4 EARLY GREEK GAMES AND PRIZES. 
found human disjecta membra in high relief, such as the fragment of a 
left forearm holding a horn, and not a pointed vase, as Dr. Evans 
thought. Here the muscles are well indicated, though the veins are 
exaggerated. This fragment may well be a part of the same bull- 
grappling scenes as those in the frescoes, as also the life-like image of 
a bull, the details of whose head, mouth, eyes, and nostrils are full of 
expression, and whose muscles are perfectly indicated. 
» When compared with the monuments described, the similarity of 
‘details on the design of the Vapheio cups ornamented in repoussé, 
the ‘‘most splendid specimens known of the work of the Minoan gold- 
smith,’? never again equalled until the Italian Renaissance, makes it 
more than possible that here again we have scenes of bull-grappl ng 
rather than of bull-hunting. On one cup is represented a quiet pas- 
toral scene—a man tying the legs of a bull with a rope, while two other 
bulls stand near, amicably licking one another, and a third 1s quietly 
grazing. On the other, however, are represented scenes of a very 
different character. In the centre is a furious bull entangled in a net, 
which is fastened to a tree; to the left a figure, doubtless a woman, 1s 
holding on to a bull’s head, while a man has fallen on his head beside 
the animal, both man and woman being dressed in the Cretan fashion. 
A third bull rushes furiously by to the right. Most commentators 
have seen bu l-hunting scenes on both these cups. ‘Thus,on the first 
cup were represented three scenes in the drama of trapping a bull by 
means of a tame decoy cow; to the right the bull is starting to go to the 
rendezvous, while in the center the bull stands by the cow’s side and to 
the left he is finally trapped and tied.? On the other cup the furious 
animal at the left was supposed to have thrown one hunter and to have 
caught another on itshorns. But Mosso’s interpretation of this design 
seems to be the right one.’ The two persons struggling with the bull 

1See Mosso, of. cit., p. 221, fig. 101; B. S. 4., VII, 1900-01, p. 88. 
*Hall, Aegean Archeology, pp. 55-6. Though discovered in 1889 in a bee-hive tomb near 
Sparta, these famous cups are obviously importations from Crete, the work of an artist of the late 
Minoan I period. Similarly, the lion-hunt on the dagger-blade from Mycenz is akin to Cretan 
art, if not its product. These cups have been often pictured: ¢. g., Arch. Eph., 1889, Pl. 1X; 
Schuchhardt, Pl. III (App., pp. 350 f.); B. C. H., IV, 1891, Pls. XI—XHI (in color), XIII-XIV; 
Tsountas-Manatt, op. cit., pp. 227-8, figs. 113-114; Perrot-Chipiez, VI, Pl. XV (in color) and pp. 
786-7, figs. 369-370; H. B. Walters, op. cit., Pl. V; Mosso, of. cit., pp. 223 f., figs. 103, a, b, and 104, 
a, b,c; Hall, op. cit., Pl. XV. 1, and cf. id., Ancient History of the Near East, pp. 54-5, n. 1; 
Server Michaelis, pp. 104-5, oe 230 a, b; J. H. Breasted, Ancient Times, 1916, fig. 140, Opp. 
p. 234. . 
’This interpretation of the scene has'been compared with the design of a lion and goat on the 
short sword-blade from the chieftain’s grave at Knossos: see Burrows, of. cit., p. 88 and cf. pp. 
136-7. Here there are two successive scenes; first the agrimi (wild goat) is startled and springs 
away; then the lion is represented triumphant at the end of the chase with one paw on the beast’s 
hind quarter and the other raised to strike: see Evans, Prehistoric Tombs of Knossos, 1906, p. 57, 
fig. 59; cf. also bronze inlaid dagger-blade from Mycene, showing hunting scenes on each face; 
Perrot-Chipiez, VI, Pl. XVII, 1 (panther hunting wild ducks, in color), XVIII, 3-4, (lion-hunt by 
men and lions chasing gazelles, in color); cf. Tsountas-Manatt, of. cit., pp. 200-2; Springer- 
Michaelis, Pl. V, 2a, b, 3; Schuchhardt, op. cit., p. 229, fig. 227; cf. Burrows, op. cit., p. 136. 
40. cit., pp. 224-5. 
