240 HISTORY OF ART IN PHOENICIA AND ITS DEPENDENCIES. body is elaborately finished and properly detached from the base on which it rests. 1 The taste and methods of the Phoenician lapidary can hardly be seen more clearly than on this scarab. The general form is Egyptian, so is the crux-ansata in the middle of the table. On the other hand, the rest of the image is Chaldseo- Assyrian in FIG. 1 60. Scarab. British Museum. character ; we must go to Mesopotamia to find the originals of this seated deity and his standing worshipper. 2 The eight- pointed star is also often met with in Assyrian intaglios. 3 Finally the method of work is clearly imitated from the cylinders. The Aramaean inscription reads : To Hodo, the scribe. FIG. 161. Base of the above scarab. Several mounted scarabs were found in the Curium treasure. They must have been worn suspended from the neck by a cord 1 There is a modern copy of this scarab in the Louvre, by which even DE LONGPRIER himself was deceived (Notice des Antiquites assyrienncs, babyloniennes, pcrses, hebraiques, exposees dans Ics galeries du Louvre, 3rd edition, p. 139). M. CLERMONT-GANNEAU has pointed out the mistake in one of those critical papers in which he so greatly excels : Un Monument phcnidcn apocryphe du Mus'ee du Louvre, Journal Asiatique, April, May, June, 1884). See Art in Chaldaa and Assyria, Vol. II. Figs. 137, 143, 144. 3 Ibid. Vol. I. Fig. 12 ; Vol. II. Fig. 152.
