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Grammaroflotusne00gooduoft PDF
Grammaroflotusne00gooduoft PDF
Grammaroflotusne00gooduoft PDF
THE LOTUS
NEW
HISTORY OF CLASSIC
ORNAMENT
AS A
PFif/i
ojt
"
(yale
1867)
in the
THE ARCH/EOLOGICAL INSTITUTE OF AMERICA LECTURER ON THE HISTORY OF ART IN THE COOPER INSTITUTE, NEW YORK,
BROOKLYN INSTITUTE, ETC., ETC. FORMERLY CURATOR OF THE DEPARTMENT OF PAINTING IN THE METROPOLITAN MUSEUM
OP ART, NEW YORK; AUTHOR OF "A HISTORY OF ART," "ANCIENT AND MODERN HISTORY," ETC., ETC.
MEMP.F.R OF
\%
WITH
NUMEROUS ILLUSTRATIONS
LONDON
^mt
1891
[.-///
rights reserved']
9-
U2-^
(p
'x'b
5310
3
LONDON
JOHN'S HOUSE,
LD.,
To
"
bring
thee
the flozuer
the glorious
Denderah.
J.
lily
H.,
Esq.
which was
of the great
in
the
Water!'
Beginning,
Text
from
PREFACE.
I
HAVE
been
only
able
achieve
to
the
of
publication
Work by
this
To Miss Amelia
made
observation
in
Edwards
B.
own
who have
will
first
of science
who
title-page.
is
man
first
these
European recognition of my
1873 (through Cypriote vases), and published in 1888, that
The
owe the
among
an
this
how
my Work,
is
my
the
man
science
who
offered,
proofs.
me
of
much
after
who
written books,
my
are
Reginald Stuart
Professor
and
all
art
and of
Finally,
every
warm
all
the
If
my
shall
my
Preface
there
historian
history.
owe
to
my
who
not escape
an Orientalist, and of a
of
hieroglyphic scholar,
study of coins
trained by the
He
Poole.
Egyptologist
scientific
readers will
Among
to Mr.
my
these are
John
my own
W. McKecknie
to
brother
(B.A. of
Plates.
in
their interest,
will
say
that the matter of every chapter presupposes a preliminary acquaintance with the
Plates placed at
its
conclusion.
TABLE OF CONTENTS.
PART L EVOLUTIONS OF THE LOTUS MOTIVE.
PAGE
i.,
...
ii.
...
19
PAGE
21, 23
for
39
25
Nelumbiums
IIS 119
xiii.
iii
blatts"
4361
iv., v.
6768
Plate vi
69
Plate
7177
vii.
The Problem
of Concentric Rings
8185
viii.
87
131
133
135137
Spike
Plate XV.
The Lotus
...
91
...
9395
97
xi
Spiral
Melian Vases
Plates xvi.,
...
...
...
...
139
...
...
Plate
...
141
...
145
147
...
149
151
xi.)
153
...
...
...
...
...
...
...
...
...
...
...
...
iS7
155
159
107
109
III
The
so-called Ivy
Leaf
161
Plate xxii
"3
xii.
142
...
...
Plate XX
99105
...
89
Plate ix
Plate
...
...
79
The
...
...
63. 6s
Plate
123
Plate xiv.
163
165
xxiii.
Forms
...
The
Plate xxviii.
the Lotus
183, 185
187
195196
197
199
the Lotus
Lotus
The
Lion, Bull,
and Lotus
The
Chimffira
259
255257
Plate xl
259
261
201
Plate
207
209, 211
213
221
255-257
Plate xl
263
xli
203
205
243
253
245
229
191
193
...
The
175-181
...
the Lotus
171
173
...
the Lotus
Plate xxvii.
169
219
227
267
xlii.
the Lotus
266
265
the Lotus
...
269281
283
289
TABLE OF CONTENTS.
via
PART
III. PREHISTORIC
FACE
. .
29330'
303309
1. ...
li., lii.,
liii.,
Plates IvL,
Style
...
311
317
39 3^7
liv., Iv
...
and
Prehistoric
337
339345
PART
Plate Ixv
the Lotus
The Lotus
359
the Lotus
361363
Ixi
365
367374
377. 379
...
Pottery
381-383
38s
IV.- MISCELLANIES.
TAGE
347356
Plate Ix
Plates
39
...
The Swastika
389. 391
393
Ixvi., Ixvii.
...
"
395. 396
399. 401
OF TEXT ILLUSTRATIONS,
LIST
I.
Detail from
the
of Osiris, as
Myth
represented
at Philae
2.
3.
4.
From Nature
From Nature.
Nature.
6.
7;
8.
9.
lO.
...
..I
("
Unknown
12.
From Xature
13. Papyrus.
17.
18.
19.
Top
43
Supposed Papyrus.
God Horus on the Lotus Column
Wooden
Toilet Tray.
48
...
32.
From
33.
held
21.
Lotus-sceptre,
22.
specified
as
by
Isis-Hathor,
10.
23
as
lotus
by
10,
Fig.
22.
From
24
10.
same Papyrus.
From
for the
Tomb
...
Author
...
Tomb
...
for
"
Author's sketch
34.
From
35.
...
...
56
" the
North," resting on a
...
Author's Sketch in
Growing
...
Tomb
From
...
...
altar,
57
of Ra-hotep at
...
...
...
plume
58
60
laid
...
it
52
37. Picture
53
60
in
as being a Lotus,
39. So-called
verted
55
57
on the
S3
55
Colonnette Amulet
54
52
Author's
Author's sketch
...
Capital,
Lotus
7.
51
sketch
Author's
...
From
Author's sketch
...
...
Author's Sketch in
Denderah.
leaf.
From
...
From Photograph
Maydoum.
So-called papyrus
by the
lotus
...
Tombs
Isis-
SI
(Karnak)
Lotus Capital,
51.
Kourneh
54
Author's Sketch in
Kourneh
5
5
54
Lotuses from
From
48
...
...
...
From Author's
of the Kings.
31.
44
...
papyrus,
...
43
at the
So-called
stem.
39
...
Beni Hasan
14. 15.
16.
30.
53
Maydoum.
supposed to be a Nelumbium
.S/>(r<'w</w
I2A.
29.
30
11.
Plant,
showing
"),
sketch.
...
...
Tomb,
Ra-hotep's
Tombs
Author's
...
29
Rose Lotus
Flower, Seed-pod, Bud, and Leaf
Nelumbium Speciosum
...
by Fig. 24
29
29
Hieroglyphic,
sketch.
Lotus,
Three-spiked
ments
27.
28.
after seeding.
in
From
Papyrus.
...
28
...
9A. Typical
26. Hieroglyphic
28
to seed
...
From Author's
28
same
22,
Fig.
sketch
27
of the Sacred
by
Showing
Head
10.
26
27
From
Showing
...
5.
25.
19
Papyrus supporting
leaf
a Lotus Bud
...
66
66
in-
66
PACK
39*. Lotuses of the I Vth Dynasty
39B. Conventional Outlines of the XVIIIth Dynasty
66
66
79-
7'
80.
128
71
81.
82,
128
71
83-
128
43.
Bud
73
84.
74
74
86.
74
76
88.
NY. Museum
on
Pillar at
Karnak
53-
54.
89.
82
Leyden
Ankhs with
Solar Hieroglyphics.
Orchomenus Lotus
British
61
Museum
From
and papyrus
65.
96.
95
04
Textile Ornament,
157
119
161
124
124
...
colour
169
Handle
...
...
169
...
..j
10.
Assyrian Cylinder
From an
170
...
and Moon.
Moon.
Sun
170
Cypriote Capital
Cypriote Tombstone
Head of Hathor.
and
170
Cypriote
170
Detail from the
126
...
Sippara Tablet
Ionic
Lotuses
'5supporting the winged solar disk.
From Hittite Relief
126
126
126
126
Assyrian Seal
169
169
Tombstone
the
'25
in
124
125
From
163
109. Capital in
Detail on Bronze.
163
68.
Bologna.
Author's
119
Tomb
Museum of
From
115
124
75.
157
sketch
123
73.
74.
157
III
lotus
157
at
"
Regulini-Galassi
...
100.
on Stone
72. Egypto-Phenician
...
in colour)
67.
sketch
thorne
1 .
137
70.
Khorsabad
95-
66.
69.
131
Relief,
94
fresco,
Naukratis
the
St.
137
...
Type of
129
130
.151
fresco,
Relief
64.
From
63.
128
Museum
128
83
109
From
128
83
109
128
supporting
...
128
Petersburg...
"
"
mann).
Mycenae Culture
57. Gold Ceremonial Vase with stems
127
90.
83
Scarab
127
...
Perrot
78
...
171
171
171
The Moon-god,
Assyrian Seal
common
Cone, a
119. Stone
the Worshipper,
...
terminal
ornament of
Cypriote Tombstones
120. Cypriote Tomb Stele, showing an abbreviated
"
"
121.
...
Cone
Sacred Tree
Assyrian
Ornament
124. Lotus
Detail from
From
126. Lotus
Author's
sketch
127.
leaf.
From Author's sketch
The Sphinx and the Lotus." Demonstration for
the so-called "ivy leaf" as a Lotus leaf.
From
a Tomb-relief in Bologna.
From Author's
Lotus
"
129.
sketch
130.
Greek Vase
in the
Louvre
..
From
on Bronze.
131. Detail
the
Regulini-Galassi
Tomb
132.
the Lotus.
Persepolis
The
From a panel
Temple-portico at Denderah.
in the
Photographed
for
the Author
135.
the
From an Egyptian
From Author's sketch
Lotus.
136.
"Le
Dieu Cornu."
Detail from a
Gallo-Roman
Tombstone
137.
138.
The Tam
139.
Tam
the Lotus.
Detail of a Phenician
sketch
in
Head.)
Bruce's
The
Tomb
From Author's
at
Thebes.
sketch
...
Tam
panel
Owens
143.
gem.
College, Manchester
Detail,
XI
xu
^^o.
Meander
metric" Vase
in
From
the Louvre.
sketch
>7
Meander
From
172.
the
Cabinet des
Vase
in the
British
Museum.
Swastika Diagrams
>77
Swastika Diagrams
353
Vase
in the
Author's sketch
...
sketch
...
Horse's Mane.
(Hallstatt bronze
...
181.
182.
hxomt repoussL)
The Bird and the Lotus.
National
sketch
Museum
at
186.
Author's
Diagrams
176,
179.
Detail of a
From
Polytechnic, Athens.
>75' Swastika
From
353
"
Greek " Geometric
sketch
174.
185.
From
73
353
Author's sketch
184.
M^dailles.
Author's sketch
Meander
353
metric" Vase in
183.
Author's
(Hallstatt
PART
I.
GODS.
AND MORTUARY
SOLAR, CREATIVE,
SIGNIFICANCE.
(PLATES
Current
I.,
II.,
PAGES
21, 23.)
popular
divides with
references
it
the
to
the honours,
in
popular estimation,
of being
a national
the
South
"
as a lotus.'
is
supposed to
is
In histories of
1.
p. 8.
"
Grammar
and
in 1856,
art,
architect,
have
artist,
all
Ornament
reference, at
least
by Owen Jones,
to English and
of
de
la
2.
The
common.
For instance,
text, p. 387.
Wherever the
penetrated,
it
"
the
GODS.
Egyptologists in general,
shall be able to
The
lotus
was a
moreover, those of
all.
fetich
many
and
are,
am
regarded
are
as
it
of the
indicated
None
it
is
quite
as
that
clear
it
long as the
will
be natural
When we move
and statements,
"
renaissance
mentioned.*
there
is
"
it
or of " resurrection." ^
As
in
Its
a symbol of fecundity
it
is
"
symbol of
life,"
of " immortality," of
a curious absence of parallel notices of the papyrus, which sinks out of sight,
It is
it
is
uncommon
common
quite as
wanting.
3.
p.
Prisse d'Avennes,
62.
OsBURN mentions
&fc.,
5.
Westropp,
Ancient Pagan
p. 66.
vol.
I.,
p.
Monu-
6y
Symbol Worship,
and Modern
flower
is
an
and king."
text.
"
The
p.
77.
Inman,
Christian Symbolism ;
many
references.
is
well
known
modern Theosophisls.
In Rawlinson's Herodotus, vol.
on
As an emblem
to the
Brahmans,
Buddhists, and
6.
ii.,
p. 149,
where the
Colonna-Ceccaldi,
authority of Proclus is quoted.
Monuments antiques de Chypre, p. 141, mentions this solar
So does Ebers, Egypt Descriptive, I. p. 66.
significance.
.
is
"
said
who
the sun
is
it
GODS.
emblem
added that
is
God
of
the sun an
is
emblem
of Brahma, the
i.e.
to the
"
(Moor,
or
Supreme
Brahmans,
"
Vishnu
p. 9).
a personification of him
"
all
p.
To which we
13).
Vishnu
to
"
(Moor,
will
Such a
p. 8).
The
Brahma from
birth of
is
it
drawn from
different
Hindu
Above
Till
from
its
it
danced
elate.
A form cerulean
Who,
That blossomed
lay.
at his touch,
ray.
With
graceful stole
We
lotus, in
stated
"
!
may, however, read page after page, containing manifold references to the
works on Hindu art and mythology, without finding its solar relations
either
explicitly
or by implication.
modern Japanese
festival
which
In
of
reality, the solar significance
by ancient
is
not as
overpowering or belittling the other relations to the tomb, the Resurrection, and the
"
"
life
or creative power, but as explaining them and giving them full
idea of
value.
Hence, as there
is
For
texts.
Denderah says
instance, a text at
hawk from
the midst of
"
its
GODS.
When
lotus bud.
the
the doors of
its
leaves open in sapphire-coloured brilliancy, it has divided the night from the day."'
Of the Sun-god, Horus, it is said " He opens his eyes and illuminates the world.
:
from his eyes and the men from his mouth, and all things are through
him, when he rises, brilliant from the lotus."* At Denderah a king makes offering
"
I offer thee the flower which
of the lotus to the Sun-god, Horus, with the words
The Gods
rise
was
Book
of the
on Plate
(p.
19).
i,
2.3,
Nos.
I.,
Dead
"
Sun
of the
field
of the
closes with
Water. "^
"
:
am
confessional chapter
youthful or infant Horus (the dawning sun and the sun by day
"*)
''
No. 5 shows the hawk (a form of Horus and of all solar Gods ^'^ supported
by the flower.^' No. 8 shows a hawk-headed Ra (the Sun), worshipped by the offering of the flower.'^ No. 6 shows Amon (Sun-god of Thebes'*) worshipped in the
flower.
same way.
Toum
vol.
7.
Ibid
9. Ibid
Egyptian
vol.
i.,
p. 104.
vol.
i.,
p.
is
child
Rouci,
exposes dans
11.
Notice
Its
rising
des
another."
12.
says that
not
is
is
"
He
is
Emmanuel
Monuments ^gyptiens
du Musee du Louvre,
and
6) which
conceived as a
Sommaire
Galeries
is
Maspero
xliii.
in
the
human-headed hawk
Horus under
all
Ilistoire
four forms,
common
PantMon
to all
Agyptien,
text
gods with hawk-heads personify the sun
for PI. viii., Album du Musee de Boulaq.
According to
says,
Birch,
eyes."
Museum,
God
in
other
all
sun),
and of
p. 36.
Homer
compares Apollo
In the Odysseyhe
The hawk
14.
of light and
and
p. 142.
the human,
see PiERRtT,
" All
"Zoroaster."
winged
DE
13.
sun
121.
all-prevalent
art is the
distinctive for
at Heliopolis as the
The
10.
alien Aegypter,
one of his
in
Horus,
11
worshipped
p. 103.
i.,
8.
No.
habitual
its
to a
hawk, Iliad,
xv.,
236-23S.
spirit,
its
Porphyry
in
Osiris, see
i.
p. 344.
Emmanuel de
For
ee^ p, 31.
16.
earth
Amon
Amon
is
World, the
God
in
"double"
of Osiris.
its
return
of the
exposes
a well-known
rectioa
motion
Mummy, and
to
sunrise,
God
of the
the
hence
Lower
GodofResur.
5, 6,
[p.
65]
xliii. 3,
plate
page 24)
less
common
in publication
1,3
(i.
winged
Assyrian seals
(xxiv.
i, 2, 3,
monuments
disk on such
is
common on
to be of
the
monuments
[p. 21]).
known
lotus,
283].
[p.
phases''),
GODS.
Egyptian
223]).
[p.
origin.'"
'
from which they are
quoted instances has not been specified in the publications
taken, and it has been overlooked for Assyrian cylinders in all other publications
known
to
me.
tablets to solar
10
6,
401])
[p.
in related
Syrian and Assyrian seals and cylinders with sun disk and
(xxiii,
173]
[p.
in Cypriote
on votive
in Phenician art,
(xxiii.
and
common
10
(xxiii.
183])
[p.
These
173]).
[p.
The goose
is
Osiris),
10
(ii.
[p.
23];
hawk and
Toum,
17.
the lotus, v.
and lotuses
sun
at
course.
cited
for
the
Museum, Case
Sun-lion
74,
(enamel amulet
Fouiiles d'Aiydos,
19.
the
in
Sun-hawk; Marie,tie,
The
cylinders and
i.
$g
(P-
Glyptique
before
cuneiform
inscriptions
was unwritten.
The word
lotus
occurs
only once
in
7,
see O.
Isis,
[p.
285].
significant matter
of his work).
p. 375.
Osiris
also
reference to
At
p.
454, Note
a silver statuette of
'H.a.x'^ocia.tts
"
Good
of the
goose of Osiris
New
"
in the
York Historical
21.
deciphered.
The
xliv. 2,
axA without
An
xxvi., 71.
were
de Mithra,
Ciilte
the associations
6,
from
283]
[p.
these
The hawk
to Ra.
Hence
in
Among
for the
Orieniale.
54^
2-
of
c.
xliii. 3,
associations of
283]).
Horus and
to
Lajard's
British
and
all
[p.
solar gods.^'
all
5, 6, 7 [p. 65],
11
xliii. 2, 4, 5, 8,
Hence the
for the
A.
iv.
i.
96, 3
21;
A.
iii.
60
Additional illustrations
Marieite, Dend&ah,
i.
38
a,
GODS.
is
Ptah of Memphis.^
its solar
illustrations which relate to the bull and the lotus continue to emphasize
Bull Apis and the lotus, from a votive
Ixv. 5 [p. 393]
i
significance
23]
[p.
(ii.
Serapeum in the Louvre, xxvi. i [p. 193]). The asp, which is sometimes quoted as an emblem of royalty, belongs to the king as identified with the
Hence the
the seething and hissing heat of the sun.-^
It
Solar
tablet of the
represents
god.
by
plates
ii.
[p.
23]
v. 2,
The
[p. 65].
lion is
invocation to the
a well-known solar animal and solar hieroglyphic. An Egyptian
sun is quoted by Brugsch "Thou art the Sun, a powerful lion."^^ The lion was
and Sethroe.'^ He represents the splendour and raging
worshipped at Heliopolis
violence of the sun, according to Birch,^^ and the sun is entitled by Egyptian texts,
:
seal,
winged
lotus,
disk,
[p.
223]
12
xxxii.
2,
To-morrow,"
i.e.
"
Osiris
is
209]
[p
As
223]).
[p.
lately
209])
[p.
"
and
Yesterday
22.
Boulaq,
text
Maspero,
for
Hisloirt
pi.
iv.
i.
Ptah
Andenne
p.
Osiris,
see
identified
with the
de
sun,
Brugsch,
Mythologie
dont
comme
la
lumi^re
Brugsch, Mythologie, L
39.
de
fcs
deux yeux, et
ils
dans
I'univers.
L'astre
ce
la
double
force,' et
mot
du
lion."
on the
'force' est
7 (identified with
Nefer-Toum by
a.
64
Dec,
in the
p.
British
I.,
31. Proceedings,
1888,
the label).
32.
p. 38.
the
of"
26.
Museum,
I'ordre
(The
ten.
p. 183.
"
p. 84.
25. I-es
^'';
Assyrian cylinders,
support the sun rising out of the Solar Mount, and represent
"
Hence
lions.-"
form of a lion
is
is
emblematic of
Pcntheon, p. 42.
"
The
Pierret,
GODS.
The Gryphon
[p. 223]).
(ii.
[p. 23])
a form of Horus.=^'
is
Phenician
seal, xxxii.
at Denderah, quoted at p.
as living spirit
Compare
ii.
The
6.
5,
Elephantine.^'''
most
frequently by
Hence the
^^
Osiris)
on
plate
ii.
ram-headed
of the
association
[p. 23],
modern
writers
to
its
is
and generative, or
phallic
but not
its
funereal
admitted
Egyptian
appeal to the
forces of nature,
with a worship of the creative and reproductive
life, was connected
It is the
in character and origin.
which were conceived and worshipped as solar
its return to the
the sun at night through a lower world, during
supposed passage of
the God of the Lower
dawn of a following day, which makes Osiris (the sun at night)
.
As the God of
hence himself represented as a mummy.
he represents the creative
the Resurrection, his special and emphatic character,
i
i.
4, and Fig.
the lotus as attribute of Osiris (Plate
Hence
the
of
Sun-god.
energy
force
the resurrection, and of creative
at once a symbol of the sun, of
19), is
p.-
,.
The
se^n..
.^::::::.s,.accordin..o..rau.j.s.
.ay antedate the First Dynasty
F- *^ SP^-'' <^--^^:;^ "".^JrZ^Z^Zo.
of tk. East).
monarch, see B.kch,
";^P'^/';;XI!
''' ^''"''
^^/^-; ^^^f
Charles
35.
..
Brugsch.
Schlange =
Brugsch,
ii.
Heligicn
und Mythclogte
die verzehrende
The
serpent
is
Gluth
der
^.,
p.
The human-headed
of the
The
h.ero.yph.c
serpent
is
expert,
Mr.
also a for of
of
of the Typhonic and baleful aspect
6is).
tor the
Gryphon
and solar hawk, see
i.,
Edwin Wilbour).
SeT^rsl^fication
lit
with his translation of the Egyptian
isi.witnnis
T
n
Text vt^r
M.d.C.,p.
p. 160.
Sommerhit.e,
form of Ra
quoted as a
^6.
3
Bkvgsch, Myikologie,
^^^^^^
JJ- ^
^^^^^^^^
Mar.etx
^^^,^^.,^^
i.,
^4-
^^
^^^^_
^^^
^_ ^^^_
^^^^^^
^^^_^^ ^^^^^^^^.^^^
^^ ^^.^j^^ ^^^
38.
^^ ^
^^^
Emmanuel pe
^^^^^^
^^ ^
^^^^
160.
Mythologie, u, p.
Notice des
Monuments a Boulag,
&c.
pp. 105,
lO
GODS.
it
all
by quoted authorities,
cases and in all con-
the solar significance which explains the others, and for the same
reasons which have led the authorities to emphasize the solar character of the
nections, but
it is
life,
we cannot
belief in a spirit
and the
h'sm of the lotus, after the origin of this meaning has been once established.
for instance, its association with the Genii of
and of Osiris."
the
The
3, is
ii.
Plates
Egyptian
12
ii.
the
[p. 23],
and
and
iv.
common one on
14
sepulchral tablets
illustrate
[p. 63],
1,4
(v.
mummy.
funerals,*"
(i.e.
[p. 65]).
at
detail
mummy,
Amenti
Hence,
its
Greco-Roman time."
Its
As
little
can
"A Thousand
we overlook
the phallic
significance
p.
221.
of the
which
lotus,
is
Egyptian conceptions
which
refer the
i.
ID
instances
[p.
21]
lotus
to
him.*^
generally or constantly
itself*'),
shows
this
leaf;
Khem
(the
the lotus.
prominent
39. Genii of
Museum
in the
Amenti,
designations
Notia Sommairt,
ttx.^ p.
as children
of Horus
British
De Roug^i
as children of Osiris
soleil renaissant
ithyphallique."
Pierret, Panthhn,
Khem
"Omamenti
Funebri."
Khem
" I/C
139.
43.
is
based on Egyptian
iii.,
15,4.
Denon,
Rosellini,
127, 10.
II., xlL
i.,
or
p. 26.
Amon
with the
Champollion,
IV., cccxlviii.
xxi., &c.,
&c.
45.
For
this
worship see
Moor s nindu
Pantheon
But
flower.'"^
all*
are
gods
related
to
the
sun
GODS.
II
also an attribute of
is
(p.
of which
5),
the
lotus
also
is
in
these
all
India
special emblem.''^
To
"
The
assimilation
and occasional complete identity of the Supreme God with the sun being once admitted,
the assimilation and complete identity of the secondary divine beings with Ra (the
sun) were a matter of course.
Amon,
Osiris,
Ra
Isis,
The
47.
Buddha,
For
see
is
this
is
the
"
The "
or radiate
in
from
lotus,
"
Vedas
is
" IntheVedic
an invocation
merge
and the
directly or
The
"
When
like
is
no joy
" In the
which
has
" Padma
known
to
Vishnu
(or Narayana),
Kamala
are the
is
Hindu
name
76
Pedmi and
Sir
its
pedestal
represents
wood,
in a flower that
if
god Krishna,
in love with a
lotus-
Mount Meru,
the
rises
of the
the
from
circular
for
lotus-
world
tabular
as
torus
centre
their
Hindu Olympus."
born, a lotus
(Bird-
bloomed where he
first
prayer
"
C 2
to
p. 94.)
The Buddhist
relatives
likened
elephant, and
divisions
which
is
petals of the
Hindus, and
flew."
damsel whose
speciosum']
(Moor,
"His
of a shallow,
an
The seven
seven
the
the world
stalk
its
ancient
Or Kamala,
for
a tortoise.
the
{Nelumbium
So name
Of
or
said,
not
is
of wisdom (Moor,
flowers
centre
represent
the
is
it
(Siva)
the
"
maternal dwelling
Hindu cosmogony
flower
Hence
to her breast."
p. lOl).
of Lakshmi, Consort of
19.
inward
in the
blossom with
vessel,
p.
it
to his view,
(Birdwood, p. 5r.)
For the lotus as a Hindu emblem of female beauty see
Moor,
turned
Of Mahadeva
feet
this
127).
p.
simplifies
is
plant
the following
in-
sun (Surya)."
the
p. 297)
it
And
present, there
Art Handbooks).
distinctive Sun-god,
visit to her,
Museum
in so far as
(Moor,
of the
assimilation
of the sect.
directly to
said
it is
possible,
The
title
^^
and Horus,
plates of
the
member
himself."
is
p. 154).
often quoted,
Holy jewel
"Oh, God!
in the lotus,
be
it
the
so."
13
GODS.
the comprehension
Egyptian Pantheon, also simplifies
at Thebes, repeat
of the symbolism of the lotus. Thus Amon, Maut, and Khons,
the above triad under these local names, this being an example chosen among
names
the confusion of
The
many.**
in the
for the
illustration
altar
1 1
(ii.
is
[p. 23])
therefore
chosen to indicate the universal presence of the lotus on the altars of all Egyptian
The following combinations are also
the monuments.
gods, as shown by
The beetle (gods Ptah and Kheper) and the lotus*"; the ibex (god
significant.
245])
[p.
of
association
1 1
[p.
horse with
the
245])
Set ")
the lotus
(see
Prisse
245]).
[p.
The
undoubtedly foreign, but it is also a solar association." The ibis (god Thoth)
with the lotus, can be quoted for unpublished monuments. The hippopotamus
is
at
The
Drah-Abou-Neggah.
is
piece
There
a similar
is
Museum
(other
examples at Florence and in the Gizeh Museum). The god Bes (a form of Set or
Typhon) stands on the lotus in amulets of the Leyden Museum,^" and is connected
with the solar winged disk by a Mesopotamian cylinder and by a Phenician seal."
For the
with the
lotus
Ankh,
"
symbol of
life,"
see Lxv.
As
abundantly illustrated in
49. Brucsch, Uythologit, vol.
i.
in
King,
later
catalogued
in
British
54.
Cesnola's Cyprus,
p.
ibex amulet
Typhon,"
No.
Museum,
1698A, Case 77,
" Det
goldene Horns
dan
P-
Stadt
Hierakonoiwlis."
Brucsch, Mythologie,
vol.
ii.,
**4
S3. Description of a Leyden bronze
I-O^'
Syria
3, 4.
and animals,
furnished by
;
Ankli
to
be
A reference
is
birds
of the
Robertson Smith,
quoting
II.
Kings,
xxiii.,
Sun-god
Religion of
in
in
the
this deity.
Horus, "II
foule
[p.
Semites, p. 275
lxv. 2,
to
i.
iv. 7.
57.
Chipiez, Phinicie,
the
fig.
296.
(British
Museum
his
The
xxxii.,
i.
identity with
designations).
Perrot et
Set
and Baal
question here,
GODS.
13
is
human
of the Egyptian
glyphic method of indicating the names, qualities, or existence
congods, and do not, in so far, reflect discredit on the purity or philosophic
a sublime recognition of
Egyptian
religion
disguised
by severance of
polytheistic
It
forms.^'
is
to
highly developed natural religions have moved from the fetich
the animal totem, and from the totem to the sun and other astral bodies, at first
probable that
with,
all
It is
but in so
days of Egyptian history,
well to
remember
and
beast,
that
it
its
far as
Egyptian symbolism
religious philosophy
was a highly
is
refined
concerned
and
it
is
intellectual
by
reptile,
Thus we understand
cow 59 and the fish of the goddess Isis or Hathor''' (i. 7 [p. 21], Isis-Hathor
lotuses and
with cow's ears and lotuses; i. 12 [p. 21], Isis-Hathor as cow, with
the
Horus
shows
Isis
i.
[p. 21],
Isis as fish
fish
(xlii.
A bronze
lotus).
in Liverpool
[p. 267]).
conceived to represent
is
As daughter
with the
lotus
spouse of Osiris, the
mentioned as her attribute in her
Horus and
her
it
descended
has
later
to
In
times,
(plate xxiii.
58.
Emmanuel de Rouci,
Scmmaire,
Notice
<&-..,
p.
Brugsch, Mythologie,
Sommaire,
"59. For
Brugsch,
the
cow
Mythologie,
and of
of fecundity
as type
vol.
and Pierret,
i.,
Isis,
see
Pantheon,
62.
,
.,
^^^ if^-w^
]?,.^ Arcneo
Arrhl'nsee
60. For fish Oxyrynchus as Hathor,
and Birch, Eg. Antiq. in the
logique, 1847, 2, p. 718.
British
Museum,
p. 32.
For Silurus
f5sh
T<,;o
Isis
or,ri Hathor
and
Hathor,
seSt..
p. 84,
p. 133.
Horus
12.
6
o, 1^.
For
as
Brugsch, Mythologie,
calf,
Isis as the
For
^u
vol.
i.,
p.
Isis as
Moon,
the
fertile
see
^^
,,
Brugsch.
64. Hathor,
Sommaire,
i.,
160.
63.
^'^^'
vol.
6";
05-
daughter
of the Sun,
De Rouci,
p. 133.
"^
King and
^'"^
Westropp,
>
as 1
quoted at Note 5.
Notue
,4
GODS.
On
Assyrian and Syrian seals and cylinders the lotus also occurs with the
In modern accounts of
lunar crescent alone (plate xxiv. 5, 6, 11, 12, 14 [p. 183]).
Egyptian mythology the references to the moon have been scanty, aside from the
and to Khons, but Osiris is quoted for " the
significance conceded to Isis, to Thoth,
"
world of the
moon
why
at variance
There
therefore
is
no
it
is
by no means necessary
to establish
a solar origin or assimilation for every form or deity connected with it.
The frog (ii. 8) is interpreted as a symbol of the watery element and primitive
slime,
*'
It
or to a female
belongs to a
Keka)
triad
worshipped
The
called
frog-headed deity
to the question
ii.
8,
"^
Hyk."
specify a goddess."^
Hindu
why
explanations,
which belong to a reflective and philosophizing period, cannot be considered conclusive for one of the most primitive and firmly rooted traditions of the Brahmanic and
Egyptian Mythologies, and yet these explanations must be given their proper weight.
They relate to the plant as type and growth of the watery element, made productive by
heat or the element of
which
lotus,
moving on
the Waters,"
Brahma, as
floating
emblfime
d^esse Hak."
de
la
who
is it
to
vol.
i.,
appears in
p.
21;
mati^re primitive et
Brugsch, Mythologie,
"
"La
de
la
Museum,
= Chnoum
or
Khnoum.
Hindu
springs from a
Noum
69.
With
the
Culto, p. 151.
There
leaf.
Hindus the
lotus
is
the
is
a coloured
emblem of the
water.
The
lotus
water,
hence
the
is
the
product
dual s}'mbol
in Plutarch
of
of
fire
spirit
pro-
fire
and
(heat)
and
Monumenti del
Brahma
Uranfangliche."
p. 58.
be forgotten that
Nor
fire."'
and matter.
"
Museum
far as
Hindu Pantheon."
Brahmanism
is
15
and as
GODS.
is
also
lotus,
is
much
is
concerned,
at
the older.
well
It is
known
that the
were not developed by the Hindus till they had conquered the Ganges country and Southern India, and there is no trace of this tradition
or even of Brahma as a deity in the Vedas.
In view of the possibility that this
tradition
and the
faith
entire
Hindu symbolism
it
may, or
may
symbolism
also
possible that Indian peoples experienced the influence, direct or indirect, of Egypt.
The campaign
tion,
III. in
Such a
unknown
might be
by sea which
is
at least significant of
b.c.)
b.c.
The Assyrian
king Touklat-habal-assar made campaigns to the Indus in the eighth century b.c.
(Maspero). The relations of Darius and Xerxes with India are well-known. Inscrip-
showing Phenician characters are found in India of the third century B.C. At
"
time the most intimate commercial intercourse was established with Syria and
tions
this
Egypt" (Birdwood).
Our knowledge
of
Hindu
and none of the present popular forms of Hindu religion are presumed to be earlier
than the ninth century a.d. (Moor, Ed. Wilson, p. 390). Later proofs for the
dominance of lotus symbolism in Persia and in Assyria as early as the ninth century
B.C. will therefore prove an unbroken land area for lotus symbolism comprehending
both Egypt and the frontiers of India as early as the eighth century b.c. The
Puranas display a wide knowledge of Egyptian geography, and a wide familiarity
undoubtedly superseded
-JO.
1881.
in
many ways by
'iio\.,
later study,
71.
Supplementary
ii
,6
There
it.
the
Hindu pilgrims
of
made by Wilford
the points
Among
is
all
GODS.
Hierapolis in
to
of Hindus
geographer Ptolemy's mention of the presence
therefore possible that the
Hindu
his
own
are references
and
Syria,
in Alexandria.
It is
symbol
is
the
to
con-
solar-
myth of Egypt.
For
in
personified
whose symbol, the frog, has been above quoted. It is probable also that
the lotus was connected with the symbolism of the inundation, because springing
up and flowering in the pools which were made by it, as already mentioned by
(p.
12),
Herodotus."
of
Hindu
symbolism may be
we can
Two
definitely postulated.
by
one solution of
mention the Egyptian paintings of Horus rising from the lotus flower, as denoting
the creation of the sun from the watery element. That this doctrine was held by the
Egyptians appears from the accounts of Brugsch based on their original texts.^*
The
things,
it
this so-called
The passages
Phenician.^*
It is true
quotation
moisture to which
we owe
the
the
73.
i.
first
is
said
by
up
may hereby
signify to us
'"
To
this
referring to the
"
: They
believe also
^. 174.
Greek philosopher
that they
is
same work,
basis of all
that
was the
76.
Plutarch,
De
hide
et Osiride, translated
by Samuel
81.
The
The
chCp
work
reli-
"H.
fti
Vater gezeugt ging am Tage der WeltBg dis Sonnenkind auf dem Leibe der Nunnet
ttnd der
Himmebozean wurdc zu
Squire.
is
at
Note
gion which
is
by Egyptologists.
in
but
chariots,
GODS.
sail
first
Homer,
it
<
day
was
certain
in
boats,
17
to
as
"
To
this
was
follows
show
The
to break,
how
on a
^^
lotus."
Egyptian texts
"
According
On
to
issued
Noun
little
boy
based on
[the watery
element],
world with
It is
its
[the
^'
daily light."
known
that in
many
perception
phenomena go
to travel each night in reverse course under the earth, in order to return to the
of a following day.
It
may be that
dawn
To
and
allegorical,
rather than a
77.
Plutarch,
W. Goodwin,
78.
III.
is
only students
Plutarch's
Goodwin,
It
p 80.
Oracles in verse."
Morals,
"
translated
Why the
The matter
p.
translated
by
Wm.
frogs
94.
by
William
Pythian Priestess
ceases
W.
her
The
original
German
at
original.
Note
74.
i8
and which
is
which once
that
existed.
for the
GODS.
possible value,
It is of great interest
opening corresponds with the dawn.
to learn that the modern Japanese have a similar tradition and a festival based
moment
of
There
it."
upon
its
is,
symbolism and lotus ornament of China and Japan before the Buddhist influence
and missions. These are later than the Christian era in these countries. The entire
symbolism of the Buddhists is itself derivative, being borrowed from the
The entire Buddhist
earlier Hindu traditions, which we know as Brahmanic.
lotus
ornamental system
is
A fact
American
as
known
to us.
artist,
some time
resident in Japan.
first
naturalized
Ndumbium
States,
Jersey, and
at
water-lily gardens at
on the
They
tradition mentioned,
and
Ndumbium
Speciosum [the
Rose
dawn."
"
opening
sunset,
"
Nymphaa
sunrise,
"
do not think
opening at
dawn
that the
is
in
many
in
other
Victor
much importance
Loret
to the suggestion
art.
It
we cannot
of Colonna-
because
furnishes
is
all
Philologie
list
ii.,
19,
i.
is
copied
Colonna-Ceccaldi
in
De hide et
iii.,
xvii., i,
15, p.
xiii.,
1151
32;
xviii.,
De
ii.,
30;
xv., 21.
Monuments de Chypre,
King
i.,
ii.,
10, i.
Athen., Deipn.,
Assyriennes,
112.
iv.,
i.,
a la
SrRAB., Geogr.,
hist.,
et
relatifs
Theophr.,
92.
Travaux
a FArchioloqie Agyptiennes
et
The
190.
of ancient classical
list
Pyth. orac,
c.
p.
xii.,
141,
ed.
in
Gnostics,
species."
attach
It is
Osiris,
Didot
earlier
water-lilies.
If this is so, the opening at dawn of Nelumhium Speciosum could not be the original explanation in the
plant.,
It closes just
at night.
"p.
opens at
Lotus]
was a flower of
Bordentown,
are of
and not
it,
^^
blooming
The
New
B.C.
80.
who
efl'ort
in leaf, flowers,
matter
of
and
no importance,
a primitive tradition.
A reference
82.
see
Museum
the
point
GODS.
of view that
As
I shall
the sun.
type
the
rosette
to
be
an Egyptian lotus-motive
prove
(with concurrence of
Mr. Percy E.
Newberry),
this suggestion is
worth considering.
"
illustration of plate ii.
9, is taken from the
Book of the Dead "the
lotus as one of the
mystic habitations and migratory forms of the
of
The
spirits
the Blest.
There
is
When
this
mystic destiny it
is
not
design belongs to the confessional chapter Ixxxi., " To make the transformation
of the lotus," whose terms I translate
roughly from the French version of Pierret.^^
"
I am a
pure lotus, issue of the beings of light. I guard the nostril of
Ra, who
the
nostril
of Hathor.
I do the errands of Horus.
guards
I am a
pure lotus
issue of the field of the sun."
Punjab.
lotuses
lotuses, PI.
I.
p. 50.
I.
OSIRIS, AS
de
transformation en lotus.
la
fleur
d'un
lotus.
garde
Normal Egyptian
faire la
sortant
xxi.
normal Egyptian
&c., &c.
xl.,
De
la
Horus.
narine de Hathor.
Je
suis
RErRESENTED AT PHILAE.
un
"
LXXXI., Titre
Tableau Une tgte
Je suis un
lotus
pur,
Je
fais les
From Champollion,
du champ du
I., xciii., 2.
soleil."
30
PLATE
I.
1.
2.
3.
mummy
6.
Dendt^rah,
From
II., 85,
9.
XV.
in the Lower World) before an altar and offerings, crowned by the flower.
PRISSE d'Avennes, Histoire de VArt ^gyptien, Offrandes a Osiris.
from
case,
Sun
the flower.
7. Isis
S.
Mariette,
4. Osiris
5.
Detail from
King Thothmes
the
to
and geese
to
Ra
Detail of a
Amon.
god
64.
d'Avennes,
(the Sun).
Detail
from
Thebes.
Prisse
Detail from
Amada, ROSELLINI,
III.,
ix. 4.
9.
Isis
form.)
(Compare
fish,
xlii. 7.)
Toilette.
the
Ancient Egyptians,
p.
Nefcr-Toum or Toum
(the Setting
lotus.
of Ancient
Egypt.
12. Isis or
Hathor
(as
cow)
in
References to Prisse
specified.
in the Vatican.
Phenicie, p. 790.
d'Avennes
32
PLATE
II.
1.
2.
the lotus.
Detail from
The "Genii
4.
The
II.,
8.
cix.
"
of Amenti
Sun-lions
"
lotus bower.
5.
6.
7.
8.
The
"
10.
Champollion,
Theban tomb.
(Guardians of the viscera of the mummy and Genii of the dead), on the lotus.
Detail from a representation of the Last Judgment Description de C^gypte, A. II., 35 a.
3.
9.
Detail from a
GODS.
lotus.
Mariette, Denderah,
III.
II., 48.
Description de F&gypte, A.
I.,
86.
or Heka, and
Lenormant,
Histoire Ancienne de
From
r Orient,
The Goose (Seb, Osiris, Horus and Isis) and the lotus. Stone tablet in the Abbot Collection, New
York Historical Society. From the original. Compare Seb, crowned with the goose (xliii. 7).
11.
12.
The
Mummy
and the
lotus,
Description de r^gypte, A.
Dead."
II., 16, 5.
Lenormant,
Histoire Ancienne de
t<
_y
"!'
^^1
v..
lC_k
''ll
-^
-^5?^
M\
^.
(I
~"N
-^:4
iZ
^0
^/.//,/.
23.
1.
24
APPENDIX.
The
following
list
notes
Ibis
head
(God Thoth), bearing a trefoil lotus on the
the
on
Ibis
the Naples Museum, No. 8562.
Tomb No. 6.
Thoth), on the
the lotus steli:
on
Cynoccphalus
lotus
C>'nocephalus (God
God Anubis on
Heron
relief,
stele
Heron on
the lotus
nov
fresco,
Salle
des
relief,
on the column
Thebes,
Ventes,
Room
Tombs
of the Kings.
Museum
Gizeh
(1891.)
bases.
(identified with
bouquet
bronze,
Museum
Ichneumon
lotus
(Osiris, British
Denderah
portico,
column
bases.
Head of
stel^
the vulture
Three very
191.
is
Museum.
also related to Isis) on the lotus
several bronzes
Hawk
LEEMAN.S, Monumens,
in
the Gizeh
Polytechnic, Athens.
Hawk
Museum.
Lotus supporting the " Sacred Eye ;" both in the solar disk supported by the solar bark
passage of the Hathor Temple, Denderah.
Solar disk with
of
Isis,
human
Pompeii,
face,
by
etc.
in the
fresco
relief,
lower
The
III.,
PAGE
41.)
various water-lilies which are indicated by the word lotus are divided into
two groups
the
Nehunbimns,
to
is
is
also applied
habitually called
supposed to have been the especially sacred lotus of the ancient Egyptians. The
group of the Nymp/iceas is now represented in Egypt by white and blue varieties,
which are
nearly to
centre (Fig.
2),
common
The
leaf is cleft
pond-lily.
an envelope of only four calyx leaves or sepals (Fig. 2 and Fig. 3), which have a
These
firm, coarse quality, and are distinctly dark green in colour throughout.
sepals
the
entirely
colour,
coarseness,
and large
2)
size
till
it
As
begins to open.
of the sepals
mark them
As
it
expands,
distinctly
in
one of four special points of view, the opening flower exhibits therefore three
dark-green spikes (Fig. 3), symmetrically divided, between which the numerous and
delicate petals, white or blue, are very effectively relieved.
thus
stages of expansion the sepals occasionally curl downward,
seen
leaving the flower quite distinct and separate, and presenting the appearance
in Fig. 4.
Figures 2 and 3, on the other hand, especially the latter, show the
At various
when
erect.
The
more obvious
in nature
than
it is
in
the illustrations.
2.
From
V ligypu,
From
Nature.
Histoire
NaturdU.
into
a bulb (Fig.
7),
erect
and
rises
27
in
the water,
continues to be apparent at the apex of the bulb after the flower has
gone to seed.
8
a
dried specimen of the
Fig.
represents
ovary stigma taken from the bulb. The
leaves, about a foot in diameter, each on a separate stem, float on the surface of
the water.
The
3.
illustration of
Webster's Dictionary
From
"
Nature.
Nymphcsa
Showing
"
Imperial
Edition."
The
lotus
artist
shows leaves
From
4.
spikes.
New
for the
Nature.
who made
sketch
the
monuments.
The
"
Rose Lotus
may
figured in
possibly be
must be extremely
such
found
in
is
"
cases
I. p.
303
where
E 2
explicit,
rare,
as
many
none can be
in
the
typical
;8
The proof lies in the leaf and in the sepals. Whenever the leaf is represented
Whenever the flower is represented it shows three spikes, excepting
it is cleft.
when the entire flower is shown by an outer conventional outline. As long as the
flower
is
to disappear in the
as papyrus.
specified
Hence the
9 and 9 a).
They
illustrations of Plate
cleft
iii.
[p.
leaf
41]
and they
will
wW>,i
6.
OVARY STIGMA.
Blue Lotus.
5.
7.
form.
Nos.
5,
12
6, 8, 9,
show numerous
Nos.
petals.
2,
3, 7, 11,
13
show a
with two residuary petals, one on each side of the central spike.
This central spike is the central sepal conceiving the flower as viewed from one
simplified form
appearance
in
sepal
spikes
all
Egyptian
museums.
3.
Egyptology,
"
words
summed up by
Lc
presumption
of
Perrofs illustration
from nature
is
the
In a
i., ii.)
on
have
"
shared in an earlier publication on the
Egyptian Origin of
the Ionic Capital and
Anhaology,
vol.
iii.
No.
of water-lilies, above
specified,
is
29
Nelum-
Mil
8.
From
9.
Nature.
lotus),
of which
is
Nymphcea
colour variant.
is
its
art
An
aesthetic circles.
the
lotus
"
Oriental celebrity as an
"
is
"
Rose
generally supposed to designate especially the
9A.
Nym-
leaf,
rises
vogue
in
is
on an
the water.
Oriental
its
Nymphcsa
water-lilies,
erect
be found floating, the stems not having reached their full altitude, but the
normal length of the stem from the root is specified as being four or five feet.
may
la XtMmiuim Sftciotum
From
31
important are those of Champollion, Rosellini, Lepsius, Prisse d'Avennes, and the
Description de VEgypte, there are many representations of lotuses and lotus buds
growing in water and rising above it (unlike the two details of Plate iii., 2 and
3, where the plants are represented in water to indicate the water), but there are none
in which the leaves are
Such
represented as growing on stems out of water.
representation corresponds to the facts regarding NymphcBa Lotus and Nymphcea
Ccerulea,
leaves
do not
An
(Fig. 10)
rise
out of water at
and
rise
i),
and whose
all.
is
Rose Lotus
"
is
bell-shaped
bell.
Now
in
thousands of Egyptian representations of the lotus leaf there cannot be found a leaf
which is not cleft. Hence, the illustrations of Plate iii., 2, 3, 5, 6, 8, 12, have been
The
2,
iii.
third point
is
cleft is indicated in
has frequently a
leaf
much more
2, 5,
for
equally conclusive.
The bud
of the
"
Rose Lotus
"
Consequently the
10).
The
has a series
Nymphcea
in
expansion
is
that of
a full-blown
tulip,
whereas the
expanded flower of the white and blue lotus does not generally pass the
by the Figs. 2 and 3.
As we have
is
stages of
Rose Lotus
is
summary
reached,
it
\s<:\t2X\h.2XNelumbium
For botanical
"
all
Speciosum
marked
purely
limit
fully
"
is
shaped
like the
The seed-pod
10).
of the
3a
the size of filberts and are contained in cup-shaped cavities which are on the upper
like
poppy
The
and rayed ovary stigma as described (Figs. 5, 6, 8). The pod develops into a
"
Rose
bulb (Fig. 7) which sinks into the water, while the spout-shaped ovary of the
"
Lotus remains standing on its erect stem until an advanced stage of decay. The
Rawlinson's
illustration of
erroneous one.
"
History of Egypt
is
"
"
for the
"
Rose Lotus
a curiously
is
"
"
Rose Lotus or in the Nymphaeas,
such leaves are found in the
like rushes.
No
and each
pod, bud, or flower grows on a separate stem from the root of the plant.
The
leaf,
pod
is
10).
scientific
the
way in
"
"
Rose Lotus
in
modern
works as the
which he saw
times,
this plant
typically
Egyptian
and
especially sacred
It
has combined
its
knowledge of Egyptian ornament with its knowledge drawn from Herodotus that the
"
"
Rose Lotus grew in Egypt, and with its knowledge of modern Oriental symbolism,
on the plan of the gentleman who acquired his knowledge of " Chinese Metaphysics "
"
"
"
by reading in the Encyclopsedia under the words China" and
Metaphysics and
combining his information.
now found
not
It
well
is
known
in
Herodotus, Euterpe,
easilj, they
is full,
of
water
" But to
obtain food more
lilies,
92.
is fit
and of the
for food,
size of
and
the river
in a separate
great
numbers
call
and dry
lotus,
in the
spring
sun
up
in the
then having
is
an apple.
tolerably sweet,
There
and
is
round
lilies,
like
to be eaten,
pod
that springs
;
in this
Garden and
botanical
'
journal.
Sacred Lotus
flowers
which
up from the
there are
which
'
it
the
10th,
true
Linnaeus
contained
root,
in
form
berries
fit
(Gary's Translation.)
Forest, AY>n\
" But
is
many
assert
still
when
grow
who
this fact
roses, that
is
It
is
called
1889, an American
Egyptian
is
lotus,
the
Nymphaa Nelumbo,
but
33
no great importance which form of lotus is the one copied by Egyptian ornament,
and that even a universal scientific and popular mistake in such a matter is scarcely
worth rectifying. To such possible suggestion it may be answered, first, that the
"
Rose Lotus
"
is not,
desirable to observe
it is
Egyptian
civilization,
Hindu
third, that
yet be determined
may
history
later
times
may
art,
second,
clear
by
and therefore of
For
as models.
belong to the
"
"
Mycenae
li.
[p.
319]),
and the publications of these patterns have designated them as " fan-shaped
"^
flowers
and " large flowers " because this detail has been overlooked. Attention
spike,
to the
form of the
mistaken
for
papyrus,
The
archaeology.
which
is
pendant
after
lotus,
The
expansion
solitary authority
His
ornament.''
and
writers
word
the
in
plants
on the
which
and
"
who
"
sepals of the
of the flower,
lotus
"
and
"
Rose Lotus
this peculiarity
has a curious
Wilkinson
^the
the
is
occur in Egyptian
"
all
later
of
three
all
subject.
modem
caWcd.
botanists
Ndumbium
have placed
Speciosum.
Schliemann's 7/o'w,
in
another
genus
in preface
by F. Adler; other-
and
Egyptian
4),
for
brief reference to
authorities,
maybe
correction
highly important
"Mycenae
culture."
6.
Schliemann's Tiryns,
p. 298.
Ancient Egyptians,
Wilkinson,
" It is never introduced
Edition.
7,
as a sacred
country."
emblem, or indeed
as
iii.
into
p.
the
133;
3rd
sculptures
a production
of the
31
It
may be
and named
then asked,
"
If
'
it
is it
'
'
if it
science
To this I answer
"
?
the
Museum, showing
Since the
Pompeii.'
A Roman
water-lily in Egypt.
leaf
peculiar
"
Rose Lotus
"
and Egyptologists " have explained its former presence there as due
to foreign introduction or to the well-known proclivity of the Egyptians to
introduce and cultivate foreign plants,^^ we have only to assume that the types of
botanists
'"
Egyptian ornament were fixed before the foreign plant was known, and that they
had been fixed so long before, that the presence of a new sacred water-lily did not
affect the
The time
and
earlier date,
in
Egypt.
The
it is
uncertain
how long
The
Herodotus.
The growth
may make
United States
its
way
it
is
to
an
grown
generally
B.C.,
monuments belong
Nine-tenths of the
in
IVth Dynasty.
an indication of the
is
a foreign country.
New
in the
It
open
air.
was
After
The experiment
Egyptians,
who drew a
8.
See reference
at
Note
9.
Wilkinson,
it
p.
407,
for
Roman
Ndumbium Spedosum
11.
As implied
made
their
food supply from these seeds,^' like the Hindus, and like the
Edition.
3rd
Edition,
quotes
the
&c
Amimt
seed and
4.
longer
Note
"
iL
p.
407,
3rd
13.
in
India, grows
no
As instanced by
Hatasou, depicted at
4.
Egyptians,
in
seems to
12.
in quotation,
Wilkinson's
new source
filbert-like
Herodotus,
Thebes.
as quoted,
Note
3.
Queen
"
Rose Lotus
cultivated in
"
China
was introduced
for that
use.
Nehimbium Luteum}*
into
probable that
It is
Egypt as a food
Its rapid
35
plant,
much
spread in the
and
still
it is
less favourable
many
On
ornament
in
intercourse
earliest
not less than three thousand years before the recorded commercial intercourse with
India.
It is
my
and known
Lotus
was
it
"
mission to state
facts
there
is
facts,
it
was known
there, as
in India,
ornament.
my
Egypt
(not in original,
As compared with
many
the
drop in the proverbial bucket as affecting our estimation of ornamental types but
additional cases of this class would be of great interest as rarities and thoroughly
;
novel phenomena.
A curious point
is
is
both
Nelumbium
Speciosum and Nymphcsa Lotus are quoted as sacred plants in India,'^ the lotus
based on the
patterns of India are largely drawn from the Egyptian patterns
i.^.
Dr.
known
to
J. S.
"
the
The
explanation
Rose Lotus
is
simple;
American Indians, by
1887.
15.
Birdvvood,
F 2
is
by
the
far
the history of
Buddhist
Industrial
"
art,
most
Hindu
and con-
List
of sacred
Hindu
plants
-.6
and otherwise, date from a time when Greek intemporary Hindu art, ornamental
^^
and Indus country, and had spread thence to
fluences were dominant in the Punjab
If we
Southern India,'^ and these influences were preceded by Persian and Assyrian.
of the Amaravati Tope of Southern
examine, for example, the running lotus patterns
will show the
India displayed in the main staircase of the British Museum, they
in the Egyptoof the Egyptian and Greco- Egyptian lotus, also present
central
spike
wood
of teak
Hindu
date
An
Birdwood.
is
in the ruins of
art
At a
p. 137).
later
These were
patterns.
in
originally borrowed
all
countries conquered
their lotus
tine,
16.
earliest
influence,
as
gold and silver work are of absolutely Greek character,
(bown by Birdwood (p. 162). ITie same author gives full
fifth
The
are
Hindu
paign.
frontier
The
treaties with
Greek sovereigns
in
century
B.C.
Assyrian
was
The Amaravati
(Buddhist)
p. 99).
early
Hence,
Hmdu
conceded
Buddhist" (Birdwood,
art in general.
campaigns, there
is
is
no doubt
that
the earlier
Persian
had
influence,
and
foreign,
included.
The
patterns
(early
first
These
shaped
rosettes
cavities of the
is
motives,
dominant.
and
the
The Sanchi
still
more
lotus patterns
and
lotus
spirals.
18.
Bhopal
lotus
are
uA hy ViWG,
"There
is
14.
also
patterns
Tope
p.
This view
in
in origin.
perceptible, in the
is
show a
its
indicated,
Dart
"
Moulding
(PI. xxi.).
The
patterns.)
lily
has had so
on
influence
its
37
why
its
trefoil
lotus
The
ornamental patterns.
pedestals of statues
and statuettes of the Hindu gods and of Buddha are almost universally lotus
In
pedestals of the type familiar to Orientalists and lovers of Oriental art.
these pedestals only the projecting ends of rayed petals appear, and a decision based
on
floral
resemblances, as between
We
reached.
may understand
a rosette which
is
of the Amaravati
Tope
which probably
central disks,
settles the
The
in plan."
rosettes
"
Rose Lotus is found in ancient and
Although naturalistic rendering of the
modern Oriental art, it must be remembered that this has nothing to do with the
dominance of a pattern, which is a matter of technical tradition and technical tradi;
In so far
the Assyrian campaigns of the eighth century on the Western frontier, which carried
'^^
of foreign origin.
contact,
And by
history of ornament
is
a very
fair
ornamental art
in so far is its
same
fact
it
To sum up
Hindu
notes on
art, it
There
and Modern
is
is
trefoil lotuses.
known
which
His plate
xiii. is full
is
the
first
to us.
Christian
is
B.C.,
of unrecognized
Rose Lotus."
"
et Chipiez, Assyrie.
38
"
Why is
it,
by no means equally attentive to the naturalism of colour. The realistic blue lotus
is undoubtedly most
frequent on the monuments which have preserved their colour.
The
white lotus
realistic
much
is
but
rarer,
common.
fairly
But
if it
should be
ai^ed
on the papyri of the Turin Collection, and that many lotuses have red and white petals
(same reference). Both latter cases are purely decorative and contrary to nature. The
lotus
represented in Egypt in
is
point of view.
quoted
is
may
be equally faithful to a
"
Rose Lotus."
representing the much-quoted
small
size,
but answering
all
known
it
described by
is
as from Zanzibar.
would be hard
It is
my
It is
to prove that
"^^
authority
uncertain
it
-niRroii..
for Pis.
if
this
"
it
is
indigenous to
is
Africa.'^'^
The
of a lively green."
..
i.
and
later
Victor LoRET
in
New
number and
The only
alternative
Jersey, U.S.A.
2.^.
Viliers
rii
D. Sturtevant
Abyssinia.
-ii/-
Sttoart,
Funeral
ii.
Bordentown,
as the
appear
4.
Note 81,
known
Repeated from
puteu..,
a species of Nyjuphcea of
Africa,"
The
is
and without
"
as
ioTo
There
type,
Nymphcea
It is
There
later.
all
"pmk
Tent
of an Egyptian
lotus" as growing in
the
importance throughout
show
whose
treated.
subject
It
therefore
is
monuments
is
39
is
most
not the
one of
vital
essential to
"Rose Lotus,"
"
types in question, including the Saracenic trefoil and Medieval
Fleur-de-Lys."
I
tomb.
but
if
all.
The
11.
in
Beni Hasan,
Nelumbinm
PLANT.
the
Supposed to be a Ntlumbium Speciosum by
From RawUnson's
"
original publication.
I. p. 58.
and
size.
UNKNOWN
among
detailed at
is
(See
p. 32.)
40
PLATE
III.
Egyptian
t>'pe,
D'Avennes, Monuments,
2.
Ccerulea.
xviii.
Detail from
Egyptian type, showing the sepals and leaf of the Nymphcea Lotus or NympluBa C/zruUa.
f
Egyptian type, showing the sepals and leaf of the Nymplusa Lotus or Nymphcea
Ccerulea.
Detail from
M.C.
5.
Ixviii.
6.
toilette tray in
sepals, leaves,
wood
detail
leaf,
et Ustensiles
de
Handle
Ccerulea.
Toilette.
Ccerulea.
Detail
by a decorative reduplication
Nymphaa
Ccerulea.
Detail
The
from
flower
is
supported
Lepsius, Denkmixler,
ix. 3.
8.
sepals, leaf,
Ccerulea.
Detail
Egyptian type,
in
la Egyptian
13.
32.
Ccerulea.
12.
I.
sepals of
11.
Fouiltes d'Abydos,
II. clxix.
flower, partly
opened
flower, bud,
and
leaf oi
Detail from a
tomb painting
.sepals
at Eileithyia of an edifice in
wood
from CuAMPOLLION,
II.
cxliv.
By the above heading it is not implied that the individual examples illustrated have been specially
and individually mistaken for Nclumbiums, but rather that the mistake of assuming the Nelumbium to be a
typical Egyptian form can be demonstrated by the traits which these individual examples show.
Cv
(>i
r
a
y
//
Q,%
-^^
<^3^
-/y
if \ r:#
/2
"V(
F/. ///.,./. 41.
IV., v.,
PAGES
63, 65.)
The
presumption that a papyrus form exists in Egyptian ornament is as widespread as the knowledge of Egyptology, and as firmly rooted. This presumption
has invaded the
field
emblem
in
naming
it
a papyrus
is
conventional outline,
the
the
is
which
baseless
special cases,
has
supposition
evoked
naturally
12.
in
specialists
LOTUS WITH CONVENTIONAL
"outline'at thTtop."
"""
I2A.
51) to be neither.*
campaniform
Notwithstanding the
of v.
2.
5.
II., p. 14,
3rd Edition,
for
foot of
petals,
for papyrus,
or
with buds.
lotus
bouquet
of
Anhaology,
referring to his
" lotus
Maspero,
papyrus.
translated by Miss
p.
310,
Fig.
279; and
in
"
papyrus
for
three-spiked
(see
Pantheon, p.
46.
Perrot quotes
the
Plate
I.
12 [p. 21],
papyrus, converting
" scfene de
into a
la vie rustique,"/%^;2/i?, p. 790.
bower
Horus
Isis
and Horus
Ausgabe.
"
A.
i.
calf
Brugsch
in the lotus-
and
aiis
Athen, vol.
3.
vii. p.
241.
as
forms
Kadesh
capital (Fig.
4.
et Flairs,
Perrot et Chipiez,
Agyptc,
for
Bordures
&c., &c.
p.
580.
et
Soubasse-
44
papyrus in the
bulk of Egyptian
ornament,
there
is
supposed
The
when he
i),
really stands
on a lotus
Papyrus symbolism has not yet been demonstrated from the monuments.
latter interpretation of Dr. Brugsch is determined by the rendering
supposed to be papyrus, and all citations by Egyptofavour of the papyrus which depend on this reading must be held
of a hieroglyphic sign
logists in
was a "sacred
one of them.
The Persea
tree
was sacred
to
is
Hathor, the
Osiris (Wilkinson,
to
no
by association
and
p.
I,
is
proven a lotus
106).]
The
history of
decorative adaptabilities.
13.
is
to
dependent,
rapid
It
among
decorative
The
surface
For,
and
to a pattern evolved
in
the
sacred than
rendering.
before
the days of
South
art
theoretic canon.
theories
it
is
not an
In the case of the lotus we can point to myriad forms where the flower was
forms,
all
(for there
45
to the
was a
first
pattern
art,^
one.
we can
trace
it
back,
is
fact that
no one
By
art.
represents the
filaments of the head of the plant, separated one from the other and standing
regularly or falling
may
be (Fig.
To
13),
is
numerous Egyptian
in
pictures,
and
and
their
no
and consequently no one has ever attempted to connect the supposed papyrus
form of the monuments (Fig. 12) with such a picture.
There are only two even supposed cases of a picture specially devoted to the
papyrus in the entire range of Egyptological publication.* These supposed cases
show
the plant in the supposed ultimate conventional stage of rendering (the outlined
In other words, the papyrus form must have begun at the conventional
that the lotus is rendered by the
stage where the lotus ended, for no one has denied
conventional outline. This is a curious dilemma, considering that the lines of the
lotus form).
In other words,
admitted.
5.
and
The
mammoth,
horse,
first efforts
6.
ivory, of the
British
One
we can
St.
and wild
on bone
goat, in the
mentioned by Pierret
in
his
Didionnaire
Monumenti
Civili, xxxvi. 3.
It is
referred
to
by Rosellini (Text,
p.
quoted.
have described
follows, p. 47.
The
this picture in
no
text
matter which
is
supposed
to occur as
considered.
The
is
mentioned
at p. 66.
46
surviving traditional
to
purely realistic
which represent
forms,
all
the
in
and,
from the
of treatment,
stages
now move
Let us
actual
In
the
is
unknown,
practically
"
Description de
if
I'^fegypte,"
the
author, Delile,
"
Rose Lotus," but he was
drawing from China for the
It is now grown in
unable to offer any illustration of the famous papyrus.
the fountain basins of New York City, but it has been extremely difficult of
was obliged
access
students of Egyptology.
to
Abyssinia
to use a
the
in
isolated
It
mentioned
is
by Pierret as found in
Menzaleh in the Delta ^ and as
Lake
region of
as being grown in a
occurring in one or two spots in Syria; and by Perrot
few private gardens of Cairo.^ The stream in which it grows near Syracuse is
state of nature,
it
travellers to
for
the papyrus
in
exist,
and that the Cyperus of the Anapus is not the Cypenis Papyrus? According
Illustrations of it are
to the usual view it is absolutely extinct in Egypt.
The Encyclopaedia Britannica and Webster Dictionary
rare in works on Egypt.
VnxKEt, Didionnaire, &c. But this
Mr. Percy E. Newberry (verbal advice).
T.
8.
9.
it is
is
doubted by
"
It
now
Syria."
Ed.
Wilkinson,
Wilkinson
Herodotus.
But
Ancient Egyptians,
the
to
this
is
Hehn, Wanderings of
Air /edited by
Hbhm
same
effect
on the coast of
II., p.
in
p. 233.
which he
taller,
living in
the
first
old
[x/V.,
Cyperus Syriams."
Arabs
because
was
it
Wilkinson's,
by
Isaiah's
not
rarity
particularly
central
cultivated
portion of the
he gives
the
name
of
till
before
after 1624.
900
*'
a.d.,
and
was
not
in
the
Delta).
says,
Sebennytic
It
is
are
italics
is
shown
.
In dwelling on the
"It was
Nome
evident
(south
that
other
sandals,
therefore,
The
there."
cultivated
who adds
shortly
planted at Syractise
and to which,
by the
still
"
calls
growing much
Syria,
406, 3rd
Rawlinson's
this
its
sails,
baskets,
times a
in its stead."
it
47
illustrations
is
are
owing partly
an unproven frequency
surface
Egyptian
known
in
design
The tomb
as pictures go.
far
in art.
is
preservation
of trades, husbandry,
show
paintings which
and natural
objects.
confined
spirit
to
religious
realistic
world
art,
views are
as
now
in
bulk at points remote from the Delta, where the cultivation of the papyrus was
especially affected (Note
9).
The papyrus
requires a
throughout the year. It cannot spring up, like the lotus, in a pool dependent
on the inundation for the roots of the latter plant are known to live in dry
;
the
that
of
palm
is
known from
Therefore, considering
it
the Delta.
it
is
that
pictures
This deficiency is also explained by the fact that the larger proportion of
paintings in which the papyrus might presumably occur as a background or
accessory, relate to the procuring of food for
water-fowl, &c.).
exotic
is
(Note
9)
The
to
the
spirit
be trampled
down
in
in
real
life
highly improbable.
The presumption
that the
is
It
9).
manufacture of papyrus (Note 6). His solitary supposed illustration of such culture
is that of two men carrying bundles of the conventional outline (M.C. xxxvi. 3), but
there
is
no reason why paintings showing the papyrus should not yet be found.
48
It
asked, what then are the plants invariably called papyrus, which
may be
Hasan
(Figs. 14,
tomb
they
normal
14, 15.
The answer
naturally reserve
in
it
As
it
which
is
beside
growing
certainly presumptive
is
more obvious
until the
lotuses,
At Beni Hasan
a curious one.
is
moreover,
found,
which are
of Tih, at Sakkara,
&c.?
15);
errors
shall
the matter of the papyrus have been pointed out in the Plate illustrations.
Meantime, the cuts adjacent of the plants in question indicate either gross
indifference to nature or a supernatural point of view on the part of the
The birds and quadrupeds calmly standing on them are impossibilities
designer.
for either realistic
It is
We
papyrus or
another question
all
lotus.
why
Egyptian ornament
is religious
papyrus,
As a
if it
we
can
appeal to the fact that the scarab, the hawk, the lion, and other symbols did not
in
As
for the
shape of Fig.
16 (conceiving the
a lotus,
is
constantly
detailed
it
is
hawk
as
just as frequently
as a lotus,
associa-
its
.1
16,
rr^y
The
'6
Fig.
it.
to
selected
association v.
The
5.
Considering
for
an
for
^^
lotus
"
"
for a
the branch
^^
for
explain
fully
"*
of a tree,"
"
for
pig-tail,"
the
and
'^
palm fronds,"
"
for a
tree,
its
triad."
"mussel,"^' for
^"
Grotesque
^^
"bent
'"
pictures in Webster's
realistic
steles
"
has been confounded with the lotus of the " lotus eaters,"
it
misconceptions of
^^
daisy,"
for
fan-shaped flower,"
i.e.
"
for a
tulip,"
"
all,
lotus
It
'^
Worse than
"
"
Assyrian
the
by Maspero.^"
has
been a much-neglected plant, notwithdeserts, the lotus
its
fame.
its
standing
Sun-hawks on
the
that
49
for
stick,"
flower"
"
^^
"
"
"
for an
pattern,^^ for a
honeysuckle,"
egg-and-dart
moulding,^"* for an
ivy
^"
*^
"
"
^'^
for the "silphium plant,"
for a
for
leaf/'^'' for a
fleur-de-lys/'
pine-cone,"
"
Fig. 207.
The
little
Menant,
Sargon.
12.
13.
See xxxvi. 4
[p.
referring
247] and
in
p.
Lenormant's
184
JJistoire,
"
fleur
de marguerite,"
&c., v. p. 341.
Orieniale,
22.
The
illustration for
on stems out of
water.
Compare
Compare
24.
Compare matter
xlviii.
[p.
p.
Zopf geflochten."
Furtwangler and
"
"
Mycense
LoESCHKE, Mykenische Vasen, have mistaken
Text, p. 46, as one
types, liv. 13, 15 [p. 325!, for palms.
li.
18.
F.
Compare
and L. Myk.
26.
Cypriote
liii.
liii.
"
(xlvii.,
[p.
323].
p. 6
[p.
323];
specified as a
"gebogene
Stiele."
Vasen, p. 59.
27.
Honeysuckle"
is
p.
424.
Greek Anthemion.
instance.
to
25.
11.
Specified as a mussel by
growing
p. 27.
the
for
17. F.
\\.-g. 120.
" lotus " in
Webster's Dictionary,
39 and Fig.
23.
v. p. 558.
p. 309.
See also
9.
on
Schliemann's Mycena,
p.
16.
in
Newberry,
J. S.
Dieulafoy,
p, 340.
[p.
Dr.
Encyclopcedia
i
felt by Homer's
Food and Fibre Plants
an error adopted
it
lotophagoi."
of
seal
p. 175.
as quoted
ascribe to
Seep. 175.
the rosette, as
15.
the
to
Layard's Discoveries,
by Babllon
14.
Cylindres, &c.,
Menant,
[p. 285].
gift
of eternal youth."
Adler's
Preface in
Schliemann's Tiryns,
referring
9 [p. 319].
Gazette Archeologique,\%%%.
rameau d'arbre,"
"
En
train
de brouter un
28.
Compare matter
29.
Compare matter
31.
Fig.
MuLLER,
7,
mistakes four
silphium."
a date or plum in
moulding.
in Barbary.
This
is
something
like
32.
LiiON
trefoil lotus.
DE Vesly,
"
quatre pousses de
"egg-and-dart"
See p. 155.
so
"
<)S4
"
and " Phenician Bouquet," '^ for oak leaves and acorns,
a "Fleuron"** &c When we find an archaeologist of the distinction of
for
"
border of
Longpdrier referring to the most familiar lotus
Egyptian ornament (xxi. 12 [p. 159]) as 'a pattern found
at Kuyunjik,"*' we cannot wonder that the lotus has
Nehimbium and
The argument
of Plates
iv.
for papyrus.
and
63]
[p.
v.
[p.
65]
is
no
of iv. 3 and
iv.
leaf,
and the
17,
17.
svrFORTiNG A LiAF.
LOTUS
summary
a
(RoscUini.)
LOTDS SUPPORTING
A LEAF.
(Prisse.)
enable us to understand a
18,
typical
l8.
xi.
[p.
107],
Therefore
repetition in iv. 5.
iv.
which has a
5 designates
lotus.="'*
attached.
Fig. 19
is
Egyptian originals at
natural
xi.
Therefore
and
12
of the bud
position
[p. 107].)
iv.
is
iv.
12
iv.
14
[p.
iv.
iv. 10,
The
6,
33.
LuDWicvou
4,
iv.
referring to
34.
[p.
35.
Dk LiTYNES, Num.
fP a3]'
v.,
title.
latter
example the
found in instances
the
(In
as frequently
reversed,
and
63].
and
"
tabs
iv. 8,
iv.
"
and
15,
We
like
see
11.
it is
the
commonest of
all
Egyptian
lotus- borders.
et
p. 106.
cleft
above
iv.
The two
supports a lotus.
by the same
5-1
specified
also obvious
by com-
13 and
iv.
association
16
iv.
is
by comparison of
v.
with
65]
[p.
In
cases.
3 the
v.
North," and
V.
2 with
crown
which
lotus,
is
Sun-hawk on
crown
the
is
"
asp wears
left
"
for
v.
the
supposed to
is
"
is
lotus,
"
the
the North
thus
the
for
(an association
The
repeated at
xliii.
3,
WYX
\5
held
be
to
as
frequently specified
stoutly
It
question of
the
has been
and
lotus,
papyrus,
the
also
by
notably
Mariette."
20.
as
specified
according to the
19. Detail
Isis-Hathor bearing
lotus stems with attached buds,
Denderali.
gxpcrt
*,
^^^
and
papyrus-sceptre
mood
"
lotus-sceptre,"
au iudccision which
ompoograp.
"
"
CAMPANIFORM LOTUS
CAPIIAL (Karnak).
would
is
as misleading in
result as
be.
made a
hopeless riddle
of the subject of the lotus and papyrus (so-called) in Egyptology results from
inattention to one simple fact, viz. that in solid material the lotus was often
represented
37.
38.
Remembering
^gyp(e, p. 582.
admit of
Ptolemaic
time,
it
will
detail.^''
be obvious that a
lotiis
The
solid
will
52
bell-shaped form
hieroglyphic which
has
in surface rendering
This solid
"
mistaken for
been
In
papyrus."
other
the
words,
"
"
we may begin
last
the sceptre
may
is
sceptre
pictorial art,
and
detailed
When
as a lotus.'"
petals.
it
Museum where
the sceptre
is
by Rossi
transferred to
is
We
specified
the
may
quote,
the
however,
large
reliefs
at
fully
As
two cases
(Fig. 21)/"
which
10,
shows
flower
shaped
numbered
the
detailed
bell-
with
Deoderah.
From
by Isis-Hathor,
Author's sketch.
to
represent, at
Beni Hasan,
From Turin
by the
leaf.
From
Author's sketch.
39.
tanti
"Cinque Statue
ancora
mano
la
sinistra
amulet
the
(framed
bell
as
appoggiata
al
ritta
in
capital
with
represented)
similar
detail
(Fig.
23)
Yv.Ksc^sco'R.ossjflMonumentiEgizidelM'useod'Antuhii^
di Torino, p. 9.
40. Personal sketch,
and
(Fig. 24).
the
represented on the
is
53
same papyrus
in
i
25).
the case of
the colonette
amulet
(Figs. 24,
sepals
attention, because
has been
it
confounded by Wilkinson, by
Owen Jones, and by various
other
and observers,
writers
with the
including botanists,
leaves
enveloping
sheathing
The
papyrus
the form
pears,
23.
for
dimension
amongf
It
in
example,
glyphics in the
hotcp, at
Author's sketch.
copy of
direct
of Fig. 24.
lo.
the
tomb
ap-
large
hiero-
of Ra-
4.
Amulet
Maydoum
(Ilird or
lo.
Colonette
From
Author's
sketch.
As
Fig. 23).
is
No.
From
same Papyrus.
from nature on
Thcbatt
Author's sketch.
28,
point between
lu
29).
Fig.
Tomb (Tomb
^
No.
the
27
6,
of the
top
wc havc
Tombs
by a conventional
as rising only to some
this point
thc
of the
we now
hieroglyph
Kine^s),
'
its
base
from
which also
Insisting on the fact that Figs. 22, 23, 24, and 25 are
Papyrus,
flower and
all
was
54
a bell-shaped lotus
lies
in
solid material,
which
first
We
it
viz.
top which
of a solid
in
The proof
figures show
22, 23,
24, 25.
these
all
Compare
appears that the outline lotus (Fig. 22) belongs to a class of pictures
amulet
is
generally
either in
represented,
this lotus
or in surface designs
This colour
is
green generally,
with red or yellow top line and red or yellow petal sheath.
27.
Hieroglyphic,
of the Kings.
36. Hieroglyphic in
Ra-hotep's
Majrdoom.
So^alted
pipjrrus,
specified
as
Coloured green,
The
tomb,
detail.
thor's
sketch .
Tombs of
From AuSo-called
papyrus, specified
as
28.
capital,
From
Author's sketch.
Lotiu
51.
red
Compare
top.
Fig. 23.
pictures of Turin
we
Papyri
Papyrus numbered
7.
and
55
yellow)
are
also
sheath
common
so
Fig.
in
much
ments.
at the
the
to
monu-
No.
6,
Lotus
7.
Compare
p. 41)
capital,
Fig. 23.
observations.
we constantly
of Dehr-el-Bahri
reliefs
figures
bearing
artificial
lotus
attached.
lotus
leaves
or
find
which
staff,
to
lotus
buds
are
Figs. 31
made by me
in
Kourneh (Tomb
125).
Dehr-el-Bahri,
ceremonial
is
it
staff,
This point
represented.
is
plant, is
accentuated by
with
pliant
held
in
on a straight
to
me by Mr.
is
31).''-
made known
At
Percy E. Newberry.
The development
leaves as
Compare
xi.
p. 31
first
have erroneously
an Egyptian conventional
2 [p. 107].
30. Lotuses
lines.
The upper leaves are coloured in the same
way, lower leaves blue. From photograph for the Author.
with red
iv.
[p.
63])
is
56
The
hieroglyph
"
significance
(Figs.
" to
despatch, deliver over, to give,"
colour
its
and
green in Figs. 26
is
red
and
Whether
the
27,
detail.
yellow)
" and
original form
porcelain amulet
now known
in
colour
is
Museums,^* and
the
form
was
in other materials
not for
me
to say,^^ but
has
it
shown
been
that
details
like
demonstrated
31.
From
Tbc
Tomb
Author's sketch in
in
paintings
And
p. 328.
derer
im
The
as
in
Fig.
31,
has
been
mistaken
by Wilkinson
for
" Convolvulus."
43.
"
Brugsch,
Papyrus No. 10
to be lotuses.
As regards
we now recur
the hieroglyphic,
the evidence
to
although
"
Man
legte
dem
Turin
the
by
North,"
"
papyrus,"
sein, griinen,
fiische Griin
der Pfianzenwelt
Friihjahr."
44.
Sometimes
Polytechnic at
of very large
dimensions, as
in
the
head of a
hawk.
Myihologit,
Zweite
Ausgabe,
und "entsenden,
p.
314.
und die
in sich schliesst
iiberliefem, spenden."
45.
"
The
in
Brugsch,
Myihologit,
Zweite
Ausgabe,
p.
325,
animals, of sun
On
V. 3.
v.
[p.
57
65] as
compared with
Denderah there is also
Hathor temple at
found the asp with crown
"
for
the North
twined
"
(Fig. 33),
about
normal
"
for
The
lotus/"
the North
"
r'
sign
was held
be a lotus by Cham-
to
pollion.^''
We
move
now
are
able to
Ilird
buds
compare Fig.
or
IVth
Dynasty
'
'
amulct form had bcCn
.
.
K in Tomb
^ u No.
XT
. .
rrom Authors
sketch
125, Abd-elKourneh. The bouquet is green with yellow tops,
^J^g
crossed with red bars. The tabs are derived from lotus
TT
19.
In
the
is
black,
'
colours of
(compare
^
The body
Thus
of the flower
is
is
green,
is
red
Hasan
of
solved the problem
^
^
Asp with crown
33.
From
for
,
" the
were
tion, the
accustomed to
attribute
to
each colour,
the
the
Sam.
god
as signs for
"
On
the granite
The same
may be
fact
at
wall).
47. Pantheon
bouquet de
est
ici
^gypiien.
lotus,
Matter for
PI.
d'une couleur
et
b.
vii.
"
Le
infe'rieure,
58
and
For the
Sakkara.
at
lotus amulets as
his
growing
actually
it
at
world,
spirit
the
least,
As
plants.
Egyptian
his
represented
always
tomb-paintings
is
art
realistic
impossible
to
say
it
would apparently
It
from the
result
that
clear
is
it
unknown
is
pictures
lotus but
sent the
form
the campaniform
that
of
to
is
realistic
fore-
all
repre-
but
monuments,
think
that
can
it
be
demonstrated.
9,
46, a reference
"
p.
The
From Author's
Maydoom.
sketch in
Growing
Tomb of Ra-hotcp
at
The
Parlatore.
"first
and
the
Sicilian
plume and
esuentielletncnt
de
not
loit
de
la plante, soit
into
exprime
la fleur
as
quoted by Note 9
of
species
the
plant
cup,
much
et
dans
taller,
was a
which
la infime id^e
de
two
papyrus growing
celui qui
pUnche pr6:^ente
between
living in
still
distinguished
papyrus
is
translation
la
de forme,
seulement, ne porteaucune
espfece
of
old
Egyptian
Cyperus Papyrus,
the
Syria,"
de modification dans
Parlatore
at
spreading
native
that
the
calls
made by
le sens
me
top
&c.
into
In this
de ces groupes.
J'ai
the
impossible
word
"
for
any
from
translation
"
word
cup
especially
my
attention
being an
as
supposable
German
the
attracted
59
"
the
furnishing
the
English
reference
edition,
which
his
to
is
This
publication.
professedly
an
omitted
is
matters
in
abridgment
by
of
detail.
Parlatore's publication
"
des Sciences
for
was made
in the
As an
"
Mdmoires
"
Italian botanist
it
Acaddmie
was naturally
his
duty to study the Sicilian papyrus, hence his publication. Parlatore's point is
It is the head of the
entirely obscured by the English translation of Hehn.
now growing on
papyrus
"
"
or
cup
is
"
Kelch
"
either erect or a
never
umbelliferous
Sicilian
papyrus
this point
clear
is
the
would carry
or
and
which
Parlatore
shows
umbelliferous
he publishes a picture of
Kew and
is
in
spreading.
spreading
Nile,
this
plume drooping
Upper
the
that
the
latter),
head
to Fig. 13 (borrowed
from
of
and
the
To make
This picture
Perrot).
Beside
plume of the Cypenis Papyrus ; the former shows the bending plume, with
pendant to one side (and not umbelliferous) as
filaments
it
all
generally appears
in nature.
We
shall
now
by Bruce
in
down
Since 1854,
one made
in
Egyptian Art,
misled by the
60
Cypenis Papyrus
to
now
shall
the ground.
is
probably not
unknown
and
The
monuments.
outline as a naturalistic
art,
Egyptian
argument
so
abundantly supplied
demand for a papyrus
sentimental
the
in
art
Egyptian
Fig. 35
in
the Turin
surmounted by a lotus.
holds a plant which corresponds to
before
II
ijr /
He
^^
hj_\
an
Parlatore's
altar
schematic
illustration
for
the
Cyperus Papyrus.
Pliny says, after enumerating various
uses of the papyrus, that
35. SF.BAK HOLDING THE TRUE CYPERUS PAPYRUS
before an alur crowned by the lotus. From Author's sketch of a
picture in the Turin Papyrus, No. 10.
its
head had no
me
tViA
Museum,
of
to
the
there
as
laid
it
representation
schematic
my
papyrus.
is
corresponds
the
Cyperus
would
sideways
In the
objects.
to
of
plume
Papyrus,
a representation
which
plant
when
is
appear
on
New Empire
such
this
(Fig.
According
36).
view, here
is
the
true
A similar representation
and
36.
will
sentation of a plume,
handed
down by
tradition
and conventionalized.
Such
Khem and
sometimes without
detail.
case see
latter
are not.
iv.
13,
to this
According
But
there
is
the decree of
of
R. S. Poole, that
Professor
the
in
still
Greeks
the
to a
of the goddesses
sceptre
6i
Canopus, as
of the
papyrus.
made known
Period
makes
possible
This
it
as a growing plant)
for
papyrus.
That
the
sceptre
appears
me by
to
Alexandrine
It
topic.
compared
(also
was
the
that
when
really
proven by Fig. 21, and by the relation of the hieroglyphic form to the
lotus (Figs. 22, 24, 26, 27).
The mistake will be more comprehensible if we
lotus
is
remember
Egypt.
is
the
it
Inferior
mentioned by ancient authors (p. 46, Note 9), and we have no grounds for
assuming that they were not also sacred plants. The umbelliferous shape of the
head of the Cyperus Syriacus
sceptre,
or confused with
as
it,
it
to
the
It
shape of the
is
clear
Their
the
The
that
of
authorities at
the
distinction
Upper
pointed
Nile,
way
assists,
the
is
who
of those
according to
been overlooked.
it
and
illustration of Perrot,
not
may
view,
Not wishing
correctly represented
their
consider
my
growing
out by Parlatore
the
Kew
from
the conventional
the
specification
outline
a papyrus.
It
in
also
have borrowed
63
PLATE
IV.
Typical
detail,
autres Vases.
85.
Hathor
(the
lotus.
7 [p. 107].
and
From
7.
tt
Typical lotus forms (so-called paj)yrus), supportinK leaves of the lotus partly concealed by the flower.
(Compare XI.
6.
I.
From PlERRET,
5.
Typical associated decorative details, showing the so-called papyrus form, but having lotus leaves.
Cows (Hathor)
Typical formiii howlng lotus stems with tabs derived from lotus buds.
3,
244.
LXXXIII.
leaf.
Detail
Prisse
showing so-called papyrus form, with tabs derived from lotus buds.
Cyprus, Kino's Appendix for Gems, XXXI. 11.
Phcnician
seal,
to stem
of flower;
Typical Egyptian
LXXII., A.
11.
detail,
New
nature,
York.
and
Compare
From
Navii.le, Todtenbuch,
10.
From an Egyptian
12.
xlvii. 13 [p.
From Cesnola,
Typical Egyptian
vase
detail,
in
the
common
is
spcciflcd as lotus
by the
tabs.
Collection.
lotus
The
From Prisse
God Khem,
To
16.
IV., cccxlviii.
14.
Mummy,
with lotus, having buds on the stem (to illustrate origin of the tabs).
Detail of a stone
Lotus with
16.
God Khem,
tabs.
New
York.
Compare No.
13.
Detail from
XV.
all its
individual examples.
64
PLATE
V.
1.
The
2.
The
No.
3.
3.
4.
The
2.
"
to be
"
left
as hieroglyph for
papyrus
d'Avennes,
"
Time
the North."
Compare
Isiaqiies.
2.
of Trajan.
Compare
de Boulaq,
Compare No.
The asp on
CXXXV.
4.
The asp on
Compare No.
i.
XIII.
5.
Sun-hawk on die
6.
Sun-hawk on the
lotus.
Compare Nos.
and
and
7.
From ROSELLINI,
M.DC
XXI.,
7.
11.
XXX
J.
Sun-hawk on the
illustrations, xliii. 3,
8 and
10.
Compare Nos.
lotus.
[p. 283].
list
Mariette.
et
Dendi'rah,
II.,
44-
Ptolemaic or Roman.
From
Soubassements.
Edfou.
From
cxxxvii. 4.
This heading
Additional
See also
Detail from
6.
specifies the
its
individual pieces.
^Mt
I
y
/)
66
APPENDIX.
37.
Finally we have
to mention
II. 12),
the
the plant
On
this
the
point
outline
to
outside
It leads us to
hiero-
38. Demonstration
a
glypli called papyrus as being
lotus, by association with the leaf.
From Birch, Autiquities in the
Plate 32.
British Museum.
for the
my
association,
by an
at
no longer
in
symbolic
tomb
is
a lotus
39. So-called papyrus supporting
bud inverted (compare Fig. 45, p. 73).
It
accessible.
It is sufficient for
ordinary
now sanded
it
up.
the con-
may
The
me
to
and
detail.
jurisdiction.
Sakkara to have
lapse
water-plants in general.
represent
forms which
(Yy
is
figures
by Mariette
This picture
problem.
used
this
by these
represents papyrus.
is
Baedeker's
use.
"
tomb of Ptah-hotep,
offered a large
sum of money
all
39B. Conventional
Dynasty (to
is
the
in derivation, in
Egypt
"
mentions
at Sakkara.
to the
This
Scheik at
PRibSE d'Avennes.
is
carried
picture
is
which
37),
outlines
of the
XVIIIth
The
vi.
VI.,
PAGE
69.)
all
students.
Type
vi.
3
intended to indicate and include the campaniform capital of heavier
proportions
have seen that this capital, which is still in debate as regards the
(Fig. 20).
motive, must be positively assigned to the lotus. The decorative petals and sepals
is
We
of Fig. 20 and of
columns
(lix.
vi.
1,6, 12, 15
[p.
lix.
it
point of view.^
realistic
The
fact
is,
as
may
1,6, 12, 15, that this ornament does not relate in Fig. 20
(or vi. 3) to
sepals
and
Thus we understand
to naturalism.
vi. 6.
The form
member
is
of this
member
is
will
vi. 3,
grew
member
of
The upper
sepal triangles.
The
(a
by Reber,' but
The
types of Plate
surviving examples,
down
members
indicate fairly
vi.
to
the
Persian
all
known by
B.C.,
assuming
of
vi.
2.
DiEULAFOY.
See Notes
Pis.
for
3.
History
of Ancient
Thacher Clarke
8, 9, p. 72.
Harper
Art,
&
translated
Bros.,
N.Y.
by
Joseph
68
distinctive for the
time,
and
is
earlier date.
It
was one of
lotus
national cult
Greco-Roman
capitals,
From
whose symbolical
relation
translations of Professor
the
to
^
Maspero
it
architecture is in question.
4.
PLATE
VI.
1.
Boi's.
3.
Kamak.
Thothmes
4.
Detail in stone
relief,
Bois.
Piliers,
III.
From Chipiez,
5.
XlXth Dyns.)
7.
same
reference as No.
5.
which, being of
Colonettes en Bois.
wood and
^um
r'i
Vk2l
mum.
Ill}
w,i
/v. F/.,
69.
An
Ionic capital
delicate
PAGE
79.)
is
VII.,
is
lines,
which
in
for the
straight.
the lines
and
the
and
original
typical
form
is
have
to
supposed
allow.
GREEK IONIC CAPITAL.
art
is
Egyptian
authorities
Ionic,
who have
which
The
offers
first
42.
no dated examples of
archaeologist,
Puchstein, Das
Programm
undvierzigstes
Archaologischen
to connect
43.
CYPRIOTE TOMBSTONE
lonische
His references
zum
Gesellschaft zu
Capitell ;
Sieben-
Winckelmannsfeste
Berlin.
Berlin,
der
Reimer,
44.
(Golgoi).
who adhere
to
the
1887.
It dates
^.
similar
B.C.
made
capital
in
II,
matter,
made
in
essays
Revue AnhMlogique,\o\.
lished posthumously in
2.
earlier
by the French
1.
so far in
is
5.
Revue ArchMogique,
lished posthumously in
xxix. p.
24,1875.
Monuments Antiques
vol. xxxiii. p. 176,
Repub-
de Chypre.
1877.
RepubMonuments Antiques de Chypre.
^i
F02UIS.
Although they
Cypriote tombstone (Fig. 43) and to Cypriote Ionic capitals (Figs. 42,
universal assumption of archaeology that
origin,
his
in
to
related
the
44),
was
to
the tombstone,
Fig. 43,
specified
the volutes as
representing
curling petals, the central triangle as representing the ovary, and the upper introrse
scrolls as representing stamens.
specific reference to
In 1885
vii. 7,
Neither
Ionic, in 1857.'
"
called it a
water-plant,"
in 1880."
but Wilkinson
first
volutes of Egyptian lotus capitals with the volutes of the Greek Ionic, by
way
of
tombstones and
by Colonna-Ceccaldi."
The normal form taken as point of departure by Dieulafoy is the Karnak example,
vii. 6, whose volutes he conceived to be
petals curling downward under pressure,
links,
The
as lotuses
vii.
8,
9,
M. Dieulafoy
in detail,
it
is
Without
he
was undoubtedly correct in his results, and fortunate in his citation of examples.
However the lotus volute originated, it is clearly one aspect of the Egyptian lotus
form.
We can
form, as in
iv.
trace
it
[p. 63],
like vii. 2, 3, 7
Plate
ix.
imporUnt essays
hildende
Kunst,
1880,
devoted to
the
Egyptian
No.
10
in
Proto-Doric
The Egyptians
Pharaohs (published
Company), p. 157.
L'Art Antique de la Ftrse, III""' Partie, pp. 34-55.
"En
9.
(see xi. 2,
[p.
107],
eux-memes
et
laisserent
apercevoir,
la
tige
calice."
and
sur
Triglyphs.
7.
monuments
illustrations in the
se
distinguaient
les
en
Entre
li^gferement
s'ouvrant,
le corolle
enveloppes foliacdes
du
Fig- 45),
not
is
it
certain
vii.
I,
is
6,
4,
member,
am
obliged, at
member
ence to M. Dieulafoy.
EGYPTIAN IONIC LOTUS SUPPORTING AN iNVERTKD BUD.
45.
which a
cleft
flower.
to
assumc
was introduced
it
presentation,
show
all
would be comparable
lies
[p.
in
41]
^\
this
all
defer-
4
in
at
as
way an
of
type
this
artificial
supposed
such
in a figurative
vii.
iii.
artiticially
the moment,
for
Taking,
to
l' C.
2Xi
in
their
base.
interior
central
because
the
Egyptian
art
incorrect,
Now
the
section
17, 18),
but
it
never indulges
in artificial
rosette,
We
2,
central
and Plate
member
inverted
but
3,
it is
We
bud
For the
and as especially
iii.),
it
is
trefoil
forms of Plate
in the three-spiked
of the conventional
(Fig. 45),
lotus
vii.,
as
we have
by iii. i, 4. As the
sometimes displaced by an
illustrated
trefoil
is
all
cases which
is
intended,
vii. 7, is
an architectural model.
papyrus form,
vii.
2,
3,
(like
the
outline
sepals.
(A
74
similar example
is
cleft,
These
173]).
[p.
exhibit in their
4, 6, 9, 10,
i,
illustrations
We
may now
objection
to
representing
petals
shows a
[p. 41].
As
the
plant.
(p. 27),
from
peculiarity
iii.
nature,
M. Dieulafoy,
its trefoil
stage,
to Fig. 3, with exception that the sepals have curled over, a frequent though not
"
Rose Lotus,"
a constant appearance in the white and blue lotus, not found in the
whose
That
is
peculiarity is offered
xiv.
will
be found on
[p.
287].
by Fig.
49,
relation to the
Greek
"
13
[p.
specifications
and
find
In
139].
of
Professors
On
Loeschke.
liv.
[p.
Furtwangler
we
325]
15.
shall
Nos. 3
and 4 also
Xlt
More
through these,
viz.,
i,
and
2,
24.
Nos.
volute,
CYPRIOTE VASK.
N. Y. Museum.
48.
45.
10.
this
In Mykeniicnc Vaan.
The most
obvious relation of
found at xxxuc 5
[p. 253],
and
Figs. 160-163
will
pp. 31 3'
be
3i4-
The same
metric
"
line of the
"
treatment of the sepals occurs on a Greek geo-
is
a lotus.
75
flower.
we
resemblance
One
seemed
Fig. 4) as
(to
decorative deviation
same
is
shall
lotus sepals,
its
peculiarity, or
to
This
detail, vii. 8,
is
conditions.
apparent.
Egyptian
either from more
invariably, curl
conclude that
is
erect,
and only
facts to
the decorative habit which forbade an illusive foreshortening of the central sepal,
which
that
in nature
when
Hence, we
may
argue
in
wood
and
will be
it
curl over
in
As
or stone.
PI. xlvii.),
this kind,
bounding outlines
still
exhibit
in Fig. 4.
The Cypriote
at the sides,
which appear
above
the
difficulty of
According
Ceccaldi
(p.
to
the views
offered,
suggestions
"ovary "(Fig. 43) is in reality the survival of the traditional central sepal. His
view of the volutes as curling petals must also be abandoned. The upper introrse
scrolls of Fig.
"
honeysuckle,"
be subsequently explained.
own
first
between
is
not,
the
demonstration
New
Egyptian
is
lotus
reserved,
Ionic
My
Greek Ionic
connection
capital.
This
76
We leave
lotus.
its
which the
Egypt
detail
The
reasons
why
(vii.
6) is in relief, against
is
it
tomb-paintings of wooden
also
show a
light
Ionic form
and
we have
is
paintings of
asdicules,
elegant system
confined.
shrines,
It is the destruction
of the
monuments
wood which
in
capital.
was
derivation of the Ionic form from the curling sepals of the lotus
anticipated by
now on
my own
that
in
''
when
year.
it
was
As Mr.
Newberry
is
an
The
vi.).
the
was
but
observing that
abundant explanation
vii. 9,
is
from
the
Ionic
capital,
like
observations,
my
with
purpose,
for
Mr.
Newberry's
They
49.
[p. i873.
The
11. It
12.
Ionic volute
was piepared
announced by me in 1888.
not confined to the form of an architectural
derivatives, as
is
Ameruan Journal
of Archaology,
Vol.
iii.,
No.
4,
"
Egyptian Origin of the Ionic Capiul and Anthemion
in
Ancient Art."
capital.
The Lotus
architectural examples,
viz.
is
yy
an apparently
that
floral
it
motive.
It
can
not a
is
It is
impossible to admit the spiral as a lotus in Greek art and deny the spiral to
art,
our
ornamental art
Egyptian
monuments
of
its
matter
development and
is
more
origin,
and
limited,
it
is
because
we have no
'
announce the extreme conclusions which can only be proven by a history of Greek
ornament, viz. that the meander and concentric rings are both lotus motives as well
as the spiral scroll.
is
in evidence,
but
it
may
first, it is
Geometric
"
not
till
Pottery, that
we
receive
Egyptian
we can
ornament, but an
initial
is
European
The
prehistoric
\^\
FROM NATURE
CYPRIOTE LOTUS.
RHODIAN LOTUS.
MELIAN LOTUS.
PLATE
VII.
earliest
The
6).
earliest
[p.
architecture belongs to
Ionic
139]; xxiii.
The
[p. 173]).
earliest
B.C.
2.
3.
4.
From a tomb-painting
wood.
handle of a standard,
in
handle of a mirror,
wood.
in
in
wood, as represented
in
tomb-paintings.
D'AVENNES,
Constructions en Bois.
$.
6.
wood
50.
Prisse d'Avennes,
RoSELLiNi, M.C.
7.
in
Thothmes
on
pillar at
III.
Ixxxi.
8.
Typical
lotus,
"DlEVLKBOW,
UArt Antique de la
Typical
la Typical
lotus,
wood, as represented
Reference as above.
in tomb-paintings.
turns en Bois.
ja
K^'Z-fX^r^^^m^
r^
PL
VII., p. 79-
There
VIII.,
PAGE
87.)
who
catalogued the
Farman
RINGS.
Collection of scarabs,
(viii,
to
type of
the
The gentleman
New York Museum,
21, 25).
lent to the
significant amulet of
it
Egyptian worship,
is
impossible to suppose that the extremely numerous type of scarabs with concentric
rings
made
repeatedly
Egyptian scarabs,
of Plate
No. 24
is
The
viii.
No. 23
illustrates
for
scroll.
They
neglected.
are
The Cypriote
Mr.
Charles
translator of Victor
Bas a
3.
in
Greek
from
by BoHLAU
A similar explana-
spirals
is
suggested
Dumont et Chaplain,
explanation
in
Cesnola's
Cira-
PL
Cyprus,
v.
p.
334.
'
Greek
The same
4.
Leyde.
been offered by
Life ofJesus.
2.
tion has
Ionic capital,
Musk
Emblems
grinations
de
lame
dans
I'autre
monde,"
Monuments
d^Ahydos,^. $^i.
82
viii.
offers
14,
Assuming
monument
may
Museum
No.
the Naples
As
(p. 86,
how does
illustrating
14).
another instance
far as
forms (Nos.
16
the
Plate.
of Plate
From
natural
related to vii.
spiral.
we
79]
[p.
in
y-^^
The
viii. 17, is
T,,,-.
y (yC/C/
pass to
viii.
17,
is
deprived
is
To
obtain a pattern of
to design a
join
'CJ^
it
and
scroll to
FORMATION OF THE SPIRAL SCROLL
rviu LOTUS WITH ONE VOLUTE,
as
is
pattern
the
is
9
decorative method which
viii.)
Hence
51.
the above
lotus, it
spiral scroll,
question,
displacing,
the demonstration, which follows in later pages, for the identity of the
is in
or
to,
obvious rcasotts
why
It
is,
therefore,
by small ivory
offered
on
instances in
From
this
objects,
pattern.
The
difficulty
in
the
museums, but
of working lotus
spiral
material
it
From
and
traditional
the scarabs
it
symbol
in
and
is
were a
spirals
their use
by
on an
all
conceded, and
we
method as
survival of a realistic
may have
That these
That
The
disappeared.
whose
Plate
earliest
early examples
is
No.
20,
of
17,
very large.
The
number
No.
17
is
difficulty
of cutting the delicate details of the flower on a hard material in so small a compass.
The Museum
52.
53-
Scarab in Leyden.
three-spiked
SCROLLS.
54-
Scarab in Leyden.
From
the
Leyden Museum
is
also
the
numerous.
The
association of the
is
a distinct design.
is
a very important
of the
The
Ankh
among
Fourth Egyptian Room, British Museum
fact.
appears
(No. 7688).
that there is
still
We
5.
Egyptian Archaology
; English translation
p. 243.
8^
RINGS.
by
or spoken at the
moment
well as an ornament."
"
of consecration.
The
italics
are
Every
object
therefore an amulet as
was
own.
my
This
Egyptians.
is
a single form or line in their pottery decoration which has not magic significance.
"
"
Even a break in a line of colour may affect the life of the vase.' It is obvious
that such symbolic use in pattern ornament, of any natural form, promotes a
conventional treatment. The letters of the alphabet, as derived from hieroglyphics,
lost their original pictorial character
The same
As
ornament.
is
rings on
if it
be looked
into.
point."
The
have collected
largest united
and exhibited with quasi-Egyptian enamel objects. Combs were thus decorated,
both in Egypt and in Mediterranean localities, where the finds otherwise show
Egyptian influence.'"
Small pottery coffee cup holders decorated with concentric rings are
6.
7.
My authority
is
Hemcnway
8.
in charge of the
boomerangs, Case a,
Museum.
now
3,
rings
of Egyptian influence.
on Egyptian ivory
"),
Concentric rings on
historic tombs,
ivory
British
sold
p. 97.
still
ivories, asso-
Museum
cylinder,
Museum,
9. First
from
tian
Cambridge,
Concentric rings on
Anglo-Saxon
Vase Room.
The
objects
are
Room,
Room,
&c., &c.
of Bologna.
British
Collection at Florence.
mainly small
uncertain use.
Fourth Egyp-
in the
Egyptian
at
RINGS.
85
is
earliest
and gold and silver vessels associated with the pottery finds also exhibit.'^
These metal objects can be traced, by study of their patterns, from Scandinavia,
England, Germany, France, Switzerland, and the Tyrol (Hallstadt), to
"
"
culture
in which two latter arts both
Mycenae
early Italian art, and to the
The meander and the chevron
concentric rings and spirals are dominant motives.
Ireland,
same
travelled the
spiral scrolls
art.
The
(x.
[p. 97]).
The argument derived from these facts may be illustrated by a modern parallel.
we are advised to-day of spiral scrolls as being found in the ornament of Salt
If
Lake
we can
City,
predicate the fact with absolute certainty that these spiral scrolls
show a Renaissance
we
assert as
influence
a matter of
he never does.
fact that
him
We
art.
to
for
its
him
This
is
do not
assert
spiral scroll,
because
it
is
but
easier for
spiral scrolls
nothing to show that early races were more original than we are in
such matters. As far as their civilization was derivative their ornament was also
There
is
The
derivative.
first
was
that
Ivi.-lix.
(pp.
339-345).
The
two
other
illustrated
by
Note
The most
interesting gold
and
silver
examples
The
finest
Fine
example
Athens.
13.
on
ivory,
Compare Plate
on pottery
Ivi. 7
centric rings
Cypriote
art. in
which there
10 [p. 341]).
Con-
is
86
PLATE
VIII.
RINGS.
Klaproth,
r.
Klaproth, XXV.
Scarab, showing one lotus with Ionic volutes, and two small lotuses,
135.
3.
4.
Tanis, II.
5.
Klaproth,
II. 82.
6.
Klaproth,
II. 74.
7.
Klaproth,
I.
8.
Klaproth,
II. 75.
2.
viii.
29.
lotu.<!
Ionic form.
46.
scrolls,
in
conven-
tional outline.
9.
Klaproth, VI.
313.
Scarab, showing one lotus Ionic form and two spiral scrolls.
ID.
Klaproth,
I.
11.
Klaproth,
Compare
II. 77.
52.
vii.
Scarab, showing two lotus Ionic forms. The little tabs are a mark of the lotus.
They may be originally inverted buds, or simply streamers, in which
ix. i, 2, 3, 5.
in vii. 5.
12.
Klaproth,
II. 64.
13.
Klaproth,
II. 75.
Scarab, showing two lotus Ionic scrolls, and two lotuses in conventional outline.
form of concentric
is
rings,
a small
Scarab, showing four connected lotus Ionic forms, and two conventional lotuses.
15.
Klaproth,
16.
Klaproth, XXV.
17.
18.
Renan, Mission
II. 65.
Scarab, showing two lotus Ionic forms, best viewed from the side.
Scarab, showing lotuses in lotus spirals.
de P/Unicie, p. i6i.
de Phinicie, p. 163.
going.
19.
Renan, Mission
20.
21.
Klaproth,
II. 107.
22.
Klaproth,
II. 86.
Klaproth,
25.
Farman
II. 85.
Collection,
scrolls.
by tangents.
Compare No.
19.
P^e)
JO
11
7^
13
JfJ
I'
17
2i
Assuming a
PAGE
91.)
still
point,
IX.,
must be observed
it
"
Herzblatt," the
heart-leaf,"
shown
ivy.^
the heart-shaped
The
[p. 133J.
unknown form
in
ix. 3, is
show
lotus supporting
which
order to
show
indicated
shown
scroll
in
As
scroll."
illustrated
lotus.
by
at ix. 4.
Egyptian
is
[p. 147].
lotus.
ix.
by
A similar
i,
I
it
motive,
decorative border,
its relation,
pattern from a
xix.
clearly
tomb
is
shows
ix. 5,
The
entire pattern
shown
in alternating sections
is
is
forms have
its
is
the
The
capital, ix. 4.
shown by
identity of problems
in
is
of
Some
leaf.
is
it
The
at xiv. 4, 5, 10
Hence,
i.e.
ix. 4.
is
an introrse pattern,
inverted at ix. 8 in
by the following
Plate.
"
Blume," or Syrian flower," a plant which
I.
The resemblance
"ivy"
pattern called
pattern called
(xxii.
"
9 [p. 165]),
ivy."
very obvious.
But the
by students
"ivy,"
"
"
5 for the
Syrische
xxii. 9.
The
2.
made
for the
for the
pattern
"
Herzblatt
"
is
commonly
is
ix.
P. 50,
invariably
made
Note 33.
90
PLATE
IX.
The
earliest
motive resembling
1.
Handle of a
ix. 7.
scroll
Ionic lotus.
The
for that
lower
a ceiling
number.
member shows
the typical
same form, a
corre-
spondence marked additionally by the repetition of the tabs or streamers, which are one of the formal
signs of the Ionic lotus.
Plate.
2.
From Champollion,
Bois.
Greek Ionic
Semper, Der
Sit/, II. p.
Bijoux.
421.
The demonstration
From Pkisse
illustrating the
Detail from a gold and enamel bracelet (shown at xxxi. 8 [p. 221]), and illustrating the introrse scroll
as a lotus.
4.
figures of this
Compare other
II. clxvii.
D'AVENNES, Colonettefen
3.
for the
and proves
it
'
Ceiling ornament (original in colour), showing the origin of the introrse lotus
mediate member
is
Ionic lotuses
The
scroll.
it.
inter-
From Prisse
D'Avennes, Plafonds.
6.
Repetition of No.
3,
inverted, to
show the
Limnatis.
7. Ceiling
5.
is
now
Siout;
for this
MELIAN DOUBLE
MELiAN LOTUS
LOTUS.
DERIVATIVE.
tomb of
form
positivc.
in
Repetition of No.
Limnatis.
$,
inverted, to
Greek
show the
is
F^gypte, A.
this class
Dynasty.
Hasan (Xllth
now
reacts
iv.,
64,
extant
is
The demonstration
Thc demonstration
whose history
8.
Meri-ka-ra, Xlllth
de
D'Avennes,
[p.
147])
is
on the original
Egyptian
forms,>
o
o/l
earliest evolution
is
unknown.
i^S^
^^w
8
Fl. IX., p. 91.
The "Meander,"
and
in
"Key"
PAGE
97.)
is
pattern
distinguished
plates
"Fret," or
X.,
of
needless.
German
still
exists.
The
Rosellini
We
scholars,
and
looking in Egyptian art for the original types of Greek ornament has not been
cultivated.
It is
we
find
meander.
As
ornament
is
to
for.
is
elaborate, I suggested (in 1888^) that the exact converse of this proposition
true
one.
The same
Greek
spiral,
and apply
home
was the
German
We will
of these patterns.
to the
spiral pattern, x.
7,
x. 9,
lines
forms of the meander will have developed from spirals of varying arrangement.
The fact that such patterns are found as decorative variants in the same tomb,
the meander in the natural
suggests an additional cause for the development of
wish to substitute a decorative variant for a motive which has become monotonous
by
repetition.
It is also
"Egyptian origin of the Ionic Capital and Anthemion." American Journal of Archaeology, vol. iii., No. 4.
I.
p. 349.
3-
The
designation
Compare
Plate
Ix. [p.
meander
359].
in
which the
is
intended to
lines intersect.
94
The
"
To
then be asked,
may
this
positively, in origin,
it
may
Is
there
359])
(Ix. [p.
is
most
known
354).
(p.
The meander
Museum
Room)
is
An
of this pattern, and the scarab in question has an oblong rectangular outline.*
additional corroboration for the derivation of the
is
offered
as found in the
tomb decorations
in
spiral pattern
(x. 7, 9).
x..
No. 6
is
an
illustration of the
normal form,
and
it
I, 2,
3,
will
Thus
VG/C/C/
is
EVOHmON
vii.
79] Fig. 4,
[p.
The most
floral
orlgiual
144]
[p,
the
unity in
we
now be
Egyptian
therefore
an
corroboration of
lotus
and
this
noticed that
spiral
is
patterns
4,
i,
spirals
are
related
5.
pp. 73-77)
the
in
lotuses, xvi.
and
Rhodian
to those of the
fortunate that
Ionic volute
curious
pattern
SPIRAL SCROLL.
Plate xvi.
No, 6 the
In
55).
of the Egyptian
origin
OF THE
82,
repeated (Fig.
"""SJ^
55.
The
doubled.
p.
indefinitely
spiral,
-^'\>-*ft5>-*yX
it.
we may also
arranged as in
ix.,
91]
i,
2,
3.
7,943, in the
Herzblatt" as a lotus
and other
obtain the
x.
"
corroborated by an " Eye amulet with meander. No.
[p.
"
"
details there
Herzblatt
"
shown.
(as at ix. 7)
"
from
"
Mycenas
65 ).
pattern,
[p.
We
321].
The
how
No. 8
in the
may be
Museum,
British
same
direction,
Vase Room),
An
x. 8.
In the
shape of
It is, therefore,
detail of an
period, the floral
there are
90)
showing how
naturally simplify and diminish, and ultimately
an indication
is
element
7, p.
an interesting variation. It
the original element of the lotus pattern may be dropped, leaving
floral
95
Egyptian
jars, in
the
Maspero
important to observe
that,
collection of
at
a given
(known by tomb-painting
when
the large
tomb
up the tomb
it.
It
is,
therefore, a very
which has given them largest illustration (Prisse d'Avennes), and to observe. that
"
"
Herzblatt patterns
the floral element of the lotus predominates in them, that the
and that the linear spirals and
include small lotuses
(ix.
generally
[p.
91]),
rosette.
This ornament
will, therefore,
be
On
this
x. 7
56.
"Mycense"
Culture.
96
PLATE
X.
dated instance of lotus and spiral appears to be at present of the Xlth Dynasty (viii. 17
The isolated spiral scroll can be dated to the Vth Dynasty (viii. 20). Published
87]).
earliest
[P-
can be dated from the XVIIIth Dynasty, but the pattern ix. 7
pattern from Beni Hasan in the Description de I'Jigj'pte,
[p. 91] can be dated to the Xllth Dynasty
A. iv. 64. This tomb detail has been destroyed, but the pattern can still be dated to the Xlllth
Dynasty in the tomb of Meri-ka-ra at Siout. The earliest dated meander is in the same tomb.
examples of types of
this Plate
ii
2,
3, 4, 5, 6.
The animal
Typical spiral (in colour), with rosettes, Prisse d'Avennes, Plafonds. To illustrate the derivation
of the Egyptian meander. This important pattern, from Tomb No. 33, Abd-el-Kournch, at Thebes,
shows in the original perfectly separate and distinct lotus rudiments in the shape of triangles in solid
colour.
These
tiiangles
have been enlarged and united by the artist of Prisse d'Avennes in such a
and are so copied in my Plate illustration.
way
Compare
the cut below from a sketch personally made in the tomb. The three-spiked rudiments
of Fig. S3 are a parallel to this phenomenon of the rudimentary triangles, which is well explained by
No.
8.
8.
9.
fret,
is
Champollion,
II. cxci.
by no means confined
intersecting lines.
To Compare
Sketch from the original tomb
pattern misrepresented by the artist of Prisse
d'Avennes, as copied at x. 7.
X.
^^
l^ioll
oHHi
UplMjO
9
Fl.X.,p.<)1-
THE ROSETTE.
(PLATE
Thr most
XI.,
PAGE
107.)
is
prejudice continues,
for
it
will render
As long
as this
Egypt
in matters of orna-
Of
influence implies.
We do
A.D.
is
B.C.
not deny that the history of Spain, France, Germany, and England
when we observe
by
a wave of Italian Renaissance influence after 1500, which absolutely obliterated the
Gothic style and ornament and
We
when we
or
all
mediaeval externals.
literature,
France
Spain
into England.
Syria was the
through which this Italian influence penetrated
influence penetrated Mesocountry through which a corresponding Egyptian
potamia.
It
civilization
I.
VoN
SvBEL,
speaks of the
K-nm
rosette
as
des
to
Ornaments,
Aegyptischm
New
referred
A.
S.
Cyprus,
by Winter
silver
Mittheilungen
rosette
is
invariably
Anjou ruled
to Assyria.
Professor
p.
cow-head of
origin.
archaeologists
of
Murray
by German
House
Renaissance
Mycena
(xxvii. 7 [p-
i97]) to Babylonian
THE ROSETTE.
loo
Naples and Sicily in the thirteenth century, and that the House of Aragon ruled
that
and ultimately Naples, afterward
Spain was mistress of all
Southern Italy after 1500, and that France had conquered Milan at the same
time.
It does not weaken our estimate of the influence of Italian Renaissance
Sicily,
civilization
in
upon modern
Italy after
1530,
to
Europe
know
that
there
principality
controlled
by
a foreign dynasty, and that even the elections of the Popes were influenced
by the rivalry of France and Spain. In like manner it does not affect the
question of
Egyptian influence
upon
that
B.C.,
did
the same,
that of
until
in the sixth
Egypt;
the
Persian
century
supplanted
independence we
its
destinies,
but
because Italy was the magnet of barbarism, and the focus of art and
the centre of luxury, and the
The
now
home
of
modern
Rome
century
time.
letters,
civilization.
Germans
India to
was
of
it
relation
rule that
it,
many
foreign
races
and the
down
relation of
to the present
weakened by
expansion and by luxury, and tempting barbarism by its weakness and by its luxury
until that barbarism, in its turn civilized, experiences the like destiny.
Assyria
was flaying defenceless captives taken in war, not far from the time when an
;
Egyptian king had abolished the penalty of death as a punishment for crime.
But Assyria played its role in two directions, and it had overrun Chaldea
a.
The
Meroe
in the
times of
THE ROSETTE.
before
invaded
it
Egypt.
Assyrian
letters,
civilization of
that Renaissance
is
art,
religion,
loi
and
civilization
were
What we
in
the time
of Luther.
Holbein was a Protestant, but his Virgin stands in a niche whose fashion came
from Italy. The style of a Jesuit church is that of St. Paul's Cathedral, and
controlled
To one who
it.
suffered throughout
Europe
in the sixteenth
century,
no great
rosette offers
The
earliest
What,
that
difficulties.
history of civilization
the rosette.
may
but
explain,
it
it ?
They
B.C.,
that the
even isolated cases of rosette ornament can be named in Assyria for an earlier
It does not appear that a single instance can be dated at present,
date at present.
either in Assyria
On
matter).
or
reached India by
The
15).
106, descriptive
(p.
(p.
B.C.
way
of
Mesopotamia
rosette appears in
it
hundred years
rosette is in
reveal
an
abundant
later
than the time of the XVIIIth Dynasty, under which the Egyptian
tions, or observations,
may do
And
the
if it
may
same
for
in Rosellini
Egypt.
and
in Prisse d'Avennes.
is
3.
DiEULAFOY,
illustrated in
nArt Antique
de la Perse,
Perrot et Chipiez,
Assyrie.
I. pi. ix.
For
Also
illustration
in
7.
Musk
Napoleon III.
THE ROSETTE.
102
made
"
Kefa
"
have never
or inspired the
XlXth
Dynasties, and it is not clear that their details have ever attracted the
"
attention of such students.
Phcnicia became a province of
If, as Renan says,
Egypt"*
in matters of religion,
it
is
same
Phenician
ornament, and the style of the vases from Cyprus or Syria brought by the Kefa."
This brings us to the question " If the fact is patent, as would appear from
Plate
xi.,
known
is
"
?
is,
It is the
This source of
"
information has been neglected by the friends of the " Assyrian
rosette.
compared with both Assyrian and Persian carved relief ornament,
As
Egyptian
ornament
is
the tombs are a necessary authority, not only for the rosette, but for
many
other
The
rosette
The
rosette
is
included
in
mortuary
5.
be
difficult for
Mission de Phinicie.
le rapport religieux
" De
une province
plates of Prisse
d'Avennes to
d'f^gypte," p. 70.
THE ROSETTE.
103
ornament as
rosette
rosette is a lotus-motive
the descriptive
in
in the
is,
which attend
lotus associations
detail
distinct
first
leaf,
original
The
and a
show
alternations
as specified in
related
the invariable
xi.,
in
That the
home.
made probable by
instance,
it.
matter.
its
patterns
7,
(xi.
xi.
3,
(xi.
xi. 4)
i)
and
11);
(xi.
rosettes supporting a
bud
(xi. 6, 8, 9).
to the question,
"
What
is
the rosette
"
The most
found in the ovary stigma of the white and blue lotus as figured
in the Histoire Naturelle of the Description de
TEgypte, from which Figs. 5, 6
(p.
is
nature (Fig.
rosette
is
8).
But there
derived.
(xx.
4,
II,
(xx.
8,
13).
10,
shown by
It
i,
21);
5,
[p. 153]);
and as a group of
In XX. 13
it
is
lotus
flowers in
this
The
combination.
no assistance
is
offered
by them as
to the
start
"
in plan ")
(the
earliest dated
so highly conventional
6.
and
leaves."
in Egypt, p. 211.
obvious
with pointed
ovary stigma)
A Ride
An
practically simultaneous.
(xx., p.
and leaves
rosettes
would
radiating arrangement
that
roses
roses
7. Statue
buds
153),
and also
The
brilliant
Maydoum.
by Miss Edwards,
See Maspero's
Fig. 190.
THE ROSETTE.
I04
yellow rays of the ovary stigma in both blue and white lotus
may have
assisted or
inspired the primary symbolic association of the lotus with the sun.
My own
first
The
goes
am
probably the
(Staff of the
9.
pared
"Egyptian
57.
this designation.*
Art,"
fell
papers in the
first
have made
in 1885."
Personal advice.
for
to
first
in Ancient
his standing as
gives
It is
much
the designation
a weight which
it.
to be regretted that
Theban tomb.painting
in
Egyptology,
my name
could
From
Nature.
Repeated from
p. 29.
io6
PLATE
XI.
THE ROSETTE.
The
dated Egyptian rosettes occur, with other lotuses, on the head-dress of Nefert, statue of the
The earliest dated Babylonian rosettes are on the dress of King MerodachI Vth Dynasty (4000 B.C.)
earliest
idin-akhi,
1.
Xllth century
B.C.
rosettes,
and Ionic
all
lotus
Soubassements.
2.
Lotus valiants, one form trefoil, with inverted bud and leaves bent over
Prisse d'Avennes, Couronnements.
rosette in the
field.
From
Lotus flowers supporting rosettes, and Ionic form supporting an inverted bud. Detail repeated with
From Prisse d'Avennes, Bases el Soubassements.
variants on all the columns at Esneh.
3.
supporting lotus leaves (a variant of the cleft form, compare Nos. 7, 11, and matter at
From Prisse d'Avennes, Frises Fleuronnks.
the foot of this page), and trefoil lotuses.
4.
Rosettes
5.
rosettes
supporting buds
erect
bud
supporting
bud
inverted.
Reference as above.
Rosettes supporting lotus buds.
6.
Reference as above.
Portion of a toilet tray in wood (coloured), showing a lotus leaf partly concealed by a (lower, buds
inverted on the stalk (decorative filling in more successful by this arrangement), and rosettes on
stalks.
From PRISSE D'AVENNES, Art Industriel, Uiensiles de Toilette.
7.
8.
9.
Flowers
bud on
rosettes.
rosette.
Reference as above.
10.
Reference as above.
11.
Lotus
in trefoil outline
tombs or
leaf supporting
Frises Fleuronnies.
Reference as above.
All but No. 7 are details borrowed from patterns which are mainly confined to
shrines.
It also appears at Fig. 18
patterns is seen at 4 and il.
is rounded, and the cleft is figured above.
the
leaf
of
Compare xi. 7,
portion
partly cut off by the flower, while the cleft still appears, which should properly be
bud
many Egyptian
The lower
where the
leaf is
The form is explained by amulets (British Museum) of enamel and other hard
leaf.
made
the representation of an actual cleft at the base of a leaf so connected
which
materials,
the base of the
with a lotus impossible. Hence the cleft is indicated in surface design over the actual joint. It is
therefore clear that designs in surface colour were borrowed from amulets, a very important point
as bearing on the symbolism of the colour patterns.
The
amulet has been dated by Mr. Pctrie to the Xllth Dynasty (Collection of Owens College,
Manchester). There is an amulet form of the Persea fruit somewhat like it.
leaf
XII.,
PAGE
113.)
bud.
The
at p.
86 (No,
tabs, generally
11),
As
and elsewhere.
there
no doubt that
is
of
the
sideration,
58.
binations
like
xii.
and
^^^^^ ^^^
and
crown
palmette
is
con-
^^^^Jj^
are
deserves
rare,
^^ pj^^^
^jj_
^^^_
from
but
Dynasties,
to the
As we have
iv.
Xllth Dynasty
(Collection of
Owens
the
17,
18),
there
is
are
offered
XlXth
XVIIIth and
this design
16-19)
(xii.
College, Manchester.)
and Figs.
[p. 63],
Ptolemaic,
xii.
^^
no
difficulty in
(xi.
[p.
107]
It represents the
we may
rather
decorative
considerations.
shows that a
The
The
sacred
standard,
was a
or flabelltim
(xx.
20
[p.
by
153]),
by Plate
xii.
are
no
was
fact,
supported by many-
was from
It
this
form
(as
shown by
5 or ii) that the Assyrian palmette (Figs. 60, 61, 62) was derived.^ The
counterpart of xii. 5 is found on Phenician bronze pateras from Nineveh, and the
xii.
dropped the tabs (as they are also frequently dropped by the Egyptians and
Phenicians), but otherwise developed from the Egyptian forms by stages which are
still
by various
traceable,
fresco, British
xii.
is
14
The palmette
a palpable lotus.
bulb. 3
dl.
From
Museum.
fresco, British
Museum,
is
(xii.
i),
not to be
I.
It is
The
represented.
conclusion
is
Among
is
is
exalso
The dqjendence of
Egyptian original
The
not to be assumed.
is
de la Peru,
matter are confined to the type of the flabellum (xx. 20)
[P- 'S3] overlooking the real original, viz. xii. 3, 11, &c.
2.
"
The winged
ments."
The
Reference
is
Two
"
Mycenae
very important
Ill
Egyptian lotus palmettes as copied from bronze or other metal. Neither motive
has been previously specified as a lotus. One has been mistaken by Professors
Furtwangler and Loeschke for a palm motive. As a palm motive always implies
Assyrian influence, the correction
Plate
civilization.
Nos. 7 and
question.
From
8, 13, 14.
believe
on Plate
1 1
among
325] shows,
[p.
From
liv.
is
other patterns,
of the
two
my
in
liv.
that
some
of
explanation
9,
5, 6,
the
When
first
published (1888)
by a
"^^
point
^^^^7
pottery
lotuses
cluslon
that
Detaii on Bronze.
the Regiilini-Galassi
From
on
misled
having been
Greek
of
study
the
to
this
con-
Grccks had
thc
62.
ASSYRIAN PALMETTE.
on stone relief. From Layard.
Textile ornament,
^'"'''
independently
developed
the
from the study of publications are confirmed, that the exact original of the Greek
anthemion was on imported metals. The bronzes in question" are undoubtedly
the tabs are an unmistakable indication of Egyptian ornament.
Phenician
;
last-named type
original form of the
The
among
Athens.
in
See
p.
324.
been entirely
overlooked
certainly
..
monuments
Phenician counterparts.
'^
attempt
to
explain
.
palmette which
^
I
The
the
only
Eg)'ptian
r
xii.
12
to
121).
p.
(xiii.,
en demi-paquerette,
comme
ouissant en sortant
du
celui
de
la
nef isiaque)
s'e'pan-
Monuments de
Chypre, p. 148.
6.
Etruscan
Museum
Regulini-Galassi tomb.
Archseologico,
Duce.
Florence
of the Vatican
Etruscan
:
bronzes
Museum
from
of the
the
Museo
Tomba
del
from
designs
113
PLATE
XII.
earliest
Owens
XlXth
i,
3 |p. 107].
supporting rosette.
d'Avennes,
Su];es
(XVIIIth and
Dyns.).
5.
6.
Reference as above.
Bijoux, &c.
Detail in colour
7.
8.
9.
Egypto-Phenician
detail, in
4.
I.
ii.
3.
supporting demi-rosette. Detail in stone carving from Cyprus decorating handles of the
enormous stone bowl in the Louvre. Illustration in LONGPfiRlER, Miisee Napoleon HI., xxxiii. 2.
11.
No.
5),
Same
reference as No. 4.
12.
13.
14
in
bronze,
from
the
shield
of
century B.C.)
excavations.
15.
Detail
ix.
Ionic lotus,
Vaticano,
supporting demi-rosette.
I. Ixiv.
V.p. 528.
Egypto-Phenician detail
in bronze,
Dieulafoy
10.
supporting demi-rosette.
in the British
Museum.
XlXth Dyn.
17.
18.
Museum.
broken
off), in
the Boston
Museum.
Marriette,
Z2S
^^
^^
^
4Kc.
Y'p ^Y>
$
10
<^^^
15
m"m
16
17
18
19
PI. XII., p. 113.
PAGE
XIII.,
121.)
It will scarcely escape the notice of experts in Greek ornament that certain phases
of the Egyptian lotus palmette
of the Greek anthemion form.
From
(xii. [p.
(xiii.
i),
we pass to details
8 and 10, for instance without noting one distinction. The temptaof Plate xii.
tion would be almost irresistible to a sceptic, who denies the Greek anthemion to
be a
(xiii. 4,
He
Ninevite
and so
been
ivories
far the
to
63.
to
sceptic
(xiii.
2,
5)
3,
prove
are
that
also
the
Greek,
derive
rather than
a possible position.
Greek
ornament from
to
back of the
B.C.
fifth
century
original of a form,
xii.
7,
Nineveh
Greece.
It
in that
form be carried
in Greece,
which occurs
was the
in
Egypt
it
occurs
(xiii.
i).
in
the
.Did
it
third
or
fourth
century
b.c.
XVIIIth Dynasty?
ii6
On
we may
the whole,
with
all
is
The motive xiii. 4 was published by M. Dieulafoy in 1885, with the simple
was made by
subscription, Oniamcut lotiforme} A simultaneous announcement
W. M.
Mr.
Flinders Petrie,
ornament herewith
relief
ornament
(or
Petrie's observation did not include the Ionic form, his point of
on
this side as
Note
M.
weak on the
is
Dieulafoy's
A really solid
i).
"
"
honeysuckle
Egyptian lotus was the original of the so-called
anthemion) on the column necking of the Erechtheium.'^ As Mr.
first
offered
anthemion
Plate
xiii.,
whose
Hence
anthemion.
my
of an Ionic form.
of Plate
Its Ionic
xiii.
is
Its
self-apparent.
forms are
all
variants of an anthemion.
""* Partie.
Antique de la Perse, III
M. Dieu-
somewhat vague,
is
As
far as the
palmette part of
xiii.
art.
He
offers
no reference whatever
which M. Dieulafoy
calls
explanation
and
to
temples that
the
frescoes, but
to the flabellum or
solution
of the
rosette,
the
Egyptian,
known
ing was
We
and
impossible
we
" In
architecture, although we have as yet only gleaned the
can
still
refer to
left
is
It is
variants
scraps
is
Egyptian
all
where one motive begins and the other ends, and whether we begin with the
EArt
lafoy's
(xiii. 9).
anthemions are
1.
arrangement of
The argument
to say
treating the
Egypt
nothing
to
enough
of
in
its
is
show the
decoration.
many
respects.
earliest
Greek
The
The
volute,
which
no droop
in its lines
they pass over the echinus, but was like the form
its
where
in the
and
this
necking
is
ornamented
like
7i>ith
from
site
Archaology, Vol.
of
ii.,
Neandreia."
No.
i.
"A
Proto-Ionic Capital
American
Figured
at
xiii. 9.
Journal
0/
Egypt
these
Among
The Assyrian
and
No. 5
is
Egyptian character
earliest dated
The
[p. 147]).
"
types
(2, 3, 5)
Minor, for
authorities as of Egypto-Phenician
all
work and
is
The
(xix.
their
by
117
xii.
[p.
[p. 183].)
13.]
The
are not Greek and not connected with the Greek development.
The
earliest dated
earliest
known
Egyptian detailed
palmettes are two thousand years older (Xllth Dynasty, Owens College, Manchester,
see p. 109), but an outline lotus palmette can be dated to the IVth Dynasty
(Fig. 39c).^
no indications of
its
4.
An
painting of the
is
found
also held
by a figure
The
in a
(reference
in Ninevite ivories.
535.
It
"
"
fruit
distinct).
has
of the lotus.
The word
Nelumbium seed-pod.
de Curium.
Perrot et Chipiez,
6.
Clarke
No.
I.
"A
in
in
Birdwood
Hom
word
general,
Series)
and
German
site
" Date
pression
7.
is
de-
is
really represents
"possible," "later."
is
coming dan-
Llnormant, Divination,
dans une partie de
la
in
p. 86,
Chald^e
mon Commentaire
coins,
thaginian
significant use
is
"
"
need
explanation.
to
The
do with the
date palm, but the Sacred Tree of Lotus Buds (xxiv. 15)
is
It
also
appears
Cypriote vases.
at Delphi.
It
in the Syrian
in
It
rudely
p.
e'tait
aussi
176,
appears on Car-
Phenicie, p.
365.
caves described by
652 (with
is
naturalistic
According
Semites, p.
Perrot et Chipiez,
Horn
to
Date
According
an
Assyria.
The words
to the theory of
" Le palmier
The
Lajard's Quite de
to
Its
Tree
voyez
'
the
generally.
the ex-
240, referring to
p.
identified with
This
is
ii.,
cedar-tree
of Neandreia."
it
"
is
hence
Hom."
it
archaeologists
Mithra ; but
vol.
Ancient Monarchies ;
p.
is
Agypte, p. 5x5.
paim
5.
The upper
memory
wanting,
is
"
illustration).
In
perfectly obvious.
form on
several
,,S
resemblance
as represented in the scenery of Assyrian reliefs, has occasionally a close
to the decorative palmette form but the trunk of a tree is rather a serious thing
;
some
traces of its
So far
if it produced a pattern without a trunk.
gradual decorative elimination
from there being any such transitional forms, there is not even any evidence for
the
By
in Assyria.
patterns of natural palm-trees
is
Whether
isolated.
always
rude or in
in
There
tree are always positive and distinct.
symbol, the indications of the natural
to
is not one instance of a pattern in Assyrian art which cannot be directly referred
conceded to be Egyptian, are not
Egypt, and no pattern for which examples,
to appeal to the deficiency of
abundantly found in Assyria (xxv.). It is useless
excavations and to future possible discoveries.
tinuation of the Babylonian and Assyrian,
known and
published.
and
The Persian
its
which perpetuates and re-copies its original motives, and the Persian, Babylonian,
and Assyrian ornament may, therefore, be fairly judged by the evidences which
date from the ninth century B.C.
before the
Greco-Roman
period,
we
If
all
its
there
is
no
which could explain the utter disappearance, from the known Persian,
MoreAssyrian, and Babylonian examples, of such Oriental traditional survivals.
reason
over, in cylinders,
monuments of a high
so far from antagonizing the matter-of-fact evidence cited on the subject of the
palm-tree,
The
and
it is
traditional
it.
lotus
bud
lotus flower (Figs. 6i, 71, 74, 76, 77, 82, 83, 86, 88) are not only significant
that
from association.
They
also
imply,
on the
realistic
lotuses,
unknown on
the
surviving
irg
and the
lotus,
His point of view included the Ionic form, and must be considered superior to
Mr. Petrie's on this account,^ for although the "honeysuckle" occasionally
appears in Greek art without the
appears in the archaic forms
(xix,
147])
[p.
3.
number of
never so
it
supporting volutes,
neither does
The
typical examples.
it
volutes
(Fig. 118
[p.
(Fig. 63),
171]),
and-Dart moulding
to
really belongs
my
Egg-
moulding,
published in the
of Mr. John
who
the anthemion,
an anthemion pattern
resembling Fig. 64, and found on the
Pennethorne,"
"
derives
Cyma
thorne
64.
of the anthemion
Type
sidered to be
which has so
con-
"
" lotus and
papyrus by
to
failed
far
cut
the
Mr. Penne-
Gordian
knot
65.
is
Typeofthe"iotusand
"
John Pennethome.
have met.
His
weakened by not knowing that the volutes at the base of the anthemion
are the same volutes which form the Ionic capital (Plate xiii.).^^
matter
8.
is
Fund
for 1890,
Mr. Petrie
still
Palestine
that
"a kind
by
Owen
Jones,
Grammar
of
Pennethorne remarks
that
"The
only exceptions
Greek ornament]
be found
Ornament, as
to the
no
Owen
II.
Exploring
architect
of wide
horizontal curves of
in
173.
information,
Greek
Greek
.
Egypt
origin
of
architecture,
and of these
they belong
to
discoverer
architecture; in 1878.
of
the
120
PLATE
GREEK
XIII.
IONIC
1.
2.
Phenician ivory detail of an Egyptian palmette, from Nineveh, in the British Museum.
in
3.
Similar detail,
4.
Jahrbuch*
1888.
From CLARKE
886.
reference.
stele, in
a vase painting.
From Chipiez,
Grecs, p. 273.
5.
6. Ionic capital,
found at Athens.
From Trowbridgk,
7.
Greek incised
detail in bronze.
From
8.
Etruscan Ionic
9.
The
detail,
from
MARTHA,
the
5.
in
1888.
From Clarke,
in
ology, 1886.
10.
relief.
1.
scrolls,
2.
Same
relief.
stone
relief.
14.
15.
Reference as above,
reference, xxviii.
From Trowbridge,
found at Athens.
de Macedoine, xxvi.
in
3.
From Schliemann,
From
\iiG
xlii.
Jahrbuch, 1888,
iii.
Fig. 17.
Jahrbuch
for 1888,
and No.
6, in
the Antike
Denkmdler
Institute.
No.
13,
in
the
for 1889.
Tiryns, p. 295.
under
that
^
N
iR)riill
lll
M|ll|illMiT7Tv'
""tll'"l"'lllllr'^
(j
mf/'d
v.^--
^
9
L.
ji
/^
According
anthemion,
the
to
it
^/""nV^
illustrations
"
HERZBLATTS."
PAGE
XIV.,
133.)
by Plate
offered
xiii.
121]
[p.
for
the Greek
appears that the Greek types directly borrowed from Egyptian art
are in hard material, stone, bronze, or terra-cotta (xiii.; i, 4)It is also
easy to understand
that
the
most
originals
easily
From
jewelry or bronze.
ultimately confined
of entry, this did
and
GREEK TERRA-COTTA
in large
to
not
there were
numbers of Greeks
large
66.
the
in Egypt,^
with
interfere
numbers, as
Still
were the
it
point
form
original
is
may
of departure
found
for
(xii.
[p.
In
113]),
was
first
retains
I.
practised
the
there in
perfection
Two
67 from the
hundred thousand
Naukratis.
of
on one
left
The
ultimate
restriction
on
their
individual
of
Greeks
the
placed no
presence as sight-seers,
them.
restriction
students,
or
124
fifth
later
xiii.
century B.C.
[p.
&c.
it
ANTHEMIO.V OF
evolution
HK PARTHENON.
ANTHEMION, FROM AN
ATHENIAN TOMBSTONE.
68.
69.
dependent,
on
sequence
facility,
easily
historically
speaking,
Hence the
of time.
of
acquired,
dating
and
Italian art,
and
Greek
in the Byzantine,
Romanesque,
Gothic,
sance styles.
This
which
and Renais-
facility
fails
us
in Chinese,
Hindu,
Arab, and other Oriental art, and in
the Egyptian.
Where
the civiliza-
ornament
Roman
date,
From Houey.
Certain
rcstrictious
for
the
under
Greco-
Egyptian
art.
movement
tombstones,
so
is
for
rapid
example,
in
Italian
art
in
the
early
sixteenth
&c.
century that
The
it
or the
it
hammer and
character.
greater freedom
71.
material), because
125
RHODIAN VASE.
From Salzmann.
stick,
some
point of a
workman
in repousse.
to the lotus.
The
72.
EGYPTO
PHENICIAN
. .
rRlUnicSTor
For
remains
Assyrian
of
Fig. 72, as
Egypto-Phenician
art
such
form
[p.
would
113].
be
126
from Plate
form would be
which
xiv. 6,
illustrated
directly
We
73. EGYPTO-PHBSICIAN IVORY
OKTAIL WOM NINEVEH.
British Maseum.
xix.
move then
will
shown by
volute as
Bronze Kepouss^.
After this
xiv. 14.
is
supporting volutes,
we may name
the
74.
supporting scrolls
directly to the
As extreme
83.
147]-
[P-
is
[p.
/r^\\?^f^
l^^^J[jM^^
"~"
point
is
xiii.
&c.
an
represent
of
pattern
minimum
the
sixth
of the
the palmette
frequent vase-
extremely
is
The
century.
scrolls
as
supporting
illustrated
by Figs. 75,
76, 77, or by the case where there is
only one pair of volutes for two palmettes,
(^nVM^ft^
^^t^^@xM^
75.
as in xiv.
8.
This
fine pattern,
yairmariUgiriuiEi
in
Italy,
from a
has
been
DETAIL
Arab
lit
COLOUR.
trefoils,
It
and
The
relations of certain
CREEK ARCHITECTURAL
77.
and Medieval
"
''
fleiirs-de-lys
need not be said that Byzantine ornament develops from the Neo-Persian
Roman
Greek, and that Arab ornament developed after the Arab conquest
The "Herzblatt"
related),
we
No.
see
3,
is
the
"
illustrated
Herzblatt
"
is
here.
obtained
(Plate
ix.
By comparison
[p.
91]
and
text
of xiv. 3 and
5,
the
to
palmette
Nos.
point.
and
10
"
show
&c.
127
"
Herzblatts
with
introrse scrolls.
The
buds
and
lotus
association
seen
by reference
pattern of xiv.
These
palmettes.
The
is significant.
the
to
shown
is
upper
not very
are
guilloche
Nos. 2 and
at
common
an abbreviated
is
7,
but the
instances,
spiral scroll, as
may
be
running
but
is
1 1
common
an abbreviation
in
Syria,
evolution
Its
251]).
[p.
pattern of Fig. 79
may be most
in Cypriote vases,
but
them
on
New
in
York).
examples (several in
occurs on pottery found in
It
hieratic
Xllth
to the
cylinders
it is
extant
easily studied
affected
(hence proven
Dy nasty
by Assyrian
be originally a
to
concentric
It
.^
rings of scarabs
[p.
(viii.
247])
[p.
material.
87]),
It
78.
and
From
viz.,
and
in cylinders.
y\ Xv
v^ V^^ V^^
79.
\--^
/"~\y^-^
Ravoisi.s.
modern
recent
In our
times.
patterns
of
influenced by the
"
common
to ancient
and
the
decorators
Grammar
have
of
been
Ornament
especially
"
of
Owen
Jones, and by the South Kensington and Decorative Art movement, which sprang
Before this
from his connection with the Crystal Palace Exhibition of 185 1.
"
Decorative Art
2.
"
covered in
Egypt and
" Xllth
Palestine, 1890,
Dynasty,
patterns were
found
at
Kahun.
?)
128
"
Greek Revival
that,
from the
centuries,
"
Revival and
Italian
and hence
"
'
'
80.
Romanesque
classic.
naturalism
patterns.
of
its
rejected
own,
it
From Heuzey.
retained
many
traces
to the Byzantine
82. ASSYRIAN.
81. ASSYRIAN.
and before
an ornamental
centuries),
in
time,
eighteenth
(late
&c.
83.
of
the
and Greco-Roman.
GREEK POTTERY.
84.
SINDH FOTTSRY.
Throughout the Middle Ages, Hindu, Moresque, and Arab patterns had
into
Europe,
Byzantine
or
especially
through
Neo-Persian,
textiles;
under
the
but
these
conditions
older
patterns
again
filtered
recur
to
78,
84.85).
85.
From
SIKDH TILBS.
86.
GREEK POTTERY.
87.
RENAISSANCE CARVING.
of Greek
patterns
&c.
art.
129
How
far
the original elements of Greek and later classic decoration are contained in the
illustrations offered, or to be offered,
to decide, but
The known
some of
formation of the lotus bud in necklaces into an amphora will serve as an example.
Roman and
Alexandrine Antiquity,
but have found their way into modern interpretation of ancient patterns to an
alarming extent.
India" (South
to
Kensington
"
Museum
"
Industrial Arts of
illustrations
of the
pattern,
disguised
88.
From
Perrot.
"
"
with the flower or palmette patterns; the bud having been largely
omitted from my Plates, as being an obvious motive. The pattern 86 is supposed
lotus
bud,
by Birdwood
it
is
to be
"
(Fig. 121),
lotus.
lotus
although
buds of
common
to the ancients
"
palm
German
Perrot et Chipiez,
who were
v., p.
191,
a
(without a trunk) flourishes like
archaeology.
"
" Feuilles
et
far
frequently by the
Glands de Chgne."
130
thought unknown
was
4.
Robertson Smith's
local,
sacred ground
Jteligion
life
and
and the
its
stern
&c.
decorative art
and when
"
was a
religion
was
of tht Semites gives a valuable account of the connection between ancient religions
interests.
89.
GREEK ANTHEMION,
SICILY.
From
Hittort
^IF
90-
St.
Petersburg.
133
PLATE
XIV.
1.
Pottery anthemion.
2.
Rope
"
"
5.
"
Herzblatt
Rhodian vase
with palmettes.
in
From
SalzmanN'S
8.
Pottery anthemion.
From a Greek
vase in the
Monumenti
9.
Pottery anthemion.
From a Greek
vase in the
Monumenti Inediti,
1.
Herzblatt
"
scroll
From a
13.
xxxix.
Inediti,
6.
XL,
X.,
xv.
viii. 5.
Stil,
Greek pottery
Vaticano,
xxxi.
I., iii.
From
From
the
3.
12.
lotus.
above.
II.,
44.
antiker Thongefdsse, x.
7.
i.
Pottery anthemion.
"
xxv.
TneJiti, X.,
6.
10.
Monumenti
Pottery anthemion.
4.
Vienna.
3.
From
and
lotuses.
XL, x
2.
2.
and palmettes
From
a Rhodian vase in
Museo Etrusco
PL XIV., p.
133
XV.,
PAGE
139.)
The
most convincing.
But there are not less than three original sources of
aside from the possibility or probability that volutes
the Greek Ionic capital
the
is
joined
by a
by the Greeks
in
Egypt
from capitals like vii. 7 [p. 79], or the upper member of vii. 5.
The honour of demonstrating the identity of certain Ionic capitals with the
anthemion, within the limits of Greek art, belongs to Mr. Joseph Thacher Clarke,^
and
his essay
"
a death-blow to the
(xiii.
[p.
121]),
(which he supposed to
palm-tree
form, in agreement with the generally accepted view) by linking the anthemion
our demonstration of
The convincing
lotus
to
its
which
is
lotus origin.
point of
certain Cypriote
capital,
M. Dieulafoy's demonstration
tombstones
is
(xv.
17).
He
also
published
and
17.
There
tombstone
detail xv.
is
"
A
3.
i;
[p.
and another
263].)
in the
(Fig. 43.)^
The upper
15,
site
II.,
No.
r.
of Neandreia."
scrolls of these
tombstones are
"
" Phenician
palmette (Plate
explained by the
xli. [p.
263]),
136
<2fc.
This triangle
(p. 72),
M. Dieulafoy
In
Colonna-Ceccaldi
13).
he
original publication
7,
my own
is
a " calyx
failed to give a
made
the reverse
mistake, interpreting the scrolls correctly, but considering the central triangle to
be an enlarged
mistake and M.
My own
petal.
The prominence
[p-
of the
[p.
41]
303])
iii.
by
and
related text).
Cypriote lotuses
(Plate
xlvii.
and tombstones
two of them have been given a central place on Plate xv.^ The curling
volutes of these flowers have already been explained (Fig. 4, of the flower from
therefore
therefore
we
will
The
central sepal
central spike
"
9),
which has been considered the original of the Greek,* and which is thus proved
It survives in Greek Etruscan art of the third
to be itself Egyptian.
century B.C.
as dated by style of the relief from which
(xv., 12),
(xv.
[p.
is
taken.
14)
it
i,
and
is
As
far
much
It
appears on a
from 500
B.C.
It
repeated on Melian
We
3.
[p.
have then,
finally,
303]
4.
it.
By
of Art
as rudimentary survivals of
all
the
exceptional views
(p.
of Colonna-Ceccaldi,
72),
we
may add
pendant lotuses.
To
Dieulafoy,
xlvii. i.
the
reference
(p.
71), derived
the Ionic
capital
decisive reference.
Ionic
is
10
79]
[p.
how
apparent
^^7
rise
the capitals
Egyptian
vii.
1,4, 6, 9,
11
of transition to
The
For these
top.
It is easily
Syrian.
mode
meeting at the
&c.
They
in
date,
and
which one
Plate XV.
2,
inner detail of
x.
Khorsabad (from a
related to vii. 8
is
and
a reminder of the
is
91
Fig.
5.
79]
[p.
The Syrian
histories
relief)
Maschnaka
Ionic capital of
"
(Fig.
Mission de Phdnicie."
92)
of
Ionic
of art
to the
is
It is also
92.
91.
ASSYRIAN lONMC.
figured
BELIEF, KHORSABAD.
"
lotus
"
by Reber,
who
The
to his account
SYRIA.
it
word
quite accurate.
We
has
in
certain
"
"
Mycenae
correctly specified
the
lower
pottery details
member
3,
(liv.
Museum which
British
Dieulafoy
325]).
as a lotus,
of this capital
[p.
and with
represent
its
original derivation.
lower
ember
is
Persian origin.
Reber, History of Ancient Art ; translated by Joseph
Thacher Clarke (Harper). " There is reason to suppose
5.
and
origin
impossible for
"
" leaved
calyx
6.
"
This lower
"
palmier
Perrot
him
is
to
et
furniture
(p. 70).
At
p. 231
Reber alludes
to the Assyrian
The enormous
Chipiez.
it
columns
spiral
which
if
lotus.
member
do
normal lotus
still
bases
details,
more obvious on
of
these
apparent
in
the original
138
PLATE
XV.
1.
From DiEULAFOY,
Detail of an Egypto-Phcnician ivory plaque from Nineveh, in the British Museum.
L'Art Antique de la Perse, Part III. (Entire plaque in La YARD'S Plates, First Series, 90 ; and in
Perrot et Chipiez,
Assyrie, p. 435
2.
3.
4. Ionic capital.
5.
From
Tomb
the
Monumenti
6. Detail
of No. 16.
at Cervetri.
From Perrot et
8.
9.
Assyrian
Detail
capital.
Museum.
Dieulafoy,
as above.
^.trusque.
7.
Ionic
in the British
in the British
in the
i.
from
CllIPIFZ, Ph^nicie.
Museum.
fp. 147]).
From CONZE,
the "Sippara
Tablet."
Melische TJiongefdsse.
Clarke,
in
American Journal of
ArcluEology, 1886.
10.
11.
From
1846-47.
12.
Monumenti
13.
15.
di Perugia,
Cypriote pottery
14. Detail
capital.
lotus.
LXVI.,
From
From Conestabile,
xcii.
a vase in the
16. Shield
Nhropole de Camire,
17.
Mus/e NapoUon
III.
Museum.
From Salzmann's
liii.
Compare
Fig. 43
and
From LONGPfiRlER,
w^
&
^^:^^)
11
10
vA^r
'Hi:
''
14-'
12
15
nyrri/jnjrinyri !;;nTTrn
rnii -H
jrfTml[^ii n ill iiiYiVrirh
ij
I
ifiVTYTVyYiYfTYT^-
yMBi#^
^
i%IM.S
m
17
16
PI.
XV.,
p. 139.
The
modern
regards
known
as
but there
finds,
"
PAGES
Melian
"
is
Greek
pottery.
figure, the
145, 146,
147.)
no doubt of
is
The
144,
its
Melian vases
are,
and
singular importance
of the
The published
pieces herewith are supposed to date from the seventh century b.c.^
Professor Conze,
of the
Museum, was
Berlin
the
first
to
point out
pieces
for
me
(xlvii. [p.
study of the
the most
and colouring
Ionic volute
as
examples
my own
In
presented.
scale, execution,
is
the
not to recognize the enormous spiral volutes of xvi. 2 (doubled lotus form)
(3),
and
me
this led
Rhodian
The Rhodian
By
lotuses
The Melian
references in
de la Grece propre,
p.
lotus
Uumont
220
numbered
2,
et Chaplain, Ceramiques
in article
by Conze, BulUtino,
showing the
spiral volute
1861, p. 9; and by
p.
403.
De Witte,
in
still
Rev. Arch.,
1862,
more
t.
vi.,
& MELIAN
142
VASES.
elaborate rendering, carries us to Plate xvii. where the palmette displaces the petals,
or to Plate
On
spiral
xviii.
all
Greek
art
value of the
lies
as,
in xix.
for example,
and that
in
details,
on individual
the variants which are in question as the basis of scroll and spiral in
these individual vases
On
Melian
xix.
it is
i,
all
it
is
the forms.
rosettes.
including the concentric rings, to the larger types on the neck and
It
is
on
again impossible
not to refer the spirals of these larger details to the Rhodian and Cypriote volute.
The
latter
must be assigned
offer a parallel
One
"
and
Herzblatts
"
4).
concentric rings
spiral
"
(ix.
"
[p. 91]).
demonstrated by
compared with
xix. 3.
The spiral scroll, as shown by xix. 5, appears on the vase below the
handle with only rudimentary rings to mark the displaced palmette and on the
origin of the
Herzblatt
palmette
is
is
balanced, and
normal
In xix. 3
in the sense
that according to
From
"
we
xix. 4, as
that the
proportion of volute
Prisse d'Avennes.
143
AND.
MELIAN VASES.
PLATE
1.
Rhodian
showing
lotus,
Nt'cropole de Camire.
2.
Melian double
vase in
3.
derived
Detail of a vase in
Salzmann's
Detail of a
spirals
Compare
lotus, with
XVI.
3.
4.
Rhodian
5.
lotus,
3.
From
From
5.
and
From
3.
a vase of Thera.
Moniimenti
Inediti,YUl.,v.
PLATE XVII
The Melian
Detail from
above.
variant of xvi.
Double
lotus palmette,
2.
PLATE
XVIII.
CONZE, Melische Thongefdsse. Double lotus palmette related to Plate xvii, but showing lower
reversed scrolls like the " Herzblatt." Ionic lotus forms beneath the horses.
Detail from
PLATE
Vase and
1.
details
2.
XIX.
lotuses,
like xvi.
2,
From
on the neck.
this vase
is
xviii.
Compare the
On
spiral scrolls
the foot
is
a spiral
scroll,
from which
i,
where only
all
trace of the
spirals
"
"
Herzblatt motive, for comparison with No.
4. Illustration of the
horses of No.
5.
i.
The
details in
2,
in
balanced proportion.
a longer pattern.
by reversing one
spiral of the
type No.
3.
detail
between the
PL XVI., p.
144.
wr
\
/-A
PI.
XVIJL, p.
146.
PL XIX., p.
147-
THE ROSETTE.
(PLATE XX., PAGE
Rosette
is
(xix.
on
AND PLATE
99
on Melian vases
"
153.)
2,
Mycenae "vases
147]
[p.
10
(Iv.
211]);
[p.
(xx.
XI.
19,
(PAGE
and
107).
xxxvii. 12
on Rhodian vases
[p. 24.9]);
(xx. 3, 8)
perhaps unknown
Its association
(xxvi.
10
[p.
we may add
Greek" Geometric
193]) is
(xxvii'.
"
to the oldest
on
It is
(so-called).
"
ornament
style
(Ivi. [p.
an indication of
its
339]).
[p. 71]),
lotiform
significant juxtaposition.
The Rosette
Rhodian, and
is
Melian vases,
like Ivii.
12
[p.
341],
Greco-Roman
and No.
Having found
(p.
99),
and having
17,
6,
5,
Greek Etruscan
Nos,
4, 21,
Greco-Buddhist.
Rosette unfounded
which explain it (p. 103), we have only to mention the confusion and chaos
which the supposed Mesopotamian origin of the Rosette has created in Greek
archaeology and history.
Since our knowledge of early Greece and the origins of
its
culture
is
so largely
THE ROSETTE.
150
pottery,
it
will
prejudice continues.
As
the Rosette
is
from the
is
was
controlled
country in
of Egypt.
It
Before
was
they,
the Greek
hieroglyphics,
and Sardinians,
scarabs
factory of Egyptian
was discovered
at Naukratis,^
for
their
own
either in
civilization
civilization.
export, with
unreadable
Italian tombs, or in
so far
way
Wherever
the palmette and the rosette have been found in Mediterranean art, they have been
attributed to Assyrian influence
but
if
borrowed from Egypt, they were borrowed by way of the Phenicians and the
Hittites, whose palaces are recorded by Assyrian inscriptions to have been copied
by Assyrian
falls
kings.'*
to the
ground
Phenician art
Hence a
Renaissance art came from Italy by way of Spain rather than by way of France.
The illustration of the Buddhist " Trisula " (xx. 6) shows a combination of
two
1.
trefoil
lotuses
I.
They were
iinita-
rosette.
2.
Lotus
of Princeton.
THE ROSETTE.
introduced between the stems of the
the
T5f
first
trefoils.^
The
Trisula.^
rosette
first
Casts
century a.d.
Two
fine cuts of
by James Burgess,
47.
Cunningham,
"The
4.
Tlie
74,
Trisula
not
yet
vii.
and
p. 36.
explained."
satisfactorily
I.
p.
James
explained,"
who
is
of Vishnu.
is
'
is
Jagan-natha,
worshipped
Lord
in association
and
its
head
is
very
stumps
will be remembered, was accidentally
and the
in
the
to
Krishna
idol of
in
and unrecognized
defaced
Hindu
pedestals of
deities
(p. 37).
3.
in the India
be
to
proven
of the lotus
relation
been
has
India
all
common-
a matter of
place knowledge.
CYPRIOTE LOTUS.
94.
is
some
large.
Krishna,
killed at
it
Dwaraka,
on,
when Viswakarma
at
once went
one
is
by the Brahmans of
this
Such
hideous
even a Christian
all
this
and
may
sit
B.C.
down and
250.
'
hand
Law
Brahman.
eat with a
W. Hunter
the
Buddhist
Dharma,
true
that the
Before
The
idol.
trisula of a
monstrous shrine
the explana-
is
General Cunningham's,
a huff, leaving
off in
feet.
more probably
it
.priest
"
(p.
76).
trisula represents
represents
Buddha ;
6. There
are many recognitions of the
Cunningham's Bharhut; for instance "In
the flowered
medallions
many-leaved
lotus," p. 116.
is
always a
many
leaves
.closely
"
Rosette
in
of the rosettes
ranged side by
side.
undisturbed
until
to
do
until
this,
on condition
that
he should be
left
days, losing
all
95.
IONIC CAPITAL
border
half-blown
by these authors,
WITH ROSETTE.
Macedonia.
lotus
for instance,
From Heuzey.
I.
p.
37
"Half
blossoms."
Bharhut, Plates
disk,
The normal
xxi., xl.
152
PLATE XX.
THE ROSETTE.
CONTINUED FROM PAGE
"
expanded flower
2.
3.
Rhodiaa
vase,
(PAGE
107).
in plan." as
Naukratis,
II. xxvi.
showing normal rosettes of the highly conventional form supposed to be based on the
5.
XI.
of a bronze
spread out and seen from above. Detail
"
a
double
and
Perrot
for
Mistaken
door from Susa (Dieulafoy excavations).
daisy"
by Dieulafoy
From Perkot et Chipiez, v., p. 557.
(p. 49, Note 14).
1.
4.
AND PLATE
99
Monumenti
Inediti,
5, 6, 8).
From
a cake stamp.
expanded flower
"
Naukratis,\. ks\k
in
plan."
7.
8.
9.
See matter
10.
No.
for
xxxvii.
Rosette,
Jahrbuch, 1889,
iv.,
p. 93.
7.
11.
(Praencste).
"
"
6.
Cista
VIII. xxvi.
with
of lotus
rosette
buds
concentric
on
rings
reverse.
Naukratis,
2.
composed of four
D'Avennes, Vases en or
etnailU.
1
2.
called the
"
Aegis of Pakht
"
or Bast.
13.
14.
Syrian .sarcophagus (Greek period) showing two central rosettes (cover and side) composed of lotuses
and buds, and other rosettes of conventional form. LONGPfiRlER, Mus^e NapoUon III., x.xx.
Bronze
Isis
The spokes
15.
16.
17.
18.
Perrot et
tile).
From
"
in
"
plan
Lotus
(compare
flowers, buds,
i
and
5).
and
rosette.
from Alexandria.
Naukratis,
In
I.
in
the
New
York Museum.
19.
20.
Type
of the
"
Flabellum
xlvii.
1 1
"
(Sacred Standard).
[p. 303]),
22.
xxix.
18.
Rosellini.
period.
Naukratis,
10^ m
^i
PI.
XX.,
p. 153.
XXI.,
PAGE
159.)
The
in 1870.^
but no
to
96.
archaeologist
them or
correct
to
From
RoseUioi.
According to
(Fig. 96)
egg
was the
important subject.
Owen
They
certainly have
nothing
in
Egyptian ornament, but a similar mistake has been made regarding the lotus
bud
in
[p.
185]).
Neither bud, cone, nor grapes have anything to do with the moulding of
the egg, which is derived from the commonest and not the rarest lotus border
of Egyptian
(xxi.
12),
art.
and
"
examples of the egg,"
For
the
although
it
tips
we
touching;
I.
will
the
a lotus
bud appears
clear explanation
together, with
intermediate
is
its
bud dispensed
border
here,
Annales, 187 1.
to
,56
Egg-and-Dart moulding
will then
original use in
flat
rthe
97-
When
cYPwoTK LOTUS,
when
The bud
4).
"
appear
is
for
border;
this
detail
instance
in
in the Histoire
a rounded proas
seen
by the
on
the
the
oval
as
of
the
upper detail
The bud
in
is
98),
to
corresponds
mentioned
its
indication
in
i),
flowers,
we have
inverted
appears
frequently
(xxi.
the flower
This was
in flat."
appeared
jection
(xxi.
Egypt
The
or in xxi.
i,
2.
rEgypte.
Jll
/
98.
|i)||
T^^ 1%
A^t,
,.
of the bud
It
bordcr, xxi.
paiutcd
is
In the
,^
11-
T^
appears from the foregoing matter that the three-spiked form of the Egyptian
itself
as
the
key to
from nature).
7,
.1,
.,
2,
"
is
many problems
the
For non-professionals
it
"
dart
may
an entire
"
being
be as well
egg),
and
The tendency
of the original
entire egg.
or
to
an entire
later
as seen at xxi. 6,
oval,
it
moulding, although
is
In this case the Cypriote vase No. 8 will explain the doubled pattern
The
"
"
Egg-and-Dart
in 1885.
a. Tlie
doubled bud
This explanation
is
is
No.
lo.
5,
Greek
From
the slightly-
use.
157
is
An
399]).
[p.
BfSJiirtfllifBIlifBlB
^llBK^
99.
surface
BRONZE DETAIL.
100.
From
designs in colour).
equally obscured
OLYMPIA.
lOI.
ASSYRIAN
From
Furtwangler.
BASF..
Place.
the Greeks, and forms the painted pattern of the Doric capital (Fig. 99).
Fig.
100,
Greek ornament
in bronze,
pattern,
in
position on
[p.
255].
capital
xxxiii.
herewith have
subject,
and
use which
have been
so far published.*
The base
offers
an
ASSYRIAN CAPITAL.
From
Place.
4.
From Place,
From Place,
5.
3.
finds.
The
in
in
Perrot et Chipiez,
rarities in
Assyrian
entirely disappeared.
is
made
Our knowledge
derived from
reliefs,
The
is
repeated above
of
published.
of
pictorial
158
PLATE
XXI.
1.
2.
3.
4.
I.
reversed, to
show
reversed, to
6.
Compare Nos.
9,
11,
I3-
),
the lotus
origin of the
conventional form.
incised
Egg-and-Dart moulding.
conventional form.
in
in
more deeply
la Perse,
Reference as above.
Typical Egg-and-Dart motive in colour design, showing an inverted lotus and angles on the ovals, derived
from buds. Painted terra-cotta. Monumenti Inediti, XI. x.
Cypriote vase in the New York Museum, showing doubled lotuses, whose bounding outlines form
continuous ovals. The lozenges on the ovals represent doubled buds. Compare the neck border of
No.
9.
a bud.
show the
8.
is
xiv.
5.
7.
"egg," on which
10.
I. vii.),
inversion).
10.
(A'izM^rfl/w,
I. vii.),
"
egg."
inversion).
12.
Greek Rhodian pottery motive. (Salzmann, N^cropole de Camire, xxxii.) Lotus border original of
the moulding, with lotuses more widely spaced. In the exact original border the bounding lines of
the flowers connect, the petals are eliminated, the central spike becomes the " dart," and the border
is
13.
reversed.
I. vii.),
Interesting Phenician examples are seen at Ixvi. 5, 11, 13, 14 [p. 399], showing that the motive
appear as a series of chevrons, and also illustrating the egg moulding pure and simple.
Compare
may
f*^r
10
THE SO-CALLED
(PLATE
My
suspicion
was
first
that
XXII.,
"IVY LEAF."
PAGE
165.)
Rhodian vase
suggested by a
(detail xxii.
is
a lotus leaf
pictured in Salzmann's
5)
"
iii.
(Plate
[p.
this
The
2,
8,
12
from
pliant stems of
an ivy
2,
li.
[p.
319]
leaf.
10,
and lotus of the Cypriote coin, xxxii. 5 [p. 223]. Fig. 103 shows
from the Museum of Bologna, which also unites this leaf with the lotus.
is
a detail
The ornament
first
appears, as far as
Fig.
as at
leaf,
An
6,
5,
[p. 26]).
3,
The long
on an Italian tombstone
2,
and
41],
nature
103.
Egyptian illustrations
Sixth
there
"
is
known monuments
Iii.
"
outside
[p.
art of
ornamental pattern, and this one must have been borrowed either
or
Cyprus,
in
which
latter
countries
it
Egyptian
321], from the
an independent
in
Egypt, Syria,
on dated monuments.
The
pattern
can
be dated on
"
"
Mycenae
XlXth
THE SO-CALLED
62
XXth
IVY LEAF."
"
It
Dynasty.'
pattern which
common
is
as
rare
is
"
"
to
pottery and
Mycenae
to
Greek
Greek
art (the
patterns),' but
Mycenae
"
The
which case
vases, in
Mycenae
it
The diagrams
without foundation.
known
do not appear
The combination,
to publication.*
the
in
as at xxii.
(xxii. 7)
"Mycenae" use
7 was translated
Hi. i, 2,
321].
[p.
It is so far
Museum
and
in
the
pottery.
is
as so far
Greek
earlier
[p.
art of Mycenae.
It is
here, within
knowledge, that
my
li.
it
is
it is
the
only
Many
tombstones which show the pattern are as late as the fourth or third century B.C.,
but there is a positive connection between these and the prehistoric Celtic
1.
Flinders
Petrie,
Catalogue
of
XlXth
or
XXth
*'
Dynasty.
Greek
the
Collection
From a tomb
of
of the
red ivy pattern, of the same work and form as the Greek
vases with cuttle-fish, found in Egyp',"
own
p.
8.
From my
The continuous
3.
common
not
is
Greek
pottery.
"
Geometric
the
4.
of
going
"
used the word " Greek as implying
and
that in
Mgem
character in
illustrations of the
"large
coflfin, p.
190.
is
is
quite
unknown
to early
not
found
in
the
early
style.
Museum
The stems
of the Vatican).
misapprehension.
For the
227!
[p.
[p.
[p-
and
"
It is probab'.e that
some other
art,
note, I
Greek
in
"
of the " Mycence type
spiral scroll
xxxviii.
289]
34']Jx-
5-
xlviii.
Room
8 [p.
8 10
left
[p.
[p.
305] L
251]
xlv.
359] Ixi.
of the
3, 6
[p.
[p.
xlvi.
10
IviL
12
Mausoleum Room.
309]
287]
On a
sarco-
LEAF:'
i6'
that of the
I
of Bologna.
104.
From
Author's sketch.
reliefs
"
on
Bologna.
Museum
Schliemann excavations
at
Mycenx
Plates
prominence of the
do
"
." ivy
of Bologna reveals.
" Rose
Lotus" Flowers of the White Lotus
Leaves of the Blue Lotus. Leaves of the
Buds of the " Rose Lotus."
His
not,
however,
pattern which
"
from
and the
indicate
visit
to
the
the
64
PLATE
XXII.
1.
"
vase.
Mycenae"
Showing the
lotus leaf
and
LEAF."
Compare No. 6.
steni,
Cypriote pottery
lotus,
with
lotus
The shape
leaves.
there are no buds on Cypriote vases with the indication of a cleft base.
leaves are
and at
"
3.
Mycenas
xi.
common
in
Egyptian
art.
Compare
iii.
5 [p.
Such elongated
lotus
" vase.
MykeniscJu Vasen,
xvii.
121.
Showing the
lotus
fOsse, xlvi.
5.
Rhodian vase
in
Museum.
the British
in perspective
Salzmann,
xlvi.
The
vase,
iii.
2, 3, 5, 6, 8,
leaf.
Rosellini M.C.
xl. 6.
Compare
12 [p. 41].
7.
Typical Greek vase border of lotus leaves and diagrams of the sun.
8.
{Monumenti
Inediti,
I. li.),
"
as above.
ivy leaf"
10. Detail
Inediti,
I. li.),
as above.
PART
11.
SOLAR SYMBOLISM
(PLATE
Having proven
arises,
inevitably
the
and
lotus
as
it
far
was equally so
The symbolism
PAGE
173.)
form
Ionic
the
undoubtedly affirmative,
Ionic form of Egypt (Figs. 106-109)
and
XXIII.,
to
is
lotus,
IN IONIC FORMS.
of the
it
of an
observation
lasted
\\WlWiT
Egyptian.
as long in
Egypt
reflected.
[(uJ/u
is
lotus undoubtedly
oooo
The
as
the
to
The answer
109. Capital in
wood and
or
its
wood,
metal.
ornament
as
significant of
all
the original motives of Greek ornament are sun symbols does not necessarily
various
strange
artistic feeling,
travesties
beliefs
and
divinities
which found
The
their
Greek mistranslations are best indicated by the much-quoted transformation of the youthful Horus of Egypt into Harpocrates, a Greek god of
way
into
silence.'
I.
De
The
Siren and the Harpy, the Sphinx and the Gryphon, are
d^c.
le
"
Horus
doigt k
la
enfant,
bouche;
c'etait
pour
le
du
silence," p. 142.
all
pris
derived
mal k propos
I70
from Egyptian sources and are all found in strange disguises, both of myth and
That the Greeks borrowed every fundamental
form, in their first European home.
motive of their decorative art from Egyptian sources is quite clear. That their
religion, or their symbolism, as far as they had any, corresponded to the Egyptian
any exact sense is doubtful. But when we speak of the Greeks we speak of
them as we know them. The millenium before 500 b.c. is still an obscure period.
A thousand years was as long a period in Greece as it was in Medieval Europe.
in
of time.
till
It
the Egyptians.
Chaldaea, but
the
in the
may
do not speak
all
in
it
its
fifteenth
debt to the
memory
of the Greeks.
Greeks to
XVIIIth Dynasty
The proof
lies in
the history
of the lotus.
It
is
moon symbol, a
generative symbol, and a mortuary symbol to the Phenician, the Hittite, and the
Assyrian, and as impossible to doubt that the Ionic form was a co-extensive and
equivalent symbol to the same nationalities.
la Repetition of xxiii.
Ionic lotus
3.
supporting
and
headofHathor. Cypriote
From
the
symbols
moon.
an Assyrian cylinder.
of sun
Lotus
the
Cypriote capitaL
is
presented in Plate
and a sun-symbol.
He
xxiii. 3, in
2.
Monuments dt Chypre.
3.
Brvgsch, Mythologie,
Hathor.
Und., L, pp.
6,
is
was
also mentioned
4.
i.
p. 84.
moon.
by him
the
his reference
in Cypriote art,
supporting
tombstone.
and crescent as appearing on the Cypriote Ionic form (xv. 17 [p. 139]
xli. 3 [p. 263]).
The head of Hathor, Moon Goddess ^ and equivalent of
on the lotus
first to
xxiii.
Astarte,*
(xxiii. 7).
p. 97.
these instances
Ionic
we
will
Capital
171
the
Hittite
winged disk
of
Carthage
(6),
moon
"
of
Umbrian
" ^
art
lotus
and the
(8) all
of Plate
tablet.
xxiii.
all
initial,
will
swell in
following
pages,
have
Repetition of
The sun, the
the
worshipper, and
lotus flower.
in
of the
lents
116.
xxiv. 7.
all
and
original
in Syria.
Assyrian
seal.
are included
with buds.
in the demonstration.
The
Cypriotes
117. Repetitionofxxiv.il.
the worshipper,and the lotus flower,
The Moon-god,
Assyrian
seal.
indications of lotus
(5
and
10),
steles (Fig.
43
[p.
71],
Fig.
112,
&c.) were
tombstones, must
Etruscan and
is
118.
IONIC CAPITAL OF
Z 2
THE ERECHTHEIUM.
Italy,
as developed
from
172
PLATE
XXIII.
1.
2.
Menant,
263].
Culte de Mithra,
4. Ionic
6.
Gems,
vii.
xv. 17
[p.
From
139J;
[p. 247].
xxii. 2.
Appendix
Compare
Hi. 6.
ClIIPIEZ,
III., xxxiii.
From
Lajard,
5.
Cylindres,
Perrot ET
Src.
Cypriote Ionic capital, with sun and lunar crescent between the volutes.
xli. 3
[p.
3.
also in
Cypriote
Cesnola, Cyprus;
seal,
King's
1 1.
of the goddess
Hathor.
Perrot ET Chipiez,
P/u'nicie,
Fig.
16
(Carthage).
7.
Ionic capital
Bologna,
9.
and lunar
10. Lotus,
I.
Atlas,
cista.
xviii. 26.
ZxNNOHl, Scavi
ftella
Certosa di
New York
From a
Hittite
(?)
cylinder.
LajaRD, Culte de
6.
Atlas,
Cesnola,
is
cl.
Mithra, xxxvii.
11.
crescent.
(inverted here, to
show the
compare
CESNOLA,
CUIPIEZ, Phinkie,
p. 311.
Perrot ET
yii^
T^ii^M^^^^-
V- y:
'f:i
-^
-w*
'
--^
11
PL XXIII, p.
173.
The
the
human
intellect
183, 185.)
is
have overlooked the evidence of minor monuments for the normal lotus as an
ordinary symbol of Assyrian worship
The work
is
not surprising.
which
this evidence is
work,
Le Culte de
live to
undertake the division assigned to plants, but his Plates were published
complete and his references to them in the completed portion of his text do not
indicate that this unwritten section would have filled the gap for lotus symbolism
on
seals
and cylinders.
Menant's designation of the normal lotus on the seal of Sargon (xxxvi. 4 [p. 247])
"
shows that the greatest
as
garlic," though entered with a mark of interrogation,
has not surpassed the perceptions of his
expert of our day in seals and cylinders
great predecessor on this
"a
flower,"'
Menant
point.
xliv.
[p.
specifies
the normal
"a branch."*
285] as
lotus xxiv. 8 as
XXV. 14 as evidence for Layard's thoroughly erroneous view,^ that the lotus
Mithra appeared
1.
2.
Culte de
The
art.
in 1847.
xviii. 7,
of
exhibit an
'ul'P
Cylindres, &c.,
ii.
p. 68.
" Une
fleur a la main"
Cylindres, Sac,
"
ii.
p. 117.
The minor
in the
British
abundance of normal
Assyrie, p. 318.
bas-reliefs anciens
designates xxiv. 8.
4.
6.
relics
Un rameau
[p.
s'eleve
d'une
].
Museum, which
is
the
earliest excavated,
ment
copietfs
que
tient
d'Assour-nazir-pal."
Assyrian
are evidence.
(Referring
nature,
to xxv.
fleurs
14)
"Dans
fleurs
les
probable-
On
[xxv. 14]
"
which could
His "
lotus motives,
sur
not
3.
Museum
British
is
The quoted
176
which XXV. 14
is
The
"
TREE.
Clearly, then, the Assyrian
a branch."
lotus
is
Nos.
6, II, 12 [p.
at
XXX vi. 6
It is
[p.
field.
seals
247].
Can
attention.
any scholar look at the array of ceremonial branches on Plate xxv., as confined
simply to the normal lotus (i, 3, 5, 6, 8, 14), and deny that the lotus was an
important emblem of Assyrian worship } As far as these normal forms are detailed,
they exhibit the
type,
questioned that the Assyrian normal lotus patterns are borrowed from the Egyptian.
Let us add to these ceremonial branches (held by gods more often than by
worshippers) the lotus-pal mette
(4)
(12),
and turn
the
to
(xlv.
i,
is
on a Cypriote vase
[p. 287]).
acts of
(xxxvii. 5 [p.
249]
ivory
xlvi.
plaque
289] two
2 [p.
from
Nineveh
reference to solar
seal directly
above
According
the acts of
to
it,
on the
Plate.
(p.
99)
and the
same explanation.
The
class of
4,
pal mette
(p.
109),
its
explanation in the habitual Assyrian treatment of the lotus bud in normal patterns
(xxv. 9,
II,
13).
The congruity
10.
of a representation of lotus
itself (13).
is
Cone
is
lotus
bud
quite
frequent in
Egyptian
surface design in
should not be overlooked that Layard's patterns are very largely drawn
from the ornament of robes (in relief pictures).
are dealing, therefore, not simply
colour.
It
We
with an art of sculpture, but with the traditional weaving patterns of Assyrian
art.
1/7
The
general
No
archaeology, or in cuneiform.
of
instinct
the Assyrian
and
of national
qualities
Greek
less
found
beneath
Museum
and
119.
STONE CONE, a
common
terminal
It
is
are
my vlcws
Egyptian
8.
art
with
seal,
from
that
It
for
Assyrian Plates
solar
also
is
Nineveh,
is
winged
asp,
Menant,
disk.
an ivory
in
The
relief
the British
distinction
sun-hawk
Cylindres,
of Horus on the
Museum
(Layard's
from
the
higher
of
civilization
the
in
earlier
ils
Under
captives (Maspero).
relief
"
Maspero,
Assour-nazir-habal they
It
as a trophy
of the British
It
"
(Maspero).
barbarism, as
finds in
'-'
the
Sacred Tree
we must remember
Assyrians
have
showing
^'''"s-
that relations
been
Cylitidres"
asserted
\\.
for
between
the
IVth
Oppert
pp. 197-200).
of the
an
^^elk
abbreviated
cone, like
"
inscriptions
Chipiez, Assyrie,
makes reference
588.
p.
to
the
inscriptions
at
Tell-loh
[King
Sinai Peninsula.
Miinzfrage) has
system preceded
the
Babylonian
Egyptian Sexagesimal
and was " die uralte
The
1889.
III.
enemy
Cypriote tomb
"
Museum shows
rendering the
Egypt
^
,20.
tian
traits
civilizations,
flayed skins of
hung up
was a
Gudea] showing
native barbarism
British
Egypto-Phenician
was.
it
the
Dynasty (Menant,
There
p. 234.
in
art
that the ^
palm
found by Place,
and
Khorsabad,*^
style.
The
(Horus), and
lotus
is
at
fact is patent
of Ornament, text
ceremonial deposit.
ii.
an
no means denied
by
'
Grammar
bull
winged
saturated
to Assyria in
as
'
^^vc statcd
The
he was not
but
feeling,
style.
civilization
in Assyria.
7.
works of Assyrian
decorative
distinctive
in disguising
minor
the
art.
pictorial
successful as the
^^\
in
Monarchy under
is
Zeits-
the
relations
civilization
and
between
were those
Syria,
The
100).
2, p.
result-
A a
Assyrian
178
by Menant
that
many
Chaldeans
category
and according
"
problem of the
association
tree
(compare Fig.
is
Assyria
"
Sacred Tree
120)
would appear
Brahman testimony
pure
were confined
be admitted to the
also
identity
Sacred Cone as a
specify the
to
and
ornament
"
bud
lotus
lotus
according to
is
it
119).
and that
many
^^
to
"
must
the cedar
texts
to
According
TREE,
symbolism
sacred plants,"
^^
is
simply overwhelming.
According to the evidence of the monuments the lotus must have been as
Two things have interfered
prevalent a symbol in Assyria as it was in India.
of
It
it.
cannot
-be
fact
ii.
iii.
(PI.
"
Si
[p.
and
41])
nous consultons
when
appears
pollen
form
its
freed from
dusted over
its
sheath,
ready to have
This
sacred flowers.
the
its
artificial
fertilization,
edible dates,
telles Tail, la
A<>ij
du
chez
les
mandragore
ainsi
c'est
la
ii.,
d^figuration symbolique
p.
de
65.
"II
est certain
I'arbre sacrd
que
la
ne procfede pas
m^me
that of Dr. E. B.
a fir-cone
letter
in
is
Tylor
"The
object resembling
it
is
seen
Academy, June
8,
this thesis
1889,
396.
p.
appeared
Dr. Tylor's
in the Proceedings
of
"The
12.
cone
and he
development of
Nil."
11. Cylindres, &c.,
le
ing,
is
According
Cr/if/(7/
13.
trial
to recent publications in
.ff^ir^/-//
A partial
the
cone
list fills
is
the
its
spathe.
Babylonian and
a citron.
three pages of
Birdwood's Indus-
it
179
is
prompt recognition of the normal lotus motives on cylinders and seals by experts.
In other words it is the assumption of a Nelmnbium Speciosujn as
being found
Egyptian ornament which has made a science of the lotus impossible (p. 39).
The recognition of the lotus in Assyrian art and by Assyriology has also been
in
word
to students.
among
unrecognised presence
the texts
its
is
this
texts,
and that
to
word from
is
its
therefore
of peculiar interest.^*
It is
on the monuments, which are supplanted by new demonstrations for the palmette
and bud forms, or to quote the name of any particular author in a matter where all
have made mistakes, unless they have said nothing. Sir George C. M. Birdwood's
treatment of the subject of the Assyrian Sacred Tree in the " Industrial Arts of
India
"
Museum
the Soma
(South Kensington
The weakness
Series)
tree
palm
in
121.'^
of
in
Assyrian
Soma
that
tree
Rev.
J.
any word
N. Strassmaier,
way within my
"
:
S.
am
J.,
author of various
me
do not know
known
to
have
observation.
in Assyrian or
Moreover,
word
communication
is
It
14.
it
naturalistic renderings at
there.'
grown
art,
no
many
in a
list.
lists,
15.
xxxiii.
portion
i6.
it."
A a
As
is
Birdwood,
i8o
(xxv. 9),
As
xxiv. 16.
The
form
palmette
mentioned
(p.
to be a realistic
So
ornament with
in
the
flower
lotus
must
18).
The
artificial
appear
among
bud and
require an explanation.
This
"
or
furnished by Biblical
is
"
on Assyrian
Sacred Tree
the
originals in metal,
Some
"
to
multiple combinations
"
"
grove
of the
reliefs (xxv).
constructed symbolic
artificially
The word
by the
actual
indicate
reliefs
of
by the
The forms
students.
already commonplace to
is
would
easily
lotus,
does not at
It
all
lie
realistic
12a.
HORos,wiTH LOTUSES,
17.
By
jj^
^j^g
we understand a repeated
tation,
18.
the stele
iii.
trunks
tree
fertility
Eeligion
metal
grove
is
furnished by
of lotuses, which
ori^sinal, in
the Description
60 (Karnak).
(p. 40.;),
mentions "bare
(p.
17,
Note
which
and Baal
of the
78).
symbolized
the
Semites
sun
god."
(p.
Robertson Smith,
176), does
not
credit
the
named Asherah
" Asherah " as " a tree or tree
as above
and
in
Assyrian
ornamental
so
motive,
far
unmentioned,
i8i
is
the
so-called
"
"
pomegranate (associated with the palmette, Fig. 60 [p. no]). The illustrations
from Assyrian ornament (Figs. 123, 124) are exaggerations of a form frequently
found on Egyptian monuments, which
represents
(Fig.
In this view
7).
currence of Mr.
Percy E. Newberry.
The
the
British
Museum,
such
includes
123.
From
Perrot et Chipiez.
124.
From
Perrot et Chipiez.
very curious
anthemion
The
in
so-called
corroboration
on
this
point
is
offered
by an unpublished
(Fig. 126),
AND FLOWER.
Museum.
IS2
PLATE XXIV.
THE LOTUS AND THE SACRED TREE.
1.
CulU de Mithra,
3.
4.
Assyrian winged
5.
6.
7.
8.
The
9.
1.
Assyrian
Assyrian
seal.
p.
222.
Lajard,
Lajard,
Lajard,
de Mithra, xxx.
Ciilte
Place, xv.
seal.
6.
x. 19
xlvi. 16.
seal.
Menant,
Assyrian
relief.
Assyrian
relief detail.
3.
Layard,
star,
Assyrian
seal.
LAJARD,
Culte
I.
13.
Lotuses.
14.
Phenician seal.
Menant,
Phenician seal.
Cylindres, &c.,
II., viii. 3.
kIv. ^.
Lajard, Culte de
xvii. 5.
15.
16.
17.
[p.
[p. 285].
Perrot et
Ivory plaque from Nineveh, in the British Museum.
Also in La YARD, Plates and Dieulafoy, L'Art Antique de la Perse.
12.
Mithra,
the lotus.
at xliv.
Phenician
star.
seal.
seal.
Assyrian
Chipiez, Assyrie,
1
shown
xxxviii. 4.
2.
10.
disk.
Assyrian cylinder.
Menant,
Cylindres,
viii. 3.
From Layard's
Assyrian cylinder.
Menant,
Plates.
For additional examples of the normal lotus and the winged sun disk, see Plate xxxii. 6, 11, 12
223], and Figs. 200, 202. For an Assyrian Sacred Tree of normal three-spiked lotuses, see xxxvi. 6
[p. 247].
* The
eight-rayed star
the goddess Istar
Hibbert Lectures,
p.
400.
is
84
PLATE XXV.
THE LOTUS AND THE SACRED TREE.
1.
2.
Multiple
lotus palmctte
Perrot et Chipiez,
3.
Layard,
relief detail
and bud,
rosette
for
a tree by Perrot.
by a winged
rosettes, held
of
border.
v., p. S43-
in metal)
deity.
the
stairway,
Susa.
'
relief detail.
Assyrian
Layard,
Assyrian
relief detail.
Ceremonial branch of
lotuses.
Assyrian
detail.
Menant,
6.
Ceremonial branch of
lotuses.
Assyrian
detail.
BOTTA,
7.
Assyrian
relief detail.
II.,
105.
Layard, First
deity.
Series, L
8.
9.
Lotus border
Detail of xxiv.
lines in
8.
BOTTA,
Assyrian
Layard, First
11.
12.
13.
Layard, First
14.
lines, in
43.
Detail from
Layard, Second
Series,
Ivi.
Series, xxxvi.
10.
Detail from
style.
I.
Assyrian
style.
Layard,
LAYARD, Second
Series,
5.
Assyrian ornamental
detail,
Series, ix.
Perrot et Chipiez,
Assyrie, p. 318.
lines, in
Assyrian
style.
Compare No.
10.
:5
'dS>
^^t^
rr M
to
/^-J^v^A
M
PI.
XXV.,
p. 185.
B b
In
193.)
in
"
Phenicia
"
as
follows
" No
Phenician sepulchre has yet supplied a relic of antiquity to illustrate the manners
and history of the nation. Phenician archaeology is almost an entire blank."
in
its
original Syrian
Africa, or in
home.
It
is
Mesopotamia, that
in
Cyprus,
in
its
acknowledged
and
of
remains have been most largely found,
Syrian Phenician art we can still
learn more in Egyptian tomb-paintings, of vases and the like, than from
existing remains found in the mother country.
The
monuments
means
certain
However
this
those
lacking
in
the
mother country.
and
typical
known
is
it.
is
rosette,
it is
difficult to see
even
88
We
but
art,
we should
as
known
to us,
as intermediate dependency of
to
it
This view concedes that every nation of antiquity had a distinct and peculiar
national religion, and that every locality had a distinct and essentially original
local
more
Semitic,
concedes
It
cult.
the
directly influenced
to
Egypt
but
it
being
asserts
was more
original
Dynasty
that
culture,
So
from being disposed to minimize the Semitic element or the Mesopotamian element in history, I am positive that the history of the lotus will tend
The history of an
to raise our estimate of that influence as regards the Greeks,
far
it
just as
Dutch Protestants
carried to
America
with the
As
far as these
still
(and
and
to be offered
fact
which can be
Phenicia and
I.
In
Syria
is
DuMONT ET Chaplain,
is
a very
fair
also
pattern ornaments), in
so
far the
lotus cult
of
Ciramiques de la Grice
on Assyria and
and 136.
this neglect.
cult, it is
189
we
its
own
lotus
it
must
(pp. 8,
9).
Wherever we
find
lotus, or the
influence on Mesopotamia.
of the Sphinx or
thirteen cases
Horus
are forms of
Gryphon
lotus
association,
normal lotus forms has been pointed out by the publications from which they
are taken,
and Tanith,
is
attested
at Carthage,
by inscribed votive
On
constantly appears.
moon
Plates
Ixvi.
[p.
tablets,
and
399],
Hamman
Ixvii.
[p.
"401]
there
are
seventeen instances of the lotus from seventeen different votive tablets dedicated
to the
lotuses, Ixvi. 4, 6, 12
14,
must
also be conceded
the
The Egg-and-Dart
motives,
We
have also on
the two Plates cases of the rosette, bud, and simple outline lotus, which need
Phenician scholars are best able to say what notice has been taken of the
significance of the
tablets.
have
failed to
discover any mention of this significance, or even of the appearance of the flower,
in the publications
civilization in
Syria, although
"
we
by gems or
coins.
This material
is
[pp.
193-289],
is
all
assume
facts
I90
It
is
our object
(xxvi.),
is
simply to
Chaldaean Zodiac'
He
Syrian Baal.*
is
The winged
of
whom
to
As
little
or nothing
the bull
we
a solar
is
known
is
emblem
in general,
we
move beyond
facts of
9),
bull unicorn
8),
must
bull in
bull in
is
The worship
of the solar
historical
2.
by the Accadians
3.
"
Biblical Archaology,
1890.
when the
entering
upon the
great
Light"
by
(p.
texts
Merodach
48).
(p.
100).
furrow of heaven,
as he
stars."
primitive
Bull-god
7.
/bid.
The
head
Merodach an equivalent of
in the
Astarte
(p. 292).
bull
(p. 292).
8.
household
9.
lents
bull,
(p. 286).
Brugsch, Mythologie,
t/rzt/aw^r)
Winged
all
things
6-<-.
is
In Egyptian cosmogony
the watery element
{Das
Khnoum
(p. 108).
Noun=the
belongs to river-gods.
of
(p. 286).
5.
Robertson Smith,
thi beginning of
Merodach, the
which appear
rosette,
6.
and
But
Note
179,
(p.
the Assyrian
bull,
may
191
14)
fact that
or imperfect translations
texts,
lotus
We
influence.
b.c.
(pp.
35, 36;
Note
151,
Note
It
is
The
Cyprus and
(p.
36,
Note
16).
solar disk
origin.^"
6).
5).
later
4)
in
Syria,'^
to say
knowledge
in countries of
whether
bull
this
it
was borrowed
Mongol conquest.
Persian texts are very explicit and numerous for the symbolism of the bulV^
and we cannot doubt that the Ionic form on Persian bull capitals has significance.
of
ivories
the capital
the
ninth
xxvi.
10,
Certain
century.'^
by
that
it,
known
forms
Hindu
of
art
to
and
a Persian
and Assyrian influence as explaining the resemblance. That this influence should
have preceded that conceded to the Greeks is natural. It has been so far overlooked
that the patterns
normal
10.
lotus, as
may
12.
Lajard,
Ctilte
historischer Beziehung,
p. 70, attributes the presence of the
of generation and of
bull
religious
reasons.
The zebu
is
generally
known
as
the
known
11.
for
in
the
bull
as
sacred to
the
See
ii.
5, p. 23.
Lucian's matter
Assyrian Venus
and as
is
De&
was
Ahriman,
the
life
The
in Persian
created
first
his soul
de Mithra.
illustrations.^*
being
bull
was an emblem
myth
(p.
(p.
49).
The
Slain
by
later creation
all
(p. 50).
13.
the lotus,
14.
Museum.
In the British
this form,
and has
UArt
Antique de
Perrot et Chipiez, V.
>
p. 503.
56).
ig:
PLATE XXVI.
THE BULL AND THE LOTUS.
bull
and
1.
Apis
2.
Solar bull.
3.
lotus.
Detail,
Detail,
Mongol
MariETTE, Serapeum
de Memphis,
coin.
Denderah.
From
in
iii.
21.
6.
Bull, Ank/i,
5.
Bull, or
6. Bull,
7.
8.
Bull
solar disk.
Cesnola, Cyprus
Cypriote coin.
;
De Luynes,
Botta,
Assyrian
relief
p. 49.
Bull unicorn
Persian capital.
11. Bull
Assyrian enamel
Bull unicorns
Perrot et Chipiez,
lotus buds.
v. p.
and
lotus
Assyrian
detail.
Ionic
viii. d.
II., 154.
9. Bull
10.
and winged
relief.
Layard,
known
Layard,
as
the
"Aberdeen Stone."
volutes, supported
by
lotus
(pendant
sepals).
493.
Assyrian
relief detail.
bull (zebu)
and the
lotus, see
ii.
[p. 23]
Hi.
The
bull unicorn
is
(
I
]rt:^
f,
/>
f'//
.?J
l-
^'s
.11
L^
^^M
-T
-N
:^
~^
h^
V Z(IV
/^i.
e^
5f
irriuTTfTrmTi
PI.
XXVI., p.
c c
193.
That
197.)
the Phenicians should, apparently, have derived their symbolism of the bull
from Mesopotamian sources, and their symbolism of the cow from Egypt,
is
easily
Although the bull symbolism of Egypt was not confined to the Sun-god
Ptah of Memphis (p. 8, Note 23), and his incarnation of the Apis, it was especially
explained.
common
to
Horus
especially
The
cult of
(the
winged
solar disk
Hathor or
Isis
No.
i,
marked as Phenician by
inscription; No. 4,
its
little
difficulty in
this
last
since
case,
the
Phenician
Isis
monuments
lotus,
in
doubt,
have been
xxvii. (xxvi., 5,
The
famous
6;
LOTUSES.
conceded.'^
We
the
exhibiting
distributed
between
Four other
normal
Plates
so
trefoil
and
xxvi.
xxvii., 3, 6).
especially in
the
The
all
was
cult
attribution
of this
piece
to
by good
authority,
and
are
generally
Among many
Kenrick, Phenicia,
references
p.
313.
for
this
identification
see
2.
in
C C 2
Schliemann's Mycena,
p. 213.
A point also
noticed
196
association,
rosettes, will
of
Fig. 127
3.
"
For
Nebengtstalt,"
Mytfwiogie,
For Hathor as a
21].
[p.
equivalent form, of
i.e.
and Note
v.
iv.,
to
Isis,
see
by unanimous
Brugsch,
61, p. 13.
its
proper
127, see L
Fig.
Brugsch,
All above
titles
authority.
For
lotus."
designate
Isis
as
Moon-goddesses
Moon-goddess see
PLATE
XXVII.
1.
2.
Hathor cow
3.
in sacred bark,
[p. 253].
4.
Hathor cow,
lotuses,
calf,
P hoeniziscJie
Studien.
ROSELLINI, HI.,
Detail, Ipsamboul.
v. I.
lotus.
Egypto- Phenician enamel seal, Sardinia.
For Horus as calf, see BRUGSCH, Mytliologie, I. p. 160.
7.
Cow-head (Hathor)
9.
lotuses.
Levy,
and the
6.
8.
and
seal.
Bronze repouss^
Phenician
lotus.
rosette.
the lotus.
Egyptian scarab.
with rosette.
rosette.
Detail
of
Tributaires de Ke/a.
PerrOT et Chipiez,
Schliemann, Mycena,
Top
4, 6, 7
xx. 2067.
Klaproth,
[p. 97].
xxxix.
xii.
p. 216.
a vase from an
Egyptian tomb-painting.
Prisse
PL XXVII.,p.
197.
203.)
"
worship of Venus was dominant. Sacrifice was made to her there of a ram covered
with its fleece, and this practice had been transferred to Corinth."
'
^
"Cyprus and the Origin of Aphrodite Worship,"
In Enmann's publication
the Greek Venus
and of
fertility.
is
This essay
iis
bearing on the independence of the Greeks from supposed Phenician influence, and
was written by Enmann with this motive. Since the Cyprian Aphrodite is the
most universally quoted instance of a Greek deity borrowed from foreign nations,
prove the Cyprian Aphrodite a Greek goddess is to meet the supporters of
But the points
foreign gods in Greek mythology on their chosen battle-ground.
to
Enmann's essay
Greek goddess
corresponded exactly to the significance of the Assyrian and Chaldean Venus whose
worship in Cyprus was practised by the Phenicians. Therefore, lest the bearing of
of
my
later illustrations
is
quoted for
it is
all
came
in
For the argument of this work an assimilation comes to the same thing
a derivation, and will explain the phenomena as well.
In the case of the Rhodian vase (Ram, &c.) which takes the central place in
nations.
as
we have reached
Plate xxviii.,
1.
De
Num.
Mensib.
2.
et In.
Cyp., pp. 5, 6.
Quoting
"
the
first
Joann. Lyd.,
4, 45."
"
Sciences
"Wir durfen
sie
Tod und
und ihren Namen
als
einen
20D
would be possible
It
viz.
were
it,
it
associations of the lotus with the solar or divine animals, but the flower itself occurs
circumstances
many solar
which make the
therefore, the
anthemion occurs
of a
possibility
in
a like association
On
symbolism.
corresponding
this
moon
difficult to
is
it
point
dispute the
evidence
the
of value,
is
When,
because
of
their
anthemions belong to a late period of Greek influence as regards date and style,
and because these tablets exhibit the normal flowers as well as most of the hitherto
unrecognized variants of the plant
The ram
is
the equivalent of
Amon
crescent,
and the
solar
diagram
5).
appears on Cypriote
He
and of Khnoum.
(Ixvi., Ixvii.,
He was
6, 8)
and on others
sacrificed in
Cyprus
still,
to a
with
goddess
which asserts the independent Greek character of Aphrodite who was certainly
a Moon-goddess, according to an assimilation with the Phenician Astarte,*
which was undoubtedly made in Cyprus.
of the later Chaldean Zodiac, and his place
The ram
moreover the
is
the Zodiac
in
is
owing
first
sign
to his solar
character.*
When
therefore
we
find a
Rhodian vase
(xxviii. 7)
11
xiii.
[p.
121]),
it
is
impossible not to assume or suggest that they were, or had once been, associated
may have
3.
De
4.
et In. Cyp.,
The
Plate v.
3.
Coin of
reverse, a bull.
diagram,
ticated
is
in
is
another question.
Luynes, Num.
Salamis.
as a lotus
susceptible of demonstration
later
pages.
The diagram
a form of the
Egyptian
5.
sign,
The
to the
for the
sun
its origin.
quoted by
6.
Ea,
It
Enmann
Robert Brown,
Archceolugy, 1890.
all authorities,
are also
in his essay.
sor
within the range of possible suppositions that the association was traditional without significance, as
dating from an earlier time of significance which
It is also
had been
was a
one
rare
in
Egypt/
No
work of
my
observation.
It is
cannot be assumed,
art
even in the case of the Greek vase found in Egypt (No. i). The ram and the
lotus could never have been combined in
Egyptian art as we find them in this
example.
in
was
Egypt
originally Egyptian.
it
was
one element at
certainly never
lotus were
spiral
the lotus
least,
combined
of the animal.
Hence
or No.
7.
One would be
that
art accidentally
The
proposition
identical (Plate x.
The
7,
scroll of
Hittite
last is
my own
view.
97])
No.
is
i.
ram with
gazelle
on
This
relief
Till
then
(No.
we
2)
will
will leave
gain significance
it
when
the
this Plate.
matter will
It is
which were Typhonic in Egypt and peculiarly sacred in Mesopotamia.
therefore by no means to be assumed that the Rhodian vase designates a distinctively
7.
An
It
is
Rams
stelfe,
No. i88.
D d
PLATE
XXVIII.
Ram
and
spiral scrolls,
in the scrolls.
Naukratis,
II. ix. S.
2.
Colossal stone
ram
(Hittite), with
Perrot et Chipiez,
3.
I.,
in
At Kumbct,
relief.
Phrygia.
(Ramsay
Esneh.
lotus buds.
ii.
[p. 23].
De Luynes, Num.
5.
Reverse of No.
6.
Ram,
7.
Rhodian
8.
Museum.
vase, British
Reverse of No.
7.
Description de
86, 10.
4.
4.
explorations.)
v., p. 170.
gazelle
et In.
Cypriote coin.
Ram
Cyp., xii.
SCHMIDT,
above inverted
Cyp. In., x.
anthemion with
lotus
Four
i.
introrse
Salzmann, Necropok de
lotuses in corners.
scrolls
(type
Cainire,
li.
of
l^Lnl^biLnLniriLrilriL^rt^lribnUilrilr^Lnl^UrjL-nL-ilr^t^lrit^i:/
PL XXVJII.,p.
D d
203.
The
lion
^
goddess
Even
is
the
209,211.)
temple-roof
and a
Greco-Roman
the
of
The
hind-quarters, back to
153],
Lion-
solar equivalent
water-spouts
(xx. 12 [p.
time,
summer sun
which
were
in the Zodiacal
rare
little
crown upon
An
thus apparent.
is
amulet
Museum shows
in the British
his head.
Although the
additional example
lion
There
is
was a
indirect
direct influence
influence
century
is
frequently
mistaken
to
in
transferred
1.
2.
An
by
style,
both
The
this association
quites Grecques
et Iioiai?ics
Brugsch, Mythologie,
in Lycia.
Museum
Welcker,
in Plates
"
p.
349.
xxix.,
xxx.,
are at the
der
Denkmaler an
Gestalt
den
dem Dache
liegender
Lowen-
den
als
(Rachtiit, 1873).
II.,
and
in
monuments which
Griechisch-romischen
quoted by Daremberg et
4.
find
angebrachten Regengossen
lion
Egyptian
in
Thus we
Assyrian."
designations).
3.
indirect
"
and
Egypt.
same time
direct
produced a
for
23].
[p.
onwards,
ii.
solar animal
found at Plate
is
Die
in
der
Lowen
aufgefasst."
206
4,
7; xxx.
As
specified.
The Greek
10).
German
2,
archaeologists
a new place in the history of art when their lotus forms are
i,
are
4, 8,
plants,
also obscured
of the art
is
For the
the
"palms" or unrecognized
is
unrecognized.
association of the lion with
normal lotus
Etruria and
in
lions
(xxix. 3;
xxx.
offered
The
5).
in
in
lotus
who
The
ments
I2S.
there are
[P-
two
that they
Egyptian,
parallel in
manner of
style
Egyptian
association.
art,
If
We
23]),
head in Egyptian
as in
From
is
monu-
assumed.
We have,
Greeks
accidentally
borrowed,
the
art
two
theories.
separate
One
forms,
both
of
which
they
had
without
from
combined
two
reference
to
Greeks combined two symbols whose sense was known to them as related to the
sun, or to Apollo, and that in this combination they followed the meaning, without
following the exterior style, of the nation from which the symbols were borrowed.
The
latter is
The
my own
lion
evidence for
view.
disk),
being one of
similar tombstones.
many
294, Note
(p.
207
Therefore
xxx.
liice
it
We
3.
dominantly Greek
is
shall
that of
is
3).
The
style of the patera from Crete, from which the detail xxix. 8 is taken,
"
be called " Assyrian
according to present standards that is to say, it is
would
approximately like the Phenician pateras which have been found at Nineveh, and
to be Phenician.
It
fragments of
that the
Phenician, &c.
admitted to be
in
Mediterranean
British
art,
are
Museum, and
more obvious,
to
relation
the
is
standards of
Egyptian
every expert.
is
quality
style," as
Assyrian
derived.
their
is
open to
in the
the
Cases of the
observation
reliefs,
so-called
found
is
of
much
or
Italy
the horizontal bands of animals on Greek vases are related to the horizontal bands
of Assyrian
publication than
"
The
relief,
it
3. 5-
As
Herzblatt
"
of xxix. 9 should
related to a similar
[p*
in
of these reliefs
the appearance
to
is
253].
[p.
connected with
leaf.
from a publication
made before the time of Egyptian science and also before the time of Egyptian
counterfeits.
Presumably from Egypt, it is not positive that this scarab may
for
the
in various
ways.
Rosellini
appeal to
for
scarab
to a series of eccentricities in
form
is
it
9,
is
mongrel
lion
significant
and
when
Rosellini, M.C.
the
belongs
The
It
art.
Hindu
Hindu
art,
own
designation in
text.^
"
bird
"
and
made known.
xxiii. 4.
Gryphon
standing, with
tail
text.
6.
Plate
lions
and
2oS
PLATE XXIX.
THE LION AND THE LOTUS.
1.
Lion and
2.
Lion and
4.
Lions
lotus.
lotus.
5.
trefoil
P.
"
Le Page Renouf,
7.
Museum.
lotus which
rests
on a
rosette,
in Proceedings, Society
lion heads.
Cesnola, Atlas,
9.
i.
Etrusco-Vaticatto,\.\xK\\.
rosette.
6.
8.
13,
v. 2.
Museo
I.
The Lions
from
rampant, facing a
Caere.
Detail, Philae.
Osiris,
Colouettes en Bois.
Cypriote
relief
fragment
in
the
New York
xxvii. 84.
Antichitd
Detail
Prisse d'Avennes,
dill'
Greek pottery
detail.
in Creta!'
B5HLAU, Jahrbuch,
1887.
Museo
Italiano di Antichitii
'AW
PI.
XXIX., p. 209.
E e
210
PLATE XXX.
THE LION AND THE
1.
(Compare matter
xliii.
xlvi.
[pp.
LOTUS.
for
269-289]).
the Bird
BOHLAU,
in
Jahrhuch, 1887,
Taf. II L
2.
Lion and
rosettes.
Pottery fragment.
Cypriote tombstone
-3.
4.
Naukratis,
Greek vase
in the
Lion.
7.
8.
9.
Egyptian scarab.
[p.
normal
10.
Lion and
Among
267], especially
lotus at the
rosettes,
Klaprotii,
end of the
tail
(which
is
Theban
gems of
the British
vase.
Bohlau,
ROSELLINI, M.C.
Cesnola,
the British
Atlas, xvi.
Museum.
BlRCii,
Benndorf, VasengemiUde,
"
Klaproth
"
see
Cesnola, Atlas,
in
Jahrbuch, 18S7,
Compare the
xxiii. for
vi.
p. 86.
cxxii.
Taf
fish,
hawk-headed
4.
Plate
xlii.
lion with
the Cretan
not noticed by
in the
Compare
tail
is
For references to
Detail, early
2.
lotus
673.
xiii.
Tombstone
disk.
No.
The
Louvre.
6.
the
84.
Lion and
2,
in
Swastikas.
5.
lotus.
II. v. 7.
Museum
is
Naukratis,
II. viii. i.
-y>
"^5iM^rf^i^r^
PI.
E e 2
XXX., p.
2 11.
The
Egyptian Sphinx
is
Hence
the
human head
portrait
human
to the
texts as a
Xllth Dynasty.
8
ii.
[p. 23],
of the
ram
is
the
Sphinx with
It is specified
by Egyptian
Gryphon with
is
Osiris).
The winged
Sphinxes have been thought to show Mesopotamian influence, but they can be dated
many centuries earlier than any known monuments from Mesopotamia, i.e., to the
to a period
earlier
B.C.
The
riddle of the
The
is
known about
it.'
is
that
all
the
"
Oriental Monsters
"
of Greek vases and Greek art are decorative adaptations for decorative uses, and with
about the same relation to Greek history as the unicorn of the British coat of arms
1.
References at pp.
2.
Wilkinson's statement
8, 9,
3rd Edit.),
of
is
qualified
by
his
own
II., p.
illustration (HI., p.
as a female Sphinx."
94,
310)
Compare
Plate
Rosellini
ii.
at
A painted
Beni Hasan
M.D.C.
(p.
207,
xxii.) detail,
8 [p. 23]).
Museum,
Milchhceffer,
p. 45.
Marx,
214
Athens takes the ground that the given Sphinx has no sepulchral
and
significance, or, in other words, that the Greeks, who were notoriously reverent
Sphinx
at
circumspect in matters of the tomb, chose their tomb decoration without the amount
of sentiment which inspires the
To deny
monuments of a modern
cemetery.
many
Second,
reigning queens)?
original is generally
how
is
the
meaning
male
were not
(since there
to
Greeks by way of Phenician ivories and metal decoration, and we can still detect a
sufficient amount of female resemblance in these Phenician originals to explain the
error; for instance, in xxxii. 8,
13,
which are
xli.
to
263], in
the
Greeks
or
in
In such examples
dress with
it
is
type
xli.
or in the type
from Syria.
.129.
"The
SriiiNX
Demonstration
on the head
show
its
xxxii. 8, 13),
(xxxiii. 5, 7).
The
It is
for the
2, 6, 8, 9).
Db
formation
distinctly
conceded.
p.
un
This trans-
215
it
solar
is
[p.
When
9].
it
that
a typical
and that
12),
appears on vases
is
it
it
(xxxiii. 6, 8,
is
xxxiv.
it
9),
rampant
is
as in
is solar,
5)
(xliii.
6,
is
directly affected
by the
attested
commonplace information.
indeed,
when we
Phenicians
(xliv.
of great importance
is
The
Egyptian home.
its
It is
not at
all
clear,
is
distinctly
symbols derived from Egypt had the same limitation, and the positive contrary
may be fairly asserted from the associations of the winged sun disk in
Mesopotamian,
Hittite,
and Phenician
art (xxiii. 4, 5
[p.
173]
xxiv.
i, 2,
much devoted
3,
[p.
183]).
to the visible
is
by
their
(Ixvi.,
Ixvii.
Babylonian
cults,
grosser and
more
fact
celestial
that
might be explained
and stellar aspects of
fact
Sphinx
This
[pp. 399-401]).
in particular.
The Egyptian
Keller,
Thiere
des
culturhistorischer Beziehung, p.
classischen
288
Horus
of
7.
borrowed
Alterthums
quoting Stephani.
in
8.
vases, the
same
significance
.to
is
as the Sphinx),
the
isolated,
Sphinx was
as
on
Rhodian
determined by associations
be presently accounted
for.
2i6
first
long as
its
remained a symbol.
it
is identical
Gryphon with
astray by their
own mistake
assists the
It
Apollo.*
we have
an
is
could not, in
Sphinx
historical
later
which
is its
original
to
fall
and
essential character
made
same sepulchral
is
use, the
moon
many
clear
crescent.
lotus,
Compare
xxx.
4,
3,
11, 12.
[p.
As
general
result,
then,
69
[p.
124];
xiii.
[p.
121]),
(pp. 9, 10),
and
it
for the
With
Egyptian lotus
sun was united a worship of creative force and generative power. With the cult of
the dead and the theory of the spirit world was united the belief in the recreativelife-giving,
9.
As
and
the Egyptian
life-sustaining
Gryphon
a combination of the
is
Horus by Egyptian
power of nature.
of
Horus), and
texts (p. 9,
Note
34),
to the times of
ing to
God
Ovid
called
still
Apollonius of
it
are
as quoted by
familiar
Accord-
"
Lajard, Culfe de Mithra, the
is
represented by a
fact is
Tyana
(as
Lion."
quoted by Lajard,
Gryphons belong
According
by
all
the
in
In the
Gryphons
been transferred
"
summed up
Hawk and
combination of the
is
This
life
p.
of
383),
home
has
Welcker,
traditions,"
217
Egyptian belief which assimilates and identifies the blessed dead with Osiris.
However distinct the Greeks may have been, and were, from the
Egyptians, they
were
them
like
in
To
'"
tombs
in the
immense majority of
is
known
been used for the living; but the entire art of the Greeks in
to us
matter.
It
is
known
Greco-Roman
the
was known
art
anthemion
his
assert
art of
the
that
to be a lotus is quite
another
that the
(p. 10,
to the later
Greeks as a
lotus,
was
them a
That
was so known.
it
knew
foundation and
its
To
may have
cases
it
to
and
it
appears to
me
consider proven.
symbol
religious
improbable that
That they were conscious of the originally lotiform character of the symbol at
some time and in some places, viz., the time and places of early transition,
appears, to say the least, highly probable.
The
of
significance
the
by the
indicated
consideration
is
references are
much more
(xxxiv. 4)
has an
I,
5).
To
Ankh
with the
9),
the
7, 8, 9,
same
(xxxii
7,
and
Sphinx, but
the
quotations
[p.
and
of the distinctive
associations
under
Plates
Greek
art
of Egyptian and
63]
xxxii. 4, 10
effect are
Ixv.
four
compare matter
and
the
[p.
393],
lotus
6),
(Ixv,
393])-''
[P-
Earlier
spiral scroll
spiral,
the spiral
symbolism
is
11.
were
of the dead,
and
for the
identity of the
Among
the
10. Large
memory
scroll,
eccentricities of solar
the
for
matter
accessible.
of
illustrations
Gryphon
to landscape
century,
religious paintings.
all
embodying
ideas."
F f
religious
2l8
who
only ones
In pure Egyptian art the gods Nefer-toum and Nilus are the
(i.
but cases
this
We
lotus.
Gryphon
xxxiv.
Phenician
(from
Cyprus)
The
with
the
trefoil
head,
is
illustration
6,
lotus
on
from
the
^Jh,
--,
,.
Kegulmi-Galassi tomb
also
and
Phenician.
.
130.
The
The Gryphon,
131.
xxxiv.
DETAIL ON
bronzr. From
the
Reeulinic^i^^^i to>'^
(from
lotus, with
xxxiv.
is
The head-ornament
an Ionic
We
lotus,
of xxxiv.
scroll
7,
8 as lotuses
is
2) is
heads
also.
apparent, and
we may
In such a case
we know what
it
because
is
it
can be nothing
else.
There
is
no
doubt that the peculiar limitation of ancient symbolic floral ornament to one plant
As long as
explains its curious mutability and unrecognizable degraded forms.
only one plant was represented
any sense
it
made no
difference
to natural appearance.
13.
See
p. 49,
Note
15.
whether
it
corresponded in
corroborations
(5,
7),
of
Plate xxxiii.
the anthemion
(3,
4,
for
the palmette
for the
11),
2 19
(No.
Sacred Cone
6)
(9),
the Ionic
and
for
the
archaeologists.
We
that
sun-worship
the
men
(xxxii.
(xxxii. 4,
of learning
i),
for the
6,
9,
11, 12,
who have
and xxxiv.
published them.
"Assyrian" palmette
(2, 8,
5)
13, 14)
and
rosette
(3),
will
not be
overlooked.
An
(xxxi. 3).
is
offered
mummy-cases.
IJ2.
Persepolis.
f 2
From Lajaru.
Compare
xii.
14 (p. 113).
on
220
PLATE XXXI.
1.
Sphinxes and
Vases,
2.
lotuses.
R^gne de Thothmcs
XVIIIth Dynasty.
3.
III.
Granite Sphinx,
Ivi.
Oum
and
in three bands,
Aouamid, Syria.
Showing necklace
lotus
Types de Sphinx.
el
Prisse d'Avennes.
from a tomb-painting.
Many
Renan, Mission de
Phe'nicie,
inverted.
rosettes,
parallel instances
on the
collarettes
of mummy-cases.
4-
5.
compare No.
lotuses.
2.
lotus
necklace with
from a tomb-painting.
Prisse D'avennes,
Vases en or emaiiU.
6.
7.
8.
9.
disk.
V. 17.
of a vase from an
Ramses
III.
ROSELLINI,
III.,
Compare
lotus.
lotuses.
Style of the
Egyptian tomb-painting.
xxxix. (Edfou).
Prisse D'Avennes,
Vases du
Tombeau
Fl.
XXXI,. p. 221.
222
PLATE XXXII.
1.
2.
c.
Layard,
Hawk-headed
4.
5.
Cypriote coin
deity,
Sphinx and
lotus,
lotus.
Phenician
and- lotus.
vili.
seal.
flower mistaken
by
De Luynes
Ivii. 2.
De Luynes
lotus,
lion
and
and
Assyrian cylinder.
Cypriote
Lajard,
7.
seal,
c
lotus palmette.
Perrot et Chipiez,
Phenician seal.
1 1.
Winged sun
12.
Sun-god, winged
13.
disk, Sphinxes,
lions,
Layard,
2.
10.
and
and
facing a lotus.
lotus.
lotus.
Culte de Mithra,
7.
Winged
Lajard,
lierre."
9.
seal.
rosettes.
6.
Sphinx,
33.
Phenician or Assyrian
8.
iv.
22.
3.
Num.
First Series,
stele,
Assyrie, p. 689.
Assyrian or Phenician
Assyrian cylinder.
Assyrian
in
Remote Ages,
relief detail.
ix.
seal.
Klaproth,
liv.
496.
Ivii. 3.
A. 13.
Layard, First
Series, xliv. 8.
yix-
7\
^3
yQ.
WA
Y/^^^
.1
7
^<///(i\y
JO
ii
J;?
4ai
^
\^
-^^z^^-^^Zl^
13
/>/.
XXXII., p.
223.
224
PLATE
XXXIII.
1.
Cesnola,
Atlas, xvii.
Greek pottery
lotus.
2.
Sphinxes facing
3.
Cesnola, Cyprus,
4.
(Egg-and-Dart
5.
moulding, xxi.
6. Detail
From
Cypriote tombstone,
[p. 159]).
Perrot et Chipiez,
capital.
Greek pottery
detail.
Monumenti
8.
9.
SaCKEN, Das
capital.
spirals.
lotus.
Inediti,
detail.
IV.
7.
11.
Monumenti Inediti.
of Sphinxes rampant, facing lotus motive of a double flower, anthemions, palmettes, and introrse
scrolls.
10.
t}ie
Inediti.
p. 267.
Monumenti
detail,
Greek pottery
detail,
Greek pottery
Bronze repoussi
detail
Ivii.
Monumenti
detail.
Daphnae ware.
detail.
from
Tunis,
Inediti,
II.,
Ylll. kUv.
xxvi. 9a.
prehistoric
Celtic
tombs.
VON
Cypriote tombstone.
Atlas,
civ.
12.
Sphinxes
on
Cypriote tombstone,
(compare
ix. 5 [p.
Cesnola, Atlas,
c.
^^=iy
^^
Y
vCh
?J
v//
PL XXXIII. p.
G g
225.
226
PLATE XXXIV.
1.
to the head.
Sphinxes with lotus palmettes attached
Perrot
et
Chipiez,
2.
Sphinx with
3.
Sphinx with
Archiologiqtu, 1888,
5.
Gryphon, with
Gems,
I.,
detail
SCHLIEMANN,
from the
"
Troy, p. 55.
Situla d'Este."
Gazette
xii.
4.
for
Repouss^ hronze
detail.
Greek pottery
lotus attached.
Monumenti
detail.
Cypriote cylinder.
Inediti, IV.
Cesnola, Cyprus
Ivii.
King's Appendix
9.
6.
7.
lotus.
hrome
Repoussi
lotus spiral
detail.
attached.
Caere.
Museo Etrusco-Vaticmio,
I.,
xvii.
Journal of Hellenic
8.
Sphinx with
9.
**
Fran9ois
vase, Chiusi.
Monumenti
and
pattern,
and
spiral scrolls
lotus palmettes.
Inediti, iv.
meander
gf
y
r^..
^;
wM
4
(//
3 SI,
According
to
to
The
Barbary.*
antlered
deer
is
is
The
symbolism.
monuments
it
appears to be
unknown
to
Egyptian
deer is indigenous to
so generally assumed for the lion and Sphinx do not carry us beyond the range
of Egypto-Syrian influences, but the problem of the deer and the lotus
must be
From
the study of the bird and the lotus on Cypriote vases, which subject
have reserved
till
was
and the
xxxix.
5),
for
lotus
on Cypriote vases
art,
(xxxvii. 5, 7, 12
cited in the
New
York Museum.
the
deer was an
emblem
of Apollo, and
to the Cypriote
Engel
I.
Guide
to the Galleries
Souih Kensington,
p. 47.
p. 95.
who
is
first
said by
Wilkin-
make
clear to
the reference in
at Delphi
chanced
2.
Rosellini.
3,
Be
Nat. Anim.,
4.
me
The animal
in the
modern Egypt.
king
was the
lib.
XL,
Engel, Cypern.
xxxiii.,
cvii.
1877
See
p.
163;
quoting Aelian,
p. 240, this
chapter.
230
to
come
and on turning
to me,
in view.
to
a Dictionary of Antiquities
by a mass of
IBEX,
among which
classical authorities,
known
"
moon) are of course included. Within Keller's knowledge the deer was a favourite
^
On an island at the mouth of the Euphrates, in
of the gods in Western Asia."
the time of the later Achemenidae, were kept droves of deer and wild goats sacred
The
to Artemis."
in
At the
cited.^
is
festival of
The deer
was
sacred
sacred
to
'^
It
"
"
Apollo,
Isis
Phocis," to Athene
at
to
Laodikeia in
and
Syria,'^
to Apollo at
"
the geld of the
Inscriptions of Delphi mention objects bought with
Delphi.
deer,"
to
can be
instances
cited
with
incorporated
the
the
in
British
Museum
monuments
recognized
for
4),
of
Greek
mythological
would be
It
in the highest
degree unjust to lay the blame of this oversight on the shoulders of Perrot,
has given
the
5.
Daremberg
Crccquti
el
et
X. 13, 2.
The deer
is
stag,
Pausanias,
viii.
48, 2
by Lajard,
O.
Keller,
Thiere
des
classiichen
Alterthums
in
P-
Perrot
20.
7S- 8,
p.
75- 9.
96. 13,
p.
93. 14,
P-
89- 'Oi
Citium
c'est
figure feminine
de
la
17. p.
19.
MuiU
96, 18,
p.
96- '5.
avec
la
la
signification
ici
quelleconque.:
il
cette
le
bee
complete
P-
90- ".
P-
P-
96- 16,
p. 96.
9--
p. 97.
on
pictures
"
12, p.
the
et Chipiez, Cypre.
un ddcor auquel on
that
who
the view
to
art,
Grecque
(p.
designated by Perrot,
rosettes).
At
709).
"
p.
cheval
IBEX,
231
it
we
European
(xxxvii.
large
than
otherwise
art
xxxix.
to find
as
numbers of the
latter
animals
figuring
8).
monuments
(xxxvi.
ibex-headed gods)
10,
and
in xxxvi.
Note 33
see also
5 a deer carried
for stag
for the
stag on
Assyrian monuments
is
the
Prince,"
"
"
the Antelope the
"Antelope of the Deep," "the Antelope the Creator,"
"
the lu.sty Antelope."^.
The. name of Ea is sometimes expressed by an
literally
at
festivals,
was
entitled
"
Ea was
equivalent
also
is
its
prow.^'
written
We
31.
" in
advice that
Babylonia the stag would be the equivalent
Edition.
of the antelope."
Dehr-el-Medineh (Thebes).
22. S.wcE,
24,
27,
proven
p.
Hibbert
by
280. 28,
texts,
Lectures
p.
(p.
100.-25,
104). 23,
p.
280. 26,
p.
p.
104.
280.
32,
at
de Clkrcq,
III.,
p.
Dehr-el-Bahri
302,
and
3rd
at
In Collection
six-rayed star,
"symbol of
Istar."
232
IBEX,
similar fact for one of her later equivalents (the Oriental Artemis) at the
There
is still
to the evidence of
8).
another
celestial
animal to be included
in this sketch.
the
deer.
shows
Both
friezes of
mouth of
animals
The
10),
ibex
celestial equivalent of
Although the
4.
common
representation
bronzes (xxxix.
4),
and the
this
head
As
parallel to the
Museum
the British
large
is
and on Hallstatt
According
Assyrian
is
5.
relief in
we may mention
also another
relief
[p. 183]),
and
34.
..,. ,.,
,-..,^ .
BRANCH AND
DEITY WITH CEREMONIAL ...
IBEX, FACING A
SACRED TKEB OF LOTUS BUDS. J rom Lavard.
The
designation
"
of " ibex
is
authorized
At
in
,,
this
68 he
p.
by Menant, Cylindm, II., 65.
applies the word "chevreau" to the same animal. Although
the horns of the goat and wild goat are with most species
instance
is
found in the
same
locality
ward curve
Rhodian
sjxicies
at the tip of a
vases,
and on the
Museum
in the
cylinder, xxxvi. 7.
These may
may
ibex," or of the
it
According
O to Keller the ibex was
i
i1
/-J -il- il
!
confused with the wild
constantly
l>
and
The
and are
II.,
"
peculiarly
monuments
on some
also distinctly
164).
The horn
horn
is
is
very long, nor does the habitat of the chamois answer the
conditions.
The body
it
genus Capra
The
is
Accord-
Ptah-Sokar
Osiris, then
there
is
If
precedent
be always the
In the
deity
and the
lotus branch
is
is
AND
LOTUS.
2 00
goat by the Greeks/*' a fact which will not surprise a modern antiquarian who
undertakes to study Natural History in the cause of the lotus.
From this fact
ibex
"
'I^uXoq
the
fact
coincides
that the presence of the animal cannot be proven as indigenous to ancient Italy
An
is
it
important
mentioned by Keller
Aegis
The appearance
it
in connection
results
Cretan coins
is
but here his advices mainly end, with the consoling information that beside the
"
wild goat and the tame goat, the chamois, the ibex, and the
Paseng," there was
still
probably
It is the
is
now
extinct.
reported
antiquity.
it
is difficult
to the
not to
move
goat-skins.'*"
"
'
Princely Gazelle,'
Merodach
gazelle,
and
original
p.
p. 40.
is
Gazelle,'
the
Gazelle
who
"^^
,
40. 39,
'
lusty
The
36.
the
p.
38.-37, pp.
35,
38.-38,
4.
Robert Brown,
Archceology, 1890.
41. Sayce, Ilibbert Lectures, pp. 283, 284.
42,
H h
p. 284.
234
"
The
IBEX,
gazelle
was
also sacred
and exalted into the Zodiacal sign of Capricornus. Since Tebet, the tenth month,
corresponds to the sign of Capricornus and was dedicated to Pap-sukal, it is
"
was himself
the Goat-god.
At any rate there was a deity called Uz, the Accadian word for a goat.
The archaic Babylonian form of the character Uz is glossed by Utuki " the
great
"
spirit
infer
We may
and explained to be synonymous with the Sun-god.
It
that Uz "the goat" was a title of the Sun-god of Sippara [Samas].""
.
also appears
and hence
that the
"
divine goat
"
Mul-lil,'*^
once more appears that the goat [and wild goat or ibex] were
it
is
a gazelle's head
and the
the "vehicle" of the Moon-god Chandra*" and a symbol of
""^
for Capricorn is
Siva.
in
who
represented the
sun
in various
To
and the
44, p. 286.
46. Entyclopadia
it
49. Vishnu's
Museum,
Ninth
Edition,
under
twenty-seven divisions.
(Article by Miss A.
^L
47.
Encydopadia
48.
The
latter
quotes
away the
antelopes,
who
sacred to Chandra,
antelopes are
its
" In
driving
thou
guardians."
hast
acted
improperly.
We
p. 30),
is
moon
are
mentioned by
by Egyptian
(p.
to the
Vishnu
Gierke.)
Britannica, as above.
Hindu Pantheon.
p.
relations
60.
Puranas (Moor,
represented Capricornus."
Britannica,
Birdwood,
Baal, with
texts to Arabia,
whom
Bes
is
related
According
to
an Egyptian
text the
offered
and Phenician
silence of
by the
we may add
art,
oryx,^'^
235
and antelope
^^
in
Egyptian mythology.
It
Notes that these animals were Typhonic, symbols of Set, and ultimately
reprobated representations in Egyptian art, subject to the destruction which has
in the
made
God
that the
"
designation
Birch,
Egyptian
animal devoted
Ibex,
Antiquities
in
the
to
Typhon."
British
Museum,
un
52.
The
and
some
illustrated
descriptive
oryx] whose
as
"oryx,"
" This
animal
According to Birch,
tians,
short-homed
or)'x
But
this
its
head
is
mentioned by HoRAroLLO
as
In
gazelle
Leyden Museum.
inlaid with gold, of
Illustration in
One
as
3rd Ed.
of these
a bronze statuette,
in
"
:
II foule
as
represented
holding
showing thai
it
was a sacred
Museum, No.
Kahas" Dr. Birch
It
was called
Brugsch
says,
"According
As
to this
to his essence a
most
Egypt under
the
Pharaohs,
the god
I.
p. 212.
is
capitals
and other
and
indications,
this
54.
Leemans
the
is
to
be the only
temple-portico
detoutes
is
les statues
supposed by
"Cette
The head
Museum
present la
Musk
II
gazelle,
Birch
a note by
in the
is
is
foot a gazelle.
hand, supposed
mummied
shown by the
fact is
monuments of
justly
is
furni>hed by
is
but a
There
is
sometimes
is
of the foreigners."
was
and antelope
became the
53.
interesting
Horus
an emblem of impurity.
III., p. 302,
in the
worship,
It is
action of
found
It
The
it
on the boat
that
footing with the goose, cow, and bull (Figs. 134, 140, 148).
" Two
[I
representations show it being sacrificed. ...
the Zodiac
emblem than
foot.
Horus
animal,
where the
"
gazelle
Set
Ed,
3rd
follows
to have
under
monuments
(Ibid.
have
it
une
"
main gauche
and
The
sa
ordinary Horus
repre-
described.
on Plate xxxv.
comes dans
tient les
antelopes, includ-
statuette
il
il
XV. p. 13).
of trampling
dont
gazelle
I.
murderer of
"
honours," and as
having been supposed an accursed
He makes reference to Aelian xiv. 16.
animal."
Museums.^'
Another
animal Typhonien."
oryx,
sents
if
rarity in the
British
the
known
well
It is
h.
la destruction
I.,
Plate
ii.,
236
was
Osiris,
destroyed,
ultimately
his
name
IBEX,
from
a deity banished
erased
were
As
despised.
representing
and destructive
the baleful
of
representative
evil.
and
Sutekh
Hittite
the Phenician
Baal,
own malevolent
sacrifices
to him,
134.
From
the
THE GAZF.I I.e AND THE LOTUS. A loiiii bower
a panel in the temple-portico at Denderab, photographed for the Author.
,
whose
aspects are
the
in
apparent
with
human
and
in other gross
characteristics
of his wor-
ship.
In spite of the generally antagonistic attitude of Egypt to Set, his cult had
great vogue under certain sovereigns of the
whom Mesopotamian
no
which
evidence
forthcoming,
as
an
Egypt, it
appears that all animals
digenous
treated
in
this
were Typhonic.
the illustrations
ibex,
gazelle,
chapter
Hence
for
the
antelope,
Egypt which
have been collected on
and
lotus, in
\miiiiiiiniiiiiiiiiiii
From an Egyptian
Plate
XXXV.,
have
the
mininilii
the Gods."
From Author's
[nr
" The divine soul of
sketch.
Unpublished
reliefs in
temple-portico at
in the
The Turin
at
237
the gazelle
least
monument
135) is also a
fresco (Fig.
148,
of great
The Mesopotamian
can therefore be traced wherever the symbolic animals of this chapter are
question,
and
is
it
means of designating
the
is
symbol
in
their
for
lotus,
is
come
We
is
it
unknown
a blue enamel
the vase
decorates
it
7. is
plate,
No.
in publication.
of
is
dated to the
The
is
from the
is
of
rarity
unknown
derivation.
my
1 1
No. 5
(4).
(3)
9,
of a representation otherwise
No. 8
and
i, 2,
specified as of foreign
No. 6
Nos.
and the
among
is
in publication, within
knowledge.
Having vindicated, both by the exceptions in Egypt which prove the rule and
by the monuments exterior to Egypt, the significance of the ibex, oryx, gazelle,
and deer, in association with the lotus, it remains to point to a curious connecting
link between Egyptian, Greek,
god Reshep.^^
^ of
is
the
He
identified
is
Amyclae, and he
Greek Apollo
this description.
is
Among
by various Cypriote
represented in Egyptian
an oryx,
ibex, or gazelle.*^
Variously spelled
at
present,
Egyptians, as
Rassaf,
Reshef,
Rampu.
by Birch
Reshep,
Enmann
Geschichte
Two
Cypriote
inscriptions
identifying
The
identification (translation
Apollo with
Museum by
by Euting)
is
the
noticed
identified
Cesnola's Atlas,
in
in the
der
in
Cyprus
"
57.
Coiffe'
de
la
with
p.
150,
Plate
for
text
;
&c.
viii.
by
by Pietschmann's
Apollo
is
also
238
monument has
Both the
question.
both
but
so
are
makes
The winged
that
clear
it
Sun-god
in
is
Ankh
origin,
Hittite
is
origin
also
at
203]),
[p.
(xxviii.
Boghaz-keui.^
On
Egyptian
which are so
style,
far
authority
for
solar
his
character.
New York
a
of a cast in the
Museum
of St. Germain,
not to
d;
ou
gazelle,
de
Stirn als
belier."
Pierket, Pantheon,
Abzeichen
statt
tier,
einer Gazelle."
p.
150
in
bildet,
den
Oncken's Allgemeine
Reshep
Geschichte.
60.
46.
Kopf
p.
Cypriote
The
in hieroglyphic inscriptions
is
The
is
After reviewing
the
one specified by
Birch as having had the head of a deer
statuettes in
i^uuHrom
Among
solar
who
figure
is
emblem
appears on Gallo-Roman
in
The horns
occurs.
difficult
is
it
who
away.
61,
Salomon Reinach,
au Chateau
"Tres importante
tie
Saint-Gerv.aincn-
Laye,
58. It
is
Inscriptions.
and Modern
123,
p.
statuette
des environs
(les
comes
Keui stands on a
de belier
59. Published
Men ANT,
lioness
by
Pietschmann
Cylindres, &c.
as
above,
and
by
it
Mariettf, Karnak ;
Egyptian
and
xxiv.,
et
oreilles
du
crine
c'est
un
dieu, on aper^oit
done une
deux
tfite
Au-dessus des
divinity tric^phale."
au
antlered
as a reminiscence of prehistoric
239
Phenician influences in
France by way of Marseilles and otherwise. The votive deer transfixed by swords,
of Sardinian-Phenician ar^, are also in point (Perrot et Chipiez, Sardaigne p. 82).
We can at all events trace the solar deer and ibex, with the lotus as solar
monuments
of Hallstatt.
^"^
xxxix 4
Plate
The deer
and the deer occurs with lotus on the same patera^
also occurs with lotus spirals on metals of the Swiss Lake-dwellers.''^
Doe,
shows the
antelope,
ibex,
and
marked as
deer, are
solar
8),
prehistoric Celtic
to the early
home
Northern Italy (xxxix. 6, 7; Ivii. 16, [p. 341]), and to the Greek
"
Geometric style
Ivii. 2 [p. 341] ibex or wild goat).
(Ivi. 2, 6 [p. 339]
The solar deer is also specified by the Swastika at Troy (Ix. i [p. 359]).
of Celtic art in
"
For the
solar deer
same
"
Mycenae Culture
Although
indications
for
Reshep
affected in Cyprus,
2,
[p.
"
8).
we have
249]).
Ibex-God
are
57),
identified with
1 1
and
as a Gazelle-
score (xxxvii.
Apollo in Cyprus,
have no
intention of pushing his individual claims to have been the mediator and connecting
link between the solar deer of Greece
relief,
24,414
il
reprdsente
Torientale, pressant
graines
de
entre
(?) assis
la
main un
un Mercure
lui
sac, d'ou
et
un Apollon de
comme une
63.
Celtic,
(near
Salzburg).
earlier.
and
fourth
Between
1847
ninety-three
of pre-
the
to
finds
tombs
century
and
were
B.C.,
1864
but
nine
opened, which
of pottery.
No
Sommaire,
]).
157.
the most
found ; an
by
metals in Northern
hundred
style
Other
triade."
Hallstatt
many
des
same Catalogue.
34, of the
historic
sortent
valuable reference, as
is
has been
showing a
antiquity
bi,.
is
may be
made by
The date of
assigned to
many
the
the
higher
tombs.
Plate cxxviii. 6.
65.
much
Museum
fourth century
but
On
De Luvnes, Num.
et
In.
Cyp.,
Plate
iv.
Greek
240
^vas the
He
and the
shown
us,
LOTUS.
gods of
local
and according to
foregoing pages. There
AND
numerous as the
number
antiquity
him
in
The
(xxxvi. 6)
antlered deer
frequently occurs,
and
gazelle
may be
indicated
amateur
bewildered
horns
in
animals
of
to
suspect an ibex.
137.
Jfl
British
this
From
Museum.
Layard.
^^^j^^^
all
in
its
From
assimilated.
power
the worship
of sun and moon
eady days
^
'
With
^jj ^j^^ ^^^^ ^^^ ^jj ^j^^j^. gyj^bols.
'
many were
it
The
derived.
its
solvent
it
The
demonstrates.
lotus
is
links
in
cults of
the
well attested.
For
have no wish to push the evidence for any single deity beyond the
apparent facts. The lotus was not less the flower of Isis and of Astarte than it was
I
Cyprus
Athene and
(p. 230),
The
deer was a
Artemis.
The
it
quoted
swum
in
The
Cyprus.
deer, or ibex,
of the two favoured subjects of Cypriote vases, and the deer, ibex, and normal lotus
are represented
symbolic (xxiv. 8
Cypriote coins:
Hercules
^th
is
[p.
183]
Head of Hercules
xxxv.
xxxvi. 4, 6
and the
seal
will
mentioned by Note
33).
Aryans,
Ibid. p. 104.
some monuments
p.
moon
or both,
remains to
it
illustrated
to
Sargon according
The Cypriote
49).
and
but Menant's
241
(or of
IBEX,
Menant)
cylinder xxxvi.
2,
demonstrates the symbolism of the lotus-Ionic form for the original time and
place of this
by Colonna-Ceccaldi (Note
specified
beside
The
monument.
it
[p.
hitherto
claimed
for
173]).
9, 10,
4,
p.
We
them.
170),
return
is
reinforced
by way of a cylinder
then
(6)
lotuses (hitherto
(4),
The number
3),
The
of Siva,
out (Note
49).
Siva
The evidence
(xxxvii.
xxxvii.
Tree of
7,
5,
12),
it
whose
is
this
is
antelope
affiliations
is
will
not be overlooked.
vase
shows
The
known
rare
details
to
As
for
by the
the
publication.
those
the deer
or
ibex
Sacred Tree of
in
New York
this collection
can
Cyprus
rosettes
solar deer of
in
The vase
The number
only be
Cypriote
is
of Cypriote
estimated
it
by
will
This
242
AND
doomed
LOTUS.
numerous
the very
Rhodian vases of European Museums, which show the deer or the ibex with the
lotus, to an inefficient obscurity.
Renewed demonstrations
spiral
scroll
see
320),
p.
and meander
and
Celtic
by Plate xxxix.
"
the
for
(2),
present existence
prehistoric
are offered
The
(8),
Herzblatt
"
(lotus
(3),
(i),
leaf derivative,
sphinx (xxxiv.
3,
omni-
mouth
Plate xxxix. are taken, will prove the animal with lotus pendant from the
be the
for the
227]),
[p.
Compare
(8).
and
the
cow
(xxvii.
the
197]),
[p.
to
horse
the
with other
9, [p. 365]),
V(lxi.
The
tion
has
of
study
the
gazelle
me
led
to
fix
the
called
sceptre
Tarn,
which
is
so far unspecified
(Fig. I39a).*'
Museum
the British
138.
From
Museum.
British
Author's sketch.
886,
in
of
stone
the
The Tam
De Rouci,
Notice Sommairt,
" Deux
"
TAM
From
139.
is
(Fig. 138).
No.
tablet,
The Tam
pifeces
&c,
says
of
extremement
detail la
tfite
two
rares,
de I'animal
horns.
in the
is
an amulet
in the
and
find
thus conceived.
original animal.
6173)
in profile view.
There
the
is
them corroborative
Wilkinson
British
I
Museum
corre-
have examined
suggests the
p.
all
head as
" Harrier
"
as
To
together.
gazelles
in profile
showing
we
whose ears
either equal or
mummied
gazelle
No. 6783a."
It
of
is
the
This evidence
Museum, Third
British
243
Tam
is
is
furnished by the
symbolism whose traditional form survived the antagonism to Set either because
the Eg)'ptians had themselves forgotten what the conventional Tam represented,
or because the sceptre had become a general attribute of solar gods, and
identified with Set as
67.
The number
of the
The
The
horns
differ
mummy differs
piece
gazelle
is
is
itself.
the same.
the
in
"
According
Encyclopaedia
Britannica
I39A.
rings.
The horns
TAM.
Denderah.
the rear exterior wall of the Hathor temple,
I
(8th
Edition)
under
numerous
From
was not
of the
mummy
are smooth.
244
PLATE XXXV.
THE DEER, GAZELLE. ORYX,
The
IBEX,
words "gazelle" and "antelope" are often used interchangeably, for instance, by the Encyclopaedia
Britannica (8th Edition), under "Mammalia." According to Worcester's Dictionary, both antelopes
"
and gazelles come under the genus oryx, but the word "oryx is often used without closer specification by Egyptologists, and it is mentioned by Wilkinson as "one of the antelopes" {Ancient
"
Egyptians, III., p. 302, 3rd Edition), viz., the one having long annulated horns tapering to a short
or inclination backwards," Ancient Egyptians, III., p. 94,
point and nearly straight, with slight curve
I have used the word "gazelle" for the short-horned
avoid
Edition.
To
confusion,
oryx, which
3rd
use
is
justified
"
"
have used the word " oryx for the long-horned oryx. I have used
the gazelle with spiral horns, which are represented in profile view by a
by custom.
"
the word
antelope
recurved bend.
for
All the illustrations of this Plate are supposed to exhibit Syrian influence.
1.
Gazelles, with
lotuses.
2.
as
lotuses
Detail from
"
Antelopes rampant and lotus Sacred Tree." From an Egyptian box (for Canopic jars) in Bologna
DUMMLER, in Mittheilungen aus A then, 1885. The animals are mistaken by Diimmler for goats. I
have a carefully, and personally, made sketch of the original, which shows the recurved bend of the
antelope horn as it appears when represented in profile. Compare frontispiece in BiRCH, Catalogue
of Egypt, an Antiquities at Alnwick
Castle.
Prisse d'Avennes,
3.
4.
ROSELLINI, M.C.
5.
Colonettes en bois.
trefoil.
Iviii. 3.
Figure bearing an antelope with lotuses. Detail from Dandour, time of Augustus.
I. Ivi.
Compare Assyrian xxiv. 8 [p. 183].
6.
Gazelle and lotuses, from the vase whose cover appears at No. 4.
7.
8.
9.
and hand.
ROSELLINI, M.C.
10.
Running
"
11.
gazelle,
Cypriote cylinder.
" Sacred
Clay
La yard.
seal impression.
Detail
Second
iii.
Champollion,
24.
of a vase
from
Ixi. 3.
moon
crescent
lotuses.
Seal.
Tanis, II.
xli.
73,
Klaproth,
xxxii. 1705.
tomb-painting.
r \ i'L'S
':}
Vf '^
m
tk^^jm/J^/l
.11
PI.
XXXV., p
24,^.
246
PLATE XXXVI.
THE DEER, GAZELLE, ORYX,
LAYARD,
1.
2.
Assyrian
IBEX,
detail.
First Series,
lotus.
xliii.
A. D. Cesnola, Salatninia,
Cypriote cylinder.
xiv. 33.
moon
3.
Antelope, two
4.
Ibex on a double
lotus.
Saigon by Menant
Cylindres,
5.
ii.
crescents.
PERROT
Lajard,
Culte de Mithra,
by Layard and
Layard
2.
assigned to
Perrot;
(text),
1.
and Menant,
79.
God, with head of an ibex or or3:xt (Reshep, ?), and god with head of a deer (?) bearing a deer on a pole,
one of them holding a gazelle two worshippers bearing an antelope next, a recumbent ibex king
or deity holding the Ankh, winged sun disk
worshipper holding an antelope. Uninterpreted
;
Rampant
spiked lotuses.
7.
Assyrian cylinder.
winged
deities
goats
moon
Lajard,
crescent,
lotus.
9.
Layard,
same
4,
lion below.
6.
Deer on the
8.
10.
lii.
lii.
Plate
star,
Assyrian
BoTTA,
detail.
ii.
97.
Layard,
region.
+ The oryx horn has not as much bend in nature as here represented, but on the sacred bark of PtahSokar-Osiris at Dehr-el-Bahri the supposed oryx horn has as definite a bend.
l)-^
/-
<^-
v>>
o
4\
h.nl^^^'^
Lb:.
//
(\
<?1
III
JO
PI.
XXXVI., p.
247.
24S
PLATE XXXVII.
THE DEER, GAZELLE, ORYX,
1.
Cesnola, Cyprus,
2.
Deer on the
Tomb."
3.
5.
Schliemann,
p.
164
same vase
Curium patera.
"
Third
Revue
Detail,
Arcli^ologique,
Ibex and
lotus,
Cypriote vase.
Another view
at
No.
10.
Perrot
et
Studies,
v. p.
and bird
105.
Chipiez, Cypre.
Deer rampant, mistaken by Murray for goats;* Sacred Tree of an Ionic lotus supporting two buds
and an inverted Ionic scroll supporting triangle, which is surmounted by a trefoil lotus ; lotus rosettes
;
Cypriote vase.
9.
Antelope, Swastika.
12.
in
8.
1.
Detail,
"
Cypriote vase. Sacred Tree of rosettes, deer, bird with lotus on the head (compare the Bird and the
Lotus "), deer facing a lotus, and a Sacred Tree of lotus palmettes and buds. Compare the top of
on one deer.
10.
papyrus by Cesnola.
lotuses.
and
7.
for
Mycence.
the
6.
mistaken
lotus.
dt Chypre,
4.
plants
p. 337.
compare
The
the lotus.
IBEX,
Ibex and
lotus.
Deer on the
Schliemann,
p. 55-
Troy, p. 121.
Many
Cypriote vase in
Museum.
[p. 359]).
p. 50.
lotus.
Cesnola, Cyprus,
"
Third Tomb."
Schliemann,
New York
several similar
examples.
am
deer,
and
lotus,
5 [p.
it
253]
in the
Pl.XXXVJI.,p.
K k
249.
250
PLATE XXXVIII.
THE DEER, GAZELLE, ORYX.
of the
Compare
Napoleon
in
many examples
latter
-xxxvii. 4.
at
Plate
xvi.
Salzmann,
IBEX,
London and
[p.
144.
|.
N^cropole de
Similar vases
Cainire.
in
LONGPfiRIER,
III.
/Vfex,
& om
'U^
',
\7h\
From
Mnst'e
ri.
K k
XXX VIIL, p.
251.
252
PLATE XXXIX.
1.
Doe and
2.
3.
Another
[p.
BoHhhV, Jahrbuch,
227].
compare Mycenae
Repoussi bronze
7.
detail, Hallstatt.
The
Plate
leaf,
Hi.
3,
Detail, Melian
1887, p. 121.
[p. 321]).
VON Sacken,
Ibex, or wild goat, deer, and lotuses, lotus with pendant sepals.
6. Ibex,
Boeotian
is
explained by
CesnoLA, Cyprus,
404.
or wild goat, lotus springing from the mouth; lotus behind the animal,
of the
"
5///a d'Este."
Gazette Arch^ologique,
8.
p.
7.
Nos. 6 and
5.
detail
4.
rosette.
IBEX,
one
xW.
d'arbre."
Same
"en
scale.
un rameau
iS,Z9>,
their
mouths
Ixi.
[p.
365].
Monumenti
Inediti,
X.
z:^.
he/
P
\-3
EiB'^^i
.
'h
V:
;.^
r
254
APPENDIX.
ADDITIONAL CITATIOxNS.
Antlered deer on a "Myccna:" vase from the "Sixth Tomb.' striking resemblance to the bronze detail
in
ill.
xxxix. 8. from the Southern Tyrol, and apparently copied from a similar bronze
;
SCHUCIIARDT,
ROSELLINI.
Schlit'tnann's
Sacrifice of gazelle to
Hor-Ammon by Amenophis
British
British
III.
" Miscellaneous
Objects." No. 18073.
lotus.
Museum, Nimroud
Gallery, Case
British
Museum, Nimroud
Gallery.
British
First
Museum,
"
p. 9.
(N.D. 216).
20, 21,
A.
Rather
Rhodian
37.
i.
N.G.
12).
anthemion.
British
Museum.
Gems
British
Museum.
Gems from
Robert Brown,
Ionic form.
from Crete.
Crete.
The
Case R.
[p.
rings.
Illustration,
ibex or antelope is the only animal habitually associated with the palm-tree on cylinders.
xxxv. xxxix xxi. A. 23
Culte de Venus, iv. 1 2
Ciilte de Mithra, li. 2, and others.
;
{i888),
p.
425.
L.\JARD,
"In another
large
quarry
[near
Raaineh]
two
singular representations of the giant-god Antaeus, accompanied by Nephthys, holding in his left hand
a spear and an oryx. In one of these he has rays round his head like the Sun, and before him is
a priest making offerings to him."
An adjacent site is Gow-el-Kebeer, or Antaiopolis " Near
Wm. Osburn,
is
battle
between Horus
by Hercules
in the
to have taken
place,
time of Osiris."
"
The Hook
of
VlLLIERS Stuart {Funeral Tent of an Egyptian Queen, p. 42) is aware that the Tarn has the head of a
"
an emblem of purity." The Tam is generally
gazelle, as he quotes the head of gazelle on a staff as
quoted as meaning "strength," and, as far as we can judge, the gazelle itself was generally Typhonic.
Sir
India,
I.
10.
p. 50.
Hindu Coin
above " Worship of a Sacred Tree by Spotted Deer, from Bharhut." The Sacred Tree here
tree and the Hindu art is the only one which shows the
worship of real trees.
THE
LION,
AND LOTUS.
BULL,
According
to
XL.,
PAGE
259.)
ceremony of turning a trained hunting lion loose, to run down and kill a bull in
presence of the king, was observed in Persia at the time of the Vernal Equinox,
as recently as the year 1808.
and
it
the representation
is
for the
known
(xl.
i,
2, 3, 4) in
(xiii.,xiv. [pp.
from Cypriote
less
(i, 3),
12, 133]).
Phenician
(2),
also
and
p. 62.
fairly
Houmbaba
currency.''
to its
the views
the tabs on
for
the Greek
chosen
lion are
(4),
his
ness, represented
killing
de
d'Ani.ithonte," p. 148.
Encyclopedia Britannica,''Zcii\s.c:'
113]), for
in the fifth
2.
Kondache
it
is
Cultede Mithra,
3.
it is
call attention
and
and from
1.
Chypre,
given
(xi.,
Our
(xii. [p.
"
who have
anthemion
to those
advanced
but
knowledge on
As
offered,
sign
bull,
in
which
Leo on Ninevite
Lenormant.
plastic
is
art
by the
light
over dark-
group of a lion
cylinders."
Reference
is
made
to
256
THE
LION, BULL,
AND
LOTUS.
of
publications
have
subject*
Important
365]).
[p.
Ixi,
this
failed
to
tinction of the
scholars
a deficiency
in question,
The combat
and deer
of
lion
is
mentioned,
however, by
Keller^ as
and darkness.
light
for
and
bull
combat
3)
is
erroneous
in
(Note
probably
lion
in
Equinox
latter
case.
There
is at
least
one
4.
lion
devouring
Menant,
177; Perrot,
French School
Cyliudrfs
&c.,
p.
141-
Detail,
Greek
vase.
ties
76,
Classichen
notes the
subject
as
p.
of the
on the subject.
Keller, Thiere
AlterihtimSy
11.,
at
Bulletin
in
Macht des
Lichts."
We
257
and the
lion
by Professor Sayce that the antelope and gazelle were Babylonian equivalents
for the goat in the sign of the tenth month (p. 234).
The same authority has
named
antelope as equivalents
(p.
Note
231,
and
21),
we.
have
ourselves found the deer an equivalent for the ibex and the wild goat.
The
resulting presumption
is
(viz.
Capricornus), and
is
Solstice.
would therefore appear that a similar representation should be found for the
From this point of view the Chimaera
goat, and this is offered by the Chimaera.
is the equivalent of the lion
devouring a deer, and symbolizes the sun as entering
It
who
is
As
the Chimaera
xl. 5,
lotiform associations
the
already admitted to have solar reference,^
is
explanation
least
The
is
plausible
(Fig. 142).
in
Zodiac which
instance
derived
is
of oryx
horns
to
Birch, represents
sign
of Capricornus
in the
represents the sign of Capricornus
the
representation
It
of the
Chimaera
is
Hindu
that
an
an important
6.
7.
8.
is
vase.
a representation
9. P. 235,
Note
lion
the other.
52.
derived from
142.
Engraved gem.
Owens
College, Manchester.
358
PLATE
THE
XL.
LION, BULL.
AND LOTUS.
..
Ccbat
Monuments de Chypre
lions,
3.
combat
Cesnola, Cyprus,
4.
Combat
p.
lotuses, with
Monumenti
Inediti
Chimera on
6.
Chimxra.
CO.ONNA-CeCC.L.X.
of A.athus.
ii..
iv. [p.
63)].
Detail
p. 769.
relief
in
59.
rosettes,
shield
5.
the
normal
From
and pendant
Detail,
Vase. Daphne.
lotuses.
Cypriote
Greek
vase.
Arch.ologische Zatun,,
relief.
883. Plate
iii.
8.
CESNOLA, Cyprus,
p.
59-
'
//
^^
"
J,<^=^> )ir^
^V
\k._^^^l_il/
ff
/v.
XL., p. 259.
Among
the
archaeologists as the
early
"
Phenician palmette."
Greek or Etruscan
Phenician art
(12,
ornamental
Mediterranean
early
14),
art otherwise
Sardinian
263.)
(2,
It
is
but
(xli.
i),
8,
11),
motives
is
one
is
specified
by
and
in
Cypriote
(4,
7,
Assyrian
10),
(13),
or
and Fig. 43 [p. 72]). This text-cut carries us back to ColonnaCeccaldi's suggestion that the stamens of the lotus were there represented by the
Cypriote Greek
upper
and
scrolls
stamens really
The
(3
to the
are.
"
Phenician palmette
"
is
5,
The
crescent
is
The
simply a series
4,
upper left-hand palmette, and 6). The abbreviated or outlined lotus palmette is the
form shown by No. 6. Cases of lotus association with the highly conventional form
are
shown by
head
[pp.
(i)
221
2, 8,
13.
to xxxiv.
[p.
The demonstration
227], of the
is
assisted
by
13) to
xxxv.
14) to
xxxix.
[pp.
xxxi. xxxiii.
245
253].
There are many forms of the Sacred Tree on Assyrian cylinders which are
"
The evertrees," through Nos. 5 and 14 of Plate xli.
explained as lotus
present relation to the sun
One such
is
3,
vase in
143.
GRYPHONS.
Detail,
Griechisclu Keramik.
Curium /o/<ro.
263
PLATE
XLI.
1.
2.
Sphinx,
"
"
3.
"
Phenician palmette
on the head.
Detail,
Museo Etrusco
Curium patera
Curium patera
Cypriote
detail,
stele,
Louvre.
normal
Cypriote
detail,
worshippers.
6.
PlUnicie, p. 672.
Phenician palmette," lotus bars, leaves, and lotuses over lotus of Ionic form.
lotuses.
5.
Perrot ET Chipiez,
Perrot et Chipiez,
4.
"
seal.
scrolls.
ColonnA-CecCALDI, Monuments de
(Compare
ix.
[p. 91].)
for
Winged
Chypre.
solar disk,
two
Gems
sketch from original, showing three bars as normal lotus palmettes in outline.
this
Sacred Tree.
8.
9.
"
and two
10. Ibexes,
"
trefoil lotuses.
Lajard,
Phenician palmettes."
"
among Assyrian
xlvii.
Qvix'wiva
Seal ring,
12.
references as No.
2.
also in LONGPfiRlER,
patera
11.
pieces.
Same
Mus^e NapoUon
III.
detail.
p.
644.
LongpErier,
Must'e
NapoUon
III.
xviii.
13.
Ibexes rampant
lotus.
xvi. 76.
14.
Hawk -headed
above.
Sacred Tree
Same
of
"
Phenician
palmettes
;"
same
detail
/"C
P:.
XL! ,p.
263.
The
was known
fish
equivalent and
Roman
to the
emblem
XLII.,
PAGE
267.)
period as an
of Isis or Hathor
it
emblem
figures,
As an
Venus/
of
various species,^
in
among
Egyptian amulets and on Egyptian utensils and enamels (9, 10), and the Liverpool
bronze (7) is a patent indication on this head. The sacred fish-pond of Ascalon
was a quoted
and Phenician
tablets of
Carthage
(3)
(5, 8).''
of Ascalon
Ea
7^
144. SEAL.
of ancient Chaldea
fish.
cylinder, xxxv. 7
Both
fish
Traces of
245].
[p.
fish
Naukratis.
and the
(xlii.)
"
god, see
The Oxyrynchus,
sacred to
p.
The
Silurus,
from Ascalon.
fish
its
from the
to the Assyrian
cat,
as Bast
undoubtedly owes
divine associations.
its
in the
some curious
ing
God
of
fish
6.
and
lotus plants."
The
6).
de Chypre,
3. Quoted by Colonna-Ceccaldi, Monuments
98, in matter relating to Paphos, whose cult was derived
4.
Zodiac to
Jun.,
clear
PiETscHMANN,
The
5.
Museum.
is
Dagon of Ascalon
the
(i,
2.
and Chaldean
is
7.
of
fish
functionary
named Tothi
"
(XVIIIth Dynasty).
For relations of
266
an equivalent of Isis. The lotus bud and flower of No. 2 explain the lotus
the Aukh of No. 4 is an equivalent emblem.
triangle of No. 4, and
is
not confined to
Isis,
Moon).
British
According to designations of amulets in the
Museum. It may be significant that the only male god in
8.
Egypt
is
specified for the fish
The
a distinct Moon-god, as
its
Chaldean Zodiac
assigned to
is
PLATE
the "nocturnal
fish tail
Jun., Proceedings,
The Chaldean
(same reference).
detail xlii.
is
On
sign
the same
represented
the
Chimaera.
XLII.
1.
2.
Fish
lotus
Rhodian vase
Klaproth
scarab.
3.
Detail,
in its
in the
Louvre.
Salzmann,
cat (Bast
Isis).
Egyptian or Syrian
xxxiii., 1749.
Hamman
Davis,
Ankh
in its
mouth
Assyrian Fish-god.
xxiv. 3
[p.
fish,
lotus in
its
mouth.
Scarab.
Perrot et Chipiez,
Assyrie, p. 65.
xxxv. 7
7,
Klaprotii,
xxxiii., 1749.
Compare Fish-gods,
lotus,
183].
"
[p.
245]; xlv.
"
Mycenae
[p. 287J).
Studies.
and the fish. Bronze, Liverpool. Inman, Ancient Symbol Worship, p. 68 and Frontispiece.
similar bronze in the Gizeh Museum and a similar representation in a tomb-painting at Thebes.
7. Isis
8.
9.
10. Fish
and
lotuses.
and
Assyrian Seal.
Revue Archeologique,iZ7/^,
flowers, detail.
Maspero,
Arcliaology,
tr.
'x.iv.
$.
Toilette.
\
10
V.
Pl.XLII.,p.
267.
Murray
XI.V., XLVI.,
PAGES
and Birch^ have both remarked the number of birds on Cypriote vases.
The former has suggested symbolism, without going into detail. That the Cypriote
bird constantly appears in association with the lotus, confronting
it
been brought
Cypriote bird
to
notice
8,
(xlv.
supposition
As
the
is
ii,
is
disk
bearing
may
it
upon
13).
or bearing
is
its
back
generally
be swans, which
number
of illustrations
is
glancing at the illustrated Cypriote vases, aside from Plate xlv. where the Cypriote
bird
is
especially represented.
Our
Ix.
15
piece de resistance
[p,
number
307],
[p.
359].
9,
12
[p.
[p.
249].
is
of objects involved,
1.
xxxvii,
is
309],
and
xlviii.
is
Ivii.
12
[p.
[p.
305].
Plates xlvii.
14
[p.
303], xlix.
A.
p. 406.
S.
Murray,
"The
The swan
2.
"
359]).
to
A. Di Cesnola's Salaminia,
of birds in
its
earliest
development."
is
p. xvi.
the employment
270
(xlv. 12), it
would be
is,
when he
that,
difficult to
is
not glorified, he
It is
be more exact than the designer, or more accurate than the tradition
This
is
is
which
monuments
is
of
"
Greek " Geometric
tradition, as the
Italy
and
Northern
of
itself,
Europe
and the
style
prove
(Ivi.
Ivii.,
on bone or ivory of the Palaeolithic epoch. The goose is the faithful companion
of the deer and the goat or ibex, but a much more important, because a much
considered
the ibis
of the cock
4),
(xlvi. 8, 12)
when
are sufficient,
sight,
must be
3; xlvi.
(xlv.
collected
as regards the
6),
their great
The
(xlvi.
(Fig. 145
xxxviii.
number
rare cases of
on one
illustrations.
to
weigh the
in the
argument
Plate,
But
restored.
Northern Europe was frequently reduced to a pot-hook (Ivi. 10, 11, 13; Ivii. 7
and occasionally represented with the mane of a horse (Figs. 180, 181,
[pp. 339, 341])
"
"
that the Greek
Geometric style is largely faithful to its title, and
[pp. 362, 363]),
that the Cypriote geometric style is wilfully obscure,
very numerous,
all
it
more
careful pictures,
which are
in
Greece or
in
Europe
till
the
fifth
B.C.,
India.^
"
bird
3.
in general.
Rev.
W, Houghton,
/frj-Aaj/ctgy,
p.
a88.
Dec,
The heron
1889, p. 81.
on
Hehn, Wanderungen
original authority
(Osiris)
this niatter.
is
4.
Daremberg et
Grecques
5.
ei
Saglio, Dictionnaire
"
Jiomaines, under
Apollo."
Plutarch, Porphyry,
and
p.
lies
Antiquitis
Homer,
solar lotus in
(xlvi. I, 4) is
bird of
Egyptian
art
(p.
24),
271
it
home, and we
not to
The
show
ibis
that the
fall
145.
Detail,
Rhodian
vase.
From Salzmann.
swan of Leda
The
to
history of the
sharp-sighted.
He became
pretentious.
one examine in a
nearest to the
6.
O.
Museum
The
eagle
is
larger,
more
swan which
and
be found surprising that the Greeks confused the two, and ultimately, by
Keller, Thiere
des
Culturhistorischtr Beziehung,
the swan.
solar birds,
will not
qualities
more
intelligent,
it
is
the eagle
His superior
preferred
hawk and
the swan.
The
7.
Keller,
8.
p. 288.
Alterthums in
Classischen
Persians,
p.
531.
The Chaldeans,
in this perception,
272
their
and
The
known
latest
was the
remember
first
the
assigned
Osiris.
was
His
that he
the First
[p.
swan
in
Ivii.
goat, (compare
have been
The
flying birds of
the
swans
We
"
Egyptian goose, or
Nile goose,"
is
do well
shall
remember
to
also that
variety."
Edwin Wilbour of a
"
Society, to
good goose of
the
who mentions
134
[p.
Osiris."
This advice
New York
Historical
substantiated by Keller,'^
is
unpublished
tablet, in
Isis.
Denderah photographed
[p.
this
for
Horus
work
19
(Figs.
51],
[p.
also quoted.'*
is
9.
p. 298,
quoting Wackernagel,
cjTta irrepotKTa,
10.
As apparent
common
to
fact
that the
Latin,
word
in
Europe
as a
p.
286
goose
is
preceded the
Keller,
for
domestic fowl
that there
in the
Sanscrit, Greek,
German, and
specifies
Harpocrates.
The Cypriote
12.
13.
Keller,
this reference
this
its
importance.
454, Note
Ztit.,
Atlas,
suggestion
I.,
cxxx.,
cxxxi.,
have found
cxxxii.
in
the
Since
Egyptian
finger
on
his
"
which
is
goose."
thus
as a
is
obscure
Homer,
all
specified for
One
of which
Most
No. 951
statuette holds
Cesnola,
making
explained, and
of geese
xxvL 71.
14.
mummies
p. 286.
Keller, p.
An
in the time of
also reference to
found at Thebes.
is
which gesture
21.
1 1
lip,
tortoise
Denderah).
are
is
subject
Three
illustrated
in
in
at
Cesnola's
Cyprus,
come from
p.
347.
These
to the small
number
who
was an emblem
presides over
was a symbol of
eloquence,'*
Roman
to the
births.'*^
and
Mars,*^ to Dionysus
He was
Rome
and
it
sacred to Apollo at
"
Socrates and his disciples was
by the goose."
him.^
to
the attendant
Venus
To
in Cyprus,'^
Hindus he
the
Daphne and
to Eros.^^
The geese
Museum.
in Delos,-'
of
Juno at
On Greek tombs he represented love and
by tomb inscriptions that he represented
He was a weather prophet.^ The oath of
expressly stated
is
is
is
to the
watchfulness,^*
sacrificed to
to Priapus.^^
is
common word
In Etruscan art he
was sacred
He was
273
'
^^
In France and
Germany prophetic
gras was much enjoyed by the
Ancients.^
When we
difficult
not to
the
it
fifth
the gods
is
and
by
As
and of myths.
Cypriote art continued long after this time, and as early dates in Cypriote art are
not implied by an archaic style,^ the character of the Cypriote bird, as between the
two
alternatives of goose
cases, not
left
in debate in
most individual
15.
288
23,
Keller,
p.
p.
303.
289.
289.
19, p.
24,
27, p. 297.
Kumt,
p.
31.
is
17, p.
290
291.
21, p.
20, p.
28, p. 297.
in 1870,
288.
p.
289.
291.
249.
16,
25,
p.
288.
22, p.
26,
p.
18, p.
290.
297.
of
Brahma
arts.
is
Many
that of
Brahma and
of his
5flM
29, p.
is
universally conceded.
p. 9.
"The
Sakti or wife
32.
sun
in Egypt,
N n
274
(p.
5).
Brahma
is
hanassa^^
'*
the Latin anser^ the Letto-Slavonic gansi, and the German gans-w'\\.h. which the
"
English word gannet," although transferred to another bird, is related."
There
is
same confusion
the
to individual cases
Hindu
in the
art
specialists.^*
is
amusing
one who
to
has struggled with the Cypriote bird to find the specification of "goose or swan"
But there is also on the
recurring in the descriptions of the bird of Brahma.
Hindu
part of
specialists the
the original
is
detail**
has
Pantheon
SP.EAL.
Cave of
D.hon,cy.
"
"
observed
<.
detail of the
i,
(^^^^
Tcmplcs of India
34.
Keller,
Moor,
same
at
Ravenna
Hindu
"
we
find
mention
for the
Avanta
(p. 75),
and on
"
common
in ancient
p. 296.
(p. 112).
" Swan or
goose," many instances
hesitation also in
37.
to
pillar at Bettiah in
Buddhist
Tirhut
art,
"In
Birdwood
this instance,
is
on
says of the
however, the
replaced by a line
This
(Fig. 147),
p. 9.
Thiere, p. 302.
India.
Edict
"
bird with the lotus (also with wings) can be seen on the Byzantine Portal
35.
and the
geese and the lotus are associated with the Sun-god Surya.
33.
the
"
art.
The
of
swan
as connected with
could cite other instances, and the association must have been
Hindu
"
ascending the
in
146.
been
on the right
The same
relief
is
lotus.
"Except
in the
Elephanta cave
and there
it
is
in
his Sakti,
do not remember
if
swimming
after
one another"
(p. 41).
275
geometric
of
style
and
385])
Swastika
to the
as the
modern
Cyprus
(Ixiv.
in
mentioned
Dahomey
Schliemann.
by
way
survival in
[p.
its
It
on
figures
one
that
type
of
the
leading
positively connected
nary Oriental
figures
textile
motive which
The motive
of
the
vase.
and
birds
5T Giovanni
EvaN-(
cylinders
his
(xliv.
turn was
the peacock
displaced
more pretentious
became a
later
&c.).
and
to Oriental
The swan
9).
147.
*"
and
by a
still
in
still
more
in
Christian
symbol of immortality, but the duplicate arrangement of the birds and the
intervening ornamental motives in Christian art point to a common origin.
The dove
is
by no means
emblem
nized
Edward Bowditch,
38. T.
Arts common
Ashantees,
is
to the
Superstitions, Customs,
and
40.
the
vase
Among
room
owned by Mrs.
for bronzes,
a small ivory
lotuses
on
comb
their backs,
41.
into
Byblus;
Monujnente de C/typre,
Professor Huggins.
Ashantee
holding a lotus.
in
N n
quoted
96
by Colonna-Ceccaldi,
story
with relief of
p.
Jeremiah
it
is
said,
made
Vulgate.
2 76
(xlv. 6)
LOTUS.
Oxvi. 2, 3
tablets to the
[p. 399]).
and
interesting proof of the relation between the motive of the birds with the vase
12
[p. 305]),
also be intended
the
(xlvii,
14
[p. 249]),
with the
The
association of the
symbolism
5,
(v.
6,
[p.
hawk with
65]
xliii.
21)
is
the lotus
3,
bird
association of the
swan
is
on vases.
xliv. 2, 6).
of the
An
hawk with
Ra and
the sun
Horus
of
hawk's head.^*
the bird of
bearing
xlv. 9)
writers,
The hawk
Homer.^
to
modern
267]
[p.
The
[p.
self-important
on Cilician coins
fish
(xlviii.
(xliii.
to
xliv. 4, 5, 11)
(pp. 6, 7,
Notes
and the wings of the solar winged disk as form of Horus are hence derived
(xliii. 6).
It is
not certain that the bird-headed deity of Assyrian art (Fig. 121
The
eagle
was a
hawk
[p.
180])
as birds of Mithra
gave the preference to the hawk, and these texts are later than the
"
of the Hittites,'*' which is the earliest
Assyrian time. The double-headed "eagle
sun),
(the
known
instance of the
the
The
hawk
43.
of various
headed hawk.
York.
emblem
cylinder xliv.
i,
Robert Brown,
I.,
un
calice ^panoui
de
" La t^te
de I'eperlotus,
embleme du
porcelain amulet
easily be a double-
New
by Menant, shows
xliv. 4), which
(xliii. 6
art
may
specified as Hittite
in
44. Leemans,
States,
as
modern
(p. 274),
The
and of Mithra
(p.
450).
For
Perrot
et Chipiez, Vol.
iv.,
Fig. 343.
in
its
hieroglyphics
277
We
xlv. 2,
have then, either a picture of a worshipper or of a god, with solar emblems of the
hawk and lotus.
The
Plates xxiv.
[p.
183],
hitherto overlooked.
xxxvi.
[p.
Plates,
247], xlii.
xxv.
[p.
185],
It
must
The
much
history.
many examples
are
include
(p.
(xlvii.
Note
230,
[p.
20).
makes
303])
their
the Egyptian forms also penetrated (pp. 35, 36, and p. 151,
distinct
national
forms
art
foreign
Note
6),
proves that a
religion
may borrow
for a native
symbol.
association
is
associations
Denderah
iir.
COW.THEGOOSE.THEGAZELLE, ANI/
.1.:.
1.^1 us.
Photographed
l\
aloUg thc
in
but
small
in
reliefs
1
and the
of
the
goose
are
found at
very
beautiful
dimensions
arranged
Egypt
these
11
loWCr WallS Of
j.1-
the
..
references for this vase are given in the description of ihe Plate.
tCmplC-
48.
lotus,
Egyptian in origin.
The most obvious, numerous, and
interesting
bird
The
278
and also
in the
236,
[pp.
250]),
"
Lotus bower."
just as
It is
goose or
lotus
"
last
relief,
all
The evidence
here.
of
was
the gazelle
animal of
also an
Isis
at Dcnderah.
For
goose and
the
Egypt, Plate
(2,
4,
8,
5,
xliii.
Seb
representation of
addition.
Many
^^
The
quoted.
which
(7) is
other
offerings
Ra and Horus
lotuses to
lotus
offers five
to
11),
the
in
examples
the typical
an important
can
cases
be
geese and
of
are sup-
(5, 8)
and
Keller
of
relations
Isis,
and
the generally
the goose
to
neglected
Ra,
Horus,
Osiris.
illus-
149.
importance (xxxvii.
5, [p.
249]
the
bird
[p.
341]).
I.OIX'S.
is
and
49.
in
and
the
The
large
British
lotuses.
on the
xlv.
[p. 287]).
When
instances
in
(Ivii.
12
bird's
The
Rosellini.
large
number
New York
of unpublished
is
still
more
Several
diagram
Photographed
important consideration.
solar
blue
279
and of various
the
publications,
the
among
goose
takes
first
rank,
other
in
Museums
links
to
the
On
[P-
monuments
the oldest
Ivii.
339];
of Italy
12
(Ivi.
341];
[p.
[p.
Iviii.
"
of Greek art, the " Dipylon
vases
[p.
339], Ivii. 7, 8, 14
8,
10
[p.
Sweden
(Ivi. 9,
11
[p.
still tells
i,
343]);
[p. 341]),
(Ivi.
339]), the
its
goose
journey from
When
once the association with the lotus has cleared the path, the solar
The lines
significance of the bird without this association also becomes obvious.
of birds (geese) which are so
common
in early
In the British
Museum
there
Ivi.)
is
can be
a fresco*'
from Thebes showing a golden vase (holding metal lotuses) on which such a line
of geese is depicted. This vase can be connected with an actually existing gold
original, with a similar line of geese,
found in
Italy,*^
of Egypto-Phenician style
and found with objects of Egyptian style, including lotus ornaments of ivory.
This vase again can be connected with hosts of objects showing the line of birds in
Etruscan
(Ivi,
10)
(Ivi.
II.)
"
These birds were already reduced to the " pot-hook stage in Greece
and Italy, and in this shape can be traced as far as Scandinavia
art.
The overthrow
home
of the
"
"
Aryan nations in Asia is recent but decisive.*^ The relations which connect the
goose and the lotus of Brahma with the goose and the lotus of Apollo (Note 21)
might easily be assumed
50.
The
to imply a
Cesnola,
number
in
entitled
Alexander
one or two
appear
Hindu
in
plates
of typical
Cypriote vases.
Others
this publication
appear on Plate
xlviii.
7,
13,
14 [p. 305].
Perrot, Cypre.
normal
lotus,
is
One
in the British
Museum.
1.
52.
therefore
it
the
No
23.
European
In a recent supplement
of works on
pages.
this
new subject
fills
several closely-printed
28o
remember
well to
is
and of
"
is
These Persian
avesta.**
12) as
much
is
later.
citations
may
Chaldaea.
verts
The Persian
many
to
the
cult
religion
of
Zoroaster
in
the
fifth
^fes^^5%>
-\
_yj!9
^^K
-J
^sz^K
"'^)/
their
art
largely influenced
certainly was,
Chaldaea.
Hence the
may
be connected with
fairly
Persian
sources,
ostrich
in
The
Assyrian monuments.
Assyrian art
known
casting light on
by
facts
from
Chaldean and
ostrich
feather
was
"
150.
Repmusi design.
"
"
an Egyptian hieroglyph for Truth or Justice,"
but the bird itself does not appear in Egyptian
art.
The symbolisms
(or
traditions)
attaching to
the Ionic form, the lotus, and the swan, are curiously illustrated by the Ionic
much mentioned by
Britannica,
9th
Edition
under
p. 792.
Two Rhod
"
et
Chipiez,
III.,
fined to the
57.
heads of deer
in similar alternation.
the
RHODIAN VASE.
From Salzmann.
xxxviii.
O O
282
PLATE
XLIII.
1.
Doves and
Vase
lotuses.
detail
from a tomb-painting.
Prisse d'Avennes,
XlXth
Vas(;s en or.
Dynasty.
2.
Goose
3.
Sun-hawk on the
4.
(Seb, Osiris,
Isis,
lotus.
lotus.
lotus.
Detail from
Mariette, Dendirah,
plate.
II.
Mariette, Dendirah,
85 A.
Boston Museum,
blue enamel plate with goose and lotus can be dated to the
II. 853.
XVIIIth XlXth
842.
Dynasties.
Another
(Petrie's
excavations, 1890.)
5.
From
lotus.
7.
God Seb
8.
Thothmes
9.
Sun-hawk on the
lotus.
Detail from
10.
The
lotus.
Detail of a
11.
bird
and the
Dynasty.
fabric.
RosELLiNi, M.D.C.
I.
375.
ix. 4.
p.
Museum, xx.
et Brod^ries.
la reine,
XlXth
PLXLlII.,p.
002
283.
284
PLATE
XLIV.
1.
for
a branch
" rameau."
2.
3.
4.
Winged sun
disk,
hawk,
5.
6.
Sun-hawk and
7.
Birds (compare
xliii.
8.
Goose or swan,
trefoil lotus
9.
xxxiv. 5
for designation).
10.
Hawk
1 1.
2.
Scarab.
Hawk
cvii.
83, 22.
Cesnola, Cyprus,
vi. 4.
fish,
A. Dl Cesnola, Salaminiuy
For object
Klaproth,
compare
xlii.
Culte de Mithra,
1.
seal.
xii.
[p. 267].
For
lotus
on
xxiv. 1576.
[p. 249],
Hematite cylinder
and Gryplion
at
cylinder,
3.
shown on each
front,
in
lotus
Lajard,
or eagle, gazelle,
Cylinder.
disk.
Cylinder.
on the back.
8.
A.V.
\.
lotus.
Avignon.
lotuses.
tails,
From Lajard,
for
Cesnola, Cyprus,
Gems,
side
III. 28.
v. 20.
Layard, First
Series, xlviL
9''M^*^^
e^
-^
u
f/r
)\
^-^
\^?Vv\
^^^^
In*-*'
-^ -j[^^.^dLAj/^
1^
e>
^j)
\V-L.
Qjg,
C.
n^'.t,.
M
'
^i
B OC/ ^a
OvV a^
' a^j
((T/D;
(f
1A ^^'
AA
^.-f^.
/y.
xz/F.,
^^^
/. 285.
't^
2S6
PLATE XLV.
THE BIRD AND THE LOTUS.
I.
Chipiez, Cypre,
-. 3'
Cypriote vase.
Pf.rROT
et
p. 709.
Cypriote vase and detail. Adorer holding lotus, with Sun-hawk lotus with pendant sepals lotus
MAX Ohnefalschsolar diagram rear of the figure, Swastikas.
with incipient sepal volutes
"
RlCHTKR in Jahrbucli, 1886, Plate viii. Subject mistaken by DUMMLER for a missverstandene
;
for a misinterpreted
i.e.
4.
first
and
5.
Figured
lotus.
Cypriote vase.
CesN'OLA, Cyprus,
Bull
Cypriote coin.
p.
405
6.
Cypriote coin.
7.
Cilician coin.
Swan,
fish,
De Luvnes, Num.
8.
13.
(Compare xxxii.
Venus by De Luynes.
De Luvnes, Num.
"
Ces m^dailles sont au
Reverse, winged figure holding a disk.
tombe du ciel, qu'elle avait ramasse en Phenicie et consacre a Tyre."
vii.
His attribution of the coin to Cyprus is reversed (verbal advice
I'^loile
et In. Cyp.
4.
its
neck.
xlviii.
on the
lotus
Compare
[p. 305]),
fish.
and cylinder
Cesnola, Cyprus,
Chipiez, Cypre,
12.
sun diagram.
1 1.
or
Cyp. III. 3.
Barclay V. Head).
9. 10.
hawk
Reverse,
et In.
Dove, asterism.
et In. Cyp. v. 5
solar diagram.
xliv. 9.
Detail,
xlvi.
Perrot
et
700.
at Plate xlviii. 2 [p. 305],
New York
Solar bird supporting winged solar disk facing lotus and buds.
Detail of the Cypriote vase,
Museum, shown at Plate xlviii. 10 [p. 305]. The latter design in Cesnola, Cyprus, p. 405.
New York
Swans and
Museum.
lotus anthemions.
Cesnola, Cyprus,
Murray's Appendix,
shown
xlvii. 41.
The
Compare
lotus
1.
bud
is
in
i,
4,
[p. 309].
common
type,
is
shown
14
[p. 305].
An
especially
1^
Fl.XLV.,p.
2S7.
288
PLATE
XLVI.
1.
Ibis
and
lotus
bouquet of buds
BoHh.W, Ja/trduc/i,
Cypriote vase.
head
a deer rampant
For
1886, Taf.
Remote
4. Ibis
and three-spiked
and palmettes
of this
on the
bird, see
Plate
xxxvii.
Max
[p. 249].
Studies, V. p. 102.
on the stem.
Early Greek
British
Museum.
6.
Hawk on
7.
vase.
in
8.
Cock and
9.
Geese or swans.
lotus.
style.
Detail,
vase.
lotus, Swastikas,
rosette.
and diagrams.
12.
Cocks on the
13.
Rhodian
44]),
[p. 63],
[p. 50],
3,
and
Detail,
Greek
xxxiii. 24.
Ksisr.
Tanis,
II.
xxv.
i.
Detail of a vase
v. 2.
Vasengevidlde, xxxvi. 7.
Jahrbuch, 1886,
Salzmann, N^cropole
and
Remote Ages,
Benndorf,
Rhodian
Compare No.
(Compare same
in
iv.
p. 54.
Plate
Compare
vase.
Geometric
10.
Detail,
Ages, xxvii. 9.
5.
lotus.
3, 4.
p. 148.
[p.
de Camire, xliv.
vase.
Greek vase
in the Louvre.
Bohlav, JaArducA,
1887, p. 52.
Monumenti
Inediti, V. xv.
Fl.
XLyi.,p. 289.
p
PART
III.
The
first
who threw
antiquarian
At
PAGES
decisive light
students.
L.,
Max
it
is
who
he
cleared
Ohnefalsch-Richter,
the path
who
for
later
all
and
to
make
this
information public.
Professor Diimmler's efforts were entirely directed, however, to the separation
its later
culture,
and
ii [p.
341]
lix. 8,
13
[p.
345]) from
those
Troy (Schliemann
prehistoric
(Ivii.
excavations).
The same
race
and stage of
civilization
were thus proven to have existed in both territories before the advent of Phenicians
and Greeks in Cyprus, and after that advent, for some continued time in the
interior.
This race
tenth
is
century
B.C.
"
Mycenae
antiquity
and
viz.,
"
vases of
Cyprus is one
and character (aside from the
later
"
The
unprogressiveness of the Cypriote Greeks were supposed to have kept them in the
grooves of imitation of Phenician examples, from which the copies could not be
distinguished.^
It
1.
2.
Among
the
fifth
century,
and the
fact that
Homer), down
294
In later publications
to
the
question
existence
of a
or without tendencies,
on the
island.'
It
civilization
in spite of the
of
Cyprus
have
to
been
is
make
to
relations with
friendly
foundation.
Carthage, and that the rare cases of independent Syrian analogy include only one
of no great importance to the general question.*
class
limited
character
The absence
of
is
objects
found
in
Sardinia
are exact
with
important
Our
best
comprehension
of
the problem
how an
island
Phenician colonies
their
main
supply of copper for the manufacture of bronze, could exhibit an art dominantly
Greek, is obtained from a comparison of the ancient Phenicians with the
Jews.
The
same
and much
for
direction.
the
about 284
The
3.
vase
is
t!.c.
civilization,
to
to
Salaminia,
Salaminia, p.
undoubtedly Greek.
This
is
that in
p.
xvi.
some of the
an undoubted
4.
Movers,
5.
Compare Perrot
et
Chipiez,
/y/^zV/, for
"
geometric
xvii.
" Dominant
the
more remark-
supremacy."
primitive
Birch, Preface
His
A vase of the
Birch, Preface
which he has
art.
Roman
is
quoted
period by Colonnarings
de
Ceccaldi, Monuments
Chypre, and they are otherwise
unknown later than the sixth century B.C. (for Rhodes),
are
affiliated
another
indication in the
Both have
to the last
extent.
races.
in Egypt,
is
Jew because he
295
is also
French, German,
English or Portuguese,
This parallel appears to indicate the position of the Phenician race in Cyprus.
It is especially important also to remember that all Phenician colonies included
numbers of
large
foreigners, for
reasons which
and
sailors,
employees
Phenician Tyre
to understand
is
were
likewise
and
foreign,
originally
how
colonies established
by
Their
carriers,
mainly Carian.
Carians.''
by a merchant ruling
Their
It
is
easy
such conditions, diffuse Egyptian patterns by the sale of their wares, influence
To
is,
this,
with
full
exclusiveness,
view
an
in a foreign country.
first essential
of
population, became
Greeks,
that
From
when made by
is
to
numerous
Cyprus, as more
of
say,
this
in
colonies
and
Cypriote
Oriental
beliefs,
hitherto existed
as
Rhodian
style in
to
the
must be
thoroughly
Greek
by the
the matter of the bird and
set at rest
deer.
6,
is
Movers,
296
matter
is
borrowed, but
its
most
art.
"
Information as to provenance
is
Cyprus belong
to
Whatever
Greek vases
style of
title
"
Dipylon
("
vases)
of
"
may
"
"
Geometric
Geometric," the so-called
assert
(Ivi,
[p.
shows
a very mild geometry compared with that of Cyprus. The horses, birds, and deer,
"
even of the oldest " Geometric style, are occasionally fairly well designed, and
as applied to these
rings, &c.
In the Cypriote vases the natural forms themselves are so constantly disguised
by geometric methods, that it is highly doubtful whether there are any geometric
forms which do not conceal a natural object, or portion of a natural object in some
We
pages of
examples
Geometric
(xlvii.
1,
Of geometric
an additional
"
birds, of
inclusive).
lotuses
we
series is offered
We have already
on Plate
xlvii. 2, 3, 4, 7.
This inversion
related to the
the flower
vase
Rhodian,
xlvi.
249]),
[p.
in early
289]
"
Greek
Geometric,"
[p. 289]).
On
is
Of such examples
xlix.
xlvi.
is
is
lotuses are
all
inverted
a Cypriote method,
common
(No. 7 excepted,
to
large
not Cypriote).
numbers of
The
vases,
and
inversion of
lines of
the
(i, 2).
The
by gradations
297
triangle
(5)
(compare
245-253],
and by
bird (8)
xxxv.-xxxix.
(xliii.-xlvi.
linear
[pp.
[pp.
triangle
lotuses
known
to
art
[p.
65];
10
[p.
223];
V.
xxxii.
10
xlii.
cases
"boss"
exhibit
XXX.
'9
[p.
211];
[p.
267];
[p. 401]).
some
In
un-
not
are
and Phenician
Eg)-ptian
Ixvii. I, 2,
Purely
283-289]).
the
triangles
8,
(xlix.
10)/
mination.
back
to
Plate
seen
to
appear
erect
triangle
on
(15,
where
a
the
on
two
inverted
The boss
16).
is
it
number of
also
of
cases
us
carries
xlvii.,
and
lotuses,
additional
boss
is
I,
2,
3,
6,
4,
7,
1 1
[p.
27]).
No. 3
is
an
showing one sepal which attaches itself to the side of the flower
at both extremities.
No. 8 shows an approximate geometric form. If the sepals
of No. 2 are filled in with black we obtain the outline of xlix. 10 for the boss.
exact
sketch,
The
constant appearance.
bands
(xlvii.
appear (12)
7.
The
Salaminia,
is
also a
is
255,
who
speaks of
"a
peculiar tear-hke
"
;
and by
Max
borrowed
It is,
as borrowed
it,
Q q
298
In
serve
They
like xlviii.
lower
xlviii.
to
motive to a flower,
i,
panel
the
refer
The
3 illustrates a class of
of xlviii.
These carry us
to
15,
In No. 17
in
we
11.
buds
Hence an explanation
249]).
[p.
of the curious
The designation
assisted
has been
published
by
8,
Murray
No. 8
12).
in
Cesnola's
CYPmOTE
152.
(6,
is
Perrot.
Fig.
"
"
buds
geometric
buds
No. 6 has
"Cyprus."
153 shows the panel band with bosses,
attached
the
to
bosses,
and
been
by
published
three
The
with bosses.
The
151,
Ivii.
[p 341].
solar
on a
staff is
152).
shown
at
xlix.
11
are
Assyriologists
[p.
familiar
with
similar
design on cylinders.*
The
to
(xv. 7,
13
[p.
sepals
is
The pendant
139]).
x.
12
xl.
Lajard,
which continue
may
Three geometric
geometric buds.
buds at the base of the band.
also
xliv. 2
for
where the winged disk takes the place of the solar diagram.
Compare Phenician
seal, Ixvii,
Work.
GEOMETRIC LOTUSES OF
they are explained
xlvii.
as
rudimentary survival
of
CYPI^US.
299
small
the
flowers
pendant
at
This example also shows the boss as reacting on a flower with curling
I.
sepals.
The most
bronzes
Celtic
of
Hallstatt
which
designs from
Hallstatt
the
the
in
source
of
highly conventional
mane
183,181
(Figs.
band
the panel
the
among
original
Germain a bronze on
St.
with the
birds
of transfer
have found
Museum
mane and
within the
the
is
exhibit
occasionally
the geo-
are
represented,
It is
outcome of
an
is
itself
like
triangles
xlvii.
16.
"
"
into the
way
Mycenae
have
which
interpreted
"bent
2,
It
OR ARCHIPELAGO STYLE, NEW YORK.
154. VASE FROM CYPRUS. "MYCKNjK"
Showing an outline ornament derived from the elongated Cypriote boss. Compare Fig.
also
shapes
5.
the
Fig. 155
154).
development
as
7.
on
mussels,"
&c.
occurs
(liii.
323]).
[p.
in
vases
curious
of
the
boss,
(liii.
[p.
323]
illustrates
of
of
liii.
3,
liii.
and Fig.
elongated
occurs
first
Cyprus, and
there
me
323],
154.
The
boss
[p.
in
it
narrow
in
occurs
relation
linillb
to
J1
^^^
9.
Q q
See
i,
156.
Archipelago
and Fig.
"
sticks,"^
4,
3.
been
hitherto
my
Vase
in
New
York.
iPO
certain
borders.
panel
also found in
15,
{^^Ivii.
"Mycenae"
pottery
16).
(liii.
The Cypriote
9,
10,
11,
12,
13
inverted
[p.
lotus
323]).
triangle
is
The examples
r
16. KVOLUTION OF THE O'PRIOTE " BOSS " IN VASES OF THE ARCHIPELAGO AND "M\CEN/e" STYLE
(o, b, (rora
"
"
10 are
9,
Cypriote vases
Mycenae
<,
i/,
liii.)
e,
"
from Archipelago " Mycenie vase
Cyprus
at Fig. 154.)
in the
New York
Museum
It
"
is
"
Mycenae
vases
were
originally
of
made
motives
in
Cyprus.
The
population
to
of
the
the
"
"
the
Carian
hypothesis
of
"
"
Mycenae
culture
quite a
are
Collection.
157. TYPIC*!.
On
number
in
the
New York
Origiii expUioetl
10.
by Mr.
The
Petrie).
(a
301
transfers of Cypriote
"
do not imply a Cypriote origin for this style, which is undoubtedly distinct.
We have still to consider in Cypriote geometric lotuses the phenomenon of
style
My
1.).
is
7,
13,
three
was perplexed
14).
The
explanation
several
some
tin^e
shown by
as
is
it
for
159.
On
Plate
1.
152).
we have
5,
i,
8,
9,
10,
11).
The
by considering that
if
159
Fig. 157
302
PLATE
XLVII.
1.
2.
From a
The
1.
15.
The
large amphora.
BOSS.
Compare Fig. 4
[p.
7,
13
Geometric lotus with variants of the curling sepal, Swastikas and crosses
(Swastika variants).
3.
From
the
side
is
4.
From another
large amphora.
5.
6.
7.
8.
An
From
the
same vase
as Nos. 2
On
one
"
sepals.
and
3.
Compare
right sepal of
No.
3.
9. 10. Lotuses from distinct vases, showing the geometric boss derived from curling sepals.
11.
sepals)
and concentric
rings.
(From
this vase
is
Border from another vase, showing the boss derived from curling sepals AS TR.\NSFERRED TO
B.\NDS OF THE P.\NEL. Lotuses with pendant sepals roughly represented.
13.
14.
THE
i
Conventional association of
[p. 287], showing the geometric boss.
In nature each bud grows on a separate stem from the root of the plant.
Border from another vase with bosses derived from curling sepals, on the flowers, AND AL.SO AS
TRANSFERRED TO THE BANDS OF THE PANELS buds in the comers of the outside panels geometric
;
bird.
15.
Inverted geometric lotus with bosses elongated to suit the narrowness of the panel. From another vase.
Such exaggerated bosses are found in the narrow upright panels of the vases like xlv. 4 [p. 287],
which does not, however, happen to exhibit them.
From
16.
17.
The
boss on
"
byliii. 2, 3,4, 5, 7,
"
Mycenae
15.
15.
shown
8[p. 323].
"
Myccna:
1.
Max Ohnefalsch-Richter
"
the vase
pattern.
Pl.XLVlI.,t.ioz.
504
PLATE
XLVIII.
show
that Nos.
8, 9,
1.
2.
Vase showing
3.
lotus bosses
4.
neck.
5.
and
lotus anthemions.
on
its
No.
and 12 are
lotus symbols.
"
of photographs of the
Lawrence-Ccsnola Collection," for some time in
some
of
the
vases
are in Munich.
dispersed
volume
or near London and now
Antiquilies, a
6.
Cypriote vase,
detail
is
shown
at No.
12.
Perrot
et
CHIPIEZ, Cyprc,
p. 702.
7.
8.
Cypriote vase with solar birds, lotus Ionic form with projecting details like those of the right lotus of
No. 17 (buds). A. DI Cesnola, Salaminia, xix.
Solar birds (swans) confronting a symbol composed of objects like the projecting details of the right
lotus of No. 17; said objects resting on an inverted triangle; two solar diagrams. Cesnola, Cyprus,
xlv. 35.
Demonstration follows through Nos. Ii and 17.
9. Detail
of the vase
lotus
10.
Ivii.
3 [p. 341].
buds projecting.
Vase with
Cesnola, Cyprus,
p.
lotus.
1.
Lotus with geometric bosses and conventional buds projecting from them.
2.
Detail of No. 6.
13.
[p. 287].
405.
bosses.
Detail at xlv. 13
Solar birds confronting a lotus symbol consisting of a panel band with geometric
Cesnola, Cyprus, xHv. 34. Compare xlvii. 12, 14.
Cypriote vase with solar bird, inverted lotus, and unrecognized object.
A. Dl Cesnola, Salaminia,
xix. 30.
14.
17.
Maltese cross.
A. DI Cesnola, Salaminia,
p. 257.
showing the upright band with geometric bosses and two geometric lotus buds attached.
Compare No.
16.
17.
full
Exterior bosses,
Ibex and lotuses, one lotus with bosses and buds, one with bosses
Detail of the vase xxxvii. 10 [p. 249].
and buds like those of Nos. 7, 8, IS-
Pl.XLVIJI.,p.2,os.
3o5
PLATE XLIX,
GEOMETRIC LOTUSES OF CYPRUS.
THE LOTUS TRIANGLE.
All
below-mentioned vases and details represent vases in the New York Museum, excepting No. 7,
The
detail of a vase in the Louvre from Rhodes, and No. 5, Cypriote vase in the Boston Museum.
very common in Cypriote pottery, and results from the wish
to have the ornamental lines converge towards the neck of the vase and narrow with it.
inversion of the lotus on these vases
is
1.
2.
lotus inverted.
3.
Vase showing a
4.
and concentric
inverted.
rings.
Vase showing two lotus triangles inverted, and a neck border explaining the position of corresponding
This neck border is typical for a very large class of Cypriote
patterns 13 and 14 on the next Plate.
vases.
It shows triangles with interior bosses, as explained
by text [p. 301] and diagrams
(Fig. 159).
5.
.Ibex or gazelle, having three lotus buds (on stems with tabs) hanging from his mouth, and a lotus
"
"
triangle inverted, on his back.
Compare Plates and text for the Deer, Gazelle, Ibex, and Lotus
[pp. 229-254]
[p. 253].
6.
For the
spirals
4,
6,
Museum.
triangle.
7.
The
**
xlvL
8.
bird
and the
5 [p.
lotus."
289] and
Cesnola Collection.
9.
10.
1.
Iviii.
"
similar
vase was
in
Compare
the
Plates
Lawrence-
'
v?^ //^-.
'-"
ft
111
/y.
r 2
A'z/x,
/>.
307.
3oS
PLATE
L.
All
I.
excepting No.
6.
Vase showing the lotus quadrangle as composed of four lotus triangles with bosses.
Four triangular sections result, each with interior bosses. Cesnola, Cyprus, p. loi.
3.
To
3-
Detail of a Greek
assist
Compare No.
2.
above explanations.
"
Geometric
"
vase.
6,
and the
4.
Ivi.
2 [p. 339].
Vase (Cesnola, Cyprus, p. 404) showing an abbreviated form of the lotus quadrangle, simplified from
the pattern of No. i, by way of 8, 10, 5, and 9. This motive is found on Melian vases. See Ix. 8
On the Mycena: vase liii. 6 [p. 323] is a variant derived from liii. i, which recurs to the
[p- 359]Cypriote lotus quadrangle proper.
5.
Variant of No.
i,
by way of 10 and
9.
of a Greek "Geometric" vase in Copenhagen. Archceologische Zeitung, i883, viii. Showing solar
birds, sun diagrams, the solar deer (a doe), and geometric quadrangle pattern derived from the
6. Detail
Cypriote.
7.
Variant of
13, 14.
Compare
is
amphoras.
8.
Variant of No.
9. Detail
I.
of No. 12.
la Variant of No.
i,
Variant of No.
5.
11.
12.
13. 14.
15.
and the
in its originally
more
restricted expansion.
Compare No.
2.
lotus quadrangle.
15.
and
in the
border
.^^^
i&i
The
UX^
(li.
and
i)
The
by the
supposition
that the history of Greek naturalistic art b^;ins with the potteiy oi the Mjfcoiae
style*
probably reversed
is
distinct
by
It is rather doubtful
The Mycenae
if
The Mycenx
this analysis.
there is
any
realistic art
is
upon
positively
it.
an example of such
art is
art, is
not
There
is
has seen the preparation of this dainty <hi the strand <^ Syra,
knows its
importance as an article <A food in the Levant, will scarcely deny that familiar
contact with this marine animal
or that
its picture
may have
Hydra was a
it
to the dignity of
symbc^sm,
There is no doubt
Museum
raised
two interesting examples <A Mycenae vases with the squid have
been found in Egypt,' and this animal appears in the reliefs tA Dehr-^Bahri,
At
I.
least
CcKTros. Sih
Sbaiid
"Em
liiiiiilliiM.
dk
a^
Om m
the Abbott
Sodtq^. piriafched
bgp ftafessar
A.
&
Mmuur..
MascbdiK fwlwrftfw. Poljrpe^, Ptwrra. sbIms JfmtmmttfJbwk lt^ il> IMs desiffatiMa of
Mceres aitf dea TlnB Make* Tke oaofe- aypac b
dnahrfaq ; aMlter ia Ac BAafc
e>
of tke
ana
tarBManfakanar-MjoaHe'stylewliclibanc
Pdm^ Xaia
ii,
Mwi
a E^m ^ffied
bf a
mamm,
1890
ftw^, ami
.3
3'^
but
MYCEN^
CULTURE."
is
it
"
in
the days of
Carian greatness.
An
originally
direct contact
of Carian
or
Mycenae
civilization with
Egypt
not to be argued absolutely from the directly Egyptian examples of the lotus
is
on the tomb
spiral
ceilings of
(Fig.
56
and
[p. 95],
i)
(li.
to a
li.
9),
tomb-
fact.
It
the
is
pottery, as scattered
in
Egypt,
The pieces found in
art.
Egypt, which are in Leyden,* in the Louvre, in the British Museum, in Florence,
in the Abbott Collection of New York, above all those found by Mr. Petrie,*
are no
more
directly
in quality
Egyptian
probably argues against a direct diffusion of the style from the foreign
population in Egypt, in which case the Mycenae motives of Egypt would
This
fact
have
the
shows,
all
As my
quality.
of
analysis
vases
the
of those not borrowed from Cypriote motives, like the boss, the quadrangle, the
inverted triangle
(liii.)
and the
"
had been
first
copied
in
Egypt we should
The
sword
of
(XVIIIth Dynasty)
is
Aahmes
in
the
a similar work,
Gizeh
as
im
by
Lichte der
irs
Payi-Bas a
Ltide.
find
other
lotuses
If these
[p, 162],
metals
of the ordinary
in other materials.
Museum
observed
(liv.
there
of
liv.
Mycenae
d'Anliquitis
valued because
5. Especially
(?(/
1,
leaf
3 [p. 165])
Hi. 9,
Kahun
The running
by finds of 1890.
Gurob,
XlXth Dynasty.
motive (type of
is
p.
dated.
42
xxii.
XXth Dynasty
8.
motives are
barbaric
The
lotuses
like Fig.
49
MYCEN^ CULTURES
"
(liv.
All
these
when taken
3,
5,
i,
mass that
the
are also
165])
[p.
7).
facts
in
2,
i,
(lii.
founded on pottery
from Cyprus.
76]
[p.
originally
i)
^,^
Mycenas pottery
locality of find,
style is
with
alliance
Phenicians, wherever
10),
Phenicians were
found/ as
their
carriers,
sailors,
character of their
barbaric
art,
character
to
(allied
of
art
prehistoric
Hallstatt,''
the
Celtic
the
Frank
forms,
or the
to
&c.,
Roman
Merovingian adaptation of
"
of
that
"
Scythian
many
of
adaptations
cases of direct
as
Greek)
explaining
As
to
knew
160.
Showing
RHODIAN VASE.
which
they
made
several
companionship
6.
of
the
is
the wildest
solar
deer
and
1875.
Kohler
acceptance.
The
recent work of
"
the
"
Mycenae
the Archipelago in
general.
As
the
in prehistoric
times,
Movers,
8.
The most
significant
fact
in
bird,
the
shows
which
that
AD.
Cypriote
date
is
Stephani,
in the case
the
has
Petersburg archre-
St.
its
and
The
down
century a.d.
sense of
ologist,
had
far
beyond
that date,
and
fact
recent
is
that
to the third
" bronze
culture,"
7.
eccentricities of the
"
people of the Mycenje culture" was suggested by
in
In
loans.
whole matter of
"
"
Mycenae
culture has
first
revealed to
us.
s s
3H
symbolism
and
On
relation to sun-worship.
The Carian
the
for
proven
normal
on the vases
lotuses
same
[p.
CULTURE:
thing.
traditional
opinion.
MVCEN^
the presence of
15
(1.
"
was probably
art
Celtic
of
art
and
Celtic,
because
Italy,
decline to express an
this point I
the
lotus
animals
solar
with
lotuses
and
civilized
tinople are
much
the
the closest
in
very
6a
first
of
trade
the
also
are
of
so
parallels.
who
Mediterranean
soldier.
mercenary
refined
highly
cavalry of Caesar or
Roman pay
people of the
semi-
of Constan-
comparison, although
The Batavian
later date.
Visigoths
the
the
The Varangians
peoples.
of
service
military
l6i. Detail or
fig.
the
in
employed
race,
be
can
symbolism
would
It
be
162.
CYPRIOTE LOTUS.
Pendant
York.
followed
advisable
to
sepals.
New
the
test
Mycenae
There
the
wave
"
"
common
is
line of lotus
Cushites," the
to
xxii.
9;
(Hi.
i,
[p.
Even
165]).
this
one correspondence of motive does not argue any close relation between early
Greek culture and the Carian, for the wave line leaf motive does not occur on
Greek
vases
before
the
fifth
B.C.
century
apparently.
it
The
from a
is
presumption
common
source, but
at dififerent times.^
It
pattern
104
[p.
163],
9. This
common
128
[p.
206],
129
[p.
214],
(p. 300,
is
distinctly
known
it
is
unknown
to Cypriote art
Museum
the
in
The motive
to Cypriote pottery,
that
of Bologna (Figs.
and Plate
for instance,
to
li.
7).
It
is
line
103
is
common on
Phenicie.
Syrian sarcophagi
[p.
161],
"ivy"
and on
The
lotus
Renan, Mission
dt
find
on stone
it
reliefs
Carian
"
and
in
"
some
The presence
B.C.).
this
315
Italy of a Celtic
in
If
CULTURE."
which are
reliefs
must be conceded.
population
MYCEN^
and also of a
the
am
97]).
[p.
well
up of gold
When
wire.
art is borrowed,
the pattern
the
be found
originals,
is
will
point
is
the entire
Mycenae
and
it
becomes necessary
to prove that
This proof
difficult,
it.
"
Mycenae
Contrary to possible presumptions the continuous spiral scroll (the
in Greek pottery or in Greek art, which prefers
spiral ") is not a typical pattern
the related guilloche (neck of xxxviii.
source.
The Greek
guilloche
first
[p.
251])
On
and
style,
is
Ivi.
pottery
[p.
and
339]).
Greek
Geometric
in
pottery
the
same
are
not
localities
Mycenae
same
tombs,'"
found
in
throughout
the
the
Levant.
No
Greek Geometric pottery (Dipylon style) has yet been found in Egypt.
The relations between Carians and Greeks in early times would thus appear
to have been either those of hostility or of successive and non-contemporaneous
presence
in
the
same
localities.
That
Ionic
Greeks
were both employed as Egyptian mercenaries in the seventh century B.C. has
had then long since disappeared
nothing to do with this point, as the Carians
from the Greek Archipelago. As confined to Caria in historic times the Carians
have nothing to do with the Mycenae period.
10.
Jahrbuch, 1886,
S S
p. 134.
3i6
The
8)
(li.
have been submitted to competent authority, but there appears to have been an
incorrectness of transcription in the publication of Lepsius, which makes them
The
illegible.
god
"
is
of the bull
interpretation
this
by
probably supplanted
Figs.
and
60
show a
161
There
reference.
a Greek
of Tiryns as
fresco
does
not
Riverto
appear
in
Rhodian
an
and
vase
as
detail,
enlarged
to
explain
the
Professor
by
Fig.
Mycenae period
The
"
From
Algeria.
deer
and
12
u,
also
is
as
as
old
or
the
Iv. 3, 6).
found
is
Gryphon
deer
(xxxvii.
(Hi.
motive
of
Saracenic survival
1^3.
'^
obvious palm-tree."
The
an
for
Furtwangler
the
lotus
in
"
are
The
[p. 249]).
familiar
lion
to
it
pursuing a
^^
art.'^
Mycenae
and
lotus,
is
Ravoissi^.
a deer
We
Instances
256).
(p.
The
279).
(p.
Mycenae
"
bird
many
(Hi.
of
"
" Der Stier
von Tiryns
IL
Palmenbaums.
Ornament,
Interresant
dieses
aus
Kameirus im
Louvre.
German
in
Various
sentence
life.
There
The
detail
161
is
is
no evidence
shows
cited
Italian
Celtic
definite
in
of
little
very
illustration in the
more
dcnaselben
4)
the
12.
18).
(Iv.
have seen that the bird without lotus association must also be considered
solar
1 1.
the bird
of
art
(Ivii.
the
goose,
[p.
341])
The
original.
recently discovered
tree,
liv.
is
i.,
The
and copied
it
as such.
This
and of
Celtic
mane
Gold ornaments
14. Ibid.
art
witness
the
case ot
Schliemann's Mycence,
the
hook
is
(Ivi.
10,
13
339])
[p.
"
reduction
shows that
close
MYCEN^
of this
CULTURE:'
prehistoric
bird to
317
a pot-
The Swastika
is
known
to
Mycenae
art,
8),
are a
the style
current decoration.
unites
with those to
these ornaments
In
be
considered
in
the
Cats
(?)
be considered as including
patterns.
O these Mycenas
J
C
lotus.
165.
of Scotland.
3i8
PLATE
MYCEN^ LOTUS
LI.
AND CORROBORATIVE
DERIVATIVES,
MONUMENTS.
The
2.
3.
4. Spiral scroll,
wood
ScilLlEMANN, Tiryns,
6.
7.
8.
9.
Lotuses
Troy, xxxi.
Troy,
Mycence,
xliii.
Compare
p. 150.
Compare
Schliemann,
DenkmaUr, Ab.
in spiral scrolls.
Tiryns, v.
Schliemann,
Zannoxi, Scavi
5.
also in Lepsius,
SCHLIEMANN,
SCHLIEMANN,
carving.
xxiii.
ZanNONI,
Description de I'^gypte, A.
v.
18
Bl. 14 b.
Orchomenos
ceiling pattern.
Schliemann,
jimnuwiWiMTiiiui
is
no
^M^<^
(XV^
\\- (i(&h'
."l^
i^^-i^'
^^"S ^"i^
PL
LI., p. 319.
320
>
PLATE
LI I.
MYCEN^ POTTERY
MOTIVES.
>?
I, 2.
c,
b (No.
i,
3 [p. 165]).
SCHLIEMANN, Mycence,
2).
it is
it is
/
FURTWANGLER and LOESCHKE,
Compare
[p.
p. 55.
"
"
ivy
number of patterns
3.
4.
Schuchardt,
Mykenische Vasen,
I. i.
Schlieinann^s Ausgrabungen
im Lichte der
5.
6.
"
First
" First
"
8.
"
9.
10. Bulls
Lotus
Tomb," Mycenae.
for
x.
leaf derivatives.
Chevrons.
SCHUCHARDT,
SCHUCHARDT,
Lotus leaves,
spiral scroll,
Fig. 263.
Fig. 209.
to Iv.
i,
2, 3.
Fig. 277.
LOESCHKE
Compare
Fig. 166.
7.
Schuchardt,
"
"
Herzblatt
combination.
Spiral scrolls in
Tomb," Mycenae.
Schuchardt,
First
Tomb," Mycenae.
"
for patterns
on the
right,
compare
"
(oxen
in
liv. 23,
the pasture).
Mykenische Vasen,
xli.
&c.
Mistaken by
Compare
FURTWANGLER and
PL
LII.,p. 321.
322
PLATE
LIII.
It
is
understood that the word " Mycense," as apph'ed to pottery, indicates a style, not a locality. Fragments
from Mycenae are generally mentioned specifically. All illustrations, not otherwise mentioned, are
from
1.
2.
Cypriote derivative.
Mykenische Vasen.
Compare
Plate
Compare
xlviii. [p.
Plate
1.
[p. 309].
FURTWANGLER
305].
xxxiii. 327.
3.
From
156, p. 300.
5.
6.
Derivative of No.
7.
Cypriote derivative.
8.
9. 10.
"Mycenae"
Compare
From Mycenae.
;
Fig. 156.
ScilLlEMANN, Tiryns,
xxvii. 223.
p. 130.
From Mycenae.
therefore Cypriote.
FURTWANGLER and
Compare
4.
I,
is
xxxiii. 320.
xxxiii. 315.
a distinct
"Mycenae" motive.
Cypriote manufacture.
Compare Cypriote
xlix.
[p.
307].
FURTWANGLER and
LOE.SCHKE.
12.
Compare Cypriote
13.
Cypriote motive.
"
14.
15.
Mycenae" pottery
detail
from Cyprus.
Inverted lotuses.
Lotus
steles.
Compare
liv.
58.
14.
^"^^/^J
3=4
PLATE
LIV.
show the
Compare
ornament
from Spata.
All following illustrations, not otherwise specified, are from Mykenische Vasen.
1.
spiked lotus
xlv. 3 [p.
sepals.
160, 161,
Bending stem, with threeCompare pendant sepals (not curling) at xxxix. 5 [p. 253]
"
"
162 [p. 313. 314]. This
Mycenae lotus is probably borrowed
Vasen, Text, p. 81.
for
From a schematic or logical point of view the three-spiked form represents all
the sepals visible in profile and the addition of pendant sepals is unnatural, but we have abundant
illustration for such representation in Cypriote lotuses (xlvii. [p. 303]).
and LOESCHKE.
2.
5.
From
on
palmette
hooked
in metal,
loop.
Outline lotus with spiral volutes differing from the Cypriote, which adhere more closely to nature in
the point that the sepals generally curl from the base or near it and never from the extreme top of
the flower (xv.
Ionic,
viii.
is
7,
5,
rare,
xlii.
[p.
139]; xlvii.
but
it
is
[p. 267]).
II.
illustrated
is
is
not only in Capitals but also in surface design (vii. 8, 9 [p. 79]
In published examples of Mycenae or Archipelago pottery, the form
[p. 87]).
No. 12
The form
[p. 303]).
trait
by another example on
this Plate,
No.
19,
from Calymna
(entire vase,
a variant.
Amathus
(repeated from
the lotus palmette without volutes, the alternate
form of No. 7. [Since making up my Plates and writing the Text of this Work,
I
have found the exact original on metal within the limits of Mycenae Art.
Egypto-Phenician palmette
xii.
Fig.
12 [p. 113]).
166
in
It exhibits
one of a
represents
series
of gold
in
the
Polytechnic, Athens.]
166.
SOLD OBNAMEXTOF
A icKiBsrROM
ATOMS
AT SPATA, in AibeiK.
From Author's tketch.
examples
.^
11
,r
Mykeittsclu Vasen
this
326
PLATE
LV.
MYCEN^ POTTERY
No. 10
MOTIVES.
the Egyptian outline lotus. Compare Plates iv. v. [pp. 63, 65]. The only exact repetition of this
Egyptian pattern which has been published is on a vase from Thera {Mykenische Vasen, xii. 78) and
in other cases (various publications) the closest correspondents to Egyptian design are from Thera.
is
Nos.
6.
7.
1 1.
13.
I, 2, 3,
Remote
variant of No.
3.
"
Sixth Tomb,"
lii.
[p. 159])
10.
9.
Design borrowed from a running pattern of lotuses in spiral scrolls, and used separately.
of an isolated lotus with one spiral volute are independent of such an influence.
No
examples
Ionic spirals related to motives herewith in Text-cuts (repeated from Plate xv. [p. 139]).
Rhodian
The rudimentary
Melian Detail.
Detail.
thrown aside
in the
right-hand example
appears, kicked out of place by it, so to speak. This
vase is the most valuable example published, of the manner in which detached spirals were evolved
from the double volute. Detached single spirals are not found in Egyptian art.
by the
a pattern
common
to Cretan specimens
still
and
others.
^-^
17.
Rhodian DetaU.
'8.
Rosette and bird with triangles, showing an influence of Greek Geometric pottery.
Compare
Iviii,
3 [p. 343].
in
Pl.LV.,p.2,2^.
LVI.,
345.)
It was the
happy tact of Professor Conze which singled out both the Melian
and the Geometric vases for publications which rank as the first efforts to give
monuments
these
Geometric
to
as
Style,
first
the
Dipylon
known
diffusion.
designation of
now extended
is
later
monuments
They
The
vases,
Iviii.
3)
were
the earliest
represent
found,
art
of
quadrangle
is
The
I.
taken
detail
also
The
assigned to
first
publication
(Ivi.
[p.
(1.
1.
At
(Ivi.
at
Ivi.
1.
Geometric
7)
is
vase
to
Greece
in
3),
6,
8)
[p.
307];
one of
of
these
quad-
Cyprus in the
shows the same
Curium
New
in
the
and a quadrangle
which is derived
6,
this
York.
without tangents
irregularly distributed concentric rings
the
regarding
Geometric
Geometric
style
vases,
as pointed out by
variant
309]).
from
also developed
triangles
motives,
panel
rangular
tends
to us.
composed of four
panel
it
use
my
of the style.
first
wide
their
general, as
the
title
obscure
to
applied
links with
many connecting
The
and importance.'
by Professor Conze
Vol.
II.,
1847.
6).
Such
made by Helbig,
312
(Ivii.
u u
&
GREEK GEOMETRIC
330
vases
numerous
are
common
The
birds
of
decoration
i
(Ivi.
class
Ivii.
(Ivi.
Greek
these
never found
is
Ixi.
[p. 365])
The
has
and
deer,
2,
(Ivi.
Ivii.
includes
also
in
The
Cypriote vases.
in
rows
(Ivi.
solar deer
the
7,
8,
and
2),
solar
10),
ibfex,
(Ivi.
common
or wild
ibex,
works of Greek
Geometric vases
to be considered.
still
solar bird,
in
2),
which arrangement
art
goat,
to the art of
Northern Europe. They occur there in decorative associations which point decisively to Mediterranean influence.
The overthrow of the theory which placed the home of the Aryan race in
that of
prehistoric
so recent, that
is
Asia,'^
It
logy.
any such
art,"
independent
of
It
is
of
sight.
clear,
Europe
"Aryan
is
home
race) is in
late discoveries
of the
Aryan
race
in
(if
of languages, and that the ancestors of the races of modern Europe have been
settled in
some approximate
relation
to their present
European habitats as
far
Scandinavian
and
other
archaeologists
view
has
also
when a spread
been
"
"
long
Bronze Culture
warmly antagonized.
of the
have
Bronze Culture
"
"
of
since
the
North,
the
to
pointed
but this
Mediterranean
"
"
Northern Europe grew into a
Bronze Age
by way of metals imported from
the South of Europe,' and by arts of metallurgy also thence derived. All his
"
No more
delusion."
(p.
17).
3.
"We
came
(p. 127).
The
GREEK GEOMETRIC
indications
331
Europe.
With
the decisive
in
man came
civilized
into
possession, or otherwise,
came
Europe from
into
new
These
conclusions
Philologists as
far as
have
been
reached
the
of language
us to
unite the
entire
by Anthropologists and
concerned, but
is
oblige
of prehistoric
civilization
by
Culture
for
"
consider them as the fathers of the
Bronze
To
civilizations.
so far regarded
settle the
question as to the
home
Semitic loan-word
(p. 151).
Teutons obtained
^i<f>tK,z
by the
of barter
processes
peaceful
Isaac
126)."
(p,
metals
"We
penetrated
Mediterranean
ships
Phenician
word
133).
(p.
from
the
/icraXXof
the
Phenician
(p.
(P-
Lithuanians
137)-
obtained
The
it
(gold),
135).
from
The
a Semitic loan.
The Greeks
Celts, Llyrians,
by
the
and Teutons,
is
gold
East of
word common
Lithuanians, Slaves,
regarded
loan-word
and
is
(metal)
j^pwroi
by Phenician
visited
a Semitic
as
knowledge of
North from the
the
that
to
142).
(p.
conclude
gradually
to
believed to be a loan-
obtained
region
it
(p.
13S).
Homeric word
for
sword,
u u
Mina and
/xm,
(p. 195).
The mason's
177).
(p.
Teutons, have
the
.
art
(p.
(p. 145).
195).
by the
Albanians, Slaves,
and
'
(p.
when
at the time
regions, probably in
The tendency
(p.
of recent studies
in
India,
Danubian
The
agriculture
4.
of masonry were
more northern
Celts,
Close
Ferrum
to
all
arts
'
(p. 195).
146).
to
Phenicians
that
(p.
Semitic loan-words
believed
(iron), believed to
.
some
lands, in
166).
is
and
to
to
minimi2e the
show
that
The Brahmans
Aryans." Taylor
(p. 201).
of Benares represent
&
GREEK GEOMETRIC
332
Culture" which, as far as they are concerned, might have originally centred
the
Tigris- Euphrates
show
that the
valley.
consider
history of prehistoric
it,
therefore, of
European patterns
importance to
great
also
is
in
the
history of
and that the history of patterns points to Egypt as the home of the
Bronze Culture."
metals,
"
There
no
is
trace
of pattern
ornament
in
Northern
Europe
from the South. Even
prehistoric
found
possibility, be
does not appear before the age of polished stone implements, which grew into that
contemporaneous with it.* The Palaeolithic cavedwellers drew the mammoth, the horse, and the wild goat, with great dexterity,
of bronze, and was
partly
but they had no pattern ornaments which are related to those of the " Bronze
The
earliest
The
of
prehistoric
England,
pottery decoration of
Switzerland,
France,
and Northern
makes
Italy,
its
appearance
its
of degraded character,
On
we
all
countries mentioned,
Scandinavian, are
less
No
all'
much
later
implements." Boyd
dt
et
St.
le
Germain en Laye,
cercle a
Cavemes).
point
I.,
p. 172.
central font
The drawings
are on
" La
croix,
dt'faut
"
bone or
le triangle,
(^poque des
ivory.
Pottery
The
races
For
this
"hiatus"
and culture of
between
the
the
this
Age
of Polished
Age
of Bronze,
Palaeolithic
and
the
most
Professor
have been
fore-
in recognizing the
Esquimaux.
to
333
The
is
the
"zigzag."
In
We
can
most
chevron in rows
the
(Iviii.,
Germany
Italy
and
is
12,
is
Europe
early
Denmark
(Iviii.,
14),
Britain
in
10),
(Iviii.
Geometric
the
to
13);
of
(Iviii.
the
to
Hallstatt,
6,
i,
(Iviii.
appears in
it
or in France
5),
(lix.
tombs of
the
or
which
lix.),
ornament
pottery
original
diffused
widely
style
of Greece
Iviii.
3;
(Ivi.
3),
In
the
chevron
an
is
connection
last
example,
lotus
Egyptian
or
petal
of the
sepal,
the
expanded
as
the
lotus
case
"in
the
plan,"
One
be.
may
is
and
from
columns
as
xlvi. 13
at
the corners of
In
Ixi.
general,
8.
obvious that
The Egyptian
we have
is
a zigzag, and
is
is
Plate
intended to
It is
In Greek vases, the chevron frequently has the same origin (Plates
indicate.
to
the
easily
drawn.
In
Nos.
13
11,
one arrangement,
show the dominant
Plates
illustrative
Ixvi.,
Museum
in the British
399].
[p.
which
in
chevron
pattern.
This
cave-dwellers.
obtuse
zigzag
in-
is
numerous,
the
easy, the
" Bronze
Culture
on mummy-cases, on metal, or on
Denderah on the ceiling portico,
influence,
which are
pottery.
in
It
appears at
the
Palaeolithic
In the
Age.
Museum
of
St.
Germain, where
On
rare,
immediately
preceding
after that
Age of Polished
and does not occur before the
the
to the
classic
influence began.
Stone, ornament
is
indications of the
" Bronze
Culture," which began in that period
The
points
races of the
and very
of Polished
gradually displaced
Ramses
historic
II.
zigzags in
at
Cypriote
pottery,
but
the
indications
of
my
it.
Age
Palaeolithic
there
is
GREEK GEOMETRIC
334
the
lotuses
straight
placed
outlines.
by dropping the
&
side
by
The
chevron,
central
inverted,
167A are
mummy-cases, where
which
illustrations
ornament
this
is
these chevrons
of
"
from
the
which
in
Detail
chcvrou,
Museum
eum""c2^''o''No'Tr-"
From Author's sketch,
in
is
Egyptian
"
or
central
than
purc
represented
on
on
in -these
still
In
Figures.
and simple, on
such
the case
mummy
of
the
cases,
the
shows the
general.
1)
appears in a
it
indication
CHEVRON ORNAMENT
There
frequently employed.
LOTUSES INVERTED.
lotus leaves,
Dart
necklaces
167.
(viz.
spike.
14),
one instance
in
pure
sepal
have
parallel case.
167,
Figs.
and
side,
the
is
counterpart
lix.
7, 11
distinctive
of
the
EggThe
Xlth
the
which
Dynasty,
precedes
6 6 6 6 6
It
the
to
Xlllth
Dynasty
of
(Tomb
CHEVRON ORNAMENT.
Meri-ka-ra at Siout).
from
(4),
14,
in
lotuses.
The
vases on Plate
(3),
9.
of
lix.
from Rhodes
Author's sketch.
lix.
Cyprus
lo.
triangles of the
Cypriote vase
Iviii.
This
also hold
will
307].
[p.
335
Egg-and-Dart
moulding.
The gradual
means
North
tombs of
The
which assisted
13)
I,
(Iviii.
attributable
exclusively
of
influence
Northern
bronze,
side
The chevron
nearest
was
of
style
with
the
originals
prehistoric Celtic
the
pottery
copies.
Danube
Switzerland,
countries,
share of influence.
full
lix.
Cypriote pottery
prehistoric
motive, which
the original
to
the
side
itself,
the
to
Italy
in
by no
is
bronze
the
found
by
pottery decoration
Northern
over Europe
although
are
diffusion
Hallstatt,
primitive
and
Greece
to
this
and
Italy
chevron ornament
of this
diffusion
now
is
accessible
in
the
is
13
8,
masses.
large
not aware
prehistoric
Kabyle
lotus
number
of a larger
default
triangles,
Cypriote
of
survivals
like
Geometric
this
of Plate
chevron
of
those
Plate
Plate
style.
style
(Ixiv.
xlix
385])
[p.
307],
[p.
also
Ixiv.
can refer
illustrations,
of this pottery.'^
supplies
as
to
the
In
modern
intermixed
with
the
later
belonging
to
examples
of
the
later
Cypriote chevrons.
The
Kabyle
shows
pottery
many
in
Egypt
survivals
other
known
is
lotus
motives,
of
^^
in
Egypt
This pottery
later
is
dated to the
Admitting the probability that Italian foreigners were the makers, as Mr. Petrie
supposes, and the probability that the style had been already developed in Italy
from imported chevron patterns in metal and then carried back to Egypt by
these foreign
Europe was
As shown
it
to
quoted at
me by
p. 293,
still
is
in direct contact
settlers,
important to
know
that a
race
Note
Museum
i.
General Loring
in
the Boston
of prehistoric
b.c.
336
Everything which
demonstrates
contact
direct
of the
prehistoric
races
of
which
to
North-European pottery
in
supposed fact that such pottery was not found in Egypt (p. 346).
The mixed influences carrying Mediterranean ornament into Northern Europe,
viz. the
it,
partly by
way
Italy,
partly
in the
method of indicating
HHODIAN POTTERY
DIAGRAM.
in
demonstrated
bronzes of
existing
The
an
in
Egypt
was possibly
21-25
(viii.
Italian
the
metals.
scarabs
for
early
which
spirals in
period
[p-
(Ivii.
8,
87]),
and
14,
16).
assume
to
With
the
assistance
the
like
many
probably themselves
Greek Geometric
we can
pottery),
from concentric rings with tangents to the concentric rings without tangents,
From
ment
Bronze plaque
of
concentric
bronze plaque
in
the
in
rings
joined
the
Dodona; oma-
by tangents.
Polytechnic at Athens
ill-
scroll.
to scarabs
Concentric
Similar
concentric
common
solar birds at
14. Egyptian
Ivi.
7,
with concentric
common.
They
implements
for carding
wooden Egyptian
the British Museum,
and spinning
in
historic
styles.
Note
combs
in
all
over pre-
10).
the British
Museum and
in
GREEK GEOMETRIC
&
we
The same
transition is
goat with
move
to the deer
concentric
The motive
bronze
of
the
The
and
of
Hallstatt
prehistoric
over prehistoric
all
fourth
(Celtic,
(Ivii.
we
2)
(Ivii.
found on
is
ibex or
16).
(Ivii.
common
is
the
century
as also of the
4),
and horse.
had already reached the pot-hook stage at
10 (but such pieces are not found with the
bird
Ivi.
Tiryns,
bird
or earlier)
solar deer
solar
(Ivi. 9),
The bronzes
Europe.
B.C.
Sweden
in
From
and tangents
rings
or
8,
illustrated,
wild
Ivii.
337
"
"
pottery of Tiryns).
Mycense
Bologna
at Villanova
7),
(Ivii.
as
Europe,
(Ivi.
in
We
find
Iviii.
13;
(Ivi.
The
1).
England
in this
it
shape at
in
9),
concentric
11),
(Iviii.
France,
of
rings
no
are
less
l68.
Among
the
more
isolated
Scotland.
"
"
Mycenae
Fig. 165
The path
France
(Iviii.
(Iviii. 8), it
is
or as
Compare
[p. 317].'^
of the meander
is
the
same meander as
found
in
the
(Iviii.
lii.
[p.
in
13),
among
survive to
is
treated in
From a Crannog
15.
five
find
it
my
Northern
in
still
As we
which
of
321].
rudimentary survival) or
7,
the
style
is
Northern
in
in
the
tell
(Ivi.);
(Iviii.
12),
the tale of
and
its
themselves once
history of the
meander
next chapter.
we may
also
sides,"
that
(Carian) race was Celtic are so strong
p.
of a land diffusion
preferably consider this piece as a relic
Carian,
"
of " Mycense patterns, explained by community of race.
X X
;3S
PLATE
LVI.
1.
Greek
2.
Geometric
Plate
[p-
1.
359]
pottery, a
(many
similar)
Ivii.
On
3.
"
barrel-shaped
2 (ibex)
and
stand,
[p. 309].
Solar
(see
Ix.
16.
Ivii.
rings joined
spirals,
Greek Geometric
5.
Greek Geometric
6.
Greek Geometric
7.
Greek Geometric
vase,
meander, solar geese, solar deer, concentric rings joined by tangents and
representing spirals.
vase, solar geese, solar diagrams, concentric rings joined
spirals.
8.
9.
Iviii. 9.
Geometric pottery
12.
detail,
Monumenti
Schliemann,
Sweden.
Bronze repouss^
MONTELIUS, Tlu Civilization of Sweden in Heathen Times.
Aqx.^\\.
p. 103.
MoNTELIUS, The
11.
Schliemann, Mycena,
Inediti,
Tiryns, p. 96.
Compare Nos.
X. xd.
Civilization of
lOj
13, Ivii. 7,
Geometric pottery fragment, from Villanova, Italy, prehistoric tombs. Waring, Ceramic Art in
Remote Ages, iv. 55. Pot-hooks derived from solar geese and concentric rings. Compare adjacent
13.
examples, Plate
The
Nos.
4, 7, 8, 14,
and
especially
Iviii. 9,
from Sweden and Italy represent a very large number of prehistoric examples
and a much larger number of examples in Museums.
illustrations
tion
Not.
Ivii.
in publica-
7, inclnsiTe, re from
Conzb, Anfange der Griechischen Kunst (Vienna, 1870). Scarce reprint from Sitziin^sberichte der Philos. Hist.
Akademit der Wissenschaften, Ixiv. p. 505, Februarheft, 1870. Additional vases of the Greek Geometric style from
The following indication of present location and
the same publication, are Ivii. 2, 6; Iviii. 3
Ixi. 1, 4 (p. 365].
Ix. 13 [p. 359]
derivation includes all above numbers.
The most important collections for " Geometric" (so-called " Dipylon ") vases are the British
Museum, Louvre, C<i^'n^/</ yt/<t/fu/&; (Paris), Museums of Sevres, Leyden, Copenhagen, and Athens. There are several examples
from Cyprus in New York besides the large " Dipylon vase of Curium." (Cesnola, Cyprus, xxix.)
CI. dtr Kail.
1L
I.
From
7mmw
A
MMHMiilllIMMMilltll|IAU(liii|iiili|uuillll(|lll(inilll(WI|li(ll((iini|li
Winii>i""iwwiwiiiiiiiiimiiiiimii(iiiiiiii|iiiiiiiiiiii<wiii/iiiiiii(i'ii4i|(((ii
PI.
X X
LVL,
p. ZZ9-
340
PLATE
LVII.
It
pieces are types representing large numbers of examples in each style indicated, except No. 6.
is not clear that pottery vases with decoration confined to concentric rings were very common in
if
New York Museum. PekroT et Chipiez, Cypre, Fig. 497. Representing the wellknown and numerous type of Cypriote vases, with concentric rings another example at No. 10.
Compare concentric rings on Cypriote vases, xlvii. 11 [p. 303] xlix. 3 [p. 307] 1. 12 [p. 309] and
Cesnola, Cyprus, Plate ii.
Cypriote vase,
2.
Greek Geometric
3.
4.
Birds and
detail, from the prehistoric Celtic tombs of Hallstatt (near Salzburg).
concentric rings. WARING, Ceramic Art, &c., xxviii. 18.
Compare VoN Sacken, Das Grabfeld von
Hallstadt.
Much more numerous and complete colour illustrations (original sketches of the
director of the excavations) in the Museum of St. Germain en Laye.
Bronze repoussf
Bronze repouss^
detail
horses and concentric rings.
Mtiseo Etrusco Vaticano, v. 5.
Compare
365] for the horse. The Hallstatt examples of the horse and concentric rings are
very numerous.
6. Greek Geometric vase with concentric rings.
CONZE, Anfdnge, I. 2. The type of Geometric vases
confined to this ornament is rare. Connection with the Cypriote type is positive.
5.
Plate
7.
8.
9.
10.
Ixi.
[p.
l2,2,6,
p. 137.
rings.
Zannoni, Scavi
Compare No.
variety,
15.
Cyprus, Plate
The type
ii.
patterns.
Compare lix.
race which produced these vases is supposed to have been exterminated as early as
the tenth century B.C., but Professor Diimmler's presumption of a sharp separation in type between
these va.ses and the Cypriote Greek is not demonstrated.
There are many illustrations of fusion and
transition in the New York Collection.
Sec p. 381.
The
8, 13.
12.
Cypriote Greek vase, New York Mu.seum. Bird and solar diagrams (not concentric rings).
with concentric rings is not found on Cypriote vases, or must be extremely rare.
13. Detail
of No. 14.
15.
Montimenti
rings.
Inediti,
XL,
The
bird
lix.
16. Prehistoric
lotus
bud
type also
Compare
Hallstatt
(a)
/y.
ZF//.,/. 341.
342
PLATE
LVIII,
All
numbers of examples.
1.
Italy.
2.
Cyprus.
Vase
in
the
7<7/(Ja
/"^^^i?.
Monumenti Inediti,Xl.\x.
[p. 307]).
Greek Geometric vase from Camirus, British Museum. Goose and chevrons. (For a more
obvious illustration of the chevron in the Greek Geometric style, see neck of the vase, Ivi. 3 ) The
Rhodes.
goose faces a rudely indicated section of meander, of the type seen at No.
and the Swastika Ivi. 4.
4.
Italy.
5.
Italy.
Prehistoric
vase
Museo Etrusco
decoration of chevrons.
6. Italy.
7.
France.
Bologna
Museum
Celtic vase,
Switzerland.
9.
Italy.
10.
style found at
chevrons.
Waring,
Lake-Dwellers' vase
of
concentric rings.
Rhodes by Salzmann,
36.
12.
12.
rings.
Waring,
iii.
47.
England.
pattern.
Celtic or
Saxon
Waring,
Celtic or
pottery, Nottinghamshire.
uncommon
xi. 147.
Saxon
pottery, Lincolnshire.
11.
England.
12.
Italy.
Prehistoric pottery,
13.
Italy.
14.
Denmark.
San Marino.
Prehistoric pottery.
Concentric rings.
Totnbaa Pozzo.
Chevrons.
WARING,
Waring,
Waring,
Chevrons, meanders.
vii.
xi.
iv.
141.
61.
Monumenti Ineditt,Xl.\x.
96.
Fl.LFn/.,p.^^i.
344
PLATE
LIX.
All
1.
{continued).
numbers of examples
Prisse d'Avennes,
Colonnettes en bois.
Prehistoric pottery.
2. Italy.
3.
Rhodes.
Greek pottery.
4.
Cyprus.
Serpentine vase.
5.
Germany.
6.
Chevrons.
Chevrons.
Prehistoric pottery.
section,
Cesnola, Cyprus,
Chevrons.
Waring,
from a tomb-painting.
ii.
p. 24.
28.
Lotus
sepals.
en bois.
from a tomb-painting.
7.
Egyptian
vaise
8.
Cyprus.
9.
Prisse d'Avennes.
Chevrons.
compare
Ivii.
11.
Chevrons.
Greek pottery.
10. Caria.
copied by Perrot
Chevrons.
WINTER,
12.
13.
Cyprus.
14.
Egyptian vase
15.
Lower
section of
D'Avennes,
aus Athen,
"
et ClllPlEZ, v. p. 327.
11.
in
in Mittlieilungen
Florence.
Chevrons.
Lotus sepals.
Prisse d'Avennes.
Lotuses, chevrons.
///.
RosELLlNl,
liv.
lotus.
CESNOLA, Cyprus,
vii.
61.
sepals.
Prisse
Colonnettes en bois.
the Mycenas vase Hi. 8 [p. 321], the early Attic vase xlvi. 13 [p. 289], the Greek vase xxx. 4
the Greek vase
[p. 211], and an especially distinct example of the petal chevron at the base of
Compare
Ixi.
3 [p. 365].
Black pottery with incised chevrons has been found in Egypt by Mr. Petrie's excavations of 1890, and
also by Mr. Naville's excavations.
Mr. Petrie's specimens are dated to the Xllth Dynasty, and
Mr. Naville's are not later than the Xlllth Dynasty. Mr. Petrie believes this pottery to be the
in
Egypt.
346
APPENDIX.
ADDITIONAL CITATIONS.
Denmark.
Chevrons
on
and
swords,
Hungary.
bronze
(Museum
(St.
Concentric
axes.
rings
on
bronze,
gold,
and
ivory.
Germain).
Concentric
Bronze pilgrim bottle (Rodenbach). Concentric rings, deer, chevron, meander.
concentric
and
horses
cases
Hallstatt
metals
several
on
rings, birds and
(St Germain).
rings
gold,
and
VoN
concentric rings, deer, meanders, chevrons.
Sacken, Das Grabfeld
(Copies at St. Germain
Germany.
von Hallstatt.)
France and
Italy,
Celtic
details, British
No
birds observed
Museum.
No
Metals from the Valley of the Koban and from the Caucasus.
chevrons. Swastikas.
England.
Germain
(St.
(St.
spirals,
Germain.)
All illustrated publications for the prehistoric monuments of Northern Europe exhibit the same prnamental
fine series of very numerous comparative examples for prehistoric pottery and for all
patterns.
ancient nations of the North and South, in Waring, Ceramic Art in Remote Ages. WARING
observes
(p. i)
that there
is
"
Greek and
Italian ("
Alban
"),
art
similar pottery
is
This
difficulty
It
is
not
is now surmounted) does
in
similar
a
had
been
stage of
Egyptians
any
apply
civilization, and therefore producing an absolutely similar style of pottery,
they could not have influenced so powerfully the nations of the North by
Northern
is
in
not found
case.
in
Egypt (which
If the
169.
t
mm
Many
examples.
of continuity.
THE SWASTIKA.
(PLATE
It
LX.,
PAGE
359.)
the theory of
its
is
still
All theories
generally accepted.^
founded on
Buddhist
since
the
Aryan Hindus
since
tenable,
home
carried
it
are
for early
of the Swastika
have
to
proven
Hindu
come from
The
no more.
is
them
India
to
Above
antiquity.
the
all,
the
West,
supposition that
the
however, perfectly
is,
Notes
The
Hindus
Aryan
Indian
supposed
no weight whatever
have
art
2, 3. 4).
"
"
Aryan Swastika
also disappears with the Aryans themselves.
The Malays and Burmese make
fire with crossed sticks,^ but our present knowledge of prehistoric Europe would
1.
In
the
"
European
because
sense
races
they
as
spoke
which
being
has
of originally
cognate
" Indo-
the
specified
[third
century
b.c.].
There
no
is
known
Hindu
common
blood
Canon
Isaac
languages.
(p. 99).
fifth
also
French
to
be
it
would
Romans,
SCHUCHARDT,
in
Sckliemanii's Ausgrabungen
im
Lichte
uralten
Series).
" The
earliest
illustrations
of
the
1890.
Buddhistic
also
Asoka
and
Y V
is
the
only in
B.C.] (p.
no).
4.
earlier
it
Gottheit zu sein."
3.
Southern India
we
"Aboriginal
Anthropologist, October,
Fire-making"
(p.
New
Guinea.
360).
in
method
Australia,
THE SWASTIKA.
348
suppose that the early Aryans of Europe made fire like the
Esquimaux, i.e., with the drill and bow.* It is a similar method which is used
us
lead
to
their sacred
fire
As
the
sticks,
the
the temple.
fire for
home
true
Swastika
of the
cross, but
Greek Geometric
the
who examines
the
home
of a symbol
be
Style, as will
the
question through
The Greek
Geometric
it
we should
consider where
it
appears in
vases
the
are
only
monuments on which
the
in
of two varieties
drill is
one
man
mouthpiece.
The
may be bored on a
may have
upon a
central groove
flat
as the
cord
bow and
parts
fire-cups
the
on the
the spindle
a stone bearing
the mouth-
and
the cord
fitted with
two
fire drill."
socket
for
friction
produced by the
of two pieces of hard wood, one about five inches
in diaipeter with a
is
like
a pin,
is
Ivi.
be
4).
(Ivi.
bow."
the ancient
The
5).
to
Plate
7.
"
ix.,
Note
fire
in ten
and
refers
6.
who have
the friction of
and bow
savants,
drill
his
own
"The
persons.
The
some
belief that
wooden
Ibid, p. 364.
6.
style.
In seeking the
way.
Greek
to the
is
the
practise
is
The
five or ten
fire
writer can
sticks,
by
experience
and
make
in
five
fire
can
is
based on the
diflSculty
it.
of making
it,
and the
THE SWASTIKA.
The ordinary
of an
inch
in
three inches
(Ixi.
[p.
As
size of a Swastika,
diameter.
in
are
They
diameter, but
in
is
under a third
365]),
349
scattering
way
in other styles.
Swastika came into prominence through Dr. Schliemann's excavaand its appearance on Trojan whorls
and through the attention
i),
(Ix.
tions,
the
he was wise enough to give this symbol, it is natural that it should have been
studied from a Trojan i.e., to say from the
supposed "primitive Aryan"
As
standpoint.'
concerned,
"
"
prehistoric
The Swastika
basin
that
the
the argument
Northern
home
In seeking the
its
if
it
is
it
of
is
it
a profound
When
of the
8.
fur
well
is
Anthropologie,
June,
its
home
beginnings
is
of a symbol
it
is
Swastika
at
ScHLiEMANN, lUos,
city,"
never to the
10. J.
But
this
first
it
is
known
Michael
v.
to
p. 346.
It
"
area of
the
with
the
"
Bronze
Culture
"
equally clear.
we should
found
in
is
consider not
the
largest
to say,
amount,
this
357].)
Zmigrodky, Archiv
1890.
remark of De Morgan
or second.
De Morgan,
Suastika."
9.
does not
it
understand the
be co-extensive with
examples
is
symbol
connected
distinctly
appearance,
The vogue
It
Prehistoric
of Cyprus).
Swastika appears to
the
considerable attention,
of
the
of
area
(by which
Cyprus
race
In
bronze.
character of
symbol.
primitive
the
of
pottery
highly
"
it
on the
appear
"
however, as the
primitive
far,
Mission Scientifique au
bronze.
home
of
Chaldea,
this
is
not
likely.
Caucase.
Terrien Delacoup^rie,
in
the
Oriental
and
Babylonian Record.
'
THE SWASTIKA.
350
12
(Ixi.
but
365]),
[p.
Geometric style
its
13;
(Ix.
Ivi.
is
prominence
greatest
339];
[p.
Ixi.
i,
The
ally appears.
show
which
shores of
of Northern
mountains
There was
Black Sea.
the
Greek
early
influences
occasion-
it
from the
Marseilles,
is
the
North
spreading from
Greece,
intercourse with
North
the
"
before
the
Baltic."
Aside
from
Greek
the
Geometric
our
style
reference
earliest
the
for
Swastika, and very possibly an earlier reference than the first, is its appearance
on the burial "Hut-urns" of Italy. On such it appears rather as a fragment
of the more complicated meander patterns, from which
view
the Swastika
The
"
first
it
pattern,
precise
that
is
My
derived.
is
it
is
"
common on
very
high antiquity of
assert
that
Geometric
Greek
the
do not
style.
style
has
been
especially
dwelt upon by Professor Conze, although examples are also found as late as the
"
Corinthian
found
or
its
that
"
was
known Greek
but
is
it
to
way
it
of
style
Greek
There
pottery.^^
is
more
likely
that
themselves.
Our
Caucasus and
is
It
intermediate
present
with
link
in the adjacent
territory of the
II
ScHVCHKV.m, Schliemann's
12.
The
not
thought
changed
the
occurred
later.
that
the
antiquity of the
As
Professor
Geometric
volcanic
of
configuration
at
the
Thera
is
can
proven by
"
b.c.
which
eruption,
island,
style
and
Ausgrabutigen,]i. 22^.
India for
have
out, the
its
fixed
the
Koban.
Swastika
This
lies
in
the
It
is
at least as old as
On
century
which
B.C.,
has
vase
of
(British
supplied
Museum).
THE SWASTIKA.
of the arts
in
Virchow.^^
In
the
Germain there
St.
351
Koban bronzes
original
the
of
Museum
prehistoric
of
is
The presumption that the bronze manufactures of the Caucasus and of the
Koban represent an independent centre,^'' or a half-way station of a movement
from East to West must be abandoned. The Gryphon is found on them, the
solar deer are very largely represented,
chevron, and
spiral,
swastikas
are
and the
The
abundant.
of
style
the
is
patterns
"
"
Bronze Culture
which
Both
is
and
lacking,
De Morgan.
attention from
then that the Hindu Swastika must share the fate of the Hindus
It is clear
14.
Catalogue, p. 102.
mSme
M^tallurgie, en
tifs
de
de
la
d^couvertes \
Koban
Assyrienne, figyptienne,
un des centres
est
temps que
n'offrent
port^
le
are here
are
specified,
an
indicate
relations
influences
very
Le courant
celtique et a
civilisateur qui a
original
the
(p.
"
Phenician
102).
The
"
origin.
in India.
now known
At
p. 183,
Hallslatt,
and both
ments of
civilization
to the
The
related to the
Aryans
but these
North-European
the Northern " Age of
represent
East after
European
Koban"
undoubtedly present,
possibly
migration toward
for the
I'art
relations to Celtic
"
en revanche, on
Bronze
route
Les bronzes
on Phdnicienne
du bronze Scandinave.
prirai-
la seule
et I'Europe.
14),
direct Egyptian,
Eastern Pontus.'^
13.
this
in
Koban
facts
Reinach
style
of
The
fact
is
that the
the
primitive Asiatic
and North.
When
it
movement
our
own time
is
turned to the
of civilization, which in
to Germany and
movement from the West. This fact
Russia
leaves
subject to a civilizing
to
inferior
from
Isaac Taylor,
p.
330, Note 3.
St.
These quotations
Germain Museum are
Ivii.
[p.
Reinach's Catalogue to be
science.
The
fully
we must presume
level with present
on a
common
at Hallstatt),
is
(in style of
thus seen to be
5 [p. 341],
which travelled
important as fixing the source of ornaments
The birds and deer of Hallstatt are well
with them.
De Morgan,
THE SWASTIKA.
352
West must be
ascribed to
it.
As
The Swastika
Its presence in
classed with the problems of the solar bird and lotus spiral
Dahomey^" must be
in the same quarter
(Fig.
146
274]),
[p.
othenvise in
ancient American
the
art,
Zunis,'^
lightest
and
feather in
shoulders of American
its
treatise
it
remains
on the Zodiac.'"
must be
Having posed
studied,
is
between the meander and the Swastika has been long since suggested
by Professor A. S. Murray.^ On the side of Hindu specialists it has been even
nection
development,^- and
accordingly.
16.
tika
The
17.
The
Museum
beautiful
in the Berlin
Museum.
Ashantee jewellery of
the
On
Zuni pottery
bridge, Mass.
in publication.
in the
believe that I
The
is
a survival from
is
without any
known
medium
of the
intervention."
20. In Pottery
"The
by Murray.
crosses which
which, in
fact,
der
art."
ornament
basirt.
Epoche
.
ebenfalls
Desshalb
ist
die
Benennung
Spiral-
THE SWASTIKA.
The equivalence
353
may
type,
and
it
Museum on
shape
same
the
piece
(Ix.
8)
The most
12
Ixi.
9;
(Ix.
[p.
to the other
on the same
365]),
panels of Greek
Geometric vases
(Ix.
13;
GEOMETRIC "
I7I.
Ivi.
and
corresponding
of
other
vases
in
which other sections of the meander
panels
pattern are given
172.
the
same
GEESE.
in the British
distinction
GREEK
"
(Iviii.
GREEK
"
GEOMETRIC
"
I73.
Museum.
in the
GEESE.
GREEK
343],
[p,
339])
[p.
The
evidence
shown by Fig.
174,
be considered decisive.
may
We
may add
Compare
ixi.
[p.
365] (a later
style)
geese
(p.
unvollstandige, weil
Ware
es
nicht
sie
bloss
moglich,
style
Ivi.
ornament eine
beriicksichtigt.
no
that there is
[p.
339].
When we
die
dieselbe
form
mit
them
Suastika-ornament
zu
See Note
Zur
Geschichte
8.
z z
tier
THE SWASTIKA.
354
Swastika (Fig. 173) and on another occasion some other sectional variant of the
meander
is
same symbolism
The
solar
Swastika
significance of the
Jains.-^
It is
is
rosette
(xx.
centric
rings
(xxxiv.
"boss"
289])
[p.
359])
[p.
227]
^SecLic'ATens!*\omAuUioA
It
[p.
the
solar
fish
249I)
^ ^M
[p.
Lr
of
the
the
253])
con-
of
scroll
spiral
"triangle"
7
267])
xxx. 4
(Ix.
i,
249])
[p.
with
(xlvi.
203]
[p.
deer
solar
[p.
of the
of the geometric
(xxviii.
the
303]);
[p.
8);
rosette
of
Ix.
antelope (xxxvii.
(xlii.
;
'
341];
of the
with
appears
with
the solar
227]);
[p.
305]);
[p.
[p.
2,
i,
(xlvii.
303])
[p.
ibex (xxxvii.
4
T^
^
centre
xxxix.
12
(xlviii.
1 1
12
(Ivii.
153])
[p.
(xlvii.
[p.
211]).
[p.
is
[p.
the solar
211]);
sketch.
ram
4,
12
5,
solar bird
[p.
15;
(Ix.
Fig.
The appearance
noticed
The
emphatic
and
203]);
[p.
the
horse
solar
i,
(Ixi.
with the
is
173).
of the
It is
(p. 94).
most
Its
365]).
(xxviii.
also
Since the evidence for the original symbolism of the Ionic form has
been presented, we
in
ante-Christian
times.
that
the
The adoption
of
[p.
may
365],
23.
ScHLiEMANN,
nished by Mr.
Jlios,
p.
It
is
the
Swastika
346.
The matter
Edward Thomas,
from
apparent
ante-Christian
cross
by
to
is
the
24.
symbolism
of
the
9
a Swastika and meander
pottery examples
Christian
being fur-
symbolism,
Quoted
25. British
to that effect
(Ix.
and
its
by Schliemann.
cross
;
Ixi.
in
1
variant.
symbolic
See
Ix. 4.
17,943.
THE SWASTIKA.
juxtaposition
well-known
An
the
the
Swastika
Christian
form
angles
has
(Ix.
been
of Trojan whorls
of abbreviation
Troy
is
nearly as
for
Ix.
(compare
recognized,^^
On
the
meander
of this
form with
Ix.
ii;
arms
spiral
00.
^^
175.
forms at
SWASTIKA DIAGRAMS.
to a
Ix.
A Similar
\
/\\
and
at xlvi.
.
variant
yy
in
SWASTIKA DIAGRAMS.
New
The above
and
cross,
for
variants
obvious
is
common
Compare
the two
/-
from
the
^^^.^^
count
289].
[p.
...
obtained
is
Trojan
Dipylon
/.
L
176.
may
Swastika
with
...
.-r-l
^
.77.
nearly as
is
/\^
\y^
are
cross, preserving
Vip-Ai^
the
actual
By
12).
form
this
the cross
is
monuments
Christian
early
The equivalence
6).
at
on
cross
facts.
intermediate
in
spots
with
355
SWASTIKA DIAGRAMS.
vase
of
Curium,
be observed in both
would naturally develop, because here the pattern was so frequently repeated,
and because an off-hand execution was employed.
The Rhodian
is
pottery
the distinctive
home
of
these
and other
solar
(Note
it
cross
is
not found in
the
early
Greek Geometric
style,
and
other meander variants the Swastika was destined, by the ease with which
all
26.
The
By
6).
Michael
By
v.
Zmigrodzki,
p.
174,
as
above
normal Swastikas.
The
Z Z 2
THE SWASTIKA.
J56
The Greek
cross
no
is
of
peculiarity
its
rarity,
dimensions
on
the
Cypriote
vase
lo
are
especially
interesting.
large
Ix.
Its
The
appear
for the
Author.
'
T"!,
1 ttC
nCre.
4-
prOjeCl,
by
and
rare,
[p.
demonstration
is
not remember
cross
xlviii.
of
composed
The
307]).
for
Christian
four
17
lotus
Coptic cross
appears
ante-Christian
[p.
without
it
times,
Maltese
cross
not
is
compare xlix. 11
a lotus cross (Fig. 178), and I do
triangles
is
The
305].
on
3,
(Ix.
the trefoil
14;
indication.
Cypriote
The Latin
cylinder,^^
and
is
otherwise known.
locality
The presence
character.
The
in
dated
earliest
but
the cross
is
worn
are Egyptian
art,
in
third
is,
however, significant.
millenium
b.c,
and occur
on the foreign Cypriote and Carian (?) pottery fragments of the time of the
Xllth Dynasty, discovered by Mr. Petrie in 1889.^
They appear on the
"
Hut-urns" of prehistoric Italy in shapes which are clearly sections of meanders.^"
The evidence
of Fig. 174
27.
28.
Champollion,
Greek crosses
p. 141.
I.
Ixvii.
Gem
is
Appendix,
From
vii. 14.
Beit-Ouali.
For
A small
29. Petrie,
ii.
in
Museum
at
Rome.
xxvii.,
357
APPENDIX.
List of Plates showing the Swastika.
10
[p.
xxviii.
[p.
203], Rhodian,
[p. 253J,
xxxiv.
xxxvii. 9
227], Melian, meander and Sphinx.
xxxviii.
antelope.
Swastika and
xxxix. 2
[p.
lions.
[p. 251],
xlii. [p.
267],
[p.
xxx.
2,
4,
cross, ibexes,
fish.
and
lotuses.
No.
crosses.
Nos.
Cypriote, with lotuses.
289], Greek and Rhodian.
12
horse.
with Pegasus.
365], early Greek, with horse.
365], Corinthian
14
7
379], Yucatan stone
385], Cypriote geometric.
xlvi. [p.
4, bird, lotus,
xlvii. i, 2, 3 [p.
xlviii. 3, 6,
Ivi.
lotuses,
1.
5 [p.
[p.
all
[p.
Ixi.
Ixi.
Ixiii.
1 1
[p.
[p.
Ixi.
coin,
relief.
Ixiv. 4,
[p.
i,
[p.
[p.
5, 7,
10,
358
PLATE
LX.
THE SWASTIKA.
1.
2.
Rhodian pottery
3.
Cypriote vase,
SCHLIEMANN,
detail.
Monitmenti
Troy.
Inediti,'\x.,v. 2.
[P- 307]).
4.
5.
Egyptian (intrusive
6.
Egyptian (intrusive
?) seal
7.
Egyptian (intrusive
?)
8.
Detail,
(p.
Melian vase
309]
(Compare
9.
.')
ScilLlEMANN,
Ilios, p. 337.
Klaproth,
seal, related to
No.
6.
v.
228.
Klaproth,
v.
228.
,;
v.
88, 46.
them a
1.
section of meander.
Two
la Cypriote
vase,
[p. 305])
11.
Bird-headed vase
12.
Bird-headed vase
see
13.
(PI.
xlviii.
17
SCHLIEMANN,
Cesnola, Cyprus,
6.
Troy,"^. 191.
SCHLIEMANN,
Ilios, p. 521.
idols,
p. 164.)
Only
entire
other
ones,
Cypriote vase,
15.
Cypriote vase.
3),
many
various examples
also Rhodian.
Other examples show only the bird and Swastika, but never in the large dimension
style.
Many vases of* form 1. 4 [p. 309] show the small Swastika in centre
of a panel, corresponding to others of same form in which the solar diagram replaces the Swastika.
The deer and Swastika, horse and Swastika, are also found on Cypriote vases in New York.
Swastikas.
of the Geometric
The
horse was
known
it
solar
own
sun,*
and the
Celts,^
worship,
reliefs,'*
2.
are
to
sacrifice of
he
is
also
fifth
made
''
for
quoted
Chaldean,'" Syrian,
According to a note
Robertson Smith,
12
and
Carthaginian
1889;
beams of the
horse, Tarkshya,
275.
6. 7.
The
horse,
in
iii.
Remote Ages,
p.
59.
to
is
rising
Record,
and
9.
BiRDWOOD.
in the
Ramayana
Mark Aurel
"
horse which
"
The
('red') of
the
Rig- Veda,
and Rohitas
Stein, on
bearded
common
is
supposed
The Aruskas
('red")
10.
;
11.
The winged
setting sun.
lion
the sun."
8.
and
20.
With
at Taygetus.^
sun.
"
and
aside
5.
Scythians
idealized,
had been
the horse
recognized,^
"
"
the
the
among
symbol, and
as a solar animal
'
the
365.)
B.C.
century
It
associations
bodily
PAGE
identified with
whose
his
Herodotus
to
LXI.,
"
Eagle,
279.
p.
horse,
Kings
xxiii.
11,
for
Sun god.
12. Robertson Smith,
"
p.
276.
Winged
horse, Pegasus,
Lavard's
Plates.
of the
302
To
5),
(Ixi.
the British
The
spirals
least
indicating
Tree
"
of a vase
The
this
association,'^
There
undoubtedly of
in
of lotus leaves.^*
is
but Greek
13),
(Ixi.
art,'^
is
generally
Dynasty,
In
Plate
is
Phenician
art,
vii.
79]
[p.
ix,
spiral scroll
(2,
appearance of
the
solar
From
he
is
[p-
339]).
The
with
solar horse
art
Celtic Italian
(Ixi.
9;
"
Pegasus without wings, merkwiirdiger \Veise."
15.
16.
Phenician
style,
and horses
Edwards
in
"grove" or bower.
New York Museum;
such examples,
all
solar
Ivii.
5
is
[p.
341]),
very
and
common
to Hallstatt.
at
Hallstatt.
With
An
flower.
Aryans,
19.
the
p. 159.
Birch,
in
III., 3rd
a foot-note to Wilkinson's statement that
Miss Amelia B.
Edit., p. 299, in
me
a photograph
Minor
of Asia
it.
14.
style of
association with
the sepulchral
The
triangles.
The tomb-sculpture
Ixi. 7.
interesting for
is
the
3)
typical
(for
91])
[p.
lotus
or
influence.
latest
Ixi.
'^
This
the
"bird" as
mane connects
treatment of the
projections
at Fig.
180.
mane
occasionally
(Fig.
appearing
181)
will
on
the
in
metals,
also
that
meanders, and
head
of
to
the
The
handed over
bird
to
with horse's
represents the
proofs
borrowed.
be found
mane
are
with
of the
363
1'
III
From
11^^
borrowed.
"I
fv,*^
364
PLATE
LXI.
origin).*
2.
Leyden, from Smyrna (?), detail at No. 4 Swastikas and solar diagram.
from Cyprus, with the double axe (an indication of Carian
in
CONZE, Anfdnge,
iv. a.
Detail of No. 3.
found in the
pure Geometric
British
style.
On
Museum.
5.
Pegasus and solar diagram like xxviii. 5 [p. 203], uncompleted or obscured.
J. De Morgan, Mission Scientifique au Caucase, i. p. 161.
Corinthian coin,
the Swastika.
6.
7.
Horses and
Compare
lotus,
Melian pottery
detail,
Reverse,
xviii. [p.
[p. 147].
8.
9.
Bronze
Monumenti
detail.
Inediti, xii. 2.
Monumenti
10.
11.
Cypriote vase,
12.
is
spirals.
5 [p. 307].
Ausgrabungen,
An
13.
3 [p. 227]
Inediti, x. 6.
cross.
Benndorf, Vasengemdlde,\.\\\.
It
SchUCHARDt, Schliemann' s
p. 285.
goddess strangling geese, but the geese are simply held as symbols.
supported by O. Keller, Tliiere, &c. (p. 292).
for a
is
THE LOTUS
(PLATES
It
is
beyond
purpose and
my
ANCIENT AMERICA.
IN
LXII., LXIII.,
my
PAGES
strength
377, 379.)
to
history of ornament
the
carry
outside of Europe, and in admitting the Plates for ancient American ornament,
limited as they
proof rests
rings,
must
with
be,
those
who
claim
that
Asiatic contact.'
It
is
for
such to
in
the
to point out
that the
meander, spiral
scroll,
burden of
concentric
European or
prove that ancient America had no contact
there
is
Venus
"
is
Mexican
I.
Swastika
As long
is
found
in
(Ixiii.
in
America; but,
on the
that the
"
Bird and
and Plate
xlix.
8 [p. 307J.
(Ixii. i)
From
that
art
it
not also
instant that
their
i6),
independence
2.
The
in
hieroglyph
is
Men,
;68
"Deer and
that the
(Ixiii.
3);
(Fig.
184);
lotus
is
familiar
American ornament
12,
II,
the
and
21,
13,
i,
or three-spiked
of ancient
feature
(Ixiii.
trefoil
4,
details
6,
10,
7,
on
page
'
herewith).
It will
who
and
scrolls,
ornaments
develop
in
independently
globe,
to
spirals, as
spontaneously
and
of
the
all
quarters
184.
From
Hindu
the
explain
character
at
[pp. 245-251].
\1
The
ancient accounts of
specific.
The most
\
These
3.
borough,
Kings-
from
are
details
37
(4) no reference
The
Mexican
ancient
a
represent
others.
very
large
Kingsborough's
is full
of them.
fijlh
century ;
C. F.
Neumann ;
against
Archaeology
in
Princeton
Africa
Libya westward.
sailed along
many
The Phenicians
by the coast of
main ocean.
Africa.
pillars
One
days'
of Hercules,
of their ships, on
by a furious storm
among
the
The
many
description
it
contained
many
navigable
befell
a small
sail
(Tyrians),
omitted mentions,
streams.
lies
still
living.
Glass,
It
was
sail
of
in his History
Dunlop
in
New
Chinese junks
fessor
"Over
Ancient
5.
The
Baldwin's
in
quoted
century
1888.
Archceology,
letter
passage
following
is
of
seventh
the
re-
the
Journal
of
from pictures of
MSS.,
American
Syrian author
from
subjects in
with comments by
65.
and
4.
A.D.,
in
of
summary
interesting
II.,
ligious
second volume
i; (7) Vol.
II.,
details are
number of
II.,
occurring
to
early voyages
men-
America as
sailors
under
similar
conditions
"
Britannica, 9th Edition,
Polynesia ").
{EncyclofcBdia
on
records
head
this
is
furnished
369
"
by the
Mexicaines,"
Antiquitds
summary
offered
is
by the
"
of the
first
chapter
History of
Critical
recently published
America," edited
librarian
of
"-~
and
//]v_^X^
<C^^__^l(l
this
latter
sceptical,
is
publication
agnostic
entirely
interest
The voyages
of
Phenicians
the
third century,
mation.
were
the Sarragossa Sea.
The
It
also
known
with
acquainted
of Phenician
probability
to
and of the
Iceland in the
B.C.,
is
B.C.,
around
that
the
the Phenicians
and with
Canaries
America
to
voyages
has
The
Phenician
of
the
in
records
foreign
at
temple
great
the
connections, as
by
Carthage
Movers
facts.
has furnished the most interesting information regarding the seaworthy quality
of Phenician vessels, and the distinction between their galleys and their heavier
sailing vessels.'
One
of the greatest
Guaranas
of
un-American
writers.'
At
Brazil
to
characteristics
three
least
Paul Gaffarel
7.
Geschichte de Phonizier.
8.
Retzius; as
History of America
A. P.
August
of
the
inscriptions
intact in
in
9th, 1890.
New
An
York
to
those
The
by other
of
ancient
10.
Rev.
J.
Gass
in Proceedings
Academy of Natural
Critical
the
Saturday Review,
Sciences,
of the Davenport
Vol. II.
"An
{loiva')
account of
Dr. R.
; First Chapter.
in
Islands.**
pointed out
alphabets related
of the
skulls
DuNLOP,
have been
Caribs
by unimpeachable testimony.*"
6.
9.
J.
Farquaharson," 1877.
The
characters indicate a
15
>70
was found
an
in
1838,
intact
Grave Creek
at
seven years at
tumulus;
Western Virginia,
before Lepsius saw the
least
in
ones
ever
Carian
letters
by
published
chevron
and
me
been forwarded
As
Institution.
and
servative
independent
anthemion
circumspect
the
in
may be
leaf
17),
(Ixiii.
Professor A. H. Sayce,
to
matter of American
considered to guarantee
in Transactions of the
Society 0/ Literature,
The
facts
Royal
the Society
The
tablet
Memoires
has
des
New
been
York Ethnological
Antiquaires
dit
Nord, 1844,
Society, 1847.
published in Europe
by Rafn,
who found
by Jomard,
be
the
The
stone
is
in
another
offered
1875,
who
also
I called attention to
considered the
alphabet
New
York
all
been
slightly
was found
in
form
and yV of an inch
an intact tumulus 70
one
mound.
in the
at the
in
feet high,
base of the
skulls
quently dispersed.
mond,
Virginia.
hundreds
( 1
ivory,
skeletons were in
The
There
various
in
1838,
The
were broken.
by a systematic excavation
objects, discovered
were
no mention of the
is
tablet since
was supposed to be owned in RichThere were found with the tablet many
it
perforations.
by Oppert, who
6),
the Revue
(Ixii.
Ionic
11),
(Ixii.
spiral
It
bracelets,
American
by Moise
in
it
in 1843, ^o
186).'^
defective as
be
Arckiologique,
related to
France,
contains
meander
thickness.
of
10),
(Ixii.
to
difficult
origin
this
inscription
1836,
in
"Mycenae"
9),
(Ixii.
15),
(Ixiii.
the
assert
may be
It
were
who
collation
in
Grotefend,
first
CARIAN INSCRIPTION.
Creek, West Virginia.
Announced as
l)iKvere<l in 1838.
Carian (Celtic) 1890, by the Author.
1S6.
Fn>m Grave
those
the
This
alphabet.^'
before
years
thirty-four
H. Sayce published
Professor A.
of
and
recognized,
first
five
copper
small
same neighbourhood.
traditions
in
1842.
Professor F.
W. Putnam,
mentioned
statuettes
found
in
"Mound-builder" tombs of
also
may
The
difficult.
of
existence
West
the
is
them,
Coast
of
Phenician
Africa,
"
and
Carians
hundred
three
Mycenaeans
the
between
As
Zodiac.'*
its
Coast, or that
apparently
that
certain
is
it
perhaps
transmission to
American
Pacific
transmission was
made from
other-
wise
It
certainly
American
ancient
influences, both
this
Aztec
the
Hindu Zodiac
the
to
among
American
the ancient
of
187.
settlements
[Carians]
correspondence
came
on
not to be overlooked.'^
of foreign civilizations on
in
cities
"
An absolutely conclusive
lies
371
It
is
ornament of Polynesia as
demonstrated
civilization
therefore
(Note
4).
experienced
foreign
necessary to turn
is
to
Malays and
The
very
indications
slight,
we may
Museum
and
scroll
at
in
Museum
Trocadero
History
is
Museum
in
The
very valuable.
To
Rome."
moved
of Natural
Museum
at
Museo Kircheriano
spiral,
ornament
spiral
Collection of the
these
for
Malay
that
centre,
in
Collection will
Pacific
show
that
the scroll,
specific,
and well-
in
the
for Pacific Islands remote from the Malay centre, offers valuable negative evidence.
13.
These
Movers,
cities
Geschichte
were
all
der
ruined
Phonizier,
and
deserted
ii
p.
before
525.
the
15. I
B 2
S72
It is
matter of
been settled
common
information that
their present
by
all
period and
historic
since
the Christian era^'* and that they have been settled by populations infused with
to
subject
Asiatic waters
we
is
SPIRAL, BORNEO.
scabbard, British
Museum. Ethnographic Gallery. Case
"
204, marked Dyak sword from Malay.
on
the
Malay
spiral
in
influence.
If
the
of
DVAK LOTUS
188.
Carving
history of
the history of
we
contiguous points,
>
The
influences.
Malay
Dyalcs of
shall
find
that
the
ornament
wooden
is
it
some
offers
of the
188).
The whole
civilization of the
of India,
influences.
Therefore,
Dyak ornament,
we should
find
nothing surprising
in
the
evidences
of
This
is
But the
relation to
in
Phenician copies.
ca.ses
of
development,
The Kabyles
(Plate Ixiv.).
after
experiencing
a certain
amount
The Malays
tribes of
may
influence.
civilizing
of
this
;
head
Ixiii.
24,
Dyak ornament
of
17.
it
Egypt
dated
373
at
least
^'^
The
cases of
Buddhist
the
ornament
in
limits of
in
numerous.
They
for instance, a
in
spiral
influence,
Hyksos
and
meander and
not
all,
unknown
to
There
obviously derivative.
sepals as seen
ornament
lotus
is,
in its
supposed
original home.'
The study
Kircheriano
indications
of
points
is
of
Collections
Ethnological
for
for
ornament
pattern
exterior
or
contact,
my
in
of
influences
which
in
Africa,
Museo
conclusions.
are
Northern
the
the
related
portion
to
of
The
the
the
continent,
the
stage of concentric
on
rings
ivofies,^^
no traditional
This motive has probably reached them from Siberia. There are
indications that the ornament of the Ainos of Japan would, if better
ornament.
also
ornamental
of
art
as
early
the
fourth
B.C.
century
Nor
pattern ornament,"
the
that
of
has not
assumed
that
had
also
an
Dyak, for
from his own motion, supplement the patterns which have
wide-spread
as
characteristics
aboriginal
by no means assumed
is
influence
to the
character.
is
it
been in question, by others drawn from naturalistic instinct or his own peculiar
18.
19.
am
"
22.
Malays."
assistant
wife
Her
and
scientific
interest
in
the
the
Aryans, p. 109
character,
21.
oflficer.
British
Museum;
Ethnological Collections.
quoting from
De Quatrefages. The
to
is
lotus
The Ainos
this
unlike
authority.
European
traits
an English military
374
The
symbolisms.
perfected
position
taken
is
pattern
historic
fact
second,
which
alphabet offers
by the
is
in
patterns
it
which
civilization
it.
It
in
very early
all, first
is
first
by
its
matter of
surprising analogies,
and
which
the
history
largely explains.^^
23. See
HELMETED HEAP.
ANCIENT
MEXICAN RELIEF.
From DUPAIX, Antiq. Mex.
189.
Alphabet.
of
the
alphabet
Z7^
PLATE
THE LOTUS
LXII,
ANCIENT AMERICA.
IN
CORROBORATIVE MONUMENTS.
1.
Type
instances in Dupaix.
2.
Portion
"Venus."
Chaldaean
Very common
2nd Exped
Ix.
in terra-cotta statuettes.
Several
of an Egyptian winged solar disk, in stucco, over a doorway near the village of Ococingo,
The original is upside down, from an Egyptian standpoint. The Egyptian character
Yucatan.
3.
4.
5.
Winged
stone carving,
Terra-cotta Mexican Sphinx, about three inches high, relief style for front view only.
in the Lamborn Collection, New York Mu.seum.
[p. 211]).
Bancroft,
One
of several
STEPHENS,
am
not familiar with any publication showing the lions so attached in Egyptian
Yucatan, i., 183.
art, but I have observed the combination in no small number of unpublished Egyptian instances.
I
6.
Ethnology,
7.
Fig. 349.
p.
Men;
Stone
9.
Ancient
"
"
Chiriqui
pottery.
la Zuni
vase,
Panama.
To
illustrate the
vase, to
(compare
Palenque, Yucatan.
349.
8.
II.
iv..
illustrate the
Ixiii.
24).
"Mycenae"
National Museum.
common
in
Assyrian cylinders.
leaf (Hi.
[p.
Reports, &c.,
Numerous examples
Fig. 406,
To illustrate the
pottery type (many examples), fine black and white ware.
meander in ancient American ornament. Pueblos, Province of Tusayan, New Mexico. Reports, &c.,
Ancient American
iv.,
Fig. 347.
ff^^^\s!rs^
~^
373
PLATE LXIIL
ANCIENT AMERICAN LOTUS MOTIVES AND FOREIGN SYMBOLS.
1.
2.
Mexican stone
3.
Pottery motive.
4.
Mexican stone
viii.
5.
6.
20.
relief.
trefoil
Ix.
Compare
[p. 359].
Waldeck, Moh.
relief.
Herzblatts."
of Oajaca,
iv. 7.
Exped.,
Museum, Mexico.
Compare
Mexican stone
Inverted
DUPAix, 2nd
relief.
At Huahuapan, Province
55.
Ixii. 3).
iv. y.
DuPAlX,
Stone
the
8.
9.
10.
relief
New
staff
and streamers
Mexican stone
},rd Exped.,
12.
13.
14.
common
in
vii.
Ancient
Cities
of
11.
iv.
MS.
relief detail.
in
ancient American
art.
DuPAIX,
xxxvi.
vase.
and buds.
(.'),
type
Humboldt,
devotees.
11.
palmettes
relief,
Chakn ay.
Tula, Mexico.
detail.
-';t/^</.
^ F. DE CasTELNAU,
Mexican stone
relief detail
trefoil lotus
with spirals.
DUPAlx,
"t^rd
Exped., xxvi.
"The
17.
Stone anthemion
18.
Stone
STEPHENS, Yucatan,
Stone
19.
Ancient "Chiriqui
20.
Stone
relief
relief carving.
Labnah, Yucatan.
"
vase
meander.
'\.,'p.
Stephens,
Stephens, Yucatan,
lotus motive.
134.
DUPAlX,
ii.,
p.
\.,-^.
\st
Exped.,
Stephens, Yucatan,
i.,
i.
p. 134.
p. 134.
21. Spiral
scroll
Museum, Mexico.
decoration.
Mexican
22.
Stone
23.
Mexican stone
24.
Zuni pottery
25.
Mexican stone
relief ;
relief
rosette.
TiXiV AVX.,
2nd
Exped.,
yim..
rosette of buds.
Egyptian enamels).
Vase
in
Boston Museum.
iv.
25
Pl.LXIII.,p. 379-
385.)
The
problem offered by the modern Kabyle pottery is herewith laid before the
Ethnologist and the Historian. One type offers an exact survival of the Cypriote
Geometric Style;
as
first
observed
in
Boston
and
subsequently
verified
in
lix.
13
[p.
345],
motives.
have been of opinion that the Cypriote Greek Geometric style developed
from the Cypriote prehistoric chevron style and then reacted on it on this head
I
differing with
Diimmler as
His views
are based
The
of their pottery in
is
But it is dangerous
of the ordinary Cypriote pottery in the prehistoric cemeteries.
The
to argue that what is not found in one place may not be found elsewhere.
Museum
and
of
New York
in this collection I
Cypriote
style.
Each seems
to
have reacted on
the other.
I
do not
Greek, but
say that
do say
found
in
tombs with
way
friendly relations
3S2
as
would
unlikely,
is
forms of vases.
The
York).
race does
one as
perfectly at
contribution to science,
his
invalidate
not
which
appear in Cypriote
(xlix.
to the
[p.
307]),
band)
also
"
Cypriote chevron
prehistoric
style.
the
to
belongs
"
diamond
in
position
prehistoric
panel
quadrangle
(i, 2) is
the
Ixiv.,
6, 9,
style,
11,
Greek
Cypriote
(triangle
geometry
by which
a race in Cyprus, which experienced reacting influences from the Cypriote Greek.
According to ethnological
of the Aryans"
is
it
facts
supplied by
Canon
Iberian
race
of Spain, which
the
same
race
with the Guanches,- Berbers,' Kabyles,* Libyans, Egyptians,^ Gallas, and Somalis.
This race
also
is
The correspondence
of the
modern
it
pottery with
Kabyle
is
the
prehistoric
make examination
possible relation.
"
Ethiopians,"
exact,
would appear
it
quoted "Cushites,"
1,
p.
It is
2o6. 2,
221. 3,
p.
219. 4,
p.
to
may be
Herodotus
is
some knowledge of
fairly called
sufficiently
the
much-
219 S,
p.
219. 6,
more
specific
383
the Egyptians to be
The Kabyle
POTTERY.
Museum
how
class.
It
British
and of the Washington National Museum, each consisting of only a few pieces,
It is clear, however, from
should have almost exclusively the same character.
the Boston Collection that there are other types of Kabyle pottery which exhibit
There
is
in
Boston,
purchased by
with certain
been found
in
"
"
Mycenae
an ancient tomb.
if
it
had
384
PLATE
LXIV.
I, 2.
Modem
geometric ornament.
3, 4.
detail,
Boston
Compare Cypriote
Museum
details,
is
explained by
1.
14
13,
[p.
309], as
The
3, 4, 7,
use
5, 6.
7.
Cypriote No.
I
detail,
I.
Kabyle
vase,
10,
which
is
Boston
Museum
Germain
British
CesnoLA,
(detail
Museum
of Fine
in
and
15
xlix. 4.
Such
Cypriote
art.
Museum
to be
compared with
[p. 307].
Art.s.
Museum
tyjiical
1.
Boston Museum.
detail,
Boston
ancient Cypriote
8, 9.
10.
(I, 2) is distinct,
and
Moorish form
of Fine Arts.
Nos.
in
Trocadero
the National
Museum,
Museum, Washington
Paris
Museum
of
Sevres
South
;
Kensington
Museum
of St.
PART
IV.
MISCELLANIES.
AM
show
of Isis
From
"
is
known
190.
393.)
for
suspension
Prisse d'Avennes.
From
191.
Rosellini.
192.
'}
"Buckle of Isis"-
as the
12),
(6,
Ankh
The Ankh
Ankh.
From Champollion.
193.
Monuments.
inverted
lotus
without the
hilt
(7,
9)
Forms
of
the
"
Ankh
like
is
is
Buckle
possibly an
From a mummy-case
British Museum.
can be
in the
specified
"
Buckle
those of the
(7,
8,
9).
It
suspension,
and
portion of the
otherwise
Ankh,
it
is
found detailed
and many
others.
in
2.
2).
As
regards
the
cross
The
"
Buckle of Isis"
ing to British
is
Museum amulet
an "emblem of
designations.
life,"
in
accord-
390
Collection
the Egyptian
is
of the British
Museum.
illustrated in 5.
It
is
at
counterpart
least
of
lotus
the
as
the
regards
"
symbol
for life
association
solar
"
(14),
is
as
an exact
regards
direct juxtaposition
an earlier chapter
(i),
in
235).
(p.
have placed on
p.
The
designations)
is
God Khem
emblem of
Osiris
(i.
and
10
[p.
21]).
"
stability
British
Dynasty).
To compare
From
Author's sketcti.
with Fig. 195.
,A
194.
From Author's
sketch.
Museum
196.
392
PLATE LXV.
THE ANKH AND THE LOTUS.
1.
Upper
Solar
bull,
No.
Ankh pendant
4.
Gryphon and
Champollion,
vii.
vii. 15.
I.
xci.
Philae,
Temple of
Isis.
Compare
Compare No.
iv.
[p.
4.
Cesnola, Cyprus,
17.
152
6.
collar.
3.
5.
from the
5.
Gems,
in lotus
association.
2.
Ankh
many
detail.
Lepsius, Detikmaler,
iv.
11,
ROSELLINI.
similar in
Barringcr Collection,
New
York-
Museum.
7.
form of the
Ankh ;
d'Avennes, Chapiteau a
8.
10.
Ankh
without cross
Ceremonial
Ankh
hilt
in metal,
[p.
235,
corresponding to Nos.
11.
Ankh from
13.
from Prisse
detail
ii.
from a tomb-painting. Ibexes and God Bes (Set). Compare Text for Set
This object shows an expansion of the lower part of the Ankh,
53].
6, 7, 8.
I. et
de
Ramses
6.
II.
CHAMPOLLION,
Biban-el-Molook, Thebes.
streamers.
Of the
"Buckles of Isis;" one having the Ankh cross hilt, showing the identity of these amulets.
graphed by Mariette, Album du Mus^e de Boulaq, xvii.
Ankh
The
Hittite
Plate 41.
Note
The "Buckle of Isis ;" inverted lotus amulet with handle and
enamel. Perrot et Chipiez, .gypte, p. 162.
14.
5.
Collection.
lll.,ccxxxv.
12.
Lotus inverted with amulet handle, cross hilt (compare No. 5), and streamers, with buds on stems
(compare No. 6). Painting from the side of a sarcophagus. The entire side is covered with large
repetitions, alternated with Tats.
9.
6, alternated,
Caulicoles.
Ankh ;
From
a Papyrus painting in
As photo-
corroborating the view that the upper portion of the Ankh may be a suspensory ring
C. R. Condek, Archaological Review, 1889, p. no.
Animaux, Races
17.
staff.
"Belt buckle of
Felines.
Isis,"
camclian, Louvre.
without the
From tomb
cleft,
this
Red
JO
,^^
ZAi
TP ^
i5
13
J"
it
?/
-ii
"-
J7
y/.
ZJ^F.,/. 393-?
As
various
of
result
animals in Greek
demonstrations
in
399, 401.)
pages
foregoing
relating
solar
to
the
art,
It
symbolic interpretation.
therefore
is
interesting
late
and
date,
that
obviously related in
At Carthage,
at
"
it
least,
Greeks
at
of
Egg-and-Dart
mouldings, rosette, and bud are
meaning to the normal lotus forms which also appear.
the
is
clear that
with the
10 are
5,
"
We
Ixvi.
observe in
to
an
may have
time.
earlier
era.
It
that a
traditional
symbol.
the
open
question
regarding
cases supporting
"mount"
supporting the
Ixvii,
5,
enough
the
the
"
sun
From
9).
to Ixvii.
11,
sun
disk and
the
query,
"
bark
"
319]),
of
representation
From
crescent
whether
the
or "horizon."
erect
origin.
Compare
this
will
also
are
be noted
several
horizon
(Ixvi.
we pass
10
Ixvii.
"
or
pillar
4,
easily
staff
inverted
supporting
These inverted
xlix. 11, 5, 8, 10,
3 E 2
in
is
and transfixing
piece the argument moves to i, 2,
lotuses
the
"
Representations of a staff or
5).
or
11, Ixvii.
moon
[p.
"
with the
(li.
bark,"
(Ixvi.
Phenician
the
in
Ixvii.
Ixvi.,
triangles
&c.
[p.
triangles
396
The
birds of Ixvi.
the
connect
2,
3,
triangle
Cypriote
The
cone
usual
Phcnician
of
the
CADUCKCS ON AN ITALIAN
WKIC.Hr.
Monument!
Inediti.
Compare
com-
moon
crescent
does
not
the
that
appear
as
have
joined)
2 [p.
staff
I9S. B(OTIAN
DOUBLED
VASK.
LOTUS.
The
of
interpretation
moon
and
sun
Compare
Fig.
197,
Greek
(Figs.
198, 199)^
"
seems
"
.\>
and
"
thunderbolt
"
of
winged
conven-
archaeology.
in
Academy (August
13,
made
p.
247.
Academy, December
10,
meaning
November
12,
December
10, 1887),
on
this
Orientate, p.
199.
Fig.
"
Among the Miscellaneous Objects," Third Egyptian
Museum.
Fig. 202
1888,
by Bohlau
in
birds
the same.
in the
Fig.
Jahrbuch,
199
The human-headed
iii.
is
from a vase
detail
Plate
33.
p.
is
an
is
1881,
must be referred
On
the
to
Assyrian cylinders
xlix. 2
human
Arti).
Gallery, British
Egyptian com-
three-forked
the
is
289]).
[p.
to
publication
vases
From Bohlaa.
tional
12
225]; xlvi.
[p.
in
recognized
simplified
on
thunderbolt
2.
true
supporting
been
yet
xxxiii.
144];
form
explain
subject.
represented at
of the various forms of doubled lotus in Greek art (erect and inverted
bination.^
and one
the
porcelain amulet
life."
with
it
is
crescent has
(xvi.
"
connects
consequently been
has
with these
307]
[p.
not to
probably geese.
Triangle
triangle
Caduceus
forms
1.
difficult
in question.
None
is
is
motive.
the
200
xlix.
"
Sacred
which
The
8.
It
the
"
It
%-^J
From
Plate
of
birds
sanctuaries/
Ixvii.
r\
197.
and
of
explanation
Ixvii.
altar
"
scorpions,
Cylindres.
I'homme
scorpion,"
by
Menant,
200. GEM.
From
the Jahrkuch,
Fig. 202.
Compare
1887,
p.
175.
vase
I.
in
xliv.
tlie
Monunienti
hiediti,
mann's Uios,
p.
6l8.
59S
PLATE
LXVI,
Inverted lotus spirals (an inverted variant of xv. 5 [p. 139]); stone relief fragment, Phenician votive
Perrot et Chipiez, Phinicie, p. 303.
tablet Malta.
2.
Sun and moon crescent on staff, lotus. Detail of a Phenician stone tablet to Baal Hamman and Tanith
(sun and moon\ British Museum, from Carthage. DAVIS, Phenician Inscriptions in the British
Museum,
5.
6.
xxii.
xiii.
12 [p. 121])
and inverted
lotus border
[P- 59])-
Museum.
Davis, xix.
votive
Perrot
tablet.
p. 326.
7;
Pillar,
[p.
supporting sun and moon crescent, with streamers (for the streamers compare No. 4 and Ixvii.
Detail of a Phenician tablet to Baal Hamman and Tanith, British Museum.
401]).
Davis, xx.
8.
9.
10.
Portion
of similar tablet
Davls.
Anthemion,
solar diagram,
moon
crescent.
Davis, xxvi.
1 1.
12.
3.
14.
"
Inverted lotus border, " Egg-and-Dart moulding (xxi.
Davis, Ixxv.
[p.
59]).
Davis,
liii.
"Egg"
Ixvii.
remark
'M^M
(^ 4.
(9X6)
WMM
W^yj
F/.LXV/.,p.399-
400
PLATE
LXVII.
1.
Hamman
"
Sacred Triangle
Hamman
Triangle
"
3.
4.
Sacred Triangle
"
disk.
and winged
Two
pillars,
6. Trefoil lotus,
Phenician
British
and solar
and Tanith.
disk.
Conventional voluted
"
out.
lotus,
Sacred
xvi.
Menant,
seal.
Q/ZiWr^j,
ii.,
ii.
p. 222.
moon symbol
like
No.
xlvi. 5 [p.
9.
moon
289]
crescent
From Ramsay,
Cypriote
Chipiez, Phenicie,
;
p. 460.
"
Phenician " Sacred Triangle
in
Perrot
et
Compare
Perrot
sun and
8.
disk.
Fragment of a votive
11).
7.
Gesenius, Monumenti,
"
Inverted lotus, to illustrate the frequent inversion of the lotus on Phenician votive tablets (compare
No.
5.
and sun
and Tanith,
seal.
with Ixvi.
et
Chipiez,
2, 3 [p.
iv. p.
399].
Hittite, with
722.
solar bark,
for
winged
Gems,
vii. 10.
9.
stem.
10.
Compare No.
moon
II.
moon
crescent.
Hi.
\cyi
INDEX.
^Gis, explained, 232.
Altars crowned with the
II [p. 23
Arab
lotus, 12
and
Pis.
I.
1.
Artemis and
Aryan
LXII., LXIII.).
Amon as the sun, 6 worshipped by offerings of the lotus, 6,
and PI. I. 6 [(3. 21] identified wiih Khnoum, 9; identified
with Osiris, 12; identified with the ram, 9, 200.
Animal worship of the Egyptians reconciled with monotheistic
Asherah
conceptions, 13.
Ankh : symbol of "life" and equivalent of the lotus, 12,
389-390 ; with solar hieroglyphics. Fig. 54 [p. 83] ; frequently found on Assyrian cylinders, 238 ; possibly derived
from the lotus, 389-391 (PI. LXV).
Antelope: as divine and solar animal, with the lotus, see in
AssYRi.-iN
ments, 367-379
(Pis.
'
THORNE, 119.
Anthemions on Greek
rowed from Egyptian
:
99-104,
XXXII.
225],
2,
PI.
8,
PI.
[p.
249
PI[p. 247],
XXXVII.
Bast
XLVI.
scarab with
fish (Isis)
[p. 193]
Birds
solar,
with lotus
XXX. [p.
XLVm.-L. [pp.
[p. 65],
211],
XXXVIL
30S-307I, LH.
LVI. LVIII. [pp. 339-343], LX.
LXVI.-LXVIL
symbols,
(Pis.
[p.
[p.
LXIIL
[p. 359],
[p.
379
13
i
Apis sym-
See
i9> 151-
Bull.
bolism, 8, 190 (Note s), 195.
Apollo: as lion, 206; as gryphon, 217; as deer, 229, 230;
as cock and hawk, 270; as swan, 271 ; as goose, 273.
2 [p.
267].
279, 337 in Hallstatt art, 279, 337, and Figs. 180, 181
[pp. 362, 363] (birds with a horse's mane) on Zuni pottery,
367 in Yucatan, 367. See also under Eagle, Goose, Swan,
art,
XLII.
lotus, PI.
XXVI.
and
PI.
317]; an equivalent of
[p.
caj
also Sekhet.
XLVI.
289]; by association
by association with ihe solar hawk, PI. XLVI. 6
I p. 289
by association with the solar horse, PI. LXI. 7
[p. 289]
by association with sun and moon on
[p. 365J;
Carthaginian tablets, PL LXVI. 5, 10 [p. 399][p.
164
LXVI., LXVIL).
Fig.
XLV.
240.
XXXIII. 3,4, II
227]; by association with
X.XXVI. 10
Greco-Egyptian or Phenician,
187-igi.
Style, so called,
XXXIV.
no,
[p.
33
Astarte:
Fig.
205, 206.
and
earliest
Asp and
ANTHEMION:
not
347*
general 12, 229-254, and Pis. XXXV.-XXXIX. [pp. 245253]; an equivalent of the goat and deer, 257; with lotus
spiral on Celtic bronzes, 239, and Swiss Lake Dwellers' iron,
239 (Note 64) ; on a Cypriote vase bearing the lotus
triangle, PI. XLIX. 5 [p. 307] ; for verbal distinctions
race,
Ibis, Vulture,
Heron, Peacock.
274.
Aqu.\rius, 276.
3 F 2
INDEX.
404
329-
389-
359.
Ankh and
lotus,
393-
Buddhist
derived from
Egyptian,
35,
36;
Bull: as
Byzantine
VI.
[p. 69].
361;
see in general
Car IAN
papyrus as a lotus, 57
Chandra and
CHEVRON
178).
Cow,
CONCENTRIC RINGS:
(PI.
60 (Fig. 35).
Cross, ante-Christian, 354-359 (PL LX.); Coptic, of lotuses,
moon
XXXVIL, XXXIX.);
253 (Pis.
87]
[p.
LVII. 2, 4, 5, 8,
deer, goat and horse, Pis. LVI. 9 [p. 339]
14, 16; LVIII. 9 [p. 343]: illustrated by association with
pot-hooks derived trom solar birds, PI. LVI. 13 [p. 339].
:
IP- >8']-
and
in Prehistoric
in
VIII.
1.
lotus,
lotus jxittems,
(PI.
Dagon, 265.
Pis.
XXIV.
(Pis.
XXXVI.
[p. 183],
Deer
XXXIX.);
:
Cypriote
in
Assyrian
art,
Hindu
art,
Zuni pottery (the elk), Fig. 184 [p. 368]. Deer attacked
by lion, a sign of the Zodiac, 255-257 (Fig. 141); in
Mycenae
316.
hieroglyphic text for the sun and the lotus, 6 ;
unpublished reliefs of lotus stems with buds, explaining
tabs, Fig. 19 [p. 51], of the gazelle and lotus, Fig. 134
art,
Denuerah
and
(Note
4).
lotus, 72,
135; revision of
his
theory, 73,
as a
136; supposed
Dove and
DiiMMLER, Professor F.
381,382.
publication
on Cypriote
vases, 294,
INDEX.
Dyak
Dyak ornament,
373. 374-
405
in
Mycenae
art,
p.
PI.
XLIV.
79)
announced
as a hieratic
9 [p. 285].
of Assyria, 276.
from an Egyptian
(Note 16).
Egg moulding, 156.
lotiform origin,
moulding:
155-159
compared with the Egyptian and prehistoric
chevron, 333, 334
symbolism suggested by association,
;
Epoch, 332
P 84).
EGG-AND-DART
PL XXI.)
Hallstatt
as goose, 7
explained as god of silence, 169 ;
with goose in Cypriote sculpture, 272.
Hathor for identity or assimilation with Isis, 13 (Note 61);
character and attributes, 13 ; with the lotus, 13 ; Hathor
Harpocrates,
concentric
rings
on
373 (compare
ivories,
bull, 190.
Farman Collection
of scarabs, 81.
Fecundity indicated by the lotus, 4.
Fir-cone, not the Sacred Cone ; see under this heading.
Fish as form of Isis, with the lotus, 13 (PI. I. [p. 21]); as
form of Isis, Dagon, Ea, and Thoth, 265-267 (PI. XLII.);
Assyrian Fish-god with lotus, PI. XXIV. 3 [p. 183]; on
Mycenae vases, 299 (Fig. 154) and p. 266.
Fleur-de-Lys, see Trefoil.
Fret, Greek ; see Meander.
Frog (Hyk and Khnoum) on the lotus, 14.
Frothingham, Professor A. L., Jr. : publication regarding
mention of America in a Syrian author of the 7th century
:
Pis.
II.
[p.
V.
23],
in
quadrangle motive
borrowed
from
Cypriote
art,
as derived from
;
the Anthemion, 126, 127; on Melian vases, 142; related
to the Mycenae leaf, 207 ; symbolism as a lotus derivative
illustrated by association with the solar lion, PI'. XXIX.
9
PI. XXXIX. 3
p. 209], with the solar deer or doe,
:
LP- 253]-
lotus symbolism, 4 r9
'jy
see in general
and
original
form of
lotus.
by Owen Jones : prejudice regarding the papyrus, 3; influence on modern decorators, 127;
revision of its view of the Egg-and-Dart moulding, 155157 ; its view of Assyrian art as debased Egyptian, 177.
Grove, see Asherah.
Gryphon as solar form and with the lotus see in general
and lotus, 213-227; a form of Horus, 9; with
the
Grammar of Ornament
Sphinx
lotus in Phenician and Mesopotamian art, 189; dated
with lotus to Xllth Dynasty, 207 ; connected with Apollo,
double-headed
HONEYSUCKLE
IIS-I33'
329-
and
HERZBLATT
Goat,
Heron
[P- 65]-
315;
coins,
239-
Hindu
A.D.,
[pp. 283-289].
as Sun-god
Hercules,
" Geometric
"
pottery, PI.
and
Iamblichus quoted
Iiiis
(I'hoth)
and
Ichneumon (Toum) on
INDEX.
4o6
India, see Hindu.
INTRORSE SCROLLS:
89-91 (PI. IX.); Phenician, 261-263 (Pi. XLI.); symbolism as a lotus derivative
illustrated by association with the solar Sphinx, PI. XXXIII.
12 [p. 225], PI. XLI. I, 7 [p. 263'! ; by associaiion with
in Ej-ypt,
the solar gryphon, Fig. 143 [p. 261], PI. XLI. 14 [p. 263] ;
by association with the solar ibex, PI. XLI. 10 [p. 263] ; by
association with the solar deer, PI. XXXVII. 5, 7 [p. 249] ;
by association with the solar bird, PI. XLVI. i [p. 289].
IONIC CAPITAL: lotiform character in Egypt, 71-79
(PI. VII.) ; Ionic forms connected wiih spirals and concentric rings, 81-87 (P'- VIII.), with introrse scrolls, 89-91
Greek Ionic Capiuls and forms as identified
(PI. IX.).
with the lotus anthemion or palmette, 116-121 (PI. XIII.)
as related to the lotus by the central sepal spike, 135-139
(PI. XV.) ; as related to the spirals of Greek pottery through
;
XIV.
XVI -XIX.
[p. 133],
137; Persian,
Syrian,
and
PI.
VIII.
attributes, 13
as fish
148 [p. 277] authority for the goose as Isis, 272. See
otherwise Hathor.
Ivories, a material favoured for concentric rings, 84.
Ivv supposed origin of the Herzblatt, 89. See also Ivy-leaf.
IVY-LEAF, so-called; [roven a lotus pattern, 161-165
Fig.
(PL XXII.);
on Rhodian
vases,
Japan: festival connecting the sun with the lotus, 18; lotus
ornament probably derived from the Buddhists, 18.
Jones, Owen see Grammar of Ornament.
;
marized, 49.
Madagascar
4, 5
for
335,
Mariette
347-359
94.
the lotus,
381-
11.
XXXIX.
2 [p.
253], solar goose, Figs. 170-173
For Meander
deer, PL LX. [p. 359].
symbolism, see also Swastika.
Merodach: as bull, iiyo; as Sun-god, 231.
Osiris, 9
by the
Moon,
14.
Mongol
Mortuary
significance
lotus,
Anthemion on
lotus, 14.
(Fig. 196).
XX1X,.XXX.),
to
of Noun,
(Pis.
and
353],
[p.
351.
;
129.
1 1
(?'
16
influence as
Malay
lotus,
Kabvle
Malay
ot patterns, 373.
Mahadeva. See Siva.
ibex, PI.
Isis: character
Noun
Ohnefalsch-Richter, Max
INDEX.
quities,
293
297.
Orchomf.nos
lotus pattern, 33
95 (Fig. 56).
Egypt, 84.
with the lotus, 12, 229-254;
in
407
Ptah
father of Apis, 8
as beetle
Quadrangle
triangles,
art,
Assyrian
Oxyrvnchus:
PALMETTE
as Thoth, 266.
title
of Lakshmi,
11
Reber
;
ni, 324;
no
;
original of
original of the Greek
original of
Mycenje pottery
Anthemion, in,
58-61.
the
Anthemion
as
Rhodian
137.
22, 216, 217.
vases:
ROSETTE
tions,
99-107
(PI.
XL);
in ancient
ornament, 149-153
(PI.
from the solar diagram, 149 a clue to Mediterranean history, 150; in Hindu ornament, 36, 151, 152.
Symbolism
as a lotus form illustrated by association with Assyrian
deities, PI. XXIV. 4 [p. 183]
by association with the solar
bull, PI. XXVI. 9 [p. 193]; by association with the cow,
PI. XXVII. 5, 7, 9
by association with the solar lion, PI.
XXIX. 4, 5 [p. 209], PI. XXX. 2, 10 [p. 2nJ by association with the solar Sphinx, PI. XXXI. 2, 3, 4 [p. 221], PI.
XXXII. 3 [p. 223]; by association with solar deer, ibex,
;
ROPE
Sacred Bark
(PI.
XLI).
See also
" Bronze
culture,"
supposed authors of the
in
Ancient
America,
374.
330-332
367
Pomegranate ornament, so-called a lotus bulb, so recognized
by Mr. Percy E. Newberry, no; Assyrian examples traced
to Egyptian originals, 181 (Figs. 123-126).
PoT-HOOKS, in prehistoric ornament derived from solar birds,
:
lotuses,
"
329-359
or
Introrse Scrolls.
207.
45, 332
Prehistoric ornament
E{.'yptian, 119.
Phenicians
20.
Hittite, 201.
no;
6,
9,
XXVIII.)
;
flabelliim,
the lotus,
as solar animal
Khnoum,
ivor)',
Ra and
Ram,
284.
Sam
to
be
"
"
water-plants
shown
lotuses, 57.
Sayce, Professor A. H.
rosette,
as
INDEX.
4oS
205.
as the lion.
lotus,'
9,
v
22
with the
and with
texts,
4,
6,
5,
16-18;
9,
and
SPIRALS and
in
Spiral Scrolls
the lotus spiral,
denved from
vin
IP.
203]
***'^'^""
^^^ sun-disk,
169-173 (PI
by association with the solar ram, PI. XXVIII, i
hy association with the solar Sphinx, PI. XXXIII
^vMT
^u
aXIII.);
'^'^^
"7]
(Note 47)
Gi>Ul?Bird.'"
"'""'"^
on
Baal, 236
' '"''"'
^^"^7^-
pipyrus
lotus, 50 51 55
Tabs pendant from the volutes of the Ionic
lotus'
and palmette, possible
explanation, 90; an indication of
56, 57.
Tam
Tamarisk, sacred
See also
thage, 189.
Tat:
origin explained,
^'^" ^ ^^^
390
"^"the
art,
(Figs
to6
39=.' ^'
the three-
(No.
3).
TRIANGLE:
Umbrian Art
Celtic,
171
as
meaning
Italian
vases,
316 (Note
12).
276.
goose,
;
ram, 200; fish, 265 swan, 271
273; dove, 275; "Phenician Venus" in ancient
America, 367-376.
Vishnu and
"
controverted, 346.
Wilkinson,
study of pre-
Sir
J.
Gardner:
in
Egypt
^^^
"
Capital as an Eg)'ptian
water-plant," 72
Winged Solar Disk, see Solar Disk.
s7mbot367r'^"''
.
for
"*' especially
347-359 (Pl. LX.) and the list
^^I^pT/.*^^/
of Plate lefcrences tor the Snast.ka
at p. 35,.
See also, as
CIl-MKT AMD KIVINOIOI.,
tmiT.O,
to Osiris, 44.
Moon)
(the
Nout, 44.
4,
Tabs
to
Sycamore, sacred
Vaphio: gold
Lfn^^^^'p^v^v^vMl^^tP
solar
,bx, PI.
2
;
.
Tanith
oryx, gazelle,
and
|iap)Tus, 61.
Sekhet
Vase, Aquarius.
"'' of
ornament, 84
.(:.
foreign pottery
c. ri'
BIN^
;UN10
\^
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1959
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TORONTO LIBRARY
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