Page:History of Art in Phœnicia and Its Dependencies Vol 2.djvu/279

 GEMS. eagle, an oval, and the head of an axe (Fig. 192). Finally, as a last example of these types taken from Egypt, we may point to a seal bearing the group with which the artists of the Nile valley flattered the vanity of their princes from the days of the ancient empire to those of the Ptolemies, namely, the king brandishing FIG. 190. Sardinian scarab. 1 FIG. 191. Sardinian scarab. 1 his sword, his axe, or his mace, over the head of a crouching enemy (Fig. igs). 3 As in the gems from the east, the image is sometimes a combin- ation of Egyptian and Assyrian models. If there be one theme FIG. 192. Sardinian scarab. 4 FIG. 193. Sardinian scarab. dearer than another to the Asiatic artist it is the fight between a king and a lion. Such a combat is often figured on the Sardinian 1 Carnelion. From CRESPI (Catalogo, plate A). 2 Jasper. From CRESPI (Ibid.). 3 The bans, which we found upon stones of Syrian origin, is often encountered upon the Sardinian scarabs (Bullettino, vol. ii. p. 122). Upon one we find it carried upon a crocodile (ibid. p. 123). With some variations in detail most of the Egyptian and Asiatic motives of the Sardinian seals are to be found on the scarabs of stone and glazed faience forming part of the treasure of Curium (CESNOLA, Cyprus, plates xxxv.-xxxvii.). The upper part of the field is commonly filled by the winged globe, while the griffin, the fan's, the hawk-headed deity in various attitudes, winged genii or priests in adoration before the sacred tree, &c., are also met with. The fight between a king and a lion also occurs (ibid, plate xxxvi. fig- 3). We have preferred to seek our examples among the Sardinian scarabs because they have so far only been published in books difficult of access, while the work of General di Cesnola is in the bookcase of every archaeologist. 4 Glazed faience. From CRESPI (Ibid.). 6 Bullettino, &*c., vol. iv. plate ii.