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ground that we would expect in the work of a Cypriof artist in the LCIII period. H. Kantor (1) claims the Enkomi ivory carvings, including the mirror on which appears the warrior with whom we compared our statue, For Mycenaean craftsmen working in Cyprus - "in this manner explaining their un-Aegean characters, which are particularly prominent in the figure of the warrior". The Enkomi and Sinda diacovertes have shown that the connection of Cyprus with the Mycenaean world continued into the LCIII period and we are now able to speak not only of "tradition" but of actual contacts in the twelfth century, a fact which makes more probable the attribution of such works to craftsmen living in Cyprus. The connections of Cyprus with the Syrian coast were also close at this period, a fact which has already been emphasized by Dr. Schaeffer (2) and is
(1) ATA III, 98 ff.; Demargne, La Crète Dedalique, p.198.
(2) Stratigraphie, 39A.
65 figures hard to readstruck struck outadded written in above” jug ditto, and what it repeatsword reading not certain