Bamboula (…“Seal impressions…”) Benson 1955Jack L. Benson

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the tendency toward naturalism, noted in No. 14, a rock crystal seal with a recumbent bull and cow. The engraving recalls Late Minoan examples 5 and the only cylinder seals to which it can be compared are those of the [handwritten: a] ...group considered specifically Aegean by this writer. 6 Only Minoan glyptic, furthermore, provides any comparable examples of the motif. A very close parallel for the latter, however, is given by the narrow side of the well-known ivory box from Enkomi, dated in LCIII a [handwritten: ...] contemporary with the [handwritten: ...] stamp seal from Bamboula. 7 One may wonder in which way a seal-cutter could copy a motif shown on an ivory gaming box. Were different craftsmen artisans/quarters of Enkomi? The relation between the same/quarters of Enkomi? The relation between various sepaintings and concentrated in the same/quarters of Enkomi? The relation between various sepaintings and concentrated in connection with No. 12 might indicate such a state of seal designs mentioned in connection with No. 12 might indicate such a state of affairs, to which should be added the fact that stamp seal engravers were apparently, to which should be added the fact that stamp seal engravers were apparently open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art as their cylinder carving colleagues had been two centuries earlier when creating a new repertory and were thus as open to influences from other works of art