Page:History of Art in Phœnicia and Its Dependencies Vol 2.djvu/266

 242 HISTORY OF ART IN PHOENICIA AND ITS DEPENDENCIES. carefully,, engraved in the lower part of the field. The figure of the prince himself is dressed in the Pharaonic costume. He raises his right hand, the palm turned outwards ; in his left he holds a sceptre crowned by the disk and crescent ornament. Behind him appears a standard with the same emblem, and, above it, a hawk with its head turned over its shoulder. In front of the king's forehead there is a four-pointed star. FIG. 165. Seal of Abibal. FIG. 166. Ring with stone. Florence Museum. From A. di Cesnola. ' In a gold ring from Cyprus we see the stone, a carnelion, still in place (Fig. 166). The image on this intaglio is of peculiar interest. It represents that facade of the Paphian temple which we have already encountered upon coins (Vol. I. Figs. 199 and 202) ; the central pylon, the wings, and the paved courtyard in front may be easily distinguished, FIG. 167. Stone of above ring. FIG. 168. Ring found in Sardinia. 3 Intaglios in metal, like those so frequently met with in Egypt, 3 were also turned out by the glyptic artists of Phoenicia. A silver ring found in a Sardinian grave is engraved with a palmette on a disk of gold (Fig. 168), and a bracelet from the same place is ornamented in similar fashion (Fig. 169). are many gaps in this list as it has come down to us ; that is true enough, but, on the other hand, the appearance of the intaglio agrees well with the date of Abibal. 1 Salaminia, p. 40. 2 Bullettino Sardo, 1858, p. 74. 8 Art in Ancient Egypt, Vol. I. Fig. 500.