Part 16

Cymbals were largely used by the Greeks and Romans in religious ceremonies of an ecstatic character, such as the mysteries of Demeter and Kore and the worship of Kybele. Among the cymbals in Case 56 is an interesting pair (No. =654=; fig. 254) inscribed in Greek with the name of Oata their owner ([Greek: Oatas eimi]). They were originally joined together by a chain, part of which still remains. In the lower part of Cases 55-56 is a considerable variety of bells in bronze (No. =655=).

(=643=) and (=644=) _Cat. of Vases_, III., E 171, 172; (=645=) For the structure of the ancient flute, cf. especially Baumeister, _Denkmäler_, s.v. _Flöten;_ (=648=) _Bull. de Corr. Hell._, XVIII., pl. 21; (=652=) For the _syrinx_, cf. Tillyard in _Journ. Hell. Stud._, XXVII. (1907), p. 167 ff.; (=653=) _Cat. of Sculpt._, II., 1271.

See in general, _Camb. Comp. to Gk. Stud._, pp. 370-374; Daremberg and Saglio, s.v. _Musica_.

=Dancing.=--Dancing among the Greeks and Romans differed in many ways from our own. In the first place dances (which were generally accompanied by the flutes) were largely associated with religion. Plato in his _Laws_ gave it as his opinion that, in imitation of the Egyptian example, all dancing should be made to take a religious character.[98] This ceremonial side of Greek dancing is illustrated by a primitive stone vessel from Cyprus (No. =655=), which represents three draped women dancing in a ring. Among the Romans the processions of the Salii or dancing priests of Mars are among the best-known examples of religious dancing.

In private life dancing was regarded by the Greeks rather as an entertainment to be provided by hired performers than as a recreation in which guests could take their part.[99] Hence with them men and women did not dance together as in the modern fashion. The demand for dancing girls to entertain the guests at banquets led to the training of large numbers of this class. A vase (No. =656=), placed in the lower part of Case 54, shows dancing girls being instructed in their art. They repeatedly appear on Greek vases dancing before the feasting guests (_e.g._ on E 68 in Case E in the Third Vase Room, the interior of a cup in the style of Brygos). These girls often carried castanets when dancing, as may be seen on the lekythos (No. =657=) and in the relief from Melos (No. =658=).

Greek women sometimes danced in private among themselves, especially on the occasion of some domestic festival.[100] It is with this kind of dancing that we should probably associate the terracotta figurines (fig. 255). They illustrate the important part played by the arms and the drapery in ancient dancing, which was largely mimetic. Ovid notes that supple arms are one of the principal qualifications for a good dancer.[101] This tradition was undoubtedly inherited from Greek dancing, for (religious rites apart) the Romans regarded the art as an unseemly one, so much so that Cicero remarked "that practically no one except a madman danced when sober."[102]

(=656=) _Cat. of Vases_, III., E 185; (=657=) _Ibid._, E 642: (658) _Cat. of Terracottas_, B 370. For Greek dancing in general, cf. Emmanuel, _La danse grecque_.

[Footnote 95: Plat., _Rep._ iii. 398-9.]

[Footnote 96: Plato, _Rep._ iii. 399 D; Arist., _Pol._ viii. 6, 5 ff.]

[Footnote 97: Ovid, _Fasti_, vi. 659 f.:

cantabat fanis, cantabat tibia ludis, cantabat maestis tibia funeribus. ]

[Footnote 98: Plat., _Leg._ 799 A.]

[Footnote 99: Cf. the famous story of Hippokleides (Herodot., vi. 129), whose dancing lost him a bride.]

[Footnote 100: Aristoph., _Lys._ 408; Athen., xv. 668 D.]

[Footnote 101: _Ars. Amat._ i. 595:

si vox est, canta; si mollia bracchia, salta. ]

[Footnote 102: _Pro Mur._ 6; cf. Nepos, _Epam._ 1.]

XXVI.--DOMESTIC AND PET ANIMALS; FLOWERS.

(Wall-Cases 57-58.)

The upper part of Wall-Cases 57, 58 contains a number of representations of domesticated and pet animals. The series includes cattle, goats, pigs, dogs, cats, pigeons and poultry. Often, but not always, the animal is associated with some human actor, as when the child rides on a dog, pig, or goat, or when the large cock tries to peck at the bunch of grapes in a child's hand (No. =659=).

More than one of the pigeons wears a _bulla_ round its neck (No. =660=) to avert the evil eye (see p. 136), and a cock is decked with a wreath of ivy leaves (No. =661=). On a vase (No. =662=) a girl has tied a string to the hind leg of a tortoise, and dangles it before her dog; on another (No. =663=) two children are making a dog jump through a hoop. In a relief already mentioned (p. 198, No. =603=) the dog seeks the notice of its studious mistress, little Avita. In the scene of the music school (No. =643= in Case 55) the boy plays with the cat behind the master's chair. Another form of amusement is illustrated by the kylix, No. =664=. A boy is seated, and holds on his knee a cage containing a bird, probably a quail. Quail-fighting was a very popular amusement at Athens, where odds were freely betted on the result of the encounter. The wooden instrument, seen above the boy, would be used to provoke the quails to fight with one another. The game of quail-striking ([Greek: ortygokopia]) was another variety of sport with quails. In this the object was to prove the endurance of the quail by striking it with the fingers or pulling out its feathers. A Roman lamp (No. =665=; fig. 256) gives an interesting view of an itinerant with his troop of performing animals. On his right is an ape, on his left a cat climbing a ladder. Above are two hoops for the animals to jump through.

=Flowers.=--In Cases 57-58 will be seen a set of funeral wreaths (No. =666=; cf. p. 226), found at Hawara, in Egypt. Among the flowers which can be identified in those wreaths are the rose, narcissus, sweet marjoram, and immortelle. We know, from an epigram of Martial,[103] that Egypt cultivated roses with such success that she exported them from Alexandria to Rome during the winter, though at the time when the poet wrote (latter part of first century A.D.), Italy was, according to him, in a position to export roses to Egypt. In their gardens the Romans devoted most of their attention to their trees, which they cut into fantastic shapes by the agency of the landscape gardener (_topiarius_). The species of flowers known to them were decidedly limited in number, but we find gardens of singular beauty depicted on their wall-paintings, notably on one found at Prima Porta near Rome.[104]

(=659=) _Cat. of Terracottas_, C 539; (=662=) _Cat. of Vases_, IV., F 101; (=665=) _Cat. of Lamps_, 679; (=666=) Petrie, _Hawara_, p. 47.

[Footnote 103: vi. 80.]

[Footnote 104: _Ant. Denkmäler_, I., pl. 11.]

XXVII.--METHODS OF BURIAL.

(Wall-Cases 58-64.)

=Greece.=--In the prehistoric period known as Mycenaean, the inhabitants of Greek lands probably buried their dead and did not cremate them. It is possible, however, that a partial burning was in vogue in this and the succeeding periods in Greece. In the case of the more wealthy Mycenaean dead, the bodies were elaborately decked with gold ornaments. Oval plates of gold were tied over the forehead and mouth of the corpse, in the latter case (where the impression of the lips can be seen) perhaps with the idea of keeping out evil spirits. The window-cases in the Gold Ornament Room contain many examples of these funeral diadems and mouthpieces from Cyprus. In the Homeric poems we find the bodies of the dead burnt upon a pyre and the ashes buried beneath a mound.

Scenes representing the preparation of the body for cremation or burial are frequently depicted on Greek vases. They occur on the large "Dipylon" vases, made specially for standing outside the tomb (see examples in the First Vase Room), and on black-figure vases, where the body is seen lying on the bier surrounded by mourners. It is, however, upon the white lekythi of the fifth century (No. =668=; fig. 257), one of which is here illustrated, that funeral scenes are most commonly found. We know from Greek literature that these vases were expressly made for putting in tombs. A speaker in the _Ekklesiazusae_ of Aristophanes talks of "the man who paints the lekythi for the dead."[105] On the vase here figured a woman is making offerings at the tombstone. These offerings were made by the relatives from time to time, and consisted mainly of sashes, wreaths, and vases, as may be seen from the vases placed in the Case. The Greek funeral monuments of the best period are characterised by their restrained beauty. Examples of the different types will be found in the Phigaleian Room downstairs and in the Gallery of Casts. In the Cases 59-60, the only tombstones are the archaic one of Idagygos of Halikarnassos (No. =669=; fig. 258) found in Cyprus, inscribed with an elegiac couplet in which he is called "the squire of Ares,"[106] and a round stone (No. =670=) with a late inscription showing that the tomb was that of Menestratos, a Corinthian buried in Attic soil. The Greek tombs were generally ranged on either side of the main roads leading from the city gates.

A terracotta urn of about the third century B.C. (No. =671=) in Case 60 serves as an example of the vases used to contain the calcined remains of the dead. It holds a number of burnt bones, among them part of a jaw-bone, with a silver obol adhering to it. The coin was placed in the mouth of the corpse as the fee of the ferryman Charon for piloting the dead across Acheron. The gilded figure of a Siren found in this vase is emblematic of the spirit world.

Two later monuments with Greek inscriptions are the marble chests in Cases 61-62. Each has a lock-plate (cf. those in Case G), carved in front in low relief. No. =672= is the cinerary chest of Metras Tryphon, who had been publicly crowned by the people of Ephesus, and has this crown represented on his urn. The second chest (No. =673=), from the temple of Kybele at Sardes, is inscribed with the name of Metrodoros, who is called a "sprinkler" ([Greek: perirantês]) no doubt with reference to an office held by him in the temple service. Below this chest is a marble cup from Rhodes (No. =674=), bearing the inscription: "The burying-place of those who have lost their ancestral tomb." This cup, which is ornamented above with flying birds and has holes for a metal attachment, seems to have been set on a column as a boundary mark.

=Italy.=--In the earliest period inhumation was the custom in Italy, but cremation gradually became more and more common. The Twelve Tables (450 B.C.) show both practices prevailing side by side. The hut-urns (Nos. =675= and =676=; fig. 259) found at Monte Albano, near Rome, are evidence of cremation having been practised at a very early date in Italy (eighth to seventh century B.C.). They served as receptacles for the ashes of the dead, and are an instance of the custom of making the last resting-place of the deceased as like as possible to his habitation during life. They represent rude wattled huts, in which the roof-beams of rough branches can be clearly distinguished. The Etruscan tomb-chambers, one of which is shown in a picture in Case 59, furnish a later instance (seventh to sixth century B.C.) of sepulchres built in imitation of living-rooms. A small model (in Case 59) of an Etruscan built tomb shows the skeleton in armour, with painted vases placed about it (No. =677=). The Etruscan cinerary urns are distinguished by the frequent introduction of the portrait. The "Canopic" urns, which take the shape of jars roughly in the form of a human body and head, are especially noteworthy. The example illustrated (No. =678=, fig. 260), probably of the seventh century B.C., has the face pierced with numerous holes, most likely for the attachment of a mask. Two Etruscan sepulchral masks (No. =679=) in terracotta, of about the end of the sixth century B.C., are exhibited near the Canopic urn and are shown in fig. 261. These remarkable masks are covered with incised designs, most likely of magic significance, intended to avert evil from the dead. A separate half-mask (No. =680=) of this type is exhibited here, and another will be found with the objects illustrating superstition in Case 106. In these masks we can see the innate Italian tendency to preserve the features of the dead, and we may perhaps recognise in them the origin of the waxen portrait masks of his ancestors which the Roman noble set up in his hall. The portrait is again found on the lid of the sixth-century Etruscan funeral urn (No. =681=; fig. 262) in Case 59. Here a draped woman lies on a couch of elaborate form, decorated below with a relief of two lions devouring a bull. A kindred type of Etruscan funeral monument will be seen in the two large terracotta sarcophagi in the Terracotta Room.

With rare exceptions (conspicuously in the case of members of the noble families of the Cornelian house and all infants) the Romans, during the period of the Republic, burned their dead. This system continued under the early Empire, but gradually gave way to burial under the influence of Christianity. Several examples of Roman cinerary urns and sepulchral relief are here shown. These urns are of various shapes, but the altar-form (No. =682=; fig. 263) was specially favoured. The inscription gives the names of L. Dexius Clymenus and C. Sergius Alcimus. The latter, a child of three and a quarter, is stated to have received his portion of corn on the tenth day at the office of distribution numbered XXXIX, a curious side-light on the practice of free distribution of corn under the Roman Empire, already noticed above (p. 11). Other Roman funeral urns which may be mentioned are the vase (No. =683=) with the remains of L. Laelius Victor, a soldier of the fourteenth city cohort, and the alabaster caskets numbered =684= and =685=. These urns of the wealthier classes were generally deposited in a vault underneath a monument placed at the side of one of the great roads leading from the city gates. Those, however, who could not afford such expensive monuments subscribed for a joint tomb (_columbarium_), a large chamber containing in its walls numerous niches for the urns. An interesting tablet (No. =686=) in Case 62 throws light on the arrangements adopted in the case of these joint tombs. It is inscribed with the name of P. Sontius Philostorgus and marked the niche in which the urn containing his ashes was placed. The inscription reads: "Lot I in block III." From other inscriptions of the same character it appears that the niches were arranged in five horizontal rows of thirty-six, and that each of the members of the burial club was allotted one place in each of the five rows.

Another noteworthy monument is (No. =687=) an inscribed relief of the first century B.C., belonging to Aurelius Hermia, a butcher from the Viminal hill, and his wife Aurelia Philematio(n), who are seen clasping hands (fig. 264). The husband praises the virtues of his wife, and the wife those of her husband, her fellow-freedman, who had been more than a father to her. Other interesting inscriptions from tombstones are No. =688=, on a hunting dog named Margarita, a great favourite with her master and mistress, who died in giving birth to puppies, and No. =689=, which sheds light on the memorial ceremonies after burial. A testator here leaves seven twenty-fourths of the rent accruing from a block of flats to his freedmen and freedwomen, on condition that they celebrate his memory four times in a year--on his birthday, the Day of Roses, the Day of Violets, and the feast of the Parentalia, the last the Roman All Souls' Day, held publicly in February, but privately on the anniversary of the day of death. A lighted lamp, with incense, was to be placed on the tomb on the Kalends, Nones, and Ides, the three dividing days of each month.

The funeral wreaths from Hawara (Cases 57, 58; No. =666=, see p. 219) are an instance of offerings at tombs belonging to the Roman period. They have been so thoroughly preserved in the dry climate of Egypt that the different varieties of flowers can still be distinguished.

(=668=) Cf. Murray and Smith, _White Athenian Vases in the B.M._; (=669=) _B.M. Inscr._ 971; (=670=) _ibid._, 102; (=671=) _Cat. of Terracottas_, C 12 and 13; (=672=) _Cat. of Sculpt._, II., 1277; (=674=) _ibid._, III., 2400; (=675=) Cf. Walters, _Hist. of Anc. Pottery_, II., p 288; (=678=) _ibid._ II., p. 304 ff; (=679=) Benndorf, _Ant. Gesichtshelme_, p. 42, pl. xi; (=681=) _Cat. of Terracottas_, B 629; (=682=) _Cat. of Sculpt._, III., 2359; (683) _ibid._, 2402; (=684=) and (=685=) _ibid._, 2420 and 2425; (=686=) Dessau, _Inscrr. Lat. Selectae_, 7892 a; (=687=) _Cat. of Sculpt._, III., 2274; (=688=) _C.I.L._ VI., 29,896; (=689=) _C.I.L._ VI., 10,248.

On Greek tombstones, see Conze, _Attische Grabreliefs_; P. Gardner, _Sculptured tombs of Hellas_. On Roman monuments, Altmann, _Röm. Grabaltäre_.

[Footnote 105: Aristoph., _Ekkl._ 996: [Greek:

hos tois nekroisi zôgraphei tas lêkythous]. ]

[Footnote 106: [Greek:

enthade moiran echôn Halikarnêsseus Idagygos keitai, Aristokleos pais, Areos therapôn.] ]

INDEX.

_The numbers refer to the pages of the Guide._

ACROBATS, 218

ACTORS, 31

AEGINETAN WEIGHT-SYSTEM, 159

ALTARS, 39

ALTAR-URNS, 223

AMPHORAE, on weights, 159; for wine, 177

ANATOMICAL MODEL, 47, 187

ANKLE-PIECES, 89

APHRODITE, dedication to, 45; in shrine, 43

APIS-BULL, 50

ARITHMETIC, 198

ARM-GUARD, 89

ARMED-RACE, 60

ARMOUR, 74; Dacian, 92

ARROWHEADS, Mycenaean, 97; Greek and Roman, 107

ARTEMIS BRAURONIA, garments dedicated to, 45

AS, 20, 22

ASKLEPIADAE, school of, 185

ASTRAGALOS, on weights, 159; in games, 203. _See also_ KNUCKLE-BONES

ATHLETES, 59

"ATHLETES' RINGS," 177

ATRIUM, 109

AUGURY, 43

AURELIUS HERMIA, tombstone of, 226

AXE, 108

AXE-HEAD, votive, 50

BAETYLIC IMAGE, 44

BAKERS, 117

BALANCES, 25, 161

BASKET, votive, 46

BATHS, 118

BEASTS in the arena, 69

BELL, votive, 51

BELT, metal, 87

BETROTHAL RING, 211

BIRDS, actors as, 28

BISTOURIES, 187

BITS, 172

BOARD, inscribed for school use, 198

BOATS, terracotta, 34

BONA DEA, 39

BOOTS, 129

BOXES, 139, 153, 185, 189

BOXING, 58

BOXING-GLOVES, 62

BRACELETS, 135

BRAZIERS, 118

BREAD-MAKING, 117

BREISEAN MYSTAE, 55

BRICKS, Roman, 167

BRIDAL PROCESSION, 210

BUCINA, 215

BULLA, 136, 218

BULLS, bronze votive, 50

BURIAL, 220

CADUCEUS, 9

CALDRON, given as prize, 63

CALTHROP, 108

CANDELABRA, 110

CANDLESTICKS, 114

CANGUE, 13

CANOPIC URNS, 222

CARACALLA, 39

CARTS, models of, 171, 179, 193

CHAIR, Infant's, 193

CHARIOTEERS, 71; dress of, 71, 170

CHARIOT-RACING, 70, 169

CHARIOTS, 169

CHARON'S FEE, 221

CHESTS, funeral, 223

CHITON, Dorian, 123; Ionian, 124

CHLAMYS, 126

CIRCUS, 70

CITIZENSHIP, Roman, 9

CLOTH, pieces of ancient, 147

COIN-BALANCE, 25, 165

COINS, Greek, 14; Roman, 19; special uses, 24; false, 24

COLONIZATION, 3

COLUMBARIUM, 224

COMBS, 138

COMEDY, 26-33

COMIC CHORUS, 26

COMPASSES, 191

CONSULS, 3

CONTORNIATES, 207

CORN LARGESSES, 11, 223

COUCH, bronze, 110

CRADLES, 193

CRESTS, on helmets, 83

CROCODILE SYRUP, 42

CUIRASS, 85

CUPPING-VESSEL, 188

CURSES, 56

CUTLER'S FORGE, 156, 158

CUTLER'S SHOP, 157, 158

CUTLERY, 148

CYMBALS, 216

CYPRIOTE DEDICATION, 46

DAGGERS, early and Mycenaean, 94; Italian, 98

DANCING, 216

DEDICATIONS, 7, 24, 38

DEFIXIONES, 56

DEFRUTUM, 177

DEXTRARUM IUNCTIO, 211

DICE, 204

DIKASTAE, 6

DIOSCURI at Theoxenia, 43; dedications to 49, 51, 61

DIPLOMA, Roman bronze, 9

DISKOS, 60

DOG'S EPITAPH, 226

DOLLS, 194

DOMESTIC ANIMALS, 218

DOWELS, 167

DRAGON-STANDARD (Dacian), 92

DRAMA, Greek and Roman, 25

DRAUGHTS, 203, 206

DRESS, Greek 123; Roman, 127

DRILL-BOW, surgical, 187

DRUG-BOX, 189

DUODECIM SCRIPTA, 206

EAR-PICKS, 142

EARRINGS, 136

EDUCATION, 197

ENAMEL DECORATION, 134, 185

ENCAUSTIC PAINTING, 202

EPINETRON, 145, 196

EYES, painted on ships, 35

FALSE MONEY, 24

FASCES, 12

FERONIA, dedication to, 55

FETTERS, 13

FIBULAE, 131

FIGURE-HEAD, 35

FINGER-RINGS, 135

FISHERMAN, 37

FISH-PLATES, 116

"FIVE-STONES," 203

FLOWERS, 219

FLUES, 122

FLUTES, 214

FOOD, from Pompeii, 116

FOOT-RACE, 60

FOOT-RULES, 191

FORCEPS, 187

FOUNTAIN-JETS, 121

FRAME, for picture, 202

FUNERAL DIADEMS, 220

FURNITURE, 110; (toy), 193

GAMES, 203

GEMS, 184

GETA, name of, erased from inscriptions, 39

GLADIATORS, 64; armour of, 68; discharge tickets of, 69

GNOSTICS, 56

GRAPE-GATHERING, 177

GREAVES, 88

HAIR, votive, 48

HALF-MASKS, 222

HANDS, magical, 56

HARBOURS, 37

HARE, votive, 49

HARNESS, 171

HEATING OF HOUSES, 122

HELMETS, 74; Aegean, 79; Attic, 77; Corinthian, 74; Etruscan, 81; Gladiatorial, 68; Inscribed, 76, 81; Italian, 80; Roman, 81; votive, from Kyme, 7, 81; Parade vizor-masks, 82

HELMET-CRESTS, 83

HERA, axe-head dedicated to, 50

HIERON, helmet dedicated by, 7, 81

HIMATION, 124

HINGES, 168

HIPPOKRATES, 186

HOOKS, surgical, 187

HORSE-SHOES, 173

HOUSE, Greek and Roman, 109

HUNTSMEN, dedications by, 49

HUT-URNS, 222

INKPOTS, 200

INLAY, ivory, 185

INTERNAL ORGANS, model of, 47

INVENTORIES, temple, 45

ISIS, worship of, 57

JASON, relief of the physician, 189

JAVELIN-THROWING, 61

JEWELLERY, 135

JUMPING-WEIGHTS, 59

JUNO, dedication to, 55

JUPITER. _See_ ZEUS.

JUPITER DOLICHENUS, silver plaques dedicated to, 52

JUPITER POENINUS, dedication to, 55

JURY-TICKETS, 6

KEYS, 149; Temple, 42

KILN, potter's, 182

KINYRAS, legend of, 34

KITCHEN, 115

KITHARA, 213

KNIVES, 148

KNOCKERS, 167

KNUCKLEBONES, 197, 203

KTESIBIOS OF ALEXANDRIA, 120, 216

LABELS, 45, 156

LAMP-FILLERS, 114

LAMPS, 112; combined with altar, 40; moulds for, 184

LANTERNS, 114

LARES, 55

LATHE, use of, 185

LAWYER'S TABLET, 200

LEAD FIGURINES, votive, 55

LEG, votive, 48

LEGIONARY, armour of, 88, 91

LEKYTHI, white funeral, 220

LETTER on papyrus, 200

LIBRA, 160

LIGHT-HOUSE, 37

LIGHTING, methods of, 110

LITRA, 160

LOCK, 149

LOCK-PLATES, 152, 221

LOOM, 145

LOOM-WEIGHTS, 146

LUDUS LATRUNCULORUM, 207

LYRE, 213

MAGIC symbols, 56; wheel, 208

MANTLE. _See_ HIMATION.

MARATHON, weapons from, 101

MARBLES, specimens of, 168

MARRIAGE, Greek, 207; Roman, 211; military, 9; vases used in, 208

MASKS, dramatic, 31; sepulchral, 222

MEASURES, 191

MEDICINE, 185

MERCHANT-SHIP, 33

METAL-WORK, 180

MIRRORS, 140; with magical symbols, 57

MITHRAS, 54

MORTARS, 118

MOSAICS, 169

MOULDS, for cooking, 116; for counters, 180; for vases and terracottas, 184; for weights, 180

MOUTH-BAND, for flutes, 214

MOUTH-PIECES, funeral, 220

MULTIPLICATION-TABLE, 198

MUSIC, 213

MUSIC-LESSONS, 214

MUSICAL NOTATION, 215

MUZZLES, for horses, 173

NAIL-FILES, 142

NAILS, magical, 56

NECKLACES, 136

NEEDLE-CASE, 148

NEEDLES, 147

NETTING-NEEDLES, 147

NEUROSPASTA, 195

OBOL, 221

OCULIST-STAMPS, 189

OIL-FLASKS, 119

OIL-PRESS, 178

OLIVE-GATHERING, 176

ONOS. _See_ EPINETRON.

OSCAN dedicatory tablet, 44

OSTRACISM, 7

PADLOCKS, 152

PAINTING, 201; of vases, 183

PANATHENAIC GAMES, 60

PANKRATION, 59

PAN'S PIPE, 215

PAPYRUS, 199

PARCHMENT, 200