Archaeological Discussions

Archaeological Discussions
Author(s): James M. Paton

Source: American Journal of Archaeology, Vol. 11, No. 4 (Oct. - Dec., 1907), pp. 447-498
Published by: Archaeological Institute of America
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1907
January - June
ARCHAEOLOGICAL DISCUSSIONS'
SUMMARIES OF ORIGINAL ARTICLES CHIEFLY IN
CURRENT PERIODICALS
JAMES M. PATON, Editor

65, Sparks St., Cambridge, Mass.
GENERAL AND MISCELLANEOUS
The Decoration of Neolithic Pottery.- In Z. Ethn. XXXIX, 1907,

pp. 108-120 (7 figs.), J. TEUTSCH, in answer to criticisms by H. Schmidt,
maintains that on certain painted pottery from Burgenland in Transylvania
white is used as background while the ornament is in red outlined with
black. He also argues that this type of decoration is derived from the
Aegean vases. Ibid. pp. 121-136, H. SCHMIDT replies, modifying in some
details his earlier views. He still believes that white is originally applied
as decoration, and that this is generally its use. It is possible that in some
cases there may be a secondary use of the original clay or colored background as decoration. The spiral decoration, the white incrusted, and
white painted pottery were characteristic of the late neolithic period in
central Europe and were brought to the Mediterranean by emigrants from
that region.
The Earliest Ships. - In Z. Ethn. XXXIX, 1907, pp. 42-56, E. HAHN

discusses the construction of the earliest sea-going ships. For transport by
water, primitive races have used inflated bladders, skins, reed boats, rafts or
catamarans, hollowed logs, and especially sewed bark. Sea-going ships,
which must have existed in very early times, have developed from the boat
of logs tied together, though the earliest form was probably like the Malay
proa with an outrigger.
Painting of the Body and Tattooing.-- In R. Arch. IX, 1907,

1 The departments of Archaeological News and Discussions and of Bibliography of
Archaeological Books are conducted by Professor PATON, Editor-in-charge, assisted
by Miss MARY H. BUCKINGHAM, Mr. HAROLD R. HASTINGS, Professor ELMER T.
MERRILL, Professor FRANK G. MOORE, Mr. CHARLES R. MOREY, Professor LEWIS B.
PATON, Dr. A. S. PEASE, and the Editors, especially Professor MARQUAND and Dr.
PEABODY.
No attempt is made to include in this number of the JOURNAL material published

after July 1, 1907.
For an explanation of the abbreviations, see pp. 140, 141.

447
448 AMERICAN JOURNAL OF ARCHAEOLOGY [VoL. XI, 1907

pp. 38-50 (4 figs.), J. DECHELETTE shows that the Europeans of the stone
age and early part of the bronze age decorated their persons with painting,
tattooing, or both. This was the case in the eastern and western Mediterranean regions, as well as in France and more northern parts of Europe.
Pictorial Art and Oriental Research. --In Memnon, I, 1907, pp. 9-
18, J. STRZYGOWSKI pleads for the emancipation of the history of Oriental

art from the study of philology and epigraphy. He claims that at present
inscriptions are the only objects that interest Orientalists, and that sculpture and painting are passed over as mere accessories of written texts. In
reality, however, the art of the various west-Oriental peoples throws as important a light upon their ideas and the history of their civilization as do
their inscriptions. The history of Oriental art should be constituted a distinct discipline in the universities, and should devote itself to the investiga-
tion of material, technique, object, figure, form, and content. Scarcely a

beginning has been made in determining the deeper spiritual ideas that
underlie the varying forms of art in the chief centres of ancient Oriental
civilization.
The Origin of the Himyaritic Script. - In S. Bibl. Arch. XXIX, 1907,

pp. 123-132 (2 pls.), E. J. PILCHER argues that the Himyaritic script was
not of ancient Semitic origin, but was derived from Greek colonists in
Egypt. Letters which are distinguished in Phoenician have not separate
signs in Himyaritic, but only slightly modified forms of the same sign, as
would be the case if they had been derived from a non-Semitic people.
Himyaritic is written boustrophedon like ancient Greek. In Himyaritic the
words are marked off from one another by a perpendicular stroke, which is
also an early Greek custom. Several of the most puzzling characters of the
Himyaritic are explained most readily from Dorian Greek forms.
Katabanian Inscriptions. - In Mitt. Vorderas. Ges. XI, 1906, pp. 1-48,
D. NILSEN publishes two new inscriptions of the Glaser collection, one
recording how a certain mukarrib of I.ataban constructed a new road
through the mountains and rebuilt the temple; the other recording how a
king
of I.ataban
a she-camel
'Athtar,
'Amm,I, and
Shamash.
Tarshish
andsacrificed
the Jonah
Legend. to
- In
Mlemnon,
1907,
pp. 70-79
(3 figs.), G. HiusI'G contests the current view that Tarshish is to be identi-
fied with Tartessus in Spain. The two passages on which this view rests
are Gen. x. 4 and Jonah i. 3. In the first, Tarshish is mentioned in connection with Cyprus, Crete, and Rhodes and is, therefore, to be regarded as a
textual corruption for Turshim, the Tursha of the Egyptians which constantly appears in connection with Crete and Cyprus. In Jonah a different
division of the letters changes," he went down to Joppa " to " and he (Yah-
weh) pursued him," thus removing the indication that Joppa was on the
way to Tarshish. In 1 Kings and 2 Chron. it is declared that Ezion-Geber
was the port for Tarshish, which indicates that Tarshish lay in the east.
It is to be identified with the coast of ancient Elam, and the story of Jonah
is a modified form of an ancient Elamitic myth which is widely prevalent
in the Orient and throughout the classical world. See also Or. Lit. X, 1907,
col. 26.
The New Testament in the Light of Recent Archaeology. - In

Exp. Times, XVIII, 1907, pp. 202-211, A. DEISSMANN discusses the bearing
of recently discovered papyri and inscriptions on the interpretation of the
GEN. AND MIsc.] ARCHAEOLOGICAL DISCUSSIONS, 1907 449

New Testament religion. The classical literature gives a distorted conception of the scepticism of the world into which Christianity came.
Inscriptions and papyri show us that in general people were deeply religious
and were thus prepared to receive the new teaching. They show also an
uncertainty in regard to immortality that prepared the way for the positive
message of Christianity on this subject. The inscriptions also throw light

upon the current meaning of many New Testament terms.
Ancient Glass. - In Le Musee, III, 1906, pp. 477-524 (3 pls.; 102 figs),
A. SAMBON gives an account of ancient glass. The material is arranged
by countries and periods, and the characteristic products of each group are
noticed and illustrated by typical specimens.
The Roll in Ancient Art. - The representations of the papyrus roll in

ancient art have been collected and fully discussed by T. BIRT. In an
introduction he treats briefly the roll in ancient Egypt, and the use of papyrus rolls and. parchment among the Greeks and Romans. The use of a codex
is scarcely represented before the fourth century A.D. Parchment was used
for school books, as more durable and apparently cheaper in the time of
Martial, and perhaps for reference books, but not for ordinary editions.
The chapters treat in detail of the closed roll, the open roll and reading,
writing, the character of the roll and its preservation, the illustrated book,
which is held to have inspired the form of the sculptures on the columns of
Trajan and Marcus Aurelius, and the representation of rolls in the Middle
Ages. (T. BIRT, Die Buchrolle in der Kunst. Archdologisch-antiquarische
Untersuchungen zum Antiken Buchwesen. Leipzig, 1907, B. G. Teubner.
x, 352 pp.; 191 figs. 8vo. M. 12.)
Roman Fortified Boundaries in Germany and Britain. - In Rec. Past,
VI, 1907, pp. 9-13, 50-57, 83-89 (11 figs.), G. H-1. ALLEN describes the
development of the Roman system of fortifications along the boundaries of
Germany .and Britain, the character of the remains, and in particular the
restored fort at the Saalburg.
The Date of the Ruins in Rhodesia.- In his report of a journey in

South Africa (Z. Ethn. XXXVIII, 1906, pp. 863-895; 17 figs.), F. voN
LUSCHAN discusses the age of the ruins at Simbabwe and other points in
Rhodesia. He examines the arguments in detail, and agrees with Randall
Maclver that the ruins are of comparatively recent date, and probably of
native origin. The figure of Egyptian porcelain is declared a modern
forgery, but even if genuine, it proves nothing, for many Egyptian antiqui-
ties are now brought into South Africa by Greeks. Ibid. pp. 896-904
(3 pls.; 12 figs.), H. SCHiFER gives at length the grounds for declaring

the porcelain figure one of a series of modern forgeries made in Thebes.
Ibid. pp. 916-923 (fig.) is published a discussion of von Luschan's views, in
which a greater antiquity is claimed for the ruins and the objects found
there by Staudinger, Fritsch, and Oppert.
Persian Numismatics. - In J. Asiat. VIII, 1906, pp. 517-532, ALLOTTE
DE LA FUYE discusses a series of coins with Aramaic legends containing the
titles Prtkra and Malka, and bearing the names of certain Persian monarchs.
He comes to the conclusion that all Persian coins are later than the reign
of Antiochus II. They are probably contemporary with the reigns of
Mithridates I, king of Parthia, and his successors. Arsacid influence is
unmistakable in these coins.

Hindu Architecture in the Far East.- The Hindu architecture in the
Far East has been studied by GENERAL L. DE BEYLI1. He reviews briefly

the architectural styles of India, and the influences received or exercised by
Hindu art before the Mahommedan invasion, and then considers the special
characteristics of the architecture in the neighboring countries, treating
successively Cambodia and Annam, Siam and Laos, Burmah, Java, and
Ceylon. He concludes that Hindu architecture is composed of indigenous
elements strongly modified by Persian and Greek influence; that it does
not generally employ brick and stone before the second century B.c.; that
Indian art reached Indo-China and the islands during the first two centuries of our era, but that in all these countries it was modified by strong
local tendencies; that the stone and brick monuments of these regions are
not earlier than the sixth century A.D.; and that later the so-called Chinese
style became more and more prevalent. (General L. DE BEYLIE, L'Archi-
tecture Hindoue en Extreme-Orient. Paris, 1907, E. Leroux. 416 pp.;
366 figs. large 8vo.)
The Monuments of Cambodia.- The second volume of the Inventaire
Descriptif des Monuments du Cambodge, by E. LUNET DE LAJONQUIEiRE

(Paris, 1907, E. Leroux. xlv, 355 pp.; 2 pls.; 112 figs. large 8vo.), is published
by the Ecole Francaise d'Extr~me-Orient. In the brief Introduction a general
account of the diffusion of early Cambodian civilization in the valleys of
the Menam and the Mekong is followed by notes on the monuments, their
construction and decoration, supplementary to the introduction in the first
volume (A.J.A. VII, p. 454). The monuments (Nos. 291-470) are then
described in detail according to their geographical distribution in provinces
recently added to Cambodia, French Laos, eastern Siamese Laos, western

Siamese Laos, and the valley of the Menam.
EGYPT
Babylonian Influence in Egyptian Art.- In 1Memnon, I, 1907, pp. 8085 (4 figs.), F. HOMMEL claims that the bark of the sun in Egyptian art is
derived from the floating shrine of the sun-god in Babylonian art, and that
the eight Igigi of Babylonia are the prototypes of the eight genii who in
Egypt accompany the sun-god with music.
Egyptian and Assyrian Standards. - In Klio, VI, 1906, pp. 393-399
(4 figs.), H. SCIIFER points out that Egyptian and Assyrian standards,

which consist of a pole bearing the symbol of a god, are carried on a war-
chariot, and enjoy a special cult in the camp. They are not merely
standards, but indicate the actual presence of the gods. The custom seems
to have originated in Egypt, whence it was borrowed by the Assyrians.
The Writing and Language of the Egyptians. - In A lt. Or. VIII,
1907, part II, pp. 1-32, W. SPIELGELBERG gives an account of the development of the Egyptian script from the pictures of the earliest period through
the hieroglyphic, hieratic, and demotic to the Coptic, and adds a brief
history of the decipherment of the monuments and of the development of
the Egyptian language.
The Tablets of Negadah and Abydos. - The excavations at Negadah
and Abydos have disclosed a number of small inscribed pieces of wood or

ivory which belong to the earliest Egyptian dynasty. These are discussed
BABYLONIA, ETC.] ARCHAEOLOGICAL DISCZUSSIONS, 1907 451

by F. LEGGE in S. Bibl. Arch. XXVIII, 1906, pp. 252-263 (2 pls.); XXIX,
1907, pp. 18-24, 70-73 (pl.), 101-106 (pl.). One tablet records the celebration of the so-called Sed festival at the tomb of King Aha, another the
foundation of the temple of Neith at the funeral of the same king, another
names King Zer.

An Egyptian Bust in the Louvre. - In Mon. Piot, XIII, 1906, pp. 527 (2 pls.; 6 figs.), G. B~N9eDITE argues that in Egyptian art it is necessary
to distinguish the stereotyped hieratic style, common in temples and tombs,

from a much freer naturalistic style shown in early mastabas and later in
furniture and household ornaments and utensils. The articles made for
the living are a truer measure of Egyptian art than those intended for the
gods or the dead. A fine limestone bust of Amenophis IV in the Louvre
shows clearly how this king broke with the official art as well as the official
religion.
An Egyptian Head in Brussels. - In M[on. Piot, XIII, 1906, pp. 29-34

(pl.; fig.), J. CAPART publishes a fine Egyptian portrait now in Brussels.
It belongs apparently to the early years of the nineteenth dynasty, and shows
the freedom and delicacy characteristic of Egyptian art under the iilfluence
of Amenophis IV. The author argues that the change from the realism of
the early sculpture to the later ideal type is due in great part to a change
in the belief as to the nature of the " Double," in consequence of which the
need of accurate portraiture was no longer felt.
A Pendant on Statues of Usertesen III. - In S. Bibl. A rch. XXVIII,

1906, pp. 268-269 (pl.), V. SCHMIDT describes the representation of a pendant on three statues of Usertesen III, and concludes that it is an amulet
consisting of a linen cord tied with peculiar loops.
The State Post under the Ptolemies. - In Klio, VII, 1907, pp. 241277, F. PREISIGKE examines the verso of Hibeh Papyri, 1, 110, which contains
the records of a postmaster at some place in the Fayum. Analysis shows
that the post left this place for the north and south, probably every six
hours, that it was used only for state despatches requiring speed, and that
it was a liturgy performed probably by colonists holding lands from the
king. There are indications of other arrangements when speed was not
needed. Private letters do not seem to have been forwarded by the state.
Ptolemaic Metrology. - In R. Et. Gr. XIX, 1906, pp. 389-393, T. R.
discusses the naubion and the stater in Ptolemaic Egypt. For the former he
accepts the conclusions of Jouguet and Lesquier (A.J.A. XI, p. 202). The
same document fixes the stater as equivalent to the silver tetradrachm, and
this seems its value in Herondas, VII, 99.
The Gold Medallions of Abukir. --A brief account of the large gold
medallions found at Abukir (A.J.A. VIII, p. 468), the suspicions regarding
the alleged discovery, the purchase of four by the Berlin Museum, and the
disappearance of the other specimens is given in Burl. Mag. XI, 1907, pp.
162-163 (pl.) by A. KOESTER.
BABYLONIA AND ASSYRIA
The First Babylonian Dynasty.- In S. Bibl. Arch. XXIX, 1907,

pp. 107-111, C. H. W. JOHNS discusses the lists of names of the years in the
period of the first dynasty of Babylon. The Babylonian custom was to

name each year after some important event which occurred in it. A number of chronological lists of these names of the years have come down to us
in a fragmentary condition. The author seeks from a study of contract

tablets of the period to fill up the gaps in these lists and supplies a large
number of new year-names for the reigns of the first dynasty.
Old Babylonian Chronology. - In Or. Lit. X, 1907, cols. 169-181,

L. MESSERSCHMIDT publishes a new collation of the chronological table of
the first dynasty preserved in. the museum at Constantinople.

Mathematical, Metrological, and Chronological Tablets from
Nippur. - In the Publications of the Babylonian Expedition of the University
of Pennsylvania, Vol. XX, Part I, 1906 (30 pls., 15 photos), H. V. HILPRECHT
publishes forty-seven tablets in transcription and seventeen in photograph
from the excavations of the so-called temple library of Nippur. These consist of tables of multiplication and of division, in all of which the number
12,960,000 is taken as the basis of the calculations. The multiplication
tables are tables of the factors of this quantity, and the division tables are
for the most part tables of quotients obtained by dividing 12,960,000. The
explanation of this fact is that 12,960,000 (= 604 = 36002) is a sacred num-
ber representing the number of days in the sacred cycle of 36,000 years
which played so important a part in Babylonian cosmological speculations
and was known to the Greeks through Pythagoras and Plato. There are
also tables of squares from one to fifty and of square roots, and tables of
measures of capacity and of weights. From these tables it appears that the
Babylonian scribes of the third millennium B.C. were familiar with the computation of the areas of rectangles, squares, right triangles, and trapezoids
and the volumes of rectangular parallelopipeds and of cubes. If the vessel
whose contents were measured was a cylinder, we shall have to assume that
they were also familiar with the approximate ratio of the circumference of
a circle to its diameter. More important than all these mathematical tables
is a list of early Babylonian kings containing originally about 180 names of
rulers. It shows that at least 135 kings who reigned before the time of
Hammurabi were known to the Babylonians. That is, that Babylonian history could be written for as many years before Hammurabi as elapsed from
Hammurabi to the fall of Babylon. By means of this list the chronological
relations of the dynasties of Ur and of Isin are established, and the exact
number of years of each king's reign is recorded. The texts are provided
with an elaborate introduction describing their characteristics and their
historical significance.
In Or. Lit. X, 1907, cols. 109-113, H. RANKE discusses this list of early
Babylonian kings and agrees with Hilprecht that the downfall of the dynasty
of Isin is to be identified with the capture of Isin by Rim-Sim recorded in the
seventeenth year of Sin-muballit. This view is supported by a tablet which

mentions the year in which Amurum drove out Libit-Ishtar, who is probably
identical with the last king of Isin. Amurum denotes the West Semitic
people who overran Babylonia in the time of the first dynasty of Babylon.
Ibid. cols. 114 if., B. MEISSNER disputes the identity of Libit-Ishtar with the
last king of the dynasty of Isin, and holds that he was a governor of the
city of Sippar. Ibid. cols. 207-210, H. RANKE disputes Hilprecht's identification of Immerum with Nur-(ilu)im of Larsa.
The Chronology of Ashurbanipal's Reign.--In S. Bibl. Arc1h. XXIX,
BABYLONIA, ETC.] ARCHAEOLOGICAL DISCUSSIONS, 1907 453

1907, pp. 74-84, C. H. W. JOHNS publishes the fifth of his important
investigations into the chronology of the reign of Ashurbanipal. The
eponym list is defective during this reign, but by an elaborate study of business documents of the period the author succeeds in restoring with a high
degree of probability the names of all the eponyms for the years between
671 and 660 B.c.
The Alabaster Relief of King Ashur-nasirpal II. - In Or. Lit. X, 1907,

cols. 115-126, A. HERMANN discusses the significance from the point of view
of the history of civilization of the armor, dress, ornaments, and other details
on the alabaster relief from the northwest palace of Ashur-nasirpal II.
The Archaeology of the Cuneiform Inscriptions. - In the Rhind
Lectures for 1906 Professor A. H. SAYCE discussed the archaeology of

Babylonia and Assyria, chiefly from the evidence of the inscriptions, as the
excavations have not as a rule been coniducted with sufficient scientific
accuracy to make possible a classification of the pottery and other objects.

The volume containing these lectures, with an article from the Contemporary
Review for August, 1905, treats of the decipherment of the cuneiform
inscriptions, the archeological records, which are best known at Susa, the
Sumerians, the relation of Babylonian civilization to Egypt, Palestine, and
Asia Minor, and the condition of Canaan in the century before the Exodus.
(A. H. SAYCE, The Archaeology of the Cuneiform Inscriptions. London, 1907,
Society for Promoting Christian Knowledge. 220 pp.; 19 p1s. 8vo. 5s.)
Aramaean Tribes in Babylonia. - In Mitt. Vorderas. Ges. XI, 1906,
pp. 203-246, M. STRECK discusses information gained from Babylonian and
Assyrian sources in regard to the nomadic tribes that dwelt in Babylonia
and the adjacent regions. The cuneiform records afford no evidence that
the Aramaean migration had occurred before the fifteenth century B.C., and
there is no trace of Aramaean settlements in Babylonia before the tenth
century. The main sources of information in regard to these tribes are
described and discussed in chronological order, and this is followed with an
alphabetical index of Aramaean tribal names with references to all the
passages in the cuneiform literature where these tribes are mentioned.
Chedorlaomer Tablets. - In S. Bibl. Arch. XXVIII, 1906, pp. 241251; XXIX, 1907, pp. 7-17, A. H. SAYCE continues the translation and
discussion of the so-called Chedorlaomer tablets (A.J.A. XI, p. 204).
The Meaning of the Title Bur-Gul.- In Or. Lit. X, 1907, cols. 175-181,
A. POEBEL shows that the bur-gul, who occurs in numerous tablets from
Nippur, was a functionary who performed the duties of a notary-public in
witnessing signatures and attesting seals.
Signs for the Liver in Babylonian Inscriptions.--In Z. Assyr. XX,
1907, pp. 105-129, M. JASTROW, JR., discusses the signs used for the liver in
Babylonian tablets. The ideogram commonly read HA R, which is known

to denote the liver, he holds should be read U R. Four other signs are also
used for the liver, showing the unique importance that was attached to this
organ in Babylonian haruspicy. The liver was regarded as the genuine
seat of the soul and it was the only organ inspected in sacrificial victims.
This fact gives a new meaning to a number of Babylonian omen tablets
and especially to the famous series of omens of Sargon and Naram-Sin,
which instead of being astrological, as was formerly supposed, are in reality
all liver omens.
454 AMERICAN JOURNAL OF ARCHAEOLOGY [VOL. XI, 1907

The Historical Topography of the Region of the Tigris. - In Memnon,
I, 1907, pp. 89-143 (pl.; 9 figs.), E. HERZFELD discusses the modern geography of the region occupied by ancient Assyria, and then the relics that
survive at various points from the Assyrian, Persian, Greek, Parthian, and
Sassanian epochs. The article also contains a collection of all the passages
in the classical writers descriptive of this region.
Dilmun. - In Exp. Times, XVIII, 1907, p. 234, A. H. SAYCE claims that

Dilmun of the cuneiform inscriptions is not the island of Bahrein, as has
been commonly supposed on the basis of the Annals of Sargon, 369-370, but
is really a district of northeastern Arabia.
Karduniash.--In Or. Lit. IX, cols. 663-665, G. HiUSING argues that
there is no evidence in support of the view that Duniash is the Kassite

name for Babylonia. Karduniash is the name of a divinity, and cannot
mean "the fortress of Duniash." The word must be explained from
Kassite-Elamitic.
The Four Sacred Rivers.- In Or. Lit. IX, cols. 558-663, F. HOMMEL
shows that the conception of four sacred rivers is common in Babylonia,
and compares the four rivers of Paradise in Genesis ii. These rivers were
originally located in eastern Arabia west of the Euphrates, but subsequently
the names were transferred to the region east of the Tigris in the vicinity
of Dur-ilu.
Babylonian Parallels to the Genealogy of Abraham. - In Exp.

Times, XVIII, 1907, pp. 322-333, A. H. SAYCE argues that the ancestors of
Abraham in Genesis xi are Babylonian names of cities and tribes, so that
this chapter contains an historical reminiscence of the migrations of the
forefathers of Abraham from Ur of the Chaldees to Mesopotamia.
The Tree of Truth and the Tree of Life. - In R. Bibl. XIV, 1907,
pp. 271-274, P. DHORME discusses the Babylonian beliefs concerning the
"tree of truth " and the "tree of life," which are the counterparts of the
" tree of the knowledge of good and evil " and the " tree of life " in Genesis.
The " tree of truth " in the Babylonian conception was planted at the east
and was guarded by the rising sun. It stood at the entrance of heaven.
The "tree of life " was also a mythological conception, but had its counterpart on earth in a tree in the garden of the temple at Eridu. Both trees
are frequently mentioned in early Babylonian texts.
The Dove with the Olive-leaf. - In Exp. Times, XVIII, 1907, pp.
377-378, W. O. E. OESTERLEY discusses the meaning of the olive-leaf
brought back by the dove in the story of the flood. He holds that both the
dove and the olive-twig were originally sacred to Ishtar, and that in the
original Babylonian version of this story the dove appeared as the messenger
of Ishtar to Noah, bringing him assurance of the cessation of the deluge.
The Ark of Yahweh. - In Exp. Times, XVIII, 1907, pp. 155-158,
F. HOMMEL points out the analogies to the Ark of the Covenant and the
tables of the law in the Babylonian "tablets of fate," and "chamber of
fate." The latter was a kind of portable chest in which the " tablets of fate "
were kept, and which was carried on the Babylonian New Year festival from
the temple of Marduk to the house of sacrifice. These analogies seem to
show that the connection of the tables of the law with the ark is very
ancient and that the statements of the Hebrew Priestly Code on this
subject are trustworthy.
SYRIA AND PALESTINE] ARCHAEOLOGICAL DISCUSSIONS, 1907 455

SYRIA AND PALESTINE
The Origin of the Semitic Alphabet. - In Z. Assyr. XX, 1907, pp.

49-58, H. GRIMME discusses the origin of the Semitic alphabet. He rejects
the theory of Egyptian origin and holds that the Babylonian origin is antecedently most probable. Both A yin and Teth are represented by a circle
in the old Semitic alphabet, and the same sign, a circle, represents hi
or 'i and ti in old Babylonian script. This suggests that these two letters
at least have been derived from the Babylonian character. Later Teth was
discriminated from 'Ayin by the insertion of a cross (Tau) in the middle of
the circle. The same process of discrimination by combination with another
letter is traced through the South Arabian alphabet and the Ethiopic. The
Aramaeans are the most probable originators of the alphabet on account of
the absence of distinction between He and IHeth in their language. The
Semitic alphabet knows nothing of this distinction.
The Cities of the El-Amarna Letters. -In Z. D. Pal. V. XXX,
1907, pp. 1-79, H. CLAUSS publishes an elaborate study of the names of
towns and districts in the Amarna letters in comparison with their equivalents in the Bible and in modern times. One hundred and fifteen names
are arranged in alphabetical order, and all the passages in which these names
occur are brought together under each head. At the end of the article a
table is given of the Amarna names and their later equivalents.
The Archaeological History of Jerusalem.- In Bibl. World, XXIX,

1907, pp. 7-22; 86-96; 168-182; 247-259; 327-333, L. B. PATON discusses
a number of the archaeological problems of ancient Jerusalem, taking up in

the successive articles the following topics: (1) The Location of the Temple;
(II) The Valleys of Ancient Jerusalem; (III) The Springs and Pools of
Ancient Jerusalem; (IV) The City of David; (V) Zion, Ophel, and Moriah.
The Location of Golgotha. - In Pal. Ex. Fund, XXXIX, 1907, pp.
73-76, 140-147, F. W. BIRCH presents anew his theory that Golgotha was
situated on Mount Zion. The evidence is derived from the interpretation
of Old Testament literature and prophecy, rather than from history or
archaeology.
The Isaiah Inscription. - In Bibl. World, XXIX, 1907, pp. 338-390,

T. F. WRIGHT discusses the inscription found by Schick in 1889 in the village of Silwan near Jerusalem, where it was placed on a sort of chapel in
honor of the Prophet Isaiah. He compares the copies made by Schick and
Petrie and concludes that Schick's is more accurate. The meaning is, " For
the bas-relief and shrine of Isaiah the prophet."
Small Antiquities at Jerusalem. - In J.A.O.S. XXIX, 1907, pp. 400401, G. A. BARTON describes three objects in the Clark collection at Jerusalem. The first is a weight in the form of a turtle inscribed with the word
"five" in old Hebrew letters. Its weight is 58 grains, and it is evidently
meant to be the fifth of a shekel. The second is a head resembling the
Hittite type, with inscribed characters on the back which may be Hittite.
The third is a small stone duck designed, perhaps, for a weight.
Sites on the Sea of Galilee. - In Pal. Ex. Fund, XXXIX, 1907, pp.
107-125, R. A. S. MACALLISTER describes certain sites on the Sea of Galilee
and discusses their probable identification with places mentioned in the
Gospels.

The Site of Sychar. - In Pal. Ex. Fund, XXXIX, 1907, pp. 92-94,
R. A. S. MACALLISTER disputes the common identification of Sychar with
Askar, and proposes a mound nearer Nablus which shows traces of Jewish
occupation.
Jewish Aramaean Tablets. - In J. Asiat. IX, 1907, pp. 150-152,
R. GOTTHRIL describes eight amulets now in New York, similar to the one
described by Schwab, ibid. VIII, 1906, pp. 5 f. With one exception these
were found at Irbid near Tiberias in rock-hewn tombs, and were probably
interred with the persons who had worn them during life.
The Phoenician Inscriptions.- In Alt. Or. VIII, 1907, Part III, pp. 127, W. voN LANDAU describes the discovery of the Phoenician inscriptions
and the history of their decipherment. He then gives an account of the
principal Phoenician cities in Syria and in other lands adjacent to the
Mediterranean, with translations of the most important inscriptions from
each place.
The Zenjirli Inscriptions. --In Z. Assyr. XX, 1907, pp. 59-67,
C. SARAUW proposes readings for certain gaps in the inscriptions of

Panammu and Hadad, and discusses the dialect of these inscriptions. He
holds that this is predominantly Aramaean and that there is no reason to
suspect Canaanitish, but some grounds for belief in Assyrian, influence.

ASIA MINOR
The Hittite Relief at Ibriz. - In R. tt. Anc. IX, 1907, pp. 109-113
(2 pls.; fig.), J. DE NETTANCOURT publishes new photographs of the
Hittite relief at Ibriz, with a brief description of the place, and of the new
details which appear in these views.
The Date of the Battle of Halys.--In Or. Lit. X, 1907, col. 23,
G. HUSING discusses the cuneiform evidence which shows that the battle of
Halys coincided with the eclipse of the sun on either May 19, 557 B.c., or
November 1, 556 B.C.
The Asclepieum at Cos.--In Arch. Rel. X, 1907, pp. 201-228 (pl.),
R. HERZOG discusses Herondas IV in the light of his excavations at the

Asclepieum of Cos, seeking to identify the various objects mentioned by
Herondas with the objects disclosed by the excavations.
The Rhodian Fireships. - In Berl. Phil. W. 1907, cols. 28-32 (fig.),

R. SCHNEIDER calls attention to a painting in an Alexandrian tomb, which
explains the construction of the Rhodian fireships in 190 B.C. On the forecastle is a tower, from which projects a beam with an iron basket full of
coals at the end. The ships seem to have been effective because of the
terror they caused, for in actual combat they must have been as dangerous
to their own crews as to the enemy.
The Topography of Smyrna. -In R. Eft. Anc. IX, 1907, pp. 114-120
(plan), A. FOUTRIER publishes notes on the topography of Smyrna with
special reference to the position of fountains, and brief mention of many
ancient remains. The fountain of Sidrivan-Djami corresponds to the

KAA EQ N, which appears on coins of the Roman Empire.
Ex-votos to Apollo Krateanos.- In R. At. Gr. XIX, 1906, pp. 304-
317 (fig.), R8. MicuoN discusses, with full references to the earlier literature,
ten dedications to Apollo Krateanos, of which one just added to the Louvre
GREEK ARCH.] ARCHAEOLOGICAL DISCUSSIONS, 1907 457

is new. It reads 'A7roXXOoTo 'AOrKXl-r0L'ov 'A7ro6XXwvt KpalTeawv XaptorTV-
ptov. In the accompanying relief, representing a sacrifice to Apollo, the

victim is a bull instead of the usual ram. The word Xapto-L7ptov indicates
that this is a thank-offering rather than a propitiation. This inscription is
also noticed, B. Soc. Ant. Fr. 1906, p. 302.
Zeus Askraios.-- In Cl. R. XXI, 1907, pp. 47--48, W. R..PATON publishes a dedication from Myndus by certain Halicarnassians Ad 'AKpatI.
This suggests that the Zeus Askraios of Halicarnassus (Apollonius in
Westermann, Paradox. Gr. p. 109) should be Zeus Akraios. The same
correction
'AKpaoLO
for 'AoTKpatoO
in other
passages.
Life in of
Ancient
Cities.In No. 131 isofprobable
the series
Aus Natur
und Geistes-
welt, E. ZIEBARTH gives a picture of life in the ancient cities as shown by

recent excavations, and the study of inscriptions and papyri. In the first
chapter the nature of the ancient archives and their value is discussed, and
then Thera, Pergamon, Priene, Miletus, the temple of Apollo at Didymia,
and the Greek cities in Egypt are described. The book contains brief
accounts of discoveries hitherto accessible only in large publications or in
scattered reports. (E. ZIEBARTH, Kulturbilder aus griechischen Stiddten.
Leipzig, 1907, B. G. Teubner. 120 pp.; pl.; 22 figs. 12mo. M. 1.25.)
GREECE
ARCHITECTURE
The Origin of the Greek Temple. - In Z. Ethn. XXXIX, 1907, pp. 5779 (15 figs.), P. SARASIN traces the development of the Greek temple from
a primitive house raised on piles, such as is common in the Celebes. The

peripteros represents the outer row of piles. The naos is formed by walling
up the inner columns, as is often done by the Malays. The entablature
and pediment are the original dwelling, which has shrunk to a merely ornamental element. The triglyphs occupy the place of windows. The theory
is developed in detail for all the architectural elements.
Parthenon and Opisthodomos. -The double meanings of these two
words are discussed by E. PETERSEN in Jb. A rch. I. XXII, 1907, pp. 8-18.
He finds that Parthenon, in addition to its application to the whole
building, was used specifically of the western enclosed room, and that
Opisthodomos, ' rear building,' was used both for the entire western division of the temple, including enclosed room and open portico, and also
for the open western portico alone, when the adjoining room was called
Parthenon. The restricted meanings belonged to official language, the less
definite uses were popular. Similar uses of the word 7r6TXL are also differentiated.
Building Material at Delphi. - In Philologus, LXVI, 1907, pp. 260-286,

H. POMTOW and R. LEPSIUS publish the results of the examination of 160
specimens of stone from the buildings and monuments of Delphi. Excluded are the local varieties, i.e. limestone from Parnassus and the quarries of St. Elias and a breccia. Lepsius distinguishes five varieties of poros,
all from Corinth and Sicyon, three of limestone, and five of marble. Pomtow adds a detailed list, arranged topographically, of the monuments from
which the specimens were taken.

SCULPTURE
Primitive Terra-cottas.--In J.H.S. XXVII, 1907, pp. 68-74 (5 figs.),
E. S. FORSTER publishes five early terra-cottas, two standing and one seated
figure from Boeotia and two equestrian groups from Crete, each of which
is noteworthy for some peculiarity. It is evident that religious conserva-
tism required the most primitive type of figure to be used, even after the
skill of the artist, as seen in the head and face, was capable of something
much more advanced.
Early Types of Greek Sculpture. - The representation of the human

form in pre-HIellenic and early Hellenic art is discussed by F. POULSEN, i1l
Jb. Arch. I. XXI, 1906, pp. 177-221 (12 figs.). To the first childish con-
ception of a body with arms, legs, and head, there was added, in the desire
for realism, the expression of sex and later that of clothing, either by color
or plastically, and the wish not to omit either of these details led to strange
inconsistencies and perhaps to the effect of transparent drapery. The cylin,
drical idols, representing women with long robes, belong to the third stage.
After the artistic retrogression due to the Dorian migration, the sams
development took place again, and once more numerous inconsistencies
occurred. When the progress toward realism for the second time reached
the point of clothing the figure, the artistic appreciation of the superior
beauty of the natural form had also developed, and then there came, instead
of the childish, unconscious nudity, one that was intentional and artistic.
This stage was of course reached at different times by different communities, and tradition had much to do with prolonging the life of the primitive
nudity, especially for divinities. Bronze, being less susceptible to color than
wood or stone, had to omit or express by graving or raised surfaces what
was painted upon the other materials; otherwise material had not much
influence on expression. Large plane surfaces with sharp angles, when
found in stone, show not an imitation of wood technique but the blocking
out of the figure,--a stage beyond which the skilled artist would go to the
more perfect roundness, and at which the unskilled artist, whether early or
provincial, would stop. As to the position of the hands, after the lifeless
hanging at the sides was outgrown, they were shown as held in front of
the body because this was the most natural way to dispose of them. The
earliest expression of the action of the person on the drapery is perhaps
found in a female torso in high relief from the Acropolis, where the ends
of the sash are parted in front by a hand held before the stomach. The
holding up of the skirt at one side by the Acropolis maidens and many
other figures was due to the same desire for expression of personality.
The Frieze of the Hecatompedon. - In Sitzb. Miin. A kad. 1906, pp.

143-150, A. FURTWXNGLER criticises Schrader's theory (A.J.A. X, p. 444)
of the Ionic frieze on the Pisistratean Hecatompedon. He argues that there
is no evidence for an Ionic frieze on a Doric temple of the sixth century,
and that in any case the slabs in the Acropolis Museum are too large for
the building. They may have decorated the great altar of Athena. He
also combats briefly Jacobsthal's view that the attributes held by two of
the Tritopatores (or Typhon) are thunderbolts.
The Group of the Tyirannicides. - A new restoration of the group of
Harmodius and Aristogiton has been made in plaster at the Ducal Museum
GREEK SCULPTURE] ARCHAEOLOGICAL DISCUSSIONS, 1907 459

in Brunswick, under the direction of P. J. MEIER, who describes and justifies it in R6im. Mitt. XX, 1905, pp. 330-347 (pl.; 2 figs.).
The Charioteer of Delphi. - In A th. Mitt. XXXI, 1906, pp. 421-429,
F. voN DUHN suggests that if Washburn's reading of the erased inscription

on the base of the charioteer at Delphi (A.J.A. X, pp. 153, 194) is correct,
it is probable that the group was originally ordered by Anaxilas of Rhegium,
and after his death paid for and dedicated by Polyzalus, brother of Hiero.
If this is right, it is almost certain that it is the work of Pythagoras of

Rhegium.
A Terra-cotta Statue at Catania.- In R. Et. A nc. IX, 1907, pp. 121-
131 (2 pls.), W. DEONNA publishes the terra-cotta statue-of a woman in the
museum at Catania. Its origin is uncertain, but it is probably an original
work of the first quarter of the fifth century B.C. It derives additional importance from the rarity of large terra-cotta statues of this period, though
specimens from the sixth and fourth centuries are fairly numerous.
Calamis. - The elder and younger Calamis are discussed in Abh. Sdchs.
Ges. XXV, No. 4, by F. STUDNICZKA, who accepts in general Reisch's view
(A.J.A. XI, p. 216), but differs widely from him in the distribution of the
recorded works between the two sculptors. To the younger Calamis are
assigned the Erinys at Athens, possibly the Asclepius at Sicyon, and certainly the Sosandra. This famous statue is probably the original of the
numerous statuettes and reliefs representing a dancer wrapped in a mantle
which also covers her head. The elder sculptor was probably a Boeotian, a
pupil of Onatas, and active from about 470-440 B.C. To him are assigned,
in addition to the works given by Reisch, the Nike at Olympia, the statues
of Hermione and Alcmene, the Aphrodite dedicated on the Acropolis by
Callias, the quadriga, whose driver was probably by the elder Praxiteles,
and which seems to have been later placed on the great pedestal before the
Propylaea in honor of Agrippa, the Apollo Alexicacus in Athens, whose
surname only is due to the plague, and the Hermes and Dionysus at Tanagra.
Extant works by him cannot with certainty be identified. Possibly the
Apollo in the Museo delle Therme at Rome is a copy of the Alexicacus, and
if so the " Demeter " of Cherchel may be the Aphrodite. (E. STUDNICZKA,
Kalamis, ein Beitrag zur griechischen Kunstgeschichte. Leipzig, 1907, B. G.
Teubner. 104 pp.; 13 pls.; 19 figs. 8vo. M 7.20.)

Leda and the Swan. --In B. Mius. F. A. V, 1907, p. 15 (fig.), S. N.
D(EANE) publishes with brief comment the marble group of Leda and the
Swan in the Boston Museum of Fine Arts (A.J.A. IX, p. 367). It is a
work of the end of the fifth century by a somewhat unskilful sculptor.
The Pseliumene of Praxiteles.--In R. Arch. IX, 1907, pp. 69-74,
F. POULSEN explains that a iXtLov is a single ring, whether large or small,

and more especially a bracelet, while a necklace is ordinarily a oTrpEWrrTV,
composed of. several Kpt'KOL. The Pseliumene of Praxiteles was therefore
probably putting on a bracelet, not a necklace. In the "Venus Montalvo "
(published by Milani, Strena Helbigiana, p. 188; now in America, see A.J.A.
IX, p. 375), Poulsen sees a later adaptation of the motive of the Pseliumene, though the "Venus Montalvo" is taking off, not putting on, her
bracelet.
The Tegean Sculptures of Scopas.- -In Sitzb. Miiin. A kad. 1906, pp.
383-388, A. FURTWXNGLER agrees with E. Gardner that the female head

and torso at Tegea (see A.J.A. X, pp. 445-446) belong to the Atalanta of
Scopas. The figures of the east pediment, except the boar, seem to have
been of Parian, those of the west, to which the heads in Athens belong, of
Doliana marble. The style of the head agrees with the female heads
assigned to Scopas in Meisterwerke der griech. Plastik, p. 639.
The Statue from Subiaco and the Niobid Chiaramonti. - In A usonia,
1, 1906, pp. 21-32 (3 figs.), E. BRIZIO argues that the statue of the kneeling
youth from Nero's villa at Subiaco represents a Niobid. The base represents rocky ground such as is found on the base of one of the Florentine
figures. The moulding on the base is a later addition, made when the
statue was separated from the group. A similar treatment of the base is
found in the Niobid Chiaramonti. The evidence that this statue was dis-
covered in the Villa Hadriana is very weak, and it is more probable that it
came from Subiaco. Both statues are original works of the fourth century,
and apparently by Scopas.
A Terra-cotta Head in the Antiquarium in Berlin.--In R. A rch.
VIII, 1906, pp. 402-408 (pl.), W. DEONNA publishes and discusses a large
(height 0.25 m.) terra-cotta head from Tarentum, now in the Antiquarium
in Berlin. It resembles in many respects the "Praying Boy " in Berlin,
and is modelled entirely by hand. Its date is the end of the fourth or early
in the third century B.c. Other statues of terra-cotta are mentioned, and
the group from Civita Vecchia, now in the Villa Giulia, at Rome, is
described. These are of the same date. At that time some real artists
made terra-cotta statues, as they had also done in the sixth century.
The Maiden from Antium.- The statue of a maiden bearing a tray

which was found at Antium in 1878 (A.J.A. VIII, p. 307) has been bought
by the Italian government and placed in the Museo Nazionale at Rome.
The statue is discussed in Boll. A rte, 1, 1907, v, pp. 19-23 (2 pls.; 2 figs.),
by A. DELLA SETA, who argues that it is probably a temple servant of
Apollo, intent upon the care of some sacred objects. The working of the
marble shows that it was to be seen from the side. It is probably an early
Hellenistic work.
In Nuova A ntologia, May 16, 1907, F. PELLATI suggests that the statue
represents a Thespiad, and may be the work of Cleomenes, if it is not one
of the statues by Praxiteles brought from Corinth by Mummius. It could
have been brought to Antium by Claudius or Nero after the burning of the
temple of Felicitas. [The statue is published by W. Amelung, in BrunnBruckmann, Denkmdler, II, 583-4, and by Reinach, Repertoire, III, 193, 6.]
The Hero ~rl BXnrr. - Light is thrown on the various statements about,
the word BXai-ry (slipper), as the name of a goddess or heroine (C.I.A. III,
411), of a place in Athens (Hesychius s.v.), and as a designation for a hero
(qpow 'AjLvvr'v b Tr , B qavTry, Pollux, Onom. Z, 87) by the discovery on the
south
slope of the Acropolis of the votive stele with a sandal in relief.
(A.J.A. IX, p. 108; XI, p. 217.) It seems likely that there was at this
point the shrine of a hero, whose name gave rise to the use of a slipper as
his symbol. This would explain the name in Pollux, and also his state-
ment about a shoemaker who dedicated the stone image of a slipper.
(C. TSOUNTAS, 'E4. 'ApX. 1906, pp. 243-248; fig.)

The Dionysus of the Great Frieze at Pergamon. - In R. Arch. VIII,
1906, pp. 409-412, P. DUCATI discusses the figure of Dionysus in the frieze
GREEK VASES] ARCHAEOLOGICAL DISCUSSIONS, 1907 461

of the Great Altar at Pergamon, and, by comparing it with the figure on
the vase from Kertsch, on which Dionysus is a witness of the strife between
Athena and Poseidon, and with other monuments, he reaches the conclu-
sion that it was derived from a representation of the battle of the gods and
giants, dating probably from the latter part of the fourth century.
The Trial of Orestes.--The various reliefs representing the trial of
Orestes are compared by W. AMELUNG in RBm. Mitt. XX, 1905, pp. 289-309
(2 pls.; 4 figs.), with fresh evidende from a New Attic relief, a fragment of
which is in the Antiquarium at Rome. Special prominence is given to the

interpretation of the Corsini silver cup.
The Reliefs of Apollo Citharoedus.- In considering for a second time

(see A.J.A. XI, p. 213) the backgrounds of the reliefs representing Apollo
Citharoedus, F. STUDNICZKA admits that the scene, which he interpreted as
a view of the Pythium and Olyrmpieum at Athens, may also represent the
sanctuary at Delphi; for although the great temple of Apollo was always
Doric, it does appear on coins at least as Corinthian, and the reliefs may
have used the same liberty. (Jb. Arch. I. XXII, 1907, pp. 6-8; fig.)
A Sarcophagus of the Sidamara Type. - Nine fragments of a very
beautiful sarcophagus of Greek marble, now at Doughty Hall, Richmond,
England, are published and discussed by J. STRZYGOWSKI in J.H.S. XXVII,
1907, pp. 99-122 (5 pls.; 16 figs.). Single figures of pure fourth century
and Praxitelean type stand before niches which are flanked by columns and
have the tympanum ornamented with a shell. Such niches, in groups of
five, occur notably on the Sidarnara and Selefkah sarcophagi at Constantinople, also in Pompeian wall paintings of the fourth style, on the throne of
St. Maximian at Ravenna, and in various examples of Christian art. They
were originally imitated from the fagade of the stage of a theatre, and the
earlier examples, especially the sarcophagi, are Syrian. The idea may
have originated in Antioch. In Burl. Mag. XI, 1907, pp. 109-111,
E. STRONG points out that these sarcophagi and the ivories show a creative
power inconsistent with Strzygowski's theory that Hellenism succumbed to
Oriental art, which tends to substitute ornament for the human figure.
VASES AND PAINTING
Vases from Crete in the Louvre. - In B.(C.H. XXXI, 1907, pp. 115-138
(pl.; 4 figs.), E. POTTIER begins the publication of important additions to
the collection in the Louvre since the appearance of his Vases Antiques du
Louvre. This article describes four vases from a tomb near Ligortyno in
Crete. The first is a rhyton in the form of a bull's head. The others are
crateres, one decorated with a design of wild goats on either side of a palm (?)
tree with a fish below, another with a large polyp, the third with curved
lines. All belong to the later Cretan or Mycenaean period. Much of the
article is given to a discussion of the significance of these decorations. The
bull, goat, polyp, and fish have originally religious significance, and are
reproduced with magical intent. The artistic forms, but not the religious
value, are influenced by the Orient. The tendency of these designs is to
become decorative, with a reminiscence of the good results such representations may bring to the owners. No extended religious symbolism is to be
found in the groupings or decorative developments of these simple elements.

Catalogues of Cypriote Vases. --In 1899 the Athenian National Museum acquired at Alexandria a collection of Cypriote antiquities, including
vases, terra-cottas, glass, and bronze weapons and tools. A catalogue of
these vases is published in Bulletin de l'Institut genevois, XXXVII, 1907,
pp. 405-442 (also" separately, Geneva, 1907, Librairie Kiindig; 3 fr.), by
G. NICOLE. After a brief account of the collection and of a few noteworthy
pieces, he describes 318 vases, using the classification adopted by Myres and
Richter in their Catalogue of the Cyprus'Museum. Ibid. pp. 443-481 (also
separately, 3.50 fr.), the same author publishes a similar catalogue of the
Cypriote vases (857 numbers) in the museum at Constantinople. They
came to the museum in 1873, along with terra-cottas and sculptures from
the Cesnola collection.
Athenian Wedding Gifts. --In Ath. Mitt. XXXII, 1907, pp. 79-122
(5 pls.; 18 figs.), A. BRUECKNER discusses the vases given as presents to

the Athenian bride, and their decoration. After considering a vase representing the entrance of the bride into her new home, and others referring
to the wedding-night, he takes up the Epaulia, or gifts brought to the bride
by her friends on the day after the wedding. This presentation, or sometimes the marriage procession, is regularly represented on the yatLK.S or
VVp4LKOS1 XE*P7/, which seems to have been a common present, and to have
been used for bringing a warm breakfast to the newly married pair. Many
of these vases are published and fully discussed. As presents, judging from
their pictures, were also given hydriae, lecythi, pyxides, and other vases.
Unlike the loutrophoros, which appears as wedding gift, and also as vase for
the dead, the lebes was connected only with the wedding. The wedding
gifts, preserved as ornaments in the house, were buried with the wife at her
death. A comparison of such vases with funeral vases in the same grave
would give evidence for the length of the married life. It is also argued
that in Athens weddings were regularly celebrated at the end of Gamelion,
and that the brides all offered to Aphrodite on the fourth of Anthesterion.
This scene is shown on many of the small vases with gilded decoration.
The Use of the 6vos or 4rlv'qrpov.- In Berl. Phil. W. 1907, cols. 286-287,
R. ENGELMANN argues that the ovos or iri-'v7rpov was used in preparing the
thread for weaving. The woman rolled the thread on the hvo" to remove
uneven places which might have arisen in the spinning.
The Tablet of Ni(i)nion. - In 'Eb. 'ApX. 1906, pp. 197-212, D. PHILIOS

examines anew the interpretation of the much-discussed Eleusinian tablet
dedicated by Ni(i)nion, which was first published by Skias Ibid. 1901,
pp. 1-39 and 163-174. (See A.J.A. VI, pp. 207, 471.)
An Attic Vase from the Crimea. - Fragments of a large Attic vase
(ca. 450 B.c.) found in the Crimea about 1877, and now in the Hermitage
at St. Petersburg, are discussed by P. DUCATI in R6m. Mitt. XXI, 1906,
pp. 98-141 (2 pls.; fig.), who explains the scene as the slaying of Argos,
and makes many comparisons, in particular with the hydria belonging to
J. C. Hoppin. (Harvard Studies in Classical Philology, XII, pp. 335 ff.;
A.J.A. V, p. 469.)
Heracles and the Hydra.-In Ausonia, I, 1906, pp. 33-35 (pl.), G.
PATRONI discusses a hydria with a representation of Heracles killing the

Hydra. The monster is concealed in great part by an altar, on which is a
sort of platter containing a boy's head. This is interpreted as the remains
GREEK INsC.] ARCHAEOLOGICAL DISCUSSIONS, 1907 463

of a human sacrifice, offered to the Hydra as to other monsters. [The
vase is the one published by Sambon in Le Miuse'e, III, 1906, p. 431, A.J.A.
XI, p. 227, as the finding of Erichthonius.]
Heracles and Linus. -In R. Arch. IX, 1907, pp. 84-93 (pl.; 4 figs.),
R. ENGELMANN discusses a vase painting in the Bibliothbque Nationale
(De Ridder, Vases de la Bibl. nat. II, p. 470, No. 811), in which a youth is
striking an old man with a stool. A diptych hung on the wall indicates
that the scene is a schoolroom. Three other vases and a relief on a sar-
cophagus in the Museo Pio-Clementino prove that the killing of Linus by
Heracles is represented. Literary allusions show that the story was familiar
in the fourth century and later.
An Aryballus in Berlin. - In Ausonia, I, 1906, pp. 36-50 (6 figs.), P.

DUCATI publishes a small aryballus, with scenes from a centauromrachia.
It is Attic work of about 370-360 B.c., and is a good example of the somewhat decadent style of the fourth century. The characteristics of the later
Attic vases are analyzed at some length and the examples grouped, with
differences in detail from the classification and chronology of Furtwangler.
The Birth of Dionysus. - In 'EoTr'a, February 15 (28), 1907 (fig.), Dr.
K. LAMBROS points out that the legendary births of Dionysus and Asclepius
are the earliest examples of the Caesarian operation. He publishes from a
vase in the British Museum a group which he interprets as Zeus seated on
an altar with the bandage about his thigh, and holding the little Dionysus
in his arms.
The Fight over Temesa.- The picture described by Pausanias (VI,
6, 11) of the Locrian hero Euthymus in combat with a monster named

Alybas, has been reconstructed by E. MAAss and made the occasion for a
series of essays on subjects connected with the Iapygian peninsula, - Hera
Lacinia, the spring of Leuce, and the relation of pagan and Christian myths,
the myth of Temesa and its embodiment in poetry and painting. (Jb. Arch.
I. XXII, 1907, pp. 18-53.)
Nealces. -J. Six, in Jb. Arch. I. XXII, 1907 (pp. 1-6; fig.) discusses
a new reading of Fronto's line, Quid si Parrhasium versicolora pingere iuberet

. aut Nealcen magnifica . . ., making the deduction that Nealces painted
on a small scale, but not necessarily small pictures. (See ibid. XXIII, pp.
34 ff.; A.J.A. VII, p. 475.)
INSCRIPTIONS
Corrections to Attic Inscriptions. --In Cl. Phil. II, 1907, p. 100, D. M.

ROBINSON makes a few corrections to the inscriptions on KLovL'rKoL near the
Dipylon, published by Mylonas, 'E4. 'ApX. 1893, pp. 221-224.

Researches in Athenian and Delian Documents. - In Klio, VII, 1907,
pp. 213-240, W. S. FERGUSON publishes some results of his study of Athenian and Delian inscriptions. It is probable that the Athenian priests of
Artemis were chosen according to the official order of the tribes, and that
the same tribe held the priesthoods of Asclepius and Artemis in successive
years. The same rule seems to have prevailed at Delos in the period
166/5-103/2 Bi.c. for the choice of the priests of the Great Deities, Serapis,
and Aphrodite. The following dates for Athenian archons are suggested:
Aristaechmus, 159/8; Meton, 144/3; Dionysius, 141/0; Xenon, 121/0;

Sosicrates, 111/0; Heracleides, 108/7; Demochares, 94/3 or much later.

The history of the sanctuaries of the Foreign Gods on the Inopus at Delos
is traced in detail. The Athenian cleruchy was established in 167/6 B.C.,
but the decrees of the cleruchs cease in 131 B.C., and later honorary statues
are set up by Athenians, Romans, Greeks, and others. It is probable that
this revolution was connected with the servile disturbances of about 131 B.c.
A Dedication by Antigonus Doson. - In B. C.H. XXXI, 1907, pp. 94114 (fig.), M. HOLLEAUX publishes the inscription (A.J.A. X, p. 104) from
a dedication to Apollo by Antigonus Doson and the Macedonians after the
battle of Sellasia, 222 B.C. As Antigonus died near the end of 221 B.C., the
date of the dedication is closely fixed. A full discussion leads to the conclusion that after the battle of Andros Egyptian rule ceased in most of the
Cyclades, but that Antigonus established Macedonian suzerainty only over
a few, including Delos. The rest remained independent or under Rhodian
protection until in 202 B.C. Philip V converted the Aegean into a "Macedonian lake."
A Delian Law. - In B.C.H. XXXI, 1907, pp. 46-93 (3 pls.), E. SCHUL-
HOF and P. HUVELIN publish with a detailed discussion the Delian law
regulating the sale of wood and charcoal (A.J.A. X, p. 104) by importers.
It requires the sole use of public weights, the sale at exactly the price set in
the declaration made at the custom house, and the immediate delivery of the
goods. Heavy penalties are fixed, but these are much lightened for the
raTEXE^. The provisions show curious analogies to various mediaeval laws.
The article also gives some account of an unpublished Delian leph avyypaS4,
regulating the leases of sacred lands.
A Delian Decree.- In Hermes, XI,II, 1907, pp. 330-333, A. WILHELM

argues that the inscription from Delos, B.C.H. XXVIII, p. 138, No. 34, is
the second part of the inscription ibid. p. 281, No. 9. The object of the
decree is to free the property of Hegestratus, or Herostratus, from liability
to seizure by creditors of the community of Delos, but not from the claims
of his private creditors. The end of the second inscription and the beginning of the first should be read: /E 1 T7^v Lrp's 7 T/A r6XLv o[vv]a[X]Xax] -
TO/ A77& eaV TV [iEjT1EPOV [aovva]XXa$-qL, &v /l7 T' L&CL (Tv/4)QX?)liL 7rpo's;
H.. -r-paTov.
The Revolution of 363 B.C., at Delphi. - In Klio, VI, 1906, pp.
400-419 (fig.), H. POMTOW publishes corrections to the text of the documents in Delphi relating to the property of the exiles of 363 and 346 B.c.
These confirm his earlier views (Klio, VI, pp. 89 if.) and add some details.
He argues that between the Tholos and the eastern temple of Athena in
the Marmoria were two temples of the later sixth century, one Doric, the
other Ionic. These were surrounded on three sides by the slabs containing
the records of banishment and of the disposal of confiscated property.
The Pythian Stadium and the Law concerning Wine.--In 'E4.
'ApX. 1906, pp. 157-186 (8 figs.), A. D. KERAMOPOULLOS discusses the law

inscribed on the southern retaining wall of the stadium at Delphi, forbidding the bringing of wine into the stadium. He criticises the interpretations
of Frazer (Pausanias, V, pp. 394 and 260) and of Homolle (B.C.H. XXIII,
p. 611) and reads C T70 8popov (= dJ T& 70T ora&ov pEpq7) instead of C
Tr [E]8po'/,ov, a reading which is not justified by the stone, and intro-
duces an unknown hero ELSpo/os. The terrace below the stadium at
this point was apparently occupied by dressing roords for the contestants,
GREEK COINS] ARCHAEOLOGICAL DISCUSSIONS, 1907 465

which were replaced by others at a higher level when the stadium was
remodelled, probably at a time previous to the reconstruction by Herodes
Atticus.
Inscriptions from Heraclea. - In Philologus, IX, 1854, pp. 392 f., A.

Baumeister published four inscriptions said to have been found by Gabras
on the little island of Heraclea near Naxos. In Ath. Mitt. XXXI, 1906, pp.
565-567, F. HILLER VON GAERTRINGEN points out that all seem to be from
Perinthus, called Heraclea during the later empire. A genuine inscription
from the island Heraclea was published by J. Delamarre in Revue de Philologie, XXVI, 1902, pp. 291 ff.
An Archaic Inscription from Cumae. - The inscription from Cumae
published by Sogliano (Not. Scav. 1905, p. 377) is further examined by D.
COMPARETTI in Ausonia, I, 1906, pp. 13-20 (fig.). He reads: O O/ALs
vroOa KEOcaL ()2 iu PE'v 8caXXEcvuEVov. It certainly contains the prohibition of a Bacchic O'ao-os against profane interments in its ground.
Such exclusiveness in burial has hitherto been known in antiquity only
among the Jews and early Christians. The fifth century, to which the
inscription belongs, was the time when Dionysiac worship flourished. The
Bacchic elements in the Orphic mysteries, and their prevalence in Magna
Graecia are also discussed.
Epigraphic Bulletin. - In R. t1t. Gr. XX, 1907, pp. 38-96, A. J.

REINACH notices the contributions to the study of Greek inscriptions which
appeared in 1905 and 1906, either as separate works or in ninety-one

periodicals.
COINS
The Corpus Nummorum Graecorum. - In Klio, VII, 1907, pp. 1-18,
H. VON FRITZE describes the preliminary studies, which are necessary if the
Corpus Nummorum Graecorun is to make the material really available to the
historian and archaeologist. The valuable results of these methods are

shown in the treatment of the Macedonian and Paeonian coinage by H.
Ggbler in Vol. III, 1 of Die antiken AMiinzen Nord-Griechenlands (Berlin,
1906), published by the Berlin Academy.
Early Greek Money. - In J. Int. Arch. Num. IX, 1906, pp. 153-236
(11 pls.; 23 figs.), I. N. SvoRoNos publishes part of his lectures on Numismatics at the University of Athens in 1906-07. After a brief sketch of the
history of the Athenian collection of coins, he considers early Greek money,
treating first briefly various non-metallic standards of value, and then con-
sidering the metallic money. The names for the early forms are derived
from the shapes given to the masses of metal, and do not necessarily indicate fixed weights. The Homeric rkE'XKcEL ('1 851) are identified with the
masses of bronze in the shape of double axe-heads found in Sardinia,
Cyprus, Mycenae, Phaestus, and in the sea off Euboea. The weight varies
from 37 kg. to 23- kg. Similar masses of metal are borne by tributaries on
Egyptian monuments. The signs on these pieces probably indicate the
weight. The ,U7rcE'ACKKa have not been found. In the same way the Homeric
TdXarov of gold is not a weight but denotes a piece of metal in the form of
the pan of a pair of scales, like the gold disks from Mycenae. The iron
rckXavoL of Lycurgus were money of the same kind. The iron /eflcXo retired
by Pheidon are represented by the bars of iron, slightly pointed like ox-

goads, which were found at the Argive Heraeum, and of which six make a
handful (8paXu). The large iron bar found with the PfleXol is the same
length (1.20 m.) and is probably the standard for determining the length.
Such metal masses were also the Cyprian a-yKvpaL. The "fish" of Olbia,
and the coins of Nemausus which end in a pig's leg, owe their shape to the
use as currency of fish among the Scythians and hams in Gaul. The Cretan
rpt1ro18s and XE'/3v8qp are not named from objects used as money, but from
stamps on the reverse of didrachms coined in twelve Cretan cities.
Coinage of Peparethus.- A group of silver coins, having a bunch of

grapes as the design of the obverse and connected by identities of die, is
discussed by W. WROTH in J.H.S. XXVII, 1907, pp. 90-98 (pl.; 3 figs.),
and tentatively assigned to Peparethus. They belong to the period before
470 B.C. With them he publishes a silver coin with grapes and dolphins, as
yet unidentified, and three small bronze coins of Peparethus which are of
considerably later dates.
Eccentricities of Coin Engraving. - In Le Musee, IV, 1907, pp. 143144 (pl.), L. FORRER calls attention to some eccentricities in the engraving
of Greek coins. On a bronze coin of Athens (second century A.D.) the helmet of Athena shows the profile of a man. On two tetradrachms of Agrigentum (fifth century B.C.) the body of the crab resembles respectively the
face of a lion and a bucranium.
The NfIE Coins of Apamea. - In Z. A lttest. Wiss. XXVII, 1907,
pp. 73-74, J. B. SELBST discusses the correctness of published representations of coins of Apamea bearing the legend N~ E.
Heracles and Eros.--In B. Soc. Ant. Fr. 1906, pp. 385-388 (fig.), A.
DIEUDONNE discusses the reverse of a bronze coin of Temenothyrae (Head,

Catalogue of Coins in British Museum; Phrygia, p. 410, 12). It represents
Heracles, holding a torch in his extended right hand, before a column on
which is a statue of Athena. Behind the column a small Eros flees from
Heracles. The representation of Heracles pursuing Eros with a lighted
torch, as if to singe his wings, seems unique.
An Attic Coin Weight. - In J. Int. A rch. Num. IX, 1907, pp. 237-244
(fig.), I. N. SVORONos describes a copper disk, with a wreathed head and
the inscription rerpd'pa[X1]ov on the obverse, and on the reverse a galloping horse. It is not a coin, and as the weight (17.50 gr.) agrees with that
of the Attic tetradrachm, it is probably a piece used to test the weight of
the silver coins. The head with the wreath suggests a connection with the
SpaXEIal' Teroavk)o' pov, which were probably issued from a mint in the
heroum of Stephanephorus.
Primitive Shield-Devices and Coin Types.--In J. Int. Arch. Num.
IX, 1906, pp. 5-45 (pl.), C. GEROJANNIS discusses the earliest shield-devices
as known from the literature or works of art, and points out their similarity
to designs on early coins. He argues that the Gorgoneion in these devices
is not connected with the myth of the Gorgon or with Oriental human masks,
but is derived from hideous heads of animals considered as demons and representing the idea of 46fpos. The animal and monstrous representations on
shields and coins alike have no mythological or astronomical meaning, but
are purely apotropaeic.
GREEK MISc.] ARCHAEOLOGICAL DISCUSSIONS, 1907 467

The Excavations in Crete.--In R. Bibl. XIV, 1907, pp. 1-64, 163-
206 (6 pls.; 22 figs.), M. J. LAGRANGE gives a detailed account of the

excavations in various parts of Crete during the last seven years. No new
material is published, but a valuable summary of the reports up to date.
In Gaz. B.-A. XXXVII, 1907, pp. 89-113 (17 figs.), R. DUSSAUD reports
those discoveries in Crete which throw light on pre-Hellenic art and architecture. He describes the more important objects in the museum at Candia,
and the remains at Cnossus and Phaestus.
East Asiatic Ornaments and Cretan Art.--In Memnon, I, 1907,
pp. 44-69 (7 figs.), A. REICHEL points out that the conventional Cretan
representations of earth by ragged patches scattered over the surface of the

decorated object are analogous to the forms seen in the earliest Chinese and
Japanese art. The Shang dynasty in China was contemporary with Myce-
naean civilization, and the art of its period was characterized by the frequent
use of the so-called "cloud," which is really the same as the irregular
patches scattered over the background of Mycenaean vases and bronzes.
These "clouds" are combined in the same way with men and animals, and
are used to fill up vacant places between figures. In both arts they serve
purely ornamental purposes. It is not likely that these conventions reached

China from Europe, but it is probable that they came to Europe from China,
especially as there is ancient evidence of the importation of silk and other
East Asiatic commodities. Possibly both countries were influenced by the

primitive civilization that had its seat in the Tarim basin of Central Asia.
The Land of Odysseus. - The identity of the Homeric and the modern
Ithaca is maintained in a recent book by N. K. PAVLATOS, a native of the
island. His own discussion (pp. 1-179) is a detailed examination of the
evidence, and a somewhat polemical denial of Dbrpfeld's conclusions. To
this he adds a translation of a portion of Wintertagen auf Ithaka by the
Archduke Ludwig Salvator (pp. 180-209), and of the chapters in G. Lang's
Untersuchungen zur Geographie der Odyssee (pp. 210-306), which treat of
Leucas, Dulichium, Asteris, and Ithaca. (N. K. PAVLATOS, 'H IHarpLts 70V
'O&vrE'ows. Athens, 1907. 308 pp.; map. 8vo.)
In Hermes, XLII, 1907, pp. 326-327, E. BETHE points out that in the
Alcmaeonis Penelope had two brothers, Alyzeus and Leucadios, and in
II. IV, 421, Odysseus avenges a companion Ac^Ko9. The authors of these
passages had no suspicion that Leucas had ever been named Ithaca.
T& pXaL6TEpa LALovraLa. - In Cl. Phil. II, 1907, pp. 25-42, E. CAPPS
discusses the meaning of r' aPXaLTepa Atovv'ta in Thucydides II, 15. The
phrase refers to the Anthesteria, and distinguishes this festival from the other
apxata Atov'rta, the Lenaea. As all the ancient sanctuaries outside of the
Acropolis are grouped by Thucydides in the same part of the city, the
Lenaeum must be sought near the temple 'v A'?UvaLs. The latter is identified with the temple discovered by Dorpfeld within the Dionysium, in
which the XrIvds is actually preserved.
Topographical and Epigraphical Notes on Cephissia. - In 'E4. 'Apx.
1906, pp. 187-190, S. N. DRAGOUMES calls attention to ancient remains and

an inscription showing that the villa of Herodes Atticus at Cephissia had
a greater extent than hitherto supposed.
The Heracleum of the Battle of Salamis. - In 'ET. 'Apx. 1906, pp.
239-244 (fig.), P. D. REDIADES identifies as the Heracleum mentioned by

Diodorus and Plutarch in their accounts of the battle of Salamis an
enclosure 230 ft. square, formed by large blocks of stone set in the ground
at regular intervals, and situated at the inner end of the bay of Keratsinion,
near the straits of Salamis. The determination of the location of this
heroum helps greatly in understanding the different accounts of the battle.
The Topography of Argos.--In B.C.H. XXXI, 1907, pp. 139-184
(4 pls.; 11 figs.), W. VOLLGRPAFF first describes: the remaiiis of prehistoric
houses on the Aspis of Argos (A.J.A. X, p. 342), and then discusses in

detail the topography of the ancient city. Few remains are left above
ground, as the site has been continually inhabited since ancient times.
The article treats of the Larissa, the Aspis, the city walls, the temples of
the Pythian Apollo and Athena, the Stadium, the Agora, the Gymnasium
of Cylarabis, the temples of Artemis, and the temple of Ares and Aphrodite.
In each case the literary evidence is given and also a careful description of
the remains and of the results of recent trial excavations.
The Topography and Monuments of Delphi. - In A th. Mitt. XXXI,

1906, pp. 437-564 (4 p1s.; 32 figs.), H. POMTOW begins the publication of a
study of the monuments and topography of Delphi, based on a careful
examination of the existing remains and the literature. The studies follow
the course of the Sacred Way, and show that Pausanias never leaves this
road, and describes only such monuments as are on it or visible from it.
This is also true of Plutarch. The present article discusses: (1) The chief
entrance, its steps, and the basins for holy water (pp. 441-443); (2) The
statue of Phayllus of Croton (pp. 444-450), which stood on a large circular
basis (ca. 2.37 m. in diameter) at the left inside the entrance. [A note
(p. 564) gives Dorpfeld's view that this basis is far too large to have supported only a single fignure]; (3) The Bull of Corcyra (pp. 450-460), which
stood on the right inside the entrance: (4) The Monument of the Arcadians
(pp. 461-491), which occupied a long base beyond the Bull; (5) The
Monument of Lysander erected after the battle of Aegospotami (pp. 492563), which was placed in the large niche behind and above the statues of
the Arcadians.
In the case of each monument all the stones which can be identified are
exactly described, the inscriptions given, and a reconstruction of the bases
attempted, while for the last three monuments the arrangement of the
statues is discussed in detail by H. BULLE. The extremely minute character
of these important studies precludes a brief summary of the results.
The Date of the Heraeum at Olympia. - In Sitzb. Miin. Akad. 1906,
pp. 467-484, A. FURTWXNGLER discusses the recent discoveries in the
Heraeum at Olympia (A.J.A. XI, p. 93). The bronze statuette belongs
to a clearly defined group which certainly belongs to the seventh century

B.c. The Heraeum was therefore built after the middle of the seventh
century, as was to be inferred from all other archaeological evidence. The
pottery recently found is like some discovered in the earlier excavations
and is certainly post-Mycenaean, as iron was found in considerable quantities in the lowest stratum. The bronzes from Chortata on Leucas are contemporary with the Olympian bronze, and the pottery from Nidri may well
belong to the same period.
The Topography of Olympia.--In Klio, VI, 1906, pp. 380-392 (plan),
L. WENIGER discusses the Hippodamium at Olympia. The cult and temenos
GREEK MISc.] ARCHAEOLOGICAL DISCUSSIONS, 1907 469

of Hippodainia are older than those of Pelops. The temenos was probably
in the northeast corner of the Altis, between the Metroum and the Echo Hall,
though the evidence is scanty. In this neighborhood many fragments of
bronze votive offerings were found. As KarT T7V 7rTObrLK7TV EooLov (Paus.
VI, 20, 7) can only refer to the gate at the southwest corner of the Altis,
where there is no room for the Hippodamium, it is best to read 8po/?UK V
cusses
the cult
of the
Mother
Gods (3
and
kindred
The stone
for
rO'=.LK
V. Ibid.
VII,
1907, of
pp.the
145-182
figs.),
the deities.
same writer
dis-
altar at the west of the Metroum is contemporary with the temple. The
original altar was at the southwest corner of the temple, and partly covered
by its walls. The altar near the treasury of the Sicyonians, originally cir-
cular, belonged to the Curetes. The small sanctuary north of it is the

chapel of Eileithyia and Sosipolis, and probably occupies the site of the
artificial Idaean cave (Pindar, 01. V, 17 ff.). This article is a discussion
of mythological rather than archaeological questions.
Cyriacus of Ancona at Samothrace. - In September, 1444, Cyriacus

of Ancona visited Samothrace and copied some of the inscriptions and
sculptures. The accounts of this visit in his letters and journal, together
with the drawings and the text of the unpublished inscriptions, are edited
in A th. Mlitt. XXXI, 1906, pp. 405-414 (3 figs.), by E. ZIEBARTH.
The Canal of Xerxes. - In Jb. Al. Alt. XIX, 1907, pp. 115-130 (pl.),
A. STRUCK gives the results of a measured survey of the course of Xerxes'

canal across the peninsula of Mt. Athos. The canal can be traced in a
series of shallow ditches and low banks, which follow a somewhat irregular
line across the isthmus. The length agrees very closely with the statements
of Herodotus. The article also contains a summary of the ancient state-
ments and of the narratives of modern travellers.
An Onyx Cameo.-In R. Arch. VIII, 1906, p. 449 (2 figs.), ANDREW
LANG publishes a white onyx cameo on the front of which are two lions
and a pillar, resembling the relief over the Lions' Gate at Mycenae. The
back is carved in imitation of masonry. The cameo is probably antique.
Throwing the Discus.--In J.H.S. XXVII, 1907, pp. 1-36 (3 pls.;
24 figs.), E. NORMAN GARDINER discusses the Homeric ordOXo, perhaps

originally a round stone on the seashore, and its successor the metal discus,
with the ancient manner of throwing the latter. The whole action, like the
modern golf stroke, was a swing of the whole body, rather than of the arm,
and was pivoted on the right foot. The standing Discobolus of the Vatican is measuring his distance from the front line of the 8aX8l1s; Myron's
Discobolus is just at the end of the backward swing of the discus which
came between the preliminary forward movement in the left hand and the
final throw with the right. All the intervening and following positions,
which show some variation in the method, are illustrated in vase paintings
and statuettes.
Heron's " Cheiroballistra." - For the model of the supposed cheiroballistra of Heron, as restored by the French engineer, Victor Prou, and preserved in the museum at St. Germain-en-Laye, all textual' foundation has
been. destroyed by RUDOLF SCHNEIDER'S discovery (Rbm. Mitt. XXI, 1906,
pp. 142-168; 11 figs.) that the manuscripts with which Prou operated really
contain a fragment of a Greek manual for engineers and mechanics, and
have little or nothing to do with artillery. The obscure fragment was

wrongly labelled by some Byzantine scholar, and thus brought into false
connection with the name of Heron.
Archaeological Notes.--In Le Muse'e, IV, 1907, A. SAMBON describes

a number of works of Greek art. Pp. 26-27 (pl.) he discusses the bronze
statuette of a young dancing satyr in the Walters collection. It is a fine
Hellenistic work of the second or first century B.C. On p. 81 (fig.) he publishes an Attic vase, bearing in black outlines on a white ground a representation of Peleus giving the little Achilles to Chiron. A vase from Sicily
with a comic scene-an actor with an amphora on his shoulder, and a Paniscus
riding a goat - is published, pp. 174-175 (fig.), and a Hellenistic ivory relief
with the background cut away, representing a young satyr with a girdle of
ivy leaves, is described, p. 176 (pl.). On p. 141 (pl.) L. M. describes a
Hellenistic bronze statuette of a standing Zeus now in the Morgan collection.

ITALY
ARCHITECTURE
Roman Imperial Architecture. - The development of arcaded and

zigzag friezes from rows of wall niches or aediculae with arched or pointed
tops is illustrated by B. SCHULZ in Jb. Arch. I. XXI, 1906, pp. 221-230

(3 pls.; 7 figs.). The best examples of Roman architecture of the middle
and later Imperial times, in which such wall decoration is especially
important, are found in Syria, as there has been less wholesale destruction
there than in Europe.
The Temples in the Forum Holitorium. - The group of temples in
the Forum Holitorium at Rome is discussed by CH. HijLSEN in Rnim. Mitt.

XXI, 1906, pp. 169-192 (pl.; 9 figs.), with special reference to the Doric
temple, and the drawings and restorations of the same by Peruzzi, Antonio
da Sangallo the Younger, and other Renaissance architects. Hiilsen takes
issue with R. Delbriick, and is inclined to identify this temple with that of
Juno Sospita, dating in its first form from 197-194 B.c., but restored, with
extensive use of travertine, in the time of Sulla. The article also contains
a valuable discussion of the probable date at which lapis Tiburtinus began to
be used for building purposes and inscriptions.
The Ionic Temple near Ponte Rotto.- The Ionic temple by the Tiber
near Ponte Rotto has received a thorough examination at the hands of
E. R. FIECHTER, who publishes his results in R6m. Mitt. XXI, 1906, pp.
220-279 (7 pls.; 13 figs.). After a careful comparison of details and constructive methods with those of other republican monuments, he assigns
the building to the middle of the first century B.C.
The Large Theatre at Pompeii.--In Arch. Anz. 1906, cols. 301-314
(4 figs.), 0. PUCHSTEIN discusses and sums up the successive forms of the
large theatre at Pompeii, especially those of the stage buildings. He

presents some points of difference from the opinions of Mau (R6m. Mitt.
XXI, 1906, pp. 1-56; A.J.A. XI, p. 99).
SCULPTURE
Unpublished Ancient Statues in Turin. - In R. Arch. VIII, 1907, pp.

372-389 (49 figs.), SEYMOUR DE RICCI describes seventy-one, and publishes
forty-nine, hitherto unpublished statues in the museum at Turin. The cuts
ITAL. INSC.] ARCHAEOLOGICAL DISCUSSIONS, 1907 471

are, with three exceptions, very small drawings from photographs. Nearly
all the statues are described by Diitschke, Antike Bildwerke in Italien,
Vol. IV.
A Roman Tradesman's Sign.- A Roman sign in the Vatican is interpreted by J. SIEVEKING in Rn6m. Mitt. XXI, 1906, pp. 89-97 (2 figs.). The
edifice represented is a nymphaeum at Rome, while the great basin in front,
shown in plan instead of perspective for greater emphasis, indicates that
fountain basins were furnished by the dealer.
Bronze Decorations on Roman Ships.- In Ausonia I, 1906, pp. 103108 (8 figs.), E. GHISLANZONI describes some bronze reliefs, in the form of
animals' heads with rings in their jaws, from the sunken ships in the Lake
of Nemi, now in the Museo Nazionale at Rome. They probably decorated
posts, and the ends of cross-beams, which projected along the gunwale.
Similar ornaments are represented on reliefs of ships. The rings held by
the animals could ilot have borne any strain without breaking.
The Ficoroni Cista. - The Ficoroni cista is fully discussed in a dissertation by F. BEHN. The inscription shows that the cista was engraved by
a Campanian during the first twenty years of the fourth century B.c. The
feet and the handle, though derived from Greek models, are Etruscan work
and probably somewhat earlier in date. A careful examination of the
principal scene leads to the conclusion that the engraver used a Tarentine
pattern which in turn was derived from Micon's painting in the Anaceum
at Athens. The hunting scenes on the cover also show the influence of
Polygnotan art. (F. BEHN, Die Ficoronische Cista, archdiologische Studie.
Leipzig, 1907, B. G. Teubner. 80 pp.; 2 pls. 8vo. M. 3.)
Hadrian and Sabina.- In B. Soc. Ant. Fr. 1906, pp. 365-366, C. RAVAISSON-MOLLIEN argues that the group in the Louvre (Clarac, Musde,
pl. 326, 1431) probably represents Hadrian and Sabina. The female head
does not belong to the statue, and perhaps is a portrait of Faustina.
INSCRIPTIONS
The Date of the Lex Fufia Caninia. - An altar, discovered April, 1906
(see A.J.A. XI, p. 100), on the Caelian, near the Via Claudia, has at last
settled the long controverted date of the Lex Fufia Caninia, and established
the correctness of the form Fufia. The altar bears on both faces the names
of the consuls L. Caninius Gallus and C. Fufius Geminus, suffecti in 2 B.C.,
as we now learn. From this altar we further gain a new street-name, the
Vicus Statae Matris, - a divinity believed to stay the progress of a fire.
(G. GATTI, B. Com. Rom. XXXIV, 1906, pp. 185-208, 2 pls.; and Not.
Scav. III, 1906, pp. 179-180.)

Roman Milestones. - In Sitzb. Berl. Ak. 1907, pp. 165-201, 0. HIRSCH-
FELD discusses the Roman milestones, of which about four thousand are
known. The erection of the stones became general in Italy in the time of
C. Gracchus, though the earliest example dates from the First Punic War.
The earliest provincial stones are also from the time of the Gracchi, though
the great development of road-building took place under the empire. The
expenses were generally borne by the local authorities and the name of the
emperor was placed on the stone to show the imperial character of the road.
Under Trajan the Gallic leuga replaces the Roman mile in Gallia Celtica,

Germania, and the borders of Gallia Belgica. In an appendix it is argued
that under Constantine the Gallic civitates were replaced by the cities as
governmental units, often with a transference to the city of the old com-
munal name.
Autobiography in Roman Inscriptions. - The autobiographic element

in Roman inscriptions is discussed in Rec. Past, VI, 1907, pp. 111-116, 141145 (5 figs.), by H. H. ARMSTRONG. It appears in metrical dedications,
epitaphs, - especially those in verse,-- autobiographic records like the socalled "milestone of Publius Popilius, and graffiti. The autobiographic
feeling was strong among the Romans, but in the inscriptions its expression
is restricted by a tendency to formulae.
Religious Syncretism and Epigraphy. - The prevalence of syncretism
under the Roman empire is exaggerated in literature, which reflects either
the views of the cultivated and intellectual pagans or of Christians. Inscriptions offer the only trustworthy information on the subject, and these
show that the Greco-Roman and Roman deities were worshipped as individuals distinct from the various foreign deities. Statistics of inscriptions
from southern Italy, Sicily, and Sardinia show the prevalence of such worship, its relation to definite centres of cult, and its tendency to overcome
the worship of foreign divinities even among foreigners. The statistics are
given in tabular form. (V. MACCHIORO, R. Arch. IX, 1907, pp. 141-157 and
253-281.)
A Forged Military Diploma. - In B. Soc. Ant. Fr. 1906, pp. 355-357,
A. HIERON DE VILLEFOSSE describes a military diploma, said to have been
found in Palestine. It is a forgery on an antique bronze plate, apparently
made in Palestine before 1897, and is copied from the diploma in the Louvre,
C.I.L. III, p. 2328, 70.
Inscriptions relating to Roman Antiquity. - In R. Arch. VIII, 1906,

pp. 469-495, R. CAGNAT and M. BESNIER give text or references for ninety
inscriptions, besides a brief statement of the contents of articles dealing
with Roman epigraphy and of epigraphic publications relating to Roman

antiquity, published in 1905, June-December. Several of the inscriptions
are in Greek. Indices are added, pp. 496-505. Ibid. IX, 1907, pp. 347-368,
the publications of the first third (January-April) of 1906 are reviewed.
Sixty-four texts are published.
COINS
The Early Coinage of Italy.--In Le M1use'e, IV, 1907, pp. 105-114
(14 figs.), A. SAMBON discusses the early Italian ingots of copper with
various stamps, and also the early examples of the aes grave. He disputes
the Capuan origin of these types, considering them Etruscan, Umbrian, or
Sabellian, and dwelling on the importance of Cales, Suessa, and Beneventum. He thinks it better for the present to be guided in the classification
by the places where these coins are discovered, and emphasizes the need of
further scientific study.
Early Roman and Italian Coinage.--In Klio, VI, 1906, pp. 489-524,
K. REGLING discusses the standard units in the early Roman and Italian
coinage. He accepts in general the results obtained by E. J. Haberlin,
Zum corpus numorumn aeris gravis: die Systemnatik des dlteren r6mischen Miinz-
wesens (Berlin, 1905), which differ widely from Mommsen's system. Three
ITAL. Misc.] ARCHAEOLOGICAL DISCUSSIONS, 1907 473

periods are distinguished after the introduction of the aes grave, ca. 335-312,
312-290, 290-268 B.C. In the first period the silver didrachm (7.58 g.) is
worth 31 asses (272.87 g.) In the second period the didrachin (6.82 g.)
corresponds to the tressis, or the as = 2 scriptula. In this period begin a
gold coinage and the appearance of regular series of heavy copper money
corresponding to the issues of silver. In the third period the as becomes
semi-libral and equal to the sestertius in value. The weight of the uncia
and other fractions of the as, if the latter was 136.4 g., were decimal and no
longer duodecimal. Regling believes that they remained duodecimal and

that the as was half of a new pound of 327.45, and that the ratio of silver
to copper was fixed at 144 :1. The older Italian standard (v6,o~o) was a
didrachm of 8.32 or 8.37 g., which was gradually reduced to about 7? g.
When the Romano-Campanian stater was reduced to 6.82 g., Tarentum and
other Greek cities were forced to follow. Tables are given of the weights
of Italian staters and distaters and a complete list of staters weighing more
than 8 g. In an excursus (pp. 525-528), C. F. LEHMANN-IIAUPT argues
that the Roman ounce of 27 g. represents an early copper unit, also used for
gold and silver.
The Aminei near Sybaris. - Three incused staters from Magna Graecia,
bearing a bull looking backward, and an inscription read ? MA = 'AO(r, have
been attributed to a city Asia in Bruttium. In reality the inscription is
: 'M\A = 'A/L, and the coins belong to the Aminei. As the coins resemble
those of Sybaris and Siris, it seems these Thessalian colonists were settled
near those cities, while their rarity points to only a short period of independence. (E. PAIS, Rend. Acc. Lincei, XI, 1907, pp. 8-23; fig.)
Aegean Civilization in Sicily. - In A usonia, I, 1906, pp. 1-12 (4 figs.),
P. ORSI describes certain objects showing intercourse between Sicily and the
Aegean lands during pre-Mycenaean and Mycenaean times. Bone sheaths
with carved bosses found at Castelluccio and Cava Lazzaro are like others
found in the second city at Troy. A small Mycenaean amphora from the
shore near Girgenti is an important witness to trading along the open
southern coast of Sicily, as well as in the sheltered harbors of the east. A
gold ring from Pantalica is decorated with an interlaced pattern of distinctly
Mycenaean type.
Weapons of the Villanova Population North of the Apennines. -
In R. Arch. IX, 1907, pp. 1-17 (12 figs.), A. GRENIER, after commenting
upon the small number of swords, daggers, spearheads, etc., found among
the remains of the Villanova civilization north of the Apennines concludes
that the chief offensive weapon of the people was the palstab-axe, which he
identifies with the Celtic cateia. Defensive arms, helmets, shields, and
breastplates seem not to have been used.
Archaeology and the Origin of Rome.- In R. Stor. Ant. XI, 1907,
pp. 81-99, E. GABRICI discusses the bearing of recent archaeological discoveries on the early history of Rome. He concludes that these discoveries
show that the traditions have a basis of truth, however exaggerated and
distorted by later writers.
The Rostra and the Comitium.-The controversy in regard to the
relation of the rostra to the " tomb of Romulus," and the comitium is con-

tinued by E. PETERSEN in R6m. Mitt. XXT, 1906, pp. 193-210, with particular reference to the objections of Hiilsen and the theory of Pinza.
The Grove of Anna Perenna. - The grove of Anna Perenna, mentioned

by Martial in the famous epigram on the view from the villa of Julius
Martialis on Monte Mario, forms the subject of a paper by H. SCHENKL in
Rom. Mitt. XXI, 1906, pp. 211-219. The well-known crux, virgineo cruore
gaudet (IV, 64, 16), is treated at length. A note on the topography of the
grove is added by CI. HiULSEN.
Porta Fontinalis.- In B. Com. Rom. XXXVI, 1906, 209-223, L. MORPURGO advances the theory that the Porta Fontinalis in the Servian Wall
was at the foot of the Caelian, i.e. near S. Stefano Rotondo. He also holds
that the open ground without the gate was known as Campus minor, or,
where there could be no ambiguity, Campus.
Trajan's Column.- At the meeting of the British Academy, May 29,
1907, G. BONI described his discoveries at Trajan's Column (A.J.A. XI,
p. 100). It was certainly a sepulchral monument. Excavations in the
neighborhood revealed early imperial and republican works, including a
tufa wall. It is therefore certain that no great mass of earth was removed
to make a place for Trajan's Forum, and the inscription on the column
simply refers to the buildings in the Forum and on the surrounding hills,
which the column overlooked. The column itself was exactly 100 Roman
feet in height. (A then. June 1, 1907.)
The Castle of Sant' Angelo.- Colonel Borgatti's researches in Castel
Sant' Angelo, as reported in the Tribuna, have led him to the following
conclusions: The building was begun by Hadrian as a conical pyramid.
Antoninus changed and greatly enlarged the plan, choosing the form of a
drum upon a square basement, and providing a place of burial for all the
Imperial family and their descendants. During the Renaissance it was
greatly enlarged as a fortress, and is one of the most remarkable examples
of an Italian fortification in use from the fourteenth to the nineteenth
century. (Nation, January 31, 1907.)
The Villa and Tomb of the Furii.--In Ausonia, I, 1906, pp. 56-59,
F. GROSSI-GONDI describes the discovery near Tusculum in 1665 of the

tomb with inscriptions of the Furii (C.LL. XIV, 2700-2707), and later of
votive inscriptions and remains of buildings. The buildings are later than
the inscriptions, but seem to show that the villa as well as the tomb of the
Furii was in or near the grounds of the Cainaldolese monastery.
Excavations at Herculaneum. -Past excavations at Herculaneum and
the objects therein discovered, especially the important bronzes, are described
by ETHEL R. BARKER, Burl. M2ag. XI, 1907, pp. 144-156 (5 pls.).

Selinus.- In Le Muse'e, IV, 1907, pp. 201-227 (3 pls.; 8 figs.), J. HULOT
describes briefly a series of drawings in which he has attempted a complete
restoration of the city of Selinus, including the houses, public buildings,
temples, especially those of the Acropolis, and the harbor. An appreciation
of the metopes from Selinus by G. TOUDOUZE, and a description of the
coinage by L. FORRER are added.
Notes on Sardinian Archaeology. - At a meeting of the British
School at Rome, March 23, 1907, the Director, T. ASHBY, JR., discussed
some points in Sardinian archaeology. The "nuraghi " were fortified habitations rather than tombs, which are represented in the prehistoric period
ITAL. MIsc.] ARCHAEOLOGICAL DISCUSSIONS, 1907 475

by the sepolture dei Giganti, resembling cromlechs, and by rock-cut chambers. The remains of the system of Roman roads, and the fine mediaeval
churches were also described briefly. (Athen. April 13, 1907.)
Representations of the Liver.-- An Etruscan bronze sheep's liver (for
the use of the haruspices) found near Piacenza in 1877, and preserved in the
local museum, is discussed at length by G. K6RTE in R6m. Mitt. XX, 1905,
pp. 348-379 (3 pls.; 5 figs.), with interpretation, so far as possible, of the
inscriptions. The specimen is absolutely unique.
In Memnon, I, 1907, pp. 86-88 (4 figs.), F. HOMMEL claims that certain
objects found in Etruria and at Troy, and often described as representations
of a temple with its orientation, are really representations of a liver such as
was used for prophetic purposes, and are similar to the stone livers found
in Babylonia.
The So-called Byblis from Tor Marancia. - The five pictures of Greek
heroines discovered at Tor Marancia, in 1817, are identified by inscriptions.
With them is exhibited a sixth painting, commonly known as Byblis or
Medea, and said to come from the same excavations. In reality this painting was probably found at San Basilio in 1810, and examination shows
marked differences from the others in size and style. It seems to be a
portrait, and owes its present place and name to an error of Biondi.
(B. NOGARA, Ausonia, I, 1906, pp. 51-55; pl.)
Weavers' Weights. - In R. Arch. VIII, 1906, p. 453 (3 figs.), R. ENGELMANN publishes three further (cf. R. A rch. II, 1903, p. 122) weavers' weights
on which are owls in relief. The owls have human arms. One has a basket
below his arms, and the object held by another rests on a column. Many
such weights are found at Ruvo.
The Origin of the Pilum.--In R. Arch. IX, 1907, pp. 243-252, A. J.
REINACH argues that the word pilanus is derived from pilus, not from pilum.
lie believes that the pilum was not introduced into the Roman army before
the fourth century B.C.
The Hasta Pura.- In Rend. Acc. Lincei, XVI, 1907, pp. 3-4, W. HELBIG
argues that the hasta pura, the most ancient of the dona militaria, is really the
primitive wooden spear, with the point sharpened and hardened in the fire.
Such a spear was used by the pater patratus in declaring war. The hasta is
the symbol of the imperium, and the dona militaria bring emancipation from
the imperium.
The Milites Frumentarii. - That the milites frumentarii were originated

by Hadrian, not for the purpose of the military commissariat, but for the
victualling of the court, is maintained by R. PARIBENI in R6m. Mitt. XX,
1905, pp. 310-320.
The Imperial Body-Guard.- The imperial body-guard is the subject

of a study by R. PARIBENI in Rom. Mitt. XX, 1905, pp. 321-329. He argues
that the Germani corporis custodes were at first slaves, not soldiers (Augustus,
Tiberius); but later (Claudius, Nero) were freedmen and milites.

Vitruvius and his Work : Roman Hydraulics. - In R. Arch. IX, 1907,
pp. 75-83, V. MORTET continues his 'recherches critiques' on Vitruvius.
He discusses Book VIII, 7, the description of aqueducts, and concludes that
the colliviaria or colluviaria (not columnaria, colliquiaria, nor colliciaria) mentioned were an arrangement for the cleaning of the channels.
The Roman Limes.--In Klio, VII, 1907, pp. 73-121, E. KORNEMANN

discusses very fully the results of recent studies on the boundaries of the
Roman empire, with special reference to the evidence afforded by the defences as to the policy of the emperors. He distinguishes five periods:
I. Under Augustus and Tiberius, there was in general a preference for
river valleys as boundaries, or as bases for further advance, though the
policy was in general defensive. II. From Claudius until Trajan there is
evident a spirit of expansion. Along the new boundaries roads were built,
defended by forts. The whole system was controlled by military considerations. III. From Hadrian until the end of the second century another
policy is apparent. Hadrian seems to have marked the frontier by a vallum
of earth, sometimes with a trench and palisades, and defended by forts and
towers. This boundary was not fixed for military reasons, but was simply a
barrier to limit intercourse in time of peace, though under Hadrian's successors it became a line of defence, for which it was often ill adapted.
IV. In the third and fourth centuries there was some expansion in Arabia
and Africa, but elsewhere a withdrawal to river frontiers and, where these
failed, the erection of strong stone walls. V. In the Byzantine period this
use of " Chinese walls " on the frontier was continued, as in the great wall
of Anastasius west of Constantinople.
A Mosaic representing Gallia. - In Revue Celtique, XXXVIII, 1907,
pp. 1-3 (pl.), S. REINACH discusses a mosaic from Mesopotamia, now in
Berlin, which represents Gallia as a powerful woman crowned with towers
like Cybele, and like a bronze statuette found in Paris, which probably
represents Lutetia. This medallion formed part of a large mosaic representing the emperor surrounded by twelve provinces. In B. Soc. Ant. Fr.
1906, pp. 380-384 (2 figs.), E. MICHON also discusses this unique representation of Gallia. The mosaic is from Biredjik where the highway from
Edessa crossed the Euphrates (Arch. Anz. 1900, p. 109). The twenty-seven
fragments known are divided between Berlin, Rome, St. Petersburg, and
Dresden, and a new fragment, representing Eros holding a rod in a border
of foliage, is now in the Louvre. It is a work of the third century A.D.
SPAIN AND PORTUGAL
The Regulations for the Mines at Aljustrel. --In C. R. A cad. Insc.
1907, pp. 95-99, E. CuQ discusses those portions of the law relating to the
working of the mines at Aljustrel (A.J.A. XI, p. 103), which concern the
occupation of abandoned or forfeited shafts and the formation of companies
to develop them. A summary account of this law drawn from the Journal
des Savants is given in B. Com. Rom. XXXVI, 1906, pp. 341-346, by
L. CANTARELLI.
Ampurias.- In Jb. K1. A It. XIX, 1907, pp. 334-346 (3 pls.), A. SCHULTEN describes the ancient remains at S. Martin de Ampurias, north of
Barcelona, the site of the ancient Emporion. The Greek colony was on the
island, now a peninsula, of S. Martin de Ampurias, the Iberian city covered

the hill on the mainland, and the Roman colony occupied a small square on
this hill. The course of the walls of these cities and of a great mole can be
easily traced. The most important object of the Roman period is a mosaic
representing the sacrifice of Iphigenia (Arch. Zeit. 1869). The necropolis

has yielded Panic, Egyptian, and old Corinthian objects of the seventh
FRANCE] ARCHAEOLOGICAL DISCUSSIONS, 1907 477

century, black-figured and red-figured vases from Boeotia and Athens, and
much that shows an active trade with Campania and Sicily. Extensive
plundering of the necropolis has been in progress for many years, but little
scientific exploration has been undertaken.
The Treasure of J$vea. -In R. Arch. VIII, 1906, pp. 424-435 (pl.),
P. PARIS discusses the treasure of gold and silver ornaments found near
Javea, in 1904, and published by Jose Ramon Melida, in R. Arch. Bibl. Mlus.
1905, i, p. 366 (2 pls.). The ornaments resemble in style some of those
found in Etruria, but are really Attic work, made for the Spanish trade.
The manner of wearing the gold chains, pendants, necklaces, and diadems
is seen in the sculptures from Cerro de los Santos, now in Madrid.
FRANCE
The Moreau Collection. -In R. Arch. VIII, 1906, pp. 337-371 (figs.
37-73), H. HUBERT continues his description of the Moreau collection at
Saint Germain (cf. ibid. 1902, ii, pp. 167-206). The cemetery of Sablonnitres is described and a catalogue of the contents of thirty-two tombs of
the La Tene period is given. The contents of one of five tombs at the
chateau of Fere-en-Tardenois are similarly described.
Ancient Establishments in the Upper Basin of the Garonne.--
In R. A rch. IX, 1907, pp. 94-118 (fig.), LEoN JOULIN describes the numerous remains of ancient settlements in the upper basin of the Garonne, the
region about Toulouse. Some tombs are earlier than the fourth century
B.C. Indigenous pottery is followed in the fourth century by wares showing strong Greek influence and by imported wares, after which Roman and
Gallo-Roman ware prevails. The earliest coins found were struck in the
third century B.C. The Hallstatt and La Thne periods are represented
also by bronze arms, fibulae, spiral silver rings, and other small objects.
Ibid. pp. 226-242, further details are given, and the characteristics of the
civilization of this region at various periods are pointed out. See also C. R.
Acad. Insc. 1906, pp. 723-724, where these results are summarized.
The Reliefs of the Altar of the Nautae Parisiaci. - In R. Arch. IX,
1907, pp. 31-37 (3 figs.), A. T. VERCOUTRE argues that the fragmentary
reliefs on the altar in the Cluny Museum [with inscription Tib(erio) Caesare
Aug(usto) lovi Optumo Mlaxsumro Nautae Parisiaci (pu)blice posierun(t)]
represent (1) nautae, who were formed into cohorts as military auxiliaries,
(2) fabri tignarii, and (3) exoneratores, associated with the nautae.
The Discoveries at the Marchd-aux-Fleurs. - In B. Soc. Ant. Fr. 1906,
pp. 313-314, CH. SELLIER discusses briefly the two parallel walls recently
uncovered near the Quai de la Cite'. They belong to the Merovingian period,
and were probably built after the fire of 585 A.D. With this fire may be
connected the name of the neighboring church, St. Pierre des Arsis.
The Situation of Alesia.--In C. R. Acad. Insc. 1906, pp. 724-725,
A. BPRARD gives a summary of the reasons why he places the site of Alesia
on the plateau of Izernore (Ain) rather than at Alise-Sainte-Reine.
The Mosaic of Vaison. - The mosaic of Vaison (A.J.A. XI, p. 109) is
an important fragment of the mosaic of Narcissus in the Musee Calvert at

Avignon. It has been known since 1858, and shows how freely and badly
the portion in Avignon has been restored. (L. H. LABANDE, B. Soc. A nt.
Fr. 1906, pp. 377-379; fig.)

A Correction to C.I.L. XIII, 5451 a. -The little inscription C.I.L.
XIII, 5451 a, was found at Saveux. It is not the base of a statuette, but
one of a series of weights bearing inscriptions to show that they have been
officially tested. (A. HERON DE VILLEFOSSE, B. Soc. Ant. Fr. 1906, pp.
329-333.)
Divinities with Horns in Gaul. - In R. -t. A nc. IX. 1907, pp. 184186 (2 figs.), G. GASSIES publishes a statuette at Clermont-Ferrand, representing a seated goddess with the horns of a deer, and a fragmentary
relief at Melun of a goddess with many breasts. These confirm his view
of the existence of the cult in Gaul of the Terra Mater and a feminine
equivalent of Cernunnos. C. JULLIAN regards these deities as local mani-
festations of Terra Mater and Dis Pater considered as divinities of streams

or fountains.
The Celtic Table Knife. -- In R. -t. Anc. IX, 1907, pp. 181-183,
A. BLANCHET discusses a passage of Posidonius (Frg. Hist. Graec. III, p.
260, No. 25), and concludes that the ancient Celts carried a small knife in
a sheath attached to the scabbard of the great sword. Small knives have
been found in Celtic graves in positions which favor this view.
Gallo-Roman Chronicle. --In the 'Chronique Gallo-Romaiie' in
R. Et. Anc. IX, 1907, pp. 83-92 (2 figs.), C. JULLIAN mentions briefly
numerous recent publications dealing with Gaul, including discoveries at
Alesia and V6sone, Hannibal's passage of the Alps, and the discoveries at
Paris, near Notre Dame, in 1711. He publishes two sculptures from Alesia
showing a bust with birds perched on the shoulders. Ibid. pp. 189-192,
these notes are continued. The name Mycenaean ought not to be used in
discussing Iberian pottery, which is very much later.
The Museum at Avignon. - In Le Muse'e, IV, 1907, pp. 51-70 (3 pls.;

9 figs.), k. BAILLY describes some of the more important works in the
Musee Calvet at Avignon. Among the Greek works is the upper part of
a fine Attic grave-relief from the Nani collection. Later works include
a relief of Jupiter Helipolitanus, one of Sucellus in an aedicula, and two
fine statues of Gallic warriors. There are numerous Romanesque, Gothic,
and Renaissance works, including statues and paintings, among the latter
works attributed to Nicolas Froment, Corneille de Lyon, and the brothers
Le Nain.
GERMANY
The Roman Bronze Industry in Lower Germany. -In Rh. Mus.
LXII, 1907, pp. 133-150 (6 figs.), H. WILLERS discusses the Roman bronze
industry, as shown by discoveries in northern Germany and southern
Scandinavia. During the first century A.D. the demand for fine bronzes
was supplied by manufacturers at Capua. In the second and third centuries there appears in the north a metal closely resembling brass, which
seems to have been manufactured at Stolberg, and exported to free Germany and Scandanavia by way of Nymwegen.
A Gallo-Roman Monument at Trier. - In Revue Celtique, XXXVIII,
1907, pp. 41-42 (pl.), H. D'ARBOIS DE JUBAINVILLE publishes a GalloRoman relief at Trier, which combines two scenes on an altar in the Mus6e
de Cluny (Ibid. XVIII, pp. 253-256). Above a man cutting a tree are a
bull head and two cranes. The representation refers to a Gallic myth's
CHRISTIAN ART] ARCHAEOLOGICAL DISCUSSIONS, 1907 479

preserved in the Irish Tiin bo Cfialnge. The man is Cuchulainn, the bull
the divine Donn, and the cranes the triple goddess, Bodb, Morrigan, and
Nemain, who in bird-form warns the bull of the danger of capture.
AFRICA
Roman North Africa. - In Rec. Past, VI, 1907, pp. 67-76 (8 figs.),
C. D. CURTIS gives a brief description of some of the more characteristic
sites in Roman North Africa, mentioning more particularly Dougga, Khremissa, Timgad, and adding some particulars of the modern life in Tunis
and Algeria.
A College of Tubicines. - In Klio, VII, 1907, pp. 183-187, R. CAGNAT
publishes an inscription from Lambaesis containing the regulations of the
college of tubicines of Legio III Augusta. It furnishes a close parallel to the
regulations of the cornicines (C.I.L. VIII, 2557), and is of about the same
date (203 A.D.).
The "Lex Hadriana de rudibus agris." - In Klio, VII, 1907, pp. 188-
212 (map), A. SCHULTEN discusses an Ara recently found near Thignica containing a sermo procuratorum Hadriani, apparently an extract from the lex
Hadriana de rudibus agris with its application to a special case. It thus resembles the inscription from Ain Wassel (Hermes, 1894, p. 204), and the two
documents complete each other in many points. It appears that the lex Hadriana extended the operation of the lex Mlanciana of the time of Trajan,
in that it not only provided for the occupation of open land by the colonists,
but also for the occupation of leased land where the lessee had left it uncultivated for ten years.
The Metrical Inscription from Ouled l'Agha. - The Latin metrical

inscription from Ouled l'Agha (A.J.A. XI, p. 234) is discussed in Rh. Mus.
LXII, 1907, pp. 157-159, by G. GUNDERMAN, who thinks the inscription
refers to the wine, olives, and other riches shown on mosaics in the neighboring rooms. Ibid. p. 328, C. HiULSEN compares another African inscription, C.I.L. VIII, 11,683, which was also engraved on a threshold. In Berl.
Phil. W. 1907, cols. 478-479 (fig.), R. ENGELMANN publishes a new colla-
tion, by Gauckler, which reads Bide, vive e(t) bide, possas plurimna, bide. The
inscription probably refers to the man represented below.
EARLY CHRISTIAN, BYZANTINE, AND MEDIAEVAL ART

St. Menas of Alexandria. - In S. Bibl. A rch. XXIX, 1907, pp. 25-30,

51-60, 112-122 (8 pls.), Miss M. A. MURRAY discusses the legend of St.
Menas of Alexandria, the representations of scenes from the life of the
Saint on shrines and reliquaries, the location of his church at Tel Abumna,
and the numerous oil-flasks bearing the name of the Saint that are found in
Egypt and in adjacent countries.
The Mosaic Map at Medeba. - In Bibl. World, XXIX, 1907, pp. 370375 (3 figs.), H. H. NELSON describes anew the finding of the Medeba
mosaic map, and its present condition as seen by him during a recent visit.
The Tychaion at Is-Sanambn. - In R. Arch. VIII, pp. 413-423 (7 figs.)
HOWARD CROSBY BUTLER discusses the temple of Tyche, built in 192 A.D.,

at Is-Sanamen, in Central Syria. This has at one end an apse, at each side
of which is a room. This is exactly the arrangement of several early Chris-
tian churches in Syria. The plan of the Christian churches was probably
derived from the pagan temples, and it is "not proven that the Western
Church did not derive its visible and temporal expression from the Eastern
Church."
Origin of Knotted Ornamentation. - The peculiar form of "returning

knot " which appears in Byzantine ornament in the sixth century, in Syria
in the fifth or sixth century, in Celtic and English illuminations of the
seventh and eighth centuries, seems to have originated as a means of treating the ends of the ribbons which tie garlands in classic art. W. R. LETH-
ABY (Burl. Mag. X, 1907, p. 256) who has found the prototype in Coptic
textiles of Ba6uit of the fifth and sixth centuries suggests that the Arab
conquest caused the dispersion of Coptic artisans throughout Europe, and
hence the wide diffusion of this pattern.
A Byzantine Lead Seal.- In J. Int. Arch. Num. IX, 1906, pp. 46-48
(fig.), C. M. CONSTANTOPOULOS discusses a Byzantine lead seal, on one face
of which are two standing saints. Their costume is that of the warrior
saints, and as they are bearded it seems certain that they are the two
Theodores. The reverse bears an inscription in two trimeters showing
that it was an amulet.
Paintings with Byzantine Types in Arab Manuscripts. - In R. A rch.

IX, 1907, pp. 193-223 (10 figs.), E. BLOCHET discusses three manuscripts of
the 3Makamat of Hariri, now in the BibliothBque Nationale at Paris. Illustrated Arab manuscripts are very rare. These date from the thirteenth
century. They were probably executed in Syria, and the paintings show
strong Byzantine influence. Some signs of the influence of ancient Egyptian
monuments are also detected, and this influence is much stronger in the
paintings of a manuscript from St. Sophia, Constantinople, of the fourteenth
century.
The Dome of SS. Sergius and Bacchus.- In Rec. Past, VI, 1907,
p. 64, is a note by H. C. BUTLER, in which, as the result of a recent examination, he corrects certain details in the description given by W. R. Lethaby
of the dome of SS. Sergius and Bacchus in Constantinople. See A.J.A. X,

p. 77; XI, p. 235.
Byzantine Frescoes at Nereditsi.--The church of the Saviour at
Nereditsi near Novgorod was built by Iaroslav Vladimirovitch in 1198

and 1199. It is still well preserved and has suffered little by restoration.
The frescoes, probably by Greek painters, are described in detail in Mon.
Piot, XIII, 1906, pp. 35-55 (2 pls.; 6 figs.), by J. EBERSOLT, who points out
their connection with the great works of the eleventh century, such as those
at the monastery of St. Luke and at Daphni. While they follow the tradition of the mosaics, they show some promise of the greater freedom which
appears in the fourteenth century at Mistra.
The Age of Recently Discovered Tapestries. - In A rte e Storia, 1907,

pp. 1-6, D. SANT' AMBROGIO argues against a Byzantine origin and a date
prior to 1000 A.D. for the textiles found in the Sancta Sanctorum of the
Lateran (A.J.A. XI, pp. 123, 482), and in the tomb of St. Cunibert at
Cologne in 1898. He believes that the latter do not antedate the work of
the ouvriers Sarrazinois, who settled in France in the eleventh and twelfth
MEDIAEVAL ART] ARCHAEOLOGICAL DISCUSSIONS, 1907 481

centuries, and that the former belong to the same period. The vestments
recently found in the tomb of Charlemagne at Aachen are also probably the
product of the factories established by Frederick II.
The Life of Christ on Sculptured Portals. - In R. Art Chre't. 1907,
pp. 17-25, appears the last of eight articles by G. SANONER (commenced

ibid. 1905, p. 217) on sculptured scenes from the Saviour's life, the examples being chiefly French and Flemish. In this article he considers " Christ
before Pilate," the " Flagellation," the " Crowning with Thorns," the " Ecce
Homo," " Christ carrying his Cross," and the " Nailing to the Cross."
The Origin of " Rice-grain " Technique. - In the British Museum is
a bowl of creamy white semi-translucent ware, with an animal drawn in
colors and spotted with points of translucent glaze in the " rice-grain " technique. The bowl belongs in the group of early pottery found in Persia and
Syria, and probably of Egyptian origin, as translucent ware with lustrous
decorations was seen at Cairo in 1042 A.D. by Nas'ir i Khusran. The bowl
settles the question as to the origin of the " rice-grain " technique, as it is
far earlier than the examples from the Far East. (R. L. HOBSON, Burl.
iMag. XI, 1907, pp. 83-89.)
Lustrous Oriental Pottery in the Louvre. - In Mon. Piot, XIII, 1906,
pp. 77-84 (pl.; 6 figs.), G. MIGEON publishes three fine specimens of Oriental faience decorated in lustrous gold. One, a cup of creamy enamel, is
Syro-Egyptian work of the twelfth century, another is a bottle with a
crackled white ground from Rhages in Persia, a work of the thirteenth
century, and the third is a fourteenth-century vase of blue enamel belonging
to the group commonly called Siculo-Arabian, but really Syro-Egyptian, and
probably from potteries at Damascus.
ITALY
Byzantine Inscriptions from Sardinia. - In VN. Bull. Arch. Crist. 1906,

pp. 305-306, E. Josi comments upon the Byzantine inscriptions of Sardinia,
published by Taramelli in Not. Scav. 1906, pp. 123-138. The principal interest of the inscriptions, which are of the tenth or eleventh century, lies in
the twice
occurring
of anis apxv
Yap8-qv[a1. Taramelli's interpretation
of some
of the mention
abbreviations
corrected.
The Sarcophagus from Via della Lungara. - The sarcophagus found

on the Via della Lungara three years ago, and now in the Museo delle
Terme, is discussed by O. MARUCCHI in N. Bull. Arch. Crist. 1906, pp. 199205. The sculpture is confined to three panels in front and the two ends.
The central panel represents an Orans, surrounded by the doves symbolizing
the elect. The panel on the left shows a fisherman with rod and basket,
probably referring to Christ's words, "I will make you fishers of men."
The adjoining scene on the small end is a baptism, but it lacks the usual
dove and must therefore be referred to the liturgical sacrament. The juxtaposition of the two scenes appears to epitomize the Christian pastor's f lnction of conversion. The panel on the right has the Good Shepherd, and the
sheep of His flock are on the adjoining end.
The Meaning of a Graffito. - The following graffito was discovered
during recent excavations in the cemetery of Commodilla: non I dicelre
illle selcrita Iab boce, i.e. non dicere ille secreta ab voce. In N. Bull. Arch.

Crist. 1906, pp. 239-252, the word secrita is referred to the mass, particularly
the Canon, in mediaeval use called secreta. The sentence would then take
the form of an admonition "not to speak the secrets, or Canon, of the mass
with a loud voice."
The Relics in the Sancta Sanctorum. - In Mon. Piot, XV, 1906, pp.
1-142 (18 pls.; 35 figs.), P. LAUER publishes a detailed description of the
objects recently discovered in the Sancta Sanctorum at Rome (A.J.A. XI,
p. 123). The enamelled cross, which once enclosed a piece of the true cross,
is perhaps the one found by Sergius 1 (687-701). It is a work of primitive
Byzantine art possibly of the end of the fifth century. The silver box which
contained it is of the seventh century, though the cover is about a century
later. In it was a piece of silk which is clearly sixth-century Persian work.
The gold cross set with jewels seems to be the one given by Charlemagne
to Hadrian I (772-795). It is Carolingian in style, and was enclosed in
a silver-gilt cruciform coffer, which bears an inscription of Pope Pascal,

probably Pascal I (817-824). In addition to the detailed discussion of the
contents of the altar, the chapel is fully described, and the frescoes published for the first time. They are of the late thirteenth century, but have
been several times restored. The chapel also contains the painting of Christ
" made without hands," which is enclosed in elaborately wrought silver, part
of which is of the thirteenth century. The author points out that the discovery has raised questions which call for much further study before a final
answer can be given.
The Frescoes in S. Clemente in Rome. - The results of the study by
J. WILPERT Of the frescoes in the lower church of S. Clemente in Rome are

published in R. Art Chret. 1907, pp. 69-70. The " Scenes from the Martyr-
dom of St. Catherine" and the "Council of St. Zosimus" in the right aisle
really form one composition representing the Last Judgment, as is shown
by the inscriptions. The fresco known as " St. Cyril before the Emperor"
represents Esther before Ahasuerus, a mediaeval symbol of the intercession of the Virgin. On the left in the narthex is a fresco representing St.
Cyril accompanied by St. Clement and the archangel Gabriel before Christ,
on whose left stand St. Methodius, St. Andrew, and the archangel Michael.
The inscription on this fresco shows that the tomb of St. Cyril was below it.
The Churches of St. Pantaleon. - The three churches in Rome dedi-
cated to St. Pantaleon are the subject of a topographical and diplomatic

study by P. SPEZI, in B. Comn. Rom. XXXVI, 1906, pp. 270-307.
The Guild of Marble Workers in Rome.--The history of the guild
of marble workers, Unitversitas niarmorariorum, has been investigated by

G. TOMASSETTI in B. Com. Rom. XXXVI, 1906, pp. 235-269. The guild
celebrated its fifth centenary last October, and its history is of interest to
all who concern themselves with the mediaeval Cosmati ornamentation.
The Reconstruction of the Cathedral of Bari.- F. CARABELLESE
contributes to L'Arte, 1907, pp. 65-70, the documentary history of the

reconstruction of the Duomo at Bari after its destruction in 1156 during
the siege by Guglielmo I.
Barbaric Ornaments at Lucca. - In A usonia, 1, 1906, pp. 60-67 (2 figs.),
P. TOESCA describes some metal objects now in the Pinacoteca of Lucca,
where they are ascribed to the twelfth century. They are, however, Lombard work of about the seventh century and important for the history of
MEDIAEVAL ART] ARCHAEOLOGICAL DISCUSSIONS, 1907 483

barbaric art. The most interesting piece is a plate of gilded metal, representing a warrior, wearing a long tunic and the " scramasax," and holding
a staff, which ends in a cross on which is perched a dove.
Minor Examples of Lombard Ornament. - G. PACCHIONI, in L'Arte,
1907, pp. 124-130, discusses variations in Lombard ornamental motives in
Emilia, as seen in S. Lorenzo di Panico at Bologna, the oratory of S. Michele
near Livizzano, the oratory of Denzano near Castelvetro, Modena, S. Michele
di Pievepelago, the Pieve del Trebbio, and the Pieve di Reno. He finds
the motives in these churches influenced by the great Lombard buildings

of Bologna, Piacenza, and Modena. Three classes are distinguished: poor
imitations of work in the great cathedrals; variations due to the caprice or
ignorance of the artist; and motives wherein all tradition is forgotten and
the artist is guided only by his observation of nature or his imagination.
The First Roman Work of Arnolfo di Cambio. - In Cod. barb. lat.
4423 of the Vatican library is a seventeenth-century sketch (Fig. 1) of a
tr.
f ~~
A,
407
7,11
NINE`
FIGURE 1. - DRAWIN IN THE VATICAN LIBRARY.
funeral monument which still exists in St. John Lateran. It represents a

prelate lying in death upon his couch, and in the background a procession
of six clerics bearing the symbols of his rank. The slab containing the procession (Fig. 2) is now on the east wall of the cloister, while the reclining
figure is at the end of the left nave of the church. Panvinio (1562) describes
it as the tomb of Cardinal Riccardo Annibaldi and gives the date as 1273,
which can be corrected to 1276, the year of the cardinal's death. The style
is that of Arnolfo di Cambio, and the date marks it as his earliest work in
Rome. (G. DE NICOLA, L'Arte, 1907, pp. 97-104; 4 figs.)
484 AMERICAN JOURNAL OF ARCHIAEOLOGY [VOL. XI, 1907

Late Gothic Sculpture in Rome. - In A usonia, I, 1906, pp. 68-92 (17
figs.), LISETTA CIACCIO discusses the remains of Gothic monuments in
1~ ~-~8:
id
x~i:a
B~~~
':;"" i:"
"~
: : :'
FIGURE 2. -RELIEF IN ST. JOHN LATERAN.
Rome, belonging to the end of the fourteenth and beginning of the fifteenth century. The monuments described are: (1) The tomb of Cardinal
Vulcani in S. Francesca Romana (1394 or 1403). (2) The fragment from
the tomb of Caracciolo in S. Maria del Priorato. (3) The tomb of Cardinal
d' Alenqon in S. Maria in Trastevere, now separated, since .the baldachin
has been used for an altar. (4) A fragment in the cloister of the Lateran,
representing a procession (see preceding article). (5) The tomb of Cardinal
Adam of Hartford in S. Cecilia in Trastevere. (6) and (7) Two statues of
Boniface IX, one in the round in S. Paolo fuori, the other in relief in the
right transept of the Lateran. Some of these have been wrongly attributed
to Magister Paulus (see below), three of whose works (8-10) are discussed.
To an unknown tomb belongs (11) two angels holding back curtains in
S. Cesareo. Other tombs of this period are those of (12) Cardinal Pietro di
Fonseca in the Grotte Vaticane; (13) Cardinal Lando formerly in S. Maria
Maggiore; and (14) Cardinal della Porta in the Grotte Vaticane, dating
from 1434 and the last of this style.
Magister Paulus. - There are two monuments in Rome signed by a
UMagister Paulus, the tomb of Bartolomeo Carafa and that of Cardinal

Stefaneschi. Other works of his are discussed in L'Arte, 1907, pp. 116-123,
by LAURA FILIPPINI, who assigns to him as an early work the tomb of
the brothers Anguillara in the church of S. Francesco at Capranica di Sutri,
two figures of angels in the Capella della Pieth at St. Peter's, and an angel
holding a scroll in S. Maria sopra Minerva. He probably worked between
1380 and 1417. His faces are summary, his drapery hard and with few
folds, but he obtains better success with reclining than with erect figures.
Eight Statues of the Virtues. - In Boll. A rte, I, 1907, v, pp. 1-6

(8 figs.), V. SPINAZZOLA discusses eight small marble statues belonging to
Baron Mazzoccolo of Teano. They seem to have formed part of funeral
monuments. Five, representing Fortitudo, Temperancia, Charitas, lusticia,
and Fides, belong to the end of the thirteenth century, and are among the
earliest of the series of Neapolitan supports for sarcophagi. Two others, of
about the same period but somewhat smaller, represent Charity and
MEDIAEVAL ART] ARCHAEOLOGICAL DISCLTSSIONS, 1907 485

Justice. The eighth, representing Prudence, is not earlier than the beginning of the fourteenth century.
Maestro Cicogna. - In 1899 some damaged frescoes were discovered in
the Romanesque church of S. Martino di Corrubio on the hill of Castelrotto

di Valpolicella. An inscription showed that they were finished by Magister
Cicogna, May 31, 1300. Other frescoes of his seem to exist in S. Felice di
Cazzano (1322), the Castello Scaligero at Soave (a condottiere and his
soldiers), and probably in the Museo Civico from the old Palazzo del Comune
in Verona, dated perhaps in 1326. These works show that Cicogna, uninfluenced by Giotto, adhered closely to the old Byzantine traditions. (L.
SIMEONI, Mladonna Verona, I, 1907, pp. 11-17.)
FRANCE
The Codex Purpureus Sinopensis. - In N. Bull. Arch. Crist. 1906, pp.

215-237, A. MuRoz examines the Codex Purpureus Sinopensis in the Bibliotheque Nationale from the iconographic and stylistic points of view. He
finds that in comparison with the Codex Rossanensis, it shows a more
purely illustrative intention on the part of the artist, the miniatures being
more closely connected with the text. In technique it is much inferior to
the Rossanensis. Many peculiarities are shared with the Vienna Genesis,
and the three manuscripts form a group with many affinities to Syrian art,
but some Hellenic elements. The provenience of the Sinopensis shows that
they are products of a school in Asia Minor.
The Sculptured Tympanum at Autun. - The early sculptured representation of the Last Judgment in the tympanum of the west doorway of
Autun Cathedral is published with a brief description in Reliq. XIII, 1907,
p. 121 (pl.).
Abbot Suger.--In Le Muse'e, IV, 1907, pp. 160-173 (3 pls.; fig.),
J. ROBIQUET writes of Suger, the great Abbot of St. Denis, as a lover of art.
He describes briefly his activity at St. Denis, the great works in precious
metals executed by his order, and the few smaller treasures which are now
in the Louvre and the Cabinet des Medailles.
The Church of Saint Sulpice at Favibres. - In Le Musde, IV, 1907,

pp. 28-37 (2 pls.; 2 figs.), L. RIOTOR describes in detail the interesting
Gothic church of St. Sulpice at Favieres. Commenced about 1250 and
completed about 1335, it has suffered by fire and by the Revolution, but in
the tympanum of the main portal still remain early reliefs of the Resurrection and Last Judgment. There are also two good windows of the thirteenth
century and some interesting tombs.
The South Portal of Chartres Cathedral. - In R. Art Chre't. 1907,
pp. 100-107, L. E. LEFEVRE discusses the sculptures in the left bay of the
south portal of Chartres Cathedral. The lintel is decorated with the stoning of St. Stephen; in the tympanum is Christ with adoring angels; on the
voussoirs are martyrs. The author, who considers that the sculptures on
mediaeval portals are often inspired by the Apocalypse, separates the tymnpanum from the lintel, and interprets it as the apocalyptic Agnus Dei, surrounded by angels and saints. On the keystone of the second order of
voussoirs is a ram's head. From a wound in the throat pour streams of
blood, represented by undulations which border the first and second rows

of voussoirs, and in which the saints of the second row seem to dip their
garments.
A Relief representing St. Matthew (?) and an Angel. - The Louvre
has recently received from Chartres a relief of the thirteenth century, repre-
senting St. Matthew (?) writing from the dictation of an angel. The history of the relief is uncertain, but in Mon. Piot, XIII, 1906, pp. 57-66
(pl.; 6 figs.), A. MICHEL points out its close resemblance to the sculptures
of the Cathedral of Chartres, and particularly to the fragments of the jube

destroyed in 1763. It is possible that it once formed part of this monument.
Ivory Altar-pieces of the Fourteenth Century. - In Mon. Piot, XIII,
1906, pp. 67-75 (pl.; 4 figs.), R. KOECHLIN discusses several ivory reliefs of
the fourteenth century, containing scenes from the Passion, which he

believes formed parts of large ivory altar-pieces. He attributes these to
two schools, both Parisian, of the early and late fourteenth century. The
same schools probably produced some of the small triptychs and polyptychs,
from which the appearance of the large altar-pieces may be imagined.
GREAT BRITAIN
The Early Stained Glass in Canterbury Cathedral. - The important

question of the historical relation of the stained windows of Canterbury,
Sens, and Chartres is discussed in Burl. Mag. XI, 1907, pp. 172-180, by
CLEMENT HEATON, who concludes that the glass at Canterbury was the
work of a French artist who commenced it soon after the fire of 1175.
Soon after 1185, he left for Sens. Here he labored until 1206, when he
went to Chartres and made the first thirteenth-century windows in that
cathedral, leaving a school, which completed his work. His style, originating in the earlier Romanesque which lies behind the windows of St. Denis,
afterward spread to Rouen, Bourges, and many other places.
Some Devon Churches. - In Reliq. XIII, 1907, pp. 73-96 (17 figs.),
G. LE BLANC SMITH describes a number of churches in the Teign Valley,

Devon. Most of these are perpendicular, but have little architectural
interest. They usually contain old painted oak screens, carved bench ends,
and other decorations, many of which are described and illustrated with
considerable detail.
The Church of St. George, Southacre. - In Reliq. XIII, 1907, pp. 124126 (2 figs.), A. C. FRYER describes the church of St. George at Southacre,
Norfolk. It possesses a fragment of a finely carved wooden screen, and an
interesting Norman font with an elaborate cover, now badly damaged.
RENAISSANCE ART
The Grimani and Morgan Breviaries. - A number of illustrated

manuscripts show more or less affinity to the famous Breviarium Grimani,
but its nearest relative is the breviary belonging to Mr. J. P. Morgan. The
latter antedates the Grimani breviary, as appears from the fact that in the
Grimani the text illustrations of the Morgan manuscript have been in some
cases broken up and used as border decorations without relation to the text.
(V. GR. SIMKHOVITCH, Burl. Mag. X, 1907, pp. 400-405.)
RENAISSANCE ART] ARCHAEOLOGICAL DISCUSSIONS, 1907 487

The Biblia Pauperum. - The illustrated manuscript known as the
Biblia Pauperum in now in private possession in the United States. At the
instance of the owner, CAMPBELL DODGSON prepared a description of which
fifty copies were printed for private circulation. An outline of this work
is given by the author in Rep. f. K. 1907, pp. 168-172. He denies the attribution to Konrad Witz of Basel, proposed by Schmarsow (ibid. XXVIII,
p. 340).
An Art Patron of the Fifteenth Century. - T. LECLiRE in Gaz. B.-A.
XXXVII, 1907, pp. 132-146, discusses the Challant family of the valley of
Aosta, and the works of art due to their encouragement. The most conspicuous of the family as an art patron was George of Challant, to whom are
due the stalls of the cathedral of Aosta, executed by local artists and by
others from Savoy and Geneva; the castle of Issogne and the frescoes which
adorn its walls; and finally an illuminated missal (1499) now in the possession of the Comte Passerin d'Entreves. The frescoes and illuminations were
probably the work of Lyonese artists, though local artists may have executed
the frescoes.
The Virgin with the Club.--A small number of paintings, chiefly
Umbrian, of the fifteenth and early sixteenth centuries represent the Virgin
armed with a club chasing a demon from a child. This weapon is due to
the double sense of the epithet clavigera, which is applied to the Virgin as
bearer of the key of Heaven, but might mean "club-bearer." In art the
key is reserved for St. Peter. Claviger is an epithet of Janus and of
Hercules. (S. REINACH, C. R. Acad. Insc. 1907, pp. 43-45.)
The Van Eyck Technique. - In Rep. f. K. 1906, pp. 425-440, is an
exhaustive analysis by A. EIBNER of the passages in Vasari relative to the
discovery of oil technique by Jan Van Eyck. He concludes that Van Eyck
was searching for a quick-drying varnish with which to finish tempera
painting, and that the mixture mentioned by Vasari was an oil-lacquer,
which he then found to be available as a direct medium. Berger's theories
are fully discussed and rejected.
New Pictures by Gerolamo da Cremona. - In Rass. d'Arte, 1907, pp.
33-35, B. BERENSON publishes a " Poppaea giving alms to St. Peter" in the
collection of Lady Henry Somerset. The painting was attributed to Liberale
da Verona, but must be given to his companion miniaturist, Gerolamo da
Cremona. Sienese influences are seen in his painting, and his own impress
appears in the works of Neroccio and Francesco di Giorgio. The influence
of Liberale and Gerolamo upon Sienese masters may explain certain pictures
which are given now a Sienese, now a Veronese, origin. Ibid. 1907, p. 78,
G. CAGNOLA reproduces a Nativity in the possession of the antiquaries
Grandi in Milan, which he assigns to Gerolamo.
New Pictures by Gian Francesco de' Maineri. - In L'A rte, 1907,
pp. 33-40, A. VENTURI adds a number of pictures to those by Gian Francesco de' Maineri. The first is a Holy Family, formerly in the collection of
Ettore Testa at Ferrara, on which Maineri's signature has been found.
Replicas are in the Kaiser Friedrich Museum in Berlin, and in the Prado.
The Madonna in the Accademia Albertina in Turin, attributed to Maineri
by Venturi in 1890, is shown to be his by the discovery of the signature.
Another Madonna, probably by Maineri, is in the ducal gallery at Gotha.
On internal evidence, Maineri is given four pictures of Christ bearing the

cross, in the Galleria Estense at Modena, the Doria collection, the Uffizi,
and the collection of the late Sig. Mazocchi in Rome.
The Life of Torrigiani.- Pietro Torrigiani's quarrel with Michelangelo
seems to have clouded all his later career. It led to his flight from Florence,
and a wandering life, at first with Valentino and then with the condottiere
Paolo Vitelli. To this period belong the stucco ornaments on the Torre
Borgia, and his sculptures on the Piccolomini altar in Siena. He then went
to England, where in 1512 he executed the monument of Henry VII and
Elizabeth of York in Westminster Abbey. Other works in England are the
tomb of John Young (1516) now in the Public Record Office, a bronze
medallion of Sir Thomas Lovell iju Westminster Abbey, and a marble head
of Christ in relief now in the Wallace Collection. In 1519 he left England
and went to Spain, where he made the St. Jerome, and perhaps the terracotta Madonna and Child, in Seville cathedral, as well as a lost bust of the
Empress Isabella. Vasari's story that he starved himself to death in 1528
to escape the Inquisition has not been disproved. (C. JusTI, Jb. Preuss.
Kunsts. XXVII, 1906, pp. 249-281.)
Pictures by Palma Vecchio.- The Piping Faun in the Alte Pinakothek in Munich was ascribed by Miindler to Palma Vecchio. This attribution is supported on internal evidence by CLAUDE PHILLIPS in Burl MIag.
X, 1907, pp. 243-252, who finds the poetic quality of the picture unusual for
Palma Vecchio, and suggests that such works may be explained by assuming that Palma derived his art, not directly from Giovanni Bellini, but
through the more fanciful Cima da Conegliano. This assumption leads the
writer to accept Vasari's ascription to him of the " Tempesta al Mare " in the
Venice Academy, and he supports this thesis with many comparisons of details in Palma's authenticated works. Ibid. X, 1907, pp. 315-317, the same
writer reproduces and criticises Palma Vecchio's " Two Nymphs," which he
regards as a work done under the influence of Giorgione and even showing
imitation of the " Concert Champ-tre," with the consequent date 1510-1515.
Ibid. XI, 1907, pp. 188, C. J. HOLMES publishes a new "Shepherd and
Nymphs," which must be attributed to Palma Vecchio. It is quite in the

same character as the " Two Nymphs," and even more reminiscent of Giorgione. The picture is in the possession of Mr. Phillips.
ITALY
The Rucellai Madonna.- In L'Arte, 1907, pp. 55-59, A. CHIAPPELLI
points out resemblances between the busts of saints in the medallions of the
frame which encloses the Rucellai Madonna in S. Maria Novella, and pictures
by Cimabue, notably his Madonna in the Belle Arti at Florence and some
figures in his Crucifixion at Assisi. These resemblances are strongly opposed to the attributiou of this Madonna to Duccio.
Frescoes in the Cathedral of Atri. -In Boll. Arte, 1907, iii, pp. 14-18
(3 figs.), L. CANEVAGHI calls attention to the importance of the frescoes
and other works of art at Atri. Especially noteworthy are the frescoes in
the old church beneath the cathedral. Some of these are by followers of
Giotto, but others are apparently by local artists of the early fourteenth
century, and show an harmonious combination of Tuscan art with that of
La Marcha and Umbria.

A Triptych by Allegretto Nuzi.--In L'Arte, 1907, pp. 143-144, A.
Mu~ oz disputes Suida's view that the triptych in the Museo Cristiano of
the Vatican, representing the Madonna and Child with saints and donors,
though signed by Allegretto Nuzi, differs so much from his other signed
works that it must be by another hand. He points out that in 1674 Alveri
describes the picture in San Leonardo alla Lungara, and gives the signature
and date, 1365.
The Date of Masolino. - In the Nation, May 2, 1907, P. J. GENTNER

points out that the date, 1428, on the church at Castiglione d'Olona refers
to a restoration and not to the dedication; while the date 1435, in the baptistery, is in its present form modern. Records of the Branda family show
that the church was ready for consecration in 1422, and it is therefore probable that though the baptistery frescoes are later than those in the church,
Masolino executed all this work before his paintings at Rome and Florence.
Ibid. June 13, 1907, W. RANKIN, accepting this date, points out that in the
paintings of S. Clemente some of the scenes show the hand of Masaccio,
who seems to have helped Masolino. He also doubts whether Masolino had
any part in the painting of the Brancacci Chapel at Florence.
Donatello and the Antique.- Donatello's use of the antique is described
by F. BURGER in Rep. f. K. 1907, pp. 1-13, as both eclectic and imitative.
In the Flagellation of the Berlin Museum, the movement of the figure of
Christ is studied from one of the Dioscuri. Many examples of the use of
the Meleager sarcophagus in Pisa can be cited, and one of the executioners
in the Crucifixion of the Museo Nazionale in Florence is drawn from the
sarcophagus group of Hercules and the hydra, the resemblance extending
even to the club which the executioner uses to drive the nail into the foot
of one of the two thieves. The sculptor used the reliefs of the column of
Trajan more than any other ancient monument, and it is to his study of
them that his freer later style in relief is due.

Sculptures by Isaia da Pisa in Rome. - In Jb. Preuss. Kunsts. XXVII,
1906, pp. 228-244, F. BURGER discusses the work of Isaia da Pisa in Rome,
and assigns to him lunette No. 224 of the tabernacle of S. Andrea in the
Grotte Vaticane (the other two lunettes are by Paolo Romano), the Virtues on the Acquaviva and Chiaves monuments in the Lateran, the relief
in the Chapel of Sixtus V in S. Maria Maggiore, and parts of relief No. 204
of the Grotte Vaticane, which the writer considers the tomb of Cardinal
Latino Orsini. The attributions are based on a comparison of these monuments with a known work of Isaia, the tomb of Eugenius IV in S. Salvatore
in Lauro. Other sculptures assigned to Isaia are: the statuette of the
Madonna in the Pregnantinus chapel of the Grotte Vaticane, the St. Mark
in a niche in the Lateran, another St. Mark in the doorway of the church
of the same name, and the tombstone of Fra Angelico in the Minerva.
New Fragments of the Tomb of Paul II.- In Jb. Preuss. Kunsts.
XXVII, 1906, pp. 129-141, F. BURGER publishes a number of fragments

which he attributes to the tomb of Paul II. They consist of some pieces in
the left wall of the Cappella della Pieta in St. Peter's, and several figures of
angels and two pilaster faces with papal crests by Mino da Fiesole and Gio-
vanni Dalmata, which are preserved in the Grotte Vaticane. These frag-
ments suggest a new reconstruction, which adds a cornice to the tomb as it

appears in Ciacconio's print.

Antonio Carpenino.--The life of Antonio Carpenino, the Ligurian
painter of the first half of the fifteenth century, is reconstructed by U. MAZ-
ZINI in Rass. bibl. arte ital. 1907, pp. 1-9. A list of his works is given,
together with two documents regarding him from the archives of Genoa.
Two Wooden Statues.--In L'Arte, 1907, pp. 131-133, LISETTA CIAC-
cio points out the common authorship of two wooden statues, one representing a monastic saint, in the baptistery of the Collegiata in Empoli, the other
an angel (or Salome) carrying the head of St. John Baptist, in the baptistery
of Pistoia. The breadth of handling and nobility of the figures betokens

an artist of the first rank, but there is no clue to his identity. His style
indicates Florentine rather than Pisan or Sienese influence.
An Early Work of Leonardo. - In the Nation, May 16, 1907, W. RANKIN points out that in the Annunciation in the Uffizi, although the design
may be due to Verrocchio, to whom the picture is often ascribed, the landscape shows a beauty and power which suggest that the painting is an early
work of Leonardo da Vinci.

Pietro Summonte's Letter to Michiel. - The letter of Pietro Sum-
monte (1463-1526), the Neapolitan scholar, to Marcantonio Michiel of

Venice, a document important for the history of early painting in Naples,
is published in a critical edition with notes in Rep. f. K. 1907, pp. 143-168,
by C. voN FABRIczY.
A Miniature by Gentile Bellini. - The peculiar Turkish name " Ibn
Muezzin" on the miniature from Constantinople (A.J.A. X, p. 366) has
been explained by H. Brockhaus, who points out that Bellini is in Turkish
Ibn Bellin (son of Bellin). In Greek letters of the fifteenth century 7r and
v, and A and t, are easily confused; hence rEcAAtLv could be misread vetLtv,
and this mistake seems to have been made in translating into Turkish a
Greek inscription, lost in cutting down the picture for a Turkish owner.
(F. R. MARTIN, Burl. Mag. IX, 1906, p. 148.) In Jb. Preuss. Kunsts. XXVII,
pp. 302-306 (pl.), F. SARRE accepts this explanation, and suggests that the
blonde hair and facial type of the youth indicate that he was one of the pages
chosen for the Sultan from his Christian subjects.
Paintings by Antonello da Messina. - The Madonna Annunziata in
the Academy at Venice, though signed Antonellus Messanius, has been considered a copy of an original in Munich. In L'Arte, 1907, pp. 13-17, E.
BRUNELLI argues that the Venetian picture displays an archaic rigidity of
line unlike the Munich painting, and is probably a copy of an earlier work
of Antonello, which he finds in the Madonna of the Palermo Museum. The
Palermo painting is also published in Boll. Arte, 1907, ii, pp. 30-31 (pl.), by
A. SALINAS, who regards it as a contemporary replica of the Venetian picture, and suggests that the artist is Antonio de Saliba, who was from Messina. In Rass. d'Arte, 1907, pp. 75-76, E. MANCERI publishes a picture of
St. Zosimus in the cathedral of Syracuse, which he ascribes to Antonello.
Documents concerning Michelangelo. - In Rep. f. K. 1906, pp. 387424, 485-516, is published a collection of documents concerning Michelangelo
formed by E. STEINMANN and H. POGATSCHER. These include: (1) unedited documents, consisting of three memoranda of Michelangelo, two
letters of the artist's father to his sons Giovan Simone and Michelangelo,
data on the Sixtine and Pauline frescoes, two briefs of Paul III and Julius
III directed to Michelangelo, and documents concerning Michelangelo's

monument at Santa Croce in Florence; (2) poems and dedications to
Michelangelo; (3) correspondence between Michelangelo and Pietro
Aretino, and letters of the latter to Enea Vico and Allessandro Corvino
concerning the master's Last Judgment; (4) the Cavalieri documents.
A New Master.--PIETRO TOESCA in L'Arte, 1907, pp. 18-24, attacks
the attribution to Leonardo Scarletta of the Madonna, Saints and Angels
in the Pinacoteca Civica at Faenza. This is an early work of an unknown
artist steeped in Ferrarese traditions, who afterward painted the San
Bernardino and Donor in the same gallery and shows his fullest development in another Madonna, Saints and Angels in the collection of Mr.
Claude Phillips in London. This unknown artist may be called the Maes-
tro Emiliano.
Unpublished Documents of the Sixteenth Century. - In Ausonia, I,

1906, pp. 96-102, R. LANCIANI publishes new documents relating to artists
of the sixteenth century. The first shows that the mausoleum of Nicolas
IV in the choir of Santa Maria Maggiore was erected in 1576 by Cardinal
Peretti, later Sixtus V. The work was executed by Alessandro Ciuli of
Florence, while the statue of the deceased and two other figures were by
Leonardo Sormani da Savona. The second is the contract for the tomb of
Cardinal Gambara in S. Maria delle Grazie at Brescia. The third shows
Pirro Ligorio as a painter of grotesques in 1542 for the Archbishop of
Beneventum, Francesco della Rovere.
The History of the Villa Papa Giulio.-- P. GIORDANI contributes to

L'A rte, 1907, pp. 133-138, an account of the construction of the Villa Papa
Giulio from its designing by Vasari to the final entry in the expense account
of Julius III of payment for gilding to Giovanni Giacomo da Parma.
Notes on the Museo Civico of Verona.--In Madonna Verona, I,

1907, pp. 49-52 (pl.), A. VENTURI attributes to Bernardo Parenzano a
small painting in the Museo Civico of Verona representing the Conversion

of St. Paul, and remarkable for its endeavor to render the Oriental surroundings. He also argues that the terra-cotta reliefs in the Cappella
Pellegrini of S. Anastasia and fragments of an altar in the Museo Civico
indicate that Bode's " Maestro della Cappella Pellegrino " was probably a
Veronese.
Cecilia Brusasorci.--In Madonna Verona, I, 1907, pp. 26-31, LILIAN
PRIULI-BON collects some facts about Cecilia Brusasorci, daughter of
Domenico Riccio called Brusasorci, and sister of Felice Brusasorci. She

was born in 1549, and her will is dated in 1593. As a painter she was
praised for her portraits, but her works have not been identified with the
probable exception of seven female saints, forming the lower part of a
painting (No. 448) in the gallery at Verona.
FRANCE
The Miniaturists of Avignon.---In Gaz. B.-A. XXXVII, 1907, pp.
213-240, 289-305, L. H. LABANDE studies the miniatures of Avignon and

their painters. Few of the latter were natives of Avignon. The majority
were from the north of France, but some were from Italy and their influence is very apparent. Five periods are distinguished, beginning in the
thirteenth century with a very Byzantine Crucifixion in MS. 176 of the

Avignon Library, and continuing through the fifteenth century. The
Italian influence appears under John XXII, but the French school prevails
until toward the end of the fourteenth century, when Italian styles again
appear. After the departure of the popes French methods prevailed, but
the cosmopolitan character of Avignon prevented the development of a
distinct local school.
The Altar-piece from Boulbon. -In Mon. Piot, XIII, 1906, pp. 85-105
(pl.; 4 figs.), F. DE MI'LY discusses in detail the early French altar-piece
from Boulbon, now in the Louvre. He concludes that it was painted for
the church of St. Agricola at Avignon, and that a little stork (cicogne) is
the cipher of the artist. The -same bird appears in miniatures executed at
Avignon between 1447 and 1455 in a Book of Hours now at Aix by an
artist who signs himself T. Chugoinot. The Picard Chugoinot is in French
Cicoignot, and in old French cicoineau means petit cicogne. The miniaturist
therefore was probably the painter of the altar-piece.
Godefredus Batavus.- The miniatures of the Commentaires des Guerres
Galliques, having been ordered by Francis I, have been assigned, together

with some preliminary drawings, to the court painter Jean Clouet. This
attribution is vigorously contested by A. DE MPLY in Gaz. B.-A. XXXVII,
1907, pp. 403-417, who cites the signature of the miniatures, Godefroy, and
argues that there is no good reason to suppose that original designs by
Clouet were executed by Godefroy. Other signatures prove that Godefroy's
family name began with R and that he used at times a lizard as his symbol.
Portraits in the Bibliothbque Nationale.- In Le lluse'e, IV, 1907,
pp. 127-140 (3 pls.), J. GUIBERT notices the recent exhibition of portraits
in colored crayon belonging to the BibliothBque Nationale at Paris. The
collection began with the acquisition of the drawings and engravings of the
Abbe Marolles in 1667, was further increased by the Gagnieres collection
in 1715, and now numbers over 800. The drawings, frequently studies for
larger portraits, are the work of the Clouets, Corneille de Lyon, Durnonstier,
Le Mannier, and others.
The "Vierge aux Rochers." - In the "Vierge aux Rochers" in the
Louvre the angel points toward St. John Baptist, a gesture of special signifi-
cance for Florentines. It is probable that this picture was painted by Leonardo before leaving Florence, while the London copy, in which this gesture
of the angel is lacking, was executed at Milan with the assistance of Ambrogio
da Predis. (S. REINACH, C. R. A cad. Insc. 1907, pp. 16-17.)

The Marmion Family. -In R. Arch. IX, 1907, pp. 119-140, MAURICE
IHENAULT begins an account of the Marmion family (Jehan, Simon, Mille,
and Colinet). Jehan, first mentioned in 1426, at Amiens, painted decorations there until 1444, but in 1465 was living at Valenciennes, where he was
a person of some importance in 1473. He died certainly before 1489. His
children were Mille (not Wille or Guillaume), Simon, and a daughter.
Mille was a painter of some importance. In 1464 he executed paintings
for the city hall at Amiens, in 1466 he was settled at Tournai, where he was
in 1473, but in 1499 he lived at Abbeville. There is no record of his living
at Valenciennes. Simon was born, apparently at Amiens, about 1425, where
he painted for the city between 1449 and 1454. In 1458 he acquired property at Valenciennes, where he became an important and evidently wealthy
man. He already had two sons by a previous marriage. In 1464 or 1465

he married Jeanne de Quarouble. In 1468 he was made a member of the
guild of painters at Tournai. He died in 1489, at Valenciennes, leaving
a daughter Marie or Marion, who died before 1505. The property of

Simon Marmion passed, on the death of his widow, who had married
again, to the children of his sister, Michel, Jeanne, and Isabeau Clauwet.
No certainly identified work of Simon Marmion now exists, though several works are known, chiefly through the records of Amiens and
Valenciennes. The discussion (ibid. pp. 282-297; bibliography, pp. 297304) of the works attributed to Simon Marmion leads to the conclusion
that no work of this artist has been identified with certainty and that it is
not even certain that he was a great or original artist.
The "Man with the Wine-glass." - In Gaz. B.-A. XXXVII, 1907,
pp. 1-24, P. LEPRIEUR in a discussion of new pictures in the Louvre rejects
the attribution of the "Man with the Wine-glass" (A4.J.A. X, p. 371) to
Jean Fouquet, because the artist shows Flemish training rather than the
Italian leanings of Fouquet, uses broader brush work, and differs in detail
and arrangement. He makes no attempt to name the author, however,
calling him simply the "Maitre de 1456."
Attributions in the Museum of Dijon.--In Rass. d'Arte, 1906, pp.
186-189, G. FRIZZONI discusses two Italian pictures in the museum at

Dijon. A Portrait of a Woman, catalogued under the name of Hans Holbein the Younger, he ascribes to Lotto. A Resurrection is assigned to
Francesco Ubertini, called il Bacchiacca (1490-1557). It shows the influ-
ence of the painter's master, Perugino.
The Tournament at Sandricourt. - The "Pas des armes de Sandri-
court" was a celebrated tourney held in 1493 by Louis d'H donville, in

his chateau of Sandricourt, near Pointoise. Among the Louvre drawings
is a series of sixteenth-century sketches illustrating this tourney and signed
"Baullery." This name belongs to two artists, father and son, but it is
impossible to tell which was the author of the drawings, as the work of
both is practically unknown. (P. MARCEL and J. GUIFFREY, Gaz. B.-A.
XXXVII, 1907, pp. 277-288).
A Portrait by Brescianino. - The attractive Portrait of a Young Man
in the Montpellier Museum, once attributed to Raphael, is now given to
Brescianino on internal evidence by BERNHARD BERENSON. He compares
its details with those of the Madonna with St. Dominic and Angels in the
Uffizi, and the Madonna with St. John Baptist and St. Jerome in the church
of San Lorenzo at Babbiano. (Gaz. B.-A. XXXVII, 1907, pp. 208-212.)

The Aynard Relief again. - The discussion of the authenticity of the
Betrothal of St. Catherine in the Aynard collection, opened in L'Arte by
E. BERTAUX and E. BRUNELLI (A.J.A. XI, p. 246), is continued by the
same writers, ibid. 1907, pp. 144-148.
The Gobelin Pactory. - A sketch of the famous Gobelin factory by

Lady ST. JOHN appears in Burl. Mag. X, 1907, pp. 279-289. The family
was founded by Jehan Gobelin, the discoverer of a fine crimson dye, who
lived in Paris in 1450. The tapestry works were established under the
patronage of Henry IV in 1603, and made a royal manufactory by Louis XIV
in 1662. The history of the Gobelin tapestries falls into four periods:
(1) prior to 1662, when the cartoons were often designed by Rubens and
other great artists; (2) the reign of Louis XIV; (3) the eighteenth

century, in general a time of brilliant achievement; (4) the period of
decadence which followed the Revolution.
The Fountain of St. Jean du Doigt. -In Le Mu.e'e, IV, 1907, p. 118
(pl.), O. THEATES describes the fountain of St. Jean du Doigt, near Morlaix, which is probably by an Italian artist of the early sixteenth century.
It consists of three superposed basins, each surrounded by cherubs' heads;
above is a half-length figure of God the Father, and a little below, a group
representing the Baptism.
The Bronze Copy of the Borghese Dancers. - In Mon. Piot, XIII,
1906, pp. 107-116 (2 figs.), f. MICHON states that in the former house of
GouthiBre in Paris there is a cast of the Borghese Dancers in the Louvre.
Probably the bronze reliefs in London and the Louvre (A.J.A. X, p. 216)
were made, as Bode has suggested, by Gouthiire at the end of the eighteenth century. The writer corrects errors in Visconti's account of the
Borghese collection, and points out that a lost relief, formerly in the Villa
Negroni, was a companion to the maidens decking a candelabrum in the
Louvre.
BELGIUM
Attributions in the Gallery at Brussels.--ln Gaz. B.-A. XXXVI,
1906, pp. 281-300, and XXXVII, 1907, pp. 54-68, 418-435, E. JACOBSEN
discusses the attributions of German and Flemish pictures in the Brussels
Gallery. He first takes up Barend van Orley, reviews the painter's characteristics, and points out that his earlier art shows the influence of Giulio
Romano's frescoes ai Mantua, which the northern painter must have visited
before 1521, in view of the use he makes of Mantegna's Triumph of Caesar. A Pieth (No. 559) is selected as typical of his middle period, although
it has been refused to Van Orley by other writers. The Holy Family (No.
338), which shows Raphael's influence, and three portraits represent the last
period of the artist's activity. A number of other pictures are also assigned
to Van Orley or his school. The chief attributions to Jan van Coninxlo
are two triptych wings with scenes from the life of St. Benedict, which
Jacobsen regards as a youthful work of the master. To Cornelis van
Coninxlo he gives a Madonna and Holy Women. Several new attributions

are made in the case of Herri Met de Bles and the " Maitre de Fle'malle,"
while the well-known Sforza triptych is described as a product of the
atelier of Rogier van der Weyden, very probably executed in conjunction
with his pupil Memling. The discussion of the Oultremont altar-piece is
prefaced by a valuable list of thirty-five recent attributions to Jan Mostaert
(or to the "Maitre d'Oultremont"). Gliick's attribution of the Oultre-
mont picture to Mostaert is rejected by Jacobsen, who identifies the Descent
from the Cross on the central panel with the painting mentioned by Van
Mander in his life of Jacob Cornelisz. Admitting, however, the possibility
of a mistake by Van Mander, Jacobsen merely reviews the evidence for and
against assigning the triptych to Cornelisz. The third article contains a
number of attributions in the Cologne School and a discussion of other
remarkable pictures in the collection.
GERMANY
Botticelli's St. Sebastian at Berlin. - The painting of St. Sebastian,
considered a youthful work of Botticelli, and now in the Kaiser Friedrich

Museum in Berlin, was originally designed for a pilaster of S. Maria
Maggiore in Florence. (DETLEV FREIH. VON HADELN, Jb. Preuss. Kunsts
XXVII, 1906, pp. 282-284.)
The Altar-piece in St. John's, Nuremberg. - In Burl. Mag. X, 1907,
pp. 257-258, S. MONTAGU PEARTREE reproduces two panels of Lucas Moser's
altar-piece in Tiefenbronn in Baden and the Crucifixion previously discussed by him (ibid. p. 111), in the Church of St. John in Nuremnburg. A
comparison of the two leads to the conclusion that the Crucifixion is also by
Moser. The power of realization shown by the artist, remarkable in so
early a work (dated 1431), is due to Italian influence, which appears particularly in the architecture and in the group of the Virgin and her attendants
at the foot of the Cross.
The Master N. H. - The initials N. II. appear on a German wood-cut

published by CAMPBELL DODGSON in Burl. Mag. X, 1908, pp. 309-322. The
scene is a "Battle of Naked Men and Peasants, in Utopia," as we learn
from the verses which accompany one of the copies. The engraver signs
himself Hanns. Leuczellburger. Furmschnider 1522, and is the same craftsman who made the blocks for Holbein's Dance of Death. The designer
" N. H." is certainly the author of the first thirty-seven woodcuts in Weissen-
horn's edition of Apuleius of 1538. His drawings were made earlier, however, at a date nearer his other works, Maximilianus Transilvanus' Legatio
ad sacratissimum Caesaremn Carolum (1519-1520), a signed set of thirtyseven woodcuts in a book on the Passion with verses by Chelidonius (Cologne,
1526), and others. The verses accompanying the "Battle of Naked Men,"
make it plain that the artist and Liitzelburger are represented in the two
non-combatants to the left.
Veronese Paintings in Stuttgart. --In Madonna Verona, I, 1907, pp.
7-10 (pl.), C. voN FABRICZY describes briefly twenty-three paintings of the

Veronese school in the gallery at Stuttgart. The list includes four paintings
by Bonifacio de' Pitati, one each by Torbido, Paolo Veronese, and Zelotti, and
three by Alessandro Turchi.
Augustus and the Sibyl.- In the Museum at Stuttgart is a painting,
probably by Paolo Veneziano, representing Augustus and the sibyl of Tibur,
with the Madonna and Child above. In the lower right-hand corner are
represented the falling idols in the temple of Peace. Scrolls bear inscriptions abridged from the Golden Legend of Jacopo da Voragine. (L. VENTURI, Ausonia, I, 1906, pp. 93-95; pl.)
ENGLAND
The Italian Drawings at Oxford.--In L'Arte, 1907, pp. 81-95, G.
FRIZZoNI comments on the drawings by Italian masters in the fifth portfolio of the Oxford Collection. The first drawing, a female profile by
Pisanello, is a study for the princess in Pisanello's St. George in Sant' Anastasia at Verona. Colvin's discovery of a study by Leonardo for the angel's
sleeve in the Uffizi Annunciation is not conclusive as to the authorship of that
picture, which is probably the product of collaboration in the studio of Ver-
rocchio. Colvin's doubts regarding the authenticity of a sketch of two

figures supposed to be studies for Raphael's School of Athens, are scouted
by Frizzoni, who also differs from Colvin in assigning a drawing of two

figures, to Sebastiano del Piombo, rather than to Giorgione's school, pointing out that reminiscences of Giorgione appear in some of Sebastiailo's
work.
A Forgery Proved. - The " Enthronement of Thomas h Becket," lent

by the Duke of Devonshire to the Guildhall exhibition of 1906, bears the
inscription Johes de Eyck fecit--aio . MCCCC Z 1.30. Octobris. The
date 1421 is remarkably early for a work by Jan Van Eyck, and the picture
shows nothing of his hand. ALFRED MARKS, Burl. 1Mag. X, 1907, pp. 383384, proves that the signature is a forgery, being copied, with modifications,
from the signature on the Portrait of a Man, No. 222, in the National Gal-
lery, dated 1433, 21 Octobris. W. H. J. WEALE, ibid. XI, 1907, p. 45, suggests that the painter of the disputed picture may have been Dirk Barentz
(Theodore Bernardi) of Amsterdam, who came to England in 1519 and
worked for churches in Sussex and Hampshire.
Paintingcalls
by Jan
Van Eyck.
-In Burl.in_Mag.
X, 1907,by
p. Haecht
325,
A. A
G.Lost
B. RUSSELL
attention
to a picture
the painting
(1628) representing a picture gallery. It represents a young woman assisted
at her bath by an attendant dressed in red. In the window hangs a mirror
in which both are reflected. From a close resemblance in the figures and
details with Jan Van Eyck's other works the author concludes this a copy
of a lost painting by that artist. In Chron. Arts, 1907, pp. 99-100,
H. HYMANS analyzes Haecht's painting, which represents a visit of the
Archduke Albert and the Archduchess Isabelle to the gallery of Cornille van
der Geest in 1615. He identifies many of the pictures represented in the
gallery, and suggests that the "Woman Bathing," may be a copy of the
painting by Van Eyck which once belonged to Cardinal Ottaviani. See
also Athen. January 26, and February 9, 1907.
The Baptism of Christ, in the National Gallery.- In 1894 the National
Gallery acquired a small picture representing the Baptism of Christ ascribed
in the last catalogue to the school of Perugino. The genuineness of this
painting was attacked by R. C. FISHER and M. W. BROCKWELL and defended
by SIR E. J. POYNTER in a series of letters in A then. January 26, February 29,
and 16, and the London Times, March 30, April 1, 4, and 8. In Chron. Arts,
1907, pp. 167-168, 177, and London Times, April 13, E. DURAND-GRE1VILLE
argues that the picture is a copy by Raphael of Perugino's picture in Rouen.
In the three little compositions in Rouen from the predella of Perugino's

Ascension, the figures indicate the collaboration of Raphael.
A Crucifixion by Konrad Witz of Basel.- A Crucifixion, belonging
to the Rev. Lewis Gilbertson, is reproduced by CLAUDE PHILLIPS in Burl.
Mag. XI, 1907, pp. 103-109, and assigned to Konrad Witz on internal evidence. The painter of this work was influenced by contemporary Flemings,
and yet in the group of holy women shows the Italo-French modes as practised by Netherlanders in France. The lake in the background resembles
so strongly a study of an inlet on the Lake of Geneva that the picture probably dates from 1444, the year of Witz's residence in Geneva.
Correction of a Date. - The Crucifixion by Marco Palmezzano, now in
the collection of Canon Raymond Pelly, when shown at the Exposition of
Ancient Masters at Burlington House bore the restored date MCCCCLXXX.
C. JOCELYN FOULKES in Rass. bibl. arte ital. 1907, pp. 16-19, states after
examination that it should have been MCCCCCXXXI. This date agrees

better with the developed style of the picture than 1480, which would have
made it the earliest known work of the artist.
Early Works of Velasquez in England. - Burl. Mag. X, 1906, pp.

172-183, contains an appreciation and critique by SIR J. C. ROBINSON of
four early works of Velasquez in English Collections: the " Beggar with the
Wine-bottle" and the "Omelette Woman" in Sir Frederick Cook's collec-
tion, the " Mary and Martha " in the National Gallery and the " Steward" in
his own collection. These are all of the bodegon class, a species of genre
painting of which Velasquez is the first great exponent. The "Mary and
Martha" is probably the earliest Velasquez now known. Ibid. XI, 1907,
pp. 39-44, the same writer discusses two other pieces of the same class, the
"Kitchen " in the collection of Sir Frederick Cook, and the "Fight at the
Fair" in his own gallery, both of which he ascribes to the culmination of
Velasquez's bodegon period. The latter shows the collaboration of an inferior
hand, perhaps that of Pacheco.
UNITED STATES
Cassone Panels in American Collections.- The publication of the

Cassone panels in American collections (A.J.A. X, p. 133) is continued in
Burl. Mag. X, 1906, pp. 205-206, where F. J. MATHER describes three panels
by Jacopo del Sellaio; the " Actaeon " in the Jarves Collection in New Haven,
and "Nostagio's Feast" and the "Battle of Romans and Sabines" in the
Johnson Collection of Philadelphia. The "Actaeon" shows many reminiscences of Uccello, but the landscape is strikingly suggestive of Alessio
Baldovinetti, the whole composition dating about 1475, when Jacopo had
passed out of Fra Filippo's influence and was not yet the follower of Botticelli and Filippino. " Nostagio's Feast " is a characteristic copy of the panel
in the Spiridon Collection, attributed by Berenson to Bartolommeo di Giovanni or Alunno di Domenico. The " Battle of Romans and Sabines " is
very Filippinesque and might date anywhere between 1484 and 1493. Ibid.
pp. 332-335, W. RANKIN describes two panels by Piero di Cosimo, represent-
ing a Hunt and Return from the Hunt, now in the Metropolitan
Museum. He classes them among Piero's earlier works and finds the influence of Filippino in the landscape. A note by F. J. MATHER calls attention
to an intentional striving after bizarre effect, which contains in it the seeds
of decadence. Ibid. XI, 1907, pp. 131-132 (2 pls.), W. RANKIN publishes two
panels with scenes from the Aeneid and the Visit of the Queen of Sheba to
Solomon, in the Jarves Collection at New Haven. They are ascribed to
Uccello, but the writer hesitates to assign a name to the painter, stating only
that the same artist made the panels lent by the Earl of Crawford to the
Exhibition of Early Italian Art, held at London in the winter of 1893-1894.
The St. Francis in the Johnson Collection. - In Burl. Alag. XI, 1907,
pp. 46-48, A. F. JACCACCI defends the authenticity of Hubert Van Eyck's
painting of St. Francis receiving the Stigmata in the Johnson Collection in
Philadelphia (cf. A.J.A. XI, pp. 136-137), holding that the Turin picture
bears all the marks of a copy. As between the brothers Van Eyck, he prefers Hubert, on account of the depth of feeling displayed. If this attribution is correct, the view of Assisi and the Alps would indicate that Hubert
also had travelled beyond the Low Countries.

AMERICAN ARCHAEOLOGY
Prehistoric Man in America.--The discovery of human remains in
undisturbed loess in Nebraska (A.J.A. XI, p. 138) is further reported in

Rec. Past, VI, 1907, pp. 35-39 (5 figs.), by R. F. GILDER, who describes his
first excavations at Long's hill, and pp. 40-46 (5 figs.), by E. H. BARBOUR,
who gives the results of his examination of Mr. Gilder's work and discusses
the geological stratification. Ibid. pp. 76-78, E. E. BLACKMAN calls attention to certain earlier discoveries which point to the presence of man in the
West in glacial or possibly pre-glacial times. Ibid. pp. 145-157, 163-181
(17 figs.), N. H. WINCHELL examines briefly all the scattered evidence for
the presence of early man in America, and concludes that man existed in
the Pleistocene period, and that the recurring periods of glacial action caused
extensive migiations. As the close of the Wisconsin ice-epoch occurred

about 7000 to 8000 years ago, the last movement northward may be comparatively recent.
Mound Builders of the Mississippi Valley. - In Rec. Past, VI, 1907,
pp. 79-82 (4 figs.), R. HERRMANN continues his discussion of the Mound
Builders of the Mississippi Valley (A.J.A. XI, p. 249). He considers battle
mounds, Indian cremation, and tribal or national mounds, arguing that
the effigy mounds were erected by tribes, whose names they represent, as
memorials of some great event.
The Antiquities of the Jemez Plateau, New Mexico. - The Bureau
of American Ethnology has begun the publication of a series of bulletins
describing briefly the antiquities on the public domain of the United States.
The first bulletin contains an account by E. L. HEWETT of the antiquities of
the Jemez Plateau in New Mexico. The region was inhabited in prehistoric
times by an agricultural people, who lived in excavated cliff-dwellings or in
pueblos. Rock pictures are common in this region. The early inhabitants
seem to have gradually abandoned the region about six or eight hundred
years ago in consequence of climatic changes, though some of their descendants are doubtless living among the Pueblo Indians, who are partly of
another race. The report describes in detail the ruins in three groups:
those of the Pajarito plateau, of the Chama drainage, and of the Jernez
valley. In all forty-nine sites are noted. (Smithsonian Institution, Bureau
of American Ethnology, Bulletin 32. Antiquities of the Jemez Plateau, New
Mexico, by EDGAR L. HEWETT. Washington, 1906, Government Printing
Office. 55 pp.; 16 pls.; map. 8vo.)
Mexican Myths. - In Z. Ethn. XXXIX, 1907, pp. 1-41 (15 figs.),
E. SELER examines the basis in natural phenomena of various Mexican
myths. He argues that many of the divinities of the earth and harvest are
really lunar, such as the pulque gods, Tlaqolteotl, the old goddess, Xipe
Totec, the god of spring, and the goddess of love, Xochiguetzal. The ballground, which appears in connection with these gods, is a symbolical representation of the conflict between sun and moon, or between light and darkness. The lunar nature of Tezcatlipoca and Quetzalcouatl is discussed in
connection with the legend of the early wanderings of the Aztecs, and the
importance of the moon in early religions is emphasized.

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Archaeological Discussions

Author(s): James M. Paton

JAMES M. PATON, Editor

GENERAL AND MISCELLANEOUS

The Decoration of Neolithic Pottery.- In Z. Ethn. XXXIX, 1907,

The Earliest Ships. - In Z. Ethn. XXXIX, 1907, pp. 42-56, E. HAHN

Painting of the Body and Tattooing.-- In R. Arch. IX, 1907,

No attempt is made to include in this number of the JOURNAL material published

For an explanation of the abbreviations, see pp. 140, 141.

448 AMERICAN JOURNAL OF ARCHAEOLOGY [VoL. XI, 1907

Pictorial Art and Oriental Research. --In Memnon, I, 1907, pp. 9-

18, J. STRZYGOWSKI pleads for the emancipation of the history of Oriental

tion of material, technique, object, figure, form, and content. Scarcely a

The Origin of the Himyaritic Script. - In S. Bibl. Arch. XXIX, 1907,

The New Testament in the Light of Recent Archaeology. - In

GEN. AND MIsc.] ARCHAEOLOGICAL DISCUSSIONS, 1907 449

message of Christianity on this subject. The inscriptions also throw light

The Roll in Ancient Art. - The representations of the papyrus roll in

development of the Roman system of fortifications along the boundaries of

The Date of the Ruins in Rhodesia.- In his report of a journey in

(3 pls.; 12 figs.), H. SCHiFER gives at length the grounds for declaring

450 AMERICAN JOURNAL OF ARCHAEOLOGY [VoL. XI, 1907

Far East has been studied by GENERAL L. DE BEYLI1. He reviews briefly

tecture Hindoue en Extreme-Orient. Paris, 1907, E. Leroux. 416 pp.;

366 figs. large 8vo.)

The Monuments of Cambodia.- The second volume of the Inventaire

Descriptif des Monuments du Cambodge, by E. LUNET DE LAJONQUIEiRE

described in detail according to their geographical distribution in provinces

recently added to Cambodia, French Laos, eastern Siamese Laos, western

Egyptian and Assyrian Standards. - In Klio, VI, 1906, pp. 393-399

(4 figs.), H. SCIIFER points out that Egyptian and Assyrian standards,

The Writing and Language of the Egyptians. - In A lt. Or. VIII,

The Tablets of Negadah and Abydos. - The excavations at Negadah

and Abydos have disclosed a number of small inscribed pieces of wood or

BABYLONIA, ETC.] ARCHAEOLOGICAL DISCZUSSIONS, 1907 451

names King Zer.

to distinguish the stereotyped hieratic style, common in temples and tombs,

gods or the dead. A fine limestone bust of Amenophis IV in the Louvre

An Egyptian Head in Brussels. - In M[on. Piot, XIII, 1906, pp. 29-34

A Pendant on Statues of Usertesen III. - In S. Bibl. A rch. XXVIII,

Ptolemaic Metrology. - In R. Et. Gr. XIX, 1906, pp. 389-393, T. R.

The First Babylonian Dynasty.- In S. Bibl. Arch. XXIX, 1907,

period of the first dynasty of Babylon. The Babylonian custom was to

452 AMERICAN JOURNAL OF ARCHAEOLOGY [VoL. XI, 1907

in a fragmentary condition. The author seeks from a study of contract

Old Babylonian Chronology. - In Or. Lit. X, 1907, cols. 169-181,

the first dynasty preserved in. the museum at Constantinople.

12,960,000 is taken as the basis of the calculations. The multiplication

seventeenth year of Sin-muballit. This view is supported by a tablet which

The Chronology of Ashurbanipal's Reign.--In S. Bibl. Arc1h. XXIX,

BABYLONIA, ETC.] ARCHAEOLOGICAL DISCUSSIONS, 1907 453

The Alabaster Relief of King Ashur-nasirpal II. - In Or. Lit. X, 1907,

Lectures for 1906 Professor A. H. SAYCE discussed the archaeology of

accuracy to make possible a classification of the pottery and other objects.

Signs for the Liver in Babylonian Inscriptions.--In Z. Assyr. XX,

Babylonian tablets. The ideogram commonly read HA R, which is known

all liver omens.

454 AMERICAN JOURNAL OF ARCHAEOLOGY [VOL. XI, 1907

Dilmun. - In Exp. Times, XVIII, 1907, p. 234, A. H. SAYCE claims that