Bonner, SMA – PDF, 326.

solid copper or bronze, now in private possession in Vienna. It is the original from which the Dorpat cast was made, or else is itself another cast from that original. Between the Vienna piece and the published illustrations of the Dorpat cast there are slight differences affecting both the design and the inscriptions; but these can be explained as errors on the part of the draftsman who made the illustrations of the Dorpat cast for Mercklin's original publication. The reason for doubting whether the Vienna amulet is the original lies in the choice of the material. A thick piece of cast copper or bronze, very convex on the obverse, does not seem a likely material for an elaborate design with many figures, especially since a flat surface would allow a better view of the group as a whole. On the other hand, a convex surface so greatly enhances the beauty of ornamental stones, such as chalcedony, plasma, garnet, and others, that other considerations might be disregarded. I have discussed these objects at greater length in AJA, 53 (1949), 270-272.

P. 210. In connection with the type of the Rider Saint attention should have been called to the representations of Alexander on horseback thrusting his spear at a lion. They appear on the gold medallions of Tarsus and also on bronze coins of Macedonia. See R. Mowat in Rev. numismatique, 1903, 3 and Pls. 1-2; also 4, 1-2; also H. Gaebler, Die antiken Munzen Nordgriechenlands, III, 1, Nos. 872, 875, Pl. 4, 1.

P. 214, n. 27. The mosaic of Tabga may be consulted more conveniently in J. W. Crowfoot, Early Churches in Palestine (1941), 122 f., Pl. 12.

P. 215, n. 30. My note was not meant to imply that conclusions from the orthographic peculiarities of Egyptian documents are decisive when applied to texts of Syrian origin. Mean-while another example of the spelling with υ has been sent me by Mr. Henri Seyrig (letter of January 20, 1949); it occurs, in the formula mentioned at p. 215, on the reverse of a bronze pendant in the Museum of the Franciscan Fathers at Jerusalem. On the obverse the Rider, with nimbus, thrusts his spear into a lion, or possibly a lion-headed sphinx, which appears on the Byzantine amulet D. 324. The reverse shows a long-legged bird with a snake in its beak; cf. D. 304-306.

P. 243 and p. 316, No. 370. For other examples of the frog amulet, see Petrie, Amulets, Pl. 2, 18 a-p; Walters, B. M. Cat. Gems, 42, No. 348.

Pp. 243-244, also p. 316, Nos. 371-372. For other examples of the clenched fist as an amulet, see Petrie, Amulets, Pl. 1, 12-13.

P. 265, No. 70. The Kabeiros on the reverse of this Mithraic stone was recognized too late to allow the insertion of references with the description. The god resembles the one shown on the reverse of certain coins of Thessalonica; but on the coins the rhyton is held in the r. hand with its mouth upward, while the hammer is held in the 1. hand. See H. von Fritze's Pl. 5, 27, in Zeitschrift Numismatik, 24 (1904); L. Forrer, Cat. Weber Collection, No. 2291 (wrongly numbered 2191 on Pl. 88); cf. also No. 2298. A gem in Furtwangler, Beschreibung, No. 7361, resembles the figure on the Seyrig stone but is closer to the coin type.

P. 318, No. 381. The object on the head of Hathor is perhaps better described as a calathus. This part of the design is much like the Tharros gem shown in Walters, B. M. Cat. Gems, Pl. 7, 373.

P. 318, No. 382. For another example of the siren in Graeco-Egyptian art, see Edgar, Greek Sculptures (Cat. gen. du Musee du Caire, 13), No. 27506, with Pl. 8, where the piece is wrongly numbered. It is a limestone sculpture in the round, probably not later than the second century B.C.; see p. 28, n. 1.

P. 320, No. 390. The description must be supplemented and corrected by Perdrizet's publication of this stone, which escaped my notice until the Descriptions of the Plates were in page proof. It is incorporated (p. 106) in his article "La tunique historiee de Saqqara" (Mon. et Mem., Fondation Piot, 34 Spier, Gems on CBd-1103). The material of the stone is carnelian, not haem-atite. Perdrizet gives a good illustration from an impression of the stone, and refers to a sculpture which represents Har-Sobk (the Horus hawk combined with the crocodile god) rest-ing on a coiled snake. It is a stele in late Egyptian style; Edgar, Greek Sculptures (Cat. gen. du Musee du Caire, 13), No. 27575, Pl. 28.

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