Page:History of Art in Phœnicia and Its Dependencies Vol 2.djvu/340

 312 HISTORY OF ART IN PHCENICIA AND ITS DEPENDENCIES. image stands out in bistre upon a dead yellow surface ; its colour has no charm, but the design is comparatively good, and some of the details deserve attention. The vase in question has never yet been published, so we Reproduce it here, both as a whole (Fig. 251), and in the detail to which it owes most of its value (Fig. 252). The picture represents a war or hunting chariot in full course, on a plain suggested by a single tree. The wheels have spokes. Judging from the two sets of reins there are two horses, but the painter has been content to figure one, the other being supposed to be behind his body. Behind the driver a second figure faces to the rear, and shoots an arrow, either at some wild beast or pursuing enemy. His quiver hangs behind his right shoulder, FIG. 250. Chariot figured on a cup. From the Barre collection. while two more, each full of arrows, are fixed to the front and rear of the chariot. The sides of the latter are protected by bronze plates, affixed scalewise. Although the proportions are too slender, and other faults of drawing might be pointed out, the design as a whole is not without vigour. The horse's neck is too heavy and his legs are too thin, but his movement is fairly satisfactory. But what does the label on his flank mean ? It is a survival from those primitive times when the great thing sought for was variety of motive. At first sight this picture reminds us strongly of the Assyrian bas- reliefs. In those the royal chariot is often provided with quivers in the same way ; it carries two people, the driver and his master ;