Glyptic Art. into the neck of his sinking foe just above the edge of the shield. The wounded man wears the helmet we have already seen several times. On the third ornament is seen a Hon looking back, whilst running speedily away (Fig. 417). The bent fore-legs do not apparently mean that the lion has sunk to the ground ; it was the artist's simple way of expressing swift motion. The archaic art of Hellas furnishes us with many an in.stance of this con- ventional mode of rendering. Fic. 415.— Gold prism. Fic. 416.— Gold prism. The intaglio which has excited the curiosity of archjeologists most, is not from a grave, but one picked up with other costly objects that must have been enclosed in a chest {Fig. 90, d),^ among the ruins of a house southward of the slab-circle. The surface of the bezel is entirely covered with engraved figures and accessories of the most varied kind (Fig. 418). To the right of the spectator is a tree, pine or olive. Under its shade sits a woman with her right hand in her lap ; whilst she holds a Fig, 417.— Gold prism. Fig. 41S. — Bezel of gold ring. bunch of poppies in her left. The other figures are also women, but in an erect position. Behind the tree another small figure appears to be gathering fruit from it. In front of her stand one small and two large figures. The former seems to be on a heap of stones, and in each hand is held a leafy branch. The figures are presenting fruit and flowers. All the women have long, pro- jecting noses, and enormous eyes. Their costume is exceedingly
- History of Art.
