Chapter 83. The 
 Chapter on Transformation into a bennu —a long legged bird, 
 stork, or phoenix. “ Saith the Osirian Hemut Uhnu deceased, I 
 fly among the circle of gods, I am born like Kheper [the Beetle, 
 or Creator], I grow like the flowers, I am initiated like the 
 mysteries, etc., etc.” 
 
 373. Fragments. The writing is in a linear hieroglyphic which stands 
 half-way between Hieroplyphics and Hieratic. 
 
 374. Chapter of the Ritual on giving so and so his heart in Purgatory. 
 
 375. Fragments belonging to the Long Papyrus, No. 94. 
 
 376. Chapters 21 and 22 are on the same subject,—the restoring to so 
 and so of his mouth in Purgatory. Chapter 21 begins thus: “ Saith 
 the Osirian Hemut TInnu deceased. Turn thy face, 0 Osiris, lord 
 of the flash of light in the palace of darkness of the nightly vault! 
 I approach thee, I am glorified, I wash my hands in thy presence, 
 etc.” The 22nd Chapter begins thus: “ Saith the Osirian Hemut 
 Uhnu deceased—I shine like the egg in the Land of Mystery—my 
 mouth is restored to me and I speak with it—I am in presence of 
 the Great Pioneers, in presence of the Great God of the House of 
 Glory, etc., etc.” 
 
 377. Fragment of the Ritual. Belongs to same person as No. 341. 
 
 378. Fragments of the Ritual. (A) and (D) belong to Chapter 15, 
 (B) and (C) to Chapter 148. In (D) in the first picture, the Deceased 
 is sitting in the barque of the sun during his daily journey; in the 
 second the sun has just sunk beneath the horizon ; and in the third 
 the Deceased gets on shore to get his supper, which is seen on the 
 altar table. Chapter 148 is also connected with the Worship of the 
 Sun and very likely may have come next to Chapter 15. The 
 picture represents the four oars of the north, south, east, and west 
 quarters of the heavens—also the Seven Kine of the Sim. (See 
 Genesis XLI., 2, 3, 4-18.) 
 
 379. Tins Fragment of the Ritual deserves notice as the beginning of the 
 passages of which this collection contains so many pieces. The person 
 who pasted them on to the board has inverted their properorder. (B) 
 is the first chapter of the Book of the Dead. It begins : “ Hail 
 Osiris, Bull of the West, with Thoth Eternal King. I am the 
 great deity in his ark; I have contended for thee; I am one 
 among the crown of deities, the Kingly Pioneers.” 
 
 380. Fragments of the addresses to the different Halls in Purgatory 
 with their presiding deities. 
 
 381. Fragments of the Ritual. No headings to these fragments. 
 The same may be said of 382. 
 
 382. 13th Chapter of the Book of the Dead. The 13th is the chapter 
 on locomotion after being manifested, and it is ordered to be 
 chanted over an ornament of some textile material inserted into 
 the right ear of the mummy, and on which the name of the 
 
38 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 deceased is written on the day of his embalming. The words 
 are, “ I move like the Hawk, I am manifested like the Phoenix—like 
 the Morning Star. I have run the race. I adore the Sun in the 
 beautiful West. I stroke the locks of Osiris, I fondle the Cate of 
 Horus, I have run the race, I adore Osiris.” 
 
 383. The 14th Chapter of the Ritual. The Chapter on destroying the 
 vermin in the heart of the Deceased. “ Saith he—I turn towards thee, 
 0 coming opportunity, in all mysteries—May the deceased Osirian 
 Hermit Unnu, sod of Perhet deceased, repeat these words rightly—may 
 no god of vermin fill him with filth—let him repel it with all his 
 force—verily I, the god Sam (Saham ?) have repelled mishaps 
 and stumbling-blocks from him. Verily Anubis repels misfortune 
 from thee, thou art with the Cod of Peace in his own abode— 
 mayest thou have thy offerings and live with him. May the de¬ 
 ceased Osirian Hemut Unnu live with Him. May He destroy all 
 the vermin in his heart.” If “Sam” means Saham , this aspira¬ 
 tion must be addressed to Apophis or Typhon. (See 370.) Per¬ 
 haps Seb (Chronos) is here referred to. 
 
 384. Fragments of the 18th Chapter of the Eitual. This chapter is 
 divided into ten sections, each relating to the justification of the 
 Deceased after death in different parts of Egypt. Thoth is requested 
 in each case to justify the Deceased as he justified the god Osiris. 
 
 385. Fragments of the Book of the Dead. 
 
 386. The 7th or 9th and other early Chapters of the Book of the 
 Dead. The Deceased, in the great majority of these Fragments, 
 is named Hemut Unnu (the duckling is perceived), son of Per-het 
 (open-heart). 
 
 387. Chapter 57th of the Book of the Dead. The Chapter on the 
 blast of wind contending with the waters in Purgatory. In this 
 Chapter, the goddess Saf erects at last a shelter for the Deceased, 
 and the god Num fixes it on its foundations. (For the goddess 
 Saf or Safre, see No. 195.) When the wind is North, De¬ 
 ceased sits on the South, when the wind is South, Deceased 
 sits on the North, and so on for the other quarters; at last, 
 he contracts his eyebrows over his nose, and makes a rush to 
 a more eligible spot. The God Num, here mentioned, appears to 
 be the same as Num, Nu, Kneph, or Chnubis—the Eam-Headed 
 God of the Thebaid, or Upper Egypt. Num has been supposed to be 
 a deification of Noah. He is one of the Gods of the First Order in 
 Egyptian Cosmogomy. The name of his consort is Ank, or 
 Anuke; which is Hestia . Sometimes Hek, the Frog-headed Goddess, 
 appears as Num’s Temple Consort. The Goddess Sett (Hera or 
 Juno) is also sometimes so honored. Num is sometimes con¬ 
 founded with Amen or Amun—the Primaeval Deity, the “ God 
 Who Conceals Himself ;” Amen signifying to conceal. Originally, 
 however, Num was distinguished from Amun, and appears as a 
 subsequent developement. Amun is said to have revealed himself 
 to his eldest son Khunsu (the Egyptian Hercules) in the guise 
 of a Ram , which, thereafter, became his Emblem as Amun-Ea. 
 In the XVIII Dynasty, 1500 b.c., the Temple Worship of 
 Amun-Ea was abolished, and his images broken. See No. 15. 
 
Of THU SYDNEY UNIVERSITY. 
 
 39 
 
 One account states that Bai (the Egyptian for a he-goat) was taken 
 phonetically to stand for “Bai,” the Soul or Spirit. “Kneph,” 
 one of the names of Num, signifies Spirit. Num is the Primaeval 
 Creator. The worship of Num was universal in Ethiopia. The 
 colour of the body of Amun was llue ; that of Num,— green. 
 
 388. Large Piece op Papyrus, bearing a fragmentary inscription 
 written with a brush, in Arabic characters, nearly of the Cufic 
 form—The upper line is clearly the “ Bis-m-allah,” in “the name 
 of God ;” and below, the first clause of the profession of faith of 
 the Mohammedans, “La illah ila Allah.”—“There is no divinity 
 but God.” The piece of papyrus is 14^ inches high, and 9^ 
 inches wide. There is scarcely any evidence of the papyrus 
 having been used previously, by the Ancient Egyptians. 
 
 389. Portion op Chapters from 32nd to 36th op the Book op the 
 Dead. 
 
 390. Fragments concerning libation, op a similar character to 
 those in 376. 
 
 391. Chapters 41 and 42 of the Eitual. On repelling (some kind of 
 reptile), from so and so in Purgatory. “ Spoken by the Osirian 
 Hemu TJnnu deceased son of Perhet. Osiris Uonofer (i.e. the 
 Good) with Atum shines upon Mu and Tefnu, he opens the House 
 of Glory in the horizon and the odour thereof comes out, etc.” 
 The Yignettes of this, and other portions of the papyrus of 
 Hemut Unnu, are generally different from the edition of the 
 Book of the Dead, published by Lepsius. 
 
 392. Part op the 71st Chapter op the Eitual. 
 
 393. Chapter 31 or 32 of the Book of the Dead. 
 
 394. Fragments of the Eitual, without any heading. 
 
 395. The 45th Chapter of the Book of the Dead. The Chapter 
 (B) on not relieving the bowels in Purgatory! “ Saith the 
 deceased Hemut Unnu son of Perhet, I repose, I repose on Osiris, 
 I rest my arms on Osiris; He has no rest, he cannot relieve his 
 bowels; he cannot, &c., &c. Oh! cause ye^the deceased Osirian, to 
 assist his Father Osiris.” N.B.—(A) is a part of Chapter 18th, 
 mentioned in No. 384. 
 
 396. Fragments op the Book of the Dead. C joins on at the 
 right hand of (A) in No. 395. There is no heading to 
 these fragments. An adoration of Atum and Kheper, reminds 
 us of Chapter 139; while the statements that they shine, 
 like the Phoenix in the temple of the Phoenix in Heliopolis, is a 
 parallel passage to Chapter 140. But the remaining portions 
 differ. 
 
 397. Large Fragment op the Book of the Dead, without any heading. 
 
 398. The Chapter on Drinking Water in Purgatory. 
 
 399. Fragments of the Book of the Dead. 
 
 400. Fragments of the Book of the Dead. 
 
 401. Fragments of the Book of the Dead. 
 
 402. Fragment of the First Chapter of the Ritual, or Book of the 
 
40 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 Dead, in a bold, Enchorial or Demotic hand-writing. This 
 fragment is accompanied by an Outline Illustration, representing 
 the Lady for whom it was written, worshipping in the House of 
 Horus-Ea, before whose image are five lines of hieroglyphics; 
 the last [over the head of the lady] containing the name of the 
 Deceased. The papyrus is of a dark brown color, 1-foot 10-in. 
 long, and 10 inches wide. “Adoration of Horus-Ea, by the 
 Osirian lady, the House owner, the Sistrum player, Maut-m-Heb, 
 deceased.” 
 
 403 Portion of the Front of a Cedar Mummy Case, bearing three 
 columns of hieroglyphics, cut with a sharp chisel-shaped instru¬ 
 ment. The style of the hieroglyphics, and the form of the case, 
 make it probable that it is of the time of the Ptolemies. The 
 cedar-wood retains its odour, and is probably from the Forest of 
 Lebanon. Single block, 3 feet 6 inches high, 2 § inches thick. The 
 translation of the hieroglyphics is given by the Eev. D. I. Heath, 
 as follows:—“The words of the Osirian Petosiris deceased. 
 Hail, ye Lords of the Double Truth, ye spotless ones who exist for 
 ever and ever! Come forth to help me, that I may prevail by your 
 assistance^ that I may profit by your splendour, Give me a 
 position in this land ; allow me to take my food there; allow me to 
 plough there, because—” (Here the inscription breaks off.) This 
 beautiful fragment is mounted on a handsome stand of Australian 
 Cedar. 
 
 404. Similar Portion of a Mummy Case, also bearing three columns 
 of hieroglyphics, sketched out with an instrument of the gouge 
 form. This is also of Lebanon Cedar, and of the same period as 
 the last, and of the like dimensions. It has also been adapted to 
 a pedestal, composed of Cedar of Australia. Its inscription runs 
 as follows:—“ The words of the Osirian Horut, deceased, aspiring 
 after Truth, son of the lady Tet, deceased. Hail, Terminal Gods, 
 ye spotless ones, who live for ever, world without end! Assist ye 
 me in the gulf; light me with your rays; torment me not. Let 
 me rise with your risings; let me sit in a place of quietude, in the 
 Land of this Double Truth; restore me my mouth, that I may 
 speak with it; grant me the favour of your countenance. I read 
 you; I read your names ; I read the name of this God.” 
 
 405. Tablet of Stone of the usual form, bearing two royal names, that 
 of Amunothph II., and that of a queen. Above is the Winged 
 Globe, and some lines of hieroglyphics ; below are the figures of a 
 man and woman. It has been supposed by some that this tablet is 
 a modern forgery; and by a European artist not very conversant 
 with Egyptian art. It is, moreover, carved out of a fine limestone, 
 of a quality that is not to be found in the Valley of the Nile. 
 (Joseph Bonomi.) The Tablet is 10^ inches high, and 8 inches 
 wide. The hieroglyphics have been translated by the Eev. 
 D. I. Heath, as follows:—Adoration of the deceased monarch, 
 Amunothph II [about b. c. 1450], by a “Divine Wife.” named 
 Nofer Ateri. “Peace offering to the good deity, the Balancer of 
 the Land, from the divine wife of Pet-Nofer, deceased. Says she, 
 
 Hail, O venerable God.’ ” It has been remarked that if the 
 
OP THE SYDNEY UNIVERSITY. 
 
 41 
 
 supposed forger was not himself conversant with the Language of 
 Ancient Egypt he must have copied his inscription from some 
 authentic source. 
 
 406. Vase, in Coarse Eed Earth, with the Figure op Typiion 
 impressed on it. The foot of this vase is square, and the front 
 of it has been made smooth, and certain doubtful hieroglyphics are 
 cut in it. The figure of Typhon is certainly pressed out of a mould 
 made on an antique figure. It is about 4 inches high. (Eor 
 Typhon, see No. 134 and No. 155). 
 
 407. A Front View op the Head op Osiris, on Canvass, the size of 
 life, drawn in a black outline, filled up with paint. This formed 
 part of the winding-sheet of a mummy, of the Roman period. 
 The ears are remarkably small, and placed even higher than is 
 usual in Egyptian figures. The fragment of canvass is about 1 foot 
 5 inches high, and 1 foot 2 inches wide. 
 
 408. Two solid pieces op Papyrus; —the longest, 9 inches long, and 1 b 
 inches wide. Composed apparently of fragments of Demotic 
 Papyri, pasted together and secured at the two ends by a lump of 
 coarse bread, on which, while soft, an impression from an oval seal 
 was made. The shorter Papyrus (7 inches long), is composed of a 
 solid piece of the stalk of the papyrus, flattened and sealed at the 
 two ends like the other, with an impression of the same seal. 
 The seal seems to have been dipped in a blue liquid, in order that 
 it should be easily released from the soft bread, and likewise to 
 colour the impression. These sticks of papyrus were for the purpose 
 of giving solidity to small volumes of manuscript, round which 
 they were rolled. The word “ volume,” derived from the Latin, 
 volvere, to roll, is still retained in our language to signify a book, 
 although books have long since ceased to be made in the form 
 of a roll. 
 
 409. Bronze Figure op the Goddess Pasht, four inches high, very 
 much corroded. Has apparently been subjected to the action of fire. 
 Pasht, or Pecht, was the Goddess of Bubastis or Pibeseth. She 
 is called Mer-Ptah, the Beloved of Ptah, and the “ Mistress of 
 Memphis.” Pasht is generally looked upon as the daughter of 
 Ra. The Greeks called her Artemis. See Nos. 30, and 423. 
 
 410. Coarse Porcelain Osiride Figure, four inches high. 
 
 411. Small Bronze Figure op Osiris with two loops, one lateral, 
 and the other at the back. Note.— Respecting Osiris, here 
 represented, it is not uninteresting to observe that from his title 
 “ Rho-ta-Amenti ” (King of Hades) came the Greek Name and 
 Mythical Personage, Rhadamanthus. 
 
 412. Osiride Figure in Bronze, of very rude workmanship. Five 
 inches high. 
 
 413. Upper Portion op Bronze Male Figure (Egyptian). Four 
 inches high. Much corroded. 
 
 414. Figure op a Head Rest, or Pillow. One inch high. (See No. 179.) 
 
 415. Osiride Figure of Porcelain. No inscription. Four inches high. 
 
 416. Osiride Figure op Porcelain. Bearing an inscription. Four 
 inches high. 
 
42 CATALOGUE OP THE MUSEUM OP ANTIQUITIES 
 
 417. Osiride Figure op Porcelain (with an inscription). Four inches 
 high. 
 
 418. Small Osiride Figure. Two inches and a-half high. 
 
 419. Osiride Figure in Porcelain. Three inches high. 
 
 420. Small Osiride Figure, in Bronze. Two inches high. 
 
 421. Small Osiride Figure, in Blue Porcelain. Two inches high. 
 
 422. Common Osiride Figure, made of black clay with black glaze* 
 Exhibits rude traces of inscription, and is about six inches high. 
 
 423. Bronze Figure op Pasht, much corroded. Apparently once 
 subjected to the action of great heat. Pasht was one of the Early 
 Forms of Isis. Isis was personified as Neith (the Mother of Ra) in 
 Lower Egypt; as Hathor (the Daughter of Ra), whose Symbol 
 was a Cow, in Upper Egypt; as Pasht (the Cat-Headed God¬ 
 dess) in Lower Egypt; and as Ma (“Truth,” with an Ostrich 
 Feather) also in Lower Egypt. 
 
 424. Portion of Roman Tessellated Pavement from the City of 
 
 NiCOPOLIS — THE ClTY v OF VICTORY — ABOUT TWO MILES FROM 
 Alexandria. That City was erected by Augustus Caesar, to 
 commemorate the Naval Victory gained by him off the Promontory 
 of Actium (hodie Cape Fingalo) over Mark Antony and Cleopatra, 
 in the Roman Era, 723 ; that is about thirty years before Christ. 
 
 425 Ancient Egyptian Skull, with portion of the resinous substance 
 with which it was once enveloped, yet within the cavity. From 
 the Burial Place of Sakkara, near Memphis. 
 
 426. Osiride Figure of Porcelain, 4 inches high. 
 
 427. Ancient Bronze Sistrum, with four transverse bars, surmounted 
 by the figure of a cat. Length, about 9 inches. This mystical 
 instrument was a species of timbrel used by the Ancient Egyptians 
 in the Mysteries of Isis (just as the cymbal was in those of Cybele) 
 for the purpose of making a sonorous noise in their temples, and 
 during their processions. The Cat ( JElurus) was an animal sacred 
 to Isis. (See No. 30.) The four bars of the Sistrum represent 
 the four elements—Earth, Water, Fire, and Air. (See Mont- 
 faucon’s Antiquities Volume II., pages 287, 293, 309, 310, &c.) 
 The Sistrum, (as a symbol) sometimes stands for religious exer¬ 
 cises, or devotional acts.—See No. 344. 
 
 428. Fragment of Sandstone, with incised hieroglyphics, from the 
 Tombs at Ghizeh. 
 
 429. A Sacred Double Finger of Black Stone. Used for smoothing 
 the Papyrus. A similar instrument is used for smoothing the 
 Tappa in Polynesia. 
 
 430. Portion of Black Basaltic Stone, with incised hieroglyphics. 
 
 431. Portion of Coloured Sandstone, with inscription taken from the 
 Grottoes of El Kab (the ancient Eleithyas, Upper Egypt) on 
 the 23rd of December, 1856. 
 
 432. Fragments of Ancient Etruscan Armour ; portion of belt, &c. 
 
 433. Etruscan Bronze Ladle with a Goose Head Handle. 
 
 434. Ferule of Bronze. 
 
OP THE SYDNEY UNIVERSITY. 
 
 43 
 
 435. Bronze Kettle Handle, 2 inches long. 
 
 436. Bronze Kettle Handle, three inches long. 
 
 437. Handle of Kettle, with carved embossed ends. About eighteen 
 inches in diameter. Bronze. 
 
 438. Ornamented Bronze Handle to Speculum. 
 
 439. Small Handle op a Bronze Vase, with curved ends. An inch 
 and a-half in diameter. 
 
 440. Small Handle op Bronze Vessel, with portion of Bronze Vessel 
 attached. Two inches in diameter. 
 
 441. Another Small Handle op Bronze Vase, with portion op Vessel 
 attached. One inch in diameter. 
 
 442. Another Small Handle op Bronze Vase, with portion op Vessel 
 attached. Same size as No. 441. 
 
 443. Etruscan Bronze Fibula or Clasp. Imperfect. Three inches in 
 diameter. 
 
 444. Etruscan Bronze Fibula, two inches in diameter. 
 
 445. Etruscan Bronze Fibula. 
 
 446. Etruscan Bronze Fibula, one and a-half inches in diameter. 
 
 447. Etruscan Bronze Fibula, one inch in diameter. 
 
 448. Etruscan Bronze Fibula, two inches in diameter. 
 
 449. Perfect Bronze Fibula, Etruscan or Roman. About four inches 
 long. 
 
 450. Bronze Fibula (also complete). About two inches and a-half long. 
 
 451. Bronze Fibula, imperfect. 
 
 452. Bronze Fibula, also imperfect. 
 
 453. Bronze Arrow Head, from Porto San Agosto in Umbria. 
 
 454. Bronze Surgical Instrument (?) from Porto San Agosto in 
 Umbria. 
 
 455. Portion op Etruscan Belt, representing a dog, with a staple at 
 the back of the head, from Porto San Agosto in Umbria. 
 
 456. Roman Bronze Bulla, with Chain attached. Object worn by 
 Roman boys to avert the influence of what was called the Evil 
 Eye. The Uta, or Pectoral Plate (Bunsen’s Ideographics, 
 No. 493) seems to have been worn for the same purpose by the 
 Ancient Egyptians. See No. 80. 
 
 457. Etruscan Torque, about twelve inches long. 
 
 458. Fragment of a similar Torque, about one inch long. 
 
 459. Part op Bronze Were Chain, about six inches long. This Chain 
 evidently once served for a suspended lamp. It is precisely 
 similar to the chains of a Lamp with three branches found at 
 Pompeii, and now forming part of the Collection of Mr. John 
 Disney. (See Museum Disneianum. Plate LXII.) 
 
 460. Portion op Bronze Pipe and Tap, from Pompeii, an ancient city 
 near Mount Vesuvius in Italy. 
 
 461. An Oblong Roman Bronze Weight— Quadrusnis. On the one 
 side, in high relief, is the handle of a sword and the letter “ R ”; 
 
44 
 
 CATALOGUE OP THE MUSEUM OP ANTIQUITIES. 
 
 on the obverse, in lower relief, is a sword and the word 
 •‘Romanos.” See Nos. 1061 and 1241. 
 
 462. Bronze Printing Stamp. This Interesting Object is about two 
 inches long by rather less than an inch wide, and about the 
 eighth of an inch thick. The letters are raised as in common 
 type, and the rest of the metal cut away, forming a perfect 
 stereotype: they are also reversed, so that when used the words 
 would be in their proper positions, to be read from left to right. 
 It was probably used for marking pieces of pottery, or perhaps 
 for stamping bread. The inscription of this stamp (to the back of 
 which a handle is attached) is to be read from the right to left— 
 as follows:— 
 
 SYNTRO 
 PHI: M: C: S. 
 
 463. Bronze Printing Stamp, similar to the preceding,—nearly two 
 inches and-a-half long, one inch wide, and one-eighth of an inch 
 thick. The inscription is as follows—read from right to left: 
 QVOLLACIITALICI. 
 
 464. Bronze Printing Stamp of rude workmanship, with an inscription 
 of four letters. Length, one inch and three-quarters; extreme 
 width, one inch; thickness, one-sixteenth of an inch. A handle 
 is attached to the back of the Stamp. The following is the in¬ 
 scription on the face of this Stamp: VIED. 
 
 465. Bronze Plate, two inches long, by one and a-half inch wide. 
 On the one side of the plate are the letters R. R.; and on the 
 other is the following inscription : L. PLANCYS. LE. COS. I.MP. 
 ITER. DE. MANIB. 
 
 466. Ear-ring with a human head in alto relievo. Of dark green 
 stone. Attached is a small ring of fine gold. 
 
 467. Bronze Ear-ring (?) or other Ornament, with bust of beardless 
 figure. 
 
 468. Bronze Bee, or Wasp. 
 
 469. Circular Bronze Handle. 
 
 470. Bronze Celt, or Dolabra, 6^ inches long, and 2^ inches wide at 
 the edge. It has a socket into which the handle was formerly 
 fixed. 
 
 471. Another Bronze Celt, or Chip Axe, of a similar description to 
 the foregoing. 4 inches long. 
 
 472. Another Bronze Celt, 4f inches long. The blade is widened 
 outwards, in the shape of a fan. 
 
 473. Bronze Handle with Staple. 
 
 474. Bronze Strigil complete a scraper anciently used by the 
 Romans for the purposes of a flesh brush after bathing. 
 
 475. Portion of another Strigil— very much corroded. 
 
 476. Etruscan Bell of Bronze. 
 
 477. Fragment of a Roman Strigil. 
 
 478. Roman Key of Bronze. 
 
 479. Roman Key of Bronze. 
 
OP THE SYDNEY UNIVERSITY. 
 
 45 
 
 480. Small Bronze Ornament ; probably portion of an earring. 
 
 481. Small Spatula, —possibly used for surgical purposes. 
 
 482. Two Small Bronze Weights. 
 
 483. Bronze Bell. 
 
 484. Bronze Bell. 
 
 485. Small Bronze Vessel. 
 
 486. Small Bronze Vessel. 
 
 487. Bronze Handle op Vase, with the head of a Female Figure in 
 bold relief—crowned—with chaplet at point of attachment to vase. 
 
 488. Two Bronze Circular Plates ; use unknown. 
 
 489. Bronze Head of Animal ; probably that of a boar. 
 
 490. Articles in Bronze ; probably used for combing wool or flax. 
 
 491. Small Fibula; imperfect. 
 
 492. Bronze Handle op Vase. 
 
 493. Bronze ; seven inches long. Purpose unknown. Probably a 
 mathematical instrument. 
 
 494. Bronze, of a similar description to the foregoing. 
 
 495. Bronze Female Foot; Votive. 
 
 496. Bronze Claw-foot, formed of two rams’ heads. 
 
 497. Bronze Spur. 
 
 498. Bronze Plate with two Staples. Probably a portion of ancient 
 armour. 
 
 499. Bronze Umbo op a Shield. 
 
 500. Small Bronze^Rod, with twisted wire in the centre. Purpose 
 unknown. 
 
 501. Two Circular Bronze Plates. 
 
 502. Etruscan Bronze Mirror, with handle. Perfect. On the 
 Concave side, (which appears to have been originally gilt) is the 
 embossed figure of the Etruscan Goddess Mean , winged, wearing 
 a pileum on her head, and boots on her feet ; but otherwise 
 nude. Amongst the Deities of the Etruscans handed down 
 to us, the Individual here represented is the most commonly 
 found pourtrayed on these “dischi manubriati,” that is :—Mirrors 
 with handles, otherwise known as Mystical Glasses. The Etrus¬ 
 cans called this deity “Mean,” or the Goddess Mania, and the 
 Latins and Greeks gave her the name of Nemesis, —Fortune, or 
 Fate. She is occasionally represented with a sling in her hand. 
 (Vide F. Inghirami’s Monumenti per intelligenza della Storia 
 della Toscana, page 11, plate IX.) 
 
 503. Another Etruscan Bronze Mirror, with a portion only of the 
 handle remaining. 
 
 504. Another Similar Mirror, without a handle. 
 
 505. Another Mirror of the same description, without a handle. 
 
 506. Sundry Fragments of Etruscan and Boman Mhirors. 
 
 507. Small Bronze Head, in high relief. 
 
 508. Female Head in Bronze, high relief. 
 
46 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 509. Bronze Head of a Man— probably Roman. 
 
 510. Bronze Claw. 
 
 511. Rude and Mutilated Bronze Figure of a Horse. 
 
 512. Two Calves’ Heads in Bronze. 
 
 513. Bronze Female Face. 
 
 514. Curious Bronze Ornament. 
 
 515. Bronze Clawfoot, somewhat similar to No. 496. 
 
 516. Part of Bronze Style. 
 
 517. Two ArmhLjE. 
 
 518. Two Handles of Vases. 
 
 519. Object in Bronze, resembling the head of an adze, or the cross 
 hilt of a dagger. 
 
 520. Richly Chased Handle of a large Bronze Vase, with two heart- 
 shaped ears by which it seems to have been attached to the bowl. 
 The ears are highly ornamented with two monstrous heads. The 
 whole is about six inches wide, and five inches and a half high 
 when standing on the two points. The vase to which this handle 
 belonged must have been of a considerable size. It might have 
 been the vessel for holding water to be sprinkled by the aspergillum 
 alluded to by Dr. Smith in Verio “ Lustratio.” 
 
 (From 521 to 540.) Nineteen Objects in Metal of various kinds. 
 
 541. Sundry Fragments of Bronze Plate, probably portion of ancient 
 armour. 
 
 542. Bronze Mask of Human Head with Beardless Face (life size.) 
 Consists of two metallic plates united in the centre by a suture — 
 noticeable in the interior side, but not in front. The hair is cut 
 square in front with curls over the forehead. The ears very 
 prominent. Etrusco-Roman. 
 
 543. Bronze Head of Medusa, on circular plate, 2 feet 11 inches in 
 circumference. The head stands in bold relief, and the hair is 
 intertwined with snakes. Two wings appear on the top of the 
 head. The recurved edges of the disk are lined with a band of 
 ivy leaves. At the back is a transverse bar apparently serving for 
 a handle, by which it was once carried, or from which it was once 
 suspended. 
 
 544. Large Bronze Etruscan Pan, rather more than four feet in 
 circumference, and with a rim three inches deep. 
 
 545. Etruscan Bronze Pan of thin plate, 2 feet 7 inches round— 
 diameter 10 inches, having a handle terminating in a goose’s 
 head. 
 
 546. Etruscan Bronze Vessel, in the form of a Small Pail—very much 
 corroded. Bears marks of having been anciently mended. Was 
 dug up in the presence of the Prince of Canino, (Lucien Bonaparte) 
 at Canino, in the Roman Campagna, in 1820. This is one of many 
 objects in the Niclolsonian Museum illustrative of the high civili¬ 
 zation anciently attained to by the Etruscans—a people of Northern 
 Italy, of uncertain origin, who called themselves Rasena. They 
 were conquered by the Romans. Their language became extinct 
 
OP THE SYDNEY UNIVERSITY. 
 
 47 
 
 between the reign of Augustus and the time of the Emperor 
 Julian, commonly called the Apostate. The Etruscans were 
 celebrated for their pottery, and their skill as goldsmiths and 
 workers in metal generally. 
 
 547. Bronze Dish. 24 inches in ciroumference, and 4 inches in depth. 
 Imperfect. 
 
 548. Another Bronze Dish, 30 inches in circumference, with a rim 
 two inches in depth. This was dug up in 1829, under the im¬ 
 mediate inspection of Lucien Bonaparte, Prince of Canino, on his 
 estate at Canino, on the borders of that part of Italy formerly 
 known as “Tuscany.” It comes from tombs of the Ancient 
 Etruscans,—probably anterior to the foundation of Borne, and not 
 much less than eight hundred years before Christ. 
 
 549. Bronze Dish, 38 inches in circumference, with a diameter of 12 
 inches. Defective. 
 
 550. Portion op Etruscan Bronze single-handled Vase, from Canino. 
 
 551. Etruscan Bronze Goblet, or Vase, about seven inches high; 
 perforated by corrosion. 
 
 552. Another op similar form, six inches high, from Canino. Has 
 marks of a handle. 
 
 553. Sacrificial Instrument, consisting of a handle 18 inches long, 
 terminating in three branches, surmounted by a transverse bar, 
 7 inches long. Springing from the latter is another transverse 
 bar one inch broad, at each end of which is a prolonged bar, in 
 the form of a goose's head. Between these two extremities are 
 six recurved points. It was probably used in Divination by 
 Sacrifice—‘ lepofxavreta :—in which the entrails of birds, or rabbits, 
 &c., were placed over the Fire on the Altar. 
 
 554. Bemains of a Bronze Ladle, ten inches long, terminated by the 
 recurved head of a goose. 
 
 555. Fragment of Bronze, six inches long. Apparently portion of a 
 draped Female Figure. The outline folds are gracefully depicted. 
 
 556. Small Bronze, representing a human hand, grasping what 
 appears to be meant for a Thunderbolt. 
 
 557. Five Pieces of Fresco Paintings from the tombs in Egypt. 
 
 558. Bronze Figure of Bull, 2 inches long. Imperfect. 
 
 559. Bronze Figure of Bull, 3 inches long ; of rude workmanship. 
 
 560. Bronze Claw surmounted by human head bearded, with reversed 
 wings ; apparently one of the knobs of a pendant lamp. 
 
 561. Small Bronze Head of Female, 1 inch high. 
 
 562. Bude Outline of Figure cut in bronze plate; inches high. 
 
 563. Small Bronze Figure of the Etruscan Minerva, 2 inches high; 
 very rude. Wears a helmet. 
 
 564. Bude Figure, 2 inches high; with an aperture, formed by the 
 left arm, from which it was apparently once suspended. 
 
 565. Female Bronze Figure, 3 inches high, holding in left hand a 
 box (with lid open) and a patera. 
 
48 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 566. Small figure, 1 inch high, the head surrounded by a disk; 
 drapery suspended from left shoulder. 
 
 567. Male figure —probably that of an athlete —3 inches high (very 
 archaic in form) with drapery over the left arm. There is a 
 patera in the right hand. 
 
 568. Bronze Male Figure, 4 inches high, imperfect. Head and 
 neck covered with a lion’s skin, the other end of which is brought 
 round under the left arm. In the right hand is an aperture, in 
 which was originally fixed a spear. 
 
 569. Male Figure, six inches high, with helmet. Left arm and right 
 leg wanting. 
 
 570. Fragment of a Bronze Figure, three inches high. 
 
 571. Figure of a Boman Soldier in Bronze, three inches and a-half 
 in height. 
 
 572. Female Draped Figure in Bronze ; right hand wanting. 
 
 573. Bronze Draped Figure, five inches high, with helmet. 
 
 574. Greek Bronze of Nude Figure, holding in the left hand a 
 twisted snake. 
 
 575. Greek Bronze, six inches high; that of Hercules. Stands in an 
 attitude of prayer, with a club in his right hand. 
 
 576. Small Bronze Figure, three inches high ; right hand raised, and 
 holding in the left, a napkin. 
 
 577. Small Bronze Figure, surmounting a style or pillar, with a loop 
 formed by the left arm, and a second loop affixed to the head. 
 
 578. Small Bronze Figure, two inches high; legs and arms wanting. 
 
 579. Bronze Head of Jupiter. 
 
 580. Fine Grecian Bronze Head, with ivy leaves entwined around, 
 in an excellent state of preservation. The features appear to be of 
 the African, or Negro type. On the top of the head is a loop, or 
 staple, apparently once used for suspending it. 
 
 581. Greek Bronze of Draped Female, holding a patera in the right 
 hand. 
 
 582. Small Greek Bronze Vase, one inch and a-half high. 
 
 583. Small Bronze Head and forepart of a Lion. 
 
 584. Etruscan Bronze Athlete, four inches high. 
 
 585. Athlete, two and a half inches high,—right arm wanting. 
 
 586. Bronze Figure of Venus, nine inches high—found at Perugia. 
 
 587. Small Armless Figure, apparently that of a female; one inch 
 and a half high. 
 
 588. Bronze Figure of a Female, six and a half inches high. Of an 
 exceedingly rude and archaic form. 
 
 589. Bronze Figure of Ceres, with turretted head-dress, and holding 
 on her left arm the Cornucopia. Four inches high. 
 
 590. Male Bronze Figure, two inches high; imperfect, and very rude. 
 
 591. Bronze Draped Figure, three inches high, crowned 'with ivy, and 
 holding patera in right hand. 
 
OF THE SYDNEY UNIVERSITY. 49 
 
 592. Bronze Figure, two inches high; subject unknown. 
 
 593. Large Bronze representing a snake; origin and purpose un¬ 
 known. 
 
 594. Fragment of Roman Brick, with the Roman Eagle impressed. 
 
 595. A Hand Lamp of Baked Clay, impressed, on the upper part, 
 with the representation of a leopard attacking a stag. 
 
 596. A similar Hand Lamp made of Baked Clay, impressed with the 
 Male Lamb (signifying Christ) between two Dead Serpents—sym¬ 
 bolical of the Past and Future. (See Didron’s Christian Icono¬ 
 graphy.) This is obviously a Christian relic. 
 
 597. Another and similar Hand Lamp, impressed with the representa 
 tion of an Angel, or Winged Genius. Also evidently Christian, 
 The Winged Figure is probably intended for St. Michael, the 
 Archangel, who was frequently thus represented by the Gnostics, 
 and Earlier Oriental Christians. For the two Dead Serpents see 
 “ Walsh's Essay on Coins, 8fc,” page 46, plate No. 3 ; and Mont- 
 faucon’s “ Antiquitata Explicata ” Tom. II., Pars II., and Plate 
 156. 
 
 598. Another and similar Lamp, of larger size, impressed with the 
 representation of Hercules killing the Hydra. 
 
 599 to 625 (inclusive). Small Lamps of Baked Clay, of various 
 patterns, similar to the preceding. 
 
 626. Ancient Lachrymatory of Roman Glass, four inches high. 
 
 627. Small Lachrymatory of Roman Glass, two inches and a half 
 high. 
 
 628. Another Glass Lachrymatory, of thicker and stronger make. 
 
 From 629 to 644 (inclusive). Lachrymatories of Baked Clay, of 
 a shape similar to the three immediately preceding—Nos. 626, 
 627, and 628. 
 
 From 645 to 672 (inclusive). Unguentaria of different sizes — 
 from eight to three inches high. 
 
 673. Small Figure of Baked Clay, four inches high; apparently that 
 of a female. Mutilated. 
 
 674. Portion of another Figure of Baked Clay, sitting. Four inches 
 high; much injured. 
 
 675. Curious Headless, Armless, and Footless Female Figure, made 
 of Baked Clay,—of rude formation. A hole passes through the 
 body, from one shoulder to the other, and likewise through the 
 legs—indicating that the arms and lower portion of legs were 
 formerly jointed, as are dolls in the present day. 
 
 676. Headless Male Figure, fully robed; of the same material as 
 No. 675. 
 
 677. Small Headless Torso of nude Female. Made of Baked 
 Clay; three inches high. 
 
 678. Female Figure of same material, robed ; kneeling on one knee 
 and putting up her hair. 
 
/>0 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 679. Upper part of Female Figure, suckling her Infant. Same 
 material, 3-L inches high. Probably Etruscan. 
 
 680. Nude Male Figure of Baked Clay, 2\ inches high. 
 
 681. Small Seated Female Figure of Baked Clay (much worn) ; 
 three inches and a-half high. 
 
 682. Fine Head, apparently that of Jupiter, in Baked Clay. Four 
 inches and a-half high. 
 
 683. Small Figure of a Woman, with an Infant at her Breast. 
 Is seated on a cushion. Made of Baked Clay, and about three 
 inches and a-half high. Probably Etruscan. 
 
 684. Figure of Robed Female, of same material, six inches high. 
 Wears a curiously high head-dress. 
 
 685. Two small Cone-shaped Weights of Ancient Egypt, made of 
 Baked Earth. Similar cones have been found in the Re-discovered 
 Cities of Assyria. (See Layard’s “ Nineveh,” Bonomi’s “Assyrian 
 Cities,” and other works on that subject.) 
 
 686. Three Small Terra Cotta Stands, on which Statuettes have 
 probably once been placed. 
 
 687. Female Figure, ten inches high, formed of Baked Clay. 
 
 688. Headless Semi-nude Female Figure of Baked Clay. Of good 
 design, and tolerable workmanship. Seven inches high. 
 
 689. Egyptian Figure of Baked Clay, seven inches and a half high. 
 Wears on her head the Modius , an ancient kind of crown. 
 
 690. Female Figure of Baked Clay, eight inches and a half high ; 
 probably Roman. 
 
 691. Model of Human Ear in Baked Clay —probably votive. 
 
 692. Nude Figure of Winged Genius, about six inches and a half 
 high. Same material. 
 
 693. Etruscan Figure of Female, reclining with her left elbow on a 
 cushion. Four inches high; of the same material. 
 
 694. Small Nude Male Figure of Baked Clay. Drapery curiously 
 disposed behind. Stands four inches and a half high. 
 
 695. Small Figure of Female, seated, wearing a crown or elevated 
 head-dress. Formed of Baked Clay, over which there appears to 
 have once been a rude sort of enamel. Mutilated; about four 
 inches high. 
 
 696. Figure of Cupid riding on a Lion, in Terra Cotta. Four inches 
 and a half high. 
 
 697. Lower Portion of Ancient Hand Lamp with Inscription. 
 
 698. Roman Glassware, excavated at Ostia in the year 1848, in the 
 presence of Sir Charles Nicholson, formerly Chancellor of the 
 Sydney University, and the Founder of its Museum of Antiquities. 
 
 699. Six Pieces of Bone —part of an ancient musical instrument—the 
 Pandean Pipes. 
 
 700. Twenty-six Roman Tessera ; eight square, and eight semicircular 
 ones of clay, the remainder being of glass. 
 
OF THE SYDNEY UNIVERSITY. 
 
 51 
 
 701. A Fine Etruscan Vase (a mixing bowl), of Baked Clay, one 
 foot three inches and a-half high, and one foot three inches in its 
 greatest width. It is of a very elegant shape, the body, or lower 
 part of it being oval in form, and resting on a small circular base. 
 Under the upper rim (unusually broad and flat) the vessel is 
 suddenly narrowed for about three inches, below which its contour 
 again expands. There are two straight handles to this vase of a 
 very simple character on either side of the rim. Grouped on the 
 belt, or outside surface of the lower part, are eight figures, each 
 about eight inches high—four on the one side of the vessel, and 
 four on the other. Bound the neck, and on the topmost rim, are 
 ornamental borders. A small, rudely executed, leaf-like ornament 
 also appears near the base of the vase below the figures. On the 
 other side are two male and two female figures. The first of these 
 is a bearded man clad in a loose robe thrown carelessly over his 
 person. He is leaning on a knotted staff. Next to this figure is 
 a man with a short beard, much more elaborately clothed, having 
 on him a surcoat, shaped not unlike a cope, across which run two 
 broad stripes. He also wears a short undergarment—fringed and 
 embroidered, and only partially visible. This figure is represented 
 as playing on a dulcimer (with the plectrum in his right hand) before 
 a closely veiled lady of rank in a sitting posture, having a long 
 staff in her hand, not unlike the kuhufa of the Ancient Egyptians. 
 Behind this figure stands another female—her attendant—clothed 
 in a similar manner, but not veiled, and carrying a similar staff. 
 All of these figures are barefooted. The four figures on the other 
 side of the vase are also those of two men and two women. The 
 wimples or mufflers of the women are lowered, so as to show the 
 faces of both as they stand talking to the men, who have, in their 
 hands, swords or staves—it is not very clear which. These four 
 figures are likewise barefooted. A Mixing Yase of this shape is 
 properly called a Celele. 
 
 702. An Elegant Etruscan Yase (Krater) of Baked Clay, ten inches 
 high, about eleven inches in its greatest width. It is furnished, 
 laterally, with two curved handles. On the one side of the urn, 
 or vase, is a well-executed, nude figure of a young man, and, near 
 it, the representation of a young woman—with hood, bracelets, and 
 torque. The female has placed her left hand on the youth’s 
 shoulder, and seems to be drawing him after her to a doorway, 
 towards which she is herself led by a Nude Winged Figure. 
 Behind the young man is an Ionic Column. (See No. 1022). The 
 three figures depicted on the other side, appear to be those of 
 females ; but the workmanship is ruder, and the outline not so 
 distinct as that of those above described. Under the rim is a 
 plain laurel-leaf pattern. A rude, ornamental design also occurs at 
 the base of the figures. 
 
 703. A Suterb Etruscan Vase (Krater) one foot two inches high, and 
 one foot three inches and a half in its greatest width. It has 
 curved handles, and a laurel-leaf pattern below the rim—as in 
 No. 702. The lower part of the vase is adorned with seven figures 
 —three appearing on one side, and four on the other. The three 
 
52 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 figures consist of a man standing between two females. The man 
 is a nude figure (apparently that of an athlete) crowned, with 
 laurel, and carrying the semi-toga (a sort of scarf) at his back, 
 across his arms. In the left hand he holds a long trident, the 
 right being extended to one of the females, who seems to recipro¬ 
 cate his advances. She is dressed in a long embroidered garment, 
 and wears on her head a kind of Phrygian Cap. In her right 
 hand she holds (behind her) a vase. Another similar figure, on 
 the other side of the athlete, is represented as running away. 
 Over her head is a flying figure, the exact shape of which is not 
 clearly distinguishable. On the other side of the vase are four 
 men,—two with staves in their hands, and one with what is 
 probably a sirigil. The fourth figure is closely wrapped up in his 
 vestments. 
 
 704. A Very Fine Etruscan Vase ( Krater) of Baked Clay, one foot four 
 inches high, and one foot three inches and a half in its greatest 
 width. Its shape resembles that of No. 703, having handles on 
 either side, and a small, solid, circular base. It is ornamented 
 with four figures. On the one side are represented a man and 
 woman, both completely clothed. The woman appears to be 
 resting upon a staff. On the other side is a Bacchante and the 
 nude figure of a man in a dancing attitude. The woman holds in 
 her right hand a tambour, and in her left a thyrsus. The male 
 figure has a garland in his right hand, and a thyrsus in his left. 
 He has thrown a portion of his clothing, scarf-wise, over his left 
 arm. 
 
 705. Another Vase ( Krater ), similar to the preceding, but not so 
 elegant in its proportions, being one foot one inch high, and one 
 foot three inches and a half across in its greatest width. Furnished 
 with lateral handles, and resting on a solid base. On the belt of 
 the vase are six figures. On the one side are three young men, 
 apparently engaged in conversation—two of whom are resting on 
 staves. On the opposite side of the vase are three other figures, 
 far more elaborately finished. A Man and a Faun (the latter of 
 whom is almost nude) are drinking together—one from a patera , 
 and the other from a two-handled vessel not unlike a vase. They 
 are waited upon by a young Female—probably a slave—clad in a 
 curiously fashioned dress, which barely reaches down to her knees. 
 In her left hand this figure carries a wine-pail or bucket. Under 
 the rim runs a laurel-leaf pattern, as in numbers 702 and 703. 
 
 706. A Beautiful Oblong Vase ( Amphora ), one foot two inches high, 
 and about nine inches in its greatest width,—but not more than 
 six inches and a half wide at the top. On either side of the neck 
 are two plainly shaped handles, below which (on the body of the 
 vase) are several figures and ornamental work. On one side are 
 three warriors in armour furnished with circular shields. One of 
 these shields—that nearest to the spectator—is ornamented, on 
 the convex side, with the representation of a serpent. One of the 
 warriors appears to have received some mortal wound, and recoils 
 from the contest, as if fainting from the effects of it. In front of 
 this group, one of their antagonists (who appears to be unarmed) 
 
OP THE SYDNEY UNIVERSITY. 
 
 53 
 
 has fallen to the earth. Behind this prostrate personage a rough, 
 warlike figure, armed with a club, is fighting strenuously with his 
 sword. He is clad in a lion's shin , and may, possibly, be intended 
 for Phuphluns, (the Etruscan Bacchus) or for Hercules. The same 
 figure, but more peacefully arrayed, is shewn, on the other side 
 (between two females), drinking from the Karchesion —an antique 
 wine cup. 
 
 707. A Fine Etruscan Vase (KraterJ, of Baked Clay, rather less than 
 one foot two inches high, and one foot one inch in its greatest 
 width. Has lateral handles, &c., like the preceding. On the one 
 side of the vase are two almost nude male figures—Bacchanals. 
 One has a tabour, and is dancing. The other carries a torch in 
 one hand, and an over-handled pail in the other. The figures on 
 the opposite side are those of females. One of these is bare to the 
 waist, and carries a thrysus and a garland ;—the other, fully 
 dressed, holds up what appears to be a mirror. It is perhaps 
 worthy of observation that the outlines of these figures have been 
 evidently carefully traced with the stylus before any colouring 
 process was, with more or less taste and skill, applied by the 
 manufacturer. 
 
 708. An Etruscan Y ase' ( Krater) , of Baked Clay, one foot and a half 
 inch high, and of the same width. It resembles vase No. 704. 
 The figures depicted are two men with staves, a man with a strigil 
 (he is apparently just'leaving a bath) and a woman with a basket, 
 and something or other rather indistinctly shadowed forth, in her 
 left hand. 
 
 709. An Etruscan Vase (Krater), of Baked Clay, one foot one inch 
 high, and one foot three inches wide,—with handles, &c., like the 
 preceding. This vase is ornamented by a figure of a young man 
 (nude) presenting a wine cup (Karchesion) to a beautiful female 
 seated and holding a tabour and a thyrsus. In the left hand of 
 the male figure is the over-handle of a wine pail, from which vessel 
 he has filled the cup. On the other side are two men with staves. 
 
 710. An Elegant Three-handled Water Yase (Uydria), of Baked 
 Clay, one foot four inches high, and two feet nine inches round in 
 its greatest width. In the front of the vase is the representation 
 of a female in a chariot drawn by several horses, which are held 
 at their heads by a man. On the other side of the horses appear 
 the figures of a man and a woman. Above this and below the 
 neck of the vase two men are represented killing an ox before 
 some sitting female, or goddess. The vase is otherwise tastefully 
 ornamented. It is that kind of Water Yase sometimes known as 
 a Calpis. 
 
 711. An Ancient (and rather rudely shaped) Etruscan Yase 
 f KraterJ , of Baked Clay, one foot two inches high, and three feet 
 four inches in circumference. It has two lateral handles. No 
 pictorial ornament, but is “ribbed” in wavy lines on the outside. 
 It tapers towards the base. 
 
 712. An Elegant Oval-shaped Etruscan Yase f Amphora J, of Baked 
 Clay, with small, well-proportioned lateral handles, &c. The body 
 of the vase is decorated with partly effaced scroll work. 
 
54 CATALOGUE OP THE MUSEUM QP ANTIQUITIES 
 
 713. An Etruscan Vase ( Amphora), of Baked Clay, with a somewhat 
 wide neck and large handles. It is about one foot one inch and 
 a-half high, and two feet four inches round in its widest part. It 
 has the representation of a horse’s head on either side. 
 
 714. An Etruscan Yase (Amphora), of Baked Clay, with a wide 
 mouth, from the outer rim of which the handles descend upon the 
 body of the vessel. On the one side are two small figures with 
 staves ; on the other, two Bacchanalian figures. One is that of a 
 man holding in his right hand a thyrsus, with two separated 
 branches of the vine at the top ; the other is that of a woman with 
 a peculiar head-dress. She holds a mirror in her right hand, and 
 a tabour in her left. 
 
 715. An Etruscan Yase (. Amphora ), of Baked Clay, with a narrow 
 neck and two projecting handles. It is one foot four inches and 
 a-half high, and two feet four inches round in the widest part. 
 The one side is ornamented by the representation of two leopards. 
 On the other side are two horsemen at full speed, the latter of 
 whom, is in the act of turning round towards a pedestrian who 
 seemsjto be calling after him. It was probably the prize of some 
 race. 
 
 716. An Etruscan Yase (Amphora), of Baked Clay,—elaborately 
 finished, and well proportioned. In shape it is almost globular, 
 but tapers somewhat at the base. On either side is a representation 
 of Nereus,—half anthropo-morphic and half like a fish. The 
 upper portions of these figures are disposed of in different attitudes. 
 The vase is nearly eleven inches high, and about two feet five 
 inches in circumference at its widest part. 
 
 717. An Elegant Etruscan Yase (Amphora), of Baked Clay, with a 
 trumpet-shaped mouth and straight handles. On one side are two 
 clothed figures, one of whom carries a strigil. On the other side 
 is a Bacchante, and a Winged Male Figure. The woman carries in 
 her left hand a tabour, and in the right either an ornamented hand- 
 mirror, or a fan. The Winged Figure is nude, and is represented 
 in a sitting posture, with a mirror in his left hand. Both wear 
 peculiarly-shaped conical caps. 
 
 718. A Fine Etruscan Yase (Krater), of Baked Clay, one foot and 
 a-half inch high, and one foot two inches wide. Has, laterally, 
 two curved handles, and is ornamented on both sides by figures. 
 Two men, bareheaded and fully clothed (having staves in their 
 hands) appear on the one side;—and on the other is a female 
 endeavouring to escape from a Nude, Winged Male Figure, who 
 carries a patera in his right hand. The workmanship is tolerably 
 good, but not equal to that of some of the others. 
 
 719. An Etruscan Yase (Krater) of Baked Clay, one foot high, and one 
 foot across in its greatest width. On one side is a Winged Figure 
 (similar to that immediately preceding) approaching a Bacchante 
 with a thyrsus and cup, &c. She extends towards him a small 
 duck in her left hand. Between the two figures is a small tree or 
 shrub—probably the laurel or bay. On the reverse are two clothed 
 figures of the usual type. 
 
^)P THE SYDNEY UNIVERSITY. 55 
 
 720. An elegantly shaped Three Handled Vase ( ITt/dria ) 10 inches 
 and | high, beautifully ornamented with male and female figures. 
 Between the two outside figures and the central group is an 
 inscription in Etruscan characters. Over the heads of the five 
 figures is a representation of the vine. Etrusco-Eoman. 
 
 721. A small Etruscan Oinohoe or Wine Jug. On the belt is the 
 representation of a female slave in attendance upon her mistress 
 whilst engaged at her toilet. 
 
 722. Two small Concave Circular Vessels for holding salt, an in¬ 
 gredient supposed to have been symbolically used in the Euneral 
 Eites of the Etruscans. 
 
 723. Another small Vessel of a similar character, shaped like a bowl. 
 
 724. A very small One-iiandled Olpe —A vessel of the same shape as 
 No. 721. Possibly it was used at the toilet. Has, on its front, 
 a grotesque figure, apparently feeding a dog. 
 
 725. A singularly shaped One-handled Vessel (an askos), resting upon 
 a stand. Has only one orifice at the termination of a funnel about 
 three inches long. Is ornamented with a Medusa’s Head. The 
 askos was made for the essences used at sacrifices. 
 
 726. A Drinking Cup ( Rhyton ), the lower part of which terminates 
 in the head of monster,—half beast, half bird. Above the pro¬ 
 jecting ears, on the front of the vessel, is a representation of an 
 imaginary animal with the head and wings of an eagle, and the 
 body of a lion. 
 
 727. A Similar Drinking Cup, ( Rhyton ) terminating at the base in 
 a ram’s head. On the front is a male genius with a garland and 
 patera ; also, a female (sitting), with a fan and casket. 
 
 728. Small, Spreading-Mouthed Double-Handled Vase, five inches and 
 a half high. On one side is a draped figure, and on the other is a 
 Eunner in the Olmypic Games approaching the Figure of Victory. 
 Imperfect. 
 
 729. A small Two-Handled Wine-Cup ( prcefericulum ) of Baked Clay. 
 
 730. Etruscan Wine Cup, ( karcJiesion ?) shaped like a chalice, but with 
 two projecting handles. The belt of the cup is ornamented with 
 the representation of a human face and the figure of a woman. A 
 similar wine cup will be seen by the visitor in the hand of a man 
 on Vase numbered 709, and on numbers 705 and 706. Mended 
 and defective. (Vide Muller on Ancient Art, page 336.) 
 
 731. Patera, eleven inches in circumference, resting on a narrow base, 
 or stand. Etruscan. 
 
 732. Small Over-Handled Vessel, with one narrow aperture;—the 
 askos made for essences used at the sacrifices. 
 
 733. Another Vessel, the Lekythos —having a narrow neck with a 
 funnel-shaped mouth. Is ornamented with a female figure. The 
 Lekythos was used for holding balsamic oil for the toilet. 
 
 734. Cotyliscus, —a small Tyrrheno-Phoenician, single-handled vase of 
 an elegant shape and good manufacture. Stands four inches and 
 a quarter high. Found at Cervetri. The Cotyliscus was used for 
 ointment, or rather balsamic oil for the toilet. Cervetri was 
 
56 CATALOGUE OP THE MUSEUM OP ANTIQUITIES. 
 
 formerly Caere or Agylla, one of the Twelve Great Cities of 
 Ancient Etruria. These Twelve Cities of Ancient Etruria were as 
 follows: (1) Tarquinii, (or Tarquinia) now Corneto, 13 miles from 
 Civita Vecchia, and 47 miles North-West of Rome ; (2) Veil (now 
 Isola) a few miles North of Rome ; (3) Falerii —site near Soracte, 
 Eastof Corneto, and North of Rome; (4) Ca:re, (Kaipe) or Agylla, now 
 Cervetri, between Civita Vecchia and Rome; (5) Volsinii, (now Bol- 
 sena) on the Eastern shore of the Lago di Bolsena, N.N.W. of Rome; 
 (6) Vetulonia ; supposed site, to the North of Orbitello, near Mag- 
 liano. \fDoubtful.~] (7) Russelle, nearMosconaHill, totheNorth of 
 Grosseto, on the River Ombrone; (8) Clusium, (now Chiusi) 
 North of Lake Bolsena, and West by South of Perugia; (9) 
 Arretium (now Arezzo) 18 miles North of Cortona, and 51 miles 
 S.W. of Firenze, or Florence; (10) Cortona (Cortona) North-West of 
 Perugia; (11) Perusia (now Perugia) near Lake Thrasymene, 
 on the Tiber—to the North of Rome; and lastly, (12) Volaterra 
 (now Volterra) to the South East of the city of Pisa, and to the 
 South West of Florence. 
 
 735. Vessel (Lekythos), with one handle and a narrow neck, orna¬ 
 mented with leaves in a sort of white enamel. Is apparently a 
 bath utensil of the same description as number 733. 
 
 736. Single-handled Nolan Wine Cup, two inches and a half high. 
 
 7S7. Double-handled Wine Cup, or Scyphus, about four inches high. 
 
 Ornamented, on one side, with leaves and scroll work. 
 
 738. Small Lamp op Baked Clay, ornamented with the representation 
 of a lion killing a stag. 
 
 739. Small Two-Handled Patera, twenty inches in circumference. 
 In the centre is the rough representation of a nude human figure. 
 From Cervetri, the site of Ancient Caere or Agylla. (See No. 
 734.) The ancient city is particularly noticed by Virgil: 
 
 —“saxo fundata vetusto 
 Urbis Agyllinse sedes ; ubi Lydia quondam 
 Gens, bello prseclara, jugis insedit Etruscis.’* 
 
 740. Large, elegantly shaped, Two-Handled Patera, raised on a 
 stand. ( Cylix ?) Measures two feet three inches in circumference. 
 On both sides appears the face of a female in profile. Beneath, 
 in Greek characters, are the words AIPE KAI niElTEAl, “ Take and 
 Drink.” 
 
 741. A narrow-necked, one-handled Vessel, about seven inches high. 
 On the belt are two females, sitting on either side of some flowering 
 plant. Is probably a Lekythos, or narrow-necked vessel for 
 holding balsamic oil for the toilet. Defective, resembles 790. 
 
 742. A three-handled Vase (Ily&ria ?) of good form, with three female 
 figures thereon. Stands about seven inches high. Mended and 
 defective. 
 
 743. Lamp, similar to No. 738. 
 
 744. Lekythos. —A small one-handled vessel, with narrow neck and 
 funnel-shaped mouth. Ornamented with scroll work and the 
 profile of a female. Stands about five inches high, and is of the 
 same general pattern as No. 733. 
 
OF THE SYDNEY UNIVERSITY. 
 
 57 
 
 745. Another Similar Vessel (but smaller) ornamented with the 
 representation of a swan. 
 
 746. Another Vessel, of the same description, five inches and a 
 half high. 
 
 747. Small Olpe, on the belt of which is the rude representation of a 
 Faun with a club. 
 
 748. Three-handled Vase. —Shaped after the pattern of a Hydria, 
 four inches and a quarter high. On the belt is the representation 
 of a female. Mended and defective. 
 
 749. Wide-mouthed Vase with two small Handles. This Amphora 
 is ornamented on the belt with two Bacchanalian Figures 
 (male and female) of the usual type. Stands about seven inches 
 and a half high. 
 
 750. Another, Smaller Vase {amphora), of a pattern similar to the 
 preceding. Is ornamented on the belt with two female profiles. 
 
 751. Phiale —a small bowl-shaped vessel of Baked Clay, narrowed at 
 the top. Is about 10 inches and a half in circumference. The 
 upper part of the vessel is of a reddish colour, rudely ornamented 
 with white flowers ;—the lower portion is of a light grey tint. 
 
 752. Bulb-shaped Vessel of Baked Clay with narrow neck, wide 
 mouth, and no handle. Is ornamented on the middle of the belt 
 with a net-work pattern in white, on a black ground. The neck 
 and base are also decorated. Is probably a kind of Lekythos, or 
 vessel for holding balsamic oil. 
 
 753. Three-Handled Vase, three inches and three-quarters high; 
 similiarin pattern to No. 742. 
 
 754. Lekythos. —Vessel with one handle, narrow neck, and funnel- 
 shaped mouth. Three inches and three-quarters high. On the 
 belt is the representation of a man’s head wearing a Petasus, or 
 broad-brimmed hat. 
 
 755. Small, bowl-shaped Vessel, with one handle, and a round, over¬ 
 lapping rim. Probably used for ointment. 
 
 756. Bowl-formed Vase, having a small, circular mouth, and perpen¬ 
 dicular double-handles. Under each of the handles is a draped 
 female figure with wings, and between these figures, on the one 
 side, stands a woman with a large box, or casket, in each hand. 
 On the opposite side of the vase is the figure of another female 
 holding a vase in her hand. This interesting relic is much broken 
 and mended. Tt stands about five inches high. Possibly this vessel 
 may be a form of the kclvox)v, or canistrum, in which were concealed 
 the Salted Cake and Sacred Barley used at Sacrifices. 
 
 757. A 'wide-mouthed Panathenaic Vase, with two small handles, 
 standing nine inches and a half high. On the belt, on one side, are 
 represented three Fauns,—one of which is playing upon some 
 musical instrument, whilst the figure immediately in front of him 
 is carrying away a richly dressed female. The figure of the third 
 faun is not clearly distinguishable. On the opposite side of the 
 vase are represented two armed warriors engaged in single combat, 
 
58 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 between two personages, apparently of senatorial dignity, who 
 stand as spectators of the contest, with wands in their hands. 
 
 758. Wide-mouthed Vase, precisely similar to No. 750. This amphora 
 is much injured by the damp. 
 
 759. Similar, wide-mouthed, Two-handled Vase. On one side of the 
 belt of this amphora is the head of a female, on the other the full 
 length figure of a woman with garlands, &c. Stands about seven 
 inches high. 
 
 760. Aryballos, a one-handled Vessel, with barred belt and spread¬ 
 ing rim; about four inches high. Used for holding ointment. 
 
 761. Oinochoe, a small one-handled Vessel, wider at the neck than the 
 preceding; ornamented with ivy leaves and the leaves and tendrils 
 of the vine. Coloured bronze, with the decorations in red, yellow, 
 and white. Four inches and a quarter high. 
 
 762. Solid, two-handled Patera, one foot five inches in circumference. 
 Mended. 
 
 763. Two wide-moutiied, two-handled Vases (amphora) similar to 
 No. 750. 
 
 764. Pyxis, a Small Vessel with Cover —of elegant design, the belt 
 being ornamented with two female heads. 
 
 765. Double-handled Wine Cup, or Scyphus, of Baked Clay, five 
 inches high. Ornamented with the representation of a dove and 
 garlands, &c. Injured on its surface by damp. 
 
 766. A wide-mouthed Amphora, seven inches and a half high, much 
 injured by damp. Is ornamented with two Bacchanalian figures. 
 
 767. Etruscan Vessel of the kind sometimes distinguished as an 
 Oinochoe ,—broken and mended. One foot five inches in circum¬ 
 ference at its greatest width, and 7 inches and a half high. Orna¬ 
 mented with the profile of a woman. Archaic. 
 
 768. Another Etruscan Oinochoe of superior workmanship, and 
 perfect. Has a trefoil-shaped mouth, and stands eight inches 
 high. The front of the vessel is decorated with two Bacchanalian 
 figures,—one nude and the other clothed, after the usual type. 
 
 769. An elegant, chalice-shaped Vase having two small handles. 
 Decorated with two profiles and scroll work. At the rim measures 
 one foot four inches, and is about five inches high. 
 
 770. Narrow-necked, one-handled Vessel —partaking of the types of 
 the Lekythos and of the Aryballos — ornamented on the belt with a 
 female figure. Imperfect; about five inches high. 
 
 771. Small Concave Vessel for holding Salt, similar to numbers 
 722, 723. 
 
 772. Long-necked Etruscan Prociius, with narrow base, and broad 
 lip, or spout. Made of glazed Black Ware, rudely ornamented. 
 Nine inches and a half high. 
 
 773. An Oinochoe, of good shape, eight inches and a half high. In its 
 form resembles No. 768. Is ornamented in front by the repre¬ 
 sentation of a swan standing under a vine. Formed of Dark, 
 Glazed Ware ; defaced by damp. 
 
OF THE SYDNEY UNIVERSITY. 
 
 59 
 
 774. An Etruscan Prochus of glazed, Dark Ware, similar to No. 772. 
 Eight inches and a half high. The “ Prochus ” is a Wine Jug of a 
 more ancient and less elegant pattern than the “ Oinochoe.” 
 
 775. An Olpe of imperfectly glazed ware, ten inches and a half high- 
 On the side of the belt, opposite to the handle, four interesting 
 figures are depicted. The body of a nude, dead man is being 
 raised out of what appears to be a tomb by two mail-clad warriors. 
 Above the group is a small Winged Figure, or Genius, resembling 
 the ordinary representations of an Angel. 
 
 776. Dog-Headed Rhyton. —An Earthenware Drinking Cup, similar 
 to Numbers 726 and 727. The lower part terminates in the head of 
 a dog. Of good workmanship, but much worn. 
 
 77 7. A Vessel (aslcos ) made of Baked Clayin the shape of a calf, probably 
 used for essences required at a sacrifice. At the back of the animal is 
 a loop, or staple, serving for a handle, above which is a sort of 
 mouth (at the bottom of which are five orifices) communicating with 
 the inside of the vessel. The contents were evidently poured out 
 of the mouth of the animal. The head has been broken and 
 mended. 
 
 778. Amphora —A broad-mouthed, two-handled vase, ten inches and 
 a half high, ornamented with two sea deities (one male and the 
 other female) and two marine plants. Each figure has long 
 hair, the body terminating like the caudal extremity of a large 
 fish. The female figure is probably meant for that of Atergatis. 
 [See Muller’s History of Ancient Art, pages 246, 242. ] 
 
 779. An Etruscan Oinochoe, of unglazed ware, ten inches high, neatly 
 ornamented. Amongst other decorations, on the belt are the 
 representations of six fishes. 
 
 780. An Earthenware Dish, or Pinax, three feet in circumference 
 with two small, peculiarly-shaped, lateral handles. In the centre 
 are six grotesquely-shaped quadrupeds and a swan, with other 
 ornaments, coloured. This vessel gradually deepens to its base, 
 which is not more than three inches and a half in diameter. 
 
 781. An Oinochoe, nine inches and a half high. Ornamented with a 
 nude, male figure. Much broken and mended. 
 
 782. Hydria —An elegantly-shaped, three-handled vase, with a narrow 
 neck, standing about nine inches and a half high. The belt is 
 ornamented with a male and female figure, a wreath of laurel, and 
 other devices. 
 
 783 Amphora — A spreading-mouthed, globular, two-handled vase, 
 eleven inches and a half high, and two feet two inches and a half 
 at its greatest width. On one side of the belt are the figures of 
 two beardless men with staves—robed ; on the reverse, is a nude, 
 male figure, having in his right hand a small, straight, leafy 
 branch, his garments having been thrown over the left arm. 
 Facing him stands a male figure, resembling those on the other 
 side, holding a staff, tipped with leaves, in his right hand. 
 
 784. Amphora —A vase with double-handles, and spreading mouth—a 
 small fragment of which has been broken off. On one side two 
 females are represented in conversation, on the other side an 
 
60 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 Amazon—or possibly Bellerophon—on horseback, is in the act of 
 encountering the Chimsera—a monster, the hinder parts of which 
 are those of a lion, and the head somewhat like that of an eagle. 
 Two large wings project from the shoulders of the beast, and over¬ 
 shadow the whole of its back. The vase is about nine inches and 
 a half high, and has greatly suffered from the dampness of the 
 tomb in which it was found. 
 
 785. A small Patera with a narrow base, and broad rim— probably 
 the vessel anciently known as a Patella, or Little Flesh Plate. (Yide 
 Miiller). Six inches in circumference. Ornamented in the centre 
 with the representation of a female face. 
 
 786. Another Patella, of the same description as the preceding, four 
 inches and three-quarters in circumference. 
 
 787. Amphora—A spreading-mouthed, two-handled vase with two 
 figures. Stands seven inches and three-quarters high. Is defaced 
 by the damp. 
 
 788. A small One-handled Vessel of Black Ware,—somewhat similar 
 to No. 760, but without ornament and with a wider neck. Probably 
 a bath utensil. 
 
 789. Lekythos —A small vessel of Black Ware, two inches and three- 
 quarters high, with a narrow, funnel-shaped neck after the same 
 pattern as 733, but without ornament, except longitudinal inden¬ 
 tations on the belt. 
 
 790. A Lekythos —Similar to that described at No. 741. Broken and 
 defective; as it remains— is about five inches and a half high. 
 
 791. Cotyliscus; a small Tyrrheno-Phoenician, single-handled vase, 
 with its surface neatly ornamented. Slightly damaged. Four 
 inches high. Of a superior manufacture; similar to No. 734. 
 
 792. Another, of a similar description, but considerably damaged. 
 
 793. Amphora. A Curious Antique Vase of Black Ware, nine inches 
 and a half high. Has a wide neck, spreading mouth aud two large 
 lateral handles ; the lower portion of the vessel being oval in its 
 structure, and of good proportions. On the belt and on the 
 handles, ornamented devices have been traced with a stylus by the 
 artist. On one side of the vase are two leopards or tigers, and on 
 the other two lions of an ancient conventional type—similar to 
 those on 715. 
 
 794. Amphora. A Wide-mouthed, Two-handled Vase, ten inches and a 
 half high. On one side of the belt are two men, fully clothed, 
 one of whom rests on a staff; on the reverse is a nude male figure 
 sitting,—extending, in his right hand, a goose (or cygnet) to a 
 female with a conical head’dress. A similar device appears on 
 the belt of Vase No. 719. 
 
 795. An Etruscan Patera, with a narrow base or stand, about 24 
 inches in circumference, having a recurved rim. On the outer 
 surface are representations of two winged figures; one, a male, 
 and the other, (fully robed) seemingly that of a female. They are 
 represented as hovering in the air, apparently on either side of a 
 tomb. 
 
OF THE SYDNEY UNIVERSITY. 
 
 61 
 
 796. Small Patera of similar shape, one foot two inches and three- 
 quarters in circumference ; ornamented with faces of females, &c. 
 
 797. Small Cover of some Vessel ; made of Baked Clay, and six inches 
 in circumference. 
 
 798. Small bowl-shaped vessel, of Baked Clay, about six inches in 
 circumference. 
 
 799. Another similar vessel, of Black Ware, having a circumference 
 of nearly ten inches in its widest part. Has a small, peculiarly- 
 shaped spout at one side, which, however, does not communicate 
 with the inside of the vessel. 
 
 800. Askos—A vessel similar to No. 732, ornamented, on the upper 
 part of the belt, with the representation of two Fauns. 
 
 801. Two three-handled, narrow-necked Vases —Rydrice. One of 
 them, eight inches and a half high, is adorned with the represen¬ 
 tation of a doorway and scroll work. The other, a somewhat 
 smaller vase of rather less elegant proportions, is ornamented on 
 one side by the representation of an Athlete running at full 
 speed. 
 
 802. An Alabastron, eleven inches long, with part of the neck 
 remaining. A vessel for essences and ointments made out of a 
 hard limestone found near the site of a town anciently called 
 Alabastron, in Heptanomis, or Middle Egypt. Heptanomis 
 (called “ Arcadia ” by the later Bomans) was a Southern Sub¬ 
 division of Lower Egypt made in the times of the Ptolemies. An 
 Alabastron of this character is evidently referred to in St. Luke vii., 
 37. 
 
 803. A similar vessel, eight inches long, made of Black Ware,—ribbed. 
 
 804. Small piece of pottery, seven inches and a half in its greatest 
 circumference. Slightly damaged; use uncertain. Possibly a 
 cover to some vessel. 
 
 805. Double-handled Wine Cup, or Scyphus, of Dark Ware, ribbed. 
 Three inches and a quarter high. 
 
 806. Large, two-handled Patera, raised on a stand—similar to that 
 numbered 740. Two feet three inches in circumference. In the 
 centre of the Cup is the representation of a boy seated in a chair 
 and playing on two pipes. Damaged and mended. 
 
 807. Patera, about one foot seven inches in circumference. Orna¬ 
 mented with wreaths of laurel, and (in the centre) with a bird 
 like a swan. 
 
 808. A Beautiful Two-handled Patera, about two feet in circum¬ 
 ference, raised on a stand like No. 740. In the centre of the cup 
 is the grotesque representation of a Faun—in colours. On the 
 outside is a design (twice repeated) of four Fauns, with garlands, 
 &c. Two are riding on restive mules; one is sitting and one 
 running. 
 
 809. Bowl-shaped Patera (or Pihale), with recurved lips. Of a Pale 
 Clay, coloured with a dark olive tint. Contains the representation 
 of a boy making cakes at a table or stool. A hare hangs near 
 him. The vessel is two feet two inches in circumference. From 
 
62 CATALOGUE OP THE MUSEUM OP ANTIQUITIES 
 
 Bomarzo, a village between Viterbo and the Tiber—to the North 
 of Orte. (See Dennis’ Etruria Vol. I, pages 214, 216.) 
 
 810. A Two-handled Patera, raised on a stand, two feet one inch in 
 circumference. Ornamented, in the centre, with the profile of a 
 woman. Same sort of ware as the preceding one. Slightly 
 damaged. 
 
 811. Patina, or Flesh Plate, two feet two inches in circumference. 
 Ornamented with the partially coloured representation of a Winged 
 Lion, having a woman’s head. 
 
 812. Small Scyphus op Baked Clay, two inches and a quarter high. 
 
 813. Piiiale, or Bowl, 14 J inches in circumference. From a tomb at 
 Corneto the Ancient Tarquinia. Detatched fragment of pottery 
 therewith. See No. 734. 
 
 814. An Elegantly-shaped Oinochoe, or Wine Jug, nine inches high. 
 Ornamented with an incised pattern. 
 
 815. An Etruscan Prochus, op Archaic Pattern, nearly eight inches 
 high. 
 
 816. Large Fragment op Circular Vessel op Baked Clay, (Lebes ?) 
 with pattern in high relief, representing a man on a horse, &c. 
 
 817. Similar Fragment but smaller. 
 
 818. A Kyathos, or a Simpulum. A small, One-handled Cup, used, 
 perhaps, for taking the Wine and Water out of the Large Kraters, 
 or Mixing Vases, and for pouring the same into the Goblets, or 
 Drinking Cups. (See Muller on Ancient Art, page 335.) Of Dark 
 Ware, thirteen inches and a half in circumference. 
 
 819. Strongly-made Etruscan One-handled Vase, with spreading 
 rim, three inches and three-quarters high. A bath utensil for 
 holding ointment. 
 
 820. A Bowl-siiaped Goblet, on a low stand. Of a Dark Ware, three 
 inches and three-quarters high. 
 
 821. Jar-formed Vessel, of early Tyrrheno-Phoenician Ware, with 
 small handles. Four inches high, and sixteen inches in circum¬ 
 ference. Supposed to have been a Theca for holding dried fruit. 
 
 822. Narrow-necked Vessel op Baked Clay, nearly oval in its form, 
 and about eight inches and a half high. Has a small lateral 
 handle below the spreading mouth. 
 
 823. An elegant, Vase-like Oinochoe, or Wine Jug of Reddish Ware, 
 with trefoil-shaped mouth. Neatly marked on the body and 
 neck. Stands about ten inches high. 
 
 824. A Vessel op Black Ware, shaped somewhat like a patera. Based 
 on a hollow stand having a small recess in the centre. Is two feet 
 four inches in circumference, and six inches and a half high. 
 
 825. Small, bowl-shaped Cup with a low stand. Of coarse Dark Ware, 
 fifteen inches in circumference. 
 
 826. PmALEof Dark Ware, seventeen and a half inches in circumference. 
 
 827 Semi-oval Vase of Dark Ware with spreading rim. Decorated 
 
 with a ring-like ornament round its greatest circumference. 
 
01* THE SYDNEY UNIVERSITY. 
 
 63 
 
 828. Irregularly-shaped, Jar-like Vase, with a narrow neck,—one 
 foot four inches in its greatest circumference, and 4| inches high. 
 Found in a tomb in Etruria. 
 
 829. Cover, or Lid, op some Vessel. Of Dark Ware. Eleven inches 
 and a half in circumference. 
 
 830. Goblet, of Black Ware. A species of bowl-shaped Cup with a 
 recurved rim, raised on a stand. One foot five inches and a half 
 in circumference, and nearly four inches high. 
 
 831. Goblet op Black Ware, of a somewhat similar pattern, but 
 more elegant in design. One foot seven inches in circumference, 
 and five and a half inches high. 
 
 832. Goblet, of similar pattern; broken. Black Ware, four and a 
 quarter inches high. 
 
 833. A Broad-rimmed, Goblet-shaped Vessel, four and a half inches 
 high. Of Black Ware. One foot five inches in its greatest circum¬ 
 ference. Broken. [Probably an Etruscan Fumigator, or Incense 
 Pot. See Dennis’ Etruria, Vol. II., page 58.] 
 
 834. Oinochoe, or Wine Jug, of Black Ware, with trefoil-shaped 
 mouth. Nine inches and a half high, and one foot eight inches 
 in its greatest circumference. 
 
 835. Small Vessel, of the Amphora type, of Reddish Clay. Probably 
 Roman. 
 
 836. Oval One-handled Narrow-necked Vessel, of Pale Clay, six 
 inches and a quarter high. Ribbed round the body. On a stand 
 about the width of the upper rim. 
 
 837. Karciiesion, or Drinking Cup, of Reddish Clay, four inches and a 
 half high. Broken, and mended. The handle that remains is of 
 an elegant, twisted pattern. 
 
 838. Small Aryballos, of Red Clay. 
 
 839. Twelve Pieces of Ancient Black Ware ;—Portions of broken 
 Drinking Cups, &c. 
 
 840. Patella, or Little Flesh Plate, on which offerings were made 
 to the Lares. 
 
 841. Goblet, similar to 830. 
 
 842. Earthenware Bowl, on Stand. One foot four inches in circum¬ 
 ference. 
 
 843. Goblet, similar to 841, but smaller. 
 
 844 . Kyathos. A one-handled cup used as a ladle for transferring 
 the mixture of Wine and Water from the Krater to the Drinking 
 Cups at a feast. Of a Dark Grey Ware. Three inches and a half 
 high. [A measure, weighing about one-twelfth of an English 
 pint.] 
 
 845. An Oinociioe of elegant form, with trefoil-shaped mouth. Below 
 the neck is a garland of leaves and berries. On the body of the 
 vessel is the representation of a panther between two stags 
 grazing. Nine inches and a half high. 
 
 846. Lecanis. —A Patera-shaped Vessel of Red Clay; one foot four 
 inches in circumference, and two inches and a quarter high. Par- 
 
64 
 
 CATALOGUE OF TflE MUSEUM OF ANTIQUITIES 
 
 tially ornamented on the lower surface. Is perhaps the lower 
 
 part of a mystica cista. 
 
 847. A Vessel, similar to No. 846, with a cover or lid. One foot three 
 inches in circumference. 
 
 848. Bath Utensil, similar to No. 819, but smaller. 
 
 849. Bowl-shaped Jar with cover or lid, and two handles. Mended. 
 Of a Pale Bed Ware. Stands five inches high. Was probably used 
 as a Kavovv or canistrum in which salted cake, &c., was concealed 
 at the time of the sacrifice. (Vide No. 756). The Canistrum, 
 however, was generally larger; more like a round, flat, Covered 
 Dish, without handles, such as could be readily carried on the 
 head. 
 
 850. Similar Pyxis (or Mystica Cista ) three inches high, but without 
 a cover, 
 
 851. Another similar Vessel, coloured black; also without its cover. 
 
 852. Ancient Etruscan Cup of Black Ware, with two long, lateral 
 handles. Probably used, like the Kyathis, for serving out Wine 
 and Water to the guests from the Krater, or Mixing Vase. Two 
 and a half inches high, and one foot three inches in circumference. 
 In the Catalogue of the British Museum any cup of this type is 
 called a u Kahtharos.” 
 
 853. Small two-handled Drinking Cup raised on a stand. Similar in 
 pattern to No. 740. 
 
 854. Patella, or Little Flesh Plate ; of Black Ware, similar to No, 840. 
 
 855. Similar Patella, but somewhat larger. 
 
 856. Another Patella of the same size. 
 
 857. Double-handled Wine Cup or Scyphus. —Three inches and a 
 half high. Injured by the damp. 
 
 858. Wine Cup of Brownish Clay, something similar to the preceding, 
 but more of the shape of a top. Appears to be an approximation 
 to the TrXrjuoxor]. Ornamented with the stylus on the outer surface. 
 Three inches high. 
 
 859. Similar Cup, without ornament. 
 
 860. Double-handled Nolan Wine Cup, or Scyphus, of Baked Clay. 
 Three inches high. Coloured with a dark olive tint. 
 
 861. Similar Cup, but smaller. 
 
 862. Goblet, similar to 830. 
 
 863. Kitchen Utensil. — A colum, or specios of colander, of Red Clay. 
 Pour inches and a half high, and about one foot three inches in 
 circumference. 
 
 864. Etruscan Patera of Baked Clay one foot six inches and a half 
 in circumference. 
 
 865. Similar Patera, of better fabric; two feet one inch in circum¬ 
 ference. 
 
 866. Rudely-formed Square Vessel of Red Clay, apparently made 
 for holding ointment. One inch and a quarter high. 
 
CATALOGUE OP THE MUSEUM OP ANTIQUITIES. 
 
 t)5 
 
 867. Oval, One-handled Yessel, somewhat resembling No. 836. Four 
 inches and a half high. 
 
 868. Goblet, similar to No. 830. 
 
 869. Patina op Baked Clay, having a circular depression in the centre, 
 a falling rim, and a low stand. 
 
 870. Bowl-shaped, Two-handled Patera, fifteen inches in circum¬ 
 ference, and two inches in height. Damaged. 
 
 871. Goblet, similar to No. 830. 
 
 872. Fragments op a Hydria, of good workmanship, with ornaments 
 representing female figures and a Faun. Originally eleven inches 
 high. 
 
 873. A Cheironiptron, or wash-hand Basin, of Baked Clay, with two 
 lateral handles. Is two feet nine inches and a half in circum¬ 
 ference, and five inches and a half high. Ornamented on the 
 outer surface with a conventional representation of oak leaves and 
 acorns. 
 
 874. Lower Portion of a Lecanis, or two-handled vessel on a raised 
 stand, in which things were probably concealed during sacrificial 
 rites. See Numbers 846, 847, and 849. One foot nine inches in 
 circumference at the rim. 
 
 875. Earthen Vessel, with broad, rounded rim, and stand,—partly 
 shaped like a Patera, and partly like a bowl. Thirteen inches and 
 a half in circumference. 
 
 876. Vessel, similar to the foregoing. 
 
 877. Low Earthen Goblet, with recurved rim, similar to No. 830. One 
 foot six inches in circumference. 
 
 878. Bowl-shaped, two-handled Cup, of Baked Clay, tapering to the 
 base. Ornamented on the outside with the stylus. One foot 
 four inches in circumference. 
 
 879. Small, two-handled, bowl-shaped Patera, of Dark Clay, about 
 one foot in circumference. 
 
 880. Patina of Black Ware, raised on a stand. Shaped somewhat 
 similar to No. 785. (See No. 840.) 
 
 881. Patina, of the same description, on a small circular base. 
 
 882. 883, 884. Patellae of Dark Ware, similar to No. 840. 
 
 885. Small, semi-oval Vase, somewhat similar to No. 827. 
 
 886. Phiale, or bowl with recurved rim, one foot three inches in 
 circumference. 
 
 887. Two-handled Vessel, one foot in circumference, of a description 
 similar to No. 846. Lid wanting. Of Fine Red Ware. 
 
 888. Small, bowl-shaped Vessel ; probably a form of the Patella. 
 
 889 and 890. Two Patellae of Black Ware, of the same nature as 840. 
 
 891. Two-handled Wine Cup, or Scyphus, similar to No. 859, but of 
 Black Ware. 
 
 892. Two-handled, large-bodied Vase of Brown Ware, ornamented 
 with rude patterns by the stylus. About nine inches and a half 
 high. 
 
66 
 
 OP THE SYDNEY UNIVERSITY. 
 
 893. Large, Double-handled, Wine Cup, or Scyphus. Fine Red 
 Ware. Five inches high, and one foot six inches and a half in 
 circumference. 
 
 894. Oinochoe, of Black Ware, with narrow neck, spreading rim, and 
 semi-oval body. About nine inches high. 
 
 895. Hydria, of Red Ware, eleven inches and a half high. This long¬ 
 necked, three-handled water vessel has a flat rim at the top, and 
 is of very elegant proportions. Broken and mended. 
 
 896. Two-Handled Vase, of Red Clay, in shape and size somewhat 
 resembling 885. 
 
 897. Ancient Bottle of Black Earth, broken. Six inches high. 
 Contains something formerly liquid, which has now become a solid 
 mass. 
 
 898. Two-handled Drinking Cup, similar to No. 879. 
 
 899. Goblet, similar to No. 830. 
 
 900. Deep, bowl-shaped Goblet, on a low stand. 
 
 901. Small Bowl, or Piiiale, similar to Nos. 888 and 723. Found at 
 Vulci, an Etruscan town, N.W. of Corneto, and near Canino— on 
 the west bank of the River Arnine, now called Flora. 
 
 902. A Patella, of Red Clay, hollowed out like a bowl. 
 
 903. Two-handled Vessel, of Red Clay, on a small base. One foot 
 two inches and a half in circumference. Damaged. 
 
 904. Beautiful two-handled Patera, raised on a stand. Of Red 
 Ware, from Arezzo. One foot nine inches and a quarter in cir¬ 
 cumference, and three inches high. Resembles Nos. 808 and 810. 
 For Arezzo, (anciently Arretium ) see No. 734. 
 
 905. Aryballos of Red Earth, eleven inches and a half in circumfer¬ 
 ence, and four and a half inches high. Appears, judging from its 
 narrow orifice, to have been used for essences. 
 
 906. Piiiale, or Bowl of Red Clay, one foot three inches in circum¬ 
 ference. 
 
 907. Small Goblet, of the same general type as No. 830. 
 
 908. Goblet, of Black Ware, similar to No 830. One foot seven inches 
 in circumference. 
 
 909. Goblet, of the same pattern, but smaller. 
 
 910. Ancient Etruscan Drinking Cup, of good Black Ware; one foot 
 five inches in circumference, and three inches and a quarter high. 
 Ribbed in the body of the Cup, and curiously notched round the 
 lower rim. Purchased by Sir Charles Nicholson at Corneto, 
 anciently Tarquinia. See No. 734. 
 
 911. Small, Jar-like Vase, with extruding rim, similar to 827. Two 
 inches high, and seven inches in circumference. 
 
 912. Small PinALE. —A bowl-shaped Vessel, with recurved lip. Stands 
 on a flat, circular base. One inch and three quarters high, and 
 one foot nine inches and a halt in circumference. 
 
 913 Wooden Coyer, or Lid, to some kind of Vase. Coloured black. 
 Nearly seven inches in circumference. 
 
CATALOGUE OP THE MUSEUM OP ANTIQUITIES 
 
 67 
 
 914 Ancient Vessel of dark-tinted Baked Clay; of a pattern similar 
 to No. 824. Nearly six inches high, and two feet in circumference. 
 Broken. 
 
 915. A one-handled, narrow-necked Vessel of Whitish Clay, shaped 
 somewhat like an onion. Has a spout at the orifice, and tapers 
 to the base. Appears to belong to the same period, and style of 
 workmanship, as No. 836. 
 
 916 and 917. Patellae of Black Ware, similar to No. 840. 
 
 918. Small portion of Vase of Fine Red Clay, of good workmanship. 
 
 919. Ribbed G-oblet of Dark GreyWare, similar to No. 831. Fourinches 
 and a half high, and twelve inches and a half in circumference. 
 
 920. Goblet of Dark Grey Ware, similar to No. 830. 
 
 921. Small, two-handled Drinking Cup, similar to Nos. 879 and 898. 
 
 922. Similar Drinking Cup, but larger, and more elegantly finished. 
 
 923. Small, bowl-shaped Vessel of Dark Clay ; probably a form of 
 the Patella. 
 
 924. Bowl-shaped, one-iiandled Cup of Red Clay. Object uncertain; 
 —whether used as a drinking cup, or as a ladle for transferring 
 Wine and Water from the Mixing Vase to Goblets and Drinking 
 Cups. One foot three inches in circumference. 
 
 925. One-handled Cup of Red Clay, similar to No. 924, but smaller and 
 deeper. 
 
 926. Another one-handled Cup of the same type, tapering to the 
 base, and coloured on the outer surface. 
 
 927. Another one-handled Cup of Dark-tinted Grey Clay,—of a 
 precisely similar character to the three preceding. 
 
 928. One-handled Vase of Baked Clay, ornamented with a scroll 
 pattern on the body of the vessel. Broken. About nine inches 
 and three quarters high. 
 
 929. Patera-shaped Goblet with a narrow base. Three inches high, 
 and one foot nine inches in circumference. Of a simple and 
 elegant design. Has the name of the Potter in Etruscan Charac¬ 
 ters scratched with a stylus on its base. The letters correspond 
 to 2.K.Y.S. 
 
 930. Prochus of Dark-tinted Ware. Six inches and a half high. Of 
 a type somewhat similar to No. 815 
 
 931. One-handled, narrow-necked Vessel, similar to No. 915. 
 
 932. Goblet of Dark Ware, similar to No. 830. 
 
 933. Cover, or Lid, of some Vessel; similar to No. 829. 
 
 934. Patina of Black Ware, raised on a stand, similar to No. 880. 
 
 935. Double-handled Wine Cup, or Scyphus, similar to No. 860 and 
 several others in the Collection. Three inches and three quarters 
 high, and one foot two inches in circumference. From Corneto, 
 anciently Tarquinia. See No. 734. 
 
 936. Oval Jar of Baked Clay, with spreading rim and small base. 
 Seven inches and three-quarters high, and one foot eleven inches 
 
68 
 
 OF THE SYDNEY UNIVERSITY. 
 
 in circumference. Of a coarse fabric. Traces of dark lines on the 
 body of the vase. 
 
 937. Bowl-shaped, two-handled Patera of Eed Clay, and tinted with 
 the same colour. Prom Arezzo, anciently Arretium. See No. 734. 
 
 938 . Deep, bowl-shaped Goblet, of a pattern, somewhat similar to 
 No. 900, but ornamented with three knobs round the body of the 
 vessel. Formed of coarse Eed Clay. Two inches and a half 
 high, and one foot two inches and a half in circumference. 
 
 939. Phiale or Bowl, of Eeddish Clay, one foot four inches and a 
 half in circumference. 
 
 940. Goblet of Dark Ware, similar to No. 830. Broken. 
 
 941. Elegantly proportioned, Goblet-shaped Vessel of Pale Eed 
 Clay. Eaised about two inches from a small circular base. Twelve 
 inches and a half round the rim, which is comparatively thick, and 
 slopes outwardly. 
 
 942 . Phiale, or Bowl, of Eeddish Clay, with indented rim. One foot 
 four inches in circumference. Broken and mended. 
 
 943. Goblet of Dark Ware, similar to No. 830. Broken and mended. 
 
 944. Two-iiandled, large-bodied Vase of coarse Eed Clay, eight 
 inches and a half high. In general shape somewhat like No. 
 892, but of ruder workmanship. The neck of this Vase (about 
 one foot in circumference) has evidently been expressly adapted 
 for a cover now lost. Two holes are to be seen, by means of 
 which the Cover was once fastened on to the jar,—which, in its 
 greatest width, is one foot ten inches in circumference. 
 
 945. Small, two-handled Drinking Cup, similar to Nos. 879 and 898. 
 
 946. Small, two-handled Vessel, one foot one inch in circumference, 
 of a similar nature to Nos. 887 and 846. Lid wanting. Of Fine Eed 
 Ware. 
 
 947. Cylindrical Jar of Coarse Eed Clay, narrowing at the neck- 
 Nine inches and a half high, and about one foot ten inches in 
 circumference. 
 
 948. Two-handled Vase of Dark Clay, resembling Nos. 885, and 896. 
 Broken. 
 
 949. Two-handled Vessel, similar to No. 946, but with a spreading rim. 
 
 950. Eudely-formed, bowl-sh\ped Vessel of imperfectly Baked Clay. 
 
 951. Small, Oval Vase of Dark Clay, with spreading rim. Appears 
 to be of the same type as No. 827. 
 
 952. Small, one-handled Vessel of Eed Clay with a funnel or spout. 
 Probably an Askos, or Vase used for essences required at the 
 sacrifices. Vide Nos. 725 and 732. 
 
 953. SmallProchus, of the same pattern as Nos. 772 and 774. Much 
 injured by the damp. 
 
 954. An Elegant, Vase-like Oinochoe, or Wine Jug, of Baked Clay, 
 with a trefoil-shaped mouth. Stands about nine inches and a 
 half high. Discoloured by damp. 
 
CATALOGUE OP THE MUSEUM OP ANTIQUITIES 
 
 69 
 
 955. Pinax, or Trencher. Made of Light Red Clay, coloured Black. 
 About two feet eight inches in circumference. From Corneto, 
 the Ancient Tarquinia. See No. 734. 
 
 956. Oval Jar of Red Clay with flat rim. Six inches and a half high. 
 
 957. Patella of Coarse Black Ware, Similar to No. 840. 
 
 958. Bowl-shaped Vessel of Clay, similar to No. 950. 
 
 959. Two Pieces of some Circular Vessel, ornamented with a highly 
 finished and elaborate design executed in colours. 
 
 960. Two more Fragments of Ware, of different quality and different 
 periods. One is of Common Dark Ware ; the other resembles the 
 Caister Ware of Ancient Britain. 
 
 961. Part of a Mummy Case, on which is a figure of Nephthys, the 
 Sister of Isis, with upraised arms. 
 
 962. Ancient Earthen Vase, about eight inches long, in which is some 
 mummy rag. (Egyptian J. 
 
 963. Etruscan Bronze Candelabrum (X vxveiov ) eighteen inches and a 
 half high. Stands on three legs, and has its shaft ornamented 
 with two birds,—probably representing the Sacred Goose. On one 
 side of the Jcalathos, or cup-like top, are two small staples. 
 
 964. Two fine specimens of Fossilized Wood, from the Mokattim Hills 
 near Cairo. 
 
 965. Geological Specimen. Spar taken from one of the Tombs at the 
 Pyramids of Ghizeh on the 14th April, 1839. 
 
 966. Another beautiful Specimen, of a different description of stone, 
 taken from the stone plateau of one of the Pyramids of Ghizeh 
 on the 14th of April, 1839. 
 
 967. Two specimens of Stalactite brought from Egypt in 1839. 
 
 968. Three Geological Specimens brought from Egypt. A piece of 
 fossilized wood, a piece granite, and a portion of the outer covering 
 of the Second Pyramid. 
 
 969. Portion of the Earthen Cover of a Canopic Vase,—the face of 
 the Deity of Amenti (AmsetJ being wanting. See Cover of Vase 
 No. 37 in this Catalogue. 
 
 970. Antique Marble Fragment. A Man’s Head; probably Roman. 
 (From Italy.) 
 
 971. Another similar Fragment. The fore-part of an imaginary 
 animal, somewhat resembling a Dog. 
 
 972. Antique Marble Fragment. Head of a Young Boy. (Roman). 
 
 973. Fine Antique Marble, representing the Head of a Horse, with 
 a hand grasping the bridle. (Roman). 
 
 974. Antique Marble Fragment. The Right Hand of a Woman. 
 (Roman). 
 
 975. Marble, representing the Head and Face of a Man apparently 
 suffering pain. 
 
 976. Marble, representing the Head and Face of a Roman Lady, 
 with the hair arranged after a peculiar fashion. 
 
 977. Marble, representing a Hand with a Discus, or Roman Quoit. 
 
70 OF THE SYDNEY UNIVERSITY. 
 
 978. Marble Fragment. Head of a Eoman Lady with a vitta, or 
 garland, as her head dress. 
 
 979. Similar Fragment. Head of a Eoman Lady, with long hair. 
 
 980. Small Marble Fragment, representing the Head of a Boy. 
 (Eoman.) 
 
 981. Marble Head of a Horse. Similar in design to No. 973, but 
 of very inferior workmanship. 
 
 982. Marble : portion of the Left Hand of a Female. 
 
 983. Marble, representing a Horse’s Head in alto-relievo. 
 
 984. Marble Slab representing Comic Mask. 
 
 985. Marble Medallion. A finely executed design representing a 
 profile of Diana. 
 
 986. Another Marble Medallion on the same subject. 
 
 987. Marble Medallion, representing the profile of a Eoman Lady. 
 
 988. Another Marble Medallion of a similar description, in which 
 the hair is arranged as in No. 976. 
 
 989. Marble Fragment. Portion of a Dolphin and an Oar. 
 
 990. Marble Fragment. Portion of the Head of a Female in high 
 relief. 
 
 991. Small Marble Slab, with a floral ornament. 
 
 992. Marble : Semi-nude, Headless Figure of a Man. 
 
 993. Marble : Small Medallion profile of a Eoman. 
 
 994. Marble Fragment. Eudely executed Lion’s Head. 
 
 995. Fine Antique Marble Bust of Diana, in a good state of preser¬ 
 vation. 
 
 996. Marble Bust of Minerva, wearing the Helmet, Coat of Mail, 
 and Medusan Head. 
 
 997. Marble : Head of a young Eoman Female. 
 
 998. Marble Statue of a Eoman Senator wearing the Cothurnus , or 
 boot, with his Toga in loose folds. About five feet ten inches 
 high. [Stands in the First or Outer Eoom, opposite the entrance 
 to the Inner or Egyptian Eoom.] 
 
 999. Marble : Head of a Boy. Place of the eyes excavated for the 
 insertion of eyes of glass, or of some other material. 
 
 1000. Marble: Head of a Beardless Eoman of a later period than 
 No. 999. Life size. 
 
 1001. Marble : Head of a Eoman Female. Size of life. 
 
 1002. Portion of a Frieze of White Marble, representing part of a 
 house, a young female, and other objects. 
 
 1003. A Nude, Headless Figure seated, leaning on a staff. Below is 
 a rabbit, or hare, feeding. 
 
 1004. Head, of a small Statue of a Female, in White Marble. Much 
 worn and defaced. 
 
 1005. Portion of Marble Frieze, with a Horse’s Head sculptured 
 thereon. 
 
CATALOGUE OF THE MUSEUM OP ANTIQUITIES 71 
 
 1006. Head of a Female, sculptured in White Marble. Small, and 
 apparently not of a very ancient type. 
 
 1007. Small Head of a Hercules in Coarse Marble. Lies upon the 
 fragment of a flat marble slab. Of a late period; probably the 
 beginning of the Fourth Century. 
 
 1008. Portion of a Marble Frieze representing two Female Figures 
 with Garlands. 
 
 1009. Mutilated Figure, apparently that of a Boy carrying Fruit. 
 Of White Marble. About nine inches high. 
 
 1010. Profile of Eoman Lady, in White Marble; shewing mode of 
 dressing the hair, and other peculiarities of costume. 
 
 1011. Admirably Sculptured Head of a Young Eoman in White 
 Marble. Life size. Probably the Head of Antinous, the Favorite 
 of the Emperor Adrian. Is damaged on the right side of the head, 
 as if it had been partially buried in some causeway. 
 
 1012. Marble Statue of a Eoman Senator. Six feet three inches high. 
 Is represented wearing his toga wrapped closely round the person. 
 He also wears the Cothurnus —a sort of Dress Boot. This fine 
 statue was discovered by the French in the Forum of Borne, about 
 the commencement of the 19th Century. The Marble has suffered 
 from the effects of damp, 
 
 1013. Eoman Cinerary Cista of White Marble, adorned with two 
 Bearded Faces—apparently those of Fauns. Further back, on 
 the sides, are two Chimserse. The inscription on this Pagan 
 monument is as follows.—“ D[iis] M[anibvs] * PEBELLE * 
 TYCHE * P[ublivs] ANTEIYS * QUADEEIVS * MATEI 
 A[matse] M[erenti] F[ecit].” “To the Sacred Shades:—For 
 Perelia Tyche, his beloved and deserving mother, Publius Anteius 
 Quadreius hath made this.” 
 
 1014. Another similar Cista of White Marble. The front is adorned 
 with a graceful combination of fruit and flowers, depending 
 between two Bulls’ Heads, at the upper angles of the face of the 
 Cista. Between the Bulls’ Heads is the inscription. Three small 
 birds are represented pecking at the fruit. On both sides of this 
 receptaculum is a conventional ornament, which appears to be an 
 adaptation of the Egyptian “Lotus.” The inscription is as 
 follows:—LETILIA PE CUEPITA * VlXfit] ANN[os] XXVII. 
 Letilia Pecurpita lived 27 years. 
 
 1015. A Cylindrical Cinerary Urn of White Marble with its oper¬ 
 culum, or lid. The design is extremely simple, but not inelegant. 
 The inscription is as follows:—D.M. * P. AELfio I. CLEBVCHO * 
 AVG[vsti] LIB[erto] FL. (Flavia) BHODOPE CONIVGI BE- 
 NE*MEBENTI FECIT. “ To the Sacred Shades : To Publius 
 jElius Cleruchus, the Freedman of Augustus, her well deserving 
 husband, Flavia Bhodope, set up this.” 
 
 1016. Eoman Cinerary Cista of White Marble, carved after a design 
 somewhat similar to 1013, The Wreath hangs from the Horned 
 Human Heads at the upper angles of the front. Below the Heads 
 are two Eagles. Above the wreath, and below the inscription, 
 
72 
 
 OF THE SYDNEY UNIVERSITY. 
 
 are two small birds. The inscription is as follows :—DIIS MAN- 
 IBUS * Q. [vinti] MUCI * PRIMAGENI. To the Sacred 
 Shades of Quintus Mucius Primagenus. 
 
 1017. (No. I.). An Etruscan Cinerary Urn, or Cista, of sculptured mar¬ 
 ble, of an oblong square form, with its operculum, or lid,—both in an 
 excellent state of preservation, and still shewing traces of the 
 original colouring. On the cover is the semi-recumbent figure of 
 one of those portly Etruscans, satirically described by Catullus 
 as “corpulent.” The flowing purple vesture of this figure, the 
 large ring on the third finger of the left hand, the Irachiale on the 
 right arm, and other distinguishing peculiarities, clearly demon¬ 
 strate the noble rank of the Deceased; who reclines, in an easy 
 and dignified posture, resting with his left elbow, as at a banquet, 
 on two cushions, marked blue and red,—just as those colours were 
 thrown on by the pencil of the Etruscan artist. In the right 
 hand of the figure (laid, according to a common conventional 
 attitude, upon the right knee) is the Patera, or broad dish-like 
 goblet, used in the expiatory sacrifices offered at the Puneral 
 Rites. Round the head (which is slightly thrown back, the eyes 
 being raised as in prayer) is a vitta, or crown of leaves and 
 flowers,—emblematical, like the patera, of the Funeral Rites, and 
 significant of the happiness of the Departed in the World to Come. 
 A tunic is worn, drawn close to the figure in tight folds at the 
 waist, the toga, or mantle, being disposed over the shoulder, and 
 sweeping in folds over the lower part of the person. Along the 
 front edge of the base of the operculum is an inscription in 
 Etruscan Characters—tinted in purple, and reading from right to 
 left. The well executed bas-relief below appears to be a work 
 coeval with the Roman Age, and of a (comparatively speaking) 
 no very ancient date—considered as Etruscan. The subject of it 
 is uncertain. It consists of a spirited group of four armed figures, 
 and part of a war-horse. Two of the combatants are armed and 
 partially clothed (one a warrior and the other, apparently, an 
 Amazon), the remaining two being armed only—one with a sword, 
 a helmet, and a shield, and the other provided with a sword alone. 
 To the left of the frieze is the head and fore-quarters of a war- 
 horse caparisoned, and partly concealed by one of the warriors with 
 his sword drawn, having a lorica, or coat of mail (blue) over his short 
 under-vest, with a blue mantle flying in the air behind him. 
 He has also a large round shield on the left arm with which he 
 attempts to protect a naked warrior from a death blow aimed at 
 him by the other armed athlete, who, facing his prostrate foe, 
 stoops over him to give full force and a fatal effect to the coming 
 stroke. Stepping from behind the last mentioned is the fourth 
 combatant (like the fallen warrior without a helmet), but clad in 
 a short light-red tunic (gathered into folds, the right breast being 
 exposed), and wearing a blue mantle over the left shoulder. This 
 figure also appears to be about to assault the more successful 
 warrior in defence of the vanquished athlete. All the figures are 
 bare-footed, and the interior of each shield carried by them is of a 
 bright red colour. The height of the urn is one foot eight inches 
 and a half; length, thirty-six inches and a half; width, about 
 
CATALOGUE OP THE MUSEUM OF ANTIQUITIES 
 
 n 
 
 one foot five inches; greatest height of lid, one foot seven inches 
 and a half. The Inscription on the Lid reads in Roman letters 
 as follows : FASTI SENTINATE YMEAHASA. The Sentinate 
 were one of the principal Families amongst the Ancient Etrus¬ 
 cans. The name is found in Sepulchral Inscriptions at Tarquinia. 
 Tombs of the “ Sentnias,” or “ Sentinate, are also found amongst 
 the Tombs of the Magnates of Clusium. (Gray’s Sepulchres of 
 Ancient Etruria. Chap. IY. and Chap. IX.) 
 
 1018. (No. II.) An Etruscan Cinerary Urn, or Cista, of sculptured mar¬ 
 ble, of an oblong square form with an operculum or lid, showing 
 distinct marks of the original colouring, especially in the figures of 
 the bas-relief. The workmanship of this urn is, in every way, inferior 
 to that displayed in the fabrication of No. 1017, and is probably 
 to be referred to a much more remote epoch. Upon the cover is 
 a Recumbent Figure (apparently that of a female) holding in the 
 right hand a patera, and resting the left in front on a chaplet, or 
 on a torque usually worn pendant from the neck. The robes are 
 thrown in loose folds around the person and exhibit traces of a 
 dull purple tint. On the front edge of the base of the lid is an 
 inscription in Etruscan Characters partially defaced, but obviously 
 once picked out in the same colour as that which appears on the 
 marble above. In the bas-relief, between two fluted pilasters 
 with rude Ionic capitals, is a representation of the murderous 
 combat between Eteocles and Polynices—the two Theban Brothers, 
 sons of CEdipus. The two female figures, standing by at this 
 fratricidal struggle, are Infernal Furies. Each Fury has the right 
 breast bare, and wears buskins {cothurni), a short tunic, bracelets, 
 armlets, and a torque. They are also appropriately represented with 
 wings, and each holds a lighted torch in one hand,—the other 
 being stretched out over the antagonists, whom they seem to 
 encourage, applauding the brutal rage with which they are 
 inspired. Eteocles stands on the left hand of the bas-relief with a 
 Fury immediately behind him. He is provided with a lorica, 
 or coat of mail, a helmet, and a sword; the latter he has just 
 thrust into his brother’s breast. His left hand is engaged in 
 tearing away the large round shield (coloured red) with which 
 Polynices tries to shelter himself. Between the legs of Eteocles 
 appears the helmet of Polynices which in the struggle has been 
 wrenched off and has fallen on the ground. Polynices, who is 
 armed like his assailant, has sunk down on one knee, and still 
 retains his shield. He has just received his death-wound, and is 
 in the act of burying his sword in the groin of Eteocles. The 
 representation of this battle, here given, exactly accords with the 
 description of it by Statius:— 
 
 -tandem irruit exul, [sc. Polynices.] 
 
 Hortatusque rnauum, cui fortior ira, nefasque 
 Justius, alte ensem germani in corpore pressit, 
 
 Qua male jam plumis imus tegit inguina thorax. 
 
 Ille dolens nondum, sed ferri frigore primo 
 Territus, in clypeum turbatos colligit artus: 
 
 Mox intellects magis ac magis aeger anhelat 
 Yulnere, nec parcit cedenti, atque increpat hosti. 
 
 (Stat. Theb. IX., 540. 
 
OP THE SYDNEY UNIVERSITY. 
 
 U 
 
 Of Eteocles the Poet afterwards says— 
 
 Erigit occulte ferrum, vitaeque labantis 
 
 RelJiquias tenues odio supplevit, et ensem, 
 
 Jam bet us fratris non frater in corde reliquit. (IX., 560.) 
 
 A further coincidence between these figures and description of 
 Statius is that the Furies are in both instances introduced as 
 spectators and abettors of the combatants:— 
 
 Nec jam opus est Furiis ; tantum mirantur, et adstant, 
 
 Laudantes, hominumque dolent plus posse furores. (537.) 
 
 This combat was by no means an uncommon subject amongst 
 ancient artists; even in the University Museum itself there is (at 
 least) one other bas-relief of a precisely similar character on the 
 front of an Etruscan Cinerary Urn of Baked Clay. We learn 
 from Pausanias that the representation of this horrible duel served 
 as one of the ornaments of the sarcophagus in which was placed 
 the body of Cypselus, the Tyrant of Corinth. In his description 
 of that sarcophagus Pausanias states that Polynices was there 
 depictured as having fallen on one knee—the same attitude in 
 which he is here represented. The height of the Urn is one foot 
 five inches; length 24 inches and a half; width, 12 inches and 
 a half; greatest height of lid (made of very coarse marble) 
 twelve inches and half. 
 
 1019. (No. III.) A small Etruscan Cinerary Urn, or Cista, of Baked 
 Clay, nine inches and a-half in height, one foot two inches and a 
 quarter in length, and about seven inches and a half in width. 
 On the front is a bas-relief representing the interference of 
 Echetleeus on behalf of the Greeks at Marathon, as will be found 
 more particularly described under No. 1023 in this Catalogue. This 
 subject is another which appears to have been a very popular one 
 with the Ancients ; the same design is seen repeated on the 
 Urns marked Nos. 1023, 1026, and 1027 ; the workmanship of Nos. 
 1023 and 1027 being decidedly superior to that of this monument, 
 and of that marked No. 1026. The lid of the Urn now described 
 does not seem to be that which originally belonged to it, having 
 apparently been made for an Urn of smaller size. The greatest 
 height of this operculum is three inches, and its length eleven 
 inches and a quarter. Tne figure thereon is that of a youth 
 reposing on two pillows. There is no inscription. 
 
 1020. (No. IV.) An Etruscan Cinerary Urn, or Cista, in Baked 
 Clay of excellent workmanship ; the design of bas-relief being 
 precisely the same as that of No. 1018—the Duel of Eteocles and 
 Polynices—but far less ancient. This Urn still exhibits faint 
 traces of the original colouring, laid in on an imperfect sort of 
 enamel, and visible through part of that clay in which it was 
 covered up for ages. Along the top of the Urn, immediately 
 below the line of an elegant, egg-shaped ornament, is an almost 
 obliterated inscription in Etruscan Characters painted upon the 
 clay. The four letters which appear in the centre of this inscrip¬ 
 tion are very indistinct and well nigh illegible. The semi-recum¬ 
 bent figure on the operculum appears to be that of a lad from 
 twelve to fourteen years of age, naked to the waist,—leaning with 
 
CATALOGUE OP THE MUSEUM OF ANTIQUITIES 
 
 ?5 
 
 his left hand on a cushion, and resting his right hand, with a 
 patera, in the usual attitude, on the left knee. The face is looking 
 upwards. This figure is executed in a very tasteful and spirited 
 style, but is by no means so well finished as the frieze below. The 
 height of this Urn is eleven and a quarter inches; length, one 
 foot six inches; width, six inches ; greatest height of lid, eleven 
 inches. 
 
 1021. (No. V.) An Etruscan Cinerary Urn, or Cista, in Baked Clay, 
 differing from all others in the Museum in having no plinth above 
 the bas-relief in front, and in having a largely projecting basement. 
 On the front of the Urn is the Figure of some Marine Deity—pro¬ 
 bably Nereus—the upper portion of the person being that of a man 
 and the lower extremeties terminating somewhat after the fashion of 
 a fish with two distinct tails. The Figure carries a long oar of a 
 spade-like shape, and something that may possibly be intended 
 for a fishing net. On the lid is a Recumbent Figure wrapped in 
 a mantle, and lying in an attitude expressive of the most absolute 
 repose. There are some faint traces of an inscription at the foot 
 of the Urn. The height of the Urn is ten inches; the length, one 
 foot four inches ; extreme width, nine inches and three quarters ; 
 greatest height of lid, six inches. It is evident that this monument 
 (like No. 1020) was once covered with white enamel. The Figure 
 with Caudal Appendages resembles the Angel of Death, as found 
 in a Tomb at Tarquinia. See No. 1051. 
 
 1022. (No. VI.) A small Etruscan Cinerary Urn, or Cista, in Baked 
 Clay, of rude workmanship,—eight inches high, ten inches long at 
 the top, and six inches and a-half wide. On the front are repre¬ 
 sented two Female Figures before a door, at which they appear tobe 
 demanding admittance. The door probably represents the Entrance 
 to the Future World,—doors being frequently represented on ancient 
 monuments to symbolize that idea. The Figures at the corners of 
 the front, furnished with torches, are the Genii of Death. On the 
 lid is a Recumbent Figure very roughly executed. According to 
 Montfaugon, “Lesportes d’Enfer se voient assez souvent dans 
 les monuments.” Tome V., Livre IV. 5. (See also “Museum 
 Disneanum,” Part II., page 204.) Muller observes in his Work on 
 Ancient Art (page 621) that on Etruscan Cinerary Cistee the 
 Departure of the Deceased from this World is often represented by 
 a leave-taking before a door, such as may be here intended. 
 
 1023. (No. VII.) A Beautifully executed Etruscan Cinerary Urn 
 or Cista of Baked Clay, the bas-relief on the front of which represents 
 the Mythical Hero Echetlseus fighting with a ploughshare for the 
 Greeks at the battle of Marathon. The following is the account 
 which Pausanias has given of this combat:— 
 
 2ui'e/S r) Se, w? \tyovcnv, dvhpa iv Tjj pax*] irapetvcu, to etS os Kal rr]V 
 aKfvrjv aypolKov- qvtos roiv /3ap/3dp(ov ttoWovs Kara(f)oi>evaas dporpco 
 pera to epyov dcf^avrjs’ ipoptvou Se ’A drjvalois aXXo pev 6 ©eos e’y 
 avTO e\pr]OfV ovdtv, npav Se ’E x^rXciiov eKtXevcrev fjp<oa. 
 
H 
 
 OF THE SYDNEY UNIVERSITY. 
 
 “And they say it came to pass in that battle that a certain 
 man, with the personal appearance and dress of a country¬ 
 man, came to their assistance. This individual killed many 
 of the barbarians (the Persians) with a ploughshare, and 
 disappeared after the engagement. "When the Athenians en¬ 
 quired who he was, the oracle returned them no definite 
 reply, but commanded them to honour the Hero Echetlseus ” 
 Pausanise Grsecim Descriptio Liber 1. (Attica) Caput XXXII. 
 \Edidit Carolus Godofredus Siebelis.~\ The Mysterious Hero stands 
 with his back to the spectator, and is armed with a ploughshare 
 with which he is in the act of striking one of the foe—a warrior 
 who has sunk upon one knee, and who is endeavouring to cover 
 himself with his shield. Echetleeus is about to be attacked by 
 another warrior armed with a sword and shield, and standing 
 immediately behind him. A third Persian—at the extreme left 
 of the frieze—armed with a sword and shield, is preparing to fall 
 upon the Unknown Hero. Though in some parts much worn it is 
 easy to see that the design and execution are both of a high 
 order. Eehetlaeus is scantily clothed, but the warriors, against 
 whom his fury is directed, are clad in coats of mail and wear blue 
 mantles. On the Operculum is the Semi-Recumbent Figure of a 
 Lady (with a species of coif or hood over her head) reclining in the 
 usual attitude, excepting that in her right hand she holds a torque 
 or chaplet (it is not clear which) on her lap. Her hair seems to 
 be plaited across the forehead, and put away in loose bands, at the 
 side of the face, under the hood. She also wears ear-rings, and a 
 brachiale on the right arm. The drapery of the entire figure— 
 very gracefully disposed of in large massive folds—appears to 
 have once been coloured white and blue. The cushions under the 
 left arm are coloured blue and red. No inscription is anywhere 
 visible. The height of this Urn is nine inches and a half; the 
 length, one foot two inches and a-half; the width, eight inches ; 
 and the greatest height of lid, seven inches. 
 
 1024. (No. VIII.) An Etruscan Cinerary Urn, or Cista, of Baked 
 Clay. The bas-relief in front is rudely executed, and represents 
 Three "Warriors and a Female. The subject is uncertain. One of 
 the combatants has sunk down on one knee, and, having lost his 
 sword, covers himself with his shield whilst attempting to seize a 
 stone, with the intention (as it would seem) of hurling it at the 
 warrior standing to the left of him, by whom he is hard pressed. 
 The Female Figure standing behind appears to encourage the 
 victor to despatch his fallen adversary—directing his sword 
 towards the head of his unsuccessful antagonist. Another man, 
 armed with shield and sword, attempts apparently, to thrust aside 
 the fallen man with his foot in order the more readily to engage 
 his adversary. The helm of the fallen foe is seen (as in Nos. 
 1018 and 1020) between the legs of the left hand combatant. The 
 workmanship is rude and inexpressive. Over the Urn is the 
 Semi-Recumbent Figure of a Lady in an easy and dignified atti¬ 
 tude—one more of reflection than of repose. The design of this 
 part is extremely elegant, although but imperfectly carried out. 
 
CATALOGUE OP THE MUSEUM OF ANTIQUITIES 
 
 77 
 
 No inscription appears. The height of the Urn is one foot; the 
 length, one foot five inches; and the width, eight inches and a half. 
 The greatest height of the lid is eleven inches, and its greatest 
 length, one foot seven inches and a half. 
 
 1025. (No. IX.) An Etruscan Cinerary Urn, or Cista, precisely 
 similar to the foregoing, having, apparently, been formed in the 
 same mould. The operculum, or lid (slightly damaged) is formed 
 of a finer description of clay than that used in making the Urn. 
 It is surmounted by a Recumbent Figure very much resembling 
 that of No, 1021. 
 
 1026. (No. X.) An Etruscan Cinerary Urn, or Cista, of Baked Clay, 
 (without an operculum') representing on its front the Myth of 
 Echetleeus. It is one of the same size and pattern as No. 1023. 
 
 1027. (XI.) Another Urn, or Cista, exactly resembling the foregoing 
 (No. 1026), but made of coarser clay, with a wider opening at the 
 top. 
 
 1028. Roman Cinerary Urn of Alabaster containing human bones, 
 burnt —as was usual at Rome immediately after the Augustan 
 Era and until about the epoch of Constantine the Great. 
 
 1029. Marble Freeze representing a Temple, a Bull, the Nude Figure 
 of a Nymph with a Lyre, a Dog, a Tree with a Serpent and the 
 God Pan. According to Muller the Hesperidian Tree, enwreathed 
 by a Serpent, is a symbol of Blessedness—veiled in Darkness and 
 Terrors. Yide Muller’s Ancient Art, page 621. This Frieze is 
 probably part of the Tomb of a Young Female :— 
 
 Prote, Thou hast not died hut gone 
 Forth to a Land of Rest; 
 
 A better and a happier one, 
 
 The Islands of the Blest: 
 
 Where down the Elysian Plains Thou dancest still, 
 
 Amid soft flowers—far, far from every ill. 
 
 No sickness more shall vex Thee there 
 Nor hunger, thirst, nor storm, nor heat, 
 
 E’en the bright things which please men here 
 Raise in Thy bosom no regret, 
 
 For to Thy guile-less Spirit it is given 
 To dwell in purest Light and close to Heaven. * 
 
 [* The above elegant reproduction of one of the most Beautiful Flowers of The Greek Anthology 
 (in which some Unknown Heathen bears an affecting testimony to Man’s Future Existence) is from 
 the accomplished pen of the Rev. Dr. J. E. Bromby of Melbourne—a distinguished scholar, under 
 whom it was my great privilege, more than thirty years ago, to pursue my studies at the Bristol 
 College, of which Dr. Bromby was then the Principal. The well known Fragment, thus happily 
 translated, is as follows:— 
 
 Ovk Waves, Updirr], peTejSrjs 8'es dpeivova x&pov, 
 
 Ka'i vciUis p.ciKcipoov vijorovs 6a\li) iv\ 7roXXf/, 
 
 W E v6a klit ’HXvtriW neBluv aiapTcocra yeyrjdas 
 "Avdeatv iv p.ciXaKolai, kcikcqv eKToaOev dnavroov- 
 Ou Avnel a, ov navp’, ov vovcros evo^Xel, 
 
 Ov TTfimj a,’ov 8hf/os ex fl ** ov8e irodeivos 
 
 ’ Av6pu>Tru>v en trot /3 iotos- £a>eis yap ap.epnTos 
 'Avyals (V naBapaiuiv 0\vpTrov tt\ r)(Tiov o vtos. — E.R.J 
 
78 
 
 OF THE SYDNEY UNIVERSITY. 
 
 1030. Roman Amphora, or Wine Jar, three feet long, and one foot 
 five inches in its greatest circumference. This vessel terminates 
 in a sharp point at the base, so that it could be made to stand up 
 in sand, if the wooden amphora-stand (JyyvdrjKrj or incitega) were 
 not readily available. 
 
 1031. Large Roman Amphora, found (incrusted with oyster- shells) in 
 the sea near Baioe. Two feet eight inches high, and about three 
 feet nine inches in its greatest circumference. 
 
 1032. Another Roman Amphora, of an elegant shape. Three feet ten 
 inches high, and three feet three inches in its greatest circum¬ 
 ference. 
 
 1033. Etruscan Female Figure of Baked Clay, shewing the ancient 
 costume. The Figure holds in the left hand an ashos, similar to 
 No. 732. 
 
 1034. Head of a Female in Baked Clay, of good workmanship; 
 shewing the head-dress. The object (which was probably votive) 
 is hollow; and furnished at the back with a hole, by means of 
 which it was once hung from a nail on the wall. 
 
 1035. Another Similar Object, but far less elaborately finished. 
 
 1036. Another Similar Object, representing the Head of a Child. 
 
 1037. Yotive Offering. A Right Foot in Red Clay: made so as to 
 be readily fastened against the wall, at the heel. 
 
 1038. Fragment of Baked Clay, representing a Human Face sur¬ 
 rounded with leaves. 
 
 1039. Figure of an Etruscan Female, barefooted and thinly clad, 
 carrying a circular vessel on her left shoulder, and something else 
 under her right breast. In Baked Clay. Broken. The inner 
 surface of this interesting antique is covered with stalagmites. 
 
 1040. Face of a Boy, about life size. In Baked Clay. Broken; and 
 mended. 
 
 1041. Head of a Beautiful Female in Fine Baked Clay. Possibly 
 a Cinerary Urn, closely modelled after the head and face of the 
 Deceased—as was not unusual with the Etruscans. Of a com¬ 
 paratively late date. 
 
 1042. Yotive Offering. A Left Foot in Red Clay. 
 
 1043. Face of a Female in Red Clay, partially coloured. 
 
 1044. 1045, and 1046. Three Yotive Arms of Red Clay. 
 
 1047. Head of Etruscan Lady, in Baked Clay. Of the same character 
 as 1034. 
 
 1048. Similar Object, but smaller; with a disk at the back, as in 
 Nos. 1034 and 1035. 
 
 1049. Head and Bust of a Mother Aphrodite, or Yenus Yictrix. In 
 Fine Baked Clay, partially coloured. In the left hand is an apple, 
 and above the head is the Modius —a mitra-shaped ornament—the 
 Emblem of Fruitfulness. This is doubtless an Ex Voto from some 
 childless Roman Wife. Recently broken. 
 
 1050. Large Fragments of a Fine Roman Amphora, taken from the 
 Excavations in Cannon-street, London. 
 
OF THE SYDNEY UNIVERSITY. 
 
 79 
 
 1051. Small, but Solid Fragment of a Large Bathing Pan, or Lebes 
 —a vessel similar to that mentioned at No. 816. Of Red Clay. On 
 the outer side is a Figure of Thetis, or some other Marine Goddess. 
 She is represented with long hair, and with a Shell at the back 
 of her head, arranged like the Nimbus of Mediaeval Art; or 
 like (what that was originally derived from) the Disk of the Sun 
 on the head of Ra, and other Egyptian Deities. (See Nos. 307 and 
 1145, &c.) This Figure has caudal appendages instead of legs. 
 [It has been observed that this Figure closely resembles that of 
 the Angel of Death, as found in a Tomb at Tarquinia.] See 
 No. 1021. 
 
 1052. Eight Fragments of Ancient Stoneware, discovered at the 
 Fenchurch Street Station, London. Probably some portions of 
 the fittings of a Roman Bath. On one of the pieces is the name 
 “ANIOS;” and (elsewhere) “ E.E.” 
 
 1053. Small Fragment of a Lebes, or Bathing Pan, similar to No. 
 816. Contains the representation of a Stork. 
 
 1054. Small Pieces of Ancient Pottery, of different kinds. 
 
 1056. Numerous Interesting Fragments of Samian Ware, on many 
 of which are the names of the Potter—such as “Bargae” for 
 example. 
 
 1057. Numerous Assorted Fragments of Samian Ware. 
 
 1058. Marble Sarcophagus, seven feet one inch in length, two feet 
 ten inches and a half in width, and two feet three inches high. 
 Stands in the Outer Room, near the Window of the Twelve Caesars. 
 This Handsome Receptacle for the Dead is ornamented with large 
 festoons of fruit, winged and draped figures, Medusa-heads, and 
 such like decorations, in high relief. At the southern extremity 
 (inside the cavity) is a hollo wed-out space—a resting place for the 
 head of the corpse. At the opposite end there is a small hole to 
 drain off superfluous moisture. From Southern Italy. 
 
 1059 and 1060. Assorted Pieces of Samian Ware. 
 
 1061. Numerous Models of Roman Weights. See Nos. 461 and 1241. 
 
 1062. Mosaic from South Italy, representing the Old Symbolical 
 Emblem of the Peacock—signifying Eternity. 
 
 1063. Marble Slab, once forming part of some building, but after¬ 
 wards inscribed, on the back, with the words : DIS * MANIB[vs J 
 
 * LVCCELAE^TYCHE * “ To the Sacred Shades of Luccela 
 
 Tyche.” 
 
 1064. A Christian Stele, or Monumental Tablet, found near Rome. 
 It runs as follows: CAELIA ASELLA f INNOCENT [issima] 
 
 * QVE (qua) VIXIT ANN[os] XII. M[enses]—* DEPOSITA 
 
 YII [die ante] KL (kalendas) SETTEM [brias] ( Septembrias ) * IN 
 PACE.—“ Caelia Asella most innocent; who lived twelve years, 
 and-months. Buried on the 7th day before the Kalends 
 
 + The name of ASELLA was by no means uncommon as a Christian Name amongst the Early 
 
 Roman Christians. In the Cemetery of Cyriaca, on the Tiburtine Way (to the Eastward of the 
 
 Northern Part of the City of Rome) was found the following Stela : “In Xto A. 12- ASELLA QVE 
 
 VIXIT AN. XLIIT. ET M. IIII. ET DIES V. ET DEFVNCTA EST DECIMV KAL AVGVSTAS.” 
 
 See “ Arringhi’s Roma Subterranea," Tom. II., Lib. IV., Cap. XVII., pagina 140. 
 
80 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 of September. In Peace.” This Stele was found on the Latin 
 Way—leading out of Rome to the S.E. It must be observed 
 that in Christian Steles, or Tablets, the Verb used for “ To Bury ” 
 is deponere, to put aside (for the resurrection). In Heathen 
 Tombs the corresponding word would be sepelire ; which, however, 
 is found to have been but very seldom used.f 
 
 1065. Another Similar Tablet; —DESCISSIT ( discessit)* LEO YX. 
 KAL[endas] lYL[ias] D* IE BE[ne]RIS ( Veneris) ANNORYM* 
 XXSII.—“Leo departed this life on the 15th day before the 
 Kalends of July, on the Day of Yenus (Friday, 17th of June) aged 
 28 years. Found at the Molinari Yineyard, on theAppian Way— 
 leading out Rome to the S.S.E. The Molinari Yineyard is on 
 part of the site of the Prsetextatus Cemetery. 
 
 1066. Another Christian Tablet; —DEPOSSIO ( depositio ) HILAR[is] 
 ES[t]QYE (qua)* VIXIT ANNYSYII. M[ense] YNO. D[iebvs]* 
 XIII. DEPOSITA DIAE YII. [ante]IDYS* [o]CT[obrias] 
 RICOMEDE ET CLYARCO CONS[vlibvsl.—“ This is the Burial 
 Place of Hilaris,—who lived seven years, one month and thirteen 
 days; buried on the 7th day before the Ides of October, in the Consu¬ 
 late of Nicomedes and Clearchus.” The presumed date of this Tablet 
 (which is, at all events, a tolerably accurate copy of some Monu¬ 
 mental Stela) is A.D. 384. Respecting the Dove on this “ memoria ” 
 see ArringhPs “ Roma Subierranea ,” Yol. II., Book YI., Chap. 50, 
 page 706. 
 
 1067. Part of a Christian Tablet : EYFROSYNE(ii)* CO[n]IYGI* 
 DYLCISSBLE* Q[vfe] Y[ixit] ANN[os] XXYII M[enses] 
 III *D[ies] XIIII, H[ic] DEP[osita] DIE Y [ante] KAL[endas] 
 IAN YARIAS J In Christo :—“ To Euphrosyne his dearest wife; 
 who lived 27 years, three months, and fourteen days. Here 
 buried on the 5th day before the Kalends of January (28th of 
 December) in Christ.” Found in one of the Roman Hypogeea. § 
 
 1068. Primio* Publicys, —Y[ixit] A[nnos] YIIII* MENS[es] III.— 
 “Publicus to Primius,—who lived nine years and three months.” 
 
 1069. D.M.* AELIO HETAERO ET*AELIAE CAPITOLINAE* 
 PATRONIS*—.AELIA CHRYSOTHOE* LIBERTA. B[ene] 
 M[erentibus] F[_ecit]. Translated thus;—“ To the Sacred Shades 
 —To iElius Hetcerus, and to-ZElia Capitolina, her Patrons ;—.ZElia 
 Chrysothoe, their Freedwoman, as to those who were well deser¬ 
 ving, hath erected this.” 
 
 1070. DIS* MAN IB [vs]* EYHEMERIAE :—Translated thus—“ To 
 the Sacred Shades of Euhemeria.” 
 
 f The number of Christian Dead sepulchred in the Hypogcea of Ancient Home, now usually known 
 as “ The Catacombs,” has been calculated by F. Marchi, after a diligent examination, to be more 
 than six millions. Vide Cardinal Wiseman's “ Fabiola," and Dr. Spencer Northcote’s Work on 
 “ The Catacombs.” 
 
 } Vix fama nota esi, abditis 
 Quam plena Sanctis Roma sit, 
 
 Quam dives Urbanum solum 
 Sacris sepulchris floreat.” 
 
 Prudentius— Peristephanon, Hymn II,, line 541. 
 
 ♦ The words “In Christo” are expressed by the well-known Monogram—usually identified with 
 the Labarum of Constantine the Great, but believed to be far more ancient. See Arringhi’s “ Roma 
 Subterranea,” Yol, II., Book IV,, page 556. “ Qua? quidem vocis nota etc.” 
 
OF THE SYDNEY UNIVERSITY. 
 
 81 
 
 1071. D. M* SINTIAE SERAPIADIS* VIXIT ANNIS XYII. 
 C[aivs"J* SENTIVS MAX1MVS MA*NIPULAR[is] III [annos] 
 MARTE.— “ To the Sacred Shades of Sintia Serapias, who 
 lived 17 years. Caius Sentius Maximus, a Common Soldier, 
 three years in the army (?) hath erected this.” 
 
 1072. D. M * A[vlvs] FRAVCIYS CARPVS SIBI*ET FRAYCIAE 
 CYRIL1AE* CONIVGI* LIBERTIS LIBERTAB Y SQVE* 
 POSTERlSQVE*EORVM .—“ To the Sacred Shades, &c., Aulus 
 Fraucius Carpus for Himseif and for Fraucia Cyrilia his wife,—for 
 their Freedmen, and lor their Freed women, and for their Posterity.” 
 
 1073. D[iis] M[anibvs] S[acrvm] * Qfvintvs] MARIYS BASSYS ET 
 MARCIA* AELIANA SE VIVOS FECERVNT SIBI* POS- 
 TERISQVE EORYM :—“ Sacred to the Shades of the Departed. 
 Quintus Marius Bassus and Marcia Aeliana in their life time made 
 this for Themselves and their Posterity.” 
 
 1074. —D.M *M[arco] YALERIO HY*MNO VALERIA* M[erenti] 
 F[ecit]SABINA PARE[nti]* PIENTISSIMO.—“To the Sacred 
 Shades: To Marcus Valerius Hymnus, her most affectionate parent, 
 Valeria from the Sabine Country, as to one who deserved the honor, 
 hath erected this.” 
 
 1075. Two Fragments of Tombstones, or stelce, on which too little 
 remains of the inscriptions for us to surmise what may have been 
 their meaning. The first fragment shews the letters “ tibus men 
 coni” and the second, u m. reliae tae na ie pan” 
 
 1076. DM* IYNIAE THEODOTI* P. RVFINVS SERENVS* 
 CO[n]IVGI SYAE FECIT.—“ To the Sacred ShadesTo Junia 
 Theodotis his wife, Publius Rufinus Serenus hath erected this.” 
 
 1077. D.M * 1UL1YS ALEXANDER I* PR[£efectvs]* HIC POSI- 
 TVS*EST III. [die ante] KAL[endas] IYN[ias]—“ To the Sacred 
 Shades, &c.—Julius Alexander the Prefect was here buried on the 
 third day before the Kalends of June (30th of May).” 
 
 1078. D.M.* HERMES ET* LAVDICIA* PARENTES CARIS*SI- 
 M1 FECERVNT* LAYDICIAE FILIAE* SVAE DYLCISSI- 
 MAE* Q[vse] V[ixit] A[nnos] Y. M[enses] YI. D| ies] II. “ To the 
 Sacred Shades, &c.—“ Hermes and Laudicia, her most affectionate 
 parents, made this monument for their sweetest daughter Laudicia : 
 who lived five years, six months, and two days.” 
 
 1079. D.M. FLAYIAE MAXIMIL*LAE VIX[it] AN[nos] XIX* 
 VALERIVS VALENS* CONIVGI M[erenti] F[ecit].—“ To the 
 Sacred Shades, &c : To Flavia Maximilla his deserving wife, who 
 lived 19 years,—Valerius Valens hath erected this.” 
 
 1080. D.M* Of aio] RYTILIO RVFO* VIXIT ANNIS XIIII .* MEN- 
 S[ibvs] III. DIEB[vs] XII* C. RYTILIYS RVFVS* PATER 
 FILIO FECIT :—“ To the Sacred Shades ;—To Caius Rutilius 
 Rufus, who lived 14 years, 3 months, and 12 days ; Caius Rutilius 
 Rufus—the Father for the Son—hath erected this.” 
 
 1081. D.M.*M. LOLLIYS PRIMITIYS* NAT[vs] ITALICVS. VIX¬ 
 IT A[nnos]* XXXV. MILIT[avit] A[nnos] VII. D[ies] X* 
 VALERIA PRIM ILIA* CO[nJIVG'I B[ene] M[erenti] F[ecit] ; 
 “ To the Sacred Shades: Marcus Lollius Primitius, a native of Italy : 
 
 G 
 
82 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 who lived 35 years, and served in the army for seven years and ten 
 days. Valeria to her husband, the well deserving, hath erected 
 this.” 
 
 1082. D.M. *MARGARI*DI CONIV*GI MEREN*TI C[aivs] IUL- 
 [ivs]* HERMEROS. “ To the Sacred Shades ; to Margaris, his 
 estimable wife, Caius Julius Hermeros hath set up this.” 
 
 1083. D.M* C. IULI[i] PETRONIANI* EX LIB[era] ARMATA* 
 NAT[vs] ^Egypt[o] VTX[it] AN[nos]* XLV. MIL[itavit] 
 AN[nos] XXII.* C. LONGINVS CLEMENS III* FORTUNA 
 H[oc] B[ene] M[erenti] F[ecit]—“ To the Sacred Shades of 
 Caius Julius Petronianus, of the Free Troop, or Force. Born in 
 Egypt, he lived 45 years, and served in the army for 22 years. 
 Caius Longinus Clemens, as to one who well deserved the honor, 
 hath set up this.” The meaning of “ III fortuna” f appears to 
 be somewhat uncertain. 
 
 1084. D.M.* C[aio] IVLIO RESO MANIP[vlari]* EX III (tertia) 
 FIDE, NAT[vs] BESS[ ....]* BIXIT AN [nos] LV. MILIT- 
 [avit] A[nnos] XII* M[arcvsJ RUFINVS AUCTVS* HERES 
 B.M.F.—“ To the Sacred Shades, &c. To Caius Julius Resus, a 
 common soldier of particular (threefold) fidelity—a native of Bess.. 
 who lived 55 years, and served for twelve. Marcus Rufinus his 
 appointed heir set up this, as for one who well deserved the 
 honor.” 
 
 1085. D.M.* M[arcvs] QVINCT1VS C[vravit] F[acivndvm]* ET* 
 FLAVIAE VRBAN2E* ET * LIB[erti]S ET LIBERTABVSQ- 
 [ve]* SVIS.—“To the Sacred Shades, &c. Marcus Quinctius 
 gave orders for this to be made both for Flavia Urbana and for 
 her Freedmen and Freed women.” 
 
 1086. D. M* IVLIAE EVTYCHI*DI ANN[orum] XVII.*IVLIVS 
 
 IVLIANVS* PATRON VS IIVLPIVS* ARPOCRATION* 
 
 CONIVOI B[ene] M[erenti] F[ecit] “ To the Sacred Shades, &c. 
 his well-deserving wife Julia Eutychis, aged 17 years,—Julius 
 Julianus (Patronus Hulpius Arpocration) set up this. 
 
 1087. D. M* A[vlo] TERENTIO AVGV*RINO QVI VIXIT* 
 ANN [os ] XVII. M[enses] VIII.* AVGVR[ivs] FRATRI * 
 RAR1SSIMO. “ To the Sacred Shades, &c. To Aulus Terentius 
 Augurinus, his most rare brother—who lived 17 years and 8 
 months—Augurius erected this.” 
 
 1088. D. M.* PLVTIALAE* PROCVLAE. “To the Sacred Shades 
 of Plutiala Procula.” 
 
 1089. D.M. *L[vcivs] TREB[ativs] ATEMIDORVS*SIBI ET IVL[ise] 
 EPHESLZE* SVAE CONIVGI. “To the Sacred Shades; Lucius 
 Trebatius Atemidorus for Himself, and for Julia Ephesia his wife.” 
 
 1090. Stele, found near Rome, with a partially defaced Greek In¬ 
 scription in Hexameters. Restored by Ludovico Visconti, the 
 Younger, this pathetic inscription runs as follows : 
 
 + “ III Fortuna.”—On the third day before the Ides of June—the Festival of Fortune ? 
 
OF THE SYDNEY UNIVERSITY. 
 
 83 
 
 [eV#d§e Kei]/iat,* 
 
 Zrjo-cis [eV 6vr)TO~MTi~\ kvkKovs Trfi'avpcov [\vK.~\dftavT£>v,* 
 
 Kat Mrji'rjs tep^Js e£ eni^roun kvkKovs •* 
 
 ’AM’ fVt vifnia\ov pe r Vv)(rf ! 'KaT(6-qKaro Myr^p* 
 
 Tcoi §’«Vi Xaivecoi Tvpficoi, pe^ya 7 revOos e^oucra.^’j* 
 
 Which may be rendered into English thus : “Here I lie, having 
 lived amongst Mortals during the revolutions of four years, and— 
 in addition to those revolutions—for six more revolutions of the 
 Holy Moon. Whilst I was yet an Infant my mother Tyche buried 
 me in this tomb of stone—she being in great grief.” This 
 •* Memoria ” was found on the Latin Way, to the S. E. of Eome. 
 Vide C. L. Visconti’s Anticlie Lapidi, page 55.) Speaking of the 
 form of expression used in the first portion of this Inscription, and of 
 the poetical construction of the 3rd line, the Nephew of Cardinal 
 Visconti says : “ Visse cioe quattro anni e sei mesi, venendo i mesi 
 indicati mediante le lunazioni da cui son generati. E strano di 
 vedere in questi versi un pentametro, cioe il terzo, fra quattro 
 esametri.” 
 
 1091. Another Stele, with a Greek Inscription. This inscription, 
 
 to the memory of a child named Eelix, is as follows: e[eoir] 
 K[ara;^#ovtoiy] 7ratSt * TXvkvtcltw * 0 Ope\jsas. M. X. (for pveias 
 
 xapiv )—“ To the Subterranean Gods ; to my sweetest child Felix; 
 One who nursed, him.—As a memorial.” Compare this with a 
 Stela in Arringhi’s “ Roma Subterranea ,” Vol II, Book IV., 
 Chap. 27 and page 175. Also with another very similar epitaph 
 (but a Christian one) preserved in the same Great Work, Vol II., 
 Book IV., Chap. 37, page 266. Found in the vicinity of Eome at 
 a spot called Tor Marancio, not very far from St. Sebastian’s 
 Church, on the Ardeatine Way—a westerly branch of the Appian 
 Way. The Tomb Houses, Vaults, or Burying Places, on which 
 the Stelae of the Heathen Population of Eome were setup, were to be 
 found along the “Appian Way,” the “Latin Way,” and other 
 principal roads leading out of the Eternal City. J 
 
 1092. D.M* SETONIAE OMFALE* PIENTISSIMAE E[iliac]* BE- 
 NEMEEENTI* ENCOLPV S[voJ* PATEE E[ecit]* VIXIT* 
 ANNIS XVI. MEN [sib vs] XI* DIEBVS X.—“ To the Sacred 
 
 f This adoption of the First Person in an Epitaph is not so uncommon as some 
 have supposed. There is another example of it in No, 1121. A third example may 
 be seen in the following elegant inscription, preserved by Arringhi. (Vide “ Roma 
 Subterranea ,” Vol. II., Book IV., Chap. 20, page 146.) 
 
 Nv/x$ai Kprjvalat pe avvrjpnacrav en fiioroio, 
 
 Kat Taxp rcov Tiprjs eiveKa tovt enadov 
 KrjTTLT] ovde Svolv ereoiv tivos etjavvaacra ,— 
 
 &i\r)criri tt] v 'Avctovlos yevos. 
 
 [From Opening Life the Water Nymphs dragged Me surprised away. 
 
 That honor came so quick to Me that here I could not stay ; 
 
 An Infant Child, not Two Years’ Suns had smiled upon My face— 
 Felicia was My Name on earth ; Ausonian was My Race.] 
 
 i Carlo Ludovico Visconti ftheYounger^ renders the end of this Epitaph somewhat differently. In 
 his Little Treatise, entitled “ Antiche Lapidi rinvenute in Varie Escavazioni Dal Cavaliero Giambat¬ 
 tista Giudi ” (speaking of this very monument) at page 22, he expresses himself as follows ; “ Felici 
 puero dulcissimo ; qtii earn aluit mensibus decern, sottintendosi pvrjprju dvedrjKtv, od altra cosa 
 simile. Coiui che lo nutri per died mesi (tace pero il suo nome) pose al suo alunno quel titoletto.” 
 
84 
 
 catalogue of the museum of antiquities 
 
 Shades. To Setonia Omfale his most dutiful, well deserving 
 daughter, interred within, her Father erected this. She lived 16 
 years, eleven months and ten days.” Visconti ( Antiche Zapidi, 
 page 48) has remarked on the “fastigio,” or pointed top of this 
 Tablet, as an unusual peculiarity. 
 
 1093. DM* GELLIAE I ADI* VIXIT ANNIS XXVI* GELLIVS 
 CEESCE[n]S* LIBEETAE BENE*MEEENTI FECIT.—“To 
 the Sacred Shades. To Qellia las, a Freedwoman who was well 
 deserving. Gellius Crescens erected this. She lived twenty-six 
 years.” (See No. 1103.) 
 
 1094. D.M.* PEIMI VIX[it] A[nnis] XI* PH[i]LEGON ET 
 FELIX* B[ene] M[erenti] F[ecervnt]—“ To the Sacred Shades 
 of Primus, who lived eleven years. Philegon and Felix, as to one 
 well deserving, erected this.” 
 
 1095. D.M.* M[areo] CAECILIO PEIMIONI* ET AIVTEICI (aju- 
 trici) CO[n]IVGl. VI[v]VS F[ieri] C[vravit]* CAECILIA TEI- 
 PHONA* FEATEI PEG PIETAT1* CON8ECEATV.—“ To the 
 Sacred Shades; for Marcus Csecilius Primion and Ajutrix his wife. 
 In their lifo time Csocilia Triphona, out of affection for her brother 
 [and sister] caused this to be set apart.” 
 
 1096. CINEEIBVS* ALEXANDEI. A Ccepotaph or garden monu¬ 
 ment. Translated thus : “To the ashes of Alexander.” Hasan 
 Orifice for the Funeral Libations. (See Visconti’s Antiche Zapidi, 
 page 8.) Found at the Quintilian Villa, not far from Eome. 
 
 1097. D.M* M[arco] MAEIO CEL*SO MANRpvlari] III ATHE*- 
 NONICE :—NAT[vs] BESS| . . .]* VIX[it] ANN [is] XLV. MIL- 
 [itavit]* AN[nis] XXXVII. LVA* LEPPIVS BVCCI. Translated 
 thus—what can be made out of it:—“ To the Sacred Shades, &c., To 
 Marcus Marius Celsus a Private Soldier of the Third —, Atheno- 
 nice erected this. He was born in Bess — lived 45 years, and 
 served in the army for 37 years ...” 
 
 1098. D. M. HEEMETI* VEENAE. VIXIT AN*NIS XVIIII. 
 VALEEIVS* CLEME[n]S AEMOE*UM CUSTOS III* MEE- 
 CVEI B.M.F. Translated thus: “To the Sacred Shades; To 
 Hermes Verna. He lived 19 years. Valerius Clemens, keeper 
 of the arms of the Third Cohort, as to one who well deserved it, 
 hath erected this.” 
 
 1099. D.M * ANICIO* HEEMETI ET* POMPEIAE CY*THEEIDI: 
 —“To the Sacred Shades; to Anicius Hermes, and Pompeia 
 Cytheris.” 
 
 1100. D.M.* AEIO EOM * MANO VIX[it] AN[no] I. M[ensibvs] 
 VL*AERIVS FEONTINVS* FILIO P1ENTISSIMO* FECIT: 
 Translated thus—“ To the Sacred Shades. To Arius Eomanus, 
 who lived one year and six months ; Arius Frontinus to him, his 
 most affectionate Son, hath erected this.” 
 
 1101. D.M* HEEBVLAE PEOTIAE* VIX[it] ANN [is] XXI. 
 M[ensibvs] V.* PATEE. Translated thus: “To the Sacred 
 Shades of Herbula Protia, who lived 21 years and 5 months. Her 
 Father erected this.” 
 
OF THE SYDNEY UNIVERSITY. 
 
 85 
 
 1102. D.M.* AELI[vs] AGRIPPA* BEEIOLAE QVAE Vlfxit]* 
 ANN[is] XYII. BENE* Mferenti] F[ecit]. Translated thus : “ To 
 the Sacred Shades .* To Beriola, who lived 17 years, and was well¬ 
 deserving, Aelius Agrippa hath raised this.” 
 
 1103. D.M.* M[arcvs] ITTNIVS* ENTINVS ET IULfia]* FELICR 
 
 TAS FECERVfnt]* IYNIAE SEC VNDAE* PATRON AE BENE 
 fmerenti]* . . ET SIBI.f Translated thus: “To the Sacred 
 
 Shades : Marcus Junius Entinus, and Julia Felicitas, erected this 
 for their kind, well deserving Patroness Junia—and for Them¬ 
 selves.” Imperfect. 
 
 1104. D.M. Afvlvs]* AMMONIYS VIXfi]T* AN[nos] XXV. Trans¬ 
 lated thus : To the Sacred Shades: Aulus Ammonius lived 25 
 years.” 
 
 1105. D.M* DOMITIYS HERACLIA*NVS DOMITII HERAC- 
 LIA*NI FILfivs]. VIXIT ANNO I. Mfensibvs] II* B[ene] 
 M[erenti] Ffecit]. Translated thus—or something like this: 
 “ To the Sacred Shades : Domitius Heraclianus, son of Domitius 
 Heraclianus. He lived one year and two months. As to one who 
 well deserved it, his Father set up this. 
 
 1106 D.M* ASCLEPIODOTE ERM*ODORI FILIAE NICOME*- 
 DISSE YIX[it] ANfnis] XXX FRAT* F.R. BENE M[erenti] 
 F[ecit]. The interpretation of this Stele appears to he involved 
 in some obscurity. 
 
 1107. D.M* YRSENAE CRIS*T[a]E YIX[it] ANNfis]* XXVII. 
 AELIYS* APOLLONIDES* B[ene] Mferenti] Ffecit]. “To 
 the Sacred Shades : Aelius Apollonides to Ursena Crista (who 
 lived 17 years) erected this, as to one who was well deserving. 
 
 1108. D.M.* PH[i]LEGOSTENI* FILIAE B[ene] M[erenti]* F[ecit]. 
 (Interpretation somewhat doubtful). 
 
 1109. D.M.* A. TERENTIO ET*M. L. FLAVIANI. (Interpretation 
 doubtful.) 
 
 1110. D.M* VITELLIAE FELICITATI* YIXIT ANNfis] VIII. 
 M[ ensibvs] Y.* YITELLIA HELPIS FILIAE* Bfene] Mferen- 
 ti] Ffecit.] Translated thus: “To the Sacred Shades : Yitel- 
 lia Helpis to her well deserving daughter Vitellia Felicitas hath 
 erected this. She lived for eight years and five months.” 
 
 1111. EPAPHRODIVS* ONESIMO FRATRfi]* YIXIT ANNfis] 
 XXXV. Translated thus : “ Epaphrodius to his brother Onesi- 
 mus, who lived 35 years.” 
 
 1112. M. OCT*EVS GEM. (Interpretation and authenticity doubtful.) 
 
 1113. LAEL1A M F* PR1SC1LLA YIXIT* Af nnis] XXIII. Tran¬ 
 slated thus : “ Laelia M. F Priscilla, who lived for 23 years ” 
 
 1114. B\IANI* C. IVLIYS ANCHR* EROS M.F.* ARGENTAR 
 POLLA. (Interpretation doubtful.) 
 
 1115. HALEAE* AGRIPPINAE* ANCILLAE* YIXIT Afnnis] 
 
 t C’insegnano i marmi come talvolta i liberti de’piu cospicui personaggi costumassero di citare 
 
 il cognome in cambio del prenome de’loro patroni, onde pienamente indicare coloro, cui si gloriavano 
 
 di appartenere.” (C. L. Visconti’s Antiche Lapidi, page 31.^ Tbis remark, by Cardinal Visconti’s 
 
 Nephew, will be found, more or less applicable to the Inscriptions numbered 1015, 1093, and 
 
8(5 CATALOGUE OP THE MUSEUM OF ANTIQUITIES 
 
 XXV. Translated thus : “ To Halea, the hand-maid of Agrippina, 
 who lived 25 years.” 
 
 1116. E. LIBEETIS* VIVOS FECIT. Part of a Stela with a Frag¬ 
 mentary Inscription. Has an ornamental border of leaves. 
 
 1117. Portion of a Christian Stele, shewing the Dove and the Oliv© 
 Branch—a common Emblem amongst the Early Christians, of the 
 Eesurrection of the Dead. Inscription Fragmentary: TI. QVI. 
 VIXIT AN. DEPOSITVS. VIII. Found in one of the Eoman 
 Hypogsea. The vast extent of the Ancient Christian Burial Places in 
 the neighbourhood of Eome is (comparatively speaking) but very 
 little known. “Eome,” says Cardinal Wiseman, “might be 
 said to be surrounded by a circumvallation of cemeteries—sixty, 
 or thereabouts, in number, &c.”— Fahiola, page 143. 
 
 1118. Portion of another Stele, also (probably) Christian. On the 
 top of this monument is a rude design, consisting of a bird and 
 other objects. Below is the following fragmentary inscription : 
 TI CLAVDIO A* AMI ANT HO S* VIXIT ANN [is] XX * EEOS 
 ET NATALISFEA[tres]*FEATEIFECEEV[nt]: “To Claudius 
 .... Amianthos .... He lived 20 years. Eros and Natalis, his 
 brothers, put this up to the memory of their brother.” Found on 
 the Appian Way. Vide Visconti’s Antiche lapidi, page 14. 
 
 1119. DIS MANIBVS* FLAVIA FOETVNAIA* VIX[it] ANN[os] 
 XXX M[enses] VI. Translated thus: “To the Sacred Shades : 
 Flavia Fortunaia (fortunia) lived thirty years and six months.” f 
 
 1120. D.M.* FELICITATI ALVMNAE DVL*CISSIMAE, QVAE 
 VIX[it] ANN [os] * III. MENS[esl VII. D[ies] XXII. HOE [as] 
 VIIII* PEOCESSVS ET DAPHNE* B[ene] M[erenti]F£CEE- 
 VNT. Translated thus : “To the Sacred Shades. To Felicitas, 
 their sweetest Nurseling, who lived three years, seven months, 
 twenty-two days, and nine hours. Processus and Daphne (as to 
 one who was well deserving) have erected this.” (See No. 1119.) 
 
 1121. A Stela with a Greek Inscription: AI0rENH2*MAPKOY AMA* 
 2TPIAN02 I1A*AAI2TH2 EN*0AAE KEIMAI* Z\p(ras] ET[t/] AH. 
 XEPETE (xcupe-re) IXAPOAEITAI. “ Here I lie — Diogenes the son 
 of Marcus of Amastris, [a city of Pontus] a Wrestler; having 
 lived 38 years. Farewell, Passers by.” This slab, which ap¬ 
 parently belongs to the Second or Third Century of the Christian 
 Era, has been accidentally broken, j (See No. 1119.) 
 
 1122. D.M.S.* C[aivs] IVLIVS PETEONIA*NVS VIX[it] ANNO 
 I.* MENSIB[vs] III. PETEO*NIANVS P[ater] FILIO DVLC- 
 IS*SIMO H[oc] C[vravit] F[aciundvm.] Translated thus : “ To 
 the Sacred Shades, &c : “ Caius Julius Petronianus lived one 
 year and three months. Petronianus, the Father, caused this 
 Tablet to be set up for his sweetest son.” (See No. 1119.) 
 
 1123. D.M. FELICITATI QVAE* VIXIT ANNIS V* MENSIBVS 
 VII. *DIEBVS XXI. HOE[is] III* BALEEIA SPES IECIT 
 
 fThis Stele (with the six next following tablets) was sent out by Sir Charles Nicholson from 
 England to be placed in the University Museum. They arrived liere about the commencement 
 of the year 1865. They were discovered in the Columbaria at Misenum, near Naples. 
 
 t For the deciphering, and interpretation of this very interesting Monumental Inscription the 
 Curator has to express his respectful acknowledgments to Professor Charles Badham. 
 
OF THE SYDNEY UNIVERSITY. 
 
 87 
 
 B[ene] M[erenti] ALYMNAE. Translated thus: “ To the Sacred 
 Shades. To Felicitas, who lived five years, seven months, twenty- 
 one days, and three hours. Valeria has lost all her hopes on 
 account of her well deserving foster child.” (See No. 1119.) 
 
 1124. A Monumental Inscription in the Latin language, the latter 
 portion of which is intelligible. It would appear to be an Epitaph 
 written by of a mother named “iElia Avgvrina” to the memory 
 of “ her sweetest, well-deserving son,” who lived 26 years and 
 5 months. The text of this inscription is as follows:—M. IYL. 
 APYIE * IVMQVEMET * EVPORIVM QVI*YEXIT. ANN 
 XXVI. M*V. AEL[ia] AVGVRINA MAT[erf PILIO DVL- 
 CISS[imo] B[ene] M[erenti] F[ecit]. (See No. 1119). 
 
 1125. DIS MANIBVS*. C[aio] GENIO VALENTI MILITI* EX 
 CLASSE PRAEFIORIA MISE * MENSE EX IIII MINER: 
 NATION : * DALM : VIX[it] ANN[os] XL IN HIS MIL[itavit[ 
 ANN[os]*- XIX. HEREDES BENEMERIIO* TONATIVS 
 SEVER[vs] H.M.H.I.*T.V.S.S.E.V.E. Translated (what can be 
 made out of it) as follows :—“ To the Sacred Shades: To Caius 
 Genius Valens, a soldier of .... of the Dalmatic Nation. 
 He lived forty years, and of these he served as a soldier nineteen 
 years .... Tonatius Severus .... (See No. 1119.) 
 
 1126. A Sun-baked Brick from the site of Nineveh. Impressed with 
 a square stamp, on which are certain cuneiform characters. 
 Presented to this Museum by a Lady. 
 
 1127. Cast of an Assyrian Obelisk, discovered in November 1846, by 
 Austin Henry Layard on the site of Ancient Nineveh, near the 
 confluence of the rivers Zab Ala and Tigris. The original 
 obelisk, now in the British Museum, is thus described. “It was 
 an Obelisk of Black Marble, six feet six inches high; flat at the 
 top, and cut into three gradines. It was sculptured on the four 
 sides; there were, in all, twenty small bas-reliefs, and above, 
 below and between them, was carved an inscription 210 lines in 
 length. The whole was in the best preservation; scarcely a 
 character of the inscription was wanting; the figures were as 
 sharp and well-defined as if they had been- carved but a few 
 days before. The king is twice represented followed by his 
 attendants ; a prisoner is at his feet, and the vizir and eunuchs are 
 introducing men leading various animals, and carrying vases, and 
 other objects of tribute on their shoulders, or in their hands. 
 The animals are the Elephant, the Rhinoceros, the Bactrian, 
 (or two-humped) Camel, the Wild Bull, the Lion, the Stag, and 
 various kinds of monkeys. Amongst the objects carried by the 
 tribute-bearers, may, perhaps, be distinguished the tusks of the 
 Elephant, shawls, vases of the precious metals, iruit, and bars of 
 metal, or bundles of rare wood. From the nature, therefore, 
 of the bas-reliefs it is natural to conjecture that the monument 
 was erected to commemorate the Conquest of India, or some other 
 country far to the East of Assyria, and on the confines of the Indian 
 Peninsula. The name of the king, whose deeds it appears to 
 record, is the same as that on the Centre Bulls; and it is intro¬ 
 duced by a genealogical list containing many other royal names.” 
 
88 
 
 CATALOGUE OP THE MUSEUM OF ANTIQUITIES 
 
 (See Layard's Nineveh, Vol. 1, page 347.) This cast has been 
 carefully painted, so as to bring out the bas-reliefs, and the 
 inscriptions. 
 
 1128. Plaster Cast of the Celebrated “Rosetta Stone,” —a name 
 given to the stone in the British Museum originally found by the 
 French in Egypt, in August 1799, near the Rosetta Mouth of the 
 Nile, to the N.E. of Alexandria. The Original is a piece of black 
 basalt, and contains three distinct inscriptions— -first (or highest) in 
 Hieroglyphics, or Symbolical Writing ; the second in Enchorial (or 
 Demotic) characters; and the third in Greek,—the Court Language 
 of Egypt during the Ptolmaic period. According to the Greek Inscrip¬ 
 tion the Stone must have been erected in the ninth year of the reign 
 ofPtolemy Epiphanes—that is about 196years before the Christian 
 Era. The inscriptions are somewhat mutilated, but enough has 
 remained to lead to important discoveries. The three texts are 
 three several versions of one inscription, and differ in many 
 respects. A literal translation of the last line of the Hieroglyphic 
 Version (as restored by Bunsen and others) will probably read as 
 follows :—“This Inscription, upon a Tablet of hard stone, to be 
 engraved with Sacred Writing (Hieroglyphics) and with the 
 Written Words of Books (Enchorial or Demotic) and with the 
 Writing of the Ionians (Greek); in order that it may, in the 
 King’s name, be set up in the Temples in all the Regions, Houses, 
 and Gates (that is throughout all Egypt) of the First, Second, and 
 Third Orders;—wheresoever shall be placed the statue of the 
 King of Upper and Lower Egypt, Ptolemy, the Beloved of Ptah who 
 liveth for ever, the God made manifest—the Lord most excellent.” 
 This cast of the Stone has been carefully painted, so as to bring 
 out the Inscriptions. 
 
 1129. Plaster Cast of the Head of a Statue of an Egyptian King— 
 now in the British Museum—and erroneously called that of 
 “ Young Memnon apparently from the notion that it was that of 
 Amemnophis. The Head is, however, that of Rameses the Second 
 —also called the Great—the Restorer of the Ancient Empire of 
 Egypt. He bore the name of Amun-mai-Ramesis, and has been 
 often (very erroneously) supposed to be the famous Sesostris of 
 Antiquity. ( Vide Wilkinson’s Ancient Egypt, Vol. I, page 46.) 
 Rameses, or Rhameses, the Second is reckoned as one of the last 
 kings of the XVIII Manethonian Dynasty, or as one of the first 
 of the XIX. The date of the commencement of his reign is fixed 
 by Wilkinson at about 1355 years before Christ; subsequent to 
 the Exodus of the Jews. Dr. Russell fixes his era at 1394 years 
 before Christ. If we take the data of Wilkinson or of Russell 
 the Kings of the XVIII Dynasty must be referred to a far more 
 remote age than that now usually assigned to them.* Note :—The 
 
 * Sir Gardiner Wilkinson and Dr. Russell a r e obviously both in error as to the era of Rameses the 
 Second. Mr. Samuel Sharpe, in his interesting work upon the “ Alabaster Sarchophagus of 
 Oimenepthah I , King of Egypt,” [the Amenopliath of Manetho, and the Father of this Rameses the 
 Great] appears (at pages 6, 7, and 44) to have pretty clearly established the fact that the commence¬ 
 ment of the reign of Rameses the Great must have been about the year b.c. 1150, or 115 years before 
 Building of Solomon’s Temple. Mr. Sharpe fixes the reign of Thothmes, or Thothmosis, the Third, 
 at b.c 1322, instead of b.c. 1500 The “ Era of Menophra ” (of the Alexandrian Chronologers) is 
 b.c. 1322 , Menophra being evidently Thothmes III. as that is the prenomen borne by that king, in 
 
OP THE SYDNEY UNIVERSITY. 
 
 89 
 
 Succession of the Kings in the XVIII Manethonian Dynasty 
 appears (from the best authorities) to have been as follows: (1) 
 Amosis ; (2) Amenophis I.; (3) Thothmosis I.; (4) Thothmosis, 
 II ; (5) Thothmosis III.; (6) Amenophis II ; (7) Thothmosis 
 IV. (Homs) ; (8) Amenophis III. fChelresJ [Here are usually 
 interpolated the Atin-Ra-Backlau Kings]; (9) Amunmai-Anemneb, 
 or Armais; (10) Ramesis I.; (11) Amenophath, Oimenepthah, or 
 Seti Meneptah—also called Amenophis IV ; and (12) Ramesis II., 
 or Sethos, also called “ the Great.” According to some the XIX 
 Dynasty commences with Ramesis I. ; Mr. S. Sharpe, however, (^a 
 distinguished Egyptologist) makes it begin with Kamesis II. By 
 some—Osburn for instance—the succession after Amenophis the 
 Third is made to run as follows : Amunmai Anemneb, Kamesis the 
 First, Sethos the First, Ramesis the Second (Rapsakes ?), Ramesis 
 the Third, Menepthah (or Amenepthes), Sethos the Second, and Seti 
 Ptah (or Seti Meneptah). Part of this confusion seems to have been 
 caused by the fact that some annalists have counted in the Bekh 
 Atenra Kings, and some have partially (or altogether) omitted 
 them. 
 
 1130. Two Statues (ot. en) about three feet ten inches high, shewing 
 the fashion of the ancient head-dress, and also of palm-leaf kilt of 
 Nubia—the Schenti of the Ancient Egyptians. 
 
 1131. A Block of Inscribed Hieroglyphic Stone from one of the 
 Tombs of Sakkara, in the Neighbourhood of Memphis. The 
 inscriptions on this block of stone, and the four other blocks 
 standing near it, intimate that they are intended to commemorate 
 an individual whose hieroglyphic name was M.S.S. (the equiva¬ 
 lent to MOSES) the son of Hai—a Priest and Scribe of the White 
 (or Silver) Temple of Ptah at Memphis. This Block (which is 
 separated into two portions) is three feet six inches high, and ten 
 inches and three-quarters in diameter. The block is four-sided, 
 with hieroglyphics and figures on each face. On the first and 
 fourth faces are two figures of men kneeling and supporting what 
 appears to be a pillar or tablet surmounted by a disk. On the 
 second and third faces two men are standing in a praying attitude. 
 Fully described in a printed pamphlet. Probably belongs to the 
 XX Dynasty, when the Symbol of the Jackall ( Sahu ), for Son, 
 was substituted for the Gcose. Forwarded with the other valuable 
 objects following, to the Sydney University Museum from Europe 
 by Sir Charles Nicholson in 1864-5. Memphis, [also called 
 “ Menfi,” “ Mefi,” “ Menbi,” “Menofri,” “Manofri,” “Moph,” 
 
 Lis First Oval, or Name Ring. The assumption that this “ Era of Menophra ” is to be identified as the 
 date of Thothmes III of course materially affects the dates of all the reigns of that King’s immediate 
 successors, and even the presumed dates of some of those Kings who preceded him. (See Nos. 10, 14, 
 34, 78, 151, 251, 294,295, 334 (?) 349, and 405, &c., in this Catalogue.) Thus, according to the above 
 calculation, the date of the Reign of Thothmes III (See Nos. 10,34, and 151) would be b.c. 1322; that 
 of Amenophis II., (see Nos. 295 and 405) would be, perhaps, about b.c 1300; that of Amenophis III. 
 (See No. 78) about b.c. 1250; that of Rameses I, about b.c. 1200 ; that of Amenophath (or 
 Oimeneptah) b c. 1170; that of Rameses the Second, or the Great, Son of Amenophath (See Nos. 
 14, 25', and 294) b.c. 1145; that of Sheshonk, or Shiskak, King of Bubastis (I Kings, xiv.) b.c. 
 975; that of Rameses VII. (the ninth in succession from Amenophath, and the Ze Ra, or “ Son of 
 the Sun,” of Scripture—2 Chronicles xiv. b.c. 944 ; that of Tirhaka (2 Kings xix., 9.) (see No. 
 41.) b.c 721, In the next century reigned rharaoh Necho, one of the Psammetici, the XXVI. 
 Dynasty (See 2 Kings xxiii.: 29,33,34, 35, Jeremiah xlvi., 2.) Immediately after Pharaoh Necho came 
 Pharaoh Hophra (Ova(f)pis or Vaphres) 2 Kings xxiv., 7; Jeremiah xliv. 30; Ezekiel xxix., 
 2. 3. (See Nos. 41 and 43 in this Catalogue.) 
 
90 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 “ Noph,” and “Ptah-ei,” or House of PtaK] was the Chief City 
 of Mitzraim, or Lower Egypt; and Thebes (or rather “ Thebse ”) 
 also called “Tepe,” “No,” “ Amun-ei,” and “Diospolis,” &c. 
 was the Chief City of Cush, or Upper Egypt. The cities of 
 Ancient Egypt to be considered as having been “ Capital Cities,” 
 are as follows—taking them in their chronological order of 
 Historical importance :—(1 ) Memphis, in Lower Egypt; (2) This, 
 in Upper Egypt; (3) Elephantina (?) in U. E.; (4) Heracleopolis 
 in L. E.; (5) Tepe Ho (Thebes) in U. E,; (6) Xois, in L. E.; 
 (7) Avaris (or Leontopolis) in L. E.; (8) Sais, in L. E.; (9) Tunis , 
 in L. E. ; (10) Buhastis 'or Pibeseth) in L. E.; (11) Mendez, in 
 L. E. ; (12) Sebennytus, in L. E.; and (13) Alexandria, also in 
 Lower Egypt. During this chronological succession or series, 
 Memphis and Thebes several times lost and regained an ascendency. 
 
 1132. Another Block, similar to the foregoing, but smaller. On the 
 first and third faces are inscribed pillars surmounted by disks. 
 On the second and fourth faces are hieroglyphic inscriptions, and 
 portions of the representations of men in a praying attitude. 
 Stands two feet six inches high. (See No. 1131.) 
 
 1133. Another Block, similar to the foregoing, but in a better state 
 of preservation. Contains similar representations of pillars incised 
 with hieroglyphics and men praying. Height of the block, one 
 foot eight inches. (See No. 1131.) 
 
 1134. Another Similar Block, partially defaced by time. Stands one 
 foot four inches high. (See No. 1131.) 
 
 1135. Lower Portion of an Inscribed Block, on which are represented 
 the lower parts of four clothed figures ;—two kneeling, and two 
 standing. Height of this fragment, one foot five inches. (See 
 No. 1131.) 
 
 1136. A Kiln-burnt Brick from Upper Egypt. Dug up, at a con¬ 
 siderable depth in the Nile Mud, by Hikekeyan Bey, in the 
 exploration conducted by him at the instance of the late Leonard 
 Horner. (Vide Philosophical Transactions 1856-1857. 
 
 1137. A Block of Inscribed Stone from Egypt; somewhat similar to 
 1134, but much defaced. Stands one foot four inches high. 
 
 1138. Bust of a Eemale Figure, of the size of life, in black basalt; 
 —a work executed in a remarkably pure style of Early Egyptian 
 Art. The face is slightly mutilated. Stands one foot six inches 
 high. 
 
 1139. Sitting Figure (Nutpe or Rhea?) in vesicular basalt, holding 
 before her a Shrine, containing a Figure of Osiris. On the breast 
 of the Principal Figure is a representation of Osiris standing 
 between two deities. 
 
 1140. A Pyramidion, with intaglio figures and inscriptions in hiero¬ 
 glyphics ; partially defaced. 
 
 1141. Sepulchral Slab with a Bilingual Inscription. The upper 
 portion of the Inscription (in hieroglyphics) is the ordinary 
 funereal dedication for “ Isi,” the Son of Petisi,” to Osiris. 
 The lower inscription has not yet been deciphered, but the 
 
OF THE SYDNEY UNIVERSITY. 
 
 91 
 
 letters have been thought to shew some affinity with the Early 
 Phoenician. Two feet five inches long, by about one foot wide. 
 
 1142. Another Sepulchral Slab, with the usual Osiride Dedication 
 and carving. Two figures; a man and woman—one of them 
 praying. Formerly this slab shewed the original colouring, but 
 since the time when it was first placed in this Museum it has 
 rapidly fallen into a state of utter decay. 
 
 Miremur periisse homines ? Monumenta fatiscunt, 
 
 Mors etiam saxis, nominibusque venit. 
 
 - sunt fata Deum, sunt fata locorum. 
 
 1143. One Block of Limestone containing six cartouches of names and 
 titles of the Bekh-Atenra or Atin-ra Bacldan Kings. This frag¬ 
 ment was found at the “Birket of Mitrahenny,” at a depth of 
 seven feet from the surface, and forming part of the pavement of 
 the ancient Dromos that extended from the colossal statue of 
 “ Raineses the First” to the Grreat Temple of Ptah (or Vulcan ) 
 at Memphis. The Atin-ra Backlan (Disk-Worshippers) Dynasty 
 is usually interpolated towards the end of the XVIII., or im¬ 
 mediately before the beginning of the XIX. Manethonian Dynas¬ 
 ties. By some Egyptologists these intruders are placed after 
 Amenophis III. It is very difficult to find any fragment with the 
 names of the Princes of this Foreign Tribe, as all traces of them 
 appear to have been studiously destroyed by succeeding kings. 
 
 1144. A Large Sitting Figure in Limestone—the size of Life—from 
 Memphis. This figure is (like No. 1139) Naopheros , or “ Shrine¬ 
 bearing.” The head and upper part of the statue is mutilated 
 and time-worn. It may perhaps be a symbolical statue of 
 Hapimu, or Nilus. (See No. 56 &c., and Bunsen’s Place of 
 Egypt in Universal History, Vol. 1., page 409.) The identity 
 of these “ Naopheroi ” is however extremely doubtful. 
 
 1145. Medleval Monstance, Ostensorium, or Altar-stand; made of 
 lead. Discovered at London about the year 1863,—during the 
 Excavations made at St. Pancras’, for the Underground Railway. 
 That portion of the stand intended as a receptacle for the Con¬ 
 secrated Wafer is apparently fashioned like palm branches, arranged 
 in the shape of a heart, at the top of which is a cherub. On 
 either side of the lower portion of the, receptacle are rude repre¬ 
 sentations of the Virgin Mary and of Our Lord. Two Figures of 
 Ecclesiastics, wearing chasubles, and albs with apparels (having 
 also the nimbus of Beatified Persons surrounding their heads) 
 stand below the receptacle, supporting it with one hand, and 
 bearing palm branches in the other. The heart-shaped receptacle 
 is made to rest, as if transfixed, on a cross-hilted sword ;—in 
 evident allusion to the text of St. Luke’s Grospel, Chap. ii. v. 35. 
 This interesting relic of the Mediseval Age was probably made 
 for use shortly after the Norman Conquest. On the basement are 
 some letters not readily distinguishable. This monstrance is 
 probably to be referred to the poor and semi-barbarous reign of 
 Stephen. It was, doubtless, originally gilt, like the leaden 
 statuettes Nos. 1146, 1147, &c. 
 
92 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 1146. Leaden Statuette of an Archbishop wearing the pallium, found 
 at the same time and place, and probably belonging to the same 
 period as No. 1145. The Dignitary holds a palm in one hand, 
 and some kind of ornament in the other. This figure (and the 
 eight following ones) evidently once formed part of a rood loft or 
 altar screen. They were originally gilt. Probably to be as¬ 
 cribed to the reign of King Stephen. 
 
 1147. Similar Statuette of a King, with a Mace or Wand in his left 
 hand; found at the same time and place. 
 
 1148. Another Statuette of a King, in lead, with a sword in his right 
 hand, the left hand being upraised as if delivering an address. 
 Of the same period, and found at the same time and place. 
 
 1149. Another Similar Statuette; apparently that of a Mitred 
 Abbot. Also found at London, during the Excavations made at 
 St. Pancras. 
 
 1150. Similar Statuette, representing a King, armed with a short 
 dagger. Found near the foregoing objects. 
 
 1151. Similar Object, representing an Emperor with the Ball and 
 Cross. Found with No. 1145 and the other leaden figures. 
 
 1152. Statuette of a half nude figure in lead; apparently that of a 
 Jongleur. Found with the foregoing objects. 
 
 1153. Another Similar Object ; of the same period. 
 
 1154. Small, Two-handled Vase of lead, with the figures (on the 
 body of the Yase) of a hog, and of a stork—in bas-relief. 
 
 1155. Top of a Flag Staff; made of lead, and highly ornamented. 
 Found in London with the foregoing objects. 
 
 1156. Six Curious Leaden Disks impressed with various patterns. 
 Use unknown. Found with the eleven foregoing leaden statu¬ 
 ettes, &c., in London. All forwarded to the Sydney University 
 Museum from England by Sir Charles Nicholson in 1864-5. 
 
 1157. A Box of Copper Roman Coins. Transmitted to the Sydney 
 University Museum from England by Sir Charles Nicholson in 
 1864-5. 
 
 1158. Scarf, made by Polynesian Islanders. Presented to the Sydney 
 University Museum by Mr. William Crane of Newtown on the 3rd 
 of June 1865. 
 
 1159. Kilt, or Peticoat of a Polynesian Female—usually called a 
 “Liku.” Is made of strips of leather, ornamented with small 
 univalve shells. 
 
 1160. Two Beetles found in Egypt, presented to the Sydney Univer¬ 
 sity Museum by Mr. W. S. Macleay. (a) The Copris Midas 
 (of Latreille). Male. This was the Symbol of the Moon-God 
 Tet, or Thoth. “ Scarabsenm alium adalligant Magi, cui sunt cor- 
 nicula reflexa.” C. Plin Nat: xxx , 30 (b) The Copris Midas 
 (of Latreille.) Female. “ Both sexes of this insect” (says Mr. 
 W. S. Macleay) “ were found plentiful near Dendera.” 
 
 1161. The “ Scarab/eus S Acer ” of Linnseus, presented by Mr. W. 
 S. Macleay. This insect—the “ Scarabieus Sacer ” of Linnseus 
 and the “ HAIOKAN9AP02 ” of the Greeks—was, according to 
 
OP THE SYDNEY UNIVERSITY. 
 
 93 
 
 Bunsen, the Emblem of the God Pthah , the Creator of the World 
 and also sacred to his son Pkra or Helios. As there is little diff¬ 
 erence in outward aspect between the sexes of this kind of Beetle, 
 the Ancient Egyptians, according to iElian x. 15, believed it to be 
 ndrj\v £5>ov, or existent in the male sex only; and hence, he says, it 
 became the proper ornament for the Egyptian Warriors, who used 
 it in rings, &c. More probably, however, it was used to secure the 
 protection of the above Gods for the wearer. Pliny speaks of it as 
 follows: “ Qui pilulas volvit. Propter hunc iEgypti magna pars 
 scarabeeos inter numina colit, curiosa Apionis interpretatione, qua 
 colligat solis operum similitudinem huic animal esse, ad accusandos 
 gentis suae ritus.” Plin Nat: Hist, xxx., 30. (See No. 140 in this 
 Catalogue). 
 
 1162. Eight Impressions on Blotting Paper, taken from Bas-Reliefs 
 found in tombs in Egypt; with full descriptions to each impression. 
 
 1163. Rosary, or Chain of Beads, used by the Druses in their devo¬ 
 tions. From Mount Carmel in Palestine. 
 
 1164. Fourteen Roman Tessar^e, taken from the pavement of a Roman 
 Bath recently discovered at URTAS near Jerusalem ;—supposed 
 to be the EMMAUS of the New Testament Writers. Presented 
 by Professor Smith, who was present (in 1863) when they were 
 discovered. 
 
 1165. Piece of Muscular Flesh of a mummy which was procured by 
 Dr. Smith at Thebes in Upper Egypt. 
 
 1166. Fragment of Asphalt, with which Mummies were preserved. 
 Taken from a Mummy at Thebes by Dr. Smith. 
 
 1167. Several Fragments of the Rocky sides of the Tomb, called 
 Belzoni’s Tomb,” near Thebes;—shewing the manner in which 
 the colouring of Painting on Walls was laid on by the Ancient 
 Egyptians. 
 
 1168. Mummy Bread, brought from Egypt by Professor Smith. 
 
 1169. Part of the Covering of the Second Pyramid of Gizeh, or 
 Ghizeh. Presented by Professor Smith. 
 
 1170. Portions of Fresco from Mariettas Tomb— Drah Aboo Negga. 
 (Dr. Smith). 
 
 1171. Portions of Fresco Painting from a Tomb at Thebes in Upper 
 Egypt. ^Dr. Smith.) 
 
 1172. Portion of Fresco found by Dr. Smith at Beni Hassan (Speos 
 Artemidos) in Lower Egypt—that is to the North of the Old 
 Frontier of the Thebaid. Is of the era of the Twelfth Manethonian 
 Dynasty. 
 
 1173. Sm at.t. Piece of Fresco Paintings. From the Tombs of 
 Egypt. Presented by Dr. Smith. 
 
 1174. Three Arrow Heads of Flint, takeu out of the Mound on the 
 Plains of Marathon in Greece. Presented by Rev. Dr. Payne, 
 Chaplain, H.M.S. Cura<joa. 
 
 1175. Four Ancient Spear Heads (or Arrow Heads) of Chert,—from 
 the Mines of Majarah Ouadi Hagara ; Peninsula of Sinai in Arabia. 
 
94 
 
 CATALOGUE OP THE MUSEUM OF ANTIQUITIES 
 
 Presented to Sydney University Museum by Major C. K. 
 MacDonald. 
 
 1176. A Scarabasus of Blue Glazed stone, said to have been found at 
 Askelon, In the Ovals at back the Hieroglyphics resemble those 
 which constitute the names of Raineses the Second—also called 
 the Great. (See No. 1129.) Presented to the Sydney University 
 Museum by a Naval Officer whose name has not been recorded. 
 
 1177. Three Axe Heads of Polished Plint of the “ Celtic ” or rather 
 Prehistoric Epoch,” found beneath the surface of the soil at 
 Abbeville in Prance, and presented to the Sydney University 
 Museum by the learned French Antiquary, the late Monsieur 
 J. B. de Perthes. 
 
 1178. Large Spear Head of Flint, of the “Celtic Epoch,” found at 
 Abbeville in 1860, and presented to the Sydney University 
 Museum by M. de Perthes. 
 
 1179. Similar Object, found at Abbeville, in 1845. Also presented 
 to the Museum by M. de Perthes. 
 
 1180. Thirteen Similar Objects, of a smaller size—also found in 
 Prance ;—many of them with funereal vases and bones of animals, 
 &c. Presented by M. de Perthes. 
 
 1181. Five Stone Hatchets (the mogo) made by Aboriginal Austra¬ 
 lians; dug up in a cave called a “ Gibergunnia,” near Botany 
 Bay. Presented to the Museum by Mr. Francis O’Brien of Bondi. 
 (See AxeheadsNo. 1177, No. 1210, and No. 1347. in this Museum). 
 
 1182 Two Shells, used by Aboriginal Natives of Australia for dishes, 
 &c.; dug up in a cave called “Gibergunnia,” near Botany Bay. 
 Presented by Mr. F. O’Brien. 
 
 1183. Portion of an Aboriginal Skull of remarkable thickness ; found 
 in the neighbourhood of Bondi. Presented to the Museum by Mr. 
 F. O’Brien, 
 
 1184. Portion of an Aboriginal Skull—that of an adult male—dug up 
 in a cave called “ Gibergunnia,” near Botany Bay. Presented by 
 Mr. F. O’Brien. 
 
 1185. (a) The Skull of an Adult Male Aboriginal, and (b) a Pointed 
 Stone used by the Aboriginals for punching out one of the upper 
 teeth of an adult male. 
 
 1186. Cast of a Stone from Nineveh, now in the British Museum. 
 The cuneiform inscription thereon engraved contains a portion of 
 the Annals of Sargon, King of Assyria. Presented to the Univer¬ 
 sity Museum by Professor Smith. 
 
 1187. * Three Lamps of Grey Terra Cotta; from Cnidus in Caria. 
 
 1188. Three Small Lamps made of Clay; from the same place. 
 
 1189. Two Small Cups of Reddish Clay ; from the same place. 
 
 1190. Fragment of Large Greek Vase of Red Ware in the shape of a 
 head;—from the same place. 
 
 1191. Two Roman Lamps ; from the same place. 
 
 * The next following objects (from 1187 to 1194 inclusive) were presented to the Sydney Univer¬ 
 sity Museum by C. T. Newton, Esq., M.A., from his excavation* at Cnidus in Curia, and at Budrum 
 —the Ancient Halicarnassus. 
 
OP THE SYDNEY UNIVERSITY. 
 
 95 
 
 1192. Glass Bottle (Boman); from the same place. (Broken). 
 
 1193. Head of a Female Figure in Bed Clay; from the same place. 
 
 1194. Two Small Terra Cotta Unguentaria (Lachrymatories?) 
 from the Tomb Kodja Hahmed, in a Field at Budrum—the 
 Ancient Halicarnassus. 
 
 1195. f Portion op a Painted Stucco from the Boman Villa, discovered 
 in 1852, at Toft Greek in York.—The pavements, found therewith, 
 are now removed to the British Museum. 
 
 1196. Eight Fragments of Samian Ware—that kind known as the 
 “ Bed Boman ;”—found at York. 
 
 1197. Ten Fragments of Caister Ware (Boman) also found at York. 
 
 1198. Small Spiral Pieces of Fine Boman Glass and two (rudely 
 formed) Leaden Weights; presented to the Museum in the name 
 of the Bev. W. J. -Spurden of “The Oaks,” of North Walsham, 
 Norfolk, in England. 
 
 1199. Portion op Boman Tesselated Pavement (similar to that 
 numbered 424) found in England. 
 
 1200. Two Small Pieces of Stone from the Large Stones, built into 
 a Wall, belonging to The Ancient Jewish Temple of Jerusalem, 
 called that of Solomon. These “ Great Stones ”—still in existence 
 —are 24 feet long, by 5 thick ; or thereabouts. Presented to the 
 Museum by Professor Smith, who himself procured the stone of 
 which these are two fragments. For a representation of this 
 Wall, see “Bartlett’s Jerusalem,” page 155.) The Wall, in 
 which these Stones remain, stands close to the South-West corner 
 of the Old Temple Enclosure ; near the Mosque El Aksa, the 
 “Dome of the Bock”—an edifice built by the Emperor Justinian 
 the Great, but often ignorantly confounded with the “Church of 
 the Holy Sepulchre,” erected (long before, and elsewhere) by St. 
 Helena, the Empress. The Wall containing these stones is now 
 known as The Stones of Wailing. It has, for centuries, been much 
 resorted to by the Jewish Besidents of the Holy City. 
 
 1201. Fragment of Building Stone of Jerusalem; picked up on the 
 spot, by Professor Smith, as a geological specimen, and presented 
 by him to the University Museum. It will be observed that this 
 Stone is very different from the preceding specimen ; also presented 
 by Dr. Smith. 
 
 1202. Fragment from the Euins of the celebrated Temple of the Sun 
 at Baalbek, near Damascus. The stone resembles No. 1200. 
 Presented by Professor Smith. 
 
 1203. Samian Ware : Lower portion of some Vessel. 
 
 1204. Samian Ware: Portion of some vessel; probably the handle 
 of a cheiro-niptron, or wash hand-bason. 
 
 1205. Samian Ware: Fragment of a Vessel, found in excavating a 
 drain at Boothlam in England, March 12th, 1853. 
 
 1206. Samian Ware : Fragment, shewing the name of the Potter. 
 
 1207. Fragment of Boman Vase of Bed Clay, partially coloured. 
 
 + The next following objects (from 1195 to 1197 inclusive) were presented to the Sydney Univer¬ 
 sity Museum by A. W. Frank, Esq., M. A. 
 
96 
 
 CATALOGUE OE THE MUSEUM Of ANTIQUITIES 
 
 1208. Two Fragments of Coarse Roman Ware. 
 
 1209. A Very Fine Torso (probably that of Diana) found in Cannon 
 Street, London. 
 
 1210. Prehistoric Kelts, (or as some call them Celts) found at Black- 
 heath in 1856:—Seventeen arrow-heads; four ^ling-stones, and 
 five axe heads,—all carefully finished. 
 
 1211. Six Fragments of Pottery—Red Roman Ware—found at Ouadi 
 Faraninthe Peninsula of Mount Sinai. Presented by Major C. 
 K. MacDonald. 
 
 1212. * A Golden Ring, and a Golden Ornament (representing the 
 Bust of a Female) found in an Etruscan Sarcophagus. The 
 head-dress and features of the Female are of an Egyptian Type. 
 
 1213. A Silver Coin of Augustus Csesar, the Roman Emperor. The 
 Denarius ; the value of which, in our money, was about seven 
 pence half-penny. This most interesting coin shews the “Image 
 and Superscription” of Csesar. See St. Matthew XXII., 19, 
 20 , 21 . 
 
 1214. Another Roman Coin of Silver; apparently of the same value. 
 
 1215. Two Pieces of Petrified Wood from the neighbourhood of 
 Cairo. 
 
 1216. Two Hundred Twenty Ancient Coins —of Rome, Greece, the 
 Byzantine Empire, Carthage, and other states—presented to the 
 Sydney University Museum by Sir John Young, K.C.B., &c., &c., 
 &c. This valuable collection has been mounted on card-board 
 with full descriptions attached. 
 
 1217. Fragment of Stone Slab, on which are represented the Leaves 
 and Berries of the Bay or Laurel. 
 
 1218. Fragment of Stone, or a species of stoneware; apparently part 
 of a Yase. Found in Cannon Street, London. 
 
 1219. Statuette of a Nude Female Figure in Alabaster. Nine and a 
 half inches high. Of rude workmanship. 
 
 1220. Earthenware Water Cooler ; one foot two inches high, and 
 one foot one inch in circumference. 
 
 1221. Stoneware Jug, embellished with heads in low relief. Nine 
 inches high, and one foot four inches in circumference. Probably 
 of the 16th century. [This is evidently the Ancient Stone Jug 
 which was called a “ Greybeard,” or “ Bellarmine.” The manu¬ 
 facture of a coarse, strong pottery, known as “ Stoneware,” from 
 its power of withstanding fracture and its endurance of heat, 
 originated in the Low Countries, in the early part of the 16th cen¬ 
 tury. The people of Holland particularly excelled in the trade, 
 and the productions of the Town of Delft were known over 
 Christendom. During the Religious feuds which raged so hor¬ 
 ribly in Holland, the Protestant party originated a design for 
 a Drinking Jug, in ridicule of their great opponent Cardinal Bel¬ 
 larmine, who had been sent unto the Low Countries to oppose in 
 person, and by his pen, the progress of the Reformed Religion. 
 He is described as short and hard featured, and thus he was 
 
 * The following objects, from 1212 to 1215 (inclusive) were presented to the Sydney University 
 
 Museum by M. S. Alarchange on the 10th December, 1863. 
 
OF THE SYDNEY UNIVERSITY. 
 
 97 
 
 typified in the Corpulent Beer Jug. To make the resemblance the 
 greater, the Cardinal’s face, with the great square-cut beard, 
 (peculiar to Ecclesiastics, and termed “ The Cathedral Beard,”) was 
 placedin front of the jug, which was, as often called, a “ Greybeard, ” 
 as a “Bellarmine.” It was so popular as to be manufactured by 
 thousands, in all sizes and qualities of cheapness; and sometimes the 
 face was delineated in the fiercest and rudest style. It met with a 
 large sale in England, and many fragments of these jugs, of the 
 reign of Queen Elizabeth and James I., have been exhumed in 
 London. The term “Greybeard,” is still applied in Scotland to 
 this kind of Jug, though the face of Bellarmine no longer adorns 
 it.] ( See Home's Bay Book.') 
 
 1222. Three Pieces of Stoneware, of a similar character, with oval 
 bas-reliefs. 
 
 1223. Four Pieces of Ancient Ware, three of which are glazed. 
 
 1224. Leaden Statuette of a Female. Found during May 1856, in Crip - 
 plegate Buildings, London. The orb on which the figure stands 
 has originally been gilt; the ornament on the head is of wood. 
 It was probably the top of a flag-staff, used in religious processions. 
 
 1225. Ancient Glass Bottle, found in Cannon-street, London. 
 
 1226? Ancient^Glass Bottle, found in Bow Lane, London. 
 
 1227. Assortment of Ancient Glass, found, during Eecent Excavations, 
 in various parts of London. 
 
 1228. Similar Assortment of Ancient Glass, found in London. 
 
 1229. Patina of Glazed Italian Ware, usually known as “ Majolica.” 
 Has on it the Head of a Female, with the Legend “ Catarina.” The 
 Italians called this kind of White Glazed Ware “Majolica” 
 because the ware of this kind first seen by them came from Majorca, 
 an Island in the Mediterranean, belonging to Spain. 
 
 1230. Similar Patina; raised on a stand In the centre, a Figure of 
 Cupid armed. 
 
 1231. Disk of Majolica Ware, with Figures and other Objects; similar 
 to the foregoing. 
 
 1232. Plate, of Majolica Ware, similar to 1231. 
 
 1233. Plate, of Majolica Ware, similar to 1231. 
 
 1234. Patina, of Glazed Ware, similar to 1229. On the upper face of 
 it is the head of a Man with a Helmet, and the word “Leone.” 
 
 1235. Disk of Ware. Similar to the foregoing. 
 
 1236. Earthenware Paving Tiles —and fragments of such like ware— 
 found in London. 
 
 1237. Similar Assortment of Paving Tiles, &c., found in London. 
 
 1238. Ancient Mill-stone, two feet ten inches in circumference. 
 
 1239. Portion of an Ancient Mill-stone, made of a rough-grained 
 stone, of a peculiar character. 
 
 1240. Lower Portion of some kind of Vessel made of stone. Probably 
 once used in the preparation of corn for food. 
 
 1241. Circular Piece of Wood, once, apparently, for use as a weight. 
 Probablv of the British-Boman Period. (See Nos. 461 and 1061.) 
 
 H 
 
98 
 
 CATALOGUE OP THE MUSEUM OP ANTIQUITIES 
 
 1242. Marble Bust of a Man. Apparently of mediaeval workmanship. 
 
 1243. Helmet, Breast-plate, Back-piece, and Gorget, in use during the 
 early part of the Seventeenth Century. English; of the time of 
 the Civil Wars. The Helmet shews the Beaver and Visor. Behind 
 Helmet, or “Pot” (as the helmet was called in the 17th century) 
 is a ferule, and (above) a staple for fastening on a bough (like a 
 plume) to shade the head. (See Carlyle’s Cromwell.) 
 
 1244. Reliquary, containing portions of the Remains of John the 
 Fearless, Duke of Burgundy, and of Margaret of Bavaria his wife. 
 Also cards containing a full description in French and English, 
 with a pedigree of that Mediaeval Prince. 
 
 1245. Portrait of Jean SansPeur, Ducde Bourgogne, who was buried 
 at Chartreux in France, A.D., 1419. 
 
 1246. Marble Head op Christ. Apparently French. Of the period 
 of the Renaissance. 
 
 1247. Feretory, or Reliquary Chest, formerly belonging to some 
 Flemish Guild—probably Saddlers or Harness Makers. Once it 
 cont ained portions of the venerated remains of St. Hippolytus, and 
 of St. Elisius—otherwise known as “ St. Eloy.” St. Hippolytus is 
 supposed to have been contemporary with St. Laurence, who 
 suffered death as a martyr at Rome, about the year A.D. 258. 
 “St. Eloy” was a Frankish Saint who flourished about the 
 seventh century. He is mentioned in a well known poem by 
 Chaucer. On different parts of the reliquary are representations 
 depicting incidents in the lives, and real or supposed events after 
 the deaths, of these two saints. 
 
 1248. Ancient Censer, such as was commonly used in the celebration 
 of Divine Service in the Church of England, previous to the 
 Reformation in the 16th century. 
 
 1249. Plaster Cast of an Architectural Ornament; a quatre-foil- 
 shaped basso relievo, the centre of which represents a man (St. 
 Anthony ?) preaching to birds and animals. 
 
 1250. Rude Coffer, made of iron; of the 15th century. 
 
 1251. Plaster Cast of a square Architectural Ornament. 
 
 1252. Wooden Crucifix, gilt; French, of the Renaissance Period. 
 
 1253. Small Bronze Ark, ciborium, or (more properly) “ eucharistial,” 
 used as a receptacle for the Consecrated Wafer after the service of 
 the Mass was concluded. (See Lingard’s “History of the An¬ 
 tiquities of the Anglo-Saxon Church ,” Yol. II., Chap. IX., page 46.) 
 It partakes of the character of a small Feretory , thus described by the 
 Glasgow Imperial Dictionary :— “Feretory. A bier, or shrine, made 
 of gold or of wood—variously adorned, and usually in the shape 
 of a ridged chest, with a roof-like top—for containing the reliques 
 of saints, and borne in processions.” 
 
 1254. Plaster Cast of an ornament, in bas-relief, similar to No. 1249. 
 The centre represents the old Christian Emblem of the Pelican 
 Feeding its Young. 
 
 1255. Head op a Man rudely carved in Marble. Modern; but actual 
 period uncertain. 
 
OF THE SYDNEY UNIVERSITY. 
 
 99 
 
 1256. Plaster Cast of an Architectural Ornament, representing the 
 figure of a Saint with a Book. 
 
 1257. Similar Cast of an Architectural Ornament, also representing 
 the Figure of a Saint. 
 
 1258. Model in Plaster-of-Paris of the Saxon Font in the Cathedral 
 Church of Winchester. 
 
 1259. Architectural Ornament (probably a corbel) modelled in 
 Plaster-of-Paris. The subject is that of a “ Pelican in Her Piety,” 
 similar to 1254. 
 
 1260. Similar Object; representing a Knight Sleeping, with his 
 Charger standing near him. Probably St. George, the Patron 
 Saint of England. 
 
 1261. Plaster Cast of a piece of Sculpture in Stone in the Choir of 
 Ely Cathedral,—built by Alan de Walsingham, Prior of Ely in 
 the year 1328. Hr. Milner was apparently of opinion (See Carter's 
 Ancient Sculpture and Painting in England , page 3,) that the Saxon 
 Monarch, Egfrid King of Northumbria and his first wife, 
 Queen Etherelda, orAwdrey, (afterwards Abbess of Ely) were here 
 represented. It is far more probable, however, that this piece of 
 Sculpture represents Christ crowned as the King of Glory, sitting 
 by the side of the Blessed Virgin in heaven. St. Mary is repre¬ 
 sented sitting on the same seat as her Divine Son, but in an 
 attitude of deep humility and devotion. Her Son has just crowned 
 Her, and raises His right hand in the act of benediction. (Com¬ 
 pare the design on the reverse of the seal of Anthony, Bishop of 
 Durham, A.D. 1280, Card A. (11) in the Collection of Seals, No. 
 1274, in this Catalogue. 
 
 1262. An Object similar to that numbered 1260. Subject: a Knight 
 and a Griffin. 
 
 1263. An Architectural Object, of a character similar to No. 1262. 
 Subject: the Head of a King—apparently that of Alfred the Great. 
 
 1264. Model of an Ancient Font in the Temple Church, Bristol. 
 
 1265. Plaster Cast of an Architectural Ornament, representing a 
 Saint in a Niche; similar to No. 1256. 
 
 1266. Ancient Four-handled Vase of Baked Clay, partially glazed ; 
 found in St. Nicholas Olave’s Church Yard, Bread Street Hill, 
 London. 
 
 1267. Mediaeval Candlestick, with Save-all;—made of iron. 
 
 1268. Plaster Cast of a cjuatre-foil-sliaped Architectural Ornament, 
 similar to that numbered as 1249. In the centre is the uncom¬ 
 plimentary representation of a Demon with a Woman’s Head. 
 
 1269. Similar Object ; having, in the centre, what appears to be in¬ 
 tended as the Representation of a Wood Demon. 
 
 1270. Wooden Statue of a Prelate, wearing the Mitre, Rochet, Dal¬ 
 matic, Stole, and Pectoral Cross. Over his other vestments he 
 wears the Cope, fastened across the breast with a Morse. 
 
 1271. Plaster Cast of a quatre-foil-shaped Architectural Ornament. 
 In the centre is the Representation of a Fox running away with a 
 
100 
 
 CATALOGUE OF THE MUSEUM QF ANTIQUITIES 
 
 (loose. This is a common form in which the Regular Clergy of 
 the Middle Ages satirized the Secular Clergy for their supposed 
 rapacity in the matter of tythes. 
 
 1272. Similar Object, having in the centre Burlesque Representations 
 of Hares and Oeese. 
 
 1273. A Complete Set of Impressions of the Great Seals of the 
 Sovereigns of England from the times of the Norman Conquest to 
 the Reign of Queen Victoria—with a Guide or Hand-book to the 
 same. 
 
 1274. A Large Series of Impressions of Seals of Bishops, Monasteries, 
 Cathedral Churches, Cities, Guilds, Noblemen and Gentlemen. 
 Mounted on Cards, alphabetically distinguished, with numerical 
 references to the explanatory remarks. 
 
 1275. Seal of the Cathedral of Worcester, as appended to the Ac¬ 
 knowledgment of the Royal Supremacy in matters Ecclesiastical. 
 A.D., 1534. (Bom : Cap-. Westm.) 
 
 1276. Counter Seal of Worcester Cathedral, as appended to the 
 Acknowledgment of The Royal Supremacy, A.D. 1534. (Bom: 
 Cap: Westm. 
 
 1277. Seal of the Cathedral of Wells, Somerset. Cart. 31, Henry 
 VIII. Augm. Off: A 29. In Brown Wax. (See No. 1281). 
 
 1278. Seal of The Monastery of Pershore, near Ware, to the Act of 
 Supremacy ( Bom : Cap : Westm.) Red Wax. 
 
 1279. Seal of John de la Pole, Earl of Suffolk ( circiter , a.d. 1450.) 
 From a Brass Matrix, in the British Museum. Taken by Robert 
 Ready, 3 Penton Grove, Pentonville London. 
 
 1280. Seal of St. Mary’s Church, Southwark (?). On the Obverse is 
 a Representation of the Virgin and Child, and on the Reverse 
 Representations of Christ Triumphant, and also of the Annuncia¬ 
 tion. The Legend on the Obverse is as follows:—“ Sigillum 
 Ecclesie Sancte Marie de Suwira.” The Legend on the other 
 side is an Invocation to the Blessed Virgin. 
 
 1281. Counter Seal of the Cathedral of Wells, in Somerset. Cart 
 Excamb A. 29 ; Aug : Office. See No. 1277. 
 
 1282. Seal representing “ The Trusty Servanttaken from a curious 
 old picture in the Hall of the College at Winchester, of about the 
 date a.d. 1600. 
 
 1283. Seal of “ The Queen’s Majesty in Ecclesiastical Causes,” for the 
 Peculiar Jurisdiction of Stratford upon Avon. Reign of Queen 
 Elizabeth. 
 
 1284. Seal of the Peculiar Jurisdiction of Hertilbury. Contains the 
 Representation of a Pilgrim. 
 
 1285. Seal of the Colony of Queensland. 
 
 1286. Six Silver Coins ; three English, two Spanish, and one French. 
 
 1287. Several Copper Coins, collected by the Curator, Mr. Edward 
 Reeve. 
 
 1288. Seal taken from a Betrothing Ring found at Stratfdor upon 
 Avon, containing the initials “W” and “A” entwined with a 
 
OF THE SYDNEY UNIVERSITY. 
 
 101 
 
 true lover’s knot. Supposed by some to have been the Betrothing 
 Bing of William Shakespeare and Anne Hathaway. 
 
 1289. Seal of the Church of St. Mary’s, Shrewsbury,—engraved by 
 Hardman and Company. Bepresents the Virgin and Child with 
 attendant Saints and Angels. 
 
 1290. Powder Horn of the date of 1623. Bepresents the Temptation 
 of Adam in the Garden of Eden. 
 
 1291. Modern Egyptian Writing Case, of Brass. Ink Bottle and 
 receptacle for pens. 
 
 1292. Portion of a Stag’s Horn, found in an Excavation in London. 
 
 1293. Seventeen Wild Boar Tusks, found during the progress of 
 Excavations made in Cannon Street and elsewhere in London. 
 
 1294. Portion of a Stag’s Horn found in an Excavation in London. 
 
 1295. Portion of Leathern Coat, studded with brass nails. Probably 
 once worn as defensive armour. 
 
 1296. Six Fragments of Chain Armour found in an Excavation in 
 London. This species of armour was used prior to the era when 
 Plate Armour was worn,—the rings being intended to catch the 
 points of the arrows. 
 
 1297. Small Bough Slab of Marble, found in an Excavation in 
 London. 
 
 1298. Small Brass Bell found in an Excavation in London, evidently 
 an ornament. Probably British. A similar object was found in 
 the grave of a “ Bomanized ” British woman, opened at Kingston 
 Down, County of Kent, by the Bev. B. Faussett, August 12th, 
 1771. (See Faussett’s Inventorium Sepulchrale page 81.) 
 
 1299. Bronze Statue of Virgin and Child, of the Fifteenth Century. 
 
 1300. Large Spear Head, stated to have been found at Monteray,—a 
 town in Spain on the frontiers of Portugal, on the Biver Tarnaga. 
 
 1301. A Great Variety of Small Objects found in London,—chiefly 
 consisting of fibulie, arrow heads, nails, &c. 
 
 1302. British Bing Money, of Copper; found in London. 
 
 1303. Bone Pin ; probably Saxon. Found in the Thames. 
 
 1304. Ancient Needle of Bone; probably Saxon. Found in the 
 Thames. 
 
 1305. Curling Pins of Baked Clay; probably Saxon. Found in the 
 Thames. 
 
 1306. Two Pins of Bone ; found in the Thames. Saxon. 
 
 1307. Five Pins, found in the Thames; one of bone, and four of 
 Metal. Saxon. (See Faussett’s Inventorium Sepulchrale , page 81.) 
 
 1308. One Needle and Two Pins, of bone. Saxon; found in the 
 Thames. 
 
 1309. Saxon Ornament, of metal. Found in the Thames. 
 
 1310. Ancient Soldering Iron, found in an Excavation in London. 
 
 1311. Druidical Beads found in an Ancient British Barrow. (See 
 Faussett’s “Inventorium Sepulchrale,” plates 5 and 6.^ Beads 
 in British Graves are very common. In the Tumuli at Kingston 
 
102 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 in Kent in 1771, beads were found in fifty-one different graves. 
 (See “Inventorimn Sepulchrale,” page 224). 
 
 1312. Copper Medallion, representing a Female Figure; subject un¬ 
 known. 
 
 1313. Medallion ; Enamelled Portrait of The Emperor Titus Vespasian. 
 Probably a copy from some antique. 
 
 1314. Two Hammer Heads of iron; much decayed. Found in an 
 Excavation. 
 
 1315. Hilt of Small Dress Sword, formerly silvered. 
 
 1316. Ancient Wooden Handle of a Sword ; much decayed. 
 
 1317. Ancient Basket Hilt of a Dress Sword ; much decayed. 
 
 1318. Limoges Ware. Pectoral Cross of Fifteenth, or Sixteenth Cen¬ 
 tury, representing the Day of Judgment. Of Copper, silvered. 
 
 1319. Fine Processional Cross of Copper; Fifteenth Century. 
 
 1320. Crucifix of Wood and Bronze; Sixteenth Century. 
 
 1321. Ivory Carving of Figure, forming portion of a Crucifix. 
 
 1322. Similar Figure ; of which the arms are lost. 
 
 1323. Similar Figure, of smaller size ; the feet resting on a skull. 
 
 1324. Three Ivory Figures forming parts of Crucifixes. More or less 
 imperfect. These, and the three preceding, are believed to be 
 Flemish. 
 
 1325. Seal of the City of Perugia in the 14th Century. In Copper. 
 
 1326. Representation of the Blessed Virgin and Child. Enamelled on 
 Copper. 
 
 1327. Ancient M.S. Volume bound in boards. Formerly the pro¬ 
 perty of the Priory of Butley in the County of Suffolk. Date : 
 circiter a.d. 1370. Contains the Magna Carta, Carta de Foresta, 
 and such other documents. 
 
 1328. A Collection of Deeds, Wills, and other Ancient Documents— 
 from the Reign of Queen Elizabeth to that of George the Third. 
 
 1329. Four Pieces of Modern Nubian Ware. Two saucers, and two 
 hollow cones, apparently covers of some sort of vessel. 
 
 1330. Plate of metal; apparently part of an Ancient Lock. 
 
 1331. Ancient Instrument, used for carding, or combing wool. 
 
 1332. Fifteen Spoons ; two of silver, two of copper, and the rest of 
 pewter. Found in London. 
 
 1333. The Triumph of Neptune ; cast in iron in the 15th century, or 
 perhaps a little later. From the collection of the Tombs of 
 Bongessi. Presented by Sir Charles Nicholson. Procured at 
 Milan on the 14th of June, 1849. 
 
 1334. Pen and Ink Copy (after Bonomi) of the The Figure of the Goddess 
 Neith, engraved on the bottom of the Sarcophagus of Oimenepthah 
 I., (or Amenophath) King of Egypt. The Sarcophagus referred 
 to was discovered at the “Tombs of the Kings,” near Thebes, by G. 
 B.Belzoni, on the 18 th of October, 1815. At the back of this Picture is 
 a Large-sized Plan of Rome (from the Bilderheft zur Bescheiburg der 
 
or THE SYDNEY UNIVERSITY. 
 
 103 
 
 Stadt Rom.) shewing the site of the Christian Catacombs, &c. 
 Presented to the Museum by the Curator, Mr. Edward Reeve. 
 
 1335. Curious exemplification of the rapid growth of wood in New 
 South Wales, shewing the mark of a tomahawk in the heart of a 
 tree. Presented by Mr. D. C. Dalgleish. 
 
 1336. Etruscan Marble Yase, three feet six inches high, and six feet 
 nine inches in its greatest circumference. The Belt of this Mag¬ 
 nificent Yase, found at Isola, to the North of Rome, is ornamented 
 with several figures in basso-relievo. It represents the Death of a 
 Child, and its accompanying Incidents. Presented by Sir Charles 
 Nicholson, who procured it in Italy. 
 
 1337. Plaster Casts and Models of Ancient French Armour, Halberds, 
 and other Weapons, &c. Tempore Francis the First of France. 
 Arranged on the Wall over the Archway in the Outer Room of 
 the Museum. 
 
 1338. Admirable Specimen of one of the Open Hand Symbols, often 
 found on the roofs of Australian Caves. This coloured impression 
 of the human hand on stone (supposed to have been fabricated by 
 the Ancient Aboriginal Inhabitants of this country) was discovered, 
 not long since, with many others, by a Mr. Stephens, in a cave on 
 the Hawkesbury River, between Sackville Reach and Page’s 
 Ferry. Presented to the Sydney University Museum by the Rev. 
 John Sharpe, of 73 Yurong Street, Sydney,—whose attention was 
 called to the cave by Mr. Stephens during one of his (Mr. Sharpe’s) 
 pastoral visits to the Hawkesbury District. Regarding these 
 “ Hands,” supposed to have a symbolical meaning, See “ Bennet’s 
 Australian Discovery and Colonization,” page 278. 
 
 1 339. Seal of the Royal Burgh of Linlithgow, in Scotland. This seal 
 (in an excellent state of preservation) was formerly attached by 
 the Magistrates of Linlithgow, to a Charter, dated the 8th of 
 January 1593. On the one side of the Seal (which is impressed 
 on wax) is a fairly executed representation of St. Michael the 
 Archangel, with outspread wings, and with Nimbus , —holding the 
 spear or staff, &c , and trampling upon the Dragon. In his left 
 hand the Angelic Personage holds a shield, emblazoned with the 
 Lion and Tressure of Scotland. The Legend is: Vis Michaelis collocet 
 in ccelis nos omnes —“ May the power of Michael place us all in heaven 
 together.” This has been described as the Ecclesiastical, or Clerical 
 Portion of the Town Arms. On the other—the Lay Side—is a Grey¬ 
 hound chained to a Tree ; the Legend, or Motto, being— “ Commune 
 Sigillum Burgile Linlithgow .” The Common Seal of the Borough 
 of Linlithgow. Presented to the Sydney University Museum by 
 Mr. M. Whytlaw of Sydney. 
 
 1340. Headless Figure of a Cupid, resting on a Human Skull. Ap¬ 
 parently a model in plaster, or some such composition. Stands 
 about one foot six indies high. 
 
 1341. Copy of an Antique Bronze. Very Common Work. Stands 
 about two inches high. 
 
 1342. Curious Old Tobacco Box of Brass; nine inches in its greatest 
 circumference. On the Lid is the rude representation of a woman 
 
104 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 and three children i with the words “ Be Liefde ,” (affection) and 
 the date 1664. On the bottom is the representation of a City, and 
 the word “ Dergov.” On the sides is a double wreath of leaves. 
 Probably belonged to some Dutch Sailor. 
 
 1343. Broken Arrow Head, w r ith part of its iron shaft. Nine inches 
 long. Probably Indian, or Proto-nesian. 
 
 1344. Broken Dram Glass, about two inches and three-quarters high. 
 Tapers towards the Base—where the Glass is unusually thick. 
 Much weather-worn. Ornamented with flowers and a series of 
 Festoons, cut deep into the glass, around the outer rim. Also 
 Broken Glass Handle belonging to the same. For particulars 
 respecting these Historical Relics, see No. 1345. 
 
 1345. Massive, and Highly Ornamented Sword-Belt Buckle of 
 Bronze ; partially gilt. About six inches long, and two inches 
 and a half wide. The Broken Dram Glass (No 1344) 
 and this remarkable object were, both of them, found about 
 29 years ago (by Captain Stokes, R.N., of H.M. Surveying Ship 
 Beagle), on one of the Albrohos, also called Houtman’s Group, a 
 small cluster of barren islands, about 200 miles off the coast 
 of Western Australia, a little to the north of what is now 
 known as the Mouth of Swan River. From the antique ap¬ 
 pearance of these two well authenticated relics, and the isolated 
 position of the locality in which they were discovered, it is evident 
 that they must have belonged to the Batavia —a Dutch ship, 
 wrecked on one of those lonely and desolate islands, during the 
 night of the 4th of June, 1629. The Batavia was one of eleven 
 vessels sent out from Holland, in the seventeenth century, by the 
 Dutch Government, under Captain Francis Pelsart, to take 
 possession of Australia, or (as the Dutch then commonly called it) 
 the “ Great Southern Land.” It was, moreover, intended, at 
 that time, to found a colony, or at least a large settlement, on 
 these distant coasts. The history of the Batavia is a very singular 
 and terrible one. After the actual wreck (when all or nearly all, 
 appear to have been saved), the majority of the crew mutinied— 
 murdered each other by wholesale, together with many of those 
 who remained faithful to their duty, and committed other horrible 
 atrocities. The Captain and some of his crew, however, got away 
 from the Albrohos, and, in a small skiff* or open boat, managed to 
 arrive in safety at the Mainland—being, as supposed, the first 
 who ever set foot on New Holland, or Australia. Pelsart and 
 those that were with him then sailed many hundred miles up the 
 Australian coast to the northward, until they reached a tolerably 
 well-known point far away into the Tropics ; whence they stood off 
 the land for Java, and so finally arrived, after suffering many 
 privations, at the city of Batavia. But a very large number of 
 the crew were left behind at the Albrohos Islands, and amongst 
 those unhappy and abandoned men, scenes of murder and 
 unchecked violence prevailed, until a Dutch ship, (the Saardam 
 frigate) at length made its appearance with Captain Pelsart, to 
 look after the remnant lhat was left. He found the mutineers had 
 already murdered one hundred and twenty-jive persons, but that some 
 
OF THE SYDNEY UNIVERSITY. 
 
 105 
 
 still bravely resisted the traitors. The Ringleader (Jerom Cornells) 
 and about seventy or eighty of his associates were promptly and sternly 
 executed on the spot by Captain Pelsert, who then sailed for Java, on 
 the 28th of September, 1629. (See Thevenot’s “Collection;” 
 and Bennett’s “ Australian Discovery and Colonisation, chap. 2, 
 page 18.) It is to be observed that this Sword-belt Buckle was 
 worn, according to the fashion of that day, in front, obliquely—on 
 a leathern belt, settled like the Broad Ribbon of a Chivalric 
 Order; not fastened round the waist, as at present. The belt of 
 which it formed part probably once belonged to an officer, and may 
 (possibly) have been worn by the Pirate Cornelis himself. These 
 interesting illustrations of a dark and dreadful episode in the 
 Early History of Australia were presented to the Sydney Univer¬ 
 sity Museum by Major W. H. Christie, formerly Postmaster- 
 General of this colony. 
 
 1346. Plaster Cast of a Danish Runic Stone, belonging to the Tenth 
 or Eleventh century—found in London in August, 1852. Presented 
 to the University Museum by Sir Charles Nicholson. The in¬ 
 teresting Runic Gravestone here represented was dug up in the 
 process of excavating for the foundations of a new warehouse for 
 Messrs. Cook, Son, and Co., on the South side of St. Paul’s 
 Churchyard, at the depth of more than twenty feet from the pre¬ 
 sent surface. It was discovered on the natural ground level, 
 consisting of a compact, dark, yellow, gritty sand, overlying 
 gravel. To the north of it a rude hollow was scooped out,—dip¬ 
 ping from south to north at an angle of from sixteen to twenty 
 degrees—in which was the skeleton of a human being. The 
 stone so discovered was found to be of friable oolite ; its dimen¬ 
 sions, when complete, being one foot ten inches and a half wide, 
 by two feet four inches and a half long. On the face of this 
 Danish Runic Stone—the only one known now to be in existence 
 in England—is to be seen the Fantastic Dragon Figure 
 occasionally found on Ancient Scandinavian Monuments, strikingly 
 like the Antique Gold Bracteates occasionally to be met with in 
 the North of Europe. It is supposed to have been a headstone 
 designed to call attention to a large slab once covering the ad¬ 
 jacent grave, but which, long since broken up, has disappeared. 
 The only inscription is on the left hand edge of the slab, ex¬ 
 tending from the top to a little below the sculptured panel. The 
 characters are Runic, and indicate the great antiquity of the 
 relic. The words are as follows:— Kona; Let: Legia: St-in: 
 Pensi : Auk : Tuki :—“ Kona [11] and Tuki caused this stone to be 
 raised.” This stone has attracted great attention amongst the 
 learned. It was elaborately discussed in a pamphlet by the late 
 Charles Christian Rafn, secretary to the Royal Society of Northern 
 Antiquities at Copenhagen, and has been treated of at large by 
 Mr. James T. Knowles, junior, the architect by whose means it 
 was brought to light, and who saved it from impending destruc¬ 
 tion. Mr. Thorleiff G. Repp, a Danish Antiquarian, also pub¬ 
 lished some remarks upon this relic. The language is old Danish, 
 but the signification of the word Pensi does not seem to have been 
 yet very clearly made out. This modern form of Auk (and) 
 
106 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 is Og. Tuki, or Toki, is a name which frequently occurs in 
 the old Danish inscription; and Konall is an Icelandic or 
 old Northernman’s name of Celtic origin. The name of Toki 
 is identical with “Toke,” “Tuki,” “ Tukir,” “Thookir,” 
 &c., and has been transformed, in Modern Danish, into Tyge, 
 which,—in the Latinized Form of Tycho,—was the well-known 
 Christian name of the Great Astronomer Brahe. It is, moreover, a 
 name repeatedly found on Runic and other ancient gravestones 
 in the Scandinavian Countries. A Danish Warrior of the name of 
 Toki was a courtier of high repute in the reign of King Canute, 
 or Knute. In the Latin Documents of that period he is variously 
 designated as Toga Minister, Tolcig miles, Toky minister, and JDokig. 
 It seems by no means unlikely that that Chieftain may have been 
 the very personage referred to in this inscription. 
 
 1347. A Series of Fifty Pre-historic Stone Implements —often 
 rather vaguely called “Kelts,”—collected in Denmark by Sir 
 Charles Nicholson, and by him presented to the Sydney Univer¬ 
 sity Museum. In this interesting addition to the Museum there 
 are implements in flint and grey stone of every typical form, the 
 formation and elaborate finish of which are sufficient to show that 
 the people by whom they were made, and for whose use they were 
 intended, must have been possessed of a considerable degree of 
 civilization, although obviously a Race of Hunters or of Warriors, 
 who must either have been unacquainted with the use of metals, 
 or who, in the lapse of ages, must have forgotten how to work in 
 such materials. These extraordinary implements were collected 
 in Denmark by Sir Charles Nicholson, under the personal guidance 
 and assistance of Conrad Engelhardt, the Danish Antiquarian— 
 since the death of Charles Christian Rafn the most distinguished 
 Antiquarian in Northern Europe. They were found in some of 
 those vast rubbish heaps, or middens, so common in Denmark and 
 Holstein, for the long forgotten existence of which it is now 
 difficult, almost impossible, to account. In the Collection are 
 three small rings of grey stone, called by Engelhardt, perles, or 
 beads; three sharp, narrow knives, of grey flint; three small, 
 crescent-shaped saws, one of which is a very perfect specimen ; 
 three or four small arrow-heads of black flint, thick at the shafts 
 and sharp at the points; three flint chisels; several beautifully 
 formed spear-heads and lances of different types ; a small rough 
 hatchet-head, and several, about the same size, in different kinds 
 of flint, having polished sides and sharp blades ; several large 
 axe-heads, some of which appear to be half finished, and some 
 perfectly formed, polished, and sharpened—apparently once used 
 in war; one large ball of rough grey stone, seemingly a projectile ; 
 two large-sized hammer heads, of rough grey stone,—the same 
 kind as that used for the ball; and a curious, hollowed-out slab of 
 hard flint, which has evidently served as a sort of grindstone to 
 put an edge upon the axeheads, and other implements. Not the 
 least interesting of this Unique Collection are two hatchet-heads 
 of rough grey stone, which are precisely similar to those formed 
 by such Aboriginal Natives of Australia as have not been able to 
 provide themselves with the iron tomahawk of the White Man. 
 
OF THE SYDNEY UNIVERSITY. 
 
 107 
 
 In this Museum can be seen five of these hatchet-heads, formed 
 by Aboriginal Australians, and found in a cave near Botany. 
 (See No. 1181.) Those who remember to have seen the axe- 
 heads not unfrequently found amongst the superior Polynesian 
 Races yet unreclaimed from Heathenism, will doubtless be much 
 impressed by the strong analogy (not to say identity) which the 
 more perfectly formed of these Danish Flint Axes present to the 
 Weapons of such Islanders. The Collection, though not a very 
 numerous, is a very interesting and comprehensive one, and well 
 deserves the attentive consideration of the visitor. 
 
 1348. Glass, and Fragments of Sepulchral Pavement, from the Ancient 
 Roman-British city of TJriconium, now Uttoxeter in Staffordshire; 
 thirteen miles to the N.E. of the county town of Stafford. Pre¬ 
 sented by Sir Charles Nicholson. 
 
 1349. Kiln-burnt Brick; four inches and a half long, two inches and 
 three quarters wide, and about one inch thick. Well made ; and 
 very heavy, in proportion to its bulk. From the Ancient Roman- 
 British City of Uriconium, now known as Uttoxeter. Presented 
 by Sir Charles Nicholson. 
 
 1350. Portion of a Brick, found at the Roman-British City of Uri¬ 
 conium ; now Uttoxeter. This most interesting specimen shews 
 the imprint of the forefoot of a fawn (or of some such animal) 
 accidentally made before the brick was put into the kiln. Pre¬ 
 sented by Sir Charles Nicholson. 
 
 1351. Polynesian War-Hatchet. Blade of Black Stone, fastened to 
 the Wooden Handle with Sinnet. Donor, unknown. 
 
 1352. A Tongese Lady’s Comb ; presented by the Curator. 
 
 1353. Royal Licence, or Letters Patent, granted by Edward the 
 First to the Master and Brethren of a Religious House at Dovor 
 (called by the name of “Domus Dei”) to receive of Hugh Savage, 
 Stephen De La Belde, and others, certain lands in Osspring and 
 Therleton, notwithstanding the Law of Mortmain then in force— in 
 the year 1287. This noble specimen of Mediaeval Writing is in 
 excellent preservation, the document being entire, with the excep¬ 
 tion of the seal ,—although some of the silk yet remains by which 
 that seal was once attached. The Licence (engrossed on parch¬ 
 ment with ink which has somewhat faded from the lapse of time) 
 is written in the Latin Language throughout, and is remarkable as 
 exhibiting fewer contractions than usual in such an ancient record. 
 It begins as follows : “EDVARDUS, DEI GRA (gratia), REX 
 ANGLfiee], DOMINUS HIBN (Hiberniie), ET DUX AQUI- 
 TANIE, OMNIBUS, AD QUOS PRENTES (presentes) LITTE 
 (litera>)PRYENINT(pervenierint) SALTM (Salutem). LICET DE 
 COMMUNI, CONSILIO REGNINRI (nostri) PROYIDERIMUS, 
 QD. (quod) NON LICE AT VIRIS RELIGIOSIS, SEU ALUS, 
 
 INGREDI FEODUM ALICUIUS (alicujus) &c., &c., &c. 
 
 IN CUIUS (cuius) REI TESTIMONIUM HAS ERAS (literas) 
 NRAS (nostras) FECIMUS PATENTES. TESTE ME SO 
 i signo) APUD BLANKEFOED JUXTA BURDEGALAM, [Bor¬ 
 deaux] VICESSIMO PRMO (primo) DIE DECEMBRIS; ANNO 
 
108 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 REGNINEI (nostri) SEXTO DEOIMO.”— Edward, by the Grace 
 of God, King of England, Lord of Ireland, and Duke of Aquitaine, 
 —To all to whom These Letters shall come, sendeth greeting. Al¬ 
 though by the Common Council of Our Kingdom We have pro¬ 
 vided that no men, whether religious or otherwise [clerks, regular, 
 or secular] shall be permitted to enter upon any man’s feoff, &e., 
 &.C., &c. In Testimony of which thing We have made these Our 
 Letters Patent. Witness Our Seal atBlankeford near Bourdeaux ; 
 the 21st day of December, in the Sixteenth Year of Our Reign.” 
 It will be observed that these Letters Patent were not personally 
 signed by the King, the affixing of his seal thereunto, and in his 
 presence, being deemed sufficient. The document has been en¬ 
 dorsed outside : “ Carta de omnibus terris Osspringe post statuta.” 
 In respect of Ospring, or Osspring, the following will be not 
 without interest to some readers. “ Religious House at Ospring in 
 Kent. Tanner calls this an “ Old Hospital,” or “ Maison Dieu,” 
 dedicated to the Blessed Virgin Mary, and founded by King 
 Henry the Third, about the year 1235. It consisted of a Master and 
 three Regular Brethren, of the Order of the Holy Cross, and two 
 Secular Clerks, but falling into decay, about the latter end of the 
 Reign of King Edward the Fourth, it was, by the procurement 
 of Bishop Fisher, granted by King Henry the Eighth, Anno Regni 
 VII, to St. John’s College, Cambridge.” (See Dugdale’s Monas- 
 ticon, Vol. VI., page 764.) Presented by Sir Charles Nicholson. 
 
 1354. Four State Documents {originals written in the Old Court Hand) 
 having reference to Mr. Henry Zinzan, One of the Equerries of 
 the Great Horse Stable of King Charles the First. (1) A Warrant 
 from “ The Committee of Lords and Commons for His Majesty’s 
 Revenue, sitting at Westminster, the eleventh day of March 1647.” 
 This is signed by Lord Salisbury and Lord Rous, and by “ J. 
 Young,” “ Tho : Hoyle, and “Cor: Holland.” It is addressed : 
 “To our very loving friend Thomas Ffauconbridge, Esq., Re- 
 ceivor-General of the Revenue.” It directs Thomas Ffauconbridge 
 to pay Mr. Henry Zinzan the sum of Twenty Pounds. (2) Mr. 
 Henry Zinzan’s Receipt for the same, dated the 15th March, 1647. 
 (3) Order, or Warrant, signed by “ B. Whitelocke ” and “ T. 
 Worddrington,” (?) to pay to Henry Alexander Zinzan, Esquire, 
 (apparently the same person as above mentioned) the sum of 
 Twenty-nine Pounds. This Order, made during the time of the 
 Protectorate, and dated the 30th of April 1656, is addressed to 
 “ Sir William Roberts, Auditor of the Accounts of His Highness’ 
 Exchequer.” (4) A Receipt of Mr. Henry Zinzan, alias Alexan¬ 
 der, for the sum of Twenty Pounds. Dated the 2nd of December, 
 1642. The Documents No. (3) and No. (4) are evidently discon¬ 
 nected. The first Receipt refers to the money payment authorized 
 in the first Warrant. Presented by Sir Charles Nicholson. 
 
 1355. Warrant from the Privy Council of Queen Elizabeth addressed 
 “ To the Verie Good Lord, the Lord Buchurst, Hihe Treasurer of 
 England,” directing payment to Christopher Blower of the sum of 
 £200, for Conduct Money of 200 men “raised for the service of 
 Ireland” in the county of Lincoln, being “ par cell of the 2500 
 
OF THE SYDNEY UNIVERSITY. 
 
 109 
 
 men levied at the last muster for that purpose.” The warrant is 
 dated from the Court at Greenwich, on the 18th of June 1602. It 
 is signed by “Nottingham, T. Buchurst, Tho: Egerton, C.S., Gibb : 
 Shrewsbury, W. Knolly, F. Fortescu, J. Herbert,” and others. 
 Presented by Sir Charles Nicholson. 
 
 1356. A Lettre d’Etat (or Letter of Privilege) granted by Louis the 
 Fifteenth, containing the Autograph of that Monarch. It is in 
 favor of “ Le Sieur Dechazeron, Lieutenant of Our Body Guards, 
 in the Company commanded by Our Dear and Well-Beloved 
 Cousin, the Duke de Charon.” The term for which these Letters 
 Patent were to hold good, as a protection against inconvenient legal 
 proceedings , seems to have been left blank, or, subsequently, for 
 some reason, to have been erased. The Date is Versailles—the 
 1st of August, 1735; and the counter-signature is by “Chelypeaux,” 
 probably one of the Ministers of the King. It is all but impos¬ 
 sible to regard this arbitrary and oppressive document (at the 
 foot of which, in long, unsteady characters, appears the name of 
 LOUIS) without an expression of intense satisfaction at the thought, 
 that a Mandate such as this—used like the Lettre de Cachet for 
 the deliberate denial of Law and Justice—is in these days nothing- 
 more than a simple curiosity. Such a scroll of parchment, with 
 the signature of a weak and dissolute king attached, was once 
 sufficient to paralyse the beneficial action of every Court ot Law in 
 the Kingdom of France, or to consign a man to prison—without 
 appeal, and without the slightest regard to natural justice—but it 
 now only finds a fitting place in a Museum of Antiquities in the 
 Antipodes. Like the Lettres de Cachet , these Lettres d Etat have 
 become more things of the past. The document is endorsed in 
 French at the back—“ Sounier de Ladepenie Peneralle. 1764.” 
 A little higher up are the words “ Comence (sic) le 18 8bre 1763.” 
 The meaning of this endorsement is not so clearly apparent. 
 Presented by Sir Charles Nicholson. 
 
 1357. Koyal Warrant, signed by King George the Third, directing 
 the payment of £475 7s. 6d. to his Majesty’s Servants, for the 
 Accustomed Fees upon His Majesty’s conferring the Honor of 
 Knighthood on Five persons at the solemnity of his Coronation. 
 This Document is dated the 22nd of December, 1761. Appended 
 thereto is a Bill shewing the names of the King’s Servants, from 
 the Earl Marshal of England down to the King’s Coachmen, and 
 all others entitled, by prescription, to Fees on the conferring of 
 Knighthood. Herewith there is also a Table of the Fees. These 
 documents incidentally convey to the reader much curious informa¬ 
 tion. Presented by Sir Charles Nicholson. 
 
 1358 . Ancient Deed of Grant made by Hovandus de Hunnington of 
 two acres (?) of land in his farm at Hunnington to Kobert de 
 Bucestre. There is neither signature nor date ; but the names of 
 the numerous witnesses to the deed are all carefully recapitulated. 
 Appended to the Deed is the Seal of the Donor. The Deed is of 
 a small size, and written in Latin, in very clear and beautiful 
 characters. It begins as follows : “ Sciant Omnes tarn Presentes 
 quain Futuri, quod Ego, Hovandus de Iluanington, dedi et concessi, 
 
iio 
 
 CATALOGUE OF THE MUSEUM OF ANTIQUITIES 
 
 et hac mea plena auctoritate confirmavi, Eoberto de Bucestre, 
 pro homagio, et servitio suo, duas bovatas, &c., &c., &c., endorsed 
 “Hovandus de tra de Hunnington.” Probable date—somewhere 
 . in the Eeign of King John, or perhaps in that of Henry the Third. 
 Presented by Sir Charles Nicholson. 
 
 1359. Letters Patent issued by the Earl of Kothes (Lord Keeper of 
 the Great Seal of Scotland) in the name and by the direction of 
 James tbe First, King of Great Britain, &c. advancing, under the 
 Great Seal of Scotland, 11 dilcctum Bominum Nostrum Willielmum 
 Cranstoun ” to the dignity of One of the Greater Barons of Par¬ 
 liament. Dated at Eoystoun on the 19th of November, a.d. 1609. 
 The signature of the Earl, dated at Edinburgh, 24th July, 1610, 
 appears on the endorsement. Appended to this Patent is a fine im¬ 
 pression (in Eed Wax) of the Great Seal of Scotland, and in the First 
 and Fourth Quarters of the arms is the Lion of Scotland, in the place 
 of honor. The arms of England are borne in the Second Quarter, 
 and the Harp of Ireland in the Third. The Unicorn is also on the 
 dexter side, and. so is a representation of the St. Andrew's Cross 
 on a flag. The disposition of the collars of the Orders of the 
 Thistle and of Garter is also remarkable. The Legend on the 
 obverse is : Jacobus I). G Mag : Brit : Fran: et Hib; Rex. On 
 the Eeverse is an Equestrian Figure representing the Scottish 
 Solomon clad in armour, with his Crown on his head, and with his 
 right arm upraised, brandishing a short sword. The design is 
 further decorated with representation of the Mediaeval Portcullis 
 and Fleu-de-lis. On the trappings of the horse we observe the 
 Rose for England, and the Thistle for Scotland. The Legend here 
 is: Reus Judicium Tuum Regi Da. —“ 0 God give thy judgment 
 to the King. This Unrivalled and most Beautiful Seal is attached 
 to the Deed by a long silken string (now much faded) enriched 
 with threads of Gold Lace, greatly tarnished. The Document 
 itself has been discloured with damp, and is moth-eaten, and other¬ 
 wise inj ured. Presented by Sir Charles Nicholson. 
 
 1360. A Choice Collection of Ancient Coins, sixty-five in number. 
 Presented to the Sydney University by Sir John Young, K.C.B., 
 on his departure from this colony. This collection has been mounted 
 in the same manner as No. 1216, and has a full description 
 attached to each coin. 
 
 1361. Curious Latin Deed, dated the 12th January 1546,—the 37th 
 year of Henry the 8th. This appears to be a Deed of Conveyance 
 of Land from William Smith to his son John Smith. Very care¬ 
 lessly written ; so much so as to be almost illegible. Presented by 
 Mr. Eichard Johnson, Fellow of St. Paul’s College, Sydney. 
 
 1362. Grant of Land (dated the 21st of May, in the sixth year of the 
 Eeign of Henry IY. i.e., a.d. 1405), from Eeginald de Longe (of 
 the Parish of Bedefonte, in the county of Middlesex) and from 
 Johanna Couschott, the wife of the said de Longe, to William 
 Cuttomor and Julian his wife. The estate so conveyed was situated 
 at Couschott in the said county. This deed is similar to that num¬ 
 bered 1358. No signatures; but (formerly) two seals were at¬ 
 tached, The Seal of Johanna de Couschott still remains appended 
 
OP THE SYDNEY UNIVERSITY. 
 
 Ill 
 
 to this interesting relic of the past. The names of several wit¬ 
 nesses are mentioned. The way in which this beautifully written 
 grant is dated is very remarkable:—“Datum apud Coushott, 
 primo die Mensis Maim, Anno Regni, Regis Nostri, Henrici 
 Quarti , post conquestum, sexto. Perhaps “ Reginaldus de Longe ” 
 was one of those who were opposed to the usurpation of “ Henry 
 de Bolingbroke,” since he describes the commencement of that 
 King’s reign as a “conquest ”—a reign commenced in violence— 
 instead of a legitimate accession. Presented by Mr. Richard 
 Johnson, Fellow of St. Paul’s College, Sydney. 
 
 1363. Ancient Grant of Land, 11 pro Jiomagio et servitio ,” written (in 
 Latin) on vellum, in a style similar to the foregoing. It was made 
 in the Thirteenth Year of the reign of King Edward the First, and 
 is yet in a very perfect state of preservation. It is a grant made 
 by Richard de la Knolle de Habschate (with the free and full 
 consent of Alianore his wife) to Radulfus de Couschate, of cer¬ 
 tain lands and tenements in the hamlet of Couschate, formerly held 
 by Cecilia, the mother of the said Radulfus. It was executed in 
 the presence of several witnesses, whose names are especially 
 mentioned. “ Given at Waverley (apud Waverleiam ) on the day 
 of the Assumption of the Blessed Virgin Mary (15th August) a.d. 
 1285. This elaborately engrossed and most interesting document 
 was presented to the Sydney University Museum, by Mr. Richard 
 Johnson, Fellow of St. Paul’s College, Sydney. 
 
 F. Cunninohame AND Co, Steam Machine Printers, 186 Pitt Street, Sydney. 
 
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