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A Mykeislean Treasure from ^Egina. 195 a Myken^Ean

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A Mykeislean Treasure from ^Egina. 195 a Myken^Ean A MYKEISLEAN TREASURE FROM ^EGINA. 195 A MYKEN^EAN TREASURE FROM ^EGINA. A REMARKABLE Myke"naean gold-find brought to light some years since in the island of vEgina after finding its way into the London market has secured a permanent resting-place in the British Museum. In the interests of archaeological science it must be a matter for rejoicing that our national collection should have received so important an accession in a department of ancient metal-work hitherto almost wholly unrepresented in any museum outside Athens. Opinions may well differ as to the propriety of removing from the soil on which they are found and to which they naturally belong the greater mouuments of Classical Antiquity. But in the case of small objects, made themselves for commerce, and free from the same local ties, the con- siderations, which weigh under other circumstances, lose their validity, while on the other hand the benefits to be derived by students from their partial dispersion are not to be gainsaid. This, it is true, is not the standpoint of the Greek, or, for that matter, of the Turkish Government. But the theory that the present occupants of Greece or the Ottoman possessors of the Eastern Empire are the sole legitimate heirs even of such minor monuments of ancient culture is not likely to commend itself to the outside world. 'Twere hard indeed that not so much as a plaything should come down to us from the cradle of our civilization! The laws by which not even a coin, or a jewel or a vase is allowed to find its way beyond a certain privileged zone, while frivolous in them- selves and powerless to secure the object that they have in view, inflict a permanent injury on science. The present is a case in point. Certain gold objects, brought into the London market by the ordinary course of trade and that magnetic attraction which brings antiquities to our shores from all parts of the world, are acquired by the British Museum. But the vendor is unable to afford any information as to their provenience, the Museum authorities are naturally no wiser, and though my own investigations point to the fact that the relics in question were found in Mgina, the exact circumstances of the find are at present undiscoverable. It is moreover impossible to say whether other objects of less intrinsic value, such as clay vases, were found with the gold cup and jewellery. It will be convenient, before calling attention to the exceptional character of the present find amongst Myklnsean deposits, to give a brief description of the objects discovered, together with the individual comparisons that suggest themselves. 196 A MYKEN^AN TREASUEE FEOM GOLD CUP. A.—Gold cup (Figs. 1« and 15), diam. 9.6 cm. It is ornamented with a repoussd design consisting of a central ' rosette' surrounded by four FiG. 1(8. FIG. 1J. returning spirals. At the side are three rivet-holes for the attachment of a simple handle (now lost) of looped gold plate, like those on some of the A MYKtiN^EAN TREASURE FROM iEGINA. 197 goblets from the Second, Third, and Fourth Akropolis Graves at Mykense.1 Though shallower in shape its contour somewhat resembles that of the two- handled goblet—Schliemann's so-called Sen-a? afifyiicvtreWov—from Grave IV.;2 in the present case, however, there was only a single handle. The returning spiral ornament round the sides recalls that on a prochous from Grave IV.,3 but the style of the spirals is finer in the case of the iEgina bowl and doubtless more advanced. The quadruple arrangement of this motive, the single handle, and indeed the general contour of the cup curiously recall a class of earthenware vessels characteristic of the Hungarian Bronze Age.4 The weight of the cup, which is of very pure gold, is 83'G grammes. PENDANT ORNAMENTS. B.—Pendant ornament of gold (Figs. 2« and 2b), width 6.2 cm., height (with pendant disks) 7.4 cm. It consists of two open-work plates, the upper of these embossed with a design of a man holding two water-birds. The FIG. la. lower plate is flat with its edges folded over so as to catch the borders of the plate above, the hollow part of which is filled with clay. From these are 1 Schliemann, Mycence and Tiryns, Nos. 317, 4 Compare for instance Comptc-rendu dn 339, 340, 342, 343, 344, 453. Oongres d'Anihr. et d'Arch. prihistorique, Buda- 3 Op. cit. No. 339. Professor Petrie observes pest, 1878, PI. LXXIII. la, LXXVI. 2 and that this two-handled vessol resembles certain 3, &c. This Danubian class in turn becomes the Egyptian bronze cups of c. 1300-1200 B.C. forerunner of a whole series of ' Late Celtic' 3 Scliliemann, op. cit. No. 341. 198 A MYKEJSLEAN TREASURE FROM suspended by small chains five gold disks with central and peripheral punctuations. The system here followed of backing a repoussi design with a flat plate is the same as that adopted in the case of the Vaphio cups. The design is of great interest and wholly different from any known Mykenasan type. The central figure holding the two water-birds is strongly Egyptianizing alike in attitude, proportions, and costume. The arrange- ment of the bracelets on the upper arms as well as round the wrists is quite in conformity with Egyptian usage. The pendant end of the girdle divided into ribbed sections shows the same agreement, but in this case it ends in a point in place of the double Urseus. The two bossed circles seen on either side of the neck are probably suggested by the ringlets of hair worn by some Egyptian divinities, notably Hathor, though in the case of male figures, such as Horus, they are generally worn ou one side. The plumes again above the head are obviously borrowed from the same source, though they do not precisely reproduce the head ornament of any Egyptian deity. The whole gives us somewhat the impression of an Osiris whose ten or head-dress of solar disk, plumes and Ursei had been simplified into four plumes. The base on which the figure is standing with its two lotos-flower terminals is equally suggestive of certain forms of Egyptian boat, sacred and otherwise, the prow and stern of which moreover not unfrequently end, as here, in a lotos ornament.5 This similarity is enhanced by the frequency with which in Egyptian art a central figure rises from the middle of the bark. It is further to be observed that Egyptian boats of one form or another not unfrequently serve as the bases of ornamental designs:—witness the wooden perfume ladle in the Louvre,6 the handle of which is carved with a guitar-player standing on a small bark (in this case with duck-headed terminals) against a back-ground of lotos-flowers and water-birds. The lotos-tipped boat was also taken over into Phoenician art and appears on the silver tazza from the Bernardini tomb at Palestrina,7 and on an ivory plaque from the same deposit.8 On the first of these the mummified Osiris is seen standing in the middle of the bark with a Horus on either side. The Egyptian figure of the present design standing on a base which may be regarded as an ornamental derivative of the lotos-tipped Nile-boat receives another aquatic touch from the two water-birds that he grasps in either hand. Here again, as it seems to me, we have a formalized reproduction of a familiar Nile scene—the fowler, namely, on his boat, seizing the trophies of his sport. A common subject of Egyptian paintings is the duck-catcher 5 Compare Rosellini, Slonumenti Oivili, tav. Esmnni 'ear ben 'Asta, the style of which is exxvii. 1 (funereal boat with covered bier), and compared by Fabiani (Ann. dell' Inst. &c. 1876, Hem. del Culio, tav. lxxviii. 258 seqq.) to that of Assyrian contracts of the 6 Perrot et Chipiez, L'£gypte, p. 845, Fig. 7th century B.C. 586. 8 Ib. tav. xxxi. ; Perr. et Chip. Phinicie, 7- Monumcnti dell' Inst. &c. x. t. xxxii. It p. 853, Fig. 623. is engraved with the Phoenician inscription A MYKEISLEAN TREASURE FROM ^EGINA. 199 taking the captured water-fowl out of the trap set among the lotoses on the • surface of the water, and so constructed that several birds could be taken at once. This was a sport in which Pharaohs themselves delighted, and it forms the subject of numerous Egyptian paintings. In one case a man is seen with one duck already held by the neck, and with outstretched hand grasping another within the net.9 In another representation the duck- catcher has already extracted two birds which he holds by the neck in either hand,10 or again we see two fowlers standing on a Nile-boat each holding a bird by the wings, while further trophies of their sport have been placed in a cage at the stern.11 In other cases the sport is of a different character— the fowler standing in the middle of the boat—on the prow of which sits a decoy-duck—and with a throwing-sticklla killing the water-birds as they rise from the aquatic plants along the river-side. Possibly the upright position of the figure in the design before us is clue to this version of the pastime. The birds themselves on these Egyptian monuments are seen feeding on lotos plants; on the iEgina jewel they are apparently standing on the stalk and picking at the bud.
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