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VxAt CONTENTS OF VOLUME XI, 1896.
No. i. JANUARY— MARCH.
PAGE.
by RICHARD NORTON, 1 ll.-PAPERS OF THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS,
I. INSCRIPTIONS FROM THE ARGIVE HERAEUM,
by RUFUS B. RICHARDSON, 42 ARCHAEOLOGICAL NEWS.
AFRICA. (N. Africa, S. Africa, Algeria, Egypt, Nubia, Tripoli, Tunisia); ASIA (Arabia, Asia Minor, Assyria, Babylonia, Kypros, Persia, Philis- tia, Syria),
by A. L. FROTHINGHAM, JR., and ALLAN MARQUANP, 62
No. 2. APRIL— JUNE.
1 . -PIN A X A US A THEN,
by PAUL WOLTERS, 145 II.— HAVHOTI5,
by PAUL WOLTERS, 147 111.— GROTESQUE FIGURINE,
by HKNRY W. HAYNES, 150
IV.— PAPERS OF THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT A THENS,
I.— THE GYMNASIUM AT ERETRIA,
by RUFUS B. RICHARDSON, 152
ll.-SCULPTURES FROM THE GYMNASIUM AT ERETRIA,
by RUFUS B. RICHARDSON, 165
III.— INSCRIPTIONS FROM THE GYMNASIUM AT ERETRIA,
by RUFUS B. RICHARDSON and T. W. HEERMANCE, 173 NOTES.
Note from Corinth, by T. D. SEYMOUR, 196
Note from. Italy, by A. L. FROTHINGHAM, JR., 197
ARCHAEOLOGICAL NEWS.
EUROPE (Greece, Greek Islands, Krete, Italy, Sardinia, Sicily),
by A. L. FROTHINGHAM, JR., and ALLAN MARQUAND, 205
No. 3. JULY— SEPTEMBER.
l.-PAPERS OF THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT A THENS.
1.— EXCAVATION OF THE THEATRE AT ERETRIA IN ' 18!)5,
by T. W. HEERMANCE, 317
II.— FRAGMENT GF A DATED PANATHENA1C AMPHORA FROM THE GYMNASIUM AT ERETRIA,
by T. W. HEERMANCE, 331 II— THE DIMENSIONS OF THE ATHENA PARTHENOS,
by ANNA LOUISE PERRY, 335 III.— NOTE ON THE DIMENSIONS OF THE ATHENA PARTHENOS,
by ALFRED EMERSON, 346 IV.— BRONZE- RELIEFS FROM THE ACROPOLIS OF ATHENS,
by PAUL WOLTERS, 350
CONTENTS. t iii
NECROLOGY.
Johannes Overbeck, by WALTER MILLER. 361
NOTES.
Note from Corinth, . . •. by RUFUS B. RICHARDSON, 371
ARCHAEOLOGICAL NEWS.
AFRICA (Abyssinia, Algeria, Egypt, Tunisia) ; ASIA (Arabia, Asia Minor, Elam, Kypros, Palestine, Syria, Turkestan); EUROPE (Austria-Hun- gary, Belgium, Bulgaria, Prance, Germany, Great Britain, Greece, Greek Islands, Holland, Italy, Krete, Russia, Sicily, Spain, Turkey),
by A. L. FROTHINGHAM, JR., 373
No. 4. OCTOBER— DECEMBER.
1.-PAPERS OF THE ARCHAEOLOGICAL INSTITUTE OF AMERICA,
I.-REPORT OF THE EXPEDITION OF THE INSTITUTE TO CRETE,
by FEDERICO HALBHERR, 525 II. -INSCRIPTIONS FROM VARIOUS CRETAN CITIES,
by FEDKRICO HALBHERR, 539* II I.— CHRISTIAN INSCRIPTIONS,
by FEDERICO HALBHERR, 502
PLATES,
PAGES.
I. The Theatre at Eretria, 317-331
II. The East Parados and Paraskenion of the Theatre at Eretria, . . . 317-331 III. The West Half of the Scaenae Fron's and Proskenion of the Theatre
at Eretria, . 317-331
FIGURES.
PAGES.
1- 16. Vases by Andokides, 1
17. Stele from the Argive Heraeum, 42
18. Pinax from Athens, • . . . 145
19. Vase from the Campana Collection, 148
20. Vase from Lokris, 149
21. Grotesque Terracotta Figurine from Capua, 150
22- 24. The Gymnasium at Eretria, • • 152-165
25- 29. Sculptures from the Gymnasium at Eretria, 165-172
30. Stelae showing Inscriptions from Eretria, 173-195
31. Marble Basis from Eretria, . .- 319
32. Masons' Marks from Eretria, 322
33. Fragment of a Panathenaic Amphora from Eretria, 322
34- 39. Bronze Reliefs from the Acropolis at Athens, 350-360
40. Johannes Overbeck, 361
41. Plan of the Baths at the Villa Rustica, Boscoreale, 478
42-132. Inscriptions from Various Cretan Cities, 539-691
132-146. Christian Inscriptions, 601-613
iv CONTENTS.
ALPHABETICAL TABLE.
PAGES, AMERICAN SCHOOL OF CLASICAL STUDIES AT ATHENS, PAPERS OF:
i. Inscriptions from the Argive Heraeum, 22
II. The Gymnasium at Eretria, 152
in. Sculptures from the Gymnasium at Eretria,* 165
, iv. Inscriptions from the Gymnasium at Eretria, . . 173
v. Excavations of the Theatre at Eretria in 1895, 317
vi. Fragment of a Dated Panathenaic Amphora from the Gymnas- ium at Eretria, 331
ARCHAEOLOGICAL DISCOVERIES AND INVESTIGATIONS:
Abyssinia, 395 Greek Islands, 251,442
Africa, N., 76 Holland, 504
Africa, S., . 76 Italy, 257,297,467
Algeria, 86, 401 Krete, 256, 449
Arabia, 110,401 Kypros, 136,442
Asia Minor, 125, 41 4 Nubia, 74
Assyria, 107 Palestine, 123, 413
Austria-Hungary, .... 606 Persia, 92
Babylonia, 93, 406 Philistia, 125
Belgium, 503 Eussia, 511
Bulgaria, 507 Sardinia, 294
Egypt 62, 373 Sicily, 294, 484
Elam, 405 Spain 502
Europe,, 424 Syria, 120, 410
France, ... 490 Tripoli, 77
Germany, 505 Tunisia, 78, 396
Great Britain, ., 513 Turkestan, 404
Greece, 205, 427 Turkey, 509
EMERSON (Alfred). Note on the Dimensions of the Athena Parthenos, . 346 FROTHINGHAM (A. L., Jr.). Archaeological News,. . . 62-144, 205-316, 373-524
Note from Italy, 197
HALBHERR (Federico). Report on the Expedition of the Institute to Crete, 525
Inscriptions from Various Cretan Cities, 539
Christian Inscriptions, 602
HAYNES (Henry W.). Grotesque Figurine, 150
HEERMANCE (T. W.). Inscriptions from the Gymnasium at Eretria, . . 173
Excavation of the Theatre at Eretria, 317
Fragment of a dated Panathenaic Amphora from the Gymnasium at
Eretria, 331
MARQUAND (Allan). Archaeological News 62-144, 205-316
MILLER (Walter). Johannes Overbeck, . 361
NORTON (Richard). Andokides, 1
PERRY (Anna Louise). The Dimensions of the Athena Parthenos, .. . . 335 RICHARDSON (Rufus B.) Inscriptions from the Argive Heraeum, .... 42
The Gymnasium at Eretria, 152
Inscriptions from the Gymnasium at Eretria, 173
Note from Corinth, 371
WOLTERS (Paul). Pinax from Athens, 145
'HATHOTIS, .'.... 147
Bronze Reliefs from the Acropolis at Athens, 350
AMERICAN JOURNAL OF ARCHAEOLOGY.
Vol. XI. JANUARY-MARCH, !8g6. No. i.
AXDOKIDES.
Of all the vase-painters who were at work in Athens in and about the year 525 B. c., Andokides is one of the most interest- ing. Part of this interest is due to the fact that he seems never to have been careless in his work ; so that although his figures are often out of drawing, and always show a power of observation stronger than his power of correct delineation, still his work as a wrhole is thoroughly good. Another source of interest lies in the fact that he lived at the period when the black-figured ware was going out of fashion and a new style with red figures was taking its place. Andokides did not, however, at once give up the old manner for the new, and we find several vases signed by him, on one side of which is a black-figured picture, while on the other is a red-figured one. He evidently thought both the black and the red forms of decoration were good, and so tried to give his vases an added charm by combining the two styles. The same idea is shown on much later vases, though in these the black decoration has a secondary importance.1
Klein, in the second edition of his Griechischen Vasen mit Meis- tersignaturen, enumerates six vases2 signed by Andokides. Other students have, however, attributed to him other vases on the strength of the similarity in style between them and the signed
1 Monumenti Inediti dell' Institute Archeologico, xr, PI. 19. GERHARD, Auser- lesene Vasenbilder, 269, 28-r>. JAHN, Beschreibung d. Vasensammlung in Munchen, 411.
* Five amphoras and one kylix.
RICHARD NORTO.V.
FIG. 1. — OBVERSE OF AMPHORA BY ANDOKIDKS — LOUVRE^.
A NDOKIDES
FIG. 2. — KKV KHSK OF AMPHORA BY ANDOKIDKS — LOUVKK.
4 RICHARD NORTON.
ones.3 Klein himself in a single instance attempted to do this. I have not .seen the vase itself which he considers to be by Ando- kides, but, to judge from the plate which he quotes,4 the vase bears but very little resemblance to the master's signed work.5
Owing to the kindness of Professor Furtwaengler, I am now enabled to add several vases to the number of those which, if not actually by Andokides, are at least intimately connected with him. In style they agree absolutely with his signed work ; but when one remembers the extreme conventionality of the vase- painting in this early time, a conventionality that controlled even the smallest details, and further our ignorance of the cus- toms of the potters' guild (if one may use the term) in ancient times, it becomes manifest that we can, with safety, only say that these vases show his style and came probably from his workshop. Whether they are actually by him or not, is another question, and one of but secondary importance. The general questions of where and when they were made, and what currents of thought they make manifest, are the important problems to solve. The name of the potter is not of the slightest value. Whether it be Andokides or another it means absolutely nothing to us, for we know nothing about him. An algebraic equation would do quite as well. The very lack of signature on work that is so exactly similar to vases that he did sign is curious. Is it not possible that pupils and assistants were the makers of the unsigned vases? To whomever they are due, such a statement as Klein makes:6 " Von den schwarz- und rothfigurigen Amphoren gehort ihm auch der grosste Theil der unsignirten," is unproved and misleading.
Before beginning the discussion of the vases, I will add a few notes to Klein. His No. I7 has since been published in the
3 FURTWAENGLER, Archdologische Zeitung, 1881, p. 301 ; also in ROSCHER'S Lexi- kon d. Oriech. Mythologie, I, 2196, 1. 58, 2205, 1. 51. HATJSER, Jahrbuch d. k. d. arch. Inst., 1893, p. 100, note. WALTERS, Catalogue of Black-figured Vases in the British Museum, 193.
4 NOEL DESVERGERS, L'Etrurie et les Etrusques, PI. 9.
5 Of this vase, Six in the Gazette Archeologique, 1888, p. 196, says: ': un vase quo M. Klein attribue, a tort a mon avis, a Andokides."
6 Griech. Vasen mit Meistersian., 2d ed., p. 188. Cf. his Euphronios, p. 36, note. 1 Griech. Vasen mit Meistersign., p. 189.
AND OK IDES.
PIG. 3. — OBVERSE OF AMPHORA BY ANDOKIDES — MADRID.
RICHARD NORTON.
FIG. 4. — RKVKRSK OF AMPHORA HY ANDOKIDES — MADRID.
ANDOKIDKS. 7
catalogue of the Burlington Fine-Arts Club, 1888, No. 108 is here drawn from photographs.
His No. 2 is here given in half-tone (Figs. 1 and 2).
His No. 3, now in Madrid (Figs. 3 and 4). The verb in the inscription has the form erroWev, not eVoteo-ei/. Cf. Arch. Am., 1893, p. 9.
His No. 5 is here drawn from photographs (Figs. 5 and 6). It is not true that the lyre-player " sitzt auf einem Stuhl." He stands upright (Fig. 6).
No. 6. Published with plate by Scheider in the Jahrbuch d. k. d. arch. Inst., 1889, p. 195, Taf. 4.
The vase which Andokides seems to have made oftenest is the amphora of the form8 that prevailed in Greece at this period, and all the vases to which I shall call attention are of this type. His style, as is always the case with an artist whose work is bound rather closely by conventionalities, can be learned better from looking at the reproductions of his vases than by a description. His chief characteristics are considerable freedom of composition, great delicacy in drawing, and great wealth of detail.
No. 1. The first vase which I will mention is in the British Museum (Figs. 7 and 8). There is little to be added to the description in the catalogue,9 but it may be well to point out, more in detail than is done there, the similarity of this vase to the signed work of Andokides. To begin with, if the Athena be compared with the Athena on the Berlin vase,10 (Fig. 10) the similarity between the two will be seen to be very great. The drawing of the figure, as a whole, with the clothes following exactly the outline of the body, with but a few straight lines to indi- cate folds at the bottom, is the same in both, and also the same as on one of the signed vases in the Louvre.11 Further, the rich decoration of her chiton is such as occurs on all the signed vases. The hel- met is of the Attic form, which Andokides used only for Athena. To other figures he gave the Korinthian helmet. The figure is unfortunately not completely preserved. The middle part of the
8FuRTWAENGLER, Berliner Vasensammlung, Taf. IV, 35.
9 Cat. of the Black-figured Vases in the Brit. Mus., No. 193. 10 GERHARD, Trinkschalen u. Gefasse i. d. Mus. zu Berlin, Taf. xix. HKLKiN, Griech. Vasen mit Meistersign . , p. 190, 5.
RICHARD NORTON.
FIG. 5. — OBVERSE OF AMPHORA BY ANDOKIDES — LOUVRE.
body, from the breast to the middle of the thigh, including the right hand and wrist and left arm, has been restored. The left hand may have held something — a flower, perhaps, as on the signed Louvre vase. There is no telling what form the regis had, for the Berlin and Louvre vases show two dissimilar and fantastic forms, while on the similar unsigned vases we find others. The manner in which the hair of Herakles and lolaos is painted, with slightly raised little lumps of black, occurs also on the Berlin
ANDOtflDES.
FIG. 6. — REVERSE OF AMPHORA BY ANDOKIDKS — LOUVRE.
vase. Further, although Andokides was not the only vase- painter who used the form of sword-scabbard such as lolaos here has, still it is the one that occurs almost exclusively on his vases. The overlaying of white and purple paint is another characteristic of the work of Andokides.
This overlaying of red paint on the early red-figured vases is interesting, as showing how the Greek potters did not at first grasp the full force of their new invention, and so often painted details
10
RICHARD NORTON.
FIG. 7.— OBVKRSE OF AMI>HOKA IN THE STYLE OF ANDOKIDES — BRITISH MUSEUM.
FIG. 8.— REVKRSEOK AMPHORA IN THK STYLE OF ANDOKIDES — BRITISH MUSEUM.
ANDOKIDES.
11
FIG. 9. — OBVKRSE OF AMPHORA BY ANDOKIDES — BERLIN.
FIG. 10. — REVERSE OK AMPHORA UY ANDOKIDES — BERLIN.
12 RICHARD NORTON.
of their work in the way they had been used to paint them on black- figured vases. Another illustration of the same fact is shown by an amphora12 in Munich. On one side is a black-figured scene of heroes playing with pessi Between them stands Athena. On the other side is a red-figured Dionysiac scene. The figures in this latter scene have the round eyes of black-figured work; but what is to be particularly noticed is that most of the main out- lines of the scene are incised. The artist evidently was so used to black-figured work that he did not realize that red-figured work did away with the necessity of engraved outlines. Another point that illustrates the misconception of the possibilities of the red-figured technique by the potters who first practised it, is that there are vases on which the inner markings of the figures (some- times all, sometimes only part) are scratched (one can scarcely say incised) by some dull tool. The kylix in Munich, signed by Phin- tias,13 is such a vase. Another is a fine amphora in Munich.14 It belongs to the black and red-figured class. On the black-figured side Herakles, attended by lolaos, mounts a chariot. At the horses' heads stands Hermes. On the red-figured side Dionysoa lies on a K\ivri attended by a maenad and a satyr. The names of all the figures are engraved, and also the inscription 'ITTTTO- Kpdrris tcaXds. The maenad is the figure to be noticed, for the upper part of the chiton is covered by dull incised lines carefully drawn from neck to waist, reminding one of the archaic female statues in Athens.15
A careful search in any large vase collection would undoubt- edly reveal many more such instances as those above noted.
To return to the discussion of the British Museum vase. As i& pointed out in the catalogue, the manner in which Ilerakles holds the lion (Fig. 7) is, apparently, quite a new invention of the artistr
12jAHN, Cat. d. Vasensamm. in Munchen, 375. The vase is carelessly drawn. 13 See KLEIN, op. cit., p. 192. HAKTWIG, Grieck. Meistersc/talen, p. 169.
14 JAHN, 373. One archaeologist to whom I showed this vase frit convinced that it was by Andokides. To my eye the drawing is not good enough for him (note the breasts of the maenad) ; nor is the detail rich enough, nor the type of face such, as he and his assistants (?) drew. Why attribute all vases that are more or less alike to one man ?
15 Cf. also Munich, 373, 374. 378, 410, on which the dresses and bodies in part are so marked.
ANDOKIDES. 18
derived perhaps from the common type of Herakles throwing the boar down on Eurystheus. An unknown predecessor of Ando- kides seems to have had the same idea as to the way in which Herakles threw the lion, for he has represented the beast lying on his back, while the hero, throttling him with one hand, pounds him with the club.16
But it is this very divergence from the hackneyed type of the scene, this attempt to give new life to a composition which be- came tiresome through incessant repetition, that stamps this vase more certainly than any quantity of technical details could do as being the work of Andokides or his school. I shall recur to this characteristic of his vases again, and it ought to be borne clearly in mind.
The scene on the other side of the vase, of two heroes playing with pessi (Fig. 8), looks as though it were but a reworking of the group on a well-known vase by Exekias.17 The marked similarity between the two scenes need not make us believe that one artist was intimately connected with the other. Granted that this com- position was part of the stock in trade of the vase-painters of the transition period (a fact which is absolutely certain), an artist with the technique of Andokides would, if he undertook to draw the scene, of necessity produce much the same picture as Exekias.
It appears, then, that the pictures on this vase agree with the work of Andokides in regard to both form and details; and that, further, the most striking mark of his work — a confidence in his powers of delineation which led him to break free from the bonds of convention — is clearly visible. No one can doubt that the statement in the British Museum catalogue is correct : that the vase is in the style of Andokides. It is either by him or some one working under him.
No. 2. This amphora, of the same type as the others, is in the Louvre (Figs. 11 and 12). On the black-figured side (Fig. 11) is Dionysos in white chiton and striped and dotted himation, which is drawn under the right arm and thrown back over the left shoulder. He stands to the right. He is crowned with ivy and holds in his left hand a conventionalized vine with bunches
"GERHARD, Auserl. Vasenb., Taf. 94. "Wiener Vorlegeblatier, 1888. Taf. vi, 1.
14
RICHARD XOKTON.
FIG. 11. — OBVERSE OF AMPHORA IN THK STYLE OF ANDOKIDES — LOUVRE.
of grapes thereon. In his right hand he holds a kantharos, which an ivy-crowned maenad, clad in the same way as Dionysos, but with black and dotted chiton, tills from an oinochoe in her right hand. Following her comes a bearded and ivy-crowned satyr carrying a wine-skin over his left shoulder. Dionysos is followed by two similar satyrs, of whom the first one plays a lyre. He also has a bit of drapery over his left shoulder. The one behind plays with krotala.
On the red-figured side (Fig. 12), on the right, Kerberos, with two heads, a snake rising from the forehead of each, and a snake- tail stands to the left, under a conventionalized Doric building. Herakles, clad in short tunic and lion's skin, armed with bow, quiver and sword, stoops towards the dog. He holds a chain in his left hand, while he stretches out his right with a petting gesture.
ANDOKIDES.
15
FIG. 12. — KEVERSE OF AMPHORA IN THE STYLK OF ANDOKIDES — LOUVRE.
Between the two is a tree, against which leans Herakles' club. Behind Herakles stands, to the right, Athena, clad in a richly- decorated Ionic chiton. She wears an aegis without gorgoneion, and an Attic helmet, and she carries a spear in her right hand; she stretches her left towards the hero.
In technique this vase agrees perfectly with those by Andoki- des. The Athena is almost a replica of the figure on the British Museum vase, and consequently bears a similar relationship to the Athenas on the signed vases. The most noticeable characteristic of the figure of Herakles is the attempt of the artist to render a natural attitude — an attempt which is in large degree successful.18
18 A similar representation of the scene is mentioned by FURTWAENGLER as being in the Apparat d. Berl. Mus., Mappe, 12, 10. See KOSCHER'S Lexifcon, I, 2205, 1. 50. The same scene on a black-figured amphora in Moscow (see Jahrbuch d. k. d. Arch. Inst. zu Berlin, 1898, pp. 156-7) shows Andokides' superiority to his predecessors.
16 RICHARD NORTON.
This attempt to reproduce more natural and more complicated attitudes than his predecessors had succeeded in representing is the most distinctive, though not the most noticeable, characteristic of Andokides. The peculiarities of his technique, though they resemble those of other artists, are his most noticeable charac- teristic, and are likely to blind one to the real interest of his work, which lies in the fact that he shows on almost every vase that is certainly by him an endeavor to attain a greater freedom, be it in subject or treatment, than that of his predecessors. We have noticed this in the Herakles scene on the British Museum vase, and it is very marked on the signed amphoras. On the Berlin vase the groups of athletes (Fig. 9) with their intermingled and fore- shortened bodies, and the figures of hares in place of the usual palmettos under the handles, and on one of the Louvre vases the swimming girls show clearly the direction of his artistic endeavor.
The black-figured scene on this vase is less well drawn than any of the signed work, and in this respect is similar to the un- signed vase in Bologna of which I shall speak later. The satyrs are of the same type (with long hair and horses' ears) as those on the signed vases at Madrid and Castle Ashby, though in the lat- ter case their hair is cut short. This similarity, however, is not evidence for or against the vase being the work of Andoki- des, because it was the usual type at this time. The bad draw- ing is, on the contrary, distinctly against such an origin. The drawing of the muscles of the satyrs is quite different from that of Andokides, and worse than his, though his is none too good. The most marked difference occurs in the drawing of the stomach muscles. On the vase under consideration they are done* in a manner at once hasty, conventional and incorrect. On the Mad- rid and Castle Ashby vases, Andokides has indicated them with a general accuracy, and has also suggested the ribs, which the artist of this vase fails to do. Further, Andokides, on the signed vases just referred to, shows more or less knowledge of the articu- lation of the knee ; whereas the artist of this vase draws it in two different and equally bad ways. Similar bad drawing is shown in the two principal figures of Dionysos and the Maenad. Both of them are wooden and lifeless, and remind one of the figures on earlier black-figured vases ; while in the drapery of neither is
ANDOKIDES. 17
Andokides's love of delicate ornament and fine folds visible. In fact, this black-figured picture and the one on the Bologna vase described below do not agree in style with the work of Andokides. The red-figured scenes on the same vases agree much better. It is quite possible that he made both the vases, but it is equally possible that some underling made them in his shop.
No. 3.19 This vase, an amphora like all the others, is in Bo- logna (Figs. 13 and 14). On the red-figured side Dionysos, with long locks and hair bound by a fillet, stands to the right (Fig. 13). He wears an Ionic chiton covered with small dots and an hima- tion with round spots, each surrounded by a circle of dots. In his left hand he holds a branch of grapevine on which are bunches of grapes — the outlines being incised, as is the hair of the figures. In his right hand he has a kantharos. Towards him steps a maenad clad in Ionic chiton decorated with crosses and half maeanders. Over her head she has a hood of the same stuff. A chlamys ornamented with dots and crosses hangs on her shoul- der; the ends, one crossing her breast and one her back, are thrown over her right arm, which she holds toward her face, as though smelling the flower in her hand. In her left hand she carries a lyre. She wears large earrings with pendants and a necklace. Behind each of these figures is a satyr with a fillet in his long hair. The one on the left plays a flute, which he holds in his right hand, while he has another in his left. The one on the right holds his right hand open and slightly outstretched, his left clenched and at his side.
On the black-figured side Herakles, in cuirass and short tunic, with sword at side, strides to the right, grasping the Nemean lion in his arms (Fig. 14). The lion stands on his hind legs and has a dotted mane. Behind this group is lolaos, dressed in the same way as his master. He too has a sword. Both his arms are bent at the elbows; in his right hand he holds the club of Herakles resting on his shoulder; in his left the bow. In front of the group is Athena, striding to the right. She is clad in a long ornamented chiton, and is armed with spear, helmet
19 Mentioned by FURTWAENGLER in KOSCHER'S Lex., I, 2196, 1. 68. I am told by Dr. Fried. Hauser, of Stuttgart, that there is a capital drawing of it in the Apparat des Rom. Inst.
18
RICHARD NORTON.
13.— OBVERSE OF AMPHORA IN STYLE OF ANDOKIDES— BOLOGNA,
ANDOKIDES.
19
FIG. 14. — REVERSE OF AMPHORA IN STYLE OF ANDOKIDES — BOLOGNA.
20 RICHARD NORTON.
and shield. The symbol on the latter is a lion's head. She turns her head .to look at the fight.
At the first glance one sees that this vase belongs to the same set as the others, and a minute examination brings convinction that, if not by Andokides himself, it is very probably the product of his shop. The satyrs are of the same type that we have seen before on these vases ; and if the drawing of their knees seems hardly good enough for Andokides, still the freedom with which the figures are drawn, and the general naturalness of their attitudes, are eminently in his spirit. Further, the draperies of the two central figures on the red-figured side, with their rich and delicately drawn patterns, the fine folds and the manner in which they follow the outline of the figure, are exactly correspond- ent to the draperies on the signed vases. The maenad is, however, the figure which both as a whole and in every detail shows the spirit of Andokides. The freedom with which her body is bent at every joint distinguishes her from the work of the earlier vase painters, such as Amasis and Exekias, as clearly as it shows the same feeling for naturalism that Andokides shows in his swimming girls, in the capital foreshortening of the Athena on the Berlin vase, or the figures standing by the lyre-player on the Louvre vase. As I have said before, it is this, in great measure successful, attempt to make his accuracy of hand equal his sharp- ness of vision that distinguishes Andokides from other potters of his time. The visual comparison between this figure and the two maenads by Amasis20 shows this more clearly than wordspcan. Beyond this general similarity there is a further one of detailsBThe gesture of holding a flower occurs on the Berlin vase and twice, on one of the Louvre vases. It is, however, a gesture so common that its occurrence on this vase is hardly more than negative evi- dence in favor of the theory that the vase is by Andokides. The way, however, in which the further side of the maenad's chiton is shown at the bottom, is a characteristic which is, I believe, confined to Andokides and his school. It occurs on all the signed vases on which there are figures in chitons, and is another indication of the artist's attempt at naturalism. Still further evidence is afforded by the earring, made of a large circle of gold (?) with
20 Wiener Vorlegebl., 1889. Taf. in, 2.
ANDOKIDES. 21
heavy pendants. This and similar large forms occur several times on the signed vases.21 Similar earrings were used by Amasis to deck out his figures, but other artists at this time seem not to have used them.
It is such little details as this that mark tho individuality of Andokides, and show how he was striving to make his art a means of personal expression in preference to a mere conveyance for stereotyped, and hence lifeless, forms. If we -look at the signed vases (for, of course, we can argue from them alone, though all remarks of a general character that I make about them will be found to hold good of the unsigned vases as well), we see that he rarely repeated details. The figures of Athena are in both the instances where they occur considerably alike, but the artist shows his fancy and taste for variety in the differing forms of her fegis and in all the finer details of her dress. If we continue this comparison of the figures of Athena to the unsigned vases, the general similarity combined with differences of detail becomes more and more marked. This general likeness, and the stiffness which is strongly marked in her figure, may be due to the artist's feeling of reverence for the gods, and more particularly to his reverence for traditional religious symbols per se. The same stiff- ness, and a look of greater archaism than one sees in his human figures, are plain also in the figures of Dionysos. Although aim- ing to make his pictures as lifelike as possible, and doubtless sharing the common belief that gods and goddesses possessed human forms and appeared, as he depicted them, on earth among men, he yet was not entirely free of the feeling that an indescrib- able something of divinity rested in the statues themselves of the divinities which he worshipped, as his ancestors had done before him. And so when he came to draw these divinities, instead of lending them the life he did the other figures, he copied some statue — or at least repeated types which were originally derived from statues.22 There is no reason to doubt that a statue was the
21 Once on the Berlin vases and six or seven times (the photograph which I have of the vase does not allow me to be certain) on the signed " Amazon " vase in the Louvre.
22 Types exactly similar in general style to those of Andokides are of so frequent occurrence on the earlier vases that it is probable the feeling I have assumed was held by Andokides was common to the majority oi his countrymen.
22 RICHARD NORTON.
model for the Athena. That such types existed in sculpture at this time the figure of the goddess in the west pediment of the temple at Aegina shows — a figure which agrees almost perfectly with these figures on the vases. The head on the early Attic coins is also very similar, though the crest of the helmet naturally had to be altered to suit the shape of the coin. It is worth while noticing, however, that the helmet is of the Attic type (on the coins, without cheekpieces), which was the only one given Athena at this time. 'What adds strength to the belief that Andokides had some statue in his mind when he drew this figure, is the fact that, beyond the general similarity of the figures, the helmets, even down to the scrolls upon them, are almost copies one of another.
The same love of variety of detail is noticeable on the Amazon vase in the Louvre. Of the three Amazons, each one is differ- ently dressed from the other two, and on the other side of the vase no two of the swimmers are alike. So on the other vase in the Louvre, the two men who listen to the lyre-player are un- like in dress and gesture, while on the opposite side of the vase the two warriors differ from each other in every detail.
Turning now to the black-figured side of the Bologna vase, we notice the same poorness of work as compared with the red- figured side that we saw on the unsigned vase in the Louvre. The Athena is as ill-drawn a figure as could be found on a pan- Athenaic amphora. The drawing of the knees of lleraklcs and lolaos shows the same misunderstanding that is visible on the Louvre vase. The drawing of the feet and legs is also unusually bad. But together with all these dissimilarities to the certain work of Andokides, there are many similarities, such as the deli- cacy and detail of the drawing, the shape and decorations of the sword scabbard, the use of purple-red for the beards of the figures,2'5 and the foreshortenings of Athena's shield. The same conclusion that we formed in regard to the other unsigned vases is the best here — that the vase is not by Andokides himself, but was very probably produced under his direct supervision.
No. 4. The vase that now comes under consideration is in
13 My photograph of the vase does not allow me to be absolutely sure of this, but I think there is no doubt.
ANDOKIDES. 23
the Faina collection in Orvieto.24 Both sides are red-figured. On one Herakles, to the right, shoots an arrow at two Amazons who attack him. Behind him stands Athena turned to right. At his feet lies a third Amazon, who raises her hand, imploring mercy. A fourth, behind the first two, is wounded in the thigh and walks off to the right, turning, however, to look at the battle. Hera- kles is clad in a lion's skin, the fur of which is indicated by dots, and a short but gaily-patterned tunic. He is armed with bow, quiver and sword. Athena, armed with spear, helmet and shield (sign, a gorgoneion), seems almost a copy of the figure of the same" goddess on the signed vases.25 Of the Amazons, the one on the ground leans on her left arm and raises the right towards Hera- kles. She is armed with shield (sign, a flying bird and dots) and sword. She wears a short tunic covered with patterns — maean- ders, dots, stripes and rows of animals (?). Her hair is gathered to- gether in a dotted hood, and she wears large, round earrings. Of the two fighting Amazons, the farther one is armed with a Korin- thian helmet, the top decorated with a scale pattern, spear, shield (sign, rays) and greaves (edges ornamented). The nearer one has a short spotted tunic and her hair gathered into a hood. She has large earrings with three pendants, a necklace, and is armed with spear, sword and shield (sign, flying bird within a circle of dots). The wounded Amazon also has her hair in a hood(?) and is clad in a short dotted tunic with a dotted chlamys over her shoulders. She is armed with a bow.
On the other side of the vase Dionysos, bearded, stands to the right, playing a lyre. He wears an Ionic (?) chiton patterned with dots and crosses and an himation of the same pattern. Be- fore him stands " una donna [a maenad] (orecchini) che porta mi cantaro ed un' oenochoe."26 She is crowned with ivy(?), as are also the two bearded satyrs behind Dionysos. Both of these lat- ter have long hair, and one carries the other on his shoulders. The field of the design is filled by branches of grape-vine, on
"See Ann. dell' Instit., 1877, p. 133.
25 The photographs which I had taken of the vase are so extremely bad that it is impossible to be absolutely certain in regpect to some details.
26 I take the description of this figure from the Annali because I can make abso- lutely nothing of my photograph.
24 RICHARD NORTON.
which hang bunches of grapes, the outlines of which are incisedy and the single grapes made by little lumps of black. Whether the vine leaves are laid on with red paint, or made in true red- figured technique, I cannot tell.
As in the case of the other unsigned vases, one can see at once that this vase is closely connected with Andokides. The love of fine detail, the delicacy and accuracy of the drawing, the natural- ness and complication of the two scenes, is just what we have seen on his signed vases. Of the figures which compose the scene of Herakles and the Amazons, Athena is the only one who is stiff and awkward, — but this difference between her and the other figures I have already explained. In detail she seems to be precisely like the Athena on the Berlin vase ; the foreshortening of her shield (<?/. also that of the fallen Amazon) being a very noticeable point of similarity. But it is the bold way in which the artist did not hesitate to throw his figures together in any way that might make the scene seem vivid and lifelike, that stamps the vase with certainty as being either by Andokides himself or by a pupil of his. The way in which Herakles strides over the fallen Amazon, who, leaning on her left arm, raises her right hand towards the hero, is exactly similar, in the expression that it gives of a marked tendency towards naturalism of design, to the swim- ming girls on the Louvre vase and to the wrestlers on the amphora in Berlin. Very similar wounded figures occur on the signed kylix in Palermo, though in this case they are not quite so well drawn — probably owing to their small size. Other details beside the decorations of the dresses, that agree with the signed vases, are the earrings with their large form and elaborate decoration of pendants.27 Further, the sword scabbards are of just the form and decoration Andokides seems to have preferred,28 and the decorated greaves of one of the fighting Amazons can be partially matched tby those of one of tl\£ warriors on the signed Louvre vase. The difference in the way the Amazons are dressed and armed finds its counterpart in the Amazons on the Louvre vase.
27 Cf. signed " Amazon " vase in Louvre and Berlin vase.
28 Cf. Berlin and both signed Louvre vases. Their occurrence also invariably on the unsigned vases, which I have tried to show came from Andokides' workshop, adds probability but not proof to this vase having the same origin as the others.
ANDOKWES. 25
The variety in the way the figures on these vases are armed is very noticeable. It does not occur on the Palermo kylix, but there the small size of the vase, just as it led Andokides to be rather less elaborate in his drawing than on the amphoras, was also the cause, probably, of the lesser elaboration of detail. The two warriors on the signed Louvre vase are a good case in point. Except the two spears, not a single weapon or article of the one is like the corresponding weapon or article of the other. One warrior wears thigh-protectors, the other has none ; one has a round, the other a Boiotian shield ; one has a double crest on his Korinthian helmet, the other has a dog(?) or fox(?), whose tail forms the crest proper. And so on.
Helmets were an article on which Andokides seems to have enjoyed letting his imagination play. On the two signed Louvre vases there are three Korinthian helmets, each of which is differ- ent from the other two. A helmet with a dog on it occurs on" a vase by Amasis29 and on a much later red-figured vase,30 but it seems never to have been a common type, and the extra weight of the bronze animal would have made it impracticable for actual use. The type with double crests, such as the other warrior on the Louvre vase has, was common enough. It was known even as early as Homer's time,31 and occurs again and again on vases. There were, however, two or more ways of arranging these crests. Either they rose from the sides of the helmet, over the top, in converging curves like horns,32 or else they were arranged as on this vase, one in front and one behind, on the long axis of the helmet. Helbig does not acknowledge this arrangement, but says : " Diese letzten Darstellungsweise ist, wie es scheint, nur dadurch veranlasst, dass es sehr schwierig war, einer solchen Helm [one with the crests rising from the sides] in der Profil- ansicht zu deutlichen Ausdrucke zu bringen, da hierbei die dem Betrachter zunachst befindliche Rohre die andere deckte." There
29 Wiener Vorlegebl., 1889, in, 3b.
30 BA.UMKISTER, Denk. d. klass. Alterthums., abb. 5Q5=Bullet. arch. Napol.,i, Tav. 7.
81 See HKLBIG, Das Homerische Epos, p. 301.
82 HELBIG, fig. 105. Cf. fragment of vase by Nikosthenes, Wien. Vorlegebl., 1891, Taf. VI, 4b. Also amphora in Munich, No. 13 (Gerhard, Auserl. Vasenb., 114), and Munich, Nos. 579, 1333, 1295.
26 RICHARD NORTON.
are, however, two points that go against this view, at least so far as Andokides is concerned. The first is that he not only shows no signs of having been afraid to attempt to draw objects that were foreshortened, but, on the contrary, seems to have en- joyed doing so. Athena's shield and the athletes on the Berlin vase, the chariot on the Castle Ashby vase, the satyrs on the one in Madrid, or the swimming girls on the one in the Louvre, prove convincingly that Andokides was not afraid of the difficulties of his art. Furthermore, it is very risky, when dealing with the work of a man who drew as well as Andokides, to say that had he knowrn enough he would have represented objects in a manner different from that in which he has represented them. There is, however, another fact that is perhaps even more convinc- ing. Before thinking that Andokides made a mistake in his draw- ing, one must ask the question: Is there any reason to suppose that such a helmet did not exist? On the ground of balancing the helmet, this method of arranging the crests is just as practical, I believe, as arranging them like horns; and the only reason against it would be that it seems as though having.the tail of the crest hang- ing in front of his face must have been inconvenient to the warrior. But against this supposition may be brought two facts. The first is that the tail of the crest is rather short. The second is that, whether inconvenient or not, such a type occurs with a single crest. On the " Amazon " vase by Andokides, in the Louvre, between the feet of the horse, there is resting on the ground a Korinthian helmet, from the top of which rises an oval knob. In front of the knob is a horn-like object curving towards the front, to the top of which is fastened a crest (presumably of colored horsehair)33 which falls in front of the helmet. The oval knob must be, I think, to balance the weight of the crest and its sup- port. Whether this support was a real horn or merely made of metal we cannot tell with certainty, but it is safe to assume that if of metal it was meant to be an imitation of a horn. It has the shape of a horn, and in this differs from the usual crest support, which is of the same thickness from end to end and probably of rectangular section. Furthermore, horns were used as decora-
MSee HELBIG, op. cit., p. 109.
ANDOKIDES. 27
tion of helmets. Herodotos34 tells of a race who formed part of
Xerxes' host, and who had eirl <5e rrjcri Ke(f)a\fjat icpdvea
TT/OO? 8e TolcrL tcpdve<n (Srd re /cat tcepea 7rpocrr)y /3oo9 %a'X«:ea,
Se teal \d(f>oi. Such helmets as these, with crests and horns (but
without ears), occur on the famous vase fragment from Mykenai35
and on the Klazomenai sarcophagi.36
Another type of helmet which falls midway between the one with a single crest falling to the front and the one with two crests (each having its own support), one of which fails in front and one behind, is shown on a sarcophagus also from Klazomenai,37 on which a warrior is represented with a helmet, from the top of which rises a single horn-like support, from which depend two crests, one to the front and one to the back. Hence, although Helbig is probably right in thinking that some of the earliest painters may have represented helmet-crests which in reality, fell over the sides, as though they fell to the front and back, still there can be no doubt, I think, that this latter type existed.
The Dionysiac scene on the other side of the Orvieto vase is quite as markedly in the style of Andokides as the Herakles scene. The richly ornamented draperies worn by Dionysos, which cling close, showing the outline of his body, the numerous and fine folds and the long, hanging ends of his himation, are such as I have called attention to several times on the signed vases. The taste for variety of movement and complicated positions comes out well in the group of the two satyrs, one of whom carries the other on his shoulders.38 We may conclude, then, that this vase also was made at least by a pupil of, if not by, Andokides himself.
No. 5. This amphora is in Munich (N"o. 388). It belongs to the red and black-figured class.
y, 34vn, 76. Stein thinks they were the Pisidians. There is a lacuna in the text. Cf. statue of warrior from Delos, No. 247, in the Athens Museum.
^SCHLIKMAJN, Mycence and Tiryns, p. 133 With this fragment and the one represented on p. 130, <•/. Homer, //. x, 260 if.
MAntlke Denkmitler, U'd I, Hft. 4. Taf. 44-46. Cf black-figured amphora in Munich, No. 3.
31 Journ. of Hell. Studies, iv, PI. 31.
88 For similar groups see Journ. Hell. Stud., 1890, PI. 12. Roem. Mitt., 1891, p. 290 (Petorsen). Catalogue of Greek Vases in the Ashmolean Museum, PI.
28 RICHARD NORTON.
On the black-figured side Herakles, the lower part of his body draped in a black and red-striped robe covered with a star pat- tern, lies to the left on a klim under a grapevine. He is bearded and curly-haired, each curl being engraved. In front of the klim is a small table on which stands a kylix and food. Above Hera- kles hang his bow, quiver and sword. In front of him stands Athena (to right) armed with Attic helmet, aegis and spear, and clad in a striped (black and red) Doric chiton. She stretches her right hand towards Herakles. The aegis fits her like a cuirass. A line of interwoven snakes runs up her back, and also from her throat to her waist. This form of aegis is due to the artist's imperfect understanding of the limits of profile drawing. He wanted to show all the snakes which were on both edges of the aegis, and could have been seen only from in front, and so he drew them in this manner. It is simply another of the innumer- able instances in which the Greek artist represented part of a figure in full front and part in profile.
Behind Herakles stands (to right) a small, nude servant; his left hand hangs open by his side, his right is stretched over the top of a large deinos, which stands in front of him on an elabor- ately carved support. His hair is drawn in the same way as that of Herakles. Behind Athena is Hermes (to right) clad in dotted tunic with maeander border at neck and bottom ; also a striped (red and black) and dotted chlamys. Both arms are bent across his breast. He is bearded, his hair is long, one lock falling over his shoulder, and along his brow are little spiral curls.
On the red-figured side the scene is similar. Herakles lies (to left) on a richly decorated kline™ His himation, patterned with dots and crosses, covers him completely but for his right arm and
39 In Jahn's catalogue this figure is called Dionysos. This is surely a mistake, for such a type as this of Athena and Dionysos did not exist, and it is one of the typical ones for Athena and Herakles. (See GERHARD, Trinkschalen, Taf. c, 8. Of. also ROSCHER'S Lexikon d. Griech. und Roem. Myth., I, 2215) . It is true that none of Herakles' usual attributes are represented, but the artist may have thought that, as he had put them on the opposite side of the vase, they were not needed here. Furthermore, the figure has not the characteristics which Andokides gave Dionysos. On the vase in Madrid and the one in Castle Ashby he has long hair. So also on the unsigned Louvre and Bologna vases, and I think on the one in Or- vieto. Here, however, the hair is short, and in this and the red beard the hair agrees perfectly with the type of Herakles drawn by Andokides on the Berlin vase and with the type on the unsigned vases in London, Paris and Orvieto.
ANDOK1DES. 29
breast. lie is bearded (purple overlaid) and has a wreath of leaves (purple overlaid) in his hair. His left arm rests on a richly embroidered cushion, and in his left hand he holds a kantharos. His right hand clasps his raised right knee. Before the kline is a small table, on which are a kylix and various offerings of food. Over and about the kline a grape-vine stretches its branches. The leaves are made with purple paint overlaid. At the foot of the kline stands Athena clad in a Doric chiton (of a diaper pattern of crosses and dots), and armed with Attic helmet, spear and segis. She has a flower in her right hand, which she stretches towards Herakles. -
A superficial examination is quite sufficient to enable one to see that this vase is closely connected with Andokides and his school. There is the same delicacy of technique and richness of detail that characterize Andokides' work. But beyond this the similarity of certain figures and details on this vase to those on the signed vases can hardly be explained except by the supposi- tion that this and the signed vases were made in the same work- shop. The figure of Athena, for instance, is, but for the absence of the shield and the different form of the aegis, almost a duplicate of the Athena on the Berlin - vase. Her helmet, her face with queerly-drawn chin and mouth, her dress (note the way the further side shows between her feet), are as nearly alike as two things can be that are not absolute copies one of the other. Her gesture of holding the flower occurs again on the signed Louvre vase, and was, as I have already noted, a gesture frequently adopted by Andokides and his school. But if the likeness between the Athena on this vase and the figures of the same goddess on the signed amphoras is marked, it is still more noticeable between this and some of the other unsigned vases. But for a difference in size the Athena on the British Museum vase and the one on the Munich vase are almost absolute replicas of each other. The pattern of the dress is exactly the same, even in the way it stops at the knees. The bottom of the dress and the feet on one vase are almost indistinguishable from those on the other — even the decorations of the helmet repeat one another almost exactly. The figure of Athena on the unsigned Louvre vase can scarcely be differentiated from these other two. Naturally the comparison of
30 RICHARD NORTON.
one unsigned vase with another proves nothing as to their author- ship, and all I wish to show is that the reasons I adduce for con- necting one of these unsigned vases with Andokides hold good for all of them.
If, further, the figure of Ilerakles, particularly the head, be compared with the figures on the signed vases, the similarity of form and technique will be seen to be very marked. It is true that the freedom of composition and . search for naturalism of representation which I have attempted to show was Andokides' chief characteristic, is hardly noticeable on this vase, but there are traces of it in the manner in which Ilerakles' leg shows through the drapery, and in the folds of the himation about his arm and waist. But though less distinctly marked by the char- acteristics which distinguish the known work of Andokides than the other vases in our list, this vase belongs to the same class, that is to the vases made under his influence and probably his direct supervision, and which for all purposes of the broader study of ceramography may be considered together with his signed works. The fact that the vase shows less clearly than some others the special characteristics of Andokides does not invalidate this statement, for the works of any artist, even of one hampered by conventionalities and ignorance, vary from one another often very greatly.
The chief points to notice in the black-figured picture are the delicacy of drawing, and the fact that the scene is not as well drawn as the red-figured one — a difference that, as I have said above, occurs also on the Louvre and Bologna vases.
No. 6. This, the last vase to consider, is a red-figured am- phora, of which, unfortunately, only fragments remain.40 They are in the collection of Dr. Friedrick Hauser, in Stuttgart, to whom I owe the most sincere thanks for his great generosity in sending me and putting entirely at my disposal, his own draw- ings of them.
On one side of the vase is Herakles and the Nemean Lion.41 Athena and lolaos stand by. Herakles leans over to the right
*° Jahrbuch, 1893, p. 100, note 15.
41 The condition of the fragments does not allow a very detailed description of the
ANDOKIDES. 31
(grasping the lion around the body ?). Above him hang his bow and quiver. Behind Herakles stands Athena clad in an orna- mented chiton and segis and armed with Attic helmet and spear. Behind the lion is lolaos. He is bearded, has fillet in his hair, and holds Herakles's club, which is shown merely by an incised outline in the black background.
On the other side, on the left, a woman clad in chiton and himation, both of dotted pattern, stands to the right, talking with a hoplite. Behind him is a horseman, to the right, who wears an elaborate chlamys (the arrangement of which is not quite clear) and carries two spears. In front of and facing the horseman is a bowman in Scythian costume.
That this vase is closely related to the Andokides vases is clear, but I do not believe that it is by Andokides himself. If it is by him, it certainly falls far below the standard of his signed work. It is true that in the Herakles scene the Athena bears a marked resemblance to the figures of the same goddess on the Berlin and Louvre signed vases, but a close examination shows that this resemblance is not so great as it seems at first sight to be. As I have frequently said, the sureness, delicacy and abundance of de- tail of Andokides' drawing form one of his most marked charac- teristics. These qualities are all lacking in the fragment. The helmet crest, the snakes of the eegis and the feet are all drawn with an unsteady hand. The crest 'does not show the very delicate decoration that those of the Athenas on the signed vases, and even on the unsigned ones exhibit, but has instead a more clumsy stripe. Then the uncertain and irregular drawing of the patterns on the dress and of the scales on the segis is very different from the decisive, almost mechanical, work on the two signed vases. Further, to obviate the difficulty of making the quiver-strap and club red-figured, the artist painted the former with purple paint overlaid on the black background and merely incised the outline of the latter. The Louvre " Ama- zon " vase shows that Andokides was not troubled by such diffi- culties incident to the red-figured technique. The legs and feet of Herakles and lolaos are poorly drawn, and the head of the lat- ter is not at all of the same type as that found on the signed vases ; the mouth, nose, eyes, in fact every part, including the way the hair is made, by little dots of overlaid purple, are different.
32 RICHARD NORTON.
On the other side of the vase the same general similarity to Andokides' work is visible, but also the same unlikeness. The figure on the left looks like figures by Andokides, but differs, just like the Athena, from the signed figures in being badly drawn. If any figure with a spotted chiton by Andokides be compared with this one, the irregularity and clumsiness of the pattern on the fragment will at once be seen to be in marked contrast to the extremely careful work of the master. The same criticism holds good in regard to the bowman. Of the horse it is difficult to speak, there is so little of him left ; but I think he is a rather more thin-necked, flat-chested type than Andokides drew. But as a horse occurs only once on the signed vases, it is almost quite useless to endeavor to draw any deductions from the way he is drawn.
In neither of the pictures is there any sign of an endeavor on the part of the artist to attain any realism of representation, such as I have tried to point out on the signed vases. Taken all in all, we may safely conclude that the artist of the fragments was not Andokides, but was of the same period and probably influ- enced by him — perhaps was one of his assistants.
ir.
The study of these vases in their detailed aspect suggests one or two problems of a general but important character which need to be considered. One of these is the date at which Andokides lived, another is the origin of the red-figured technique.
The first of these can be settled with comparative accuracy. Loeschcke ^ has pointed out the similarity in style between the basreliefs of the middle part of the sixth century B. c. and the vases of Exekias and his contemporaries. Further, among the rubbish used by Kimon to build up the Akropolis in Athens, after its burning by the Persians, have been found vase fragments of the styles of Exekias and Epiktetos, and some of even more ad- vanced red-figured work than that of the latter master. Hence the Andokides and other vases of the transition period must be set several years earlier than the Persian Wars. Just how many
nAthen. Mitth., IT, 289 f. Taf. n.
ANDOKIDES. 33
years it is impossible to say. Hartwig, however, has shown good reason to believe that the beginning of the activity of Euphronios was about 500 B. c.43 Hence, if we allow twenty-five or thirty years for the advances in power of drawing, etc., which 'distinguish vases of transition period from those of the still hampered, but notwith- standing much freer, style of Euphronios and his contemporaries, we shall probably not be far wrong. Still another bit of evidence is to be derived from an inscription discovered on the Akropolis,44 which reads : N 770-^8779 Kepa/j,evs pe ical 'A.v8oKiSr)<s avedrjfcev. That this Andokides was the vase painter whose works we have been studying, there seems no reason to doubt, for the inscriptions found on the Akropolis show that it was a not uncommon event for the vase painters to set up an offering to the goddess.45 The inscrip- tion belongs to the latter half of the sixth century B. c. From all this evidence we get tolerably certain evidence as to where Ando- kides lived and are also able to date him very accurately.
Bearing in mind, now, -when and where Andokides worked, it will be well to see what relation his work bears to that of his predecessors. Klein ^ says of his work : " Exekias blickt als Vorbild iiberall durch, so dass die Vermuthung er ware sein Lehrer gewesen, sehr nahe liegt. Schon die Gefassformen und die betractlichen Dimensionen erinnern an ihn." The idea ex- pressed in the second sentence is manifestly valueless in the dis- cussion. The shape of amphora used by Andokides was a devel- opment from earlier forms and was in common use in his day. Exekias neither invented it, nor was he the sole user of it in the generation preceding Andokides. Finally, .of the four anaphoras that are signed by Exekias, only one has the form used by Ando- kides. Further, no argument lies in the fact that of the five amphoras signed by Andokides, four of them happen to be of a size that corresponds to certain vases we have by Exekias. The number of signed vases we have by either master is altogether too
43 HARTWIG, Die Griechischen Meisterschalen, p. 1 ff. "CIA. 393. Jahrbuch, n (1887), p. 145.
45 Dedicatory inscriptions have been found, besides the one quoted, of Nearchos, Kriton and Euphronios. See STUDNICZKA in the Jahrbuch, 1889, p. 135 ff. In relation to Athena as patron goddess of potters, see PRELLER, Griechische Mytholo- gie, 4th ed., I, p. 222.
46 Griech. Vasen mit Meistersig., p. 188.
34 RICHARD NORTON.
small for us to argue in this way. And is it credible that an artist as original as Andokides should have been so influenced by his master (whoever he may have been) as to prefer to m:il<c vases of the same size as the master had made them ?
As a matter of fact, it is a hopeless task to try to solve the question of the absolute relation of Andokides to his predeces- sors. In the work of Andokides (and much more so in that of the earlier artists) the full expression of the personality of the man was so hampered by ignorance of drawing and by conventionali- ties of one sort and another that to attempt to build, on the very weak foundation of our present knowledge, a genealogical tree of the art-family to which this artist belonged, would 'be a futile task. When one remembers the extreme conventionality of the drawing of all the artists at this time, and that the likenesses in the work of any body of artists who have only half mastered their art, who are in the stage where they cannot express what they will, but only what they have learned howr, are always much more marked than in the work of men who have completely mastered it, one will be chary of such theories as Klein's. Klein may be right ; but then, again, he may not be. There can be little doubt that Andokides knewr the work of Exekias, but there is abso- lutely no proof that the earlier potter was the master of the later one. There are, of course, similarities in the work of the two men, but they are similarities of convention rather than true simi- larities of style. Besides, there is another artist to whose work the vases by Andokides bear quite as much resemblance. This artist is Amasis.
As I have said, one of the chief characteristics of Andokides is his liking for great variety of detail. Now, this same variety occurs on the vases by Amasis more than on those by Exekias. I have mentioned the earrings worn by the Amazons and swimming maidens on the Louvre vase as occurring on a vase by Amasis.47 Then the helmets on the Amasis vases are of as many different forms as on the Andokides vases. Helmets with double or single
47 Wien. Vorlegebl., 1889, Taf. in, 2.
ANDOKWES. 3")
crests, helmets with animals for erests,4s helmets of the Korinthian and Attic type, Attic helmets with high or low crests occur on the vases of both. The contrast between this variety and the dull repetition of the same shaped helmets on vases by Exekias,49 is very noticeable. Or compare the great variety of shield symbols chosen by Amasis t50 and the dull blnnkness of shields by Exekias.51 Then the great variety of dress patterns on the Andokides vases is much more nearly equalled by the Amasis than by the Exekias figures. Another little point to notice is the very neat way in which Amasis draws the overlapping folds at the bottom (gener- ally) of short chitons. They are folded so as to make a zig-zag line with sharp points, something like the teeth of a saw:"'2 This also occurs on the Andokides vases.53 These are all little details and may or may not mean anything. They allow us to conclude, however, that, leaving the insoluble question of master and pupil aside, the vases by Andokides bear more resemblance to those by Amasis than to those of any other of the earlier vase painters.
The second question, that as to the origin of the red-figured technique, is one that is not so easy to solve. I cannot see, how- ever, that there is any ground for certain of the theories that have been propounded. In the first place, there is no reason for any theory in regard to the matter. The use of the red-figured tech- nique had no development, in the proper sense of the word, and,
48 On an amphora in the British Museum (B, 209). LOESCHKE (Arch. Zfg., 1881, p. 31, note 9) tried to prove this vase to be by Exekias. His first argument relative to the inscriptions is scarcely credible. It is (in part) that the word Amasis is the name of one of the servants, but that : •' Einen zweiten fiir einen Aethiopen passen- den Namen kannte der ungenannte Verfertiger der Vase nicht und schrieb deshalK sinnlose Zeichen " ! Exekias's knowledge can hardly have been so limited. His second argument, that the technique looks more like that of Exekias than that of Amasis, has force.
Mr. Cecil Smith follows this view (Cf. Wiener Vorlegebl., 1889 ; Verzeichniss d. Tafeln. Taf. in, 3), but adds evidence in regard to the style. I do not quite see the force of his argument about the use of H in the inscription, for if it does not occur elsewhere on Amasis vases, no more does it on those by Exekias.
NOTE. — Since the above was written, Mr. Cecil Smith wrote relative to my remark : " That is so ; but since Exekias is certainly a later artist than Amasis, he is less unlikely to have used H than Amasis ; of course it is not saying much."
«9 Wien. Vorlegebl., 1888. Taf. vi, vn.
50 Wien. Vorlegebl., 1889, in, 2 c. 51M, 1888, vn, 1 c, 1 d.
52 Wien. Vorlegebl., 1889, Taf. iv, 4b.
53 u "Warrior » Vase in Louvre ; Berlin and Palermo vases.
36 RICHARD NORTON.
owing to the nature of things, could have had none. There is no intermediate stage possible between making vases with black figures on a red background and vases with red figures on a black background.54 The idea must have come to some vase- painter all at once. To theorise as to who this vase-painter was or about the original cause of his ideas is quite useless. The only point on which to theorise is : when were red-figured vases first made? and this question the excavations on the Akropolis have answered with an accuracy that cannot be more than a decade or two wrong.
Klein'" propounds the theory that the red-figured technique was developed from the gorgoneion on the inside of kylixes. As I have said above, there is no development in the red-figured technique. Moreover, this is a theory based upon a mere supposition and not on any fact. Such theories delay rather than advance knowledge. Not only this, but even if one looks at the matter from Klein's point of view, the facts go directly against him. If the gorgoneion suggested red-figured technique (be it remembered that the gorgoneion is in the red-figured technique, so how it can have suggested it is difficult to understand), how does it happen that of all the kylixes which show both techniques together only one57 has the inner picture red-figured with the outer black-figured. It might quite as well have been " devel- oped" from the outline heads that occur on the kylixes by Her- m jgenes, Takonides or the other painters of this class.
The believers in Klein's theory might say that, the exterior being the most important part of the vase, the new invention was tried on that part first. This, on grounds of common sense,
64 It might be thought that drawing the figures in outline, merely leaving the uncolored clay as background, would be an intermediate stage. This, however, w >uld be a different technique, and as no such work has ever been found, it is useless to discuss the point.
When, after writing the above, I was in London, Mr. Cecil Smith showed me a fragment, found in Naukratis, in the very technique which I have said had never been found. This broken bit shows parts of two figures — a satyr grasping a maenad around the waist. Mr. Cecil Smith knew of no other case but this one. This fragment is, of course, of great value and interest, but is scarcely of weight enough to alter the general truth of my statement.
55 Euphronios, p. 32 ff.
58 Kylix by Epilykos in the Louvre.
ANDOK1DES. 37
would be unlikely, for the artist would hardly have practised new methods at the risk of ruining his wares. Further, it would have to be proved that the exterior was the most important part of the vase — a difficult task until we know just how much the kylixes were put to real use and how much they were ornamental.
Hartwig57 has propounded another theory; he says : " Es hat alien Anschein, dass Epiktet geradezu als der Erfinder dieser so iiberaus wichtigen Neuerung gel ten darf. Jedenfalls erhielt die Malerie mit rothen Figuren durch ihn und seine Genossen ihre erste Ausbildung." The latter part of this passage is, of course, true, but the statement that Epiktetos was the inventor of the red-figured technique is a pure theory. We know that the tech- nique began in his time, but it is quite impossible to prove that any particular man invented it; and if we could, the fact would have but the slightest interest, for these vase-painters are mere names to us.
If, however, we search for what may be considered the first appearance of the red-figured technique, it is perhaps to be found in the vases with black background, over which the design is painted, generally in Avhite or red.58 Six says39 that his convic- tion is : " que les premiers essais de cette categorie sont anterieurs aux figures rouges et qu' ils out peut-etre ete en quelque chose dans cette nouvelle invention." Any one who reads his article and considers for a moment what he points out, that an enor- mous quantity of black-figured vases have their designs enlivened in part by red or other colors, being overlaid on parts of the de- sign, and who remembers, further, that the whole tendency of Greek art, at the beginning of the fifth century B. c., was towards naturalism, will share this conviction rather than accede to theories such as that of Klein. For this naturalism was only to be got by making the figures light against a dark background, because so long as we see by means of light, those designs are the clearest in which the masses are light and the details dark, rather than vice versa. That is to say, an outline drawing is more easily understood than a silhouette. The only difficulty for the Greek vase-painter was
57 Die Griechischen Meisterschalen, p. 12.
58 Six, Vases Polychromes sur Fond noir, Gaz. Arch., 1888, 193 ff. and 281 ff.
59 p. 194.
38 RICHARD NORTON.
to lay the black varnish smoothly around the design. Vet this difficulty made no appreciable delay in the history of red-figured vases. For though some of the vases mentioned by Six are slightly earlier than any red-figured vases, yet this " polychrome " form of vase decoration does not seem to have existed at all by itself. It nev^r, that is to say, formed an intermediate stage be- tween the black-figured and red-figured techniques. Further, these polychrome vases prove what I said above, that there is no development possible from the black-figured to the red- figured technique, for these " polychrome " vases belong truly to the red-figured class. Who the artist was who first realized the fact that more truth to nature was possible with the red than with the black figures, we shall probably never know, but that the idea must have come to him full-fledged is clear. The only question that can have arisen in his mind -was, whether it would be better to paint the designs over the black or to leave them the ground •color and draw the black background up to them. This second method, as being the most thorough and satisfactory, was natu- rally the one the Greeks followed.
NOTE I. — Since writing the above I have seen photographs of two other amphoras which deserve notice because of their like- ness to those I have mentioned above. One of them is in the Bourgignon collection in Xaples (Figs. 15 and 16). It is exactly the same in general appearance as the other amphoras. Its chief peculiarities are that the same scene (two warriors playing with pessi) occurs on both sides, and that one side is in black-figured • while the other is in red-figured technique. The similarity be- tween these two scenes and the one representing the same subject on the vase in the British Museum is very striking, and perhaps the only reason (though I do not feel sure that that is a valid .one) for not believing the vase to be by Andokides is the lack of sig- nature and the weakness of imagination shown in not changing the subject on the two sides. In all details the vase (so far as one can judge by a not very good photograph) agrees perfectly with the work of Andokides— it shows the same love of orna- ment and the same accuracy of drawing, while the differences in action and dress of the two black-figured warriors and the two
ANDOKIDES. 39
red-figured ones remind one of Andokides' realistic tendencies. If the vase is not by the master, it is by one of his best pupils.
For my knowledge of the second vase I am much indebted to Mr. Cecil Smith, in whose own words it is best described. I have seen only an extremely minute photograph of it, and can merely say that it is undoubtedly in the style of Andokides; more than this I cannot say. This makes little difference, how- ever, for Mr. Cecil Smith himself would say no more, I believe, than that the vase is intimately connected with Andokides' work. His description is as follows : —
" Private collection in Northumberland. Amphora. Usual Andokides form, with faces of handles decorated with ivy leaf pattern, b. f. Ht. 1 ft. 8 in. Sale- Catalogue de Bammeville, Chris- tie & Manson, 1854, May 13, No. 40; probably the same as is described in Bull, dell' Inst., 1842, p. 187; see Jahn, Vasens. zu Miitichen. Einleitg., note 494; and Klein, Euphron.,2 p. 36, note 1. Broken, but apparently complete. A is partly repainted over breaks. Both sides in panels. Net pattern on each side ; above, chain of palmette and bud ; under, same inverted. Below two purple lines continuous all round. Round foot rays. In B purple leaves, lines on bow-case, jowl of lionskin, cord of bull, one sybene, and taenia; the purple on the jowl is scored with incised lines, which are elaborate throughout. Beard in raised dots, black on black, and edge of hair incised.
"A. Black-figured. Herakles with Cretan Ball. Herakles (bearded, short chiton, lionskin with tail looped up in girdle, bow, quiver and sword, all at waist) carrying club over right shoulder ; moves to right, driving bull by a cord fastened around horns. In his left he holds the cord and also a sacrificial torch ; from the biceps of this arm hang two sybene, one colored purple. From the horns of the bull hang elaborate fillets, and its tail is very care- fully plaited. It is evidently the typical bull of sacrifice. Its neck is marked Vertically with parallel wavy lines, alternately incised and purple. In background, beside bull, a tree.
"B. Red-figured. The same identically."
NOTE II. — Since writing the above article, Dr. Hauser has published in the Jahrbach d. k. d. Arch. Inst., 1895, p. 151 f.,
40
RICHARD NORTON.
\
FIG. 15. — OBVERSE OF AMPHORA IN STYLE OF ANDOKIDES — NAPLES.
certain fragments of a kylix in the Munich collection which he attributes to Andokides. I agree entirely with what Dr. Hauser says, and would merely emphasize the fact that the various ways used to represent one object, as, for instance, the hair, and the variety of position and action of the figures represented by the artist of the fragments, are the characteristics which I have en- deavored to show constitute the chief points of difference between Andokides and other vase-painters of his time.
Owing to the kindness of Professor Marquand, my attention has been called to an amphora published by Percy Gardner in the Catalogue of the Greek Vases in the Ashmolean Museum, p. 10, No. 212, PI. 2. Although bearing a certain resemblance to Andoki- des' work, a close study of the vase will show, I believe, that it was
ANDOKIDES.
41
7
FIG. 16. — KEVERSE OF AMPHORA IN STYLE OF ANDOKIDES — NAPLES.
not made by Andokides. The carelessness of part of the drawing (the Doric column), the lack of firm accuracy of line (Herakles' feet, the horses' legs, etc.}, the want of care and fineness in detail (Athena's dress, the dress of the man in white, the lappets of the tunic of the warrior in white at the horses' heads, etc.), and finally the bad drawing of parts (the horses' heads, etc.), and the differ- ence in facial type between the figures and those on the signed vases show another master than Andokides. The vase is, how- ever, of great interest, as showing .the similarities in the work of contemporary artists induced by a knowledge of technique in- sufficient to allow the artist to express himself with complete free- dom and forcing him to adopt certain conventionalities.
RICHARD NORTON.
PAPERS OP THE AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS.
INSCRIPTIONS FROM THE ARGIVE HERAEUM.
The inscriptions here given are intended as a continuation of those published in this JOURNAL, Vol. rx, p. 351 ff., by Professor J. R. Wheeler. No. xvi is the inscription which he intended to publish under the designation, No. xn. These are all now in the Central Museum at Athens. The fragments of stamped tiles given at the end of the article are supplementary to those already published by me in the same issue of the JOURNAL, p. 340 ft.
XII.
This inscription holds the first place in importance among all the inscriptions on stone hitherto found at the Heraeum, both be- cause it is undoubtedly the oldest and because it is so preserved that it may be read entirely. It is cut in a massive block of limestone which formed the upper part of the stele, the shape of which is so peculiar that a cut of it is here given, Its
Fio. 1. — STELE FROM THE ARGIVE HERAEUM.
dimensions are : thickness, .28 m. ; height, from apex to the 42
INSCRIPTIONS FROM THE AROIVE HER A BUM. 43
break at the bottom, .44 m.; height at right side, .37 m.; at left, .34 m. ; breadth, .39 m. Below the inscription there is a rec- tangular depression .22 m. wide and .005 m. deep. The letters vary in height from .012 m. to .02 m. There is great irregularity in the spacing of the letters as well as in the direction of the Jines, where the irregularity seems almost affected. For example lines 4 and 6 turn and run down the edge of the stele at right angles to the direction of the rest of the inscription, apparently not from the desire to avoid breaking a word, for this was surely done at the end of line 2, if not at the end of line 1.
The stone was brought to the Central Museum from Argos in the winter of 1893-94 with several others mentioned by Professor Wheeler as lying at Argos. Whether it was found in the exca- vations of 1892 or of 1893 I am not able at present to ascertain, but as it was apparently not seen by Professor Wheeler, I infer that it was found at the close of the work in 1893, after he had made up his inventory. I am also uninformed as to the exact spot of its discovery.
A i T< . f-A \K \ I BC i"£ I- A M O -IPX A <z
iv R rA h I Q & '-t> v/v\ A
JZPAfl/QVf' o
a crrdXa : ical 6 i\apa [r]a<? ["HJ/oa? : ra? 'Apye [i]a? ; lapo/Jivd/jiove^ • roiSe "Tppa\t(ov : Ay/iav? : apprjreve
; 'Tpvddtos
a?
The surface of the stone is slightly chipped at both edges. Room is found in this battered space for B at the beginning of • line 1, but at the end there is no room for the N which might be
44 PAPERS OF THE SCHOOL AT ATHENS.
expected. Neither can this N find a place at the beginning of line 2, where there is only room for I. The rough breathing, B was apparently not used before lapos as is seen by the clear case of lapo/jivdfji,ove<;, line 3.1 At the beginning of line 3, I must have been crowded in, since the diphthong is used in the very oldest inscriptions.2 In line 4 the first letter may be TT, as all traces of horizontal lines, except of the top one, are doubtful. The fourth letter is almost certainly F, as the surface is smooth where the right-hand limb of a TT would naturally appear.* Furthermore, if such a limb had the length which it has in ITa^vXa?, line 7, it would have run into the A immediately below it. Hvppa\i(av is a not unattractive conjecture, as a diminutive from Ilvpa\k, a kind of bird, which in Hesychius is written Hvppa\fc, where the second rho seems to point to an original digamma. Xeither "TppaXtav nor HvppaXicov appears to be known'.
In line 7, 'Ayu<£t'/c[/3iT]o<? would be a natural suggestion, but there seem to be reasonably clear traces of an omicron, as well as of the other two letters which have been included in brackets.
There are many interesting peculiarities of form in the letters of the inscription. The most striking is the second omicron of lapo/jLvd/j,ovc<j, line 3.4 It is evident at a glance that even apart from this omicron, which is probably an accident, we have an inscription venerable for its antiquity. E=r), o=co, [-—\, indeed run on in Argos to the end of the 5th century. But we find besides these usages 0=8, P— p, V-u, <X>=</>, B = rough breath- ing, the digamma, and perhaps, more important than all these, the punctuation of the words with three dots in perpendicular
1 For /op6s as &\f/i\6v in D.iric, see AHREXS, Dint. Dor. § 4. 3.
2 ROHL. IGA. 33,42.
3 The only other possibility, since gamma has the form A. line 2.
4 This would pass without question for a simple error of the stonecutter, but for the fact that an inscription connected with the frieze of the treasury of the Cnidians at Delphi, which probably belongs to the 6th century B. c , has three omicrons, all crossed in the same way. M. Homolle, who had already pronounced in favor of an Argive artist for this frieze on the ground of the Argive lambda in the inscription, was inclined to see in this crossed omicron of our inscription a corroboration of his view. But since a careful scrutiny of all the other omicrons of our inscription fails to discover any cross marks, the interpretation of this one case as the survival of an Argive peculiarity seerns precari.-us
INSCRIPTIONS FROM THE ARGIVE HERAEUM. 45
lines.5 It may be added that M and N show very oblique lines in place of the later perpendicular ones. In the former letter the middle lines in several cases fail to meet at the bottom. Alpha also, which in the main looks tolerably late, has in one or two cases the cross bar quite far from horizontal. Forms like Av/xai/96, also, and HavtyvXas7 look old. In view of all these features it would seem rash to put our inscription much, if any, later than 500 B. c.
The dialect is Argive Doric, pure and simple. The names Alkamenes and Aristodamos have also a good Doric ring to them.
The contents of the inscription is a list of four Hieromnemons, one from each tribe, the name of which is appended. 'lepo/Avrffjioves was the usual name for the board having charge of temple affairs, not merely at Delphi, where the usage is perhaps best known, but in many other places as well. For the Heraeum it is seen also in Xo. XVI and in Wheeler's article, Nos. IV and IX. The inscription is interesting as alffbrding the earliest mention of the names of the four Doric tribes. These are sufficiently well attested in later times for Argos and for various Doric communi- ties connected with Argos.8. The editors of the inscription in the Bulletin de Correspondance Hellenique, vol. rx, p, 350 remark: " Jusqu' ici les inscriptions du Peloponnese qui donnaient les noms des tribus argiennes dataient toutes de 1' epoque imperiale ; il y a quelque interet a les retrouver dans un document qui remonte, selon toute vraisemblance au mme siecle avant notre
5 We have become accustomed to find this method of punctuation in some of our very oldest pieces which are best known, e.g. ROHL, CIA. Nos. 5, 37, 41, 42 (these last three from Argos), 68, 119 (Olympia bronze), 321, 322 (Galaxidhi bronzes).
6 AHRENS, Dial. Dor. \ 14 puts this retention of the combination vs as a pecu- liarity of Argos and Crete. Tipvvs is a case in which it has survived to the present time (cf. KtJHNKR-BLASS, Grammatik, I, p. 257).
7 In the Argive inscription given by FOUCART in LE BAS, Peloponnese, No. 116b a <f>v\a T£I> Ha^v\av (Foucart, Ilafj.(f>6\ai> ! !), we have this form instead of the later form in os. Unless all single signs of age in alphabetic forms are illusive our inscription must be at the very least a half a century earlier than the one published by LE BAS, Voyage Archeologique, n, 3l, No. 1, and put by him in 417 B. c. Of this we shall speak later.
8 GILBERT, Oriech. Staatsalter., n, p. 77, and the references there given. Also BCH. ix, p. 350; v, p. 217 (Kos); vni, p. 29 (Kalymnos).
46 PAPERS OF THE SCHOOL AT ATHENS.
ere." But our inscription is at least two centuries older than the one in question.
The Hyrnethians are not s > frequently mentioned as the other three tribes, and are regarded as a later addition to these original three tribes,9 the name indicating perhaps an incorporation of a non-Doric element10 into the community, a fact \vhich was con- cealed under the myth of Hyruetho, the daughter of Temenos, marrying Deiphontes. But the addition of the Hyrnethians can- not have been very late, for o:ir inscription shows them in such good and regular standing that they are n<> even relegated to the last place in the catalogue, as is the c:ise in the inscription just mentioned.
To the name of the Hieromnemon who is mentioned first is appended the word apprjreve. By good fortune this very word without the digamma is preserved in Le Bas, Voyage Archeologtque, No. 1, of the inscriptions from Asia Minor (SGD.) 327711. The passage runs as follows : ap^reve AeW /ScoXd? a-evrepas. Le Bas translates : " etait pretre du second senat," and adds the follow- ing comment: 'A/a^reue, qui, bien qu'il manque dans tons les lex- iques, se deduit tres-bien du meme radical qu' aprjTqp et apijreipa^ regardes tous deux jusqu' ici comme exclusivement usites dans le dialecte ionien." l2
In an inscription of the Hellenistic period from Mycenae, pub- lished by Tsountas in the ' E^/iie/oi? 'A/3%cuoA,o7£/c?7, 1887, p. 156, lines 4 and 5, are given apia-reve. Sa/juopywv Ae\<£iW. The face of the stone is very much defaced so that certainty is hardly attain- able, but Tsountas is now convinced that the real reading is not
9 STKPH. BYZ. s. v. AV/J.O.V : — tf>v\T] Awpituv . Ijffav 5t rpets 'TXXets KCU
Kal Ay/uaw ^£ 'Hpa/cX^ous, icai irpoaertdr) rj 'TpvyOta w's "E<£opos d. It is worth noting that in the inscription given in KABBADIAS, Fouilles d' Epidaure, No. 234, of the latter part of the 3d century, in a list of 151 Megarian names, only Hylleis, Pamphyloi and Dymanes appear. Perhaps the Hyrnethioi had not been added in Megara. The old triple division appears in HEROD, v. 68. Some would find it also in Awpi&s rpix<iiK^, HOM. Od. xix, 177.
10 ROSCHER, Lex. Myth., p. 982.
11 This inscription from Smyrna, which records a favorable verdict of the Argives for the Kimolians in an arbitration between them and the Melians, must have been transported from Kimolos by some ship carrying Kimolian earth to Smyrna. See LE BAS, ibid.
12 Voyage Arch., n, 3*, p. 6.
INSCRIPTIONS FROM THE ARO1VE HERAEUM. 47
but apijreve. The eta is to be sure in this case very broad. Dr. A. Wilhelm, who decides that this alone can be the reading, reinforces it by the consideration that in the prescript of another edict published with this one, we have aprjr, which oan only be restored as apr/reve.
In all these cases one might be tempted to connect the word with the stem f/oe,13 and make it designate the " speaker," or in other words the chairman of a board. We may then think of Hyralion as the president of the board of Hierornnemons.
The word re\ap<i>v or TeXa^tw, line 1, is difficult of explanation. We have come to associate the word with Caryatids and Atlantes, but it is almost certain that this association will not hold here. We shall probably come to the proper explanation by taking as our starting point an inscription from Varna (CIG. n, 2056), at the end of which the following provision is made : TOV Se lepojroiov avaypd-frai TO tyrjffua-fAa TOVTO et? TeXa/iwm, KOI delvai et? TO iepdv. With this may be associated another from Mesambria (CIG. 2053b), which closes with a like provision : TOV 8e ra^iav avaypd-^ravra TO •v^-T^toT/.a TOVTO et<? Te\a/j,a)va Xevrcov \idov avadepev ei? TO lepbv TOV 'ATroXXcovo?. One can hardly hesitate to say that T€\afAo>v here appears to be the equivalent in Thrace for CTT^XT? in Attica, where the latter word occurs constantly in the phrase prescribing the setting up of inscriptions, a phrase which except for this difference is exactly the same as in the two inscriptions cited. But our inscription mentions O-T^\TJ and TeXa/iow as two separate things, so that we have not yet arrived at a complete explanation. The case seems at first sight to be complicated somewhat by a third inscription from the same region as the first, and now preserved in the Museum at Odessa (CIG. 2056d), where the phrase is: [avaypd^ai ek a-^Ti]\rjv \evtcov \idov [/cat] ava[6elv(u avTrjv eVt TeXaJ/icow?. The inscription then proceeds to speak of [TO avd\o)^a et'<? Tr)V\avddecriv TOV TeXa/iwyo?.14 It is this inscription which leads us to the light. TeXa/At6y is restored to its function as a support in a way which fits our inscription very well. In regions where marble was scarce one may well sup- pose that an inscribed marble stele might be inserted into a larger
13 Cf. Fpdrpa, ROEHL, IQA. Nos. 110, 112.
14 There seems to be no reasonable doubt that the readings given are the correct ones, although much depends on restoration.
48 PAPERS OF THE SCHOOL AT ATHENS.
local stone, which might then not inaptly be called a It must be conceded that CIG. 2053b, where the reXapaiv itself is of marble, affords difficulty. But it may be that even with the origin of- the word ve\aiJL<i>v as here proposed, the two words come to be us.ed in some quarters interchangeably.
It will be seen by the cut, p. 42, that something was inserted into our massive block. There are dowel-holes on the right and left at the top of the rectangular depression to which probably two others at the bottom, now broken off, corresponded. The one at the left measures .07 m.X-02m., the one at the right .06 m.X-02 m. ; both about .03 rn. deep. These probably served to receive metallic dowels, inasmuch as they are provided with little channels for pouring in the lead when the inserted object was in situ, the channel on the left running obliquely to the upper corner of the depression, and that at the right running hori- zontally to the edge of the depression. Besides the dowel-holes there is an equally deep irregularly round hole about .12 m.x .07 m., which may also have served to hold some strengthening dowel. That the insertion was original, and not connected with some subsequent use of the block, is proved by the fact that the lines of the inscription are shaped with regard to it, coming in around it to the right and to the left. The object inserted cannot have been a statue, nor a stele to which this block served as a horizontal base, for in that case this inscription would have been hidden from view, except to one standing so as to read it side- ways or bottom upwards. Probably we have the Te\ap,(i>v into which was inserted a stele either of marble or bronze with an inscription of greater length and importance than the one which we have here. This served merely as a bill-head to the real contents of the inscription. It should be noted that at Argos marble was not at hand, and that most of the inscriptions found there, including all here given except No. XVII, were cut in the local limestone which was a most unsatisfactory material. The veins of the stone and the cracks which come with age reduce one who will now read them to absolute despair.15 In this case even at a very early date a good piece of marble may have been imported for an important inscription.
15 No. XVI is a good example of this difficulty of reading, although the surface is not badly broken.
INSCRIPTIONS FROM THE ARGIVE HERAEUM.
49
XIII.
Found in the West Building, close to the wall at the s. w. corner, April 2, 1894. The stone is irregularly broken with an inscribed surface about .31 m. X.12 m., and is about .12 m. thick. The letters are .005 m. — .007 rn. high, very regular, and remark- ably well preserved. They have no ornamentation except that the strokes are generally broadened a little at the end. The inscription may belong to the third century, but probably to the fourth, and is a fine example of careful cutting.16 1 Q4> E A I Q 3 Q K P AT :> Q K P A T T E A A E A A 5 ANQIAAAG SQ T H P I A A I SjY N ET A N T 0 I . -QIBIONSQKPA A<t>POAITIANAAM
10
VIOSXIQNAAPXEKP
15
20
SQKPATElAN<t>IAQTI T AO ft N A N A Y A P X 0 S .. MOSQUNEIANNIKOI ...^TOKPATEIANEPIKPA ....ONQEPSIQNAAI<i>C
... NAN4>IAOKPATEIAPA/ .... ANEPIKAHSAIFQNYS
...... AAMOSOENHSAIFfiN
SYPAPAIONIS ....... NAPI5TOre \I5KE
....... KETOSKAE i 0 A I 5
25 .. ....... I A N
16 Yet the first alpha in Na&ipxos, line 14, has no cross-bar which makes the words look like ' A.ya6tl>vav Atfapx0*, an impossible combination. The first epsilon in in the next line also lacks the middle stroke.
50 PAPERS OF THE SCHOOL AT ATHENS.
TeXXea A 'Av0iSa Ao
Tot.
10
Motr^i Hurray <l>iX&m<? Ho ^wfcpdr ['A'Ka^ 15
Qepcricov <&i\oKpdreia IlaX
20
........ i/ 'A/Jio-T07roXt9 Ke
........ K€TO<? KX€[o7r]oXt?
......... crav 'A
25 ......... tXw
We have here simply a list of names, some in the nominative and some in the accusative. On the left where the original edge of the stone is preserved we seem to have an accusative at the beginning of each line. The first case in which we get two con- secutive names, line 12, the second name is in the nominative. In line 14 it is the same, and so on apparently to the end. We do not find an opportunity to test whether the third name is an accusative, thus making a regular alternation until we reach line 21. This line, however, is peculiar in having a little blank space each side of the preserved letters. It is possible that before ^vpa an accusative stood, separated by an interval slightly larger than usual. Haiovfc (which has a space after it for more than two let-
INSCRIPTIONS FROM THE ARGIVE HERAEUM. 51
ters) is doubtless an epithet of Su/aa, and so does not break the alternation. Line 23 is the only one which seems to do this, since -/cero? is probably the ending of a name in the nominative; and KXeoVoXi? which follows seems to be a second name in the nominative. It is also difficult to get a name short enough to precede J/eero?, supposing this were the ending of an accusative, when only seven letters in all are lacking.
The inscription may be a record of emancipation of slaves, with the slaves' names in the accusative and the owners' names in the nominative. In such documents, at Delphi and elsewhere, women's names generally outnumber men's names by more than two to one,17 In this list the proportion of women's names is even larger.
While some of the names are unusual, none of them are strange enough to be remarkable. 'flfaX&ov is interesting as occurring again in different shape in No. XIV. It is perhaps a favorite in Argolis, as it appears in SGD. 3269, 3341, 3401.
The persistence of the digamma in Ai/rtw^ucr, which occurs twice, and the Doric ending a for the first declension names, show some retention of old style, and caution us against assign- ing too late a date to the inscription.
XIV.
Found towards the close of the excavations of 1894, with no exact record as to the spot. Of irregular shape, about .40 m. long and .19 m. broad, .08 m. thick. Letters of the same size as those of No. XIII, .005 m. — .007 m. and almost of the same form.18 The surface is so badly worn away that but little can be made of the inscription, and that little only on the left side.
Only a few proper names result from the most careful scrutiny, hardly enough to make it profitable to add a transcription in small letters. Since the differences between the letters of this inscription and those of No. XIII were at first hardly discernible, and since this stone had no original edge preserved, it seemed as if it might belong to the same inscription. The
11 SMITH, Diet, of Antiq., n, 61b.
18 M is somewhat broader with the upright bars more perpendicular. O is some- what smaller.
52 PAPERS OF THE SCHOOL AT ATHENS.
1 N A 5 M I A I M
O K OS A Y ... OS
A APXEMAX
AM/vEIAA <t>IA
5 APISTOPOAIS NAYPAIA-
AAAKQAYA TOA
A A I P I ATM S
10 PAT E Y
A<l> A H :> E
5 Q 5 T P A ~ ' A P I T A . API A Y 5 I 5 15 A T A Q Q
KAHPOPA P
x i r n A n
KAEIAAOKA
nnos KAEO
20 ON04>EIAA
^H5 KAEO..AIAA A/ P I- I M . . . A M Y
N APAXNAS 1 va<f Mi
a
a 4>tXeia A
'Ap«TT07roXt5 Nat/7rXta a Aa/cto Au . . a . . . . roX a
ar?;
10 par ew
'E
Xa/otra '
INSCRIPTIONS FROM THE ARGIVE HERAEUM. 53
15
K\€L$a '
20 0V 'O<£eXX[lW
vys KXeofVoJXtSa
thickness of the stone would not be an insuperable objection, as both fragments are extremely uneven at the back. Furthermore while most of the names which can be made out with certainty are in the nominative, we have "Kapira in line 13 and an accusa- tive ending apparently at the beginning of line 20. Even the two consecutive nominatives in line 5, which may be regarded as certain, although this is one of the most worn places of the stone, are paralleled in No. XIII as we have seen. Some of the names are also the same, as ' ApiaroTroXis (5), 'AydQwv (15), perhaps KXeoVoXt? (19, 21), and in different form 'O<£eXXtW (20).
But even the slight differences in the letters mentioned above taken together with the different thickness of the stones make it safer to treat the two pieces as belonging to different inscriptions.
We seem to have genitives also in this inscription as — wvos (2) 'Apa^ra? (23) J/cXetSa (18). Of these, however, only the last seems reasonably certain, as the first may be — oi>o9, a nominative ending, and in 23 we may have 'Apd%va followed by a name beginning with 2.
Line 22 which shows several letters at the beginning hard to combine into any proper name may contain something else than names, but this is doubtful. After this line there is space for another, which was left blank.
XV.
A small irregular piece .07 m. from top to bottom, .18 m.wide, of about the same thickness as No. XIV. The letters also are identical, so that in spite of different weathering19 it is not
19 This piece is so reddened that it seems at some time to have been exposed to fire.
54 PAPERS OF THE SCHOOL AT ATHENS.
unlikely that it formed a part of the same inscription. It was found at the close of the work in 1894. A small piece of the surface at the right, about .04 m. square, is now detached. But the two fragments fit so perfectly that there is no doubt that they
belong together.
K E i
\KIONAPI ..... I M A X <HAQNIAAN<I>I ..... '0 PISTANANOIP
N
] Xo Tiia-rav
v in line 2 is suggested by the same name in XIV. 3, although the space is rather scanty for so many letters. The two compounds in ITTTTO? are matched by the two in XIV. 17, 19. litcrrav occurs in XIII. 12.
XVI.
Brought with others from Argos to the Central Museum at Athens in the winter of 1893-94, with no notice concerning the exact spot of finding. This was to have been Wheeler's No. XII. The stone is very streaked limestone, .11 m. thick, irregularly broken. The greatest length of inscribed surface from top to bottom, .30 m. ; greatest breadth, .23 m. It is not finished off evenly at the top, where the heading shows that we have the original edge. The letters are .01 m. high. A remarkable feature is that in the top line where the stone is chipped off the letters are cut down into the breaks along the edge.
1 MNAMONESHPASOIEI
API5TOKPATH3 TIMAfOPOY T E OS THMENIAA3 TYEYSANTA3 EIS AYTOYS
INSCRIPTIONS FROM THE AROIVE HERAEUM.
55
5 A A
A
10 T N N <I>
15 A
20
P K E I A A E P M 0 T E N M S JAG" M A APABOYANAPIKOSiA~£<t>AHN IAS lAG 4> A H N A 3 AAMOITA E A I :» X PQ N 03 Tra A A0 E E S P X I A 0 S AG ANTITTATPA 0 :» NAYTTAIA AA APMON AS Y A A A I <l> I A I S T Q |AT K IKHfAC KAEYKPATEO^ IAONIKA^ SMIPEIAA
EOAO^IA^ PQMAIA TA0QNO^ ENAPTEI N ENA^ KEPKAAAI 010 0KAA API3ETQ lT6 ^f, IAI$TIQN IAG 0I00AN PITYAAA^ AYK04>P PATE03 NAYTTAIi- AIQNY^IOY K
1 'Ie/oo]/tii/a/u.oi/e9 "H/9a9 ol STT 'A-picrTO/cpdrr]*; Ti/J,a<yopov reo? Trj/jievi&as ryvevcravras et? avrovs
5 'Apice&a '£^076^779 |AG Ma A.apd{3ov 'AvSpiKos JAG ^a^v
t/So9 AG ' 10 ro9 NauTrXia AA '
vas "TdSai <&I\KTTO> [AG K viicrj 7[
IAG
15 ' Asyd6<avo<s ev"Ap<yei N a8at ©to
CO |AG 2ft)
ia>i/ JAG ®io(f)av
20 /c]/3areo9 NatnrX/a
[67
[Aa [KXeu
56 PAPERS OF THE SCHOOL AT ATHENS.
This inscription appears to have reference to certain persons who had become security to the Hieromnemons for certain other persons who were liable for sums of money. Line 4 gives the clue,20 the rest is merely a list of names, those of the persons liable in the genitive, those of the guarantors in the nominative, The names of the latter are followed by numeral signs. In line 10 the sign is AA, in all other cases it is |AG.21 It is not improbable that the former denotes two units of some kind, but what the value of the latter may be I have not been able to ascertain. Several peculiarities in methods of noting sums of money appear in inscriptions from the Argolid,22 but none of them throw light upon the value of this sign.
The regular order of genitive, nominative, numeral, seems inter- rupted in 9, where 'Ap^t'So? can hardly be anything but a genitive. If we suppose it to be a parent's name added in this one case, it is singular that a person should be designated by the mother's name. Another break in this sequence is made by the enigmatical words "TdBai (11) and Kep/cdSai (16) whether these be nominatives plural or datives singular. The equally puzzling word HwXdOee? (line S)23, makes probably a similar insertion, and so would afford a reason for regarding the others also as nominatives. It is not unlikely that 2/it/?et8a[t, line 13, is a similar case. It is striking that these four words which interrupt the order of cases are the only ones which are enigmatical, although Aa/oa/3o<?, line 6, looks outlandish and 'A/a/cetSa?, line 5, and some of the other names are unusual. It is in vain that we seek the key to these unexplained words in such sources as the edicts of Diocletian. That the inscription is from Roman times is evident from the occurrence of the epithet 'Pwyttata?, a conclusion to which the forms of the letters alone would hardly have led us, although they certainly
though not given in the lexicons, is contained in WKSCHER et FOTTCART, Inscr. deDelphes, 139.
11 Although in some cases (lines 9, 11, 12, 17) some strokes of the sign are lack- ing, it was probably intended as the same sign in all cases.
»2 SOD. Nos. 3286 (Argos), 3318 (Nemea), 3325 (Epidauros), 3362 (Troezen), 8384, 3385 (Hermione). See also DITTENBERGER in Hermes, vol. vu, pp. 62 ff.
88 The reading may be jro5a0<fcj, as the second letter looks like an omicron changed to an omega or vice versa, and the next letter is a possible delta. This reading, though dubious, might give a meaning like " swift-foot."
INSCRIPTIONS FROM THE ARGIVE HERAEUM. 57
appear to be as late as 200 B. c. A probable conjecture for the words in question is that they are names of certain gentes at
Argos in Roman times.
XVII.
Two marble fragments, rough at the back, .09 m. thick, both irregularly broken, (a) about .22 m. X.22 m. ; (b) about .15 m. X .25 m. (height): letters in both .06 m. — .07 m. in height, and with large apices.
(a). V A 1 * (b). V I E
T 0 P 0
Whether (a) is properly first in order of succession it is im- possible to say, as a reconstruction is not to be made out of such scanty fragments. All we can say is that (a) certainly yields in the second line AvTOKpd]ropo[s and in the first line perhaps 'Av[Twvivov. (b) yields 2e[/3ao-To'y. It is in itself highly probable that the Heraeum had a period of bloom under Hadrian and the Antonines.
XVIII.
On a fragment of a round base of limestone which must have had a diameter of about 5 feet, with very elaborate moulding. The inscription is on a band .11 m. broad. Above this is a pro- jecting lip now badly shattered, once .03 m. thick and projecting at least .02 m. ; below is a concave moulding .01 m. broad, then a convex one, .02 m. broad; then a band .05 m. broad, with a double maeander pattern. The shape of the piece is like that of a piece of pie, the inscribed surface^ L e., the arc, measuring .24m.
M 0 Height of letters, M .025 m., 0 .02 m.
We have the beginning of the inscription since there is a space of .14 m. before the M, whereas the letters M and 0 are only .05 m. apart. It is useless to attempt a restoration. The in- scription was probably brief, since other pieces lying at the Heraeum have no letters.
XIX.
On a poros block in a wall between the new temple and the West Building. The block has a face 1.22 m.X.32 m. It was uncovered in the Spring of 1895.
58 PAPERS OF THE SCHOOL AT ATHENS.
The letters are in general .10 m. high, but omicron is exces- sively small. It is possible that this inscription is older than No. XII. The three-stroke sigma alone would carry it back into the neighborhood of 500 B. c.24 Kappa is the most striking letter in form. At first sight one hardly notices that the upright bar projects above and below its junction with the oblique bars, which do not meet each other. Only on closer notice the upright bar is seen to project slightly. The wide gap between the oblique bars might seem to be a Theraean feature, as the inscrip- tion from Thera given in Rohl, IGA. No. 454 (Roberts, Introd. to Greek Epig. No. 4b) has a form in this respect almost exactly parallel. But almost the same peculiarity occurs in the Mkandra inscription (Rb'hl, IGA. 407) and in that on the Apollo-base at Delos (Rohl, IGA. 409). In fact we have almost a parallel at Argos itself in Rohl, IGA. 31.
XX.
On a limestone tripod-base, found near the north wall of the West Building, with a diameter of .50 m. and a height of .41 m. The top surface shows four dowel-holes, a large square one in the centre, and three smaller rectangular ones for the legs, at distances of .23 m. apart.
0 t M M I h I- o :> A^xxo?.
Height of letters .03 m. — .035 m. The rounded delta throws this inscription also back towards the beginning of the fifth cen- tury. But its chief interest lies in the doubling of the xi. This is paralleled by the Boeotian Aeffi7r7ro<?, Rohl, IGA. 150, and Ae|ftWa, CIG. 1608, line G.25 The turning of xi on its side seems to be an Argive peculiarity.26
*4 It would fall in Roberts' (Introd. to Greek Epigraphy, p. 117) Second period of Argive inscriptions.
25 For other cases of gemination see G. MEYER, Or. Oram. \ 227. 28 ROBERTS, Introd. to G,reek Epigraphy, No. 77.
ADDITIONAL TO THE STAMPED TILES FROM THE HERAEUM.
(From the Excavations of 1894- and 1895.)
I. Four additional fragments of the Sokles tiles.1
(a) Z Q K A H S .
(b) S ft K /
(c) S Q K . . :> A .
(d) VPXITEKTQN.
As these were found in various spots, (a) at the -north side of the West Building, (c) and (d) on and near the steps of the East chamber, we still have no clue as to the building on which these large tiles were used.
II.
A small, thin, flat piece, .08 m. X.05 m., nothing like the Sokles tiles, yet bearing the letters
0 I 0 I H .
These seem to indicate the same stamp that was applied at the bottom of the Sokles tile which is found entire in the Polytech- nikon at Athens, i. e., A A M 0 I 0 I H P A S.2 The .dimensions of the letters coincide exactly, their height being .015 m., except in the case of the omicrons, which are only half as high.
On a piece of tile painted black, with considerable curvature, are the letters M 0 I 0 I. As the stamp is entire at the right end, it did not in this case have H P A Z. Otherwise the letters are the same.
1 AM. JOUR. ARCH, ix, p. 341 ff. I saw in the Museum at Argos another fragment of the same series, up to that time (April 30, 1895) overlooked. It bore the mark of the American excavators " West Stoa." This yields T12N. In the same museum at the same time I noticed also a tile fragment with the monogram j£ for K\, which has an exact counterpart in a fragment now in the Museum at Athens.
2 AM. JOUR. ARCH, ix, p. 342.
59
60 PAPERS OF THE SCHOOL AT ATHENS.
III.
A fragment found at the close of the season of 1895, .16 m. X .11 m. The field of the stamp is .10 m. X .05 m. The letters are .02 m. high.
EH I K 0 P
M A K I A
As the letters agree in size with the .. . mentioned in this
JOURNAL, Vol. ix, p. 350, this must be a duplicate of that. We thus have the complete stamp, and are left with a puzzle. We should expect etri to be a preposition, and look for a following genitive.3 But ~K.opfj.aKia can hardly be a name either Greek or
Roman.
IV.
Two fragments of somewhat different dimensions, one .18 m.X .18 m. and another .16. m.X. 19 m., one with a raised border .05 m. above the stamp, and the other without it, but both yielding exactly the same letters.
V 0 M 3 A = . . - - Beipov.
The letters are .01 m. — .012 m. high. This is a case of a stamp reversed in which the character t>=/o was not reversed like the other letters.4
It is singular that the break should occur in both pieces at exactly the same place, leaving us in doubt whether we have the genitive of Aet/>a? or of some longer name.
V.
Fragment of absolutely flat tile, .02 m. thick, .26 m.X. 25 m.r with letters .02 m. high.
KAOICC0ENHC. KXow0«^*.
The square sigmas cannot belong to a date much before the beginning of the Christian era, and the contamination of 01 and et would seem to indicate a date much later still. Such a pheno- menon in Attica would hardly date before the third century A. D.5 For a duplicate of this stamp, cf. Am. J. Arch, ix, p. 350.
3 AM. JOXTR. ARCH. Vol. ix, p. 348.
4AM. JOUR. ARCH, ix, p. 349.
6 MEISTERHANS, Gram. Att. Insch. p. 46, \ 16, 10.
INSCRIPTIONS FROM THE ARGIVE HERAEUM.
61
VI.
But the pearl of the tile-inscriptions from the Heraeum is on the fragment of the upper face of the edge of a huge bowl, which must have had a diameter of about three feet. The fragment was found in 1894 " at the West end of the South Slope, behind the retaining wall of the West Building, mixed up with a quan- tity of early pottery and figurines."
The letters are not stamped, so as to appear raised as in those hitherto mentioned, but are incised, cut into the clay when it was moist. The inscribed face of the fragment is .22 m. X-06 m. The letters are .03 m. high.
NMBfcP^Mfcl/*! r]a? "Hpa9 elfif.
This inscription judging by /V and fc and above all by N\=cr must be considerably older than No. XII of the inscriptions on stone. It must date at least as far back as 500 B. c.
While it may belong to a large amphora, it may also be a lustral bowl. It might be the very bowl in which the mad. king Kleomenes of Sparta dipped his bloody hands before performing his bootless sacrifice so graphically described by Herodotus (vi. 81 if).
NOTE. — Professor J. R. WHEELER desires me to call attention to the fact that the name Hybrilas (cf. AJA. ix, pp. 353, 548) is found also in the list of Proxeni, Bull. Corr. Hell. 1891, p. 412, line 10 of the inscription, and in BAZIN, Archiv. de Miss. Sclent, ir, 369.
RUFUS B. RICHARDSON.
ARCHAEOLOGICAL NEWS. SUMMARY OF RECENT DISCOVERIES AND INVESTIGATIONS.
|
NORTH AFRICA, . . SOUTH AFRICA, . . ALGERIA. |
PAGE. . 76 . 76 86 |
|
ARABIA, |
. 110 |
|
ASIA MINOR, . . . . |
. 125 |
PAGE. PAGE.
ASSYRIA, 107 PERSIA, ...... 92
BABYLONIA, 93 ' PHILISTIA, 125
EGYPT, 62 SYRIA, 120
KYPROS, 136 TRIPOLI 77
NUBIA, 74 TUNISIA, 78-
PALESTINE, 123 !
NOTE. — A list of abbreviations of the titles of societies and of periodicals cited in Archceological News will be found on the page following the News.
AFRICA. EGYPT.
WORK OF THE SEASON. — M. de Morgan is now at KARNAK, where he is superintending the engineering work intended to strengthen the walls and columns of Karnak, which have been undermined by the infiltration of the water of the Nile. He intends to drain the Sacred Lake there, in the hope of finding ancient monuments under the mud. The money for this work has been provided by the Society for the Preservation of the Monuments of Ancient Egypt. Professor Flinders Petrie has already begun work at THEBES in the neighborhood of the Ramesseum and the famous Colossi of Amenophis. M. Daressy ha& taken up again the excavations he began last year at MEDINET HABU, on behalf of the Ghizeh Museum. A large part of the rubbish- mounds which covered the ruins has already been cleared away. Captain Lyons is at PHIL.E, engaged in removing all the rubbish which has accumulated on the island. He will excavate down to the foun- dation of the temples, and to the blocks of granite on which they stand. In the course of the work it may be expected that many important inscriptions and other relics of antiquity will be discovered. The work has been undertaken by the Ministry of Public Works in connection with the reservoir for the storage of the Nile water, which is to be constructed above the first cataract. — Biblia, March, '96.
DESTRUCTIVE AND UNSCIENTIFIC EXCAVATION. — DR. ScHWEINFURTH has sent an important letter to the editor of the Zeitschrift fur Aegyptische
62
[EGYPT] ARCHAEOLOGICAL NEWS. 63
Sprache on the ruthless destruction of the monuments and remains of ancient Egypt which is going on at such an alarming rate in the name of scientific discovery. In a few years nothing will be left. Invaluable scientific facts are being destroyed through the ignorance and haste of the explorers : even such things as the seeds of plants and the stones of fruit, which the archaeologist might be tempted to throw aside, are capable of casting unexpected light on the past his_ tory of civilized man. At present, whole cemeteries are being ran. sacked and pillaged merely for the sake of filling the Ghizeh Museum with objects which may strike the visitor, or of providing the dealer with antiquities which he may sell to the foreigner. All record is lost of the history and mode of the discovery; even facts so indispensable to science as a knowledge of what objects were found together in a tomb are hopelessly lost. It is not only the dealers and their agents who are responsible for this state of things ; the administration of the Ghizeh Museum is equally to blame. Natives are commissioned to excavate for it without any scientific supervision ; and, where properly trained Europeans are present, the work is done on too large a scale for attention to be given to what are called small objects. There is only one remedy: let the Museum cease to excavate for the present, and devote itself to the preservation of the few monuments which still remain intact, and above all to the arrangement and registration of the overgrown collections with which the rooms of the Ghizeh Palace are now filled. — Academy, Oct. 15, '95.
THE HYKSOS DYNASTY OF EGYPT.— PROFESSOR W. MAX MtJLLER _
writes to the SST, of Jan. 25 : " Somewhat after 2000 B. c. the empire on the Nile was for the first time disturbed by a foreign invasion. Hordes of barbarians suddenly appeared on the eastern frontier, and overran the whole country. After devastating Egypt they settled there, and established a kingdom which lasted for several centuries. Lower Egypt was under the direct dominion of these foreign rulers, who held the country in subjection by two hundred and forty thousand (?) soldiers garrisoned in Avaris, an immense fortified camp on the eastern frontier. Upper Egypt remained under the administration of national princes, paying tribute to the barbarians. Finally the Egyp- tian suzerain kings of Thebes grew strong enough to throw off the yoke of the foreigners, and to expel them, after a long and hard struggle, about 1600 B. c. Such is, in brief, the report of the Grseco- Egyptian historian Manetho (third century B. c.) on the foreign kings whom he calls Hyksos.
" Owing to the destruction, by Egyptian patriots, of all monuments bearing the names of these 'foreign miserables,' only a few of these monuments have come down to our time. Therefore the question of
64 AMERICAN JOURNAL OF ARCHAEOLOGY. [EGYPT]
their origin has been discussed without any resulting agreement among scholars. The Hyksos invaders were brought into connection with all nations that ever penetrated into western Asia — as the Ela- mitic conquerors of Babylonia before 2000 B.C. (Lenormant, E. Meyer, Naville), the Cossseans [or Kassites] who followed their example about 1730 (Sayce, lately), the Hittites (Mariette), prehistoric Hamites from Babylonia (Lepsius), Turanians (Virchow), etc. The majority of scholars, however, thought of the Shemitic neighbors of Egypt, such as nomadic Arabs from the desert, or Canaanites from Palestine. This view, mentioned already by Josephus (about A. D. 80), became more and more prevalent.
" Professor Hilprecht,1 a short time ago, pointed out that the only foreign name of an earlier Hyksos king found so far (his later succes- sors assumed already Egyptian names), Kheydn, agrees with that of Khaydn, a Hittite king in northern Syria, mentioned in the Assyrian inscriptions of the ninth century. The counter-mark for the correct- ness of his observation is the identity of the principal god of Hyksos and Hittites — that is, ' Sutekh, the lord of heaven.' It is erroneous to call this Sutekh an Egyptian deity. He did not enter the Egyptian pantheon before about 1320, introduced by the kings of the nineteenth dynasty in consequence of their long wars and treaties with the Hit- tites. Therefore nothing is more probable than to associate the bold Hyksos invaders of Syria and the warlike Hittites — namely, the immediate neighbors of the northern Shemites (in Kappadokia) — as identical, or, at least, closely related. The Hyksos kings had a large dominion also in Syria. They possessed not only southern Palestine, whither they were persecuted by the victorious Egyptians (the siege of Sharuhen, in the territory of Simeon, is mentioned), but also, most likely, Phoenicia, which the Egyptians attacked immediately after- wards. A small stone lion with the name of king Kheydn (see above), discovered in Bagdad, near Babylon, was certainly not carried there by a fleeing Hyksos (Deveria). I do not venture to make King Kheydn (on account of this strayed monument) king even of Baby- lonia (Petrie), but I think the stone, evidently shipped down the Euphrates, may prove the extent of Hyksos rule to the banks of this river. This discovery of a forgotten powerful empire shows to us that chances of discovery in the same way are left for several great empires mentioned in the Bible, and doubted on account of the
1 NOTE. — Hyksos, Hittites, and Kassites are related to each other, according to Professor Hilprecht. As he accepts Jensen's decipherment of the Hittite inscrip- tions, and the relation claimed by the latter for the language of the Hittites with old Armenian, the Hyksos and Kassites would also be of Indo-European origin — EDITOR SST.
[EGYPT] ARCH^OLOGICAL NEWS. 65
lack of monumental evidence. Above all, the vexed question of Palestinian Hittites, whose existence seems contradicted at least by monuments of the fourteenth century, may need reconsideration some day. Only in passing I remind the reader of the tradition (in Church Fathers) which makes Joseph's Pharaoh a Hyksos ruler."
THE HYKSOS WERE KASSITE ELAMITES. — A. H. SAYCE writes in the
Academy (Sept. 7, '95) : " I now know to what language and people the name of the Hyksos god Sutekh belongs. It is Kassite; and the suggestion of Dr. Brugsch is thus confirmed, which brought the Hyksos from the mountains of Elam. A Babylonian seal-cylinder (No. 391) in the Metropolitan Museum of New York bears an in- scription which whows that it belonged to ' Uzi-Sutakh, son of the Kassite (Kassu), the servant of Burna-buryas,' a king of the Kassite dynasty, who ruled over Babylonia B. c. 1400. The name of Sutakh is preceded by the determinative of divinity. We can now under- stand why it is that the name has never been found in Syria or in the lists of Babylonian divinities, and we can further infer that the Hyksos leaders were of Kassite origin. The Hyksos invasion of Egypt, accordingly, would have formed part of that general move- ment which led to the rise of the Kassite dynasty in Babylonia."
INSCRIPTIONS OF THE TIME OF AMENOPHIS IV.— Dr. A. WlEDEMANN (SBA, vol. xvn, p. 152), describes five monuments of the period of Amenophis IV. The short reign of this king was of such importance to the history of Egyptian religion and art, that each text of this period must have a particular value. No. 4 (nearly at the same period, though not during the ascendency of the Athen-cult) is described as a basrelief in Florence (Cat. Schiaparelli, p. 314, No. 1588) which reminds one of the house- plans found in the tombs of Tell-el-Amarna. It represents an Egyptian custom (noticed by Greek authors) of pre- serving in one room of the house mummy-formed coffins containing the corpses of dead relatives. The excavations of Petrie at Hawara confirm these notices for the later time, but documents of older periods relating to this custom were wanting till now.
KARIAN AND LYDIAN INSCRIPTIONS IN EGYPT.— Ill SBA (1895, pp. 39-43), Prof. A. H. SAYCE (referring to his paper on the Karian Lan- guage and Inscriptions in the Transactions of the Society of Biblical Archeology, vol. ix, pt. I) publishes and comments several fresh inscriptions which are written in the Karian alphabet, and three Greek inscriptions from the temple of Thothmes III at Wadi Haifa. (1) Seven Karian texts were found on the columns and walls of the same temple at Wadi Haifa, which " seem to point to the existence of a Karian garrison on the spot in the age of the xxvi dynasty, or of the Persian dynasties which followed " ; (2) two Karian rock-inscriptions
66 AMERICAN JOURNAL OF ARCHAEOLOGY. [EGYPT]
found opposite Silweh on the Nile; (3) a rock-inscription (No. v) on the west bank of the Nile north of Silsilis, which Prof. Sayce believes to be "a specimen of the long-lost Lydian alphabet and language." It had been cut along with some hieroglyphic inscriptions mostly of the xi and xn dynasties. Prof. Sayce develops his reasons for think- ing this inscription to be an example of the Lydian alphabet
THE DESCENT OF PROPERTY IN EARLY EGYPTIAN HISTORY.— In many tombs of the fourth, fifth and sixth dynasties are found processions of farm-servants, each servant personifying and being associated with the name of a farm belonging to the deceased. Many of the names occur in different tombs, hence it is possible to obtain some information as regards the descent of property in those times. The period covered is roughly from four to five hundred years. The tombs of the fifth dynasty give considerable information, but the farm-lists become rare in the sixth dynasty. There are in all the lists about four hundred and fifty farm names altogether, and of these about forty recur in dif- ferent tombs. By connecting a series of such names together, farm- lands may be traced from Merab through a series of eight successive owners until they fell into the possession of Ptah-hotep. — Miss M. A. MURRAY in SBA, vol. xvn, p. 240.
TWO MONUMENTS WITH A VOTIVE FORMULA FOR A LIVING PERSON. — Dr. A. WIEDEMANN communicates to the SBA (May 7, '95), two of these monuments, with statement that the inscriptions on many of the so-called sepulchral monuments (especially the stelae) prove that they were votive offerings for living persons (not for the dead), even though the formula relates to the Ka of the person. As on the offer- ings for the dead, the inscriptions on those for the living are composed after fixed formulae. Two examples are described: (1) A fragment of a round-top stela of calcareous stone in Geneva, Musee Fol, 1305; (2) water basin of calcareous stone, Geneva University Museum, D. 59. — SBA, vol. xvn, p. 195.
A HEAD OF THE SAITIC EPOCH.— At a sitting of the SAF (May 8,'95), M. HERON DE VILLEFOSSE presented an Egyptian head in green basalt, of the Sa'itic epoch, bought at Cairo by Mme. Alfred Andre. This head is that of a personage of whom the Louvre already possesses two busts. The work is of special interest on account of the fastidious care with which the physiognomy has been rendered, the sculptor being intent on reproducing the smallest details of the face and of the cranium. The anatomy is scrupulously studied. On all three heads the same methods have been used to accentuate the wrinkles and to indicate the marks of old age. In the ancient-Egyptian art there are neither children nor old men; the individuals are always of the same age. At the Saitic epoch, on the contrary, the Egyptian artists exe-
[EGYPT] ARCHAEOLOGICAL NEWS. 67
cuted veritable portraits. One of these examples in the Louvre is of larger dimensions; it is cut from a piece of rose granite ; the nose is in a better state of preservation than in the specimen of Mme. Andre. In the latter, the mouth is intact, and the material (green basalt) is softer and pleasanter to the eye. Below the eyes and on the top of the head there exist some scarcely- perceptible differences between the two heads. The qualities most to be admired in the head belonging to Mme. Andre, are the flexibility of the modelling and the perfection of the work. The finish of the execution produces an effect all the more striking by reason of the greater resistance of the material.
EGYPTOLOGICAL PUBLICATIONS.— The annual report of the Societe Asiatique (Journ. Asiatique, vi, p. 167) gives an interesting resume of Egyptological publications of the last two years. Especially note- worthy are the labors of Maspero, who in addition to his learned Histoire ancienne des Peuples de V Orient dassique (t. i) has found time to write a series of articles for various journals, and to publish the inscrip- tions of the pyramids of Sakkarah. These two years have witnessed the publication of monographs concerning individual temples: that of Edfou by Marquis Rochemonteix, Philae by Georges Benedite> Luxor by Al Gayet, Deir-el-Bahari by Edouard Naville, upon the Theban Tombs by V. Scheil, as well as the important excavations of De Morgan at Dashur, and many other articles upon Egyptian history, philology, geography and botany.
CLASSIFICATION OF EGYPTIAN HIEROGLYPHS.— Prof. FLINDERS PETRIE
has inaugurated the formation of a classified collection of Egyptian hieroglyphs for j;he use of the students of his class at University Col- lege, Gower Street. It is intended to include, in the series, water- colour paintings of the hieroglyphic characters of all periods, drawn directly from the monuments. — Athen., Aug. 17, '95.
ALEXANDRIA.— DISCOVERY OF THE SERAPEION.— The excavations by Dr. BOTTI, the Director of the Alexandrian Museum, in the neigh- bourhood of Pompey's Pillar, have resulted in the discovery of the Serapeion, where the last of the great libraries of Alexandria was preserved. An elaborate account of his researches, with an admirable plan, has been given by the discoverer in a memoir on L'Acropole d1 Alexandrie et le Serapeum, presented to the Archaeological Society of Alexandria a month ago. Dr. Botti was first led to make his explo- rations by a passage in the orator Aphthonios, who visited Alexandria about A. D. 315. The orator describes the akropolis of Alexandria as close to the stadion, and to have been approached by a single pathway, consisting of 100 steps, which led to a propylaion supported on four columns. This opened into an oikos or covered hall surmounted by a cupola, and this again into a great square court surrounded on all
68 AMERICAN JOURNAL OF ARCHEOLOGY. [ALEXANDRIA]
sides by columns. Porticoes separated the court from the library, as well as from the shrines in "which the gods had formerly been wor- shipped. Some of the empty shrines seem to have been appropriated to books in the time of Aphthonios. Everything was profusely gilded, and the central court was decorated with sculptured works of art, among which the exploits of Perseus were of especial value, while in the middle of it rose " a column of surpassing size," visible from the sea as well as from the land, and serving as a sort of sign-post for visitors to Alexandria. Dr. Botti shows conclusively that this column was Pompey's Pillar, to which the description given by the Greek orator is as applicable to-day as it was in the fourth century. By the side of the column were a fountain and two obelisks.
The great court was still standing in the twelfth century, and its columns are described by mediaeval Arabic writers. We learn from Edrisi that there were sixty-seven columns on each of the longer sides of the rectangle, and sixteen on each of the shorter sides. Remains of the court and columns were found by Mahmud Pasha el-Falaki when he excavated on the spot in 1865. Dr. Botti has now discovered the piscina of the fountain, as well as the channels cut through the rock which conducted the water into it. He has discovered inscriptions of the time of Hadrian and Severus, dedicated to "Serapis, and the deities worshipped with him in the temple." Tacitus (Hist. iv. 84) tells us that the Serapeion stood upon the site of an ancient sanctuary of Isis and Osiris in the old Egyptian town of Racotis, the western division of the later Alexandria; and it is just here that Pompey's Pillar is situated. Bruchion, the eastern % division of the city, was destroyed in A. D. 275, forty years before Aphthonios wrote. Besides the inscriptions, Dr. Botti has found remains of gilded orna- ments and a bull of fine workmanship, all of which come from the great central court. He has also found a few tombs, and, above all, long subterranean passages cut through the rock under the site of the ancient building, and once accessible from the court. The passages are broad and lofty, and were originally faced with masonry. Here and there are niches in the rock for the lamps which illuminated them. Nothing has been found in the passages except some broken pottery, but at the entrance of one of them are two proskynemata scratched on the rock by pious visitors. The passages, therefore, must have been used for religious worship ; and we are reminded of the fact that similar subterranean passages were needed for the Mysteries of Serapis, and that Rufinus informs us that they actually existed under the Serapeion at Alexandria. — Acad., Sept. 21, '95.
MUNICIPAL MUSEUM. — The Alexandria Municipal Museum, erected for the preservation of antiquities belonging to the Greek, Roman, and
[EGYPT] ARCHAEOLOGICAL NEWS. 69
Early-Coptic periods, was inaugurated by the Khedive on September 26, and is now open to the public. The collection has lately been enriched by valuable donations of jewels, gold ornaments, etc., from the collection of the late Sir John Antoniadis, and of coins from Mr. Glymenopoulo ; and, the director-general of the Antiquities Depart- ment having promised to fill up all disposable space with contribu- tions of Greek and Roman relics now lying in the Ghizeh Museum at Cairo, its interest and value will shortly become largely increased. — London Times.
ASSUAN. — The sebakh-diggers have brought to light three Roman altars of granite, with Latin inscriptions, in the rubbish-heaps southeast of the railway station at Assuan. Two of them stand on the southern side of a roadway which once led to a temple, in a line with a stone (to the east) which formerly served as part of a gatepost, while the third faces them on the opposite side of the old road. The latter bears inscriptions on two of its sides. One of these is dedicated to Tiberius by the prefect of Egypt, C. Vitrasius Pollio, and the Ituraean cohort, in the third year of the emperor; while the second is addressed to Nerva by C. Pompeius Planta, the prefect of Egypt, and L. Cinucius Priscus, the prefect of the camps on the part of the first regiment of Spanish cavalry, the second regiment of Ituraean cavalry, and the first regiment of Theban cavalry under the general command of Claudius Justus, the prefect of the Theban cohort. On the south side of the old roadway one of the altars is dedicated to Trajan by C. Avidius Heliodorus, the prefect of Egypt, and M. Oscius Drusus, the prefect of the camps, on the part of the first cohort of Cilician horse, and the other to Aurelius Verus by M. Annius Suriacus, the prefect of Egypt, and L. Arivasius Casianus, the prefect of the camps, on behalf of the same cohort. — A. H. SAYCE, in Acnd., March 14.
CAIRO.— DEMOLITION AT THE ROMAN FORTRESS OF BABYLON.— We receive the intelligence from Cairo of very serious destruction having taken place at the Roman fortress (known as Babylon) at Cairo, which stands just outside the city at Fostat, or old Cairo. We are informed that two of the three huge rounded bastions on the southwest face have been levelled to the ground, and a large modern house built on the site of the more northern bastion, the one which stood at the angle of the fortress. The Roman gateway, standing between one of the bastions destroyed and the southern bastion of the former three, has been excavated to the ground- level, and a wall is being built before it — apparently with the intention of afterwards pulling down the gate- way and the remaining bastion. Other demolition of the fortress is spoken of. It must be said that the responsibility rests with the Eng- lish officials, who have allowed this single and majestic monument of
70 AMERICAN JOURNAL OF ARCHAEOLOGY. [EGYPT]
Roman dominion in Egypt — this " splendid Roman building, unique in construction," as Mr. Butler terms it in his Ancient Coptic Churches in Egypt — to be pulled down under their very eyes. — Athen., Nov. 23, '95.
We hear on good authority that the Egyptian Government has at last interfered to prevent any further destruction of the ancient fortress of Kasr-ash Shammah, the Babylon of Roman and mediaeval times, and also that it is intended to put the old Christian churches of Egypt under the care of a committee similar to that which already exists for the protection of the mosques. If these steps had been taken three years since, much now irreparable loss would have been prevented. — Athen., Jan. 25, '96.
DASHUR. — Some notice has already been given in the JOURNAL (vol. x, 233) of the new discoveries by M. de Morgan of jewelry at Dashur. M. Gayet now publishes in the GBA (July, 1895, p. 75) a coronal of the princess Khnoumit of very delicate workmanship, as well as a series of necklaces and amulets belonging to the same princess. The amulets show a great variety of form and represent cloisonne work- manship of cornelian, lapis lazuli, and Egyptian emerald. The enum- eration of the individual objects shows this discovery to have been one of the most important in the history of Egyptian excavations.
ELEPHANTINE.— INSCRIPTION OF THE TIME OF CHEOPS.— A. H. SAYCE writes from Egypt to the Academy (of March 14) under date of Feb. 20, '96: I have discovered an inscription coeval with Cheops, the builder of the great pyramid of Gizeh, here in the island of Elephan- tine. The sebakh-diggers have been very busy during the past sum- mer among the mounds of the old city, which stood at the southern end of the island, and have pulled down a part of the ancient city wall, which was built in one place upon granite boulders. The inscription is upon one of the boulders, and records the visit to Assuan of Khufu-ankh, whose beautiful granite sarcophagus is now in the Cairo Museum. There is a drawing of Khufu-ankh himself, leaning upon a stick, as well as of his boat, and the name of the king is "writ large " within a horizontal cartouche. The only deity mentioned is Anubis. The inscription seems to have been engraved at the time when Khufu-ankh conveyed his sarcophagus to the north ; as there is no reference to a pyramid, his visit can hardly have had anything to do with the transport of the granite blocks for the tomb of the king at Gizeh. It is the first time that any monument so old as the iv dynasty has been found in the extreme south of Egypt, and it must have been inscribed before the city of Elephantine1 was surrounded with a wall. Indeed, it is doubtful whether any city could at the time have existed on the spot. In that case, however, it would not have been long afterwards that a town sprang up. I have bought a
[EGYPT] ARCHAEOLOGICAL NEWS. 71
seal-cylinder, discovered in the rubbish-heaps, which is of very early date, and were it not for the hieroglyphs upon it would be pronounced of archaic Babylonian origin. It bears the name of " Sat(?)-khens, the governor of the two lands," as well as of his dogs Unsha and Zetef, whose pictures accompany their names. Small fragments of papyrus have also been found, containing the names of Ra-meri and Nefer- ka-Ra, thus affording a fresh confirmation of Manetho's statement, that the v and vi dynasties came from Elephantine1.
HELWAN (NEAR).— RESERVOIR OF THE OLD EMPIRE. — In a recent number of Westermann's Monatschrift (LXXVIII), Dr. Schweinfurth has published an interesting account of his discovery of the remains of an early Egyptian reservoir in the Wadi Gerrawi, a little more than six miles south of Helwan. In order to preserve the rainwater due to occasional thunderstorms in the desert, a great dyke of large stones was built across the mouth of the Wadi, at a distance of some miles from the bank of the Nile. The dyke was sixty-six metres in length at its base, and eighty metres in its upper part. Dr. Schweinfurth's further explorations showed that it had been constructed for a colony of stone-cutters, who worked in the alabaster quarries he discovered in the neighbourhood, and for whose use a road, of which he found the traces, was made. In an alabaster quarry, 3* miles to the north- west, he came across a figure of " Ptah the lord " rudely engraved on a block of stone. The figure takes us back to the time when Memphis, with its patron-god Ptah, was the capital of Egypt ; and in the great stone dyke we may therefore see a relic of the building operations of the Old Empire.— Acad., Oct. 12, '95.
PHILAE. — The Cairo correspondent of the London Times writes under date of February 17 : " Captain Lyons has discovered that the foundations of the main temple of Isis are laid upon the granite rock, being in some places over 21 feet in depth, and the temple has nearly as much masonry below ground as above. The southeastern colon- nade has also its foundations upon the granite, and, so far as excavated, they are curious if not unique in design. They consist of parallel cross-walls some metres high, but varying according to the slope of the rock surface, with large stone slabs placed horizontally upon their tops, and the pillars forming the colonnade are erected upon the slabs. The nilometer is marked in three characters — Demotic, Coptic, and another much older, probably Hieratic, of which a copy has been sent to Berlin for decipherment. No traces have been discovered of any buildings anterior to the Ptolemaic periods."
A. H. SAYCE writes from Egypt to the Academy (of March 14) under date of Feb. 20, '96: The excavations of Captain Lyons at PHILAE have been fruitful in results. On the north side of the island he has
72 AMERICAN JOURNAL OF ARCHAEOLOGY. [PHILAE]
cleared the site of a temple of Augustus ; and on the south side of it he has restored the stately colonnade to something of its original splendour, by removing the rubbish in which it was buried and repairing the columns. Here, too, he has been able to rebuild a ruined temple begun by Ptolemy IV, and finished by Tiberius; and has found that the Ethiopian king Ergamenes also took part in its construction, thus verifying Professor Mahaffy's conclusion, that he was a contemporary of Philopater. At present Captain Lyons is clearing the houses and streets of the Coptic town of Philae, or rather the Castrum of the late-Roman period, and in the course of doing so has disinterred several interesting inscriptions. Two of these are on the walls of the great temple, and record the names of two prophets of a new deity, Ptiris, who is represented in an adjoining picture with a hawk's head, a crocodile's body, and a tail in the form of an uraeus serpent. One of the inscriptions is dated in the year 435 A. D. Several other inscriptions have turned up which throw light on the history of Philae in the late-Roman or Byzantine period ; but the crowning discovery of all was made last week. In the neighbour- hood of the temple of Augustus, Captain Lyons found a granite stele, on which, below the figure of an armed horseman trampling on a fallen enemy who vainly tries to defend himself with a shield, is a trilingual inscription in hieroglyphs, Latin and Greek. The text is of historical importance, as it relates to "the Roman citizen C. Cor- nelius Gallus, the first prefect of Alexandria and Egypt," who, "after the conquest of the kings by Augustus, suppressed a revolt in the Thebaid in fifteen days and captured the five cities of Bore~sis, Koptos, Keramice, Diospolis [Thebes], and the great city of Ophie'um, putting to death their five leaders and leading the Roman army beyond the cataract of Abaton, into a region never before visited by the Roman people or the kings of Egypt." He then "received the ambassadors of the Ethiopians at Philae," took their king under Roman protection, and made him ruler of the Triacontaschoenus (for which see Ptol. Geog. iv. 7, 32, ed. Nobbe). Finally, the Roman prefect gave thank- offerings to all the gods and especially " to Nilus who had helped " him. The hieroglyphic text is dated in the first year of Augustus, the 20th day of the fourth month.
THEBES. — DISCOVERY OF ANCIENT-KINGDOM TOMBS. — " As no monuments of the Ancient Kingdom have hitherto been found at Thebes, it may be of interest to know that I have discovered in the northern Asasif two tombs which without doubt belong to this early period. One of them is the tomb of a ' governor of the nome ' whose ' good name ' (ren-ef nefer) was Ahy : the scenes in it are executed in relief and well preserved. The other is in a very mutilated condition,
[EGYPT] ARCHAEOLOGICAL NEWS. 73
but I hope before long to make out most of the inscriptions in it. I have also made many other important finds in the Theban necropolis this autumn; but perhaps the most interesting is the discovery of a parallel text to the one in the tomb of Rekhmara, giving the duties of the Wezir of Thebes. By this new text I can restore much that is defective in the Rekhmara inscription." — P. E. NEWBERRY, in Acad., Jan. 11, '96.
FOUNDATION-DEPOSIT OF THE RAMESSEUM. — MR. QuiBELL has made an important discovery in his excavations at the Ramesseum, namely, the foundation-deposit of the temple. It consists of glazed tiles in blue bearing the cartouche of Rameses II in gold inlay, a large brick, and many small- plaques in faience, also bearing cartouches, models of tools, and other objects. ^Athen., Feb. 15, '96.
WINTER'S EXCAVATIONS.— Prof. FLINDERS PETRiE commenced his season's excavations at Thebes in the middle of December, and has already discovered a temple of Thothmes IV a little to the south of the Ramesseum. Prof Petrie considers the temple to have been demolished by Rameses II. The ground-plan of the temple and pylons is clearly shown by the foundation walls. Prof. Naville is expected to arrive at Thebes in the beginning of January, when he will resume the excavation of Deir el Bahari, and it is believed will finish it by the end of March. Meanwhile, Mr. H. Carter and Mr. Percy Brown are engaged in copying the sculpture and inscriptions on the temple. The result of their labours promises to be a work which, for accuracy of drawing ^nd transcription, will be remarkable among publications on the monuments of ancient Egypt. — At hen., Jan. 11, '96.
A. H. SAYOE writes from Egypt to the Academy under date of Feb. 20, '96. Many excavators have been at work at Thebes' this winter; but the results are somewhat disappointing. M. de Morgan had succeeded in pumping the water out of the sacred lake at KAR- NAK, but without finding anything of importance ; and Dr. Naville at DER-EL-BAHARI, and M. Daressy at MEDINET HABU, have been mainly occupied in completing the work of last year and clearing the floors of the two temples. Miss Benson has discovered some fragments of statues of a good period in the temple of Mut at KAR- NAK; and Professor Petrie has found that the KOM-EL-HELAN (west of the Colossi) is not the site of a temple of Amend phis III, as has hitherto been supposed, but of Meneptah, who made use of sculptured stones and other monuments belonging to a building of Amenophis III, which may have been the palace discovered by M. Grebaut in 1889 to the south of Medinet Habu. North of this temple of Meneptah, Professor Petrie has discovered a temple of a queen who reigned in her own right and assumed the titles of. a king. She seems to have been
74 AMERICAN JOURNAL OF ARCHEOLOGY. [THEBES]
the Thuoris of Manetho, the last sovereign of the xix dynasty. North of her temple, and between it and the Ramesseum, Professor Petrie has further laid bare the foundations of a temple of Thothmes IV ; while to the north of the Ramesseum Dr. Spiegelberg (who has been copying the multitudinous hieratic graffiti of Thebes) has found the remains of a temple of Amenophis I. And at ABYDOS M. Amelineau has discovered a tomb belonging to a son of Shishak I.
LAST EXCAVATIONS-— We are kindly permitted by Prof. Breasted of Chicago University to make the following extracts from a private letter from Mr. W. M. Flinders Petrie, dated Luxor, February 14, 1896, and summing up this explorer's winter work in Egypt: "The Ramesseum is of Rameses II — the only thing left unchanged. The chapel of Uazmes was rebuilt by Amenhotep III, as his ring was under the door-sill. The temple next south is of Tahutmes IV — yet unnamed in maps. Next is a big tomb of Khonsuardus, goldsmith of the temple of Amen, xxv dyn. Then comes the levelled plain with a scarp of rock-gravel on the w. and N., marked on maps ; and on the plain — but later than its levelling — was a temple of Queen Tausert as sole ruler, ' Tausert, selep en Mut, Sat Ra, mery Amen] who has left us in foundation-deposits 500 scarabs and plaques of colored glazes with cartouches, and 1,200 glazed objects, besides three slabs with the names. Then south of that is the so-called temple of Amen- hotep III, which is really the funeral temple of Merenptah. That beast smashed up all the statues and sculptures of Amenhotep II to put into his foundations, and wrecked the gorgeous temple behind the colossi for building-material. We have a few fine pieces of Amenhotep III ; and the upper half of a fine black-granite statue of Merenptah. I am now going to clear two small temples north of the Ramesseum ; so you see we are getting through the field of temples here at a pretty good rate. Quibell is doing the Ramesseum, and I am doing the others. We make complete plans of all the buildings and foundations. This sort of clearing up is what 'exploration' should be, and not merely the elaborate clearing out of one building. The whole lot of half-a-dozen temple sites we shall clear up, and fix historically, for about S2,500 or $3,000. ... I bought a piece of a stele dedicated by the 'Royal son, 'Ahmes, called sapa'r,' explaining his name. He is figured as a boy. Bant anta was probably mother of Merenptah, as her name occurs in his temple ruins, but no other relatives."— JV; Y. Nation, March 26, '96.
NUBIA.
TRILINGUAL STELE.— M. Maspero announced at the March 6, '96, sitting of the AIBL, that CAPTAIN LYONS, entrusted by the Egyp-
[NUBIA] ARCHAEOLOGICAL NEWS. 75
tian government with the oversight of Nubia, had just discovered at Phibre an inscription in hieroglyphs in Greek and in Latin, engraved on a stele. ThB monument was divided longitudinally in two almost equal portions, and the division has destroyed several letters in the middle of each of these three texts. The hieroglyphic portion occu- pied the summit : at the top one could distinguish a horseman tread- ing under foot one or several enemies who were overturned on the earth, but the whole is very indistinct. On the right, three vertical columns enumerate the gods of the Abaton, Osiris, Isis, and Horus ; on the left, three other columns name Khnoumou, master of the cataract and of Nubia, Sothis, lady of Elephantine, Anoukit who resides at Elephantine1. The body of the inscription contains ten lines, which are so mutilated that the author of the copy could not extract from it a text which admitted of a possfble translation. One can dis- tinguish, on the first line, a date, the year 1, then the protocol of Augustus, and, on lines three and four, two mentions of the country of Pouanit arid that of the Negroes, which seem to contain an allusion to contemporary facts. The whole ends in prayers to the gods of the Abaton and of the Cataract for the prosperity of the emperor. The Latin text follows immediately after the hieroglyphic text. The copy is better, but it is still not very satisfactory. It contains nine lines : C. Cornelius On. f. Gallus, (eq)ues Romanus, post reges \ a Caesare dim /. devictos, pre/ec(tus Alex)andriae et Aegypti primus, defectioni(s) \ ThebaiJes intra dies XV, quibus hostem s(travit a)cie, victor, V urbium expugnator, Bore(se\o)s, Copti, Ceramices, Diospoleos Meg(ales, Ophie)i, et dudbus enrum defectionum inter/(ec)tis, exercitu ultra Nili caracte(n . . . ded^ucto, in quern locum neque populo \ Romano neque regibus Aegpt(i)or(um signa s)unt prolata. Thebaide communi omn(i)\um regum formidine subac(ta). leg (atisque re)gis Aelhiopum ad Philas auditis, eoq(ue) \ rege in tutelam recepto tyrann(o xxx sc)hoeni (i)n fine Aethiopiae constitute, Die(is) patrieis et
N(ilo adiuto)ri The Greek text also contains nine lines. The
revolt which is spoken of in this inscription was known \>y Strabon and Dion Cassius. The date of it was not very certain, and there was an inclination to place it during the last days of the government of Cornelius Gallus. If the copy of the hieroglyphic text be exact, it would belong to the year 1 of Augustus as king of Egypt, in 30-29, B. c. The expressions relative to the cataract make allusion to the con- tests of the Ptolemies with their southern subjects. The Thebaid, always in revolt against its Greek masters, had still quite recently had its native Pharaohs, many of whom have been mentioned by M. Revillout : it would appear that at this very epoch it was at times a dependency of the kingdom of Ethiopia. The embassy of this- latter has been interpreted by Gallus as a mark of submission : the Romans
76 AMERICAN JOURNAL OF ARCHEOLOGY.
established a sovereign vassal in Nubia, and that country took here the unusual name of Triakontaskene, which was reduced later to no more than a Dodekaskene. Dion Cassius recounts that Cornelius Gallus, inflated with vanity by the favor of the prince, allowed him- self to be drawn on to receive proposals and to write documents, which (reported later to Augustus) brought about his disgrace and his death : the general tone of the new inscription confirms the testimony of the historian.— RC, March 16, '96.
NORTH AFRICA.
BYZANTINE FORTRESSES. — M. DiEHL has published a long report (Nouvelles archives des Minions, iv, 1893, published 1894, pp. 285-434, and 24 plates) of two journeys, which he made in 1892 and 1893, for the study of the Byzantine monuments of North Africa : these are in large measure fortresses. He shows that a distinction must be made between the fortified retreats, hastily erected by the inhabitants, and the official fortresses constructed after a well-defined plan by the government. These last cover four extensive .lines of defence, the first line having been established about 535 A. D., and form the com- plicated system adopted and executed under Justinian. In these military constructions there are four separate divisions: (1) the fortified cities protected by vast enclosures and generally containing a donjon- keep on the highest point; (2) the citadels, defending the unfortified cities where the houses are grouped at their base; (3) the isolated fortresses, defending some important strategic position ; (4) the small forts connecting the different strongholds or serving as lookouts. — MAH, 1895, pp. 317-19.
SOUTH AFRICA.
THE SITE OF OPHIR. — A writer in the Jewish Times says that a new light has been thrown upon our guesses after the site of the district of Ophir, mentioned in the Scriptures as rich in gold, precious stones, ivory, and birds of beautiful plumage. It has gen- erally been supposed that it lay in India, and that it was from that part of the world the ships of King Solomon, as well as those of the King of Tyre, brought the treasures which enriched their cities. No less an authority than Dr. Carl Peters has been persuaded by documents which have recently come under his eyes, that not India, but Africa, must be credited with the bountiful supply alluded to in the Bible. Dr. Peters has published the result of his research, which is based on an historical atlas recently discovered by him. ' It was printed at Amsterdam in the first decade of the eighteenth century, and it proves that its compiler was at that time
ARCHAEOLOGICAL NEWS. 77
in possession of much knowledge respecting Africa, which we flatter ourselves to have been discovered at the latter half of the nineteenth century, but which is nearly 200 years old. We know that the Portuguese had flourishing colonies on the Congo and Zambesi rivers in the seventeenth century. The old Dutch atlas divulges an early knowledge of the east and southwest coasts of Africa, of the courses of the rivers Congo and Zambesi and other neighboring streams, of the dwarf tribes of Akka, and of the great forest in the northwestern bend of the Congo. Moreover, this historical atlas speaks of the great treasures found in the Zambesi country— gold, jewels, and fine animals, and even goes so far as to indicate the sites of special gold mines. There, doubtless, are the ancient dominions of Mons-Mueni of Sim- baoe, of which the ruins were recently found. Dr. Peters is firmly of opinion that these ruins are of Phoenician and Sabaian origin, and that here also was situated the Ophir mentioned in the Old Testa- ment,— Biblia, March, '96; cf. AJA, vol. vm, 491 ; vol. xi, p. 114.
TRIPOLI.
THE MAUSOLEUM OF EL AMROUNI. — M. CLERMONT-GANNEAU has
taken up the study and interpretation of the basreliefs and of the bilingual inscription (Neo-Punic and Roman) from the mausoleum of El'Amrouni in Tripoli (see vol. x, p. 386) communicated a few months ago to the Academy by M. Philippe Berger. He commenced by com- paring this remarkable monument with certain similar monuments discovered by himself at the beginning of this year, in the course of an exploration on the Tripolitan coast, in the neighborhood of Khoms, the ancient Leptis Magna, two days east from Tripoli. The mausole- ums of Leptis like those of El'Amrouni consist of high square towers richly adorned with columns, pilasters and sculptures. Among the scattered materials of these sumptuous funerary edifices, which have suffered greatly from the effects of earthquakes, M. Clermont-Ganneau has found fragments of statues and basreliefs which decorated them, also some Roman inscriptions. It is very probable that many of these Roman inscriptions were, like those at El'Amrouni, accompanied by Punic inscriptions. Leptis, being one of the most important centres on the African coast subject to Carthage, gives promise of excavations fruitful for Punic epigraphy. Some of the basreliefs of the mausoleum of El'Amrouni represent scenes from the legend of Orpheus descending to Hades in search of Eurydike. A detail of one of these scenes remains unexplained ; it is that where Orpheus and Eurydike, placed one behind the other, appear to be turning their steps toward the gate of Hades, whence they have just issued, when they ought to be turned away from it. M. Clermont-Ganneau explains that the artist wished
78 AMERICAN JOURNAL OF ARCHEOLOGY.
to express the psychological moment when (according to-the ancient legend) Orpheus (in spite of the express prohibition of Persephone) has turned to look at Eurydike who was walking behind him, and she has found herself instantly drawn back again by an invisible force toward the dark kingdom.— August 16 of AlBL, in- RA, Oct. '95.
TUNISIA.
MEGALITHIC MONUMENTS.— The region of Dougga, in the centre of Tunisia, abounds in megalithic monuments : at TEBOURSOUK, at DOUGGA also, and elsewhere, there exist important necropoli. M. Carton has made a long study of them in a book which has recently appeared (Decouvertes epigraphiques et archeologiques faites en Tunisie, Paris, Leroux, 1895, pp. 325-400). These monuments belong to two types. (1) Some are real sepulchral chambers, more or less deep, sur- rounded or not by a circle of stones, and made of heavy materials. (2) The others are regularly constructed of cut stones ; the chamber is reduced in size and is no more, properly speaking, than a sarcophagus around which a wall forms an enclosure of many courses M. Carton thinks all these tombs are anterior to the Punic and Roman civiliza- tions.
On the southwest of D.IIDJELLI, M. Vire describes a dolmen sur- rounded by a double cromlech, in which stones have been used which offer characteristic signs of the tooling of the Roman epoch. Analogous observations have already been made at many points in the province of Constantine. — MAH, 1895, p. 304.
ROMAN REMAINS. — Commandant Goetschy gives some information with regard to the ruins near the route from GAFSA to KAIROUAN, especially on the great water reservoir (majen Smaorii) of wh:ch the arrangements are of interest (Recueil de Constantine, xxxin, 1893, pp. 85-94). At TALAH he discovered a basrelief which appears to repre- sent the rape of Proserpine by Pluton (Ibid., p. 363 and plate). He also made some excavations in the cemeteries of HAIDRA and of the neighboring region : in one tomb at Haidra, he found a rolled tablet of lead with magical incantations, analogous to those found in large numbers at Carthage and Sousa (Ibid., xxix, 1894, pp. 566-81). — MAH, 1895, p. 324.
TERRACOTTA TILES. — MM.Hannezo, Laurent and Molins have found at HADJEB EL AIOUN (northeast of Sbeitla) an important series of those terracotta tiles which were frequently used, in the eastern part of Roman Africa, for lining the walls of the basilicas. Many of these tiles had been previously studied by M. le Blant (RA, 1893, n, p. 273) and P. Delattre; M. Gauckler has signalized another, representing
[TUNISIA] ARCH&OLOQICAL NEWS. 79
Daniel in the lions' den, with the inscription S(ari)c(tu)s Daniel (BSA, 1894, p. 67).— MAH, 1895, p. 325.
MOSAIC OF HAMMAM-EL-LIF. — M. HERON pE ViLLEFOSSE (in the name of M. Edward Schenck) presented to the Societe des Antiquaires a series of twenty-one photographs representing various details of the cel- ebrated Mosaic of Ham mam-el- Li f. It is known that this large mosaic (discovered in 1883) decorated the interior of a synagogue. A summarized description of it, with references to the authors who have spoken of it, will be found under No. 12,457 of vol. vin of the Latin Corpus. One part of the mosaic has been destroyed ; another part, comprising two inscriptions, is preserved in Tunis at the Musee Alaoui; the third part, composed of twenty-one panels, is now at Toulouse, in the possession of M. Schenck, who acquired them after' the death of Captain Prudhomme.
This is a summarized description of the photographs offered to the Society by M. Schenck. Nos. 1-2. Rectangular panels. An inscribed lozenge in each of these panels offers a representation of the seven- branched candlestick, on the right and left of which were placed the two attributes which frequently accompany the seven-branched candlestick upon antique monuments, and which are designated by the names ethrog and schophar. One of these is the sacred trumpet which was used among the Jews to announce the new year The first of these panels was engraved in the memoire of P. Delattre, entitled : Gamart ou la nkcropole juive de Carthage, vignette of p. 39. In No. 2, the background has been restored, and the two attributes have disappeared. Nos. 3-16. Rectangular and square panels, each containing the representation of an animal, bird, fish or fruit — viz., a hyena, a lion, a cock, a guinea-fowl, a partridge, a duck, fish swim- ming, a dolphin, a basket of fruit, a palm-tree with two rows of dates, two shrubs and a bird. No. 17. Medallion with head of gazelle. No. 18. Medallion with head of a wild goat. No. 19. Medallion with head of lion, of a fine style. No. 20. Medallion ornamented with the bust of a young man, draped, with long hair, bearing on his left shoulder a curved baton. No. 21. Medallion with the bust of a helmetted woman (Roma?) the right breast uncovered, with a spear on the right.— BAF, 1895, pp. 150-52.
ATLAS ARCHEOLOGIQUE DE LA TUNISIE. — The special edition of all the maps, published by the French ministry of war, and indicating the position of all the ancient ruins, began to appear 1892. Three instalments have been published thus far; they contain the sheets on Bizerte, Mateur, Nabeul, Hammamet, le djebel Achkel, Oudna, Tunis, la Goulette, El Metline, Porto-Farina, El Ariana, and la Marsa. The map of Marsa is accompanied by an extensive plan of Carthage, with
80 AMERICAN JOURNAL OF ARCHAEOLOGY. [TUNISIA]
explanatory text and special plans, very important for the topography of the African city.— MAH, 1895, pp. 322-23.
ROMAN SCULPTURES. — M. Heron de Villefosse communicated to the Societe des Antiquaires (on the part of Captain Ch. Maumene) the photographs of two monuments discovered in Tunisia by this officer during the year of 1894. The first of these monuments was found at Sidi-Solthan, five kilometres south of Beja. It is a stele, of very porous stone, rounded at the top, which came from a sanctuary of Saturn. On it is represented a ram, with a large tail, advancing toward the right, its heart facing out; above this animal, at the right, is a circle with two small horns, a frequent symbol on votive monuments to Saturn; an elongated oval object (looking like a loaf of bread) forms •the pendant on the left. The whole is surmounted by a crescent having at its centre a three-pointed star. Below the ram, within a moulding, we read: SATVRNO • AVG • SACR | ^C • MAEVIVS-
VICTOR H| | . The rest of the inscription is
defaced, but the presence of a third line is certain. At the beginning of the second line we see traces of an M and at the end of the same line traces of another letter.
The second monument is without inscription — it was found by the same officer, in the month of March, 1894, at Henchir-Zatriah, twelve kilometres northeast of Beja. It is about 75 cm. high, and is com- posed of two basreliefs in a hard and rough style, like all the Roman sculptures discovered in Africa, outside of the large cities on the coast. These two basreliefs must have come from a square monu- ment, which originally was sculptured on at least three of its faces; they belong, doubtless, the first to the principal face and the second to the left lateral face. The first basrelief represents a warrior in pro- file, seated and turned toward the right; his raised right hand rests on a lance, his lowered left hand rests on a circular shield. He appears to be beardless, and on his head wears a round helmet crested with a horse-tail. His mantle, attached on the left shoulder, leaves uncov- ered the right arm as well as all the right side of the chest; on his feet are buskins. A breastplate and an elongated shield (similar to those upon the arch at Orange) are leaning against the seat. The second basrelief represents a winged victory draped, turned in profile toward the right; she holds in the left hand a palm and in the right hand a crown. She was evidently placed behind the seated personage on the first basrelief.— SAF, 1895, p. 81.
BISICA (BuGA\ — Has been discovered, during the excavations made by the Service des antiquites de la Regence, a female head in marble, surmounted by a crescent and partly covered by a veil; it is a
[TUNISIA] ARCHAEOLOGICAL NEWS. 81
representation of the celestial goddess (Gauckler, Bull. Comite, 1894, p. 27G).—MAH, 1895, p. 326.
CARTHAGE. — TERRACE- WALL FORMED OF AMPHOR/E. — On the southern side of the hill of SAINT-LOUIS there is an extensive terrace standing on a strong system of support and intended to sustain some public edifice. P. Delattre has made a thorough study of the founda- tions of this terrace (Bull Comite, 1894, pp. 89-119). It was composed: (1) of a long series of vaults of cut stone ; (2) of a wall 4 met. 40 cm. wide, and at least 6 met. high, leaning on the exjrados of the vaults. This wall is formed of several superimposed layers of amphorae placed horizontally, alternating with layers of earth, of which the thickness was from 50 to 60 cm. The amphora? bore inscriptions painted in red or black ink, drawn with a -point or stamped. On some there were even consular dates of which the earliest was the year 43, and the latest the year 15 B. c. • These indications allow one to attribute the sustaining wall to the reign of Augustus. — MAH, 1895, p. 327.
COLOSSAL STATUES OF VICTORY. — P. DELATTRE found on the hill of
Saint-Louis, near the new Cathedral, several colossal statues represent- ing Victories bearing trophies or horns of plenty. These sculptures decorated some important edifice, a temple of the Capitol according to P. Delattre, a temple of Victory according to M. Heron de Villefosse. The style of the statues indicates the first century A. D., or the begin- ning of the second (CRA Inscriptions, 1894, pp. 176, 197-201).— MAH, 1895, pp. 327-28.
COLOSSAL MARBLE HEAD. — At a meeting of the SAF (March 6, '95) M. Cagant read a note from M. GAUCKLER on a colossal marble head found at Carthage : "The colossal head, two photographs of which I have the honor to present to the Socieie nationale des Antiquaires de France, was discovered at the Malga, on the borders of the amphi- theatre of Carthage at a period which I have not been able to deter- mine. The head is 54 cm. high and is finished at the neck by a plain section ; perhaps it belonged to an acrolithic statue. If it were less mutilated it would possess a real interest. The work is broad and sober, with a certain savor of archaism. There is a vigor in the ren- dering of the characteristic lines of the face which is slightly prog- nathous. The work is of a good epoch ; it appears to me to date back to the end of the first century A. D."
THE PUNIC NECROPOLI. — For several years P. Delattre has, with rare good fortune, pursued researches of great historic import in the var- ious Punic necropoli of Carthage, of which it is now beginning to be possible to make a chronologic classification. He has recently •explored the necropolis near the Serapeion, which belongs to the sixth •century B. c. (For these excavations, see the information given by
82 AMERICAN JOURNAL OF ARCHAEOLOGY. [CARTHAGE]
MM. He"ron de Villefosse and Delattre, CRA Inscriptions, 1894, pp. 405-406,426-427, 432-440, 445-453; 1895, p. 61). He opened more than four hundred tombs, containing only buried bodies. They are, for the most part, either simple ditches, generally lined with slabs, or else ditches or wells at the bottom of which was dug out a small vault, just large enough to receive a body. Besides a quantity of pottery of local origin, one of the pieces bearing a Punic inscription drawn with a brush, there was found some jewelry, the ornamenta- tion of which proves that it was made at Carthage, especially the fol- lowing pieces: (1) a gold disk, serving as an amulet, which bears a, globe flanked by two uraeus surmounted by the hawk with outstretched wings, holding in its talons the crescent and the solar dink, religious emblems of the city ; (2) a silver bracelet, with a four-winged divinity emerging from a scarab and having its head surmounted by a disk ; below are also represented the crescent and the disk. Some scarabs in imitation of Egyptian, and some vials in enameled earthenware are also without doubt due to Phoenician industry. A sepulchral mask, strikingly realistic, represents an old man with open mouth. But, by the side of these objects of local make, were others which came from Greek workshops : a vase with black figures representing Achilles and Troilos, and also, without doubt, various figurines of which the most curious ones are some seated goddess-mothers. The most important tomb is a large vault (untouched at the time it was discovered) the walls of which were overlaid with white stucco ; it contained two skeletons. Among other objects in it were two ostrich eggs, showing remnants of painted decorations, a hemispheric cup of silver, and several pieces of jewelry, one of which was a gold disk bearing this Punic inscription which M. Berger has deciphered (CRA Inscrip., 1894, pp. 453-458): "To Astarte, to Pygmalion, ladamelek. Pygmalion protects whomsoever it pleaseth him." It has reference, as we can see then, to a god Pygmalion closely associated with Astarte. — MAR, Oct. '95, p. 311.
RECENT EXCAVATIONS AT THE NECROPOLI. — From time to time, dur- ing the last half of the year 1895; Pere Delattre forwarded to the AIBL reports of his excavations, which we here reproduce from the sittings of the Academic in July and August, reported in the Revue archeologique.
July 12. — R. P. Delattre writes that more than forty tombs have been opened at Carthage during the month of March. The furnishing of these tombs is always nearly alike. These -last contain, however, some small painted vases. One tomb alone contained terracotta masks. P. Delattre sent a photograph of one of them, which represents the head of a woman veiled. This mask has a hole for Suspension and preserves traces of bright red color on the lips, ears and head-dress.
[CARTHAGE] ARCHAEOLOGICAL NEWS. 83
A drawing, also sent by P. Delattre, represents a curious object in terracotta. It is a hollow cylinder mounted on a round foot; this cylinder is surmounted by seven receptacles in the form of vases, communicating with each other and with the cylinder; it is orna- mented with the head of a cow with long horns and the head of Hathor. Egyptian influence is evident; it is sufficient to consider the form of the vases and the religious attributes which accompany them to be convinced of it. This object appears to have served as a standing lamp ; without doubt the seven receptacles were intended to contain oil. One may compare this little monument with some similar objects found at Eleusis in 1885, with black-figured vases going back to the vi cent. B. c. (cf. Ephem. archaiolog., 1885, pi. 9). The tombs explored at Carthage by P. Delattre are also of this period. Two of the terracotta monuments discovered at Eleusis bear as many as forty or fifty such receptacles.
August 9. • — M. Heron de Villefosse presented three photographs representing different views of an ivory statuette, found by P. Delattre, in the month of July last, among his excavations at Carthage. This statuette (13 cm. high) is intact, and was sculptured from a cylinder of ivory which has almost completely preserved its form. It repre- sents a woman with an Egyptian head-dress and clothed in a long robe; the neck is decorated with a collar; the arms are stiff and joined to the body ; the hands, joined together upon the chest, sustain the breasts, which are scarcely indicated. Upon the rest of the cylinder, which forms the robe, the artist has chiselled three long checkered bands which fall, one at the back, the two others at the sides of the statuette. Above these bands, around the loins passes a girdle, the two ends of which crossed hang in front, opening to the right and left. The lower edge of the robe is adorned with a fringe,, the feet are not indicated. The manner in which this goddess is attired furnishes one of the rare examples of the Carthaginian costume. It offers also certain analogies to the statuette of the Louvre, cited by M. Perrot in his volume on Cyprus and Phoenicia. The ivory cylinder is hollow; the lower edge is pierced with four small holes which appear to have served for attaching the statuette to a piece of wood. This figurine probably formed the handle of a mirror. In fact, there was found in the same tomb a bronze mirror and various ornaments : a gold pendant in the form of an anserated cross, a seal-ring, three silver rings, and the remains of a bracelet ornamented with the sacred scarab and with palmettes.
JEWISH NECROPOLIS NEAR CARTHAGE.— On Mount Gamart, north of Carthage, there is an ancient necropolis which was formerly supposed to be Carthaginian. P. Delattre who, several years ago, determined
84 AMERICAN JOURNAL OF ARCHEOLOGY. [CARTHAGE]
conclusively that it belonged to the Jewish colony which was estab- lished in the capital of Africa under the Roman empire, has recently studied it in detail (Gamnrt ou la necropole juive de Carthage. Lyon, 1895, in-8°, 51 pages). The number of vaults in the necropolis are about two hundred. These vaults, dug in the limestone, recall exactly the tombs of Palestine. The entrance, very simple and only 90 cent, wide, was closed either by a flag-stone, or by unhewn stones. The chambers, of rectangular shape, have their walls perforated with niches in the form of ovens, in which were placed the bodies ; in each cham- ber there are fifteen to seventeen niches, rarely more. A coating of white stucco often covers the walls and the ceiling. Below the niches can still be distinguished some Latin inscriptions, painted in red or drawn with a point, with the name of the dead and a formula such as in pace, and sometimes the seven-branch candlestick (aw/. OIL, pp. 1375-76). Several vaults are decorated with paintings : foliage, vines, winged genii, a head which looks like the portrait of one of the defunct, figures gathering grapes, a horseman, etc. The ornamenta- tion and the distribution of the subjects offer analogies with other sepulchral paintings, especially those of the Via Latina. No furniture accompanied the dead. — MAH, 1895, p. 329.
EARLY CHRISTIAN SUBTERRANEAN CHAPEL. — At a sitting (May 1, 1895) of the SAF, M. Heron de Villefosse communicated, on the part of P. DELATTRE, a drawing and a photograph relating to this interesting discovery made at Carthage, P. Delattre writes : " While digging a trench at the south-southeast side of the hill of Saint-Louis, we came upon a subterranean chapel. At the end of a corridor, on the walls of which were traces of graffiti, we penetrated into a chamber with a groined vault, 5.50 m. wide and 3.80 m. deep. Facing the entrance, the wall was decorated with a fresco which in every respect recalled the paintings in the catacombs. It was much injured. The principal personage represented is a saint: the head is nimbed ; the right hand is in the attitude of benediction. At the left of the saint, who occupies the middle of the picture, we see portions of another personage, of whom the head and the lower part of the body have disappeared. On the side there are traces of two secondary person- ages, one of whom seems to be an angel. At the end of the picture there is a palm. The picture, then, is composed of three principal personages and two accessory figures, doubtless representing one of the faithful and an angel. The fresco appears to be Roman rather than Byzantine. Perhaps we have here a representation of Saint Cyprian." M. HERON DE VILLEFOSSE added some observations, recalling various representations of St. Cyprian, in some of which he is represented without a beard and in others with. Nevertheless, he
[TUNISIA] ARCHAEOLOGICAL NEWS. 85
was inclined to see in the central figure an image of Christ. He recognizes in it rather a rude type of the Christ, often met with in Africa, notably on a sarcophagus from Larnbese.
The discovery of P. Delattre is full of interest. He has brought to light one of those sepulchral chapels the existence of which at Carthage is mentioned from the third century. St. Cyprian was buried in a chapel of this kind, in area Macrobii Candidi procuratnris. Others existed all along the African coast. At the beginning of this century, the French traveller Pacho signalized many subterranean chapels at Gyrene decorated with Christian paintings. One of these represented the Good Shepherd between two trees, in the midst of the sheep and surrounded by seven fish. More recently M. C. Wescher discovered at Alexandria a Christian catacomb, decorated with paint- ings: on the vault was represented Christ nimbed, surrounded by other personages whose names were' indicated (published in BAC, 1865). It is very evident that the discovery of P. Delattre is connected with a group of facts most interesting for the history of the church.
MDEINA.— ROMAN VILLA. — At the October 10 sitting of the AIBL, M. GAUCKLER announced the recent discovery at Mdeina of a Roman villa similar to that of Oudna, which he proposes to describe later on to the Academic. He presented the photographs which he had taken in the course of the work, and the maps and watorcolors executed under his direction by M. M. Sadoux. — RA, Dec. '95, p. 373.
OUDNA=OUTHINA. — M. GAUCKLEK presented to the Academic des Inscriptions (Oct. 10, '95) the results of the excavations made during the last two years at Oudna, the ancient Outhina. The object of these researches was the general condition of Roman-home life in Africa in the first centuries of our era. They have led to the discov- ery of a large villa belonging to two rich proprietors. This construc- tion has been entirely uncovered with the adjoining buildings and baths connected with it. Fifteen other private houses have been partially excavated in the same quarter, apparently inhabited by the aristocracy of Outhina. None is later than the time of Constantino, the most ancient date from the Antonines. They are all constructed on about the same plan and are luxuriously decorated. Two white marble statues, many mural paintings, numerous fragments of archi- tecture and sculpture, pottery, coins and jewels have been acquired for the museum of the Bardo. These villas of Oudna are particularly distinguished by the richness and beauty of the mosaics with figured subjects with which they are entirely paved. Eighty-seven mosaics with figured subjects were discovered. They represented the entire series of subjects habitually treated by African mosaicists : Mytho- logical scenes, such as the rape of Euro pa, Endymion, Dionysos giving
86 AMERICAN JOURNAL OF ARCHAEOLOGY. [TUNISIA]
the vine to Ikaros, Orpheus charming the animals; representations of divinities : Bacchus and his troop, Venus and her group of Amorini, Diana the huntress, Minerva, Apollo, Helios, Ceres, Hercules ; above all, the divinities of the sea, Neptune armed with his trident, standing on a car or seated on a marine monster, Amphitrite, Oceanus, the Nereids, the Sirens ; familiar and rustic scenes taken from daily life ; •every variety of hunting and fishing scenes ; collections of animals and plants. The study of these mosaics in themselves and in their •connection with analogous pavements has enabled M. Gauckler to •establish the law of evolution which Roman mosaic in Africa has followed during the first centuries of the Christian era. The various periods through which it passed may be thus characterized : (1) period of full bloom in the times of the Antonini and Severini ; (2) period of transition from the middle of the third century to the acces- sion of Constantine; (3) Christian period which begins with the Con- stantinian Renaissance. The greater part of the mosaics of Oudna belong to the first period, and, for their artistic value, take the first rank among those which have been discovered in Africa. — RA, Dec. '95; Of. AJA, ix, pp. 271-2; x, p. 76.
TUNIS. — Concerning the pottery-workshops of the Punic epoch dis- covered by Dr. Carton at the Belvedere near Tunis, see the Revue Arch- eologique, 1894, n, pp. 180-195.— S. GSELL, in MAH, Oct., '95, p. 311.
ALGERIA.
ARCH/EOLOGICAL JOURNEY OF M. LEROY. — Doctor Hamy presented to the AIBL of Jan. 10, '96, the journal and the photographs of M. LEROY giving a resume of an archaeological journey which he made betweeen El- Alia and Biskra by way of the Oued ltd and the Djellai. M. Leroy, who had accompanied M. Foureau as far as El- Alia, entered by a very unfrequented road so as to verify the- reports gathered among the Nomads with regard to the ancient remains of construc- tions which were to be met with, it was said, on the plateau between the Itel and the Djedi. The traveler discovered, at the sources of the Oued-Itel, the remains of a Roman citadel which defended the passage between the two valleys of the Itel and the Djedi. He also found in the same region vestiges of an ancient Berber city indicated in the Arab legends by the name of Rammadal-el-Kommadi, with tombs reproducing on a small scale the Medragen and sepulchral chambers in stone comparable to those of which Duveyrier previously gave a drawing. Further to the North, between Douzene and Biskra, new observations complete what was already known of the Roman occupa- tion of the shores of the Djedi. — RC, Jan. 31, '96.
NUMIDIAN INSCRIPTIONS. — The Berlin Academy has published a sup- plement to the Numidian inscriptions, being a sequel to that of the
[ALGERIA] ARCHAEOLOGICAL NEWS. 87
Proconsular inscriptions, published in 1891 under the editorship of MM. Schmidt and Cagnat. M. Schmidt, who died in 1894, has been replaced by M. H. Dessau. This supplement, which includes the dis- coveries of the last fourteen years, contains 2622 numbers, many of which are previously-published inscriptions now revised and cor- rected.— MAH, 1895, p. 314.
ARCH/EOLOGICAL PUBLICATIONS ON ALGERIA AND TUNISIA.— Of the publications on the Musees et collections archeolagiques de VAlgerie et de la Tunisie, there have already appeared : the Musee d'Alger (1890), by M. Doublet; the Musee de Constantine (1892), by MM. Doublet and Gauck- ler; the Musee d'Oran (1893), by M. de la Blanch^re; and the Musee de Lambese (1895) by M. Cagnat. One of the most precious volumes, on account of the value of the works of art and the richness of the documents, is the Musee de Cherchel, which M. Gauckler published in 1895. Other catalogues are in preparation: Philippeville, Tebessa, Tleviccn, etc.—RA, 1895, Oct., p. 198.
CHERCHEL = IOL (PHOENICIAN) = CXESAREA (ROMAN). - EXCAVATIONS OF 1895. — The excavations of M. Waille and Captain Lordes at Cherchel have brought to light some halls lined with marble and ornamented with paintings, which represent flowers, shrubbery, in the midst of which the birds flutter, various figures and animals combined with arabesques (CBA Inscriptions, 1894, pp. 289-92). An important find is that of a beautiful marble head, the hair encircled by a royal fillet and the beard being coquettisbly arranged in little curls. M. Waille, who recognized in this head a portrait of King Juba I, sent it to the Louvre. To the west of the city, a small Christian church has been uncovered. — MAH, 1895, p. 343.
At the July 26 sitting af the AIBL, M. VICTOR WAILLE, professor at the Ecole fles lettres at Algiers, presented seventeen photographs and drawings summing up the results obtained at Cherchel during the year 1895 from the excavations which he is carrying on there under the patronage of the Comite des travaux historiques, with the collaboration of Captain Lordes and Lieutenant Perrin. Besides the uncovering of a basilica, they discovered a statuette of Diana, a colossal statue of an orator, the head of a king, a female head belonging to the first century, several draped female statues, some terracotta sculptures, a Christian plate, some African coins, two engraved cornelians, a large glass cameo representing Hercules helmetted with a lion-skin, a silver vase, a gold ring, about sixty objects in bronze, two brilliant mosaics representing (1) maritime subjects (hippocarnp, lobster, star- fish, sea-eel, fish, etc.), (2) two fronting peacocks separated by a vase, etc.—RA, Oct. '95.
MUSEUM OF CHERCHEL. — M. PAUL MONCEAUX (in RA, 1895, Oct.)
88 AMERICAN JOURNAL OF ARCHAEOLOGY. [ALGERIA]
gives an interesting sketch of this museum, founded on Paul Gauckler's Musee de Cherchel. Cherchel possesses a great number of objects prec- ious in themselves to the artist as well as to the archa3ologist. What increases their value to the historian of art is the fact that they all come from the city itself or its environs. It is entirely a local museum : numberless fragments of architecture, often very beautiful, mosaics, bronzes, ossuaries of lead, pottery, basreliefs, above all, inscriptions, and more than fifty statues. For four or five centuries, first under the Moorish Kings, and then under the Roman dominion, Caesarea was the capital of an immense region. All the civilizations which suc- ceeded each other in this region are represented at the Museum of Cherchel. A statue of Thothrnes I attests the ancient relations of the city with Egypt. A Lybian inscription recalls to us that the comptoir of lol was established in the Berber country. A votive stele to Baal-Hammon, ornamented with basreliefs, and a neo-Punic inscrip- tion, date from the period of the Carthaginian dominion. Interesting Arab texts come from the mussulrnan middle-age at Cherchel. But the collection is especially rich in Greek and Roman monuments. Among the latter are more than four hundred epigraphic monuments. Roman architecture is represented by numerous fragments, generally of good workmanship : archaeology by sepulchral or votive steles, ele- gant in style and often decorated with basreliefs, by ossuaries and by statues of gods, princes, women or priests, of unequal value and mostly dating from the time of the Severi. But the originality of this museum consists in the preponderance in it of Greek art. We have found an explanation for this in the personal taste and the persistent interest of Juba II, that Hellenistic King who was the real founder of Caesarea, and who was always in direct relations with the Orient and loved to surround himself with Hellenes. The question arises, By whom were executed the numerous copies of Greek originals? The most beautiful were probably done in the studios of the Orient. Others in the work- shops of Caesarea, from replicas in marble, bronze, or terracotta. One sees from the works reproduced that Juba II endeavored to introduce into Caesarea the grand art of Greece, that of the fifth cent. Under the Roman dominion the artists of Cherchel turned towards a less severe form of art, and sought for their models in the school of Praxi- teles. But during many centuries something survived of the tradition created by Juba II, which explains the intrinsic beauty of the frag- ments of architecture, even from Roman edifices. One seeks in vain for their equivalents among the other ruins of Algeria.
COLLO.-PUNIC NECROPOLIS.— At a sitting of the AIBL (Dec. 20, '95), M. Berger presented a detailed report from CAPTAIN HELO on the excavations at Collo in 1893 and 1894. Collo is a small port on the
[ALGERIA] ARCHAEOLOGICAL NEWS. 89
African coast of the province Constantine. For a long time some grottoes cut in the rock, which formerly served as a refuge for pirates, have been noticed in the cliff which extends along the sea. After examining these chambers, M. Helo was convinced that they were tombs, and he determined to explore the hill which borders the sea. He discovered there a whole Punic necropolis, the most ancient tombs of which date back to the end of the Punic period; the others are of the Numidian epoch. These tombs, all cut in the slope of the moun- tain, are composed of a small chamber preceded by an entrance which is connected with the chamber by a corridor. On both sides of each chamber extend two parallel benches. The interior of the toinbs was in a state of confusion and full of earth and sand ; still M. Helo was able to extract a quantity of pottery, various objects of bronze, some bent nails with large heads, and some statuettes of Egyptian style; the bones for the most part are not calcined. By the side of these sepulchres, M. Helo found a large number of others, much more rudimentary, composed of an amphora full of bones covered over by large bricks which formed the lid. These were doubtless the sepulchres of the poor people. The bones found in these amphorae present the same peculiarities as those in the tombs; most of them have not been burned. The vases discovered by M. Helo merit special mention. Several among them are anthropoid vases with a head, arms and breast, quite analogous to the potteries of Rhodes. Until the last discoveries of P. Delattre, only two of these have been found in Africa : they are preserved in the Museum of Constantine and doubtless came-from Collo. On a large number of these potteries M. Helo found Punic marks engraved with the burin and of which he was given very exact reproductions. The characters are of a good epoch, anterior to the use of the neo-Punic. The report of M. Helo, as well as his excavations, are made with great care. He has devoted a special paragraph to each tomb, and has added photographs, draw- ings, sections and plans which allow one to form a very exact idea of this necropolis.— RC, 1896, No. 1.
SAIDA. — PREHISTORIC REMAINS.— Near Sa'ida, MM. DOUMERGUE and POIRIER (Bull, trimestriel de geog. et darch. dOran, 1894, pp. 105-127) have excavated a natural grotto consisting of a chamber measuring four metres each way, with a smaller one attached to it, out of which opens a wide passage. They found, inside, a number of flints, which mostly resemble the European types. Also in a con- fused medley were found points and scrapers, implements, blades, gravers, drills of small dimensions, and less primitive work ; some arrow-points finely worked, and two small hatchets. Together with the flints were several objects of bone ; numerous fragments of pottery
90 AMERICAN JOURNAL OF ARCHEOLOGY. [ALGERIA]
having bands or borders in relief or engraved lines forming very simple geometric designs, and many other objects. It is interesting to note that a portion of the objects found in this grotto and in other grottoes in the vicinity of Oran (flints, implements in polished bone, pottery) are met within Spain with the same forms and the same ornamentation (see Siret, Asso. franc_aise pour Vavancement des sciences, Oran, I, 1888, pp. 206-7). -MAH, 1895, pp. 303-4.
SATAFIS.— RECENT EXCAVATIONS. — The Roman site of Satan's in Mauritania is fairly well known. It is twenty-four kilometres north of Setif on the modern site of Ain-Kebira or Perigotville. The earliest inscription that is dated pertains to the reign of Marcus Aurelius and Lucius Verus, and it became a municipiwn in the reign of Septimius Severus and Caracalla. At this time was erected the large structure of which parts still remain. Inscriptions make known to us a num- ber of temples, aqueducts, and baths. There are also Christian inscriptions of the fourth and fifth centuries. The construction of the modern French village has led to the disappearance of almost all the ruins, and the one building of which a conspicuous part remains is the early Christian Basilica, consisting of the nave and two aisles divided by groups of two columns forming double colon- nades, and a single semicircular apse. The walls were originally decorated with frescoes, and the church was preceded by a simple square atrium without columns. In an article by Gsell, is given a discussion of the existing remains, and a certain number of inscrip- tions are published. A local museum was established upon the site in which more than fifty inscriptions, some sculptures, and many fragments of architecture have been collected. Most of these inscrip- tions have been already either partially or entirely published. A few relate to monuments, but the greater part are sepulchral.
THAMALLA.- RECENT EXCAVATIONS.— The new village of Tocque- ville is thirteen kilometres from the station of Tixter; not far from Setif. There was here an ancient city which appears to have had the name of Thamalla, and in the Byzantine period a great fortress was established here to guard the route of Hodna. Here also the construction of modern buildings has been fatal to the ruins. How- ever, the present administrator of the village has gathered with great care the ancient monuments of interest and has placed them in the court of the school. Gsell publishes in the above article a number of inscriptions thus preserved which are sepulchral in character. North- east of the Byzantine fort are three inscribed mile-stones, one of them dated 219.— MA H, June, 1895.
TICZIRT— THE BASILICA OF THE FIFTH CENTURY.— (See AJA, X. 77). The altar, surmounted by a ciborium, is in the apse, which has a
'[ALGERIA] ARCHAEOLOGICAL NEWS. 91
: sacristy on each side; on the left of the basilica stood the baptis- tery, in the form of a trefoil, with round fonts. The architecture
•of this church, which dates from the fifth century, is very curious, with its overloaded decoration, its consoles placed over the columns
.and covered with ornaments or basreliefs, its lateral galleries which are reached by an external staircase, etc. All the elements of a definite restoration, have been found, and when the monograph of M. Gavault [the architect who has superintended the excavations] shall have appeared, the basilica of Tigzirt will certainly take rank as one of the best-known monuments of primitive Christian architecture (see some indications on the general results of the excavations in the CRA Inscriptions, 1894, pp. 293-295).— MAE, 1895, p. 342.
TIMGAD. — It is well known that there have been fine excavations
• carried on at Timgad by the Service des Monuments historiques with the very liberal help of the State. MM. Boeswillwald and Cagnat began in 1891 the publication of a great work (Timgad, une cite africaine •sous Vampire romain, Paris, Leroux, in-4°), which is intended to give a •complete description of this city. The third instalment of this work . appeared in 1894 and is devoted to the forum ; we are given successively •the basilica, the curia, the neighboring temple before which stood the rostra, the honorary bases set up on the square itself : both text and plates are excellent. In 1894 the excavations were carried on prin-
•cipally in the thermae, where were discovered mosaic-pavements and polychromatic statues of Hygsea, Mercury, and Nymphs. The clear- •ing away of the Capitol has been continued. In some private houses .in front of this edifice, quite a large number of small objects were found, pagan and Christian lamps, weights, etc. The principal Chris- tian basilica has been entirely uncovered (Ballu, Rapport au ministre de V Instruction publique, in the Journal officiel of May 1, 1895). — MAH, .1895, pp. 336-37.
AGE OF UNCIAL LETTERING IN INSCRIPTIONS.— At a sitting of the :SAF(Feb. 13, '95), M. Cagnat made the following communication: M. CHATELAIN, in the pamphlet devoted to the Moissoneur inscription which was in uncial letters, makes the following statement: ' In order to determine the date of the uncial lettering, the epigraphists are .waiting to receive from the paleographists the enlightenment which .the latter claim from the epigraphists.' A recent discovery made at 'Timgad, in the course of the last campaign of excavation, henceforth
• enables epigraphy to bring a precise and dated document to the solu- tion of the question. Some time ago was published a text from an
..honorary base erected on the forum of Timgad to a person by the name of Fl. Pomponianus (GIL, vm, 17910). The entire inscription
.is written in uncial letters : " Vocontio, P, Fl(avio~) Pudcnti Pomponiano,
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c(larissimo) v(iro), erga civeis patriamque prolixe cultori, exerdtiis militari- bus effecto, multifariam loquenles litteras amplianti, Atticam fncundiam adaequanti romano nitori, ordo incola fontis patrono oris uberis et fluentis- nostro, alterifonti. This Fl. Pomponianus, as is proved by the text,, was both a man of action and a man of letters. M. Biicheler has identified him with the grammarian of the same name (Rhein.. Museum, XLII, p. 473) cited by Julius Romanus ; and has inferred from the text of Chari-sius, who mentions him (p. 145. 29), that he- was a contemporary of Julius Romanus. The latter having lived, it is thought, during the first half of the in century, we ought to assign the same period to Flavius Pomponianus.
Last summer, while clearing out the baths of Timgad, there was found a votive inscription dedicated by the person in question and written in uncial letters. In this inscription we read the enumera- tion of all his dignities, and from the mention of one of them, the prsefectus fmmenti dandi, as well as from several other indications, we are enabled to place Fl. Pomponianus at a period of transition con- temporary with the emperors Elagabalus and Septimius-Severus, that is in the first half of the in century. We must therefore date back to- the reign of Alexander-Severus the use of the uncial lettering in«. inscriptions, at least in Africa.
ASIA. PERSIA.
AGREEMENT WITH FRANCE FOR EXCLUSIVE EXCAVATION. — M. PAUL DELOMBRE'S report (Dec. 21) on th'e credits $ apple mentaires asked for- by the French Government includes an item of 50,000 francs to pay for the exclusive privilege of making archaeological diggings in Persia. Delombre gives the hitherto unpublished text of the agreement which has been made between the French Government and the Shah. The chief points in this agreement are these : on account of the scientific eminence of the French, and the friendly relations which for so long a time have happily existed between Iran and France, the Persian Government grants to the French the exclusive privilege of making diggings throughout the who'e extent of the empire. All sacred places, like mosques and cemeteries, however, are to be exempt from disturbance: and the French excavating parties are held to respect the habits and customs of the country, and to do nothing to vex them. All expenses of whatsoever sort are to be at the charge of the Govern- ment of the Republic. If valuable objects in gold or silver are found,, or if any jewels, these are to be the private property of the Persian Government ; yet, in consideration of the cost and trouble of the dig-
{PERSIA] ARCHAEOLOGICAL NEWS. 93
gings, one-half of such objects will be yielded to the French at a fair price; and, whenever the rest shall be sold, if ever, the French shall be given the first chance to purchase it. As to works of sculpture of all sorts, and inscriptions, they are to be divided evenly between the two Governments, but the French delegates are to have the right of making sketches or models of whatever may be found. Finally, " in recognition of the preference which the Persian Government accords to it, the Government of the Republic will make to his Majesty the Shah a present of 10,000 francs."-7V. Y. Nation, Jan. 23, '96.
EKBATANA.— TRILINGUAL INSCRIPTIONS. — At theAIBL, of March 13, '96, M. OPPERT explained a text of Artaxerxes Mnemon, king of Persia (405-360). They are two fragments belonging to two identical trilingual texts; one of the fragments contained the beginning of the lines of the Persian text and a small part of the end of the lines of the Assyrian text; the other comprised several words of Median transla- tion and the commencement of the lines of the Assyrian text. Accord- ing to appearances, M. Dieulafoy is right in thinking that this monu- ment comes from Ekbatana. It would come then from the apadana or the hall of the columns of P^kbatana, capital of Media, and this would be the only text from this city which has come down to us. Excavations there are impracticable because the new capital, Hama- dan,is situated on the same spot as the primitive city. — RC, '96, No. 12.
BABYLONIA.
RELATIONS BETWEEN ELAM AND BABYLONIA.— A pamphlet entitled Aus der babylonischen Altertumskunde, by Prof. HOMMEL, is brimful of new facts and suggestions in regard to early Babylonian history. It will be a surprise to many to learn that 6000 years ago Babylonia was already engaged in active trade with Arabia, Syria and the highlands of Kurdistan. Perhaps one of the most interesting facts brought to light by the Professor is that Ine-Sin, who was king of Ur about B. c. 2500, or earlier, and in whose reign portions of the great Babylonian work on astronomy were compiled, subdued both Kimas, or Central Arabia, and Zemar in Phoenicia (see Gen. x. 18), while his daughter was patesi or high-priestess of Anzan in Elam and Mark- haskhi in northern Syria, where the Hittites were already astir. Still more interesting is the remarkable discovery made by Mr. PINCHES of a tablet recording the war waged by Khammurabi of Babylon (B. c. 2250) against Eri-Aku, or Arioch, of Larsa, and his Elamite allies, which ended in the rise of a united monarchy in Babylonia,, with Babylon as its capital. Among the opponents of Khammurabi men- tion is made of Kudur-lagamar the Elamite, Eri-Aku, and Tudkhal,
94 AMERICAN JOURNAL OF ARCHEOLOGY. [HAUYI.OMA]!
tlie Tidal of the Book of Genesis. — A. H. SAYCE, in Academy , Sept. 7, '95.
Dr. FRITZ HOMMEL communicates (in SBA, vol. xvn, p 199) a note on an Aramaic inscription of a Perso-Aramaic cylinder published by Scheil (Notes d'Epigraphie et d* Archeoloyie assyriennes) consisting of the words : oSnnDjbyS. Professor Hommel says : " Who would not think here of the Cosssean town Bit-Kilamsah, well known from the inscrip- tions of Sennacherib? Kilam-sah seems to be the founder of this town, and the name is composed of an element Kilam, ghilam (chy-, which before the dental sibilant becomes jS;», ghilan),vfith which may be compared ulam-, in Ulamburias, etc., and the name of the Elamite god Sah, or the Sungod. I therefore translate: ' to Ghilan-sah, my King.' The mere fact that we here find aCosssean [or Kassite] king with a name of pure Cossacan-Elamite origin in the Persian time, is of the highest historical value."
Dr. HOMMEL, in a note in SBA, vol. xvm, p. 23, says: "In the Elamite proper name Ma-uk-ti-ti we have evidently the same deity as in the well-known name Kudur-Mabuk. Mabuk and Ma'uk are only variants of spelling. Since the Babylonian goddess Bd'u is also writ- ten Babu, I think we should probably see in Mabuk this same name, but in an Elamiticized form. Mr. PINCHES found a tablet with all the names of the kings of Genesis xiv (see the still unpublished ' Acts of the Geneva Congress '), viz., Hammu-rabi, Kudur-Dugmal, and Tudhul ; the form inj^TO in Genesis iv goes back to an older Kudur-Lagamar. Now, Lagamar was an Elamitic goddess, and I think it not impossible to see in Kudur-Mabuk a half-Semitized form of Kudur-Lagamar."
THE AMORITES IN BABYLONIA.— Mr. PINCHES' latest discovery is a highly interesting one, and throws fresh light on the intimate rela- tions that existed between Babylonia and Syria in the age of Abra- ham. Prof. Hommel may yet prove right in his suggestion that the defeat of Chedorlaomer and his allies by the Hebrew patriarch was the ultimate cause of Khammurabi's success in overthrowing Eri-Aku or Arioch, and the Elamite supremacy over Babylonia, and in estab- lishing a united and independent Babylonian kingdom. At any rate we now know that in the time of Khammurabi and his dynasty Babylonia claimed sovereignty over Syria, and that Syrian colonists were settled in Babylonia. The " land of the Amorites," properly speaking, was that portion of Syria which lay immediately to the north of the future Palestine, but the name was used by the Baby- lonians to denote all Syria as far south as the southern borders of Canaan. A passage in a contract-tablet dated in the reigp of Sinmu- ballidh, the father of Khammurabi, which has been published by Dr. Scheil in the Becueil de Travaux relatifs & la Philologie et a V Arche- ologie egyptiennes et assyriennes (xvii, p. 33), tells us where the "Amorite-
[BABYLONIA] ARCHAEOLOGICAL NEWS. 95
district " discovered by Mr. Pinches actually was It was just outside the gate of Sippara, now called Abu-Habba.
There was consequently an Amorite or Syrian settlement in Baby- lonia, similar to the foreign settlements in Egypt and other countries of the ancient Oriental world. A stela lately found on the site of Memphis, and now in the Gizeh Museum, describes a Hittite settle- ment as existing in what was known as the Hittite district just outside the walls of Memphis in the fourth year of the reign of King Ai (at the end of the xvm dynasty); and in the time of Herodotos there was a " Tyrian camp " on the south side of the same city and outside the walls of the temple of Ptah (Hdt. ii. 112). So, too, we read in I Kings, xx. 34 that the kings of Israel and Syria severally "made streets " for their subjects in Damascus and Samaria.
Mr. Pinches points out that Amorites were able to hold official posts in Babylonia. Similarly, foreigners rose to high offices of state in Egypt; and a contract for the sale of three slaves, drawn up at Nineveh in 709 B. c., only thirteen years after the fall of Samaria, is witnessed by two Israelites, Pekah and Nadab-Yahu, who are described as Assyrian officials. — A. H. SAYCE, in Acad., Nov. 23, '95.
INSCRIPTION OF NABONIDOS (555-538 B. C.) DISCOVERED AT BABY- LON.—A discovery of the greatest importance has just been made by Father Scheil, who has for some time been exploring in Babylonia, In the Mujelibeh mound, one of the principal heaps of ruins in the enciente of Babylon, he has discovered a long inscription of Nabonidos, the last of the Babylonians Kings (B. c. 555-538), which contains a mass of historical and other data which will be of greatest value to students of this important period of Babylonian history. The monu- ment in question is a small stela of diorite, the upper part of which is broken, inscribed with eleven columns of writing, and which appears to have been erected early in the King's reign. It resembles in some measure the celebrated India-House inscription of Nebuchadnezzarr but is much more full of historical matter. Its value may be estimated when it is stated that it contains a record of the war of revenge con- ducted by the Babylonians and their Mandian allies against Assyria, for the destruction of the city by Sennacherib, in B. c. 698 ; an account of the election and coronation of Nabonidos in B. c. 555, and the won- derful dream in which Nebuchadnezzar appeared to him ; as well as an account of the restoration of the temple of the Moon god at Khar- ran, accompanied by a chronological record which enables us to fix the date of the so-called Scythian invasion. There is also a valuable reference to the murder of Sennacherib by his son in Tebet, B. c. 681.
The inscription opens with a very graphic recital of the terrible sack of the holy city of Babylon in B. c. 698 : " Over all this, land an
96 AMERICAN JOURNAL OF ARCHAEOLOGY. [BABYLONIA]
evil curse from his heart he uttered ; mercy he showed not; to Babylon he came, he desecrated the temples, poured out the dust, erased the