DOI Page / Citation link:
https://doi.org/10.11588/diglit.1118#0307
'SCALES' AS SIGN OF STEWARDSHIP
659
nhaoi of the preceding Age1), there appear two attendant figures respec-
tively representing, we may suppose, the deceased's household in its sporting
or military and its
economic aspect.
Beneath the horses
stands a 'squire',
in the shape of a
bare-limbed youth
holding a bow in
one hand and an
arrow in the other,
while in front, clad
in the gaberdine of
Syrian fashion, is
another person hold-
ing up a balance, a
natural emblem of
stewardship.2
As an Egyp-
tian hieroglyph the
'.balance'—which
was essentially used
as a pictograph—
had been known
from the days of
the Pyramids. In its
most typical form,
however, the upright support of the cross-beam shows a loop above for
suspension.3 This type is occasionally represented in inscriptions of Class A
For instance, the painted sarcophagus of be but Zeus taking " the scales of destiny "
H. Triada and a clay 'Ian
Cypro-
Minoan
Vase.
Scales as
Egyptian
hiero-
glyph.
Fig. 046.
Cypro-Minoan ' Krater ' from Enkomj Swedish
Excavations.
■nax from Zafer
lapoura in which a chariot scene can be
faintly traced.
It is to be regretted that Professor Martin
Nilsson who first published this vase in his
Homer and Mycenae (Fig. 56) from a photo-
graph, supplied by the excavator, Mr Sjoquist, ____0__________ - -, --------- - -----
should have been so far carried away by his Hieropolis than the Aegean lands. The
theme as to compare the subject with the Homeric Zeus would have found himself in
well-known scene described in Iliad viii, very strange company.
9 seqq., xxii, 209 seqq., &c. (p. 267), ' It can ' In an elaborate shape, illustrated in a
IV**
in order to determine the fate of the com-
batants '. The culture illustrated by the
Enkomi tomb is still overwhelmingly Minoan,
though—from the point of view of Religion,
especially—a distinct Syrianizing tendency is
perceptible. As the clay images show, there
was a gross element in it, more at home at
659
nhaoi of the preceding Age1), there appear two attendant figures respec-
tively representing, we may suppose, the deceased's household in its sporting
or military and its
economic aspect.
Beneath the horses
stands a 'squire',
in the shape of a
bare-limbed youth
holding a bow in
one hand and an
arrow in the other,
while in front, clad
in the gaberdine of
Syrian fashion, is
another person hold-
ing up a balance, a
natural emblem of
stewardship.2
As an Egyp-
tian hieroglyph the
'.balance'—which
was essentially used
as a pictograph—
had been known
from the days of
the Pyramids. In its
most typical form,
however, the upright support of the cross-beam shows a loop above for
suspension.3 This type is occasionally represented in inscriptions of Class A
For instance, the painted sarcophagus of be but Zeus taking " the scales of destiny "
H. Triada and a clay 'Ian
Cypro-
Minoan
Vase.
Scales as
Egyptian
hiero-
glyph.
Fig. 046.
Cypro-Minoan ' Krater ' from Enkomj Swedish
Excavations.
■nax from Zafer
lapoura in which a chariot scene can be
faintly traced.
It is to be regretted that Professor Martin
Nilsson who first published this vase in his
Homer and Mycenae (Fig. 56) from a photo-
graph, supplied by the excavator, Mr Sjoquist, ____0__________ - -, --------- - -----
should have been so far carried away by his Hieropolis than the Aegean lands. The
theme as to compare the subject with the Homeric Zeus would have found himself in
well-known scene described in Iliad viii, very strange company.
9 seqq., xxii, 209 seqq., &c. (p. 267), ' It can ' In an elaborate shape, illustrated in a
IV**
in order to determine the fate of the com-
batants '. The culture illustrated by the
Enkomi tomb is still overwhelmingly Minoan,
though—from the point of view of Religion,
especially—a distinct Syrianizing tendency is
perceptible. As the clay images show, there
was a gross element in it, more at home at