Eastern Michigan University

DigitalCommons@EMU

Senior Honors Theses & Projects Honors College

2020

Phoenician funerary masks and pendant/head beads: A feature

analysis and catalogue
Alexandria Miller

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Phoenician funerary masks and pendant/head beads: A feature analysis and
catalogue

Abstract
In this thesis, I examine 31 artifacts within the frame of an in-the-works catalogue that aims to eventually
provide an in-depth survey of funerary masks and beads found at Levantine sites, particularly in/at/from
Phoenician contexts. The basic catalogue system is outlined, which works to compile known Phoenician
masks and head beads that, along with other related objects in the future, could be organized into a single
diverse collection. These artifacts are then further broken down by a feature analysis looking to identify
and record potential patterns and common stylistic traits among them. The facial feature analysis
includes and records the specific aspects and traits of each artifact including the type of artifact, its
general condition, gender, if it has an eyelet (place to string onto cord), hair, facial structure, forehead, eye
shape, eyebrows, nose, lips, beard, ears, color, and other adornments. This also includes size, where the
object was found, chronological age, and the material the mask or bead is made of when possible. This
allows for mask-to-mask comparison a bead-to-bead comparison, and a mask-to-bead comparison.
Eventually cross-cultural collection comparison and research can be done. The catalogue lays a
foundation for future inquiry, and though it is not yet a definitive collection, it can act as a base for future
research. The system is malleable and open to interpretation to allow for future adjustments and
additions. This paper discusses certain prevalent trends and features of Phoenician masks and beads
within the framework of this in-the-works catalogue.

Degree Type
Open Access Senior Honors Thesis

Department
History and Philosophy

First Advisor
Philip Schmitz

Second Advisor
Ronald Delph

Third Advisor
James Egge

Subject Categories
History
 PHOENICIAN FUNERARY MASKS AND PENDANT/HEAD BEADS:
A FEATURE ANALYSIS AND CATALOGUE

By

Alexandria Miller

A Senior Thesis Submitted to the

Eastern Michigan University

Honors College

In Partial Fulfillment of the Requirements for Graduation

with Honors in History

Approved at Ypsilanti, Michigan, on this date

Supervising Instructor:___Philip Schmitz Date:_4/16/2020

Departmental Honors Advisor: _Ronald Delph__ Date:_4/16/2020

Department Head: __James Egge_____ Date:_4/16/2020

Ann Eisenberg
Honors Director: __________________________ Date: :_4/16/2020
 1

Abstract

In this thesis, I examine 31 artifacts within the frame of an in-the-works catalogue that

aims to eventually provide an in-depth survey of funerary masks and beads found at Levantine

sites, particularly in/at/from Phoenician contexts. The basic catalogue system is outlined, which

works to compile known Phoenician masks and head beads that, along with other related objects

in the future, could be organized into a single diverse collection. These artifacts are then further

broken down by a feature analysis looking to identify and record potential patterns and common

stylistic traits among them. The facial feature analysis includes and records the specific aspects

and traits of each artifact including the type of artifact, its general condition, gender, if it has an

eyelet (place to string onto cord), hair, facial structure, forehead, eye shape, eyebrows, nose, lips,

beard, ears, color, and other adornments. This also includes size, where the object was found,

chronological age, and the material the mask or bead is made of when possible. This allows for

mask-to-mask comparison a bead-to-bead comparison, and a mask-to-bead comparison.

Eventually cross-cultural collection comparison and research can be done. The catalogue lays a

foundation for future inquiry, and though it is not yet a definitive collection, it can act as a base

for future research. The system is malleable and open to interpretation to allow for future

adjustments and additions. This paper discusses certain prevalent trends and features of

Phoenician masks and beads within the framework of this in-the-works catalogue.
 2

Table of Contents

Abstract……………………………………………………………………………………1

Introduction……………………………………………………………………….……….3

I. Pendant head/beads……………………………………………………………………4

II. Funerary Masks……………………………………………………………………….7

III. Image Catalogue………………………………………………………………….…12

IV. Feature Catalogue………………………………………………………………...…42

V. Bibliography…………………………………………………………………...…….49
 3

The Phoenicians had an extensive and rich cultural history. They were a seafaring people

“who occupied the coastal strip of the eastern Mediterranean in an area that now consists of

northern Israel, Lebanon, and southern Syria.”1 There is significantly less known about them

than other more prominent ancient cultures such as the ancient Greeks and Romans, but there is

evidence to support that the Phoenicians had an equally great and culturally unique existence.

Though there are some references to the Phoenicians in other cultures literary traditions, there is

very little writing left from the Phoenicians themselves.2 That being said, everything written

about them by other cultures, like the ancient Greeks, has to be taken with a grain of salt, as

cultures of the time (and today) were often entirely ethnocentric. This, along with other cultures

questionable relations with the Phoenicians at the time, has the power to skew and misrepresent

the people and culture overall.3 So, little is truly known about the Phoenicians; in fact, that the

name “Phoenician” is not even necessarily the name that the people of the culture called

themselves, but rather, the name that the Greeks assigned to them.4 Among the too-few artifacts

and dusty mementos that have survived to be studied by historians and archaeologists today, are

funerary/ritual masks and artistically crafted and brightly colored glass beads in the shape of

heads. These artifacts have been found, sprinkled about the Levantine coast and the surrounding

regions, and they offer us a glimpse into a people that have been shrouded in darkness and time

past.

The overall goal of the catalogue itself is to bring together the various masks and head

beads that have been found in Phoenician contexts and to not only organize them into groups, but

1
David Soren and Aicha Khader and Hedi Slim, Carthage: Uncovering the Mysteries and Splendors of Ancient
Tunisia (New York: Simon and Schuster publishing,1990), 31.
2
Donald Harden, Ancient peoples and places: The Phoenicians (New York: Frederick A. Praeger Publishers, 1962),
19-20.
3
Harden, Ancient peoples and places: The Phoenicians, 20.
4
Ibid., 21.
 4

to break them down by individual features. This entails going through and recording every aspect

of each object, from the top of the head to the tip of the chin, in an attempt to make the most of

the artifacts that have been found. The facial feature analysis includes and records the specific

aspects and traits of each artifact including the type of artifact, its general condition, gender, if it

has an eyelet (beads only), hair, facial structure, forehead, eye shape, eyebrows, nose, lips, beard,

ears, and other adornments. This also includes size, where the object was found, chronological

age, and the material the mask or bead is made of when possible. This will hopefully show

things that have been previously overlooked. By recording every feature, patterns emerge

between the artifacts. It becomes apparent that certain hairstyles were more popular to decorate

beads with and that certain mask types are more commonly found than others. When finished,

the catalogue has the potential to guide and inspire future research, as well as demonstrate that

more is known about the Phoenicians than what is assumed. Phoenician head/amulet beads and

masks are some of the most unique artifacts left over from the civilization with possibly the least

known about them, so it is only natural to start with those.

I. Pendant head/beads

Phoenician head/amulet beads have been found all around the Levantine coast and

surrounding regions. They are usually made from sand-core glass. These beads are both

individualistic and similar, each with its own colors and unique flare but sharing an overall

theme and style. This allows researchers to easily identify and compare them. The overall style

of these “amulets”, as they are sometimes called, is that of a basic underlying structure paired

with more complex individual traits, layered on top. Even though the beads average around only
 5

0.7 x 0.5 cm. in size, each one is painstakingly detailed, having not only the basic features of the

face but often added embellishments.

The basic layout of the beads is composed of a male face, with hair and a beard, both

stylized in the same way, with an eyelet on top of the head that would be used to string the bead

onto a cord. The nose is usually thinner and long with a rounded end. The lips are closed and

full, and one thing that is shared unanimously among the beads, is they style of the eyes. They

are usually very large and take up the majority of the top half of the face. They are circular with

a similarly large and rounded pupil in the center of a different color from the surrounding eye.

There are usually three rings of color in all: the pupil, the “whites” of the eye, and the

surrounding outline. The head beads usually have eyebrows that extend from either side of the

nose to the hairline on each side. These features come together to form a very distinct style, one

unique enough that even when features like hairstyle, colors, and decoration change, the beads

are easily identifiable as Phoenician in origin.

Arguably, the most prominent feature on these little creations, other than the eyes, is the

hair. There are two types that show up the most: smooth flat hair, and tightly curled and three-

dimensional hair. The flat style is just what it sounds like, usually just a color denotation of

where the hairline begins, and where the beard would be. The curled style is more intricate and

more commonly seen; it’s usually rows of tightly curled hair placed on top of the head to form a

sort of crown of circular curls and layered on the face, spinning downwards to make the beard. It

almost gives the appearance of being permed. This curled stylization is relatively common, and

one could assume that it would take significantly more time and effort to create than its flat

counterpart. This then leads to the question of why the curled style was more popular, and with

that, if there is any meaning behind the style past the aesthetic choice.
 6

The colors that make up the beads are also very diverse. They range from blues and

blacks, to white, yellows, and greens among others. The hair is usually the same color between

the top and the beard. The rest of the face and individual features, such as the lips, are more

diverse in coloration, sometimes following a general theme and sometimes not. Beads can have

anywhere from two to four or even five different colors, and there seems to be no limitations to

how they can be applied.

There are also sometimes extra adornments added to the forehead and sides of the face.

Usually, these are just in the form of dots or raised spheres in a vertical line going downwards.

When on the sides of the face, these come as either two or three on each side. In the case of two,

they end up with one above and one below where the ears would be. In the case of three, they are

in the same place as the sets of two, only with an extra sphere right in the middle. When

ornamentation is present on the forehead, it is usually the case of a single sphere/dot in the center

of the forehead, directly above the nose, eyes, and eyebrows.

Amulet/head beads have been found both as individual artifacts and as part of more

complex pieces, such as the necklace that was found at the necropolis of Fontana Noa in Olbia5.

This particular necklace (Fig. 8) is composed of a total of eighteen beads, five of which are

pendant heads. The head beads are of all different color combinations and both the flat and

curled hairstyles are represented. It is a complex piece overall and is vibrant and busy, not

sparing any details.

The number in which these artifacts are discovered and the context in which they are

found, often at burial/funerary sites such as necropoles, bring questions, again, about the role and

importance of these artifacts, not only their use but their significance to the culture itself.

5
Sabatino Moscati, The Phoenicians (New York: Rizzoli International Inc.,1999), 546.
 7

II. Funerary Masks

There is another group of artifacts that create similar questions, these being Phoenician

masks. Sometimes called funerary masks, these artifacts are also ambiguous in significance and

purpose. They range is style, size, and materials, though there are several main groups that the

mask can be broken into. The majority of Phoenicia masks fall into the

grotesque/grinning/grimacing category. Others fall into a naturalistically styled group and a few

into an animalized section, along with a few outliers that don't necessarily belong in any overall

group. Though the masks are grouped by general stylistic traits, these groups are not separated

by hard lines, and masks can often be considered to have traits of more than one style. For the

purpose of this paper, the general style and traits of each group is discussed.

The usual medium for the masks is terracotta; this is sometimes left plain, and other times

painted. It is possible that some of the masks that are today unpainted once were, and the paint

and color simply wore away due to the ravages of time. The sizes of these masks are less

uniform. They range from slightly bigger than the average human face, to too small to feasibly

properly cover someone's face. This size difference leads to questions about whether the masks

were even meant to be worn at all. If so, the question becomes about the context in which they

would be worn, and if not, then what were they used for in general.

A majority of the masks fit into the grotesque/grinning/grimacing mask section, which is

the largest and one of the most distinctive groups. Stylistically, everything about the masks is

exaggerated. They give of a look of being pulled or contorted, and it is from this, that that names

of grotesque/grinning/grimacing were derived. Masks in this category can often be described by

more than one of the traits in this group. They can be both grinning and grotesque or any

variation thereafter. Other than their general distortedness, these masks can vary greatly. Eye
 8

shape ranges from almond shaped to a downward pointing crescent shape. Eye size too, varies

greatly, sometimes being on the small side and other times taking up more than half of the face.

The majority of the masks have a grin, but some have smaller smiles, while others literally have

grins that stretch from ear-to-ear. Mouths are sometimes open and closed, and teeth are shown

very prominently in some of the masks while others don't have teeth at all. Some things are

shared between most masks in the category such as ears, materials, a lack of hair, and an overall

grin. The ears, which are usually relatively large, stick out from the sides of the head in an

unflattering manner. Hair is usually absent from these masks, both on top and in terms of facial

hair such as beards. Interesting patterns of lines/scoring is often present on the forehead and

cheeks of these masks. These lines are etched on horizontally and sometimes droop downwards a

bit at the ends, bending the lines into more of a soft arched shaped curve. There is sometimes

more elaborate decoration on masks in the form of forehead patterns or jewelry. The patterns on

the foreheads can range from raised and circular to geometric and angular, to even very detailed

and elaborate images such as flowers. While the pattern itself changes, it follows a general trend

of usually being in the center of the forehead in a vertical line from the top of the face near the

hairline, extending down to between the eyebrows, occasionally continuing down the nose.

Jewelry is sometimes seen, but it is rare. Added jewelry usually comes in the form of a ring in

the nose, like that of a bull ring, or less commonly, as a hoop ring in the ear. These masks then

share an overall exaggerated style and form but have a broad range of features and decoration

mixed in.

Naturalistic masks are those that, while slightly stylized, lack the exaggeration and

grotesqueness of the previous category. The facial features are more evenly sized and distributed

and most of the important defining features of grotesque/grinning/grimacing masks, such as the
 9

large smiles, etching on the forehead and cheeks, and large ears are missing. Naturalistic masks

look more human. They usually have hair, and the face is overall proportioned more correctly.

These masks are also more diverse than the previous group. There are instances of female masks

and of styles and facial structures from Greece, Egypt, and greater Africa as shown in masks

from Ibiza, Tyre, and Cadiz.6 The mask found at Ibiza has a naturalistic face, but with a Greek

style to it.7 The overall feel of the mask is very different from the grimacing/grotesque/grinning

masks usually attributed to the Phoenicians. Similarly, the mask found at Tyre has features

commonly seen in Egyptian works, mainly, the long Pharo-esque beard.8 The mask found at

Cadiz was stylized naturalistically, but with thick lips and a broad nose, a far cry from most other

masks in the region.9

Some of the masks were not entirely human or had non-human features, which led to the

need for an animalistic based category. These masks were fewer in number than the previous two

categories but make up for it with their interesting form. There are two sorts here that will be

covered, including those masks that are made in the image of Silenus found at Tharros and

Sulcis, and another that is in the shape of a bulls head found at Amathus.10 The masks depicting

Silenus are an interesting mix of human and animal. The eyes are normal sized and almond

shaped, along with a relatively normally shaped head overall. These features are marred,

however, by an almost snout-like nose and pointed ears, sprouting from the top of the head. As

stated above, it is thought that these masks are meant to represent Silenus, a god of wine, that is

6
Moscati, The Phoenicians, 407.
7
Moscati, The Phoenicians, 416.
8
Glenn Markoe, Peoples of the Past: Phoenicians (Berkeley and Los Angeles: University of California Press,
2000), 95.
9
Moscati, The Phoenicians, 416.
10
Ibid., 415; Ibid., 415; Ibid., 408.
 10

said to be seen with similar traits upon occasion.11 The bull mask, however, lacks any human

characteristics. It has a long face and snout coupled with two strong horns atop the head. That

being said, there are some interesting similarities to the amulet beads seen on this mask.

Specifically, the bull’s eyes are painted just as eyes appear on the beads: wide and round with

large pupils. There is also a raised sphere/circle on the bull’s forehead that is similar to

decorations found on both the pendent beads and other masks.

There are, of course, outliers that don't fit well into any category. These can be seen in

masks such as the gold funerary mask found in the region of Sidon.12 This mask is unique

because of particular material composition. Instead of the normal terracotta, this mask is made of

metal, in particular, gold. The face leans towards naturalistic, and the mask is of a male, as the

majority of the artifacts are. That leads to another type of mask that stands out, in this case,

masks made of the female face. These masks, like the female mask from the necropolis at

Akhziv are unusual simply do to the fact that they represent females. 13 These examples are

unique because they break the established patterns of previously stated mask styles. As such,

outlier masks such as these could have been completely different in importance and function

from the majority of other masks.

Phoenician masks and beads present an odd and engaging question of use and

importance. Their materials, size, and features have been laid out but their significance and role

in the Phoenician culture still remains a mystery. Both Phoenician masks and beads, have their

own distinct styles and forms. The beads are bright, vibrantly colored, and painstakingly

detailed. They follow distinct artistic trends as seen in the structure of the face, especially the

rounded eyes with large pupils and with certain hairstyles. Phoenician masks too, have certain

11
Ibid., 415.
12
Markoe, Peoples of the Past: Phoenicians, 98.
13
Moscati, The Phoenicians, 407.
 11

trends that can be observed as seen with grotesque/grinning/grimacing masks, naturalistically

stylized mask and in animalistically styled masks. The masks though, have more room for

deviation, both in masks that fit into one of the aforementioned categories and those masks that

act as outliers to the system. It is possible to see some crossover when it comes to style and

adornment between the head beads and masks, but it is rather unusual and infrequent.

It is possible to compare these objects more easily, and with more accuracy, when they

are placed into a centralized location with detailed descriptions. That is the point of the

catalogue, and its focus on breaking down the masks and beads by their individual features.

Though the catalogue itself is not complete, it is possible to see from it and this paper that it will

be an effective way to compile and compare what is known about Phoenician beads and masks,

and in the future, potentially other related artifacts as well. Pantomimes, statues, coins, and other

objects of a similar nature could not only be added and catalogued but be used to strengthen what

we know about the Phoenicians and their art forms.

Future studies could include not only Phoenician artifacts but those from other cultures as

well. Through cross cultural comparison, it is possible that we might glean some insights into

what the Phoenicians used the masks and beads for. While there is not a lot known, there is

always the potential to use what already exists in a new and offbeat way. Changing the angle on

how Phoenician artifacts are observed and recorded, could lay out not only what is known, but

show where there is still potential to continue to learn from objects already possessed.

There are holes in what is known about the Phoenicians. They are a people of mystery,

allowing only the faintest of echoes to bleed through from their past to our present. But from

what they have left behind and with the compilation of what is known, there is the possibility to

discover what once was.

 12

III. Image Catalogue

The image catalogue comprises of images of all 31 artifacts that currently compose the

catalogue, grouping them in order of similarity between objects. It begins with Phoenician beads,

then moves on to masks.

The bead section (Figures 1-9) is grouped with individual representations of beads first and

finishes with two full necklaces.

The Mask section (Figures 10-31) is grouped with grotesque/grinning/grimacing category first,

then moves to the naturalistically styled group, before moving into the animalized section, and

ending with a few outliers that don't necessarily belong in any overall group.
 13

Phoenician Mask Beads

Fig. 1 (below):
Glass amulet from the necropolis of Carthage. Circa 350 to 300 B.C. At Musee de Carthage.
From: Carthage by D. Harden (1990)

Fig. 1 (right):
In color
 14

Fig. 2 (top right):

Bearded head pendant from Olbia. Fourth-Third Century B.C. Sand core glass, 2.9 cm. At
Sassari, Museo Nazionale G.A. Sanna. From: The Phoenicians. by Moscati, Sabatino. (1999).
Pg. 544

Fig. 3 (below):
Bearded head pendant from Carthage. 4th-3rd century B.C. Sand core glass, 6cm. In the
museum of Carthage. From:The Phoenicians. By Moscati, Sabatino. (1999). Pg. 542
 15

Fig.4 (above-in color and black and white):

Glass Amulet From necropolis of Carthage. Circa 350 to 300 B.C. In Carthage, Musee de
Carthage. From: Carthage by Soren, Khader and Slim. (1990). Pg. 163
 16

Fig. 5 (above)
Rod-formed glass pendant of a Bearded male. From Carthage, 4th-3rd century B.C. From:
Peoples of the Past: Phoenicians. Glenn Markoe. (2000) pg. 94
 17

Fig. 6 (above)
Phoenician pendant head made of polychrome glass from a necklace. sand-core with added
details. 6th-4th century B.C. found in Carthage.
From: ancient Peoples and Places: The Phoenicians. D. Harden (1969) pg. 309
 18

Fig. 7 (above)
Necklace pendant from Olbia 4th-3rd century B.C. Sand-core glass approx. 0.7 x 0.5 cm. At
Cagliari, Museo Archeologico Naionale. From:The Phoenicians. Moscati, Sabatino. (1999). Pg.
296.

Bead is part of the Fig. 8 necklace.

 19

Fig. 8 (above):
Necklace with beads and pendants in sand-core glass. Found in tomb 24 in the Necropolis of
Fontana Noa. 4th-3rd century B.C. At Cagliari Museo Archeologico Nazionale. From: The
Phoenicians. Moscati, Sabatino. (1999). Pg. 546
 20

Fig. 9 (below):
Sand-core glass necklace with beads and pendants from carthage. 4th-3rd century B.C. At the
louvre museum, Paris. From: The Phoenicians. Moscati, Sabatino. (1999). Pg. 543
 21

Phoenician Masks

Fig. 10 (above):
Terracotta male mask. Grimacing type. From Carthage Tunisia, 7th-6th century B.C. 19.5cm. In
the Louvre Museum, Paris. From: Peoples of the Past: Phoenicians. Glenn Markoe, (2000) Pg.
168
 22

Fig. 11 (above):
Mask from Douimes, Carthage. 7th-6th Century B.C., terracotta, 19 cm. At Tunis, Musee du
Bardo. From: The Phoenicians. Moscati, Sabatino. (1999). PG. 411.
sketch of same Terracotta mask (below):
From: The Phoenicians. D. Harden (1963). Pg. 199
 23

Fig. 12 (above)
Grinning mask from San Sperate, 6th-5th century B.C. terracotta, 18 cm. At Cagliari, Museo
Archeologico Nazionale. From:The Phoenicians. Moscati, Sabatino. (1999). Pg. 412
 24

Fig. 13 (Top)
Sketch of Terracotta Grimacing Mask, Dermech (Carthage) and Ibiza. 7th century B.C. From:
The Phoenicians. D. Harden. (1963). Pg. 199

Fig. 14 (Lower):
Sketch of Terracotta Mask, Douimes, Carthage. 7th-6th century B.C. From: The Phoenicians, D.
Harden (1963). Pg. 199
 25

Fig. 15 (above)
Grinning mask from Motya. 6th century B.C., terracotta, 20 cm. At Motya, Museo Whitaker.
From:The Phoenicians. Moscati, Sabatino (1999). Pg. 412
 26

Fig. 16 (above)
Grinning mask from Ibiza. 5th-4th century B.C., terracotta, 13.5cm. At Barcelona, Museo
Arqueologico. From:The Phoenicians. Moscati, Sabatino (1999). Pg. 412
 27

Fig. 17 (above)
Grinning mask from Tharros 6th century B.C., terracotta, 17.5 cm. At Sassari, Museo Nazionale
G.A. Sanna. From:The Phoenicians. Moscati, Sabatino (1999). Pg. 412
 28

Fig. 18 (above):
Bearded mask from Ibiza, 4th century B.C., terracotta, 19 cm. At Ibiza, Museo Arqueologico.
From: The Phoenicians. Moscati, Sabatino (1999). Pg. 416
 29

Fig. 19 (above):
Grotesque mask from Kourion, 6th century B.C., Terracotta, 12.9 cm. At Nicosia, Cyprus
Museum. From:The Phoenicians. Moscati, Sabatino (1999). Pg. 409
 30

Fig. 20 (above):
Apotropaic grimacing mask from Dermech, Necropolis of Carthage. Punic, Circa 500 B.C.
From: Carthage. Soren, Khader and Slim (1990). Pg. 153
 31

Fig. 21 (above):
Terracotta male cult mask. 13th century B.C. Hazor Israel, Canaanite Sanctuary are C. At
Hebrew University, Jerusalem. From: The Phoenicians. D. Harden (1963) Pg. 286
 32

Fig. 22 (above):
Male mask from the necropolis at Akhziv. 7th-6th century B.C., painted terracotta. In the
Department of Antiquity Museum, Jerusalem, Israel. From:The Phoenicians. Moscati, Sabatino
(1999). Pg. 407
 33

Fig. 23 (above)
Mask from Cadiz, 4th-3rd century B.C., terracotta, 17.5 cm. At Cadiz, Museo de Cadiz. From:
The Phoenicians. Moscati, Sabatino (1999). Pg. 416
 34

Fig. 24 (above):
Gold funerary mask from the region of Sidon, Lebanon. 5th-4th century B.C., At the Louvre
museum, Paris. From: Peoples of the Past: Phoenicians. Glenn Markoe (2000). Pg. 98
 35

Fig. 25 (above):
Female mask from the necropolis at Akhziv. 7th-6th century B.C., painted terracotta, In
jerusalem, israel, at the Bronfman archeological museum. From:The Phoenicians. Moscati,
Sabatino (1999). Pg. 407
 36

Fig. 26 (above):
Mask of bearded male from the mainland cremation cemetery at Tyre, Lebanon. 7th century
B.C., From: Peoples of the Past: Phoenicians. Glenn Markoe (2000) pg. 95
 37

Fig. 27 (above):
Bearded male from Amathus. 6th century B.C., painted terracotta, 12.1 cm. In Limassol, District
Museum. From:The Phoenicians. Moscati, Sabatino (1999). Pg. 408
 38

Fig. 28 (above)
Bearded Head from Cadiz. 6th-5th century B.C., terracotta, 19 cm. In Cadiz, Museo de Cadiz.
From:The Phoenicians. Moscati, Sabatino (1999). Pg. 417
 39

Fig. 29 (above):
Mask in shape of bull’s head from Amathus. 6th century B.C., Painted terracotta, 10.2 cm. In
Limassol, District Museum. From:The Phoenicians. Moscati, Sabatino (1999). Pg. 408
 40

Fig. 30 (above):
Mask depicting Silenus from Tharros, 5th-4th century B.C., terracotta, 24 cm. At Cagliari, Museo
Archeologico Nazionale. From: The Phoenicians. Moscati, Sabatino (1999). Pg. 415
 41

Fig. 31 (above):
Mask depicting Silenus from Sulcis. 5th century B.C., Terracotta, 25 cm. At S. Antioco, Museo
Comunale. From: The Phoenicians. Moscati, Sabatino (1999). Pg .415
 42

IV. Feature Catalogue

The following feature catalogue follows the order of the Image catalogue above. It starts with

beads and moves to masks. The figure numbers denoting the artifact that the data matches in the

Image catalogue.

The bead section (Figures 1-9) is grouped with individual representations of beads first and

finishes with two full necklaces. The analysis (in order) notes Figure number, Artifact Type,

Condition, Gender, Eyelet (if there’s a place on top of the head through which to string the bead

onto a cord), Hair, Facial Structure, Forehead, Eye shape, Eyebrows, Nose, Lips, Beard, Ears,

Other Adornments, Find Spot, Chronological Age, Size, Materials, and Color.

The Mask section (Figures 10-31) is grouped with grotesque/grinning/grimacing category first,

then moves to the naturalistically styled group, before moving into the animalized section, and

ending with a few outliers that don't necessarily belong in any overall group. The analysis (in

order) notes Figure Number, Artifact Type, Condition, Gender, Hair, Facia Structure/ Mask

Type, Forehead, Eye Shape, Eyebrows, Cheeks, Ears, Nose, Lips/Mouth, Beard, Jewelry/ Other

Features, Find Spot, Age, Size, Materials, and Paint.

 43

PENDANT HEAD/AMULENT BEADS

Fig. 1-9

Figure # Fig. 1 Fig. 2 Fig. 3 Fig. 4 Fig. 5 Fig. 6 Fig. 7 Fig. 8 Fig. 9
Artifact Type: Bead Bead Bead Bead Bead Bead Bead Necklace Necklace
Condition: Good Damaged Good Good Inter. Inter. Good Good Inter.
Gender: Male Male Male Male Male Male Male Male Male
Eyelet: (place Present Absent Absent Present Present Absent Present Various Absent
to string on
cord):
Hair: Stylized NA: Smooth/Flat Stylized Stylized Smooth/Flat Stylized Various Stylized
Curls Damage Curls Curls Curls Curls
Facial Stylized Stylized Stylized Stylized Stylized Stylized Stylized Stylized Stylized
Structure:
Forehead: Smooth Smooth Smooth Smooth Smooth Smooth Smooth Smooth Smooth
w/ dot
Eye Shape: Round w/ Round w/ Round w/ Round w/ Round w/ Round w/ Round w/ Round Round w/
Large Large Large pupils Large Large Large pupils Large w/ Large Large
pupils pupils pupils pupils pupils pupils pupils
Eyebrows: Present: NA: Present: Present: Present: Present: Present: Present: Present:
Thick Damaged Thin Thick Thick L-Thin Thick Various Thick-
R-Thick Very
Worn
Nose: Long/Thin Long/Thin Long/Thin Long/Thin Long/Thin Long/Thin Long/Thin Various Thin w/
Rounder
end
Lips: Small/ NA: Small/ Small/ Small/ Medium/ Small/ Various Small/
Round Damaged Round Round Round Round Round Round
Beard: Present: Present: Present: Present: Present: Present: Present: Present: Present:
Stylized Smooth/ Smooth/ Stylized Stylized Smooth/ Stylized Various Stylized
Curls Rounded Rounded Curls Curls Rounded Curls Curls+
Ears: Present Present: NA Present: NA NA Present: Various Present
Round Forward Flat on
facing side of
head
Other 3 balls up NA: 2 Balls on 2 balls on 2 balls on Na- 2 balls on Various Ball on
Adornments: both Damaged Right side- each each Damaged each either
sides of Beauty side- side- side- side of
face mark- above + above + above + head + 1
Lower Right below ear below ear below ear on
forehead
Find Spot: Carthage Olbia Carthage Carthage Carthage Carthage Olbia Olbia Carthage
Chronological Circa. 4th-3rd 4th-3rd Cent. Circa. 4th-3rd 6th-4th Cent. 4th-3rd 4th-3rd 4th-3rd
Age: 350-300 Cent. B.C. B.C. 350-300 Cent. B.C. B.C. Cent. B.C. Cent. Cent. B.C.
 44

B.C. B.C. B.C.

Size: NA 2.9 cm 6 cm NA NA NA 0.7x0.5 Various NA
cm
Materials: Glass Sand- Sand-Core Glass Rod- Polychrome Sand- Sand- Sand-Core
Core Glass Formed Glass Core Core Glass
Glass Glass Glass Glass
Color: Blue/ Yellow/ Yellow/ Blue/ Blue/ NA Dark Blue/ Yellow/
White Black or Black/ White/ Brown/ Blue/ Green/ White/
Blue White Yellow White/ Teal/ Yellow/ Blue/
Gray White White/ Black
Teal/
Black
 45

MASKS

Masks Fig 10-18

Figure # Fig. 10 Fig. 11 Fig. 12 Fig. 13 Fig. 14 Fig. 15 Fig. 16 Fig. 17 Fig. 18
Artifact Mask Mask Mask Mask Mask Mask Mask Mask Mask
Type:
Conditi Good Good Good NA: NA: Good Good Inter. Good
on: Sketch Sketch
Gender: Male Male Male Male Male Male Male Male Male
Hair: None None None None None None None None Smooth-
Single Line
of Hair
Texture
Facial Grimacing Grinning Grinning Stylized Grinning Grinning Grinning Grimacing Stylized-
Structur (Blank Naturalistic
e/ Mask Face)
type:
Forehe Lined No Lines+ Lined+ Smooth NA: Not Lined One Line+ Lined+ Hashed
ad: Added Added Clear Decoration Decoration line-
Decoration Decoration Horizon-
tally
Across
Eye Crescent Almond Rounder Almond Large- Crescent Large- Crescents Almond+
Shape: shaped Crescents Rounded Rounded Pupils
Crescents Crescents
Eyebro Present: Present: Present: None NA: None Present: Present: Present: Present:
ws: Faint + Raised/ Slight Clear Raised Raised Carved Raised
Arched Carved Line
Cheeks: Lined- Smooth/ Lined- Defined NA- Not Lined Lined Lined Smooth
Horizontally Defined Horizontally clear
Ears: Present Present- Present- Present Absent Present- Present Present Present-
Large Large Large Small
Nose: Long/ Long/ Flat/ Long/ Large Long/ Flat Short/ Long/ Long/ Short/ Shorter/
Rounded Wide Flat Rounded Large/ Small wide/
Rounded Squared
Lips/ Well Thin Lips/ Open Closed Open Open Thinner Open Slightly
Mouth: Defined- Open mouth/ Lips Mouth/ Mouth/ lips/ Grin/ Mouth/ Parted
Open with Mouth/ Grin/ Thick Half Grin Grin+ Teeth Weak Lips/ No
Grin- Half Grin Lips or Teeth Showing Smile Teeth
Maybe Has Teeth and
Teeth Together
Beard: None None None None None None None None Full beard/
Moustache
- Scored/
 46

Lined style
Jewelry Decoration Vertical Bull Ring in Bull Ring None None Four Leaf Vertical Hair Line
/ Other on Center Pattern of Nose/ Hor. in nose/ Clover Line of Across
Feature Forehead Circles on Line of Hoop Shape In Decoration Forehead
s: Forehead Decoration earring R Center On Center
on ear/ Forehead Forehead:
Forehead/ Bump on Raised
Squared top of Spheres
patterns head
and
Flowers
Find Carthage: Carthage: San Sperate Carthage: Carthage: Motya Ibiza Tharros Ibiza
Spot: Tunisia Douimes Dermesh Douimes
Age: 7th-6th 7th-6th 6th-5th Cent. 7th Cent. 7th-6th 6th Cent. 5th-4th 6th Cent. 4th Cent.
Cent. B.C. Cent. B.C. B.C. B.C. Cent. B.C. B.C. Cent. B.C. B.C. B.C.
Size: 19.5 cm 19 cm 18 cm NA NA 20 cm 13.5 cm 17.5 cm 19 cm
Materia Terracotta Terracotta Terracotta Terracotta Terracotta Terracotta Terracotta Terracotta Terracotta
l:
Paint: No No No No No No No No No

Fig. 19-27
Figure # Fig. 19 Fig. 20 Fig. 21 Fig. 22 Fig. 23 Fig. 24 Fig. 25 Fig. 26 Fig. 27
Artifact Mask Mask Mask Mask Mask Mask Mask Mask Mask
Type:
Condition: Inter. Good Inter. Good Good Inter. Inter. Inter. Damaged/
Worn
Gender: Male Male Male Male Male Male Female Male Male
Hair: Vertical Lined+ None Smooth Present: Present: Present: Present: Present:
Scored Scored Flat Black Smooth Etched Smooth/ Etched Painted
lines Decoration Hair Painted
Facial Grotesque Grinning/ Stylized- Stylized- Stylized- Stylized- Stylized- Stylized- Stylized
Structure/ Grotesque Natural- Natural- Natural Natural- Natural- Natural-
Mask Type: istic istic istic istic istic istic
Forehead: Long Lined Smooth Smooth Smooth Smooth Smooth+ Smooth Smooth
vertical Decoration
Scored
Lines
Eye Shape: Almond Crescent Almond Almond Almond Almond- Almond Almond Almond
Narrow
Eyebrows: Raised Raised Present: Present: Present: Present: Present: Present: Present:
Brow Brow Raised Raised Slightly Etched slightly Slightly Painted
Ridge Ridge Brow- Raised Raised+ Raised
 47

Painted Painted
Cheeks: Lined Lined Smooth Smooth Smooth Smooth Smooth Smooth Smooth
Ears: Present Present- Present- NA: Present Absent Present Present- Present
Large Small Obscured Small
Nose: Narrow Long/ Short/ Shorter/ Wide/ Long/ Long/ Short/ Full NA:
Large/ Small Naturalistic Large Narrow/ Rounded Damaged
Rounded Flat/
rounded
end
Lips/Mouth Long Lips/ Open Oval Lips/ Closed Closed Closed Closed Closed Closed Lips/
Full/ Mouth/ Closed Lips/ Lips/ Full/ Lips/ Full Lips/ Full Lips/ Full Full
Closed Grin/ Mouth Naturalistic Slight
Mouth Teeth Smile
Together
Beard: None None None Painted None None NA Full/ Full/
on/ Long/ Includes
Smooth/ Includes Upper Lip
Black Upper Lip
Jewelry/ Vertical Scored None None None None Raised NA NA
Other Scoring Horizontal Circle on
Features: Across Pattern on Center
Forehead Center Forehead
Forehead:
Angles/
Geometric
Find Spot: Kourion Carthage: Hazor Akhziv Cadiz Lebanon: Akhziv Lebanon: Amathus
Dermesh Israel Sidon Tyre
Age: 6th Cent. Circa 500 13th Cent. 7th-6th th rd
4 -3 5th-4th 7th-6th 7th Cent. 6th Cent.
B.C. B.C. B.C. Cent. B.C. Cent. B.C. Cent. Cent. B.C. B.C. B.C.
B.C.
Size: 12.9 cm NA NA NA 17.5 cm NA NA NA 12.1 cm
Material: Terracotta Terracotta Terracotta Terracotta Terracotta Gold Terracotta Terracotta Terracotta
Paint: No No No Yes No NA Yes No Yes

Fig. 28-31
Figure # Fig. 28 Fig. 29 Fig. 30 Fig. 31 Fig. Fig. Fig. Fig. Fig.
Artifact Type: Bearded Mask Mask Mask
head
Condition: Good Inter. Good Inter.
Gender: Male NA- NA- reps. NA- reps.
 48

Animalistic Silenus (A Silenus (A

Bulls head God) God)
Hair: Present: NA- Bulls None None
Carved Horns
Facial Structure/ Stylized Stylized- Stylized- Stylized-
Mask Type: Animalistic Animalistic Animalistic
Forehead: Smooth Smooth Smooth Smooth
Eye Shape: Almond+ Round- Almond+ Almond-
Iris Large Cut Iris Wide
Pupils
(similar to
beads)
Eyebrows: Present: NA Present: Present:
Slightly Slightly Slightly
Raised Raised Raised
Cheeks: Smooth Smooth Smooth Smooth
Ears: Present NA Small Near top
Donkey of Head-
Ears- Jut Slightly
from Top Pointed
of Head
Nose: Long/ Snout-Like Pig-Like Short/
Full/ Snout Wide
Rounded
Lips/Mouth: Closed Basic Line Open Closed
Lips/ Full Mouth/ Mouth/
Thin Lips/ Small
Small Round Lips
Smile
Beard: Full/ NA Present/ Full/
Includes Outlined Includes
Upper Lip Upper Lip
Jewelry/ Other Stylized Raised Lines on None
Features: Lines Circle on forehead
Down Center and Chin/
Beard/ Forehead Small
Swirls in Holes
Hair Around
Edges of
Desk
Found: Cadiz Amathus Tharros Sulcis
Age: 6th-5th 6th Cent. 5th-4th 5th Cent.
Cent. B.C. B.C. Cent. B.C. B.C.
Size: 19 cm 10.2 cm 24 cm 25 cm
Material: Terracotta Terracotta Terracotta Terracotta
Paint: No Yes No No
 49

V. Bibliography

Harden, Donald. Ancient peoples and places: The Phoenicians. New York: Frederick A. Praeger
Publishers, 1962.

Markoe, Glenn. Peoples of the Past: Phoenicians. Berkeley and Los Angeles: University of
California Press, 2000.

Moscati, Sabatino. The Phoenicians. New York: Rizzoli International Inc., 1999.

Soren, David, Aicha Khader, and Hedi Slim. Carthage: Uncovering the Mysteries and Splendors
of Ancient Tunisia. New York: Simon and Schuster publishing,1990.