Just above the extended hand of the tall standing woman we see two double axes on one handle, exactly like those on the Tenedian medals and those between the horns of the cows (Nos. 329, 330), but richly ornamented. The second double axe is seen projecting on both sides from behind the first one. The handle of these axes, which runs out into a sharp point, is artistically made.
Behind this tall standing woman stands another, whose dress I shall not describe, as it is perfectly identical with that of her companion, and above the forepart of her turban we see the same strange ornament, the nature of which cannot be recognised. Very visible is her Indian turban which also terminates in a point, and from which a long band-like ornament hangs down on her back. The mask, which projects from the forepart of her turban, closely covers the upper part of her face and her nose; it contains openings for the eyes, for her large left eye is glancing out from it. I call very particular attention to the vizors of both these women, because they give us the most unmistakable proof that masks were not only used for the dead but that they were also worn by the living. She holds in her uplifted right hand three objects, whose form certainly resembles that which we see on the forepart of the turban of the seated woman. In her left she holds two flowers with long stalks, which Professor Orphanides thinks to be lilies. From her left shoulder we see projecting two bands, and another from her left elbow. Like her tall companion, she is barefooted, but wears drawers, and on her right foot is distinctly visible the ornament with which the drawers are fastened.
Just above the strange objects which this second tall standing woman holds in her right hand, we see a curious figure holding a long staff, meant probably to represent a lance; her head is shown in profile; the rest of her body, which is given in full view, consists of two circles, of which the upper one represents the upper part of the body from the neck to the waist, and the lower one the lower part of the body as far as the loins; no legs are shown and only one arm is seen; from the back project two long bands. The two circles of which the body consists have a small border, and look altogether like shields; but that shields were not intended to be represented is shown by the two points indicating the breasts.
This rudely represented figure, in the presence of the splendidly dressed women, can in my opinion be nothing else than a Palladium of a very ancient and primitive type, which, like that of the cow-headed or horned Hera-idols, was, on account of the sanctity attached to it, subject to no caprice of fashion and remained for ages unchanged.
The border of the seal, between the Palladium and the feet of the second tall woman, is filled up by six objects of a strange form with heads and eyes, also with a kind of helmet. From the great resemblance of these six objects to the Trojan idols[401] we believe that they also are meant to represent Palladia. But Professor Rhousopoulos reminds me of the great similarity of these six figures to the κράνος κορινθιακόν, or Corinthian helmet of Pallas
Athena, as represented on the Corinthian coins of the fourth century B.C., and to the same helmet on the three bronze busts of that goddess, in natural size, of which one is in the British Museum, the second in the Ministry of Public Instruction at Athens, and the third in a private house in the Piræus. The forepart of the helmet is represented, on the Corinthian coins and on the bust of the goddess, as drawn up, because she only drew it over her face when she was fighting. On this forepart of the helmet we see the two eyes, the nose, and the mouth; consequently it represents a mask, and gives an additional proof that it was customary to wear masks.
The resemblance between the six figures and the κράνος κορινθιακόν is certainly striking; the latter was assuredly not invented in the fourth century B.C., but it has certainly been copied from a very ancient idol, and I have not the slightest doubt that the six figures represent this very same idol.
Finally, we see near the top two waving lines which cannot possibly represent anything else than the sea, which is represented in like manner on the coins of Tarentum. From the sea rises to the left the sun in full splendour, the rays being well represented, and to his left (to the right of the spectator) rises the crescent of the moon. On seeing this marvellous ring, Mrs. Schliemann and I involuntarily exclaimed, "This ring must have been seen by Homer before he described all the wonders which Hephæstus wrought on the shield of Achilles."[402]
Mr. Sayce writes me that in his opinion the seated woman is in the act of adoration; that the two tall figures are men dressed in the characteristic costume of early Babylonian priests, and that the sun and half-moon seen above are ordinary ancient Babylonian symbols. He declares further that the figures, their grouping and ensemble, are a repetition of what we see on Babylonian gems of the most remote period, and he decides that this ring must also belong to that epoch. In his opinion, this period (in so for as regards its influence upon foreign art) ends with the 13th century B.C., when Assyrian influence began to be predominant.