[25] B. S. A., vol. xii. p. opposite plate A.
[26] Ibid.., vol. xiv., plate vii. A.
[27] Savignoni, Mon. Ant., 1903, p. 114.
[28] When disposing, in sixteen lines (R. G. E. 154, note I), of my Homer and his Age, Mr. Murray oddly represents me as maintaining that the body armour of Paris and Hector was "soft and very baggy like a Minoan cope." As at that time I had never consciously heard of this famous "Minoan cope," I never dreamed of such a thing as "soft and very baggy" armour in the Iliad, though I know the Protestant silk armour during "the Popish Plot." In fact, judging from the designs in Monumenti Antichi, the Minoan cope was of hard material.
Messrs. Hogarth and Bosanquet also report on "a very remarkable 'Mycenaean' bronze breast-plate" from Crete, which "shows four female draped figures, the two central are holding a wreath over a bird, below which is a sacred tree. The two outer figures are dancing. It is probably a ritual scene, and may help to elucidate the nature of early Aegean cults, in which female worshippers and sacred trees and birds are common." J. H. S., vol. xix., 1899, p. 322.
[29] Iliad, xvi. 134.
[30] Leaf, Iliad, vol. i. p. 580, citing Studniczka, p. 59.
[31] The "taslets" of Dugald Dalgetty (1645) were thigh pieces (cuisses), as in seventh to sixth century Greek art.
[32] I had written this before the publication of Miss Stawell's Homer and the Iliad. In pp. 204-206, she has taken the word out of my mouth.
[33] Iliad, iv. 141-144.