Several gold rings of Egyptian workmanship, excavated in tombs at Enkomi, Cyprus, date back to the time of the Middle Empire in Egypt. One in pale gold, now in the British Museum, has a flat oval bezel, inscribed “Maāt, the golden one of the two lands.” This belongs to the period from the XIX to the XXI Dynasty (or approximately from 1350 to 1000 B.C.). A ring found on the surface of the ground is of electrum and very massive, and is engraved with a draped figure seated on a throne, to whom approaches another figure clothed with a lion’s skin and wearing on the head a disk and horns; a lion walking is in the exergue, and the sun’s disk is above the two figures. This is believed to belong to the late XVIII Dynasty, toward 1400 B.C. A thin, rounded hoop of pale gold, the ends of which are twisted round each other, and a rounded hoop of yellow gold engraved with four uræi, are two other examples in the British Museum of the rings from Enkomi. A massive silver ring from the same place has a large oval bezel with the following names and titles inscribed in Egyptian hieroglyphics: Rā-Heru-Khuti, Rā]-Kheperu Nefer, Meri-Rā, Ptah-neb-nut-maāt.[9] The Cypriot gold ornaments which these rings help to date are considered to be essentially contemporary with those from the tombs in the lower town of Mycenæ, the period being approximately 1300–1100 B.C., possibly some years earlier or later. A beautifully worked, perforated gold ring, set with a scarab of carnelian, was found in Cyprus and is now in the Konstantinidis Collection at Nicosia. The workmanship as well as the style of the setting indicates that it was produced in the sixth century B.C. Engraved on the carnelian is a fabulous monster, somewhat resembling a chimæra, half lion, half boar.[10] Another ring of the same period from Marion-Arsinoë, Cyprus, has a silver hoop, and is set with a flat scaraboid, engraved with a female figure kneeling. One of the largest Mycenæan rings shows a goddess seated near a tree, and worshippers approaching to do her homage. Others offer various devices: an altar with worshippers; a griffin and a seated divinity; a pair of sphinxes; griffins, bulls’ heads, etc., in heraldic ordering.[11] Here we have early Greek art transforming and adapting Oriental forms of metal engraving, to be succeeded, more than five centuries later, by the great gem-engravings of the palmy days of the art of Ionia and Greece.