International studio — 36.1908/​1909(1909)

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terra,-cotta Agurines in
modern times is chiedy
due. The Cesnola coHec-
tion is more interesting from an historical than
an artistic point of view. To appreciate it we
must reaiize somewhat the conditions under which
Cypriote art was developed. Cyprus, from its
geographical position, forming as it does a bridge
between Asia, Africa and the ^Egean islands,
was too important an island not to be coveted
by whoever had the power to obtain possession.
The resuit is that she passed from one foreign
ruler to another and was never able to assert
her own independence. Her art reBects this his-
tory oniy too clearly. The infiuences of Egypt,
Assyria and Greece are in turn apparent, while the
steady development of an individual art was made
impossibie. The collection of hgurines as now
exhibited occupies about haif the wail cases in
Gaiiery 8, beginning with the sections on the north
side of the windows and continuing in those oppo-
site. Dupiicates and doubtful specimens have been
retired, but every distinct type has been retained, so
that the collection is still representative. It is ar-
ranged as far as possible chronologically, beginning
with the exampies of the Bronze Age, then passing
to the Graeco-Phcenician period—so caiied to indi-
cate the infiuences of the East and the West—and
ending with the Hellenic types, which are in every
way simiiar to the " Tanagraic " terra-cottas. The
Bronze Age examples (before 800 B. C.) show
cleariy how hampered the primitive artist was by

want of ex- .1
perience. He FiGURE 5
had not yet
copy faithfully from nature. Like a chiid, he was
impressed with the most important parts in the
human face and body, and gave undue prominence
to these instead of coordinating them to the other
features and members. Thus the primitive god-
desses (cf. Fig. 1) have iarge, hooked noses, round
eyes, enormous ears and prominent hips, and bear
little simiiarity to normal human hgures. In the
next period, the Graeco-Phcenician (800-500 B. C.),
much was done in harmonizing the various parts of
the body, though the attitudes are throughout stiff
andlifeless. Itisnotuntilthefoiiowingperiod
(Fifth, Fourth and foiiowing centuries), when Greek
infiuence was paramount, that the conventional
poses were given up, to be replaced by natural, life-
like ones. The majority of the statuettes belong to
the Graeco-Phcenician period, which in its mixture
of styles is peculiarly Cypriote. The figurines were
used (1) as offerings to a deity, and then represent
either the deity itself, or the votary in various atti-
tudes, bringing offerings, making music on harp,
flute and tambourine, and in the act of worship and
supplication; (2) as dedicatory oSerings placed in
tombs with the dead for their use in the future ex-
istence. Among the latter are horsemen, warriors,

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