2. The most remarkable, perhaps, in themselves, of all the objects discovered at Hissarlik, were the two elaborate head-dresses of gold, which for the first time enabled us to construe, with reasonable confidence, the entire passage in the Iliad (XXII. 468-72), which describes the head-dress cast away by Andromachè in the agony of her grief. The print will not have been forgotten, which exhibits the _plektè anadesmè_.[9] It was a series of gold plaits, hanging down, over the forehead and the ears, from the broad band (_ampūx_) which ran round the head, and which constituted as it were the base of the ornament. With these objects, and with the Poems, Schliemann associates, incontestably as it would appear, the ornament No. 357 (p. 248); a band or frontlet adorned "with rosettes and crosses. It has two perforations in the rim, a little way from either end, from one of which is still hanging the fragment of a very fine chain." The only variation in the fashion of the thing seems to be, that the plaits have not been continued over the forehead. 3. Hissarlik did nothing for us towards explaining the _kredemnon_; an article of head-dress worn by many or some women of the heroic age, who could not add to it the splendid decorations then reserved for princesses. But the definitions of this commodity are supplied for us by the Poems, piecemeal indeed, yet with adequate clearness. In the first place, it crowned the head like the battlements of a walled city; for the destruction of the walls of Troy is described as the ruin of its sacred _kredemna_ (_Il._ XVI. 100). It was not, however, a metallic or solid object; for the deified Ino, to save Odysseus from the fury of the storm, throws to him her own _kredemnon_ and bids him bind it round his chest (_Od._ V. 346). It used to be made of delicate and glossy material (_Od._ I. 334), and was worthy even to be a marriage gift from Aphroditè to the bride of Hector (_Il._ XXII. 470). But finally, it had a long wing, tail, or lappet (I am not skilled or confident in this vocabulary), descending from behind, perhaps more than one. This is shown indirectly, but I think conclusively, by the information given us in _Od._ VI. 100, that the handmaidens of Nausicaä, when about to play at ball, first put away their kredemna, evidently lest the free movement of their arms should be embarrassed by the long lappets. Again, it is evident that Penelopè, when she used her _kredemna_ to cover her face, brought the lappets round and employed them as a veil; on any other ground the use of the plural can hardly be explained (_Od._ I. 334). And now this part of the prehistoric lady's toilette is as complete as I can make it from the Poems.