Tiberius in 10 A.D. reconsecrated to Concordia Augusta1 the venerable temple of Concordia which he had rebuilt on the south slopes of the Capitoline. Tiberius's desire to emphasize his harmonious relations first with Augustus and later with his mother Livia provided a special motive for the cult of the goddess. It was with reference to the latter relationship that the building of Eumachia at Pompeii was consecrated about 22 A.D.3-before the break between mother and son-to Concordia Augusta and Pietas. Still given the many irregularities in the type, and the absence of early imperial representations of Concordia Augusta, I should not feel inclined to urge this identification if it did not provide at least a partial explanation for the figures grouped about the goddess on the altar from Caere. The attitude of entreaty evident in the three women on the left may well represent a prayer to the goddess of Concord to effect a reconcilation between the two men on the right. The relation of the third man to the scene must, however, remain an enigma. There is very possibly a reference to some particular event with which we are not familiar.5 1 Cf. Fasti Praenestini, C.I.L. 12, p. '308. There is no adequate reason to justify the doubts that have often been expressed about this date. Cf. Heinen, Klio, 1911, p. 173. 2 The cult statue seems to have had a laurel crown. Cf. Ovid, Fasti, VI, 91 f. This feature is also found on a republican coin. Cf. Grueber, op. cit. I, p. 492. Mau-Kelsey, Pompeii, its Life and Art2, pp. 110 ff., has shown that since the building was decorated in the third Pompeian style it cannot, as has formerly been supposed, have dated from the reign of Nero. Mau has strong arguments to support his dating of the building about 22 A.D. Livia's special relation to Concordia is evident from the fact that she dedicated a shrine to the goddess in the Porticus Livia in 7 B.C. (Ovid, Fasti, VI, 637). It is possible that the goddess on our altar whose face is unfortunately obliterated had the features of Livia. The veiled head common in Livia's portraits and the fact that she is known to have been identified with the other abstractions, Pietas, Iustitia, and Salus, favor the view, even though there is no certain instance of her representation as Concordia. Mau (op. cit. p. 112) believed that the headless statue of Concordia Augusta (a standing figure with cornucopia), found in the building of Eumachia, had the features of Livia. Perhaps the same is true of the much mutilated bust of a female figure with cornucopia on the fountain relief at the entrance to the same building in Abbondanza Street (Mau, op. cit. fig. 50, p. 117). This head, the mistaken identification of which with Abundantia gave the modern name to the street, is almost certainly Concordia. But the relief is too much damaged and the criteria for Livia's portraits are too uncertain to enable us to reach any conclusion. 'Cavedoni, Bull. dell'Inst. 1859, pp. 172-174, who alone has favored the In any case whether the goddess on the rear is Concordia or Fortuna, this altar from Caere is an important early imperial monument of the cult of the Lares Augusti and of the Genius of the Emperor another testimony to add to the constantly increasing volume of evidence for the hold which the imperial cult speedily acquired among the old Italic stock. VASSAR COLLEGE, POUGHKEEPSIE, N. Y. L. R. TAYLOR. identification of the goddess with Concordia, suggested that the two men might have the relation of debtor and creditor. The third man, he thought, might be Manlius. 1921 January-June ARCHAEOLOGICAL DISCUSSIONS1 SUMMARIES OF ORIGINAL ARTICLES CHIEFLY IN CURRENT PUBLICATIONS SIDNEY N. DEANE, Editor Smith College, Northampton, Mass. GENERAL AND MISCELLANEOUS Archaeological Interpretation. In a recent book entitled Archäologische Hermeneutik (Berlin, 1919, Weidmann; 432 pp.; 298 figs.; 4to.) CARL ROBERT gives a detailed and thoroughly illustrated exposition of archaeological method in the interpretation of ancient monuments. After an introductory chapter on "Seeing, Drawing, and Describing," he deals with the identification of figures and with interpretation based on the representation alone, on the myth represented, on literary sources, and on other monuments; on the installation of the work in question, on its milieu, pendants, and provenance. There are chapters on the reconstruction from monuments of myths not recorded in literature, on deceptive sources, on restorations and forgeries, on the reconstruction of fragmentary works, and on falsely interpreted, uninterpreted, and uninterpretable monuments. Coin Hoards. In an essay entitled Coin Hoards (Numismatic Notes and Monographs, No. 1; New York, 1920, American Numismatic Society; 47 pp.; 6 figs.; 12mo.) SYDNEY P. NOE discusses the economic conditions and personal motives which lead to the hoarding and burying of coins; the laws which govern proprietorship in finds of coins; the condition of coins found in such hoards; and their archaeological and historical importance. Several famous hoards are described. Palaeolithic Art compared with Aegean Art.-In Mitt. Anth. Ges. XLV, 1915, pp. 141-161 (34 figs.) J. SZOMBATHY, after outlining the culmination and the successive stages of decay of Minoan-Mycenaean art applies the implications of this gradual decline to the study of the prehistoric art of central and Western Europe. The spiral motive, which, as it is found in Mediterranean art is to be traced through the Aegean civilization to Egypt, occurs in its first development on the neolithic pottery found at Butmir near Serajevo, and on other contemporary sites of Central and Western Europe, but later undergoes 1 The departments of Archaeological News and Discussions and of Bibliography of Archae ological Books are conducted by Professor DEANE, Editor-in-charge, assisted by Professor SAMUEL E. BASSETT, Professor C. N. BROWN, Miss MARY H. BUCKINGHAM, Dr. T. A. BUENGER, Professor HAROLD R. HASTINGS, Professor ELMER T. MERRILL, Professor LEWIS B. PATON, Professor A. S. PEASE, Professor S. B. PLATNER, Professor JOHN C. ROLFE, Dr. JOHN SHAPLEY, Professor A. L. WHEELER and the Editors, especially Professor BATES. No attempt is made to include in this number of the JOURNAL material published after June 30, 1921. For an explanation of the abbreviations, see pp. 108-109. degeneration. With the spread of Mycenaean influence another wave of spiral decoration passed over all Europe. Other decorative motives are transmitted in a decadent form from the Aegean to Central European works which are to be dated as late as the middle of the first millennium B.C. Turning to the consideration of palaeolithic art in Europe, the author finds that in its earliest period, about 35,000 B.C. it produced some skilful plastic representations. Relief and painting were of somewhat later origin; and both relief and drawing show a gradual decay due to stylization and conventionalization. The art of the Aurignac period is of higher quality than that of succeeding periods, which show a decline analogous to that of late Aegean art. We must assume that the earliest known phase of palaeolithic art was preceded by long stages of development, the unknown products of which are the "missing links" of cultural evolution. Children's Drawings and Primitive Art.-In a dissertation entitled Physioplastiek bij Kinderen (64 pp.; 8 figs.; Zeist, 1921, J. Ploegsma) H. P. J. KOENEN discusses children's drawings from the standpoint of experimental psychology, and compares them with the drawings of primitive man. The Continuity of Prehistoric Culture.-In R. Arch., fifth series, VI, 1917, pp. 286-293, S. REINACH gives a detailed summary of an address delivered by Sir ARTHUR EVANS at the Meeting of the British Association for the Advancement of Science held at Newcastle in 1916. The evidence for civilization in the quaternary period, for its wide spread and its continuation, is given, and the view is advanced that this early civilization actually continued to exist in such measure that the Minoan civilization may be regarded as its lineal descendant after the lapse of several thousand years. This conclusion is not fully accepted by Mr. Reinach. The Celts. In R. Arch., fifth series, VIII, 1918, pp. 74-109, LÉoN JOULIN gives a sketch of the history and civilization of the Celts from the earliest times until they were conquered by the Romans and the Germans. Literary and archaeological sources are separately examined and combined. A bibliography is appended. The Copper Age in the Northern Caucasus.-In R. Arch., fifth series, XII, 1920, pp. 1-37 (pl.; 25 figs.), M. ROSTOVZEV describes in some detail four Kourganes (one at Maëkop, two at Tsarskaïa, one at Oul) and their contents. He shows that the objects found in these tombs of the Northern Caucasus belong to the same period as Elamite and Egyptian objects of the Copper Age. They resemble also objects found at Troy, but are earlier. To the previously known centres of Bronze Age civilization in the East-Turkestan, Elam, Mesopotamia, Egypt-which exhibit an animal style developed in the decoration of common objects and a rich development of artistic activity in general, another is thus added-the Northern Caucasus. Here progress was native, not the result of importations, and was continued in the Bronze Age. Mycenaean influence is not found. Hittite analogies are interesting, and Caucasian influences upon the Hittites is more likely than Hittite influence upon the Caucasus. This early Caucasian civilization undoubtedly influenced the regions further north. Ibid. pp. 112-114 is a summary of two articles and a series of lectures by Professor Rostovzev on archaeological research in Southern Russia. A Gandara Relief.-In Ber. Kunsts. XLII, 1921, pp. 51-54 (3 figs.) A. GRÜNEWALD identifies as Vāta, the wind-god, a figure in a Gandara relief be |