though hampered by his inability to secure casts of coins in Europe because of the war Mr. Newell believes that he has been able to give "a more or less clear outline of the issues [of the mint at Antioch] as a whole, to show their real sequence, and to throw in relief the comparative importance of this coinage and the light it sheds on the history of the times." He begins with Seleucus VI, 246-226 B.C. and closes with Antiochus XIII, ca. 65 B.C., dealing fully with gold and silver issues, incidentally with bronze coins.

ASIA MINOR

The Hittite Language of Boghazkeui.-In J.R.A.S. 1920, pp. 49-83, A. H. SAYCE subjects the recent publications of Professor Hrozný of Vienna to a searching criticism. He holds that Hrozný's assignment of Hittite to the Indo-European group of languages is hasty, and is not warranted by the phenomena of the language so far discovered. The main evidences alleged are wâdar, "water" with its genitive wedenas, participles in -nt, kuis "who" and kuid "what," ug "ego," ammug=eμoi-ye, zig "thou," iya-mi "I make," iya-si "thou makest,” iya-(n)zi "he makes," iya-weni “we make,” iya-teni “ye make," iya-(n)zi "they make." Wadar does mean "water," but it has no connection with the Indo-European root since the syllable dar is used to form abstracts and is not part of the root. The genitive wedenas cannot be connected with uswp and the two etymologies are mutually exclusive since dwp and watan belong to different families of the Indo-European languages. Kuis "who" and kuid "what" are temptingly like Latin quis and quid, especially when we find kuis-ki and kuid-ki "whoever," "whatever," but these words occur also in Lydian, and they do not conform to Indo-European syntax. They precede the words to which they refer, they head sentences without antecedents, and they are used adverbially. Ug is not ego because the first vowel is long, and because g is a demonstrative element which we find also in ammug "mine." Ammug is used as a nominative and, therefore, cannot be equated with quo-ye. The verbal forms are like Indo-European, but they are not peculiar to this group of languages; they are found also in Vannic and in Sumerian. The best plan is to keep clear of all philological theories for the present, to translate the Hittite texts on the basis of their Babylonian equivalents, and to leave the problem of the affiliations of the language an open question until its decipherment is more complete. If this is not done there is danger that false etymologies may lead to incorrect translations.

The Scapegoat Among the Hittites.-In Exp. Times, XXXIII, 1920, pp. 283–284, A. H. SAYCE publishes a Hittite text containing a ritual law very similar in contents to the law of the scapegoat in Israel. The text reads as follows: "(The priest) brings a lamb: he strings together a lapis-lazuli stone, a shoham-stone, a green stone, a black stone, and a white stone: he makes these stones like a collar; then he ties (them) round the neck of the lamb; then he drives forth the lamb to a foreign country, and repeats to it the following: 'Whatever foreigner thou art who actest according to the will of the god, thus we bring to thee with its neck tied this lamb as a scapegoat for the god and afterwards observe a feast,' and with this ritual (?) he fastens the sin upon the lamb, and it is recited for whatever god acts according to (his) will."

An Egypto-Carian Bilingual.—The Nicholson Museum of the University of Sidney, Australia, contains a stele with a funerary relief and an inscription both in Egyptian and in Carian. This is published for the first time in photograph and correct transcription by A. RowE in J.R.A.S. 1920, pp. 85-95 (plate). The inscription reads as follows: Ä-V-E-TH-O M-A-V-N-A-F-FKH-E Ō-D O-V-Y-Z-KH-E; that is, "Af-thoth (?), the Memphite and Ephesian (?)

Coins of Characene.-After having for a long time (125 B.C.-113 A.D.) issued coins with Greek inscriptions, the dynasts of Characene followed the example of their Arsacid suzerains and their Elymaic neighbors in introducing the vernacular on their coins. Some of these legends are discussed by J. DE MORGAN in Num. Chron. 1920, pp. 122–140 (4 cuts). G. F. HILL appends a few notes.

Coins of Perinthus.—In R. Belge Num. LXXII, 1920, pp. 105–109, VICTOR TOURNEUR describes (1) two medallions of Perinthus, one of the time of Gordian (now in the Royal Library of Belgium), the other of the time of Alexander Severus (now in the British Museum) which by reason of their full representation of the attributes of Zeus-the twelve signs of the zodiac on the medallion of Gordian, the sun and moon, earth and sea on that of Alexander Severuspermit the inference that it was Zeus, the lord of the world, who was worshipped at Perinthus; (2) various coins of Perinthus which together represent nearly all the labors of Heracles and show how important his cult was, certainly as early as the time of Domitian, so that the passage in Ptolemy (III, 11, 16), which attests the surname "Heraclean" for the city at a period much earlier than the fourth century A.D. should not be suspected of being a late interpolation.

Coins of Sinope.-In A. J. Num. LII, 1918, pp. 117-127 (2 pls.) E. T. NEWELL discusses the Alexander coinage of Sinope and argues against L. Müller, who assigned the issues in question to Sidon, that they were struck in a mint at Sinope.

Coins of Tarsus.-In A. J. Num. LII, 1918, pp. 69-115 (8 pls.) E. T. NEWELL studies the coinage of Tarsus under Alexander and the satraps who immediately preceded his conquest.

An Inscription at Ereruk.—In C. R. Acad. Insc. 1920, pp. 215–218, C. DIEHL corrects Strzygowski's reading of an inscription from the south side of the basilica at Ereruk, near Ani in Armenia, published in Strzygowski's Die Baukunst der Armenier und Europa, Vol. I, p. 31.

GREECE

SCULPTURE

The Ludovisi and Boston Reliefs.—In J.H.S. XL, 1920, pp. 111-123 (pl.) G. M. A. RICHTER gives briefly the present state of the discussion on the subject of the Ludovisi and Boston reliefs, referring chiefly to Studniczka's and Caskey's articles (Jb. Arch. I. 1911, 50 ff.; A.J.A. 1918, 118 ff.) and puts forward a new interpretation: That the two reliefs, belonging to a monument in honor of Aphrodite, represent, like the two pediments of the Parthenon in

honor of Athena, one the birth of the goddess and the other the most significant manifestation of her power; i.e. the Boston relief depicts the goddess, through her son and representative Eros, as granting and withholding the blessing of sons, upon which the continued existence of a family depends; hence the contrasted emotions of joy and grief expressed by the two women. The four figures at the corners represent different classes of votaries. Klein's and E. A. Gardner's theory of forgery is dismissed as false on artistic and psychological grounds. The representation of water in the Ludovisi relief and the differences of measurement are also touched upon.

A Bronze of Fifth Century Type.-In Ausonia, IX, 1919, pp. 87-92 (pl.) A. MINTO discusses a bronze statuette, discovered at Montegabbiano near Orvieto, and now in the Archaeological Museum of Florence (Fig. 4). It represents a young woman, wearing a Doric chiton with apoptygma. The head is inclined to the right and the lost right arm probably held a patera. The dress shows a more free and natural treatment of folds than is usual in Doric drapery of the fifth century, and it appears that the prototype of the statuette was a work which, though preserving much of the form of fifth century sculptures, manifested in detail some tendencies to the style of a ater period.

Praxias. In a study published in Memoirs of the American Academy in Rome, III, 1919, pp. 91-100 (4 pls.) E. DOUGLAS VAN BUREN adopts Homolle's theory that Callimachus and not Calamis was the master of Praxias, the sculptor of the pediments of the fourth century temple at Delphi (Paus. X, 19, 3). The work of Callimachus and his school was the répertoire from which the sculptors of the neo-Attic school derived their types. The neo-Attic reliefs which represent Apollo, followed by Leto and Artemis, receiving a libation from a winged Nike beside a small altar, are probably imitative of figures in the east pediment of the temple at Delphi. The plane tree and the Corinthian temple in the background of two of these reliefs show that the composition is associated with Delphi. The figures are from one side of the pediment group; the other side of the gable was occupied by the Muses. It is further conjectured that the orgiastic Dionysiac figures found in some neo-Attic reliefs in what seems incongruous juxtaposition with archaistic types, are derived from the west pediment of the Delphi temple. In this were represented Dionysus

FIGURE 4.-BRONZE STATUETTE: FLORENCE.

and the Thyiads. The composition was completed after the death of Praxias by Androsthenes, a contemporary of Scopas who may have been under his influence. He may, therefore, have introduced among the traditional figures of the school of Callimachus some which showed Scopaic traits.

The Apotheosis of Homer.-In Röm. Mitt. XXXII, 1917, pp. 74-89, J. SIEVEKING argues that the relief representing the apotheosis of Homer is not based on a similar group of statues in the round, though many of the individual Muses go back to types of statues and Tanagra figurines. The grouping shows the influence of painting. The date of the relief is about 150 B.C.

Groups of Dionysus and a Satyr.-The groups of Graeco-Roman date which represent a more or less intoxicated Dionysus accompanied by a young satyr are the subject of a. study by ALDA LEVI in Ausonia, IX, 1919, pp. 53-64 (pl.; 2 figs.). A group of this type in the Museo Archeologico of Venice, distinguished by the harmony of its composition, is Praxitelean in its lines, while its expressiveness is suggestive of Scopas (Fig. 5). It is compared with similar groups in the Museo Chiaromonti and in Alexandria. In a number of other similar groups the figures are modified in the direction of Hellenistic taste, the Dionysus becoming more grossly intoxicated, the satyr more animal. The transformation of the satyr type indicates that the original could not have been the famous satyr of the group by Praxite'es described by Pliny (N.H. XXXIV, 69), since later artists would hardly have ventured to take liberties with a type so celebrated.

Iconographic Miscellanies.-In Röm. Mitt. XXXII, 1917, pp. 118-146. (pl.), M. BIEBER discusses the busts of Socrates. The pseudo-Seneca, according to her, really represents Aristophanes. The relief found in the olive orchard of the Cephisus plain in 1840 (Conze, Att. Grabrel. IV, pp. 8 ff.) represents an oil merchant and his family and is to be dated in the first century B.C.

VASES AND PAINTING

Plastic Vases. A vase in Munich, a red-figured cup supported by a plastic group representing a negro boy seized by a crocodile, is the occasion of a detailed study of Greek plastic vases by E. BUSCHOR in Mün. Jb. Bild. K. XI, 1919, pp. 1-43 (4 pls.; 60 figs.). The type exemplified by the cup in Munich and by one in Boston is of fifth century origin, the plastic group showing an effective and well unified composition mainly in one plane. A well-defined variant of this type appears in several fourth century vases of Italian origin, in which the group is more complicated but less dramatic than in the earlier type. Hellenistic art develops a radical reconstruction of the motive, with characteristic tridimensional composition: one of the negro's feet is caught in the jaws of the crocodile, and the crocodile's tail encircles the negro's neck. The whole class of plastic vases, seemingly so alien to the spirit of Greek art, has its origin in a group of small plastic lecythi of the seventh century, the forms of which were derived from an Egyptian or oriental source. The finest of the small plastic lecythi are of Proto-Corinthian style. Plastic forms make their appearance in Attic pottery after 540 B.C., and are continued in the fifth century in a series of oenochoae in the shape of female heads. In the sixth century cups of plastic form began also to be manufactured: sometimes with one handle, e.g., a fine negro head in Boston, but more often an adaptation of the cantharus shape. Animal as well as human heads early find a place in the répertoire of the plastic artist: the mule's head and ram's head in Boston, shaped as one-handled cups, are examples. Many novel plastic types appear in the fifth century; and the crocodile group of the Munich and Boston vases is to be attributed to the pottery of Sotades, who experimented in plastic forms. The fine Sphinx cup and the astragalus of the British Museum are also works of Sotades. The name rhyton frequently given to these elaborate plastic cups is improperly applied. The rhyton was a cup in the shape of a horn, with an orifice at the lower end. It sometimes had plastic ornament, but is not to be confused with the type to which the crocodile vases belong. A study of the representation of negroes in vase-painting as well as in plastic form shows that the Ionians were the intermediaries in the transference of this type from Egypt to Athenian art.

A Marriage Procession on a Red-figured Crater.-In Ausonia, IX, 1919, pp. 65-75 (pl.; 3 figs.) ANTONIO MINTO discusses a severe red-figured fragment in the Museo Archeologico of Florence, showing a bride conducted by the bridegroom and followed by a young woman carrying a vase and a box; a boy holding a patera; and a woman with two torches. The objects carried by the young women and the boy have reference to ceremonies on the reception of the bride at her husband's house. The vase is attributed to Hieron (Macron) or an imitator.

The Jason Vase from Cerveteri.-In Rend. Acc. Lincei, XXIX, 1920, pp.. 52-64 (3 figs.) PERICLE DUCATI discusses a well-known red-figured vasepainting, in the severe style, depicting an Argonautic scene, unknown to us through literary tradition, where Jason is either being devoured by the monster that guarded the golden fleece or is being vomited forth by it. Athena, standing by, takes the place of Medea in this form of the story. The attitude of Athena as a deeply interested observer and the collation of a Felsinean cyathus