Metropolitan Museum II

Title: Terracotta jug Medium; Technique: Terracotta Culture: Cypriot Period: Cypro-Archaic I Date: ca. 750–600 B.C. Dimensions: H. 9 1/2 in. (24.1 cm) diameter 2 9/16 in. (6.5 cm) Classification: Vases Credit Line: The Cesnola Collection, Purchased by subscription, 1874–76 Accession Number: 74.51.509 Description: Two figures and two birds flanking a lotus composition Closely related to 74.51.510, this vase depicts two human figures and two birds flanking a central lotus composition that is the equivalent of a sacred tree. The figures wear long garments, trousers, and shoes; their sex is not readily identifiable. Each looks toward the bird behind him, one bending forward, the other upright. The representation may pertain to an Oriental deity that has power over animals. Text from: www.metmuseum.org/Works_of_Art/collection_database/greek_...

(Left) Title: Silver fibula (safety pin) Medium; Technique: Silver Culture: Cypriot Period: Geometric Date: ca. 9th–8th century B.C. Dimensions: Other: 2 11/16 in. (6.8 cm) Classification: Gold and Silver Credit Line: The Cesnola Collection, Purchased by subscription, 1874–76 Accession Number: 74.51.3199 On View Description: This type of fibula, with an unarticulated, semicircular bow is rather rare in Cyprus, as are examples of silver during the Geometric period. Text from: www.metmuseum.org/Works_of_Art/collection_database/greek_... (Center) Title Silver fibula (safety pin) Medium; Technique: Silver Culture: Cypriot Period: Geometric Date: ca. 8th century B.C. Dimensions: Other: 3 1/4 in. (8.3 cm) Classification: Gold and Silver Credit Line: The Cesnola Collection, Purchased by subscription, 1874–76 Accession Number: 74.51.3201 On View Description: The articulated bow-shaped fibula is well attested in Cyprus and the Levant, providing one of many indications for close relations between the island and the eastern shores of the Mediterranean during the later Geometric and early Archaic periods Text from: www.metmuseum.org/Works_of_Art/collection_database/greek_... (Right) Title: Silver fibula (safety pin) Medium; Technique: Silver Culture: Cypriot Period: Geometric Date: ca. 9th–8th century B.C. Dimensions: Other: 2 7/8 in. (7.3 cm) Classification: Gold and Silver Credit Line: The Cesnola Collection, Purchased by subscription, 1874–76 Accession Number: 74.51.3200 On View Description: This type of fibula, with an unarticulated, semicircular bow is rather rare in Cyprus, as are examples of silver during the Geometric period. Text from: www.metmuseum.org/Works_of_Art/collection_database/greek_...

Sarcophagus, second quarter of 5th century B.C.; Archaic Cypriot; From Amathus Limestone; H. 62 in. (157.5 cm) The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.2453) On the long sides: (A) procession of two chariots, two horsemen, (B) two chariots, two footmen; on the short sides: (A) mother goddesses, (B) Bes The Amathus sarcophagus, arguably the single most important object in the Cesnola Collection at the Metropolitan Museum, is unique among ancient Cypriot sculptures in its monumentality, its exceptionally high relief, and the preservation of its polychrome. The primary scenes on the long sides of the sarcophagus depict a procession of chariots escorted by attendants on horseback and followed by foot soldiers. Most likely, the figure standing under a parasol in the first chariot represents the deceased. His horses, like the others, are richly caparisoned, but the wheels of his chariot have fewer spokes. Splendidly embellished horses and chariot poles are part of a long tradition on Cyprus, although scholars have suggested that the prototypes for the chariot procession on the Amathus sarcophagus may have been Graeco-Persian reliefs. One of the short sides of the sarcophagus originally was decorated with four figures of the Egyptian god Bes. The cult of Bes was especially popular at Amathus, primarily because of the Phoenician presence in the city. The other short side of the sarcophagus shows four standing figures of the Phoenician goddess Astarte. Nude except for their ornate necklaces, the four figures of the goddess hold their breasts in a pose that is well attested in Cypriot terracotta sculpture from the sixth century B.C. The temple of Astarte, located on the acropolis of Amathus, was one of the most important sanctuaries on Cyprus. The depictions of Bes and Astarte on this particular sarcophagus suggest the importance of procreation to the deceased. Most of the architectural moldings and the decorative details on the sarcophagus, such as the carved palmettes and ivy leaves that fill the four panels, are of eastern Greek origin. Other floral motifs, such as the tree of life and a frieze of lotus flowers and buds, had a long tradition in Cypriot vase painting and other arts of the Archaic and later periods. The figural panels are framed by a variety of vegetal ornaments, while the gabled lid once featured a pair of sphinxes and a palmette at each end. The thorough integration of Greek, Persian, Egyptian, and Cypriot stylistic elements on the Amathus sarcophagus is characteristic of Cypriot art and culture during the fifth century B.C. Text from: www.metmuseum.org/TOAH/ho/04/wae/hod_74.51.2453.htm

Sarcophagus, second quarter of 5th century B.C.; Archaic Cypriot; From Amathus Limestone; H. 62 in. (157.5 cm) The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.2453) On the long sides: (A) procession of two chariots, two horsemen, (B) two chariots, two footmen; on the short sides: (A) mother goddesses, (B) Bes The Amathus sarcophagus, arguably the single most important object in the Cesnola Collection at the Metropolitan Museum, is unique among ancient Cypriot sculptures in its monumentality, its exceptionally high relief, and the preservation of its polychrome. The primary scenes on the long sides of the sarcophagus depict a procession of chariots escorted by attendants on horseback and followed by foot soldiers. Most likely, the figure standing under a parasol in the first chariot represents the deceased. His horses, like the others, are richly caparisoned, but the wheels of his chariot have fewer spokes. Splendidly embellished horses and chariot poles are part of a long tradition on Cyprus, although scholars have suggested that the prototypes for the chariot procession on the Amathus sarcophagus may have been Graeco-Persian reliefs. One of the short sides of the sarcophagus originally was decorated with four figures of the Egyptian god Bes. The cult of Bes was especially popular at Amathus, primarily because of the Phoenician presence in the city. The other short side of the sarcophagus shows four standing figures of the Phoenician goddess Astarte. Nude except for their ornate necklaces, the four figures of the goddess hold their breasts in a pose that is well attested in Cypriot terracotta sculpture from the sixth century B.C. The temple of Astarte, located on the acropolis of Amathus, was one of the most important sanctuaries on Cyprus. The depictions of Bes and Astarte on this particular sarcophagus suggest the importance of procreation to the deceased. Most of the architectural moldings and the decorative details on the sarcophagus, such as the carved palmettes and ivy leaves that fill the four panels, are of eastern Greek origin. Other floral motifs, such as the tree of life and a frieze of lotus flowers and buds, had a long tradition in Cypriot vase painting and other arts of the Archaic and later periods. The figural panels are framed by a variety of vegetal ornaments, while the gabled lid once featured a pair of sphinxes and a palmette at each end. The thorough integration of Greek, Persian, Egyptian, and Cypriot stylistic elements on the Amathus sarcophagus is characteristic of Cypriot art and culture during the fifth century B.C. Text from: www.metmuseum.org/TOAH/ho/04/wae/hod_74.51.2453.htm

Sarcophagus, second quarter of 5th century B.C.; Archaic Cypriot; From Amathus Limestone; H. 62 in. (157.5 cm) The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.2453) On the long sides: (A) procession of two chariots, two horsemen, (B) two chariots, two footmen; on the short sides: (A) mother goddesses, (B) Bes The Amathus sarcophagus, arguably the single most important object in the Cesnola Collection at the Metropolitan Museum, is unique among ancient Cypriot sculptures in its monumentality, its exceptionally high relief, and the preservation of its polychrome. The primary scenes on the long sides of the sarcophagus depict a procession of chariots escorted by attendants on horseback and followed by foot soldiers. Most likely, the figure standing under a parasol in the first chariot represents the deceased. His horses, like the others, are richly caparisoned, but the wheels of his chariot have fewer spokes. Splendidly embellished horses and chariot poles are part of a long tradition on Cyprus, although scholars have suggested that the prototypes for the chariot procession on the Amathus sarcophagus may have been Graeco-Persian reliefs. One of the short sides of the sarcophagus originally was decorated with four figures of the Egyptian god Bes. The cult of Bes was especially popular at Amathus, primarily because of the Phoenician presence in the city. The other short side of the sarcophagus shows four standing figures of the Phoenician goddess Astarte. Nude except for their ornate necklaces, the four figures of the goddess hold their breasts in a pose that is well attested in Cypriot terracotta sculpture from the sixth century B.C. The temple of Astarte, located on the acropolis of Amathus, was one of the most important sanctuaries on Cyprus. The depictions of Bes and Astarte on this particular sarcophagus suggest the importance of procreation to the deceased. Most of the architectural moldings and the decorative details on the sarcophagus, such as the carved palmettes and ivy leaves that fill the four panels, are of eastern Greek origin. Other floral motifs, such as the tree of life and a frieze of lotus flowers and buds, had a long tradition in Cypriot vase painting and other arts of the Archaic and later periods. The figural panels are framed by a variety of vegetal ornaments, while the gabled lid once featured a pair of sphinxes and a palmette at each end. The thorough integration of Greek, Persian, Egyptian, and Cypriot stylistic elements on the Amathus sarcophagus is characteristic of Cypriot art and culture during the fifth century B.C. Text from: www.metmuseum.org/TOAH/ho/04/wae/hod_74.51.2453.htm

Sarcophagus, second quarter of 5th century B.C.; Archaic Cypriot; From Amathus Limestone; H. 62 in. (157.5 cm) The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.2453) On the long sides: (A) procession of two chariots, two horsemen, (B) two chariots, two footmen; on the short sides: (A) mother goddesses, (B) Bes The Amathus sarcophagus, arguably the single most important object in the Cesnola Collection at the Metropolitan Museum, is unique among ancient Cypriot sculptures in its monumentality, its exceptionally high relief, and the preservation of its polychrome. The primary scenes on the long sides of the sarcophagus depict a procession of chariots escorted by attendants on horseback and followed by foot soldiers. Most likely, the figure standing under a parasol in the first chariot represents the deceased. His horses, like the others, are richly caparisoned, but the wheels of his chariot have fewer spokes. Splendidly embellished horses and chariot poles are part of a long tradition on Cyprus, although scholars have suggested that the prototypes for the chariot procession on the Amathus sarcophagus may have been Graeco-Persian reliefs. One of the short sides of the sarcophagus originally was decorated with four figures of the Egyptian god Bes. The cult of Bes was especially popular at Amathus, primarily because of the Phoenician presence in the city. The other short side of the sarcophagus shows four standing figures of the Phoenician goddess Astarte. Nude except for their ornate necklaces, the four figures of the goddess hold their breasts in a pose that is well attested in Cypriot terracotta sculpture from the sixth century B.C. The temple of Astarte, located on the acropolis of Amathus, was one of the most important sanctuaries on Cyprus. The depictions of Bes and Astarte on this particular sarcophagus suggest the importance of procreation to the deceased. Most of the architectural moldings and the decorative details on the sarcophagus, such as the carved palmettes and ivy leaves that fill the four panels, are of eastern Greek origin. Other floral motifs, such as the tree of life and a frieze of lotus flowers and buds, had a long tradition in Cypriot vase painting and other arts of the Archaic and later periods. The figural panels are framed by a variety of vegetal ornaments, while the gabled lid once featured a pair of sphinxes and a palmette at each end. The thorough integration of Greek, Persian, Egyptian, and Cypriot stylistic elements on the Amathus sarcophagus is characteristic of Cypriot art and culture during the fifth century B.C. Text from: www.metmuseum.org/TOAH/ho/04/wae/hod_74.51.2453.htm

Sarcophagus, second quarter of 5th century B.C.; Archaic Cypriot; From Amathus Limestone; H. 62 in. (157.5 cm) The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.2453) On the long sides: (A) procession of two chariots, two horsemen, (B) two chariots, two footmen; on the short sides: (A) mother goddesses, (B) Bes The Amathus sarcophagus, arguably the single most important object in the Cesnola Collection at the Metropolitan Museum, is unique among ancient Cypriot sculptures in its monumentality, its exceptionally high relief, and the preservation of its polychrome. The primary scenes on the long sides of the sarcophagus depict a procession of chariots escorted by attendants on horseback and followed by foot soldiers. Most likely, the figure standing under a parasol in the first chariot represents the deceased. His horses, like the others, are richly caparisoned, but the wheels of his chariot have fewer spokes. Splendidly embellished horses and chariot poles are part of a long tradition on Cyprus, although scholars have suggested that the prototypes for the chariot procession on the Amathus sarcophagus may have been Graeco-Persian reliefs. One of the short sides of the sarcophagus originally was decorated with four figures of the Egyptian god Bes. The cult of Bes was especially popular at Amathus, primarily because of the Phoenician presence in the city. The other short side of the sarcophagus shows four standing figures of the Phoenician goddess Astarte. Nude except for their ornate necklaces, the four figures of the goddess hold their breasts in a pose that is well attested in Cypriot terracotta sculpture from the sixth century B.C. The temple of Astarte, located on the acropolis of Amathus, was one of the most important sanctuaries on Cyprus. The depictions of Bes and Astarte on this particular sarcophagus suggest the importance of procreation to the deceased. Most of the architectural moldings and the decorative details on the sarcophagus, such as the carved palmettes and ivy leaves that fill the four panels, are of eastern Greek origin. Other floral motifs, such as the tree of life and a frieze of lotus flowers and buds, had a long tradition in Cypriot vase painting and other arts of the Archaic and later periods. The figural panels are framed by a variety of vegetal ornaments, while the gabled lid once featured a pair of sphinxes and a palmette at each end. The thorough integration of Greek, Persian, Egyptian, and Cypriot stylistic elements on the Amathus sarcophagus is characteristic of Cypriot art and culture during the fifth century B.C. Text from: www.metmuseum.org/TOAH/ho/04/wae/hod_74.51.2453.htm

Sarcophagus, second quarter of 5th century B.C.; Archaic Cypriot; From Amathus Limestone; H. 62 in. (157.5 cm) The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.2453) On the long sides: (A) procession of two chariots, two horsemen, (B) two chariots, two footmen; on the short sides: (A) mother goddesses, (B) Bes The Amathus sarcophagus, arguably the single most important object in the Cesnola Collection at the Metropolitan Museum, is unique among ancient Cypriot sculptures in its monumentality, its exceptionally high relief, and the preservation of its polychrome. The primary scenes on the long sides of the sarcophagus depict a procession of chariots escorted by attendants on horseback and followed by foot soldiers. Most likely, the figure standing under a parasol in the first chariot represents the deceased. His horses, like the others, are richly caparisoned, but the wheels of his chariot have fewer spokes. Splendidly embellished horses and chariot poles are part of a long tradition on Cyprus, although scholars have suggested that the prototypes for the chariot procession on the Amathus sarcophagus may have been Graeco-Persian reliefs. One of the short sides of the sarcophagus originally was decorated with four figures of the Egyptian god Bes. The cult of Bes was especially popular at Amathus, primarily because of the Phoenician presence in the city. The other short side of the sarcophagus shows four standing figures of the Phoenician goddess Astarte. Nude except for their ornate necklaces, the four figures of the goddess hold their breasts in a pose that is well attested in Cypriot terracotta sculpture from the sixth century B.C. The temple of Astarte, located on the acropolis of Amathus, was one of the most important sanctuaries on Cyprus. The depictions of Bes and Astarte on this particular sarcophagus suggest the importance of procreation to the deceased. Most of the architectural moldings and the decorative details on the sarcophagus, such as the carved palmettes and ivy leaves that fill the four panels, are of eastern Greek origin. Other floral motifs, such as the tree of life and a frieze of lotus flowers and buds, had a long tradition in Cypriot vase painting and other arts of the Archaic and later periods. The figural panels are framed by a variety of vegetal ornaments, while the gabled lid once featured a pair of sphinxes and a palmette at each end. The thorough integration of Greek, Persian, Egyptian, and Cypriot stylistic elements on the Amathus sarcophagus is characteristic of Cypriot art and culture during the fifth century B.C. Text from: www.metmuseum.org/TOAH/ho/04/wae/hod_74.51.2453.htm

Limestone Herakles Cypriot, Archaic, ca. 530-520 BC Said to be from Golgoi Accession # 74.51.2455 The statue was considerably reworked by Cesnola's "restorers" so that numerous features of the original are no longer clear. The proper left arm and the legs were certainly reattached; the original position of the right arm has also been obscured. Herakles wears a tunic, a belt, modified kilt, and lionskin. In his left hand he held a bow, half of which appears against his body. (The pickel-shaped club which he brandished for many decades was added in modern times and has been removed.) On his right thigh are the ends of the arrows that he held in his right hand. Although the head 74.51.2857 indicates that Cypriot sculptors were working on a large scale as early as the beginning of the sixth century BC, it was only during the second half of the century that monumental pieces were produced in some quantity. Text from the Metropolitan Museum of Art label.

Limestone Herakles Cypriot, Archaic, ca. 530-520 BC Said to be from Golgoi Accession # 74.51.2455 The statue was considerably reworked by Cesnola's "restorers" so that numerous features of the original are no longer clear. The proper left arm and the legs were certainly reattached; the original position of the right arm has also been obscured. Herakles wears a tunic, a belt, modified kilt, and lionskin. In his left hand he held a bow, half of which appears against his body. (The pickel-shaped club which he brandished for many decades was added in modern times and has been removed.) On his right thigh are the ends of the arrows that he held in his right hand. Although the head 74.51.2857 indicates that Cypriot sculptors were working on a large scale as early as the beginning of the sixth century BC, it was only during the second half of the century that monumental pieces were produced in some quantity. Text from the Metropolitan Museum of Art label.

Limestone Herakles Cypriot, Archaic, ca. 530-520 BC Said to be from Golgoi Accession # 74.51.2455 The statue was considerably reworked by Cesnola's "restorers" so that numerous features of the original are no longer clear. The proper left arm and the legs were certainly reattached; the original position of the right arm has also been obscured. Herakles wears a tunic, a belt, modified kilt, and lionskin. In his left hand he held a bow, half of which appears against his body. (The pickel-shaped club which he brandished for many decades was added in modern times and has been removed.) On his right thigh are the ends of the arrows that he held in his right hand. Although the head 74.51.2857 indicates that Cypriot sculptors were working on a large scale as early as the beginning of the sixth century BC, it was only during the second half of the century that monumental pieces were produced in some quantity. Text from the Metropolitan Museum of Art label.

Statue of a priest, end of 6th century B.C.; Archaic Cypriot; Said to be from west of the temple at Golgoi Limestone; H. (with base) 85 1/2 in. (217.2 cm) The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.2466) Typical of Cypriot sculpture of the sixth century B.C., this over-lifesize limestone statue has accentuated facial features, including a prominent nose and large eyes. The hint of an Archaic smile, the figure's rigid stance with one foot forward, and the long, spiral tresses falling over each shoulder attest to the influence of Greek sculpture on Cyprus at this time. Black, red, and yellow painted designs once embellished the garments and helmet worn by this figure. The helmet is divided into vertical panels decorated with rows of red lotus flowers that may refer to the tree of life represented in Near Eastern art. The bull protome reinforces the figure's religious significance, as does the Cypriot inscription on the left shoulder: "[I belong to] the Paphian [i.e., Aphrodite]." Bearded human figures wearing conical headdresses have a long history in Cypriot sculpture, dating from the end of the seventh century to the fifth century B.C. These sculptures most likely represent priests or dignitaries. The inscription on this statue, as well as its richly decorated garments and helmet, suggest that it represents a priest of a longlived fertility goddess who eventually became associated with the Greek goddess Aphrodite. Text from: www.metmuseum.org/toah/hd/gcyp/hod_74.51.2466.htm

Statue of a priest, end of 6th century B.C.; Archaic Cypriot; Said to be from west of the temple at Golgoi Limestone; H. (with base) 85 1/2 in. (217.2 cm) The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.2466) Typical of Cypriot sculpture of the sixth century B.C., this over-lifesize limestone statue has accentuated facial features, including a prominent nose and large eyes. The hint of an Archaic smile, the figure's rigid stance with one foot forward, and the long, spiral tresses falling over each shoulder attest to the influence of Greek sculpture on Cyprus at this time. Black, red, and yellow painted designs once embellished the garments and helmet worn by this figure. The helmet is divided into vertical panels decorated with rows of red lotus flowers that may refer to the tree of life represented in Near Eastern art. The bull protome reinforces the figure's religious significance, as does the Cypriot inscription on the left shoulder: "[I belong to] the Paphian [i.e., Aphrodite]." Bearded human figures wearing conical headdresses have a long history in Cypriot sculpture, dating from the end of the seventh century to the fifth century B.C. These sculptures most likely represent priests or dignitaries. The inscription on this statue, as well as its richly decorated garments and helmet, suggest that it represents a priest of a longlived fertility goddess who eventually became associated with the Greek goddess Aphrodite. Text from: www.metmuseum.org/toah/hd/gcyp/hod_74.51.2466.htm

Limestone stele (shaft) with the head of Hathor Cypriot, Archaic, 2nd quarter of the 6th century BC Said to be from the necropolis at Golgoi Accession # 74.51.2475 The lower part of the shaft has been cut off; two dowel holes on the upper surface permitted an additional element to be fastened. Stone shafts incorporating the head of the Egyptian goddess Hathor occur particularly often at Amathus. Their appearance may be connected with the advent of Egyptian rule over the island. They played a role in the cult of the Great Goddess of Cyprus, who like Hathor, afforded protection against death and harm. The shafts also occur in funerary contexts. Text from the Metropolitan Museum of Art label.

Title: Limestone relief Medium; Technique: Limestone Culture: Cypriot Period: Archaic Date: end of the 6th century B.C. Dimensions: Overall: 20 1/2 x 34 3/8 x 2 15/16 in. (52 x 87.3 x 7.5 cm) Credit Line: The Cesnola Collection, Purchased by subscription, 1874–76 Accession Number: 74.51.2853 On View Description: The relief depicts Herakles rustling the cattle of Geryon. Recognizable by the lionskin falling over his back, the hero stands at the far left. In the upper register, Geryon's three-headed dog has an arrow in one neck. In the lower register, Eurytion, the herdsman, is characterized as uncivilized by his stayrlike features and by the stone and tree that he uses as weapons. Geryon's herd is represented with particular attention to the calves in the foreground and the lead animals that look back. Since this relief as well as the statues of Geryon and Herakles were all found near the temple of Goloi, the question arises whether they were originally associated in some way. Text from: www.metmuseum.org/Works_of_Art/collection_database/greek_...

Head of a man, ca. 600 b.c.; Cypro-Archaic Cypriot; Said to be from Amathus Terracotta H. 11 1/2 in. (29.2 cm) The Cesnola Collection, Purchased by subscription, 1874-76 (74.51.1458) This mold-made head was once part of a large-scale terracotta statue of a male figure. By the seventh century B.C., Cypriot sculptors used molds for the heads of large clay sculptures, a process that enabled them to produce facial features more accurately. This bearded head has large ridged eyes, a prominent nose, and "feathered" eyebrows, all common characteristics of Cypriot sculpture from this period. Abundant color accentuates the facial features, hair, and helmet. The relatively small mouth with a hint of an Archaic smile reveals the influence of Greek sculpture. Text from: www.metmuseum.org/toah/works-of-art/74.51.1458

Limestone male figure in Egyptian dress Cypriot, Archaic, 2nd quarter of the 6th century BC Said to have been found at Golgoi Accession # 74.51.2467 This figure wears a wig, a relatively simple belt, and a kilt. Decoration on the tunic and central panel of the kilt are very worn. The articulation of the eyebrows and mustache is comparable to that of the terracotta heads nearby; the softness of the limestone allowed details to be articulated in much the same way as in clay. An inscription in the Cypriot syllabary on the worshiper's left forearm reads, "I am [the statue] of Tamigoras [Timagoras?]" Text from the Metropolitan Museum of Art label.