The Greatest Empires & Civilizations of the Ancient East: Egypt, Babylon, The Kings of Israel and Judah, Assyria, Media, Chaldea, Persia, Parthia & Sasanian Empire. George Rawlinson

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СКАЧАТЬ are spread refreshments, while at the extreme left is a large bowl or amphora, from which the wine-cups may be replenished. This is placed under the shade of a tree, which tells us that the festivity takes place in a garden.729

No one can fail to see, in this entire series of sculptures, the dominant influence of Greece. While the form of the tomb, and the lions that ornament the covering, are unmistakably Cyprio-Phoenician, the reliefs contain scarcely a feature which is even Oriental; all has markedly the colouring and the physiognomy of Hellenism. Yet Cyprian artists probably executed the work. There are little departures from Greek models, which indicate the “barbarian” workman, as the introduction of trees in the backgrounds, the shape of the furniture, the recurved wings of the Gorgon, and the idea of hunting the wild bull. But the figures, the proportions, the draperies, the attitudes, the chariot, the horse, are almost pure Greek. There is a grace and ease in the modelling, an elegance, a variety, to which Asiatic art, left to itself, never attained. The style, however, is not that of Greece at its best, but of archaic Greece. There is something too much of exact symmetry, both in the disposition of the groups and in the arrangement of the accessories; nay, even the very folds of the garments are over-stiff and regular. All is drawn in exact profile; and in the composition there is too much of balance and correspondence. Still, a new life shows itself through the scenes. There is variety in the movements; there is grace and suppleness in the forms; there is lightness in the outline, vigour in the attitudes, and beauty spread over the whole work. It cannot be assigned an earlier date than the fifth century B.C., and is most probably later,730 since it took time for improved style to travel from the head-centres of Greek art to the remoter provinces, and still more time for it to percolate through the different layers of Greek society until it reached the stratum of native Cyprian artistic culture.

We may contrast with the refined work of the Athiénau sarcophagus the far ruder, but more genuinely native, designs of a tomb of the same kind found on the site of Amathus.731 On this sarcophagus, the edges of which are most richly adorned with patterning, there are, as upon the other, four reliefs, two of them occupying the sides and two the ends. Those at the ends are curious, but have little artistic merit. They consist, in each case, of a caryatid figure four times repeated, representations, respectively, of Astarté and of a pygmy god, who, according to some, is Bes, and, according to others, Melkarth or Esmun.732 The figures of Astarté are rude, as are generally her statues.733 They have the hair arranged in three rows of crisp curls, the arms bent, and the hands supporting the breasts. The only ornament worn by them is a double necklace of pearls or round beads. The representations of the pygmy god have more interest. They remind us of what Herodotus affirms concerning the Phoenician pataikoi, which were used for the figure-heads of ships,734 and which he compares to the Egyptian images of Phthah, or Ptah, the god of creation. They are ugly dwarf figures, with a large misshapen head, a bushy beard, short arms, fat bodies, a short striped tunic, and thick clumsy legs. Only one of the four figures is at present complete, the sarcophagus having been entered by breaking a hole into it at this end.

The work at the sides is much superior to that at the ends. The two panels represent, apparently, a single scene. The scene is a procession, but whether funeral or military it is hard to decide.735 First come two riders on horseback, wearing conical caps and close-fitting jerkins; they are seated on a species of saddle, which is kept in place by a board girth passing round the horse’s belly, and by straps attached in front. The two cavaliers are followed by four bigæ. The first contains the principal personages of the composition, who sits back in his car, and shades himself with a parasol, the mark of high rank in the East, while his charioteer sits in front of him and holds the reins. The second car has three occupants; the third two; and the fourth also two, one of whom leans back and converses with the footmen, who close the procession. These form a group of three, and seem to be soldiers, since they bear shield and spear; but their costume, a loose robe wrapped round the form, is rather that of civilians. The horses are lightly caparisoned, with little more than a head-stall and a collar; but they carry on their heads a conspicuous fan-like crest.736 MM. Perrot and Chipiez thus sum up their description of this monument:—“Both in the ornamentation and in the sculpture properly so-called there is a mixture of two traditions and two inspirations, diverse one from the other. The persons who chiselled the figures in the procession which fills the two principal sides of the sarcophagus were the pupils of Grecian statuaries; they understood how to introduce variety into the attitudes of those whom they represented, and even into the movements of the horses. Note, in this connection, the steeds of the two cavaliers in front; one of them holds up his head, the other bends it towards the ground. The draperies are also cleverly treated, especially those of the foot soldiers who bring up the rear, and resemble in many respects the costume of the Greeks. On the other hand, the types of divinity, repeated four times at the two ends of the monument, have nothing that is Hellenic about them, but are borrowed from the Pantheon of Phoenicia. Even in the procession itself—the train of horsemen, footmen, and chariots, which is certainly the sculptor’s true subject—there are features which recall the local customs and usages of the East. The conical caps of the two cavaliers closely resemble those which we see on the heads of many of the Cyprian statues; the parasol which shades the head of the great person in the first biga is the symbol of Asiatic royalty; lastly, the fan-shaped plume which rises above the heads of all the chariot horses is an ornament that one sees in the same position in Assyria and in Lycia, whensoever the sculptor desires to represent horses magnificently caparisoned."737

Sarcophagi recently exhumed in the vicinity of Sidon are said to be adorned with reliefs superior to any previously known specimens of Phoenician art. As, however, no drawings or photographs of these sculptures have as yet reached Western Europe, it will perhaps be sufficient in this place to direct attention to the descriptions of them which an eye-witness has published in the “Journal de Beyrout."738 No trustworthy critical estimate can be formed from mere descriptions, and it will therefore be necessary to reserve our judgment until the sculptures themselves, or correct representations of them, are accessible.

The metal castings of the Phoenicians, according to the accounts which historians give of them, were of a very magnificent and extraordinary character. The Hiram employed by Solomon in the ornamentation of the Temple at Jerusalem, who was a native of Tyre,739 designed and executed by his master’s orders a number of works in metal, which seem to have been veritable masterpieces. The strangest of all were the two pillars of bronze, which bore the names of “Jachin” and “Boaz,"740 and stood in front of the Temple porch, or possibly under it.741 These pillars, with their capitals, were between thirty-four and thirty-five feet high, and had a diameter of six feet.742 They were cast hollow, the bronze whereof they were composed having a uniform thickness of three inches,743 or thereabouts. Their ornamentation was elaborate. A sort of chain-work covered the “belly” or lower part of the capitals,744 while above and below were representations of pomegranates in two rows, probably at the top and bottom of the “belly,” the number of the pomegranates upon each pillar being two hundred.745 At the summit of the whole was a sort of “lily-work"СКАЧАТЬ