Mitchell, Lucy M.: A history of ancient sculpture (New York, 1883)

ii4

SCULPTURE IN WESTERN ASIA.

in the same form and pose on the silver bowls found in Cyprus, and the fact
that we have them in stone from Phoenicia itself seems to make certain
their Phoenician origin. The combination of a bird-form resembling peacock
and crane with a lion is skilful, and the decorative effect produced agreeable :
still, their elements are not fully moulded into an organic whole, and the pre-
eminently decorative character is almost too prominent. The significance of
these Phoenician griffins lies in the fact, that they are the patterns found
copied in very old wares on Greek soil, and there improved upon in later

Fig. 59. Lion-tomb at Anirith (restored)

works, until this original inspiration is cast entirely in the shade by that to
which it gave birth.

The great significance of Phoenician art lies, not in the scanty sculptures
preserved to us, but in a world of minor art, which recent excavation has
opened up, showing the intensely mongrel character of Phoenician fancy,
ready to borrow wherever it went, and, unlike Egyptian art, impressed by
every new tide of influence. These objects — humble scraps of ivory carvings,
which once decorated some choice utensil ; bronze and silver bowls ; standards
for lights, calling to mind the golden candlesticks of the Jewish temple;
curious shaped bottles for unguents ; large bronze caldrons, and ostrich eggs
— are all carved with strange devices, in which Egyptian elements are found
incongruously mixed up with Assyrian motives, and are all rendered in a lax
and puffy manner, quite different from the severer treatment of either genuine