Ancient Cyprus in the British Museum | 1

The short notice which was given for this conference and its
rather informal character dictated a topic for my paper which
would not need long and specialized research, but simply
reminiscences and general remarks. This is also in perfect
harmony with my present-day interests, which focus largely on
the past and the future of Cypriote archaeology, with which I
have been connected for over half a century. Now is the
appropriate time for such reflections.
1
The older generation of
Cypriote specialists is depleted and gradually disappearing.
Many of us have left the field of excavations and we confine
ourselves mainly to excavations in museum storerooms and
libraries. Actual excavations have become too costly for many
institutions and this is having a serious impact on field
archaeology. There is something good in all of this, since it
gives us all ample time to pay off old debts by publishing our
excavations.
To come back to London, to the British Museum, it is first
and foremost a very pleasant duty to participate in a conference
in honour of Veronica Tatton-Brown, a demonstration of
affection and high esteem for a person who has helped all of us
on many occasions in our research. I know how tedious it is,
when you work in a museum, to have to answer letters from
many colleagues who are eager to have information and who
almost expect you to do part of their research for them.
Veronica performed this duty with patience, generosity and
good humour, for which we are all very grateful. In my case I
am paying back a small part of her generosity manifested in
April 1988, when she organized a very successful international
colloquium in the British Museum, entitled Cyprus and the East
Mediterranean in the Iron Age, the proceedings of which she
edited in 1989.
2
This colloquium was linked to the opening of
the A.G. Leventis Gallery of Cypriot antiquities in the British
Museum and on the occasion of my retirement, a few months
after the colloquium, from my post as Director of the
Department of Antiquities of Cyprus. I still have very fond
memories of that colloquium and all the support and affection
expressed by the Keeper, Brian F. Cook.
3
I hope you do not mind if I put a rather personal touch on
my reminiscences and thoughts which I will express in this
anecdotal account. The spinning of my own archaeological fate
started in Bloomsbury. Following the advice of Joan du Plat
Taylor, Librarian at the Institute of Archaeology, to the Director
of the Cyprus Department of Antiquities, A.H.S. Megaw, I was
sent to study Classics at University College, London, holding a
scholarship from the Cyprus Government. The choice was
made not only on account of the high academic record of
University College, but also because of the very important
facilities offered by the Institute of Archaeology for practical
training in the field (such as excavation methods, under that
famous guru, Sir Mortimer Wheeler, and conservation of
objects). Another fact which weighed the decision in favour of
London was the presence of the British Museum, which housed
one of the largest collections of Cypriote antiquities outside of
Cyprus. As I found out later, when I became Director of the
Department of Antiquities and had access to my confidential
personal file, another reason was the necessity to have a
guardian, in the person of Joan du Plat Taylor. I was then 19
and perhaps Megaw was right, I needed a guardian in London.
The above personal account is no doubt relevant to my
topic, as it may explain some of my attitudes as an
archaeologist who has been involved with Cypriote
archaeology for more than half a century, 27 years of which as
Director of the Department of Antiquities, during which time I
must have had an influence, good or bad, on the development
of Cypriote archaeology. I have now had the opportunity to
describe my student days in London in my memoirs published
in 2007.
4
I did not, of course, have the opportunity to learn
much about Cypriote archaeology, but University College
offered me a good, basic archaeological training. The
encounters with Sir Mortimer Wheeler, especially in the
summer schools for field work at St Albans organized by the
Institute of Archaeology, had an unforgettable impact on me.
My visits to the British Museum were very frequent, after
the first year of my studies. I remember the kindness and
paternal interest of Professor Bernard Ashmole, that great
classical archaeologist and humanist, who once took me round
the storerooms of the museum himself, asking me questions
about the style of Cypriote sculpture, as if my Cypriote
nationality gave me the right to have any views about the
ancient art of Cyprus. The Cypriote collections in the British
Museum, both those on exhibition in various galleries of the
museum, mainly in the section of Aegean art and in the special
gallery on Greek and Roman art and life, but also those in the
dusty, dark and cold storerooms, made a great impression on
me. The Mycenaean vases of the Pictorial Style as well as the
ivories, bronzes and gold jewellery from the Late Bronze Age
tombs of Enkomi, Maroni and other Late Bronze Age
cemeteries, were far superior to anything else from the rest of
the Aegean itself in the British Museum collection. It is not
surprising that when I came back to my university studies in
1952 and embarked on my research for a doctoral dissertation, I
chose as a topic the Mycenaean vases of the Pictorial Style.
5
I never miss an opportunity to mention an interesting story
with regard to the Mycenaean vases of the pictorial style which
are now in the British Museum. While working for my doctoral
dissertation in the early 1950s, I came across a number of
sherds from an open crater which were found by the American
Mission at Kourion in 1939 and were kept in the Cyprus
Museum.
6
They belonged to a fragmentary crater which was
found at Kourion during the excavations funded by the Turner
Bequest in 1895
7
(Fig. 1). On a visit to London I took the
fragments which belonged to the Cyprus crater with me and
Cypriote Archaeology in the Bloomsbury Area
Vassos Karageorghis
2 | Ancient Cyprus in the British Museum
Karageorghis
we agreed with Professor Bernard Ashmole, Keeper of the
Greek and Roman Department, that they should be fitted onto
the fragmentary crater in the British Museum for new
photographs. All the fragments fitted perfectly and I personally
was very excited, but I never thought that this would create a
major headache for Professor Ashmole. The problem was what
to do with the new crater. He explained to me that he could not
give the fragmentary crater, which belonged to the British
Museum, to Cyprus because it needed an act of Parliament to
give away national property and I am sure he was thinking also
of the problem with the Elgin Marbles. I observed that there
was the same difficulty with us. The following day he came up
with a solution: the workshop of the British Museum would
make one crater of plaster and paint on it the fragments of the
Cyprus Museum. This would stay in the British Museum.
Another crater of plaster would have the actual fragments of
the Cyprus Museum and those of the British Museum were to
be painted on it.
We thus had two vases, partly of plaster and partly of
original sherds. I traveled back to Cyprus with the one which
included our own fragments. Years later, around 1968, I had
the honour and pleasure of taking Sir Mortimer Wheeler, my
own teacher and a Trustee of the British Museum, and Sir John
Wolfenden, Director of the British Museum, round the Cyprus
Museum. I told them in every detail the story about this crater;
they looked at one another and proposed a perfect solution: the
British Museum would give us their fragmentary crater on
indefinite loan.
8
We received this the following year and all the
fragments are now reunited and the crater is now on exhibition
in the Cyprus Museum. Both parties were happy. In return, the
Cyprus government provided an important object on similar
terms, a Hellenistic jug inscribed with a dedication in
alphabetic Greek from the Sanctuary of the Nymphs at Kafizin
(Fig. 2).
9
Could this serve as a precedent for other similar
problems?
So much for myself. During my student days interest in the
archaeology of Cyprus was rather limited. The only person
who still showed keen interest in what was going on in this
field was Joan du Plat Taylor. Her position as Librarian at the
Institute of Archaeology did not involve any teaching, but she
was recognized by all as a Cypriote specialist because of her
excavations in Cyprus and also her work on the classification of
the collections of the Cyprus Museum in Nicosia. She never
missed an opportunity to keep the Institutes library well
equipped with publications on Cypriote archaeology.
References to Cyprus were made from time to time by my
teachers at University College, but only with regard to the
Aegean, a tradition which was deeply rooted in British
archaeological scholarship.
This tradition had already started by the end of the 19th
century when British scholars started extensive excavations in
Cyprus, beginning with the Cyprus Exploration Fund from
1888 and later the Turner Bequest excavations of the British
Museum between 1893 and 1896. The Turner Bequest
excavations were established with a generous grant from Miss
Emma Turner, in order to investigate the archaeology of the
newly acquired British territory.
10
These excavations were
directed by individuals such as Alexander Murray, the Keeper
of the Greek and Roman Department, his assistants Arthur
Smith and Henry Walters, and the Oxford scholar John Myres.
They looked at Cyprus as part of the Aegean world, which they
knew well, and for them excavating in the island was a unique
opportunity to explore the archaeology of this new British
territory and, if possible, to vie with the discoveries of
Schliemann in Troy, Mycenae and Tiryns.
11
This mentality
continued as late as the 20th century in the British Museum. In
a recently published book on the history of the British Museum,
it is clearly stated that the Turner Bequest initiated a series of
excavations in Cyprus since it was one of the few areas of the
classical world in which it was now possible to excavate and
Figure 1 Mycenaean Pictorial Style vases from the British Museum excavations at Kourion in 1895 (BM Vase C338 and C391), after A.S. Murray et al., Excavations
in Cyprus (London, 1900), 73. figs 126127
Ancient Cyprus in the British Museum | 3
Cypriote Archaeology in the Bloomsbury Area
acquire material under license from the Government.
12
The Classical education of these early excavators in Cyprus
no doubt dictated their particular interests. In choosing areas
for excavations in Cyprus they opted for those sites which they
knew from ancient Greek literature, such as Salamis (they
thought that Enkomi was part of Salamis), Palaepaphos,
Kourion and Amathus.
13
It is not surprising that their finds were
taken to the Greek and Roman Department of the British
Museum and not to what was then the Department of Western
Asiatic Antiquities. This phenomenon also has a parallel in the
Metropolitan Museum of Art, New York, but not in the Louvre,
where initial interest in Cypriote archaeology was shown by
Orientalists.
14
The Greek bias of the early British excavators is
also seen in their preliminary reports. They interpreted the
material remains of ancient Cypriote culture either as Aegean
or Greek on the one hand or Phoenician on the other, more or
less ignoring the indigenous culture. Almost everything Late
Bronze Age was regarded as Mycenaean. However, one major
benefit as a result of this was the beginning of a proper
chronology for the Late Bronze Age in Cyprus, based on the
evidence of Mycenaean pottery.
15
The connection of
Mycenaean pottery, however, with a Mycenaean colonization
of Cyprus in the Late Bronze Age became predominant in the
evaluation of Cypriote culture during this period and this was
followed and enhanced by the later studies of John Myres, who
became the principal specialist on Cyprus in the early years of
the 20th century.
This attitude towards the character of ancient Cypriote
culture resulted in the fragmented way it was represented in
the galleries of the British Museum. Much prominence was
given to Mycenaean pottery and all the artefacts which were
even remotely related to Mycenaean art, or to those items of
the Iron Age which had a direct or indirect relation to Greek
art. These were exhibited in the relevant galleries of the
museum: Iron Age vases of the pictorial style found their place
in the gallery of Greek and Roman life, together with terracotta
figurines illustrating everyday life, such as clay models of boats
from Amathus, representations of musicians and so on.
16
Such was the situation with the rich collections of ancient
Cypriote art in the British Museum until the mid-1980s, when a
British classical scholar and a great philhellene, Sir David
Hunt, who served as the first British High Commissioner in
Cyprus after the Islands independence in 1960, asked
Constantine Leventis for help fund the establishment of a
gallery of Cypriote antiquities in the British Museum. The idea
was novel and hardly palatable to the authorities in Cyprus
during the euphoric atmosphere that prevailed at the time. I
remember how angry the then Minister responsible for
antiquities in Cyprus was upon receiving the news about a
large donation to the British Museum to establish a gallery
exhibiting Cypriote artefacts; his wish (shared by many others)
was that we should claim the return of these antiquities,
irrespective of the fact that there was no international law or
agreement which could make such a restitution feasible.
Gradually the decision of the A.G. Leventis Foundation to
finance the creation of a Cypriote gallery in the British
Museum was correctly understood. In December 1987, the
gallery was inaugurated in the presence of the Duke of
Gloucester; the then Minister and the present author, as
Director of the Cyprus Department of Antiquities, represented
the government of the Republic of Cyprus.
The new A.G. Leventis Gallery of Cypriot Antiquities is the
first named gallery of its kind in the British Museum and
initiated the far-sighted, ongoing project of the Leventis
Foundation to publicize the collections of Cypriote antiquities
in the major museums of Europe and North America.
17
This
gallery was conceived with great consideration for modern
museological requirements, with regard to aesthetics as well as
didactic purposes. There is a broad range among the exhibits
covering all aspects of Cypriote art, from the Neolithic to the
Figure 2 Vassos Karageorghis addressing the meeting in the Library of the Cyprus Museum at which British Museum Vase C391 was transferred to the Cyprus
Museum on indefinite loan.
4 | Ancient Cyprus in the British Museum
Karageorghis
Roman period, and illustrating many aspects of Cypriote
culture (such as religion, economy, foreign relations, social
structure, and coinage). The gallery owes much to the hard
work and expertise of Veronica Tatton-Brown. Although some
760 objects are exhibited in the A.G. Leventis gallery, many
Cypriote items are exhibited elsewhere in the Museum, such as
the Mycenaean and Minoan pottery found on Cyprus which is
on display in the gallery of Aegean prehistory alongside the
impressive jewellery and other finds from Tomb 93 of the
Turner Bequest excavations at Enkomi. The collections in the
A.G. Leventis Gallery of the British Museum do not appeal only
to the general public, but they are also cherished by the huge
Cypriote community in the London area, which takes
particular pride in learning first-hand about its cultural
heritage.
The creation of the new A.G. Leventis Gallery also provided
the opportunity for the Greek and Roman Department of the
British Museum to bring order to the vast collections in the
storerooms. This was undertaken by Veronica, and the result
was miraculous. One can now see and study all the tomb
groups from the Late Bronze Age and Iron Age cemeteries, the
terracottas and sculptures from the various sanctuaries and so
on. There are separate storage places for ivories and bronzes.
This is a great service to all of us who often bother the staff of
the Department for information, photos and the like.
Veronicas own contribution to the study of Cypriote
sculpture is of capital importance. With her doctoral
dissertation on the limestone sarcophagi of Amathus and
Golgoi, now in the Metropolitan Museum of Art, New York, she
grasped the intricate problems of this aspect of ancient
Cypriote art, for which there are far fewer specialists than for
other topics, such as pottery.
18
She continued writing articles
about Cypriote sculpture throughout her time at the museum:
her article on the Cypriote gravestones of the Archaic and
Classical periods is of particular importance.
19
That she did not
find time to conclude her study on the sculptures from
Palaepaphos (excavated by a British mission in the 1950s), nor
to prepare her doctoral dissertation for publication is certainly
not her fault; she has given most of her time to helping others,
all of us, in our research, often neglecting her own.
Her interests of course are not confined only to sculpture.
She has a vast knowledge of Cypriote art and archaeology of
the Classical and Hellenistic periods, to which she has made
numerous important contributions both with articles and book
reviews:
20
she is universally considered as a Cypriote specialist.
During an international colloquium organized by the British
Museum in 1998 in memory of Olivier Masson, I pointed out in
very direct terms, as is often my habit, the duty of the Greek
and Roman Department of the British Museum to publish
adequate reports on the early excavations of the 1890s, as well
as provide modern catalogues of tomb assemblages and other
associated groups of objects such as sanctuary deposits
discovered during this period. These will help to supplement
the information which was published many decades ago in
catalogues of objects with regard to their material, but not by
the archaeological context in which they were found. I knew
there were adequate archives in the Department and that this
information should be saved and made available to scholars.
The A. G. Leventis Foundation encouraged my suggestion
financially and Veronica started working for the fulfillment of
this gigantic project. She had already produced an extremely
useful article which was published in the proceedings of the
1998 colloquium, in which she compiled an exhaustive list of all
the manuscripts and correspondence relating to the old
excavations of the British Museum in Cyprus.
21
A second major
article of hers relating to the same project, and more precisely
to the Enkomi tomb-groups in the British Museum, was been
published in volume 33 of the Cahier of the Centre dEtudes
Chypriotes in 2003.
22
These two articles, the products of hard
and systematic work, will be invaluable for those who will
participate in this ambitious project. There is much material
which needs cleaning and conservation, especially terracotta
figurines from the various sanctuaries excavated in the latter
half of the 19th century. Many objects, both from sanctuaries
and cemeteries, will be published for the first time. With the
completion of this project, Cypriote archaeology will be much
richer and the importance and awareness of the collections
from Cyprus in the British Museum will be greatly enhanced.
The above remarks do not in any way diminish the
importance of the existing catalogues of particular classes of
objects (pottery, stone sculpture, terracotta figurines,
jewellery, lamps and the like). But, as mentioned above, what is
needed is the publication of separate tomb groups, sanctuary
deposits and other identifiable contexts, with all the
information which can still be retrieved in each case.
23
Another important institution in the Bloomsbury area
which played a significant part in the development of Cypriote
archaeology, although indirectly, is the Institute of
Archaeology (formerly in Regents Park and now in Gordon
Square), to which several references were made earlier. My
memories of the Institute date back to the period just after the
war, when it was housed in the beautiful St Johns Lodge in
Regents Park. It would be too nostalgic to recall memories of
the lectures by Gordon Childe, Mortimer Wheeler and Max
Mallowan at that time. The Institute expanded its premises and
its academic pursuits when it was transferred to Gordon
Square. I visited its library and Conservation Laboratories as a
young archaeologist, only to realize how antiquated were the
methods of conservation which I learned in the late 1940s and
early 1950s. The Institute in Gordon Square covered a wide
spectrum of archaeological courses covering the Near East,
Egypt and Anatolia. It also became the best centre for training
students in all aspects of practical archaeology. A large number
of archaeologists now active in the field of Cypriote
archaeology received their training there.
In Gordon Square students had the opportunity to mingle.
The top floor was reserved for the Institute of Classical Studies
and thus, perhaps for the first time in the UK, Classical and
Near Eastern scholars could mix together and talk. The library
was common to both institutions and one could find books on
both the East and the West within the same building. Joan du
Plat Taylor continued to be the Librarian. I visited her every
time I was in London as a young practicing archaeologist, by
which time I was free from the complex that I had a guardian,
but I knew I had a good friend with whom I shared
reminiscences.
Gordon Square was a lively place where one could attend
public lectures of all kinds, and I had the honour to give some
of them on Cyprus. A scholar who left a great imprint in
Bloomsbury was the late Professor Emeritus, Nicolas
Ancient Cyprus in the British Museum | 5
Cypriote Archaeology in the Bloomsbury Area
Coldstream. As Yates Professor of Classical, Aegean and
Cypriote archaeology he revived the interest in Cypriote
archaeology, but in a different way from the archaeologists
from the British Museum working in the 1890s. He considered
the whole of the Mediterranean as a unified geographical area
for research and always had his eyes open to what was
happening in Cyprus and the East Mediterranean in general
and the interconnections between the Aegean, Cyprus and the
Levantine coast. Several young archaeologists had the fortune
to have him as supervisor of their doctoral research, on topics
directly or indirectly related to Cyprus.
24
It was with great
distress that we learned that after his retirement the Provost of
University College decided to abolish the Yates Chair which
Nicolas held and which had been graced over many decades by
some outstanding scholars. My view, which is still shared by
others of my contemporaries, is that that decision was wrong
and that University College, which is now expanding in size
and prestige, should think again of reviving the Yates Chair.
The College needs to show that it excels not only in Applied
Science, Law and Economics, but also in Classical, Aegean and
Cypriote Archaeology, and that it wishes to revive a tradition
which bestowed upon it great prestige.
I would like to mention another important contribution
made by the institutions in the Bloomsbury area to Cypriote
archaeology, through the Conservation Laboratories of the
British Museum and the Institute of Archaeology. I remember
very vividly the keen interest of the former Director of the
Conservation Laboratory of the British Museum, Dr M.
Plenderleith, in undertaking difficult cases of conservation of
works of ancient Cypriote art. In 1949 Claude F.A. Schaeffer
discovered at Enkomi, in Tomb FT1949/2, a magnificent silver
bowl with inlaid decoration in gold and niello, which is now in
the Cyprus Museum.
25
The bowl, which was in fragments at the
time of its discovery and was covered with a layer of green
corrosion because of its contact with bronze objects, was too
delicate to treat in Cyprus and was sent to Dr Plenderleith in
the British Museum. The result after treatment was the striking
and unique silver bowl inlaid with bucrania and lotus flowers
which has found its rightful place in the history of art of the
Late Bronze Age.
In 1962, in the excavation of the half-looted Tomb 2 of the
Salamis necropolis, we found a silver bowl in the built
chamber, which had not been seen by the tomb looters.
26
It was
a very delicate object and not much metal was preserved. We
could see that its heavily corroded inner surface was decorated
with engraved patterns. We sent it to Dr Hodges in the
laboratory of the Institute of Archaeology, who not only
cleaned and preserved this precious object but also sent us two
superb detailed drawings of the palimpsest engraved
decoration of this 7th-century silver bowl, prepared by the
competent services of the Institute of Archaeology. The
Conservation Laboratories of both the British Museum and the
Institute of Archaeology never failed to answer questions and
to give advice to the Cyprus Museum, and they also trained
some of the Cypriote conservators and archaeologists in the
field of conservation.
Another Department of the British Museum which had and
continues to have close links with Cypriote archaeology is the
Department of the Middle East (formerly Ancient Near East
and before that that Department of Western Asiatic
Antiquities). A great scholar who served as a Keeper in this
Department was Dr Richard Barnett, whose vast knowledge of
Mediterranean archaeology is well known. Not only did he
honour me with his friendship for a long period of time, but he
was for me a constant source of wise advice and valuable
information. He was directly involved with Cypriote antiquities
and wrote several important articles on Cypriote objects in the
British Museum, as well as visiting the island regularly.
27
His
successor as Keeper, John Curtis, and Dominique Collon
always reserved a warm welcome for visitors from Cyprus.
Dominique continues to write and advise us on Cypriote glyptic
art of the Late Bronze Age.
Although Cypriote archaeology does not have the same
high position in British universities which it had two or three
decades ago this is a general phenomenon in all universities
of Europe, mainly because of the bleak possibilities in the jobs
market there are still many opportunities in the Bloomsbury
area. The proposed scheme to create a large museum to shelter
all the collections of University College, the Panopticon,
particularly the Petrie Museum collection as well as other
important holdings, is certainly an initiative in the right
direction to continue the strong tradition of archaeological
study in the area. Further, in 2007, the Institute of Archaeology
opened its A.G. Leventis Gallery of Cypriot and Eastern
Mediterranean archaeology, which will aid future generations
of students and researchers. Finally, as the project of
publishing the Cypriote collection in the British Museum
progresses and our Foundation will support it as much as it
can Cypriote archaeology will receive a further boost in
Bloomsbury.
In my student days the British Museum supplied University
College with eminent Professors such as Bernard Ashmole and
Martin Robertson. The transfer of all the classical and
archaeological libraries to the spacious Senate House has
provided Bloomsbury with a unique, quiet centre, where one
can find more books on archaeology and the ancient world
assembled under the same roof than anywhere else in the UK,
with the exception, perhaps, of Oxford. In this respect,
however, I and my contemporaries will not forget the cosy
atmosphere of the Hellenic Library in Bedford Square, with
that particular smell of old books. There was no central heating
in the 1940s and only those who arrived early could secure a
table near an electric fire which allowed us to survive the cold
days of winter.
28
As an outsider now, but as somebody who has had close
links with University College, the Institute of Archaeology and
the British Museum, I believe that all these institutions should
join forces to research the civilization of the Mediterranean
and thus keep up a long and brilliant tradition. In November
2004, the Department of Classics of University College, in
collaboration with the A.G. Leventis Foundation, organized an
international conference on the humanities, mainly involving
Classical scholars who are products of Gower Street. I was
among the oldest, if not the oldest. It was a happy occasion, and
brought back memories of more than half a century ago, of life
in London with its many material restrictions and its dark fog,
but richly blended with much spiritual opulence in
Bloomsbury, where the ancient gods are still worshipped.
6 | Ancient Cyprus in the British Museum
Karageorghis
Acknowledgements
I am grateful to Lesley Fitton and Thomas Kiely for their assistance in
bringing this paper, written several years ago, up to date.
Notes
1 See Karageorghis 2007.
2 Tatton-Brown 1989.
3 See his Preface in Tatton-Brown 1989, 7.
4 Karageorghis 2007.
5 Karageorghis 2007, 367; see also, Vermeule and Karageorghis
1982.
6 Daniel 1940, pl. IV:d; Benson 1972, 20, 144 and frontispiece;
Karageorghis 1957, 26971; Vermeule and Karageorghis 1982, cat.
III,10.
7 Murray et al. 1900, 73, 81 and fig. 127.
8 See BM Trustees minute of 12 October 1968; Karageorghis 2007,
3940.
9 GR registration number 1969,L01.1; Mitford 1980, 175-176, cat. no.
236.
10 Goring 1988, 224 and 2730; Murray et al. 1900; Bailey 2001, 109;
Tatton-Brown 2003 on the background to the Enkomi excavations.
11 On which see Fitton 2001.
12 Wilson 2002, 182.
13 Note the chapter introductions in Murray et al. 1900.
14 Karageorghis 2000; Caubet 2001.
15 For a discussion see Steel 2001; also Fitton 2001.
16 Walters 1929; Jenkins 1985.
17 Karageorghis 2004.
18 Wilson 1973; Hermary 1981; also Tatton-Brown 1984.
19 Tatton-Brown 1986.
20 See e.g. Tatton-Brown 1982a, 1982b, 1982c and 1997.
21 Tatton-Brown 2001.
22 Tatton-Brown 2003.
23 [Ed.] This is now being addressed by the Cyprus Digitisation
Project generously supported by the A.G. Leventis Foundation. The
first part of this initiative, comprising 1800 objects from Enkomi,
was launched late in 2008. Material from other sites, such as
Kourion, Amathus, and Maroni will appear in the course of 2009,
while further bodies of data will be added at regular intervals in
the near future. See: (http://www.britishmuseum.org/system_
pages/holding_area/ancient_cyprus_british_museum.aspx)
24 Morris 1995.
25 Schaeffer 1952, 1289, 37989 and colour pl. C (between pp. 380
1); C.M. Inv. 4.207.
26 Karageorghis 1967, 14, no. 71 and 1920; pls XXII; Appendix II,
129.
27 E.g. Barnett 1977; 1982.
28 Karageorghis 2007, 1633
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