Page:History of Art in Phœnicia and Its Dependencies Vol 2.djvu/386

 348 HISTORY OF ART IN PHOENICIA AND ITS DEPENDENCIES. the same thing occurs in those parts of Algeria from which the great carnivora have not yet disappeared. Upon other examples we find scenes from real life mixed up with fantastic compositions. On a cup from Dali, now in the Louvre (Fig. 270), there is a lion hunt, but on the same zone the griffin also appears. The incidents on this bowl have no sequence ; there are two actors, each six times repeated ; the one short, bearded, and robed in the lion's skin ; the other taller, long- haired, and with no garments but the schenti and a double necklace, like a Theban king. There is plenty of variety, no group is twice repeated, and in one we find a motive of which we can point to no example elsewhere, the shorter hero, who supports FIG. 269. Detail of Egyptian furniture. From Prisse d' A venues. a dead lioness across his shoulders with his right hand, holds a bird, apparently a crane, by the neck with his left. The inner frieze is composed in the same spirit, while the central medallion contains the oft-encountered group of a Pharaoh with his mace and bow ; here he stands upon the winged globe and raises his mace over kneeling enemies, whom he holds by the hair. The cup of Amathus (Fig. 271) was discovered in the necropolis of that city by General di Cesnola * It is a hemi- spherical plate of silver, five millimetres thick, with a strengthen- 1 See CECCALDI (Monuments antiques de Cyfre, chap, iv.) for a complete list ot" objects found in this tomb.