A total of 113 Cypriote artifacts at the University of Reading Ure Museum and at the Reading Museum are presented in this volume. The Ure Museum of Greek Archaeology, which contains approximately 3,000 artifacts, was redesigned in 2005. Most of the objects belonging to the Reading Museum are on display at the Ure Museum, where the two collections can be studied together.In her introduction to the volume, Amy C. Smith, curator of the Ure Museum, explains the origin of the collection. Emily Barry was married to Dr. F. W. Barry, who served as the Quarantine Superintendent and Sanitary Commissioner for Cyprus, from 1880 to 1882. She amassed many of the artifacts at a time when excavations were carried out at Salamis and, as a Reading native, presented her collection to the Ure Museum in 1913. As a consequence, 20 artifacts can be definitively attributed to Salamis. Other family members also contributed objects. While previously recorded as Roman artifacts that probably originated in Herculaneum or Pompeii and acquired when the family was traveling, the records in the museum now indicate that this material is Cypriote. Following the Barry collection, pieces donated later likely come from tombs in Cyprus. The index of the 27 provenanced objects lists four sources for the collection: Achna, Enkomi, Salamis, and possibly Egypt. The more recent acquisitions, made over the past 30 years, are unprovenanced. The well-illustrated publication of this collection combines published and unpublished artifacts made of clay, metal, and stone.The volume is divided into two parts. Section 1 deals with 21 ceramic and four metal artifacts dating to the Bronze Age. The larger Section 2 describes 88 ceramics, lamps, terracotta figurines, metal, and stone artifacts from the Iron Age, Hellenistic, and Roman eras.Most of the pottery in the collection are whole pieces or possess minor cracks or breaks. There are few sherds. The range of pot types is not limited to decorative forms. Among the ceramics are examples of Bronze Age Red Polished, Black Slip, White Painted, Monochrome, Base Ring, and White Slip wares. Iron Age and later pots include White Painted, Bichrome, Bichrome Red, Black-on-Red, Plain White, and Hellenistic-era Red Slip wares. The shape, dimensions, and decoration for each piece are meticulously described. The references provide comparative material and an extensive bibliography. A photograph for each object is provided in addition to drawings, except for highly damaged or worn pieces. Photographs present as many as four different perspectives and offer multiple views of the entire piece when appropriate.The 21 Bronze Age pots include: four jugs, three flasks, six bowls, five juglets, a spindle bottle, a tankard, and a krater fragment. They belong to the Early through Late Cypriote time periods. Post-Bronze Age pottery provides examples of open and closed forms in a range of wares. There are nine different pot types: jugs, juglets, dishes, bowls, an amphoriskos, a miniature amphora, an alabastron, lagynoi, and unguentaria. Photographs rather than drawings accompany many of these pieces. Rounding out Part 1 are four Bronze Age metal artifacts: one spearhead and three knives, all attributed to Salamis. The copper or bronze spearhead, with a leaf-shaped blade, is possibly to be dated to the Late Cypriote period given the thinness of the tang, the slope of the shoulders, and the lack of notches. The broad flat, triangular, or rhomboidal shapes of the knives (some fragmentary) date them to the Middle or Late Cypriote period.Ceramic objects in Part 2 include four saucer-shaped lamps and 19 mold-made lamps. Many preserve blackening around the nozzle. Nearly all are thought to originate in Cyprus. They date from the sixth century BCE to the third century CE. Decorative elements on the mold-made lamps include: a rosette, a man holding the underside of a ram, the egg and dart pattern, a wreath, a dolphin and trident motif, a stag, a peacock standing on a branch, an eagle, a standing ‘Thrax’ gladiator in striking pose, circular rings, plus a figure holding a hydria and an amphora.Figures made of clay or stone are numerous. Most of the 19 terracottas and ten stone sculptures date to the Cypro-Archaic period (750–480 BCE), according to the text. Pickup provides a succinct discussion of these figures. The largest group consists of eight terracottas that were fabricated using a mixed technique. They display hand-molded faces above a wheel-worked cylindrical body. They are identified as representative of the Kamelarga style known from Kition. Five figures in the group are women: two tambourine players and three who bear offerings. Another is a male warrior. Dancing figurines are also present. One female figure, with a wheelmade cylindrical body below a molded face, holds a bird. Another figure, made using the mixed technique, holds a quadruped. For each of these, the lower body is hollow and the upper torso is solid. As on many of the pieces, the painted elements that once adorned the surface are minimally preserved.There are three entirely mold-made figures. They represent worshippers who play the tambourine. One small stout handmade horse figurine is missing its rider. It has remnants of red paint on the edge of the ears, muzzle, mane, and forelock. Another terracotta is described as unusually tall (34.5 cm preserved) for a female figurine. The head is mold-made and solid. The body below is wheelmade and hollow.For most of the figurines, the source of the acquisition was not documented at the time of the bequest. However, Pickup notes that comparable finds have been excavated in Cyprus by J. L. Myres of the University of Oxford (1910–1939). The University of Reading was originally known as Reading College, Oxford, which possibly led to the acquisition of the material by the Reading Museum. One fragmentary head, made of limestone, is recorded as a recent donation from the British Museum.Of the dozen stone objects, there are two containers and ten human figures. The two alabastra, made of gypsum, are attributed to Salamis and date to the fifth–fourth century BCE. The ten figures made of various types of limestone that differ in color and texture, represent males and females. The latter are with or without a child. Most figurines preserve the head alone. Of the three different limestone kourotrophoi holding a child, one is pregnant. Her headdress is typical of the dea gravida (pregnant goddess). This piece is considered to be a local version of a Phoenician form. Unlike most figurines of pregnant women, the Ure Museum example is not only expecting a baby, but holds a nursing child as well.The two post-Bronze Age metal objects, a bronze handle and a circular mirror, come from Salamis and are gifts donated by Barry. The flat heart-shaped handle, with an attached spool-shaped feature, is dated to the ninth century BCE. It is possibly broken. A round mirror with a lid, of Hellenistic date, is well preserved.The clear and concise presentation of each artifact in the SIMA catalogue admirably highlights the Cyprus collections of the two museums and treats the lack of provenance with care and attention.