Page:History of Art in Phœnicia and Its Dependencies Vol 2.djvu/432

392 HISTORY OF ART IN PHOENICIA AND ITS DEPENDENCIES. Cyprus, in Sardinia, and in the Cameiros tombs. They must have been sewn upon robes, but we do not exactly know how or where (Fig. 330). They are governed by precisely the same taste as those glass buttons of undoubted origin already mentioned (Figs. 258 265). The surface of some is convex and highly polished (Fig. 331). FIG. 329. Seal. From Cesnola. The next two fragments may have formed part either of a necklace or of a pectoral ; the style is more Phoenician than Greek ; in one, two lions' heads are put back to back (Fig. 332) ; in the other a hawk with wings extended and depressed (Fig. 333) reminds us of Egypt. These fragments were found in Crete ; they are now in the British Museum. The ancient relations FIG. 330. Mttal buttons. From Cameiros. British Museum. between that island and Phoenicia are attested by history, and perhaps a third little object in the same great museum may also be of Cretan origin. It represents a wild goat of the same species as those still hunted by the mountaineers of Sfakia and Selino. It is called the agrimi in the Cretan dialect. More than once I have seen its long curved horns hanging in a native house. We figure