In its artistic character the “cup of Præneste” claims a high place among the works of art probably or certainly assignable to the Phoenicians. The relief is high; the forms, especially the animal ones, are spirited and well-proportioned. The horses are especially good. As M. Clermont-Ganneau says, “their forms and their movements are indicated with a great deal of precision and truth.”[786] They show also a fair amount of variety; they stand, they walk, they trot, they gallop at full speed, always truthfully and naturally. The stag, the hare, and the dog are likewise well portrayed; the ape has less merit; he is too human, too like a mere unkempt savage. The human forms are about upon a par with those of the Assyrians and Egyptians, which have evidently served for their models, the Assyrian for the outer zone, the Egyptian for the medallion. The encircling snake, as already observed, is a masterpiece. There is no better drawing in any of the other _pateræ_. At best they equal, they certainly do not surpass, the Prænestine specimen. The intaglios of the Phoenicians are either on cylinders or on gems, and can rarely be distinguished, unless they are accompanied by an inscription, from the similar objects obtained in such abundance from Babylonia and Assyria. They reproduce, with scarcely any variation, the mythological figures and emblems native to those countries--the forms of gods and priests, of spirits of good and evil, of kings contending with lions, of sacred trees, winged circles, and the like--scarcely ever introducing any novelty. The greater number of the cylinders are very rudely cut. They have been worked simply by means of a splinter of obsidian,[787] and are barbarous in execution, though interesting to the student of archaic art. The subjoined are specimens. No. 1 represents a four-winged genius of the Assyrian type, bearded, and clad in a short tunic and a long robe, seizing with either hand a winged griffin, or spirit of evil, and reducing them to subjection. In the field, towards the two upper corners, are the same four Phoenician characters, twice repeated; they designate, no doubt, the owner of the cylinder, which he probably used as a seal, and are read as _Harkhu_.[788] No. 2, which is better cut than No. 1, represents a king of the Persian (Achæmenian) type,[789] who stands between two rampant lions, and seizes each by the forelock. Behind the second lion is a sacred tree of a type that is not uncommon; and behind the tree is an inscription, which has been read as _l’Baletân_--i.e. “(the seal) of Baletan.”[790] This cylinder was found recently in the Lebanon.[791] Nos. 3 and 4 come from Salamis in Cyprus, where they were found by M. Alexandre Di Cesnola,[792] the brother of the General. No. 3 represents a robed figure holding two nondescript animals by the hind legs; the creatures writhe in his grasp, and turn their heads towards him, as though wishing to bite. The remainder of