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Updated: May 31, 2025
There is a patera at Athens, almost certainly Phoenician, which may well be selected to introduce the more elaborate and complicated of the Phoenician works of art in this class. It has been figured, and carefully described by MM. Perrot and Chipiez in these terms: "The medallion in the centre is occupied by a rosette with eight points.
M. Chipiez arrived at the solution finally adopted by an inductive process, by carefully weighing the obvious conditions of the problem and choosing those arrangements by which its requirements seemed most simply and conveniently met. In virtue of their general character M. Chipiez's restorations reach a high degree of probability.
A restoration by M. Mangeant, given by Perrot and Chipiez in the fourth volume of their "History of Ancient Art," is striking, and leaves little to be desired.
Various representations of the pillars have been attempted in works upon Phoenician art, the most remarkable being those designed by M. Chipiez, and published in the "Histoire de l'Art dans l'Antiquite." Perhaps, however, there is more to be said in favour of M. de Voguee's view, as enunciated in his work on the Jewish Temple.
Hilprecht: "Babylonian Expedition of the University of Pennsylvania;" "Recent Research in Bible Lands." Perrot and Chipiez: "History of Art in Antiquity." J.P. Peters: "Nippur." R.W. Rogers: "History of Babylonia and Assyria." F. Lenormant: "Students' Manual of the Ancient History of the East;" "The Beginnings of History."
These are usually patterned, sometimes with spirals, sometimes with rosettes, occasionally, though rarely, with figures. Messrs. Perrot and Chipiez represent one in their great work upon ancient art, where almost the entire field is occupied by a winged griffin, standing upright on its two hind legs, and crowned with a striped cap, or turban.
MM. Perrot and Chipiez thus sum up their description of this monument: "Both in the ornamentation and in the sculpture properly so-called there is a mixture of two traditions and two inspirations, diverse one from the other.
A striking example of this kind of work may be seen in a figure now at New York, which appears to represent a priest, whereof a front view is given by Di Cesnola in his "Cyprus," and a side view by Perrot and Chipiez in their "History of Ancient Art."
The representations are consequently in every case feeble and conventional; in some they verge on the ridiculous. What, for instance, can be weaker than the figure above given from the great work of Perrot and Chipiez, with its good-humoured face, its tongue hanging out of its mouth, its tottering forelegs, and its general air of imbecility?
MM. Perrot et Chipiez say of it "Among the numerous representations of lions that have been discovered in Phoenicia, there is none which can be placed on a par with that on the scarab bearing the name of 'Ashenel: small as it is, this lion has something of the physiognomy of those magnificent ones which we have borrowed from the bas-reliefs of the Assyrians.
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