256 HISTORY OF ART IN PHOENICIA AND ITS DEPENDENCIES. scarabs, but in one case the attitude of the victorious monarch is that of Pharaoh ; his tiara and beard, however, are those of the Ninevite kings (Fig. 194). But elsewhere he stands facing the animal and seizes him by the paws, as on some of the Assyrian reliefs and on the palace doors at Persepolis. Sometimes he wears a crown (Fig. 195), sometimes the Assyrian tiara (Fig. 196) ; and again we find him with the dress and cap of an Achaemenid prince and FIG. 194. Sardinian scarab. ' FIG. 195. Sardinian scarab.' 2 engaged with a winged beast more like an unicorn than a lion (Fig. 197^). A curious variant on this type is reproduced in Fig. 198, where a satyr is substituted for the king ; he has just buried his sword in the lion's breast. Apparently the lapidary has here gone to Greek art for his inspiration. The fight between a lion and a bull often recurs, but with considerable variations (Figs. 199 and 200). These fights between animals of different species seem to have been favourite subjects ; upon one scarab from Sardinia we find a lion devouring a pig FIG. 196. Sardinian'scarab. ! FlG. 197. Sardinian scarab. 4 (tail-piece to Vol. I.), upon another a snake fighting an eagle (tail- piece to Chapter I. of this volume). The scenes of worship so common on Phoenician and Aramaean intaglios are no less frequent here ; from a great number of examples we must be content to select one (Fig. 201). A bearded individual sits upon a throne before a flaming altar. He wears a tiara similar to the Persian cap of to-day and holds a torch in his hand ; over his head appears the winged globe. 1 Bullettino, &c., vol. iv. plate ii. z Ibid. 3 Ibid. 4 Ibid.
