216. D. Schmandt-Besserat, “Animal Symbols at ‘Ain Ghazal,” to point to production centers in South Italy. While some works Expedition 39, no. 1 (1997): 52, quoting D. Kertzer, Ritual, Politics can be linked to ambers from southern Italy, the burial and Power (New Haven, 1988), p. 12. seemingly represents the work of many different artisans, 217. J. Elsner, Roman Eyes: Visuality and Subjectivity in Art and Text traditions, and object types, and it draws on a variety of (Princeton, 2007), p. 44. sources for subject, style, and type. The other figured ambers in the Novi Pazar burial include part of a vessel, well-worn plain 218. For the amber kouros in London (British Museum 41), see beads, and pendants, as well as figured pendants, korai, rams’ Strong 1966, pp. 65–66, no. 41, pl. XIX. For the amber kouros heads, and acorns. In addition, there are two large plaques, pendant in Paris, Bj 2343 – MNE 967, see M. C. D’Ercole, Ambres part of larger, more complex ornaments. One plaque is graves: La collection du département des Antiquités grecques, engraved with Herakles carrying the Cecropes on one side and étrusques et romaines du Museé du Louvre (Paris, 2013), pp. with two hoplites on the other; the second is engraved with a 36–38. A comparable amber kouros from Arezzo is now lost. rider and horse on one side and facing sphinxes on the other. Two nearly identical kouroi in ivory, from a comb, are 220. Satyrs in action include the London Vintaging Satyr (British published by K. A. Neugebauer, Antiken im deutschen Museum 36):Strong 1966, pp. 62–63, no. 36, pl. XIV. A parallel, Privatbesitz (Berlin, 1938), no. 255. now lost, was in the de Jorio collection: Strong 1966, pp. 62–63. 219. The ambers of a grave context excavated in 1896 at Sala The Eos and Kephalos (possibly) amber in the Steinhardt Consilina (the finds are now in the Petit Palais, Paris) are still collection, New York (Grimaldi 1996, pp. 150–51; Negroni not fully published. The amber of the tomb included three long Catacchio 1999, pp. 290–92, fig. 7), is said to have been found necklaces and 113 beads and pendants. For some of the Sala with the large winged female head in the collection (Grimaldi Consilina ambers, see Le arti di Efesto: Capolavori in metallo 1996, pp. 151, 289–90, fig. 5), as well as with a third large head dalla Magna Grecia, exh. cat., ed. A. Giumilia-Mair (Trieste, of a Cypriot-type Herakles in a Swiss private collection 2002), no. 51; Mastrocinque 1991; La Genière 1968, p. 203; and (unpublished). Eos as kourotrophos with Kephalos is the subject La Genière 1961, p. 76. Among the published figured ambers of a pendant from Tomb 60 at Tricarico–Serra del Cedro, dated are Dut 1600 (5), a flying figure carrying an amphora; Dut 1600 to the mid-fourth century B.C. (see n. 173, above). (6), a bee-divinity; Dut 1600 (2–4), unencumbered “sirens”; Dut 221. Why a bird-woman composite as the subject of an amber 1600 (1), a lion; and Dut 1600 (2), a ram’s head. Mastrocinque pendant? The variant subjects—some must be sirens, while 1991, pp. 114–17, figs. 44–47, illustrates the four fliers. others may represent harpies, chthonic beings, or the soul, or Independently, both this author (public lecture, Washington, be related to the Egyptian ba-bird—may augment or focus DC, 1997) and A. Bottini, in Ambre 2007, p. 232, have proposed certain aspects of amber. Without doubt, the composites all that the bee-divinity with child pendant may represent the represent beings with some connection to death and the Archaic Cretan myth of the nourishment of Zeus by Ideo. afterworld, and it is likely that the amber bird-woman carvings For Tomb 102 at Braida di Vaglio, see n. 276. Among the have magic in them. In amber are found most of the bird- animate subjects are a crouching sphinx, a tiny vase with woman composite creatures of Orientalizing–Archaic-period crouching felines, a scallop shell, two rams’ heads, two female art; they belong to several types of “siren” imagery, one close faces, and the foreparts of a boar. There are also three to the form of Rhodian terracotta vessels and probably related compressed-composition subjects: a feline, a bovine, and an to the Egyptian ba-bird type, and others that are more like “Achelous.” The largest pendant, a crouching sphinx with various Near Eastern–derived bird-female composites. Some reverted head, is exquisite (and then-recent) Etrusco-Ionian are more like Oriental and early Greek sphinx types, others work, the surfaces still exhibiting great subtlety in carving, the more like flying birds in an as-seen-from-below schema; some engraved lines crisp. Given its chthonic associations, a sphinx are more human than bird, and others more bird than human. (especially a recumbent one) might be interpreted as a As J. Leclercq-Marx, La Sirene dans la pensè e et dans l’art dé ̂ permanent amulet expressly made for the rituals of death. l’Antiquite et du Moyen Á ge: Du mythe païen au symbole chretien,́ Classe des beaux-arts, Academie ŕ oyale de Belgique (Brussels, For the Novi Pazar material, see Palavestra and Krstić 2006; 1997), pp. 1–42, superbly sets out, “siren” encompasses many Palavestra 2003; and Popović 1994, pp. 66–68, figs. 288–329 different things and beings, and a range of beliefs about them. (with earlier bibl. including Mano-Zisi and Popović 1969 and B. Homer’s sirens may not be Hesiod’s. However, by the seventh Jovanović, “Les bijoux en ambre dans les tombes princières de century B.C., an undoubtedly magical power is associated with Novi Pazar et d’Atenica,” in Hommages à D. Mano-Zisi [Belgrade, them, and sometimes they are invoked as protective divinities 1975]). Novi Pazar was a complicated excavation. A. for the deceased. Some are undoubtedly related to the sirens Palavestra’s studies of the Balkan burial underscore what is not of the Odyssey; others must be linked more closely to the known. As he writes in Palavestra and Krstić 2006, p. 110, ba-bird, representing “the freedom and mobility of the spirit of nothing can be inferred conclusively about the number of the the deceased”: S. Quirke, Ancient Egyptian Religion (London, bodies buried in Novi Pazar, or of their sex, or of whether the 1992), p. 106. In Egypt, as Vermeule 1979, p. 76, points out, the chest found under the church is the primary or secondary ba-bird functioned as an agent to reintegrate a dead person: archaeological context. Palavestra considers the ambers’ style the ba could mediate between the living and the dead, 74 INTRODUCTION