diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:08:16 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:08:16 -0700 |
| commit | 273e3c4cff4b8f58d62249063790e61a42b01482 (patch) | |
| tree | e6c0a545a2c45348160923a3df54ffaf8a009815 /37558-h | |
Diffstat (limited to '37558-h')
89 files changed, 19960 insertions, 0 deletions
diff --git a/37558-h/37558-h.htm b/37558-h/37558-h.htm new file mode 100644 index 0000000..4822314 --- /dev/null +++ b/37558-h/37558-h.htm @@ -0,0 +1,19960 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml"> +<head> +<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<title>The Project Gutenberg eBook of A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, Volume I (of 2), by A. H. Smith</title> + <style type="text/css"> + + body {max-width: 1000px; margin-left: 15%; margin-right: 15%;} + table {width: auto;} + th {border: none;} + table.tn {background-color: #ffffee; color: #000000; width: 80%;} + table.tn1 {background-color: #ffffee; color: #000000; width: auto;} + th.border {border-top: 2px solid black; border-bottom: 1px solid black; padding: 0.5em 1em 0.5em 1em; border-right: 1px solid black;} + td {text-align: left; font-size: 0.9em; font-weight: normal;} + td.grid {text-align: left; font-size: 0.9em; font-weight: normal; padding-top: 0.5em; padding-bottom: 0.5em; border-right: 1px solid black;} + td.grid1 {text-align: left; font-size: 0.9em; font-weight: normal; padding-top: 0.5em; padding-bottom: 0.5em; border-right: 1px solid black; border-bottom: 1px solid black;} + td.grid2 {text-align: left; font-size: 0.9em; font-weight: normal; padding-top: 0.5em; padding-bottom: 0.5em; border-right: 1px solid black; border-bottom: 2px solid black;} + td.gridc {text-align: center; font-size: 0.9em; font-weight: normal; padding-top: 0.5em; padding-bottom: 0.5em; border-right: 1px solid black;} + td.grid2c {text-align: center; font-size: 0.9em; font-weight: normal; padding-top: 0.5em; padding-bottom: 0.5em; border-right: 1px solid black; border-bottom: 2px solid black;} + td.center1 {text-align: center; font-size: 1em; font-weight: normal; line-height: 150%;} + td.left {text-align: left; padding-left: 2em; font-size: 0.9em; font-weight: normal;} + td.lefta {text-align: left; padding-left: 2.5em; font-size: 0.9em; font-weight: normal;} + td.left1 {text-align: left; padding-left: 3.5em; font-size: 0.9em; font-weight: normal;} + td.left2 {text-align: left; padding-left: 2em; font-size: 1em; font-weight: normal; line-height: 150%;} + td.right {text-align: right; padding-left: 1.5em; padding-right: 1.5em; font-size: 0.9em; font-weight: normal;} + td.note {text-align: left; font-size: 0.9em; font-weight: normal; border: 1px dashed #dddddd; padding: 1em;} + p {text-align: justify;} + blockquote {text-align: justify; margin-left: 1em; margin-right: 0;} + h1 {font-size: 240%; text-align: center; letter-spacing: 5px;} + h1.pg {font-size: 190%; text-align: center; letter-spacing: 0px;} + h2 {font-size: 180%; text-align: center; margin-top: 2em; letter-spacing: 3px;} + h3 {font-size: 150%; text-align: center; margin-top: 2em;} + h3.pg {font-size: 110%; text-align: center; margin-top: 2em;} + h4 {font-size: 120%; text-align: center; margin-top: 2em;} + h5 {font-size: 100%; text-align: center; margin-top: 2em;} + h6 {font-size: 80%; text-align: center;} + .sc {font-variant: small-caps;} + ins {text-decoration: none; border-bottom: dashed 1px #dddddd; font-family: "Gentium, 'New Athena Unicode', 'DejaVu Serif', 'Lucida Grande', 'Arial Unicode MS', 'Palatino Linotype', serif";} + hr {text-align: center; width: 50%;} + html>body hr {margin-right: 25%; margin-left: 25%; width: 50%;} + hr.full {width: 100%;} + html>body hr.full {margin-right: 0%; margin-left: 0%; width: 100%;} + hr.short {text-align: center; width: 20%;} + html>body hr.short {margin-right: 40%; margin-left: 40%; width: 20%;} + .center {text-align: center;} + .right {text-align: right;} + .ind {margin-left: 5em; margin-right: 4em;} + .ind1a {margin-left: 11em; margin-right: 11em;} + .ind1 {margin-left: 2em; margin-top: -1em;} + .indent {margin-left: 2em; font-size: 0.9em;} + .indent1 {margin-left: 3.5em; font-size: 0.9em;} + .outdent {text-align: left; margin-left: -2em;} + p.footnote {font-size: 0.9em; margin-left: 5%;margin-right: 5%; margin-top: 1em;} + p.footnote1 {font-size: 0.9em; margin-left: 5%;margin-right: 5%; margin-top: 3em;} + p.footnote2 {font-size: 0.9em; margin-left: 5%;margin-right: 5%; margin-top: -0.5em; margin-bottom: 3em;} + p.footnote2a {font-size: 0.9em; margin-left: 10%;margin-right: 5%; margin-top: -0.5em; margin-bottom: 3em;} + p.author {text-align: right; margin-top: -1em;} + span.pagenum {position: absolute; left: 1%; right: 91%; font-size: 8pt; text-indent: 0; color: #999999;} + span.gesperrt {letter-spacing: 2px; font-style: italic;} + span.rightside {position: absolute; left: 88%; right: 1%; font-size: 1.2em; font-weight: bold; text-align: left;} + span.leftside {position: absolute; left: 4%; right: 88%; font-size: 1.2em; font-weight: bold; text-align: right;} + span.leftside1 {position: absolute; left: 13%; right: 88%; font-size: 1.1em; font-weight: bold; text-align: right;} + span.leftside1a {position: absolute; left: 10%; right: 85%; font-size: 1.1em; font-weight: bold; text-align: right;} + span.leftside1b {position: absolute; left: 9.8%; right: 85%; font-size: 1.1em; font-weight: bold; text-align: right;} + span.leftside1c {position: absolute; left: 9%; right: 85%; font-size: 1.1em; font-weight: bold; text-align: right;} + span.leftside1d {position: absolute; left: 8%; right: 85%; font-size: 1.1em; font-weight: bold; text-align: right;} + + .poem {margin-left:10%; margin-right:10%; margin-bottom: 1em; text-align: left;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .poem p.i2 {margin-left: 1em;} + .poem p.i4 {margin-left: 2em;} + .poem p.i6 {margin-left: 3em;} + .poem p.i8 {margin-left: 4em;} + .poem p.i10 {margin-left: 5em;} + + .figure, .figcenter, .figright, .figleft + {padding: 1em; margin: 0; text-align: center; font-size: 0.8em;} + .figure img, .figcenter img, .figright img, .figleft img + {border: none;} + .figure p, .figcenter p, .figright p, .figleft p + {margin: 1em; text-indent: 1em;} + .figcenter {margin: auto;} + .figright {float: right;} + .figleft {float: left;} + + a:link {color: blue;background: inherit; font-size: 1.0em; font-weight: bold;text-decoration: none;} + a:visited {color: blue;background: inherit; font-size: 1.0em; font-weight: bold;text-decoration: none;} + a:hover {color: blue;background: inherit; font-size: 1.0em; text-decoration: none;} + a:active {color: blue;background: inherit; font-size: 1.0em; text-decoration: underline;} + a.ask:link {color: blue;background: inherit; font-size: 1.0em; font-weight: normal; text-decoration: none;} + a.ask:visited {color: blue;background: inherit; font-size: 1.0em; font-weight: normal;text-decoration: none;} + a.ask:hover {color: blue;background: inherit; font-size: 1.0em; font-weight: normal;text-decoration: none;} + a.ask:active {color: blue;background: inherit; font-size: 1.0em; text-decoration: underline;} + a.toc:link { color: #000000; background: inherit; font-size: 1.2em; text-decoration: none;} + a.toc:visited { color: #000000; background: inherit; font-size: 1.2em; text-decoration: none;} + a.toc:hover { color: blue; background: inherit; font-size: 1.2em; text-decoration: none;} + a.toc:active {color: blue; background: inherit; font-size: 1.2em; text-decoration: underline;} + + hr.pg { width: 100%; + margin-top: 3em; + margin-bottom: 0em; + margin-left: auto; + margin-right: auto; + height: 4px; + border-width: 4px 0 0 0; /* remove all borders except the top one */ + border-style: solid; + border-color: #000000; + clear: both; } + pre {font-size: 85%;} + </style> +</head> +<body> +<h1 class="pg">The Project Gutenberg eBook, A Catalogue of Sculpture in the Department of +Greek and Roman Antiquities, British Museum, Volume I (of 2), by A. H. +Smith</h1> +<pre> +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, Volume I (of 2)</p> +<p>Author: A. H. Smith</p> +<p>Release Date: September 28, 2011 [eBook #37558]</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK A CATALOGUE OF SCULPTURE IN THE DEPARTMENT OF GREEK AND ROMAN ANTIQUITIES, BRITISH MUSEUM, VOLUME I (OF 2)***</p> +<p> </p> +<h3 class="pg">E-text prepared by Jonathan Ingram, Lesley Halamek,<br /> + and the Online Distributed Proofreading Team<br /> + (http://www.pgdp.net)</h3> +<a name="top" id="top"></a> +<table class="tn" summary="tn" align="center" style="margin-top: 2em; margin-bottom: 5em;"> +<tr> + <td class="note"> + +<h4>Transcriber's Note</h4> + +<p>There are some differences in context between Chapter or Section Headings and corresponding entries in the Table of Contents. +In every case the original has been retained.</p> + +<p>Note: This book contains many sidenotes, and if the screen is too wide, some sidenotes in the more densely populated areas <i>will</i> overlap, +if there are more sidenotes than paragraph lines. The maximum width of the page has been set at 1000px in an attempt to overcome this potential problem. +Browsers vary slightly in the way they display the book, but ideally, the actual width of the page on the screen should be no more than 1000px, +or about 12-13 inches, and may need to be set manually. +Internet Explorer may need to be run in 'Compatibility View'.</p> + +<p>The transliteration of Greek words is indicated, in the text, by a dashed line underneath the Greek word/s.</p> +<p style="margin-top:-1em;">Scroll the mouse over the Greek word and the Latin text transliteration will appear: +<ins title="Greek: Mesos">Μέσος</ins>.</p> + +<p>Some corrections are indicated, in the text, by a dotted line underneath the correction.</p> +<p style="margin-top:-1em;">Scroll the mouse over the word and the original text will <ins title="Transcriber's Note: original reads 'apprear'">appear</ins>.</p> + +<p>An additional transcriber's note is at the end of the e-book.</p> +</td> +</tr> +</table> +<hr class="pg" /> +<p> </p> +<p> </p> +<p> </p> + +<h2 style="margin-top: 0">A CATALOGUE</h2> + +<h5 style="margin-top: 1.5em;">OF</h5> + +<h1>SCULPTURE</h1> + +<h4 style="margin-top: 1.5em; line-height: 150%">IN THE DEPARTMENT OF<br /> + +GREEK AND ROMAN ANTIQUITIES,</h4> + +<h2 style="margin-top: 1em;">BRITISH MUSEUM.</h2> + +<h5 style="margin-top: 1.5em;">BY</h5> + +<h3 style="margin-top: 1em;">A. H. SMITH, M.A.,</h3> + +<h5 style="line-height: 150%; margin-top: 1em;">ASSISTANT IN THE DEPARTMENT OF GREEK AND ROMAN<br /> + +ANTIQUITIES, IN THE BRITISH MUSEUM.</h5> + +<h3 style="margin-top: 1.5em;">VOL. I.</h3> + +<p> </p> +<p> </p> +<p> </p> + +<h5 style="line-height: 150%;">LONDON:<br /> + +PRINTED BY ORDER OF THE TRUSTEES.<br /> + +1892.</h5> + +<h6 style="margin-top: 3em; line-height: 150%;">LONDON:<br /> + +<span class="sc">PRINTED BY WILLIAM CLOWES AND SONS, Limited</span><br /> + +STAMFORD STREET AND CHARING CROSS.</h6> + +<hr /> + +<span class="pagenum"><a name="pageiii" id="pageiii"></a></span> + +<h2 style="margin-top: 3em;">PREFACE.</h2> + +<div class="figcenter"><img src="images/smallfancyrule-104.png" width="104" height="14" alt="small fancy rule" /></div> + +<p>The present volume by Mr. Arthur Smith, Assistant in +the Department of Greek and Roman Antiquities, includes +the sculptures of the Archaic period: those of the +Parthenon and other Athenian buildings; the remains of +the temple at Phigaleia; the Greek reliefs, and some other +sculptures which, though produced in Roman times, yet +represent Greek originals of the great age.</p> + +<p>In the section which deals with the sculptures of +Athens much has been retained from Sir Charles Newton's +<i>Guide to the Elgin Room</i>, Pts. I.-II. While adding the +results of more recent research, Mr. Smith has contributed +on his part interesting material.</p> + +<p>The sculptures of the archaic period have of late years +been the subject of much discussion; the results of these +discussions, as they apply to the collection of the British +Museum, have now been brought together and summarized.</p> + +<p>The Greek reliefs, which form an important section of +the present volume, belong to a class of sculptures which +have produced much difference of opinion as to the +subjects represented by them. Mr. Smith has stated +briefly the principal views, by way of introduction to +the several classes of reliefs.</p> + +<p class="author"><span class="sc">A. S. Murray </span></p> +<p class="ind1"><i>3rd December, 1891.</i></p> + +<span class="pagenum"><a name="pagev" id="pagev"></a></span> +<h2>CONTENTS OF VOL. I.</h2> + +<div class="figcenter"><img src="images/smallfancyrule-104.png" width="104" height="14" alt="small fancy rule" /></div> + + <table align="center" border="0" summary="contents" style="margin-bottom: 2em;"> + +<tr> + <td> </td> + <td class="right">PAGE</td> +</tr> +<tr> + <td><span class="sc">Editor's Preface</span></td> + <td class="right"><a href="#pageiii">iii</a></td> +</tr> +<tr> + <td><span class="sc">Table of Contents</span></td> + <td class="right"><a href="#pagev">v</a></td> +</tr> +<tr> + <td><span class="sc">Table of Abbreviations</span></td> + <td class="right"><a href="#pagevii">vii</a></td> +</tr> +<tr> + <td><span class="sc">Introduction</span></td> + <td class="right"><a href="#page1">1</a></td> +</tr> + +<tr><th><h3><a class="toc" href="#page12">PART I.—THE ARCHAIC PERIOD.</a></h3></th></tr> + +<tr> + <td><span class="sc">Mycenae</span>, 1-6</td> + <td class="right"><a href="#page12">12</a></td> +</tr> +<tr> + <td><span class="sc">Branchidae</span>, 7-21</td> + <td class="right"><a href="#page16a">16</a></td> +</tr> +<tr> + <td><span class="sc">Lydia</span>, 22, 23</td> + <td class="right"><a href="#page24a">24</a></td> +</tr> +<tr> + <td><span class="sc">Ephesus</span>, 24-48</td> + <td class="right"><a href="#page24b">24</a></td> +</tr> +<tr> + <td><span class="sc">Caria</span>, 49-51</td> + <td class="right"><a href="#page40a">40</a></td> +</tr> +<tr> + <td><span class="sc">Rhodes</span>, 52-75</td> + <td class="right"><a href="#page41a">41</a></td> +</tr> +<tr> + <td><span class="sc">Xanthos</span>, 80-98</td> + <td class="right"><a href="#page45a">45</a></td> +</tr> +<tr> + <td><span class="sc">Naucratis</span>, 100-127</td> + <td class="right"><a href="#page61a">61</a></td> +</tr> +<tr> + <td><span class="sc">Delos</span>, 130</td> + <td class="right"><a href="#page68a">68</a></td> +</tr> +<tr> + <td><span class="sc">Selinus</span> (casts), 135-139</td> + <td class="right"><a href="#page69">69</a></td> +</tr> +<tr> + <td><span class="sc">Athens and Attica</span>, 150-156</td> + <td class="right"><a href="#page70a">70</a></td> +</tr> +<tr> + <td><span class="sc">Aegina</span> (casts), 160-183</td> + <td class="right"><a href="#page73">73</a></td> +</tr> +<tr> + <td><span class="sc">Olympia</span> (casts), 190-192</td> + <td class="right"><a href="#page80a">80</a></td> +</tr> +<tr> + <td><span class="sc">Statues of Apollo</span> (?), 200-211</td> + <td class="right"><a href="#page82a">82</a></td> +</tr> +<tr> + <td><span class="sc">Miscellaneous Archaic Sculptures</span>, 215-217</td> + <td class="right"><a href="#page88a">88</a></td> +</tr> + +<tr><th><h3><a class="toc" href="#page90">PART II.—MYRON AND PHEIDIAS.</a></h3></th></tr> + +<tr> + <td><span class="sc">Myron</span>, 250</td> + <td class="right"><a href="#page90a">90</a></td> +</tr> +<tr> + <td><span class="sc">Pheidias and the Parthenon</span></td> + <td class="right"><a href="#page91a">91</a></td> +</tr> +<tr> + <td class="left">Athenč Parthenos, 300-302</td> + <td class="right"><a href="#page96a">96</a></td> +</tr> +<tr> + <td class="left">East Pediment of Parthenon, 303</td> + <td class="right"><a href="#page101">101</a></td> +</tr> +<tr> + <td class="left">West Pediment of Parthenon, 304</td> + <td class="right"><a href="#page116a">116</a></td> +</tr> +<tr> + <td class="left">Metopes of Parthenon, 305-323</td> + <td class="right"><a href="#page132a">132</a></td> +</tr> +<tr> + <td class="left">Frieze of the Parthenon</td> + <td class="right"><a href="#page145a">145</a></td> +</tr> +<tr> + <td class="left1">East Side, 324</td> + <td class="right"><a href="#page152a">152</a></td> +</tr> +<tr> + <td class="left1">North Side, 325<span class="pagenum"><a name="pagevi" id="pagevi"></a>vi</span></td> + <td class="right"><a href="#page165a">165</a></td> +</tr> +<tr> + <td class="left1">West Side, 326</td> + <td class="right"><a href="#page178a">178</a></td> +</tr> +<tr> + <td class="left1">South Side, 327</td> + <td class="right"><a href="#page181a">181</a></td> +</tr> +<tr> + <td class="left">Fragments of the Parthenon Sculptures, 328-345</td> + <td class="right"><a href="#page193">193</a></td> +</tr> +<tr> + <td class="left">Architectural Fragments of the Parthenon, 350-358</td> + <td class="right"><a href="#page213a">213</a></td> +</tr> + +<tr><th><h3><a class="toc" href="#page216">PART III.—THE SUCCESSORS OF PHEIDIAS.</a></h3></th></tr> + +<tr> + <td><span class="sc">The Temple called the Theseion</span></td> + <td class="right"><a href="#page216a">216</a></td> +</tr> +<tr> + <td class="left">Sculpture (casts) and Architecture, 400-406</td> + <td class="right"><a href="#page220">220</a></td> +</tr> +<tr> + <td><span class="sc">The Erechtheion</span></td> + <td class="right"><a href="#page231">231</a></td> +</tr> +<tr> + <td class="left">Sculpture and Architecture, 407-420</td> + <td class="right"><a href="#page233">233</a></td> +</tr> +<tr> + <td><span class="sc">Temple of Nikč Apteros</span></td> + <td class="right"><a href="#page239">239</a></td> +</tr> +<tr> + <td class="left">Frieze and Reliefs of Balustrade (casts), 421-429</td> + <td class="right"><a href="#page242">242</a></td> +</tr> +<tr> + <td><span class="sc">Monument of Lysicrates</span></td> + <td class="right"><a href="#page248">248</a></td> +</tr> +<tr> + <td class="left">Frieze (casts), 430</td> + <td class="right"><a href="#page251">251</a></td> +</tr> +<tr> + <td><span class="sc">Monument of Thrasyllos</span>, 432</td> + <td class="right"><a href="#page257">257</a></td> +</tr> +<tr> + <td><span class="sc">The Propylaea</span>, 433-435</td> + <td class="right"><a href="#page259">259</a></td> +</tr> +<tr> + <td><span class="sc">Miscellaneous Architectural Fragments from +Athens and Attica</span>, 436-448</td> + <td class="right"><a href="#page261">261</a></td> +</tr> +<tr> + <td><span class="sc">Agoracritos of Paros</span>, 460</td> + <td class="right"><a href="#page264">264</a></td> +</tr> +<tr> + <td><span class="sc">Polycleitos of Argos</span>, 500-504</td> + <td class="right"><a href="#page265">265</a></td> +</tr> +<tr> + <td><span class="sc">Temple of Apollo at Phigaleia</span></td> + <td class="right"><a href="#page270">270</a></td> +</tr> +<tr> + <td class="lefta">Architectural Fragments, 505-509</td> + <td class="right"><a href="#page273">273</a></td> +</tr> +<tr> + <td class="lefta">Metopes, 510-519</td> + <td class="right"><a href="#page274">274</a></td> +</tr> +<tr> + <td class="lefta">Frieze, 520-542</td> + <td class="right"><a href="#page277">277</a></td> +</tr> +<tr> + <td class="lefta">Acrolithic Statue, 543, 544</td> + <td class="right"><a href="#page288">288</a></td> +</tr> +<tr> + <td><span class="sc">Miscellaneous Sculptures of the Fifth Century</span>, 549-560</td> + <td class="right"><a href="#page288a">288</a></td> +</tr> +<tr> + <td><span class="sc">Greek Reliefs</span></td> + <td class="right"><a href="#page293">293</a></td> +</tr> +<tr> + <td><span class="sc">Sepulchral Reliefs</span>: + </td> +</tr> +<tr> + <td class="lefta"> Decorative Stelae, 599-618</td> + <td class="right"><a href="#page304">304</a></td> +</tr> +<tr> + <td class="lefta">Domestic Scenes, &c., 619-680</td> + <td class="right"><a href="#page308">308</a></td> +</tr> +<tr> + <td class="lefta">Sepulchral Vases, 681-686</td> + <td class="right"><a href="#page324">324</a></td> +</tr> +<tr> + <td class="lefta">Figures clasping hands, 687-710</td> + <td class="right"><a href="#page326">326</a></td> +</tr> +<tr> + <td class="lefta">The Sepulchral Banquet, &c., 711-746</td> + <td class="right"><a href="#page333">333</a></td> +</tr> +<tr> + <td class="lefta">Rider and Horse, heroified, 750-757</td> + <td class="right"><a href="#page347">347</a></td> +</tr> +<tr> + <td class="lefta">Lycian Sepulchral Reliefs (casts), 760-766</td> + <td class="right"><a href="#page350">350</a></td> +</tr> +<tr> + <td><span class="sc">Votive Reliefs</span>, 770-817</td> + <td class="right"><a href="#page354">354</a></td> +</tr> +<tr> + <td><span class="sc">Plates I.-XII.</span></td> + <td class="right"> </td> +</tr> + +<tr><th><hr /></th></tr> +<tr><th><h3>LIST OF ILLUSTRATIONS</h3></th></tr> +<tr><th><img src="images/smallfancyrule-104.png" width="104" height="14" alt="small fancy rule" /></th></tr> +<tr> + <td> </td> + <td class="right">PAGE</td> +</tr> +<tr><th><h4><a class="toc" href="#page12">PART I.—THE ARCHAIC PERIOD.</a></h4></th></tr> +<tr> + <td>Fig. 1 Restored Capital from the 'Treasury of Atreus' (after Puchstein).</td> + <td class="right"><a href="#page14a">14</a></td> +</tr> +<tr> + <td>Fig. 2 Relief from Mycenae (?), No. 5.</td> + <td class="right"><a href="#page15">15</a></td> +</tr> +<tr> + <td>Fig. 3 Relief from Mycenae, No. 6.</td> + <td class="right"><a href="#page16">16</a></td> +</tr> +<tr> + <td class="left">Inscription on right leg of chair (No 14.)</td> + <td class="right"><a href="#page21">21</a></td> +</tr> +<tr> + <td class="left">Inscription on flank of lion (No 17.)</td> + <td class="right"><a href="#page22">22</a></td> +</tr> +<tr> + <td>Fig. 4 Relief from Mycenae, No. 217.</td> + <td class="right"><a href="#page89">89</a></td> +</tr> + +<tr><th><h4><a class="toc" href="#page90">PART II.—MYRON AND PHEIDIAS.</a></h4></th></tr> +<tr> + <td>Fig. 5 <ins title="Greek: HYAKINTHOS (=Hyacinth)"> + ΥΑΚΙΝΘΟ<span style="font-family: 'DejaVu Sans', consolas, calibri, arial, 'courier new', gulim, sans-serif; font-size: 1.1em;">Ϲ</span>. </ins></td> + <td class="right"><a href="#page91">91</a></td> +</tr> +<tr> + <td>Fig. 6 Plan of the Parthenon. (From Michaelis.)</td> + <td class="right"><a href="#page93">93</a></td> +</tr> +<tr> + <td>Fig. 7 The South End of the East Pediment of the Parthenon (according to Sauer).</td> + <td class="right"><a href="#page104">104</a></td> +</tr> +<tr> + <td>Fig. 8 The North End of the East Pediment of the Parthenon (according to Sauer).</td> + <td class="right"><a href="#page105">105</a></td> +</tr> +<tr> + <td>Fig. 9 Dionysos; utensil.</td> + <td class="right"><a href="#page108">108</a></td> +</tr> +<tr> + <td>Fig. 9 Metopes 308, 309, from Carrey.</td> + <td class="right"><a href="#page136">136</a></td> +</tr> +<tr> + <td>Fig. 10 Slave with seat.</td> + <td class="right"><a href="#page157">157</a></td> +</tr> +<tr> + <td>Fig. 11 East frieze of the Parthenon, Nos. 39-41.</td> + <td class="right"><a href="#page162">162</a></td> +</tr> +<tr> + <td>Fig. 12 North Frieze, slab xix. (46. 47.)</td> + <td class="right"><a href="#page172">172</a></td> +</tr> +<tr> + <td>Fig. 13 Slab xxv. restored from Stuart (from Michaelis).</td> + <td class="right"><a href="#page176">176</a></td> +</tr> +<tr> + <td>Fig. 14 South frieze, slab xvii. (44. 45. 45*.)</td> + <td class="right"><a href="#page184">184</a></td> +</tr> + +<tr><th><h4><a class="toc" href="#page216">PART III.—THE SUCCESSORS OF PHEIDIAS.</a></h4></th></tr> +<tr> + <td>Fig. 15 Plan of the Theseion. (From Baumeister.)</td> + <td class="right"><a href="#page216a">216</a></td> +</tr> +<tr> + <td>Fig. 16 The disposition of the West Frieze of the Theseion. (From Baumeister).</td> + <td class="right"><a href="#page222">222</a></td> +</tr> +<tr> + <td>Fig. 17 The disposition of the East Frieze. (From Baumeister).</td> + <td class="right"><a href="#page225">225</a></td> +</tr> +<tr> + <td>Fig. 18 Ground Plan of the Erechtheion.</td> + <td class="right"><a href="#page231a">231</a></td> +</tr> +<tr> + <td>Fig. 19 Caryatid of the Erechtheion.</td> + <td class="right"><a href="#page233a">233</a></td> +</tr> +<tr> + <td>Fig. 20 Plan of the Propylaea and Temple of Wingless Victory.</td> + <td class="right"><a href="#page240a">240</a></td> +</tr> +<tr> + <td>Fig. 21 The Choragic Monument of Lysicrates. (After Stuart.)</td> + <td class="right"><a href="#page250a">250</a></td> +</tr> +<tr> + <td>Fig. 22 Plan of the Temple of Apollo at Phigaleia.</td> + <td class="right"><a href="#page272">272</a></td> +</tr> +<tr> + <td>Fig. 23 Bust of Pericles, No. 549.</td> + <td class="right"><a href="#page289a">289</a></td> +</tr> +<tr> + <td>Fig. 24 Sepulchral stelč of Smikylion, No. 599.</td> + <td class="right"><a href="#page304a">304</a></td> +</tr> + +<tr><th><h4><a class="toc" href="#plate1">PLATES I. - XII.</a></h4></th></tr> +<tr> + <td><b>Plate I</b></td> +</tr> +<tr> + <td class="left"><span class="sc">Sculptured Column from the Archaic Temple at Ephesus. No. 29.</span></td> + <td class="right"><a href="#plate1">I</a></td> +</tr> +<tr> + <td><b>Plate II</b></td> +</tr> +<tr> + <td class="left"><span class="sc">View of the Lion Tomb at Xanthos. No. 80.</span></td> +</tr> +<tr> + <td class="left1">(<i>From a drawing by George Scharf.</i>)</td> + <td class="right"><a href="#plate2">II</a></td> +</tr> +<tr> + <td><b>Plate III</b></td> +</tr> +<tr> + <td class="left"><span class="sc">View of the Harpy Tomb at Xanthos. No. 94.</span></td> +</tr> +<tr> + <td class="left1">(<i>From a drawing by George Scharf.</i>)</td> + <td class="right"><a href="#plate3">III</a></td> +</tr> +<tr> + <td><b>Plate IV</b></td> +</tr> +<tr> + <td class="left"><span class="sc">Sectional View of the East End of the Parthenon.</span></td> +</tr> +<tr> + <td class="left1">(<i>G. Niemann</i>.)</td> + <td class="right"><a href="#plate4">IV</a></td> +</tr> +<tr> + <td><b>Plate V</b></td> +</tr> +<tr> + <td class="left"> + Fig. 1. <span class="sc">Carrey's Drawing of the East Pediment of the Parthenon.</span><br /> + Fig. 2. <span class="sc">Carrey's Drawing of the West Pediment of the Parthenon.</span></td> + <td class="right"><a href="#plate5">V</a></td> +</tr> +<tr> + <td><b>Plate VI</b></td> +</tr> +<tr> + <td class="left"> + Fig. 1. <span class="sc">Iris and Hera. East Frieze of Parthenon. Nos. 27, 28.</span><br /> + Fig. 2. <span class="sc">Arm. NO. 330.</span></td> + <td class="right"><a href="#plate6">VI</a></td> +</tr> +<tr> + <td><b>Plate VII</b></td> +</tr> +<tr> + <td class="left"><span class="sc">The North Frieze of the Parthenon (Slabs I.-VII.) Restored.</span></td> + <td class="right"><a href="#plate7">VII</a></td> +</tr> +<tr> + <td><b>Plate VIII</b></td> +</tr> +<tr> + <td class="left"><span class="sc">The North Frieze of the Parthenon (Slabs VII.-XIII.) Restored.</span></td> + <td class="right"><a href="#plate8">VIII</a></td> +</tr> +<tr> + <td><b>Plate IX</b></td> +</tr> +<tr> + <td class="left"><span class="sc">Lusieri's Drawing of the Missing Group from the Monument of Lysicrates. No. 430, <i>5</i>.</span></td> + <td class="right"><a href="#plate9">IX</a></td> +</tr> +<tr> + <td><b>Plate X</b></td> +</tr> +<tr> + <td class="left"><span class="sc">View of the Temple of Apollo at Phigaleia.</span></td> +</tr> +<tr> + <td class="left1">(<i>From a Photograph.</i>)</td> + <td class="right"><a href="#plate10">X</a></td> +</tr> +<tr> + <td><b>Plate XI</b></td> +</tr> +<tr> + <td class="left"> + Fig. 1. <span class="sc">Sepulchral Relief. No. 693.</span><br /> + Fig. 2. <span class="sc">Monument of Xanthippos. No. 628.</span><br /> + Fig. 3. <span class="sc">Sepulchral Relief. No. 627.</span></td> + <td class="right"><a href="#plate11">XI</a></td> +</tr> +<tr> + <td><b>Plate XII</b></td> +</tr> +<tr> + <td class="left"> + Fig. 1. <span class="sc">Fragment of a Sepulchral Relief. No. 673.</span><br /> + Fig. 2. <span class="sc">Fragment of a Sepulchral Relief. No. 672.</span></td> + <td class="right"><a href="#plate12">XII</a></td> +</tr> +</table> + +<span class="pagenum"><a name="pagevii" id="pagevii"></a>vii</span> + +<h2>TABLE OF ABBREVIATIONS.</h2> + +<div class="figcenter"><img src="images/smallfancyrule-104.png" width="104" height="14" alt="small fancy rule" /></div> + +<div class="ind"> +<p><span class="outdent">The following is a list</span> of the works which are most frequently +referred to, in this Catalogue, under abbreviated forms:—</p> + +<p><span class="outdent"><i>Annali dell' Inst.</i></span> Annali dell' Instituto di Corrispondenza Archeologica. +Rome: 1829-1885. [Superseded by the "Roemische Mittheilungen."]</p> + +<p><span class="outdent"><i>Antike Denkmaeler.</i></span> Antike Denkmaeler herausgegeben vom k. +deutschen Archaeologischen Institut. Berlin: from 1886. In +progress.</p> + +<p><span class="outdent"><i>Arch. Anzeiger.</i></span> Archaeologischer Anzeiger. [A supplement to the +Archeologische Zeitung, and to the Jahrbuch des Archaeologischen Instituts.]</p> + +<p><span class="outdent"><i>Arch. Zeit.</i></span> Archaeologische Zeitung. Berlin: 1843-1885. [Superseded +by the Jahrbuch des Archaeologischen Instituts.]</p> + +<p><span class="outdent"><i>Athenische Mittheilungen.</i></span> Mittheilungen des k. deutschen Archaeologischen +Instituts, Athenische Abtheilung. Athens: from 1876. +In progress.</p> + +<p><span class="outdent"><i>Brunn, Denkmaeler.</i></span> H. v. Brunn, Denkmaeler griechischer und +römischer Sculptur. Munich: from 1888. In progress.</p> + +<p><span class="outdent"><i>Bull, de Corr. Hellénique.</i></span> École française d'Athčnes. Bulletin de +Correspondance Hellénique. Athens: from 1877. In progress.</p> + +<p><span class="outdent"><i>Bull. dell' Inst.</i> Bullettino</span> dell' Instituto di Corrispondenza Archeologica. +Rome: 1829-1885.</p> + +<p><span class="outdent"><i>C. I. A.</i> Corpus Inscriptionum Atticarum.</span> Berlin: from 1873. In +progress.</p> + +<p><span class="outdent"><i>C. I. G.</i> Corpus Inscriptionum Graecarum.</span> Berlin: 1828-1877.</p> + +<p><span class="outdent"><i>Gaz. Arch.</i> Gazette Archéologique.</span> Paris: 1874-1888.</p> + +<p><span class="outdent"><i>Greek Inscriptions in Brit. Mus.</i></span> The Collection of Ancient Greek +Inscriptions in the British Museum, by C. T. Newton, and E. L. +Hicks. 1874-1890.</p> + +<p><span class="outdent"><i>Guide to Elgin Room I.</i></span> Synopsis of the Contents of the British +Museum. Department of Greek and Roman Antiquities. The +Sculptures of the Parthenon. Elgin Room, Part I. (Third ed.). +1886.</p> +<span class="pagenum"><a name="pageviii" id="pageviii"></a>viii</span> + +<p><span class="outdent"><i>Guide to Elgin Room II.</i></span> Synopsis, etc.... The Sculptures in +the Elgin Room. Part II. 1881.</p> + +<p><span class="outdent"><i>Guide to First Vase Room.</i></span> Synopsis, etc.... First Vase Room. +(Last ed.) 1883.</p> + +<p><span class="outdent"><i>Guide to Graeco-Roman Sculptures I.</i></span> Synopsis, etc.... Graeco-Roman +Sculptures. (Second ed.) 1879.</p> + +<p><span class="outdent"><i>Guide to Graeco-Roman Sculptures II.</i></span> Synopsis, etc.... Graeco-Roman +Sculptures. Part II. 1876.</p> + +<p><span class="outdent"><i>Jahrbuch des Arch. Inst.</i></span> Jahrbuch des k. deutschen Archaeologischen +Instituts. Berlin: from 1886. In progress.</p> + +<p><span class="outdent"><i>Journ. of Hellen. Studies.</i></span> The Journal of Hellenic Studies. London: +from 1879. In progress.</p> + +<p><span class="outdent"><i>Mansell.</i> Photographs of objects</span> in the British Museum, published by +W. A. Mansell, 271 Oxford Street, W.</p> + +<p><span class="outdent"><i>Michaelis.</i> A. Michaelis,</span> Der Parthenon. Leipsic: 1871.</p> + +<p><span class="outdent"><i>Michaelis, Anc. Marbles.</i></span> A. Michaelis, Ancient Marbles in Great +Britain. 1882.</p> + +<p><span class="outdent"><i>Mitchell.</i> Lucy M. Mitchell,</span> A History of Ancient Sculpture. 1883.</p> + +<p><span class="outdent"><i>Mitchell, Selections.</i> Selections</span> from Ancient Sculpture.... A +Supplement to A History of Ancient Sculpture. By Lucy M. +Mitchell. 1883.</p> + +<p><span class="outdent"><i>Mon. dell' Inst.</i> Monumenti Inediti,</span> pubblicati dall' Instituto di +Corrispondenza Archaeologica. Rome, 1829-1886, and Berlin, +1891.</p> + +<p><span class="outdent"><i>Murray.</i> A. S. Murray, A History </span>of Greek Sculpture. 1880-3. +[Second ed., 1890. The first ed. is quoted, unless otherwise stated.]</p> + +<p><span class="outdent"><i>Mus. Marbles.</i> A description</span> of the Collection of Ancient Marbles in +the British Museum. 1812-1861.</p> + +<p><span class="outdent"><i>Perrot & Chipiez.</i> G. Perrot</span> and C. Chipiez, Histoire de l'Art dans +l'Antiquité. Paris: from 1882. In progress.</p> + +<p><span class="outdent"><i>Prachov.</i> A. Prachov, Antiquissima</span> Monumenta Xanthiaca. St. Petersburg, 1871.</p> + +<p><span class="outdent"><i>Rev. Arch.</i> Revue Archéologique.</span> Paris: from 1844. In progress.</p> + +<p><span class="outdent"><i>Roehl, I. G. A.</i> H. Roehl, Inscriptiones</span> Graecae Antiquissimae, +praeter Atticas in Attica repertas. Berlin: 1882.</p> + +<p><span class="outdent"><i>Roemische Mittheilungen.</i></span> Mittheilungen des k. deutschen Archaeologischen +Instituts, Roemische Abtheilung. Rome: from 1886. +In progress.</p> + +<p><span class="outdent"><i>Specimens.</i> Specimens</span> of Ancient Sculpture ... selected from +different Collections in Great Britain, by the Society of Dilettanti. +London: 1809.</p> + +<p><span class="outdent"><i>Stereoscopic.</i> Photographs</span> of objects in the British Museum, published +by the London Stereoscopic Company, 106 Regent Street, W.</p> +<span class="pagenum"><a name="pageix" id="pageix"></a>ix</span> + +<p><span class="outdent"><i>Stuart.</i> James Stuart</span> and Nicolas Revett, The Antiquities of Athens. +London: 1762-1830. [Second ed., 1825-1830. The first ed. is +quoted unless otherwise stated.]</p> + +<p><span class="outdent"><i>Synopsis.</i> Synopsis</span> of the contents of the British Museum. +(Numerous editions.) 1808-1857. [Where a double reference is given, as 189 (284), the number in the parenthesis was used in +editions of the Synopsis earlier than 1832.]</p> + +<p><span class="outdent"><i>Wolters.</i> Die Gipsabgüsse</span> Antiker Bildwerke in historischer Folge +erklärt. Bausteine ... von Carl Friederichs neu bearbeitet von Paul Wolters. Berlin: 1885.</p> +</div> + +<hr /> + +<table align="center" border="0" summary="contents" style="margin-top: 1em; margin-bottom: 2em;"> + +<tr><th><h4 style="margin-top: 1em;"><span class="sc">British and Metric Systems Compared.</span></h4></th></tr> +<tr> +<td class="center" style="font-size: 1em;">1 inch = ·025 metre.<br /> +1 foot = ·304 metre.<br /> +3 feet = ·914 metre. +</td> +</tr> +<tr> +<td class="center" style="font-size: 1em;"> +1 metre = 39·37079 inches. +</td> +</tr> +</table> + +<hr /> +<span class="pagenum"><a name="pagex" id="pagex"></a>x</span><br /> +<span class="pagenum"><a name="page1" id="page1"></a>1</span> + +<h2>INTRODUCTION.</h2> + +<div class="figcenter"><img src="images/smallfancyrule-104.png" width="104" height="14" alt="small fancy rule" /></div> + +<p>The collection of ancient sculpture in marble, included +in the Department of Greek and Roman Antiquities in +the British Museum, may be said to represent the +efforts of more than two centuries, though the foundation +of the Museum itself is of a considerably more recent +date.<a id="footnotetag1" name="footnotetag1"></a><a class="ask" href="#footnote1"><sup>1</sup></a></p> + +<p>The British Museum was established by Parliament in +1753. In that year, by the statute 26 Geo. II. cap. 22, a +trust was created to unite and maintain as one collection +the Museum of Sir Hans Sloane, the Cottonian +Library, and the Harleian Collection of Manuscripts.</p> + +<p>Sir Hans Sloane (1660-1753),<a id="footnotetag2" name="footnotetag2"></a><a class="ask" href="#footnote2"><sup>2</sup></a> physician, botanist, and +President of the Royal Society in succession to Newton, +had formed in his lifetime a very extensive museum, consisting +mainly of books, natural history collections, and +ethnographical objects. At the same time classical antiquities +were represented by bronzes, gems, vases, terracottas, +and a few sculptures in marble. The examples, +<span class="pagenum"><a name="page2" id="page2"></a>2</span> +however, of Greek sculpture were few and unimportant, +and in most instances they cannot now be recognized with +certainty from the brief entries in Sir Hans Sloane's +catalogue. Such as they were, they were chiefly derived +from the collection of John Kemp, an antiquary and +collector early in the eighteenth century (died 1717). +The Sloane Collection included the sepulchral vase, +No. 682 in the present volume; a small relief with two +dogs and a wild boar; a figure of Asclepios, a few heads, +busts, urns of marble or alabaster, and a few Greek and +Latin inscriptions.</p> + +<p>Three of the pieces of sculpture in the Museum are +said by Sloane<a id="footnotetag3" name="footnotetag3"></a><a class="ask" href="#footnote3"><sup>3</sup></a> to have been derived from the Arundel +Collection, which was the first great collection of classical +antiques formed in this country. Thomas Howard, Earl +of Arundel (1585-1646), was the first Englishman who +employed agents to collect for him in Greece and the +Greek Islands, as well as in Italy. The collection thus +formed was broken up in the reign of Charles II. The +inscriptions were given by Henry Howard, afterwards +sixth Duke of Norfolk, to the University of Oxford in +1667. The sculptures were scattered. A part passed +through the hands of the Earls of Pomfret to the University +of Oxford, while others were lost, or dispersed +among private collectors.<a id="footnotetag4" name="footnotetag4"></a><a class="ask" href="#footnote4"><sup>4</sup></a> The few examples named +above thus found their way into the original collection +of the British Museum. A more important fragment, +however, from the Arundel Collection was added to the +<span class="pagenum"><a name="page3" id="page3"></a>3</span> +Museum at an early date, namely the bronze head, +formerly known as Homer,<a id="footnotetag5" name="footnotetag5"></a><a class="ask" href="#footnote5"><sup>5</sup></a> which was presented by the +ninth Earl of Exeter in 1760. This head had previously +been in the collection of Dr. Richard Mead,<a id="footnotetag6" name="footnotetag6"></a><a class="ask" href="#footnote6"><sup>6</sup></a> physician and +antiquary (1673-1754), and was sold with his collection +in 1754.<a id="footnotetag7" name="footnotetag7"></a><a href="#footnote7"><sup>7</sup></a></p> + +<p>Between the foundation of the British Museum in 1753 +and the accession of the Townley Collection in 1805, the +collection of sculpture made but slow progress. The first +donor of sculpture was Thomas Hollis (1720-1774), of +Corscombe, in Dorsetshire, a collector, and benefactor to +several branches of the Museum. In 1757 Hollis gave a +collection of antiquities, including several marbles, chiefly +small busts and inscriptions.<a id="footnotetag8" name="footnotetag8"></a><a class="ask" href="#footnote8"><sup>8</sup></a> In 1764 he gave a Greek +relief, which cannot be identified, and in 1765 a marble +head of a Faun.</p> + +<p>In 1772 Matthew Duane (lawyer and antiquary, 1707-1785) +joined in a gift of sculptures with Thomas Tyrwhitt +(1720-1786), a scholar, who also bequeathed his +library of classical authors to the British Museum. The +sculptures in question<a id="footnotetag9" name="footnotetag9"></a><a class="ask" href="#footnote9"><sup>9</sup></a> were purchased by the donors at +an auction in London,<a id="footnotetag10" name="footnotetag10"></a><a class="ask" href="#footnote10"><sup>10</sup></a> in order that they might be put in +a place of safety.</p> + +<p>The year 1772 is also noteworthy as the date of the +first Parliamentary grant for the augmentation of the +Museum collection. The House of Commons in that year +voted a sum of Ł8410 for the purchase of the valuable +museum of antiquities which had been formed by Sir +<span class="pagenum"><a name="page4" id="page4"></a>4</span> +William Hamilton (1730-1803), British Ambassador at +Naples, 1764-1800. The vases formed the most important +section, but the collection also contained several sculptures +in the round and in relief.<a id="footnotetag11" name="footnotetag11"></a><a class="ask" href="#footnote11"><sup>11</sup></a> On the other hand a square +altar with reliefs<a id="footnotetag12" name="footnotetag12"></a><a class="ask" href="#footnote12"><sup>12</sup></a> was presented by Sir W. Hamilton in +1776, and perhaps also a head of Heracles.<a id="footnotetag13" name="footnotetag13"></a><a class="ask" href="#footnote13"><sup>13</sup></a> A colossal +foot of Apollo<a id="footnotetag14" name="footnotetag14"></a><a class="ask" href="#footnote14"><sup>14</sup></a> was given in 1784.</p> + +<p>In 1780 an interesting relief, No. 750, was presented +by Sir Joseph Banks, and Col. the Hon. A. C. Fraser, of +Lovat (1736-1815). Sir Joseph Banks (1743-1820), traveller, +botanist, and President of the Royal Society, was a +great benefactor to the Library and Botanical collections, +but his gifts of sculpture were limited to this relief, and to +a relief representing Jupiter and Ceres, presented in 1809.</p> + +<p>Charles Townley gave two marble fountains<a id="footnotetag15" name="footnotetag15"></a><a class="ask" href="#footnote15"><sup>15</sup></a> in 1786, +but his main collections were not added to the Museum +till after his death. A valuable gift was received from +the Society of Dilettanti, about 1795, consisting of the +sculptures and inscriptions collected by the expedition to +Ionia which had been sent out by that Society in 1764, +under the direction of Dr. Richard Chandler. The collection +included several Attic reliefs,<a id="footnotetag16" name="footnotetag16"></a><a class="ask" href="#footnote16"><sup>16</sup></a> and some important +inscriptions, among them the well-known report on the +progress of the Erechtheion.<a id="footnotetag17" name="footnotetag17"></a><a class="ask" href="#footnote17"><sup>17</sup></a> In 1870 the same Society +presented the fruits of its excavations at Prienč, conducted +by Mr. R. P. Pullan.</p> + +<p>Two Roman portrait statues, of inferior merit, which had +passed into the hands of the British at the Capitulation of +<span class="pagenum"><a name="page5" id="page5"></a>5</span> +Alexandria, in 1800, were placed in the Department of +Antiquities, in 1802.</p> + +<p>The collection of sculpture which had thus slowly come +into existence during the first fifty years of the Museum's +history, received its most brilliant accessions during the +first quarter of the present century.</p> + +<p>The great collection that had been formed by Charles +Townley<a id="footnotetag18" name="footnotetag18"></a><a class="ask" href="#footnote18"><sup>18</sup></a> was purchased in 1805 by Act of Parliament, +45 Geo. III. cap. 127, for Ł20,000, a sum greatly below +the value of the sculptures. Charles Townley (1737-1805), +of Townley, in Lancashire, acquired a large part of +his marbles, during a residence in Italy, between 1768 and +1772, but continued collecting, after his return to England. +The chief sources from which he formed his museum were +the following: (1) the older Roman collections, from +which Townley made numerous purchases; (2) the excavations +carried on by Gavin Hamilton, a Scotch painter +living in Rome (died 1797), and by Thomas Jenkins, an +English banker; (3) occasional purchases from older +English collections. Thus the relief of Exakestes<a id="footnotetag19" name="footnotetag19"></a><a class="ask" href="#footnote19"><sup>19</sup></a> was +derived from the collection of Dr. Richard Mead (see +above). The relief of Xanthippos<a id="footnotetag20" name="footnotetag20"></a><a class="ask" href="#footnote20"><sup>20</sup></a> had been brought to +England by Dr. Anthony Askew, a physician, who visited +Athens and the East, about 1747, and compiled a manuscript +volume of inscriptions, now in the British Museum +(Burney MSS., No. 402). Several pieces<a id="footnotetag21" name="footnotetag21"></a><a class="ask" href="#footnote21"><sup>21</sup></a> were also obtained +from the collection formed at Wimbledon by Lyde +Browne, a virtuoso and Director of the Bank of England, +who died in 1787.</p> +<span class="pagenum"><a name="page6" id="page6"></a>6</span> + +<p>The accession of the Townley Collection in 1805 made +necessary the erection of a special building in the garden +of the then existing Montague House, and also caused the +creation of a separate Department under Taylor Combe, +for the custody of the antiquities, which had been +previously attached to the Library.</p> + +<p>In 1814, the Phigaleian sculptures were purchased of +the explorers<a id="footnotetag22" name="footnotetag22"></a><a class="ask" href="#footnote22"><sup>22</sup></a> in a public auction at Zante, and the +Museum thereby acquired its first series of sculptures +from a Greek building. A fragment, which had been lost +during the transportation of the marbles,<a id="footnotetag23" name="footnotetag23"></a><a class="ask" href="#footnote23"><sup>23</sup></a> was presented +by Mr. J. Spencer Stanhope in 1816.</p> + +<p>Thomas Bruce, seventh Earl of Elgin (1766-1841), +whose collection was the next and greatest addition to the +British Museum, had been appointed British Ambassador +to the Porte in 1799. On his appointment, he resolved +to make his time of office of service to the cause of art, +and accordingly engaged a body of five architects, +draughtsmen and formatori, under Lusieri, a Neapolitan +portrait painter, to make casts, plans and drawings from +the remains in Greece, and more particularly at Athens. +While the work was in progress, Lord Elgin became aware +of the rapid destruction that was taking place of the +sculptures in Athens. The success of the British arms in +Egypt having made the disposition of the Porte favourable +to the British Ambassador, a firman was obtained which +sanctioned the removal of the sculptures. The whole +collection, formed by Lord Elgin's agents, was, after long +negotiations, and an enquiry by a Select Committee of the +House of Commons, purchased of Lord Elgin for Ł35,000 +in 1816. It consists of sculptures and architectural +<span class="pagenum"><a name="page7" id="page7"></a>7</span> +fragments from the Parthenon, the Erechtheion, and +other Athenian buildings; casts, which have now become +of great value, from the Parthenon, the Theseion, and the +Monument of Lysicrates; a considerable number of Greek +reliefs, principally from Athens; fragments from Mycenae +and elsewhere; drawings and plans.</p> + +<p>The marbles and casts of the Parthenon acquired in the +Elgin Collection, have since been supplemented, not only +by casts of sculptures newly discovered at Athens, but also +by the additions of fragments, removed from Athens by occasional +travellers, and acquired for the Museum by donation +or purchase. The gifts include a head of a Lapith,<a id="footnotetag24" name="footnotetag24"></a><a class="ask" href="#footnote24"><sup>24</sup></a> from +the Duke of Devonshire, and pieces of the frieze from Mr. C. R. +Cockerell,<a id="footnotetag25" name="footnotetag25"></a><a class="ask" href="#footnote25"><sup>25</sup></a> and +Mr. J. H. Smith-Barry;<a id="footnotetag26" name="footnotetag26"></a><a class="ask" href="#footnote26"><sup>26</sup></a> also from the +Society of Dilettanti<a id="footnotetag27" name="footnotetag27"></a><a class="ask" href="#footnote27"><sup>27</sup></a> and +the Royal Academy.<a id="footnotetag28" name="footnotetag28"></a><a class="ask" href="#footnote28"><sup>28</sup></a></p> + +<p>Lord Elgin was actively assisted in the East by his +secretary, William Richard Hamilton (1777-1859), who +afterwards became Under-Secretary of State for Foreign +Affairs (1809-1822). From Mr. Hamilton the Museum +received a few sculptures, including a sepulchral relief +from Tarentum.<a id="footnotetag29" name="footnotetag29"></a><a class="ask" href="#footnote29"><sup>29</sup></a></p> + +<p>In 1824 the British Museum obtained by bequest the +collections of Richard Payne Knight (1749-1824), a +learned but fanciful antiquarian, and a leading member +of the Society of Dilettanti. Payne Knight's collection +was especially rich in bronzes, gems, and coins, but it also +contained a series of marble portrait busts.</p> + +<p>The next addition of importance was the collection of +sculptures and casts brought at the public expense in +1842 from Xanthos and other sites in Lycia, discovered +<span class="pagenum"><a name="page8" id="page8"></a>8</span> +by Sir Charles Fellows (1799-1860), in the course of his +journeys of 1838 and 1840.<a id="footnotetag30" name="footnotetag30"></a><a class="ask" href="#footnote30"><sup>30</sup></a></p> + +<p>In 1846, permission was given by the Porte to the then +British Ambassador, Sir Stratford Canning, afterwards +Viscount Stratford de Redcliffe (1786-1880), to remove +twelve slabs of the frieze of the Mausoleum from Halicarnassos. +These sculptures, long known to travellers,<a id="footnotetag31" name="footnotetag31"></a><a class="ask" href="#footnote31"><sup>31</sup></a> +were taken from the walls of the castle of Budrum, and +presented by the Ambassador to the British Museum.</p> + +<p>Ten years later the influence of Lord Stratford de +Redcliffe was exerted to support Sir Charles Newton in +his explorations in Asia Minor. Sir Charles Newton +exchanged his position at the British Museum, in 1856, +for the post of British Vice-Consul at Mitylene, which he +held till 1859, and in that capacity he was able, on behalf +of the Trustees, to excavate the sites of the Mausoleum at +Halicarnassos, and of the temple of Demeter at Cnidos. +He also removed the archaic statues of Branchidae, and +collected several minor pieces of sculpture. The excavations +on the site of the Mausoleum added four slabs to the +series presented by Lord Stratford de Redcliffe in 1840. +One additional slab was purchased in 1865 of the Marchese +Serra, of Genoa.</p> + +<p>While the excavations of the Mausoleum were in +progress, the Crimean campaign afforded an opportunity +to Col. Westmacott to form a collection of sculptures from +Kertch and the neighbourhood, illustrating the later stages +of Greek art on the Euxine.</p> + +<p>In the years 1860-1861, Captain, now General Sir R. +Murdoch Smith, R.E., and Commander E. A. Porcher, R.N., +<span class="pagenum"><a name="page9" id="page9"></a>9</span> +carried out a series of excavations on the site of Cyrenč, +and discovered a considerable number of sculptures in +marble, and an admirable bronze portrait head, among the +ruins of the temples of Apollo, Dionysos and Aphroditč, +and elsewhere.</p> + +<p>The excavations which were carried on at Ephesus by +the late Mr. John Turtle Wood,<a id="footnotetag32" name="footnotetag32"></a><a class="ask" href="#footnote32"><sup>32</sup></a> for the British Museum, +began in 1863, and were continued till 1874, the site of +the great temple of Artemis not having been determined +before the spring of 1870. Besides excavating the site of +the temple, Mr. Wood obtained inscriptions and sculptures +from the Odeum, the great Theatre, and the road to the +temple of Artemis.</p> + +<p>The site of Naucratis in the Egyptian Delta was discovered +by Mr. W. M. Flinders Petrie, and was excavated, +partly by the discoverer, and partly by Mr. E. A. Gardner, +at the cost of the Egypt Exploration Fund in the years +1884-6.<a id="footnotetag33" name="footnotetag33"></a><a class="ask" href="#footnote33"><sup>33</sup></a> The most important objects found were fragments +of pottery, but there were also some architectural +remains, and archaic statuettes of interest.</p> + +<p>In 1889 and 1891, various sculptures, including a head +of Eros from Paphos, and a large capital with projecting +bulls' heads from the Cyprian Salamis, have been presented +by the Cyprus Exploration Fund.</p> + +<p>Besides the proceeds of the systematic researches +enumerated above, the collection of sculpture has been +frequently increased during the present century with the +specimens collected by private travellers in the East. +Thus in 1818, H. Gally Knight (1784-1846), an antiquarian +and writer on the history of architecture, with +N. Fazakerly, presented a statue from Athens.<a id="footnotetag34" name="footnotetag34"></a><a class="ask" href="#footnote34"><sup>34</sup></a> In 1820, +<span class="pagenum"><a name="page10" id="page10"></a>10</span> +J. P. Gandy Deering (1787-1850), an architect who had +taken part in the Dilettanti Expedition to Ionia of 1811, +presented sculptures that he had discovered at Rhamnus +in Attica.<a id="footnotetag35" name="footnotetag35"></a><a class="ask" href="#footnote35"><sup>35</sup></a> In 1839, Colonel W. M. Leake, an eminent +traveller and topographer (1777-1860), presented several +Greek sculptures.<a id="footnotetag36" name="footnotetag36"></a><a class="ask" href="#footnote36"><sup>36</sup></a> A small collection of reliefs, and of +architectural fragments from Athens and elsewhere, was +purchased from H. W. Inwood, the author of a treatise on +the Erechtheion.</p> + +<p>In 1861, the fifth Earl of Aberdeen presented a collection +which had been formed in Greece in 1801 by George, +fourth Earl of Aberdeen, a connoisseur, known to his +contemporaries as "Athenian Aberdeen."<a id="footnotetag37" name="footnotetag37"></a><a class="ask" href="#footnote37"><sup>37</sup></a> In 1864 a +collection of sculptures was purchased which had been +formed by Percy Clinton Sydney Smythe, sixth Viscount +Strangford (1783-1855), formerly Ambassador to the +Porte, and which included the "Strangford Apollo."<a id="footnotetag38" name="footnotetag38"></a><a class="ask" href="#footnote38"><sup>38</sup></a></p> + +<p>Amongst purchases that have taken place from time to +time we may also mention that of the Apollo<a id="footnotetag39" name="footnotetag39"></a><a class="ask" href="#footnote39"><sup>39</sup></a> from the +collection of the Comte de Choiseul-Gouffier in 1818. In +1864 several Grćco-Roman sculptures<a id="footnotetag40" name="footnotetag40"></a><a class="ask" href="#footnote40"><sup>40</sup></a> were purchased +from the Farnese Collection at Rome. The museum of +the Duc de Blacas, purchased in 1867, contained the head +of Asclepios from Melos, and the relief discovered at the +same time.<a id="footnotetag41" name="footnotetag41"></a><a class="ask" href="#footnote41"><sup>41</sup></a> For the numerous cases not here mentioned +in which sculptures have been acquired by <ins title="Transcriber's Note: original reads 'donotion'">donation</ins> +or bequest, the reader is referred to the pages of the +catalogue.</p> +<span class="pagenum"><a name="page11" id="page11"></a>11</span> + +<p>Finally, it may be observed that not a few sculptures +in the British Museum have been found under peculiar +circumstances in this country. Such specimens have been +brought to England by travellers, whose collections have +afterwards been broken up, lost or neglected, and have +been rescued by chance from warehouses, gardens, or +masons' yards.<a id="footnotetag42" name="footnotetag42"></a><a class="ask" href="#footnote42"><sup>42</sup></a></p> + +<p class="footnote1"><a id="footnote1" name="footnote1"></a><a class="ask" href="#footnotetag1"><sup>1</sup></a> For the history of the collections in the British Museum, see +Edwards, <i>Lives of the Founders of the British Museum</i>; Michaelis, <i>Ancient Marbles in Great Britain</i>, introduction.</p> + +<p class="footnote"><a id="footnote2" name="footnote2"></a><a class="ask" href="#footnotetag2"><sup>2</sup></a> There is a portrait of Sloane in the Medićval Room, and a bust by +Roubiliac in the Ceramic Gallery.</p> + +<p class="footnote"><a id="footnote3" name="footnote3"></a><a class="ask" href="#footnotetag3"><sup>3</sup></a> The entries in the Sloane Catalogue are:—"218. A vase of red and +grey marble with green veins, with a cover from the Earl of Arundel's Collections. 222. A busto of Tully (?) when young.—Arundel. 223. A small Venus (?).—Arundel."</p> + +<p class="footnote"><a id="footnote4" name="footnote4"></a><a class="ask" href="#footnotetag4"><sup>4</sup></a> Michaelis, <i>Ancient Marbles</i>, p. 6.</p> + +<p class="footnote"><a id="footnote5" name="footnote5"></a><a class="ask" href="#footnotetag5"><sup>5</sup></a> <i>Mus. Marbles</i>, II., pl. 39.</p> + +<p class="footnote"><a id="footnote6" name="footnote6"></a><a class="ask" href="#footnotetag6"><sup>6</sup></a> There is a bust of Mead by Roubiliac in the Ceramic Gallery.</p> + +<p class="footnote"><a id="footnote7" name="footnote7"></a><a class="ask" href="#footnotetag7"><sup>7</sup></a> <i>Mus. Meadianum</i>, Pars altera, p. 219.</p> + +<p class="footnote"><a id="footnote8" name="footnote8"></a><a class="ask" href="#footnotetag8"><sup>8</sup></a> Cf. <i>Mus. Marbles</i>, V., pl. 1, fig. 3; pl. 6, fig. 4; pl. 7, +fig. 1; pl. 12, fig. 4.</p> + +<p class="footnote"><a id="footnote9" name="footnote9"></a><a class="ask" href="#footnotetag9"><sup>9</sup></a> +Nos. <a class="ask" href="#n639">639</a>, <a class="ask" href="#n703">703</a>, <a class="ask" href="#n737">737</a>.</p> + +<p class="footnote"><a id="footnote10" name="footnote10"></a><a class="ask" href="#footnotetag10"><sup>10</sup></a> <i>Archćologia</i>, III., p. 230.</p> + +<p class="footnote"><a id="footnote11" name="footnote11"></a><a class="ask" href="#footnotetag11"><sup>11</sup></a> +Nos. <a class="ask" href="#n774">774</a>, <a class="ask" href="#n780">780</a>; <i>Grćco-Roman Guide</i>, I., No. 140<span class="sc">b</span>.</p> + +<p class="footnote"><a id="footnote12" name="footnote12"></a><a class="ask" href="#footnotetag12"><sup>12</sup></a> <i>Grćco-Roman Guide</i>, II., No. 53.</p> + +<p class="footnote"><a id="footnote13" name="footnote13"></a><a class="ask" href="#footnotetag13"><sup>13</sup></a> <i>Mus. Marbles</i>, I., pl. 11.</p> + +<p class="footnote"><a id="footnote14" name="footnote14"></a><a class="ask" href="#footnotetag14"><sup>14</sup></a> <i>Grćco-Roman Guide</i>, II., No. 117.</p> + +<p class="footnote"><a id="footnote15" name="footnote15"></a><a class="ask" href="#footnotetag15"><sup>15</sup></a> <i>Grćco-Roman Guide</i>, II., Nos. 45, 61.</p> + +<p class="footnote"><a id="footnote16" name="footnote16"></a><a class="ask" href="#footnotetag16"><sup>16</sup></a> +Nos. <a class="ask" href="#n605">605</a>, <a class="ask" href="#n637">637</a>, <a class="ask" href="#n642">642</a>.</p> + +<p class="footnote"><a id="footnote17" name="footnote17"></a><a class="ask" href="#footnotetag17"><sup>17</sup></a> <i>Greek Inscriptions in Brit. Mus.</i>, No. XXXV.</p> + +<p class="footnote"><a id="footnote18" name="footnote18"></a><a class="ask" href="#footnotetag18"><sup>18</sup></a> There is a bust of Townley in the Department of Antiquities.</p> + +<p class="footnote"><a id="footnote19" name="footnote19"></a><a class="ask" href="#footnotetag19"><sup>19</sup></a> +No. <a class="ask" href="#n704">704</a>.</p> + +<p class="footnote"><a id="footnote20" name="footnote20"></a><a class="ask" href="#footnotetag20"><sup>20</sup></a> +No. <a class="ask" href="#n628">628</a>.</p> + +<p class="footnote"><a id="footnote21" name="footnote21"></a><a class="ask" href="#footnotetag21"><sup>21</sup></a> <i>Mus. Marbles</i>, III., pl. 6; X., pls. 3, 5; XI., pl. 37.</p> + +<p class="footnote"><a id="footnote22" name="footnote22"></a><a class="ask" href="#footnotetag22"><sup>22</sup></a> See p. <a class="ask" href="#page270">270</a>.</p> + +<p class="footnote"><a id="footnote23" name="footnote23"></a><a class="ask" href="#footnotetag23"><sup>23</sup></a> +Part of No. <a class="ask" href="#n534">534</a>.</p> + +<p class="footnote"><a id="footnote24" name="footnote24"></a><a class="ask" href="#footnotetag24"><sup>24</sup></a> +<a class="ask" href="#n342-3">342, <i>3</i></a>.</p> + +<p class="footnote"><a id="footnote25" name="footnote25"></a><a class="ask" href="#footnotetag25"><sup>25</sup></a> +<a class="ask" href="#n327-4">327, <i>4</i></a>.</p> + +<p class="footnote"><a id="footnote26" name="footnote26"></a><a class="ask" href="#footnotetag26"><sup>26</sup></a> +<a class="ask" href="#n325-75">325, <i>75</i></a>.</p> + +<p class="footnote"><a id="footnote27" name="footnote27"></a><a class="ask" href="#footnotetag27"><sup>27</sup></a> +<a class="ask" href="#n325-50">325, <i>50</i></a>.</p> + +<p class="footnote"><a id="footnote28" name="footnote28"></a><a class="ask" href="#footnotetag28"><sup>28</sup></a> +<a class="ask" href="#n325-85">325, <i>85</i></a>.</p> + +<p class="footnote"><a id="footnote29" name="footnote29"></a><a class="ask" href="#footnotetag29"><sup>29</sup></a> +Nos. <a class="ask" href="#n446">446</a>, <a class="ask" href="#n712">712</a>.</p> + +<p class="footnote"><a id="footnote30" name="footnote30"></a><a class="ask" href="#footnotetag30"><sup>30</sup></a> +See p. <a class="ask" href="#page45">45</a>, for a further account of the travels of Fellows.</p> + +<p class="footnote"><a id="footnote31" name="footnote31"></a><a class="ask" href="#footnotetag31"><sup>31</sup></a> <i>Antiquities of Ionia</i>, II. (1797), suppl., pl. 2.</p> + +<p class="footnote"><a id="footnote32" name="footnote32"></a><a class="ask" href="#footnotetag32"><sup>32</sup></a> See p. <a class="ask" href="#page24">24</a>.</p> + +<p class="footnote"><a id="footnote33" name="footnote33"></a><a class="ask" href="#footnotetag33"><sup>33</sup></a> See p. <a class="ask" href="#page61">61</a>.</p> + +<p class="footnote"><a id="footnote34" name="footnote34"></a><a class="ask" href="#footnotetag34"><sup>34</sup></a> +No. <a class="ask" href="#n153">153</a>.</p> + +<p class="footnote"><a id="footnote35" name="footnote35"></a><a class="ask" href="#footnotetag35"><sup>35</sup></a> +Nos. <a class="ask" href="#n154">154</a>, <a class="ask" href="#n460">460</a>; cf. also No. <a class="ask" href="#n784">784</a>.</p> + +<p class="footnote"><a id="footnote36" name="footnote36"></a><a class="ask" href="#footnotetag36"><sup>36</sup></a> +Including Nos. <a class="ask" href="#n798">798</a>, <a class="ask" href="#n816">816</a>.</p> + +<p class="footnote"><a id="footnote37" name="footnote37"></a><a class="ask" href="#footnotetag37"><sup>37</sup></a> +Including Nos. <a class="ask" href="#n632">632</a>, <a class="ask" href="#n633">633</a>, <a class="ask" href="#n644">644</a>, <a class="ask" href="#n710">710</a>, +<a class="ask" href="#n802">802</a>, <a class="ask" href="#n808">808</a>, <a class="ask" href="#n811">811</a>, <a class="ask" href="#n812">812</a>.</p> + +<p class="footnote"><a id="footnote38" name="footnote38"></a><a class="ask" href="#footnotetag38"><sup>38</sup></a> + No. <a class="ask" href="#n206">206</a>. +See also Nos. <a class="ask" href="#n302">302</a>, <a class="ask" href="#n627">627</a>, <a class="ask" href="#n651">651</a>, +<a class="ask" href="#n653">653</a>, <a class="ask" href="#n666">666</a>, <a class="ask" href="#n678">678</a>, <a class="ask" href="#n722">722</a>.</p> + +<p class="footnote"><a id="footnote39" name="footnote39"></a><a class="ask" href="#footnotetag39"><sup>39</sup></a> +No. <a class="ask" href="#n209">209</a>.</p> + +<p class="footnote"><a id="footnote40" name="footnote40"></a><a class="ask" href="#footnotetag40"><sup>40</sup></a> +No. <a class="ask" href="#n401">401</a>; <i>Grćco-Roman Guide</i>, I., Nos. 33, 45, 109, 132, 134; +II., No. 96.</p> + +<p class="footnote"><a id="footnote41" name="footnote41"></a><a class="ask" href="#footnotetag41"><sup>41</sup></a> +Nos. <a class="ask" href="#n550">550</a>, <a class="ask" href="#n809">809</a>.</p> + +<p class="footnote2"><a id="footnote42" name="footnote42"></a><a class="ask" href="#footnotetag42"><sup>42</sup></a> +See Nos. <ins title="Transcriber's Note: original reads '214'"><a class="ask" href="#n211">211</a></ins>, <a class="ask" href="#n643">643</a>, <a class="ask" href="#n652">652</a>, <a class="ask" href="#n667">667</a>, +<a class="ask" href="#n680">680</a>, <a class="ask" href="#n693">693</a>, <a class="ask" href="#n699">699</a>, <a class="ask" href="#n726">726</a>, +<a class="ask" href="#n736">736</a>.</p> + +<span class="pagenum"><a name="page12" id="page12"></a>12</span> + +<h1 style="margin-top: 3em;">PART I.</h1> + +<h2><i>ARCHAIC PERIOD.</i></h2> + +<div class="figcenter"><img src="images/small_rule-100.png" width="100" height="4" alt="small rule" /></div> + +<h3>SCULPTURES FROM MYCENAE.</h3> + +<p>The sculptures contained in the first section of this +catalogue are derived from the site of Mycenae, the first +four being fragments of important works of architecture. +There is great uncertainty as to the date and origin of +the Mycenaean monuments. A theory frequently advanced +supposes that they are remains of an old civilization +whose centre was Argolis, and which was swept away by +Dorian invaders. If this view is accepted, Nos. 1-6 are +separated by a long interval of years, and by a time of +great political change, from the remaining sculptures in +this volume. From No. 7 onwards we have works produced +during the historical period; but the remains of +Mycenae acquire interest from the consideration that they +may be authentic memorials of a dynasty only dimly +remembered in the Homeric Poems.</p> + +<p><span class="leftside">1-4.</span>Fragments of architecture from the building, commonly +known as the 'Treasury of Atreus' at Mycenae. This +building is a dome-covered tomb (<i>tholos</i>) of beehive shape, +approached by a long passage (<i>dromos</i>). It is cut out +from the side of a hill, and built of heavy masonry, covered +with earth, so as to form a tumulus. It was partially +excavated by Lord Elgin, and more completely in 1879 +by the Greek Archćological Society. The fragments +Nos. 1-4 are parts of an elaborately decorated doorway to +the tomb. They have been incorporated in a somewhat +<span class="pagenum"><a name="page13" id="page13"></a>13</span> +fanciful restoration which was made by Donaldson, and +which has been much modified by later investigators.</p> + +<p class="indent"> +For plans and views, see Stuart, 2nd ed., IV. pls. 1-5 (with Donaldson's +restoration). Dodwell, <i>Pelasgic Remains</i>, pls. 9, 10. +<i>Athenische Mittheilungen</i>, IV., p. 177, pls. 11-13 (Thiersch); +Mitchell, p. 143. Donaldson's restoration is based on an earlier +attempt by Lord Elgin's artists, which is now among the Elgin +drawings in the British Museum. +</p> + +<p><span class="leftside">1.</span>Fragment from the 'Treasury of Atreus' at Mycenae. +The decoration consists of three bands of the wave pattern, +separated by mouldings. Two of these bands are in low +relief; the third is in high relief, with a hole bored in +the centre of each spiral for the insertion of glass or metal +ornaments. Among the tools employed by the artist, the +chisel, saw, and the tubular drill, were plainly included. +From the fact that the end of the fragment is cut at an +acute angle, it is inferred that this fragment was placed +above the doorway of the building, in contact with a +relief of triangular form. It is also possible that it may +have formed part of a triangular slab above the door. A +piece of red marble, similarly decorated, which is now +at Athens, exactly fits the apex of the triangular opening +(<i>Athenische Mittheilungen</i>, iv., pl. 13, fig. 1, <span class="sc">a</span>.).—<i>Elgin +Coll.</i></p> + +<p class="indent"> +Red marble. Height, 1 foot 4¼ inches; width, 3 feet 2¾ inches. +Stuart, 2nd ed., IV., pl. 4, fig. 10; p. 32; cf. pl. 5; Dodwell, +<i>Tour</i>, II., p. 232; Murray, I., p. 38; Wolters, No. 3. +</p> + +<p><span class="leftside">2.</span>Fragment from the 'Treasury of Atreus' at Mycenae. +The decoration consists of a band of the wave pattern, +and a band of lozenges in low relief, the bands being +separated by mouldings of similar character to those of +No. 1. The saw and chisel were used by the artist.</p> + +<p>This slab, according to Donaldson, formed a part of the +architrave, over the entrance to the building. According +<span class="pagenum"><a name="page14" id="page14"></a>14</span> +to Dodwell, it was 'found by the excavators of the Earl +of Elgin, near the Treasury of Atreus.'—<i>Elgin Coll.</i></p> + +<p class="indent"> +Hard green limestone; height, 1 foot 6 inches; width, 3 feet 6 +inches. Stuart, 2nd ed., IV., pl. 4, fig. 9; cf. pl. 5; Dodwell, +<i>Tour</i>, II., p. 232; Murray, I., p. 39; Wolters, No. 2. +</p> + +<a name="page14a" id="page14a"></a> +<div class="figcenter" style="width: 600px;"><a href="images/01fig1-1000.png"><img src="images/01fig1-600.png" width="600" height="457" alt="Fig. 1. Restored Capital from the 'Treasury of Atreus'" /></a> +<p class="center">Fig. 1.—Restored Capital from the 'Treasury of Atreus' (after +Puchstein).</p></div> + +<p><span class="leftside">3.</span>Fragment from the 'Treasury of Atreus' at Mycenae. +This fragment, which is decorated with a portion of a +wave pattern enclosed by two mouldings meeting at an +acute angle, is a part of one of the columns that flanked +the entrance to the building. These columns were decorated +with an elaborate system of ornament, composed of +zigzag bands of the wave pattern, best understood on +reference to drawings of the complete column (<i>cf.</i> fig. 1). +The tubular drill has been used as in No. 1.—<i>Presented by +the Institute of British Architects</i>, 1843.</p> + +<p class="indent"> +Hard green limestone; height, 11 inches; width, 9 inches. For +drawings of the restored column, with its capital (formerly +taken for the base) compare Stuart, 2nd ed., IV., pl. 4, figs. 1-5, +<span class="pagenum"><a name="page15" id="page15"></a>15</span> +pl. 5. Dodwell, <i>Tour</i>, II., pl. facing p. 232; Murray, I., p. 40; +Puchstein, <i>Das Ionische Capitell</i>, p. 50. For fragments of the +capital, see Gell, <i>Itinerary</i>, pl. 7; Mitchell, p. 145, fig. 70. +</p> + +<p><span class="leftside">4.</span>Fragment from the 'Treasury of Atreus' at Mycenae. +This is a part of the lower member of the capital of a +pilaster flanking the great doorway (<i>cf.</i> fig. 1).—<i>Presented +by the Institute of British Architects</i>, 1843.</p> + +<p class="indent"> +Hard green limestone; height, 3½ inches; width, 10 inches. Puchstein, +<i>Das Ionische Capitell</i>, p. 50. +</p> + +<p><span class="leftside">5.</span>Fragment of relief. Head and shoulder of rampant +lion. From the shape of the fragment it appears to have +been a part of a triangular relief filling the space above +a doorway. (Compare No. 1 and the Gate of Lions at +Mycenae.) The lion's paw is extended as if towards +another lion confronting him. A pattern is drawn in fine +lines on the shoulder. Behind the lion is a branch of laurel.</p> + +<div class="figcenter" style="width: 300px;"><a href="images/02fig2-560.png"><img src="images/02fig2-300.png" width="300" height="246" alt="Fig. 2. Relief from Mycenae (?), No. 5." /></a> +<p class="center">Fig. 2.—Relief from Mycenae (?), No. 5.</p></div> + +<p>A part of this relief has been exposed to a corroding +influence, which has acted uniformly on the surface, so +that the design is sunk, but not obliterated.—<i>Mycenae (?) +Elgin Coll.</i></p> + +<p class="indent"> +Limestone; height, 1 foot 10¼ inches; width, 2 feet 2 inches. +<i>Synopsis</i>, No. 204 (158). Murray (2nd ed.), I., p. 61. +</p> +<span class="pagenum"><a name="page16" id="page16"></a>16</span> + +<p><span class="leftside">6.</span>Fragment of relief. Forelegs and part of body of bull +standing to left. A joint is worked in the stone, in front +of the bull.—<i>Mycenae (?) Elgin Coll.</i></p> + +<p class="indent"> +Green limestone, closely resembling that of No. 5, but not identical +with it. Both are composed principally of flakes of mica, which +are, however, larger and more abundant in No. 6 than in No. 5. +Height, 1 foot 4½ inches; width, 2 feet 5 inches. <i>Synopsis</i>, +No. 224 (160). +</p> + +<div class="figcenter" style="width: 400px;"><a href="images/03fig3-650.png"><img src="images/03fig3-400.png" width="400" height="237" alt="Fig. 3.—Relief from Mycenae, No. 6." /></a> +<p class="center">Fig. 3.—Relief from Mycenae, No. 6.</p></div> + +<a name="page16a" id="page16a"></a> +<h3>SCULPTURES FROM BRANCHIDAE.</h3> + +<p>The temple and oracle of Apollo at Didyma, near +Miletus, in Asia Minor, were from time immemorial in +the hands of the priestly clan of the Branchidae, whose +name came to denote the place itself. This temple was +destroyed by the Persians—probably by Darius on the +suppression of the Ionian Revolt—about 495 <span class="sc">b.c.</span> (Herod. +vi., 19. See, however, Strabo, xiv., p. 634; xi., p. 518.) +After its destruction, the temple was not rebuilt till +the time of Alexander. The temple was connected with +the harbour Panormos by the Sacred Way. Along this +the sculptures stood at intervals. They are dedicatory +offerings made to Apollo, probably by the persons represented.</p> + +<p>The following are the materials for fixing the period to +<span class="pagenum"><a name="page17" id="page17"></a>17</span> +which the sculptures of Branchidae must be assigned. It +is certain that none of them are later than the destruction +of the temple by the Persians, and the latest of them +(No. 16) appears a generation earlier than the works +associated with that period. On the other hand, there is +no reason to place the oldest before the early part of the +sixth century <span class="sc">b.c.</span> Thus these sculptures cover the period +of (say) 580-520 <span class="sc">b.c.</span> On epigraphic grounds, the date +may be more closely defined. It is believed that the older form for +<ins title="Greek:+ ę Ę = eta, Eta">η <span style="font-size: 1.3em;"><b>⊟</b></span></ins> was changed to +<ins title="Greek: Ę = Eta"><span style="font-family: sans-serif;"><b>Η</b></span></ins> +shortly before +550 <span class="sc">b.c.</span> By this criterion, Nos. 10, 17, belong to an older +group, and No. 14 to a later group. An inscribed base +now in the British Museum with the name of an artist, +Terpsicles, also belongs to the older group (Roehl, <i>I.G.A.</i>, +484). It has been suggested that Chares of Teichioussa +(No. 14) was one of the local tyrants who were established +after the destruction of the kingdom of Croesus (546 <span class="sc">b.c.</span>), +and this agrees well with the epigraphical evidence.</p> + +<p>The statues of Branchidae are of interest because they +exhibit the process by which the grotesque coarseness +of primitive work tends towards the stiff and formal refinement +that marks the later stage of archaic art. The +series in the British Museum breaks off before the second +stage has been completely attained, but it can be well +supplemented by a seated female figure from Miletus, +now in the Louvre (Rayet et Thomas, <i>Milet et le Golfe +Latmique</i>, pl. 21).</p> + +<p class="indent"> +The sculptures of the Sacred Way were discovered by Chandler in +1765 (<i>Antiqs. of Ionia</i>, 1st ed., I. p. 46; Chandler, <i>Travels in +Asia Minor</i>, 1775, p. 152). They were more accurately examined +by Gell, and the second <i>Dilettanti</i> expedition in 1812 +(<i>Antiqs. of Ionia</i>, 2nd ed., 1821, Part I., p. 29, vignette, and +ch. III., pl. 1; Müller, <i>Denkmaeler</i>, I., pl. 9, fig. 33). A more +accurate sketch was made by Ross (<i>Arch. Zeit.</i>, 1850, pl. 13). +Such of the sculptures as could be found in 1858 were removed +by Sir C. Newton; Newton, II., p. 527. On the inscriptions see +Kirchhoff, <i>Studien</i>, 4th ed., pp. 19, 25. +</p> +<span class="pagenum"><a name="page18" id="page18"></a>18</span> + +<p><span class="leftside">7.</span>Female figure, seated on a chair, with her hand resting +on her knees. The head is wanting, and the upper part +of the body is much mutilated. The figure wears a long +chiton, with sleeves, and a diploďdion. The feet of this +figure (as of all the other figures) are bare. The drapery +falls down in front of the legs in stiff conventional folds. +The sleeve, however, of the chiton is worked in a more +natural manner. There are remains of a key-pattern on +the sides of the cushion of the chair.—<i>Sacred Way, Branchidae.</i></p> + +<p class="indent"> +Parian marble; height, 3 feet 9 inches. Mansell, No. 607. +</p> + +<p><span class="leftside">8.</span>Male figure, seated on a chair, with his hands resting +on his knees. The head, shoulders, left forearm, and +hand are wanting. The figure wears a long chiton with +sleeves and a mantle. The lower part of the chiton is +entirely conventional, but parts of the mantle, and the +outlines of the arms are worked after nature. On the +ends of the cushion there is a pattern of zigzag lines.—<i>Sacred +Way, Branchidae.</i></p> + +<p class="indent"> +Parian marble; height, 3 feet 11¼ inches. Newton, II., p. 534; +Mansell, No. 604 (left). +</p> + +<p><span class="leftside">9.</span>Female figure, seated on a chair with hands resting on +her knees. The right hand is wanting, and also the toes +and front of the base, which seem to have been attached +separately. The figure wears a long chiton and a mantle, +which passes over the back of the shoulders, under the +right arm, and in both directions across the left shoulder. +Neither garment has indications of fold, and the edges +are conventionally treated. The face, as far as can be +seen, was full and thick. The hair falls in pointed tresses, +the undulations of which are indicated in a conventional +manner. The right ear is finished with care. This chair +<span class="pagenum"><a name="page19" id="page19"></a>19</span> +has no cushion, the drapery of the figure being seen +under the arms.—<i>Sacred Way, Branchidae.</i></p> + +<p class="indent"> +Parian marble; height, 5 feet 2 inches. Newton, I., pl. 75 (2nd from +right); Rayet et Thomas, <i>Milet et le Golfe Latmique</i>, pl. 26 (right); +Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 94, fig. 11c; Wolters, No. 7. +</p> + +<p><span class="leftside">10.</span>Male figure, seated on a chair, with the right hand +resting on the right knee, and the left hand beside the +left thigh. The head, and the fingers of the left hand +are wanting. The figure wears a chiton with sleeves, +and a mantle, which passes round the body, under the +right arm, and passes in both directions over the left +shoulder, so as to hang down in folds over the knees. +The ends of the cushion, the sleeves of the chiton, and a +part of the chiton seen on the left knee, are decorated +with the key pattern.</p> + +<p>On the left arm of the chair is the inscription: <ins title="Greek: Eudęmos me epoie(i)n"> +Εὔδημός με ἐποίε(ι)ν</ins> +—"Eudemos made me."—<i>Sacred Way, Branchidae.</i></p> + +<p class="indent"> +Parian marble; height, 5 feet 1 inch. Newton, I., pl. 75 (right); +pl. 97, No. 71; II., p. 534; p. 783; Kirchhoff, <i>Studien</i>, 4th ed., +p. 26; Roehl, <i>I.G.A.</i>, 485; Roberts, <i>Greek Epigraphy</i>, p. 162. +</p> + +<p><span class="leftside">11.</span>Male figure, seated on a chair, with left hand on left +knee, and right hand, with palm turned upwards, on right +thigh. The head, right shoulder, and right hand are +wanting. The figure wears a chiton with sleeves, and a +mantle. The folds of the lower parts are entirely conventional, +but those of the upper part of the chiton are +indicated by delicate wavy grooves. The hair falls +behind in tresses which are cut off square on the shoulders.—<i>Sacred +Way, Branchidae.</i></p> + +<p class="indent"> +Parian marble; height, 4 feet 4 inches; Newton, I., pl. 74 (right); +Mansell, Nos. 603 (left), 604 (right). +</p> + +<p><span class="leftside">12.</span>Male figure, seated on a chair, with left hand resting +on left knee, and right hand, with palm turned upwards, +<span class="pagenum"><a name="page20" id="page20"></a>20</span> +by right knee. The head, shoulders, and breast, and the +right hand are wanting. The figure wears a chiton with +sleeves, and a mantle, which passes under the right arm, +while the ends cross the left shoulder in contrary directions. +The artist has attempted to render the fine folds +of the upper part of the chiton.</p> + +<p>The four legs of the chair are decorated with a design +which appears to be developed from the lotus bud, and is +seen on Assyrian reliefs. On the back of the top rail of +the chair is the late inscription: <ins title="Greek: Nikę Glaukou"> +Νίκη Γλαύκου</ins>, which is +either "Nikč, daughter of Glaukos," or, perhaps, a formula +of the Christian period, "Victory of Glaukos!"—<i>Sacred +Way, Branchidae.</i></p> + +<p class="indent"> +Parian marble; height, 5 feet. Newton, I., pl. 97, No. 73; II., p. 531, +fig. 2; p. 787; Kirchhoff, <i>Studien</i>, 4th ed., p. 20. +</p> + +<p><span class="leftside">13.</span>Male figure seated on a chair, with left hand resting on +left knee, and right hand, with palm turned upwards, by +the right thigh. The head and the right hand are +wanting. The figure wears a chiton, and a mantle which +passes round the body under the right arm, and passes in +both directions over the left shoulder, so as to hang down +in folds before the knees. The artist has attempted to +render the fine folds of the upper part of the chiton, and +has decorated the front legs of the chair as in No. 12. +The statue has been broken and repaired in ancient +times with lead cramps.—<i>Sacred Way, Branchidae.</i></p> + +<p class="indent"> +Marble; height, 4 feet 8 inches. Newton, pl. 75 (second from left); +II., p. 531, fig. 1; Mansell, No. 605; Overbeck, <i>Gr. Plast.</i>, +3rd ed., I., p. 94, fig. 11b. +</p> + +<p><span class="leftside">14.</span>Statue of Chares, a male figure, seated on a chair, with +left hand resting on left knee, and right hand, with palm +turned upwards, by the right thigh. The head and hands +are wanting. The figure wears a chiton with sleeves +and a mantle which passes under the right arm, while +<span class="pagenum"><a name="page21" id="page21"></a>21</span> +the ends pass in contrary directions over the left shoulder. +The sleeves of the chiton are bordered with a key pattern, +which is doubled along the seam.</p> + +<p>On the right leg of the chair is the inscription:</p> + +<div class="figcenter" style="width: 500px;"><a href="images/04gk1-1000.png"><img src="images/04gk1-500.png" width="500" height="87" alt="Greek: Charęs eimi ho Kle(i)sios Teichio(u)s(s)ęs archos. agalma to(u) Apollônos." /></a> +</div> +<p class="center"><ins title="Greek: Charęs eimi ho Kle(i)sios Teichio(u)s(s)ęs archos . agalma to(u) Apollônos."> +Χάρης +εἰμὶ ὁ +Κλε(ί)σιος +Τειχιο(ύ)σ(σ)ης +ἀρχὸς . +ἄγαλμα το(ῦ) +Ἀπόλλωνος.</ins></p> + +<p>"I am Chares, son of Kleisis, ruler of Teichioussa. +The statue is the property of Apollo."—<i>Sacred Way, +Branchidae.</i></p> + +<p class="indent"> +Parian marble; height, 4 feet 10 inches. Newton, pl. 74 (left); +pl. 97, No. 72; II., pp. 532, 784; Mansell, No. 614; Rayet +et Thomas, <i>Milet et le Golfe Latmique</i>, pl. 25; Dieulafoy, <i>L'Art +Antique de la Perse</i>, Part III., pl. 15; Wolters, No. 6; Kirchhoff, +<i>Studien</i>, 4th ed., p. 19; Roehl, <i>I.G.A.</i>, 488; Roberts, <i>Greek Epigraphy</i>, +p. 163; <i>Palaeographical Society, Facsimiles</i>, I., No. 76. +</p> + +<p><span class="leftside">15.</span>Male figure, seated on a chair, with left hand on left +knee, and right hand by right thigh. The head and +right hand are wanting. The figure wears a chiton with +sleeves and a mantle which passes under the right arm, +while the ends cross the left shoulder in contrary directions. +The fine folds of the upper part of the chiton are +indicated.—<i>Sacred Way, Branchidae.</i></p> + +<p class="indent"> +Parian marble; height, 4 feet 2 inches. +</p> + +<p><span class="leftside">16.</span>Female figure, seated on a chair, with hands on her +knees. The head and feet are wanting. The figure wears +a sleeved chiton with a diploďdion and a veil. The sleeves +terminate with long folds. The veil falls down over the +shoulders, in numerous folds.</p> + +<p>In attempting to indicate the legs with greater detail +than his predecessors, the artist has rendered them as if +<span class="pagenum"><a name="page22" id="page22"></a>22</span> +they were nude; but in naturalness and freedom this +statue is conspicuously the most advanced of the series.—<i>Sacred +Way, Branchidae.</i></p> + +<p class="indent"> +Parian marble; height, 4 feet. Newton, pl. 75 (left); Mansell, +No. 603 (right); Rayet et Thomas, <i>Milet et le Golfe Latmique</i>, +pl. 26 (left); Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 94, fig. 11a; +Wolters, No. 7. +</p> + +<p><span class="leftside">17.</span>Lion, recumbent, with right fore-paw passing in front +of the body, and with left paw laid over it. The hind +quarters are half turned over, the animal lying on the +right haunch. The head is wanting. The mane is rendered +by stiff pointed locks of hair of conventional form. +The pose, however, of the animal shows careful study of +nature.</p> + +<p>On the flank is the inscription:</p> + +<div class="figcenter" style="width: 600px;"><a href="images/05gk2-1000.png"><img src="images/05gk2-560.png" width="560" height="162" alt="Greek Inccription." /></a> +</div> +<div class="center" style="width: 500px; text-align: left; margin-left: 30%;"> +1. <ins title="Greek: Ta agalmata tade anethesan hoi Ôr-">Τὰ ἀγάλματα +τάδε ἀνέθεσαν οἱ Ὠρ-</ins><br /> + <ins title="iônos paides to(u) archęgo(u), Thalęs">ίωνος παῖδες το(ῦ) +ἀρχηγο(ῦ), Θαλῆς</ins><br /> + <ins title="kai Pasiklęs kai Hęgęsandros k[a]i Eu-">καὶ Πασικλῆς +καὶ Ἡγήσανδρος κ[α]ὶ Εὔ-</ins><br /> + <ins title="bios kai Anaxileôs, de[ka]tęn tô A-">βιος καὶ Ἀναξίλεως, +δε[κά]την τῷ Ἀ-</ins><br /> +5. <ins title="pol(l)ôni.">πόλ(λ)ωνι</ins>.</div> + +<p>"The sons of Orion, the governor, Thales, Pasicles, +Hegesander, Eubios and Anaxileos dedicated these statues +as a tithe to Apollo."—<i>Sacred Way, Branchidae.</i></p> + +<p class="indent"> +Marble; height, 2 feet 6¼ inches; length, 7 feet. Newton, I., pl. 97, +No. 66; II., p. 777; Kirchhoff, <i>Studien</i>, 4th ed., p. 26; Roehl, +<i>I.G.A.</i>, 483; Roberts, <i>Greek Epigraphy</i>, p. 161; Mansell, No. 615. +</p> + +<p><span class="leftside">18.</span>Sphinx or lion, recumbent. This figure has been called +a Sphinx or a lion-sphinx. The distinguishing marks of +<span class="pagenum"><a name="page23" id="page23"></a>23</span> +a Greek Sphinx are wanting, as the head is lost, and the +figure is wingless.—<i>Sacred Way, Branchidae.</i></p> + +<p class="indent"> +Marble; height, 4 feet 2 inches; length, 6 feet 11½ inches. <i>Antiqs. +of Ionia</i>, 2nd ed., I., p. 29; Ross, <i>Arch. Zeit.</i>, 1850, p. 132; +Müller, <i>Denkmaeler</i>, I., pl. 9, No. 33; Newton, II., p. 535; Milchhoefer, +<i>Athenische Mittheilungen</i>, IV., p. 50. +</p> + +<p><span class="leftside">19.</span>Beardless male head, from an archaic statue. The left +shoulder is preserved. The hair falls in tresses, as in the +case of No. 9.—<i>Branchidae.</i></p> + +<p class="indent"> +Marble; height, 1 foot 3 inches; Rayet et Thomas, <i>Milet et le Golfe +Latmique</i>, pl. 27. +</p> + +<p><span class="leftside">20.</span>Female head (unfinished (?)) from an archaic statue. +The figure wears a veil which covers the whole of the +head, except the face. The ears are indicated beneath the +veil.—<i>Branchidae.</i></p> + +<p class="indent"> +Marble; height, 9 inches. +</p> + +<p><span class="leftside">21.</span>Relief, with figures moving to the right, in a dance. +It is incomplete at both ends, and appears to have been +part of a frieze formed of several slabs. On the left are +a woman and a man joining hands. On the right is a +woman between two men; of the man on the right only +the right leg is preserved. The right hand of the woman +is seen behind, while her left hand is held by the man +before her. The man on the left of this group has some +object, perhaps a cup, in his right hand which is stretched +out behind him. Between the two groups, and in the +background, a woman rushes to the right, holding +branches (?) in her raised hands.</p> + +<p>The men are considerably larger than the women. +The women wear a plain chiton, the men a chiton and +mantle. All have bracelets, and long hair, which falls in +a peculiar manner over the forehead; one wears a taenia, +the remainder have stephanae. All the limbs are indicated +under the draperies, even those of the figures in the background, +<span class="pagenum"><a name="page24" id="page24"></a>24</span> +which are seen through their own draperies and +those of their companions.—<i>Presented by J. Scott Tucker, +Esq., R.N. Karakewi (Teichioussa), near Branchidae.</i></p> + +<p class="indent"> +Marble; height, 1 foot 9 inches; width, 2 feet 11 inches. Rayet et +Thomas, <i>Milet et le Golfe Latmique</i>, pl. 27; Brunn, <i>Denkmaeler</i>, +No. 101 B. +</p> + +<a name="page24a" id="page24a"></a> +<h3>SCULPTURES FROM LYDIA.</h3> + +<p>The following sculptures were found in 1882 by Mr. +George Dennis, C.B., in one of the tumuli at Bin Tepč, +near Sardes. Perrot (v., p. 904) suggests that they may +have been part of a series of reliefs of a hunting scene, +decorating the sepulchral chamber. The date is uncertain, +but the reliefs may well be earlier than the fall of +Croesus.</p> + +<p><span class="leftside">22.</span>Relief. Three horsemen moving to the right. They +wear large helmets and cuirasses, with shoulder plates, +and carry spears.</p> + +<p>The figures are cut in a narrow panel, and appear to +have served an architectural purpose.—<i>Bin Tepč, Sardes.</i></p> + +<p class="indent"> +Marble; height, 7¼ inches; width, 1 foot 5 inches. Perrot and Chipiez, +V., p. 903, fig. 535; Murray, <i>Gr. Sculpt.</i>, 2nd ed., I., p. 107. +</p> + +<p><span class="leftside">23.</span>Relief. Three deer, moving to the right, grazing. +From a panel nearly similar to the preceding.—<i>Bin Tepč, +Sardes.</i></p> + +<p class="indent"> +Marble; height, 6¾ inches; width, 1 foot 4 inches. Perrot and Chipiez, +V., p. 904, fig. 536; Murray, <i>Gr. Sculpt</i>., 2nd ed., I., p. 107. +</p> +<a name="page24b" id="page24b"></a> +<h3>SCULPTURES FROM EPHESUS.</h3> + +<p>The great temple of Artemis (or Diana), at Ephesus, +which ranked among the seven wonders of the ancient +world, was built in the middle of the 4th century <span class="sc">b.c.</span> +It was, according to tradition, the latest of a long series +<span class="pagenum"><a name="page25" id="page25"></a>25</span> +of buildings. Not fewer than eight successive temples +have been enumerated by Falkener (<i>Ephesus</i>, p. 214; +cf. Pliny, <i>H. N.</i>, xvi., 213). The excavations, however, +have only produced the remains of two temples. The +earlier of the two, which is here described, is probably +that which was begun early in the sixth century <span class="sc">b.c.</span>, +by the architects Theodoros, Chersiphron and Metagenes, +was in course of construction during the reign of Croesus +(Brunn, <i>Gr. Künstler</i>, ii., p. 382), and was burnt by +Herostratos on the night of Alexander's birth (356 <span class="sc">b.c.</span>). +The later temple, the remains of which are exhibited in +the Ephesus Room, was then built to replace that which +had been burnt; and the excavations have proved the +interesting fact that the most remarkable features of the +later temple were borrowed from its predecessor.</p> + +<p>The extant fragments of the early temple were found +by the late Mr. J. T. Wood, in excavations which he +carried on at Ephesus for the Trustees of the British +Museum. These fragments had, for the most part, been +used as building materials, and were extracted from +certain massive piers which rested against the foundations +of the walls of the temple cella. Mr. Wood assigned +the piers to the Byzantine period, but only adduced +evidence to show that they were later than the walls +of the temple. It is therefore possible that they may +have been added at an early period, to strengthen the +foundations.</p> + +<p class="indent"> +Wood, <i>Ephesus</i>, pp. 190, 259. For the reconstruction of the archaic +temple, see <i>Journ. of Hellen. Studies</i>, X. (1889), p. 1 (A. S. +Murray). The material is a finely-grained marble, with occasional +strongly marked blue veins. +</p> + +<h3><span class="sc">Architectural Fragments.</span></h3> + +<p><span class="leftside">24.</span>Part of a wall-stone from the archaic temple.</p> + +<p class="indent"> +Length, 2 feet 7½ inches; width, 1 foot 8 inches. +</p> +<span class="pagenum"><a name="page26" id="page26"></a>26</span> + +<p><span class="leftside">25.</span>Capital of Ionic column. Several fragments have been +discovered, from which it is possible to reconstruct with +tolerable certainty the capitals and necking of the columns +of the archaic temple.</p> + +<p class="indent"> +<i>Journ. of Hellen. Studies</i>, X., p. 8. +</p> + +<p><span class="leftside">26.</span>Fragment of volute from cap of column. The groove +between two mouldings is filled with two strips of lead to +which gold leaf is attached.</p> + +<p class="indent"> +Length, 7 inches. Wood, <i>Ephesus</i>, p. 245; <i>Journ. of Hellen. Studies</i>, +X., p. 9. +</p> + +<p><span class="leftside">27.</span>Fluted fragment of column. The drum to which this +fragment belonged was 4 feet 3 inches in diameter, and +had 40 flutings.</p> + +<p class="indent"> +Height, 1 foot 10 inches; width, 3 feet 6 inches. +</p> + +<p><span class="leftside">28.</span>Fragment of the base of an unfinished column, with torus +moulding and horizontal flutings only partially carried out.</p> + +<p class="indent"> +Height, 1 foot 4 inches; width, 3 feet. <i>Journ. of Hellen. Studies</i>, X., +p. 5, part of fig. 3<i>b</i>. +</p> + +<p><span class="leftside">29.</span>Base of sculptured column. The column has necessarily +been reconstructed from various fragments, which cannot +be proved to have belonged originally to the same +column, but the combined fragments serve to give a +general idea of the appearance of the column. (<a class="ask" href="#plate1">Plate I.</a>)</p> + +<blockquote> + +<p><span class="leftside1">1.</span>The sculpture is surmounted by an egg and tongue +moulding 11½ inches high, which is not shown in the +plate, <i>Journ. of Hellen. Studies</i>, x., pl. 3. There are considerable +remains of red paint.</p> + +<p><span class="leftside1">2.</span>Immediately below the sculptures is a moulding, +which contains fragments inscribed as follows: +</p></blockquote> + +<p class="ind1a"><ins title="Greek: BA KR AN EN"> +ΒΑ ΚΡ + ΑΝ + ΕΝ</ins>,</p> + +<blockquote><p> +which have been restored as <ins title="Greek: Ba[sileus] Kr[oisos] an[ethęk]en."> +Βα[σιλεὺς] +Κρ[οῖσος] +ἀν[έθηκ]εν</ins>. +'King Croesus dedicated (the column).' It is known +<span class="pagenum"><a name="page27" id="page27"></a>27</span> +from a statement of Herodotus that Croesus gave most of +the columns of the temple at Ephesus [Herod. i. 92, +<ins title="Greek: --> Kroisô de esti kai alla anathęmata en tę Helladi polla ... "> +Κροίσῳ +δὲ ἔστι +καὶ ἄλλα +ἀναθήματα +ἐν τῇ +Ἑλλάδι +πολλά</ins> . . . +<ins title="en de Ephesô hai te boes hai chryseai kai tôn kionôn hai pollai]."> +ἐν δὲ +Ἐφέσῳ +αἵ τε βόες +αἱ +χρύσεαι καὶ +τῶν κιόνων +αἱ πολλαί].</ins> +It is probable that the columns were inscribed with dedicatory +inscriptions, of which we here have fragments. +The later temple had a similar series of inscriptions. The +columns offered by Croesus must be earlier than the date +of his fall, 546 <span class="sc">b.c.</span> The inscriptions are no doubt of the +same age as the columns, and they may have been seen by +Herodotus (Hicks, <i>Greek Inscriptions in Brit. Mus.</i>, dxviii.).</p> + +<p><span class="leftside1">3.</span>Below the moulding is the restoration of an early +Ionic base. (<i>Journ. of Hellen. Studies</i>, x., pl. 3, and p. 8).</p> + +<p>The following fragments are inserted in the restoration +of the sculptured base:—</p> + +<p><span class="leftside1">4.</span>Upper part of male figure in high relief standing to +the right, wearing a close-fitting tunic, with sleeves to +the elbows, and having a lion's skin about the body and +with long hair. The upper part of the face is broken +away. The right arm was bent at the elbow, and crossed +the body. +</p></blockquote> + +<p class="indent1">Height, 2 feet. <i>Journ. of Hellen. Studies</i>, X., pl. 3.</p> + +<blockquote> +<p><span class="leftside1">5.</span>Lower part of male figure in high relief standing +to the right, wearing what appears to be a himation, +falling to the knees. +</p></blockquote> + +<p class="indent1">Height, 3 feet 3 inches. Murray, I., p. 112; <i>Journ. of +Hellen. Studies</i>, X., pl. 3.</p> + +<blockquote> +<p><span class="leftside1">6.</span> +Female head, to the right, in high relief. The hair +is enclosed by a diadem, and falls down on the shoulders. +A large circular earring in the right ear. There are +considerable remains of dark red paint in the hair. The +chin is broken away. +</p></blockquote> + +<p class="indent1">Height, 1 foot ½ inch. Murray, I., p. 111.</p> + +<span class="pagenum"><a name="page28" id="page28"></a>28</span> + +<blockquote> +<p><span class="leftside1">7.</span> +Middle part of a female figure, to the right, in high +relief. The figure wears a tunic, tied with a narrow +girdle, and a diploďdion which fell in long folds at the +sides. A key-pattern was painted on the central fold of +the dress. +</p></blockquote> + +<p class="indent1">Height, 1 foot 2 inches.</p> + +<p style="margin-top: 3em;">The following fragments from the bases of the columns, +are not inserted in the restoration:—</p> + +<p><span class="leftside">30.</span>Fragment, in high relief, of the head and shoulders of +a figure, from the drum of a column. The front surface +is broken away, but the figure appears to have looked to +the front, with long hair falling on the shoulders, which +are draped.</p> + +<p class="indent"> +Height, 1 foot 3 inches. +</p> + +<p><span class="leftside">31.</span>Fragment, in high relief, of the right thigh of a draped +figure, standing to the right.</p> + +<p class="indent"> +Height, 1 foot 1½ inches. Worked above with a bed for another drum. +</p> + +<p><span class="leftside">32.</span>Middle part of a draped figure to the left in high relief. +The figure wears a tunic with sleeves and himation. The +left hand is pressed close to the thigh.</p> + +<p>This fragment is similar in style to the sculptures on +the columns, but must have come from a rectangular base, +corresponding to the rectangular bases in the later temple.</p> + +<p class="indent"> +Height, 1 foot 2 inches. Murray, I., p. 113. +</p> + +<p><span class="leftside">33.</span>Fragment of a head containing the middle of the face. +A straight edge is worked along the left cheek.</p> + +<p class="indent"> +Height, 8½ inches. +</p> + +<p><span class="leftside">34.</span>Fragment of the left side of a female head, wearing a +band across the forehead, a veil, and a circular earring. +Some red on the lips.</p> + +<p class="indent"> +Height, 9½ inches. +</p> +<span class="pagenum"><a name="page29" id="page29"></a>29</span> + +<p><span class="leftside">35.</span>Fragment of the upper part of a head, wearing a +close-fitting veil, with curls between the veil and the +forehead.</p> + +<p class="indent"> +Height, 4 inches. +</p> + +<p><span class="leftside">36.</span>Fragment of the right side of a head, containing the +cheek, ear, and a part of a veil which falls behind the ear.</p> + +<p class="indent"> +Height, 8 inches. +</p> + +<p><span class="leftside">37.</span>Fragment of a head, containing the left ear, and +wearing a veil; hair falls down at the back of the +head.</p> + +<p class="indent"> +Height, 6 inches. +</p> + +<p><span class="leftside">38.</span>Fragment of a head, similar to the last.</p> + +<p class="indent"> +Height, 9½ inches. +</p> + +<p><span class="leftside">39.</span>Fragment of the left side of a head, turned to the left, +and wearing a veil. It contains a part of the ear and +eye.</p> + +<p class="indent"> +Height, 6 inches. +</p> + +<p><span class="leftside">40.</span>Fragment from the top of a head, with hair.</p> + +<p class="indent"> +Height, 6 inches. +</p> + +<p><span class="leftside">41.</span>Fragment from the right side of a head, with part of +the neck, and hair falling down. The hair is coloured +red.</p> + +<p class="indent"> +Height, 3½ inches. +</p> + +<p><span class="leftside">42.</span>Fragment, from the right side of a head, containing the +top of the ear and hair falling over it.</p> + +<p class="indent"> +Height, 4 inches. +</p> + +<p><span class="leftside">43.</span>Fragment of drapery, terminating in zigzag folds.</p> + +<p class="indent"> +Height, 7½ inches. +</p> +<span class="pagenum"><a name="page30" id="page30"></a>30</span> + +<p><span class="leftside">44.</span>Fragment of drapery, with the bottom of several folds. +It has an incised maeander, as in No. 29, 7, and a palmette +ornament painted in red.</p> + +<p class="indent"> +Height, 6 inches. +</p> + +<p><span class="leftside">45.</span>Fragment of the lower moulding of a sculptured base, +with a left great toe to the right, and the remains of a +rectangular object rising from the moulding.</p> + +<p class="indent"> +Height, 6½ inches; width, 1 foot 6½ inches. +</p> + +<h3><span class="sc">The Cornice of the Archaic Temple.</span></h3> + +<p>The restoration of the Sculptured Cornice, which has +been built up from the small fragments excavated by +Mr. Wood, is certainly accurate in its general outlines, +although the result is quite unique in form. In place of +the small cornice with floral decorations, common in later +temples (compare the cornice from Phigaleia, No. 505), +the archaic temple of Artemis was surmounted by a lofty +cornice, 2 ft. 10¾ in. high. Lions' heads projected at +intervals, and drained off the rain water. The intervals +between the lions' heads were occupied by metope-like +compositions, carved in a delicate early style.</p> + +<p>The original frieze probably extended along the two +long sides of the temple. The existing remains are small +portions of at least thirty figures. It is therefore impossible +to reconstruct the separate groups with much +certainty, although the subjects can, to a certain extent, +be conjectured. An attempted restoration of a combat +between a Lapith and a Centaur is exhibited. The frieze +also included chariots and horses; warriors in chariots, +and on foot; and perhaps scenes with Harpies.</p> + +<p>The central group on the cornice with the combat of +a Centaur and Lapith is composed of the following fragments. +See <i>Journ. of Hellen. Studies</i>, x., p. 2, for sketches of +No. 46, 1-18.</p> +<span class="pagenum"><a name="page31" id="page31"></a>31</span> + +<blockquote> +<p><span class="leftside">46.</span><span class="leftside1"> 1.</span>Fragment with the forelegs, which are human, and +the hind hoof of a kneeling Centaur. In front the greaved +left leg of a Lapith. +</p></blockquote> + +<p class="indent1"> +Height, 7 inches; width, 1 foot 7 inches. <i>Journ. of Hellen. +Studies</i>, X., pl. 4, fig. 6.</p> + +<blockquote> +<p><span class="leftside1"> 2.</span>Hand with branch, from top of cornice, presumed to be +the hand of a Centaur. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 5½ inches.</p> + +<blockquote> +<p><span class="leftside1"> 3.</span>Part of branch, from top of cornice. +</p></blockquote> + +<p class="indent1">Height, 3 inches; width, 8 inches.</p> + +<blockquote> +<p><span class="leftside1"> 4.</span>Back of head of Lapith, to left, with part of top +moulding of cornice. Short curling hair. +</p></blockquote> + +<p class="indent1">Height, 5 inches; width, 6 inches.</p> + +<blockquote> +<p><span class="leftside1"> 5.</span>Lower part of cuirass of Lapith worn over a short +tunic. +</p></blockquote> + +<p class="indent1">Height, 3 inches; width, 8½ inches.</p> + +<blockquote><p> +Two female figures are placed as spectators on each +side of the combat. On the left the remains are:—</p> +<p><span class="leftside1"> 6.</span>Part of a female head, turned to the right, and +wearing a taenia. +</p></blockquote> + +<p class="indent1">Height, 4½ inches; width, 4½ inches.</p> + +<blockquote> +<p><span class="leftside1"> 7.</span>Part of drapery of standing female figure. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 6 inches.</p> + +<blockquote> +<p><span class="leftside1"> 8.</span>Feet of standing female figure, wearing shoes, with +slightly turned-up toes, and three bands across each shoe. +</p></blockquote> + +<p class="indent1">Height, 6 inches; width, 7½ inches.</p> + +<blockquote><p> +The remains of the figure on the right of the group +are:—</p> + +<p><span class="leftside1"> 9.</span>Upper part of female head to the left, wearing a diadem. +</p></blockquote> + +<p class="indent1">Height, 3 inches; width, 5 inches.</p> + +<span class="pagenum"><a name="page32" id="page32"></a>32</span> + +<blockquote> +<p><span class="leftside1">10.</span>Part of middle of female figure, standing to the left, +wearing chiton and himation. The left hand by the side. +</p></blockquote> + +<p class="indent1">Height, 3½ inches; width, 8½ inches.</p> + +<blockquote><p> +The following fragments have also been inserted in +the restored cornice:—</p> + +<p><span class="leftside1">11.</span>Head of youth, to the left, with short hair. +</p></blockquote> + +<p class="indent1"> +Height, 3 inches; width, 6 inches. <i>Journ. of Hellen. +Studies</i>, X., pl. 4, fig. 1.</p> + +<blockquote> +<p><span class="leftside1">12.</span>Upper part of female head, to the left. The chief mass +of the hair is confined by a peaked cap, the ends passing +out through the top. A part of the hair terminates in +short curls round the forehead, and part falls down in +front of the ears. A laurel wreath surrounds the cap. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 6 inches. <i>Journ. of Hellen. +Studies</i>, X., pl. 4, fig. 2.</p> + +<blockquote> +<p><span class="leftside1">13</span>Right foot and part of skirt of female figure walking, to +the right. +</p></blockquote> + +<p class="indent1">Height, 9 inches; width, 8 inches.</p> + +<blockquote> +<p><span class="leftside1">14.</span>Right foot of a figure standing, to the left. +</p></blockquote> + +<p class="indent1">Height, 3 inches; width, 4½ inches.</p> + +<blockquote> +<p><span class="leftside1">15.</span>Part of the back of the head and the shoulders of a +figure standing with his back turned to the front. He +wears a chiton, and the hair falls in curls on his +shoulders. +</p></blockquote> + +<p class="indent1">Height, 5 inches; width, 5 inches. <i>Journ. of Hellen. +Studies</i>, X., pl. 4, fig. 3.</p> + +<blockquote> +<p><span class="leftside1">16.</span>Fragment containing the legs of a figure standing with +back turned to the front, perhaps a part of the figure +described in the last number. The right leg wears a +<span class="pagenum"><a name="page33" id="page33"></a>33</span> +greave. This fragment also contains the right thigh of +a figure kneeling to the front. +</p></blockquote> + +<p class="indent1">Height, 10 inches; width, 1 foot 2 inches.</p> + +<blockquote><p> +The restored part of the cornice also contains:—</p> + +<p><span class="leftside1">17.</span>Lion's head. The front and lower parts of the face +are wanting. +</p></blockquote> + +<p class="indent1">Height, 10 inches; width, 1 foot 2 inches.</p> + +<blockquote> +<p><span class="leftside1">18.</span>Lion's head. The front of the upper jaw is wanting. +Red paint in the ears and the mouth. +</p></blockquote> + +<p class="indent1">Height, 1 foot 6 inches; width, 1 foot 7 inches.</p> + +<p style="margin-top: 3em;">The following are the principal fragments, from the +cornice, not inserted in the restoration:—</p> + +<h4><i>Male Figures, turned to the Right.</i></h4> + +<blockquote> +<p><span class="leftside">47.</span><span class="leftside1"> 1.</span>Parts of head and breast of figure, with helmet, tunic, +and cuirass (?). Long hair falls over the shoulder. +</p></blockquote> + +<p class="indent1">Height, 7 inches; width, 7 inches. <i>Journ. of Hellen. + Studies</i>, X., pl. 4, fig. 5.</p> + +<blockquote> +<p><span class="leftside1"> 2.</span>Part of helmet, and top edge of cornice; also the fingers +of the right hand of the figure, throwing a spear (?). +</p></blockquote> + +<p class="indent1">Height, 2½ inches; width, 6 inches.</p> + +<blockquote> +<p><span class="leftside1"> 3.</span>Right shoulder, covered with shoulder plates. +</p></blockquote> + +<p class="indent1">Height, 4½ inches; width, 7 inches.</p> + +<blockquote> +<p><span class="leftside1"> 4.</span>Left thigh, bent at knee; a corner of drapery falls on +the thigh; wears greave. +</p></blockquote> + +<p class="indent1">Height, 6 inches; width, 7 inches.</p> + +<blockquote> +<p><span class="leftside1"> 5.</span>Right knee of figure advancing to right; behind, the +leg, wearing a greave, of a fallen warrior (?). +</p></blockquote> + +<p class="indent1">Height, 5½ inches; width, 5 inches.</p> + +<span class="pagenum"><a name="page34" id="page34"></a>34</span> + +<blockquote> +<p><span class="leftside1"> 6.</span>Knees of a prostrate warrior, wearing greaves, trodden +down by a horse's hoof. +</p></blockquote> + +<p class="indent1">Height, 3 inches; width, 7 inches.</p> + +<blockquote> +<p><span class="leftside1"> 7.</span>Knee wearing greave, slightly bent. +</p></blockquote> + +<p class="indent1"> Height, 4 inches; width, 3½ inches.</p> + +<blockquote> +<p><span class="leftside1"> 8.</span>Left knee, partly covered with drapery. +</p></blockquote> + +<p class="indent1">Height, 3 inches; width, 3½ inches.</p> + +<h4><i>Male Figures to the Left.</i></h4> +<blockquote> + +<p><span class="leftside1"> 9.</span>Upper part of helmeted head with vizor raised. +</p></blockquote> + +<p class="indent1">Height, 3½ inches; width, 5½ inches.</p> + +<blockquote> +<p><span class="leftside1">10.</span>Upper part of helmet, with projecting horn. +</p></blockquote> + +<p class="indent1">Height, 2½ inches; width, 5½ inches.</p> + +<blockquote> +<p><span class="leftside1">11.</span>Back of neck and lower part of helmet. +</p></blockquote> + +<p class="indent1">Height, 2½ inches; width, 5 inches.</p> + +<blockquote> +<p><span class="leftside1">12.</span>Hips of a draped male (?) figure. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 8½ inches.</p> + +<blockquote> +<p><span class="leftside1">13.</span>Right forearm of a figure lying prostrate, with head to +the right and with the arm bent at the elbow. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 8 inches.</p> + +<blockquote> +<p><span class="leftside1">14.</span>Right leg, wearing greave, of a figure striding to the +left. +</p></blockquote> + +<p class="indent1">Height, 5 inches; width, 9½ inches.</p> + +<blockquote> +<p><span class="leftside1">15.</span>Right arm, extended, wearing a shield. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 7 inches.</p> + +<h4><i>Figures with the Back turned to the Front.</i></h4> + +<blockquote> +<p><span class="leftside1">16.</span>Shoulders and upper part of back of a figure wearing +a chiton. +</p></blockquote> + +<p class="indent1">Height, 5 inches; width, 8¼ inches.</p> + +<span class="pagenum"><a name="page35" id="page35"></a>35</span> + +<blockquote> +<p><span class="leftside1">17.</span>Shoulders and upper part of back of a figure wearing a +chiton across the right shoulder only. +</p></blockquote> + +<p class="indent1">Height, 3 inches; width, 8½ inches.</p> + +<h4><i>Female Figures to the Right.</i></h4> + +<blockquote> +<p><span class="leftside1">18.</span>Lower moulding of cornice, with the right foot and +lower edge of the drapery of a figure moving to the +right. +</p></blockquote> + +<p class="indent1">Height, 8 inches; width, 1 foot 3 inches.</p> + +<blockquote> +<p><span class="leftside1">19.</span>Lower moulding of cornice with the left foot and part +of the drapery of a figure moving to the right. +</p></blockquote> + +<p class="indent1">Height, 5 inches; width, 7½ inches.</p> + +<h4><i>Female Figure to the Front.</i></h4> + +<blockquote> +<p><span class="leftside1">20.</span>Part of the right arm, extended, and wearing a shield (?). +A short sleeve reaches to the elbow, coming from beneath +a shoulder plate. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 8 inches.</p> + +<h4><i>Female Figures to the Left.</i></h4> + +<blockquote> +<p><span class="leftside1">21.</span>Fragment of a figure turned to the left, with fine +delicate drapery (?). +</p></blockquote> + +<p class="indent1">Height, 3½ inches; width, 6 inches.</p> + +<blockquote> +<p><span class="leftside1">22.</span>Left hand, beside the thigh, holding a fold of drapery. +</p></blockquote> + +<p class="indent1">Height, 3 inches; width, 9 inches.</p> + +<blockquote> +<p><span class="leftside1">23.</span>Fragment of a draped figure, containing the legs +between the knees and the ankles. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 4 inches.</p> + +<h4><i>Fragments of Chariot Groups, and Horses</i>.</h4> + +<blockquote> +<p><span class="leftside1">24.</span>Left knee and part of the left thigh of a figure stepping +to the right into a chariot. The figure wore a short +<span class="pagenum"><a name="page36" id="page36"></a>36</span> +chiton, probably under a cuirass, and greaves. Part of +the inside of the chariot is painted red. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 9½ inches.</p> + +<blockquote> +<p><span class="leftside1">25.</span>Fragment containing the hips of a male figure, stepping +to the left into a chariot. The figure wears a chiton +beneath a cuirass, and perhaps holds a spear. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 7½ inches.</p> + +<blockquote> +<p><span class="leftside1">26.</span>Right hand closed and holding a rein (?). +</p></blockquote> + +<p class="indent1">Height, 2 inches; width, 5½ inches.</p> + +<blockquote> +<p><span class="leftside1">27.</span>Right arm of a youthful nude figure holding the reins +of a horse standing to the left, whose head is half turned +to the front. +</p></blockquote> + +<p class="indent1">Height, 7 inches; width, 1 foot 1 inch. <i>Journ. of Hellen. +Studies</i>, X., pl. 4, fig. 4.</p> + +<blockquote> +<p><span class="leftside1">28.</span>Part of a horse's head to the left, with ear and mane. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 7½ inches.</p> + +<blockquote> +<p><span class="leftside1">29.</span>Back of a horse to the left, with a narrow thong tied +about it. +</p></blockquote> + +<p class="indent1">Height, 4½ inches; width, 7 inches.</p> + +<blockquote> +<p><span class="leftside1">30.</span>Part of the hind legs of a horse to the left. +</p></blockquote> + +<p class="indent1">Height, 7½ inches; width, 6 inches.</p> + +<blockquote> +<p><span class="leftside1">31.</span>Two hoofs, side by side, as of the horses in a biga. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 5 inches.</p> + +<blockquote> +<p><span class="leftside1">32.</span>Part of lower moulding of cornice, and of chariot wheel. +The moulding and the wheel are painted red, and the +ground of the relief bright blue. +</p></blockquote> + +<p class="indent1">Height, 10 inches; width, 1 foot 6 inches.</p> + +<blockquote> +<p><span class="leftside1">33.</span>Part of a chariot wheel, and of the body of a chariot, +painted red. +</p></blockquote> + +<p class="indent1"> Height, 6 inches; width, 8 inches.</p> + +<span class="pagenum"><a name="page37" id="page37"></a>37</span> + +<blockquote> +<p><span class="leftside1">34.</span>Left hand grasping the leg of a horse, or of a Centaur (?). +The ground is blue and red. +</p></blockquote> + +<p class="indent1"> Height, 4 inches; width, 6¼ inches.</p> + +<blockquote> +<p><span class="leftside1">35.</span>Fragment of a horse's tail, and part of the body of a +chariot (?). +</p></blockquote> + +<p class="indent1">Height, 3 inches; width, 3½ inches.</p> + +<h4><i>Figures of Harpies (?).</i></h4> + +<blockquote> +<p>Certain fragments, which are not easily deciphered, +appear to belong to groups of winged draped beings, +perhaps Harpies, carrying off diminutive figures. The +snakes in Nos. 36-38 suggest the aegis of Athenč; but if +No. 38 is correctly interpreted, some Gorgon-like figure +must be imagined.</p> + +<p><span class="leftside1">36.</span>Neck and chin of a figure to the left, having a large +circular earring, and a fringe of snakes round the neck. +</p></blockquote> + +<p class="indent1">Height, 3½ inches; width, 8 inches.</p> + +<blockquote> +<p><span class="leftside1">37.</span>Fragment with snakes. +</p></blockquote> + +<p class="indent1">Height, 1½ inches; width, 5 inches.</p> + +<blockquote> +<p><span class="leftside1">38.</span>Left hand of the figure No. 36 holding a draped figure +under the knees. The right arm must be supposed to +have supported the smaller figure, near the shoulders. +To the right is part of a pendent wing. +</p></blockquote> + +<p class="indent1">Height, 3 inches; width, 9 inches.</p> + +<blockquote> +<p><span class="leftside1">39.</span>Fragment with extremities of hair, and the beginning +of a large wing, curving upwards. +</p></blockquote> + +<p class="indent1">Height, 3½ inches; width, 5 inches.</p> + +<blockquote> +<p><span class="leftside1">40.</span>Fragment, apparently of the same wing as No. 39. +</p></blockquote> + +<p class="indent1">Height, 3½ inches; width, 6 inches.</p> + +<blockquote> +<p><span class="leftside1">41.</span>Fragment of draped thighs of a figure half kneeling +to the left with the right leg foremost. If the figure +<span class="pagenum"><a name="page38" id="page38"></a>38</span> +above described was half kneeling in the usual early +scheme for the Gorgon, this fragment may well have +belonged to it. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 6 inches.</p> + +<blockquote> +<p><span class="leftside1">42.</span>Fragment, perhaps from the same figure as the last. +</p></blockquote> + +<p class="indent1">Height, 3 inches; width, 5 inches.</p> + +<blockquote> +<p><span class="leftside1">43.</span>Fragment of a winged, long-haired figure (?). The hair +falls in a mass on the tip of the wing. +</p></blockquote> + +<p class="indent1">Height, 7½ inches.</p> + +<blockquote> +<p><span class="leftside1">44.</span>Fragment of a Harpy, with a large bird's leg protruding +from fine drapery; behind, a part of a wing. +Compare the Harpies on the Harpy Tomb, No. 94. +</p></blockquote> + +<p class="indent1">Height, 6½ inches; width, 10 inches.</p> + +<blockquote> +<p><span class="leftside1">45.</span>Fragment, with the leg of a Harpy, to the right (?). +</p></blockquote> + +<p class="indent1">Height, 7 inches; width, 1 foot 3½ inches.</p> + +<h4><i>Miscellaneous Fragments.</i></h4> + +<blockquote> + +<p><span class="leftside1">46.</span>Fragment of the lower moulding, and two legs of a pig +or ox to the right. +</p></blockquote> + +<p class="indent1">Height, 7 inches; width, 1 foot 1 inch.</p> + +<blockquote> +<p><span class="leftside1">47.</span>Part of the leg of a chair. Traces of blue paint. +</p></blockquote> + +<p class="indent1">Height, 6 inches; width, 4½ inches.</p> + +<blockquote> +<p><span class="leftside1">48.</span>Part of the same leg of a chair as No. 47, and nearly +joining it. Traces of blue paint. +</p></blockquote> + +<p class="indent1">Height, 5¾ inches; width, 3½ inches.</p> + +<blockquote> +<p><span class="leftside1">49.</span>Part of the leg and seat of a chair. +</p></blockquote> + +<p class="indent1">Height, 5 inches; width, 5 inches.</p> + +<blockquote> +<p><span class="leftside1">50.</span>Part of the front leg of the chair to which No. 47 +belongs. +</p></blockquote> + +<p class="indent1">Height, 2¼ inches; width, 2 inches.</p> + +<span class="pagenum"><a name="page39" id="page39"></a>39</span> + +<blockquote> +<p><span class="leftside1">51.</span>Unintelligible fragment, perhaps derived from the +cornice. +</p></blockquote> + +<p class="indent1">Length, 1 foot; height, 6 inches; width, 7 inches.</p> + +<blockquote> +<h4><i>Fragments of Lions' Heads, from the Cornice.</i></h4> + +<p><span class="leftside1">52.</span>Left side of lion's mane, with remains showing the +attachment to the cornice. +</p></blockquote> + +<p class="indent1">Height, 1 foot 3 inches.</p> + +<blockquote> +<p><span class="leftside1">53.</span>Lion's head from the cornice(?). The mouth is closed. +The lower part is wanting. +</p></blockquote> + +<p class="indent1">Height, 1 foot 4 inches.</p> + +<blockquote> +<p><span class="leftside1">54.</span>Upper part of lion's head from the cornice. Red paint +on the mane. +</p></blockquote> + +<p class="indent1">Height, 11 inches; width, 1 foot 5 inches.</p> + +<blockquote> +<p><span class="leftside1">55.</span>Right side of lion's head, from the cornice, with eye, +ear, and part of mane. +</p></blockquote> + +<p class="indent1">Height, 7½ inches.</p> + +<h3>OTHER FRAGMENTS FROM EPHESUS.</h3> + +<blockquote> +<p><span class="leftside">48.</span><span class="leftside1"> 1.</span>Fragment of the head of an ox, apparently projecting +from a background, in high relief. The head is seen in +three-quarter face to the left. +</p></blockquote> + +<p class="indent1">Height, 1 foot; width, 1 foot 5 inches.</p> + +<blockquote> +<p><span class="leftside1"> 2.</span>Fragment of the head of an ox, including the forehead +and eyes. Apparently the head is seen in three-quarter +face to the left, as in the preceding. +</p></blockquote> + +<p class="indent1">Height, 10½ inches; width, 1 foot 6 inches.</p> + +<blockquote> +<p><span class="leftside1"> 3.</span>Fragment with part of the flank of an ox (?), springing +from a square base. Two horns intertwined (?) in relief +on the side of the fragment. If the explanation offered is +correct, the animal must have been part of an architectural +<span class="pagenum"><a name="page40" id="page40"></a>40</span> +member, such as occurs in the temple of Hera at Samos +(Stuart, 2nd ed., vol. iv., Kinnard on Delos, pl. v.), or in +the recently discovered bull's-head capital from Salamis, +in Cyprus (<i>Journ. of Hellen. Studies</i>, xii., p. 134). +</p></blockquote> + +<p class="indent1">Height, 1 foot 2½ inches.</p> +<a name="page40a" id="page40a"></a> +<h3>SCULPTURES FROM CARIA.</h3> + +<p><span class="leftside">49.</span>A series of rude figures in stone and marble which are +found in primitive graves in the islands of the Aegean, +and in Caria, have been conjectured by archćologists to +be works of the early Carians. The figures in question +are for the most part utterly conventional and gross representations +of the female form. Male figures have also +been occasionally found, and more elaborate subjects, such +as a seated figure playing on the harp.</p> + +<p>The specimens in the British Museum are exhibited in +the First Vase Room with the pottery found in the same +deposits. They are described in the <i>Guide to the First +Vase Room</i> (1883), p. 21, and in the <i>Journ. of Hellen. +Studies</i>, v., p. 50. Compare Perrot and Chipiez, v., pp. 334, +905; <i>Journ. of Hellen. Studies</i>, ix., p. 82; <i>Athenische +Mittheilungen</i>, +xvi., p. 46.</p> + +<p><span class="leftside">50.</span>Torso of female figure holding a dove between her +breasts with the left hand, and holding with the right +hand a fold of drapery by her right side. She wears a +long dress, girt at the waist, with a diploďdion and sleeves. +The head, and the legs from above the knees are wanting.—<i>Theangela, +in Caria.</i></p> + +<p class="indent"> +Marble; height, 1 foot 3 inches. +</p> + +<p><span class="leftside">51.</span>Beardless male head, having a considerable resemblance +to No. 19.—<i>From the Temple of Apollo, Calymna.</i></p> + +<p class="indent"> +Marble; height, 9 inches. Assigned by Collignon (<i>Gaz. Arch.</i>, 1886, +p. 239) to the same school as No. 205. +</p> +<span class="pagenum"><a name="page41" id="page41"></a>41</span> +<a name="page41a" id="page41a"></a> +<h3>SCULPTURES FROM RHODES.</h3> + +<p><span class="leftside">52.</span>Female head. The hair is parted over the middle of +the head, and is brought in waving ripples to the ears. +At the back of the head it is sketched in conventional +lines. The head is bound with a taenia.—<i>Rhodes.</i></p> + +<p class="indent"> +Marble; height, 8½ inches. +</p> + +<p><span class="leftside">53.</span>Female head broken off at the top of the neck. The +hair is brought forward over each temple in a plait; a +piece of linen is wound round the head, passing under a +band or diadem which encircles the head behind the ear. +The head-dress is arranged so as to leave on the top of +the head an aperture, through which the parting of the +hair and a top-knot are shown. Over the upper part of +the ear hang what appear to be three pendants; the lobe +below is covered with an earring in the form of a circular +flower of seven leaves. On the fractured edge of the +neck are remains of drapery.—<i>Rhodes.</i></p> + +<p class="indent"> +Limestone; height, 5 inches. +</p> + +<p><span class="leftside">54.</span>Female figure seated in a chair, with footstool.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 4⅛ inches. +</p> + +<p><span class="leftside">55.</span>Naked male figure; the legs broken off above the knees. +The palms of the hands are placed against the thighs; the +left leg has been advanced; parts of the arms are wanting. +The hair is drawn back from the forehead in a smooth +mass, and falls behind the ears over the nape of the neck, +where it is cut off square. There are traces of red above +the waist.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 10 inches. +</p> + +<p><span class="leftside">56.</span>Naked male figure standing with the left foot advanced, +and holding with his right hand the right hind leg of a +lion, whose tail he grasps with his left hand. The head +<span class="pagenum"><a name="page42" id="page42"></a>42</span> +of this figure, the right arm and both feet are wanting. +From the waist to the hips the body has been painted red +all round. The lion has his tongue out; there are traces +of red colour about his mouth.—<i>Acropolis of Camiros.</i></p> + +<p class="indent"> +Limestone; height, 10¼ inches. +</p> + +<p><span class="leftside">57.</span>Fragment of a male figure from above the hips nearly +to the knees. The arms have been placed along the sides, +with a hand on each hip.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 4¼ inches. +</p> + +<p><span class="leftside">58.</span>Upper part of a naked male figure broken off at the +waist. The hair is gathered into a thick mass behind the +ears, and cut off square at the nape of the neck; on the +top of the head is a snake coiled. The arms are broken +away below the shoulders.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 5 inches. +</p> + +<p><span class="leftside">59.</span>Upper part of female figure broken off above the waist. +She wears a wreath of upright leaves set between two +plain horizontal bands; the hair falls in a thick mass on +each side of the neck. The arms are broken away.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 4¾ inches. +</p> + +<p><span class="leftside">60.</span>Draped male figure broken off below the knees. He +wears chiton with girdle and upper garment. With both +hands this figure holds the young of some quadruped, +probably a kid, in front of his breast. His hair is parted +over his forehead, and falls behind the ears in a thick +mass to the nape of the neck.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 5⅜ inches. +</p> + +<p><span class="leftside">61.</span>Upper part of male figure from the base of the neck to +the waist. In the right hand this figure holds a small +<span class="pagenum"><a name="page43" id="page43"></a>43</span> +ibex against his breast. His left arm is broken.—<i>Acropolis +of Camiros.</i></p> + +<p class="indent"> +Limestone; height, 4<span style= "font-size: 0.6em;"><sup>1</sup></span>⁄<span style="font-size: 0.6em;">5</span> inches. +</p> + +<p><span class="leftside">62.</span>Lower part of a draped figure broken off at the waist. +The left hand holds by the forelegs a fawn, on the body +of which the right hand presses. Both arms are broken +off below the elbow.—<i>Acropolis of Camiros.</i></p> + +<p class="indent"> +Limestone; height, 7 inches. +</p> + +<p><span class="leftside">63.</span>Lower part of a draped figure broken off at the waist, and +wearing a chiton, which is bound with a girdle.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 1 foot. +</p> + +<p><span class="leftside">64.</span>Lower half of draped figure wearing chiton. At the +bottom of the skirt are traces of a red border; the fingers +of the left hand are placed against the left hip.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 7½ inches. +</p> + +<p><span class="leftside">65.</span>Lower half of draped figure broken off above the knees. +The left hand has held against the side some object too +indistinct to be made out.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 6 inches. +</p> + +<p><span class="leftside">66.</span>Lower half of draped figure broken off above the knees. +In bad condition.</p> + +<p class="indent"> +Limestone; height, 4⅛ inches. +</p> + +<p><span class="leftside">67.</span>Draped male figure playing on the double flute, which +he holds with either hand. The band for strengthening +the muscles used in blowing the flute, <i>phorbeia</i>, is indicated +by a red stripe; the chiton is ornamented with a +narrow red stripe on the shoulder down each side, and +round the hem.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 9 inches. +</p> +<span class="pagenum"><a name="page44" id="page44"></a>44</span> + +<p><span class="leftside">68.</span>Similar draped male figure playing on the double flute. +The <i>phorbeia</i> is indicated by a red stripe across the mouth; +the headdress, probably a wig, comes very low on the +forehead, and falls in a thick mass on the back of the +neck. On the head-dress, eyebrows, and flutes, are traces +of black colour.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 7⅜ inches. +</p> + +<p><span class="leftside">69.</span>Upper part of draped male figure. In his right hand +he holds a lotos sceptre (?); his left arm hangs down by +his left side. A thick mass of hair falls on each side of +the neck.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 4½ inches. +</p> + +<p><span class="leftside">70.</span>Androsphinx seated on a plinth. On the head are the +combined crowns of Upper and Lower Egypt; in front is +a collar, or pectoral; on the crown are traces of red +colour. This Sphinx is a pseudo-Egyptian work.—<i>Acropolis +of Camiros.</i></p> + +<p class="indent"> +Limestone; height, 5 inches. +</p> + +<p><span class="leftside">71.</span>Androsphinx seated on a plinth. On the head are +the crowns of Upper and Lower Egypt.—<i>Acropolis of +Camiros.</i></p> + +<p class="indent"> +Limestone; height, 3½ inches. +</p> + +<p><span class="leftside">72.</span>Androsphinx seated on a plinth. From the head falls +a mass of long hair over the back and shoulders; the +front of the body is covered with a collar or pectoral; +the upper part of the wings is broken off.—<i>Acropolis of +Camiros.</i></p> + +<p class="indent"> +Limestone; height, 5 inches. +</p> + +<p><span class="leftside">73.</span>Lion seated on a plinth. The mouth is open; the teeth +are shown; about the lips and edge of the mane are traces +of red colour.—<i>Camiros.</i></p> + +<p class="indent"> +Limestone; height, 5¼ inches. +</p> +<span class="pagenum"><a name="page45" id="page45"></a>45</span> + +<p><span class="leftside">74.</span>Bird standing on a plinth with wings closed. Head +broken off; tail long and spreading.</p> + +<p class="indent"> +Height, 3¼ inches. +</p> + +<p><span class="leftside">75.</span>The Egyptian ram-headed deity, Knef, seated in a +chair. He wears a long chiton bound with a girdle, on +each side of which a lappet falls as far as the knees; a +thick mass of hair falls from behind each horn on to the +breast.—<i>Lindos, in Rhodes.</i></p> + +<p class="indent"> +Limestone; height, 4 inches. +</p> +<a name="page45a" id="page45a"></a> +<h3>SCULPTURES FROM XANTHOS.</h3> + +<p>The following sculptures, Nos. 80-97, are the archaic +portion of the collection of sculptures from Xanthos, a +town some ten miles from the sea, in the south-west of +Lycia. The people of Lycia were a non-Hellenic race, +but the sculptures of Xanthos are distinctly Greek, though +not without traces of oriental influence (cf. No. 86). In +the most important remains, especially in the Harpy +Tomb (No. 94) we find the characteristics of the Ionian +School of Asia Minor.</p> + +<p class="indent"> +The sculptures of Xanthos were discovered by Mr. (afterwards Sir) +Charles Fellows in April, 1838. (Fellows, <i>A Journal written +during an excursion in Asia Minor</i>, 1838.) The discoverer +revisited Xanthos in 1840, made a more minute examination of +the remains, and published a further account. (<i>An Account of +Discoveries in Lycia, being a Journal kept during a second excursion +in Asia Minor</i>, 1840-1841, quoted as "<i>Lycia.</i>") In consequence +of this work, a naval expedition, assisted by Fellows, +was employed in Jan., Feb., 1842, to ship the Marbles of Xanthos +for transport to England. (Fellows, <i>The Xanthian Marbles; their +acquisition, and transmission to England</i>, 1843. This was reprinted +by Fellows in <i>Travels and Researches in Asia Minor, more +particularly in the Province of Lycia</i>, 1852, pp. 423-456.) Additional +sculptures and casts from Lycia were obtained by a second +expedition in 1843. (<i>Athenćum</i>, 1844, pp. 176, 339, 715, 779.) +<span class="pagenum"><a name="page46" id="page46"></a>46</span> +Besides the published material, valuable information may be +obtained from the plans and drawings by Mr. George Scharf, +who accompanied Fellows as draughtsman in 1840. The originals +are preserved in the British Museum, and referred to in this +Catalogue as Scharf's Drawings. See also Solly, <i>Memoirs of +W. J. Müller</i>, 1875; <ins title="Transcriber's Note: original reads 'Beechino'">Beecheno</ins>, <i>E. T. Daniell, a Memoir</i>, 1889, +p. 40; and the publication of the Austrian expedition to Lycia, +<i>Reisen in Lykien</i>, vol. I. ed. by Benndorf and Niemann, 1884; +vol. II. by Petersen and von Luschan, 1889. +</p> + +<p><span class="leftside">80.</span>Sepulchral chest (soros), adorned with reliefs on the +four sides. This tomb was made of a single block of +hard coarse limestone. It was found by Fellows in its +original position, on a stelč, which appears to have been +about 9 feet high. On the top of the chest there is a +rebate to receive the lid, which formed a separate block +and has not been found. The lower part of the block +was sawn off by Fellows, to facilitate transport. (<i>Xanthian +Marbles</i>, p. 34.)</p> + +<p>Perrot (vol. v., p. 396) is perhaps right in thinking +that this is the oldest of the Xanthian monuments, and +represents Lycian sculpture before the Ionian influence +had begun to make itself felt.</p> + +<p class="indent"> +The appearance of the monument as found is shown in Scharf's +drawing, here reproduced (<a class="ask" href="#plate2">pl. ii.</a>), and also in a water-colour +drawing by W. J. Müller, now in the Print Room of the British +Museum. Solly, <i>Memoir of W. J. Müller</i>, pl. facing p. 216; +Fellows, <i>Asia Minor</i>, p. 168. +</p> + +<blockquote> +<p><span class="leftside1"> 1.</span><i>South Side.</i>—Lion to the left, recumbent, in high relief. +Between the paws of the lion is seen the head of a bull, +which has been thrown over by the lion, and is seized +by the throat. Below the forepaws of the lion is a tablet, +which seems to have traces of an inscription. +</p></blockquote> + +<p class="indent1"> Height, 3 feet 1½ inches; length, 4 feet; height of relief, + 10 inches. Fellows, <i>Lycia</i>, pl. facing p. 176 (very poor); + Prachov, pl. 1, fig. 1; Perrot and Chipiez, V., p. 392, fig. 277; + p. 395, fig. 280; Dieulafoy, <i>L'Art. Ant. de la Perse</i>, + III., pl. 16.</p> + +<span class="pagenum"><a name="page47" id="page47"></a>47</span> + +<blockquote> +<p><span class="leftside1"> 2.</span><i>East Side.</i>—Frieze in low relief, with its right end +broken away. A horseman wearing helmet and cloak +rides to the right. He is followed by an attendant, wearing +a short chiton, and carrying a spear on his right shoulder. +Behind, a warrior moves to the left, wearing a helmet with +a large crest, a shield, and spear. On the left, a shield, +supposed to be fastened on a wall. This relief, with its +flat surface, devoid of detail, was probably painted. +</p></blockquote> + +<p class="indent1">Height, 1 foot 6½ inches; length, 3 feet 3 inches; height of + relief, ½ inch. Fellows, <i>Lycia</i>, pl. facing p. 176 (very + inaccurate); Perrot and Chipiez, V., p. 394, fig. 279.</p> + +<blockquote> +<p><span class="leftside1"> 3.</span><i>North Side.</i>—Lioness, in high relief, recumbent to +right, playing with cubs. A cub is seen, with its forepaws +across the paws of the lioness, and with its hind +quarters to the right; a second cub lies on its back, over +the first. The lower part of the relief is broken away. +</p></blockquote> + +<p class="indent1">Height, 2 feet 4 inches; length, 3 feet 6 inches; height of + relief, 6 inches. Perrot and Chipiez, V., p. 391, fig. 276.</p> + +<blockquote> +<p><span class="leftside1"> 4.</span><i>West Side.</i>—This side seems to have contained two +separate entrances to the tomb. On right and left were +two groups in low relief. (<span class="sc">A.</span>) On the right, a man, nude, +with long hair, and armed with sword, contending with +a lion. +</p></blockquote> + +<p class="indent1">Height, 1 foot 10 inches; length, 1 foot 6 inches; height of relief, +¾ inch.</p> + +<blockquote><p> +(<span class="sc">B.</span>) On the left a draped figure seated in a chair; left +side alone remains. +</p></blockquote> + +<p class="indent1"> Height, 1 foot 7 inches; height of relief, ¾ inch. Fellows, + <i>Lycia</i>, pl. facing p. 176; Prachov, pl. 1, fig. 1; Perrot + and Chipiez, V., p. 392, fig. 277; p. 393, fig. 278; Dieulafoy, + <i>L'Art Ant. de la Perse</i>, III., pl. 16.</p> + +<p style="margin-top: 3em;"><span class="leftside">81.</span>Frieze of Satyrs and animals, found by Fellows, built +into the walls of the Acropolis at Xanthos.</p> +<span class="pagenum"><a name="page48" id="page48"></a>48</span> + +<p>Beginning from the left, the slabs of the frieze contain:</p> + +<blockquote> +<p><span class="leftside1a">1, 2.</span>Bearded Satyr in combat with a wild boar. The +Satyr, who has pointed ears and tail, makes a thrust at +the boar with a branch torn off a tree. The strange +attitude of the Satyr is due to the artist's difficulty in +dealing with the shape of the slab. Slab 1 has been much +injured by dripping water. The two slabs are proved to +be connected by the bough which is seen on both. +</p></blockquote> + +<p class="indent1">Prachov, pl. vi. <span class="sc">a</span>, a; vi. <span class="sc">b</span>, c; Wolters, + Nos. 146, 145; Fellows, <i>Lycia</i>, pl. facing p. 174; Brunn, + <i>Denkmaeler</i>, No. 104.</p> + +<blockquote> +<p><span class="leftside1"> 3.</span>Lioness, couching for a spring, but with right paw raised. +</p></blockquote> + +<p class="indent1">Prachov, pl. vi. <span class="sc">a</span>, e.</p> + +<blockquote> +<p><span class="leftside1"> 4.</span>Lion devouring deer. This group is of an established +conventional form. +</p></blockquote> + +<p class="indent1">Fellows, <i>Lycia</i>, pl. facing p. 174; Wolters, No. 148; + Prachov, pl. vi. <span class="sc">b</span>, d.; Dieulafoy, <i>L'Art Ant. + de la Perse</i>, III., pl. 16; Brunn, <i>Denkmaeler</i>, No. 104.</p> + +<blockquote> +<p><span class="leftside1"> 5.</span>Lynx to left, with right paw raised. +</p></blockquote> + +<p class="indent1">Prachov, pl. vi. <span class="sc">a</span>, b.; Wolters, No. 147.</p> + +<blockquote> +<p><span class="leftside1a">6, 7.</span>Bull contending with Satyr, who appears to be in a +position similar to Satyr on slab 1; but a joint cuts off +the right leg, and the left arm is wanting. +</p></blockquote> + +<p class="indent1">Prachov, pl. vi. <span class="sc">a</span>, f; vi. <span class="sc">b</span>, g. Coarse limestone. + The height of the frieze is 2 feet 6¾ inches; the lengths of + the slabs are: (1) 4 feet 9 inches; (2) 6 feet; (3) 5 feet 9 + inches; (4) 5 feet 1½ inches; (5) 4 feet 11 inches; + (6) 4 feet 9½ inches; (7) 3 feet 1 inch.</p> + + <blockquote> +<p><span class="leftside">82.</span><span class="leftside1a">1-8.</span> Frieze of cocks and hens. Six cocks and five hens +represented as standing still, picking up food, or fighting. +The work is carefully studied from nature.—<i>Built into the +walls of the Acropolis at Xanthos.</i></p> +</blockquote> + +<p class="indent1"> +Coarse limestone; height, 1 foot 4½ inches; combined length of eight +slabs, 28 feet 8 inches; Fellows, <i>Lycia</i>, pl. facing p. 174 (two +slabs); Wolters, Nos. 136-144; Brunn, <i>Denkmaeler</i>, No. 103. +</p> +<span class="pagenum"><a name="page49" id="page49"></a>49</span> + +<p><span class="leftside">83.</span>Part of a tomb (?). From each of two opposite sides, the +head and forepaws of a lioness project. The heads are +slightly turned towards the front.—<i>Found at the foot of +the Inscribed Monument, Xanthos.</i></p> + +<p class="indent"> +Limestone; height, 1 foot 5 inches; length, 4 feet 1¾ inches. Fellows, +<i>Lycia</i>, pl. facing p. 174. +</p> + +<p><span class="leftside">84.</span>Head and neck of a lion, from a tomb (?). Several pieces +of the mane were separately worked and attached.—<i>Xanthos.</i></p> + +<p class="indent"> +Limestone; height, 1 foot 10 inches. +</p> + +<p><span class="leftside">85.</span>Fragment of unfinished relief, with two legs of a seat +or couch (?).—<i>Xanthos.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 4 inches. Compare Perrot and Chipiez, +V., p. 304, fig. 211. +</p> + +<p><span class="leftside">86.</span>A frieze representing a procession moving from left to +right. The figures beginning from the right are:—</p> + +<blockquote> +<p><span class="leftside1"> 1.</span>An old man, seated in a car, driving two horses. Behind +him stood an attendant, of whose figure a piece of +drapery on the next slab alone remains.</p> + +<p><span class="leftside1"> 2.</span>A youth, leading a horse, saddled and bridled. He +wears a short chiton, and carries a whip. Details of the +hair were probably indicated with paint.</p> + +<p><span class="leftside1a">3, 4.</span>A venerable old man, seated in a chair, placed in a war +chariot drawn by two horses. He has long hair, bound +with a taenia, and a long pointed beard. He wears a +chiton with sleeves, and a mantle. He holds a pomegranate +flower in his left hand, and a cup (?) in his right +hand. Beside him is a charioteer treated like the youth +of the preceding group. The reins, now lost, were made +of bronze.</p> + +<p>Youth riding a spirited horse, equipped like the horse +of the second group. The rider wears a chiton with +<span class="pagenum"><a name="page50" id="page50"></a>50</span> +short sleeves, and a himation. He has long hair falling +on the shoulders.</p> + +<p><span class="leftside1"> 5.</span>A group of draped persons moving to right, and composed +of the following figures:—</p> + +<p>Man (much mutilated) standing to right and turning +to front. He holds a whisk in the right hand, and a +spear in the left hand.</p> + +<p>Man, carrying a spear over the left shoulder, supporting +it with both hands clasped.</p> + +<p>Man moving to right but looking back. He carries a +spear on the left shoulder; right hand holds a fold of the +drapery.</p> + +<p>Man with spear on left shoulder and whisk in right +hand.</p> + +<p>Man with spear on right shoulder; left hand holds an +edge of the himation.</p> + +<p>Man with spear on left shoulder. The front part only +of this figure is preserved.</p> + +<p>The standing figures all wear a long chiton, with long +sleeves, and a himation which is wrapped closely about +the body, passing under the right arm and over the left +shoulder.</p> + +<p>The size and treatment of the horses on the frieze, and +the use of whisks by the standing figures, show Oriental +influences, although the artistic style is distinctly Greek. +The upright crest on the head of the horse in the fourth +group is seen on the horses of Persepolitan sculpture. +Compare the Persepolitan casts in the British Museum, +assigned to 500 <span class="sc">b.c.</span>, and Fellows, <i>Lycia</i>, p. 173. The ends +of the horses' tails are also tied with ribbon in the same +way as here. Saddle-cloths occur on early vases from +Daphnae (Petrie, <i>Nebesheh and Defenneh</i>, pl. 29, fig. 4), +and on painted sarcophagi from Clazomenae (<i>Journ. of +Hellen. Studies</i>, iv., p. 19, fig. 14).</p> + +<p>The traces of Persian fashion make it probable that +<span class="pagenum"><a name="page51" id="page51"></a>51</span> +this relief is later than the Persian conquest of Xanthos +by Harpagos (about 545 <span class="sc">b.c.</span>).</p> + +<p>The architectural disposition of the frieze has not been +ascertained. The slabs were found by Fellows, inserted +in a wall of late date on the Acropolis of Xanthos (Benndorf, +<i>Reisen in Lykien</i>, i., p. 86), but it is clear from the +square holes that occur at intervals of 4 ft. 8 in., that +stone beams, imitating wood construction, must once have +projected, and from the raised border round the holes it +is seen that this was the intention of the artist. It is +probable that the frieze belonged to a tomb, and perhaps +represented a funeral procession. It is not possible to +say whether it was on the outside or on the inside of the +building. (Compare Nos. 87, 88, and the tomb of Giöl-Baschi. +Compare also the casts of reliefs from Pinara, +Nos. 761-4, for the projecting beam ends.)—<i>Acropolis of +Xanthos.</i></p> + +<p>A similar procession occurs on a sarcophagus from +Amathus. (Cesnola, <i>Cyprus</i>, pl. 14.) +</p></blockquote> + +<p class="indent1">Height, 2 feet 9½ inches; combined length of five slabs, + 17 feet 4 inches; height of relief, 2 feet 5 inches; but in + parts, upper margin is cut into. Fellows, <i>Lycia</i>, pls. + facing pp. 173, 177; Prachov, pl. 3; Cesnola, <i>Cyprus</i>, + pls. 16, 17; Murray, I., pls. 4-6; Wolters, Nos. 131-134; + Wolters in <i>Jahrbuch des Arch. Inst.</i>, I., p. 84; Brunn, + <i>Denkmaeler</i>, No. 102.</p> + +<p><span class="leftside">87.</span>Slab from the left end of a frieze. A woman stands near +the foot of a couch upon which a dead man is laid out. +Only the end of the couch and the left foot of the corpse +remain. The woman wears a long chiton, himation, cap +with tassel, and earrings. Behind her stands a male +attendant, wearing a short chiton, drawn up, beneath a +girdle. He holds a small piece of drapery in his left +hand.</p> + +<p>A groove to the left of the group seems to show that +this slab was at an interior angle of a building. The +<span class="pagenum"><a name="page52" id="page52"></a>52</span> +different dimensions make it unlikely that it was a part +of the same frieze as No. 86.—<i>Xanthos.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 9½ inches; length, 2 feet 7 inches. Prachov, +pl. 1, fig. 2; Murray, I., pl. 6; Wolters, 135; Wolters in <i>Jahrbuch +des Arch. Inst.</i>, I. p. 83. +</p> + +<p><span class="leftside">88.</span>Slab from the left end of a frieze. A woman wearing a +long chiton with sleeves and a himation stands to right +with right hand raised, and holding a flower(?). She holds +a piece of drapery in left hand. Before her, the remains +of another figure.</p> + +<p>At the left of this figure is a groove, suggesting that +this was an interior angle stone.—<i>Xanthos.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 9 inches; length, 3 feet 6 inches. Prachov, +pl. 6 <span class="sc">b</span>. <i>h</i>; Wolters, <i>Jahrbuch des Arch. Inst.</i>, I., p. 83. +</p> + +<p><span class="leftside">89, 90.</span>Gable end of a tomb. On each side of a doorway is a +seated Sphinx, and above the lintel are two lions.—<i>Xanthos.</i></p> + +<p><span class="leftside">89.</span>The Sphinx on the left wears a cap enclosing most of +the hair, a pendant earring, and a narrow taenia. There +are traces of red paint on the cap, and of the markings of +feathers on the wings. The head and fore-quarters of the +lion are wanting.</p> + +<p class="indent"> +Limestone; height, 3 feet 9 inches; width, 3 feet 1 inch. About +3 inches appear to be wanting on the right of the slab. Prachov, +pl. 5, fig. 1 (the head only of the Sphinx); Dieulafoy, <i>L'Art Ant. +de la Perse</i>, II., pl. 18, fig. 2; Brunn, <i>Denkmaeler</i>, No. 101<span class="sc">a</span>. +</p> + +<p><span class="leftside">90.</span>The Sphinx on the right of the doorway has her hair +confined by a broad band, and has a pendant earring. +The markings of the feathers may be seen on the wings. +When first discovered in 1840, this relief was brilliantly +coloured, as is recorded in a drawing by Scharf. The +ground of the relief was bright blue; the feathers were +red, black, blue, and white. The hair was yellow, and +the taenia was painted with a white pattern on a red +<span class="pagenum"><a name="page53" id="page53"></a>53</span> +ground. The head and fore-quarters of the lion are +wanting.</p> + +<p class="indent"> +Limestone; height, 3 feet 4½ inches; width, 3 feet 4 inches. About +3 inches appear to be wanting on the left of the slab. Prachov, +pl. 5, fig. 2; <i>Museum of Class. Antiq.</i>, I., p. 251; Dieulafoy, <i>L'Art +Ant. de la Perse</i>, II., pl. 18, fig. 2; Brunn, <i>Denkmaeler</i>, No. 101<span class="sc">a</span>. +</p> + +<p><span class="leftside">91, 92.</span>Gable end of a tomb. On each side of a doorway is a +seated Sphinx. Above the lintel of the door is a space +which may have held a relief, now wanting.—<i>Xanthos.</i></p> + +<p><span class="leftside">91.</span>The Sphinx on the left wears a stephanč; a tress of +hair falls on the shoulder. There are faint traces of +paint on the wing. The hind-quarters are missing.</p> + +<p class="indent"> +Limestone; height, 2 feet 10 inches; width, 2 feet 2 inches. The +joint of the stone is at the left side of the door. Prachov, pl. 4, +fig. 2. +</p> + +<p><span class="leftside">92.</span>The Sphinx on the right has her hair bound with a +narrow taenia. There are traces of paint on the wing. +The hind-quarters are wanting.</p> + +<p class="indent"> +Limestone; height, 2 feet 8 inches; width, 3 feet 1 inch. About +3 inches are lost from the left of this slab. Prachov, pl. 4, fig. 1 +(the head only). +</p> + +<p><span class="leftside">93.</span>Gable end of a tomb. In the centre of the relief is a +low column, with an Ionic capital, of peculiar form. A +Siren stands to the front, on the column. She wears a +short chiton, girt at the waist and with loose sleeves. +She has spreading wings and tail, and bird's legs, but +human arms which are extended in front of the wings. +The head is wanting.</p> + +<p>On each side of the column is a seated male figure. On +the left is a beardless elderly man, wearing himation and +chiton, with staff in left hand and right hand extended. +On the right is a bearded old man, wearing chiton and +himation, with staff in right hand and left hand extended. +The back of the head is in part broken away; part was +<span class="pagenum"><a name="page54" id="page54"></a>54</span> +never represented. The lower part of the relief is wanting. +A drawing by Scharf shows the colouring of the relief +when discovered. The background was blue; the hair, +the under side of the Siren's wings, the drapery of the +man on the left, the shaft and part of the capital of the +column were yellow; the drapery of the Siren and of +the man on the right, the seats and part of the capital +of the column were red.—<i>Xanthos.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 9 inches; width, 3 feet 5 inches. <i>Annali +dell' Inst.</i>, 1844, p. 150. +</p> + +<h3><span class="sc">The Harpy Tomb.</span></h3> + +<p><span class="leftside">94.</span>The monument known as the Harpy Tomb was discovered +by Fellows among the ruins of Xanthos on +April 19, 1838. It was more carefully examined and +published by him in 1840 (<i>Lycia</i>, p. 170, and plate), and +was brought to England in the spring of 1842. The tomb +was described by Fellows in the following terms:—"The +Harpy Tomb consisted of a square shaft in one block, +weighing about eighty tons, its height seventeen feet, +placed upon a base rising on one side six feet from the +ground, on the other but little above the present level of +the earth. Around the sides of the top of the shaft were +ranged the bas-reliefs in white marble about three feet +three inches high; upon these rested a capstone, apparently +a series of stones, one projecting over the other; but these +are cut in one block, probably fifteen to twenty tons in +weight. Within the top of the shaft was hollowed out +a chamber, which, with the bas-relief sides was seven +feet six inches high, and seven feet square." (Fellows, +<i>Xanthian Marbles</i>, p. 21; <i>Asia Minor</i>, p. 438.) For views +of this tomb see the drawing by Scharf here reproduced +(<a class="ask" href="#plate3">pl. iii.</a>); also <i>Mon. dell' Inst.</i>, iv., pl. 2; Benndorf, <i>Reisen +in Lykien</i>, i., pl. 26. In Christian times, the tomb was made +the cell of some <i>Stylites</i>, or dweller on a column. Traces +<span class="pagenum"><a name="page55" id="page55"></a>55</span> +of painting and monograms were found on the interior of +the chamber. (Fellows, <i>Xanthian Marbles</i>, p. 21; Birch, +<i>Archćologia</i>, xxx., p. 186.)</p> + +<blockquote> +<p><span class="leftside1"> 1.</span><i>West Side.</i>—This relief is divided into two unequal +parts by a small doorway which formed the entrance to +the tomb. This doorway may have been filled up with a +slab of stone, resembling a funeral stelč, and the idea thus +suggested was further carried out by the sculpture above +of a cow giving suck to a calf. (Compare the tomb on +the second frieze of the Xanthian Nereid Monument, <i>Mon. +dell' Inst.</i>, x., pl. 16, fig. 161.)</p> + +<p>On the left of the entrance is an enthroned female figure. +She is large and dignified, and is heavily draped. The +left hand is raised, the right hand is extended and holds +a bowl; she is adorned with stephanč and bracelets. The +arm of the chair terminates in a ram's head, and is supported +by a seated Sphinx. On the right is a second +enthroned female figure of equal dignity. She is adorned +with a stephanč and bracelets. With a graceful, if +affected gesture of the right hand she holds up a pomegranate +flower, and in the left hand she holds a pomegranate +fruit. The back of the throne terminates in a +swan's head, and the arm terminates in the head of a ram.</p> + +<p>Three maidens, who are nearly alike, except in the +attitudes of the hands, approach this figure. The first +raises her mantle and chiton with the left and right +hands respectively. The second has a pomegranate flower +in her left hand, and a pomegranate fruit in her right +hand. The third holds up an egg with her right hand, +and holds the drapery in her left hand.</p> + +<p><span class="leftside1"> 2.</span><i>North Side.</i>—An old man, draped and bearded, is seated +on a chair to left; with the left hand he holds a spear, +with the right hand he receives a crested helmet which +is offered to him by a young warrior, who stands before +him. The warrior has a short chiton, and leather cuirass, +<span class="pagenum"><a name="page56" id="page56"></a>56</span> +sheathed sword, greaves, and a large shield, which he +supports with the left hand. Beneath the chair is a +small bear.</p> + +<p>At each side of this group, but disconnected from it, +are figures commonly known as Harpies. They are represented +as beings with the head, breasts and arms of +maidens, while the lower part of the body is that of a +bird conventionally rendered. It terminates in oval form +with a spreading tail and bird's talons attached. Long +wings spring from behind the shoulders and under the +arms. Each creature wears a stephanč and chiton (see +<a class="ask" href="#drapery">below</a>). In their arms and talons each gently carries a +diminutive draped female figure, that makes a gesture, as +of affection.</p> + +<p>At the right corner of the relief a draped figure crouches +on the ground in an attitude of deep grief, and looks up +to the flying figure above.</p> + +<p><span class="leftside1"> 3.</span><i>East Side.</i>—A venerable bearded man is seated on a +throne, to the right. He has a sceptre in the left hand, +and holds up a flower in the right hand. The arm of +the throne is supported by a Triton. Before him is a +diminutive figure of a boy offering a cock.</p> + +<p>Behind the enthroned figure are two draped male +figures, standing to right. The first holds a pomegranate +fruit in the left hand, and a doubtful object in the right +hand. The second, who is bearded, holds a portion of his +drapery with the left hand; with his right hand he holds +his beard.</p> + +<p>On the right of the relief is a youth, accompanied by +a dog. He holds a stick with curved handle in his left +hand, and has an uncertain object in his right hand. +Part of it was made of metal, attached by a rivet. It +may perhaps have been a kylix with a tall stem.</p> + +<p><span class="leftside1"> 4.</span><i>South Side.</i>—A male figure, not bearded, is seated on a +throne to right. He has a sceptre resting on his right shoulder. +<span class="pagenum"><a name="page57" id="page57"></a>57</span> +In the left hand he holds a pomegranate fruit, and in the +right hand an apple. Before him stands a male (?) figure, +holding a dove in the left hand by the wings, and having +the right hand raised in a gesture of adoration. On each +side of the main group, but disconnected from it, are the +winged figures with their burdens as already described. +With certain differences of detail, chiefly in the positions +of the arms of the figures carried, these groups are nearly +similar to those of the north side.</p> +<a name="drapery" id="drapery"></a> +<p><i>Drapery, &c.</i>—All the figures on this tomb, except the +"Harpies," the diminutive figures connected with them, +and the warrior, are draped in chiton, and himation or +peplos. The figures borne by the "Harpies" and the figure +crouching in grief wear long chitons only. The "Harpies" +wear chitons, of which the sleeves alone are indicated. All +the principal figures wear shoes or sandals, so far as the +feet are preserved, with the exception of the second figure +behind the throne on the east side. The women on the +west side, and the seated figure on the south side wear shoes +with pointed toes. The remaining figures wear sandals +only. All the figures on the east side had metal taeniae +or stephanae, the holes for the attachment of the metal +being still visible. The youth on the east side, as already +stated, held a metal object in his hand.</p> + +<p><i>Colouring.</i>—The following indications of colour can be +traced. The ground of the reliefs was bright blue. Part +of the colour remains round the profile of the youth on the +east side, and under the right wrist of the first figure behind +the throne on this side. Birch (<i>Archćologia</i>, xxx., p. 192) +states that he has seen scarlet on the crest of the helmet, +and Scharf (<i>Mus. of Class. Antiq.</i>, i., p. 252) that there +were "traces of red in the hollow of the shields and upon +sandals." Elsewhere the colour must be inferred from +the inequalities of the surface of the marble, due to the +unequal protecting powers of the different colours. There +<span class="pagenum"><a name="page58" id="page58"></a>58</span> +was an egg and tongue pattern on the lower moulding, +and a maeander pattern on parts of the upper moulding. +On the west side the chair of the figure on the right was +painted with palmette ornament. On the east side there +was also a palmette pattern on the side of the throne. +</p></blockquote> + +<blockquote><p> +<i>Interpretations.</i>—The interpretations of this monument, +that have been proposed, may be divided into three groups— +</p></blockquote> + +<blockquote><p> + (1.) According to the first commentators, the subject +represented was the rape of the daughters of Pandareos, +king of Lycia, by the Harpies (Homer, <i>Od.</i> xx., l. 66. +Gibson, in Fellows, <i>Lycia</i>, p. 171; Birch, <i>Archćologia</i>, +xxx., p. 185.) The objections to this view are that the +subject is an improbable one for representation on a tomb, +that the "Harpies" evidently stand in a kindly relation +towards the persons whom they carry, and that the reliefs +do not agree well with the literary form of the myth. +It is also doubtful whether the "Harpies" were imagined +with bird-bodies at the period of these sculptures. (Furtwaengler, +<i>Arch. Zeit.</i>, 1882, p. 204.)</p> + +<p> (2.) In the second group of theories, the enthroned +figures are deities of the lower world to whom the souls +of the dead pay reverence. On the west side are Demeter +(left), and Persephonč (right), and three worshippers who +carry symbols of life and birth, as the egg and the +pomegranate. The door of the tomb signifies death, while +the cow and calf, immediately above, suggest the renewal +of life. The three seated figures remaining, are, according +to this system, either Zeus (south), Poseidon (east), and +Hades (north), (Braun, <i>Annali dell' Inst.</i>, 1844, p. 151), or +Zeus viewed under a triple aspect (Curtius, <i>Arch. Zeit.</i>, +1855, p. 10). The symbolic system has been most +elaborately worked out by Curtius (<i>loc. cit.</i>, and <i>Arch. Zeit.</i>, +1869, p. 10). Thus he regards the "Harpies'" bodies as +intended for eggs, and so symbolical of life. This view is +<span class="pagenum"><a name="page59" id="page59"></a>59</span> +untenable, as the bodies are of the form usually given to +birds in early art (Conze, <i>Arch. Zeit.</i>, 1869, p. 78).</p> + +<p> (3.) In the third and most recent group of theories, the +seated figures are not deities, but heroified personages, +buried in the tomb, to whom offerings are made by +members of their family. (Milchhoefer, <i>Arch. Zeit.</i>, 1881, +p. 53; Wolters, p. 75.) This view is supported by analogies +found elsewhere (cf. p. 299), while it avoids the difficulty +of supposing deities to be represented on a tomb. But no +parallel has been adduced for such a scene as a young +warrior giving his arms to the figure of an heroified +ancestor; moreover the dignity and adornments of the +enthroned figures seem most appropriate to deities.</p> + +<p>On the whole it seems best to suppose that we have on +this tomb scenes connected with death, though we cannot +attempt, for want of knowledge of Lycian mythology, to +assign names to the personages represented. Maidens +make offerings to female deities, and men to male deities. +On the east side a boy makes an offering, on the north side +a young warrior gives up his armour, and on the south +side a man offers a bird. Kindly winged beings bear +away the souls of the dead, and the crouching figure +on the north side suggests the grief of the survivors. +(Cf. Brunn, <i>Sitzungsber. d. k. bayer. Akad. Phil. hist. Cl.</i>, +1872, p. 523, who points out the succession of ages among +the figures, but does not consider the idea of death to +be implied in the central groups of the north, east, and +south sides.)</p> + +<p><i>Style and Period.</i>—In the Harpy Tomb we have a fine +example of the work by the Ionian School of Asia Minor, +whose chief characteristic is a certain voluptuous fulness +of form, and languor of expression, contrasted with the +muscular vigour of the Doric sculpture, and the delicate +refinement characteristic of a part of the early Attic work +(cf. Brunn, <i>loc. cit.</i>, p. 205, and Rayet, <i>Monuments</i>, No. 13). +<span class="pagenum"><a name="page60" id="page60"></a>60</span> +It is uncertain whether the tomb is later than the Persian +conquest of Xanthos (545 <span class="sc">b.c.</span>). It has a remarkable resemblance +to the tomb of Cyrus at Pasargadae as described +by Arrian (vi., 29) and Strabo (xv., 3, 7), although the +force of the parallel is rather diminished if Fergusson +(<i>Nineveh and Persepolis</i>, p. 215) has correctly identified the +tomb. The Harpy reliefs are usually assigned to the close +of the sixth century; but a comparison with the sculptures +of Ephesus points to a date nearer 550 <span class="sc">b.c.</span> +</p></blockquote> + +<p class="indent1"> +The Harpy tomb is of marble. The reliefs measure 3 feet 4½ inches +in height; 8 feet 2 inches in length on the east and west sides; +7 feet 6 inches on the north and south sides. Fellows, <i>Lycia</i>, +p. 170, and pl.; Birch, <i>Archćologia</i>, XXX., p. 185; Braun, +<i>Annali dell' Inst.</i>, 1844, p. 133; <i>Mon. dell' Inst.</i>, IV., pl. 3; +<i>Rhein. Mus.</i>, N.F., III., 1845, p. 481; Curtius, <i>Arch. Zeit.</i>, 1855, +p. 2, pl. 73; Overbeck, <i>Gr. Plast.</i>, 3rd edit., I., p. 171; Murray, +I., p. 116, pl. 3, and figs. 22-25; Rayet, <i>Monuments</i>, Nos. 13-16; +Mitchell, p. 187, fig. 88 (west and south sides); Wolters, +Nos. 127-130. +</p> + +<p><span class="leftside">95.</span>Fragment of relief, with parts of two female figures, +draped and having sandals, moving to the right in a +dance. The relief appears to have been on the face of a +lintel, panelled on its lower side.—<i>Xanthos.</i></p> + +<p class="indent"> +Limestone; height, 1 foot 3½ inches. Prachov, pl. 6<span class="sc">b</span>, fig. <i>i.</i>; +Murray (2nd ed.), I., p. 125. +</p> + +<p><span class="leftside">96-98.</span>The following sculptures illustrate the way in which +the simplicity of an archaic statue is sometimes preserved +in later sculptures serving an architectonic purpose:—</p> + +<p><span class="leftside">96.</span>Torso of female figure, wearing a long dress with +diploďdion, falling in flat surfaces with few folds. The +left leg is advanced, the right hand gathered up a part of +the drapery. The head and arms are wanting.—<i>Xanthos.</i></p> + +<p class="indent"> +Marble; height, 4 feet ¼ inch. Prachov, pl. 2, fig. 5. +</p> + +<p><span class="leftside">97.</span>Torso of female figure, nearly similar to preceding, but +with surface much mutilated.—<i>Xanthos.</i></p> + +<p class="indent"> +Marble; height, 2 feet 4½ inches. Prachov, pl. 2, fig. 6. +</p> +<span class="pagenum"><a name="page61" id="page61"></a>61</span> + +<p><span class="leftside">98.</span>Torso of female figure treated like No. 96, but holding +the fold of drapery with the left hand.—<i>Xanthos.</i></p> + +<p class="indent"> +Marble; height, 3 feet 10½ inches. Prachov, pl. 2, fig. 4. +</p> +<a name="page61a" id="page61a"></a> +<h3>SCULPTURES FROM NAUCRATIS.</h3> + +<p>The remains here described were obtained for the most +part from the site of the temple of Apollo at Naucratis, +in the Nile Delta. The site of Naucratis was discovered +by Mr. W. M. Flinders Petrie, and the remains of the +temple were found in the course of excavations which he +carried on, in 1884-5. A few sculptures also were found +by Mr. E. A. Gardner in the excavations of 1885-6. The +whole of the collections from Naucratis in the British +Museum were presented by the Egypt Exploration Fund, +which conducted the excavations.</p> + +<p>Naucratis was a colony of Greeks, settled in Egypt for +purposes of trade. It is situated to the west of the most +westerly or Canopic mouth of the Nile, and is nearly +midway between Cairo and Alexandria. The date of the +foundation of Naucratis has been a subject of controversy. +It is known that the colony owed much to Amasis, King +of Egypt (564-526 <span class="sc">b.c.</span>). According to the statement of +Herodotus (ii. 178), Amasis showed his friendship to the +Greeks by giving, to those who came to Egypt, the city of +Naucratis to live in +(<ins title="Greek: Philellęn de genomenos ho Amasis alla te es Hellęnôn metexeterous apedeixato, kai dę kai toisi apikneumenoisi es Aigypton edôke Naukratin polin enoikęsai, k. t. l." +>Φιλέλλην δὲ +γενόμενος ὁ +Ἄμασις ἄλλα +τε ἐς Ἑλλήνων +μετεξετέρους +ἀπεδείξατο, +καὶ +δὴ καὶ +τοῖσι +ἀπικνευμένοισι +ἐς Αἴγυπτον +ἔδωκε +Ναύκρατιν πόλιν +ἐνοικῆσαι, +κ. τ. λ.</ins>). +The question has been discussed whether the +words of Herodotus prove that Amasis was the first to +allow the Greeks to live at Naucratis, or whether the +account of Strabo (xvii., 1, 18) can be accepted, according +to which Naucratis was already occupied by Greeks, +especially by Greeks of Miletus. If Amasis introduced +<span class="pagenum"><a name="page62" id="page62"></a>62</span> +the Greeks to Naucratis, no Hellenic remains on the site +can be older than 504 <span class="sc">b.c.</span> If an earlier settlement is +assumed, it may have dated from the middle of the seventh +century.</p> + +<p>In either case the temple of the Milesian Apollo would +have been among the earliest buildings erected. Herodotus +states that by permission of Amasis, the Milesians +independently founded a temenos of Apollo +(<ins title="Greek: chôris de... ep' heôutôn hidrysanto temenos... Milęsioi Apollônos">χωρὶς +δὲ ... +ἐπ' +ἑωυτῶν +ἱδρύσαντο +τέμενος ... +Μιλήσιοι +Ἀπόλλωνος</ins>). Messrs. +Petrie and Gardner, arguing for the older date, put the +foundation shortly after the middle of the seventh +century.</p> + +<p>The architectural remains are very scanty. Probably +much of the first temple was built of mud bricks. The +stone portions may have been used again in the building +of the second temple, whose ornaments were of marble. +Moreover, all marble and stone is eagerly sought for and +removed by the modern Arab diggers.</p> + +<p class="indent"> +<i>Naukratis</i>, Part I., 1884-5, by W. M. Flinders Petrie and others; +<i>Naukratis</i>, Part II., 1885-6, by E. A. Gardner; G. Hirschfeld in +<i>Rhein. Mus.</i>, N.F., XLII. (1887), p. 209, and XLIV. (1889), +p. 461; Kirchhoff, <i>Studien</i>, 4th edit. p. 43; Roberts, <i>Greek +Epigraphy</i>, p. 323. +</p> + +<h3><span class="sc">The First Temple of Apollo.</span></h3> + +<p><span class="leftside">100.</span><i>Columns.</i>—The architectural members of the first temple +were of limestone. They are insufficient to fix the dimensions +of the temple, which was, however, small. Mr. Petrie +supposes it to have been not more than twenty-five feet +broad. A volute and a complete base of an Ionic column +were discovered, but were immediately destroyed by +Arabs. The following fragments are preserved:—</p> + +<blockquote> +<p><span class="leftside1a">1, 2.</span> +Two members of an Ionic capital, consisting of two +courses of an egg and dart moulding. The upper +course is considerably the larger. The lower course is +<span class="pagenum"><a name="page63" id="page63"></a>63</span> +worked with a rebate to fit the upper course. Below the +mouldings are the tops of the flutings. +</p></blockquote> + +<p class="indent1">Upper course—height, 5 inches; diameter, 1 foot 7½ inches; + lower course—height, 4¼ inches; diameter, 1 foot 4½ + inches. <i>Naukratis</i>, I., pl. 3.</p> + +<blockquote> +<p><span class="leftside1"> 3.</span>Fragment of necking of a column, of a different design +from the preceding, and surrounded by a pattern of lotus +buds and lotus flowers. +</p></blockquote> + +<p class="indent1">Height, 11 inches; diameter, 1 foot 8 inches. <i>Naukratis</i>, I., pl. 3.</p> + +<blockquote> +<p><span class="leftside1"> 4.</span>Fragment of necking of a column, somewhat similar to +the preceding. +</p></blockquote> + +<p class="indent1">Height, 4 inches; width, 5 inches.</p> + +<blockquote> +<p><span class="leftside1"> 5.</span>Drum of a limestone column with flutings. +</p></blockquote> + +<p class="indent1">Height, 4⅝ inches; diameter, 1 foot 6 inches.</p> + +<blockquote> +<p><span class="leftside1"> 6.</span>Lower part of the base of an Ionic column. +</p></blockquote> + +<p class="indent1">Height, 4 inches; diameter, 1 foot 9 inches. <i>Naukratis</i>, I., pl. 3.</p> + +<h3><span class="sc">Miscellaneous Fragments from First Temple.</span></h3> + +<blockquote> +<p><span class="leftside"> 101.</span><span class="leftside1"> 1.</span>Upper part of an acroterion, worked below with a rebate. +</p></blockquote> + +<p class="indent1">Height, 3½ inches. <i>Naukratis</i>, I., pl. 14<span class="sc">a</span>.</p> + +<blockquote> +<p><span class="leftside1"> 2.</span>Angle piece, with half of a palmette. +</p></blockquote> + +<p class="indent1">Height, 5 inches. <i>Naukratis</i>, I., pl. 14<span class="sc">a</span>.</p> + +<blockquote> +<p><span class="leftside1"> 3.</span>Fragment of a plane surface of limestone, with a series +of circles painted in blue, white, and red. +</p></blockquote> + +<p class="indent1">Height, 2 inches; width, 7½ inches.</p> + +<blockquote> +<span class="leftside1a">4, 5.</span> +<p>Fragments of two sculptured rosettes, perhaps intended +for the decoration of mud surfaces, and probably derived +from the earlier temple. +</p></blockquote> + +<p class="indent1">Diameters, 4½ inches and 3 inches. <i>Naukratis</i>, I., pl. 18, figs. 7, 8.</p> + +<span class="pagenum"><a name="page64" id="page64"></a>64</span> + +<h3><span class="sc">The Second Temple of Apollo.</span></h3> + +<p><span class="leftside">102.</span>The remains assigned to the second temple are of marble, +instead of limestone. They are too fragmentary for restoration, +but include bead and <ins title="Transcriber's Note: original reads 'real'">reel</ins> mouldings, egg and dart +patterns, portions of palmette and lotus patterns of elaborate +design. Several of the fragments are brilliantly +painted with red and blue. The second temple probably +belongs to the second half of the fifth century.</p> + +<p class="indent"> +Compare <i>Naukratis</i>, I., pls. 14, 14<span class="sc">a</span>. +</p> + +<h3><span class="sc">Miscellaneous Sculptures from Naucratis.</span></h3> + +<p><span class="leftside">103.</span>Fragment of the lower part of a draped standing figure. +In the middle of the legs the drapery falls in conventional +vertical folds. The figure is painted white with a red +stripe down each side.—<i>From the temenos of Apollo.</i></p> + +<p class="indent"> +Limestone; height, 1 foot 5 inches. <i>Naukratis</i>, I., p. 13. +</p> + +<p><span class="leftside">104.</span>Upper part of an incense burner or small altar with +rosettes and Uraei.</p> + +<p class="indent"> +Limestone; height, 4¾ inches. <i>Naukratis</i>, I., pl. 18, fig. 11. +</p> + +<p><span class="leftside">105.</span>Part of a model of an Egyptian building.</p> + +<p class="indent"> +Limestone; height, 5½ inches. <i>Naukratis</i>, I., pl. 18, fig. 1. +</p> + +<p><span class="leftside">106.</span>Model of a shrine.</p> + +<p class="indent"> +Limestone; height, 8½ inches. +</p> + +<p><span class="leftside">107.</span>Portions of a group of two figures leading a bull to +sacrifice. Of the first figure no part remains except the +hands which held a rope round the bull's neck. The +second figure stands beside the bull, and places his right +hand on its back. The head is wanting. An amphora +stands on the ground on each side of the figure. Red +<span class="pagenum"><a name="page65" id="page65"></a>65</span> +colour on the drapery and on the tops of the vases.—<i>Temple +of Apollo.</i></p> + +<p class="indent"> +Limestone; height, 3 inches. <i>Naukratis</i>, I., pl. 2, fig. 21. +</p> + +<p><span class="leftside">108.</span>Part of a figure kneading dough in a trough. Of the +figure only the hands and feet remain. Traces of red +colour.—<i>Temple of Apollo.</i></p> + +<p class="indent"> +Limestone; height, 2⅛ inches. <i>Naukratis</i>, I., pl. 2, fig. 19. +</p> + +<p><span class="leftside">109.</span>Figure seated on a chair with a box on its lap. Before +it a table on which lie four fish. The head of the figure +is wanting.—<i>Temple of Apollo.</i></p> + +<p class="indent"> +Limestone; height, 1¾ inches. <i>Naukratis</i>, I., pl. 2, fig. 20. +</p> + +<p><span class="leftside">110.</span>Torso of a male statuette, from the neck to the knees, +holding a lion by the tail and hind legs.</p> + +<p class="indent"> +Alabaster; height, 5¾ inches. <i>Naukratis</i>, I., pl. 1, fig. 1. +</p> + +<p><span class="leftside">111.</span>Upper part of a statuette of a warrior(?). The figure +wears a peaked helmet, a close-fitting tunic with sleeves, +and armlets.</p> + +<p class="indent"> +Alabaster; height, 4¼ inches. <i>Naukratis</i>, I., pl. 1, fig. 2. +</p> + +<p><span class="leftside">112.</span>Vessel for holding ointment (<i>alabastron</i>). The upper +part is in the form of a female bust. The right hand holds +a necklace on the breast. The left hand is by the side.</p> + +<p class="indent"> +Alabaster; height, 7¼ inches. <i>Naukratis</i>, II., pl. 14, fig. 11. +</p> + +<p><span class="leftside">113.</span>Upper part of an <i>alabastron</i> similar to the preceding.</p> + +<p class="indent"> +Alabaster; height, 3½ inches. +</p> + +<p><span class="leftside">114.</span>Head, wearing a band across the forehead, and having +a headdress with a veil which is gathered back in folds +from the front. Red on the lips and headdress.</p> + +<p class="indent"> +Limestone; height, 4 inches. <i>Naukratis</i>, I., pl. 1, fig. 5. +</p> +<span class="pagenum"><a name="page66" id="page66"></a>66</span> + +<p><span class="leftside">115.</span>Head, wearing a band across the forehead, from which +lappets hang down before the ears. Delicately executed +archaic work.</p> + +<p class="indent"> +Alabaster; height, 2½ inches. <i>Naukratis</i>, II., pl. 17, fig. 13. +</p> + +<p><span class="leftside">116.</span>Fragment of the rim of a basin, supported by a Harpy-like +being, carrying a diminutive figure at her breast. +The figure is female, with spreading wings. On its left +side, the body ends in the egg-like form of the figures on +the Harpy tomb. On the opposite side, the form of the +body is uncertain. The head is wanting.</p> + +<p class="indent"> +Alabaster; height, 3 inches. +</p> + +<p><span class="leftside">117.</span>Nude female statuette, from the neck to the knees. +She has necklaces, armlets, bracelets, and rings, which are +partly in relief, and partly painted red. She wears also +a red girdle, from which symbolic eyes are suspended, one +on the abdomen, and one on the small of the back. The +ends of this girdle fall one in front of each thigh, and +finish in lotus flowers.</p> + +<p class="indent"> +Limestone; height, 5⅜ inches. <i>Naukratis</i>, I., p. 33. +</p> + +<p><span class="leftside">118.</span>Statuette of a Hunter, standing, with two hares and +two young boars slung over his shoulders. He holds his +bow in the left hand, his hunting knife in the right hand. +He wears a close-fitting cap, and tunic girt at the waist. +Inscribed <ins title="Greek: Kalli[as aneth]ę[ke]">Καλλί[ας +ἀνέθ]η[κε]</ins>.—<i>Temenos of Aphroditč.</i> +</p> + +<p class="indent"> +Limestone; height, 1 foot 7½ inches. <i>Naukratis</i>, II., pl. 13, fig. 5. +</p> + +<p><span class="leftside">119.</span>Female statuette, wearing long, close-fitting drapery +and head-dress; she wears a necklace and plays on a +tympanum.—<i>Temenos of Aphroditč.</i></p> + +<p class="indent"> +Limestone; height, 5⅝ inches. <i>Naukratis</i>, II., pl. 14, fig. 9. +</p> + +<p><span class="leftside">120.</span>Upper half of female statuette wearing close-fitting +drapery, and headdress. She wears a necklace, and holds +<span class="pagenum"><a name="page67" id="page67"></a>67</span> +a flower in the right hand between her breasts.—<i>Temenos +of Aphroditč.</i></p> + +<p class="indent"> +Limestone; height, 6 inches. <i>Naukratis</i>, II., pl. 15, fig. 5. +</p> + +<p><span class="leftside">121.</span>Female figure, standing, wearing a close-fitting dress, +necklace and shoes. She holds a part of the drapery in +her right hand, before her body, and a bird in her +left hand between her breasts. Necklace, armlets, bracelets, +shoes, and stripes down her dress are painted red. +The head is wanting.—<i>Temenos of Aphroditč.</i></p> + +<p class="indent"> +Limestone; height, 7⅛ inches. <i>Naukratis</i>, II., pl. 14, fig. 12. +</p> + +<p><span class="leftside">122.</span>Male figure, standing, playing on a lyre. He wears a +chiton falling to the feet, a closely-fitting upper tunic, +and boots. Parts of the tunic, lyre and boots are painted +red. The head is wanting.—<i>Temenos of Aphroditč.</i></p> + +<p class="indent"> +Limestone; height, 7¼ inches. <i>Naukratis</i>, II., pl. 14, fig. 14. +</p> + +<p><span class="leftside">123.</span>Upper part of a female figure, standing. She wears a +closely-fitting dress with long sleeves, and two necklaces. +The right hand holds an ankh (?) near the thigh; on the +left hand sits a goat, before her body. Red paint at the +borders of the drapery, and on ankh.—<i>Temenos of Aphroditč.</i></p> + +<p class="indent"> +Limestone; height, 4¾ inches. <i>Naukratis</i>, II., pl. 14, fig. 8. +</p> + +<p><span class="leftside">124.</span>Undraped male figure, standing, holding a lion by the +hind legs and tail. The left arm of the figure and the +lion's tail are wanting.—<i>Temenos of Aphroditč.</i></p> + +<p class="indent"> +Limestone; height, 8¾ inches. <i>Naukratis</i>, II., pl. 14, fig. 10. +</p> + +<p><span class="leftside">125.</span>Part of a bearded figure, closely draped, holding a goat +before his body by the legs. The head and body from +the waist of the figure are wanting.—<i>Temenos of Aphroditč.</i></p> + +<p class="indent"> +Limestone; height, 3½ inches. <i>Naukratis</i>, II., pl. 15, fig. 1. +</p> + +<p><span class="leftside">126.</span>Female figure, enthroned. The left arm is wrapped in +the mantle.—<i>Temenos of Aphroditč.</i></p> + +<p class="indent"> +Limestone; height, 3½ inches. <i>Naukratis</i>, II., pl. 14, fig. 3. +</p> +<span class="pagenum"><a name="page68" id="page68"></a>68</span> + +<p><span class="leftside">127.</span>Isis and Osiris (?). Female figure, enthroned, wearing +close-fitting dress, necklace, and large mantle passing +over the back of her head. She holds a nude figure of a +boy at her breast. Red paint on the veil.—<i>Temenos of +Aphroditč.</i></p> + +<p class="indent"> +Limestone; height, 4¾ inches. <i>Naukratis</i>, II., pl. 14, fig. 7. +</p> +<a name="page68a" id="page68a"></a> +<h3>FRAGMENT FROM DELOS.</h3> + +<p><span class="leftside">130.</span>Fragment of a foot of a colossal statue of Apollo, +together with a part of the plinth in the same block. +The fragment consists of parts of the four greater toes +of the left foot. The plinth has dowel holes at each side.</p> + +<p class="indent"> +Naxian marble (?). Length of great toe, 1 foot 2 inches; height of plinth, +2 feet 1 inch. This fragment was found by W. Kennard at Delos, +in 1818. Stuart, 2nd edit., III., p. 127; IV., section on Delos, +pl. 4, fig. 2. It is no doubt a part of a colossal statue which was +dedicated by the Naxians to Apollo at Delos, and of which the +base and other parts still remain <i>in situ</i>. The base is inscribed +on one side, <ins title ="Greek: Naxioi Apollôni">Νάξιοι +Ἀπόλλωνι</ins>, and on another side in archaic +letters, <ins title="Greek: Tawytou lithou eim' andrias kai to sphelas">Ταϝυτοῦ λίθου +εἰμ' +ἀνδρίας +καὶ +τὸ σφέλας</ins>: +"I am of the same stone both statue and base." It is supposed that this is +"the great statue of the Naxians" at Delos, which, it is said, +was overturned by the fall of a brazen palm-tree dedicated by +Nicias (Plutarch, <i>Nicias</i>, 3).</p> + +<p class="indent">The first modern traveller who saw the statue was Bondelmonte +(<span class="sc">a.d.</span> 1416), who found it prostrate, and says that he made an +unsuccessful attempt to set it up (<i>Liber Insularum Archipelagi</i>, +Sinner's edit., p. 92). In 1447 Cyriac of Ancona sketched the base +with one foot still in position (<i>Bull. dell' Inst.</i>, 1861, p. 182). When +visited by Spon and Wheler in 1675, the head, hands and feet +were lost, but the torso appears to have been nearly complete +(Wheler, <i>Journey</i>, p. 56). In 1700 Tournefort only found the +lower part of the body, and the thighs (Eng. ed. of 1741, vol. I., +pl. facing p. 303). The parts seen by Tournefort remain at +Delos, and have been described by several travellers. Welcker, +<i>Alte Denkmaeler</i>, I., p. 400; Michaelis, <i>Annali dell' Inst.</i>, 1864, +p. 253; Furtwaengler, <i>Arch. Zeit.</i>, 1882, p. 329. For the base +and inscription, see Blouet, <i>Exp. de Morée</i>, III., pl. 3, figs. 3, 4 +<i>Bull. de Corr. Hellénique</i>, III., p. 2. +</p> +<span class="pagenum"><a name="page69" id="page69"></a>69</span> + +<h3><b>CASTS FROM SELINUS.</b></h3> + +<p>The following sculptures, Nos. 135-139, were excavated +at Selinus in 1823 by the architects William Harris and +Samuel Angell. They are divided into two series, derived +from different temples.</p> + +<p>Selinus, a colony of Megara, in the south-west of +Sicily, was founded about 628 <span class="sc">b.c.</span> The temple (commonly +known as C), from which the sculptures, Nos. 135-137, +were obtained, is the oldest temple on the Acropolis, and +it is therefore probable that its construction was begun +not long after the foundation of the city. The earlier +sculptures are therefore assigned to the beginning of the +sixth century <span class="sc">b.c.</span></p> + +<p>The second series, Nos. 138-139, were obtained from +the temple commonly known as F. This is the third or +youngest temple in the group shown by architectural +evidence to be the oldest. An exact date cannot be +assigned, but the sculptures probably belong to the close +of the sixth century. The originals, which are made of a +coarse limestone, are preserved in the Museum at Palermo.</p> + +<p>The metopes were drawn on their discovery by +William Harris. Harris died of malarial fever contracted +at Selinus, and the work was published by Angell and +Evans, <i>Sculptured Metopes ... of Selinus</i>, 1826. For +further literature, see Benndorf, <i>Die Metopen von Selinunt</i>.</p> + +<p><span class="leftside">135.</span>Cast of a metope, from the oldest temple at Selinus. +Perseus slaying Medusa in the presence of Athenč. +Perseus holds the hair of the Gorgon in his left hand, +and cuts off her head with his sword. Athenč stands on +the left. The Gorgon is represented as embracing the +winged horse, Pegasos, who sprang from her spilt blood.—<i>Presented +by S. Angell, Esq.</i></p> + +<p class="indent"> +Angell and Evans, pl. 7; Benndorf, p. 44, pl. 1; Overbeck, <i>Gr. Plast.</i>, +3rd ed. I., p. 80, fig. 5; Wolters, No. 149. +</p> +<span class="pagenum"><a name="page70" id="page70"></a>70</span> + +<p><span class="leftside">136.</span>Cast of a metope from the oldest temple at Selinus. +Heracles carrying the robbers named Kerkopes, with +their legs tied to the ends of his bow, or of a yoke.—<i>Presented +by S. Angell, Esq.</i></p> + +<p class="indent"> +Angell and Evans, pl. 8; Benndorf, p. 45, pl. 2; Overbeck, <i>Gr. Plast.</i>, +3rd edit., I., p. 80, fig. 5; Wolters, No. 150. +</p> + +<p><span class="leftside">137.</span>Cast of a metope from the oldest temple at Selinus. +A figure drives a quadriga to the front; two figures are +standing to the front, one at each side of the chariot.—<i>Presented +by S. Angell, Esq.</i></p> + +<p class="indent"> +Angell and Evans, pl. 6; Benndorf, p. 47, pl. 3; Wolters, No. 151. +</p> + +<p><span class="leftside">138.</span>Cast of a fragment of a metope from the third temple +at Selinus, in which a goddess, probably Athenč, moves +to the right, treading down a prostrate giant. This +metope was formed of two slabs, of which the upper is +wanting.—<i>Presented by S. Angell, Esq.</i></p> + +<p class="indent"> +Angell and Evans, pl. 4 (incomplete); Benndorf, p. 50, pl. 5; Overbeck, +<i>Gr. Plast.</i>, 3rd ed., I., p. 158, fig. 30<i>b</i>. +</p> + +<p><span class="leftside">139.</span>Cast of a metope from the third temple at Selinus. +A draped male figure, apparently Dionysos, is engaged +in combat with an armed giant, who has sunk on his +right knee.—<i>Presented by S. Angell, Esq.</i></p> + +<p class="indent"> +Angell and Evans, pl. 3; Benndorf, p. 52, pl. 6; Overbeck, <i>Gr. Plast.</i>, +3rd ed., I., p. 158, fig. 30<i>a</i>; Wolters, No. 152. +</p> +<a name="page70a" id="page70a"></a> +<h3>SCULPTURES AND CASTS FROM ATHENS AND ATTICA.</h3> + +<p><span class="leftside">150.</span>Female (?) head. The hair, which is bound by a narrow +band, falls in large waves on each side of the forehead +to the ears, and thence to the shoulders. At the back, the +<span class="pagenum"><a name="page71" id="page71"></a>71</span> +hair is rendered by conventional undulations, parallel to +the band.—<i>Athens (?). Elgin Coll.</i></p> + +<p class="indent"> +Marble; height, 8½ inches. <i>Mus. Marbles</i>, IX., pl. 40, fig. 4; <i>Synopsis</i>, +No. 251 (115); Ellis, <i>Elgin Marbles</i>, II., p. 119; <i>cf.</i> Welcker, +<i>Alte Denkmaeler</i>, I., p. 399. +</p> + +<p><span class="leftside">151.</span>Cast of a torso of a standing female figure, wearing a +chiton of fine texture, and a mantle. The chiton is drawn +over the girdle, and has a short diploďdion. The mantle +is worn over the shoulders. The hair falls in three +tresses in front of each shoulder, and in overlapping +layers, down the back. The head, forearms and legs from +the knees are wanting. The original, of marble, is at +<i>Athens</i>.</p> + +<p class="indent"> +Height, 1 foot 6 inches. Le Bas, <i>Monuments Figurés</i>, pl. 2, fig. 2; +Sybel, No. 5007; Wolters, No. 112. Further literature is cited +by Wolters. +</p> + +<p><span class="leftside">152.</span>Torso of a standing female figure wearing an under-chiton +of fine texture, and an over-chiton with diploďdion +which is worn so as to leave the left shoulder bare. The +figure appears to have held a vessel in her lap, with both +hands. The hair falls down the back, the locks terminating +below the shoulders. The head and arms are +wanting.—<i>Athens (?). Elgin Coll</i>.</p> + +<p class="indent"> +Marble; height, 2 feet 10 inches. Clarac, V., pl. 821<span class="sc">a</span>, fig. 2069 <span class="sc">b</span>, <span class="sc">c</span>. +</p> +<a name="n153" id="n153"></a> +<p><span class="leftside">153.</span>Torso of a standing female figure, wearing an under-chiton +of fine texture, and an over-chiton with diploďdion +which is worn so as to leave the left shoulder bare. The +figure held a bowl in the right hand, and a fold of the +skirt in the left hand. Broken off below the knees. The +head, left arm and left hand are wanting. This figure +appears to be of <i>archaistic</i> rather than of archaic workmanship, +that is, the artist has consciously imitated the +<span class="pagenum"><a name="page72" id="page72"></a>72</span> +archaic style.—<i>Athens.</i> <i>Presented by H. Gally Knight and +N. Fazakerly, Esqs., 1818.</i></p> + +<p class="indent"> +Marble; height, 1 foot 9 inches. Clarac, V., pl. 821<span class="sc">a</span>, fig. 2069<span class="sc">a</span>. +</p> +<a name="n154" id="n154"></a> +<p><span class="leftside">154.</span>Torso of a standing female figure, wearing under-chiton +of fine texture and over-chiton with a diploďdion which +is worn so as to leave the left shoulder bare; the +figure also has sandals. The hair falls in locks on the +shoulders, and in a mass at the back. The head, arms +and left shoulder are wanting.—<i>From the smaller temple +at Rhamnus. Presented by J. P. Gandy Deering, Esq.</i></p> + +<p class="indent"> +Marble; height, 5 feet. Leake, <i>Athens and Demi of Attica</i>, II. +p. 110; <i>Synopsis</i>, No. 325* (307*); <i>Athenische Mittheilungen</i>, +XV., p. 65. +</p> + +<p><span class="leftside">155.</span>Cast of a relief, representing a female figure stepping +into a chariot, holding the reins in her extended hands. +The figure is probably that of a goddess. It has been +conjectured, but without evidence, that the relief belonged +to the Pre-Persian Parthenon. The original, which is of +Parian marble, is at <i>Athens</i>.</p> + +<p class="indent"> +Le Bas, <i>Mon. Fig.</i>, pl. 1; Overbeck, <i>Gr. Plast.</i>, I., 3rd ed., p. 153, fig. 28; +Murray, I., p. 196; Brunn, <i>Denkmaeler</i>, No. 21. For further +literature, see Wolters, No. 97. +</p> + +<p><span class="leftside">156.</span>Cast of a sepulchral relief, representing a woman +enthroned. She holds a child in her arms. Before her +are three figures, probably members of her family, with +offerings.</p> + +<p>The original, which is of marble, is in the <i>Villa Albani +at Rome</i>. It was erroneously named by Winckelmann +"Leucothea nursing the infant Bacchus."—<i>From Athens (?).</i></p> + +<p class="indent"> +Winckelmann, <i>Monumenti Inediti</i>, No. 56; Zoega, <i>Bassirelievi Ant.</i>, +I., pl. 41; Overbeck, <i>Gr. Plast</i>., 3rd ed., I., p. 175, fig. 38. For +further literature, see Wolters, No. 243. +</p> + +<span class="pagenum"><a name="page73" id="page73"></a>73</span> + +<h3>CASTS OF SCULPTURES FROM AEGINA.</h3> + +<p>The temple of Athenč at Aegina stands on a commanding +plateau in the north-east of the island. It is of +the kind known as Doric peripteral hexastyle; that is to +say, it is of the Doric order, surrounded by a colonnade, +which has six columns at the ends and thirteen columns +at the sides. The site was excavated in 1811 by a party +of English and German explorers, and the sculptures +discovered were purchased in 1812 by the Crown Prince +of Bavaria. The principal figures were restored at Rome +by Thorwaldsen and J. M. Wagner. In 1817 the collection +was placed in the Glyptothek at Munich.</p> + +<p>With the exception of an ivory eye (Cockerell, pl. 12) +attributed by the discoverers to the image inside the +temple, the only sculptures found were those which +originally were contained in or surmounted the pediments +of the temple.</p> + +<p>The Aeginetan sculptures belong to the latest stage of +archaic Greek art, and are the most important extant +works of that period. For determining the date of the +sculptures, political history is only so far of use that we +may assume that they are not later than 456 <span class="sc">b.c.</span>, in +which year Aegina was subdued by Athens. From their +style they appear to be considerably older than that date.</p> + +<p>A minute analysis of the sculptures (Brunn, <i>Das Alter +der Aegin. Bildw.</i> p. 9) shows that the east pediment is +distinctly more advanced than the west in the expression +of emotion, in the rendering of drapery, of the features, +the beards, the veins; and in the general proportions. +Brunn assigns the groups to the period immediately +following the battle of Salamis (480 <span class="sc">b.c.</span>) and suggests +that the sculptor of the east pediment belonged to a +younger generation than his colleague.</p> +<span class="pagenum"><a name="page74" id="page74"></a>74</span> + +<p>The statues are made of Parian marble. They are +attached to plinths which were let into the upper surface +of the cornice, and are cut out of single blocks, a few +small pieces of marble being separately attached. They +showed clear traces of colour throughout, when first +discovered. One shield from the east pediment was +painted with a female figure. There were numerous +adjuncts of bronze, such as arms and ornaments, which +have been minutely enumerated by Brunn (<i>Beschreibung</i>, +&c., p. 67). The restored pediments in the British +Museum have been partially decorated in accordance with +the scheme of Cockerell, who says: "The members of the +entablature and pediment were discovered often in all +their original vividness, which quickly disappeared on +exposure to the atmosphere." (Cockerell, p. 27, pl. 6).</p> + +<p class="indent"> +C. R. Cockerell, <i>The Temple of Jupiter Panhellenius at Aegina</i>, &c., +1860; Blouet, <i>Expédition de Morée</i>, III., p. 23; Brunn, <i>Ueber +das Alter der Aeginetischen Bildwerke</i> in the <i>Sitzungsber. der k. +bayer. Akad.</i>, 1867, I., p. 405, and <i>Ueber die Composition der +Aeginetischen Giebelgruppen, ibidem</i>, 1868, II., p. 448; Brunn, +<i>Beschreibung der Glyptothek König Ludwig's I.</i>, 4th ed., 1879; +Wolters, Nos. 69-85. +</p> + +<h3><span class="sc">The West Pediment of the Temple at Aegina.</span></h3> + +<p>The subject of the West pediment is a battle, in the +presence of Athenč, over the body of a wounded warrior. +From the Oriental dress of the archer on the right, it is +inferred that the battle is being fought between Greeks +and Trojans, and that the archer in question is Paris. +The scene represented does not correspond exactly with +any combat described by Homer. Archaeologists have +accordingly been divided in opinion as to the subject. +Some hold that the battle is that waged for the body of +Patroclos, which was rescued principally by Menelaos, +and Ajax, son of Telamon of Aegina. (Homer, <i>Iliad</i>, +<span class="pagenum"><a name="page75" id="page75"></a>75</span> +xvii.; Wolters, p. 48). Others have argued that the +presence of Paris points to the fight over the body of +Achilles as described in the Aethiopis of Arctinos. See +especially Brunn, <i>Beschreibung</i>, p. 79. On account of the +discrepancies between the sculptures and the literary +tradition it is impossible to decide the question.</p> + +<p>The arrangement adopted in the British Museum is +that of Cockerell (pl. 16). To complete the group +Cockerell supposed that nude figures similar to No. 178 of +the East pediment advanced to the fallen hero from each +side; and that a spearman knelt between the Paris +(No. 168) and the wounded Trojan. Fragments remain of +the two youths; but recent writers have put the spearman +(No. 166) next the Paris. The positions of the spearmen +and the archers on each side have also been reversed. +The archers are on this view placed furthest from the +combat, and may perhaps be supposed to be protected by +the spearmen. Further changes have been proposed +which are based on fragments not represented by casts, +and which therefore need not here be discussed.</p> + +<p class="indent"> +Restorations of the West Pediment. (1) With 11 figures, the bowmen +in front of the spearmen. Cockerell, supplementary plate; +Blouet, <i>Exp. de Morée</i>, III., pl. 58, fig. 2; Müller, <i>Denkmaeler</i>, I., +pls. 6, 7; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., fig. 19<i>a</i>; Murray, I., +pl. 7. (2) With 11 figures, the bowmen behind the spearmen. +Cockerell, plate; Brunn, <i>Sitzungsber. der k. bayer. Akad.</i>, 1868, +II., plate; Lange, <i>Ber. der k. sächs. Ges. d. Wissenschaften</i>, 1878, +pl. 3, fig. 1. (3) With 13 figures. Cockerell, pl. 16. (4) With +14 figures. Lange, <i>loc. cit.</i>, pl. 3, fig. 2; Overbeck, <i>Gr. Plast.</i>, +3rd ed., I., fig. 19<i>b</i>. +</p> + +<p>The figures beginning from the left of the West pediment +are:—</p> + +<p><span class="leftside">160.</span> +Wounded Greek, recumbent, disarmed, drawing an +arrow from his right breast.</p> + +<p class="indent"> +Restored:—Nose, right forearm, left leg from knee to ankle and toes. +Cockerell, pl. 15, No. 11; pl. 16; Blouet, III., pl. 69, fig. 2; +Brunn, <i>Denkmaeler</i>, No. 25. +</p> +<span class="pagenum"><a name="page76" id="page76"></a>76</span> + +<p><span class="leftside">161.</span> +Greek advancing with spear. Brunn proposes the +name of Ajax, son of Oileus.</p> + +<p class="indent"> +Restored:—Crest, right hand, left forearm and part of feet. Cockerell, +pl. 15, No. 9; pl. 16; Blouet, III., pl. 69, fig. 1. +</p> + +<p><span class="leftside">162.</span> +Greek archer, armed, kneeling and drawing his bow. +This may well be the Aeginetan hero, Teucer, brother of +Telamonian Ajax.</p> + +<p class="indent"> +Restored:—Head, arms, several flaps of the cuirass, and left leg from +the knee. Cockerell, pl. 15, No. 10; pl. 16; Blouet, III., pl. 66, +fig. 1. +</p> + +<p><span class="leftside">163.</span> +Bearded Greek warrior advancing, with shield extended +and right hand raised to hurl spear. Perhaps Telamonian +Ajax.</p> + +<p class="indent"> +Restored:—Nose, crest, half right forearm, part of shield, both legs. +Cockerell, pl. 15, No. 3; pl. 16; Blouet, III., pl. 68, fig. 1. +</p> + +<p><span class="leftside">164.</span> +Wounded hero, leaning on his right hand, which held +a sword; the shield is held out to cover the body. This +is either Achilles or Patroclos according to the chief +schemes of interpretation.</p> + +<p class="indent"> +Restored:—Neck, right shoulder, fingers and toes. Cockerell, pl. 15, +No. 2; pl. 16; Blouet, III., pl. 67, fig. 2. +</p> + +<p><span class="leftside">165.</span> +Figure of Athenč presiding over the battle. She stands +erect in the centre of the pediment, fully armed and +wearing her aegis. There is an archaic formality in her +pose and in the composition of the drapery, which shows +that the artist has adopted a traditional type of temple-image. +The earrings, locks of hair, a Gorgoneion, and +snakes bordering the aegis were made of metal, and +attached.</p> + +<p class="indent"> +Restored:—Nose, right hand, part of left hand. Cockerell, pl. 15, +No. 1; pl. 16; Blouet, III., pl. 67, fig. 1; Brunn, <i>Denkmaeler</i> +No. 23. +</p> +<span class="pagenum"><a name="page77" id="page77"></a>77</span> + +<p><span class="leftside">166.</span> +Kneeling Trojan, with right hand raised to hurl spear.</p> + +<p class="indent"> +Restored:—Head, right armpit and shoulder-blade, three fingers of +right hand; left arm from middle of biceps; right leg from the +knee; left knee with part of thigh, and part of left foot. +Cockerell, pl. 15, No. 6; pl. 16; Blouet, III., pl. 65, fig. 2. +</p> + +<p><span class="leftside">167.</span> +Warrior advancing with shield extended, and right +hand raised to hurl spear, closely corresponding to +No. 163. Perhaps Aeneas.</p> + +<p class="indent"> +Restored:—Head (which should probably be bearded), right armpit +and breast, fingers, parts of shield and legs. Cockerell, pl. 15, +No. 4; pl. 16; Blouet, III., pl. 66, fig. 2. +</p> + +<p><span class="leftside">168.</span> +Archer kneeling and drawing his bow. He wears a +Phrygian cap, which has holes in the front for a metal +wreath. (Compare the wreath on the Ephesian fragment +No. 46, <i>12</i>); also closely-fitting breeches and coat of +leather. This figure, which is always known as Paris, +closely corresponds with the 'Teucer,' No. 162.</p> + +<p class="indent"> +Restored:—Tips of cap, nose and chin; some fingers, and the forepart +of the left foot. Cockerell, pl. 15, No. 7; pl. 16; Blouet, +III., pl. 68, fig. 2; Brunn, <i>Denkmaeler</i>, No. 24. +</p> + +<p><span class="leftside">169.</span> +Wounded Trojan, leaning on the right arm. An arrow +may have been fixed in the left knee between the thumb +and forefinger.</p> + +<p class="indent"> +Restored:—Head, left arm, part of right forearm and hand; both +legs from the knees. Cockerell, pl. 15, No. 8; pl. 16; Blouet, +III., pl. 65, fig. 1. +</p> + +<p><span class="leftside">170.</span> +The pediment is surmounted by an acroterion, consisting +of a palmette between two large volutes, which are +for the most part restorations. (Cockerell, pls. 1, 4.)</p> + +<p>On each side of the acroterion is an architectonic +female figure, treated in the same designedly archaic +style as the figure of Athenč.</p> +<span class="pagenum"><a name="page78" id="page78"></a>78</span> + +<p><span class="leftside">171.</span> +Female figure (on the left).</p> + +<p class="indent"> +Restored:—Head, right hand and part of sleeve; left forearm with +part of sleeve and drapery. Cockerell, pl. 1. +</p> + +<p><span class="leftside">172.</span> +Female figure (on the right).</p> + +<p class="indent"> +Restored:—Head; lower edge of right sleeve; right hand and forearm; +parts of drapery. Cockerell, pl. 1. +</p> + +<p><span class="leftside">173.</span> +At each angle are casts of lions' heads, which in the +absence of casts from the originals have been taken from +the cornice of the archaic temple at Ephesus. The lion's +head engraved by Cockerell (pl. 13, fig. 4), appears to be +his restoration.</p> + +<p><span class="leftside">174.</span> +The angles are surmounted by Gryphons, which have +been cast from a single original. The original has been +considerably restored, especially the head.</p> + +<p class="indent"> +Cockerell, pl. 13, fig, 4. The hind parts of one Gryphon were discovered +by Chandler in 1765, but they were immediately broken +and stolen. Chandler, <i>Travels in Greece</i>, p. 12. +</p> + +<h3><span class="sc">The East Pediment of the Temple at Aegina.</span></h3> + +<p>Of the east pediment only five figures were found, +sufficiently complete to be restored. The fragments leave +no doubt that the composition was as a whole analogous +to that of the west pediment, and that the subject was a +battle for the body of a fallen warrior, fought in the +presence of Athenč.</p> + +<p>The clue to the subject represented is given by the +figure of Heracles, and archaeologists are almost unanimous +in thinking that the scene is a battle in the +war which Telamon of Aegina, aided by Heracles, waged +against Laomedon, King of Troy (cf. Apollodorus, ii., +6, 3, 4).</p> + +<p>The arrangement is nearly that of Cockerell. The +Heracles, however, has been placed on the right side of +the pediment, because the left side of the statue is the +<span class="pagenum"><a name="page79" id="page79"></a>79</span> +most carefully finished, and was therefore intended to be +seen.</p> + +<p class="indent"> +Restorations of the East Pediment. (1) With 10 figures; wounded +warrior as restored. Prachov, <i>Mon. dell' Inst.</i>, IX., pl. 57. (2) +With parts of 12 figures; wounded warrior not as restored. +Cockerell, supplementary plate; Müller, <i>Denkmaeler</i>, I., pl. 8; +Blouet, III., pl. 58, fig. 1; Murray, I., pl. 7. For two heads +from this pediment, see Brunn, <i>Denkmaeler</i>, No. 121. +</p> + +<p>The figures beginning with the left end of the pediment +are the following:—</p> + +<p><span class="leftside">175.</span> +Warrior lying down, supported by his arm, within the +handles of his shield. He is wounded below the right +breast.</p> + +<p class="indent"> +Restored:—Crest, part of visor, four fingers of left hand, four toes of +left foot; right leg from the middle of the thigh. Cockerell, +p. 32, pl. 14, No. 4; Blouet, III., pl. 59, fig. 2. +</p> + +<p><span class="leftside">176.</span> +Warrior advancing, with a shield on the left arm, and +a lance (?) in the right hand.</p> + +<p class="indent"> +Restored:—Head, hands, right hip; most of shield, Cockerell, p. 32, +pl. 14, No. 2; Blouet, III., pl. 59, fig. 1; Brunn, <i>Denkmaeler</i>, +No. 28. +</p> + +<p><span class="leftside">177.</span> +Wounded warrior fallen backwards on his shield.</p> + +<p class="indent"> +Restored:—Head, arms, shield, right leg, left leg from the knee. +The correctness of the restoration has been doubted. The left +side is most corroded by the atmosphere, and would therefore +seem to have been uppermost. In that case the figure must +have resembled that of the fallen warrior in the centre of the +west pediment. It is thus drawn by Cockerell, in a supplementary +plate. Engraved as restored, Cockerell, pl. 14, No. 1; +Blouet, III., pl. 61, fig. 1. +</p> + +<p><span class="leftside">178.</span> +Figure of a youth leaning forward, to draw away the +fallen warrior.</p> + +<p class="indent"> +Restored:—Nose, arms, pubis, most of right foot, and left foot; +Cockerell, pl. 14, No. 3; Blouet, III., pl. 61, fig. 2; Brunn, +<i>Denkmaeler</i>, No. 26. +</p> +<span class="pagenum"><a name="page80" id="page80"></a>80</span> + +<p><span class="leftside">179.</span> +Heracles kneeling, and drawing his bow. He wears +the lion's skin on his head, and had a quiver on the left +side.</p> + +<p class="indent"> +Restored:—Nose, some flaps of the cuirass, left hand, right forearm, +right foot, part of left thigh and knee. Cockerell, pl. 14, No. 5; +Blouet, III., pl. 60; Rayet, <i>Monuments</i>, No. 25; Brunn, +<i>Denkmaeler</i>, No. 27; Mitchell, <i>Selections</i>, pl. 1. +</p> + +<p><span class="leftside">180.</span> +The acroterion; (181) the figures beside it; (182) the +lions, and (183) the Gryphons here exhibited, are repetitions +of those of the west pediment. The acroterion, which +originally surmounted the east pediment, was larger and +more important than that of the west. (Cockerell, pl. 13.) +The figures which stood on each side of the east acroterion, +are shown by the surviving fragments to have been +similar to those of the western end, but were on a rather +larger scale.</p> + +<a name="page80a" id="page80a"></a> +<h3>CASTS OF SCULPTURES FROM OLYMPIA.</h3> + +<p>The temple of Zeus at Olympia was being built from +about 470-455 <span class="sc">b.c.</span> (cf. Boetticher, <i>Olympia</i>, p. 247). It +is certain that the metopes must have been placed in +position during the process of construction. They should +therefore probably be dated about 460 <span class="sc">b.c.</span> (Boetticher, +p. 289).</p> + +<p><span class="leftside">190.</span> +Cast of a metope, from the Temple of Zeus at Olympia. +Heracles binding the Cretan Bull.</p> + +<p class="indent"> +The original is of marble. The greater part of this metope was discovered +by the French expedition to the Morea, in 1829, and is +now in the Louvre. The face and hind legs of the bull were +discovered in the German excavations, and are now at Olympia. +The parts first discovered are published in Overbeck, <i>Gr. Plast.</i>, +3rd ed., I., p. 443. For the completed metope, see <i>Ausgrabungen +zu Olympia</i>, V., pl. 17; Boetticher, <i>Olympia</i>, p. 279; Wolters, +No. 274. +</p> +<span class="pagenum"><a name="page81" id="page81"></a>81</span> + +<p><span class="leftside">191.</span> +Cast of a metope from the Temple of Zeus at Olympia. +Heracles supports on his shoulders the vault of heaven, +while the Titan Atlas brings him the golden apples of +the Hesperides. Heracles has a folded cushion on his +shoulders to make the burden easier; Atlas stands before +him with six apples in his outstretched hands. A +Hesperid or nymph stands behind and raises one hand as +if to share the weight.</p> + +<p class="indent"> +The original is of marble, and is at Olympia, where it was discovered +by the German excavators. <i>Ausgrabungen zu Olympia</i>, +I., 26; <i>Athenische Mittheilungen</i>, I., pl. 11; Murray, II., pl. 13; +Wolters, No. 280; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 445; +Boetticher, <i>Olympia</i>, p. 285. (Boetticher's illustration is most +nearly complete. That of Overbeck gives both hands of Atlas.) +For the female head, see <i>Journ. of Hellen. Studies</i>, V., pl. 45. +</p> + +<p><span class="leftside">192.</span> +Cast of a statue of Victory, by Paionios of Mendč, +Victory is supposed to be moving forward through mid-air. +One foot rests lightly on the back of an eagle, +beneath which is a rock. The wings and draperies that +were originally spread out behind the figure are now +wanting. The statue stood on a triangular pedestal, about +19 feet high. On the pedestal was an inscription recording +that the Victory was offered as a tithe of spoil +to Olympian Zeus by the Messenians and Naupactians; +and that the author was Paionios of Mendč, who made +the acroteria of the +temple:—<ins title="Greek: Messanioi kai Naupaktioi anethen Dii | Olympiô dekatan apo tôm polemiôn. Paiônios epoięse Mendaios | kai takrôtęria poiôn epi ton naon enika." +>Μεσσάνιοι καὶ +Ναυπάκτιοι +ἀνέθεν Διὶ | +Ὀλυμπίῳ +δεκάταν +ἀπὸ +τῶμ πολεμίων. +Παιώνιος +ἐποίησε +Μενδαῖος | +καὶ +τἀκρωτήρια +ποιῶν +ἐπὶ τὸν +ναὸν +ἐνίκα.</ins> +Mr. Murray (<i>Gr. Sculpt.</i>, ii. p. 162) suggests as an explanation +of the last clause of the inscription that the +Victory was a replica of the acroteria (or figures above +the pediments) of the Temple of Zeus. These are known +to have been gilded figures of Victory (Paus., v. 10, 2). +Pausanias was inclined to think that the inscription referred +to a war of the Messenians against the Acarnanians +<span class="pagenum"><a name="page82" id="page82"></a>82</span> +(452 <span class="sc">b.c.</span>); but the Messenians of his time supposed that +the statue was erected soon after the defeat of the Spartans +at Sphacteria in 424 <span class="sc">b.c.</span></p> + +<p>Discovered by the German excavators at Olympia, and +now in the Museum at Olympia.</p> + +<p class="indent"> +Marble. <i>Ausgrabungen zu Olympia</i>, I., pls. 9-12; inscr. <i>ibidem</i>, pl. 32; +pedestal, <i>ibidem</i>, II., pl. 34; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., +figs. 88, 89; Murray, II., pl. 19; Wolters, Nos. 496, 497. +</p> + +<a name="page82a" id="page82a"></a> +<h3>STATUES OF APOLLO (?).</h3> + +<p>Of the following sculptures, Nos. 200-207 are examples +of a somewhat numerous class of nude male figures, standing +constrainedly with the heads directed straight to the +front, having the hands either close by the sides, or +slightly raised, by a bending of the arms at the +elbows.</p> + +<p>The name of Apollo has been commonly given to +sculptures of the type here described, but doubts have +often been raised as to the accuracy of the title. It +seems clear that at the stage of art represented by these +figures one type of nude male figure was made to serve +various purposes. It cannot be doubted that the type +was often used to represent Apollo, for such figures have +been found in or near shrines of Apollo at Naucratis +(Petrie, <i>Naukratis</i>, i., pl. 1, fig. 4), Delos (<i>Arch. Zeit.</i>, 1882, +p. 323), Actium (<i>Gaz. Arch.</i>, 1886, p. 235), and at the +temple of Apollo Ptoös in Boeotia (<i>Bull. de Corr. Hellénique</i>, +x., p. 66, Brunn, <i>Denkmaeler</i>, No. 12). The same type +of Apollo occurs, <i>e.g.</i> on a vase in the Brit. Mus. (No. E, +313; <i>Gaz. Arch.</i>, 1882, p. 58), on a vase published in +<i>Annali dell' Inst.</i>, 1849, pl. D (cf. <i>Hamilton Vases</i>, ii., pl. 6), +and on a Pompeian fresco (<i>Arch. Zeit.</i>, 1882, p. 58). +Compare a relief in the <i>Palazzo Corsini</i> (Dütschke, ii., +p. 114). At the same time, similar figures served +<span class="pagenum"><a name="page83" id="page83"></a>83</span> +to represent athletes (Paus., viii., 40) and, perhaps, were +placed on tombs, to represent a deceased person.</p> + +<p>The series of figures which have the hands by the +thighs is older than that in which the hands are raised, +and the invention of the type has been assigned to the +Cretan Daedalid School of Dipoinos and Skyllis (Furtwaengler, +<i>Arch. Zeit.</i>, 1882, p. 55). For an enumeration +and discussion of the known examples of this series see +Overbeck, <i>Gr. Plast.</i>, 3rd ed., i., p. 229, note 33; <i>Bull. de +Corr. Hellénique</i>, x., p. 67; xi., p. 1; <i>Gaz. Arch.</i>, 1886, +p. 239; Roscher, <i>Lexicon</i>, i, p. 449; Wolters, No. 14. The +second series, here represented by Nos. 206, 207, in which +the hands are raised, is developed from the first, but shows +a great advance in all respects. Perhaps it gives the Cretan +type as developed by artists of the school of Aegina.</p> + +<p><span class="leftside">200.</span> +Figure of Apollo (?) standing with the right leg drawn +back, and with the hands pressed against the hips. He +has a diadem across the forehead, and the hair falls on +the shoulders and down the back.—<i>Naucratis.</i></p> + +<p class="indent"> +Alabaster; height, 10¼ inches. +</p> + +<p><span class="leftside">201.</span> +Apollo (?) standing. Torso from the neck to the +knees. The right leg is drawn back, and the hands +are pressed against the thighs. The hair falls down on +the shoulders and on the back.—<i>Naucratis.</i></p> + +<p class="indent"> +Alabaster; height, 4⅜ inches. +</p> + +<p><span class="leftside">202.</span> +Apollo. Torso from the neck to the middle of the +thighs. The hands are pressed against the thighs. The +hair falls on the shoulders and on the back. A belt +crosses the body under the right arm, and over the left +shoulder.—<i>Temenos of Apollo, Naucratis.</i></p> + +<p class="indent"> +Marble (?); height, 3⅛ inches. <i>Naukratis</i>, I., pl. 1, fig. 9. +</p> + +<p>The following figures, Nos. 203, 204, belong to the same +series, though the type is slightly varied, and No. 203, +<span class="pagenum"><a name="page84" id="page84"></a>84</span> +having been found in the temenos of Aphroditč, probably +does not represent Apollo:—</p> + +<p><span class="leftside">203.</span> +Male torso from the neck to the knees. The right +hand lies across the breast; the left leg is to the front. +The hair is cut square at the back, and in the front +falls down on the shoulders.—<i>Temenos of Aphroditč, +Naucratis.</i></p> + +<p class="indent"> +Alabaster; height, 6¼ inches. <i>Naukratis</i>, II., pl. 14, fig. 13. +</p> + +<p><span class="leftside">204.</span> +Apollo. Male torso, similar to the preceding, but having +no hair on the shoulders.—<i>Temenos of Apollo, Naucratis.</i></p> + +<p class="indent"> +Alabaster; height, 4¾ inches. <i>Naukratis</i>, I., pl. 1, fig. 3. +</p> + +<p><span class="leftside">205.</span> +Figure of Apollo (?) standing, with the right leg drawn +back, and with the hands pressed against the hips. The +hair falls on the shoulders, terminating in a straight +line, and intersected with conventional grooves running +at right angles to each other.—<i>From Greece, probably from +Boeotia.</i></p> + +<p class="indent"> +Marble; height, 2 feet 6¼ inches. Murray, I., pl. 2, p. 107; <i>Arch. +Zeit.</i>, 1882, pl. 4, p. 51; Mitchell, p. 213; Brunn, <i>Denkmaeler</i>, +No. 77. +</p> +<a name="n206" id="n206"></a> +<p><span class="leftside">206.</span> +Figure of Apollo (?) standing, with the right leg drawn +back. The hair is dressed, with the headdress known +as the <i>krobylos</i>.</p> + +<p>Round the taenia are five drilled holes, indicating that +a wreath of bronze was attached. The arms, and the legs +from the knees are wanting.</p> + +<p>This figure, commonly known as the Strangford Apollo, +is referred by Brunn to the school of Callon of Aegina.</p> + +<p>From the collection of <i>Viscount Strangford</i>. Stated +in 1864 to be from <i>Lemnos</i>, but said also to have been +found in <i>Anaphč</i> (Newton, <i>Essays</i>, p. 81).</p> + +<p class="indent"> +Marble; height, 3 feet 4 inches. <i>Mon. dell' Inst.</i>, IX., pl. 41; <i>Annali +dell' Inst.</i>, 1872, p. 181; Brunn, <i>Ber. d. k. bayer. Akad. Phil.-hist.</i> +<span class="pagenum"><a name="page85" id="page85"></a>85</span> +<i>Classe</i>, 1872, p. 529; Overbeck, <i>Gr. Plast</i>., 3rd ed., I., +p. 181, fig. 40; Murray, I., pl. 2; Rayet et Thomas, <i>Milet et +le Golfe Latmique</i>, pl. 28; Brunn, <i>Denkmaeler</i>, No. 51; Wolters, +No. 89; <i>Arch. Zeit.</i>, 1864, p. 164*. +</p> + +<p><span class="leftside">207.</span> +Torso of Apollo (?) standing, with the right leg drawn +back.</p> + +<p>The head, arms, and legs from the knees are wanting; +two points of attachment near the front of the hips, show +that the arms were considerably bent at the elbows.</p> + +<p>This figure was found in the <i>Dromos of a tomb at +Marion (Cyprus)</i>.</p> + +<p class="indent"> +Marble; height, 2 feet 5 inches. Herrmann, <i>Gräberfeld von Marion</i>, +p. 22. The tomb contained a coin of Idalium, of about 510 <span class="sc">b.c.</span>, +a gold cup with acorns <i>repoussé</i>, several black figured vases, one +at least of an early character, and no red figured vases. +</p> + +<p><span class="leftside">208.</span> +Head of Apollo. The hair is bound with a taenia and +falls in short corkscrew curls over the forehead, and in a +flowing mass down the shoulders. The sharply cut +outlines of the features, and the wiry character of the +hair suggest that this head is a copy of an archaic work +in bronze. It has been conjectured that the head is +copied from the Apollo of Canachos at Branchidae, but +there is no evidence in favour of the theory, which has +been given up as untenable. (Cf. Overbeck, <i>Gr. Plast.</i>, +3rd ed., i., p. 110). A bronze statuette from the Payne +Knight collection, which has a better claim to be considered +a copy of Apollo of Canachos, may be seen in the Bronze +Room.</p> + +<p><i>Brought from Rome by Lord Cawdor, and purchased by +Townley.—Townley Coll.</i></p> + +<p class="indent"> +Parian marble; height, 1 foot 5½ inches. <i>Specimens</i>, I., pls. 5, 6; <i>Mus. +Marbles</i>, III., pl. 4; Ellis, <i>Townley Gallery</i>, I., p. 321; Müller, +<i>Denkmaeler</i>, I., pl. 4, fig. 22; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., +p. 109, fig. 14; Wolters, No. 228; <i>cf.</i> Rayet et Thomas, <i>Milet +et le Golfe Latmique</i>, pl. 37; Michaelis, <i>Anc. Marbles</i>, p. 94. +</p> +<span class="pagenum"><a name="page86" id="page86"></a>86</span> +<a name="n209" id="n209"></a> +<p><span class="leftside">209.</span> +Statue of Apollo, standing. The chief weight of the +body is thrown on the right leg, while the left knee is +bent, and the left foot rests lightly on the ground. The +head is slightly turned to the right. The hair is dressed +with the headdress known as the <i>krobylos</i>.</p> + +<p>The left hand and right forearm, which appear to have +been separate pieces, are wanting. The left hand held +some attribute, perhaps a branch, for which there is a +mark of attachment by the left knee. The right hand, +which rested on the stump beside the right leg, seems to +have held a strap.—<i>From the Choiseul-Gouffier Collection, +1818.</i></p> + +<p class="indent"> +Marble; height, 5 feet 10½ inches. Restored: tip of nose. <i>Specimens</i>, +II., pl. 5; Ellis, <i>Townley Gallery</i>, I. p. 194; Clarac, III., pl. 482<span class="sc">b</span>, +No. 931<span class="sc">a</span>; <i>Mus. Marbles</i>, XI., pl. 32; <i>Journ. of Hellen. Studies</i>, I., +pl. 4; <i>Stereoscopic</i>, No. 143; Murray, I., pl. 8; Wolters, No. 221.</p> + +<p class="indent"> +This statue, commonly known as the Choiseul-Gouffier Apollo, +together with other examples of the same type, has given rise +to much discussion. The chief replica is a statue at Athens, +commonly called the 'Apollo on the Omphalos,' having been +associated with a marble <i>omphalos</i>, or sacred cone of Apollo, +which was discovered at the same time. Grave doubts, however, +exist as to the connection of the figure and of the +omphalos. (<i>Journ. of Hellen. Studies</i>, I., p. 180; <i>Athenische +Mittheilungen</i>, IX., p. 248.) The Athenian statue is published, +Conze, <i>Beiträge</i>, pls. 3, 5; <i>Journ. of Hellen. Studies</i>, I., pl. 5; +Murray, I., pl. 8; Brunn, <i>Denkmaeler</i>, No. 42. For a list of +other replicas of the type, see <i>Athenische Mittheilungen</i>, IX., +p. 239. The statue is generally taken to be an Apollo. It +has, indeed, been argued that it is a pugilist, and not Apollo +(Waldstein, <i>Journ. of Hellen. Studies</i>, I., p. 182; Overbeck, <i>Gr. +Plast.</i>, 3rd ed., II., p. 414); and if the figure is Apollo, it must be +admitted that 'the proportions are rather suited to the patron of +pugilism (<i>Il.</i> <ins title="Greek: psi.">ψ</ins>. 660) than to the leader of a celestial orchestra' +(<i>Specimens</i>, II., pl. 5; <i>Athenische Mittheilungen</i>, IX., p. 244). But +the title is established by a quiver attached to the stump of a +replica in Rome (Matz-Duhn, <i>Bildw. in Rom</i>, I., No. 179), and +of a somewhat similar figure at Cassel (<i>Athenische Mittheilungen</i>, +I., pl. 10), and by the fact that a copy (No. 210) has been found +in the temple of Apollo at Cyrenč. Moreover, the head of a +<span class="pagenum"><a name="page87" id="page87"></a>87</span> +similar figure, undoubtedly an Apollo, occurs on a relief in the +Capitoline Museum (Braun, <i>Vorschule der Kunstmythologie</i>, pl. 5). +Compare also the figure of Apollo on a vase at Bologna, <i>Mon. +dell' Inst.</i>, X., pl. 54. There has also been much discussion as to +the school of art to which the type must be assigned, and as to +the character of the original statue. The statue has been +assigned by different writers to Calamis ("Apollo Alexikakos"; +Conze, <i>Beiträge</i>, p. 19; Murray, I., p. 189; Furtwaengler, in +Roscher's <i>Lexicon</i>, I., p. 456); to Pasiteles (Kekulé, <i>Menelaos</i>, +p. 30); to Alcamenes (Furtwaengler, <i>Athenische Mittheilungen</i>, +V., p. 39; <i>cf. Journ. of Hellen. Studies</i>, VIII., p. 41); to Pythagoras +of Rhegium ("Euthymos"; Waldstein, <i>loc. cit.</i>); and to +Callimachos ("Apollo Daphnephoros"; Schreiber, <i>Athenische +Mittheilungen</i>, IX., p. 248). It has been variously held that the +original statue was of bronze, and is therefore lost (<i>Mus. +Marbles</i>, XI., pl. 32; <i>cf.</i> Murray, I., p. 191), or that the Athenian +statue is the original, whence other copies are derived (<i>Athenische +Mittheilungen</i>, IX., p. 240).</p> + +<p class="indent"> +The <i>krobylos</i> seems to indicate some Attic sculptor of the first half of +the 5th cent. <span class="sc">b.c.</span> (Schreiber, <i>Athenische Mittheilungen</i>, VIII., +p. 255). The existence of numerous copies proves that the +original was famous, and it is generally supposed that the figure +is an Apollo. It is impossible to make a more definite statement +with confidence, in the present state of our knowledge as to the +Attic sculptors who preceded Pheidias. +</p> + +<p><span class="leftside">210.</span> +Head of Apollo, a replica of No. 209. The head is +broken off in the middle of the neck. The chin, the tip +of the nose, and parts of the hair are wanting. The +author of this copy has misunderstood the arrangement +of the headdress.—Found by Smith and Porcher in the +<i>Temple of Apollo at Cyrenč</i>.</p> + +<p class="indent"> +Marble; height, 11 inches; Smith and Porcher, p. 100 No. 19 +Murray, I., p. 190. +</p> +<a name="n211" id="n211"></a> +<p><span class="leftside">211.</span> +Head of Apollo, a replica of No. 209. The head is +broken off below the chin. The nose and the tip of the +chin are wanting.</p> + +<p>This copy shows better than either 209 or 210, the +arrangement of the hair in the <i>krobylos</i>, the origin of the +<span class="pagenum"><a name="page88" id="page88"></a>88</span> +plaits being clearly indicated. It chiefly differs from +them in the amount of hair falling down at the back +of the ears; in this head there are the remains of +thick tresses, while in the other instances there are +only a few short curls. There is a rectangular hole +at the back of the head.—<i>Presented by the Hon. E. A. +Pelham.</i></p> + +<p class="indent"> +Marble; height, 9½ inches. This head was found in 1882 at a cottage +at Ventnor, built by Sir Richard Worsley. It was, doubtless, +brought by him from Greece. +</p> + +<a name="page88a" id="page88a"></a> +<h3>MISCELLANEOUS SCULPTURES.</h3> + +<p><span class="leftside">215.</span> +Fragment of lacunar, from a ceiling, with two panels +in low relief. (1) Horse galloping to the right. (2) +Gryphon seizing a stag.</p> + +<p>Below is a band of rosettes in squares. The whole is +surrounded by remains of a large bead ornament.—<i>Presented +by Algernon, fourth Duke of Northumberland.</i></p> + +<p class="indent"> +Green limestone (?); height, 1 foot 1½ inches; width, 1 foot 1 inch. +</p> + +<p><span class="leftside">216.</span> +Fragment of lacunar nearly similar to preceding. The +upper panel is wanting. Below is a Gryphon seizing a +stag. Below is a band of rosettes; between the two +panels is a band of maeander pattern.—<i>Presented by +Algernon, fourth Duke of Northumberland.</i></p> + +<p class="indent"> +Green limestone (?); height, 9¼ inches; width, 10¼ inches. +</p> + +<p><span class="leftside">217.</span> +Fragment of relief. On a pedestal is a lion, walking +to the left. Before the lion are three balls. Above were +two figures standing to the front, of which only the feet +remain. The figure on the left stood with feet side by +<span class="pagenum"><a name="page89" id="page89"></a>89</span> +side; that on the right stood with the legs crossed (Fig. 4). +This relief, though undoubtedly archaic, appears not to +belong to the prehistoric period of Mycenae (<i>cf.</i> Nos. +1-6).—<i>Mycenae.</i> +<i>Inwood Coll.</i></p> + +<p class="indent"> +Green limestone; height, 1 foot 1¼ inches; width, 9½ inches. <i>Synopsis</i>, +No. 429; Loeschcke, <i>Athenische Mittheilungen</i>, IV., p. 296; +Wolters, No. 53. +</p> + +<div class="figcenter" style="width: 500px;"><a href="images/06fig4-470.png"><img src="images/06fig4-300.png" width="300" height="373" alt="Fig. 4.—Relief from Mycenae, No. 217." /></a> +<p class="center">Fig. 4.—Relief from Mycenae, No. 217.</p></div> +<span class="pagenum"><a name="page90" id="page90"></a>90</span> + +<h1 style="margin-top: 3em;">PART II.</h1> + +<div class="figcenter"><img src="images/small_rule-100.png" width="100" height="4" alt="small rule" /></div> + +<h3><i>MYRON AND PHEIDIAS.</i></h3> + +<p>Three great names represent the early prime of Greek +sculpture, namely, Myron, Pheidias, and Polycleitos of +Argos. These three are thought to have been fellow +pupils of the Argive sculptor Ageladas.</p> + +<p>The present part of the catalogue deals with Myron and +Pheidias. The third part deals first with their immediate +successors in Attica, and then turns to Polycleitos of +Argos and the sculptures of the Peloponnese; and next +to the special class of Greek reliefs.</p> +<a name="page90a" id="page90a"></a> +<h3>MYRON.</h3> + +<p><span class="sc">Myron</span> of Eleutherae in Attica worked at Athens in +the first half of the fifth century <span class="sc">b.c.</span> Although he had +not entirely abandoned the archaic style (notably, in his +rendering of hair, Pliny, <i>H. N.</i> xxxiv., 58), he was distinguished +for his skill in representing life. His power lay +partly in the rendering of vigorous movement in sculpture, +as in his athletic statues, and partly in a realistic +imitation of nature, as in his famous cow.</p> + +<p>No original works of Myron are extant. His best +known work, the Discobolos, is preserved in copies, one +of which is described below. The bronze statuette of +Marsyas in the Bronze Room may be studied after a group +of Athenč and Marsyas by Myron.</p> + +<div class="figright" style="width: 100px;"><a href="images/07fig5-170.png"><img src="images/07fig5-100.png" width="100" height="131" alt="Fig. 5." title="Fig. 5. YAKINTHOS(=Hyacinth)" /></a> +<p class="center">Fig. 5.</p></div> +<p><span class="leftside">250.</span> +Graeco-Roman copy of the bronze Discobolos of Myron. +<span class="pagenum"><a name="page91" id="page91"></a>91</span> +A young athlete is represented in the act of hurling the +disk. He has swung it back, and is about to throw it to +the furthest possible distance before him. The head, as +here attached, looks straight to the ground, but in the +original it looked more backwards as in a copy formerly in +the Massimi palace at Rome. (Cf. Lucian, <i>Philopseud.</i> 18.) +Compare a gem in the British Museum (Fig. 5; <i>Cat. of Gems</i>, +No. 742, pl. G), which is inscribed <ins title="Greek: HYAKINTHOS(=Hyacinth)." +>ΥΑΚΙΝΘΟ<span style="font-family: 'DejaVu Sans', consolas, calibri, arial, 'courier new', 'gulim sans-serif'; font-size: 1.1em;">Ϲ</span>.</ins> +According to a judgment of Quintilian, the +laboured complexity of the statue is extreme, +but any one who should blame it on this +ground would do so under a misapprehension +of its purpose, inasmuch as the merit of the +work lies in its novelty and difficulty. "Quid +tam distortum et elaboratum, quam est ille discobolos +Myronis? si quis tamen, ut parum rectum, improbet opus, +nonne ab intellectu artis abfuerit, in qua vel praecipue +laudabilis est ipsa illa novitas ac difficultas?"—Quint. <i>Inst. +Orat.</i>, ii., 13. 10.—<i>Found in 1791 in Hadrian's Villa at +Tivoli.</i> <i>Townley Coll.</i></p> + +<p class="indent"> +Marble; height, 5 feet 5 inches. Restorations:—Nose, lips, chin, piece +in neck, part of disk and r. hand; l. hand; piece under r. arm; +pubis; r. knee; a small piece in r. leg, and parts of the toes. +<i>Specimens</i>, I., pl. 29; <i>Mus. Marbles</i>, XI., pl. 44; Clarac, V., +pl. 860, No. 2194 <span class="sc">b</span>; Ellis, <i>Townley Gallery</i>, I., p. 241; <i>Guide to +Graeco-Roman Sculptures</i>, I., No. 135; <i>Stereoscopic</i>, No. 149; +Wolters, No. 452. +</p> +<a name="page91a" id="page91a"></a> +<h3>PHEIDIAS AND THE SCULPTURES OF THE PARTHENON.</h3> + +<p>The sculptures of the Parthenon illustrate the style of +Pheidias, the greatest of Greek sculptors.</p> + +<p><span class="sc">Pheidias</span>, son of Charmides, the Athenian, was born about +500 <span class="sc">b.c.</span> He was a pupil of the sculptor Ageladas, of Argos, +or, according to others, of Hegias or Hegesias, of Athens. +<span class="pagenum"><a name="page92" id="page92"></a>92</span> +His youth was passed during the period of the Persian +wars, and his maturity was principally devoted to the +adornment of Athens, from the funds contributed by the +allied Greek states during the administration of Pericles.</p> + +<p>Among the chief of the works of this period was the +Parthenon, or temple of the virgin Goddess Athenč. The +architect was Ictinos, but the sculptural decorations, and +probably the design of the temple, were planned and +executed under the superintendence of Pheidias. The building +was probably begun about <span class="sc">b.c.</span> 447 (according to +Michaelis, <span class="sc">b.c.</span> 454). It was sufficiently advanced to receive +the statue of the Parthenos in <span class="sc">b.c.</span> 438, and was probably +completed either in that year or a little later. It stood on +the Acropolis of Athens, on a site which had been already +occupied by a more ancient temple, commonly supposed +to have been an ancient Parthenon, which was burnt on +the sacking of Athens by the Persians, <span class="sc">b.c.</span> 480. Recently, +however, the foundations of an early temple have been +discovered between the Parthenon and the Erechtheion. +It has been thought that this is the Pre-Persian Parthenon, +and that the traces of an older foundation below the +existing Parthenon only date from the time immediately +following the Persian wars. A building is supposed to +have then been begun, on a plan somewhat different from +that which was carried out by Ictinos and Pericles.</p> + +<p>The Parthenon was of the Doric order of architecture, and +was of the form termed <i>peripteral octastyle</i>; that is to say, +it was surrounded by a colonnade, which had eight columns +at each end. The architectural arrangements can be best +learnt from the model, which is exhibited in the Elgin +Room. See also the plan (fig. <a class="ask" href="#fig6">6</a>.) and elevation (<a class="ask" href="#plate4">pl. iv.</a>).</p> + +<p>The principal chamber (cella) within the colonnade +contained the colossal statue of Athenč Parthenos (see +below, Nos. <a class="ask" href="#n300">300</a>-302). Externally the cella was decorated +with a frieze in low relief (see below, p. <a class="ask" href="#page145">145</a>). The +<span class="pagenum"><a name="page93" id="page93"></a>93</span> +two pediments, or gables at each end of the building (see +below, Nos. <a class="ask" href="#n303">303</a>, <a class="ask" href="#n304">304</a>) were filled with figures sculptured +in the round. Above the architrave, or beam resting on +the columns, were metopes, or square panels, adorned +with groups in very high relief, which served to fill up +the spaces between the triglyphs, or groups of three +vertical parallel bands, representing beam ends. All +these sculptured decorations were executed, like the +architecture, in Pentelic marble.</p> +<a name="fig6"></a> +<div class="figcenter" style="width: 600px;"><a href="images/08fig6-1000.png"><img src="images/08fig6-600.png" width="600" height="381" alt="Fig. 6.—Plan of the Parthenon. (From Michaelis.)" /></a> +<p class="center">Fig. 6.—Plan of the Parthenon. (From Michaelis.)</p></div> + +<p>The statue of the Parthenos is known to have been in +existence about 430 <span class="sc">a.d.</span>; but not long after this date the +figure was removed, and the Parthenon was converted +into a Christian church, dedicated at first to Santa Sophia +(or the Divine Wisdom), and afterwards to the Panagia (or +Virgin Mary). For the purposes of the church, an apse +was built at the east end of the cella, and the entrance +was moved to the west end. The building was also given +<span class="pagenum"><a name="page94" id="page94"></a>94</span> +a vaulted roof, which covered the cella alone. In consequence +the frieze was exposed to the weather, and the +east pediment was much destroyed. From 1206 to 1458, +during the period of the Frankish Dukes of Athens, the +Parthenon was a Latin church. Athens was taken by the +Turks in 1458, and the Parthenon was again an Orthodox +Greek church for two years. In 1460, however, it was +converted into a Turkish mosque. From this date it +probably suffered little until 1687, when Athens was +taken by the Venetian General, Morosini. In the course +of a bombardment of the Acropolis, the besiegers succeeded +in throwing a shell into a powder magazine in the +Parthenon, and caused an explosion that destroyed the +roof and much of the long sides of the building. Further +injury was done by Morosini, who made an attempt to +take down the central group of the west pediment, which +was still nearly complete.</p> + +<p>Fortunately, many of the sculptures had been drawn +by a skilful artist before the explosion. In 1674 Jacques +Carrey, a painter in the suite of the Marquis de Nointel, +French ambassador at the Porte, made sketches of large +portions of the frieze and metopes, and of the then extant +portions of the pedimental compositions. These drawings +are preserved in the French Bibliothčque Nationale, and +are constantly referred to in discussions of the Parthenon +sculptures.</p> + +<p>In 1688 Athens was restored to the Turks, and from +this date to the end of the last century the sculptures of +the Parthenon were exposed to constant injury. Some of +them were made into lime, or built into walls by the +Turkish garrison; others were mutilated by the travellers +who from time to time obtained admission to the Acropolis, +and broke off portable fragments of the sculptures.</p> + +<p>In 1749, when the west pediment was drawn by Dalton, +many figures still remained in position which had disappeared +<span class="pagenum"><a name="page95" id="page95"></a>95</span> +before the time of Lord Elgin. Several portions +also of the frieze, which were seen by Stuart, had disappeared +at the beginning of the present century. On +the other hand, the east pediment, being inaccessible, +suffered no important change between 1674 and 1800.</p> + +<p>In the years 1801-3 many of the sculptures of the +Parthenon were removed to England by the Earl of Elgin, +then British ambassador at Constantinople, by means of +a firman obtained from the Porte (see p. <a class="ask" href="#page6">6</a>). The Elgin +Collection, which includes other marbles obtained from +Athens and elsewhere, together with casts and drawings, +was purchased from Lord Elgin by the British Government +in 1816 for Ł35,000. Several portions of the sculptures +of the Parthenon have been discovered since the time of +Lord Elgin on the Acropolis and its slopes, or in various +parts of Europe, to which they had been taken by travellers. +These are represented as far as possible in the British +Museum by plaster casts.</p> + +<p>The following aids to the study of the Parthenon will +be found in the Elgin Room:—</p> + +<p>Model of the Athenian Acropolis, showing its condition +in the year 1870. Presented by Prof. Adolf Michaelis.</p> + +<p>Model of the Parthenon. The model was made by +R. C. Lucas, on a scale of a foot to 20 feet, and represents +the state of the temple in 1687, after the explosion, but +before Morosini had attacked the west pediment.</p> + +<p>Carrey's drawings of the pediments. Photographic +reproductions of the originals are exhibited.</p> + +<p>A restored view of the Athenian Acropolis. By Richard +Bohn.</p> + +<h4><i>Bibliography of the Parthenon.</i></h4> + +<p class="indent"> +The work of Michaelis, <i>Der Parthenon</i> (Leipzig, 1871), collects the +material for the study of the Parthenon, and contains an excellent +digest of all that had been written on the subject up to the +year 1871. For later writers, see below <i>passim</i>, and Wolters. +<span class="pagenum"><a name="page96" id="page96"></a>96</span> +For the chronology of Pheidias, see Loeschcke, in <i>Untersuchungen +A. Schaefer gewidmet</i>, p. 25; for the question as to his master, see +Klein, <i>Arch.-Epigr. Mittheilungen aus Oesterreich</i>, VII., p. 64; +Murray, <i>Greek Sculpture</i>, 2nd ed., p. 186. For the older temple +on the site of the Parthenon, see Doerpfeld, in <i>Athenische +Mittheilungen</i>, XII., p. 45; Harrison, <i>Mythology of Anc. Athens</i>, +p. 467. The plan given above is taken from Michaelis. Important +modifications have been proposed by Doerpfeld, <i>Athenische +Mittheilungen</i>, VI., pl. 12, p. 283; Harrison, <i>loc. cit.</i>, p. 464. +For the medićval history of the Parthenon, see Laborde; +<i>Athčnes aux XV<sup>e</sup>, XVI<sup>e</sup>, et XVII<sup>e</sup> Sičcles</i> (Paris, 1854); +Gregorovius, <i>Athen im Mittelalter</i> (1889). Facsimiles of +Carrey's drawings are in the British Museum, and have been +partially published in the works of Laborde, <i>Le Parthénon</i> +(Paris, 1848). For photographic copies of the drawings of the +pediments, see <i>Antike Denkmäler</i>, I., pls. 6, 6a. Dalton's views +of the Acropolis were published in 1751, but the remains of +Athens were little known till the appearance of <i>The Antiquities +of Athens</i>, by James Stuart and Nicolas Revett. (London: +vol. I., 1762; vol. II., 1787; vol. III., 1794; vol. IV., 1816; +vol. V., 1830). A second edition, with additional matter, but +having inferior illustrations, was issued in 1825-1830. The +original drawings, made for this work by Pars, were presented +to the British Museum by the Society of Dilettanti. The +official inquiry into the proceedings of Lord Elgin is contained in +the <i>Report from the Select Committee of the House of Commons +on the Earl of Elgin's Collection of Sculptured Marbles; &c.</i> +(London, 1816). +</p> +<a name="page96a" id="page96a"></a> +<h3>STATUE OF ATHENČ PARTHENOS.</h3> + +<p>The colossal statue of Athenč Parthenos by Pheidias was +placed within the central chamber of the Parthenon. The +figure was made of gold and ivory, and was, with its base, +about 40 feet high. Athenč stood, draped in chiton and +aegis. In her left hand she held her spear and shield. +Between her and her shield was the serpent Erichthonios. +On her outstretched right hand was a winged Victory, +six feet high, holding a wreath. The helmet of the +Goddess was adorned, according to Pausanias, with a +Sphinx and Gryphons. From detailed copies of the head +<span class="pagenum"><a name="page97" id="page97"></a>97</span> +(<i>Athenische Mittheilungen</i>, viii., pl. 15; <i>Cat. of Gems in +B. M.</i> 637, 638) we learn that the Gryphons were on the +cheek-pieces, and that there was a figure of Pegasos on +each side of the Sphinx. There was also a row of small +horses at the front of the helmet. All available space +was covered with reliefs. A battle between Greeks and +Amazons (see below, Nos. 301, 302) was seen on the exterior +of the shield, and one between Gods and Giants on its +interior. On the base was a representation of the birth +of Pandora (see No. <a class="ask" href="#n301">301</a>) and on the edges of the sandals +was a battle between Centaurs and Lapiths.</p> + +<p>The statue disappeared from view with the fall of +paganism. Nos. 300-302 afford some of the materials for +its reconstruction. Rough reproductions of the figure +also occur on Attic reliefs, such as Nos. 771-773.</p> + +<p>The statuette, No. <a class="ask" href="#n300">300</a>, is of service for the details of the +composition, although it is artistically a poor copy. The +Lenormant statuette, No. <a class="ask" href="#n301">301</a>, though rough and incomplete, +is of more value for its rendering of the features.</p> + +<p>The column beneath the hand of Athenč (in No. <a class="ask" href="#n300">300</a>) +presents some difficulty, as it is not mentioned in descriptions +of the statue and seldom occurs in reproductions of +it. It is seen in an Attic relief (<i>Michaelis</i>, pl. 15, fig. 7) +on a lead ticket (<i>Zeitschr. für Numismatik</i>, x., p. 152) and, +in the form of an olive tree, on a Lycian coin of the +time of Alexander (<i>Zeitschr. für Num.</i>, <i>loc. cit.</i>; Murray, +ii., pl. 11). It is more probable that an existing support +should be omitted in reliefs, than that it should be inserted +if non-existent. It is possible, however, that the support +was not a part of the design of Pheidias, but was an addition, +found to be necessary before the time of Alexander.</p> + +<a name="n300" id="n300"></a> +<p><span class="leftside">300.</span> +Cast of a statuette, copied from the Athenč Parthenos. +The Goddess wears a helmet, ćgis, chiton with +diploďdion girt round the waist, bracelets and sandals; +her left hand rests on her shield, which stands on its edge +<span class="pagenum"><a name="page98" id="page98"></a>98</span> +at her side. In the centre of the outside of the shield is a +mask of Medusa, and inside a serpent; the right hand of +Athenč is extended in front and rests on a column with +the palm open upwards, holding a figure of Victory, in +whose hands are remains of what is thought to be a +garland. The head of the Victory is wanting. On the +centre of the helmet of Athenč is a Sphinx, and at each +side has been a Pegasos.</p> + +<p>The statuette was found in a shrine in a private house. +Compare the vision of Proclos, who was bidden to prepare +his house for Athenč, when her statue was being removed +by the Christians from the Parthenon, about 430 <span class="sc">a.d.</span> +(Marinus, <i>Proclos</i>, 30; Michaelis, p. 270.)</p> + +<p class="indent"> +The original, which is of Pentelic marble, is in the National Museum +at Athens. Height, with plinth, 3 feet 5 inches. Found in 1880, +<i>near the Varvakion in Athens. Athenische Mittheilungen</i>, VI., pls. +1, 2, p. 56; <i>Journ. of Hellen. Studies</i>, II., p. 3; Schreiber, <i>Athena +Parthenos des Phidias</i>, pl. 1; Brunn, <i>Denkmaeler</i>, Nos. 39, 40; +Waldstein, pl. 14; Harrison, <i>Mythology and Monuments of Anc. +Athens</i>, p. 447. For literature see Waldstein, <i>Essays</i>, p. 270; +Wolters, No. 467. +</p> +<a name="n301" id="n301"></a> +<p><span class="leftside">301.</span> +Cast of a statuette, copied from the statue of Athenč +Parthenos. Athenč wears a helmet, ćgis, and chiton with +diploďdion girt round the waist; her right hand is extended +in front with the palm open upwards as if to hold out the +figure of Victory. In this part the statuette is unfinished, +the marble underneath the right arm not having been hewn +away. The left hand of the Goddess rests on her shield, +which stands on its edge at her side; inside the shield is +a serpent; outside are reliefs representing the battle between +Greeks and Amazons, which is seen in more detail +in No. 302. Among the figures, we recognise several +which occur on No. 302. The figure of Pheidias (<i>a</i>, see +No. <a class="ask" href="#n302">302</a>) is near the top of the relief, and holds a stone, as +described by Plutarch. Next him perhaps is Pericles (<i>b</i>) +separated from the fallen Amazon (<i>c</i>), which is at the +<span class="pagenum"><a name="page99" id="page99"></a>99</span> +bottom of the shield, as in No. 302. The group of the +Greek seizing an Amazon (<i>d</i>) is seen on the right as in +No. 302. The fallen Amazon (<i>e</i>) with hands above her +head is high up, on the left of the relief. In place of the +group of an Amazon supporting her companion (<i>f</i>) which +is in No. 302, we have here the same subject, but +differently treated. The Gorgon's head is roughly indicated +near the middle of the shield. From the manner +in which the rest of the figure corresponds to the chryselephantine +statue, it has been assumed that the rude outlines +of figures in relief on the base of the statuette represent +the composition of Pheidias, of which the subject was +the birth of Pandora (Paus., i., xxiv., 7.)</p> + +<p class="indent"> +The original of this statue, which is of marble, is in the National +Museum at Athens. Height 1 foot 4¾ inches. Found in 1859 +<i>near the Pnyx, at Athens</i>. Lenormant, <i>Gazette des Beaux Arts</i>, +1860, VIII., p. 133; Jahn, <i>Pop. Aufsätze</i>, p. 215, pl. 1; +Michaelis, pl. 15, fig. 1, p. 273; Overbeck, <i>Gr. Plast.</i>, 3rd ed., +I., p. 253, fig. 54; Brunn, <i>Denkmaeler</i>, No. 38; Wolters, +No. 466; Harrison, <i>Mythology and Monuments of Anc. Athens</i>, +p. 449. For the Pandora relief, see Puchstein, in <i>Jahrbuch des +Arch. Inst.</i>, V., p. 113. +</p> + +<a name="n302" id="n302"></a> +<p><span class="leftside">302.</span> +Fragment of shield supposed to be a rough copy from +the shield of the statue of Athenč Parthenos. Pliny +(<i>H. N.</i>, xxxvi., 18) and Pausanias (i., 17, 2) state that the +outside of the shield was ornamented with the representation +of a battle between Greeks and Amazons. Plutarch +adds (<i>Pericles</i>, 31) that one of the figures represented +Pheidias himself as an old bald-headed man raising a +stone with both hands, while in another figure, who was +represented fighting against an Amazon, with one hand +holding out a spear in such a way as to conceal the face, +the sculptor introduced the likeness of Pericles. This +story is probably of late origin, and invented to account +for two characteristic figures on the shield. A head of +Medusa, or Gorgoneion, encircled by two serpents, forms +<span class="pagenum"><a name="page100" id="page100"></a>100</span> +the centre of the composition on the fragment. Below +the Gorgoneion is a Greek warrior (<i>a</i>, cf. No. <a class="ask" href="#n301">301</a>), bald-headed, +who raises both hands above his head to strike +with a battle-axe. This figure has been thought to +correspond with that of Pheidias in the original design. +Next to him on the right is a Greek (<i>b</i>) who plants his +left foot on the body of a fallen Amazon (<i>c</i>) and is in the +act of dealing a blow with his right hand; his right arm +is raised across his face and conceals the greater part of it. +The action of this figure again presents a partial correspondence +with that of Pericles as described by Plutarch. +To the right of the supposed Pericles are two Greeks: the +one advances to the right; the other (<i>d</i>) seizes by the hair +an Amazon falling on the right. Above this group is an +Amazon running to the right and a Greek striding to the +left. His shield has the device of a hare. Above him are +three armed Greeks, and the remains of another figure. +On the left of the figure described as Pheidias is a Greek +who has fallen on his knees. Further to the left is a +fallen Amazon (<i>e</i>) who lies with her head towards the +lower edge of the shield. Near her is a wounded Amazon +(<i>f</i>) supported by a companion of whom but little remains. +The lower part of a third figure, probably that of a Greek, +is also seen. All the Amazons wear high boots and a short +chiton, leaving the right breast exposed; their weapon +is a double-headed axe. Red colour remains on the two +serpents which encircle the Gorgon's head, on the shield +of one of the Greeks and in several places on the draperies.—<i>Obtained +by Viscount Strangford from Athens.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 4¾ inches; width, 1 foot 6 inches. +Conze, <i>Arch. Zeit.</i>, 1865, pls. 196, 197; Jahn, <i>Pop. Aufsätze</i>, +p. 216, pl. 2, 1; Michaelis, pl. 15, fig. 34. Overbeck, <i>Gr. Plast.</i>, +3rd ed., I., p. 255, fig. 55; Mitchell, p. 313; Mansell, No. 729; +Wolters, No. 471; Harrison, <i>Mythology and Monuments of Anc. +Athens</i>, p. 453. There is a fragment of a similar shield in the +Vatican, Michaelis, pl. 15, fig. 35. +</p> +<span class="pagenum"><a name="page101" id="page101"></a>101</span> + +<h3>EASTERN PEDIMENT OF THE PARTHENON.</h3> +<a name="n303" id="n303"></a> +<p><span class="leftside">303.</span> +We know from Pausanias (i., 24, 5) that the subject of +the composition in the eastern pediment had relation to +the birth of Athenč, who, according to the legend, sprang +forth, fully armed, from the brain of Zeus. As all +the central part of this composition was already destroyed +when Carrey made his drawing of the pediment, we have +no means of ascertaining how the subject was treated; +and whether the moment immediately after the birth was +represented, as has been generally supposed, or, as has +been also suggested, the moment immediately before the +birth.</p> + +<p>A relief surrounding a <i>puteal</i> or well-head, now at +Madrid, has been thought to throw light on this question. +There Zeus is enthroned, looking to the right; +Athenč is before him, armed, and advances to the right. +A Victory flies towards her with a wreath. Behind the +throne of Zeus is Hephaestos, who has cleft the skull of +Zeus with his axe, and starts back in astonishment. On +the extreme right of the composition are the three Fates +(Schneider, <i>Geburt der Athena</i>, pl. 1; Mitchell, p. 350, +fig. 157). Unfortunately the subordinate figures have +not a sufficient resemblance to those which are still +extant of the Parthenon pediment, to allow us to assume +a direct connection between the pediment and the relief. +Some such composition, however, seems more consonant +with the dignity of Athenč than the scheme which +occurs on vases and Etruscan mirrors (<i>e.g.</i> on a vase in +the British Museum, No. B. 53; <i>Mon. dell' Inst.</i>, iii., pl. 44) +where the Goddess is represented as a diminutive figure, +above the head of Zeus. This conclusion is confirmed by +Sauer's recent examination of the ground of the pediment. +It is now proved that the middle of the east pediment +<span class="pagenum"><a name="page102" id="page102"></a>102</span> +was occupied by two figures of equal importance, and not +by a single central figure of Zeus, such as is required, if +we suppose that the subject was treated according to the +tradition of the vase painters. It is further shown to be +probable that Zeus was seated on the left of the centre, +seen in profile and turned to the right, and that Athenč +stood on the right of the centre, holding a spear in her +outstretched right hand. The whole group between the +figures G and K is thought, from the indications on the +pediment, to have consisted of the following figures, in +order from the left:—Standing figure, stepping inwards +(cf. Hermes of the west pediment); standing figure; +seated figure in profile to the right; figure standing +immediately behind Zeus; Zeus and Athenč; Hephaestos +(H); seated figure in profile to the left; standing figure; +standing figure turned to the left (J); standing figure +turned outward (compare G).</p> + +<p>If we confine our attention to the extant pedimental +figures, we find wide differences of opinion as to their +interpretation. The figures in the angles are the only +ones as to which there can be no doubt. On the left the +sun-god, Helios, rises from the ocean, driving his car, and +on the right the moon-goddess Selenč sets beneath the +horizon.</p> + +<p>These two figures may be interpreted as marking the +boundaries either of Olympos or of the universe. It has +also been suggested that they indicate the hour at which +the birth took place. This, according to Attic tradition, +was at sunrise.</p> + +<p>Thus far the interpretation rests upon sure grounds. +Of the remaining figures in the pediment, J has been +generally recognised as Victory greeting the newly born +Goddess, and G has been generally taken for Iris, +announcing the news to the world (but see below, <a class="ask" href="#n303g">G</a>). +None of the remaining figures have been conclusively +<span class="pagenum"><a name="page103" id="page103"></a>103</span> +identified. Most of the numerous schemes of interpretation +that have been proposed are exhibited in a table by +Michaelis, <i>Der Parthenon</i>, p. 165, cf. <i>Guide to the Elgin +Room, I.</i>, Table A. As regards the general principles of +interpretation it is to be observed that the schemes may be +divided into two classes. We may either suppose with the +earlier critics that the space bounded by Helios and Selenč +represents Olympos, and that all the figures contained within +this space are definite mythological personages, probably +deities, who may be supposed to have been present at the +birth; or we may assume that all the deities present +were comprised in the central part of the pediment, and +that the figures towards the angles belong to the world +outside Olympos, to whom the news is brought. These +may be definite mythological persons, or they may be +figures personifying parts of the natural world. Compare +the Homeric Hymn to Athenč, and Pindar, <i>Olymp.</i>, vii., 35.</p> + +<p class="indent"> +The best views of this pediment are (1) the drawing of Carrey in +the Bibliothčque Nationale (pl. v., fig. 1). A facsimile in the +British Museum; in Laborde, <i>Le Parthénon</i>, and <i>Antike Denkmaeler</i>, +I., pl. 6 (exhibited in Elgin Room); (2) sketch by Pars, +engraved in Stuart, vol. II., chap. I., pl. 1. The original drawing +is in the Print Room of the British Museum. For a list of +proposed restorations, see Schneider, <i>Geburt der Athena</i>, p. 23, +pls. 2-7; Waldstein, <i>Essays</i>, p. 139. For Sauer's examination +of the pediment, see <i>Athenische Mittheilungen</i>, XVI., pl. 3, p. 59; +<i>Antike Denkmaeler</i>, I., pl. 58. The ends of the pediment are +reproduced in figs. 7, 8. +</p> +<span class="pagenum"><a name="page104" id="page104"></a>104</span> + +<div class="figcenter" style="width: 600px;"><a href="images/09fig7-1500.png"><img src="images/09fig7-600.png" width="600" height="246" alt="Fig. 7.—The South End of the East Pediment of the Parthenon" /></a> +<p class="center">Fig. 7.—The South End of the East Pediment of the Parthenon +(according to Sauer).</p></div> +<span class="pagenum"><a name="page105" id="page105"></a>105</span> + +<div class="figcenter" style="width: 600px;"><a href="images/10fig8-1500.png"><img src="images/10fig8-600.png" width="600" height="237" alt="Fig. 8—The North End of the East Pediment of the Parthenon" /></a> +<p class="center">Fig. 8—The North End of the East Pediment of the Parthenon +(according to Sauer).</p></div> +<span class="pagenum"><a name="page106" id="page106"></a>106</span> + +<p><span class="leftside">303 A.</span> +Helios, in his chariot emerging from the waves. The +head is wanting, the neck has a forward inclination corresponding +with the action of the arms, which are stretched +out in front of the body, holding the reins by which the +upspringing horses of the Sun-god were guided and controlled. +The head of Helios had been already broken +away in Carrey's time; the wrist and hand of the right +arm, now wanting, are shown in his drawing. The +surface of the marble on the neck having been protected +from weather by the cornice retains its original polish. +At the back and between the arms are sculptured small +rippling waves to represent a calm sea at sunrise. These +waves are treated in the conventional manner usual in +representations of water in Greek art; their profile +shown on the edge of the plinth approximates very +nearly to the well-known wave pattern. The metal +reins have been attached to the upper surface of the +plinth under the right forearm, and also under the +right hand, now lost; three dowel holes in this part of +the plinth served for their attachment. The waves were +probably distinguished by colour. It has been noted by +Michaelis that the angle in which this figure was placed +is the darkest spot in the eastern pediment, and that it is +only fully illumined by the early morning sun.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pl. 1; Michaelis, pl. 6, fig. 8; Overbeck, I., p. 303, +fig. 61 (with B, C). +</p> + +<p><span class="leftside">303 B, C.</span> +Two horses of Helios. The team of Helios was represented +by four horses' heads, two of which still remain in position +on the temple, at the back of the pediment. The two which +are here are sculptured in the round out of one block +of marble. They are represented emerging from the +waves, the profile of which is sculptured in relief on the +neck of the nearest horse. The head of the horse nearest +the eye (B) looks outwards, and has projected beyond the +plane of the pedimental cornice, so that it must have +caught the light. The action of this horse's head is most +spirited, though its effect is greatly impaired by the loss +of the lower jaw, and the injury which the surface of the +marble has received from exposure to the weather. The +reins were of metal, and the points of attachment of reins +and bridle are marked by three dowel holes in the plinth, +a fourth behind the right ear, and a fifth inside the +<span class="pagenum"><a name="page107" id="page107"></a>107</span> +mouth. The head of the other horse on this block (C), +which was advanced beyond the outside head, so as to be +visible, is nearly destroyed; only the neck and back of +the head remain.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pl. 2; Michaelis, pl. 6, fig. 9; <i>Stereoscopic</i>, No. 105. +For the two heads still on the pediment, see <i>Athenische Mittheilungen</i>, +XVI., p. 81. +</p> + +<p><span class="leftside">303 D.</span> +This figure, which is commonly known as Theseus, +reclines on a rock and faces the horses of Helios. He +leans on his left arm in an easy attitude. The right +arm is bent, but, as the hand is wanting, we can only form +conjectures as to what its action may have been. It +probably held a spear, or some other long object, the +end of which may have been attached to the left ankle +at the place where a dowel hole is still visible. According +to some writers, the hole served for the attachment of the +laced work of a sandal in bronze. (<i>Ber. d. k. sächs. Ges. +d. Wissenschaften</i>, 1880, p. 44.) The legs are bent, the +left leg drawn back under the right. The headdress is +in the form of the krobylos (cf. No. 209). The body is +entirely nude: over the rock on which the figure rests is +thrown a mantle under which is strewn a skin, the claws +of which are certainly those of some feline animal. The +type and position of this figure present so much resemblance +to the Heracles on the silver coins of Croton in +Lower Italy (<i>Mus. Marbles</i>, vi., title-page), that it has +been identified with that hero by Visconti, who supposed +the skin on which he reclines to be that of a lion. This +skin, however, seems more like that of a panther, on which +ground the figure has been thought to be Dionysos, who +appears in a very similar reclining attitude on another +Athenian work, the Choragic monument of Lysicrates +(No. 430, <i>1</i>); compare the statue in the Louvre, Müller-Wieseler, +<i>Denkmaeler</i>, ii., pl. 32, No. 360. Compare also +the figure of Dionysos reclining, on a relief on an <i>askos</i> in +<span class="pagenum"><a name="page108" id="page108"></a>108</span> +the British Museum, No. G. 281 (see <a class="ask" href="#fig9">fig. 9</a>). The figure, +however, differs greatly in character, not only from the +figure on the monument of Lysicrates, but also from the +figure sometimes supposed to be Dionysos on the frieze of +the Parthenon. (East side, No. 38.) More recently Brunn +has interpreted this figure as the mountain of Olympos +illumined by the first rays of the rising sun, and it must +be acknowledged that the attitude and type of the so-called +Theseus is very suitable for the personification of +a mountain. Compare the figures of mountains from +reliefs, collected by Waldstein (<i>Essays</i>, pp. 173, 174).</p> +<a name="fig9" id="fig9"></a> +<div class="figcenter" style="width: 500px;"><a href="images/11fig9-900.png"><img src="images/11fig9-500.png" width="500" height="319" alt="Fig. 9." /></a> +<p class="center">Fig. 9.</p></div> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pls. 3, 4; Baumeister, <i>Denkmaeler</i>, p. 1180, fig. 1370; +Michaelis, pl. 6, fig. 10; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 304, +fig. 62; Murray, II., pl. 5; <i>Stereoscopic</i>, No. 105; Waldstein, +<i>Essays</i>, pl. 6; Brunn, <i>Ber. der k. bayer. Akad.</i>, <i>Phil. hist. Cl.</i>, +1874, II., p. 14. The correct position of the figure in the pediment +has been ascertained by Sauer (<i>cf.</i> fig. 7). +</p> + +<p><span class="leftside">303 E, F.</span> +Two female figures, seated on square seats. They both +wear a sleeveless chiton, girt at the waist, and a diploďdion. +Over it is a mantle thrown over their lower +<span class="pagenum"><a name="page109" id="page109"></a>109</span> +limbs in a rich composition of folds. On the right wrist +of the figure nearest the angle (E) is a dowel hole, +probably for the attachment of a bracelet. Her companion +(F), who wore metal fibulć on each shoulder, +extends her left arm towards the figure, which is advancing +towards her. Her head has been broken off at the base +of the neck, but it has probably been turned towards her +companion, who rests her left arm affectionately on her +shoulder, and who probably looked towards her, perhaps +as if listening to the news brought by Iris. The seats, +on which are laid folded carpets, are carved out of the +marble with great care and delicacy of finish, the regular +geometrical lines being valuable in opposition to the +varied undulations of the drapery. In the sides and +backs of both seats are oblong sunk panels, in one of +which several archaeologists have tried unsuccessfully to +read the name of an artist (see Michaelis, p. 174; Brunn, +<i>Griech. Künstler</i>, i., p. 104). Most of the writers on the Parthenon, +from Visconti downwards, have named this group +Demeter and Persephonč, two deities, whose cult in Attica +ranked second only to that of Athenč herself. This +attribution would be strengthened if the reclining male +figure could be identified with Dionysos, a deity whose +worship in Attica was closely connected with that of the +Eleusinian goddesses. The composition of the group has +suggested to other archaeologists a sisterly rather than +a filial relation between the figures. Bröndsted (<i>Voyages +et Recherches</i>, ii., p. xi.) suggested that these two figures, +with G, were the three Horae or Seasons, worshipped in +Attica under the names Thallo, Auxo and Karpo. Brunn +(followed by Waldstein) supposes that the two figures are +Horae, but that they must be viewed as the warders of +the gates of Olympos (Hom. <i>Il.</i>, v., 749) rather than as +Attic deities. On this theory the position of figure G, +if it represents Iris, would indicate that she is on the +<span class="pagenum"><a name="page110" id="page110"></a>110</span> +point of reaching the boundary of Olympos and passing +to the outer world.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pl. 5; Michaelis, pl. 6, fig. 11; Murray, II., pl. 4; +<i>Stereoscopic</i>, No. 106; Rayet, <i>Monuments</i>, No. 32; Waldstein, +<i>Essays</i>, pl. 7; Mitchell, <i>Selections</i>, pl. 6; Brunn, <i>Ber. der k. bayer. +Akad., Phil. hist. Cl.</i>, 1874, II., p. 15. +</p> +<a name="n303g" id="n303g"></a> +<p><span class="leftside">303 G.</span> +Iris (?).—This figure is moving rapidly to our left, the +right knee bent. The left arm was probably extended; +the right was bent nearly at a right angle. Both hands +probably held parts of the mantle, of which a remnant +floats behind, bellied out by the resistance of the air to +the rapid movement of the figure. The feet are wanting +from the instep. The figure was let into a socket about +two inches deep, on the floor of the pediment. It seems to +be exactly in the same condition as when Carrey saw it, +except that in his drawing rather more of the neck appears +than now remains. The dress is a Doric chiton, <i>schistos</i>, open +down the left side, except for the girdle. Over this falls +a diploďdion. The arms of this figure are small in proportion +to the strength of the lower limbs, and the breasts +undeveloped like those of a young girl. This would +be consistent with the type of Iris as the messenger of +Zeus and Hera, trained to swift movement. The head +may have been half turned back towards the central +group, but too little remains of the neck to make this +certain. From the rapid movement of the figure in a +direction turned away from the centre of the composition, +archćologists have been nearly unanimous in thinking +that the figure is Iris on her way to announce the event of +the birth to the world outside Olympos. But the action is +not that of a steady flight through the air, for which the +Nikč of Paionios (No. 192) should be compared. It is +rather that of a person starting aside in alarm. Moreover, +the figure has not the wings of Iris, and on these grounds +she has been called Eileithyia (Murray, ii., p. 71), Hebč +<span class="pagenum"><a name="page111" id="page111"></a>111</span> +(Brunn, <i>Ber. d. k. bayer. Akad. Phil. hist. Cl.</i>, 1874, ii., +p. 19), or simply a terrified maiden (Wolters, p. 254).</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pls. 6, 7; Baumeister, <i>Denkmaeler</i>, p. 1183, +fig. 1373; <i>Stereoscopic</i>, No. 106; Michaelis, pl. 6, figs. 12, 12<i>a</i>; +Murray, II., pl. 4; Mitchell, <i>Selections</i>, pl. 6. +</p> + +<p><span class="leftside">303 H.</span> +Cast of a torso of Hephaestos or Prometheus. Powerful +male torso, from the neck to the groin. The action of the +shoulders, and of the muscles of the ribs and back shows +that the arms were raised. Perhaps both hands held an +axe above the head, as if about to strike. This is the +only fragment besides No. 303 J. which has any claim to +be assigned to the central group of the eastern pediment. +Though we have little knowledge of how the central group +of this pediment was composed, we may suppose that the +personage would not have been omitted through whose +act of cleaving the head of Zeus with an axe the birth +of Athenč was accomplished. In the most generally +diffused version of the myth this was done by Hephaestos, +but Attic tradition preferred to attribute the deed to +Prometheus. The original, which was discovered on the +east side of the Parthenon in 1836, is at <i>Athens</i>.</p> + +<p class="indent"> +Michaelis, pl. 6, figs. 13, 13<i>a</i>. +</p> +<a name="n303-j" id="n303-j"></a> +<p><span class="leftside">303 J.</span> +Nikč, or Victory. Torso of a female figure, moving +rapidly to the front, and to our left, with the right arm +extended in the same direction. The figure wears a short +sleeveless chiton with a diploďdion which is confined under +the girdle, to facilitate rapid motion. A piece of bronze, +which is fixed in the marble about the middle of the left +thigh, may have served for the attachment of a metallic +object, perhaps a taenia held in the left hand. At the +back the drapery is tied together, so as to leave the +shoulder-blades bare. On each shoulder-blade is a deep +oblong sinking, which can only have served for the insertion +<span class="pagenum"><a name="page112" id="page112"></a>112</span> +of the wings, which must have been attached by +dowels in the holes pierced round the sinkings. It may +be inferred from the size of these sinkings that the wings +were of marble, not metal.</p> + +<p>It has generally been taken for granted, that this +figure belongs to the eastern pediment, and it has been +inferred from its height that it was not placed much +nearer the centre than its present position.</p> + +<p>This depends, however, on the original position of the +wings. If they were raised above the head, the figure +must have occupied a place nearer to the centre than it +does at present. But it should be observed, that in +Carrey's drawing of the eastern pediment this figure is +not given, and, though Visconti states that it was found +lying on the ground below the front of the temple, it has +been contended that he may have been misinformed on +this point, and that the figure so closely resembles one in +the western pediment as drawn by Carrey and Dalton +that it is probably the same. (See <a class="ask" href="#plate5">plate v</a>., fig. 2, N, +Michaelis, p. 175, pl. 7, fig. N, and <i>Hilfstafel</i>, fig. N.) +This resemblance may be admitted; but if, on this ground, +we identify the torso of Nikč with the figure in the +western pediment (N), which stands by the car of Amphitritč, +we have a Victory associated with the side of +Poseidon, which seems inconsistent with the entire +conception of the western pediment. Moreover, the figure +in Carrey's drawing has a scarf hanging from the left +arm, which seems not in character with the type of +Victory; and, further, Carrey gives no indication of +wings. On the other hand, the composition in the eastern +pediment would be incomplete if Nikč were not present +to welcome the new-born Athenč. On the whole, therefore, +there is strong reason for leaving this torso in the +pediment to which it was originally assigned by Visconti. +In recent years two valuable additions have been made to +<span class="pagenum"><a name="page113" id="page113"></a>113</span> +this figure. The right thigh was identified and added +in 1860, and the left knee in 1875. The figure is placed +by Sauer in profile to the left.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pl. 9; Michaelis, pl. 6, figs. 14, 14<i>a</i>; Baumeister, +<i>Denkmaeler</i>, p. 1182, fig. 1372. +</p> + +<p><span class="leftside">303 K, L, M.</span> +Group of three female figures (or, perhaps, a group of +two, with a third figure less closely associated, the figure +K being made of a different block from L and M). The +figures are seated on rocks, levelled on the top, and in +the case of L, M, cut in step form to suit the composition. +The rocks are covered with draperies. These three +figures are considerably more complete in Carrey's drawings +than now, and the motives can best be understood +with the aid of the drawings. The figure K half turned +her head towards the central scene. The right arm was +bent at the elbow towards the front of the body. The +figure L was headless in Carrey's time. The right arm, +according to Carrey's drawing, was bent towards the +right shoulder, as if the action had been that of drawing +up the edge of the mantle with the right hand. The +body of this figure is bent forward and the feet drawn far +back, as would be the case with a person wishing to +spring up. This motive forms a contrast to that of the +reclining figure (M), whose right arm rests in her companion's +lap, and whose tranquil attitude and averted +gaze, shown by Carrey's drawing to have been directed +towards the angle of the pediment, seem to indicate +that the news of the birth has not yet reached her. +K wears sandals, a chiton with diploďdion, and a mantle +of thick substance which passes across the knees, and over +the left shoulder, above which it may have been held +with the left hand. L wears a fine chiton, confined with +a cord beneath the arms, and a mantle covering the +back and passing across the knees. M wears a fine +<span class="pagenum"><a name="page114" id="page114"></a>114</span> +chiton, confined at the waist by a girdle, and has a +mantle wrapped about her legs. She appears to have +worn a bracelet on the right arm.</p> + +<p>On comparing the composition of this triad with that +of the triad placed next to Helios in the opposite half of +the pediment a curious analogy of treatment may be +observed. The so-called Theseus (D), like the reclining +figure (M), seems to be quite unconscious of the great +event which is being announced, and they are turned +as by law of attraction to the groups of Day and Night +which bound the scene on either side. The central figure +on either triad seems only half aroused, while on either +side the figure nearest the central action appears to have +heard the news of the birth. If the triad near Selenč are +the Three Fates, as Visconti and many of his successors +have supposed, their place would more naturally be in the +central part of the composition, or at least they might be +supposed to be more on the alert with respect to what was +passing. By others it has been argued that the place +of this triad in immediate succession to Selenč, and the +direction in which the figure nearest to the angle (M) is +turned, would point to some mythic connection between +these three figures and the Goddess of the Moon. Such a +connection is suggested by the names given to the group +by Welcker, who saw in them the three daughters of +Cecrops, Aglauros, Hersč, and Pandrosos, mythic impersonations +of the Dew, who have a conspicuous place in +Attic legend, though Pandrosos alone of the three seems to +have been honoured with worship at Athens. The same +desire to connect this triad with Selenč has led Brunn +(<i>Ber. d. k. bayer. Akad. Phil. hist. Cl.</i>, 1874, ii., p. 16) to +see in them personifications of clouds.</p> + +<p>Among the writers who have regarded K as separate +from L and M, the most common opinion has been +that K is Hestia; L and M have been called Aphroditč in +<span class="pagenum"><a name="page115" id="page115"></a>115</span> +the lap of Thalassa (Ronchaud), or of Peitho (Petersen), or +Thalassa, the Sea, in the lap of Gaia, the Earth (Waldstein).</p> + +<p class="indent"> +K. <i>Mus. Marbles</i>, VI., pl. 10; Michaelis, pl. 6, fig. 15; Murray, II., +pl. 7; Mitchell, <i>Selections</i>, pl. 6; <i>Stereoscopic</i>, No. 108.</p> + +<p class="indent">L. M. <i>Mus. Marbles</i>, VI., pl. 11; Baumeister, <i>Denkmaeler</i>, p. 1184, +fig. 1374; Michaelis, pl. 6, fig. 16; Overbeck, <i>Gr. Plast.</i>, 3rd ed., +I., p. 308, fig. 63; Murray, II., pl. 7; <i>Stereoscopic</i>, No. 108; +Waldstein, <i>Essays</i>, pl. 8; Mitchell, <i>Selections</i>, pl. 6. +</p> +<a name="n303-n" id="n303-n"></a> +<p><span class="leftside">303 N.</span> +Selenč.—It has been already stated that the horse's head in +the right-hand angle of the pediment belongs to the Goddess +of the Moon, who is represented by the torso cast in plaster +(N) which stands next to it. The original of this torso, now +at Athens, was discovered in 1840 on the east side of the +Parthenon. The arms and head are wanting, the body is cut +off below the waist, as only the upper part of the figure was +shown on the pediment. The dress is a sleeveless chiton +girt at the waist and fastened on each shoulder. The bosom +is crossed diagonally by two bands which pass round to the +back. Two large dowel holes in the girdle and two others on +the shoulders mark where metallic ornaments have been +attached. On the back is a remnant of drapery extending +from shoulder to shoulder; this is probably part of a +peplos, the ends of which may have fallen over the arms.</p> + +<p>It has usually been assumed that Selenč was driving +a chariot, and this has been conclusively proved by Sauer, +who found the heads of two horses still in position on the +pediment, and indications of a fourth head now lost. A +theory recently suggested that Selenč rides a single horse +is thereby rendered untenable.</p> + +<p class="indent"> +Michaelis, pl. 6, figs. 17, 17a; <i>cf.</i> Wolters, pp. 256, 259; C. Smith, +<i>Journ. of Hellen. Studies</i>, IX., p. 8; <i>Stereoscopic</i>, No. 109; Sauer, +<i>Athenische Mittheilungen</i>, XVI., pl. 3, p. 84. +</p> + +<p><span class="leftside">303 O.</span> +Horse's Head.—The head was so placed in the pediment +that the muzzle projected over the cornice; in order to +adjust it securely in this position, a portion of the lower +<span class="pagenum"><a name="page116" id="page116"></a>116</span> +jaw was cut away. The inner side of the top of the +head has also been cut away, in order to give room +for the upper member of the pediment. This head presents, +as might have been expected, a marked contrast in +motive to the pair in the opposite angle. The heads of +the horses of Helios are thrown up with fiery impatience +as they spring from the waves; the downward inclination +of the head here described indicates that the car of Selenč +is about to vanish below the horizon. In the whole +range of ancient art there is, perhaps, no work in marble +in which the sculptor has shown such complete mastery +over his material. The nostrils "drink the air"; the fiery +expression of the eye, the bold, sharply defined outlines of +the bony structure so skilfully opposed to the sensitive +flexibility of the nose, and the brawny tenseness of the +arched neck, are so combined in this noble work that the +praise bestowed on it by Goethe is not extravagant. +"This work," he says, "whether created by the imagination +of the artist or seen by him in nature, seems the +revelation of a prototype; it combines real truth with the +highest poetical conception." Behind the ears is a dowel +hole; another is on the nose between the eyes and the +mouth, and a third on the inner corner of the mouth. +These show where a metal bridle was attached. On the +crest of the hogged mane are eleven smaller holes, in +which some metallic ornament must have been inserted. +Two horses' heads still remain in the angle of the pediment. +See above, <a class="ask" href="#n303-n">303 N</a>.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pl. 12; Michaelis, pl. 6, figs. 18, 18<i>a</i>; Murray, II., +pl. 6; <i>Stereoscopic</i>, No. 109. +</p> +<a name="page116a" id="page116a"></a> +<h3>WESTERN PEDIMENT OF THE PARTHENON.</h3> +<a name="n304" id="n304"></a> +<p><span class="leftside">304.</span> +The subject of the western pediment of the Parthenon +according to Pausanias (i., 24, 5) was the strife of Poseidon +<span class="pagenum"><a name="page117" id="page117"></a>117</span> +with Athenč for the soil of Attica. This contest, according +to tradition, took place on the Acropolis itself. +Athenč, on this occasion, showed her power by making +the soil produce the olive-tree; Poseidon, striking the +ground with his trident, produced a salt spring, or, according +to another and later version, a horse. The +victory in the contest was adjudged to Athenč. The spot +where this double miracle took place was marked in subsequent +times by the joint temple of Erechtheus and Athenč +Polias; within the precincts of which were the sacred olive-tree +produced by Athenč, and the salt spring of Poseidon.</p> + +<p>In the time of Carrey, the composition in this pediment +was nearly perfect, and to understand the torsos which +remain, reference should be made to Carrey's drawing +(Plate v., fig. 2), or to the large model of the Parthenon. +A few of the early writers on the Parthenon (Spon, +Woods, Leake, Weber) mistook the western pediment for +that which contained the representation of the birth of +Athenč. If we omit the archaeologists who were under +this misapprehension, we find that, while there is much +difference of opinion as to the identification of the single +figures in the western pediment as drawn by Carrey, it is +generally admitted that the space bounded by the reclining +figures in the angles represents the Acropolis between the +two rivers of Athens, and that the figures to the left of +Athenč are Attic deities or heroes, who would sympathise +actively with her in the contest which is the +subject of the pediment, while those to the right of +Poseidon are the subordinate marine deities who would +naturally be present as the supporters of the Ruler of +the sea. The most interesting dissentient theory is that +of Brunn (<i>Ber. d. k. bayer. Akad. Phil. hist. Cl.</i>, 1874, ii., +p. 23). By an ingenious but inconclusive series of arguments +he has endeavoured to show that the west pediment +contains a personified representation of the whole +<span class="pagenum"><a name="page118" id="page118"></a>118</span> +coast of Attica, from the borders of Megaris to Cape +Sunium.</p> + +<p>The great destruction of the western pediment since it +was seen by Carrey may have been partly due to the +explosion during the siege, but was chiefly the work of +the Venetian General Morosini. After taking the Acropolis +he tried to lower the horses of the car of Athenč, but +the tackle he used broke, and this matchless group fell to +the ground. If the fragments had been then collected +and put together, much of this beautiful design might +have been saved, but they remained on the spot where +they fell till after the establishment of the Greek kingdom +at Athens (1833), when such of them as were extant were +gathered up and placed in a magazine on the Acropolis. +They were subsequently moulded, and casts of them are +now exhibited in the Elgin Room. Between the time of +Morosini and the middle of the last century, when +Dalton drew the western pediment, the work of destruction +had been carried much further. In the right wing +of the composition the figures N, O, Q, S, T, and in the +left wing only four figures, A, B, C, and F(?) are shown in +position on the pediment in Dalton's Plate. In the intervening +middle space, two torsos are lying on the floor of +the pediment. One of these is probably the Poseidon; +the other may be the figure marked H. On the ground +below the pediment lies the body of a draped figure, perhaps +Athenč, and a fragment which may belong to the +Poseidon.</p> + +<p>All that remained in position in the western pediment +when Lord Elgin's agents came to Athens were the +figures B and C in the north angle, and in the south angle +the lower part of the reclining female figure W. The +figures are still in position, and the west end of the +Parthenon was therefore not touched by Lord Elgin. The +River-god A and the torsos H, L, M, O were found under +<span class="pagenum"><a name="page119" id="page119"></a>119</span> +the north-west angle of the pediment, after taking down +a Turkish house built against the columns. The lower +part of a female figure Q may also have been found on +this spot.</p> + +<p>After the Acropolis passed into the possession of the +Greek government, the ground round the Parthenon was +partly cleared of its ruins, and this led to the discovery, +in 1835, of the crouching male figure V and of many +fragments, among which are remains of the horses lowered +by Morosini. The sculptures removed by Lord Elgin +are exhibited in combination with casts of the remains +now at Athens. The description that follows begins from +the left or northern angle of the pediment.</p> + +<p><span class="leftside">304 A.</span> +Ilissos or Kephissos.—This figure, reclining in the angle +of the pediment, is universally admitted to be a River-god, +(cf. the description by Pausanias (v., 10, 7) of the pediment of +the temple of Zeus at Olympia). The figure is popularly +known as the Ilissos, but it may represent the Athenian +Kephissos. According to Brunn's topographical scheme, +it is a less familiar Kephissos, near Eleusis. This figure +appears not to have suffered much since Carrey drew it. +It was still in the pediment in Stuart's time, but had +been thrown down at the date of Lord Elgin's mission. +The body, half reclined, rests on the left arm, over which +is the end of an himation, which falls behind the back +in undulating lines, and is drawn up to the right knee. +As the head and most of the right arm are wanting, their +action must be a matter of conjecture; the general motion +of the figure seems to indicate the moment of sudden +transition from repose to action, and would be consistent +with the supposition that the head was turned towards +the central group, watching the momentous issue of the +contest, and that the River-god was in the act of rising. +In that case his right hand may have been drawing +forward the end of his himation over his right knee. +<span class="pagenum"><a name="page120" id="page120"></a>120</span> +This figure has been long and deservedly celebrated for +the perfection of its anatomy. In the front of the body, +the flexibility of the abdominal muscles is finely contrasted +with the strong framework of the ribs. The supple elastic +character of the skin is here rendered with the same +mastery as in the horse's head of the eastern pediment. +At the back some of the surface has retained its original +polish. In the undulating lines of the drapery, the +sculptor has succeeded in suggesting the idea of flowing +water without having recourse to direct or conventional +imitation. The ground on which the figure reclines is a +rock. The left hand rested on the bed of the pediment. +A drawing by Pars taken during his visit to Athens in +1765-66 (engraved Stuart, ii., chap. I., pl. 9), shows part +of the right forearm not shown in Carrey's drawing, and +the outline of the four fingers of the left hand overlapping +the edge of the pediment. A small attribute, probably of +marble, was attached to the floor of the pediment in front +of the figure.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pls. 13, 14; Mansell, 700; Baumeister, <i>Denkmaeler</i>, +p. 1181, fig. 1371; Michaelis, pl. 8, fig. 1; Overbeck, <i>Gr. Plast.</i>, +3rd ed., I., p. 310, fig. 64; Murray, II., pl. 8; Mitchell, <i>Selections</i>, +pl. 4; Waldstein, <i>Essays</i>, pl. 3; <i>Stereoscopic</i>, No. 110; Sauer, +<i>Athenische Mittheilungen</i>, XVI., p. 79. +</p> + +<p><span class="leftside">304 A*.</span> +Between A and the two next figures (B, C) a space +is shown in Dalton's drawing sufficient for a crouching +figure, though no vestige of such a figure is indicated by +Carrey. Traces also remain on the floor of the pediment +(Sauer, <i>Athenische Mittheilungen</i>, xvi., p. 78). This gap +may have been filled by a crouching Water Nymph, associated +with the River-god. Brunn suggests a tributary of +the Eleusinian Kephissos.</p> + +<p><span class="leftside">304 B, C.</span> +Cecrops and Pandrosos (cast).—This group still remains +in the pediment at Athens, though much injured +by exposure to the weather. It consists of a male figure, +<span class="pagenum"><a name="page121" id="page121"></a>121</span> +whose left thigh receives the main weight of his body, +which leans a little to the right, resting on his left hand. +With him is grouped a female figure, who has thrown +herself in haste on both knees, with one arm round the +neck of her companion. Her action expresses surprise at +the event occurring in the centre of the pediment, towards +which she has looked back. She wears a long chiton, +and over it a diploďdion which falls below the girdle, +and which has slipped from the left shoulder, leaving the +left breast and side exposed. Her left arm, now entirely +wanting, was broken off a little below the shoulder at the +date of Carrey's drawing. The male figure has a mantle +cast over his lower limbs. His right arm, which was +broken off below the elbow in the time of Stuart, is now +reduced to a stump. The right leg and knee and part +of the right thigh have also been lost since the time of +Stuart. It appears from the statements of travellers (cf. +Michaelis, p. 194) that these figures lost their heads in the +years 1802 and 1803. The careful drawing of the group +made by Pars, and preserved in the British Museum +(Stuart, ii., chap. I., pl. 9; Michaelis, pl. 8, fig. 2), shows that +the heads of both figures were turned towards the central +group, the head of the female figure being, moreover, +slightly inclined over the left shoulder. In this drawing +the right arm of the male figure is bent at a right angle, +the upper part being nearly horizontal. On the ground +between the pair is a convex mass, which has been recognised +to be part of the coil of a large serpent. The remainder +of this serpent may be seen at the back of the +group, passing under the left hand of the male figure. In +front of this hand the body of the serpent terminates in +a joint with a rectangular sinking, into which a fragment +from the Elgin Collection has been fitted. (<i>Mus. Marbles</i>, +vi., pl. 8, fig. 2.)</p> + +<p>This group has received various names. Spon and +<span class="pagenum"><a name="page122" id="page122"></a>122</span> +Wheler took it to represent Hadrian and Sabina, and +their opinion was repeated by Payne Knight. The group +has also been called Heracles and Hebč; Hephaestos +and Aphroditč. The association of the serpent with the +male figure has led Michaelis (p. 193) to recognise in +him Asclepios, in which case the female figure would +naturally be Hygieia, who is constantly associated +with the father of the healing art, and who was worshipped, +conjointly with Asclepios, in a shrine at the +southern foot of the Athenian Acropolis. The bearded +head, too, of the male figure, as drawn by Pars, would +well accord with the type of Asclepios. On the other +hand, the serpent in connection with that deity is usually +coiled round his staff, not winding along the ground, +as on the pediment. The whole composition of this +serpent in relation to the kneeling male figure rather +suggests the type of the earth-born Cecrops, as has been +maintained by a considerable number of archćologists. +If we adopt this attribution, then the female figure so +intimately associated with the bearded figure in this +group would be one of the daughters of Cecrops, perhaps +Pandrosos. For the topographical interpretations +of Boetticher (Marathon and Salamis) and of Brunn +(Kithaeron and Parnes) there is no evidence.</p> + +<p class="indent"> +Michaelis, pl. 8, fig. 2; Murray, II., pl. 9; <i>Stereoscopic</i>, No. 111. A +remarkably accurate copy of this group was recently discovered at +Eleusis, and is now in the National Museum at Athens. In the +copy the coils of the serpent are omitted +(<ins title="Greek: Ephęmeris">Ἐφημερίς</ins>, 1890, pl. 12). +</p> +<a name="n304-d" id="n304-d"></a> +<p><span class="leftside">304 D, E, F.</span> +If B and C are Cecrops and one of his daughters, the +two female figures (D, F), who in Carrey's drawing follow +next, might be his other two daughters. The boy (E) +between them would be, in that case, not the infant +Iakchos between Demeter (D) and Korč (F), as several +writers have supposed, but the young Erysichthon, son +of Cecrops. According to Brunn's scheme these three +<span class="pagenum"><a name="page123" id="page123"></a>123</span> +figures personify Lycabettos, between Pentelicon and +Hymettos.</p> + +<p>Of the three figures D, E, F, only one fragment, now +at Athens, has been identified, representing the left knee +of a seated figure, with the right hand of a boy resting +on it, and thus corresponding with Carrey's drawing of +the seated figure on whose knee the boy Erysichthon rests +his right hand. A cast of this fragment is exhibited in +a Wall-Case (No. 339, <i>8</i>). A fragment, now at Athens +with the drapery on the right side of a figure seated on a +rock, has been conjecturally assigned by Michaelis (pl. 8, +fig. 5) to figure D or U. A cast is exhibited, No. 339, <i>7</i>.</p> + +<p>In Dalton's drawing a draped female torso, broken off +at the knees, is placed next to C, which Michaelis +(p. 191), conjectures to be the remains of F. Dalton has +represented this figure with the chiton slipped down from +the right shoulder so as to show the right breast and +side. But the drawing by Pars shows next to C a part +of a figure which accords more with D as drawn by +Carrey. This fragment consists of a right arm bent at a +right angle and advanced, and a line of drapery falling +down the right side below the armpit. There is no reason +to doubt that the figure to which the arm belonged was +in position on the pediment when Pars drew it, and, if +so, Dalton's drawing must be wholly inaccurate in respect +to this figure. (See Michaelis, pl. 8, fig. 2.)</p> + +<p><span class="leftside">304 G.</span> +Next in order in Carrey's drawing is the seated female +figure (G), who acts as charioteer to Athenč, and who has +been generally recognised as Nikč. The only fragment +which can be attributed with any probability to this +figure is the head, obtained from Venice by Count de +Laborde (No. 339, <i>1</i>). A cast is exhibited in the Elgin +Room.</p> + +<p><span class="leftside">304 H.</span> +Hermes (?).—In the background, between the figure G +and the horses, Carrey gives a male figure (H), who looks +<span class="pagenum"><a name="page124" id="page124"></a>124</span> +back at the charioteer, while he moves forward in the +same direction as the horses. The figure drawn by Carrey +has been generally recognised in the torso in the Museum +which has lost the head and lower limbs since Carrey's +time, and is probably the same torso which Dalton represents +lying on the bed of the pediment. This figure has +been called Erechtheus, Erichthonios, Ares, Cecrops, +Theseus, Pan, or Hermes. He is evidently aiding the +charioteer in the management of the horses; an office +very appropriate to Hermes, whose general character as a +guide is expressed by such epithets as <ins title="Greek: pompaios"> +πομπαῖος</ins>, and who +on other monuments is represented conducting a chariot.</p> + +<p>The drapery which hangs at the back of the torso +evidently represents a chlamys, which must have been +fastened in front just above the left clavicle, where a hole +is pierced to receive a metallic fastening. There is +another hole between the collar-bones. The right arm +was probably advanced nearly in a horizontal direction; +the left arm may have had the elbow a little drawn back; +and a portion of the chlamys evidently passed round this +arm, and was probably twisted round it, a fashion of +drapery characteristic of Hermes. Among the fragments +of the Parthenon at Athens is a small piece of the left +shoulder of this figure, a cast of which has been adjusted +to the marble in the Museum. The remains of the left +thigh show that the left leg was advanced as in Carrey's +drawing. The fragments described below, Nos. 339, <i>9</i>, +and 339, <i>10</i>, may belong to this figure. A fragment of +plinth, with two feet, sometimes assigned to it, is described +below, No. 329.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pl. 15; Michaelis, pl. 8, fig. 3. +</p> + +<p><span class="leftside">304 L, M.</span> +Athenč and Poseidon.—The Athenč of which L is the +remnant is drawn by Carrey moving rapidly to the left; +her right arm, broken off above the elbow, is advanced +<span class="pagenum"><a name="page125" id="page125"></a>125</span> +horizontally in the same direction. Her left arm is +broken off below the shoulder; she wears a long chiton, +over which is a diploďdion, reaching to the hips, and +falling in a fold over the girdle. The ćgis, folded like a +narrow band, passes obliquely across the bosom between +the breasts, and has extended from the right shoulder +round the left side, and probably across the back. It is +scalloped on its lower edge, and at the points holes are +pierced for the attachment of serpents of metal. In the +centre of the ćgis is another hole, in which a circular +object six inches in diameter, doubtless a Gorgoneion, +has been fixed. Carrey's drawing shows the base of +the neck, which was broken off before the time of Lord +Elgin. It has been recognised among the fragments +on the Acropolis, and a cast of it is now adjusted to the +marble. It is evident from this that the head of the +goddess was turned towards her antagonist.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pl. 16; Michaelis, pl. 8, fig. 13. +</p> + +<p><span class="leftside">304 M.</span> +The torso of Poseidon is made up of three parts. The +fragment with the shoulders and upper part of the chest +was removed by Lord Elgin; the fragment containing +the remainder of the breast and the abdomen nearly to +the navel has been since discovered, and the original is +at Athens. Since this torso was engraved in the work of +Michaelis (pl. 8, fig. 16), a small piece has been added +to the lower part of the abdomen. It appears from +Carrey's drawing that Poseidon was starting back in +a direction contrary to that of Athenč, with the weight +of his body thrown on the left knee, which is bent. +Carrey's drawing shows the same portion of the right +upper arm, which is preserved. It is raised with +the shoulder and may have been extended in a nearly +horizontal direction. The head in Carrey's drawing is +slightly inclined over the right shoulder. At the back +<span class="pagenum"><a name="page126" id="page126"></a>126</span> +the upper part of the shoulders is roughly cut away; the +chiselling does not appear to be ancient, but may have +been done after the figure had fallen from the pediment. +The upper part of this torso is remarkable for the grandeur +of the lines.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pl. 17; Lower part, Michaelis, pl. 8, fig. 16; +Laborde, <i>Le Parthénon</i>. The two parts are combined, Overbeck, +<i>Gr. Plast.</i>, 3rd ed., I., p. 312, fig. 65; <i>Stereoscopic</i>, No. 101. +</p> + +<p>Though we know from Pausanias that the strife between +Athenč and Poseidon for the soil of Attica was the subject +of the western pediment, the exact action represented by +the central group cannot be determined. Most writers +suppose that the combatants have produced their respective +tokens, and that the strife is just decided. Among +the fragments found on the Acropolis were three which +are certainly parts of an olive-tree (Michaelis, pl. 8, +fig. 15). The scale of these fragments, casts of which are +exhibited (see below, Nos. <a class="ask" href="#n339-15">339, <i>15-17</i></a>), would be suitable +for a tree placed in the centre of the pediment between +the two contending deities. If these fragments belong to +the Parthenon (of which there is no positive proof), it +seems natural to suppose that Athenč is represented as +having produced her olive, which stood in the centre of +the pediment, and was fixed in a rectangular socket, well +adapted to support it (Sauer, <i>Athenische Mittheilungen</i>, +xvi., pl. 3, p. 72). In this case the two gods are seen +starting asunder, but looking inwards, after the decisive +moment. The salt spring produced by the trident of +Poseidon may also have had a place in the composition, +though no trace of it is to be found either among the +fragments or in Carrey's drawing.</p> + +<p>The chief divergent theory is that of Stephani, who published +a vase-painting representing the contest (<i>Compte +Rendu</i>, 1872, pl. 1, p. 5; <i>Journ. of Hellenic Studies</i>, iii., +p. 245). In that design Poseidon and Athenč form an +<span class="pagenum"><a name="page127" id="page127"></a>127</span> +antagonistic group, which in composition presents some +resemblance with the central group in the pediment. +The olive-tree is placed between them, and Poseidon +controls, with his left hand, the upspringing horse. +Stephani argues from the vase-painting that Pheidias +made Poseidon produce the horse—a variant tradition, of +which there are traces in late literature—that Poseidon +was represented striking the ground with his trident and +Athenč striking it with her lance to produce the tokens, +which are shown, by anticipation, in the pediment itself. +It is more likely that on the vase the tokens have been +produced and Poseidon attacks, while Athenč defends the +olive. But neither in the protagonists nor in the rest of +the design on the vase is there that close correspondence +in type and action which would justify the conclusion +that the vase-painter copied directly any portion of the +pedimental composition. On the other hand, considerable +portions of the bodies of three horses in addition to those +represented by casts in the British Museum (No. 341) +have been discovered in the excavations on the Acropolis +(Sauer, <i>Athenische Mittheilungen</i>, xvi., pl. 3, p. 73), and +there can be little doubt that the figure known as +Amphitritč (O) acted as the charioteer of Poseidon, and +drove a pair of horses which corresponded closely to the +team of Athenč, and completed the symmetry of the composition. +Inasmuch therefore as each deity has a similar +pair of horses, it is impossible to regard those of Poseidon +as his distinctive token in the combat.</p> + +<p>If we assume that this second pair of horses was +attached to the chariot of Poseidon, room may be found +for a representation of the salt spring either between +the left leg of the Sea-god and the forelegs of his chariot +horses, or beneath the horses.</p> + +<p class="indent"> +For the vase picture already referred to, see also de Witte, in the +<i>Monuments Grecs de l'Association pour l'encouragement des études</i> +<span class="pagenum"><a name="page128" id="page128"></a>128</span> +<i>Grecques</i>, No. 4, 1875; Brunn, <i>Sitzungsber. d. k. bayer. Akad. +Phil.-hist. Cl.</i>, 1876, p. 477; and Petersen, <i>Arch. Zeit.</i>, 1875, +p. 115. For more recent discussions on the subject of the dispute +between Athenč and Poseidon, see Robert in <i>Hermes</i>, XVI., p. 60, +and in <i>Athenische Mittheilungen</i>, VII., p. 48; Petersen in <i>Hermes</i>, +XVII., p. 124; E. A. Gardner, in <i>Journ. of Hellen. Studies</i>, III., +p. 244; Wolters, p. 259. +</p> + +<p><span class="leftside">304 N.</span> +This figure, which may have been a Nereid, has been +entirely lost since the time of Dalton, unless we identify +it with the supposed Victory of the east pediment. (See +No. <a class="ask" href="#n303-j">303 J</a>.)</p> + +<p><span class="leftside">304 O.</span> +Amphitritč.—In Carrey's drawing this torso appears +as a seated figure, the right foot on a higher level than +the left, the left arm drawn back as if holding the reins; +between the feet appears the head either of a dolphin or a +marine monster. The head, left hand, and apparently +the right arm of Amphitritč are wanting. According +to Dalton's imperfect drawing, the figure had in his time +lost the left forearm and left leg. The torso at present +wants the head, right arm from the shoulder, left arm +from below the shoulder, and all the lower limbs except +the upper part of the left thigh. The body is clad in a +long chiton without sleeves; an upper fold falls over the +bosom as low as the waist, passing under a broad girdle +such as would be suitable for charioteers. A small mantle +passes obliquely across the back, one end passing over the +left shoulder and under the left arm; the other had passed +over the right shoulder. The places where metallic ornaments +were attached on this figure are marked by five +holes pierced in the marble, one of which is on the base +of the neck, one on the right shoulder at the fastening of +the chiton, and three on the left shoulder. On the inside +of the left thigh are folds of fine drapery; the surface of +the outside still shows that the chiton had been open at +the side, <i>schistos</i>, as in Carrey's drawing. It should be +noted that this figure was not seated, as Carrey has drawn +<span class="pagenum"><a name="page129" id="page129"></a>129</span> +it, but must have been standing with the body thrown +back and the arms extended in front, like the charioteer +(No. 33) in the north frieze.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pl. 18; Michaelis. pl. 8, figs. 18, 18<i>a</i>. +</p> + +<p><span class="leftside">304 P, Q.</span> +Leucothea, with boy (?).—Lower limbs of a seated female +figure, which in Carrey's drawing appears on the right of +the Amphitritč, and which then had its head. The head +of the female figure looks out of the pediment; the feet +are placed very close together. In Dalton's drawing this +figure is still in position, but headless. In its present +state, nothing remains of this figure but the lap and legs +to the ankles. On the right of the figure, the body of a +youth (P) appears in Carrey's drawing. The beginning +of the right thigh, with the lower part of the buttock, is +still preserved; of the left thigh, the outline as far as the +knee is preserved on the marble. Three fingers of his +right hand may still be traced on the right knee of the +female figure (Q), where they rest on an end of drapery, +probably his himation, which reappears, wound round his +left thigh. These remains show that the body of this +boy faced the right side of the female figure, pressing +against her. If we assume that she is a marine goddess, +the name Leucothea seems the best attribution, and the +youth at her side would then be Palaemon. A mantle +is thrown over the thighs, falling down between the +knees over the chiton. The folds are deeply undercut, as +if to express the gentle agitation of the drapery by the +movement of a light breeze. In Brunn's topographical +scheme, P Q are the coast of Attica from Munychia to the +Piraeus.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VI., pl. 19; Michaelis, pl. 8, fig. 19. +</p> + +<p><span class="leftside">304 R.</span> +A figure of a child appears in Carrey's drawing on the +right of the figure Q. It is doubtful whether it should +<span class="pagenum"><a name="page130" id="page130"></a>130</span> +be associated most nearly with Q or with the figure next +on the right (S). On the former supposition, the figure +called above Leucothea has been interpreted as Leto with +Apollo and Artemis; as Leda with the Dioscuri; or as +Fostering Earth, <ins title="Greek: Gę Kourotrophos"> +Γῆ +Κουροτρόφος</ins>, +with children. On the latter supposition R has generally been called Eros associated +with Aphroditč (S).</p> + +<p><span class="leftside">304 S, T.</span> +Next in Carrey's drawing comes a draped female figure +(T), seated, in whose lap is a naked figure (S), supposed +by Carrey to be female. This is generally supposed to +be Thalassa, the Sea; the almost entire nudity of the +figure in her lap (S) makes it probable that Aphroditč +is here represented; her position in the lap of Thalassa +would be a way of expressing her sea-born origin. According +to Brunn, T is a personification of Cape Colias, +and the figure of Aphroditč indicates a shrine of that +Goddess which stood on the cape. If, as seems probable, +the naked female figure is Aphroditč, the boy (R) is +probably Eros. Both the female figures were still in the +pediment when Dalton drew it. The marble fragment +(T), representing the right thigh of a draped female +figure seated on a rock, is probably the only extant +remnant of Thalassa. A mantle has been brought round +the lower limbs of this figure, so that one edge of it falls +on the rock on which she is seated. This disposition of +the drapery is indicated in Carrey's drawing. (Michaelis, +pl. 8, fig. 20.)</p> + +<p><span class="leftside">304 U.</span> +Next in Carrey's drawing comes a female figure (U), +seated and draped. This had fallen out of the pediment +when Dalton drew it, and no fragment of it can now be +identified. It had lost the head and arms in Carrey's +time. The figure presents no distinctive characteristic +by which she may be identified. She is probably a marine +deity. Brunn interprets her as a personification of Cape +Zoster.</p> +<span class="pagenum"><a name="page131" id="page131"></a>131</span> + +<p><span class="leftside">304 V, W.</span> +Ilissos or Kephissos and Callirrhoč (?).—(Casts) The +draped female figure (W) reclining in the extreme angle of +the pediment appears in Carrey's drawing leaning on her +right elbow, and with her head turned towards the male +figure (V) who kneels on both knees, inclining his body +towards his companion, and leaning on his left arm. The +manner in which these figures are here associated suggests +an intimate relation between the two; the female figure +has all the characteristics of a local Nymph, and the +flow of her drapery would well accord with an aquatic +type. It seems probable, therefore, that the celebrated +Athenian fountain Callirrhoč may be personified by this +figure, and in that case the male figure next to her (V), +though not in the reclining attitude usually characteristic +of River-gods, may be the Ilissos, out of whose +bed the fountain Callirrhoč rises. Brunn holds that V +is a personification of the Attic coast, Paralia. This, +however, appears, from a recently-discovered inscription, +to be represented as female (<i>Athenische Mittheilungen</i>, +xiii., p. 221); W according to the same archćologist is a +personification of the Myrtoan Sea. Dalton's drawing +shows no indication of either of these figures, though the +lower half of the Callirrhoč is to this day in position on +the pediment. The torso of the male figure had been +broken, and was found in two places in the excavations +on the Acropolis in 1833. The head, arms, and left leg +have disappeared since Carrey's time. The right leg is +doubled up under the figure; the left knee must have +been somewhat higher. This figure is nude with the +exception of a chlamys which falls down the back and +passes in front over the right ankle. For a fragment +which may belong to the left hand, see No. <a class="ask" href="#n339-20">339, <i>20</i></a>. This +agrees with the statement of Sauer (<i>Athenische Mittheilungen</i>, +1891, p. 81), that the figure leant with open hand +on the ground.</p> +<span class="pagenum"><a name="page132" id="page132"></a>132</span> + +<p>The female figure (W) is reclining on her right side; +the right knee has been more bent than the left. The +upper part of the body seems, from the direction of the +folds of the drapery, to have been slightly raised, and to +have rested on the right elbow, as represented in Carrey's +drawing. The dress is a long chiton, over which falls +a diploďdion nearly to the waist. All that remains of the +figure are the right side from below the arm to a little +below the right hip, and parts of both legs wanting the +knees. According to Carrey the left arm of this figure +was raised so that the hand projected beyond the cornice. +Between the figures V and W a hole is pierced in the +bed of the pediment, in which some bronze object was +inserted.</p> + +<p class="indent"> +Figure V., Laborde, <i>Le Parthénon</i>; Michaelis, pl. 8, fig. 21; Figure +W., Michaelis, pl. 8, fig. 22. +</p> +<a name="page132a" id="page132a"></a> +<h3>METOPES OF THE PARTHENON.</h3> + +<p>The metopes of the Parthenon are sculptured blocks +which were inserted in the spaces, <i>metŏpæ</i>, left between +the ends of the beams of the roof. These ends were +represented by slabs, called <i>triglyphs</i>, from the three +parallel vertical bands cut in them. Reference to the +model of the Parthenon will show the relative position +of the metopes and triglyphs.</p> + +<p>The Parthenon had originally ninety-two metopes, thirty-two +of which were on each of the long sides, and fourteen +at each end. Many of these are now only preserved in +the drawings by Carrey, having been destroyed in the +great explosion. Unfortunately, however, Carrey was only +able to sketch the metopes of the south side. Forty-one +metopes still remain on the temple, but are for the most +part so decayed through time and weather that there is +great difficulty in making out their subject. The British +<span class="pagenum"><a name="page133" id="page133"></a>133</span> +Museum possesses fifteen original metopes brought from +Athens by Lord Elgin. His contemporary, Choiseul-Gouffier, +while ambassador at Constantinople, obtained +one more (No. 313), which is now in the Louvre. These +sixteen metopes are all from the south side of the Parthenon, +and their subjects were taken from the contest +between the Centaurs and Lapiths at the marriage-feast +of Peirithoös. The first metope on the south side of the +Parthenon, reckoning from the south-west angle, is still +in position on the temple (Michaelis, pl. 3, 1); the second +on the temple is the first of the series of fifteen in the +Museum.</p> + +<p>The sculpture of the metopes is in the highest relief +attainable in marble, large portions of some of the figures +being carved in the round so as to stand out quite free of +the background. There is a remarkable inequality of +style in the sculpture. Thus, for example, Nos. 319, 320 +show traces of archaic feeling, and while No. 309 appears +to be the work of an indifferent artist, Nos. 310, 316, 317 +are admirable.</p> + +<p><span class="leftside">305.</span> +The Lapith kneels on the back of the Centaur, clasping +his head with his left arm, and pressing the fingers of +his left hand against his windpipe. The Centaur has +been thrown on his right knee; his head is forced back, +his mouth wide open as if uttering a cry of agony. His +left hand vainly endeavours to dislodge the grasp on his +throat, the right hand appears behind the right shoulder of +the Lapith. When drawn by Carrey, the head and right +foot of the Lapith and the right foreleg of the Centaur +still remained. The head of Lapith may be No. 343, <i>6</i>.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 1; Baumeister, <i>Denkmaeler</i>, p. 1175, fig. 1364; +Michaelis, pl. 3, ii.; <i>Stereoscopic</i>, No. 80, A. +</p> + +<p><span class="leftside">306.</span> +The Lapith attacks the Centaur from behind, resting +his right knee on his crupper, and extending forward his +<span class="pagenum"><a name="page134" id="page134"></a>134</span> +right arm to seize the neck of his foe. The Centaur, +standing to the left, turns his human body half round +to meet his adversary. A skin is wound about his left +arm by way of shield. An ample chlamys hangs from +the shoulders of the Lapith, and he wears boots. His +left arm was drawn back to strike. A hole near the +pit between the collar-bones and another on the lowest +left rib show where a sword-belt has been attached. +Two similar holes are to be seen on the body of the +Centaur. These may have served for the attachment of +a bronze weapon held in the right hand. The head +of the Centaur still existed when Carrey drew this metope, +but had disappeared before the time of Stuart.</p> + +<p class="indent"><i>Mus. Marbles</i>, VII., pl. 2; Michaelis, pl. 3, iii.; <i>Stereoscopic</i>, +No. 81.</p> + +<p><span class="leftside">307.</span> +The Centaur is victorious; with both hands raised +above his head, he is about to hurl on his prostrate foe a +large hydria. His equine body is rearing against the +Lapith, who vainly endeavours to defend himself with his +uplifted buckler, while the Centaur strikes at him with +his fore feet. The right forearm of the Lapith, now +wanting, has rested on the ground. A fragment of his +right foot still remaining on the base of the metope below +the left hind leg of the Centaur shows that this leg was +extended nearly at full length, as it is drawn by Carrey. +The heads of both these figures and the right arm of the +Centaur are cast from the originals in the museum at +Copenhagen, which were sent from Athens in 1688 by a +Captain Hartmand, who probably served under Count +Königsmark in Morosini's army. Round the head of the +Lapith is a sinking into which a metallic band or wreath +has been fitted. On the ground under the body of the +Lapith are some folds of his chlamys, a fragment of +which may be traced on his left arm. Michaelis adds +to the Centaur's left hind-leg a hoof and lower part of +<span class="pagenum"><a name="page135" id="page135"></a>135</span> +leg, the original of which is in the museum at Copenhagen; +but he expresses a doubt whether this fragment +does not belong to the right hind-leg. When Carrey +drew the metope, it was nearly perfect. On the upper +margin of the marble still remains the bead and reel +moulding which once ornamented all the metopes, but +of which there are few traces elsewhere.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 7; <i>Stereoscopic</i>, No. 82. For the two heads, +see Bröndsted, <i>Voyages et Recherches</i>, p. 171; <i>Mus. Marbles</i>, VII., +pl. 17; Michaelis, pl. 3, iv. +</p> + +<p><span class="leftside">308.</span> +When Carrey saw this metope, the figure of the Lapith, +now wanting, was still extant, and we must therefore +supply the motive of the group by reference to his drawing +(fig. 9). In the original composition, the Centaur, +rearing up against his antagonist, grasps the Lapith's +right thigh between his forelegs, extending his left arm +towards him, probably to seize the hair of his head. The +Lapith with extended right arm is trying to keep the +Centaur at arm's length, while he struggles to escape; his +left arm must have been raised. The right arm of the +Centaur must have been drawn back to strike. All that +<span class="pagenum"><a name="page136" id="page136"></a>136</span> +now remains of the Lapith is a portion of the right wrist +attached to the Centaur near his throat. A skin, fastened +round the Centaur's neck, flies behind his back, falling +over his left upper arm.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 5; Michaelis, pl. 3, v.; <i>Stereoscopic</i>, No. 83. +</p> + +<div class="figcenter" style="width: 600px;"><a href="images/12fig9-1000.png"><img src="images/12fig9-600.png" width="600" height="302" alt="Fig. 9.—Metopes 308, 309, from Carrey." /></a> +<p class="center">Fig. 9.—Metopes 308, 309, from Carrey.</p></div> + +<p><span class="leftside">309.</span> +In this metope, as drawn by Carrey (fig. 9), the right arm +of the Lapith is raised with the forearm bent; the right +hand, which probably held a sword, was already broken +off in Carrey's time. His drawing gives the head and +part of the right upper arm of the Centaur, and the left +leg and half the right leg of the Lapith, but not his head. +The Centaur, while pressing his left hand on the left +shoulder of the Lapith, draws back a little from the blow +with which he is menaced. The action of both figures +is rather tame, and the victory undecided. An ample +chlamys is shown falling at the back of the Lapith. +Part of the right hind leg of the Centaur has been +added in plaster from the marble fragment now at +Athens.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 15; Michaelis, pl. 3, vi.; <i>Stereoscopic</i>, No. 84. +</p> + +<p><span class="leftside">310.</span> +The Lapith presses forward, advancing his left hand to +seize the rearing Centaur by the throat, and forcing him +on his haunches; the right arm of the Lapith is drawn +back, as if about to strike; his right hand, now wanting, +probably held a sword: a mantle fastened on the right +shoulder falls over the left arm like a shield, and flies +back behind. The Centaur, rearing up against his +antagonist, tries in vain to pull away the left hand of the +Lapith, which, in Carrey's drawing, he grasps. The head +of the Centaur is a cast from the original at Athens. +From the shoulders of the Centaur hangs a small +chlamys; the folds fly behind, and show the violence and +swiftness of the action. The head of the Lapith is a cast +<span class="pagenum"><a name="page137" id="page137"></a>137</span> +from the original, which is now in the Louvre. Carrey's +drawing gives the missing parts of the legs of this group. +This is, perhaps, the finest of all the metopes in the +Museum. The action is most spirited, and the modelling +very thorough and masterly.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 3; Michaelis, pl. 3, vii.; <i>Stereoscopic</i>, No. 85; +Waldstein, in <i>Journ. of Hellen. Studies</i>, III., pl. 23, p. 228; +<i>Essays</i>, pls. 1, 2, p. 97. +</p> + +<p><span class="leftside">311.</span> +The Lapith is kneeling on his right knee. The Centaur, +the human portion of whose body is broken away, presses +down his antagonist. From Carrey's drawing, taken +when this metope was nearly complete, we learn what +the action was. He represents the Centaur bending over +the kneeling Lapith, and raising his right hand to strike +a deadly blow at his antagonist, who looks up with his +head thrown back, and stretches out his left arm towards +the breast of the Centaur. A chlamys hangs down from +the left arm of the Lapith. His right arm, which was +lost in the time of Carrey, must have been raised. The +right hind foot of the Centaur rests on a rock.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 6; Michaelis, pl. 3, viii.; <i>Stereoscopic</i>, No. 86. +</p> + +<p><span class="leftside">312.</span> +The Centaur has again the advantage. The Lapith is +thrown down over a large wine vessel, <i>pithos</i>; the Centaur +has grasped his left leg with his left hand, rolling him +back on the jar. The Lapith seizes his antagonist by the +beard with his left hand, while his right arm, now broken +off, has been vainly extended behind him, seeking some +support. The right thigh of this figure, the head and +part of the right arm of the Centaur are casts from three +fragments at Athens. Carrey's drawing gives the left +arm and side of the Centaur, as well as his head. The +head and right arm and hand of the Lapith are also shown +in his drawing, but not the portion of right thigh which +<span class="pagenum"><a name="page138" id="page138"></a>138</span> +has recently been added. The wine vessel in this metope, +and the hydria in No. 307, indicate the wedding feast of +Peirithoös as the scene of the contest.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 4; Michaelis, pl. 3, ix.; <i>Stereoscopic</i>, No. 87. +</p> + +<p><span class="leftside">313.</span> +This metope is a cast from the one removed by Choiseul-Gouffier +when French ambassador at the Porte, about the +year 1787, and now in the Louvre. The group represents +a Centaur carrying off a Lapith wife or maiden. The +Centaur is rearing up; he grasps the woman between his +forelegs. His left hand presses against her left side, and +it appears from Carrey's drawing of this metope that his +right hand grasped her right wrist. With her left hand +she is vainly endeavouring to loosen his grasp round her +waist, and to readjust her disordered drapery. She wears a +chiton with diploďdion fastened on the right shoulder with +a brooch. In the struggle the chiton has fallen from the +left shoulder. On her right foot is a sandal with a thick +sole; her left foot is broken off above the ankle. Carrey's +drawing gives this foot resting on a rock, also other parts +of the group which are now wanting.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 16; Michaelis, pl. 3, x.; <i>Stereoscopic</i>, No. 88. +</p> + +<p>The next metope in order on the Parthenon is now +only preserved in Carrey's drawing, which represents +a Lapith armed with a shield, who seems to be stabbing +the Centaur in the belly. The Centaur grasps the edge +of the shield with his left hand. A fragment of this +shield with the left arm of the Lapith inside and the +fingers of the Centaur on the rim exists at Athens; cf. +No. 343, <i>1</i>.</p> + +<p class="indent"> +Michaelis, pl. 3, xi. +</p> +<a name="n314" id="n314"></a> +<p><span class="leftside">314.</span> +This metope is cast from the original in the Acropolis +Museum at Athens. It represents a Centaur seizing a Lapith +<span class="pagenum"><a name="page139" id="page139"></a>139</span> +wife or maiden. Carrey's drawing gives the head, left foreleg +from the knee, and left hindleg of the Centaur, and the +right arm of the female figure, all which parts are now +wanting. The group presents a somewhat involved and +complicated composition. The Centaur grasps the female +figure's left arm with his left hand; his right arm, not +shown, we must suppose to be passing round the back of +her waist. While the left foreleg of the Centaur is firmly +planted on the ground, his right foreleg clasps the left +leg of the female figure, pressing at the back of her knee, +so as to throw her off her balance. Her dress, a chiton +with a diploďdion, is disordered in the struggle. The +action of her right hand, as drawn by Carrey, indicates +that she is attempting to readjust the upper part of her +chiton. Her right leg from the knee to the ankle is +supplied by a cast from a fragment at Athens; the foot +is cast from another fragment, of which the original, +No. 342, <i>1</i>, exhibited in a Wall Case, probably belonged to +the Elgin Collection. The action of this leg is awkward +and ungainly.</p> + +<p class="indent"> +Michaelis, pl. 3, xii.; <i>Stereoscopic</i>, No. 96<span class="sc">a</span>. +</p> + +<p>Next follow in Carrey's drawings thirteen metopes +(Michaelis, xiii.-xxv.) of which we have only a few fragments. +Of these the first eight (xiii.-xx.) represent +subjects of which the import is unknown, and in which +draped female figures predominate. Nos. xxii.-xxv. represent +combats between Centaurs and Lapiths or Lapith +women. If we suppose that No. xxi., which represents +two women standing by an archaic statue as if for sanctuary, +belongs to the Centaur series, then twelve metopes +at each end of the south side, namely, i.-xii., xxi.-xxxiii. +are devoted to this subject, while the eight central metopes +are an independent series.</p> + +<p>Fragments have been recognised as belonging to the +<span class="pagenum"><a name="page140" id="page140"></a>140</span> +thirteen metopes which have been destroyed since the +time of Carrey. They are more fully described below.</p> + +<table summary="Metopes" align="center" width="auto"> + +<tr> + <td class="center1">Metope</td> + <td class="left2">XIII (?).</td> + <td class="left2">Breast. See No. <a class="ask" href="#n342-5">342, <i>5</i></a>.</td> +</tr> +<tr> + <td class="center1">"</td> + <td class="left2">XIV.</td> + <td class="left2">Male torso. See No. <a class="ask" href="#n342-2">342, <i>2</i></a>.</td> +</tr> +<tr> + <td class="center1">"</td> + <td class="left2">XV (?).</td> + <td class="left2">Arm. See No. <a class="ask" href="#n342-6">342, <i>6</i></a>.</td> +</tr> +<tr> + <td class="center1">"</td> + <td class="left2">XVI.</td> + <td class="left2">Male head and torso. See No. <a class="ask" href="#n342-3">342, <i>3</i></a>.</td> +</tr> +<tr> + <td class="center1">"</td> + <td class="left2">XVII.</td> + <td class="left2">Male torso. See No. <a class="ask" href="#n342-2">343, <i>2</i></a>. Fragment of lyre(?) + See No. <a class="ask" href="#n342-3">343, <i>3</i></a>.</td> +</tr> +<tr> + <td class="center1">"</td> + <td class="left2">XIX.</td> + <td class="left2">Arm and drapery. See No. <a class="ask" href="#n342-7">342, <i>7</i></a>.</td> +</tr> +<tr> + <td class="center1">"</td> + <td class="left2">XX.</td> + <td class="left2"> Hand with roll. See No. <a class="ask" href="#n343-4">343, <i>4</i></a>. Draped + thigh. See No. <a class="ask" href="#n342-4">342, <i>4</i></a>.</td> +</tr> +<tr> + <td class="center1">"</td> + <td class="left2">XXIV.</td> + <td class="left2">Torso of Lapith. See No. <a class="ask" href="#n343-5">343, <i>5</i></a>.</td> +</tr> +</table> + +<p><span class="leftside">315.</span></p> + +<p>This metope, the 26th in the original series, is from the +eastern half of the south side of the temple. It represents +a contest between a Centaur and Lapith. The Centaur, +rearing, has raised his arms above his head, in order to +strike his antagonist with some weapon, perhaps a branch +of a tree. His antagonist thrusts the toes of his left foot +against the equine chest of the Centaur between his +forelegs, and, pressing his left hand against his adversary's +right elbow, is trying to force him back on his haunches. +His right arm, now wanting, has been drawn back to deal +a blow; its position is marked by a projection on the +ground of the relief. A chlamys hangs down at his back. +From the want of apparent support for the right foot of +the Lapith, the action of this figure appears weak and +undecided. On the left upper arm are two holes for the +attachment of some object, perhaps an end of drapery +hanging free in front of the arm. Another hole on the +flank of the equine portion of the Centaur, between the +ribs and haunch, shows where the end of a skin, hanging +down from the back, may have been attached. Parts of +the right hind leg appear to have been attached by metal +<span class="pagenum"><a name="page141" id="page141"></a>141</span> +rivets. Carrey's drawing shows that this metope has +suffered little since his time.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 8; Michaelis, pl. 3, xxvi.; <i>Stereoscopic</i>, No. 89. +</p> + +<p><span class="leftside">316.</span> +In this metope, the 27th in the original series, the +Centaur, wounded in the back, attempts to fly, but is +checked by the Lapith, whose left hand grasps him round +the left side of the head, while his left leg presses against +his hind-quarters. The right arm of the Lapith is drawn +back to deal a blow, perhaps with a lance. The Centaur, +rearing up in agony, presses his right hand against the +wound in his back; his left arm, now wanting, must have +been raised, as appears from Carrey's drawing, in which +a small piece of the upper arm is given. The left foot of +the Lapith presses firmly against a rock. A mantle falls +over both arms, hanging in festoons behind his back. +Carrey's drawing gives both the head, and right leg, and +part of the right forearm of the Lapith. In composition +and execution this is one of the finest of the extant +metopes.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 9; Baumeister, <i>Denkmaeler</i>, p. 1176, fig. 1365; +Michaelis, pl. 3, xxvii.; <i>Stereoscopic</i>, No. 90. +</p> + +<p><span class="leftside">317.</span> +In this metope, the 28th in the original series, the +Centaur is victorious; the Lapith lies dead under his feet. +Brandishing the lion's skin on his extended left arm with +a triumphant gesture, and lashing his tail, the Centaur +rushes forward to meet a new foe, with the ends of the +lion's skin flying behind him. His right arm, now wanting, +must have wielded the weapon with which he has +slain the Lapith. The Lapith lies on his chlamys, his +head thrown back, his right leg bent up, his right hand +lying over his right flank, his whole form relaxed by +death. Carrey's drawing gives the head, left foreleg, +and greater part of the right arm of the Centaur, but +wholly misinterprets the figure of the Lapith. For +<span class="pagenum"><a name="page142" id="page142"></a>142</span> +dramatic power in the conception and truth in the modelling +of the forms, this metope is unrivalled.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 10; Baumeister, <i>Denkmaeler</i>, p. 1177, fig. 1366; +Michaelis, pl. 3, xxviii.; <i>Stereoscopic</i>, No. 91. +</p> + +<p><span class="leftside">318.</span> +In this metope, the 29th of the original series, the +Centaur is carrying off a Lapith woman. Clasping her +firmly round the waist with his left hand, he has raised +her from the ground. We see from Carrey's drawing +that his right hand, now wanting, grasped her right arm +above the elbow, so as to make her efforts to escape of no +avail; with her left hand she vainly endeavours to loosen +his hold round her waist. The disorder of her drapery +shows the violence of the struggle. Her chiton has +slipped from its attachment on the left shoulder, leaving +her left breast exposed. Over her left arm is the end of +a mantle, which, passing round her back, and twisted +over her right arm, floats unconfined behind the Centaur. +His head has the pointed ears which are characteristic +of the semi-bestial type, but which do not occur on the +other heads of Centaurs in these metopes. Carrey's +drawing gives the head of the female figure, and the +right arm and tail of the Centaur. There are traces of +the bead and reel moulding on the margin of this metope. +The drapery is beautifully wrought, but the design in its +present condition seems rather tame.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 11; Michaelis, pl. 4, xxix.; <i>Stereoscopic</i>, No. 92. +</p> + +<p><span class="leftside">319.</span> +This metope, the 30th in the series, much resembles +No. 311, both in composition and in style. The Lapith has +fallen with his left leg bent under him; his left arm +rests on a stone, which he grasps in his left hand. His +right hand, which is disarmed, presses feebly against the +left side of the Centaur, who with his left hand seizes the +hair of his antagonist, and presses his left forefoot on his +right thigh, drawing back his right arm to deal a blow. +The countenance of the Lapith expresses bodily pain, +<span class="pagenum"><a name="page143" id="page143"></a>143</span> +as if he had just been half stunned by a blow on the +head. His bent knee does not yet touch the ground, +but the action of the Centaur deprives him of all chance +of recovering his erect position. A lion's skin floats in +the air at the back of the Centaur. A chlamys hangs +from the right arm of the Lapith, and passes behind his +back. The treatment of both the heads is a little austere, +but the bodies are well modelled, and the composition is +finely conceived. There are on this metope some remains +of the bead and reel moulding on the upper margin.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 12; Michaelis, pl. 4, xxx.; <i>Stereoscopic</i>, No. 93. +</p> + +<p><span class="leftside">320.</span> +In this metope, the 31st of the original series, the +Centaur seems to have the advantage. The Lapith has, +with his right hand, seized him by the hair, pressing his +right knee on the Centaur's breast; his left arm is drawn +back, and has been slightly bent at the elbow. The +Centaur, rearing up, grasps his antagonist by the throat, +twisting his forelegs round the Lapith's right leg, so as +to paralyse its action. The position of the Centaur is +obviously much the stronger, and the bent left knee of +the Lapith indicates that he is tottering. We do not +know what weapon he held in his hand. The composition +in this metope is very good. In the faces there is the +same austere character as in No. 319. This metope seems +in the same state as when drawn by Carrey.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 13; Baumeister, <i>Denkmaeler</i>, p. 1178, +fig. 1367; Michaelis, pl. 4, xxxi.; <i>Stereoscopic</i>, No. 94. +</p> + +<p><span class="leftside">321.</span> +In this metope, the 32nd of the original series, the +Centaur has seized the Lapith by the back of his head +with his left hand, of which a fragment is still visible. +His right arm has been drawn back to deal a blow, +probably with a spear. The left foreleg passes round +the loins of the Lapith, while the other foreleg has been +locked round his right thigh. His adversary, firmly +planted on the ground with his right leg advanced, has +<span class="pagenum"><a name="page144" id="page144"></a>144</span> +drawn back his left arm to prepare a blow, probably with +a sword. The action of his right shoulder shows that he +has seized the Centaur by the hair with his right hand. +A drawing by Feodor, one of the artists employed by +Lord Elgin at Athens, shows that the left arm and left +leg of the Lapith, now wanting, were then perfect, +and that he may have worn a bronze helmet up to the date +when the drawing was made. The direction of the missing +portions of the left arm and leg is indicated by projections +on the ground of the relief. The right arm was +wanting from the elbow. In Carrey's drawing, all the +right arm of the Centaur is given; but his legs were +mutilated.</p> + +<p class="indent"> +<i>Mus. Marbles</i>, VII., pl. 14; Michaelis, pl. 4, xxxii.; <i>Stereoscopic</i>, +No. 95. +</p> + +<p>Of the thirty-two metopes which originally adorned +the north side of the Parthenon, only twelve (i.-iii. and +xxiv.-xxxii. of Michaelis, pl. 4) remain in their original +position, and three of these (ii., xxvi., xxx.) are so defaced +that their subjects cannot be made out. In the explosion +of 1687, twenty metopes (iv.-xxiii.) were destroyed, all +but a few fragments. The subjects of the metopes which +have perished may have been the combats of Centaurs +and Lapiths. Michaelis supposes xxiv., xxv. to represent +a scene from the taking of Troy.</p> + +<p><span class="leftside">322.</span> +The only metope from the north side, of which a +cast is exhibited in the British Museum, is the last of the +series, at the north-west angle of the temple. It represents +a draped female figure seated on a rock, towards +whom advances from the left another draped female +figure, extending forward her left hand muffled in +drapery. Both figures wear talaric chitons, over which +fall diploďdia and mantles. The figure advancing wears +sandals. The folds of the drapery are very rich and +abundant. There is a careful drawing of this metope by +<span class="pagenum"><a name="page145" id="page145"></a>145</span> +Feodor in the British Museum, taken when it was in a +considerably better state.</p> + +<p class="indent"> +Michaelis, pl. 4, xxxii.; <i>Stereoscopic</i>, No. 96. +</p> + +<p>On the western front of the Parthenon all the fourteen +metopes, except vi. and vii., remain in position on the +temple, but their surface has been so much injured, that +their subjects cannot be made out. The best preserved +of these metopes appear to represent a battle of Greeks +against Amazons.</p> + +<p><span class="leftside">323.</span> +This is a cast from the first of the metopes of the west +side, and represents a figure mounted on a horse, moving +to the right, with the right hand drawn back as if aiming +a spear, and having a chlamys flying behind. If the +metopes on this front represented an Amazonomachia, +this figure may be an Amazon. The surface is much +damaged. A drawing by Pars in the British Museum +makes this a male figure.</p> + +<p class="indent"> +Michaelis, pl. 5, West side, i.; <i>Stereoscopic</i>, No. 80. +</p> + +<p>The corresponding metopes on the east side of the +Parthenon remain on the building, but have all suffered +great injury. They appear to have represented scenes +from the war of the gods and giants.</p> + +<p class="indent"> +Michaelis, pl. 5, East side, i.-xiv. +</p> +<a name="page145a" id="page145a"></a> +<h3>THE FRIEZE OF THE PARTHENON.</h3> + +<p>The Frieze of the Parthenon is a continuous band of +sculpture in low relief, which encircled and crowned the +central chamber or cella of the temple, together with the +smaller porticoes that immediately adjoined each end of it.</p> + +<p>The frieze is nearly 3 ft. 4 in. high. The height of the +relief is somewhat greater at the top than at the bottom. +At the top the height of the relief may be as much as +<span class="pagenum"><a name="page146" id="page146"></a>146</span> +2¼ inches, with an average height of about 1½ inch. At the +bottom it varies between low relief and about 1¼ inch. +The whole surface of the relief is thus slightly tilted over +towards the spectator, in order to compensate as far as +possible for the disadvantageous conditions under which +the frieze had to be viewed. The length of each end of +the Parthenon frieze was 69 ft. 6 in.; the length of each +long side was 191 ft. 11 in. The length of the entire +frieze was therefore 522 ft. 10 in.</p> + +<p>The frieze, which was nearly complete in the time of +Carrey, suffered greatly in the explosion, particularly +about the middle of the two long sides. Unfortunately, +however, Carrey only made drawings of the west end; the +east end, except its central slab which had been taken +down; about 74 feet in the middle of the south side; and +about 78 ft. 6 in. at the east end of the north side. Stuart +and Pars drew a considerable amount of the frieze, but not +much of what has since been entirely lost. The following +table shows approximately the state of the whole frieze.</p> + +<table summary="approximately the state of the whole frieze." align="center" width="auto" border="0" style="border-collapse: collapse;"> +<tr> + <th class="border" style="border-left: 1px solid black;"> </th> + <th class="border">East.</th> + <th class="border">South.</th> + <th class="border">West.</th> + <th class="border">North.</th> + <th class="border">Total.</th> +</tr> +<tr> + <td class="grid" style="border-left: 1px solid black;"> </td> + <td class="grid"> ft. in. </td> + <td class="grid"> ft. in. </td> + <td class="grid"> ft. in. </td> + <td class="grid"> ft. in. </td> + <td class="grid"> ft. in. </td> +</tr> +<tr> + <td class="grid" style="border-left: 1px solid black;"> Originals in the British Museum </td> + <td class="grid"> 43 0</td> + <td class="grid"> 108 6½</td> + <td class="grid"> 7 2</td> + <td class="grid"> 82 6</td> + <td class="grid"> 241 2½ </td> +</tr> +<tr> + <td class="grid" style="border-left: 1px solid black;"> Casts in the British Museum </td> + <td class="grid"> 21 2</td> + <td class="grid"> 33 9½</td> + <td class="grid"> 62 4</td> + <td class="grid"> 54 8</td> + <td class="grid"> 171 11½</td> +</tr> +<tr> + <td class="grid" style="border-left: 1px solid black;"> Preserved only in the drawings of Carrey </td> + <td class="grid"> 3 4</td> + <td class="grid"> 27 6</td> + <td class="grid"> ..</td> + <td class="grid"> 20 7</td> + <td class="grid"> 51 5</td> +</tr> +<tr> + <td class="grid" style="border-left: 1px solid black;"> Preserved only in the drawings of Stuart </td> + <td class="grid"> ..</td> + <td class="grid"> 0 6 </td> + <td class="grid"> ..</td> + <td class="grid"> 2 9</td> + <td class="grid"> 3 3</td> +</tr> +<tr> + <td class="grid" style="border-left: 1px solid black;"> Drawn by Carrey and Stuart but not <br /> otherwise preserved </td> + <td class="grid1"> 2 0</td> + <td class="grid1"> ..</td> + <td class="grid1"> ..</td> + <td class="grid1"> 5 7</td> + <td class="grid1"> 7 7</td> +</tr> +<tr> + <td class="grid" style="border-left: 1px solid black;"> Total existing or recorded </td> + <td class="grid"> 69 6</td> + <td class="grid"> 170 4 </td> + <td class="grid"> 69 6 </td> + <td class="grid"> 166 1</td> + <td class="grid"> 475 5</td> +</tr> +<tr> + <td class="grid" style="border-left: 1px solid black;"> Lost without a record</td> + <td class="grid1"> ..</td> + <td class="grid1"> 21 7</td> + <td class="grid1"> ..</td> + <td class="grid1"> 25 10</td> + <td class="grid1"> 47 5</td> +</tr> +<tr> + <td class="grid2" style="border-left: 1px solid black;"> Grand Total</td> + <td class="grid2"> 69 6</td> + <td class="grid2"> 191 11</td> + <td class="grid2"> 69 6</td> + <td class="grid2"> 191 11</td> + <td class="grid2"> 522 10</td> +</tr> +</table> + +<span class="pagenum"><a name="page147" id="page147"></a>147</span> +<p> +The subject of the frieze of the Parthenon has been +considered, by most of the writers who have discussed +it, to be connected with the Panathenaic procession at +Athens. Those who have held a different view have +been the early travellers, such as Cyriac of Ancona, who +described the subject of the frieze as 'Athenian victories +in the time of Pericles,' and a few recent authors. +Davidson (<i>The Parthenon Frieze</i>) sees in the frieze a representation +of a Panhellenic assembly, which Pericles +tried to collect at Athens without success. Weber and +Boetticher held that the scene represented is the preparation +and rehearsal, rather than the procession itself. +C. Petersen thought that different festivals are represented +on different sides* (cf. Michaelis, p. 205).</p> + +<p class="footnote">* The frieze of the Parthenon records in sculpture the passionate +delight with which Greeks, and more particularly Athenians (cf. Hel. +<i>Aeth.</i>, III. 1), regarded festal processions.</p> + +<p class="footnote">A vivid commentary on the Parthenon frieze is to be found in the third +book (chaps, i.-iii.) of the <i>Aethiopica</i> of the novelist Heliodorus. The +passage adds the sound, colour, and movement needed for a complete conception +of the scene. The writer, however, is describing the procession of +a Thessalian embassy at Delphi, and some of the details only partially agree +with those of the frieze. "The Hecatomb led the procession, escorted by +men initiated in the mysteries. These were somewhat rustic in dress and +manner, and had their white tunics closely girded. The right shoulder +and breast were bare, and they carried an axe in the right hand. The +bulls were followed by a crowd of other victims, each kind being led +separately and in order. Meanwhile flute and pipe were playing a melody +which was, as it were, an introduction to the sacrifice. The cattle and +their escort were followed by maidens with flowing hair. They were in +two troops; the first carried baskets of fruits and flowers, the second +troop carried flat baskets (<ins title="Greek: kana kanęphorousai">κανᾶ +κανηφοροῦσαι</ins>) +with sweetmeats and +incense, and filled the place with sweet smells. They bore their burdens +on their heads leaving their hands free, and kept their ranks true both +from front to rear and from side to side, that they might march and +dance while the first troop gave the time, singing a hymn in honour of +Thetis. The troops were so harmonious and the sound of marching was +so accurately timed to the song, that hearing seemed better than seeing, +and the spectators followed the maidens as they passed as if they were +drawn by the melody. But at length the appearance of the youthful +cavalry and of its leader proved that a noble sight was better than any +music. There were fifty ephebi, in two troops of five-and-twenty, acting +as body-guard of the leader of the embassy. Their boots were laced with +purple thongs, and tied above the ankle. Their cloaks were white with +dark blue borders, and were fastened on their breasts with golden brooches. +The horses were all Thessalian, and breathed the freedom of their native +plains. They tried to spue out their bits and covered them with foam, as if +rebellious, yet submitted to the will of the riders. It seemed as if there +had been a rivalry among the masters in adorning their horses with +frontlets and phalerae, silver or gilded. But, as a flash of lightning +makes all else seem dark, so, when the captain, Theagenes (the hero of +the novel), appeared, all eyes were turned to him. He also was mounted, +and wore armour, and brandished an ashen spear, tipped with bronze. +He had not put on his helmet, but rode bareheaded. He wore a purple +cloak, embroidered in gold with a fight of Centaurs and Lapiths; on his +brooch was an amber figure of Athenč, wearing the Gorgon's head on her +breastplate. A gentle breeze gave him further grace, spreading his hair +about his neck, and parting the locks on his forehead, and blowing the +ends of his cloak about the back and flanks of his horse. And the horse +itself seemed conscious of the exceeding beauty of its master, as it arched +its neck, and pricked up its ears, and frowned its brows, and advanced +proudly, giving ready obedience to the rein, balancing on alternate +shoulders, lightly striking the tips of its hoofs on the ground, and attuning +its pace to a gentle motion." Interesting passages of Xenophon describe +horses that prance as they ought in processions, and also lay down the +duty of the leaders of a procession of horsemen (Xen. <i>Hipp.</i> 11 and +<i>Hipparch.</i> 3).</p> +<span class="pagenum"><a name="page148" id="page148"></a>148</span> + +<p>Before examining how far the frieze represents the +Panathenaic procession in detail, it may be well to state +what facts respecting the festival have been handed down +to us by ancient authors. Its origin was ascribed in +antiquity to pre-historic times. Its mythic founder was +Erichthonios, the son of Hephaestos and foster-son of +Athenč herself; and the festival is said to have been +renewed by Theseus when he united all the Attic demes +into one city. The goddess in whose honour it was celebrated +was Athenč Polias, the tutelary deity of the +Athenian Acropolis, where she was supposed to dwell in +<span class="pagenum"><a name="page149" id="page149"></a>149</span> +the "Old Temple," and where her worship was associated +with that of Erechtheus, who dwelt under the same roof.</p> + +<p>A solemn sacrifice, equestrian and gymnastic contests, +and the Pyrrhic dance, were all included in the ceremonial; +but its principal feature was the offering of a new robe, +<i>peplos</i>, to the Goddess on her birthday. The peplos of +Athenč was a woven mantle renewed every four years. +On the ground, which is described as dark violet and also +as saffron-coloured, was interwoven the battle of the Gods +and the Giants, in which Zeus and Athenč were represented. +It was used to drape the rude wooden image of +Athenč.</p> + +<p>The festival was originally an annual one, but after a +time it was celebrated once every four years with more +splendour and solemnity. The institution of this greater +Panathenaia is attributed to Peisistratos. From his time +(<span class="sc">b.c.</span> 560-527) dates the distinction between the Greater +and the Lesser Panathenaia. The sons of Peisistratos +added a contest of rhapsodes reciting the Homeric poems. +The festival was further amplified by Pericles, who introduced +a musical contest and himself acted as <i>athlothetes</i> +or judge.</p> + +<p>On the birthday of the Goddess the procession which +conveyed the peplos to her temple assembled in the outer +Cerameicos, and passed through the lower city round the +Acropolis, which it ascended through the Propylća. +During its passage through the city the peplos was displayed +on the mast and yard of a ship, which was drawn +on rollers. In the procession of Rosalia at Palermo, a +ship is employed for a similar purpose (Brydone, <i>Tour</i>, +Letter xxx.). In this solemn ceremony, the whole body +of Athenian citizens were represented. Among those who +are particularly mentioned as taking part in the procession +were the noble Athenian maidens, Canephori, who bore +baskets, <i>kanea</i>, with implements and offerings for the +<span class="pagenum"><a name="page150" id="page150"></a>150</span> +sacrifice; the Diphrophori, who attended the Canephori +with stools (<i>diphroi</i>); the metoik or alien Scaphephori, +whose function it was to carry certain trays, <i>skaphć</i>, +containing cakes and other offerings; the aged Athenian +citizens who bore olive branches, and were hence called +Thallophori. It has also recently been ascertained that +the selected maidens who prepared the peplos (the Ergastinae, +and perhaps the Arrhephori) also took part in the +Panathenaic procession. An Attic decree of 98 <span class="sc">b.c.</span> records +that these maidens had performed all their duties, and had +walked in the procession in the manner ordained with the +utmost beauty and grace (<ins title="Greek: pepompeu[kenai ka]ta ta prostetagmena hôs hoti k[allis]ta kai euschęmone[stata]" +>πεπομπευ[κέναι +κα]τὰ τὰ +προστεταγμένα +ὡς ὅτι +κ[άλλισ]τα +καὶ +εὐσχημονέ[στατα]</ins>), and had subscribed +for a silver cup which they wished to dedicate +to Athenč. After this preamble the decree doubtless +awarded certain public honours such as are enumerated +in an inscription found by Mr. Murray at Petworth. +(<i>Bull. de Corr. Hellénique</i>, xiii., p. 169; <i>Athenische +Mittheilungen</i>, +viii., p. 57.) At the Greater Panathenaia each +town in which land had been assigned to Athenian settlers +contributed animals to the sacrifice, perhaps a cow and +two sheep. The colonies also appear to have sent envoys +who had charge of the victims. Chariots and horsemen +took an important part in the procession. On this occasion +appeared certain quadrigć, which were only used in procession, +and were hence called pompic chariots; and an +escort of Athenian cavalry and heavy infantry completed +the show. The arrangements for the sacrifice were under +the direction of the hieropoioi, and the multitudinous procession +was marshalled and kept in order by the demarchs, +the hipparchs, and by the heralds of a particular gens, the +Euneidć.</p> + +<p>When, with a knowledge of these facts, we examine the +composition of the frieze, we may recognise in its design +the main features of the actual procession. In our description +<span class="pagenum"><a name="page151" id="page151"></a>151</span> +we begin with No. 1, on the left of the east side. +We first observe Canephori and others leading the procession +of which the main part is seen on the south side. +Next are persons, perhaps Hieropoioi or magistrates receiving +this procession. In the centre of this side a +solemn act (commonly supposed to be the delivery of the +peplos) is being performed in the presence of an assembly +of deities, separated into two groups interjected among +the heads of the procession who have arrived and stand +waiting. These deities are supposed to be invisible, and +doubtless in a picture they would have been placed in the +background, seated in a semicircle and looking inwards. +In the narrow space of a frieze a combined arrangement +was necessary, such as we see here. Next we see the +persons receiving the procession on the north side, and +then at the head of that procession are Canephori, +victims with their attendants, Scaphephori, Spondophori, +musicians, pompic chariots and cavalry. After going +down the north side, meeting the procession, we pass +along the west side, where it is still in a state of preparation +for departure. We then pursue the other main +stream along the south side of the Temple passing the +cavalry, chariots and victims. All through the frieze +are magistrates and heralds marshalling the order of the +procession. It has been objected that many features +which we know to have formed a part of the original +ceremony, as, for instance, the ship on which the peplos +was borne, are not found on the frieze; but Pheidias would +only select for his composition such details from the actual +procession as he considered suitable for representation in +sculpture, working, as he here did, under certain architectonic +conditions.</p> + +<p><span class="sc">NOTE.</span> The numbers of the slabs, painted in Roman +figures on the lower moulding, and placed in the right-hand +<span class="pagenum"><a name="page152" id="page152"></a>152</span> +margin of this catalogue, agree throughout with the +numbers of Michaelis. The numbers of the separate +figures assigned to them here and painted in Arabic +numerals above the frieze, do not agree with those of +Michaelis, except in the case of the west side.</p> +<a name="page152a" id="page152a"></a> +<h4><span class="sc">East Frieze of the Parthenon.</span></h4> + +<blockquote> +<p><span class="leftside"> 324.</span><span class="leftside1"> 1.</span> +<span class="rightside">I.</span> +A man standing on the return face of slab xliv. (South +Frieze), looks back as if to make a signal to the procession +approaching along the south side, and thus makes a connection +between the south and east sides of the frieze.</p> + +<p><span class="leftside1a">2-5.</span> +<span class="rightside">II.</span> +With slab ii. the band of maidens leading the southern +half of the procession begins. When complete the slab +contained five maidens, each probably carrying a circular +bowl, with a boss in the centre +(<ins title="Greek: phialę omphalôtę">φιάλη +ὀμφαλωτή</ins>); +portions now remain of four alone; compare however No. 345, <i>1</i>. +They are draped in long chiton and mantle. [Two casts +of the slab are exhibited, side by side, in order to represent +the missing portion.]</p> + +<p><span class="leftside1a">6-10.</span> +<span class="rightside">III.</span> +Five maidens carry each a wine jug, supposed to be of +gold or silver. Several such vessels occur in the Treasure +lists of the Parthenon. No. 6 wears a chiton with diploďdion; +Nos. 7-10 have a chiton and mantle.</p> + +<p><span class="leftside1a">11-14.</span> +In front of these are four maidens, walking in pairs. +Nos. 12 and 14 each carry in the right hand an object +not unlike the stand of an ancient candelabrum, which +tapers upwards from its base. This object is more distinctly +shown on the marble between Nos. 11 and 12, +than between Nos. 13 and 14. It is encircled by a double +torus moulding at the top, and above this moulding a +hole is pierced in the marble, as if there was here a ring +for suspension or to serve as a handle. It is probable +that these are metallic objects of some kind, which, like +the censer carried by No. 55 on the opposite side of the +<span class="pagenum"><a name="page153" id="page153"></a>153</span> +eastern frieze, were part of the sacred furniture used in +the festival and usually kept in the Treasury of Athenč. +Michaelis suggests that they may be the stands, <i>krateutae</i>, +in which turned the ends of the spits used in roasting the +sacrifice. This would explain the ring at the top.</p> + +<p><span class="leftside1b">15, 16.</span> +A pair of maidens with empty hands leads the procession. +Nos. 11-16 are all dressed alike, in long chiton, +with diploďdion, together with a small mantle. They also +appear to have the hair similarly dressed. It falls in a +mass on the shoulders, as in the Caryatid of the Erechtheion +(No. 407).</p> + +<p><span class="leftside1">17.</span> +In front of the procession is a man, probably one of the +marshals, who seems to approach a group of five persons, +and to hold out his hand as if with a gesture of greeting +to the nearest of the group. This figure is turned towards +the marshal, and leans heavily on his staff which is seen +below his knees. The marble fragment with parts of the +feet of Nos. 16 and 17 was acquired from the collection of +M. Steinhäuser. The lower part of <span class="leftside1">18.</span>No. 18 is cast from a +fragment at Athens.</p> + +<p><span class="leftside1a">19-22.</span> +<span class="rightside">IV.</span> +On the left of the next slab are four men of the same +character as No. 18. They all wear himation and boots. +They converse in pairs and stand in easy attitudes, +leaning on their staffs. There is a corresponding group +of four male figures (Nos. 42-45) on slab vi., and +Michaelis supposes that the group of five figures (Nos. +18-22) and the opposite group (Nos. 42-45) of four +figures represent the nine Archons. That they are +functionaries of high rank can hardly be doubted, when +we consider their privileged place between the head of +the procession on each side and the seated divinities, but +they might well be Athlothetae, who controlled all the +arrangements (Aristotle, <ins title="Greek: Ath. pol."><span style="letter-spacing: -2px;">Ἀ </span><span class="gesperrt">θ. +πολ</span>.</ins> ed. Kenyon, 60).</p> + +<p><span class="leftside1a">23-40.</span> +The central portion of the eastern frieze now to be +described has been the subject of much controversy. +<span class="pagenum"><a name="page154" id="page154"></a>154</span> +Nearly all the authorities who have written on this question +agree in recognising the two groups of seated figures +as deities. This is indicated not only by the dignity of +their appearance but also by their scale. While the +figures of the mortals are about 3 ft. 2 in. high, those of +the deities are about 4 ft. 4 in. high. Though by the +principle known as Isokephalism the heads in a relief are +usually nearly on a level, this marked difference of scale +can hardly fail to indicate divine rank; compare the frieze +of the Theseion (No. 404). There is, however, a wide +divergence of opinion as to the particular divinities here +represented. From the destruction of most of the faces +and the absence of attributes or other indications by +which the figures can be severally identified, it is very +difficult to judge between the rival schemes of interpretation +which have been proposed. In Michaelis' <i>Parthenon</i>, +pp. 262, 263, a tabular view is given of these +schemes (cf. <i>Guide to the Elgin Room</i>, I., Table C). The +attributions proposed by Michaelis himself are for the +most part adopted here, with certain changes suggested +by Flasch in his memoir: <i>Zum Parthenonfries</i> (Würzburg, +1877).</p> + +<p>The interpretations proposed by those who hold that +the seated figures are deities, are of two kinds. Most +writers have tried to identify some at least of the figures +with personages who were worshipped near the Acropolis, +or connected with the mythological history of Athens. +By this system, deities of lower rank such as the Dioscuri, +or heroes like Triptolemos are admitted, on the frieze, to +the company of the Olympian Gods. Petersen and Flasch, +on the other hand, argue that the twelve Olympian +deities are represented in the two groups, without regard +to local considerations. Hestia alone is omitted, who +always stays in Olympos to keep the hearth. (Plato, +<i>Phaedr.</i>, 247<i>a</i>). Petersen substitutes Peitho for Hestia; +<span class="pagenum"><a name="page155" id="page155"></a>155</span> +he also introduces Dionysos (24), making No. 38 Apollo. +Artemis is thus excluded from his scheme. The arrangement +of Flasch is happier, as Hestia alone is excluded of +the Olympian divinities. The attributions proposed by +Michaelis, Petersen, and Flasch are as follow, where they +differ between themselves:— +</p></blockquote> + +<table summary="differences" align="center" width="auto" border="0"> +<tr> + <td class="center1">No.</td> + <td class="left2">Michaelis.</td> + <td class="left2">Petersen.</td> + <td class="left2">Flasch.</td> +</tr> +<tr> + <td class="center1">24.</td> + <td class="left2">Dionysos.</td> + <td class="left2">Dionysos.</td> + <td class="left2">Apollo.</td> +</tr> +<tr> + <td class="center1">25.</td> + <td class="left2">Demeter.</td> + <td class="left2">Demeter.</td> + <td class="left2">Artemis.</td> +</tr> +<tr> + <td class="center1">26.</td> + <td class="left2">Triptolemos.</td> + <td class="left2">Ares.</td> + <td class="left2">Ares.</td> +</tr> +<tr> + <td class="center1">27.</td> + <td class="left2">Nikč.</td> + <td class="left2">Nikč?</td> + <td class="left2">Iris.</td> +</tr> +<tr> + <td class="center1">38.</td> + <td class="left2">Apollo Patroös.</td> + <td class="left2">Apollo.</td> + <td class="left2">Dionysos.</td> +</tr> +<tr> + <td class="center1">39.</td> + <td class="left2">Peitho.</td> + <td class="left2">Peitho.</td> + <td class="left2">Demeter.</td> +</tr> +</table> + +<blockquote><p> +<span class="leftside1">23.</span> +<span class="rightside">IV.</span> +The earlier writers saw the Dioscuri, Castor and +Pollux in the two figures, Nos. 23, 24. It is now generally +agreed that the youthful elastic figure to the left is +Hermes, of whom the high boots, and the petasos spread +on his knees are specially characteristic. His right +hand is pierced and has held a metallic object, probably +the herald's staff, caduceus. The drapery is a small +chlamys fastened by a brooch, but at present worn about +the loins. The more robust figure leaning on his shoulder + <span class="leftside1">24.</span>(No. 24), has his body turned in a direction contrary +to that of Hermes, and the singular manner in which his +lower limbs are so arranged as to clasp between them the +knees of the seated goddess (<span class="leftside1">25.</span>No. 25) seems to indicate +some intimate and special relation between them. The +goddess holds a torch, the usual attribute of Demeter, +and Michaelis sees in the group (Nos. 24-26) the triad of +Dionysos, Demeter, and Triptolemos. Flasch recognises +Apollo and Artemis in Nos. 24, 25, on the ground of their +intimate relationship. If we adopt this interpretation of +this group, it follows that the youthful figure <span class="leftside1">26.</span>(No. 26) +cannot be Triptolemos. We must rather look for an +<span class="pagenum"><a name="page156" id="page156"></a>156</span> +Olympian deity in this figure, and the suggestion that it +represents Ares, which has found favour with several +interpreters of this frieze, seems liable only to one +objection, that the form appears too slight and youthful. +The somewhat negligent attitude is that of a +person tired of sitting on a seat without a back, and +clasping his knee with his hands, to relieve the spine of +the weight of the head and shoulders. Flasch absurdly +describes the attitude as that of a passionate character, +forcibly restraining himself.</p> + +<p><span class="leftside1a">27-29.</span> +<span class="rightside">V.</span> +The bearded figure (No. 29) on the left of the central +group is distinguished from the rest by the form, and +ornaments of his chair, which has a back and a side rail +which is supported by a Sphinx, while all the other figures +are seated on stools. It has been generally admitted that +this deity is Zeus. It is therefore reasonable to suppose +that the goddess seated next to him (No. 28) is his consort, +Hera. The type and action of this figure who raises +her veil, and looks towards Zeus, are very suitable to her.</p> + +<p>The winged maidenly figure (No. 27) standing behind +Hera must be either Nikč or Iris, and is probably Iris, +whose station is close to Hera, while Nikč is usually more +closely associated with Zeus (Murray, <i>Class. Rev.</i> iii., p. 285). +The head of Iris which was discovered in 1889 in the +excavations on the Acropolis is admirably perfect. The +left hand raises a mass of the hair as if to coil it on +the head (<a class="ask" href="#plate6">Plate vi.</a>, fig. 1).</p> + +<p>The slab to which the head belongs was removed from +its original position at some early time, probably at the +conversion of the Parthenon into a church, when an apse +was built at the eastern end. In 1672 it stood on the +ground (cf. Michaelis, pp. 47, 258), and the faces seem +to have suffered deliberate mutilation.</p> + +<p>The exquisite preservation of the head of Iris is explained +if, as is suggested, it was broken off in the sixth +<span class="pagenum"><a name="page157" id="page157"></a>157</span> +century, and immediately built into a Byzantine wall +(Waldstein, <i>American Journ. of Archćology</i>, v. pl. 2, p. 1).</p> + +<p><span class="leftside1a">30-34.</span> +Between the group of Gods just described and the +corresponding group on the right side of the centre, we +have a group of five figures.</p> + +<p>We must suppose that these figures are in front of the +two groups of Gods who sit in a continuous semicircle. +(Murray, ii. pl. 1.) +</p></blockquote> + +<div class="figcenter" style="width: 200px;"><a href="images/13fig10-400.png"><img src="images/13fig10-200.png" width="200" height="295" alt="Fig. 10.—Slave with seat." /></a> +<p class="center">Fig. 10.—Slave with seat.</p></div> + +<blockquote><p> +No. 30 is a maiden holding an uncertain object, perhaps +a casket in her left hand, and supporting on her head a +seat (<ins title="Greek: diphros">δίφρος</ins>) +covered with a cushion, not unlike the seats +on which the Gods are, but smaller. She has a small pad +(<ins title="Greek: tylę">τύλη</ins>) +on her head to make the weight easier to bear. +The legs of the seat are now wanting, but a rivet hole +near the maiden's right elbow shows where one leg was +attached. The other may have been painted on the +ground of the frieze. The cut (fig. 10), showing one of +the slaves of Cepheus carrying a stool with a cushion, is +taken from a vase in the British Museum, No. E. 188.</p> + +<p>No. 31 is another maiden, advancing slowly to the right, +<span class="pagenum"><a name="page158" id="page158"></a>158</span> +bearing on her head a seat similar to that carried by No. +30. The foremost leg of the seat still exists, being of marble. +The position of the hinder leg is marked by a rivet hole. +On each of these stools is a circular object, probably a thick +cushion. These two figures have been called Arrhephori, or +Ersephori, on the assumption that they are carrying those +mystic objects, the nature of which it was forbidden to +divulge; but it is doubtful whether the Arrhephori took +part in the Panathenaic festival. There is evidence that the +priestess of Athenč had two attendants, of whom one was +called <ins title="Greek: kosmô"> +κοσμώ +</ins> (Adorner), and the other <ins title="Greek: trapezophoros"> +τραπεζοφόρος</ins> +(Table-bearer, +Harpocration), or <ins title="Greek: trapezô"> +τραπεζώ</ins> +(Hesychius emended), and +it has been suggested that Nos. 30, 31 may have these titles, +and a corresponding ritual significance. Neither figure, +however, carries a table. (Miss Harrison, <i>Class. Rev.</i> iii., +p. 378; cf. <i>ibid.</i>, p. 423; and Waldstein, <i>Journ. of Hellen. +Studies</i>, xi., p. 143). The same names were proposed by +C. O. Müller in 1820, but merely on the supposition that +two of the Ersephori were thus styled. (Müller, <i>Minervae +Poliadis Sacra</i>, p. 15.) On the other hand, Diphrophori are +mentioned by several ancient authors as being in attendance +on the noble Athenian maidens. They were the +daughters of aliens, and perhaps inferior rank as well as +youth is indicated by the scale on which they are represented. +No. 31 is confronted by a large and matronly +woman (No. 32), who raises her right hand to the under +side of the chair. Archćologists have been uncertain +whether the woman (No. 32) has just placed the chairs +on the heads of the maidens, or is just about to remove +them. There can be little doubt, however, that No. 31, +if we consider the position of her feet, has hardly ceased +approaching to No. 32, who is just raising her hands to +lift down the chair (cf. Flasch, <i>Zum Parthenonfries</i>, p. 83). +The left hand instinctively prevents the himation being +displaced by the raising of the right arm.</p> +<span class="pagenum"><a name="page159" id="page159"></a>159</span> + +<p>An elderly bearded man (No. 33), wearing a long chiton +with short sleeves and shoes, stands next to No. 32. On +his head are traces of metallic rust. He therefore may +have worn a metallic wreath, for which the marble at the +back of his head appears to have been hollowed. He +turns his back to No. 32, and is engaged with a boy. +The two figures between them support a large piece of +cloth, folded once lengthwise, and twice breadthwise. In +this case also archćologists have been doubtful which is +the giver and which is the receiver of the cloth; but +the action represented is not one either of giving or +receiving. From the peculiar way in which the boy +grips an angle of the folded cloth between his elbow and +his side, while his hands are otherwise occupied, the act of +folding the cloth square seems to be represented. The +portion nearest to the spectator is being dropped down +till its edges are parallel with those of the lower part, so +that the two parts should be exactly doubled.</p> + +<p>The group of figures just described (30-34) contains +the centre of the composition, and the interpretation of +the frieze as a whole depends on the meaning we attach to +this group. Leaving on one side the writers referred to +on p. 147, who hold that the frieze does not represent +the Panathenaic festival, we find that a majority of writers +describes No. 32 as a Priestess of Athenč, giving the sacred +vessels to the Arrhephori or Ersephori, and No. 33 as a +priest or Archon Basileus receiving or giving the sacred +peplos of Athenč. This view of Nos. 30-32 was necessarily +abandoned, when it had been perceived that the +objects held by the maidens are chairs, not baskets. As +regards Nos. 33, 34, the main arguments for interpreting +the cloth as the peplos are, that the accounts of the procession +preserved in ancient authors show that the +conveyance of the peplos of Athenč was the principal +feature in it. If we look to the place assigned to this +<span class="pagenum"><a name="page160" id="page160"></a>160</span> +group in the eastern frieze, we find that these two figures +(Nos. 33, 34) stand in the centre of the eastern front, +under the apex of the pediment, and over the eastern door +of the cella. They therefore occupy the most conspicuous +place in the frieze, from the points of view alike of the +sculptured Gods and of the human spectator, and accordingly +may well be supposed to be busy with the chief +ceremony of the festival. This view is opposed by Flasch. +He argues that if the delivery of the peplos is represented, +there is a violation of the unity of time, as the act +which was the main motive of the procession is being +completed, while the procession is still in progress, and in +part has not yet started. Flasch therefore holds that we +have here the priest and priestess preparing for the +sacrifice that is to take place on the arrival of the procession. +The priestess is receiving chairs for herself and +for the priest from the Diphrophori. Meanwhile the +priest, who now only wears a long chiton, with short +sleeves, has taken off his himation, and, after folding it +several times, is seen giving it to an attendant to hold.</p> + +<p>If, however, the action represented is merely that of +folding, and is not yet completed, it is impossible to determine +which is the giver and which the receiver. Nor +would the difficulty be solved if this could be ascertained, +as we do not know what ceremonies were performed when +the peplos arrived. The surface of the cloth on the frieze +is left quite plain; but, if it is the peplos, some indication +of the embroidered design may have been given in colour.</p> + +<p><span class="leftside1">35.</span> +We now reach the second group of deities, seated to the +right of the central scene. The first figure is clearly that +of Athenč. She sits in a position corresponding to that of +Zeus, and the Goddess of Athens is thus put in the same +rank as the supreme God. Athenč is dressed in a chiton +with diploďdion and has short hair. An indistinct object +about her left wrist has been supposed to be a snake from +<span class="pagenum"><a name="page161" id="page161"></a>161</span> +the fringe of the aegis of Athenč, or by some writers to +be the snake of Hygieia. But the object seems merely to +be a bracelet in the form of a snake, which is not +uncommon, and there is therefore no indication of an +aegis. Four rivet holes in a straight line show that +Athenč held some attribute, probably a spear in her right +hand.</p> + +<p><span class="leftside1">36.</span> +Next to Athenč is an elderly bearded figure, who turns +his head towards her. He has a knotted staff under his +right arm, and leans upon it heavily. This figure is +usually known as Hephaestos. It is supposed that his +lameness may be indicated by the awkward pose of his +right foot, and by the staff on which he leans.</p> + +<p><span class="leftside1">37.</span> +<span class="rightside">VI.</span> +This slab, containing figures Nos. 37-47, now in a very +fragmentary condition, was complete when drawn by +Carrey, in 1674. A bearded male figure (No. 37) with his +left hand raised is probably Poseidon. The left hand, +according to Flasch, once held a trident. The next +figure <span class="leftside1">38.</span>(No. 38), beardless and youthful, and seated in an +easy attitude, has of late years gone by the names of +Apollo Patroös or Dionysos. The latter title seems best +suited to the somewhat effeminate figure, more fully +draped than any other of the Gods. A series of holes +round the head shows the position of a bronze wreath, and +one at the elbow shows that the left hand may have been +supported by a thyrsos or sceptre.</p> + +<p><span class="leftside1">39.</span> +A matronly figure (No. 39) is seated next to Dionysos, +wearing a chiton, which is slipping off from the left +shoulder, himation, cap and sandals. This figure is +called Peitho by Michaelis and Peterson, on the ground +that the worship of Peitho was associated with that of +Aphroditč Pandemos (No. 40) on the south side of the +Acropolis. Flasch with more probability makes this +goddess Demeter, arguing that Peitho was not entitled to +a place among the great Gods of Olympos, while Demeter +<span class="pagenum"><a name="page162" id="page162"></a>162</span> +is appropriately placed between Dionysos and Aphroditč. +Flasch suggests that the right hand may have held an +ear of corn. A hole shows that the object in question +was made of bronze.</p> + +<p><span class="leftside1">40.</span> +The next figure (No. 40) most of which is only preserved +in Carrey's drawing (Fig. 11), is unmistakably +shown to be Aphroditč, by the winged boy Eros who +stands at her knee. Aphroditč wears a chiton, himation, +a cap, and to judge from Carrey's drawing a veil. She +rests her left hand on the shoulder of Eros, extending +her forefinger, as if pointing out some object in the +procession to the boy. Eros <span class="leftside1">41.</span>(No. 41) carries a parasol +which conveniently fills the space above his head and his +wings. +</p></blockquote> + +<div class="figcenter" style="width: 400px;"><a href="images/14fig11-600.png"><img src="images/14fig11-400.png" width="400" height="258" alt="Fig. 11.--;East frieze of the Parthenon, Nos. 39-41." /></a> +<p class="center">Fig. 11.—East frieze of the Parthenon, Nos. 39-41.</p></div> + +<blockquote><p> +<span class="leftside1a">42-45.</span> +On the right of the gods is a group of four figures +corresponding to the five (Nos. 18-22) on the left. One +of these (No. 43) is young and beardless; the rest are +elderly, and all have staffs and himatia. No. 42 wears +sandals. These four figures are leaning on their staffs, +and three of them are looking towards the advancing procession, +while the fourth (No. 45) turns his back to it and +appears to be conversing with his companions.</p> + +<p><span class="leftside1">46.</span> +The next figure (No. 46) is an officer, more immediately +concerned with the procession. It is evident from the +way in which his head is thrown back and his arm raised +<span class="pagenum"><a name="page163" id="page163"></a>163</span> +that he is not addressing the group beside him, but is +making a signal to some person at a considerable distance. +He may be supposed to be making a signal to +the southern half of the procession, and thus helps the +spectator to keep the two parts connected together in his mind. +The next figure<span class="leftside1">47.</span> (No. 47), a similar officer, stands +facing the advancing maidens.</p> + +<p>Slab vi., which was complete in Carrey's time, has +since suffered greatly, and the parts now exhibited have +been combined from several sources. At some unknown +period the slab was broken through No. 40, much of +No. 40 being destroyed. The original fragment, with +the figures Nos. 37-39, is now at Athens, where it was +dug up in 1836. Since the cast in the Museum was made, +parts of the right hand and right foot of Poseidon have +been injured (<i>Trans. of R. Soc. of Lit.</i>, v. (1856) p. 67; Baumeister, +<i>Denkmaeler</i>, p. 1187. fig. 1389). About 1787 Fauvel +took a mould from the slab as he found it, which is now in +the Louvre. The slab then existed from the middle of +No. 41 to the joint after No. 47. Between 1787 and 1800 +Nos. 41, 42 were lost, and the slab was divided through +No. 45, probably for convenience of transport. To facilitate +the division, No. 45, and the arm of No. 46, were +chiselled away. The main part of the figures Nos. 42-47 +is the original marble. The additions to the marble are +the right foot of No. 39, the main part of Nos. 40, 41, +the lower part and the head of No. 42, the heads and +breasts of Nos. 43, 44, the whole of No. 45, and part of the +head of No. 47, together with his legs. These parts are +principally derived from the mould of Fauvel in the +Louvre. Certain fragments, however, are cast from +originals at Athens, namely, the chair-leg and some +drapery of No. 40, the knees of No. 41, and the head +and left foot of No. 47.</p> + +<p><span class="leftside1">48.</span> +<span class="rightside">VII.</span> +The next magistrate, or officer (No. 48), seems to hold +<span class="pagenum"><a name="page164" id="page164"></a>164</span> +in his hand a <i>kanoun</i>, or dish, such as those in which the +corn, sashes, or sacrificial implements were usually brought +to the altar. The position of the left hand seems to show +that the thumb is inserted in a boss, as in a phialč omphalotč. +Holes in the marble may indicate sashes of +bronze, hanging from the dish.</p> + +<p><span class="leftside1b">49, 50.</span> +Two maidens (Nos. 49, 50) are seen standing with +empty hands. Perhaps one has given up the dish which +is held by the officer (No. 48.) In that case these would +be Canephori, maidens of noble birth, whose privilege it +was to carry in the procession the dishes just described. +They are draped in long chitons, with diploďdia, and wear +small mantles over the shoulders.</p> + +<p><span class="leftside1">51.</span> +Another officer (No. 51) stands looking towards the +procession. He has held in the right hand some object +in metal, perhaps a herald's staff. Two holes for the +attachment of it are visible in the marble. The gesture +of the left hand shows that the officer is giving some +order to the two maidens before him <span class="leftside1a">52, 53.</span>(Nos. 52, 53), who +stand with empty hands, like Nos. 49 and 50.</p> + +<p><span class="leftside1a">54, 55.</span> +The next maiden (No. 54) walks alone, carrying a +bowl (phialč), used for sacrificial libations. No. 55 looks +back at the figure on the next slab (No. 56), and helps +her to carry her burden.</p> + +<p>Slab vii. is a cast from the original, which was removed +from the Acropolis by Choiseul-Gouffier in 1787, and is +now in the Louvre. The right foot of the magistrate +(No. 48) is cast from a fragment which is still at Athens.</p> + +<p><span class="leftside1">56.</span><span class="rightside">VIII.</span>The next maiden (No. 56), assisted by No. 55, holds +a thymiaterion with a conical cover, used for burning +incense. Censers of this form are not uncommon on +Greek vases. (Cf. Vases in the B. M., C. 32, E. 98, E. 241, +E. 285, E. 352.) Next follow two figures <span class="leftside1a">57, 58.</span>(Nos. 57, 58), +each carrying in the right hand a jug, oinochoč, then +two more (Nos. 59, 60), carrying phialae.</p> +<span class="pagenum"><a name="page165" id="page165"></a>165</span> + +<p>In this slab the heads of Nos. 57, <span class="leftside1b">59, 60.</span>59, 60, which have +been adjusted to their places since the publication of +the work of Michaelis, are cast from the originals at +Athens. The slab in its present condition is shown in +Mitchell, <i>Selections</i>, pl. 4.</p> + +<p><span class="rightside">IX.</span>The east side of the frieze was completed by the short +return of a slab which was still in existence in the time +of Stuart. On this slab were two maidens, belonging to +the procession. The second of these carried a phialč. +</p></blockquote> +<a name="page165a" id="page165a"></a> +<h4><span class="sc">North Frieze of the Parthenon.</span></h4> + +<p> +<span class="leftside">325.</span>At the head of the procession on the north side we +meet a troop of cows and sheep, led by an escort. Each +cow is led by cords held by two youths, one on each side; +each sheep is led by one boy. There are some grounds +for the conjecture that the Athenian colonists contributed +each a cow and two sheep to the festival, while the +Athenians are not known to have sacrificed anything +except cows. It is therefore presumed that the victims +on this side of the frieze, on which alone sheep are represented, +are some of the colonial offerings; and in that case +the men by whom the victims are conducted would be the +Theori sent by the Colonies.</p> + +<p><span class="rightside">I.</span>Slab i. (see <a class="ask" href="#plate7">Plate vii</a>.) was complete in the time of +Carrey, and partly extant in the time of Stuart. It contains +the first cow, led by two youths, who are standing +still, and the head and shoulders of the second cow.</p> + +<blockquote> +<p><span class="leftside1a">1, 2.</span> +<span class="rightside">II.</span> +Nos. 1 and 2 walk on each side of the second cow, which +is going quietly, as is shown by the way in which the +youths are closely wrapped up in their himatia. The rope +by which the beast is led was probably painted on the +marble. The third cow is restive, and only restrained +with difficulty by <span class="leftside1a">3, 4.</span>Nos. 3 and 4. Here also the rope was +probably painted.</p> +<span class="pagenum"><a name="page166" id="page166"></a>166</span> + +<p>This slab was discovered in 1833, beneath its original +position on the Parthenon.</p> + +<p><span class="rightside">III.</span> +<span class="leftside1a">5, 6.</span> +Of slab iii. only fragments remain. As drawn by +Carrey, it contains the figure of No. 4 (cf. <a class="ask" href="#plate7">Plate vii</a>., and +No. 345, <i>3</i>), vigorously holding back his cow, and a +fourth cow, quietly led by two youths (Nos. 5, 6). For +economy of space this slab is compressed in the British +Museum to about two-thirds of its proper length. A cast +from a head, which, perhaps, is that of No. 4, is placed +at the corner of the slab (Michaelis, plate 13, xxvii. <span class="sc">c</span>.). +The drapery seen on a fragment with the fore-legs of a +cow belongs to No. 5, who leads the third cow. No. 6 +is made up of six pieces, of which Michaelis had identified +the feet of the figure, and part of the fore-legs of the +cow. For its hind-legs, see his plate 13, xxvii. <span class="sc">d</span>. The +originals of all these fragments are at Athens.</p> + +<p><span class="leftside1a">7-9.</span> +<span class="rightside">IV.</span> +Slab iv. contains parts of three figures, Nos. 7-9, who +conduct three horned sheep. Of the first figure (No. 7) a +part of the mantle is now left, and perhaps also the head +(cf. <a class="ask" href="#plate7">Plate vii</a>., and No. 345, <i>4</i>). In Carrey's time the head +and shoulders were still extant. At the joint between this +slab and the next there is a marshal <span class="leftside1">10.</span>(No. 10), who turns +to the division of the procession approaching. Slab iv. +was discovered in 1840.</p> + +<p><span class="leftside1">11.</span> +<span class="rightside">V.</span> +When drawn by Carrey and Stuart, the next group in +the procession consisted of three figures, of which one +only (No. 11) is now extant. These figures carry on +their shoulders oblong rectangular trays, not unlike a +butcher's tray in form. These trays have been identified +with the skaphae, or boat-shaped dishes which +were carried in the Panathenaic procession, and which +contained offerings of cakes. If we may trust Stuart's +engraving, the tray of one of the two figures which have +now disappeared contained fruits or cakes. These trays +were made of silver or bronze. Skaphae of bronze are +<span class="pagenum"><a name="page167" id="page167"></a>167</span> +mentioned in one of the inventories of the treasures, +deposited in the Parthenon. The Metoiks, whose duty +it was to carry these trays, were hence called Scaphephori. +Their place in the procession would naturally be immediately +after the victims led for sacrifice.</p> + +<p><span class="leftside1a">12-14.</span> +<span class="rightside">VI.</span> +Slab vi. contains five male figures. Three (Nos. 12-14) +carry vases on their shoulders; a fourth (No. 15) stoops +to raise from the ground a similar vase, which is singularly +misinterpreted in Carrey's drawing as a lamb. <span class="leftside1">15.</span>The +vase resembles in form the three-handled water-pitcher, +hydria or calpis, which was in use in the period of +Pheidias, but two handles only are shown in the +sculpture; the third handle, which was attached to the +neck midway between the other two, is not seen, except, +perhaps, on the vase of No. 15. Michaelis supposes that +the vases here represented on the frieze contained the +wine used in the Panathenaic sacrifice, and that these +figures may be the Spondophori, who are mentioned by +Pollux <span class="leftside1">16.</span>(i. 35). On the right of this slab are the arms, +flute, and drapery of the first of the four flute-players +drawn by Carrey. This slab was found in 1833, inside +the peristyle of the Parthenon.</p> + +<p><span class="rightside">VII.</span>The persons bringing objects connected with the sacrifice +are immediately followed by a band of musicians, +consisting of four flute-players and four lyre-players, +or citharists, all playing on their instruments. The +musicians, as is usual, wear long chitons and ample +mantles. Of slab vii. only two small fragments remain. +See Plates <a class="ask" href="#plate7">vii</a>., <a class="ask" href="#plate8">viii</a>., and Nos. <a class="ask" href="#page209">345</a>, <i>5</i> and <i>6</i>.</p> + +<p><span class="leftside1d">17, 18, 19.</span> +<span class="rightside">VIII.</span> +The next slab contains parts of the second pair of +citharists and the foremost of a group of male figures, +principally on the two slabs immediately following.</p> + +<p><span class="leftside1a">19-30.</span> +<span class="rightside">IX., X.</span> +The figures on these two slabs are bearded men +(Nos. 19-30), all clad in the himation, and moving +forward at a leisurely pace; Nos. 25 and 26 wear a +<span class="pagenum"><a name="page168" id="page168"></a>168</span> +band on their heads; No. 25 draws it over his hair; +Nos. 28 and 30 wear long hair, plaited in the manner +of the <i>krobylos</i>. The attire, elderly type, and general +deportment of these figures corresponds with that of the +Thallophori, by which name ancient authors designate +elderly citizens who carried olive branches in the Panathenaic +procession. The right hands of three of these +figures are closed, as if they were holding a wand or +branch.</p> + +<p>Slab ix. was discovered in 1840, and is a fragment of +the slab drawn by Carrey, which, when he saw it, contained +nine figures similar to those on x. A recently-discovered +fragment, from the left of slab ix., has not been +inserted for want of space (cf. <a class="ask" href="#plate8">Plate viii</a>., and No. 345, <i>8</i>).</p> + +<p>Slab x. was found at the north-west angle of the +Parthenon in 1835. A fragment which belongs to the +left-hand lower corner of the slab, and completes Nos. 24, +25, has been adjusted since the publication of the work of +Michaelis. This slab was not drawn by Carrey, who +indicates a lacuna at this point. It is therefore probable +that the slab had already fallen from its place. The last +two complete figures on this slab are looking back, as if +their attention is directed to the advancing chariots. +Michaelis has not observed that between these figures and +the marshal (No. 31) there has been another draped figure +(No. 30*), of whom nothing remains but the shoulders +and a little drapery, shown immediately in front of the +marshal (No. 31), and his right foot on slab x., seen next +to the right foot of No. 30, the left foot of No. 30 being +lost. This figure must have been the hindermost in the +procession of Thallophori, and the entire number of these +persons is therefore seventeen, not sixteen, as Michaelis +makes it.</p> + +<p><span class="rightside">XI.</span>With slab xi. the chariot groups begin. This part of +the frieze has greatly suffered from mutilation. The +<span class="pagenum"><a name="page169" id="page169"></a>169</span> +remains of the chariot groups still extant show that there +were at least nine of these. According to the calculation +of Michaelis, that was the original number of chariots on +this frieze. All these chariots are drawn by four horses, +<i>harmata tethrippa</i>, or quadrigć; the charioteer stands +in the chariot, and is accompanied by the apobates, who +is armed with a helmet and Argolic buckler, and is represented +in the act of stepping down from the chariot or +standing behind it. Each quadriga is accompanied by a +marshal, <i>pompeus</i>. The vigour and animation of the +chariot groups form a marked contrast with the groups +that immediately precede them. The transition from the +rapid motion of the chariots to the quietude of the +Thallophori is skilfully effected by a chariot seen in +rapid motion but in the act of being suddenly checked +by the marshal <span class="leftside1">31.</span>(No. 31), who is represented eagerly +pressing back the plunging horses of the chariot which +follows on the next slab. In the haste of his movement +he has nearly thrown off his mantle, holding it from +slipping further with his right hand on his right thigh. +The original of this slab was found at Athens probably +about 1834.</p> + +<p><span class="leftside1">32.</span> +<span class="rightside">XII.</span> +On the slab next on the right (xii.) is the hind quarter +of one of the horses, cut off at the joint. At the side of +the chariot is a marshal (No. 32), his face turned, and +his right arm extended towards the procession following +on the right. The charioteer <span class="leftside1">33.</span>(No. 33), who was +mistaken for a Victory by Visconti and others, but whose +figure is certainly not female, differs in costume from the +others in this frieze. He wears a long chiton, over which +is a diploďdion reaching to the hips. The breast is crossed +diagonally by two bands. As a part of the hair is on a +fragment known to have been missing before the time +of Stuart, his drawing of the figure is proved to be +untrustworthy.</p> +<span class="pagenum"><a name="page170" id="page170"></a>170</span> + +<p><span class="leftside1">34.</span> +The warrior (No. 34) attached to the chariot was complete +in the time of Carrey. The upper half was lost +before the time of Stuart, and was only re-discovered in +the latest excavations on the Acropolis in 1889. He is +represented standing on the ground, and looking back to +the next chariot. His shield is raised as if to stop its +course. The wheel of this chariot, as of some that +succeed it, must have been, in part, wholly detached +from the ground. The foot of the marshal is complete, +but it is easy to trace where the wheel prevented the +convenient working of the ground beneath it. (See +<a class="ask" href="#plate8">Plate viii</a>., and <i>Stereoscopic</i>, No. 19.)</p> + +<p><span class="rightside">XIII.</span>Of slab xiii., which Carrey places next, nothing has +been identified with certainty, but Michaelis is probably +right in assigning to this group the fragment of four +horses, of which a cast from the original at Athens is here +inserted (cf. Plate viii., and No. 345, <i>9</i>). Above the back +of the second horse is the <i>hestor</i> (see <a class="ask" href="#hestor">below</a>), and also what +appears to be a small piece of the drapery of a marshal. +This, however, cannot be the case if the fragment described +(No. 345, <i>9</i>) contains the marshal belonging to this +slab.</p> + +<p><span class="leftside1">35.</span> +<span class="rightside">XIV.</span> +Slab xiv. contains the third chariot with part of the +team of horses. The marshal (No. 35) stands beyond +the horses, and looks towards the charioteer. The charioteer +(No. 36) had reins of bronze, as indicated by two +rivet holes. Like the driver on slab xviii. he wears a +chiton with long close-fitting sleeves. The apobates +(No. 37) appears about to step down from the chariot. +The wheel of this chariot as of that on slab xii. must +have stood out entirely free from the ground. When +Carrey drew this slab, the head of the charioteer <span class="leftside1a">36, 37.</span>(No. 36) +and the head and body of the apobates (No. 37), of which +only the lower part now remains, were extant. Close +behind the wheel are traces of a horse's forefoot, which, +<span class="pagenum"><a name="page171" id="page171"></a>171</span> +as we see from Carrey's drawing, belonged to the chariot +on the slab which follows next on the right (xv. according +to the order of Michaelis).</p> + +<p><span class="leftside1">38, 39.</span> +<span class="rightside">XV.</span> +Of the fourth chariot group, which was also drawn by +Carrey, we have only the mutilated group to which the +charioteer (No. 38) and an apobates (No. 39) belong; this +is made up of four fragments, of which the originals were +found at Athens in 1837. In this group the apobates +(No. 39) stands in the chariot, looking back to the chariot +following so closely that the forelegs of the horses actually +overlap this group. Here also the wheel was in part +completely free from the ground of the relief.</p> + +<p><span class="leftside1">41.</span> +<span class="rightside">XVII.</span> +From Carrey's sketch we know that the chariot on slab +xvii. was drawn by the horses, which occupied slab xvi., +and whose hoofs are seen on slab xv., and that this was +the fifth chariot group. The apobates (No. 41) of this +chariot leans back, supporting himself by the right hand, +which grasped the chariot rail (<i>antyx</i>), and is about to +step off the chariot. The marshal <span class="leftside1">42.</span>(No. 42) steps back +to the left, looking in the contrary direction; his left +arm, muffled in his mantle, is raised as a signal to the +advancing throng; his right arm is also raised; the hand, +now wanting, was just above the level of the head. His +animated action forms a strong contrast to the still, calm +attitude of the marshal (No. 43) of the following group.</p> + +<p>Slab xvii. is cast from the original, which was drawn +at Athens by Stuart, and, having been buried on the +Acropolis, was re-discovered there in 1833. The right +side of this slab is broken away, but there can be no +doubt that it comes next to slab xviii. A photograph +from the original is reproduced in Baumeister, <i>Denkmaeler</i>, +p. 1186, fig. 1388.</p> + +<p><span class="leftside1">43.</span> +<span class="rightside">XVIII.</span> +In slab xviii. have been three figures. The marshal +(No. 43) stands beside the horses, in a calmer attitude +than is usual in this part of the frieze; of the apobates +<span class="pagenum"><a name="page172" id="page172"></a>172</span> +(No. 45) nothing remains but his right arm and leg; and +the lower part of his drapery, <span class="leftside1a">44-45.</span>which indicates rapid +movement. Of the charioteer (No. 44), we have only +the lower part of the body and hands.</p> + +<p><span class="rightside">XVIII.</span>Parts of the harness can be seen on this slab, and also +on slabs xiii., xix., xxi., xxiii. The general arrangement +seems uniform, though there are differences of detail. +The chariot pole +(<ins title="Greek: rhymos">ῥυμός</ins>) +passes from below the chariot +between the horses. An upright pin (<ins title="Greek: hestôr">ἕστωρ</ins>) +passes through the pole (slabs xiii., xviii., xix., xxiii). At this point the yoke +(<ins title="Greek: zygon">ζυγόν</ins>) +was secured by a ring +(<ins title="Greek: krikos">κρίκος</ins>) +and by the yoke-band +(<ins title="Greek: zygodesmon">ζυγόδεσμον</ins>) +(Hom. <i>Il.</i> xxiv.). The near +end of the yoke, foreshortened and turned back, is visible +on slabs xviii., xix., xxi., xxiii. On slabs xix., xxi. the yoke +appears to be kept in position by a piece of metal passing +from the top of the pin to the pole, which may, perhaps, +serve instead of the ring. On slab xix. there appears to +be a loop of a leather thong on each side of the piece described. +This may be a part of the yoke-band. The reins +were usually guided by two rings attached to the yoke or +to the pole, but these do not appear to be shown on the +frieze. It is easy to see on slabs xviii., xix., xxi., that the +yoke was only fixed to the two middle horses, the outer +pair being attached by traces. +</p></blockquote> + +<div class="figcenter" style="width: 499px;"><a href="images/15fig12-560.png"><img src="images/15fig12-400.png" width="400" height="285" alt="Fig. 12.—North Frieze, slab xix. (46. 47.)" /></a> +<p class="center">Fig. 12.—North Frieze, slab xix.</p></div> +<span class="pagenum"><a name="page173" id="page173"></a>173</span> + +<blockquote><p> +<span class="rightside">XIX.</span> +The next slab (xix.) is a cast from the original at +Athens, which is broken away on the right, so that all +that remains of the charioteer (No. 47) is his right hand. +At the side of the horses is a marshal (No. 46), who turns +towards the chariot following on the right. Carrey's +drawing supplies the upper part of this figure, and shows +that he was holding up with his left hand the end of his +mantle, apparently as a signal to the advancing procession. +In fig. 12, slab xix. has been drawn in juxtaposition with +the hitherto unplaced fragment No. 345, <i>12</i>. This slab +was discovered in 1834.</p> + +<p><span class="rightside">XX.</span>Slab xx. is now lost, but a horse's head now at Athens +(No. 345, <i>13</i>; Michaelis, pl. 12, xx.) may perhaps belong +to it.</p> + +<p><span class="rightside">XXI.</span>Slab xxi. contains the bodies and hind quarters of the +horses drawing the chariot seen on slab xxii. Between +the charioteer (No. 48) and his horse is a fragment, +showing the front of the chariot, and the tails of the +horses, of which the original is at Athens, and which is +not figured in Michaelis.</p> + +<a name="n325-50" id="n325-50"></a> +<p><span class="leftside1a">48, 49.</span> +<span class="rightside">XXII.</span> +On the left of slab xxii. is a chariot with the charioteer +(No. 48) and apobates (No. 49) who is stepping into the +chariot. On the right of this slab is an attendant +(No. 50) <span class="leftside1a">(50.)</span>standing at the heads of the horses of the last +chariot group. The lower fragments of this slab are at +Athens. The left-hand upper corner, which was wanting +in the time of Stuart, was brought home by Lord Elgin. +The upper fragment next to it, was once in the possession +of the Society of Dilettanti, and was presented by that +body. It had probably been brought from Athens by +Chandler. +</p></blockquote> + +<p class="indent1"> + Stuart, 2nd ed., II., p. 50, note C. +</p> + +<blockquote><p> +<span class="leftside1">52.</span> +<span class="rightside">XXIII.</span> +The chariot group represented on slabs xxii., xxiii. is +represented as standing still, and was probably the last +<span class="pagenum"><a name="page174" id="page174"></a>174</span> +chariot in the procession. This slab is shorter than any +of the others representing chariot groups. Part of the +head of the apobates (No. 52) is supplied in plaster from +the original fragment at Athens. A fragment of an +apobates, which may well belong to the figure No. 52, +has recently been fitted to the left of slab xxiv., thus +proving that No. xxiv. is the first slab of the cavalry, and +making it very probable that No. xxiii. is the last slab +of the chariots. This fragment, incorrectly drawn, is +assigned by Michaelis to slab xxviii. of the south side.</p> + +<p><span class="leftside1a">54-109.</span> +<span class="rightside">XXIV.-XLII.</span> +From this point to the north-west angle of the frieze +we have a continuous procession of Athenian cavalry. +The horsemen advance in a loose throng, in which no +division into ranks or troops, nor indeed any settled order, +can be made out. The groups, being very crowded, are +carried on from slab to slab continuously, so that the +vertical lines of the joints intersect the figures, while on +the western frieze, on the contrary, the groups, being +more scattered, are always completed on single slabs. +The general effect of a body of horse in rapid movement +is admirably rendered in the composition of the northern +frieze, and is particularly fine in slabs xxx.-xlii., in +which the effect has not been marred by mutilation. +Though the entire composition is pervaded by the same +general motion, a wonderful fertility of invention is +shown in the arrangement of the successive groups. In +the one hundred and twenty-five mounted figures in this +cavalcade we do not find one single monotonous repetition.</p> + +<p>Though the horses bound along with a fiery impatience, +which seems at every moment ready to break loose from +all control, these irregular movements never disturb the +even hand and well-assured seat of the riders. Thus, as +the cavalcade dashes along like a torrent, a rhythmical +effect is produced by the contrast of the impetuous horses +and their calm, steadfast riders.</p> +<span class="pagenum"><a name="page175" id="page175"></a>175</span> + +<p>In this part of the frieze there is great variety in the +costumes and accoutrements of the horsemen. Crested +helmets are worn by Nos. 59, 62; flexible leather caps by +Nos. 84, 93, 96; a taenia by No. 97, and a petasos by +No. 105. Some figures wear high boots with flaps at the +knee as Nos. 98, 103, &c., while others wear boots without +flaps as Nos. 90, 91, 92; a few have bare feet, as Nos. 72, +87, 89. The usual dress is a sleeveless chiton and a cloak. +Some riders, however, wear a chiton only, as Nos. 59, 60 +63, 72, &c., and others wear a cloak only, as Nos. 64, 76, +79, 87, 94. It may be mentioned that, according to Theophrastus, +it was a mark of the man of small ambitions, +when he took part in a cavalry procession, to give all his +garments to a slave to carry home except only his cloak, +in which he would display himself, walking about the +agora. The chiton may have either one girdle, as No. 72, +or two girdles, as Nos. 57, 59, &c. In a few instances it +has long sleeves, as in Nos. 73, 75, 80, 84, 97, 98, 109. +Two riders wear a cuirass, viz. Nos. 62, 92. The reins +and bridles were in nearly every instance of bronze, +marked by rivet holes behind the horse's ear, at his +mouth and in the rider's hands. Marble reins are seen +in the right hands of Nos. 98, 103.</p> + +<p><span class="leftside1">52.</span> +<span class="rightside">XXIV.</span> +Slab xxiv. is shown, as has been already stated, to have +contained the first of the cavalry, by the figure of the +apobates which has been fitted to its left side. Neither +this fragment nor that at the upper right hand corner +have been engraved by Michaelis.</p> + +<p><span class="leftside1">57.</span> +<span class="rightside">XXV.</span> +Slab xxv. was complete when drawn by Stuart. Only +a fragment, containing part of No. 57, now survives. +This is not inserted, in its place in the frieze, but is fixed +beside the south door to the Elgin Room.</p> + +<p><span class="rightside">XXVI.</span> +Slab xxvi. is proved by Stuart's drawing to be continuous +with the fragmentary slab xxv. Between slabs xxvi. and +xxxi. the order is uncertain. The arrangement of plate +<span class="pagenum"><a name="page176" id="page176"></a>176</span> +13 of Michaelis has been followed. It may be assumed +that a slab (xxvii.) is lost between xxvi. and xxviii.,<span class="rightside">XXVII.-XXXI.</span> +which may have included the fragment No. 345, <i>15</i>. +Slab xxx. when complete may have fitted to xxix.; but, +as it has the joint preserved on the right, there can be no +doubt that it did not fit to No. xxxi. Between these two, +therefore, another slab may be supposed to be missing. +The three slabs enumerated as lost, viz. xx., xxvii., and the +slab between xxx., xxxi., may be supposed to have been +about 12 feet long. The missing part of xxx. may be 2 feet. +Of the 25 ft. 10 in. of the frieze lost without record 14 +feet are thus accounted for; the remaining 11 ft. 10 in. +may be due to the loss of two more slabs, containing a +chariot group, or to miscalculated proportions in Carrey's +drawing. +</p></blockquote> + +<div class="figcenter" style="width: 560px;"><a href="images/16fig13-800.png"><img src="images/16fig13-560.png" width="560" height="457" alt="Fig. 13.—Slab xxv. restored from Stuart (from Michaelis)." /></a> +<p class="center">Fig. 13.—Slab xxv. restored from Stuart (from Michaelis).</p></div> + +<blockquote><p> +Slab xxviii. is original; slabs xxix.-xxxi. are casts from +<span class="pagenum"><a name="page177" id="page177"></a>177</span> +the originals at Athens; No. 65 (on slab xxix.) is a +marshal beckoning to the riders.</p> + +<a name="n325-75" id="n325-75"></a> +<p><span class="leftside1">75.</span> +<span class="rightside">XXXII.</span> +The fragment (in slab xxxii.) containing the head of +No. 75 and the horse's head, having been discovered in +1850 in the collection of Sculptures at Marbury Hall in +Cheshire, was presented to the Museum in 1850 by J. H. +Smith Barry, Esq., the owner of that collection. A small +fragment, cast from the original at Athens, and added to +slab xxxiv., is not engraved by Michaelis.</p> +<a name="n325-85" id="n325-85"></a> +<p><span class="leftside1">85.</span> +<span class="rightside">XXXV.</span> +The fragment (in slab xxxv.) which contains the head +of No. 85 and of a horse, after having been in the +possession of the Society of Dilettanti, passed from that +body to the Royal Academy, by whom it was presented +to the British Museum in 1817.</p> + +<p><span class="leftside1">89.</span> +<span class="rightside">XXXVII.</span> +The fragment (in slab xxxvii.) containing the head of +No. 89 and a horse's head, of which a plaster cast is +adjusted to the marble, is now at Athens.</p> + +<p><span class="leftside1">97.</span> +<span class="rightside">XXXIX.</span> +The head of No. 97, on slab xxxix. was formerly in the +Pourtalčs Collection, at the sale of which in 1865 it was +purchased for the British Museum, and inserted in its +place on the frieze.</p> + +<p><span class="leftside1b">107.</span> +<span class="rightside">XLII.</span> +On the last slab of the north side, the procession is still +in a state of preparation, so that this slab prepares a +transition to the west side. In the foreground is a rider +(No. 107), standing by his rearing horse, whom he holds by +the rein with his right hand. In the background beyond +this group is a mounted figure <span class="leftside1b">106.</span>(No. 106), so entirely +concealed by the rearing horse in the foreground that the +only evidence of his presence is his right hand advanced +just beyond his horse's shoulder point.</p> + +<p><span class="leftside1c">109, 110.</span> +To the right is a rider (No. 109) standing by his horse, +and in the act of drawing down his chiton under his +girdle in front, while a youthful attendant (No. 110) +assists him by pulling it down behind, or perhaps by +tying the lower girdle over which the folds were drawn. +<span class="pagenum"><a name="page178" id="page178"></a>178</span> +The attendant carries on his shoulder a folded chlamys, +probably that of his master. +</p></blockquote> +<a name="page178a" id="page178a"></a> +<h4><span class="sc">West Frieze of the Parthenon</span>.</h4> + +<p><span class="leftside">326.</span> +The west side of the frieze contains a continuation of +the procession of the north side, but here the procession +is mainly in course of preparation, and the scene may be +supposed to be laid in the Cerameicos. In part, doubtless, +on account of the character of the subject, in this part of +the frieze there is less continuity of composition than elsewhere. +The subjects are disconnected, and are usually +on single slabs, and seldom carried over a joint. There is +the same variety of dress and accoutrements here as +among the riders of the north side; but there are +more figures in armour (Nos. 3, 7, 11, 12, 18, 20). It +may be noted, as showing that the west and north sides +were produced by different hands or at different times, +that on the west side the bridles were fixed to the heads of +the horses by four rivet holes, not by two, as on the north.</p> + +<p>Slabs i., ii. are originals brought by Lord Elgin. The +remainder of this side (with the exception of No. 27) is +cast from the original slabs, which are still in position on +the temple.</p> + +<p>Two sets of casts of this frieze are exhibited in parallel +lines. The upper series is taken from moulds made from +the original marble in 1872; the lower series from moulds +made at Athens, at the time of Lord Elgin's mission. A +comparison of these two sets of casts shows how much +the frieze has suffered from exposure to weather during +seventy years. As the frieze is still in position and +unsheltered, it must be presumed that the decay of the +originals continues.</p> + +<blockquote><p> +<span class="leftside1"> 1.</span> +<span class="rightside">I.</span> +The single figure (No. 1) at the north-west angle is +evidently a herald or marshal directing the march of +<span class="pagenum"><a name="page179" id="page179"></a>179</span> +the cavalry. In like manner Hippias, or, according to +Aristotle, Hipparchos, was in the outer Cerameicos, +"arranging how each part of the Panathenaic procession +ought to go forward," when he was attacked by Harmodios +and Aristogeiton. (Thuc. vi., 57; Aristotle, +<ins title="Greek: Ath. pol."><span style="letter-spacing: -2px;">Ἀ </span><span class="gesperrt">θ. +πολ</span>.</ins> ed. +Kenyon, 18.) His right hand probably held a staff of office, +as the bent fingers are not closed. This figure is repeated, +in a plaster cast. <span class="leftside1a"> 2, 3.</span>Then follow two mounted figures +<span class="rightside">II.</span>(Nos. 2, 3); in the hair of No. 2 are holes in which +probably a metal wreath was inserted. <span class="rightside">III.</span>No. 4 raises both +hands as if to open his horse's mouth for the insertion of +the bit. Behind the horse stands a youth <span class="leftside1c"> 4, 6, 5.</span>(No. 6), either +the groom or attendant; his hands may have held a bridle. +A bearded man (No. 5), probably a marshal, turns towards +the youth as if addressing him. Then follow two more +mounted figures <span class="rightside">IV., V.</span>(Nos. 7, 8), and a youth <span class="leftside1c">7, 8, 9.</span>(No. 9), standing +by his horse, and turning round to his mounted companion +(No. 10), behind him. Next comes a horseman +<span class="rightside">VI.</span>(No. 11), <span class="leftside1">10.</span>distinguished from all the figures in the frieze +by his richly decorated armour. On his head is a crested +helmet, on the crown of which is in relief an eagle +with outstretched neck. <span class="leftside1">11.</span>A hole a little behind the +temple shows where a wreath has been inserted. His +body is protected by a cuirass, on the front of which is +a Gorgon's head in relief, intended as a charm, to avert +wounds from the most vital part; on the shoulder-straps +are lions' heads, also in relief. Between the breast-plate +and back-piece of the cuirass is an interval at the sides, +which is protected by flexible scale armour +(<ins title="Greek: thôrax lepidôtos">θώραξ +λεπιδωτός</ins>). +Below the girdle are flaps (<i>pteryges</i>) made of leather +covered with metal, which at the upper ends are united +to the girdle. Under the cuirass appears a chiton without +sleeves. The horse of No. 11 is one of the few on the +frieze that have all four legs off the ground. (Cf. north, +91, 97; west, 19; south, 14, 30.)</p> +<span class="pagenum"><a name="page180" id="page180"></a>180</span> + +<p><span class="leftside1">12.</span> +No. 12 is on foot, and stoops forward, looking towards +the procession advancing from the right. His left foot +is raised on a rock, and he appears from the action of +his arms to be tying his boot.</p> + +<p><span class="leftside1a">13, 14.</span> +<span class="rightside">VII.</span> +The next slab contains two mounted figures (Nos. 13, +14). No. 14 wears a mantle of skin. He is the only figure, +on this side of the frieze, thus decorated. No. 15<span class="rightside">VIII.</span> stands at +the side of a rearing horse, trying to control him.<span class="leftside1">15.</span> The +violence of the action is shown by the muscular strain +and the disordered dress of this figure, who wears a +chiton, <i>exomis</i>, over which is a chlamys flying behind his +back. On his head is a leathern cap. The attire of this +figure is precisely similar to that of No. 8 and No. 19. +Then follow six mounted figures <span class="leftside1a">16-21.</span>(Nos. 16-21)<span class="rightside">IX.-XI.</span>, all moving +rapidly to the left. One of these (No. 17) wears the +petasos, a flapping, broad-brimmed hat used by travellers. +From No. 22 onward to the south-west angle, none of the +figures are mounted. The first group (Nos. 22-24)<span class="rightside">XII.</span> is +not unlike that already described (Nos. 4-6). A youth +<span class="leftside1a">22, 23.</span>(No. 22) stands at the horse's head, and seems to be holding +the reins. At the side of the horse stands a taller figure +(No. 23), holding up his right hand as if giving an order +to a person at some little distance. In his left hand he +holds a short wand. This figure seems to be a marshal, +though his dress, a chiton girt at the waist and a chlamys, +differs from that of all the other marshals on the frieze, +while it frequently occurs among the riders. Behind the +horse is a youth <span class="leftside1">24.</span>(No. 24) who, from his stature and +attitude, is a groom or attendant; a thick garment is cast +over his shoulders. Next is a much mutilated figure +<span class="leftside1">25.</span>(No. 25)<span class="rightside">XIII.</span>, who seems to be pressing his right foot against +the heel of his horse's right fore leg to make him extend +himself so as to lower his back for mounting. Behind +this figure a horse springs forward, free from the control +of his rider <span class="leftside1a">26, 27.</span>(No. 26)<span class="rightside">XIV.</span>, who has let him go in order to assist +<span class="pagenum"><a name="page181" id="page181"></a>181</span> +a comrade (No. 27). This latter figure tries to master a +rearing horse, who threatens to escape from his control. +In the upper portion of this figure a fragment from the +original marble is adjusted to the cast. This fragment +was brought from Athens many years ago, and presented +to the Museum by M. J. J. Dubois in 1840. The next +figure <span class="leftside1a">28, 29.</span>(No. 28)<span class="rightside">XV.</span> stands at his horse's head, and behind him +is a rider (No. 29) not yet mounted, who is drawing on his +left boot in an attitude very similar to that of No. 12; +his right boot lies at the side of the rock on which his +left foot is raised. The horses of both these figures, in +contrast to the preceding group, stand tranquilly waiting +to be mounted. The last figure on the western frieze +<span class="leftside1">30.</span>(No. 30)<span class="rightside">XVI.</span> on the return of the first slab of the south side +stands holding up an ample mantle on his left arm, and +seems to be putting it on. From the size of the mantle +this figure might be that of a marshal, though his +youthful appearance suggests that he is a rider. +</p></blockquote> +<a name="page181a" id="page181a"></a> +<h4><span class="sc">South Frieze of the Parthenon</span>.</h4> + +<p><span class="leftside">327.</span> +In following the procession along the south side from +west to east, we pursue one branch of the procession which +corresponds in the main with that on the north side. +The main difference is that on the south the victims +consist of cows only, while on the north there are sheep +as well as cows. It may therefore be the case that this +side represents the Hecatomb offered by the Athenians +themselves. All the victims are cows, in accordance with +Greek ritual, which ordained the sacrifice of male animals +to a God, and female animals to a Goddess.</p> +<a name="n327-4" id="n327-4"></a> +<blockquote><p> +<span class="leftside1a">1-4.</span> +<span class="rightside">I.</span> +The left-hand side of slab i. is still on the Parthenon; +the right-hand portion, containing the figure, No. 4, was +presented to the Museum by the late Mr. C. R. Cockerell. +A marshal (No. 1) stands at the angle; the first horseman +<span class="pagenum"><a name="page182" id="page182"></a>182</span> +(No. 2) advances at a walk, thus conforming to the +rule that the movement is always gentle at an angle of +the frieze. The horsemen of this slab all wear chiton, +chlamys, boots, and a leather cap with a flap (<i>katablema</i>) +hanging over the nape of the neck.</p> + +<p><span class="leftside1a">5-7.</span> +<span class="rightside">II.</span> +Slab ii. is cast from the original on the Parthenon, +which is in a very mutilated condition (cf. No. 345, <i>16</i>). +Of No. 7 nothing now remains on this slab, but a bit of +his drapery, and on slab iii. his right foot and his horse's +nose and forelegs. Slab iii.<span class="rightside">III.</span> was complete on the left edge +in the time of Stuart, who gives the head and forehand of +the horse of No. 7. The horseman <span class="leftside1a">8-9.</span>(No. 8) wears a chlamys +only, which is cast back so as to show the entire right +side of the body. This is the only figure on the south +frieze who is so little clad.</p> + +<p><span class="leftside1a">10-12.</span> +<span class="rightside">IV.</span> +On slab iv., the greater part of which still remains on +the Parthenon, are the remains of three figures (Nos. 10, +11, 12). On the right side are two fragments of this +slab, brought away by Lord Elgin, one of which only is +given by Michaelis. The other has been since discovered +in the magazines of the Museum.</p> + +<p>[At this point it has been necessary to interrupt the +sequence by placing slabs xiv., xv., xx. on the sides of +the pilaster. These slabs are described below in their +respective places.]</p> + +<p><span class="leftside1a">12-14.</span> +<span class="rightside">V.</span> +On slab v., No. 13 wears a close-fitting cuirass, but is bare-headed. +Compare the figures 26-35, and the description of +Theagenes in the passage of Heliodorus, quoted on p. 148. +<span class="leftside1a">15-25.</span>Slabs vi.-ix.<span class="rightside">VI.-IX.</span> contain unarmed Athenian horsemen, riding +bare-headed and for the most part wearing chiton with +double girdle and boots only. The head of the rider, +No. 15, is unfinished. The horses at this part of the +frieze have manes with a large forelock turned upwards.</p> + +<p><span class="rightside">X.-XIII.</span> +There is a break in the composition at the beginning +of slab x., and a change of subject is marked by the +<span class="pagenum"><a name="page183" id="page183"></a>183</span> +group not being carried across the joint. The figures +<span class="leftside1a">26-37.</span>(Nos. 26-37) on slabs x.-xiii. are evidently arranged in +two ranks of six horsemen each, and are distinguished +from most of the riders in the southern cavalcade by +wearing a cuirass under which is a short chiton. Three +of these figures (Nos. 33, 36, 37) have a cuirass consisting +of a breastplate and backpiece, which are united at +the sides by a strip of flexible scale armour. From +the cuirass hang down the flaps, which protected the +loins. These cuirasses also have shoulder straps. The +riders, Nos. 26-36, wear the plain cuirass, rigid and +close-fitting +(<ins title="Greek: thôrax stadios">θώραξ +στάδιος</ins>). +All the riders in this part of +the procession wear high boots with a flap turning over +below the knee. They are all bareheaded except No. 36, +who wears a cap or helmet with a flap behind; No. 33, +who also wears a cap; and No. 35, who has a diadem +over which must have been a metallic wreath, as there +are four holes for its attachment on the crown of the head. +A chlamys hangs from the left arm of Nos. 26, 27, 28. +<span class="rightside">XIV.-XVI.</span>Slab xiv., which is a cast from the original at Athens, +and slab xv. are now exhibited on the pilaster. Slab xvi., +which is also a cast from the original at Athens, is in its +place. Slab xiv. contains the head of the horse of No. 37. +In front of it is a space marking a division, and another +body of six horsemen <span class="leftside1a">38-43.</span>(Nos. 38-43). These appear to be +uniformly dressed in helmet, chiton without cuirass, and +boots, and, although the positions of xv., xvi. are conjectural, +the sequence proposed seems highly probable. In front +of No. 43 there is a space similar to that between Nos. 37, +38. On the right side of xvi. is the outline of a horse's +crupper, and floating above it in the air appears to be the +long end of a mantle of skin such as is worn by No. 14 +in the west frieze; behind No. 44 appears to be part of a +garment of the same texture, the outline of which is seen +above the horse's hind quarter. It is, however, doubtful +<span class="pagenum"><a name="page184" id="page184"></a>184</span> +whether xvi. and xvii. joined each other. Perhaps between +them was a slab in which the horsemen wore similar mantles +of skin.</p> + +<p>From this point the military order of the procession +becomes less marked, or is obscured by the defective +state of the marble. There is also more variety in the +costumes of the riders.</p> + +<p><span class="leftside1a">45*.</span> +<span class="rightside">XVII.</span> +Slab xvii. is a cast from the original at Athens. Since +the publication of the work of Michaelis, two fragments +have been adjusted on the right, which prove the connection +of the slab with No. xviii. by supplying the hind +quarters of a horse of which the rest has been in xviii. +These two fragments, which were unknown to Michaelis, +also supply the forehand of another horse and the body +of the rider (No. 45*) from the waist to below the knee +(see fig. 14). +</p></blockquote> + +<div class="figcenter" style="width: 300px;"><a href="images/17fig14-500.png"><img src="images/17fig14-300.png" width="300" height="251" alt="Fig. 14.—South frieze, slab xvii. (44. 45. 45*.)" /></a> +<p class="center">Fig. 14.—South frieze, slab xvii.</p></div> + +<blockquote><p> +<span class="rightside">XVIII.</span> +The original of slab xviii. is at Athens, and was in its +present mutilated condition when drawn by Carrey.</p> + +<p><span class="leftside1">47.</span> +<span class="rightside">XIX.</span> +The cast of the small fragment at the upper left-hand +corner of slab xix., giving the mane of the horse of No. 47, +has been added since the publication of the work of +Michaelis. For a fragment engraved by Michaelis, as +the head of <span class="leftside1">48.</span>No. 48, cf. No. 345, <i>18</i>.</p> + +<p><span class="rightside">XX.</span>Slab xx. (on the pilaster) is a cast from the original +<span class="pagenum"><a name="page185" id="page185"></a>185</span> +at Athens. This slab, which now only contains parts +of the legs of two horses and a rider (No. 48) was +nearly complete in the time of Carrey and contained +two riders wearing petasoi or broad-brimmed travellers' +hats.</p> + +<p><span class="leftside1a">51, 52.</span> +<span class="rightside">XXI.</span> +In slab xxi. the head of the horse of No. 51 and the +head and shoulders of No. 52 are supplied by casts from +originals at Athens. The fragment containing the head +of <span class="leftside1">53.</span>No. 53, a figure wearing a petasos, does not appear in +the plate of Michaelis.</p> +<a name="slab_xxiv" id="slab_xxiv"></a> +<p><span class="rightside">XXII., XXIII</span>Slab xxii. and slab xxiii., which, with the exception of +a small fragment, is only preserved in Carrey's drawings, +contained the leading horsemen of the procession. Those +on slab xxii. are evidently pulling up their horses, while +the two horsemen on slab xxiii. are going at a foot-pace. +All the paces of the horse are thus displayed within a +short distance, at this part of the frieze. In slab xxii. +a fragment containing a horse's head and the mane +of another horse, which Michaelis assigns to the team on +slab xxiv., has been since adjusted to its place in front of +No. 56; to this has been fitted the small fragment of the +corner of slab xxiii.</p> + +<p><span class="rightside">XXIV.</span> +The horsemen are immediately preceded in the procession +by the chariot-groups. Carrey draws eight chariots, +of which four partially survive and four are totally lost. +On the other hand, a part remains of two groups (slab +xxix.),<span class="rightside">XXXIV.</span> of which there is no trace in Carrey's drawings. +These, therefore, must probably be placed in a break in +the sequence of slabs indicated by Carrey. Originally +there must have been not fewer than ten chariot groups. +In each the charioteer is accompanied by an armed +warrior; but here the armed figure is not like the +apobates of the northern frieze in the act of stepping +out of the chariot in motion, but stands either in +the quadriga or (if it is not in motion) by its side. +<span class="pagenum"><a name="page186" id="page186"></a>186</span> +Therefore Michaelis supposes that, while the chariots on +the north frieze have reference to that contest in which +armed apobatae took a part, leaping off and on to the +quadriga during the race, the chariots in the south frieze +suggest the chariots of war, <i>harmata polemisteria</i>, in which +an armed hoplite stood in the chariot by the side of the +charioteer. Each chariot group, when complete, is seen +to be accompanied by a marshal.</p> + +<p><span class="rightside">XXIV.</span> +Of the two figures in the chariot of slab xxiv., nothing +now remains but part of the shield and left arm of the +hoplite <span class="leftside1">58.</span>(No. 58), with a fold of drapery hanging from the +arm. The upper part of the slab was wanting in the time +of Carrey, but he gives the legs of the hoplite, who, like +the corresponding figure in slab xxv., was standing by the +wheel of the chariot, of which a small portion remains. +This position shows that both these chariots were represented +at the moment before they started. In the shield +of No. 58 are two rivet holes for the attachment of a +bronze handle. In the upper hole the metal still remains. +Similar rivet holes occur in the shields of Nos. 61 and 66. +Michaelis supplies the heads of the horses on this slab by +a fragment which belongs to the cavalcade of horsemen. +(See <a class="ask" href="#slab_xxiv">slab xxii</a>., above.)</p> + +<p>The connection between slabs xxiv. and xxv. is proved +by a fragment which has been added to the lower corner +on the right of slab xxiv. since the work of Michaelis was +published. This fragment, of which the original is at +Athens, gives part of the wheel of the chariot of xxv. and +the forefeet of the horses of xxiv.</p> + +<p><span class="rightside">XXV.</span>In slab xxv. the horses' heads now wanting are given +in Carrey's drawing. Of the charioteer <span class="leftside1">60.</span>(No. 60) very +little is now visible but part of his drapery. The armed +figure <span class="leftside1">61.</span>(No. 61) in this chariot group, whose appearance +is more youthful than that of the other hoplites in this +part of the frieze, wears a chiton with a double girdle +<span class="pagenum"><a name="page187" id="page187"></a>187</span> +and a chlamys. Near the edge of his shield are two +rivet holes for a bronze handle; in the upper one the +metal still remains. The marshal <span class="leftside1">62.</span>(No. 62) standing at +the side of the horses stretches out his right hand towards +the charioteer with the forefinger extended, a gesture +which indicates that he is giving an order. The rivet +holes on the horses' crests show that the reins were of +bronze.</p> + +<p><span class="rightside">XXVI., XXVII.</span>Slabs xxvi., xxvii., of Michaelis, contained two chariot +groups which we only know through Carrey's drawings. +In both the horses are springing forward; cf. No. 345, <i>20</i>.</p> + +<p><span class="rightside">XXVIII.</span>Michaelis inserts to represent slab xxviii. a fragment +which belongs to the north side, slab xxiv.</p> + +<p><span class="rightside">XXIX.</span>The lower corner on the left side of xxix. has been +cast from a fragment at Athens, which has been identified +since the publication of the work of Michaelis. This +fragment supplies the missing part of the wheel and a +small piece of flying drapery belonging to one of the +figures in the chariot. In this group the marshal at the +side of the chariot is wanting. On the right-hand edge of +this slab, just above the horses' forelegs and close to the +joint, is part of the outline of a shield. This shield must +have belonged to one of the figures in the chariot following +on the next slab; it is evident, therefore, that between +xxix. and xxx. was another slab, now lost, which we +cannot recognise in any of Carrey's drawings.</p> +<a name="hestor" id="hestor"></a> +<p><span class="leftside1">66.</span> +<span class="rightside">XXX.</span> +The armed figure (No. 66) wears the Corinthian helmet, +which does not occur elsewhere on the frieze. The handle +of his shield was of bronze, of which a small portion still +remains in the rivet hole. Other rivet holes on the crests +of the horses show that the reins and the <i>hestor</i> for attaching +the yoke to the pole were also of bronze. Here, as in +xxix., the marshal is wanting. The horses' heads, which +are treated with more freedom on this slab than elsewhere +on the frieze, are of extraordinary beauty.</p> +<span class="pagenum"><a name="page188" id="page188"></a>188</span> + +<p><span class="rightside">XXXI.</span>On slab xxxi., as in the preceding, the reins and the +hestor were of bronze.</p> + +<p><span class="rightside">XXXII.-XXXIV.</span>Slabs xxxii.-xxxiv. are now wholly lost, except in +Carrey's drawings. They contained two chariots, both +at a standstill, or moving slowly, and the four last +persons of the crowd on foot.</p> + +<p><span class="rightside">XXXV.-XXXVII.</span>Slabs xxxv., xxxvi., and part of slab xxxvii. contained +the remainder of the persons on foot. Fragments of +xxxv. and of xxxvi. (original at Athens) alone remain, +although the slabs were complete in the time of Carrey. +The figures as he draws them appear to be elderly men, +eighteen in number, and resembling in attire and general +character the Thallophori who have been already noticed +on the northern frieze. All are clad in the himation. +Michaelis thinks that <span class="leftside1a">72, 73.</span>No. 72 holds in his left hand a +small object shaped like a clarionet, but he appears to +have mistaken the right arm of No. 73 hanging down for +this object. Between these supposed Thallophori and +the victims Carrey inserts four figures, two of whom +hold in their left hands some object like a square tablet, +which may be the bottom of a lyre, as this is the place in +the procession where the musicians might be expected, if +the arrangement on this side corresponded with that on +the north side. The fragment <span class="leftside1">79*.</span>(No. 79*) representing the +upper part of a Scaphephoros carrying a tray must also +belong to this part of the frieze, and is therefore here +inserted. It is cast from the original at Athens, which +was not known to Michaelis. It probably implies that +one slab was wanting here, as well as the second half of +slab xxxvii., of which Carrey seems to have only drawn +the first half.</p> + +<p><span class="rightside">XXXVIII.-XLV.</span>The remainder of the south frieze is occupied with +the procession of victims for the sacrifice. Cows only +are here represented, and, as has been observed, this +may indicate that we have here the native Athenian +<span class="pagenum"><a name="page189" id="page189"></a>189</span> +part of the procession. The order in which these slabs +are exhibited differs from that given by Michaelis in <i>Der +Parthenon</i>, pl. 11., because slab xliii., No. 84 (= Michaelis, +No. 126; cf. 345, <i>22</i>), which is the top left corner of a +slab, has been proved to join to the right side of xli. +Other changes have also been made, but the slab numbers +of Michaelis have been preserved for convenience of +reference, and the order now stands:—xli., joined by xliii., +No. 84 (= Michaelis, No. 126); xxxix., which may join +xliii.; xl., which joins xxxix.; xxxviii., which may perhaps +join xl.; after an interval of one slab, xlii.; xliii., Nos. 100, +101 (= Michaelis, 127, 128); xliv., the corner slab. Michaelis +has proposed a revised arrangement in <i>Arch. Zeit.</i>, 1885, +p. 57, which agrees with the foregoing, except that slabs +xxxviii. and xlii. are transposed. Michaelis holds that +xlii. joins xl., and xxxviii. joins xlii. This arrangement +suits the conditions as to space, but the suggested joinings +are very doubtful.</p> + +<p>Each cow is escorted by two youths, one on each side, +and a third figure, perhaps a marshal, at the head. +Those of the escort who are on the side of the spectator +are represented in vigorous action, guiding and restraining +the animals by ropes, which may have been painted on +the marble. All are clad in the himation, which in the +figures actively engaged in controlling the cattle is worn +so as to leave one or both shoulders free. Compare the +description of Heliodorus, p. 147. In slab xxxix. the +action is very animated. The youth, <span class="leftside1">85.</span>No. 85, leans back +with his foot pressed against a rock, to restrain the cow. +This motive is a favourite one in fifth century art. +Compare the west frieze, No. 15; a metope of the Theseion +representing Theseus and the bull of Marathon; the balustrade +of the temple of Nikč Apteros (No. 429); and vase +paintings as in <i>Journ. of Hellen. Studies</i>, ii., pl. 10.</p> + +<p>In slab xl. the left lower corner is added in plaster, +<span class="pagenum"><a name="page190" id="page190"></a>190</span> +from the original fragment at Athens. In slab xxxviii. +the cow's right horn must have been carved in the round, +only the tip being attached to the background of the +relief. In slab xlii., <span class="leftside1">96.</span>No. 96 has both hands raised to his +head, as if adjusting a wreath. Compare the north frieze, +No. 25. What was the number of cattle in this part of +the frieze cannot now be ascertained, but there is evidence +that there were at least nine, and more probably ten.</p> + +<p>Michaelis (<i>Arch. Zeit.</i>, 1885, p. 57), in placing xlii. after +xl., makes the right hand seen on the left of xlii. to be +the hand of <span class="leftside1">91.</span>No. 91 (= Michaelis, No. 115), and the portion +of a cow's belly seen between 90 and 91 to be part of the +cow on the left of xlii. It is to be noticed that the hind +legs of this cow have been altogether omitted.</p> + +<p>There is a curious inequality in the depths of the relief +in this part of the frieze. Slabs xxxix., xl. are worked +more in the round than the remaining groups with cattle.</p> + +<p><span class="leftside1c">100, 101.</span> +The fragment with the two heads, Nos. 100 and 101, +may be, as Michaelis suggests, a part of the corner slab +xliv., the two parts at present numbered as 101, 102 +being different parts of the same figure. <span class="leftside1a">102.</span>The positions +of the head and the foot appear to agree. On the other +hand, the surfaces of the two fragments have weathered +very differently.</p> + +<p>On the return face of slab xliv. is the marshal, who +forms the first figure of the east frieze, and makes a connection +between the two sides, by looking back, as if to +the advancing procession. +</p></blockquote> + +<p class="indent1"> + In the following conspectus of publications of the frieze, only the + <i>Museum Marbles</i> and the work of Michaelis, and the photographic + reproductions are referred to in detail. For a fuller list of early + publications the reader is referred to the work of Michaelis. + Deficiencies in the published illustrations, as compared with the + present state of the frieze, are noted in the description. In the + fourth column C. indicates that the slab was drawn by Carrey; S. + that it was drawn by Stuart, and published in the <i>Antiquities of + Athens</i>, II., chap. i., or IV., chap. iv., pls. 11-14. +<span class="pagenum"><a name="page191" id="page191"></a>191</span> + A diagram showing all the slabs drawn by Stuart is given in + <i>Antiquities of Athens</i>, II., chap. i., pl. 30. P. indicates + that a slab was drawn by Pars, during the Dilettanti Expedition, + and was published in the <i>Antiquities of Athens</i>, IV., chap. + iv., pls. 6-10, 15-28. W. denotes slabs published, from drawings of + Pars, in the <i>Museum Worsleyanum</i>. +</p> + +<h4><span class="sc">Parthenon Frieze, East Side.</span></h4> + +<table summary="Parthenon Frieze, East Side." align="center" width="auto" style="border-collapse: collapse;"> +<tr> + <th class="border" style="border-left: 1px solid black;"><span class="sc">Michaelis</span>, <br /><i>Der Parthenon</i>, <br />Pl. 14.</th> + <th class="border"><i>Museum Marbles</i>, <br />Pt. VIII.<br /></th> + <th class="border">Mansell's <br />Photographs.</th> + <th class="border">Early Drawings, &c.</th> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">Slab.</td> + <td class="gridc">Pl.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">I.</td> + <td class="gridc">XXXIX.</td> + <td class="gridc">684</td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">II.</td> + <td class="gridc"> </td> + <td class="gridc">684</td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">III.</td> + <td class="gridc">XXXVIII., XXXVII.</td> + <td class="gridc">685, 686</td> + <td class="gridc">C.S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">IV.</td> + <td class="gridc">XXXVI., I.</td> + <td class="gridc">687, 688</td> + <td class="gridc">C.S. Brunn, <br /><i>Denkmaeler</i>, <br />Nos. 106, 107.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">V.</td> + <td class="gridc">II., III., IV.</td> + <td class="gridc">689, 690</td> + <td class="gridc">S.W. Brunn, <br /><i>Denkmaeler</i>, <br />Nos. 108, 109, 110.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">VI.</td> + <td class="gridc">V., VI.</td> + <td class="gridc">691, 692</td> + <td class="gridc">C. Baumeister, <br />p. 1187.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">VII.</td> + <td class="gridc">VII.</td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">VIII.</td> + <td class="gridc">VIII.</td> + <td class="gridc">692<i>a</i></td> + <td class="gridc">C.S.</td> +</tr> +<tr> + <td class="grid2c" style="border-left: 1px solid black;">IX.</td> + <td class="grid2c"> </td> + <td class="grid2c"> </td> + <td class="grid2c">C.S.</td> +</tr> +</table> + +<p class="center">The East Frieze is also published by the Stereoscopic Company, Nos. 1-13.</p> + +<h4><span class="sc">Parthenon Frieze, North Side</span>.</h4> + +<table summary="Parthenon Frieze, North Side." align="center" width="auto" style="border-collapse: collapse;"> + +<tr> + <th class="border" style="border-left: 1px solid black;"><span class="sc">Michaelis</span>, <br />Pl. 12, 13.</th> + <th class="border"><i>Museum</i> <br /><i>Marbles</i>, <br />Pt. VIII.</th> + <th class="border">Mansell's <br />Photographs.</th> + <th class="border">Early <br />Drawings.</th> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;"> Slab.</td> + <td class="gridc">Pl.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">I.-V.</td> + <td class="gridc">VIII.</td> + <td class="gridc"> </td> + <td class="gridc">C.S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">VI.</td> + <td class="gridc"> </td> + <td class="gridc">656</td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">VII.-XI.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C. (except X.)</td> +</tr> + <tr> + <td class="gridc" style="border-left: 1px solid black;">XII.</td> + <td class="gridc">IX. <span class="sc">A.</span></td> + <td class="gridc">655</td> + <td class="gridc">C.S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;"> XIII.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XIV.</td> + <td class="gridc">IX. <span class="sc">B.</span></td> + <td class="gridc">654</td> + <td class="gridc">C.S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XV.-XVI.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XVII.</td> + <td class="gridc">XI.</td> + <td class="gridc"> </td> + <td class="gridc">S.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XVIII.</td> + <td class="gridc">X. <span class="sc">C.</span></td> + <td class="gridc">653</td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XIX.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XX.<span class="pagenum"><a name="page192" id="page192"></a>192</span></td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXI.</td> + <td class="gridc">X. <span class="sc">d</span>.</td> + <td class="gridc">652</td> + <td class="gridc"></td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXII.</td> + <td class="gridc">XII.</td> + <td class="gridc">651</td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXIII.</td> + <td class="gridc">XII.</td> + <td class="gridc">650</td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXIV.</td> + <td class="gridc">XIII. <span class="sc">a</span>.</td> + <td class="gridc">649</td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXV.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXVI.</td> + <td class="gridc">XIV.</td> + <td class="gridc">648</td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXVII.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXVIII.</td> + <td class="gridc">XIII. <span class="sc">b</span>.</td> + <td class="gridc">647</td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXIX.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXX.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXI.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXII.</td> + <td class="gridc">XV.</td> + <td class="gridc">646</td> + <td class="gridc">P. W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXIII.</td> + <td class="gridc">XVI.</td> + <td class="gridc">645</td> + <td class="gridc">P. W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXIV.</td> + <td class="gridc">XVI.</td> + <td class="gridc">644</td> + <td class="gridc">P. W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXV.</td> + <td class="gridc">XVII.</td> + <td class="gridc">643</td> + <td class="gridc">P. W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXVI.</td> + <td class="gridc">XVII.</td> + <td class="gridc">642</td> + <td class="gridc">P. W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXVII.*</td> + <td class="gridc">XVIII.</td> + <td class="gridc">641</td> + <td class="gridc">P. W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXVIII.*</td> + <td class="gridc">XVIII.</td> + <td class="gridc">640</td> + <td class="gridc">P. W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXIX.</td> + <td class="gridc">XIX.</td> + <td class="gridc">639</td> + <td class="gridc">P.S.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XL.</td> + <td class="gridc">XIX.</td> + <td class="gridc">638</td> + <td class="gridc">S. W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XLI.</td> + <td class="gridc">XX.</td> + <td class="gridc">637</td> + <td class="gridc">S. W.</td> +</tr> +<tr> + <td class="grid2c" style="border-left: 1px solid black;">XLII.</td> + <td class="grid2c">XXI.</td> + <td class="grid2c">636</td> + <td class="grid2c">S. W.</td> +</tr> +<tr> + <td colspan="4" style="padding-top: 2em;"> + <p class="footnote2a">* Slab XXXVII. is given by Brunn, <i>Denkmaeler</i>, No. 113;<br /> + Slab XXXVIII. = <i>Denkmaeler</i>, No. 114;<br /> + Slab XLII. = <i>Denkmaeler</i>, No. 115.<br /> + The North Frieze is also published by the Stereoscopic Company, Nos. 14-38.</p> + </td></tr> +</table> + + <h4><span class="sc">Parthenon Frieze, West Side</span>.</h4> +<table summary="Parthenon Frieze, West Side." align="center" width="auto" style="border-collapse: collapse;"> +<tr> + <th class="border" style="border-left: 1px solid black;"><span class="sc">Michaelis</span>, <br />Pl. 9</th> + <th class="border"><i>Museum</i> <br /><i>Marbles</i>, <br />Pt. VIII.</th> + <th class="border">Stereoscopic <br />Company's <br />Photographs.</th> + <th class="border">Early <br />Drawings.</th> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">Slab.</td> + <td class="gridc">Pl.</td> + <td class="gridc">No.</td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">I.</td> + <td class="gridc">XXII.</td> + <td class="gridc"> </td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">II.</td> + <td class="gridc">XXII.</td> + <td class="gridc">39</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">III.</td> + <td class="gridc">XXIII.</td> + <td class="gridc">40, 40<span class="sc">a</span></td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">IV.</td> + <td class="gridc">XXIV.</td> + <td class="gridc">41</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">V.</td> + <td class="gridc">XXV.</td> + <td class="gridc">42</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">VI.</td> + <td class="gridc">XXVI.</td> + <td class="gridc">43</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">VII.</td> + <td class="gridc">XVII.</td> + <td class="gridc">44</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">VIII.</td> + <td class="gridc">XXVIII.</td> + <td class="gridc">45</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">IX.</td> + <td class="gridc">XXIX.</td> + <td class="gridc">46</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">X.</td> + <td class="gridc">XXX.</td> + <td class="gridc">47</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XI.</td> + <td class="gridc">XXXI.</td> + <td class="gridc">48</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XII.</td> + <td class="gridc">XXXII.</td> + <td class="gridc">49</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XIII.</td> + <td class="gridc">XXXIII.</td> + <td class="gridc">50</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XIV.</td> + <td class="gridc">XXXIV.</td> + <td class="gridc">51</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XV.</td> + <td class="gridc">XXXV.</td> + <td class="gridc">52</td> + <td class="gridc">C.P.W.</td> +</tr> +<tr> + <td class="grid2c" style="border-left: 1px solid black;">XVI.</td> + <td class="grid2c">XXXV.</td> + <td class="grid2c">53</td> + <td class="grid2c">C.P.W.</td> +</tr> +</table> +<span class="pagenum"><a name="page193" id="page193"></a>193</span> + +<h4><span class="sc">Parthenon Frieze, South Side</span>.</h4> + +<table summary="Parthenon Frieze, South Side." align="center" width="auto" style="border-collapse: collapse;"> +<tr> + <th class="border" style="border-left: 1px solid black;"><span class="sc">Michaelis</span>, <br />Pl. 10, 11.</th> + <th class="border"><i>Museum</i> <br /><i>Marbles</i>, <br />Pt.VIII.</th> + <th class="border">Mansell's <br />Photographs.</th> + <th class="border">Early <br />Drawings.</th> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">Slab</td> + <td class="gridc">Pl.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">I.</td> + <td class="gridc">LVI.</td> + <td class="gridc">661</td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">II.</td> + <td class="gridc"></td> + <td class="gridc"></td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">III.</td> + <td class="gridc">LV.</td> + <td class="gridc">658</td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">IV.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">V.</td> + <td class="gridc">LV.</td> + <td class="gridc">659</td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">VI.</td> + <td class="gridc">LIV.</td> + <td class="gridc">660</td> + <td class="gridc">S.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">VII.</td> + <td class="gridc">LIV.</td> + <td class="gridc">657</td> + <td class="gridc">S.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">VIII.</td> + <td class="gridc">LIII.</td> + <td class="gridc">662</td> + <td class="gridc">S.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">IX.</td> + <td class="gridc">LIII.</td> + <td class="gridc">663</td> + <td class="gridc">S.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">X.*</td> + <td class="gridc">LII.</td> + <td class="gridc">664</td> + <td class="gridc">S.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XI.*</td> + <td class="gridc">LII.</td> + <td class="gridc">665</td> + <td class="gridc">S.W.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XII.</td> + <td class="gridc">LI.</td> + <td class="gridc">666</td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XIII.</td> + <td class="gridc">LI.</td> + <td class="gridc">667</td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XIV.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XV.</td> + <td class="gridc">L.</td> + <td class="gridc">668</td> + <td class="gridc"></td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XVI.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XVII.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XVIII.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XIX.</td> + <td class="gridc">XLIX.</td> + <td class="gridc">669</td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XX.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXI.</td> + <td class="gridc">XLIX.</td> + <td class="gridc">670</td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXII.</td> + <td class="gridc">XLVIII.</td> + <td class="gridc">671</td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXIII.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXIV.</td> + <td class="gridc">XLVII.</td> + <td class="gridc">672</td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXV.</td> + <td class="gridc">XLVII.</td> + <td class="gridc">673</td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXVI.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXVII.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXVIII.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXIX.</td> + <td class="gridc">XLVI.</td> + <td class="gridc">674</td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXX.</td> + <td class="gridc">XLV.</td> + <td class="gridc">675</td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXI.</td> + <td class="gridc">XLV.</td> + <td class="gridc">676</td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXII.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXIII.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXIV.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXV.</td> + <td class="gridc">XLIV.</td> + <td class="gridc">677</td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXVI.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXVII.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc">C.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XXXVIII.</td> + <td class="gridc">XLIII.</td> + <td class="gridc">678</td> + <td class="gridc"> </td> +</tr> + <tr> + <td class="gridc" style="border-left: 1px solid black;">XXXIX.</td> + <td class="gridc">XLII.</td> + <td class="gridc">679</td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XL.</td> + <td class="gridc">XLI.</td> + <td class="gridc">680</td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XLI.</td> + <td class="gridc">XLI.</td> + <td class="gridc">681</td> + <td class="gridc">S.</td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XLII.</td> + <td class="gridc">XL.</td> + <td class="gridc">682</td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="gridc" style="border-left: 1px solid black;">XLIII.</td> + <td class="gridc"> </td> + <td class="gridc"> </td> + <td class="gridc"> </td> +</tr> +<tr> + <td class="grid2c" style="border-left: 1px solid black;">XLIV.</td> + <td class="grid2c">XXXIX.</td> + <td class="grid2c">683</td> + <td class="grid2c"> </td> +</tr> +<tr> + <td colspan="4" style="padding-top: 2em;"> + <p class="footnote2a">* Slab X. is given by Brunn, <i>Denkmaeler</i>, No. 111;<br /> + Slab XI. = <i>Denkmaeler</i>, No. 112.<br /> + The South Frieze is also published by the Stereoscopic Company, Nos. 53-97.</p> +</td></tr> +</table> + +<span class="pagenum"><a name="page194" id="page194"></a>194</span> +<h3>FRAGMENTS OF THE PARTHENON SCULPTURES.</h3> + +<p>Numerous small fragments of the Parthenon sculptures +were taken from Athens either by Lord Elgin, or by +travellers who visited Athens. Others have been more +recently discovered in excavations on the Acropolis, or on +its south slope, and are still at Athens. Casts of all such +fragments, so far as they could be obtained, are now in +the British Museum. As far as possible the fragments +have been adjusted in their correct positions on the +sculptures, and have been described in their respective +places in this Catalogue. Of the remainder all the +original marble fragments, and the most interesting of +the casts, are exhibited in the Elgin Room, and are +described below.</p> + +<h4><span class="sc">Marble Fragments attributed to the Pedimental Sculptures.</span></h4> + +<p><span class="leftside">328.</span> +Fragment of colossal head. According to Hamilton's +Memorandum, this fragment was discovered built into a +Turkish house at the west front of the temple. It +contains the upper part of a face and head. The +sockets of the eyes are hollow, and must have once +contained eyes composed of ivory, precious stones, or +enamel. (An ivory eye, which must have belonged to +a colossal statue, was found in the temple of Athenč, at +Ćgina, and is engraved in Cockerell, <i>Temples at Ćgina, +and Bassć</i>, pl. 12, fig. 4. Cf. also <i>Arch. Anzeiger</i>, 1889, +p. 102). The surface of the marble is highly polished, +and traces of red colour have been remarked in the hair. +The back of the head is worked in a peculiar way, to +a plane surface, such as might be required if this was +a head from a pediment, on account of the cornice +above. The hard, conventional style, however, is not in +<span class="pagenum"><a name="page195" id="page195"></a>195</span> +accordance with that of the pedimental sculptures. This +fragment was formerly thought to belong to the Athenč +of the western pediment, to which its scale would +correspond, but there are no other grounds for the attribution.</p> + +<p class="indent"> +Height, 10 inches. <i>Synopsis</i>, No. 101 (118); <i>Mus. Marbles</i>, VI., +pl. 16; Michaelis, pl. 8, fig. 14. +</p> + +<p><span class="leftside">329.</span> +Two feet, shod with leather, attached to a plinth. The +feet belonged to a figure striding to the (spectator's) +right. The left foot was advanced, and bore the weight +of the body. Between the feet a stump of a tree is attached +to the plinth. The feet appear to be those of a female +figure, which in that case must have worn a short chiton. +The fragment has been assigned by different writers to +the Athenč of the west pediment, which is impossible, on +account of the attitude; to the Poseidon, which is impossible, +on account of the scale; and to the Athenč of the +east pediment, about whom we have no information. It +has also, with more plausibility, been assigned to the +figure of Hermes (H; see Carrey's drawing), who accompanies +the chariot of Athenč on the west pediment. It is, +however, unlikely that that figure was shod with leather +shoes; and the stump also has to be accounted for. It is +very probable that the plinth does not belong to the +pedimental sculptures at all, and Sauer's plan of the floor +of the pediment seems to leave no room for it. It has +been suggested that it is part of an independent group of +Athenč and Poseidon, which Pausanias saw on the Acropolis. +But as to this there is no evidence either way.</p> + +<p class="indent"> +Length, 4 feet 6 inches. <i>Mus. Marbles</i>, VI., pl. 8; <i>Synopsis</i>, +No. 256 (201); Michaelis, pl. 8, fig. 4, p. 194; <i>Journ. of +Hellen. Studies</i>, III., p. 251. +</p> + +<p><span class="leftside">330.</span> +Part of colossal right arm of female figure, bent at a +right angle at the elbow. It comprises the upper arm, +<span class="pagenum"><a name="page196" id="page196"></a>196</span> +from the shoulder, and the upper part of the forearm. +This fragment may, perhaps, have belonged to figure G +of the west pediment. (See Carrey's drawing.)</p> + +<p class="indent"> +Height (to elbow), 1 foot 11 inches. <a class="ask" href="#plate6">Plate VI</a>., fig. 2. In part given +by Michaelis, pl. 8, fig. 40; <i>Synopsis</i>, No. 342 (268). +</p> + +<p><span class="leftside">331.</span> +Left arm of female figure, bent, from near the shoulder, +to a little above the elbow. Drapery, thrown over the +arm at the elbow joint, falls partly on the upper and +partly on the fore arm. In the drapery of the upper arm +is a hole for the attachment of an object in metal. This +fragment seems best suited to the figure N. (See Carrey's +drawing.)</p> + +<p class="indent"> +Length, armpit to elbow, 1 foot 4¼ inches. Michaelis, pl. 8, fig. 26; +<i>Synopsis</i>, No. 315 (271*). +</p> + +<p><span class="leftside">332.</span> +Right arm of female figure, slightly bent, formed of +two fragments united at the elbow. This may, perhaps, +belong to figure F.</p> + +<p class="indent"> +Length, 2 feet 7½ inches. Michaelis (pl. 8, fig. 30) gives the upper +arm; <i>Synopsis</i> No. 339 (269). +</p> + +<p><span class="leftside">333.</span> +Left forearm of female figure, broken off above the +elbow (Michaelis, pl. 8, fig. 28). To this is united a cast +of a fragment at Athens with the wrist, which is bent a +little inwards. The arm must have been bent at the +elbow.</p> + +<p class="indent"> +Length, elbow to wrist, 1 foot 7 inches. <i>Synopsis</i>, No. 314 (272). +</p> + +<p><span class="leftside">334.</span> +Forearm of female figure. Michaelis (pl. 8, fig. 29) +thinks that it may have belonged either to figure O or W +of the west pediment.</p> + +<p class="indent"> +Length, 11½ inches. <i>Synopsis</i>, No. 311 (264). +</p> + +<p><span class="leftside">335.</span> +Fragment of left thigh, above life size. Michaelis +(pl. 8, fig. 39) calls this a female fragment, and suggests +the nude seated female figure S of the west pediment. +<span class="pagenum"><a name="page197" id="page197"></a>197</span> +But he seems to be in error as to the sex, and the fragment +seems more appropriate to the figure of the boy, E, +in the same pediment.</p> + +<p class="indent"> +Length, 1 foot. <i>Synopsis</i>, No. 312 (267). +</p> + +<p><span class="leftside">336.</span> +Fore part of right foot of female figure, resting on a +thick sole. The foot belonged to a colossal figure, which, +can hardly have been other than the Athenč of the west +pediment.</p> + +<p class="indent"> +Length, 1 foot 1¾ inches (length of second toe, 3¾ inches). Michaelis. +pl. 8, fig. 32; <i>Synopsis</i>, No. 340 (244). +</p> + +<p><span class="leftside">337.</span> +Piece of drapery, which must have hung free, apparently +from the shoulder and outstretched right arm of a +colossal figure. At the upper extremity is part of a dowel +hole, showing that the marble had been attached here by +a joint.</p> + +<p class="indent"> +Height, 2 feet 1½ inches. <i>Synopsis</i>, No. 343 (144). +</p> + +<p><span class="leftside">338.</span> +Fragment of right shoulder and arm as low as the +deltoid. The upper arm presses against the side. This +fragment may belong to the boy P on the left of Q in +the west pediment.</p> + +<p class="indent"> +Height, 11 inches. <i>Synopsis</i>, No. 303 (133). +</p> + +<h4><span class="sc">Casts from Fragments of the Pedimental Sculptures.</span></h4> + +<blockquote><p> +<span class="leftside"> 339.</span><span class="leftside1"> 1.</span> +Colossal female head, slightly turned to its right. The +hair was confined in a plait round the head, and also by a +wreath or band, which was of metal, as is shown by the +holes for its attachment. The nose and mouth have been +restored; but the grand style of the antique parts of the +head agrees with that of the Parthenon pediments.</p> + +<p>It is impossible, however, to determine to which figure +the head belongs. It has been assigned by Laborde and +others to the Victory (G) who is driving the chariot of +<span class="pagenum"><a name="page198" id="page198"></a>198</span> +Athenč in the west pediment. But it may have belonged +to one of the figures N, Q, S, of the same pediment.</p> + +<p>The probability that the head is derived from the +Parthenon is increased by what is known of its history. +It was found in a house of the San Gallo family at Venice. +A member of this family, Felice San Gallo, was secretary +of Morosini, and may well have taken the head as a +trophy from Athens, in 1687. The head passed in 1823 +into the possession of David Weber, and afterwards into +that of Laborde. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot 3½ inches. Laborde, <i>Athčnes</i>, II., pls. + facing pp. 228, 230; Michaelis, p. 195; pl. 8, fig. 6; Wolters, + No. 561, p. 257. +</p> + +<blockquote><p> +<span class="leftside1"> 2.</span> +Colossal female head, much defaced. The hair is +gathered in a cloth, which passes over the back of the +head. Compare the figure in the east frieze, slab vi., +No. 39 (Michaelis, pl. 14, No. 40). +</p></blockquote> + +<p class="indent1"> + Height, 11½ inches. Michaelis, pl. 8, fig. 9; Laborde, pl. 24, + fig. 6. +</p> + +<blockquote><p> +<span class="leftside1"> 3.</span> +Right side of colossal female head. The hair is +gathered into a plait from the brow and bound round the +head. This fine fragment agrees well in style with the +unrestored parts of the head, No. 1, above. +</p></blockquote> + +<p class="indent1"> + Height, 10½ inches. +</p> + +<blockquote> +<p><span class="leftside1"> 4.</span>Fragment of a wing, with a joint for attachment, and +a heavy support below. The figure of Victory (J) in the +east pediment probably had large wings; but it is difficult +to attach this cast to the statue. +</p></blockquote> + +<p class="indent1"> + Greatest length, 2 feet 6 inches. Michaelis, pl. 8, fig. 11; + Laborde, pl. 25, fig. 12; Overbeck, <i>Ber. d. k. sächs. Ges. + d. Wissenschaften</i>, 1880, pl. 3. +</p> + +<blockquote><p> +<span class="leftside1"> 5.</span> +Three smaller fragments of similar wings. +</p></blockquote> + +<p class="indent1"> + One is engraved, Michaelis, pl. 8, fig. 10; Laborde, pl. 25, fig. 17. +</p> +<span class="pagenum"><a name="page199" id="page199"></a>199</span> + +<blockquote><p> +<span class="leftside1"> 6.</span> +Portion of chiton, the flowing lines of which greatly +resemble the treatment of the Iris? (G) of the east pediment. +</p></blockquote> + +<p class="indent1"> + Length, 1 foot 6½ inches. +</p> + +<blockquote><p> +<span class="leftside1"> 7.</span> +Portion of the right side of a draped figure wearing +chiton and mantle, and sitting on a rock. Attributed by +Michaelis to the west pediment (fig. D or fig. U). +</p></blockquote> + +<p class="indent1"> + Height, 3 feet 3 inches. Michaelis, pl. 8, fig. 5. See above, + No. <a class="ask" href="#n304-d">304 D</a>. +</p> + +<blockquote><p> +<span class="leftside1"> 8.</span> +Left knee of seated draped figure, with the fingers of a +small hand on it. (West pediment, figs. D, E.) See +No. <a class="ask" href="#n304-d">304, D, E</a>. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot. +</p> + +<blockquote><p> +<span class="leftside1"> 9.</span> +Left leg of colossal male figure, bent nearly at a right +angle at the knee. It is made up from two pieces, a +fragment reaching from half-way up the thigh to below +the knee, and the fragment of a leg (Michaelis, pl. 8, +fig. 36), reaching to the bottom of the calf.</p> + +<p>The scale and the attitude seem to agree well with the +figure of Hermes (H) of the west pediment. +</p></blockquote> + +<p class="indent1"> +Greatest circumference of the thigh, 2 feet 7½ inches. +</p> + +<blockquote><p> +<span class="leftside1">10.</span> +Fragment of the right leg and thigh of a colossal male +figure, made up of two pieces, the leg from below the +knee nearly to the ankle (Michaelis, pl. 8, fig. 38), and +the knee with the beginning of the thigh. This leg is +slightly bent at the knee. It is on the same scale as the +preceding No. 9, and appears to be in the required +position for the right knee of the figure of Hermes (H) in +the west pediment. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot 11 inches. +</p> + +<blockquote><p> +<span class="leftside1">11.</span> +A colossal right foot, broken off at the ankle, and also +half-way between the instep and the toes. Less than +<span class="pagenum"><a name="page200" id="page200"></a>200</span> +half of the sole is roughly cut with a drill as if this part +of the foot had been slightly raised from the ground. +The heel and part of the sole under the instep have been +broken away. The scale is rather larger than that of +the preceding Nos. 9, 10, and it may therefore be one of +the feet of the Athenč in the west pediment. +</p></blockquote> + +<p class="indent1"> + Length of fragment, 11½ inches. Michaelis, pl. 8, fig. 31; + Laborde, pl. 58, fig. 8. +</p> + +<blockquote><p> +<span class="leftside1">12.</span> +Fragment of tail of some serpentine creature having +on the back a ridge of projections. This fragment has +been thought to be part of the tail of a Hippocamp +attached to the chariot of Amphitritč. +</p></blockquote> + +<p class="indent1"> + Length, 1 foot 6 inches. Michaelis, pl. 8, fig. 17; Laborde, pl. + 24, fig. 9. +</p> + +<blockquote><p> +<span class="leftside1">13.</span> +Fragment of left thigh, near the knee, of colossal figure; +on it falls a corner of drapery to which is attached a +gland. Sauer proposes to assign this fragment to the +figure S of the west pediment. +</p></blockquote> + +<p class="indent1"> + Length, 9½ inches. <i>Athenische Mittheilungen</i>, 1891, p. 79. +</p> + +<blockquote><p> +<span class="leftside1">14.</span> +Right thigh and knee of a male figure, rather larger +than life. It is very doubtful whether this belongs to +the Parthenon. +</p></blockquote> + +<p class="indent1"> + Length, 10 inches. +</p> +<a name="n339-15" id="n339-15"></a> +<blockquote><p> +<span class="leftside1">15.</span> +Fragment of right leg of small figure, broken off above +ankle and below knee. It has been attached at the back. +</p></blockquote> + +<p class="indent1"> + Length, 11 inches. +</p> + +<blockquote><p> +<span class="leftside1">16.</span> +Left hand of colossal female figure clasped round an uncertain +object. The hand is broken off at the wrist; the +forefinger and middle finger are wanting. There is no +evidence that this hand belongs to the Parthenon. The +scale, however, is suitable to one of the central figures of +<span class="pagenum"><a name="page201" id="page201"></a>201</span> +the west pediment. If the hand is derived thence, it is +possible that the hand is a hand of Athenč, and that the +object it holds is not the base of a torch, as has been +suggested, but part of the olive-tree. In that case Athenč +would be placing her left hand on a projecting bough of +her tree. +</p></blockquote> + +<p class="indent1"> + Length of third finger, 6¼ inches. Overbeck, <i>Ber. d. k. sächs. + Ges. d. Wissenschaften</i>, 1880, pl. 3. +</p> + +<blockquote><p> +<span class="leftside1">17.</span> +Fragment of an olive-tree with foliage. +</p></blockquote> + +<p class="indent1"> + Height, 6½ inches. +</p> + +<blockquote><p> +<span class="leftside1">18.</span> +Similar fragment of olive-tree, larger than last. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot 4 inches. Michaelis, pl. 8, fig. 15. +</p> + +<blockquote><p> +<span class="leftside1">19.</span> +Fragment of ankle and part of calf of right leg wearing +high boot and attached on the right side to the trunk +of a tree. It is highly improbable that this fragment +belonged to the Parthenon. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot 3 inches. +</p> +<a name="n339-20" id="n339-20"></a> +<blockquote><p> +<span class="leftside1">20.</span> +Left hand and wrist of male figure; the palm is grooved +for the reception of some object like a staff; the thumb, +forefinger, and upper joints of the other fingers are wanting. +The scale is rather larger than that of the so-called +Theseus (D) of the east pediment, to which the fragment +has been attributed by Overbeck. The wrist is slightly +bent inwards. This hand is finely modelled. +</p></blockquote> + +<p class="indent1"> + Length, 9½ inches. Overbeck, <i>Ber. d. k. sächs. Ges. d. + Wissenschaften</i>, 1880, p. 43. +</p> + +<blockquote><p> +<span class="leftside1">21.</span> +Fragment of left hand and wrist of male figure, the +hand much bent back as if the figure had rested on the +open palm; broken across the middle of the metacarpal +bones; possibly the left hand of the River-God V in the +west pediment. See No. <a class="ask" href="#page131">304 V</a>. +</p></blockquote> + +<p class="indent1"> + Breadth, 6¼ inches. +</p> +<span class="pagenum"><a name="page202" id="page202"></a>202</span> + +<blockquote><p> +<span class="leftside1">22.</span> +Right hand of female figure, small; the thumb and +fingers broken off. +</p></blockquote> + +<p class="indent1"> + Breadth of palm, 4¼ inches. +</p> + +<blockquote><p> +<span class="leftside1">23.</span> +Right hand; the thumb and fingers broken off. +</p></blockquote> + +<p class="indent1"> + Breadth of palm, 4¾ inches. +</p> + +<blockquote><p> +<span class="leftside1">24.</span> +Right arm of female figure, slightly bent; the upper +arm broken about the bottom of the biceps; the under +side is worked rough. +</p></blockquote> + +<p class="indent1"> + Length, 1 foot 2 inches. +</p> + +<blockquote><p> +<span class="leftside1">25.</span> +Fragment of left upper arm of female figure with +sleeve of chiton fastened with studs (Michaelis, pl. 8, +fig. 25). +</p></blockquote> + +<p class="indent1"> + Length, 8½ inches. +</p> + +<blockquote><p> +<span class="leftside1">26.</span> +Fragment of right shoulder and upper part of back of +arm of female figure; over the shoulder is drapery. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot ½ inch. +</p> + +<blockquote><p> +<span class="leftside1">27.</span> +Fragment of right hip and right side of body nearly to +the navel, of a boy, possibly from the west pediment. +</p></blockquote> + +<p class="indent1"> + Greatest height, 8 inches. +</p> + +<blockquote><p> +<span class="leftside1">28.</span> +Left breast of female figure, draped; the drapery has +been fastened on the left shoulder. This may be part of +the figure of Callirrhoč (W) in the west pediment. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot. +</p> + +<blockquote><p> +<span class="leftside1">29.</span> +Left breast of female figure, the drapery strained over +it; the scale is similar to that of the figure C in the west +pediment. +</p></blockquote> + +<p class="indent1"> + Height, 9 inches. +</p> +<span class="pagenum"><a name="page203" id="page203"></a>203</span> + +<p><span class="leftside">340.</span> +Cast of a marble head in the Bibliothčque Nationale at +Paris, wrongly assigned by C. Lenormant to the pediments +of the Parthenon.</p> + +<p class="indent"> +Height, 1 foot 9 inches. <i>Gaz. Arch.</i>, 1875, pl. 1; Wolters, No. 1280; +Laborde, <i>Athčnes</i>, I., p. 157; Michaelis, p. 202, <b>B*</b>; Babelon, +<i>Cabinet des Antiques ŕ la Bibl. Nat.</i>, pl. 20. +</p> + +<h4><span class="sc">Casts from Fragments of Chariot-horses of West Pediment</span>.</h4> + +<p><span class="leftside">341.</span> +A large number of small fragments of horses from the +west pediment has been discovered. Several of these +fragments have been proved to have belonged to the +horses of Poseidon, which were lost before the visit of +Cyriac of Ancona, in 1447. Others belonged to the group +of horses, which was let fall by Morosini's workmen. +Casts of these are preserved in the British Museum, but +only the most remarkable are exhibited in the Elgin +Room.</p> + +<blockquote><p> +<span class="leftside1"> 1.</span> + +Horse's head broken off at the setting off of the neck. +The nose wanting. The mane, which has been hogged, +and the surface of this head in several places are broken +away. This fragment and the two following are assigned +by Sauer to the chariot of Poseidon. +</p></blockquote> + +<p class="indent1"> + Michaelis, pl. 8, J. K. <i>a</i>; Laborde, pl. 26, fig. 25. +</p> + +<blockquote><p> +<span class="leftside1"> 2.</span> +Horse's head, lower half broken away. The mane +hogged, with a loose lock in front. Behind the ears a +groove and two perforations are worked in the mane, and +above the ears two other perforations for the attachment +of trappings of metal. +</p></blockquote> + +<p class="indent1"> + Overbeck, <i>Ber. d. k. sächs. Ges. d. Wissenschaften</i>, 1879, + pl. 1, fig. 3. +</p> + +<blockquote><p> +<span class="leftside1"> 3.</span> +A right hindleg from the stifle joint to the pastern, +bent, so as to indicate a rearing action. From below the +hough to the hoof the leg is carved out of a block resting +<span class="pagenum"><a name="page204" id="page204"></a>204</span> +on the bed of the pediment. The greater part was sculptured +on another block also set in the bed, which is now +wanting, and was fitted to the first block at a joint roughly +tooled. The outside of the haunch and hough have been +cut away, evidently to gain room for the left hindleg of +another horse, or, according to Sauer, for the chariot-pole. +This limb is composed of three separate fragments. +</p></blockquote> + +<p class="indent1"> + Michaelis, pl. 8, J. K. <i>f</i>; Laborde, pl. 26, fig. 40; Overbeck, + <i>Ber. d. k. sächs. Gesell. d. Wissenschaften</i>, 1879, p. 72, pl. 1; + and 1880, p. 161. +</p> + +<blockquote><p> +<span class="leftside1"> 4.</span> +Left hindleg from stifle to below hough, bent, made +up of two fragments; the upper one may be Michaelis, pl. +8, J. K. <i>g</i>; Laborde, pl. 26, fig. 36.</p> + +<p><span class="leftside1"> 5.</span> +Left thigh from below stifle; the outer side split off, +broken off in the hough joint.</p> + +<p><span class="leftside1"> 6.</span> +Right forefoot; made up of two fragments of which +one is Michaelis, pl. 8, J. K. <i>p</i>; broken off below the knee; +the hoof free from the ground.</p> + +<p><span class="leftside1"> 7.</span> +Hoof of forefoot, free from the ground; cut away on +one side with rough surface; under the foot are holes round +the edge as if for nails.</p> + +<p><span class="leftside1"> 8.</span> +Hindhoof attached to fragment of base. +</p></blockquote> + +<p class="indent1"> + Michaelis, pl. 8, J. K. <i>m</i>; Laborde, pl. 26, fig. 41. +</p> + +<blockquote><p> +<span class="leftside1"> 9.</span> +Left foreleg, bent, from above knee to below knee. +</p></blockquote> + +<p class="indent1"> +Michaelis, pl. 8, J. K. <i>s</i>; Laborde, pl. 26, fig. 30 bis. +</p> + +<h4><span class="sc">Marble Fragments of Metopes</span>.</h4> + +<p><span class="leftside">342.</span> +The following fragments can be assigned with confidence +to their respective places on the south side.</p> + +<blockquote><p> +<span class="leftside1"> 1.</span> +Metope XII. (No. 314). Foot of female figure. See +<i>ante</i>, No. <a class="ask" href="#n314">314</a>.</p> + +<a name="n342-2" id="n342-2"></a> +<p><span class="leftside1"> 2.</span> +Metope XIV. The body of a male figure from the neck +to the navel. This fragment is engraved in the vignette +<span class="pagenum"><a name="page205" id="page205"></a>205</span> +to <i>Museum Marbles</i>, Part vii., and was drawn by Carrey, +who gives the whole metope as a youth raising his hands +in astonishment, and a woman with a casket.</p> +</blockquote> + +<p class="indent1"> + Michaelis, pl. 3, xiv.; <i>Synopsis</i>, No. 319 (143). +</p> +<a name="n342-3" id="n342-3"></a> +<blockquote><p> +<span class="leftside1"> 3.</span> +Metope XVI. The head and trunk of a figure who +has fallen in a combat between two men. The trunk +was one of the Elgin fragments, and is also engraved in +the vignette to <i>Museum Marbles</i>, Part vii. The head was +formerly at Chatsworth, and was presented to the Museum +by <i>the Duke of Devonshire</i> in 1859. Carrey gives the +position of the head of the fallen figure very accurately.</p> +</blockquote> + +<p class="indent1"> + <i>Synopsis</i>, No. 323 (294); Michaelis, pl. 3, xvi. +</p> +<a name="n342-4" id="n342-4"></a> +<blockquote><p> +<span class="leftside1"> 4.</span> +Metope XX. Left thigh of female figure with clinging +drapery, standing turned to the left.</p> + +<p>The following fragments are either of doubtful or +unknown origins. Probably they are all derived from +metopes on the south side.</p> +<a name="n342-5" id="n342-5"></a> +<p><span class="leftside1"> 5.</span> +Left breast of draped female figure. South side, Metope +No. XIII.?</p> +</blockquote> + +<p class="indent1"> + <i>Synopsis</i>, No. 302 (132); Michaelis, pl. 4, fig. K. +</p> +<a name="n342-6" id="n342-6"></a> +<blockquote><p> +<span class="leftside1"> 6.</span> +Fragment of right arm from the wrist to above the +elbow, which is bent; above the wrist is attached a +corner of drapery. <i>Presented by M. Dubois, 1840.</i> South +side, Metope No. XV.?</p> + +<a name="n342-7" id="n342-7"></a> +<p><span class="leftside1"> 7.</span> +Fragment of right arm from the wrist to the elbow, +placed across the breast and left shoulder, with folds of +drapery hanging as if from the hand. South side, +Metope No. XIX.?</p> +</blockquote> + +<p class="indent1"> + <i>Synopsis</i>, No. 305 (136). +</p> + +<blockquote><p> +<span class="leftside1"> 8.</span> +Fragment of left arm from the wrist to near the elbow. +</p></blockquote> + +<p class="indent1"> + <i>Synopsis</i>, No. 306 (137). +</p> +<span class="pagenum"><a name="page206" id="page206"></a>206</span> + +<blockquote><p> +<span class="leftside1"> 9.</span> +Fragment of calf of leg. +</p></blockquote> + +<p class="indent1"> + <i>Synopsis</i>, No. 307 (138). +</p> + +<blockquote><p> +<span class="leftside1">10.</span> +Fragment of calf of leg covered with drapery. +</p></blockquote> + +<p class="indent1"> + <i>Synopsis</i>, No. 308 (139). +</p> + +<blockquote><p> +<span class="leftside1">11.</span> +Fragment of left arm from the wrist to near the elbow. +</p></blockquote> + +<p class="indent1"> + <i>Synopsis</i>, No. 309 (140). +</p> + +<blockquote><p> +<span class="leftside1">12.</span> +Part of the arm (?) of a draped figure, made up of two +pieces. +</p></blockquote> + +<p class="indent1"> + <i>Synopsis</i>, Nos. 320 (141) and 322 (142). +</p> + +<blockquote><p> +<span class="leftside1">13.</span> +Fragment of the right upper arm of a draped female +figure with sleeve fastened with two studs. +</p></blockquote> + +<p class="indent1"> + <i>Synopsis</i>, No. 304 (134). +</p> + +<blockquote><p> +<span class="leftside1">14.</span> +Right shoulder and part of breast of draped female +figure; the chiton fastened down the shoulder with four +studs. +</p></blockquote> + +<p class="indent1"> + Michaelis, pl. 4, fig. O; <i>Synopsis</i>, No. 301 (131). +</p> + +<blockquote><p> +<span class="leftside1">15.</span> +Left hind leg of Centaur up to above the hough. +<i>Presented by M. Dubois, 1840.</i> +</p></blockquote> + +<h4><span class="sc">Casts from Fragments of Metopes.</span></h4> + +<p><span class="leftside">343.</span> +A large number of fragments have been discovered in +the course of excavations at Athens. Casts of these +have been attached, as far as possible to the Metopes. +Of the fragments which could not be so attached, the +following are the most important.</p> + +<blockquote><p> +<span class="leftside1"> 1.</span> +South side, Metope XI. Fragment of shield, held by +left hands of both Centaur and Lapith; cf. Michaelis, pl. 3, No. xi. See <a class="ask" href="#page138">p. 138</a>.</p> + +<p><span class="leftside1"> 2.</span> +Metope XVII. Torso of male figure, extending from the +<span class="pagenum"><a name="page207" id="page207"></a>207</span> +left shoulder to half-way down the right thigh; drapery +hangs from the left shoulder and falls down the back to +the waist. This figure has stood on the right foot; the +left leg appears to have been bent. This metope, as +drawn by Carrey, appears to have contained a nearly +nude male figure, standing, and a draped figure of a +woman, or citharist, holding a lyre. +</p></blockquote> + +<p class="indent1"> + Michaelis, pl. 3, xvii. +</p> + +<blockquote><p> +<span class="leftside1"> 3.</span> +Metope XVII. Fragment, possibly part of a lyre; +apparently this is the object held in the hands of the +draped figure of this metope. There are traces of fingers +at the back.</p> +<a name="n343-4" id="n343-4"></a> +<p><span class="leftside1"> 4.</span> +Metope XX. Fragment of right hand holding the end +of a scroll. This metope, as drawn by Carrey, contained +two draped figures, holding scrolls.</p> +</blockquote> + +<p class="indent1"> + Michaelis, pl. 3, xx. +</p> +<a name="n343-5" id="n343-5"></a> +<blockquote><p> +<span class="leftside1"> 5.</span> +Metope XXIV. Torso of Lapith. In the complete +metope, as drawn by Carrey, the Lapith holds the fallen +Centaur by the hair, and places his left foot on his body.</p> +</blockquote> + +<p class="indent1"> + Michaelis, pl. 3, xxiv. +</p> + +<blockquote><p> +<span class="leftside1"> 6.</span> +Head of Lapith, perhaps from Metope No. 305. <i>Found +in the excavations on the Acropolis, of 1889.</i> +</p></blockquote> + +<p class="indent1"> + Height, 7½ inches. +</p> + +<h4><span class="sc">Marble Fragment of Frieze.</span></h4> + +<p><span class="leftside">344.</span> +Head of a youth, looking to the left, in low relief. +This fragment probably belongs to one of the horsemen +in the north frieze. It is placed by Michaelis (pl. 13) +in the space between slabs xxvi. and xxviii. This head +was formerly in the possession of Mr. Steinhaüser, at +Karlsruhe.</p> + +<blockquote><p> +Height, 5¾ inches. +</p></blockquote> +<span class="pagenum"><a name="page208" id="page208"></a>208</span> + +<h4><span class="sc">Casts From Fragments of the Frieze</span>.</h4> + +<p><span class="leftside">345.</span> +The fragments are here arranged, as far as possible, in +the order followed in the description of the frieze.</p> + +<h4><span class="sc">East Frieze</span>.</h4> + +<blockquote><p> +<span class="leftside1"> 1.</span> +Fragment from left-hand lower corner of slab, with +drapery falling in vertical folds from below the knee of a +figure; and with a right foot turned to the right, and +wearing a shoe with a thick sole. The figure to which +this fragment belongs must have been a maiden in the +procession; probably the figure on the left of slab ii. now +entirely lost, but preserved in Carrey's drawing. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot. Compare Michaelis, pl. 14, slab ii., No. 2. +</p> + +<blockquote><p> +<span class="leftside1"> 2.</span> +Female head, looking to the left. The hair is gathered +up under a net. This must have belonged to one of the +figures in the procession on the east side, slabs vii.-ix., and +probably to No. 56. +</p></blockquote> + +<p class="indent1"> + Height, 4½ inches. +</p> + +<h4><span class="sc">North Frieze</span>.</h4> + +<blockquote> +<p><span class="leftside1"> 3.</span> +Fragment of arm and drapery of male figure moving to +the left. From the left edge of a slab. This seems to be +a part of the figure, No. 4, partly seen on slab ii., and has +been thus drawn on <a class="ask" href="#plate7">plate vii</a>. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot 1 inch. +</p> + +<blockquote><p> +<span class="leftside1"> 4.</span> +Left-hand upper corner of slab, on which is a youthful +male head, bound with a diadem, looking to the left; the +face shown in three quarters. This seems to agree best +with Carrey's drawing of the figure with the sheep, +slab iv., No. 7 (= Michaelis, No. 9). See <a class="ask" href="#plate7">plate vii</a>. +</p></blockquote> + +<p class="indent1"> + Height, 7½ inches. +</p> +<span class="pagenum"><a name="page209" id="page209"></a>209</span> + +<blockquote><p> +<span class="leftside1"> 5.</span> +Fragment containing the back of the head of one of the +lyre-players (Michaelis, No. 24) and part of the lyre of +the other (Michaelis, No. 25). +</p></blockquote> + +<p class="indent1"> + Height, 11¼ inches. (See <a class="ask" href="#plate8">Plate viii</a>.) Michaelis, pl. 12, vii. +</p> + +<blockquote><p> +<span class="leftside1"> 6.</span> +Fragment from lower part of draped figure from knee +to right (?) foot, the direction being to the left. On the +right side of the fragment is a joint. The drapery +reaches to the ankle, with an upper fold falling half-way +down the calf. This fragment seems to have belonged to +the musician on slab vii., whose lyre is preserved on the +preceding fragment, and is thus drawn on Plate viii. +Michaelis is in error in marking a joint on the left of +his No. 26 (= Museum, No. 17). +</p></blockquote> + +<p class="indent1"> + Height, 1 foot 7½ inches. +</p> + +<blockquote><p> +<span class="leftside1"> 7.</span> +Fragment with left foot wearing a shoe, from a draped +figure moving to the left. The skirt falls just above the +ankle. This may be a part of the figure on slab i., only +preserved in Carrey's drawing (cf. <a class="ask" href="#plate7">Plate vii</a>.); or it may +have belonged to one of the figures on slabs vii.—ix., notwithstanding +that Carrey represents them with bare feet. +</p></blockquote> + +<p class="indent1"> + Height, 7 inches. +</p> + +<blockquote><p> +<span class="leftside1"> 8.</span> +Fragment from the left of slab ix., giving parts of the +three figures shown in Carrey's drawing (see <a class="ask" href="#plate8">Plate viii</a>.). +This fragment agrees fairly well with Carrey, except +that he does not indicate the hand of the middle figure. +It was discovered in the excavations on the Acropolis in +1889. +</p></blockquote> + +<p class="indent1"> + Height, 2 feet. +</p> + +<blockquote><p> +<span class="leftside1"> 9.</span> +Fragment from the right joint of a slab, containing +part of a male figure from the hip to the right shoulder. +The right arm was held horizontally, and bent at the +elbow, so that the hand is seen before the breast. A +<span class="pagenum"><a name="page210" id="page210"></a>210</span> +mantle passes round the body from under the right arm +to the left shoulder. This, as Robert points out (<i>Arch. +Zeit.</i>, 1875, p. 100, <i>l</i>), seems to be the marshal beside the +chariot group in Michaelis, pl. 12, xiii., fig. 48. (See +Plate <a class="ask" href="#plate8">viii</a>., slab xiii.) In that case the raised mass on +the left of the hip of this figure would be part of the +rump of the third horse. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot 5 inches. +</p> + +<blockquote><p> +<span class="leftside1">10.</span> +Fragment with edge of hind quarter of horse, rearing +to the left, with part of the tail. Above the tail are +folds of drapery. This fragment is perhaps a part of slab +xiii., with the hinder chariot horse; but this is very +doubtful. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot 8 inches; Michaelis, pl. 12, slab xiii., fig. 48. +</p> + +<blockquote><p> +<span class="leftside1">11.</span> +Part of a charioteer, between the waist and the knees; +he stands in a chariot, of which the antyx is visible. +The left forearm crosses the body as if holding the reins. +This fragment, which is not noticed by Michaelis, must +belong to the north frieze. Robert (<i>Arch. Zeit.</i>, 1875, +p. 100, <i>n</i>) proposed to assign it to slab No. xiii. of the +north frieze. This seems the most probable position, +though the fragment does not agree very well with +Carrey's drawing. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot. +</p> + +<blockquote><p> +<span class="leftside1">12.</span> +Fragment of chariot group; an apobates standing in a +quadriga, leaning forward. The head and neck, right +arm from below elbow and legs from below the knee are +wanting. On his left arm is his oval buckler. He wears +a chiton which leaves the right arm and side bare. His +right hand must have grasped the antyx. On the left +a portion of the drapery of the charioteer is visible. +There is a joint on the left of this fragment. It must +belong to the northern frieze, and on p. 172, fig. 12, it has +<span class="pagenum"><a name="page211" id="page211"></a>211</span> +been drawn in combination with slab xix. It is not +given by Michaelis, or in Robert's list (<i>Arch. Zeit.</i>, 1875, +pp. 95-103). +</p></blockquote> + +<p class="indent1"> + Height, 1 foot 5 inches. +</p> + +<blockquote><p> +<span class="leftside1">13.</span> +Horse's head, reined back; a joint on the left side. +The scale and direction show that this head belonged to +a chariot group on the north side. +</p></blockquote> + +<p class="indent1"> + Height, 11½ inches; Michaelis, pl. 12, slab xx. (cf. p. 173). +</p> + +<blockquote><p> +<span class="leftside1">14.</span> +Fragment containing a part of the neck and lower +part of the mane of one of the horses of a chariot group, +together with a part of the neck of a second horse. This +fragment, which was discovered in the excavations on the +Acropolis of 1889, must belong to a chariot group of the +north frieze, perhaps to slab xi., xv., or xvi. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot 3 inches. +</p> + +<blockquote><p> +<span class="leftside1">15.</span> +The upper part of two horsemen, and part of the head +or neck of a succeeding horse. The second rider, whose +hand is preserved, held metal reins. The horse had a +metal bridle. This fragment was formerly in the +Cataio Villa, and afterwards the property of Archduke +Karl of Austria. It must have belonged to the fragmentary +portion of the north frieze, between slabs xxvi. +and xxviii. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot 3 inches; Laborde, <i>Athčnes</i>, II., p. 236; + Michaelis, pl. 13, xxvii. +</p> + +<h4><span class="sc">South Frieze</span>.</h4> + +<blockquote><p> +<span class="leftside1">16.</span> +Helmeted head looking to the right. The lower part +of the face is broken away. The helmet has a cheekpiece +turned up at the side. This head probably belongs to +the horseman, No. 5, in the south frieze. +</p></blockquote> + +<p class="indent1"> + Height, 5¼ inches. +</p> +<span class="pagenum"><a name="page212" id="page212"></a>212</span> + +<blockquote><p> +<span class="leftside1">17.</span> +Foreleg of a horse from below the knee to the hoof. +The direction is to the right. +</p></blockquote> + +<p class="indent1"> + Length, 7½ inches. +</p> + +<blockquote><p> +<span class="leftside1">18.</span> +Youthful beardless head wearing a petasos and looking +to the right. The right side of the head is broken away. +Michaelis engraved this head, pl. 11, slab xix., No. 48. +It no doubt belongs either to that horseman, or to one of +the two on the slab following (xx.), for which see Carrey's +drawing. +</p></blockquote> + +<p class="indent1"> + Height, 7 inches. +</p> + +<blockquote><p> +<span class="leftside1">19.</span> +Upper part of youthful male figure looking to the +right; behind, horse's head. The figure wore a chiton +with girdle, and, apparently, a close-fitting helmet or +leather cap. Part of the shoulder of a second figure +seems to be visible on the right edge of the fragment. +It is not easy to find a place for this fragment among the +horsemen of the south side. It seems more probable +that the head is that of the charioteer of slab xxvi.; it +agrees well with Carrey's drawing. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot 4 inches; Michaelis, pl. 11, slab, xxvi.; No. 64. +</p> + +<blockquote><p> +<span class="leftside1">20.</span> +Fragment of male figure, turned to the right, extending +from the neck to the hip. The drapery consists only of a +mantle which is seen passing over the right shoulder and +round the body. The figure appears to be that of a +youth and to correspond best with one of the charioteers +of the south frieze, only preserved in Carrey's drawing, +Michaelis, pl. 11, slab xxvii. +</p></blockquote> + +<p class="indent1"> + Height, 1 foot ¼ inch; Michaelis, pl. 11, slab xxiv., <span class="sc">a</span>. +</p> + +<blockquote><p> +<span class="leftside1">21.</span> +Fragment of elderly male figure, moving to the right; +from the hips to the beginning of the shoulder blades. +He wears a mantle closely wrapped about him, and +leaving the right arm bare. On the right of this fragment +<span class="pagenum"><a name="page213" id="page213"></a>213</span> +is a joint. It probably belongs to a figure in the group +of old men and musicians, slabs xxxiv.-xxxvii. Michaelis +inserts it in slab xxxv. (No. 97 in his pl. 11), but his drawing +is incorrect and the fragment cannot be adjusted there. +The only possible place seems to be on the right of slab +xxxiv. +</p></blockquote> + +<p class="indent1"> + Height, 10 inches. +</p> + +<blockquote><p> +<span class="leftside1">22.</span> +Fragment with left foot and part of drapery of figure +moving to the right, and having the left foot hindmost. +From the left-hand lower corner of a slab. The lowness +of the relief shows that this foot belongs to one of the +figures on the far side of the victims. Michaelis combines +it with his pl. 11., slab xliii., 126. This figure, which is +84 according to the Museum numbering, has now been +joined to slab xli. Although the fragment does not seem +to join satisfactorily to the angle of slab xli., yet this +seems its probable position. +</p></blockquote> + +<p class="indent1"> + Height, 8 inches. +</p> + +<h4><span class="sc">South or North Frieze</span>.</h4> + +<blockquote><p> +<span class="leftside1">23.</span> +Fragment of helmeted head looking to the right. The +head is entirely destroyed except the back of the helmet +and its crest. This head perhaps belongs to one of the +warriors that accompany the chariots in the north +frieze. +</p></blockquote> + +<p class="indent1"> + Height, 11½ inches. +</p> +<a name="page213a" id="page213a"></a> +<h3>ARCHITECTURAL FRAGMENTS FROM THE PARTHENON.</h3> + +<p><span class="leftside">350.</span> +The capital and uppermost drum of one of the Doric +columns of the north side.</p> + +<p class="indent"> +Width of abacus, 6 feet 7¼ inches; Penrose, <i>Athenian Architecture</i>, +pl. 19, fig. 1. +</p> +<span class="pagenum"><a name="page214" id="page214"></a>214</span> + +<p><span class="leftside">351.</span> +Part of a marble tile-front. The roof of the Parthenon, +like that of many other Greek temples, was formed of +marble tiles, <i>solenes</i>, carefully adjusted. In the case of +the Parthenon the tiles were placed side by side. Ridge +tiles covered the joints, and the lower end of each ridge +terminated in an anthemion. Hence the tile-front was +called by the Greeks <i>kalypter anthemotos</i>. See the model +of the Parthenon, and Michaelis, pl. 2, fig. 8.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Height, 1 foot ½ inch. +</p> + +<p><span class="leftside">352.</span> +Cast of a similar but more perfect tile-front, from the +original at Athens.</p> + +<p class="indent"> +Height, 1 foot 8½ inches; Michaelis, pl. 2, fig. 8; Inwood, <i>Erechtheion</i>, +pl. 22. +</p> + +<p><span class="leftside">353.</span> +Cast of lion's head from one of the angles of the +pediment. This head, is worked from a block which +forms the springing stone of both the cymatium and the +corona of the pediment. In the modelling of the lion's +head, and especially in the treatment of the mane, there +is a noticeable austerity and conventionalism, such as is +appropriate to a purely decorative piece of sculpture.</p> + +<p class="indent"> +Height, 1 foot 4½ inches. See the model of the Parthenon; Penrose, +<i>Athenian Architecture</i>, pl. 17; Michaelis, pl. 2, fig. 9; Brunn, +<i>Denkmaeler</i>, No. 82 <span class="sc">b</span>. +</p> + +<p><span class="leftside">354, 5.</span> +Casts from two fragments of acroteria, probably from +the western pediment.</p> + +<p>The acroteria were ornaments placed above the centre of +the pediments. For an example of a complete acroterion, +see that from Eleusis, No. 438.</p> + +<p class="indent"> +Lengths, 3 feet 3 inches and 1 foot 9 inches; Michaelis, pl. 2, fig. 10, +i, l. +</p> + +<p><span class="leftside">356.</span> +Marble fragment of a similar acroterion.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Height, 10 inches; Inwood, <i>Erechtheion</i>, pl. 22, p. 130. +</p> +<span class="pagenum"><a name="page215" id="page215"></a>215</span> + +<p><span class="leftside">357.</span> +Marble fragment of moulding with painted mćander +pattern.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Length, 10 inches; Inwood, <i>Erechtheion</i>, pl. 22, p. 129. +</p> + +<p><span class="leftside">358.</span> +Marble fragment of moulding with painted mćander +pattern. Both these fragments (357, 358) appear to belong +to the moulding which surmounted the frieze and passed +round the interior of the peristyle.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Length, 1 foot 9 inches; Penrose, <i>Athenian Architecture</i>, pl. 20, +fig. 27<i>a</i>; pl. 23; Michaelis, pl. 2, fig. 17. +</p> +<span class="pagenum"><a name="page216" id="page216"></a>216</span> + +<h1 style="margin-top: 3em;">PART III.</h1> + +<h2><i>THE SUCCESSORS OF PHEIDIAS.</i></h2> + +<div class="figcenter"><img src="images/small_rule-100.png" width="100" height="4" alt="small rule" /></div> + +<a name="page216a" id="page216a"></a> +<h3>SCULPTURES OF THE TEMPLE CALLED <br />THE THESEION.</h3> + +<p>The building which is commonly known as the Temple +of Theseus, or Theseion, stands about a quarter of a mile +to the north-west of the Acropolis of Athens.</p> + +<div class="figcenter" style="width: 600px;"><a href="images/18fig15-1000.png"><img src="images/18fig15-600.png" width="600" height="277" alt="Fig. 15.--Plan of the Theseion. (From Baumeister.)" /></a> +<p class="center">Fig. 15.—Plan of the Theseion. (From Baumeister.)</p></div> + +<p>The temple is of the kind called <i>peripteral hexastyle</i>. +Round the <i>cella</i>, or central chamber, is a single row of +columns, thirty-four in number, of which there are six at +each end. The order is Doric, with a frieze peculiarly +arranged. On the eastern front are ten sculptured metopes, +and there are four on each of the adjacent sides, +making a total of eighteen sculptured metopes. The +remaining metopes of the temple, fifty in number, are +plain slabs, which may possibly have had painted on them +<span class="pagenum"><a name="page217" id="page217"></a>217</span> +figures or ornaments. Of the pedimental groups, which +appear to have once existed at each end of the temple, +nothing now remains except the marks of the attachment +of sculptures. Within the colonnade the two ends of the +<i>cella</i> are adorned with a frieze of Parian marble, which +is still in position. At the west, the length of the frieze +is only equal to the width of the <i>cella</i>; at the east, the +frieze is continued as far as the epistyle, or beams surmounting +the colonnade.</p> + +<p>The west frieze is about 25 feet long; casts of 16 feet +4 inches are in the British Museum. The east frieze is +about 37 feet long, and casts of 32 feet are in the Museum.</p> + +<p>From the Middle Ages till recent times this building +has been called the Temple of Theseus, and was supposed +to have been dedicated to Theseus by the Athenians in the +time of Kimon. That statesman had transferred the +bones of Theseus to Athens from the island of Skyros in +469 <span class="sc">b.c.</span> The chief arguments for this attribution are:—(1) +That labours of Theseus are represented on the +metopes, and perhaps on the friezes; (2) that the building +is not far from the place where, according to Leake and +others, it might be expected from the description of Pausanias +(i. 17, 2); (3) that the temple was dedicated as a +Christian church to St. George, who corresponds in many +ways to Theseus.</p> + +<p>Ross, however (<i>Das Theseion</i>), tried to prove that this +was not the Theseion. He argued that no connection +could be traced between the external sculptures and the +function of the building. He also argued that the real +Theseion cannot have been a complete temple, and that +it cannot have stood in the position of the temple now in +question. He proposed to call the building a temple of +Ares. It has since been suggested that Ares and Theseus +may have been joint occupants of the temple, as Athenč +and Erechtheus held the Erechtheion in common (Murray, +<span class="pagenum"><a name="page218" id="page218"></a>218</span> +i. p. 236). Curtius (<i>Sieben Carten</i>, text, p. 53) suggested +that the temple may have been that of Heracles in Melitč. +In this view he has been followed by Wachsmuth +(<i>Stadt Athen</i>, i. p. 364). Other patron deities have also +been proposed, as Apollo Patroös, or Heracles and Theseus +together, or Hephaestos. Doerpfeld, followed by Miss +Harrison (<i>Mythology and Monuments of Anc. Athens</i>, p. 112), +is strongly in favour of the last-mentioned attribution, +identifying the building with the temple of Hephaestos +mentioned by Pausanias (i., 14, 6).</p> + +<p>It is clear, from a comparison of other temples, that no +conclusive argument can be drawn from the subjects of +the sculptures, especially of the metopes, which may have +little connection with the special purpose of the temple. +At the same time we know that the Theseion was decorated +with paintings relating to the story of Theseus, +and, so far as any weight can be attached to the subjects +of the sculptures, they favour the attribution of the +building to Theseus. It has been suggested that the +temple may have belonged to Heracles and Theseus in +common—not on the ground that we hear of such a +temple, but because the ten metopes on the east front +relate to Heracles. But this fact is inconclusive. The +Athenians would be content to point out the parallelism +of Heracles and Theseus, even if Theseus was made to +occupy a subordinate position. The newly-discovered <ins title="Greek: Athęnaiôn Politeia">Ἀθηναίων +Πολιτεία</ins> of Aristotle furnishes some new evidence. +The disarming of the Athenians by Peisistratos is said to +have been effected in the following manner. He caused +the citizens to put down their arms in the Theseion, presumably +in the temenos of Theseus, that he might address +them, and then drew them off to the Propylaea on the +pretext that they would be better able to hear him. +Meanwhile his agents shut up the arms in "the adjacent +buildings of the Theseion" <ins title="Greek: exoplisian en tô Thęseiô poięsamenos ...">(ἐξοπλισίαν +ἐν τῷ +Θησείῳ +[<i>sic</i> MS.] ποιησάμενος ...</ins> +<span class="pagenum"><a name="page219" id="page219"></a>219</span> +<ins title="Greek: ekeleusen autous prosanabęnai pros to Propylon tęs akropoleôs ..."> +ἐκέλευσεν +αὐτοὺς +προσαναβῆναι +πρὸς τὸ +Πρόπυλον +τῆς +ἀκροπόλεως ...</ins> +<ins title="Greek: anelontes hoi epi toutôn tetagmenoi ta hopla autôn kai synklęisantes eis ta plęsion oikęmata tou Thęseiou k.t.l."> +ἀνελόντες +οἱ +ἐπὶ +τούτων +τεταγμένοι +τὰ ὅπλα +αὐτῶν +καὶ +συγκληίσαντες +εἰς +τὰ +πλησίον +οἰκήματα +τοῦ +Θησείου κ.τ.λ.</ins> +Aristot. <ins title="Greek: Ath. pol.">Ἀθ. Πολ.</ins> ed. Kenyon, 15). From +this it may be inferred that the Theseion was at no great +distance from the Propylaea, though sufficiently removed +for the success of the stratagem. Polyaenus (<i>Strat.</i> i., +21) tells the story, but states that the disarming took +place in the Anakeion, and that the arms were shut up in +the sanctuary of Aglauros. These are known sites below +the north and north-west sides of the Acropolis. The +account of Aristotle thus shows that there was a temenos +and shrine of Theseus in existence long before the time of +Kimon.</p> + +<p>The date of the temple is necessarily uncertain. It +cannot be older than the Persian invasion (480 <span class="sc">b.c.</span>), but +most writers are of opinion that each part is rather older +than the corresponding part of the Parthenon, both in the +architecture (Julius, <i>Annali dell' Inst.</i> 1878, p. 205) and +in the sculpture. There are many parallels between +the metopes of the Parthenon and the sculptures, both +metopes and friezes, of the Theseion. There is also a +close analogy between the east friezes of the Parthenon +and the Theseion in point of composition; moreover certain +figures occur in both works (Murray, i. p. 244). But +there is no trace in the Theseion of the low relief of the +Parthenon frieze. The whole of the Theseion sculptures +are metope-like in the treatment of the high relief. Overbeck +states the order in point of time as follows:—Metopes +of Theseion; metopes of Parthenon; west frieze +of Theseion; east frieze of Theseion; frieze of Parthenon +(<i>Gr. Plast.</i> 3rd ed. I., p. 349). Doerpfeld, however, followed +by Miss Harrison, holds the temple to be later than the +Parthenon.</p> + +<p>It has been held by Brunn, Julius (<i>Annali dell' Inst.</i> +<span class="pagenum"><a name="page220" id="page220"></a>220</span> +1878, p. 202), and Murray (i. p. 251), that the differences +between the sculptures of the two temples are due to the +fact that the sculptures of the Theseion were produced by +the school of Myron.</p> + +<blockquote><p> +Stuart, <i>Antiqs. of Athens</i>, vol. III., chap. i.; <i>Mus. Marbles</i>, IX., +pls. 12-21; Müller, <i>Denkmaeler</i>, pl. 21; <i>Kunstarch. Werke</i>, IV., +p. 1; Ross, <i>Das Theseion</i> (1st ed. 1838; 2nd ed., 1852); Ulrichs, +<i>Annali dell' Inst.</i>, 1841, p. 74; Leake, <i>Topography of Athens</i> +(2nd ed.), p. 498; Gurlitt, <i>Das Alter der Bildwerke des sog. +Theseion</i>; Brunn, <i>Sitzungsber. der k. bayer. Akad. Phil.-hist. Cl.</i> +1874, II., p. 51; Wachsmuth, <i>Die Stadt Athen</i>, I., p. 357; +Julius, in <i>Annali dell' Inst.</i>, 1877, p. 92; 1878, p. 193; and +<i>Mon. dell' Inst.</i>, X., pls. 43, 44, 58, 59; Overbeck, <i>Gr. Plast.</i>, 3rd +ed., I., p. 343; Murray, I., p. 235; Wolters, No. 526; Baumeister, +s. v. <i>Theseion; Elgin Room Guide</i>, II., B., 1-16. The British +Museum possesses an excellent series of drawings of the Theseion +by Lord Elgin's artists. +</p></blockquote> + +<h4><span class="sc">Casts of the Metopes of the Theseion</span>.</h4> + +<p>The ten metopes on the eastern front contain nine +labours of Heracles, one labour being represented in two +groups. The eight metopes at the east ends of the +South and North sides represent the following exploits of +Theseus:—On the South side—(1) The victory over the +Minotaur. (2) The capture of the bull of Marathon. +(3) The punishment of Sinis Pityocamptes. (4) The +punishment of Procrustes (?). On the North side are—(1) +The victory of Theseus over the robber Periphetes, +also called Corynetes. (2) His contest with the Arcadian +wrestler, Kerkyon. (3) The punishment of Skiron. +(4) The capture of the sow of Crommyon.</p> + +<p>Of these eighteen metopes the Museum possesses casts +of only three, Nos. 1, 2, and 4 on the North side.</p> + +<p><span class="leftside">400.</span> +Theseus and the robber, Periphetes. Theseus stands +over his adversary, who has been thrown down on the +ground, and aims a blow at him. Both arms of Periphetes +are stretched out as if to avert a spear-thrust, and it +<span class="pagenum"><a name="page221" id="page221"></a>221</span> +seems probable that the weapon of Theseus was a spear, +which he directed with both hands. The left hand of +Theseus still remains in front of his breast.</p> + +<p class="indent"> +Height, 3 feet 9½ inches. <i>Mus. Marbles</i>, IX., pl. 20. +</p> +<a name="n401" id="n401"></a> +<p><span class="leftside">401.</span> +Theseus and Kerkyon, an Arcadian wrestler, who +challenged all travellers to wrestle, and slew the vanquished. +Theseus has lifted his adversary from the +ground, and, clasping his hands together, grips him +tightly round the body. Kerkyon is nearly helpless. +His right arm passes behind the shoulder of Theseus, +but with his left hand he seizes Theseus' right heel. +Kerkyon is bearded, but the hair is hardly indicated in +detail.</p> + +<p class="indent"> +Height, 2 feet 9½ inches. <i>Mus. Marbles</i>, IX., pl. 21. +</p> + +<p><span class="leftside">402.</span> +Theseus and the Sow of Crommyon. The sow stands +on her hindlegs, resting her forefeet on the thigh and +the drapery of Theseus. Theseus advances to the attack. +The action of the right hand cannot be ascertained, but +the right arm must have been raised above the head, and +perhaps brandished a club. The left arm is concealed in +the chlamys, which Theseus wears in this metope.</p> + +<p class="indent"> +Height, 2 feet 9½ inches. <i>Mus. Marbles</i>, IX., pl. 21. +</p> + +<h4><span class="sc">Casts of the West Frieze of the Theseion</span>.</h4> + +<p>The subject of the West frieze of the Theseion admits +of no doubt. Here we have represented the Battle of the +Centaurs and Lapiths at the marriage feast of Peirithoös. +It has been pointed out that this frieze appears to consist +of metope-like groups, with a few figures added to give +continuity between the different groups, such as is appropriate +to a frieze. Thus, compare No. 403, <i>1</i> with the +Parthenon Metope, No. 307. In the parts of the frieze, +not represented by casts, compare the group engraved +<span class="pagenum"><a name="page222" id="page222"></a>222</span> +Overbeck, <i>Gr. Plast.</i> 3rd ed. i., p. 348, No. 2, with +Michaelis, pl. 3, xxiv.; Overbeck, No. 6, with Parthenon +metope, No. 311; Overbeck No. 8 with Michaelis, pl. 3, xi.</p> + +<div class="figcenter" style="width: 500px;"><a href="images/19fig16-780.png"><img src="images/19fig16-300.png" width="300" height="505" alt="Fig. 16.--The disposition of the West Frieze of the Theseion." /></a> +<p class="center">Fig. 16.—The disposition of the West Frieze of the Theseion. +(From Baumeister).</p></div> + +<blockquote><p> +<span class="leftside"> 403.</span><span class="leftside1"> 1.</span> +Combat of Centaur and Lapith. The Lapith is defeated +and has fallen to the ground. He supports his body with +the right arm, of which the hand alone remains. The +left hand, which is wrapped in the chlamys, is raised +<span class="pagenum"><a name="page223" id="page223"></a>223</span> +imploringly to the Centaur, to whom also the head is +turned. The victorious Centaur rears up above the +Lapith, and is about to hurl a great stone, or perhaps a +hydria, with both hands. +</p></blockquote> + +<p class="indent1"> + Height of this and the following slabs, 2 feet 9½ inches; + length, 2 feet 10 inches. <i>Mus. Marbles</i>, IX., pl. 18. +</p> + +<blockquote><p style="margin-top: 2em;"> +Between Nos. 1 and 2 is a group, of which the Museum +does not possess a cast, representing two Lapiths and a +fallen Centaur.</p></blockquote> + +<blockquote> +<p style="margin-top: 2em;"><span class="leftside1"> 2.</span> +On the left is a group of a Lapith and a Centaur. +The combatants have for the moment drawn a little +apart. The Lapith has recoiled for a blow; the attention +of the Centaur seems more directed to the group on his +left. The symmetry of the grouping, which is apparent +in the frieze as a whole, requires us to regard these two +figures as connected, though they may appear somewhat +separated. The Centaur brandishes a branch of a tree, to +which his hands are still attached, though the arms are +lost. The Lapith had both arms raised, and perhaps held +a battle-axe. His dress is a chlamys.</p> + +<p>We next have a group of two Centaurs, rearing up, and +heaving together a rock wherewith to crush the invulnerable +Lapith, Kaineus, who is half buried in the ground +between them, and who endeavours to defend himself +with his shield uplifted on his left arm. His head is +turned towards the Centaur on the right. His right arm, +now wanting, may have rested on the ground. But it is +possible, to judge from indications on the ground of the +relief, that it was bent at the elbow, and pierced with a +sword the abdomen of the Centaur. The Lapith wears a +helmet.</p> + +<p>On the right of this group is a Lapith hastening to give +succour to Kaineus. His right arm, which was bent back +<span class="pagenum"><a name="page224" id="page224"></a>224</span> +at the elbow, had been raised to strike. His left arm has +been muffled in a chlamys. He also wore a petasos, part +of which is seen behind the shoulders. On the right of +this figure is a group of a Lapith attacking a Centaur. +The Lapith wears a crested helmet; on his left arm is a +shield, within which his chlamys hangs from his arm. He +also wears sandals. He places his left foot on a rock. +The Centaur opposed to him is rearing, with his back +turned to the spectator; his right arm, drawn back, has +held some weapon, probably the branch of a tree; on his +left arm and shoulder is the skin of a lion or panther +which hangs down his back. +</p></blockquote> + +<p class="indent1"> + Length, 10 feet 9 inches. <i>Mus. Marbles</i>, IX., pls. 18, 19. +</p> + +<blockquote><p style="margin-top: 2em;"> +The next group on the frieze, which is not represented +by a cast, contains a Centaur struggling with a Lapith +who has fallen on his knees.</p> + +<p><span class="leftside1"> 3.</span> +On the left is a Lapith, armed with shield and helmet, +and wearing a chiton and sandals. He seems about to +attack a Centaur, who rears to the right over the body of +a Lapith, who has sunk down in a sitting position. +</p></blockquote> + +<p class="indent1"> + Length, 2 feet 9 inches. <i>Mus. Marbles</i>, IX., pl. 20. +</p> + +<blockquote><p> +Most of the figure of the seated Lapith, and the whole +of the succeeding group of a Lapith and Centaur are not +represented by casts in the Museum.</p></blockquote> + +<h4><span class="sc">Casts of the East Frieze of the Theseion.</span></h4> + +<p>On the east frieze is represented a battle in the presence +of six seated deities arranged in two groups. In +one part of the frieze the combatants are hurling vast +rocks. Colonel Leake (<i>Topography of Athens</i>, 2nd ed. +p. 504), supposed that Heracles and some of the gods are +engaged in a battle with giants, while other deities, +among them some who usually take a leading part in the +<span class="pagenum"><a name="page225" id="page225"></a>225</span> +fray, merely sit and watch. This, however, is a scheme +of Gigantomachia to which no parallel can be adduced. +</p> +<a name="fig17" id="fig17"></a> +<div class="figcenter" style="width: 500px;"><a href="images/20fig17-600.png"><img src="images/20fig17-300.png" width="300" height="470" alt="Fig. 17.--The disposition of the East Frieze. (From Baumeister.)" /></a> +<p class="center">Fig. 17.—The disposition of the East Frieze. (From Baumeister.)</p></div> + +<p> +Brunn (<i>Sitzungsber. der k. bayer. Akad. Phil.-hist. Cl.</i>, +1874, ii., p. 51), supposes the battle here represented to +be that fought by the Athenians under Theseus against +Eurystheus in defence of the Heracleidae. The scene on +the left would thus represent the first rout of the troops +of Eurystheus; then would come the storming of the +Skironian pass by Theseus, where we might expect masses +of rocks to be hurled on the assailants. The kneeling +<span class="pagenum"><a name="page226" id="page226"></a>226</span> +figure on the left of the central group (404, <i>4</i>), who is +being bound would, according to Brunn, be Eurystheus, +who was taken prisoner and put to death. The figure on +the extreme right (404, <i>8</i>), who is stooping forward, Brunn +supposes to be one of the victors erecting the boundary +stone, which, according to the Attic legend, was set up +by Theseus to mark the limits of the Peloponnese on the +side of Attica.</p> + +<p>The theory is highly ingenious; but it demands a +forced interpretation of the rocks to suppose them to be +lining the two sides of a pass; and it overlooks the close +parallelism with the east frieze of the Parthenon, where +the two groups of gods must be supposed to form a single +background to the scene. Also, the Skironian pass was a +road between rocks and the sea. Moreover, the vast size +of the rocks indicates a giant race, rather than a group of +warriors who are reduced to using stones in an extremity.</p> + +<p>If the subject has any connection with Theseus, the +theory of K. O. Müller seems the best that has been +proposed. According to Müller (<i>Kunstarch. Werke</i>, iv. +p. 1) it represents the Athenians under Theseus attacking +the Pallantidae, or sons of Pallas, who was a son of +Pandion, king of Attica. These in Attic legend (Plut. +<i>Theseus</i>, 13) formed a league against Theseus. Müller +supposes them to have been a race akin to the giants. +Compare Soph. <i>Ćgeus, fr.</i> 19, ed. Dindorf, +<ins title="Greek: ho sklęros houtos kai gigantas ektrephôn Pallas"> +ὁ σκληρὸς +οὗτος +καὶ +γίγαντας +ἐκτρέφων +Πάλλας</ins>. See also Müller (p. 8) on +the close connection between Pallas, son of Pandion, and +the Attic Pallenč, with Pallas the giant and the Thracian +Pallenč, the field of the great war of the gods and giants.</p> + +<blockquote> +<p><span class="leftside">404.</span><span class="leftside1"> 1.</span> +On the left of the slab, two armed warriors carrying +large shields on the left arm, and wearing, one a chlamys +and one a chiton over the left shoulder only (<i>heteromaschalos</i>), +advance to the right. Before them is a conquered +adversary, who has been forced down on his knees by the +<span class="pagenum"><a name="page227" id="page227"></a>227</span> +victor, who appears to tread down his buttock, while his +hands are engaged binding the hands of the prisoner. +The victor wears a chlamys, but the prisoner is nude. +The head of the prisoner was probably turned towards the +victor. On the extreme right of the slab there remains +the right foot of a figure. The original is extant (cf. +Stuart, vol. iii. ch. i. pl. 15), and is a nude armed figure, +moving to the right. The head is lost. +</p></blockquote> + +<p class="indent1"> +Height of this and the following slabs, 2 feet 9½ inches; +length, 4 feet 6 inches. <i>Mus. Marbles</i>, IX., pl. 12. +</p> + +<blockquote> +<p><span class="leftside1"> 2.</span> +On the next slab is a group of three deities seated +on rocks, of whom the figure on the right is male and the +other two female. The two female deities wear long +chitons, in the one case with a diploďdion, and in the +other case with sleeves. The figure on the left has the +right hand, which is still preserved, by her side. It +evidently held a spear. In Stuart's engraving this figure +wears a helmet, but the drawing published by Le Roy +(<i>Les Ruines des plus beaux Monuments de la Grčce</i>, 1758), +though in most respects worthless, seems to show conclusively +that the heads are conjecturally restored in Stuart, +vol. iii. ch. i. pls. 15, 16, while in pls. 17 to 20 no restoration +is attempted. The remains of the figure make it +probable that the goddess here represented is Athenč.</p> + +<p>The central figure turns towards Athenč, to whom her +right arm was probably extended. Passing over the +back of her head is a large mantle, which is also wrapped +about the legs, and falls over the left arm. The male +figure in the group probably looked to the right at the +pair of combatants which follows next in order. He has +a mantle twisted round his lower limbs and passing +behind his back. His left hand rested on a sceptre held +vertically, which has now been broken away. All these +three figures wear sandals.</p> +<span class="pagenum"><a name="page228" id="page228"></a>228</span> + +<p>The second Goddess may well be Hera, and in that case +her male companion would probably be Zeus. +</p></blockquote> + +<p class="indent1"> + Length, 4 feet 6 inches. <i>Mus. Marbles</i>, IX., pl. 13. +</p> + +<blockquote> +<p><span class="leftside1"> 3.</span> +Combat of two warriors. The nude warrior on the +left, armed with shield and helmet, presses forward to the +attack; he probably held a sword in the right hand. His +adversary, whose back is turned towards us, appears to +be in retreat, but to be stopping to deliver a thrust, +probably with a spear held in the right hand. His left +arm must have held out a shield, of the rim of which +a fragment remains, attached to the left thigh. His +dress is a chiton <i>heteromaschalos</i>. On the right of the +slab is seen the right foot of a warrior, belonging to the +succeeding group, of which the British Museum possesses +no cast. The warrior stretches out his shield to protect +a wounded figure lying on the ground. +</p></blockquote> + +<p class="indent1"> + Length, 2 feet 10 inches. <i>Mus. Marbles</i>, IX., pl. 14. For the + missing group, see Stuart, III., ch. I., pl. 17; Overbeck, <i>Gr. + Plast.</i>, 3rd. ed., I., p. 348. +</p> + +<blockquote> +<p><span class="leftside1"> 4.</span> +Part of the legs of the wounded warrior just referred to +remains on the ground, on the left. Next on the right are +two warriors moving to the right. Both these figures are +nude, but very seriously mutilated. It is doubtful whether +the figure on the left was armed with a shield, like his +companion. His right foot is advanced and he is hurrying +forward. +</p></blockquote> + +<p class="indent1"> + Length, 2 feet 8 inches. <i>Mus. Marbles</i>, IX., pl. 14. +</p> + +<blockquote> +<p><span class="leftside1"> 5.</span> +A battle scene, in which the combatants, four in +number, are hurling rocks; a fifth, overcome in the fray, +lies prostrate on the ground. In this combat one warrior +appears to be fighting against three. On the left an heroic +figure, which may well be Theseus, is seen advancing. In +<span class="pagenum"><a name="page229" id="page229"></a>229</span> +the confusion his mantle has fallen off, and only hangs over +the left arm. With outstretched left hand he repels a +huge stone hurled against him by his adversary; the right +hand appears to have been stretched out behind the body, +and may have held a sword. There appear to be no means +of warding off the stone which the adversary throws with +his left hand. Confronting the hero, supposed to be +Theseus, is first the warrior just mentioned, who hurls +a stone with each hand. Behind him is a second figure, +who appears to be looking in the same direction. His right +hand was probably holding a stone behind his head, while +the left hand is stretched back to pick up another stone +from the ground. The third warrior hurls a great stone +with his right hand, while with his left hand he propels +the large stone seen behind the shoulders of the central +figure. The fallen figure lies on rocky ground in the +middle of the group of combatants, his head is much +below the level of his body; his right arm, now wanting, +has been resting on a lower level, his left arm is folded +helplessly across his body. +</p></blockquote> + +<p class="indent1"> + Length, 5 feet 10 inches. <i>Mus. Marbles</i>, IX., pl. 16. +</p> + +<blockquote> +<p><span class="leftside1"> 6.</span> +Group of two warriors advancing rapidly to the right, +each with a shield on the left arm. One is nude, the +other wears a chiton <i>heteromaschalos</i>. Next on the right +is a group of one female and two male deities seated on +rocks, and observing the combat. The Goddess occupies +the centre of the group, her head slightly inclined forward, +and looking to the left. She wears a long chiton, +sandals, and a mantle wrapped about her lower limbs. +Both male figures have similar mantles. It may be conjectured +that the three figures in order from the left are +Poseidon, Demeter, and Dionysos; but it is impossible to +attribute names to them with any confidence. +</p></blockquote> + +<p class="indent1"> + Length, 6 feet 6 inches. <i>Mus. Marbles</i>, IX., pl. 15. +</p> +<span class="pagenum"><a name="page230" id="page230"></a>230</span> + +<blockquote> +<p><span class="leftside1"> 7.</span> +Torso of a warrior armed with a large shield, who +moves to the left front. The head, now wanting, was +probably turned to the group next on the right, which +consists of two male figures. The one on the left is +evidently a victor holding a prisoner, who has his hands +tied behind his back. The victor wears a chiton <i>heteromaschalos</i>, +while the prisoner wears a chlamys.</p> + +<p>Between this group and the next figure is a space, +in which should be a male figure standing, turned a little +to the right, and wearing a chlamys. He appears to be +giving an order to the figure on the right. +</p></blockquote> + +<p class="indent1"> +Length, 3 feet 8 inches. <i>Mus. Marbles</i>, IX., pl. 17. For missing +figure, see Stuart, III., ch. I., pl. 20; Overbeck, <i>Gr. Plast.</i>, +3rd ed. I., p. 348. +</p> + +<blockquote> +<p><span class="leftside1"> 8.</span> +Male figure turned to the left, and bending forward. +Both arms have been extended in front of the body. +The figure wears a helmet and a chiton girt at the waist. +The left foot, which is advanced, rested on a higher level +than the right foot. There is some uncertainty as to the +motive of this figure. Stuart restores it as engaged in +the erection of a trophy, and this is accepted by Schultz, +<i>De Theseo</i>, p. 26; cf. Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 353. +For this however there is very little room. Leake suggested +that the figure was engaged adjusting his greave +(<i>Topogr. of Athens</i>, 2nd ed., p. 511). +</p></blockquote> + +<p class="indent1"> + Length, 1 foot 6 inches. <i>Mus. Marbles</i>, IX., pl. 17. +</p> + +<h4><span class="sc">Architectural Fragments</span>.</h4> + +<p><span class="leftside">405.</span></p> + +<p>Part of the ceiling, <i>lacunaria</i>, of the Theseion with six +squares for soffits cut through the marble. See <a class="ask" href="#fig17">fig. 17</a>.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Length, 3 feet 11½ inches; breadth, 3 feet 4½ inches. Stuart, III., +ch. I., pl. 8, fig. 2. +</p> +<span class="pagenum"><a name="page231" id="page231"></a>231</span> + +<blockquote><p> +<span class="leftside">406.</span><span class="leftside1"> 1.</span> +Cover from panel of <i>lacunar</i> of the Theseion.—<i>Elgin +Coll.</i> +</p></blockquote> + +<p class="indent1"> + Height, 10⅛ inches; breadth, 10⅛ inches. <i>Synopsis</i>, No. 365 + (243); Stuart, III., ch. I., pl. 8, fig. 2. +</p> + +<blockquote><p> +<span class="leftside1"> 2.</span> +Similar to last. +</p></blockquote> + +<p class="indent1"> +Height, 10⅛ inches; breadth, 9⅞ inches. <i>Synopsis</i>, No. 367 +(254); Stuart, III., ch. I., pl. 8, fig. 2. +</p> + +<h3>THE ERECHTHEION.</h3> + +<p>The Erechtheion is an Ionic temple of a peculiar form, +which stands near the north side of the Acropolis of +Athens. It embodies in a structure of the end of the +fifth century the shrines about which the Athenian religion +had centred from time immemorial, and to this fact +the anomalous character of the plan must be ascribed.</p> + +<p>The building consisted of a central cella divided into +three portions, and having a portico of six columns at the +east end; a porch of six columns at the north-west +corner; and a porch of Caryatids at the south-west. It +was built of Pentelic marble, with the exception of the +frieze, which had a ground of dark Eleusinian marble.</p> + +<p>The temple is known to have been incomplete in +409 <span class="sc">b.c.</span> At this time a minute survey of the building +was made, by order of the Assembly, and the result was +recorded in an inscription which is now in the British +Museum. (<i>C. I. G.</i> 160; Newton & Hicks, <i>Greek Inscriptions +in Brit. Mus.</i>, xxxv.).</p> +<a name="page231a" id="page231a"></a> +<div class="figcenter" style="width: 400px;"><a href="images/21fig18-800.png"><img src="images/21fig18-400.png" width="400" height="514" alt="Fig. 18.--Ground Plan of the Erechtheion." /></a> +<p class="center">Fig. 18.—Ground Plan of the Erechtheion.</p></div> + +<p>The east half of the building was devoted to Athenč +Polias, whose archaic statue was placed in it.</p> + +<p>The remainder of the building was associated with the +cults of Poseidon, Erechtheus, Pandrosos, and others. +The arrangement has been a subject of much controversy. +The passage at the west of the cella probably contained +altars of Poseidon (with Erechtheus), of Boutes, and of +<span class="pagenum"><a name="page232" id="page232"></a>232</span> +Hephaestos; the tokens of Poseidon, namely the salt +spring, and the marks of the trident, were either in the +west central chamber or below the north portico. The +south porch served as an additional entrance, but it also +<span class="pagenum"><a name="page233" id="page233"></a>233</span> +contained the tomb of Cecrops. The Pandroseion, which +contained the sacred olive-tree of Athenč, and a small +shrine of Pandrosos, was annexed to the outside of the +west end of the building.</p> + +<p>The Elgin Collection contains several specimens of the +architectural decorations of the Erechtheion. In the above +plan (fig. 18), those parts of the building are indicated by +letters from which fragments have been obtained. In +some instances the exact position is uncertain.</p> + +<p class="indent1"> +For a discussion of the Erechtheion, see Harrison, <i>Mythology and +Monuments of Anc. Athens</i>, p. 481. +</p> + +<p style="margin-top: 2em;"><span class="leftside">407.</span> +So-called Caryatid, or Canephoros, +<ins title="Greek: kanęphoros"> +κανηφόρος</ins> (fig. 19). +One of the six female figures which served as columns in +the southern portico of the Erechtheion. In the survey of +the building these figures are called <i>Korae</i>, "maidens." +They have been called Canephori (see p. <a class="ask" href="#page149">149</a>) by Visconti +(<i>Memoirs on the Sculptures of the Earl of Elgin</i>, p. 122), and +others. It is true that the maidens here represented are +such as those represented on the Parthenon frieze. But +there is nothing that specially connects them with the +Canephori, or persons who bore the sacred vessels on their +heads. By some writers they have been called Caryatids, +on account of a statement of Vitruvius (i., chap. 1) that +women of Carya, a town of Arcadia, were represented as +architectural supports—a punishment which they incurred +for betraying the Greeks to the Persians.</p> +<a name="page233a" id="page233a"></a> +<div class="figcenter" style="width: 400px;"><a href="images/22fig19-500.png"><img src="images/22fig19-220.png" width="220" height="489" alt="Fig. 19.—Caryatid of the Erechtheion." /></a> +<p class="center">Fig. 19.—Caryatid of the Erechtheion.</p></div> + +<p>The figure here described wears a long chiton, which +is drawn up under the girdle, falling in rich folds, and +is fastened on each shoulder by a circular brooch. Attached +to this is the diploďdion, which falls down before +and behind. In front it falls to the waist; behind it +would trail on the ground, if a part were not looped up to +the shoulders, so as to make a deep fold, falling as low as +the hips. The hair from the back of the head falls in a +<span class="pagenum"><a name="page234" id="page234"></a>234</span> +thick mass between the shoulders, tied together with a +band. The hair gathered from the forehead is woven into +tresses. Two fall on each shoulder; the others are twisted +round the head in the form of the <i>krobylos</i> (cf. p. 87). +<span class="pagenum"><a name="page235" id="page235"></a>235</span> +The arms are wanting from above the elbows. The right +hand probably hung by the side, where the surface of the +drapery is seen to have been protected from corrosion. +The left hand has drawn from behind one corner of the +diploďdion.</p> + +<p>The head supports a capital, consisting first of a pad or +cushion <ins title="Greek: tylę">τύλη</ins>, such as was, and still is, used to support +weights. (Compare the east frieze of the Parthenon, +Nos. 30, 31.) From this the transition to the square +abacus is effected by an egg and tongue and a bead and +reel moulding.</p> + +<p>This statue is admirably designed, both in composition +and drapery, to fulfil its office as a part of an architectural +design. While the massiveness of the draped figure +suggests the idea that the support for the superimposed +architecture is not structurally inadequate, the lightness +and grace of the pose suggest that the maiden bears her +burden with ease.</p> + +<p>The original position of the figure is marked A on the +plan. Four figures and part of a fifth still remain on the +Acropolis. They are uniform in their general design, but +differ slightly in pose and arrangement of drapery.</p> + +<p class="indent1"> +Pentelic marble; height, 7 feet 7 inches. Stuart, II., ch. II., pl. 19. +<i>Mus. Marbles</i>, IX., pl. 6. Rayet, <i>Monuments</i>, No. 40; Mitchell, +<i>Selections</i>, pl. 7; Murray, II., pl. 17; Wolters, No. 810; +<i>Stereoscopic</i>, No. 115. +</p> + +<h4><span class="sc">Architecture of the Erechtheion.</span></h4> + +<p><span class="leftside">408.</span> +Ionic column from the north end of the eastern portico +of the Erechtheion (B on plan). This being a column +from an angle of the building, the volutes occur on two +adjacent sides, so as to present themselves both to the +east and north view.</p> + +<p class="indent"> +Height, 21 feet 7½ inches. <i>Synopsis</i>, Nos. 125-7, 110; Stuart, II, +ch. II., pls. 4, 5, 6. +</p> +<span class="pagenum"><a name="page236" id="page236"></a>236</span> + +<p><span class="leftside">409.</span> +Capital of one of the pilasters (<i>antae</i>) and part of +necking or wall-band from the east wall of the Erechtheion +(C, C, C on plan). It is to be observed that the +frieze on the pilaster, though analogous to that on the +walls, differs from it in details which heighten the richness +of the effect, and which assimilate the pilaster to the +columns of the east portico, while the walls resemble the +capitals of the north portico. Moreover, on the pilaster +the carving of the frieze is raised above the surface of the +courses, while on the wall it is set back from the wall face.</p> + +<p>The slab on the right must be from the north-east angle +of the Erechtheion. The three slabs next to it might +belong to the east, north, or south sides, as regards the +form and design. But the excellent preservation of the +surface, as compared with that of the unprotected north-east +angle, seems to show that these slabs are derived from +the east wall, where they were protected by the portico.</p> + +<p>It is interesting to note the numerous repairs in the +series of slabs. They probably date from the time of the +construction of the building, and were meant to make good +what was broken by accident in the course of construction. +On the north side of the pilaster, seven inches of the bead +and reel moulding immediately surmounting the anthemia +have been skilfully inserted in a groove and fastened with +lead. On the east side of the pilaster one of the beads of +the lower bead and reel moulding was attached by a plug, +of which the hole remains. On the next slab on the left +one bead of the upper bead and reel moulding was similarly +added. On the second slab from the left, one tongue of +the egg and tongue moulding, one piece of spiral connecting +the anthemia and one bead were let into the marble. +Traces of red colour remain in the upper part of the frieze +on this slab.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Height, 1 foot 7½ inches. The slab containing the capital of the +pilaster is 6 feet in length. Of the other slabs, two are each +<span class="pagenum"><a name="page237" id="page237"></a>237</span> +4 feet 3 inches in length. The fourth is broken on the right-hand +joint, and measures 4 feet 1½ inches. <i>Synopsis</i> Nos. 252-255 +(127-130). <i>Greek Inscriptions in Brit. Mus.</i>, I., p. 89, <i>e</i>, +pl. 3, fig. 8. Stuart, II., ch. II., pl. 5. Inwood, <i>Erechtheion</i>, +p. 110. +</p> + +<p><span class="leftside">410.</span> +Fragment of frieze similar to last. Joint on left. Found +on the north side of the Erechtheion.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Height, 6 inches; breadth, 6 inches. <i>Synopsis</i>, No. 116. Inwood, +<i>Erechtheion</i>, p. 138. +</p> + +<p><span class="leftside">411.</span> +Fragment of leaf, bead and reel, and egg mouldings +from the capital of a pilaster at the west side of the south +portico of the Erechtheion (D on plan).—<i>Inwood Coll.</i></p> + +<p class="indent"> +Length, 1 foot 2¼ inches; height, 5½ inches. <i>Synopsis</i>, No. 118. +</p> + +<p><span class="leftside">412.</span> +Cymatium moulding from inner architrave of the +south portico of the Erechtheion (E on plan).</p> + +<p class="indent"> +Height, 2½ inches; length, 7¼ inches. <i>Synopsis</i> No. 403. Inwood, +<i>Erechtheion</i>, pl. 20. See also Stuart, II., ch. II., pl. 13. +</p> + +<p><span class="leftside">413.</span> +Piece of architrave, probably part of the beam from the +north angle of the east portico of the Erechtheion (F, F +on plan). There is a joint on the left of this slab.—<i>Elgin +Coll.</i></p> + +<p class="indent"> +Height, 2 feet 1 inch; length, 8 feet 2½ inches. <i>Synopsis</i>, No. 220 +(85). Wilkins, <i>Prolusiones</i>, p. 29. +</p> + +<p><span class="leftside">414.</span> +Piece of the architrave from the south wall of the +Erechtheion, broken at each end (G on plan). It is +connected with the preceding by a piece of moulding +cast in plaster.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Height, 2 feet 1 inch; length, 8 feet 5½ inches. <i>Synopsis</i>, No. 219 +(291). Wilkins, <i>Prolusiones</i>, p. 29; <i>Greek Inscriptions in Brit. +Mus.</i> I., pl. 3, fig. 9. +</p> + +<p><span class="leftside">415.</span> +Piece of corona of cornice, from the north portico of the +Erechtheion (H on plan). Although not derived from +<span class="pagenum"><a name="page238" id="page238"></a>238</span> +the same part of the temple, this fragment has been +placed in connection with the slabs of the architrave, +Nos. 413, 414, in order to show the original effect. The +space of two feet between the corona and the architrave +was occupied by the sculptured frieze. This consisted of +marble figures in relief attached by metal clamps on a +ground of black Eleusinian marble. A few fragments are +extant at Athens.</p> + +<p class="indent"> +Length, 4 feet 7 inches; height, 10½ inches; breadth, 1 foot 1½ inches. +<i>Synopsis</i>, No. 289 (165). Stuart, II., ch. II., pls. 4, 5. For the +frieze, see Brunn, <i>Denkmaeler</i>, Nos. 31-33; Overbeck, <i>Gr. Plast.</i>, +3rd ed., I., p. 361. +</p> + +<p><span class="leftside">416.</span> +Coffer from the <i>lacunaria</i> of the north portico of the +Erechtheion (J on plan).—<i>Elgin Coll.</i></p> + +<p class="indent"> +Height, 3 feet 2 inches; breadth, 3 feet 5½ inches. <i>Synopsis</i>, No. 108 +(299). See Stuart, 2nd ed., II., p. 73, note. +</p> + +<p><span class="leftside">417.</span> +Part of coffer of east portico of the Erechtheion. Found +near the eastern portico (K on plan).—<i>Inwood Coll.</i></p> + +<p class="indent"> +Height, 1 foot 4 inches; breadth, 1 foot 1¼ inches. <i>Synopsis</i>, +No. 117. Inwood, <i>Erechtheion</i>, pl. 20. +</p> + +<p><span class="leftside">418.</span> +Part of door jamb, perhaps from the eastern doorway of +the Erechtheion (L on plan).—<i>Inwood Coll.</i></p> + +<p class="indent"> +Height, 1 foot 2¾ inches; breadth, 6½ inches. <i>Synopsis</i>, No. 115. +Inwood, <i>Erechtheion</i>, pl. 20. +</p> + +<p><span class="leftside">419.</span> +Cast of console, <i>parotis</i>, from the doorway in the north +portico of the Erechtheion (M on plan).</p> + +<p class="indent"> +Height, 2 feet 3 inches. <i>Greek inscriptions in Brit. Mus.</i>, I., p. 98, +§ 14, <i>b</i>. Wilkins, <i>Prolusiones</i>, pls. 13, 14. <i>Journ. of Hellen. +Studies</i>, XII., pl. 1. +</p> + +<p><span class="leftside">420.</span> +Necking of Ionic column, copied from the columns of +the east portico of the Erechtheion.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Height, 11¼ inches; diameter, 2 feet 2½ inches. <i>Synopsis</i>, No. 120 +(306*); <i>Elgin Room Guide</i>, II., No. A. 2. +</p> +<span class="pagenum"><a name="page239" id="page239"></a>239</span> + +<h3>TEMPLE OF NIKČ APTEROS.</h3> + +<p>The temple of Nikč Apteros (Victory without wings), or +more correctly of Athenč Nikč, stood on the projecting +eminence to the south of the approach to the Propylaea at +Athens (Paus., i. 22, 4).</p> + +<p>The building had remained uninjured till the close of +the seventeenth century, and was seen in 1676 by the +travellers Spon and Wheler. But not long after, probably +about the year 1685, the temple was demolished by the +Turks, and the materials were used to build a bastion on +the spot where the temple had stood.</p> + +<p>In 1835 Ludwig Ross, and the architects Schaubert and +Hansen took down the bastion and reconstructed the +temple as it now stands. A sufficient amount of the +lower part had remained undisturbed to enable them to +proceed with certainty.</p> + +<p>The temple consists only of a single cella, opening to +the east, but has four columns at each end (<i>tetrastyle +amphiprostyle</i>). It stood on a podium of three steps. +The exterior was surrounded by a small frieze, 1 ft. +5½ in. high, and measuring 26 ft. on its long sides, and +17 ft. 2 in. at the ends. The annexed cut (fig. 20) shows +the plan of the temple. The arrangement of the slabs of +the frieze has been most fully discussed by Ross, but is +still uncertain in parts. The west frieze, according to +Ross, consisted of the two slabs, Nos. 421, 422, in the +Elgin Collection, and the return faces of two slabs of the +north and south sides. Each return measures 1 ft. 7 in. +The slabs, Nos. 421, 422, measure respectively 6 ft. 8½ in., +and 6 ft. 7¾ in. The total length, 16 ft. 6¼ in., is thus +nearly equal to the estimated length of the side. The +distribution of the slabs belonging to the long sides is +doubtful. No. 425, cast from a corner stone, certainly +<span class="pagenum"><a name="page240" id="page240"></a>240</span> +belongs to the south side. Ross assigns No. 423 to the +south side, No. 424 to the north side, on the hypothesis +that the mounted horsemen on the same side proceed +in the same direction. Kekulé (<i>Die Balustrade</i>, ed. 1869, +p. 17) places them both on the south side, in an order +more probable than that suggested by Hawkins (<i>Mus. +Marbles</i>, ix., p. 29). The east side consisted of two +slabs and two returns arranged similarly to those of the +west.</p> +<a name="page240a" id="page240a"></a> +<div class="figcenter" style="width: 600px;"><a href="images/23fig20-800.png"><img src="images/23fig20-550.png" width="550" height="495" alt="Fig 20.--Plan of the Propylaea and Temple of Wingless Victory." /></a> +<p class="center">Fig. 20.—Plan of the Propylaea and Temple of Wingless Victory.</p></div> + +<p>The subject of the east side appears to be a council of +Gods. The long sides each contained a battle between +Greeks and a series of warriors, mounted and on foot, +wearing Asiatic costumes and probably intended to +represent Persians. The west side is generally taken to +<span class="pagenum"><a name="page241" id="page241"></a>241</span> +represent a battle of Greeks with Greeks. Several attempts +have been made to show that historical battles are +represented on the frieze. Overbeck suggests that the +three sides on which there are combatants belong to one +battle, and he conjectures the battle of Platća (479 <span class="sc">b.c.</span>), +when Greeks defeated the Persians and their Greek +adherents. Other writers, perhaps with more probability, +deny that any definite battle is intended, and hold that +we see merely a generalised representation of Athenians, +victorious alike over Greeks and Barbarians.</p> + +<p>It has been shown by Bohn (<i>Die Propyläen</i>, p. 31) +and Doerpfeld on technical architectural grounds that +the Temple of Victory was not contemplated in the +first plans for the Propylaea, but that the form of the +Propylaea was modified during the course of construction +on account of it. The earliest date thus obtained for the +beginning of the present building is about 432 <span class="sc">b.c.</span> There +is nothing to show what time the temple took to build. +In point of style there is a great resemblance between +the sculptures of the frieze, and those of the frieze of +the Erechtheion, of which a part was being worked, as +we know from the inscription, in 409 <span class="sc">b.c.</span> The frieze of +Nikč Apteros may perhaps be placed between 430 and +420 <span class="sc">b.c.</span></p> + +<p class="indent"> +Spon, <i>Voyage</i> (ed. 1679), II., p. 105; Wheler, <i>Journey into Greece</i>, +p. 358; Stuart, II., ch. V., pls. 12, 13 (from drawings by Pars, +now in the British Museum); Ross, Schaubert and Hansen, <i>Die +Akropolis von Athen; Abth. I. Der Tempel der Nike Apteros</i>, 1839; +<i>Mus. Marbles</i>, IX., pls. 7-10; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., +p. 363; Bohn, <i>Die Propyläen der Akropolis zu Athen</i>, 1882; +Murray, II., p. 179; Kekulé (and Bohn) <i>Die Reliefs an der +Balustrade der Athena Nike</i>; Wolters, Nos. 747-760. For +Doerpfeld's views, see Harrison, <i>Mythology and Monuments of +Anc. Athens</i>, p. 356. For further references see Wolters, p. 284. +A photographic view of the temple is given by Baumeister, fig. +1234; and of Nos. 421 to 424 in <i>Stereoscopic</i>, No. 121. +</p> +<span class="pagenum"><a name="page242" id="page242"></a>242</span> + +<h4><span class="sc">The West Frieze.</span></h4> + +<p><span class="leftside">421.</span> +The return of a slab of the north side, now at Athens, +formed the left end of the frieze, and contains two figures +advancing to the right to join the fray (Ross, pl. 11. h.). +This is followed by slab No. 421, containing a battle of +Greeks. In the first group on the left two warriors +are engaged in vehement combat. The warrior on +the left supports with his right knee the shoulder of a +wounded comrade who has fallen at his feet and leans on +his right arm. In the next group are two antagonists +fighting over the body of a dead combatant, then a warrior +who has overthrown his adversary and treads him down +with his left foot. He raises his right hand to inflict the +mortal wound, and may perhaps have grasped the victim's +right wrist with his left hand. In the background is a +trophy which appears to consist of a trunk of a tree, to +which a helmet, shield, and cuirass have been attached. +On the right of the slab is a warrior pursuing a foe flying +to the right.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 feet 5½ inches; length, 6 feet 8½ inches. +<i>Synopsis</i>, No. 160 (259); Ross, pl. 11, i.; <i>Mus. Marbles</i>, IX., +pl. 9; Baumeister, fig. 1240; Brunn, <i>Denkmaeler</i>, No. 118. +</p> + +<p><span class="leftside">422.</span> +The first figure on the left of the slab appears to be +hastening to the assistance of the flying warrior on the +right of the slab just described. Next is a complicated +group of five warriors fighting for the body of a wounded +man. The latter has sunk helplessly on the ground. He +is half raised and clasped under the arms by a friend who +attempts to draw him away; a foe tries to seize an ankle, +and covers himself meanwhile with his outstretched shield. +More in the background two adversaries are engaged in +hot combat. The warrior on the left probably had a +sword, and that on the right a spear. A friend of the +<span class="pagenum"><a name="page243" id="page243"></a>243</span> +fallen man hastens up from the left. The right thigh of +this figure, which is now wanting, is preserved in a +drawing by Pars.</p> + +<p>On the right are two pairs of combatants. In one of +these groups a warrior, who has fallen on his right knee, +tries to defend himself with his shield, while with the +right hand he seizes a stone. The antagonist has his +right arm raised to strike, perhaps with a battleaxe, and +seizes with his left hand the shield of the kneeling figure. +On the right of the slab one of the warriors flies before +the assault of his antagonist, whose arms are both raised +to strike him.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 5½ inches; length, 6 feet 7¾ inches. +<i>Synopsis</i>, No. 161 (260); Ross, pl. 11, k.; <i>Mus. Marbles</i>, IX., +pl. 10; Overbeck, <i>Gr. Plast.</i>, 3rd. ed., I., fig. 81, p. q.; Baumeister, +fig. 1239; Brunn, <i>Denkmaeler</i>, No. 118. +</p> + +<p>On the right of the slab described was the return of +the corner slab of the south side, with a combat of two +warriors.</p> + +<p class="indent"> +Ross, pl. 11, 1.; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., fig. 81, r. +</p> + +<p>There is a considerable variety of costumes on the west +side of the frieze. Some of the figures are nude; others +wear the chlamys only, the chiton only, or the two +garments together. The chiton is sometimes worn on +both shoulders, and some times only on one shoulder. The +warriors are for the most part armed with helmets and +large bucklers. In two instances a cap of a flexible +material is worn instead of a helmet. None, however, of +the costumes are non-Hellenic; and further the attempt +made by Overbeck (i. p. 365), to show that the helmet of +the figure on the extreme right of the frieze is distinctively +Bœotian, is untenable (Wolters, p. 284).</p> +<span class="pagenum"><a name="page244" id="page244"></a>244</span> + +<h4><span class="sc">The North and South Friezes.</span></h4> + +<p><span class="leftside">423.</span> +Slab containing a part of the battle between Greeks +and Persians. In the first group on the left, a Persian +has fallen on his right knee, raising his right arm to +defend his head. The antagonist presses his left foot on +the right thigh of the Persian, raising his right arm for +a spear thrust, and probably seizing the hair of the +Persian with his left hand. Next is a group of two +Persians and a Greek. One of the Persians lies dead on +the ground; his mounted comrade urges his horse against +the Greek, who draws back, and raises his arm to strike +with a battle-axe.</p> + +<p>The next group is composed of two Persians on foot +and a Greek. In the centre is a wounded Persian, who +has been forced down on his left knee and extends his +arms forward in entreaty to the Greek, who drags him +along, grasping the head of the Persian with his left +hand. The right hand of the Greek must have held +either a spear or a sword. On the right the other Persian +turns back to defend his fallen comrade against the Greek. +Both arms are raised to strike, and probably wielded a +battle-axe. At his left side hangs a quiver. On the +extreme right is a Greek moving to the right in pursuit +of a flying Persian of whom only the leg and part of the +drapery round the loins remain. The ground on which +this scene takes place is rocky.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 5½ inches; length, 5 feet 10 inches. +<i>Synopsis</i>, No. 158 (258); Ross, pl. 12, o; <i>Mus. Marbles</i>, IX., +pl. 7; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., fig. 81, i-l; Baumeister, +fig. 1237; Brunn, <i>Denkmaeler</i>, No. 117. +</p> + +<p><span class="leftside">424.</span> +The first pair of combatants on the left are a Persian, +who has fallen on his right knee, and who holds up a +shield in the form of a crescent, on his left arm to defend +himself, and his antagonist, who advances from the right.</p> +<span class="pagenum"><a name="page245" id="page245"></a>245</span> + +<p>Next is a combat between a Greek on foot and a +mounted Persian. The latter draws back his right hand, +which must have been armed with a spear aimed at the +Greek advancing from the left. The horse of the Persian +rears as if to strike down with his forefeet the left arm of +the Greek, which is thrust forward, protected by his shield. +A dead Persian lies on the ground.</p> + +<p>Behind the mounted Persian is a comrade, hastening to +the left, and pursued by a Greek of whom nothing remains +except part of his shield and of the drapery round his +loins. This closes the scene on the right.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 5½ inches; length, 6 feet 1¼ inches. +<i>Synopsis</i>, No. 159 (257); Ross, pl. 12, fig. g; <i>Mus. Marbles</i>, IX., +pl. 8; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., fig. 81, m, n; Baumeister, +fig. 1238; Brunn, <i>Denkmaeler</i>, No. 117. On the position of these +slabs, cf. p. 240. +</p> + +<p><span class="leftside">425.</span> +A plaster cast from one of the slabs now in position on +the temple. On the left is a mutilated group representing +a Greek warrior turning to assist a comrade who +has fallen on his right knee. Next is a Greek moving +forward to pursue a mounted Persian who is flying to the +right. On the extreme right a Persian on foot flies in the +same direction. A slain Persian lies in the foreground. +The position of this slab on the temple at the south-east +angle is fixed by the relief on its return face which is part +of the composition of the eastern front. This return is +not given in the cast here described.</p> + +<p class="indent"> +Height, 1 foot 5½ inches; length, 3 feet 11¼ inches. Ross, pl. 12, +fig. a; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., fig. 81, g, h; Murray, +II., pl. 16, fig. 1. +</p> + +<p>The dress of the Persians in this frieze is the usual +chiton with long sleeves, girt at the waist, and close-fitting +trousers, <i>anaxyrides</i>. One of them, the kneeling figure in +No. 424, wears a quiver and bow case, <i>gorytos</i>, from which +<span class="pagenum"><a name="page246" id="page246"></a>246</span> +appears the end of his bow, and two others wear quivers. The +only Persian whose face is preserved is bearded, and wears +the Persian headdress, the <i>kidaris</i>. The heads and weapons +of both sets of combatants have been nearly all destroyed. +Some of the Greeks are armed with the Argolic buckler. +Others have a chlamys wound round the left arm or +hanging loose from the body.</p> + +<h3>CASTS FROM THE BALUSTRADE OF THE TEMPLE OF NIKČ APTEROS.</h3> + +<p>The temple of Nikč Apteros stood on a lofty projecting +bastion, as may be seen from the model of the Acropolis. +This bastion was surrounded for safety with a breast-high +parapet, consisting of a frieze of sculpture in +relief, facing outwards, surmounted by a bronze screen. +Several fragments of the frieze or balustrade were discovered +on the site, in 1835. (Ross, pl. 13.) Additional +fragments were found by Beulé in 1852, and in more recent +excavations to the east of the temple of Nikč, and on the +south slope of the Acropolis. They are preserved in the +Acropolis Museum at Athens.</p> + +<p>The sculptures are too mutilated to be arranged in one +composition. It is evident, however, that the frieze consisted +of figures of Victories, variously engaged. Some +lead bulls to sacrifice, while others are erecting or decking +trophies in the presence of Athenč.</p> + +<p>There is some uncertainty as to the date of the frieze. +It cannot be older than the temple, and therefore not +earlier than 432 <span class="sc">b.c.</span> Kekulé (<i>Balustrade</i>, p. 22), and +Wolters (p. 289) hold that the frieze was produced immediately +after that date. But a more admissible view is +that which puts the balustrade at the very close of the +fifth century. If the different fragments of the balustrade +are examined, they seem to reveal a combination of +<span class="pagenum"><a name="page247" id="page247"></a>247</span> +various schools and methods. No. 426, severely draped in +chiton and diploďdion, seems to have the somewhat stiff +dignity best seen in sculptures of the Temple of Zeus at +Olympia, but occasionally suggested by the Parthenon +sculptures. The figures of Athenč (Kekulé, <i>Balustrade</i>, +pl. ii.), have the spirit of the Parthenon frieze. In No. 427 +and No. 428, the artist dwells on and emphasises the nude +form, displaying it through transparent drapery in a +manner that may well be supposed to have been that of +the transition from Pheidias to Praxiteles. Finally, in the +figure leading the bull (No. 429), there is a florid wealth of +drapery, which, among early works, only finds a partial +analogy in the frieze of Phigaleia, and which appears +more akin to the Nikč of Samothrace than to Attic work +of the fifth century. This want of uniformity in style +suggests a time of transition in which the traditions of +the school of Pheidias were still to some extent operative, +while newer tendencies were beginning to make themselves +felt. Perhaps also they indicate that the work was +spread over a space of several years, such as might be +expected in the troubled close of the fifth century <span class="sc">b.c.</span></p> + +<p class="indent"> +Height of Balustrade, 3 feet 2 inches. Ross, p. 17, pl. 13 (cf. ante, +p. 241); Michaelis, <i>Arch. Zeit.</i>, 1862, p. 249. All the materials +are collected by Kekulé, <i>Die Reliefs an der Balustrade der Athena +Nike</i> (1881), which superseded Kekulé, <i>Die Balustr. d. Tempels d. +Athena Nike</i> (1869). See also Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., +p. 369; Murray, II., p. 186; Wolters, Nos. 761-804. <i>Stereoscopic</i>, +Nos. 158-160. +</p> + +<p><span class="leftside">426.</span> +Victory standing, half turned to the left. She holds a +greave in her left hand, with which she was probably +decking a trophy. She wears a leather helmet.</p> + +<p class="indent"> +Kekulé, <i>Balustrade</i>, pl. 5, fig. R; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., +fig. 82. +</p> + +<p><span class="leftside">427.</span> +Winged Victory turned to the left stoops forward, +raising her right foot in order to adjust or unfasten her +<span class="pagenum"><a name="page248" id="page248"></a>248</span> +sandal. A somewhat similar incident is seen on the +Parthenon frieze, (west side, No. 29). There, however, +the figure has his foot resting on a rock, while here the +Victory balances herself on the left foot with the right +leg high in the air, in a position of effort such as does +not occur on the frieze of the Parthenon.</p> + +<p class="indent"> +Ross, pl. 13, figs. B, Bb; Kekulé, <i>Balustrade</i>, pl. 4, fig. O; Overbeck, +<i>Gr. Plast.</i>, 3rd ed., I., fig. 82; Murray, II., pl. 16, fig. 4; Brunn, +<i>Denkmaeler</i>, No. 35. The meaning of the subject is not known. +In the ritual inscription of Andania the initiated are ordered to +have bare feet, and possibly the Victory is supposed to be +removing her sandals before entering a shrine. Dittenberger, +<i>Syll.</i>, 388, 15, cf. <i>ibidem</i>, 357, 25. +</p> + +<p><span class="leftside">428</span> +Winged Victory standing turned to the left, the right +arm advanced. The right hand and all the left arm being +broken away, the motive of this figure has not been +ascertained, but probably the Victory was decking a +trophy.</p> + +<p class="indent"> +Kekulé, <i>Balustrade</i>, pl. 4, fig. M; <i>Arch. Zeit.</i>, 1862, pl. 162; +Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., fig. 82; Brunn, <i>Denkmaeler</i>, +No. 35. +</p> + +<p><span class="leftside">429.</span> +Two winged Victories about to sacrifice a bull, which +one of them is holding back as it springs forward. The +other Victory leads the way, moving to the right.</p> + +<p class="indent"> +Ross, pl. 13, fig. A; Kekulé, <i>Balustrade</i>, pl. 1, fig. A; Overbeck, +<i>Gr. Plast.</i>, 3rd ed., I., fig. 82; Murray, II., pl. 16, fig. 3; +Brunn, <i>Denkmaeler</i>, No. 34. +</p> + +<h3>THE CHORAGIC MONUMENT OF LYSICRATES.</h3> + +<p>The Choragic Monument of Lysicrates is a small edifice +which presents one of the earliest examples of the use of +the Corinthian order in Greek architecture. It may be +<span class="pagenum"><a name="page249" id="page249"></a>249-250</span> +thus described. On a square basement is a cylindrical +structure resting on six Corinthian columns. Between +them are six equal panels of white marble closely joined; +at each vertical joint a Corinthian column has been fitted, +so as to project more than half its diameter. Between +the capitals were figures of tripods in relief, of which +only one now survives. Above the colonnade is the +entablature and a cupola or <i>tholos</i>; this is in the form of +a tiling of laurel-leaves richly decorated round the circumference +with a double row of projecting ornaments. +From the apex of the roof rises a mass of foliage arranged +in a triple form, on the three most projecting leaves of +which was placed a bronze tripod, dedicated by a choragos, +who had provided a victorious chorus. An inscription +on the architrave immediately below the figure of Dionysos +furnishes the name and date of the dedicator. It +runs,* "Lysicrates of Kikynna, son of Lysitheides, was +Choragos. The youths of the tribe Acamantis were victors, +Theon was the flute player, Lysiades an Athenian was the +instructor of the Chorus, Euainetos was Archon." The +mention of this magistrate fixes the date of the monument +to <span class="sc">b.c.</span> 335-4.</p> + +<p class="footnote">* <i>C. I. G.</i> 221; <i>C. I. A.</i>, II., 1242. +<ins title="Greek: Lysikratęs Lysitheidou Kikynneus echoręgei. Akamantis paidôn enika. Theôn ęulei. Lysiadęs Athęnaios edidaske. Euainetos ęrche"> +Λυσικράτης +Λυσιθείδου +Κικυννεὺς +ἐχορήγει. +Ἀκαμαντὶς +παίδων +ἐνίκα. +Θέων +ηὔλει. +Λυσιάδης +Ἀθηναῖος +ἐδίδασκε. +Εὐαίνετος +ἦρχε</ins>. +</p> +<a name="page250a" id="page250a"></a> +<div class="figcenter" style="width: 400px;"><a href="images/24fig21-600.png"><img src="images/24fig21-240.png" width="240" height="494" alt="Fig. 21.--The Choragic Monument of Lysicrates. (After Stuart.)" /></a> +<p class="center">Fig. 21.—The Choragic Monument of Lysicrates. (After Stuart.)</p></div> + +<p>The building still stands in its original position at +Athens, below the eastern side of the Acropolis and a +little to the north-east of the theatre of Dionysos. In +antiquity it stood in a street called "the street of tripods" +(Paus. i. 20, 1), because of the number of tripods which +were there dedicated to Dionysos. At least as early as +the 15th century the building was popularly known as the +Lantern of Demosthenes. In the 17th and 18th centuries +it was built into the wall of the French Capuchin monastery, +and the interior served as the library of the Superior. +<span class="pagenum"><a name="page251" id="page251"></a>251</span> +The monastery was burnt in 1821, and the only trace of +it is in a few tombstones of French citizens lying near. +The monument now stands in an open square. Lord +Elgin's casts are the best record of the frieze, as the +sculptures, which are of Pentelic marble, have suffered +considerably in the last ninety years.</p> + +<p>The subject of the frieze here described is the victory of +Dionysos over the Tyrrhenian pirates who had kidnapped +him from Chios with the intention of selling him as a +slave. The God revenged himself by transforming the +pirates into dolphins, a myth which is to be found in the +Homeric Hymn to Dionysos (No. vi.) and elsewhere (Ovid, +<i>Met.</i> iii. 650; Nonnus, <i>Dionys.</i> xlv. 102; Philostr. <i>Im.</i> i. +19, &c. Cf. <i>Gaz. Arch.</i> 1875, p. 7). In the frieze the +moment is represented when this transformation took +place. According to Homer and most other writers, the +event happened on board the ship, and the pirates were +first terrified by a miraculous appearance of vines and +wild beasts. The sculptor has preferred to represent the +scene as passing on the rocky shore on which the pirates +found Dionysos (<i>Hom. Hymn</i>, vi. l. 2) and has made Satyrs +help in the vengeance. The subject is thus made to +adapt itself to the requirements of sculpture. For a vase +with a representation of the literary form of the legend, +see Gerhard, <i>Auserlesene Vasenbilder</i>, i., pl. 49; Harrison, +<i>Mythology and Monuments of Anc. Athens</i>, p. 251. An +intaglio, with a pirate half transformed, as on the frieze, +is engraved in the <i>Gaz. Arch.</i> 1875, p. 13.</p> + +<p>It is convenient to take the architectural remains of +Athens consecutively, and the monument of Lysicrates +has therefore been inserted in this place. But the +accurately ascertained date (335 <span class="sc">b.c.</span>) is a century later +than the Parthenon, and it is easy to discern the change +that has taken place. The form of Dionysos is becoming +softer and more effeminate. The Satyrs on tip-toe +<span class="pagenum"><a name="page252" id="page252"></a>252</span> +belong to a scheme not introduced in the 5th century +sculpture; more free play of humour is admitted. At +the same time Attic schemes of composition present +themselves, which had already come into use in the time +of Pheidias.</p> + +<p>This frieze is a remarkable example of the Greek power +of combining variety and symmetry. On the right and +left of Dionysos the groups correspond with great +accuracy, but the correspondent groups always differ one +from another. On each side of the God we have an +attendant Satyr; a Satyr with a crater; a Satyr watching +the conflict; a Satyr hastening to join it; a Satyr +kneeling on a pirate; a Satyr about to strike a pirate +thrown to the ground; a Satyr breaking off a branch +from a tree; a pirate, half transformed, leaping into the +sea. The remainder of the frieze is less exactly symmetrical.</p> + +<p class="indent" style="margin-bottom: 2em;"> +Wheler, <i>Journey</i>, p. 397; Spon, <i>Voyage</i> (ed. 1679), II., p. 132. A +view of the monument from the monastery garden is shown in +Stuart, I., chap. IV., pl. 1. The view from the street is in +Le Roy, <i>Ruines</i>, pl. 13. A view of the interior used as a library, +Dodwell, <i>Tour</i>, I., pl. facing p. 289. A view subsequent to the +destruction of the monastery is given, <i>Exp. de Morée</i>, III., +pl. 96. For the present state of the monument see Harrison, +<i>Mythology and Monuments of Anc. Athens</i>, p. 245. The original +frieze is of Pentelic marble; height, 10½ inches. Stuart, I., ch. IV., +pls. 1-26. Stuart's drawings which are freely restored are +the basis of the inaccurate plate in Stuart, 2nd ed., Vol. I., +ch. IV., pl. 30. The illustrations in most of the text-books are +derived from the latter plate; e.g., Müller, <i>Denkmäler</i>, pl. 37; +Overbeck, <i>Gr. Plast.</i>, 3rd ed., II., p. 91. These works all repeat +an erroneous order of the two groups of No. 8, which spoils the +symmetry of the frieze; cf. Murray, II., p. 333. An independent +and more accurate publication is that in <i>Mus. Marbles</i>, IX., +pls. 22-26, taken from the Elgin casts. See also Ellis, <i>Elgin +Marbles</i>, II., pp. 79-87. The British Museum also possesses a +careful series of drawings from the sculptures, by Lord Elgin's +artist, Lusieri. <i>Report of the Elgin Committee, appendix</i>, p. xli.; +Wolters, No. 1328. +</p> +<span class="pagenum"><a name="page253" id="page253"></a>253</span> + +<blockquote><p> +<span class="leftside">430.</span><span class="leftside1"> 1.</span> +In the centre of the composition is Dionysos turned to +the left, reclining on a rock over which drapery is thrown. +He leans on his left elbow; with his right hand he +caresses a panther which fawns on his knees. In the left +hand Dionysos appears to have held a cup and a thyrsos, of +which traces appear behind his left shoulder. This figure +is now entirely destroyed on the original. There is a +considerable resemblance in the pose of Dionysos to that +of the so-called Theseus of the east pediment of the +Parthenon. On either side of Dionysos is a Satyr, seated +on lower rocks. The Satyr on the right clasps his left knee +with both hands. (Compare the figure on the east frieze +of the Parthenon No. 26). His head was probably turned +towards Dionysos. The Satyr on the left of the God rests +his left hand on the rock behind him; his right knee is bent +and the right leg drawn up under it; in his right hand he +holds a thyrsos; his body and head are turned to the right. +</p> + +<p class="indent1"> + <i>Mus. Marbles</i>, IX., pl. 24. +</p> + +<p><span class="leftside1"> 2.</span> +Next on the left is a Satyr advancing over rocky ground +towards a large crater; in his right hand he holds an +oinochoč, with which he is about to take wine from the +crater; in his left hand has been a phialč; a fawn skin, +<i>nebris</i>, hangs from his left shoulder. His head appears to +have been turned towards Dionysos. On the opposite +side of the vase stands a Satyr turned to the left, resting +his elbows on the stump of a tree, over which is thrown a +panther's skin; the top of a thyrsos appears above his right +shoulder. He appears to have been bearded.</p> + +<p>This figure looks on at the destruction of the pirates +which is represented in a series of groups on the left, and +which we must suppose to have taken place on a rocky +shore overlooked by the higher ground on which Dionysos +reclines. +</p></blockquote> + +<p class="indent1"> + <i>Mus. Marbles</i>, IX., pl. 24. +</p> +<span class="pagenum"><a name="page254" id="page254"></a>254</span> + +<blockquote><p> +<span class="leftside1"> 3.</span> +A Satyr advances to the left with a burning torch, +with which he is about to assail the fallen pirate of the +next group. This Satyr is nude and bearded. His head +is bound with a diadem. The head and left leg are +now lost on the original. The next group on the left +represents a pirate thrown on his hands and knees upon +the rocks. On his back kneels a Satyr whose right arm +is upraised to strike his prostrate foe with some weapon +which is not clearly shown in the relief, but which was +probably a pedum, or perhaps a branch. The Satyr has a +panther's skin floating in the air, at his back. Between +the legs is a lump of plaster, which is due to a fault in the +moulding. +</p></blockquote> + +<p class="indent1"> + <i>Mus. Marbles</i>, IX., pl. 23. +</p> + +<blockquote><p> +<span class="leftside1"> 4.</span> +Next on the left is a bearded Satyr, who draws back to +the right, to collect his force for a blow, with his thyrsos. +Meanwhile he looks back at a pirate on his left, who +kneels with his hands tied behind him, and looks round +towards the Satyr in helpless terror. A panther's skin, +hanging from the left shoulder of the Satyr, floats in the +air at his back. +</p></blockquote> + +<p class="indent1"> + <i>Mus. Marbles</i>, IX., pl. 23. +</p> + +<blockquote><p> +<span class="leftside1"> 5.</span> +The next figure on the left is a bearded Satyr who +turns to the right kneeling on his left knee, set in the +fork of a tree close to the edge of the sea; with both +hands he is breaking off a branch. His panther's skin +floats in the air behind his back. His right foot stands in +shoal water, which is indicated by curling waves. Behind +him on the left is a pirate, whose body to the waist is +transformed into a dolphin, and who leaps head foremost +into the sea. +</p></blockquote> + +<p class="indent1"> + <i>Mus. Marbles</i>, IX., pl. 23. +</p> +<span class="pagenum"><a name="page255" id="page255"></a>255</span> + +<blockquote><p> +Between No. 5 and No. 6 is about a yard of frieze, +wanting in the cast. This is given, freely restored, by +Stuart. An accurate drawing by Lusieri is preserved in +the Museum (Plate ix.). A bearded Satyr holds out a +torch and pursues a pirate who runs away at full speed. +A hole has been cut between them for the insertion of a +beam. A rock and tree separate this group from the +following, No. 6.</p> + +<p><span class="leftside1"> 6.</span> +This group is rather better preserved in the drawing of +Lusieri than in the cast. A young pirate is seated on the +ground leaning on his left arm. The right hand is +extended in supplication to the bearded Satyr, who is +dragging him seawards by the foot. A hole has been cut +through the figure for a beam. The Satyr stands in the +waves. Behind him a pirate, half transformed, is in the +act of leaping into the sea. This figure is now almost +destroyed in the original. As it is leaping to the right, +it belongs strictly to that part of the circular frieze which +represents the scene on the right of Dionysos. +</p></blockquote> + +<p class="indent1"> + <i>Mus. Marbles</i>, IX., pl. 22. +</p> + +<blockquote><p> +<span class="leftside1"> 7.</span> +On the right of the central group (No. 1) is a bearded +Satyr moving to the right towards a large crater. In his +right hand he holds up an oinochoč or wine jug. His left +is extended over the crater and holds a phialč. This +figure appears to be bearded, though it is drawn as beardless +by Lusieri; the head is now wanting. Next on the +right are two Satyrs, each wearing a panther skin. The +Satyr on the left turns to the right and extends his right +hand towards the second Satyr, as if giving him an order. +The latter looks round to the left, as if to receive the +order, while he is hastening to the right with both hands +raised, as if pointing. +</p></blockquote> + +<p class="indent1"> + <i>Mus. Marbles</i>, IX., pl. 25. +</p> +<span class="pagenum"><a name="page256" id="page256"></a>256</span> + +<blockquote><p> +<span class="leftside1"> 8.</span> +Next on the right is a prostrate pirate, on whose +buttock a bearded Satyr is kneeling with his left knee, +while he holds the pirate's hands, as if to tie them behind +his back. The pirate kneels on the rock, with his head +pressed upon the ground and turned towards the +spectator.</p> + +<p>The next group on the right is composed of a Satyr, +who has thrown a pirate backward on the rock, and is +about to strike him with a pedum or club. The pirate +has his left knee bent under him, and leans back on his +right elbow: he advances his right foot and left arm to +defend himself. He is drawn by Lusieri with a negro face +and pointed ear. The ear seems pointed, but it is manifest +that the features are wrongly drawn. The head is now +wanting on the original. The Satyr has his body facing +to the front and inclined to the left with the right leg +advanced: his right hand is raised to the level of his +head. The action shows that he is about to swing his +body round to give effect to the blow which he is aiming +at the pirate. On his left arm is the panther's skin, worn +as a shield. +</p></blockquote> + +<p class="indent1"> + <i>Mus. Marbles</i>, IX., pl. 25. +</p> + +<blockquote><p> +<span class="leftside1"> 9.</span> +In the next group are a Satyr and a transformed +pirate, separated by a tree which marks the edge of the +rocky shore, as at the opposite side of the frieze. The +Satyr stoops forward, breaking off with both hands a +branch of the tree, which he is about to use as a weapon. +He is bearded. The right leg is now wanting on the +original. The pirate darts head foremost into the water, +pressing his feet against the trunk of the tree. +</p></blockquote> + +<p class="indent1"> + <i>Mus. Marbles</i>, IX., pl. 26. +</p> + +<blockquote><p> +<span class="leftside1">10.</span> +On the right of the transformed pirate is a group +representing a Satyr about to strike with a branch of a +<span class="pagenum"><a name="page257" id="page257"></a>257</span> +tree a pirate seated on the ground, whose head he draws +back with his left hand, brandishing in his right hand +the branch held behind his neck; from the left arm of the +Satyr hangs his panther's skin. He is bearded. In the +drawing of Lusieri he has an ivy wreath and pointed +ears. On the original this group is mutilated almost +beyond recognition. The last group on the right is +composed of a Satyr darting forward with a lighted torch, +which he is about to apply to a pirate seated on a rock +with his hands tied behind his back. A large serpent +behind the pirate has fastened its fangs on his right +shoulder, and has one coil between his right arm and his +back. The pirate looks round in agony towards his assailants. +The serpent suggests the form of the legend +usually current, in which Dionysos is assisted by strange +monsters. According to Nonnus, <i>Dionys.</i>, xlv., 1. 134, the +ropes of the rigging of the ship turned to serpents.</p> +</blockquote> + +<p><span class="leftside">431.</span> +Cast from the capital of a column of the Choragic +Monument of Lysicrates. +</p> + +<p class="indent"> + Height, 2 feet ¾ inches. <i>Synopsis</i>, No. 360*. See Stuart, I., + ch. IV. pl. 6, fig. 1. +</p> + +<h3>THE CHORAGIC MONUMENT OF THRASYLLOS.</h3> + +<p><span class="leftside">432.</span> +The statue of Dionysos, here described, originally decorated +a choragic monument, of which some scanty remains +may still be seen below the southern wall of the Acropolis +of Athens, and immediately above the Dionysiac theatre. +The monument was in the form of a portico, the architrave +of which rested on three pilasters which masked the +entrance to a cavern in the rock. Until removed by Lord +Elgin the statue stood above the façade. Since the removal +of the statue the portico itself has been destroyed, +<span class="pagenum"><a name="page258" id="page258"></a>258</span> +and at present only the base and lower portions of the +pilasters stand in position, while fragments of the inscription +lie close at hand. We learn from the inscription on +the centre of the face of the monument that it was dedicated +by Thrasyllos to commemorate the victory gained +by his tribe in the dramatic contest in which he was himself +choragos, in the archonship of Neaichmos (320 <span class="sc">b.c.</span>); +<i>C. I. G.</i>, 224; <i>C. I. A.</i>, ii., 1247. On the right and left were +inscriptions recording the dedication of tripods by Thrasycles, +son of Thrasyllos, who was agonothetes in the +archonship of Pytharatos (271 <span class="sc">b.c.</span>); <i>C. I. G.</i>, 225, 226; +<i>C. I. A.</i>, ii., 1292, 1293. At some date intermediate +between these two, probably about 310 <span class="sc">b.c.</span>, the state +had assumed the burden of providing the chorus, and +the agonothetes or director of the contest took the +place of the choragos, or provider of the chorus. (Hermann, +<i>Lehrb. d. Griech. Antiq.</i>, Müller's ed., iii., pt. ii., +p. 339.)</p> + +<p>It has commonly been supposed that the statue belongs +to the dedication of Thrasyllos. Stuart made the infelicitous +conjecture that it held the votive tripod on its +lap. The most recent writer on the subject, Reisch (in +the <i>Athenische Mittheilungen</i>, xiii., p. 383), conjectures that +the monument of Thrasyllos was originally surmounted +by a pediment on which was a tripod; and that the pediment +was removed by Thrasycles, who placed the statue +in the centre, and bases for his tripods at the sides. +It is left unexplained what became of the tripod of +Thrasyllos. From the style of the statue we cannot +decide between the two dates. Reisch well points out that +in composition and spirit there is an attempt, only +partially successful, to preserve the manner of Pheidias as +seen in the Parthenon pediments. The figure is majestic, +but the drapery is rather heavy. The influence of the +younger Attic school hardly makes itself felt.</p> +<span class="pagenum"><a name="page259" id="page259"></a>259</span> + +<p>The statue is that of a colossal seated figure, the +head, arms, and right foot to the instep wanting. The +body is clad in a talaric chiton, over which is a panther's +skin, passing like a scarf from the left shoulder to the +right side, and bound round the waist by a broad girdle, +under which is seen the panther's face and teeth; an +ample mantle passes from the back of the figure over +the lower limbs, falling in rich folds across the lap. +The head and left arm of this statue were of separate +pieces of marble, and were originally morticed to the +body. The head was wanting as early as the visit of +Spon and Wheler to Athens in 1676. On the left thigh +is a sinking about 6 inches deep, 5 long, and 1½ wide, +in which some object may have been inserted, but +which may have been used when the statue was being +placed in position. On the drapery of the left shoulder +there is a hole for a rivet. It seems probable that the +God was represented with a lyre, the base of which rested +on his left thigh. This instrument was the attribute of +Dionysos Melpomenos (see Gerhard, <i>Ant. Bildwerke</i>, text, +p. 240), and the costume of the figure seems assimilated +to that of a citharist.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 6 feet 3 inches. The stone is roughly +hewn out at the back to lighten the figure. Wheler, <i>Journey</i>, +p. 368; Le Roy, <i>Ruines</i>, pl. 8; Stuart, II., ch. IV., pls. 3, 6; +<i>Mus. Marbles</i>, IX., pl. 1; Ellis, <i>Elgin Marbles</i>, II., p. 90; Overbeck, +<i>Gr. Plast.</i>, 3rd ed., II., p. 94; Reisch, <i>Athenische Mittheilungen</i>, +XIII. (1888) pl. 8, p. 383; <i>Stereoscopic</i>, No. 114; Brunn, +<i>Denkmaeler</i>, No. 119. +</p> + +<h3>THE PROPYLAEA.</h3> + +<p>The Propylaea, or gateways to the Acropolis, were +constructed by Mnesicles under the administration of +Pericles, in the five years 436-431 <span class="sc">b.c.</span></p> +<span class="pagenum"><a name="page260" id="page260"></a>260</span> + +<p>The main portion of the building consisted of two Doric +portions, facing respectively inwards to the Acropolis and +outwards. These were connected by a series of Ionic +columns. The entrance was flanked on each side by +wings (see the plan, <a class="ask" href="#page240a">fig. 20</a>). The Elgin Collection contains +a few architectural remains from the building. A +portion of the cedar dowels which connected the drums +of the columns of the Propylaea may be seen in the Bronze +Room.—<i>Presented by A. W. Franks, Esq.</i> Cf. Dodwell, <i>Tour</i>, +I., p. 313.</p> + +<p><span class="leftside">433.</span> +Capital of Doric column from the Propylaea. It is +impossible to tell from the dimensions whether this capital +is derived from the internal or external portico.—<i>Elgin +Coll.</i></p> + +<p class="indent"> +Pentelic marble; width of abacus, 5 feet 5½ inches. <i>Synopsis</i>, +No. 130 (206). Stuart, II., ch. V., pl. 7, fig. 1. Penrose, +<i>Athen. Architecture</i>, ch. X., pl. 31; Bohn, <i>Die Propyläen</i>, +pls. 11, 13, fig. 2. +</p> + +<p><span class="leftside">434.</span> +Piece of drum of Ionic column from the inner order of +the Propylaea.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 4½ inches; diameter, 3 feet ⅛ inch. +<i>Synopsis</i>, No. 129. Penrose, <i>Athen. Architecture</i>, ch. X., pl. 32. +</p> + +<p><span class="leftside">435.</span> +Part of band for supporting the beams of the ceiling +in the central hall of the Propylaea. There are considerable +remains of the painted mouldings.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 7¼ inches; length, 3 feet 10½ inches. +<i>Synopsis</i>, No. 131 (308). Stuart, II., ch. V., pl. 8, fig. 1; Bohn, +<i>Die Propyläen</i>, pl. 12, fig. 6. +</p> +<span class="pagenum"><a name="page261" id="page261"></a>261</span> + +<h3>MISCELLANEOUS ARCHITECTURAL FRAGMENTS.</h3> + +<p><span class="leftside">436.</span> +Capital of one of the antae from the small Ionic temple +near the Ilissos seen by Stuart, but destroyed since his +time in 1780.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Height, 1 foot ⅛ inch; breadth, 2 feet ½ inch. <i>Synopsis</i>, No. 170 (174). +Stuart, I., ch. II., pl. 8, fig. 1. See also Leake, <i>Topography of +Athens</i>, 2nd ed., p. 250. +</p> + +<p><span class="leftside">437.</span> +Moulding with anthemion, plait, maeander, and leaf, +bead and reel patterns. Found near the south-east <i>anta</i> +of the Erechtheion.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Height, 8¼ inches; breadth, 6¾ inches. <i>Synopsis</i>, No. 407. Inwood, +<i>Erechtheion</i>, pl. 26, p. 138. +</p> + +<p><span class="leftside">438.</span> +Antefixal ornament or acroterion from the temple of +Demeter at Eleusis. For a similar ornament see Kinnard +in Stuart's <i>Antiquities of Athens</i>, 2nd ed., iii., pl. 1, p. 53.—<i>Elgin +Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 3 feet 7½ inches. <i>Synopsis</i>, No. 169 (173); +Laborde, <i>Le Parthénon</i>, pl. 27. +</p> + +<p><span class="leftside">439.</span> +Ornament of roof-tile, <i>kalypter anthemotos</i>. Purchased +by Inwood at Athens.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 8¾ inches. <i>Synopsis</i>, No. 417. Inwood, +<i>Erechtheion</i>, pl. 28, fig. 3, p. 144. +</p> + +<p><span class="leftside">440.</span> +Ornament of roof-tile. Probably purchased by Inwood +at Athens.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 10¾ inches. <i>Synopsis</i>, No. 412. Inwood, +<i>Erechtheion</i>, pl. 28, fig. 2, p. 144. +</p> + +<p><span class="leftside">441.</span> +Ornament of roof-tile, found "on the gable of a small +Greek church, that appears to have been on the site of +<span class="pagenum"><a name="page262" id="page262"></a>262</span> +a temple" "in the gardens at Athens, beyond Mount +Anchesmus."—<i>Inwood Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 8½ inches. <i>Synopsis</i>, No. 411. Inwood, +<i>Erechtheion</i>, pl. 23, p. 131. +</p> + +<p><span class="leftside">442.</span> +Ornament of roof-tile found built into a modern house +near the Choragic Monument of Lysicrates.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 11 inches. <i>Synopsis</i>, No. 413. Inwood, +<i>Erechtheion</i>, pl. 28, fig. 5, p. 144. +</p> + +<p><span class="leftside">443.</span> +Capital of Ionic column discovered by Inwood built +into the wall of a small Greek chapel called Agia Marina +on the left bank of the Ilissos at Athens. This is probably +the site of the temple of Artemis Eucleia mentioned +by Pausanias (i., 14, 5, and compare ix., 17, 1). Roses are +sculptured in the eyes of the volutes. Inwood remarks +(p. 136) that the central enrichment over the cymatium +between the volutes is unusual. From the absence of mortices +by which the capital could be secured to the architrave +or to the shaft, he infers (p. 133) that this capital +may have belonged to some sepulchral stelč or other work, +where great strength of construction was not required. +Bötticher, who engraves this or a similar capital, is of the +same opinion. The opposite face of the capital is nearly +all broken away.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Pentelic marble; width from centre of volute to centre of volute, +12¾ inches. <i>Synopsis</i>, No. 398. Inwood, <i>Erechtheion</i>, p. 132, pls. +24-25. Bötticher, <i>Tektonik</i>, pl. 30, fig. 7, text, p. 299. +</p> + +<p><span class="leftside">444.</span> +Volute of Ionic capital. Inwood (p. 128) states that it +was found near the site of the temple of Nikč Apteros, +and that from its scale it probably belongs to that temple. +This, however, is not the case, as may be seen by comparing +this fragment with the capital of the temple of +Nikč Apteros in Ross, <i>Akropolis von Athen</i>, pls. vii., viii. +The pulvinus of this capital is ornamented with leaves, as +<span class="pagenum"><a name="page263" id="page263"></a>263</span> +in the example from Athens in Bötticher's <i>Tektonik</i>, +pl. 31, fig. 5, text, p. 299.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot; breadth, 9½ inches. <i>Synopsis</i>, +No. 404, where it is incorrectly described as a capital from the +temple of Nikč Apteros. Inwood, <i>Erechtheion</i>, pl. 21. +</p> + +<p><span class="leftside">445.</span> +Volute of Ionic capital, which, according to Inwood +(p. 127) was found in a wall below the north side of the +Acropolis at Athens. In the eye of this volute a rose is +sculptured in relief. In the capitals of the Erechtheion +there was a similar rose of bronze gilt, for which a recess +is carved in the marble.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 7¾ inches; breadth, 9 inches. <i>Synopsis</i>, +No. 410. Inwood, <i>Erechtheion</i>, pl. 20; Bötticher, <i>Tektonik</i>, +text, p. 299. +</p> +<a name="n446" id="n446"></a> +<p><span class="leftside">446.</span> +Fragment of the shaft of a column which was fluted +with twenty-four flutes, the diameter being about two feet +two inches. The dimensions differ from those of the +columns of the Erechtheion.—<i>Greece.</i> <i>Presented by W. R. +Hamilton, Esq.</i></p> + +<p class="indent"> +Marble; height, 1 foot 7 inches; width, 1 foot 6 inches. +</p> + +<p><span class="leftside">447.</span> +Capital of Corinthian column, from one of the porches +of the building at Athens, commonly known as the Tower +of the Winds, or more correctly as the Horologium of +Andronicus Cyrrhestes (built probably in the 2nd century +<span class="sc">b.c.</span>).—<i>Formerly in the Elgin Collection.</i></p> + +<p class="indent"> +Marble; height, 1 foot 4½ inches. Stuart, I., chap. III., pl. 7. +</p> + +<p><span class="leftside">448.</span> +Unfinished Ionic base.—<i>Formerly in the Elgin Collection.</i></p> + +<p class="indent"> +Marble; height, 9 inches; diameter, 1 foot 10¾ inches. +</p> +<span class="pagenum"><a name="page264" id="page264"></a>264</span> + +<h3>AGORACRITOS OF PAROS.</h3> +<a name="n460" id="n460"></a> +<p><span class="leftside">460.</span> +Fragment of colossal head, showing the right cheek, +right eyelid and right side of the head as far as the ear. +The hair is waved. On the crown of the head eleven +holes are pierced in the marble, evidently for the attachment +of a wreath or other ornament. The left side and +back of the head have been cut or broken away. So far +as can be inferred from the little original surface remaining, +this head was in a fine style of the fifth century <span class="sc">b.c.</span></p> + +<p>The style and material of this work, and the place of +its discovery, give good grounds for thinking that it is a +fragment of the famous statue of Nemesis by Agoracritos of +Paros. The exact date of Agoracritos is not recorded, but +he is said to have been a favourite pupil of Pheidias. The +statue of Nemesis is described as a colossal figure of the +type of Aphroditč, holding in her hands an apple branch +and a phialč, on which were figures of Aethiopians. She +had no wings, and stood on a base, sculptured with +subjects relating to the birth of Helen and the Trojan war. +The figure wore a diadem, adorned with deer and figures +of Victory of no great size. Compare the diadem of Pandora, +described by Hesiod, <i>Theogony</i>, 581; the diadem of +Hera of Polycleitos (Paus., ii., 17, 4); the Cypriote terracottas, +in the Terracotta Room, wall cases 1 and 27; and the +Cypriote sculptures in the Cyprus Room. The numerous +holes mentioned above must have served for the attachment +of an ornament of some weight, and so confirm the +proposed identification.</p> + +<p>According to tradition the statue was made of a block +of Parian marble, which was brought by the Persians, +before the battle of Marathon, to be erected as a trophy +for the capture of Athens. (Paus., i., 33. 2; <i>Anthol. +Pal. App. Plan.</i>, iv., 221, 222, 263). Found on the site +<span class="pagenum"><a name="page265" id="page265"></a>265</span> +of the <i>Temple of Nemesis at Rhamnus</i>.—<i>Presented by J. P. +Gandy Deering, Esq., 1820.</i></p> + +<p class="indent"> +Parian marble; height, 1 foot 4½ inches. <i>Uned. Antiquities of Attica</i>, +p. 43; Leake, <i>Athens and Demi of Attica</i>, II., p. 108; <i>Synopsis</i>, +No. 325 (273); <i>Elgin Room Guide</i>, II., No. E. 4; Six, <i>Num. +Chron. 3rd. Ser.</i>, II., p. 94; <i>cf.</i> coin of Cyprus, <i>ibidem</i>, pl. 5; +Gardner, <i>Journ. of Hellen. Studies</i>, VIII., p. 47; Rossbach, +<i>Athenische Mittheilungen</i>, XV., p. 64; Overbeck, <i>Schriftquellen</i>, +834-843. +</p> +<a name="page265a" id="page265a"></a> +<h3>POLYCLEITOS OF ARGOS AND THE PELOPONNESIAN SCHOOL.</h3> + +<p>Polycleitos of Argos was, as has already been observed +(p. 90), one of the great pupils of Ageladas of Argos, who +was also the master of Myron and perhaps of Pheidias.</p> + +<p>Nothing is recorded as to the life of Polycleitos; his +age, as compared with that of Pheidias, is not accurately +known. It is probable that he was rather younger than +Pheidias, as he was working at a later date. Pliny gives +the 90th Olympiad, or 420 <span class="sc">b.c.</span>, as the date of Polycleitos. +This may be the date of his great statue of Hera at Argos, +the older temple of Hera having been burnt in 422 <span class="sc">b.c.</span>, +and it was probably near the end of the sculptor's life.</p> + +<p>No original works by the hand of Polycleitos survive, +but several sculptures are known which can be shown +with probability to have been copied more or less directly +from originals, of which the character is thus ascertained.</p> + +<p>Polycleitos was famous in antiquity as the author of a +methodical system of proportions for the human form. +One in particular of his figures, the Doryphoros, was +known as the <i>Canon</i>, and was adopted as the ideal type of +a youthful male figure by later sculptors. This figure, +and its companion the Diadumenos (see below, Nos. <a class="ask" href="#n500">500</a>, +<a class="ask" href="#n501">501</a>), are known to us from copies. They are of vigorous +<span class="pagenum"><a name="page266" id="page266"></a>266</span> +make and square build, but somewhat heavy when compared +with the graceful youths of the Parthenon frieze. +But the words of Quintilian, who says (<i>Inst. Orat.</i>, xii., +10, 7) that some critics objected to the works of Polycleitos +as being wanting in weight and unduly elegant, suggest +that the extant copies do not convey an accurate impression +of the bronze originals, and in fact some of the +numerous Doryphoros heads which have been found in +Italy present a profile which strikingly recalls the profiles +of the youths on the Parthenon frieze. Polycleitos was also +noted for his technical skill and perfect workmanship.</p> + +<p>The works that have been associated with Polycleitos, +in the British Museum, are here described (Nos. 500-503). +A fragment, however, of a group of two boys playing +with knuckle-bones (<i>Mus. Marbles</i>, ii., pl. 31), which was +ascribed by Winckelmann to Polycleitos (<i>Hist. de l'Art</i>, +Bk. vi., chap. 2; Pliny, <i>H. N.</i>, xxxiv., 10), is no doubt of +a later period, and is therefore omitted.</p> +<a name="n500" id="n500"></a> +<p><span class="leftside">500.</span> +Graeco-Roman copy of the Diadumenos of Polycleitos. +Statue of a nude youth, tying a band (taenia) about his +head. He stands principally on the right leg, resting +lightly on the left leg, and has both hands raised. The +left hand is lost. The band was made of bronze, and +holes remain for its attachment. The left side of the +face has been very much rubbed down. By the side of +the figure is a tree-stump.</p> + +<p>That this figure is the Diadumenos of Polycleitos is +indicated by its close resemblance in style to the figure at +Naples, believed to be a copy of the Doryphoros (see +No. 502). It would be a remarkable coincidence if we had +two companion statues representing respectively a Diadumenos +and a Doryphoros, known from the number of +replicas to be copies of important works, and agreeing in +style with what would be expected of the art of Polycleitos, +but yet derived from independent sources.</p> +<span class="pagenum"><a name="page267" id="page267"></a>267</span> + +<p>The head was found at a distance of two-thirds of a +mile from the torso. The torso was found in 1862 in the +<i>Roman Theatre, at Vaison (Vaucluse)</i>.</p> + +<p class="indent"> +Marble; height, 6 feet 1 inch. Restorations:—Nose, fingers of +right hand, parts of left thigh and of left shin and heel; also +the upper part of the stump. The figure should perhaps be set +with the ancient surface of the base horizontal, and so lean less +forwards. <i>Mon. dell' Inst.</i>, X., pl. 49, figs. 1-3; <i>Annali dell' +Inst.</i>, 1878, p. 11 (Michaelis); Rayet, <i>Monuments</i>, I., No. 30 and +text; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 388; Murray, I., +pl. 10, p. 274; Wolters, No. 508.</p> + +<p class="indent">Other examples more or less nearly reproducing this type are:—(<i>a</i>) A +bronze from the De Janzé Collection in the French Bibliothčque +Nationale. <i>Annali dell' Inst.</i>, 1878, pl. B, p. 11 (Michaelis); Rayet, +<i>Monuments</i>, I., No. 31; Babelon, <i>Le Cabinet des Ant. ŕ la Bibl. +Nationale</i>, pl. 13. (<i>b</i>) A terracotta statuette in an English +private collection. <i>Journ. of Hellen. Studies</i>, VI., p. 243, pl. 61. +(<i>c</i>) A sepulchral relief from Praeneste, in the Vatican, commemorating +one Tiberius Octavius Diadumenus, and having a +relief of a Diadumenos, in allusion to the name. Pistolesi, <i>Vaticano</i>, +IV. 84. (<i>d</i>) A gem. <i>Journ. of Hellen. Studies</i>, II. p. 352. +See also No. 501. +</p> +<a name="n501" id="n501"></a> +<p><span class="leftside">501.</span> +Graeco-Roman statue of a Diadumenos. Statue of a +nude youth standing, tying a band (taenia) about his +head. Both arms were raised, but the left is lost. This +figure, like the Diadumenos of Vaison (No. 500), stands +principally on the right leg, but the left leg is differently +placed, and the whole pose is thereby altered. By the +side of the figure is a stump of a palm.</p> + +<p>The hair falls in curls, and the figure is more youthful +than the Diadumenos of Vaison. Except in the similarity +of subject these statues have little in common, and +if the Vaison figure represents the statue of Polycleitos, +this figure would appear to be either an independent +rendering of the same subject, or only remotely derived +from Polycleitos. It was, however, for a long time regarded +as a copy of the work of Polycleitos, and this view +<span class="pagenum"><a name="page268" id="page268"></a>268</span> +has been held by several writers, after the discovery of +the Vaison Diadumenos.—<i>Farnese Coll. 1864.</i></p> + +<p class="indent"> +Pentelic marble; height, 4 feet 10¼ inches. Restorations:—Nose, +parts of band. The right leg appears to be ancient, but worked +over. In the earliest publications (Cavalieri, &c.) the left arm +is drawn as if restored. The statue is first known in the Villa +Madama, near Rome (Cavalieri, <i>Ant. Stat. Urb. Romae Liber</i>, +1569, pl. 97). It was afterwards in the Farnese Gardens, in the +Farnese Palace, and at Naples. Guattani, <i>Mem. Encicl.</i>, V., pl. +facing p. 83; Gerhard, <i>Ant. Bildwerke</i>, pl. 69, p. 311; Müller-Wieseler, +<i>Denkmaeler</i>, I., pl. 31, fig. 136; Clarac, V., pl. 858 <span class="sc">c</span>, +2189 <span class="sc">a</span>; <i>Annali dell' Inst.</i>, 1878, pl. <span class="sc">a</span>, p. 20 (Michaelis); Murray, +I., pl. 9, p. 273; Rayet, <i>Monuments</i>, text to No. 30; Mitchell, +p. 388; Wolters, No. 509; Mansell, No. 726.</p> + +<p class="indent">The Polycleitan origin of the Farnese statue is supported by Winckelmann +(<i>Hist. de l'Art</i>, Bk. VI., chap. 2), Guattani (<i>loc. cit.</i>), +Newton (Rayet, <i>loc. cit.</i>), Brunn (<i>Annali dell' Inst.</i>, 1879, +p. 218), Murray (<i>loc. cit.</i>). +</p> + +<p><span class="leftside">502.</span> +Statuette copied from the Doryphoros of Polycleitos (?). +Figure of youth having the arms broken off from the +shoulders, and the legs from above the knees. The head +is slightly bent forwards, and turned to the left of +the figure. The left leg was advanced in front of the +right leg.</p> + +<p>The figure, like a bronze statuette at Athens (<i>Mon. dell' +Inst.</i>, viii., pl. 53), which it nearly resembles, may perhaps +be a modified rendering of the Doryphoros of Polycleitos. +The Doryphoros (spear-bearer) was a figure of a nameless +athlete, which carried a spear, and which was the Canon +or typical model of later sculptors (see <a class="ask" href="#page265a">above</a>). The type +was first recognized by Friederichs in a statue from Pompeii, +now in the Museum at Naples, and other copies have +since been identified.—<i>Athens</i>.</p> + +<p class="indent"> +Marble; height, 9 inches. Unpublished. The principal examples of +the type are:—(<i>a</i>) Figure at Naples (Friederichs, <i>Doryphoros des +Polyclet</i>; Rayet, <i>Monuments</i>, I., No. 29; Overbeck, <i>Gr. Plast.</i>, +<span class="pagenum"><a name="page269" id="page269"></a>269</span> +3rd ed., I., fig. 84). (<i>b</i>) Relief from Argos (<i>Athenische Mittheilungen</i>, +III., pl. 13; Mitchell, p. 386). (<i>c</i>) Bronze bust from +Herculaneum, at Naples, found with a companion bust of an +Amazon (Comparetti, <i>La Villa Ercolanese</i>, pl. 8, fig. 3). (<i>d</i>) Gem +at Berlin (Overbeck, <i>Gr. Plast.</i>, <i>loc. cit.</i>). For other copies, see +Michaelis, <i>Annali dell' Inst.</i>, 1878, p. 6; Wolters, Nos. 506, 507. +</p> + +<p><span class="leftside">503.</span> +Head of Amazon, slightly inclined to the left and +looking down, with an expression of pain on the face. +The hair is parted in the middle, and drawn back over +the ears to the back of the head, where it is gathered +in a bunch. The sharp parallel lines in which it is +worked suggest that the head is copied from a bronze +original.</p> + +<p>Pliny relates (<i>H. N.</i>, xxxiv., 53) that four artists, Polycleitos, +Pheidias, Cresilas and Phradmon, made statues +of Amazons which were placed in the temple of Artemis +at Ephesus. Polycleitos was accounted to have won the +competition, as he obtained the second vote of each of his +rivals. This account of the contest has the appearance of +a late invention. There are, however, many statues and +busts of wounded Amazons which appear to be copies, +more or less exact, of three types, different one from +another, but yet so far alike that they may have been +produced by artists working on one plan.</p> + +<p>The present head belongs to the type which various +archaeologists (Klügmann, <i>Rhein. Mus.</i> 1866, p. 327; +Michaelis, <i>Jahrb. des Arch. Inst.</i>, i., p. 40) have assigned to +Polycleitos. The complete figure is that of a wounded +Amazon, leaning with the left arm on a pillar, and having +the right hand resting on the top of the head.</p> + +<p><i>Brought to England by Lyde Brown. Purchased by +Townley, 1774.</i>—<i>Townley Coll.</i></p> + +<p class="indent"> +Greek marble; height of ancient portion, 10¼ inches. Restorations:—Tip +of nose, throat and bust. <i>Mus. Marbles</i>, X., pl. 5; <i>Guide to +Grćco-Roman Sculptures</i>, I., No. 150; Murray, I., p. 280; +<span class="pagenum"><a name="page270" id="page270"></a>270</span> +<i>Jahrbuch des Arch. Inst.</i>, I., 1886, pl. 3, No. 2; p. 16, <i>K</i>, (Michaelis). +There is a drawing by Cipriani in the British Museum (<i>Add. +MSS.</i> 21,118, No. 12).</p> + +<p class="indent">The best examples of the type are:—(<i>a</i>) A statue at Lansdowne +House, London. <i>Specimens of Ant. Sculpture</i>, II., pl. 10. <i>Cat. +of Lansdowne Marbles</i>, No. 83. (<i>b</i>) A bronze head from Herculaneum, +now in the Museum at Naples. Comparetti, <i>La +Villa Ercolanese</i>, pl. 8, fig. 1. (<i>c</i>) Compare the Amazon on the +Phigaleian frieze (No. 522). For further literature and +examples, see Michaelis, <i>loc. cit.</i> +</p> + +<p><span class="leftside">504.</span> +Head of Hera (?). Ideal female head wearing a lofty +diadem. The hair was brought to the back of the head, +where it was tied in a knot, now lost.</p> + +<p>It is thought possible that this head may be derived +from the Argive statue of Hera by Polycleitos, for which +the coins of Argos may be compared (<i>Journ. of Hellen. +Studies</i>, vi., pl. 54, Nos. 12-15).—<i>Girgenti.</i></p> + +<p class="indent"> +Marble; height, 1 foot 4 inches. The lower part of the back of the +head on the right side, which had been broken, has been in modern +times roughly carved on the fractured surface to represent hair, +and the end of the diadem. The surface of the face has also +suffered from being worked over. The genuineness of the +sculpture has been questioned, without reason. <i>Mon. dell' +Inst.</i>, IX., pl. 1; Helbig, <i>Annali dell' Inst.</i>, 1869, p. 144; +Overbeck, <i>Gr. Kunstmyth.</i>, pl. 9, figs. 4, 5; II., p. 81, 3; +Murray, I., p. 268; Wolters, No. 501; Furtwaengler, <i>Arch. Zeit.</i>, +1885, p. 275, fig. A; Murray, <i>Römische Mittheilungen</i>, I., p. 123. +</p> + +<h3>THE TEMPLE OF APOLLO AT PHIGALEIA.</h3> + +<p>The Temple of Apollo Epicurios, at Phigaleia, in Arcadia, +stands in a slight depression on the bare and wind-swept +side of Mount Cotylion, above the valley of the +river Neda. It was discovered towards the end of the +eighteenth century, but on account of its remote position it +was seldom visited before 1811. In that year the party of +explorers, who had previously discovered the pedimental +<span class="pagenum"><a name="page271" id="page271"></a>271</span> +sculptures of Aegina, began excavations which were completed +in 1812. The party included Cockerell and Haller +in the first season, and Haller, Stackelberg and Bröndstedt +in the second season. The sculptures found were +removed to Zante, and were purchased by the British +Government in 1814.</p> + +<p>The temple was visited by Pausanias, who describes it +as being situated at the village of Bassae on Mount Cotylion, +about five miles from Phigaleia. Pausanias states +that the temple and its roof were alike built of stone, +and that it might be counted among the temples of the +Peloponnesus, second only to that of Tegea, for beauty of +material and fineness of proportion. He adds that the +temple was dedicated to Apollo Epicurios (the Helper), +because the god had stayed a plague at Phigaleia in +the time of the Peloponnesian war. The architect was +Ictinos, the builder of the Parthenon (Paus. viii., 41, 5). +The date of the temple is therefore about 430 <span class="sc">b.c.</span>, +although it is doubtful whether the plague in Arcadia +was connected with the more celebrated pestilence at +Athens.</p> + +<p>The temple is built of the light grey limestone of the +surrounding mountains. The sculptures, tiles, lacunaria, +and capitals of the interior architecture were all of marble, +which was probably obtained in the neighbourhood. The +form of the building is that known as amphiprostyle +peripteral hexastyle. The temple consisted of a central +cella with a pronaos and opisthodomos, and was surrounded +by a Doric colonnade, having six columns at the +ends and fifteen columns at the sides. The pronaos and +opisthodomos were each bounded by two Doric columns +between antae, surmounted by metopes. The cella contained +ten Ionic columns engaged in buttresses which +connected them with the side walls. Towards the south +end of the cella was a single Corinthian column, of +<span class="pagenum"><a name="page272" id="page272"></a>272</span> +remarkable form, which is now lost. Beyond it was the +temple image, which by a peculiar arrangement is thought +to have looked to the east, towards a side door, the orientation +of the temple being nearly north and south. It +has been thought that this arrangement may show that +an ancient shrine was embodied in the later temple. +(Curtius, <i>Pelop.</i>, i., p. 329; Michaelis, <i>Arch. Zeit.</i>, 1876, +p. 161). The frieze was internal, and passed round the +cella, with the exception of that portion which is south +of the Corinthian column. (Compare the ground plan, +fig. 22, and the view, plate xi.)</p> + +<div class="figcenter" style="width: 600px;"><a href="images/25fig22-1000.png"><img src="images/25fig22-600.png" width="600" height="271" alt="Fig. 22.--Plan of the Temple of Apollo at Phigaleia." /></a> +<p class="center">Fig. 22.—Plan of the Temple of Apollo at Phigaleia.</p></div> + +<p class="indent"> +The temple was discovered by a French architect, Bocher, in +November, 1765 (Chandler, <i>Travels in Greece</i>, 1776, p. 295). +For descriptions of the architecture and sculpture, see Stackelberg, +<i>Der Apollotempel zu Bassae, in Arcadien</i>, 1826; Donaldson, +in Stuart, 2nd ed., vol. IV.; Blouet, <i>Expédition scientifique de +Morée</i>, II; <i>Museum Marbles</i>, IV.; Leake, <i>Travels in the Morea</i>, +II., chap. xii., p. 1; Ellis, <i>Elgin and Phigaleian Marbles</i>, II., +p. 175; Cockerell, <i>The Temple of Jupiter Panhellenius at Aegina, +and of Apollo Epicurius at Bassae, near Phigaleia, in Arcadia</i>, +1860; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 449; Murray, II., +p. 169; Wolters, Nos. 880-912. For literature specially relating +to the frieze, see below, p. <a class="ask" href="#page279">279</a>. Views and plans of the temple +are exhibited in a table case. +</p> +<span class="pagenum"><a name="page273" id="page273"></a>273</span> + +<h4><span class="sc">Architectural Fragments.</span></h4> + +<p><span class="leftside">505.</span> +Two fragments of the cymatium cornice, with a pattern +of palmettes alternating with palmettes of a plainer form, +springing from acanthus leaves as on the cornice of the +Erechtheion. The member to which these fragments +belong surmounted the pediments.</p> + +<p class="indent"> +Marble; height, 1 foot ⅛ inch; width, 4 feet 2¾ inches. The left-hand +fragment is engraved in <i>Mus. Marbles</i>, IV., vignette. +<i>Synopsis</i>, Nos. 26, 27; Cockerell, <i>Phigaleia</i>, pl. 6; Ellis, <i>Elgin +and Phigaleian Marbles</i>, II., p. 212. +</p> + +<p><span class="leftside">506.</span> +Fragment of a Doric capital, from a column of the +external colonnade.</p> + +<p class="indent"> +Limestone; height of fragment, 1 foot 5 inches; width. 1 foot 9 inches. +<i>Mus. Marbles</i>, IV., pl. 25, fig. 4; <i>Synopsis</i>, No. 24; <i>cf.</i> Cockerell, +<i>Phigaleia</i>, pl. 6. +</p> + +<p><span class="leftside">507.</span> +Fragment of the capital of one of the Doric columns of +the pronaos or opisthodomos, including the lower part of +the echinus, and the upper part of the flutings.</p> + +<p class="indent"> +Limestone; height, 5½ inches; width, 1 foot 6½ inches. +</p> + +<p><span class="leftside">508.</span> +Fragment of the capital of one of the Ionic columns of +the interior of the cella, with a part of the fluting. These +capitals are of peculiar form, each column being connected +at the back by a cross wall with the wall of the cella +(see plan). The three exposed faces of the capital had +each a pair of Ionic volutes. In the centre of the volute +is a stud of marble separately made. The hole for it was +prepared by a series of drill holes placed so as to form a +ring-like depression, the centre of which was afterwards +worked out. The profile of the side pairs of volutes was +somewhat different to that of the front pair, whence it +can be ascertained that the fragment in the British +<span class="pagenum"><a name="page274" id="page274"></a>274</span> +Museum contains a part of the front and right side of +the cap.</p> + +<p class="indent"> +Marble; height, 1 foot 6 inches. <i>Mus. Marbles</i>, IV., pl. 25, fig. 3; +<i>Synopsis</i>, No. 25; Cockerell, <i>Phigaleia</i>, pl. 14. +</p> + +<blockquote><p> +<span class="leftside">509.</span><span class="leftside1"> 1.</span> +Roof tile, with antefixal end, with a palmette in relief +above two volutes springing from an acanthus. +</p></blockquote> + +<p class="indent1"> +Marble; height, 1 foot 3¼ inches; length, 1 foot 8½ inches. <i>Mus. +Marbles</i>, IV., pl. 25, fig. 1; <i>Synopsis</i>, No. 39; <i>Exp. de Morée</i>, +II., pl. 19, fig. 1; Cockerell, <i>Phigaleia</i>, pl. 7. +</p> + +<blockquote><p> +<span class="leftside1"> 2.</span></p> + +<p>Part of roof tile from the ridge of the roof of the +temple. The central portion is not worked with palmettes, +as shown by Cockerell. +</p></blockquote> + +<p class="indent1"> +Marble; height of fragment, 1 foot 4 inches; length, 1 foot 6 inches. +The complete length was about 2 feet 3 inches. <i>Mus. Marbles</i>, +IV., pl. 25, fig. 2; <i>Synopsis</i>, No. 40; Cockerell, <i>Phigaleia</i>, pl. 7, +figs. 5, 6. +</p> + +<h4><span class="sc">Phigaleian Metopes.</span></h4> + +<p>The following fragments belong to a series of metopes +in high relief, which were placed over the entrance to the +cella of the temple, in a position similar to that occupied +by the metopes of the Temple of Zeus at Olympia. In +the Parthenon the frieze takes the place of the internal +metopes, of which however a trace remains in the <i>guttae</i> +which occur at regular intervals below the frieze, and +which imply triglyphs.—Cockerell, <i>Phigaleia</i>, pl. 5.</p> + +<p>The fragmentary state of the metopes makes the subjects +uncertain, in most instances.</p> + +<p class="indent"> +For a general view of the metopes, see <i>Stereoscopic</i>, No. 122. +</p> + +<p><span class="leftside">510.</span> +Figure wearing a helmet with a projecting tail-piece +(compare Parthenon frieze, south side, No. 4), a sleeveless +chiton girt at the waist, and a small cloak. The figure +wears a Gorgoneion on the breast; and with the left +<span class="pagenum"><a name="page275" id="page275"></a>275</span> +hand seems to be playing on a lyre, which is partly +expressed in relief, and must have been further indicated +in colour. The Gorgoneion suggests Athenč, but it is +more likely that it is merely worn as an amulet, and the +figure may be that of a Thracian citharist (cf. Wolters, +p. 301). The dress is nearly the same as that of Orpheus +on the well-known relief in the Villa Albani—(Zoega, +<i>Bassirel. Ant.</i> i., pl. 42).</p> + +<p class="indent"> +Marble; height, 1 foot 6 inches; width. 1 foot 4½ inches. <i>Mus. +Marbles</i>, IV., pl. 24, fig. 1; Stackelberg, pl. 30, fig. 2; <i>Exp. de +Morée</i>, II., pl. 23, fig. 2; <i>Synopsis</i>, No. 28; Cockerell, <i>Phigaleia</i>, +pl. 8; Ellis; <i>Elgin and Phigaleian Marbles</i>, II, p. 213. +</p> + +<p><span class="leftside">511.</span> +A mutilated male head, inserted in the same metope +as last. It appears to have been bearded, but this is +doubtful.</p> + +<p class="indent"> +Marble; height, 5½ inches; width, 9 inches. <i>Synopsis</i>, No. 33. +</p> + +<p><span class="leftside">512.</span> +Torso from the breasts to the knees of a female figure, +wearing a fine clinging chiton and a mantle. The right +hand holds two objects, perhaps <i>crotala</i> or possibly flutes, +and the left hand was extended.</p> + +<p class="indent"> +Marble; height, 1 foot 3 inches; width, 1 foot 5½ inches. <i>Mus. +Marbles</i>, IV., pl. 24, fig. 2; Stackelberg, pl. 30, fig. 1; <i>Exp. de +Morée</i>, II., pl. 23, fig. 1; Ellis, <i>Elgin and Phigaleian Marbles</i>, +II., p. 213. +</p> + +<p><span class="leftside">513.</span> +Lower part of a nude male figure from the waist to the +ankle of the left leg, standing. The right leg is wanting. +The figure stands to the left with drapery wrapped about +the left arm.</p> + +<p class="indent"> +Marble; height, 1 foot 10 inches; width, 9¼ inches. +</p> + +<p><span class="leftside">514.</span> +Right knee of a draped female figure standing to the +right.</p> + +<p class="indent"> +Marble; height, 10 inches, width, 11 inches. <i>Synopsis</i>, No. 37. +</p> +<span class="pagenum"><a name="page276" id="page276"></a>276</span> + +<p><span class="leftside">515.</span> +Fragment with the upper moulding of a metope, and +with a circular object in relief, which has a round depression +in the centre. This object has been interpreted as a +cymbal held up by a dancing figure. Perhaps, however, +it may be a ring from the top of a tripod of Apollo, such +as is frequently seen. Cf. Furtwaengler, <i>Bronzen von +Olympia</i>, pl. 34.</p> + +<p class="indent"> +Marble; height, 4 inches; width, 6 inches. <i>Synopsis</i>, No. 31. +</p> + +<p><span class="leftside">516.</span> +Figure of Apollo Kitharoedos? A male figure, wearing +the dress of a citharist, with a long tunic falling to +the feet, confined by a belt and by bands crossing the +breast. The figure also wears a flowing mantle, and has +long hair falling on the shoulders. The figure is half +turned to the right, and looks back to the left. If the +preceding fragment is, as suggested, a part of a tripod, +Apollo may be supposed to have been standing beside the +Delphic tripod.</p> + +<p class="indent"> +Marble; height, 2 feet 7½ inches; width, 1 foot 3 inches. The two +main portions of the figure of Apollo, which have only recently +been joined, give the height of the metopes. <i>Synopsis</i>, +Nos. 36, 38. +</p> + +<p><span class="leftside">517.</span></p> + +<blockquote><p> +This metope, though in a fragmentary state, appears to +represent the rape of a woman by a nude male figure. +A woman wearing a sleeveless chiton and a mantle, +<span class="leftside1"> 1.</span>raises her right hand wrapped in the mantle to her +head. Of the ravisher we only see the fingers of the +right hand grasping the neck of the woman, and a part +of his arm below the woman's right elbow, and behind +her drapery.</p> + +<p><span class="leftside1"> 2.</span></p> + +<p>On the second fragment, which may be assumed to +belong to the same metope, we see a part of the feet +of the woman, the toes of the man's right foot, and +doubtful traces of his left foot. He was probably represented +as seizing the woman by the neck and the knees.</p> +</blockquote> +<span class="pagenum"><a name="page277" id="page277"></a>277</span> + +<blockquote> +<p>Cockerell suggests that the subject is Apollo pursuing +Daphnč, who was a daughter of the neighbouring river +Ladon, but he is mistaken in thinking that the man's +fingers are stretched out straight, and have no grasp of +the woman's neck. +</p></blockquote> + +<p class="indent1"> + Marble. Fragment 1: height, 1 foot 4½ inches; width, 1 foot + 3 inches. <i>Synopsis</i>, No. 30; <i>Exp. de Morée</i>, II. pl. 23, fig. 3; + Stackelberg, pl. 30, fig. 3; <i>Mus. Marbles</i>, IV., pl. 24, fig. 3; + Ellis, <i>Elgin and Phigaleian Marbles</i>, II., p. 213. Fragment 2: + height, 8¾ inches; width, 1 foot 4 inches. <i>Synopsis</i>, No. 35. +</p> + +<p><span class="leftside">518.</span> +Upper part of body of draped female figure standing +to the front.</p> + +<p class="indent"> +Marble; height, 8 inches; width, 10 inches. <i>Synopsis</i>, No. 32. +</p> + +<p><span class="leftside">519.</span> +Torso of an obese bearded figure, from the neck to the +waist. The figure appears to have been seated, leaning +back, and having a staff and drapery under the left +arm. Cockerell restores it as a figure standing and +leaning on a staff.</p> + +<p class="indent"> +Marble; height, 1 foot ¾ inch; width, 8½ inches. <i>Synopsis</i>, No. 34; +Cockerell, <i>Phigaleia</i>, pl. 5, Stackelberg, pl. 30, fig. 4; <i>Exp. de +Morée</i>, II., pl. 23, fig. 4. +</p> + +<h4><span class="sc">The Phigaleian Frieze.</span></h4> + +<p>The frieze of the Temple of Apollo Epicurios consists of +23 slabs of marble, somewhat resembling Pentelic. The +slabs are each 2 feet 1¼ inches high, and they have a +combined length of 101 feet ¾ inch. The frieze formed +an internal decoration, above the colonnade within the +cella, and had two long sides measuring 35 feet 9 inches, +and two short sides measuring 14 feet 2⅛ inches. The +excess in the measured length of the slabs is explained by +the fact that they overlapped at the angles. The slabs +are about 3½ inches thick, and rested on the edge of the +<span class="pagenum"><a name="page278" id="page278"></a>278</span> +architrave, being fastened with bolts to the ground +behind.</p> + +<p>The subjects represented are: (1) Battle of Lapiths +and Centaurs; (2) Battle of Greeks and Amazons. The +former subject has 11 slabs of a combined length of +45 feet 6¾ inches, while the latter has 12 slabs measuring +55 feet 6 inches. The Centauromachia, therefore, occupied +two sides, less the length of one slab, which contained a +part of the Amazonomachia.</p> + +<p>Several attempts have been made to fix the probable +order of the slabs, but except in certain cases we have no +evidence. It is probable that the slabs, No. 541 with +Heracles or Theseus, and No. 530 with Centaurs and +Kaineus, were in the centres of two short sides. They +are longer than any other slabs, and are well fitted to +form the central groups in the compositions. Slab No. +540 was certainly a corner slab, as is proved by the +rebate. Slab No. 532 was probably a corner slab. Slabs +Nos. 527 and 528 evidently were next to each other, and +No. 528 was probably at a corner. Beyond these fixed +points, the order can only be determined by considerations +of composition. In the description that follows, the slabs +are taken in the present order of arrangement in the +British Museum, which is that proposed by Mr. Murray +(<i>Greek Sculpt.</i> ii. pl. 14) except as regards the position of +the slabs of the north side.</p> + +<p>The style of the reliefs is somewhat peculiar. Many +of the types of combat are familiar in Attic sculpture. +Compare the group of Kaineus with the same subject +on the frieze of the Theseion, and the Centaur groups +with the metopes of the Parthenon. At the same time +the style of the work, with its high relief, somewhat +florid and coarsely executed, is un-Attic, and it seems +probable that the actual production of the reliefs was in +the hands of local workmen. There is less certainty as +<span class="pagenum"><a name="page279" id="page279"></a>279</span> +to the designer. Among the artists suggested are Alcamenes +(Stackelberg, p. 84), Cresilas (Sauer, <i>Berliner +Philol. Wochenschr.</i>, 1889, p. 583); an artist influenced by +the paintings of Polygnotos (Murray, ii., p. 176); an +Attic artist (Jahn, <i>Pop. Aufsätze</i>, p. 157), or an Arcadian +artist under Attic influences (Overbeck, <i>Gr. Plast.</i>, 3rd +ed., i., p. 457.)</p> + +<p class="indent"> +<i>Literature relating to the Frieze.</i> Wagner, <i>Bassorelievi Antichi della +Grecia</i>. See also works quoted above, and on p. 272. For the +proposed arrangements of the slabs of the frieze, see Cockerell, +p. 56; Ivanoff, <i>Annali dell' Inst.</i>, 1865, p. 29; Lange, <i>Ber. der. +K. sächs Ges. d. Wissenschaften</i>, 1880, p. 56, pl. 3; Wolters, +Nos. 883-905; <i>Stereoscopic</i>, Nos. 119, 120, 122. +</p> + +<h4><span class="sc">Phigaleian Frieze, West Side.</span></h4> + +<p><span class="leftside">520.</span> +A Centaur carries away a Lapith woman, who stretches +out her arm in appeal for help. The woman's headdress +is somewhat peculiar, consisting of a cap (<i>sphendonč</i>) and +a narrow taenia, from under which the hair falls in small +curls on the forehead. On the right of the slab an +unarmed Lapith struggles with a Centaur, whose equine +body is wholly unexpressed except for one leg which +hardly seems to belong to him.</p> + +<p class="indent"> +Length, 2 feet 5¾ inches. <i>Synopsis</i>, No. 7; <i>Mus. Marbles</i>, IV., pl. 7; +Stackelberg, pl. 25. +</p> + +<p><span class="leftside">521.</span> +On the left of this slab, a Centaur, whose head and +lower parts are lost, flings a stone with each hand. The +figure is shown to be a Centaur by the lion's skin over the +left arm. On the right, a Centaur, who also wears a lion's +skin knotted about his neck, treads down an armed +Lapith, and grasps his right hand to prevent him striking +with his sword. Between the two Centaurs is a Lapith +woman, who hastens to her right and holds her mantle +about her. The Centaur here and on certain other slabs +<span class="pagenum"><a name="page280" id="page280"></a>280</span> +has a horse's mane, which does not occur on the Centaurs +of the Parthenon or of the Theseion.</p> + +<p class="indent"> +Length, 4 feet 2½ inches. <i>Synopsis</i>, No. 6; <i>Mus. Marbles</i>, IV., pl. 6; +Stackelberg, pl. 28. +</p> + +<p><span class="leftside">522.</span> +On the left a Centaur draws towards himself a Lapith +woman who tries to escape. She has a child on her left +arm. The face of this figure has a strong resemblance to +that of the supposed Amazon of Polycleitos, and the +drapery of the breast is treated in the same way as +that of some of the statues of Amazons. (Compare the +fragment at Wörlitz, engraved <i>Jahrbuch des Inst.</i> i., pl. 4.)</p> + +<p>On the right, a Centaur, who has a shield and lion's +skin, tramples down a Lapith, whose hands are stretched +out as if to keep the Centaur away. The Lapith is fully +armed, having a cuirass above a chiton, a chlamys, and +boots. He has no shield, but perhaps that of the Centaur +may be supposed to have been captured from him, as no +other Centaur is thus armed on the Phigaleian frieze, the +Theseion, or the Parthenon.</p> + +<p class="indent"> +Length, 4 feet 1½ inches. <i>Synopsis</i>, No. 3; <i>Mus. Marbles</i>, IV., pl. 3; +Stackelberg, pl. 23. +</p> + +<p><span class="leftside">523.</span> +Apollo and Artemis coming to the aid of the Lapiths. +Artemis drives a chariot drawn by two stags; she wears +the chiton, and large diploďdion crossed by bands, which +is the dress of charioteers on the Parthenon sculptures. +Her right foot is on the ground and she appears to be +checking the chariot, while Apollo stands at its side and +draws his bow. The bow, arrow, and reins were added in +bronze. The chariot is represented three-quarters to the +front.</p> + +<p class="indent"> +Length, 3 feet 9½ inches. <i>Synopsis</i>, No. 11; <i>Mus. Marbles</i>, IV., +pl. 11; Stackelberg, pl. 19. +</p> + +<p><span class="leftside">524.</span> +Two Lapith women have taken refuge at the statue of +a goddess, probably Artemis, as she is coming to their aid. +<span class="pagenum"><a name="page281" id="page281"></a>281</span> +One of the women stretches out her arms with a gesture +of despairing entreaty. The other embraces the statue, +which is a stiff archaic image wearing a polos; with her +left hand she clings to her mantle which has been seized +by the Centaur. The Centaur is attacked from behind +by a Lapith who kneels on his back, has his left arm +round the Centaur's neck, and is about to strike with +the sword originally held in the right hand. On the +right is a tree, with a lion's skin hanging from a bough. +The appearance of a deity near his own image is not +infrequent. (Cf. <i>Journ. of Hellen. Studies</i>, ix., pl. 1; +Müller, <i>Denkmaeler</i>, pl. 44, fig. 206; <i>Arch. Zeit.</i>, 1869, +pl. 14.)</p> + +<p>The group of the Lapith and Centaur is composed like +the Parthenon metope, No. 305.</p> + +<p class="indent"> +Length, 4 feet 6 inches. <i>Synopsis</i>, No. 10; <i>Mus. Marbles</i>, IV., pl. 10; +Stackelberg, pl. 29. +</p> + +<p><span class="leftside">525.</span> +A Lapith and a Centaur in combat. The Lapith draws +away to the left, and is about to throw a stone, while he +stretches out his shield on his left arm. The Centaur +rears up, and seems to be throwing a stone held in both +hands. The Lapith has only a helmet and small chlamys. +He also wore a metal sword belt. On the right of the +slab, a woman holding a boy on her right arm, moves +quickly to the left. With her left hand she holds a +floating piece of her veil.</p> + +<p class="indent"> +Length, 4 feet 5 inches. <i>Synopsis</i>, No. 8; <i>Mus. Marbles</i>, IV., pl. 8; +Stackelberg, pl. 20. +</p> + +<p><span class="leftside">526.</span> +A Centaur is about to thrust with his sword at a +Lapith, who seizes the Centaur's left foreleg and left +hand. The Centaur has a lion's skin; the Lapith is +unarmed. On the right of this slab another unarmed +Lapith has forced the Centaur down on his knees. He +<span class="pagenum"><a name="page282" id="page282"></a>282</span> +kneels on the Centaur's back, and holds his hair with the +right hand, and his wrists with the left hand.</p> + +<p class="indent"> +Length, 4 feet 2½ inches. <i>Synopsis</i>, No. 5; <i>Mus. Marbles</i>, IV., pl. 5; +Stackelberg, pl. 27. +</p> + +<p><span class="leftside">527.</span> +The Centaur of this slab bites a Lapith in the neck. +The Lapith is about to fall with relaxed limbs, but +plunges his sword in the Centaur's body. At the same +time the Centaur kicks out with his hind legs at a Lapith +on the left, who holds out his shield as a defence. A dead +Centaur lies on the ground. Both Centaurs have lions' +skins. The Lapiths wore metal sword belts.</p> + +<p class="indent"> +Length, 4 feet 1 inch. <i>Synopsis</i>, No. 2; <i>Mus. Marbles</i>, IV., pl. 2 +Stackelberg, pl. 21; Brunn, <i>Denkmaeler</i>, No. 91. +</p> + +<p><span class="leftside">528.</span> +A Centaur has been thrown down by two Lapiths. +The one drags forward the Centaur by his hair, while the +other kneels on his back, and has his hand and sword +raised to strike. A Centaur, however, has come from +behind and arrests the Lapith's blow, and tries to draw +away his shield. The fallen Centaur feebly puts out his +right hand behind his back to meet the stroke.</p> + +<p class="indent"> +Length, 4 feet 1 inch. <i>Synopsis</i>, No. 1; <i>Mus. Marbles</i>, IV., pl. 1; +Stackelberg, pl. 22. +</p> + +<h4><span class="sc">Phigaleian Frieze, North Side.</span></h4> + +<p><span class="leftside">529.</span> +On the left a Lapith and Centaur are wrestling. The +Lapith holds the Centaur's head under his left arm, and +the Centaur seizes the thigh of the Lapith, and tries to +overthrow him, putting his right foreleg round the leg of +the Lapith. The Centaur wears a lion's skin. On the +right the Lapith has seized the Centaur by the hair, and +is about to strike. The Centaur is helpless and can only +stretch out his hands behind his back as a defence.</p> + +<p class="indent"> +Length, 4 feet 4½ inches. <i>Synopsis</i>, No. 9; <i>Mus. Marbles</i>, IV., pl. 9; +Stackelberg, pl. 24. +</p> +<span class="pagenum"><a name="page283" id="page283"></a>283</span> + +<p><span class="leftside">530.</span> +Two Centaurs heave a mighty stone to crush the +invulnerable Kaineus. Kaineus is half-buried and holds +his shield above his head. He probably held a sword in +the right hand. Both Centaurs wear lions' skins. The +same subject occurs on the frieze of the Theseion. Next +on the right is a Lapith armed with shield and helmet, +who seems to be dragging the Centaur by the hair. A +woman moves to the right, holding her floating mantle +with her right hand.</p> + +<p class="indent"> +Length, 5 feet 3½ inches. <i>Synopsis</i>, No. 4; <i>Mus. Marbles</i>, IV., pl. 4; +Stackelberg, pl. 26; Brunn, <i>Denkmaeler</i>, No. 90. +</p> + +<p><span class="leftside">531.</span> +The remaining slab on this side contains a part of the +battle of Greeks and Amazons. As the Amazon slabs are +longer than the slabs of Centaurs by about 10 feet, it is +clear that they must have filled two sides and a part of a +third. (See above, p. <a class="ask" href="#page278">278</a>.)</p> + +<p>On the left a Greek and an Amazon are engaged in +combat. The Greek has a helmet, boots, and a chiton +which leaves the right shoulder bare. He advances his +left arm with the mantle hanging from it, in the manner of +Harmodios in the group of the Athenian Tyrannicides +(compare the Panathenaic vase in the Fourth Vase Room, +which has this group on the shield of Athenč). The +Amazon wears a similar chiton, and rushes forward +against the Greek, in the attitude of the Aristogeiton in +the group mentioned above. On the right a wounded +Amazon has sunk to the ground, and is supported by +a companion who wears the chiton split at the side +(<i>schistos</i>), like that of the Iris of the east pediment of the +Parthenon.</p> + +<p class="indent"> +Length, 4 feet 6½ inches; <i>Synopsis</i>, No. 20; <i>Mus. Marbles</i>, IV., pl. 20; +Stackelberg, pl. 17. +</p> +<span class="pagenum"><a name="page284" id="page284"></a>284</span> + +<h4><span class="sc">Phigaleian Frieze, East Side.</span></h4> + +<p><span class="leftside">532.</span> +On the left of the slab a Greek tries to drag an Amazon +along by the hair. She is now unarmed, and tries to +resist with both hands and with the weight of her body. +Her shield is seen in the background. On the right an +Amazon who has sunk to the ground, but appears not to +be badly wounded, is defended by a companion who stands +beside her, and stretches out a large shield.</p> + +<p class="indent"> +Length, 4 feet 6¾ inches. <i>Synopsis</i>, No. 12; <i>Mus. Marbles</i>, IV., +pl. 12; Stackelberg, pl. 7. +</p> + +<p><span class="leftside">533.</span> +On the left a Greek makes a fierce attack on an enemy +represented in the adjoining slab, which was probably the +one just described. He has his sword arm raised above +his head for a strong blow.</p> + +<p>In the centre is a vigorous combat between a Greek and +Amazon. The Greek covers himself with his shield and +draws back for a spear thrust. The action of the Amazon +appears to be that of thrusting a spear. The shield on +her left arm is not expressed. In the tightly stretched +skirt of the chiton the sculptor has sacrificed grace for +truth to nature and vivid movement. On the right, an +Amazon who has just received a mortal wound, is seen +falling to the ground, with all her limbs relaxed.</p> + +<p class="indent"> +Length, 4 feet 5¾ inches. <i>Synopsis</i>, No. 13; <i>Mus. Marbles</i>, IV., +pl. 13; Stackelberg, pl. 8; Brunn, <i>Denkmaeler</i>, No. 88. +</p> +<a name="n534" id="n534"></a> +<p><span class="leftside">534.</span> +On the left a Greek drags down an Amazon from her +horse, grasping her hair with the left hand. He probably +held a sword in the right hand. The Amazon tries +feebly to loosen his grasp. She wears the split chiton, +like the Amazon of slab No. 531. On the right is an +Amazon, who draws back a little, extending her shield, +and at the same time raising her right hand to strike. +Here, as in No. 533, the drapery is tightly stretched. +<span class="pagenum"><a name="page285" id="page285"></a>285</span> +The upper part of the figure of the Greek had been +lost when the marbles were being transported from the +temple. It was afterwards found in a house near Bassae, +and was <i>presented by J. Spencer Stanhope, Esq., 1816.</i> (Cf. +Stackelberg, p. 23.)</p> + +<p class="indent"> +Length, 4 feet 4¾ inches. <i>Synopsis</i>, No. 17; <i>Mus. Marbles</i>, IV., +pl. 17; Stackelberg, pl. 13; Brunn, <i>Denkmaeler</i>, No. 87. +</p> + +<p><span class="leftside">535.</span> +An unarmed Amazon has taken refuge at an altar; a +Greek has seized her by the hair, and tries to drag her +away. The Amazon resists using her weight, and both +arms. The Greek had a sword in his right hand.</p> + +<p>On the right a Greek and Amazon are engaged in hand +to hand combat, extending their shields and engaged in +fence with their swords. The drapery of the Amazon is +treated as on the two last slabs.</p> + +<p class="indent"> +Length, 4 feet 6¾ inches. <i>Synopsis</i>, No. 22; <i>Mus. Marbles</i>, IV., +pl. 22; Stackelberg, pl. 16; Brunn, <i>Denkmaeler</i>, No. 86.</p> + +<p><span class="leftside">536.</span> +A large part of the group on the left is wanting. The +Greek appears to be dragging the fallen Amazon by the +hair, and at the same time to be treading her down with +his right foot. With both hands she tries to free herself +from the grasp of the Greek. On the right, a Greek has +fallen on his knees and holds up his shield as a defence +against the victorious Amazon, whose right hand and +sword are raised to strike.</p> + +<p class="indent"> +Length, 4 feet 6¾ inches. <i>Synopsis</i>, No. 15; <i>Mus. Marbles</i>, IV., +pl. 15; Stackelberg, pl. 12. +</p> + +<p><span class="leftside">537.</span> +An Amazon is disarmed, and has fallen to the ground. +She stretches out her right hand, as if in entreaty to a +Greek who treads with his left foot on her knee, and is +about to thrust with his sword. A second Greek approaches +from the left. On the right an Amazon strides +<span class="pagenum"><a name="page286" id="page286"></a>286</span> +quickly forward to help her companion, and is about to +strike the Greek.</p> + +<p class="indent"> +Length, 4 feet 4¾ inches. <i>Synopsis</i>, No. 21; <i>Mus. Marbles</i>, IV., +pl. 21; Stackelberg, pl. 11. +</p> + +<p><span class="leftside">538.</span> +On the left, a Greek who is bearded and heavily armed, +has thrown down an Amazon, whom he drags by the hair, +while she tries to keep him at arm's length. On the +right the Greek has fallen on his knees, and holds up his +shield against the attack of the Amazon.</p> + +<p class="indent"> +Length, 4 feet 5¾ inches. <i>Synopsis</i>, No. 19; <i>Mus. Marbles</i>, IV., +pl. 19; Stackelberg, pl. 15. +</p> + +<p><span class="leftside">539.</span> +A Greek who has been killed in the battle, and perhaps +stripped, is being borne off the field on a companion's back. +Another Greek who has been badly wounded in the right +leg, leaves the field, leaning with his right hand on a +spear, now wanting. He puts his left arm round the neck +of a companion, who supports him round the body. In +the centre of the slab an Amazon draws away a shield +which belonged to one of the Greeks.</p> + +<p class="indent"> +Length, 4 feet 9¼ inches. <i>Synopsis</i>, No. 14; <i>Mus. Marbles</i>, IV., pl. 14; +Stackelberg, pl. 18. +</p> + +<h4><span class="sc">Phigaleian Frieze, South Side.</span></h4> + +<p><span class="leftside">540.</span> +This slab has a rebate on the left side, proving that it +belongs to the left end of a frieze. On the left, a wounded +Greek lying on the ground, is partly raised by a companion, +who eagerly watches the fight, but for the +moment only holds his sword in the left hand, while he +uses his right hand to support the wounded man. A +similar group occurs on the frieze of the Temple of Nikč +(No. 421).</p> + +<p>On the right a Greek and Amazon are fighting hotly. +<span class="pagenum"><a name="page287" id="page287"></a>287</span> +The Greek presses forward, and the Amazon at the same +time draws back, collecting her strength for a blow. The +Amazon wears the split chiton.</p> + +<p class="indent"> +Length, 4 feet 8¾ inches. <i>Synopsis</i>, No. 16; <i>Mus. Marbles</i>, IV., +pl. 16; Stackelberg, pl. 10. +</p> + +<p><span class="leftside">541.</span> +The middle of the central slab is occupied by a single +combat between Heracles and an Amazon. They are +represented drawing back for a blow. The Amazon seems +to be making a spear thrust while Heracles raises his +club. The Amazon extends her shield; Heracles carries +the lion skin on his left arm. The pose of these two +combatants who have the most important position in the +whole frieze, is very similar to that of the Poseidon and +Athenč of the west pediment of the Parthenon. In both +cases also the central group is bounded by figures of +horses. The figure here called Heracles has also been +interpreted as Theseus. On the left, a mounted Amazon +is victorious, and thrusts with a spear at a wounded and +fallen Greek. On the right, the Greek is the victor; he +seizes the Amazon by arm and foot and throws her off her +horse, which has fallen on its knees.</p> + +<p class="indent"> +Length, 5 feet 10 inches. <i>Synopsis</i>, No. 18; <i>Mus. Marbles</i>, IV., +pl. 18; Stackelberg, pl. 14; Brunn, <i>Denkmaeler</i>, No. 89. +</p> + +<p><span class="leftside">542.</span> +A young Greek, wounded and fallen to the ground, +raises his right hand, as if in defence against the blow +about to be struck by the Amazon standing over him. +Another Amazon hastily approaches from the left, and +stretches out her hands, as if in defence of the Greek. +On the right of the slab, an Amazon supports a wounded +comrade, who is sinking to the ground with her head +drooping and all her muscles relaxed.</p> + +<p class="indent"> +Length, 4 feet 2¼ inches. <i>Synopsis</i>, No. 23; <i>Mus. Marbles</i>, IV., +pl. 23; Stackelberg, pl. 9. +</p> +<span class="pagenum"><a name="page288" id="page288"></a>288</span> + +<h4><span class="sc">Fragments of the Temple Statue of Apollo.</span></h4> + +<p>A few small fragments of a colossal male statue were +discovered during the excavations. As the fragments +found belong to the extremities of the figure, and since +they are proved to have been separate pieces attached, +by the dowel holes, it is inferred that the statue was +<i>acrolithic</i>, <i>i.e.</i>, that the extremities only were of marble, +while the rest of the figure was made of wood or other +inferior material.</p> + +<p>The original statue of Apollo Epicurios had been moved +to Megalopolis from Bassae, before the time of Pausanias +(Paus. viii., 30, 3). The foundation of Megalopolis took +place in 368 <span class="sc">b.c.</span>, and if the acrolithic statue was made +to take the place of that which was removed it must +be later than this date.</p> + +<p>The two fragments here described are all that are in +the British Museum, but four other small pieces were also +discovered, and are engraved Stackelberg, pl. 31; reproduced +<i>Exp. de Morée</i>, ii., pl. 23, fig. 5; Cockerell, pl. 16.</p> + +<p><span class="leftside">543.</span> +Fragment of the forepart of a right male foot, wearing +a sandal.</p> + +<p class="indent"> +White marble; length, 6½ inches. Stackelberg, pl. 31; Cockerell, +pl. 16. +</p> + +<p><span class="leftside">544.</span> +Fragment with the palm and base of the thumb of a +right hand.</p> + +<p class="indent"> +White marble; length, 6¼ inches. Stackelberg, pl. 31; Cockerell, +pl. 16. +</p> +<a name="page288a" id="page288a"></a> +<h3>MISCELLANEOUS SCULPTURES, OF THE FIFTH CENTURY.</h3> + +<p><span class="leftside">549.</span> +Bust of Pericles, wearing a helmet. Inscribed <ins title="Greek: Periklęs">Περικλῆς</ins> +(fig. 23). Wolters assigns the original from which this +fine bust is copied to the end of the fifth century, and +<span class="pagenum"><a name="page289" id="page289"></a>289</span> +suggests that it may have been the work of Cresilas, with +reference to which Pliny (<i>H. N.</i> xxxiv., 74) states that he +made an Olympian Pericles, worthy of the title, and ennobled +a noble subject. Plutarch explains the presence +of the helmet as caused by the ugly shape of the head +of Pericles (Plutarch, <i>Pericles</i>, 3). It is, however, more +probable that the helmet merely denotes military rank. +<i>Found in the Villa of Cassius, at Tivoli, 1781.</i>—<i>Townley Coll.</i></p> +<a name="page289a" id="page289a"></a> +<div class="figcenter" style="width: 300px;"><a href="images/26fig23-430.png"><img src="images/26fig23-280.png" width="280" height="486" alt="Fig. 23.--Bust of Pericles, No. 549." /></a> +<p class="center">Fig. 23.—Bust of Pericles, No. 549.</p></div> + +<p class="indent"> +Marble; height, 1 foot 11 inches. Restorations:—Nose, and small +parts of helmet. Stuart, II., p. 42; <i>Mus. Marbles</i>, II., pl. 32; +Ellis, <i>Townley Gallery</i>, II., p. 3; <i>Arch. Zeit.</i>, 1868, pl. 2, fig. 1; +Wolters, No. 481; Furtwaengler, <i>Berl. Philol. Wochenschr.</i>, +1891, p. 286. Another copy, found at the same time as the present +bust, is in the Vatican (Visconti, <i>Iconogr. Grecque</i>, pl. 15). +</p> +<a name="n550" id="n550"></a> +<p><span class="leftside">550.</span> +Head of Asclepios? Colossal ideal bearded head. The +hair falls in heavy masses over the forehead, and on each +<span class="pagenum"><a name="page290" id="page290"></a>290</span> +side of the head. A heavy metal wreath was fastened by +numerous rivets, which still remain. The head was +formed of three principal pieces of marble, the heaviest +piece being so shaped that it kept its position by its own +weight. The piece at the back of the head is lost. A +small piece, which is now missing, was also attached +behind the right ear.</p> + +<p>This head would serve as well for Zeus as for Asclepios, +and it is possible that this may have been the original +intention of the artist. It was, however, discovered in +1828, in a <i>Shrine of Asclepios, in Melos</i>. <i>Blacas Coll.</i></p> + +<p class="indent"> +Parian marble; height, 1 foot 11 inches. <i>Exp. de Morée</i>, III. +pl. 29, fig. 1; Müller-Wieseler, <i>Denkmaeler</i>, II., pl. 60, fig. 763; +<i>Overbeck</i>, <i>Gr. Kunstmyth.</i> pl. 2, figs. 11, 12; II., p. 88; Murray, +<i>Greek Sculpture</i>, II., pl. 11, p. 130; Mitchell, <i>Selections</i>, pl. 13; +Rayet, <i>Monuments</i>, II., No. 42; <i>Stereoscopic</i>, No. 113; Wolters, +No. 1283; Paris, <i>La Sculpt. Ant.</i>, p. 221. Two votive inscriptions +to Asclepios and Hygieia were discovered with the head. +One of these, with a votive relief of a leg, is now in the British +Museum (No. 809). +</p> + +<p><span class="leftside">551.</span> +Asclepios? A male draped torso broken off at the knees; +the right arm is wanting from below the shoulder, where +it has been fitted with a joint. The left arm, which is +entirely concealed in the mantle, is placed akimbo. The +back is unfinished. The composition is suitable to a figure +of Asclepios, an attribution which was probably originally +suggested by the fact that this torso was obtained by +Lord Elgin from <i>the neighbourhood of Epidauros</i>. Two +small fragments of the right leg were brought away with +the torso.</p> + +<p class="indent"> +Parian marble; height, 3 feet 1¼ inches. <i>Mus. Marbles</i>, IX., pl. 5; +Ellis, <i>Elgin Marbles</i>, II., p. 121; <i>Synopsis</i>, No. 327; <i>Elgin Room +Guide</i>, II., No. E. 1. +</p> + +<p><span class="leftside">552.</span> +Female torso from the neck down to the waist. The +dress is a chiton with diploďdion; part of the tresses of +<span class="pagenum"><a name="page291" id="page291"></a>291</span> +hair which fall down on the back still remains.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 3 inches. <i>Synopsis</i>, No. 281 (146); +<i>Elgin Room Guide</i>, II., No. F. 15. +</p> + +<p><span class="leftside">553.</span> +Left breast and part of left side of female figure wearing +a chiton girt at the waist.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 3¼ inches. <i>Synopsis</i>, No. 277 (147). +<i>Elgin Room Guide</i>, II., No. F. 16. +</p> + +<p><span class="leftside">554.</span> + +Upper part of the torso of a female figure moving +quickly to the left, with the arms raised. She wears a +sleeveless chiton which appears to have been unsewn +(<i>schistos</i>) down the right side. The shoulders are broken, +but there are remains of large dowel holes as if for the insertion +of wings, and the figure is not unlike the Victories +on the balustrade of the temple of Nikč.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot. <i>Synopsis</i>, No. 321 (79). +</p> + +<p><span class="leftside">555.</span> +Heads of Pelops and Hippodamia? Heroic heads of +colossal male and female figures, turned to the right. The +female head is in low relief, and wears a diadem, and a +veil falling over the back of the head. Compare the +heads in a terracotta relief in the British Museum +(<i>Ancient Terracottas in B. M.</i>, pl. 19, No. 34). The male +head is almost worked in the round and wears a close-fitting +helmet. Some drapery passes over the left +shoulder. These two heads have long been called Pelops +and Hippodamia, and it is very likely that the figures +belonged to a chariot group. But they may well be the +somewhat idea +consort. <i>Found in the sea near Girgenti (Agrigentum).</i>—<i>Townley +Coll.</i></p> + +<p class="indent"> +Greek marble, perhaps Parian; height, 1 foot 5¼ inches; width, +1 foot 4 inches. <i>Mus. Marbles</i>, X., pl. 32; Ellis, <i>Townley +Gallery</i>, II., p. 153. +</p> +<span class="pagenum"><a name="page292" id="page292"></a>292</span> + +<p><span class="leftside">556.</span> +Head of Odysseus? Male head, with curling hair and +short beard, wearing a peaked cap (<i>pileus</i>). The surface +is much decayed, and most of the chin and mouth is +broken away. This head may be from a sepulchral +monument.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot ½ inch. <i>Mus. Marbles</i>, IX., pl. 40, +fig. 3; Ellis, <i>Elgin Marbles</i>, II., p. 119. +</p> + +<p><span class="leftside">557.</span> +Fragment from the back of a head. The hair is drawn +to a knot at the back of the head, and is confined by two +bands, crossing one another.</p> + +<p class="indent"> +Pentelic marble; height, 10½ inches. +</p> + +<p><span class="leftside">558.</span> +Head of a maiden, wearing a closely-fitting cap. The +style is characteristic of the fifth century.—<i>Athens? +Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 9 inches. <i>Synopsis</i>, No. 239 (122). +</p> + +<p><span class="leftside">559.</span> +Heroic head of a youth, inclined slightly to his left. +The hair is very slightly indicated, and the back of the +head is worked away, as if for a bronze helmet.—<i>Obtained +in Greece by the fourth Earl of Aberdeen in 1803, and presented +by the fifth Earl of Aberdeen in 1861.</i></p> + +<p class="indent"> +Coarse-grained marble; height, 11 inches. The head was found +wearing a bronze helmet, which, however, did not fit, and has +been removed. +</p> + +<p><span class="leftside">560.</span> +Cast of marble owl. L. Ross (<i>Annali dell' Inst.</i>, 1841, +pl. C., p. 25), supposes that this owl was a votive offering +which once surmounted a column found near it, on +which is inscribed the name of Timotheos of the deme +Anaphlystos. The lower part of the body, which is broken +away, has lately been found. The feathers of the wings +are set in formal rows, and the treatment throughout +is characterised by an archaic severity, as has been +remarked by Ross. The feathers have probably been +<span class="pagenum"><a name="page293" id="page293"></a>293</span> +painted.—<i>Found on the Athenian Acropolis between the +Propylaea and the Parthenon.</i></p> + +<p class="indent"> +The original, of Pentelic marble, is in the Acropolis Museum, at +Athens; height, 2 feet 2 inches. Ross, <i>Arch. Aufsätze</i>, I., +pl. 14, fig. 3, p. 205; <i>Elgin Room Guide</i>, II., No. G. 7; Wolters, +No. 111; Le Bas, <i>Mon. Fig.</i>, pl. 62, fig. 3. +</p> + +<h3>GREEK RELIEFS.</h3> + +<p>Most of the single Greek reliefs in the British Museum +are described in the present section of the catalogue +(Nos. 599-817.) Those reliefs which are known to have +belonged to particular buildings, and to have served an +architectural function, are catalogued separately. A few +reliefs also, principally of the later Attic School, are +reserved for a subsequent part.</p> + +<p>We deal, in this place, with a number of works of minor +importance, and of various degrees of artistic merit. At +the same time they are of interest both for their subjects +and also as showing the instinctive grace and skill of +subordinate Greek craftsmen, even in hastily executed +and unimportant work.</p> + +<p>The following classification has been adopted, but the +classes are not perfectly distinct, as the sepulchral reliefs +sometimes partake of a votive character.</p> + +<p class="indent"> +<i>Sepulchral Reliefs.</i>—599-618, Decorative Stelae. +619-680, Scenes from Daily Life and Animals. +681-686, Plain Vases. 687-710, Vases and reliefs +with figures clasping hands. 711-746, Sepulchral +Banquets, &c. 750-757, Rider and Horse, heroified. +760-766, Reliefs from Lycia.</p> + +<p class="indent"><i>Votive Reliefs.</i>—770-794, Figures of the God or +his attributes. 795-812, Figures of the Dedicator, +or of the object dedicated. 813-817, Agonistic +reliefs. +</p> +<span class="pagenum"><a name="page294" id="page294"></a>294</span> + +<h3>SEPULCHRAL RELIEFS.</h3> + +<p>The Greek sepulchral reliefs are of several distinct +types, each type having an independent origin and history, +though occasionally the different types are blended +one with another.</p> + +<p>The early Attic examples which are assigned to a period +before the Persian wars, have recently been collected by +Conze (<i>Die Attischen Grabreliefs</i>, Part 1), and we are thus +enabled to trace the rise of the different types in Attica, +so far as the materials discovered allow. The earliest and +simplest form of monument is the plain stone +(<ins title="Greek: stęlę">στήλη</ins>), set +up on a mound +(<ins title="Greek: tymbos">τύμβος</ins>) +to mark the place of the grave, and +such a tomb is well known to Homer (<i>Il.</i> xi., 371, etc.)</p> + +<p>Such a stone would naturally bear the name of the +deceased, together with the name of his father, or of the +persons who erected the monument. The earliest Attic +examples are also surmounted by a simple ornament, +especially the palmette between volutes, partly in relief, +and partly in colour. The treatment of the palmette +closely resembles that of the antefixal ornament of the +Parthenon (No. 352). At an uncertain period in the fifth +century the use of the acanthus-leaf ornament was introduced, +and the decoration of the stelae became elaborate +and beautiful. It has been thought that the acanthus +was developed by the Greeks of Ionia, before the middle +of the fifth century, and only made its way slowly +in Athens (Furtwaengler, <i>Coll. Sabouroff</i>, i., p. 8), but it +cannot be proved to have become common before it had +been made familiar by the architecture of the Erechtheion, +towards the close of the fifth century. The early +Corinthian capital of the single column of the Temple +at Phigaleia appears to be copied from a stelč with +volutes and an acanthus.</p> +<span class="pagenum"><a name="page295" id="page295"></a>295</span> + +<p>The smooth surface of the stone below the crowning +ornament was used, from an early time, to receive a +representation of the deceased person, which was either +painted or in relief, the relief being itself painted. Such +portraits, in the case of men—and only men's portraits +are certainly known to be preserved of the archaic period—take +the form either of a simple standing figure, or of a +figure engaged in some occupation taken from life. See +the figures of the Discobolos and of the spear-thrower +(Conze, pls. 5, 7), and as an example of the painted portrait +see the stelč of Lyseas (Conze, pl. 1). The male +portrait is often accompanied by a small figure of a youth +riding or leading a horse. On a class of monuments described +below (Nos. 750-757) it is not impossible that the +figure of the horse may have some special reference to death, +but in the early Attic reliefs it seems more likely that the +horse indicates the favourite pursuits or the knightly rank +of the dead person. Compare Roscher, <i>Lexicon</i>, p. 2584, +and Aristotle, <i>Constitution of Athens</i>, chap. 7, ed. Kenyon, +where the horse standing beside an archaic figure of +Anthemion, son of Diphilos (<i>Class. Rev.</i> 1891, p. 108), is +said to prove his knighthood +(<ins title="Greek: hippas">ἱππάς</ins>). +(Cf. <i>Journ. of Hellen. +Studies</i>, v. p. 114; Conze, p. 4; Nos. 1, 14, 15, 16, 17, 19.)</p> + +<p>The female figures, of which only uncertain specimens +survive, were simple portraits, usually seated, and sometimes +accompanied by other members of the family, usually +represented on a diminutive scale. (Cf. Conze, No. 20.)</p> + +<p>In one early Attic example there is an actual representation +of mourners as on Etruscan or Lycian tombs. But +in general, allusions to death and mourning are but +slightly indicated. (Cf. Conze, No. 19, pl. 11.)</p> + +<p>Finally, there is a type of monument, which contains +the representation of some animal more or less associated +with the grave, such as the cock (Conze, No. 22, pl. 13) +or the Sphinx (Conze, No. 16, pl. 10, fig. 1<i>b</i>).</p> +<span class="pagenum"><a name="page296" id="page296"></a>296</span> + +<p>The foregoing are the main types of the early Attic +reliefs. The British Museum does not contain any specimens +of the early period, but the study of the early +reliefs enables us to classify the later works, and to distinguish +the indigenous Attic types from those that are +imported, or of later development.</p> + +<p><i>Decorative Stelae.</i>—The stelae crowned with the +palmette and acanthus acroteria are described below, +Nos. 599-618. They are principally derived from Athens, +but several specimens (Nos. 611-618) roughly worked in +coarse limestone are a part of the collection of sculptures +from Kertch. One of the best examples of Attic work of +this class in the British Museum, will be found in the +Department of Egyptian and Assyrian antiquities, namely +the stelč of Artemidoros with a bilingual Greek and +Phoenician inscription. (Dodwell, <i>Tour</i> i., p. 411; <i>Greek +Inscriptions in Brit. Mus.</i>, cix.)</p> + +<p><i>Scenes from Daily Life and figures of Animals.</i>—The +monuments with portraits and scenes from daily life are +catalogued below, Nos. 619-679. The incidents chosen +are taken from all parts of life, and in late times are apt +to be of a <i>genre</i> character with scenes from children's +games, &c.</p> + +<p>Reliefs with figures of horsemen, where the scene appears +only to be an incident from daily life, and not connected +with the heroification of the deceased, have also been +placed here (Nos. 638, 661-666).</p> + +<p>Examples of the figure of an animal placed on the tomb, +of a symbolic or decorative character, are best seen among +the archaic sculptures (compare those from Xanthos), +but the bull, No. 680, is a specimen of a figure from an +Attic stelč.</p> + +<p>The types which have been described so far, are simple +records of the deceased person. We turn now to various +classes, which are not represented among the Attic remains +<span class="pagenum"><a name="page297" id="page297"></a>297</span> +of the archaic period, and which are more or less of +religious or ritualist significance.</p> + +<p><i>Vases.</i>—The Sepulchral Vases, which are represented +either in relief or in the round, are a common form of +monument at Athens, and are connected with the observances +paid to the dead. These vases which are sometimes +lekythi, and sometimes amphorae or hydriae, may be +decorated with patterns, or with subjects in relief, such +as appear on other sepulchral stelae. They probably are +to be traced from the vessels of pottery in which offerings +were brought, to be poured out as libations on the tomb. +Compare below the account of the "Sepulchral Banquet."</p> + +<p>There is ancient authority for the view that the vase +indicates an unmarried person. Eustath. on <i>Il.</i> XXIII., +141, p. 1293: +<ins title="Greek: kai tois pro gamou de teleutôsin hę loutrophoros, phasin, epetitheto kalpis eis endeixin tou hoti aloutos ta nymphika kai agonos apeisi"> +καὶ +τοῖς +πρὸ +γάμου +δὲ +τελευτῶσιν +ἡ +λουτροφόρος, +φασίν, +ἐπετίθετο +κάλπις +εἰς +ἔνδειξιν τοῦ +ὅτι +ἄλουτος +τὰ +νυμφικὰ +καὶ +ἄγονος +ἄπεισι</ins>. +Demosthenes (<i>in Leochar.</i> pp. 1086 and 1089, ed. Reiske) speaks also of +<ins title="Greek: hę loutrophoros"> +ἡ λουτροφόρος</ins> +(sc. <ins title="Greek: hydria">ὑδρία</ins> +or <ins title="Greek: kalpis">κάλπις</ins>), being placed on the tomb of an unmarried +person. (Kumanudis, p. 18; <i>Greek Inscriptions in Brit. +Mus.</i>, No. lxxx.)</p> + +<p>On the other hand, the tombs of a father, Philoxenos, +and of his sons Parthenios and Dion, in the Cerameicos at +Athens were all surmounted by stone vases (<i>C. I. A.</i>, ii., +3191-3193; Conze, p. 16). Perhaps a distinction must +be made between the lekythi which represent libations at +the tomb, and the hydriae, which have the special meaning +mentioned above. An early instance of the Attic sepulchral +vase, with painting and relief, is placed by Köhler +on epigraphic grounds between 450 and 430 <span class="sc">b.c.</span> (<i>Athenische +Mittheilungen</i>, x., pl. 13, p. 362.)</p> + +<p><i>Figures clasping Hands.</i>—In Attic reliefs, chiefly of the +fourth and subsequent centuries, the two principal persons +are often represented clasping right hands together, and +such scenes are commonly known as Scenes of Parting. A +<span class="pagenum"><a name="page298" id="page298"></a>298</span> +more correct interpretation may be gathered from a fragment +of an archaic sepulchral relief from Aegina (<i>Athenische +Mittheilungen</i>, viii., pl. 17), in which a female figure, +enthroned and holding a pomegranate (compare the +Spartan reliefs mentioned below), clasps the hand of a +standing figure, which is shown by the scale to be that +of another deceased person. In this case the scene is +laid in Hades, and the clasping of the hands is significant +of affection, not of separation. Hence it has been +thought that all subjects with the clasped hands represent +the meeting and union in Hades after death (Furtwaengler, +<i>Coll. Sabouroff</i>, i., p. 46). There is, however, no proof that +the artist was always consciously placing the scene in +Hades, and in No. 710 Hermes seems about to conduct the +deceased person to the nether world. The presence of +figures in attitudes of grief, of children and servants, +seems to show that these reliefs are symbolic of family +affection, though the artist had no very clear and logical +conception of the moment depicted.</p> + +<p>An early example of the clasping of hands on an Attic +monument is supplied by the sepulchral vase above mentioned, +of 450-430 B.C. (<i>Athenische Mittheilungen</i>, x., pl. 13.)</p> + +<p>Such subjects as the foregoing are often placed within +an architectural structure, usually consisting of two +pilasters and an entablature, sometimes surmounted by a +pediment. Various theories have been proposed on the +subject. It has been suggested that the architectural +ornament indicates the votive character of the relief +(<i>Journ. of Hellen. Studies</i>, v., p. 111), or the home of the +dead person (Pervanoglu, <i>Grabsteine der alten Griechen</i>, +p. 14), but there is no evidence of any such special significance +attaching to the form. (Compare Furtwaengler, +<i>Coll. Sabouroff</i>, i., p. 52.)</p> + +<p><i>The Sepulchral Banquet.</i>—From the fourth century onwards, +a type of relief commonly known as the Sepulchral +<span class="pagenum"><a name="page299" id="page299"></a>299</span> +Banquet becomes very common in Attica and elsewhere. +In a normal example of the fully developed type, the chief +figure is that of a man recumbent on a couch, holding a +cup. Before him is a table with food. A woman, according +to Greek custom, is seated upright at the foot of the +couch. Boys or attendants are seen drawing wine. The +head of a horse is often seen at the back of the relief. A +snake is frequently introduced, and often drinks wine from +a cup held by one of the figures. Further, a group of +adorant figures, usually on a small scale, may be represented +about to sacrifice at an altar, near the foot of the +couch.</p> + +<p>The meaning of this type has been a subject of long +controversy, but it is best understood if the later reliefs +are studied in connection with the oldest known specimens +of the same subject. A series of archaic reliefs from the +neighbourhood of Sparta (<i>Athenische Mittheilungen</i>, ii., +pls. 20-25; Furtwaengler, <i>Coll. Sabouroff</i>, pl. 1; <i>Journ. +of Hellen. Studies</i>, v., p. 123), contains subjects somewhat +of the following character: A male and female figure, +represented on a heroic or divine scale, are seated enthroned, +holding as attributes a large two-handled cup, +or a pomegranate. Figures of worshippers approach, +carrying a pomegranate or a cock, and a snake is +sometimes present. The sculptures of the Harpy Tomb +(No. 94), have been sometimes classed with the works +here described, but this has not yet been established.</p> + +<p>The transition from the Spartan type to the Sepulchral +Banquet type is still obscure, but a connecting link is +furnished by a relief from Tegea (<i>Athenische Mittheilungen</i>, +iv., pl. 7), in which the woman is enthroned, while the +man reclines on a couch with a table before him. (Compare +also the relief from Mytilene No. 727.) It seems +probable that we have in these reliefs symbolic representations +of offerings made by living relations or descendants +<span class="pagenum"><a name="page300" id="page300"></a>300</span> +for the pleasure and sustenance of the dead. Such offerings +of food and drink made by the living at the tomb are +common to all primitive peoples. The Egyptians, in +particular, made regular offerings of actual food, and at +the same time surrounded the mummy with sculptural +representations of offerings, which, it was thought, served +to satisfy the incorporeal <i>double</i> of the dead person. The +early notion that the deceased was within the tomb, and +enjoyed the food and drink offered to him in a material +manner, became less distinct in later times. The periodical +offerings assumed a more ritualistic and symbolic character, +and were celebrated by the Greeks under the name of +<ins title="Greek: nekysia"> +νεκύσια</ins>.</p> + +<p>The older archaeologists thought for the most part that +the Banquet reliefs were representations commemorative +of life on earth, or descriptive of the pleasures enjoyed by +the dead in Hades. Dumont (<i>Rev. Arch.</i>, <span class="sc">N.S.</span> xx. p. 247) +and Hollaender (<i>De Operibus Anaglyphis</i>), interpret them +as referring to the periodical offerings made at the tomb. +It will be seen that this view is not very different from +that which has been adopted above, and which is the +view of Gardner (<i>Journ. of Hellenic Studies</i>, v., p. 130), and +Furtwaengler (<i>Coll. Sabouroff</i>, i., p. 28). The reliefs, however, +have more force than mere pictorial groups, if we +accept the Egyptian analogy, and allow that the sculpture +represents, by substitution, the offerings of material food. +The snake is naturally associated with the grave, from its +rapid mysterious movements, and from living in caves and +holes. Compare the story of the snakes that were seen by +Polyeidos in the tomb of Glaukos. (Apollodor. 3, 3, 1; +Roscher, <i>Lexicon</i>, p. 1687). The votive character of the +Banquet reliefs is proved in some instances by inscriptions, +(<i>Journ. of Hellen. Studies</i>, v., p. 116; Roscher, <i>Lexicon</i>, +p. 2553). It is doubtful, however, whether the artist +was always conscious of the meaning of his work, and in +<span class="pagenum"><a name="page301" id="page301"></a>301</span> +some instances, as in the tomb at Cadyanda in Lycia +(No. 766), the banquet appears to be merely a scene from +daily life, and as such it closely resembles some of the vase +paintings. In No. 737 and other late examples, the relief, +though of the type of the banquet, is commemorative +rather than votive.</p> + +<p>In Athens the type of the Sepulchral Banquet was also +applied to another purpose, namely, for votive reliefs to +Asclepios. The two classes of monuments are completely +assimilated in those examples in which worshippers come +to sacrifice at the end of the couch. Numerous specimens +of reliefs have been found in the temenos of Asclepios at +Athens, and it is possible that the sculptures from the +Elgin Collection, Nos. 714, 715, belong to this series. In +the newly-discovered papyrus fragments of Herodas, the +sons of Praxiteles are mentioned as authors of a relief +dedicated to Asclepios. A figure of Asclepios, composed +like the principal figure of the sepulchral reliefs, has also +been found on a vase from the Temple of the Cabeiri at +Thebes (<ins title="Greek: Ephęmeris">Ἐ<span class="gesperrt">φημερίς</span></ins>, +1890, pl. 7). For other examples of +the same type on vases of different meanings, see <i>Athenische +Mittheilungen</i>, xiii., pl. 9; <i>Arch. Anzeiger</i>, 1890, p. 89. For +the most recent discussion of the whole question, see +Roscher, <i>Lexicon</i>, p. 2565.</p> + +<p><i>Hero and Horse.</i>—There is another type of sepulchral +relief, somewhat akin to that above described, in which, +however, the horse of the hero takes a more prominent +position. The hero is seen either riding on his horse or +standing near it, and receiving a libation poured out by a +female figure, sometimes a Victory. Here also the snake +is frequently introduced to mark the sepulchral character +of the relief. In the earliest examples the connection +between this type and the foregoing is made clearer by the +presence of diminutive figures of supplicants bringing +offerings, or making gestures of adoration. Compare a +<span class="pagenum"><a name="page302" id="page302"></a>302</span> +Theban relief (<i>Athenische Mittheilungen</i>, iv., pl. 16), and a +relief in the Sabouroff Collection, +inscribed <ins title="Greek: Kallitelęs Aleximachô anethęken">Καλλιτέλης +Ἀλεξιμάχῳ +ἀνέθηκεν</ins> +(<i>Coll. Sabouroff</i>, i., pl. 29), and a relief +from Cumae (Roscher, <i>Lexicon</i>, p. 2555). For a list of +reliefs with figures of horsemen, see Furtwaengler, <i>Coll. +Sabouroff</i>, i., p. 40; Roscher, <i>Lexicon</i>, p. 2556. It has +been thought that the horse is shown in these subjects on +account of its association with Hades, but in some instances, +if not in all, it relates to the pursuits and status of the +deceased, and is introduced for the use of its master, and +not for any Chthonian significance.</p> +<blockquote> +<p><i>Reliefs from Lycia.</i>—See below, p. <a class="ask" href="#page350">350</a>.</p> +</blockquote> + +<h4><span class="sc">Votive Reliefs.</span></h4> + +<p>A votive offering is, in its essence, a present made to a +god or to a superior being, in order to secure some favour +in the future, or to avert anger for a past offence, or to express +gratitude for a favour received. The last purpose includes +offerings made in fulfilment of a vow, the vow being +a kind of contract between the individual and the god. +Sometimes also objects were offered, nominally as gifts to +the god, but in reality in order that they might be secure.</p> + +<p>Votive offerings cover the whole field of life including +persons, lands, buildings, and, in particular, objects +appropriate (<span class="sc">a</span>) to the god or his worship, or (<span class="sc">b</span>) to the +dedicator and the cause of his dedication.</p> + +<p><span class="sc">a.</span> Objects appropriate to the god include temples +(compare the inscription of Alexander from Prienč, in the +Hall of Inscriptions); parts of a temple (compare the +columns dedicated by Croesus, No. 29); images of the +god represented in an appropriate attitude (compare +the reliefs, Nos. 770-794); objects connected with the +worship of the god and temple furniture (compare the +stool in the Hall of Inscriptions, dedicated by Philis to +<span class="pagenum"><a name="page303" id="page303"></a>303</span> +Demeter, and the vases from Naucratis in the First Vase +Room); or lastly, attributes of the god, such as the owl +of Athenč (No. 560), and the pigs found in the shrine of +Demeter at Knidos, now in the Mausoleum Room.</p> + +<p><span class="sc">b.</span> Objects appropriate to the dedicator or the cause +of his dedication include portraits of the dedicator, +such as the statue of Chares (No. 14), or of the priestess +Nicoclea, found in the temenos of Demeter of Knidos, +or the statuette of the hunter of Naucratis (No. 118); +spoils won in battle, as the helmet dedicated by Hiero, in +the Etruscan Room; figures of victorious horses (No. 814); +symbolic offerings such as the dedication of the hair or +the down of the beard to Poseidon (cf. No. 798), or to a +river god (Paus. viii., 41, 3); offerings connected with +remarkable cures (compare Nos. 799-810, and, perhaps, +the relief of Xanthippos, No. 628).</p> + +<p>Where the object itself is perishable or otherwise unsuitable +as an offering, the sculptured representation takes +its place, by a natural process. Thus we have a representation +of the hair, in place of the actual hair (No. 798), +and the reliefs with limbs, mentioned above (Nos. 799-810). +It has been already suggested that in the Sepulchral +Banquet reliefs, which might be classed as votive reliefs, +the banquet is represented in sculpture as a substitute for +the actual offerings of food.</p> + +<p>A special class of votive reliefs consists of those which +are found at the head of decrees, treaties, and similar +political documents. An Athenian treaty, for example, +is headed by a representation of Athenč, and of the patron +deity of the other state, which may appear in the attitude +of a suppliant or adorant. (Compare Schöne, <i>Griech. +Reliefs</i>, Nos. 48-53.) Similarly at the head of a decree of +citizenship or proxenia, the newly admitted citizen appears +as worshipping the goddess (cf. Schöne, No. 93, and p. 20, +and below, Nos. 771-773).</p> +<span class="pagenum"><a name="page304" id="page304"></a>304</span> + +<h3>STELAE SURMOUNTED BY DECORATIVE DESIGNS.</h3> + +<p>For an account of these stelae, see above, <a class="ask" href="#page296">p. 296</a>.</p> + +<p><span class="leftside">599.</span> +Stelč with two rosettes. Above, an acroterion, formed +of acanthus leaves and palmette combined (fig. 24).</p> +<a name="page304a" id="page304a"></a> +<div class="figcenter" style="width: 300px;"><a href="images/27fig24-560.png"><img src="images/27fig24-250.png" width="250" height="470" alt="Fig. 24.--Sepulchral stelč of Smikylion, No. 599." /></a> +<p class="center">Fig. 24.—Sepulchral stelč of Smikylion, No. 599.</p></div> + +<p>Inscribed <ins title="Greek: Smikyliôn Eualkidôu ek Kerameôn">Σμικυλίων +Εὐαλκίδου +ἐκ Κεραμέων</ins>—Smikylion, +son of Eualkides, of the deme of the Cerameicos.—<i>Athens.</i> +<i>Presented by A. Robinson, Esq., R.N.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 9½ inches; width, 1 foot 5½ inches. +<i>Synopsis</i> No. 441. <i>Greek Inscriptions in Brit. Mus.</i>, LXXXVI.; +<i>C.I.A</i>., II., 2139. +</p> + +<p><span class="leftside">600.</span> +Plain stelč of Hippocrates and Baukis; surmounted by +an acroterion in low relief, of palmette form.</p> + +<p>Inscribed <ins title="Greek: Hippokratęs, Baukis">Ἱπποκράτης, +Βαυκίς</ins>. Below the surface of the +<span class="pagenum"><a name="page305" id="page305"></a>305</span> +stelč is flat, and probably was painted.—<i>Athens.</i> <i>Elgin +Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 4 feet 1 inch; width, 1 foot 3 inches. <i>Mus. +Marbles</i>, IX., pl. 29, fig. 4. <i>Synopsis</i>, No. 351 (175); Ellis, <i>Elgin +Marbles</i>, II., p. 152; <i>C.I.G.</i>, 958; <i>C.I.A.</i>, II., 3810. <i>Greek +Inscriptions in Brit. Mus.</i>, CXX. +</p> + +<p><span class="leftside">601.</span> +Fragment of a plain stelč, surmounted by an acroterion, +in the form of a palmette in low relief, springing from +acanthus leaves.</p> + +<p>Inscribed <ins title="Greek: Assklępiodôros Thrasônos Olynthios, Epikydęs Asklępiodôrou Olynthios" +>Ἀσσκληπιόδωρος +Θράσωνος +Ὀλύνθιος, +Ἐπικύδης +Ἀσκληπιοδώρου +Ὀλύνθιος</ins>—Asclepiodoros, son of Thrason, of +Olynthos; Epikydes, son of Asclepiodoros, of Olynthos.—<i>Probably +from Athens.</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 5 inches; width, 1 foot ¾ inch. <i>Mus. +Marbles</i>, IX., pl. 29, fig. 2; <i>Synopsis</i>, No. 258 (169); Ellis, +<i>Elgin Marbles</i>, II., p. 152; <i>C.I.G.</i>, 879; <i>C.I.A.</i>, II., 3243; <i>Greek +Inscriptions in Brit. Mus.</i>, CVI. +</p> + +<p><span class="leftside">602.</span> +Acroterion in form of palmette from a stelč.—<i>Athens.</i> +<i>Inwood Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 9 inches; width, 1 foot 10 inches. +<i>Synopsis</i>, No. 418. +</p> + +<p><span class="leftside">603.</span> +Acroterion, from a stelč, of palmette form, springing +from acanthus leaves.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 10 inches. <i>Synopsis</i>, No. 414; Inwood, +<i>Erechtheion</i>, pl. 31, p. 147. +</p> + +<p><span class="leftside">604.</span> +Fragment of an acroterion of a stelč in form of a palmette +springing from acanthus leaves.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 8½ inches; width, 11 inches. <i>Synopsis</i>, +No. 191 (95). <i>Mus. Marbles</i>, IX., pl. 29, fig. 3. +</p> +<a name="n605" id="n605"></a> +<p><span class="leftside">605.</span> +Stelč, surmounted by acroterion. One central palmette, +and two half palmettes at the sides spring from acanthus +leaves.</p> +<span class="pagenum"><a name="page306" id="page306"></a>306</span> + +<p>Inscribed <ins title="Greek: Eumachos Euthymachou [A]lôpe[k]ęthe[n]">Εὔμαχος +Εὐθυμάχου +[Ἀ]λωπέ[κ]ηθε[ν]</ins>—Eumachos, +son of Euthymachos, of the deme of Alopekč.</p> + +<p><i>Athens.—Obtained by Chandler in his Expedition for the +Society of Dilettanti in</i> 1765, <i>and presented by the Society.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 8 inches; width, 1 foot 5¼ inches. +<i>Synopsis</i>, No. 283 (292*); <i>C.I.G.</i>, 579; <i>C.I.A.</i>, II., 1812. <i>Greek +Inscriptions in Brit. Mus.</i>, LXXIX.; <i>Stereoscopic</i>, No. 121; +Wolters, No. 1104. +</p> + +<p><span class="leftside">606.</span> +Top of stelč, with central palmette and two half +palmettes, springing from acanthus leaves. <i>Found in the +side of a mound, near Maritza, Rhodes.</i></p> + +<p class="indent"> +Marble; height, 2 feet 3 inches; width, 2 feet 3¼ inches. +</p> + +<p><span class="leftside">607.</span> +Upper part of stelč, surmounted by a central palmette +and two half palmettes, springing from acanthus leaves. +Similar to last, but in lower relief.</p> + +<p><i>Probably from Athens. Formerly in the collection of Lord +Elgin.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 7 inches; width, 1 foot 1¾ inches. +<i>Journ. of Hellen. Studies</i>, VI., p. 42, No. 2. +</p> + +<p><span class="leftside">608.</span> +Upper part of stelč, surmounted by a central palmette, +and two palmettes at the sides, broken.</p> + +<p>Inscribed <ins title="Greek: Chabrias Salyprianos">Χαβρίας +Σαλυπριανός</ins>. +Chabrias of Selymbria.—<i>Athens? +Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 7 inches; width, 1 foot 5½ inches. +<i>Synopsis</i>, No. 290 (226); <i>Mus. Marbles</i>, IX., pl. 30, fig. 1; +<i>C.I.G.</i>, 888; <i>C.I.A.</i>, II., 3296; Ellis, <i>Elgin Marbles</i>, II., p. 152; +<i>Greek Inscriptions in Brit. Mus.</i>, CVII. +</p> + +<p><span class="leftside">609.</span> +Top of stelč, in form of a capital of a pilaster with a +palmette between two volutes springing from acanthus +leaves, and an egg and dart moulding. Late work.</p> + +<p><i>Probably from Athens. Formerly in the collection of Lord +Elgin.</i></p> + +<p class="indent"> +Pentelic marble; height, 9¾ inches; width, 11 inches. <i>Journ. of +Hellen. Studies</i>, VI., p. 43, No. 6. +</p> +<span class="pagenum"><a name="page307" id="page307"></a>307</span> + +<p><span class="leftside">610.</span> +Top of stelč, in the form of the capital of a pilaster; +treated in a similar way to the capitals of the Tower of +the Winds. (Compare No. 447.) Late work.</p> + +<p><i>Probably from Athens. Formerly in the collection of Lord +Elgin.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 2 inches; width, 1 foot 6 inches. +</p> + +<p><span class="leftside">611.</span> +Upper part of stelč, with three rosettes; surmounted +by a large acroterion.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 3 feet 8 inches; width, 1 foot 11½ inches. The +collection of sculptures from Kertch was obtained by Colonel +Westmacott during the occupation of the town by the British +and French troops in 1856. +</p> + +<p><span class="leftside">612.</span> +Stelč, surmounted by acroterion.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 3 feet; width, 1 foot 11 inches. +</p> + +<p><span class="leftside">613.</span> +Stelč, with two rosettes in front and one at each side; +surmounted by acroterion.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 10 inches; width, 1 foot 10 inches. +</p> + +<p><span class="leftside">614.</span> +Top of stelč with rosettes. Originally surmounted by +a large acroterion of which only the acanthus leaves at +the base remain.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 6 inches; width, 2 feet 4 inches. +</p> + +<p><span class="leftside">615.</span> +Upper part of stelč. Two rosettes in front and one on +each side; above an acroterion, of which the top is +wanting.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 11 inches; width, 1 foot 11 inches. +</p> + +<p><span class="leftside">616.</span> +Fragment of palmette from the acroterion of a stelč.—<i>Kertch.</i></p> + +<p class="indent"> +Marble; height, 1 foot 7 inches; width, 1 foot 11 inches. +</p> +<span class="pagenum"><a name="page308" id="page308"></a>308</span> + +<p><span class="leftside">617.</span> +Palmette from top of stelč.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 6 inches; width, 1 foot 7½ inches. +</p> + +<p><span class="leftside">618.</span> +Top of stelč, with acanthus leaves forming the base of +the acroterion. The leaves are only sketched in outline +on the front, but have been finished on the right and +left.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 3 inches; width, 2 feet 3 inches. +</p> + +<h3>SEPULCHRAL MONUMENTS WITH SCENES FROM DAILY LIFE.</h3> + +<p><span class="leftside">619.</span> +Cast of the sepulchral relief of Hegeso. A lady, Hegeso, +is seated on a chair, with a foot-stool. She appears to be +taking a necklace from a box which is held by a servant +standing before her. Hegeso is richly dressed in a chiton +with short sleeves, himation and sandals. Her hair is +confined by a <i>sphendonč</i>, or band, broadest in front. The +servant has a close-fitting cap, and a plain chiton with +long sleeves. The relief is bounded by two pilasters +surmounted by a pediment, with acroteria.</p> + +<p>Inscribed <ins title="Greek: Hęgęsô Proxeno(u)">Ἡγησὼ +Προξένο(υ)</ins>—Hegeso daughter of +Proxenos.</p> + +<p>This relief, which is unequalled for its grace and +delicacy, appears to belong to the close of the fifth century +<span class="sc">b.c.</span> The original, of Pentelic marble, is <i>near the Dipylon +at Athens</i>, where it was discovered in 1870.</p> + +<p class="indent"> +Height, 4 feet 9¾ inches; width, 3 feet 1 inch. <i>Arch. Zeit.</i>, 1871, +pl. 43, p. 19; <i>C.I.A.</i>, II., 3753; Mitchell, p. 502; Waldstein, +<i>Essays</i>, p. 309; Wolters, No. 1030; Conze, <i>Attische Grabreliefs</i>, +No. 68, pl. 30; <i>Stereoscopic</i>, No. 123. +</p> + +<p><span class="leftside">620.</span> +Cast of the sepulchral monument of Ameinocleia. A +lady is engaged with a girl who is adjusting a sandal on +her left foot. She chiefly supports herself on the right +<span class="pagenum"><a name="page309" id="page309"></a>309</span> +foot, and helps her balance by touching with her hand +the head of the maid kneeling before her. As in the +monument of Hegeso (No. 619), there is a marked contrast +between the mistress, richly draped in a chiton and +himation, and the girl before her, who has a plain long-sleeved +chiton and a cap. On the left is a female figure, +perhaps a sister of Ameinocleia. She seems to be reading +a tablet. The composition is framed by two pilasters, +surmounted by a pediment.</p> + +<p>Inscribed <ins title="Greek: Ameinokleia Andromeno(u)s thugatęr L...">Ἀμεινόκλεια +Ἀνδρομένο(υ)ς +θυγάτηρ Λ . . .</ins> Ameinocleia, +daughter of Andromenes.... This relief appears to +belong to the close of the 5th century B.C. The original, +of Pentelic marble, which is now at <i>Athens</i>, was discovered +in 1836 <i>at the Piraeus</i>.</p> + +<p class="indent"> +Height, 4 feet 4¾ inches; width, 2 feet 3½ inches. Le Bas, <i>Mon. Fig.</i>, +pl. 65. <i>C.I.A.</i>, II., 2687; Mitchell, p. 500; Wolters, No. 1032; +<i>Stereoscopic</i>, No. 123. +</p> + +<p><span class="leftside">621.</span> +Fragment of relief. A female figure, richly draped, is +seated on a stool, to the left. The head, right arm, and +knees are wanting.—<i>Athens.</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 5 inches; width, 1 foot 5 inches. +<i>Mus. Marbles</i>, IX., pl. 39, fig. 3. <i>Synopsis</i>, No. 280 (279). +</p> + +<p><span class="leftside">622.</span> +Fragment of relief. The upper part of a female figure, +richly draped, and seated, with her left hand raised, the +left elbow supported by the right hand. Very high +relief.—<i>Athens.</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 7 inches; width, 1 foot 11½ inches. +<i>Synopsis</i>, No. 419. +</p> + +<p><span class="leftside">623.</span> +Fragment of relief. Draped male figure seated, three-quarters +turned to the right, on a chair with a footstool. +The head is wanting. Behind is part of a draped female +figure standing. Her right arm is bent at the elbow, and +crosses her breast.</p> + +<p class="indent"> +Marble; height, 4 feet 11 inches; width, 2 feet 10½ inches. +</p> +<span class="pagenum"><a name="page310" id="page310"></a>310</span> + +<p><span class="leftside">624.</span> +Fragment of a relief. Torso of a male figure, wearing a +mantle about his legs and over the left shoulder. Head, +right leg, and left foot are wanting.—<i>Athens.</i> <i>Strangford +Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 6½ inches; width, 1 foot 3 inches. +</p> + +<p><span class="leftside">625.</span> +A nude youth stands, half turned to the left, and takes +some object, perhaps a lekythos, from a boy standing +before him. The boy is nude except for a chlamys +thrown over his left shoulder, which is probably that of +the older youth. Compare the Parthenon frieze, north side, +figure No. 110. The relief is bounded by two pilasters +surmounted by a pediment. On the side of one of the +pilasters is the inscription <ins title="Greek: ĘDD">ΗΔΔ</ins>.—<i>Delos.</i> <i>Presented by +A. E. Impey, Esq., 1825.</i></p> + +<p class="indent"> +Marble; height, 6 feet 5 inches; width, 3 feet 8½ inches. <i>Mus. +Marbles</i>, XI., pl. 50; Ellis, <i>Townley Gallery</i>, II., p. 205. +</p> + +<p><span class="leftside">626.</span> +A nude male figure, Tryphon, stands, half turned to the +left, having a chlamys above the left arm, and a strigil in +the right hand. The attitude is similar to that of the +Hermes of Andros. Compare the copy from the Farnese +Collection in the British Museum.</p> + +<p>Inscribed <ins title="Greek: Tryphôn Eutychou">Τρύφων +Εὐτύχου</ins>—Tryphon, son of Eutychos.—<i>Athens.</i> +<i>Collection of Rev. F. V. J. Arundell.</i></p> + +<p class="indent"> +Pentelic marble; height, 5 feet 11 inches; width, 3 feet. Restored: +right hand upper corner. <i>Mus. Marbles</i>, XI., pl. 49; <i>C.I.A.</i>, +III., 3391; <i>Greek Inscriptions in Brit. Mus.</i>, CXXIX. +</p> +<a name="n627" id="n627"></a> +<p><span class="leftside">627.</span> +Figure of a youth, standing, holding a bird, within a +distyle portico, of which the left side is wanting. (Pl. xi., +fig. 3.)—<i>Athens.</i> <i>Strangford Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 3 feet 1 inch; width, 11½ inches. <i>Arch. +Anzeiger</i>, 1864, p. 164,* No. 2. +</p> +<a name="n628" id="n628"></a> +<p><span class="leftside">628.</span> +Sepulchral monument of Xanthippos. An elderly +bearded figure is seated on a chair. He holds a foot in +<span class="pagenum"><a name="page311" id="page311"></a>311</span> +his extended right hand. Diminutive figures of a woman +and a girl stand beside him. The girl is gazing at the +foot, and raises her hands towards it, while the woman +looks towards Xanthippos. She holds a bird in her right +hand. It has been supposed that the foot is a votive +offering, to commemorate a remarkable cure. Wolters, +however, explains the object as a shoemaker's last + +(<ins title="Greek: kalapous">καλάπους</ins>, +cf. <i>Monumenti dell' Inst.</i>, xi. pl. 29), and interprets it as an +allusion to the trade of Xanthippos. This theory hardly +accounts for the gestures of the attendant figures.</p> + +<p>Above the relief is a pediment, +inscribed <ins title="Greek: Xanthippos">Ξάνθιππος</ins>. +(Pl. xi., fig. 2.)</p> + +<p><i>Brought from the monastery of Asomato or Petraki at Athens +by Dr. Anthony Askew about 1747.</i> <i>Townley Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 9 inches; width, 1 foot 8 inches. +<i>Burney MSS.</i>, No. 402; <i>Mus. Marbles</i>, X., pl. 33; Ellis, <i>Townley +Gallery</i>, II., p. 106; <i>C.I.G.</i>, 980; <i>C.I.A.</i>, II., 4040; <i>Greek +Inscriptions in Brit. Mus.</i>, CXXIII.; Wolters, No. 1019; +Brueckner, <i>Von den griech. Grabreliefs</i>, p. 26. +</p> + +<p><span class="leftside">629.</span> +Sepulchral monument of Jason. A physician, Jason, +an elderly bearded man, is seated on a stool. Before him +stands a boy, undergoing examination, and clearly shown +to be suffering, by his swollen belly and wasted limbs. +On the right is a vessel of peculiar form, resembling a +cupping glass, but on a scale out of all proportion to that +of the group, and not to be considered as a part of it.</p> + +<p>The inscription runs: <ins title="Greek: Iasôn ho kai Dekmos Acharneus iatros, k.t.l.">Ἰάσων +ὁ καὶ Δέκμος +Ἀχαρνεὺς +ἰατρός, +κ.τ.λ.</ins>, and contains the names of 'Jason, called also +Decimus, of the Acharnian deme, a physician,' and of other +members of his family. The relief is surmounted by a +row of roughly indicated antefixal tiles.</p> + +<p><i>Obtained by Fauvel in Athens; afterwards in the Choiseul-Gouffier +and Pourtalčs Collections.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 7 inches; width, 1 foot 10½ inches. +<i>C.I.G.</i>, 606; <i>C.I.A.</i>, III., 1445; Panofka, <i>Antiques du Cabinet</i> +<span class="pagenum"><a name="page312" id="page312"></a>312</span> +<i>Pourtalčs</i>, p. 78, pl. 26; <i>Greek Inscriptions in Brit. Mus.</i>, +LXXXI.; Wolters, No. 1804. On the cupping vessel see the +two references last cited. +</p> + +<p><span class="leftside">630.</span> +Sepulchral monument of Agathemeris and Sempronios +Niketes. Draped male and female figures stand to the +front. The woman wears the dress of a priestess of Isis, +with a sistrum in her right hand and a vase in her left +hand.</p> + +<p>Inscribed <ins title="Greek: Agathęmeris S Ę Aphrodeisiou ek Kol(l)yteôn. Senprônios Nikętęs Kollyteus." +>Ἀγαθημερὶς +Σ Η Ἀφροδεισίου +ἐκ Κολ(λ)υτέων. +Σενπρώνιος +Νικήτης +Κολλυτεύς</ins>. +The letters <ins title="Greek: S Ę">Σ Η</ins> have not +been explained.</p> + +<p>Discovered, in 1826, <i>between Athens and the Piraeus</i>.—<i>Presented +by Gen. Malcolm.</i></p> + +<p class="indent"> +Pentelic marble; height, 5 feet 6½ inches; width, 3 feet. <i>C.I.G.</i>, +662<i>b</i>; <i>C.I.A.</i>, III., 1760. +</p> + +<p><span class="leftside">631.</span> +Figure of a youth, a son of one Diodoros, standing, +with a chlamys wrapped about his left arm. He holds +a cup (?) in the right hand and a strigil in the left hand. +Beside him, a diminutive figure of a nude boy holding a +strigil. A tree on the left.</p> + +<p>Inscribed +<ins title="Greek: ... Diodôrou, chręste, [chaire"> . . . Διοδώρου, +χρῆστε, [χαῖρε</ins>.—<i>Rhenea.</i> <i>From +the Earl of Belmore's Coll.</i></p> + +<p class="indent"> +Parian marble; height, 4 feet; width, 1 foot 8 inches. <i>C.I.G.</i>, 2313. +</p> +<a name="n632" id="n632"></a> +<p><span class="leftside">632.</span> +Upper part of a sepulchral relief. A draped male +figure is seated on a chair. Before him stands a figure +also draped. In the background, a bearded man and a +woman stand one on each side of the seated person.</p> + +<p>The inscription runs <ins title="Greek: Ari]stonikę Diokleio[us Xy]p[e(taiôn)" +>Ἀρι]στονίκη +Διοκλείο[υς +Ξυ]π[ε(ταίων)</ins> +| <ins title="K]ęphisogenęs Kęphisophôntos Xy(petaiôn)"> +Κ]ηφισογένης +Κηφισοφῶντος +Ξυ(πεταίων)</ins> +| <ins title="Arist[o]nikę Kęphisophôntos Xyp(etaiôn)"> +Ἀριστ[ο]νίκη +Κηφισοφῶντος +Ξυπ(εταίων) </ins> +| <ins title="Kęphisophôn Kęphisodôrou Xype(taiôn)"> +Κηφισοφῶν +Κηφισοδώρου +Ξυπε(ταίων)</ins>. +It contains the names of Aristonikč, daughter +of Diocles, of Xypetč; of Kephisogenes and Aristonikč, +probably the children of Kephisophon; and of Kephisophon, +<span class="pagenum"><a name="page313" id="page313"></a>313</span> +son of Kephisodoros of Xypetč.—<i>Obtained in Greece by the +fourth Earl of Aberdeen, and presented by the fifth Earl of +Aberdeen.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot; width, 1 foot 2¼ inches. <i>Greek +Inscriptions in Brit. Mus.</i>, XC.; <i>C.I.A.</i>, II., 2365. +</p> +<a name="n633" id="n633"></a> +<p><span class="leftside">633.</span> +Male figure stands to the left, with right arm extended. +Before him is a table, on which is a large hydria.—<i>Obtained +in Greece by the fourth Earl of Aberdeen, and presented +by the fifth Earl of Aberdeen.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 7½ inches; width, 1 foot ¾ inch. +</p> + +<p><span class="leftside">634.</span> +Beardless male figure stands, wearing a himation. +He has a short staff or scroll in the left hand. The relief +was originally surmounted by a pediment.</p> + +<p>Inscribed <ins title="Greek: Hermodôros Aristomenou(s)">Ἑρμόδωος +Ἀριστομένου(ς)</ins>—Hermodoros, son +of Aristomenes.</p> + +<p class="indent"> +Bluish Greek marble; height, 3 feet 10 inches; width, 1 foot 6½ inches. +</p> + +<p><span class="leftside">635.</span> +Bearded figure stands, draped in a himation. The +stelč is surmounted by a bulbous ornament not worked +in relief. Inscribed <ins title="Greek: E]rasippos, [Ka]llenikou [Kr]iôeus">Ἐ]ράσιππος, +[Κα]λλενίκου +[Κρ]ιωεύς</ins>.—Erasippos, +son of Callenicos of Crioa.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 1 inch; width, 9 inches. <i>Mus. +Marbles</i>, IX., pl. 30, fig. 3; <i>C.I.G.</i>, 665; <i>C.I.A.</i>, II., 2223; +<i>Greek Inscriptions in Brit. Mus.</i>, LXXXVIII. +</p> + +<p><span class="leftside">636.</span> +Stelč fitting into a base. Figures of an athlete +anointing himself, and of an attendant holding spear +and drapery.</p> + +<p class="indent"> +Marble; height, 1 foot 11 inches; width, 1 foot 3½ inches. +</p> +<a name="n637" id="n637"></a> +<p><span class="leftside">637.</span> +Fragment of sepulchral relief, containing the upper +parts of a bearded man and a woman conversing. On +the left a younger female figure.</p> + +<p>Inscribed: <ins title="Greek: Aristodikę, Aristarchos, Athęnaďs, Sęstioi">Ἀριστοδίκη, +Ἀρίσταρχος, +Ἀθηναΐς, +Σήστιοι</ins>—Aristodikč, +Aristarchos, and Athenais, of Sestos.—<i>Athens.</i> +<span class="pagenum"><a name="page314" id="page314"></a>314</span> +<i>Found by Chandler, fixed in the wall of a church, on the road +to Cephisia. Presented by the Society of Dilettanti.</i></p> + +<p class="indent"> +Pentelic marble; height, 7¾ inches; width, 1 foot 2½ inches. Chandler, +<i>Inscriptions Ant.</i>, Part II., No. 95; <i>Synopsis</i>, No. 336 (236*); +<i>C.I.G.</i>, 892; <i>C.I.A.</i>, II., 3313; <i>Greek Inscriptions in Brit. Mus.</i>, +CVIII. +</p> + +<p><span class="leftside">638.</span> +A bearded figure, Aristocles, rides a prancing horse +and places his right hand on its head. A youth in a +short chiton runs behind the horse. Inscribed:</p> + +<div class="poem"><div class="stanza"> +<p><ins title="Greek: Polla meth' hęlikias homoęlikos hędea paisas"> +Πολλὰ +μεθ' ἡλικίας +ὁμοήλικος +ἡδέα παίσας </ins></p> +<p class="i2"><ins title="Greek: ek gaias blastôn gaia palin gegona"> +ἑκ γαίας +βλαστὼν +γαῖα πάλιν +γέγονα</ins>.</p> +<p><ins title="Greek: Eimi de Aristoklęs Peiraieus, pais de Menônos"> +Εἰμὶ +δὲ +Ἀριστοκλῆς +Πειραιεὺς, +παῖς δὲ +Μένωνος</ins>.</p> + </div></div> + +<p>'After many pleasant sports with my comrades, I who +sprang from dust, am dust once more. I am Aristocles, of +the Piraeus, son of Menon.'—<i>Athens.</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 8 inches; width, 1 foot 6 inches. +Stuart, III., p. 56; Chandler, <i>Inscriptions Ant.</i>, Part II., No. 78 +("fixed in a wall at the door of the Greek School"); <i>Mus. +Marbles</i>, IX., pl. 34, fig. 3; <i>Synopsis</i>, No. 384 (213); <i>C.I.G.</i>, 749; +<i>C.I.A.</i>, II., 2442; <i>Greek Inscriptions in Brit. Mus.</i>, XCII.; +Kaibel, 75. +</p> +<a name="n639" id="n639"></a> +<p><span class="leftside">639.</span> +A priestess stands, with chiton, and a knotted himation +bordered with a fringe; she holds a key in her right hand, +and a basket in her left hand. On the right is a tree. +Above, a pediment with acroteria and a rosette; also an +honorary wreath.</p> + +<p>Inscribed: <ins title="Greek: Ho dęmos Isiada Mętrodôrou Laodikida">Ὁ δῆμος +Ἰσιάδα +Μητροδώρου +Λαοδικίδα</ins>.—Decreed +by the people, in honour of Isias of Laodicea, +daughter of Metrodoros.—<i>Smyrna.</i> <i>Presented by M. Duane +and T. Tyrwhitt, Esqs., 1772.</i></p> + +<p class="indent"> +Bluish Greek marble; height, 4 feet 2¼ inches; width, 1 foot 11 +inches. Montfaucon, <i>Ant. Expl. Suppl.</i>, V., p. 25; <i>Archaeologia</i>, +III., pl. 11, fig. 1; Ellis, <i>Townley Gallery</i>, II., p. 161; <i>C.I.G.</i>, +3234. +</p> +<span class="pagenum"><a name="page315" id="page315"></a>315</span> + +<p><span class="leftside">640.</span> +A draped female figure, seated on a chair, holds out a +corner of her veil with her right hand. Another female +figure stands before her, closely wrapped in her mantle. +A diminutive female figure is in the right-hand corner of +the relief. The relief is bounded by pilasters, a circular +arch, and a pediment.</p> + +<p class="indent"> +Parian marble? height, 3 feet; width, 2 feet 4 inches. +</p> + +<p><span class="leftside">641.</span> +Fragment of sepulchral stelč, with the lower part of a +female figure moving to the right.—<i>From Mycenae.</i> +<i>Inwood Coll.</i></p> + +<p class="indent"> +Red marble; height, 10 inches; width, 10¾ inches. <i>Synopsis</i>, No. 427. +</p> +<a name="n642" id="n642"></a> +<p><span class="leftside">642.</span> +Late sepulchral relief. A female figure, seated on a +stool, holds her mantle, which passes over her head, +with the left hand, and a scroll (?) in her right hand. +The relief is surmounted by an arch and rosettes, above +which is a pediment with acroteria, unfinished, and a +rosette.</p> + +<p>Inscribed: <ins title="Greek: Mousis Argaiou Milęsia">Μοῦσις +Ἀργαῖου +Μιλησία</ins>. Mousis, daughter +of Argaios of Miletus.—<i>Athens.</i> <i>Found by Chandler. Presented +by the Society of Dilettanti.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 2¾ inches; width, 1 foot 2¼ inches. +Chandler, <i>Inscriptiones Ant.</i>, Part II., No. 91; <i>Synopsis</i>, 1st ed., +Room VI., No. 27 (where Thomas Hollis is incorrectly said to be +the donor); Ellis, <i>Townley Gallery</i>, II., p. 171; <i>C.I.G.</i>, 726; +<i>Greek Inscriptions in Brit. Mus.</i>, CIII. +</p> +<a name="n643" id="n643"></a> +<p><span class="leftside">643.</span> +A female figure, draped, and seated on a stool, raises +her right hand to draw her peplos over her head. A +draped male figure stands before her, and a boy at the +left corner; above is a pediment.</p> + +<p>Inscribed with a name now illegible, and <ins title="Greek: chaire">χαῖρε</ins>.—<i>Found +in a store at Portsmouth. Probably from Smyrna.</i></p> + +<p class="indent"> +Marble; height, 2 feet; width, 1 foot 2½ inches. +</p> +<span class="pagenum"><a name="page316" id="page316"></a>316</span> +<a name="n644" id="n644"></a> +<p><span class="leftside">644.</span> +Sepulchral relief, mutilated on the left. A female figure +draped and seated on a chair, draws her peplos over her +shoulder with her left hand. Above, a pediment.</p> + +<p>Inscribed with a name now illegible, terminating in <ins title="Greek: ô">ω</ins>, +and <ins title="Greek: chairete hapantes">χαίρετε +ἅπαντες</ins>.—<i>Obtained by the fourth Earl of Aberdeen +in Greece, and presented by the fifth Earl of Aberdeen.</i></p> + +<p class="indent"> +Marble; height, 1 foot 9½ inches; width, 1 foot ½ inch. <i>Greek Inscriptions +in Brit. Mus.</i>, CXXXIII.; Conze, <i>Attische Grabreliefs</i>, +No. 46; pl. 23, fig. 1. +</p> + +<p><span class="leftside">645.</span> +Lower part of sepulchral relief, much mutilated. A +female figure is seated to the front on a lofty throne. +She holds a fruit in her left hand. On the left is a +youth with a box; and on the right a female figure, +whose right hand was raised to her chin. The arms of +the throne are supported by Sphinxes.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 1 foot 8 inches; width, 2 feet 2 inches. +</p> + +<p><span class="leftside">646.</span> +A female figure, Demetria, seated on a chair, extends +her right hand to a box, held by a girl standing before +her; behind is another standing female figure.</p> + +<p>Inscribed: <ins title="Greek: [D]ęmętria">[Δ]ημητρία</ins>.—<i>Probably from Athens.</i> +<i>Obtained by the fourth Earl of Aberdeen, and presented by the fifth Earl of Aberdeen.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet ½ inch; width, 1 foot 1 inch. <i>Greek +Inscriptions in Brit. Mus.</i>, CXIII.; <i>C.I.A.</i>, III., 3072. +</p> + +<p><span class="leftside">647.</span> +Lower part of a sepulchral relief. A fully draped +female figure, wanting above the breast, is seated on a +stool. The left hand was probably raised to the chin or +to the veil. Before her, a female figure of which nothing +remains except a portion of drapery, from the knees downwards. +A small boy stands at the knee of the seated +woman, and raises his right hand.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 6 inches; width, 1 foot 3 inches. +<i>Mus. Marbles</i>, IX., pl. 39, fig. 2; <i>Synopsis</i>, No. 196 (162). +</p> +<span class="pagenum"><a name="page317" id="page317"></a>317</span> + +<p><span class="leftside">648.</span> +Boy seated on a rock fishing with a rod and line for a +large fish, a basket in his left hand. Above a pediment.</p> + +<p>Inscribed in rude late characters, <ins title="Greek: Agathęme<t>ros Asiachô syntrophô mnęmęs charin" +>Ἀγαθήμε<τ>ρος +Ἀσιαχῷ +συντρόφῶ +μνημῆς +χάριν</ins>.—Placed by Agathemeros in +memory of his foster brother Asiachos.—<i>Athens.</i> <i>Purchased +from the Besborough Coll. 1801.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 2 inches; width, 10½ inches. <i>C.I.G.</i>, 6892.</p> + +<p><span class="leftside">649.</span> +A girl, seated on a stool, holds an open scroll on her lap. +Before her is a column, on which is another scroll (?); +on the left is a dog raising a paw. The relief is bounded +by pilasters and a pediment, slightly sketched out.</p> + +<p>Inscribed: <ins title="Greek: Abeita zęsasa etę [=i] męnas dyo · chairete">Ἀβείτα +ζήσασα +ἔτη ῑ +μῆνας δύο · +χαίρετε</ins>—Avita, +who lived ten years and two months. Hail.—<i>Townley +Coll.</i></p> + +<p class="indent"> +Parian marble; height, 1 foot 1 inch; width, 11 inches. Ellis, +<i>Townley Gallery</i>, II., p. 165. <i>C.I.G.</i>, 6866; Wolters, No. 1811. +</p> + +<p><span class="leftside">650.</span> +Youthful female figure, standing, holding an ivy-leaf +fan in the right hand, and a part of the mantle with the +left hand.</p> + +<p>Inscribed: <ins title="Greek: Synphoro[n] Hęrakleid[ou] Karystia">Σύνφορο[ν] +ᾙρακλείδ[ου] +Καρυστία</ins>. Synphoron, +of Carystos, daughter of Heracleides.—<i>Athens?</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 7 inches; width, 11½ inches. <i>C.I.G.</i>, +857; <i>C.I.A.</i>, III., 2510; <i>Greek Inscriptions in Brit. Mus.</i>, CI. +</p> +<a name="n651" id="n651"></a> +<p><span class="leftside">651.</span> +Nude figure of boy, standing, with chlamys thrown +over his left shoulder. He holds a partridge in his left +hand, and holds its beak with his right hand.</p> + +<p>Inscribed: <ins title="Greek: Menekratęs Menônos">Μενεκράτης +Μένωνος</ins>—Menecrates, son of +Menon.—<i>Athens.</i> <i>Strangford Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 9 inches; width, 11 inches. <i>Greek +Inscriptions in Brit. Mus.</i>, CXXI.; <i>C.I.A.</i>, III., 3276; <i>Arch. +Anzeiger</i>, 1864, p. 164*.</p> +<a name="n652" id="n652"></a> +<p><span class="leftside">652.</span> +Fragment of sepulchral relief. A draped female figure +is seated on a couch, with right hand raised to her veil; +<span class="pagenum"><a name="page318" id="page318"></a>318</span> +before her, two girls, of whom one holds a ball and the +other a fan.—<i>Found in a store at Portsmouth.</i> <i>Probably +from Smyrna.</i></p> + +<p class="indent"> +Marble; height, 10 inches; width, 1 foot 1½ inch. +</p> +<a name="n653" id="n653"></a> +<p><span class="leftside">653.</span> +A boy throws a ball for a dog which springs up towards +him.—<i>Strangford Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 8 inches; width, 10½ inches. <i>Arch. +Anzeiger</i>, 1864, p. 165*. +</p> + +<p><span class="leftside">654.</span> +Draped male figure standing, with a boy at his side; +above an arch, springing from pilasters, and surmounted +by a pediment with rosette and acroteria.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 3¾ inches; width, 1 foot 9½ inches.</p> + +<p><span class="leftside">655.</span> +Sepulchral relief, rude and late. Standing, draped +female figure raises her right hand to her cheek. The +first inscription has been obliterated, and in place of it is +the inscription, <ins title="Greek: SÔT ... NIKE chaire">ΣΩΤ ... ΝΙΚΕ +χαῖρε</ins>.</p> + +<p class="indent"> +Greek marble; height, 2 feet 2½ inches; width, 1 foot. +</p> + +<p><span class="leftside">656.</span> +Sepulchral monument of Artipous. An old woman is +seated wrapped in her mantle, with a pomegranate in her +left hand. A girl stands at her left side holding a box +and a purse (?). The relief is bounded by pilasters, +surmounted by a pediment with acroteria.</p> + +<p>Inscribed: <ins title="Greek: Artipous Alkima">Ἀρτίπους +Ἀλκίμα</ins> +and <ins title="symbol: L"><b>∟</b></ins><ins title="Greek: p">π</ins>. +<ins title="symbol: L"><b>∟</b></ins> is a symbol +chiefly used in Ptolemaic inscriptions to precede a numeral +denoting a year. The inscription therefore appears to +mean '80 years old,' if <ins title="Greek: p">π</ins> is given its usual value.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 4 feet ½ inch; width, 2 feet 5¾ inches. <i>Greek +Inscriptions in Brit. Mus.</i>, CCII.; Latyschev, II., 133. +</p> + +<p><span class="leftside">657.</span> +A draped figure, Theodotč, seated on a throne, raises her +left hand to her veil. Before her a figure of a girl, standing. +The arms of the throne are supported by Sphinxes. +<span class="pagenum"><a name="page319" id="page319"></a>319</span> +Above the relief are an arch, springing from pilasters, +a pediment with acroteria, and rosettes.</p> + +<p>Inscribed: <ins title="Greek: [Theod]otę gynę [Myrinou, chaire]">[Θεοδ]ότη +γυνὴ +[Μυρίνου, +χαῖρε]</ins>.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 5 inches; width, 1 foot 8½ inches. <i>Greek +Inscriptions in Brit. Mus.</i>, CCI.; Latyschev, II., 231. The +restoration is taken from a copy, given by Latyschev, which +was made before the inscription was broken. +</p> + +<p><span class="leftside">658.</span> +A draped female figure, seated on a throne, raises her +left hand to her veil, and holds a mirror in her right +hand. A female figure stands before her. On each side +of the standing figure is a diminutive figure of a girl; +one holds a bird, and the other a vase. Above is a pediment +with acroteria and rosettes.</p> + +<p>Inscribed: <ins title="Greek: Theophilę thyga[tęr]...">Θεοφίλη +θυγά[τηρ] . . .</ins> Theophilč, daughter +of ....—<i>Kertch</i>.</p> + +<p class="indent"> +Limestone; height, 2 feet 5 inches; width, 2 feet. <i>Greek Inscriptions +in Brit. Mus.</i>, CC.; Latyschev, II., 235<i>b</i>. +</p> + +<p><span class="leftside">659.</span> +A female figure, seated on a throne, raises her left +hand to her veil. On right and left are diminutive +figures of girls. The arms of the throne are supported +by Sphinxes. Above is an arch, springing from pilasters, +a pediment with rosettes and acroteria.</p> + +<p>Inscribed: <ins title="Greek: Hellas gynę Męnodôrou, chaire">Ἑλλὰς +γυνὴ +Μηνοδώρου, +χαῖρε</ins>—Hellas, +wife of Menodoros, farewell.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 5 feet 1½ inches; width, 1 foot 11½ inches. <i>Greek +Inscriptions in Brit. Mus.</i>, CXCVII.; Latyschev, II., 228. +</p> + +<p><span class="leftside">660.</span> +A draped female figure, seated on a chair to the front. +The head is wanting. On the left is an attendant figure +of a girl holding a box (<i>pyxis</i>). On the right is a +horseman wearing chlamys, bow-case and bow, and sword. +There is also a small part of a second horseman.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 1 foot 6 inches; width, 2 feet 4 inches. +</p> +<span class="pagenum"><a name="page320" id="page320"></a>320</span> + +<p><span class="leftside">661.</span> +Two horsemen standing to right. The foremost has a +sword, bow, bow-case; the hinder one wears a conical cap. +Above, rosettes and a pediment, surmounted by acroteria.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 3 feet 3 inches; width, 1 foot 11½ inches. +</p> + +<p><span class="leftside">662.</span> +Sepulchral relief, with two panels. The upper panel +contains a mounted horseman in a chlamys, galloping to +the right. Of the lower panel only the upper part with +one head remains. Above the relief is a pediment.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 3 inches; width, 1 foot 5 inches. +</p> + +<p><span class="leftside">663.</span> +Horseman to the right, with tunic, chlamys, and bow-case +with bow. Behind him, an attendant male figure. +Below the horse is a dog running.</p> + +<p>Inscribed: <ins title="Greek: Daďske Ariaramnou, chaire">Δαΐσκε +Ἀριαράμνου, +χαῖρε</ins>—Daďscos, son of +Ariaramnos, farewell.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 6 inches; width, 1 foot 10 inches. <i>Greek +Inscriptions in Brit. Mus.</i>, CLXXXVII.; Latyschev, II., 141. +</p> + +<p><span class="leftside">664.</span> +Sepulchral relief in two panels. The upper part is +broken away. The feet and tail of a horse, and a figure +of a dog standing to right remain. Before the horse are +the legs of a small attendant figure. In the lower panel +is a horseman riding to the right, with bow, bow-case, +sword and long spear. A colt stands beside the horse.</p> + +<p>Inscribed: <ins title="Greek: Artemidôre Dioga epi tęs pinakeidos, chaire">Ἀρτεμίδωρε +Διογᾶ +ἐπὶ τῆς +πινακεῖδος, +χαῖρε</ins>. +Wolters translates, "Hail, Artemidoros, son of Diogas, +officer in charge of the list."—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 3 inches; width, 2 feet 1¾ inches. <i>Greek +Inscriptions in Brit. Mus.</i>, CLXXXIII.; Wolters, No. 1809 +Latyschev, II., 131. +</p> + +<p><span class="leftside">665.</span> +Fragment of relief, with figures of two horsemen standing +confronted. The head of one and the head and body +<span class="pagenum"><a name="page321" id="page321"></a>321</span> +of the other are lost. They have short tunic, cloak, bow +and arrows in bow-case, and a saddle cloth.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 1 foot 5 inches; width, 1 foot 8 inches. +</p> +<a name="n666" id="n666"></a> +<p><span class="leftside">666.</span> +Fragment from the right-hand lower corner of a relief, +which is perhaps sepulchral, with the lower parts of two +mounted horsemen, wearing short tunics, cloaks and +swords, moving rapidly to the left.—<i>Athens.</i> <i>Strangford +Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 7 inches; width, 1 foot 10 inches. +</p> +<a name="n667" id="n667"></a> +<p><span class="leftside">667.</span> +Sepulchral relief. A woman stands to the front wearing +a chiton, and having a mantle wrapped closely about +her. The relief is bounded by pilasters and a high-pitched +pediment, in the tympanum of which is a vase in +low relief. Inscribed <ins title="Greek: Epigona Moschiônos Milęsia">Ἐπιγόνα +Μοσχίωνος +Μιλησία</ins>, Epigona, +wife of Moschio, of Miletus.—<i>Athens.</i> <i>Presented by J. Johnstone, +Esq., 1890.</i></p> + +<p class="indent"> +Pentelic marble? Height, 3 feet 9 inches; width, 1 foot 7 inches. +This relief, which was seen at Athens, "in the court of Giorgaki +Livaditi," by Spon in 1676 and by Fourmont in 1720, was dug +up many years ago below a house in New Bond Street. Spon, +<i>Voyage</i> (ed. 1679), II., p. 445; <i>C.I.G.</i>, 706; <i>C.I.A.</i>, III., 2660. +</p> + +<p><span class="leftside">668.</span> +Fragment of relief, with the body and legs of a boy +walking to the right. The arms appear to have been +raised. A small piece of drapery is seen behind the back +of the boy.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 6 inches. <i>Synopsis</i>, No. 198 (109). +</p> + +<p><span class="leftside">669.</span> +Female head to the front in a somewhat severe style. +Apparently broken from a relief. The features are those +of a young girl. The hair is waved on each side, from a +central parting.—<i>Athens, 1848.</i> <i>Lenormant Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 6¾ inches. +</p> +<span class="pagenum"><a name="page322" id="page322"></a>322</span> + +<p><span class="leftside">670.</span> +Helmeted head in profile to the right; broken from a +relief. Above the helmet is what appears to be part of +a horse's tail.—<i>Inwood Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 7 inches. +</p> + +<p><span class="leftside">671.</span> +Head of a maiden, probably from a sepulchral relief. +She wears a closely-fitting cap, with a small flap hanging +down before the ear. There are remains of the tips +of two fingers and a thumb resting on the top of the +head, which make it probable that the complete figure +was that of an attendant kneeling before her mistress, like +the attendant who fastens the sandal of Ameinocleia +(No. 620).—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 8 inches. <i>Synopsis</i>, No. 250 (114); Ellis, +<i>Elgin Marbles</i>, II., p. 119. +</p> + +<p><span class="leftside">672.</span> +Head of a youth, three-quarters turned to the right, +from the side of a sepulchral relief. He wears a taenia, +and there are traces of drapery which passed over the +shoulder. There is a part of a pilaster on the left +(Pl. xii., fig. 2.)—<i>Athens.</i></p> + +<p class="indent"> +Pentelic marble; height, 8 inches. +</p> + +<p><span class="leftside">673.</span> +Head of a youth, half turned to the right, together +with the neck and part of the breast. From a sepulchral +relief. The waving locks of hair are freely treated. +(Pl. xii., fig. 1.)—<i>Athens.</i></p> + +<p class="indent"> +Pentelic marble; height, 10 inches. The tip of the nose is restored. +</p> + +<p><span class="leftside">674.</span> +Fragment of a sepulchral relief. A male head in high +relief, wearing a taenia, is slightly bent forwards to the +right. There are remains of drapery which passed over +the shoulder. On the left is part of a pilaster which +bounds the relief.</p> + +<p class="indent"> +Marble; height, 6½ inches. +</p> +<span class="pagenum"><a name="page323" id="page323"></a>323</span> + +<p><span class="leftside">675.</span> +Female head, probably from a sepulchral relief. The +neck is much bent. A portion of the right hand remains +clasping the top of the head.</p> + +<p class="indent"> +Marble; height, 6 inches. +</p> + +<p><span class="leftside">676.</span> +Fragment of the head of a youth, perhaps from a sepulchral +relief. A band passes across the forehead immediately +below the hair.—<i>Excavated by J. T. Wood, at +Ephesus.</i></p> + +<p class="indent"> +Marble; height, 5 inches. +</p> + +<p><span class="leftside">677.</span> +Portrait head of a bearded man. This head appears to +be derived from a sepulchral monument in very high +relief, and to have been turned to the left, as the left side +is carefully finished, while the right side is rough and +inaccurate.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 10½ inches. <i>Synopsis</i>, No. 242 (120). +</p> +<a name="n678" id="n678"></a> +<p><span class="leftside">678.</span> +Fragment of the right side of a relief which was probably +sepulchral. A female figure, wearing a sleeved +chiton and mantle, is seated on a chair. She extends her +hands, probably towards a figure now wanting. On the +right is the head of a figure looking to the right, and part +of a pilaster which bounds the scene. On the left is part +of the drapery of a third figure.—<i>Ephesus.</i> <i>Strangford +Coll.</i></p> + +<p class="indent"> +Pentelic marble? Height, 1 foot 4 inches; width, 11 inches. +</p> + +<p><span class="leftside">679.</span> +Fragment of a relief, perhaps sepulchral, containing the +lower part of the body and the right leg of a warrior, who +stands on rocky ground drawing himself rather to the +left. He wears a short chiton, a cuirass with a triple row +of flaps (<i>pteryges</i>), and a mantle. Behind are the legs +from the knees of a recumbent figure. The warrior appears +to have had a shield on the left arm, and the right +<span class="pagenum"><a name="page324" id="page324"></a>324</span> +arm raised for a spear thrust at a fallen enemy.—<i>Found at +the foot of the Inscribed Monument, Xanthos.</i></p> + +<p class="indent"> +Hard limestone; height, 3 feet 4 inches; width, 1 foot 11 inches. +<i>Synopsis</i>, <i>Lycian Room</i>, No. 141<i>b</i>. Joints at both sides show that +the complete work was of considerable size. Compare the scenes +of combat in the entrance of the rock tomb at Kiöbaschi. +Benndorf, <i>Reisen in Lykien</i>, I., p. 135; and at Tyssa, <i>loc. cit.</i>, +II., p. 64. +</p> +<a name="n680" id="n680"></a> +<p><span class="leftside">680.</span> +Figure of bull lying down to the right, on rough +ground. The head is worked in a very natural manner. +The forms of the body are treated in the flat manner of a +bas-relief. The back has been left unfinished. Probably +the bull originally surmounted a tomb, at Athens. (Compare +Curtius and Kaupert, <i>Atlas von Athen</i>, pl. 4.)—<i>Brought +from Greece by C. R. Cockerell.</i> <i>Presented by Lord +Hillingdon.</i></p> + +<p class="indent"> +Pentelic marble; height, 3 feet 2¾ inches; length, 5 feet. <i>Journ. of +Hellen. Studies</i>, VI., pl. C., p. 32. +</p> + +<h3>SEPULCHRAL VASES.</h3> + +<p>For the supposed significance of Vases as Sepulchral +Monuments, see above, p. <a class="ask" href="#page297">297</a>.</p> + +<p><span class="leftside">681.</span> +Plain sepulchral lekythos, in low relief.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 11 inches. <i>Synopsis</i>, No. 164 (276); +<i>Mus. Marbles</i>, IX., pl. 34, fig. 1; Ellis, <i>Elgin Marbles</i>, II., +p. 161. +</p> + +<p><span class="leftside">682.</span> +Sepulchral lekythos, with relief. An old man, Pytharatos, +stands, clasping the hand of a seated man, Herophilos, +who is also old.</p> + +<p>Inscribed: <ins title="Greek: Pytharatos, Hęrophilos">Πυθάρατος, +Ἡρόφιλος</ins>.—<i>Sloane Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 9 inches; diameter, 10¼ inches, Ellis, +<i>Townley Gallery</i>, II., p. 221; <i>Greek Inscriptions in Brit. Mus.</i>, +CXXVI. +</p> +<span class="pagenum"><a name="page325" id="page325"></a>325</span> + +<p><span class="leftside">683.</span> +Plain sepulchral amphora of Phaidimos of Naucratis. +Inscribed: <ins title="Greek: Phaidimos Naukratitęs">Φαίδιμος +Ναυκρατίτης</ins>.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 3 feet 4½ inches; diameter, 11 inches. +<i>Synopsis</i>, No. 124 (A. 51); <i>Mus. Marbles</i>, IX., pl. 33, fig. 4; Ellis, +<i>Elgin Marbles</i>, II., p. 164; <i>Greek Inscriptions in Brit. Mus.</i>, CV.; +<i>C.I.A.</i>, II., 3239. +</p> + +<p><span class="leftside">684.</span> +Body of sepulchral amphora of Timophon, of Anagyrus, +with ornate flutings, and a horizontal band of interwoven +fillets. Rosettes at the base of the handles.</p> + +<p>Inscribed: <ins title="Greek: Timophôn Timostratou Anagyrasios">Τιμοφῶν +Τιμοστράτου +Ἀναγυράσιος</ins>.—<i>Athens?</i> +<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 11 inches; diameter, 1 foot 2 inches. +For the form, cf. vase held by the wind Skiron on the Tower of +the Winds (Stuart, I., chap. III., pl. 19), and the relief from Icaria +(<i>American Journ. of Archaeology</i>, V., p. 178, fig. 30). Published +Dodwell, <i>Tour</i>, 1., p. 451; <i>Synopsis</i> No. 263 (163); <i>Mus. Marbles</i>, +IX., pl. 32, fig. 4; <i>Greek Inscriptions in Brit. Mus.</i>, LXXX.; <i>C.I.G.</i>, +585. Kumanudis (<ins title="Greek: Att. Epig.">Ἀττ. Ἐπιγ.</ins> No. 236, and p. 18) and Köhler +(<i>C.I.A.</i> II., 1850) consider the inscription more recent than the +vase. +</p> + +<p><span class="leftside">685.</span> +Fragment from the top of a sepulchral amphora in +relief, with patterns of foliage.—<i>Formerly in Lord Elgin's +Collection.</i></p> + +<p class="indent"> +Pentelic marble; height, 11 inches. <i>Journ. of Hellen. Studies</i>, VI., +p. 43, No. 4. +</p> + +<p><span class="leftside">686.</span> +Sepulchral cippus of Anaxicrates with an amphora +carved in low relief.</p> + +<p>Inscribed: <ins title="Greek: Anaxikratęs Dexiochou Athęnaios">Ἀναξικράτης +Δεξιόχου +Ἀθηναῖος</ins>.—<i>Athens?</i> +<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet ½ inch. <i>Synopsis</i>, No. 123 (240); +<i>Mus. Marbles</i>, IX., pl. 34, fig. 2; <i>Greek Inscriptions in Brit. +Mus.</i>, XCVI.; <i>C.I.G.</i>, 801. +</p> +<span class="pagenum"><a name="page326" id="page326"></a>326</span> + +<h3>SEPULCHRAL VASES AND RELIEFS, WITH FIGURES CLASPING HANDS.</h3> + +<p>For the various interpretations that have been proposed +for these scenes, commonly known as "Scenes of +Parting," see above, <a class="ask" href="#page297">p. 297</a>.</p> + +<p><span class="leftside">687.</span> +Sepulchral lekythos with relief. A bearded figure +stands before a woman seated on a stool, and clasps her +hand.</p> + +<p>Inscribed: <ins title="Greek: Pamphilos Meixiadou Aigilieus · Archippę Meixiadou">Πάμφιλος +Μειξιάδου +Αἰγιλιεύς · +Ἀρχίππη +Μειξιάδου</ins>—Pamphilos, son of Meixiades, of Aigilia; +Archippč, daughter of Meixiades. The figures represented +are therefore brother and sister.—<i>Found beside +the portico of Hadrian, Athens.</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 4¾ inches; diameter, 1 foot 5 inches. +Stuart I., pp. 44, 52; Dodwell, <i>Tour</i>, I., p. 454; <i>Mus. Marbles</i>, +IX. pl. 33, fig. 2; <i>Synopsis</i> No. 192 (237); Ellis, <i>Elgin Marbles</i>, +II., p. 164; <i>C.I.G.</i>, 560; <i>C.I.A.</i>, II., 1737; <i>Greek Inscriptions in +Brit. Mus.</i>, LXXV. +</p> + +<p><span class="leftside">688.</span> +Sepulchral lekythos with relief. Two female figures, +Philia and Metrodora, stand clasping hands. Two bearded +figures, Mys and Meles, stand, one on the left and one on +the right, each turning towards the central group.</p> + +<p>Inscribed: <ins title="Greek: Mys, Philia, Mętrodôra, Melęs">Μύς, Φιλία, +Μητροδώρα, +Μέλης</ins>.—<i>Athens?</i> +<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 9½ inches; diameter, 1 foot 1¼ inches, +<i>Mus. Marbles</i>, IX., pl. 32, fig. 3; <i>Synopsis</i> No. 199 (148); <i>C.I.G.</i>, +974; <i>C.I.A.</i>, II., 3998; <i>Greek Inscriptions in Brit. Mus.</i>, CXXII. +Brueckner, <i>Von den griech. Grabreliefs</i>, p. 12, fig. <span class="sc">K.</span> A companion +lekythos has been discovered at Chasani, in Attica, and is now +at Athens. In this relief, Mys and Meles clasp hands, while +Metrodora and Philia stand on the right and left. Brueckner, <i>l.c.</i> +</p> + +<p><span class="leftside">689.</span> +Part of a sepulchral lekythos with relief. Two women, +Callistratč (?) and Demostratč, stand with right hands +<span class="pagenum"><a name="page327" id="page327"></a>327</span> +joined. Behind the latter a girl stands in an attitude of +grief with her head resting on her right hand. Behind +the former is a youth supporting his chin on his right +hand.</p> + +<p>Inscribed: <ins title="Greek: Dęmostratę, Kallistr[atę]">Δημοστράτη, +Καλλιστρ[άτη]</ins>.—<i>Athens?</i> <i>Elgin +Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 7 inches; diameter, 1 foot 5 inches. +<i>Mus. Marbles</i>, IX., pl. 31, figs. 1, 2; <i>Synopsis</i> No. 275 (104); +Ellis, <i>Elgin Marbles</i>, II., p. 165; <i>C.I.G.</i>, 936; <i>C.I.A.</i>, II., 3611; +<i>Greek Inscriptions in Brit. Mus.</i>, CXIV. +</p> + +<p><span class="leftside">690.</span> +Sepulchral vase, with relief. A young warrior, wearing +chiton, shield and helmet, clasps the hand of an old man. +Behind the man stands a woman, who makes a gesture +with her right hand.</p> + +<p>Inscribed with an elegiac inscription of four lines of +which only the terminations remain.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 4¼ inches; diameter, 1 foot 3½ inches. +<i>Mus. Marbles</i>, IX., pl. 32, fig. 1; <i>Synopsis</i> No. 122 (167); Ellis, +<i>Elgin Marbles</i>, II., p. 161; <i>C.I.G.</i>, 1041; <i>C.I.A.</i>, II., 4312; +<i>Greek Inscriptions in Brit. Mus.</i>, CXXXII. +</p> + +<p><span class="leftside">691.</span> +Sepulchral lekythos with relief. A young warrior, +wearing a cuirass over a short tunic, a chlamys and a +helmet, clasps the hand of a seated woman. He appears +to hold a scroll in his left hand. Behind him is an +attendant, holding a large shield.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 6 inches; diameter, 1 foot 6 inches. +<i>Mus. Marbles</i>, IX., pl. 33, fig. 3; <i>Synopsis</i> No. 195 (228); Ellis, +<i>Elgin Marbles</i>, II., p. 161. +</p> + +<p><span class="leftside">692.</span> +Sepulchral lekythos with relief. An armed warrior, +Sosippos, who wears a tunic, cuirass, and chlamys, clasps +the hand of a seated woman, who, with her left hand +clasps the right hand of a small girl standing at her +knee. Behind the warrior is a boy carrying a large +<span class="pagenum"><a name="page328" id="page328"></a>328</span> +shield; behind the seated figure is a woman standing +with her right hand raised to her chin.</p> + +<p>Inscribed: <ins title="Greek: Sôsippos">Σώσιππος</ins>.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet; diameter, 11 inches. Dodwell, +<i>Tour</i>, I., p. 455; <i>Mus. Marbles</i>, IX., pl. 31, fig. 3; <i>Synopsis</i> +No. 230 (239); Ellis, <i>Elgin Marbles</i>, II., p. 165; <i>C.I.G.</i>, 1008; +<i>C.I.A.</i>, II., 4156; <i>Greek Inscriptions in Brit. Mus.</i>, CXXVII. +</p> +<a name="n693" id="n693"></a> +<p><span class="leftside">693.</span> +Stelč, with a sepulchral lekythos in relief, supported +by a winged Sphinx. On the vase is a relief representing +two warriors, fully armed, standing with hands +clasped. (Pl. xi., fig. 1.)</p> + +<p>Inscribed: <ins title="Greek: Archiadęs Hagn(o)usios, Polemonikos Athmoneus">Ἀρχιάδης +Ἁγν(ο)ύσιος, +Πολεμόνικος +Ἀθμονεύς</ins>—Archiades +of Hagnus; Polemonicos of Athmonon.—<i>Formerly +in the Guilford Collection. Presented by G. Plucknett, +Esq., 1886.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 11½ inches width, 1 foot 1 inch. +<i>C.I.G.</i>, 552; <i>C.I.A.</i>, II., 1700. +</p> + +<p><span class="leftside">694.</span> +Stelč, with sepulchral relief. A seated woman, Xeno, +clasps the hand of a girl, Cleo, who stands before her. +Behind her, a bearded man, Hermodoros, leans on his +staff and looks downwards. The stelč is surmounted by +a rounded top as if for a palmette, which may have been +painted.</p> + +<p>Inscribed: <ins title="Greek: Xenô, Hermodôros, Kleô">Ξενώ, +Ἑρμόδωρος, +Κλεώ</ins>.—<i>Athens?</i>—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 1 inch; width, 1 foot 2½ inches. +<i>Mus. Marbles</i>, IX., pl. 30, fig. 4; <i>Synopsis</i> No. 373 (229); +<i>C.I.G.</i>, 981; <i>C.I.A.</i>, II., 4042; <i>Greek Inscriptions in Brit. +Mus.</i>, CXXIV. +</p> + +<p><span class="leftside">695.</span> +Sepulchral lekythos with relief. A youth, Polystratos, +clasps the hand of a woman, Archagora, who is seated on +a chair. A woman, Pithyllis, is seen in the background +between these two figures. She stands in an attitude of +grief, with her head bowed and her right hand raised to +her veil.</p> +<span class="pagenum"><a name="page329" id="page329"></a>329</span> + +<p>Inscribed: <ins title="Greek: Archagora, Pithyllis, Polystratos">Ἀρχαγόρα, +Πιθυλλίς, +Πολύστρατος</ins>.—<i>Athens?</i> +<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 8 inches; diameter, 11 inches. +Dodwell, <i>Tour</i>, I., p. 455; <i>Mus. Marbles</i>, IX., pl. 31, fig. 4; +<i>Synopsis</i>, No. 182 (274); Ellis, <i>Elgin Marbles</i>, II., p. 165; <i>C.I.G.</i>, +996; <i>C.I.A.</i>, II., 3524; <i>Greek Inscriptions in Brit. Mus.</i>, CXII. +</p> + +<p><span class="leftside">696.</span> +Sepulchral lekythos with relief. A bearded man stands +before a woman seated on a chair and clasps her hand. +There is no trace of an inscription.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 11½ inches; diameter, 11 inches. +<i>Mus. Marbles</i>, IX., pl. 33, fig. 1; <i>Synopsis</i> No. 132 (A. 50); Ellis, +<i>Elgin Marbles</i>, II., p. 164. +</p> + +<p><span class="leftside">697.</span> +Sepulchral lekythos with relief. A bearded man stands +before a woman seated on a chair.</p> + +<p>Inscribed above the head of the woman: <ins title="Greek: Ada">Ἄδα</ins>. The +name of the man may have been inscribed originally, +but it is now obliterated.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 10½ inches; diameter, 1 foot. <i>Mus. +Marbles</i>, IX., pl. 32, fig. 2; <i>Synopsis</i> No. 188 (110); <i>Greek +Inscriptions in Brit. Mus.</i> CXI.; <i>C.I.A.</i>, II., 3438. +</p> + +<p><span class="leftside">698.</span> +Sepulchral lekythos with relief. A man, Alkimachos, +stands before a seated woman, Hedylč, and clasps her +hand. A girl stands behind Hedylč, and another girl of +a smaller size stands behind Alkimachos.</p> + +<p>Inscribed: <ins title="Greek: Hędylę, Alkimachos">Ἡδύλη, +Ἀλκίμαχος</ins>.—<i>Probably from Athens.</i> +<i>From the Earl of Belmore's Collection</i>, 1842.</p> + +<p class="indent"> +Pentelic marble; height, 1 foot 5 inches; diameter, 1 foot 1 inch. +<i>Greek Inscriptions in Brit. Mus.</i>, CXVIII.; <i>C.I.A.</i>, II., 3761. +</p> +<a name="n699" id="n699"></a> +<p><span class="leftside">699.</span> +Sepulchral lekythos with relief, much defaced. A +woman seated on a chair clasps the hand of a woman +standing before her. Behind the chair is a girl holding a +box in her left hand.—<i>From a store at Portsmouth.</i> <i>Perhaps +from Smyrna.</i></p> + +<p class="indent"> +Marble; height, 1 foot 7 inches; diameter, 1 foot. +</p> +<span class="pagenum"><a name="page330" id="page330"></a>330</span> + +<p><span class="leftside">700.</span> +Fragment of sepulchral relief. A youth standing clasps +the hand of a bearded man, seated on a chair. Only the +upper parts are preserved of both figures, together with +the right side of the relief.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 6 inches; width, 10½ inches. <i>Synopsis</i>, +No. 423. +</p> + +<p><span class="leftside">701.</span> +Fragment of sepulchral relief. A woman, seated on a +chair, clasps the hand of a woman standing before her. +Her left hand appears to have been raised to her veil. +The upper parts of both figures are wanting, and also the +left side of the relief. A nude boy with an uncertain +object in his hands stands in the right corner.</p> + +<p class="indent"> +Pentelic marble? Height, 1 foot; width, 11 inches. +</p> + +<p><span class="leftside">702.</span> +A woman seated to the right, on a stool, holds her veil +with the left hand, and clasps the arm of a boy standing +before her. Behind the boy, and partly embracing him, +stands a woman, who holds her veil with her right hand. +On the left, behind the seated figure is a woman standing +with the left hand raised to her cheek, and with the right +hand supporting the left elbow. At the foot of the seat +are two small female figures, one standing and one sitting. +These six figures are in high relief. In the background +are two men confronted in low relief; one is bearded. +Two other heads also appear to have been inserted, and to +have been afterwards obliterated. The relief is bounded +by two pilasters and an architrave, with roof tiles above.</p> + +<p>Inscribed: <ins title="Greek: Sôpatra Pausaniou. Antimachos Pausaniou. Philopatra Mi[r]ylou. Pausanias Andriskou" +>Σωπάτρα +Παυσανίου. +Ἀντίμαχος +Παυσανίου. +Φιλοπάτρα +Μι[ρ]ύλου. +Παυσανίας +Ἀνδρίσκου</ins>. Sopatra and +Antimachos are the children of Pausanias and Philopatra.—<i>Pella.</i></p> + +<p class="indent"> +Fine-grained white marble; height, 4 feet; width, 2 feet 6 inches. +<i>Greek Inscriptions in Brit. Mus.</i>, CLXXII. +</p> +<a name="n703" id="n703"></a> +<p><span class="leftside">703.</span> +An elderly bearded man, seated, to the left, clasps the +hand of an old man standing before him. Both figures +<span class="pagenum"><a name="page331" id="page331"></a>331</span> +appear to be portraits. Small figures of boys stand at the +right and left. The boy on the left holds an uncertain +object. Above are a pediment with acroteria, and two olive wreaths, and the +inscriptions <ins title="Greek: Ho dęmos Dęmoklęn Amphilochou">Ὁ δῆμος +Δημοκλῆν +Ἀμφιλόχου</ins>, + +<ins title="Greek: Ho dęmos Dęmoklęn Dęmoklęous">Ὁ δῆμος +Δημοκλῆν +Δημοκλήους</ins>, recording honorary decrees +to Democles, son of Amphilochos, and Democles, son of +Democles. Below is a metrical epitaph, in eight lines:</p> + +<div class="poem"><div class="stanza"> +<p><ins title="Greek: Ton pinyton kata panta kai exochon en poliętais"> +Τὸν +πινυτὸν +κατὰ +πάντα +καὶ ἔξοχον +ἐν +πολιήταις</ins></p> +<p class="i2"><ins title="Greek: anera gęral(e)ou termat' echonta biou"> +ἀνέρα +γηραλ(έ)ου +τέρματ' +ἔχοντα +βίου</ins></p> +<p><ins title="Greek: Aideô nychioio melas hypedexato kolpos"> +Αἴδεω +νυχίοιο +μέλας +ὑπεδέξατο +κόλπος</ins></p> +<p class="i2"><ins title="Greek: eusebeôn th' hosięn eunasen es klisięn"> +εὐσεβέων +θ' +ὁσίην +εὔνασεν +ἐς +κλισίην</ins>.</p> +<p><ins title="Greek: mnęma d' apophthimenoio para tręchęan atarpon"> +μνῆμα δ' +ἀποφθιμένοιο +παρὰ +τρηχῆαν +ἀταρπὸν</ins></p> +<p class="i2"><ins title="Greek: touto paďs kednę teuxe syn eunetidi"> +τοῦτο +πάïς κεδνῇ +τεῦξε +σὺν +εὐνετίδι</ins>.</p> +<p><ins title="Greek: xeine, sy d' aeisas Dęmokleos hyiea chairein"> +ξεῖνε +σὺ δ' +ἀείσας +Δημοκλέος +υἱέα +χαίρειν</ins></p> +<p class="i2"><ins title="Greek: Dęmoklea steichois ablabes ichnos echôn"> +Δημοκλέα +στείχοις +ἀβλαβὲς +ἴχνος +ἔχων</ins>.</p> +</div></div> + +<p>—<i>Smyrna.</i> <i>Presented by M. Duane and T. Tyrwhitt, Esqs.</i>, +1772.</p> + +<p class="indent"> +Bluish Greek marble; height, 4 feet 5 inches; width, 1 foot 8½ +inches. Montfaucon, <i>Ant. Expl. Suppl.</i>, V., p. 25; <i>Archaeologia</i>, +III., pl. 11, fig. 2; <i>C.I.G.</i>, 3256; Kaibel, 237. +</p> +<a name="n704" id="n704"></a> +<p><span class="leftside">704.</span> +A man, Exakestes, seated, clasps the hand of his wife, +Metreis, standing before him. She holds a spindle in her +left hand. In the right and left corners of the relief are +small figures of a boy and girl. The girl holds a casket. +In the background of the relief are a stelč surmounted by +two cornucopiae, and a candelabrum. Above, two wreaths and the honorary +inscription, <ins title="Greek: Ho dęmos Exakestęn Androboulou. Ho dęmos Mętrein Hermippou, Exakestou de gynaika">Ὁ δῆμος +Ἐξακέστην +Ἀνδροβούλου. +Ὁ δῆμος +Μητρεῖν +Ἑρμίππου, +Ἐξακέστου +δὲ γυναῖκα</ins>. +The relief is surmounted by a pediment with acroteria +and a rosette.—<i>Perhaps from Smyrna.</i> <i>Townley Coll.</i></p> + +<p class="indent"> +Greek marble; height, 2 feet 5½ inches; width, 1 foot 4½ inches. +<i>Mus. Marbles</i>, X., pl. 43; <i>C.I.G.</i>, 3232; Ellis, <i>Townley Gallery</i>, +II., p. 165; Wolters, No. 1806. This relief was once in the possession +of Dr. Richard Mead (<i>Mus. Meadianum</i>, Pars alt., 1759, +p. 239). +</p> +<span class="pagenum"><a name="page332" id="page332"></a>332</span> + +<p><span class="leftside">705.</span> +A woman seated clasps the hand of a young man who +stands before her, placing his left hand on her shoulder. +An older man stands on the left. The stelč is surmounted +by a pediment.</p> + +<p class="indent"> +Greek marble; height, 2 feet 2¼ inches; width, 1 foot 2 inches. +</p> + +<p><span class="leftside">706.</span> +A woman, Laodikč (?), seated, clasps the hand of a +youth standing before her. The relief is crowned by a +pediment. A nearly illegible inscription appears to read: <ins title="Greek: Laodikę Hęr[ophilou?] ... chaire">Λαοδίκη +Ἡρ[οφίλου?] + ... χαῖρε</ins>.</p> + +<p class="indent"> +Pentelic marble; height, 2 feet 3¼ inches; width, 1 foot 2 inches. +</p> + +<p><span class="leftside">707.</span> +A woman clasps the hand of a warrior, with short +tunic, cloak and shield. On the left a second warrior, +somewhat smaller, but similarly attired. Above is a +pediment with acroteria and rosettes.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 4 inches; width, 1 foot 7 inches. +</p> + +<p><span class="leftside">708.</span> +Two men, one bearded and the other a youth, stand +clasping hands. They are father and son, each being +named Bakchios. Above is a pediment with acroteria and +rosettes.</p> + +<p>Inscribed: <ins title="Greek: Bakchie Bageos kai hyie Bakchie chairete">Βάκχιε +Βάγεος +καὶ υἱὲ +Βάκχιε +χαίρετε</ins>.</p> + +<p class="indent"> +Limestone; height, 2 feet 11¾ inches; width, 1 foot 8¾ inches. +<i>Greek Inscriptions in Brit. Mus.</i>, CLXXXIV.; Latyschev, II., 78. +</p> + +<p><span class="leftside">709.</span> +A man and woman stand, clasping hands. A boy on the +right. Above is a pediment with acroteria and rosettes.</p> + +<p>Inscribed: <ins title="Greek: Gaďos Gaďou kai mętęr Basili[nd]ina chairete">Γάïος +Γαΐου +καὶ μητὴρ +Βασιλι[νδ]ῖνα +χαίρετε</ins>.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 6½ inches; width, 1 foot 7¼ inches. <i>Greek +Inscriptions in Brit. Mus.</i>, CLXXXVI.; Latyschev, II., 93. +</p> +<a name="n710" id="n710"></a> +<p><span class="leftside">710.</span> +Circular pedestal or altar on a square plinth, on one +side of which is a sepulchral relief. A man stands on the +right, clasping the right hand of a seated woman, probably +<span class="pagenum"><a name="page333" id="page333"></a>333</span> +his wife. She holds her veil with her left hand. +Behind the woman stands Hermes Psychopompos, about +to conduct her shade to Hades. He has petasos, talaria, +chlamys and caduceus. On the right is another male +figure standing, with folded hands, and beyond is what +appears to be an altar. The altar is rectangular, and is +surmounted by a conical object, round which a serpent is +twined. By the side of the altar is the mutilated figure +of a boy. On the extreme left behind Hermes is a sundial, +to which his hand is pointing. At the side of the +chair stands a draped female attendant of diminutive +stature. This figure is much defaced, and the lower part +is broken away. The head of this figure has been broken +off, and the faces and general surface of all the figures are +much eaten away by exposure to weather. This relief +occupies about a third of the circle of the pedestal, the +remainder being ornamented by festoons of ivy suspended +between three bulls' heads. In the centre of the top of +the pedestal is a round hole, as if to receive a dowel, and +the surface of the marble seems prepared for a joint. The +whole may have served as a pedestal for a statue.—<i>Obtained +from Greece by the fourth Earl of Aberdeen, and +presented by the fifth Earl of Aberdeen, 1861.</i></p> + +<p class="indent"> +Greek marble; height, 3 feet 7 inches; diameter, 2 feet 9 inches. +<i>Guide to Graeco-Roman Sculptures</i>, Part II., No. 75. +</p> + +<h3>RELIEFS REPRESENTING THE SEPULCHRAL BANQUET.</h3> + +<p>For a discussion of the interpretation of this class of +reliefs, see above, p. <a class="ask" href="#page298">298</a>.</p> + +<p><span class="leftside">711.</span> +Cast of a sepulchral relief, sometimes known as the +"Death of Socrates." A man, bearded, reclines on a +couch, with a bowl in his right hand, held out as if to +<span class="pagenum"><a name="page334" id="page334"></a>334</span> +pour a libation. A woman seated on a stool by the +foot of the couch, extends her hands. On the right is +a man, draped and bearded, and on the left a nude +youth who stands with a jug by a large crater. Below +the couch is a dog gnawing a bone. The original, of +white marble, was found at <i>the Piraeus</i> in 1838, and is +now in the <i>National Museum at Athens</i>.</p> + +<p class="indent"> +Height, 1 foot 7½ inches; width, 2 feet 1 inch. <ins title="Greek: Ephęmeris">Ἐφημερίς</ins>, 1839, +No. 269; Le Bas, <i>Mon. Fig.</i>, pl. 52; Pervanoglu, <i>Familienmahl</i>, +p. 24, No. 60; Mitchell, p. 504; Wolters, No. 1052; Roscher, +<i>Lexicon</i>, p. 2574. +</p> +<a name="n712" id="n712"></a> +<p><span class="leftside">712.</span> +Relief with banquet. Two male figures recline together +on a couch. One is a bearded man, the other is a +youth. The man holds a bowl in his left hand and places +his right hand on the shoulder of the youth who turns +his head towards him. Before the couch is a table with +provisions. On the right is a nude youth with a jug and +bowl. On the left is a youth, wearing tunic and chlamys, +who leads a horse. The relief is bounded by pilasters +and an architrave.</p> + +<p>On the lower margin is the modern inscription <i>Aesculapio +Tarentino Salenius Arcas</i>, added by some person who +supposed that the relief was a votive tablet to Aesculapius. +The inscription, however, makes it probable that the relief +was obtained at Tarentum. The type of the horse also +agrees well with that on the coins of Tarentum, of about +the close of the fourth century, <span class="sc">B.C</span>. The relief is perhaps +erected to a father and two sons. It is also possible that +the two figures of the youth represent the same person, +and that only two persons in all are here commemorated.—<i>Presented +by W. R. Hamilton, Esq., 1845.</i></p> + +<p class="indent"> +Marble, probably Pentelic; height, 1 foot 10½ inches; width, 2 feet +9 inches. The upper right-hand corner is restored. P. Gardner, +<i>Journ. of Hellen. Studies</i>, V., p. 105, and plate; Wolters, +No. 1054; Roscher, <i>Lexicon</i>, p. 2575. +</p> +<span class="pagenum"><a name="page335" id="page335"></a>335</span> + +<p><span class="leftside">713.</span> +Relief with banquet, serpent, and sacrifice. Two men +recline on a couch. Both have cups in their left hands. +One holds up a rhyton terminating in a ram's head; the +other stretches out his right hand to a long table which +stands before the couch. A woman, seated on the end of +the couch, holds a cup in her left hand and stretches out +her right hand to the table. Below the table is a coiled +serpent. On the left of the woman is a nude youth holding +up a rhyton. Beyond is a square altar, to which a +boy, who is now almost obliterated, leads a pig. He holds +a bowl in his left hand. On the left are four adult +persons and two infants, and above, the head of a horse in +a frame. The relief is bounded by two pilasters surmounted +by an entablature, above which roof-tiles are +slightly indicated.—<i>Townley Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 2 inches; width, 2 feet 2 inches. +</p> + +<p><span class="leftside">714.</span> +Fragment of relief with banquet and sacrifice. On the +right is part of the figure of a woman, who is seated at +the foot of a couch, most of which is now lost. Before +her is part of a table. At the foot of the couch is an +altar which is approached by a procession of three adult +persons and four children, one of whom leads a ram. +Above, a horse's head is seen at a window. The relief is +bounded by pilasters and an entablature, above which +roof-tiles are shown.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 3 inches; width, 1 foot ½ inch. +<i>Mus. Marbles</i>, IX., pl. 35, fig. 1; <i>Synopsis</i>, No. 279 (94); +Welcker, <i>Alte Denkmaeler</i>, II., p. 273; cf. Welcker, <i>loc. cit.</i>, +II., pl. 13, No. 24; Pervanoglu, <i>Familienmahl</i>, p. 44, No. 174. +</p> + +<p><span class="leftside">715.</span> +Fragment of relief, which may be supposed to have +been similar to the preceding. Sacrificial procession, +including a man, of whom but little remains, a woman, +two children, and one draped figure, whose sex cannot be +<span class="pagenum"><a name="page336" id="page336"></a>336</span> +distinguished, carrying a large vessel on the head.—<i>Athens?</i> +<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 4¾ inches; width, 9½ inches. <i>Mus. +Marbles</i>, IX., pl. 36, fig. 3; <i>Synopsis</i>, No. 189 (284); <i>Guide to +Elgin Room</i>, Part II., No. F. 6. +</p> + +<p><span class="leftside">716.</span> +Relief with banquet and sacrifice. A male figure, who +is half draped, reclines on a couch with a bowl in his right +hand. He wears a <i>polos</i> and in type resembles a divinity. +Before him is a table with food. A woman is seated on +the foot of the couch and has a cup in her left hand. On +the right a youth draws wine from a crater. On the left +a man, woman, and boy approach as worshippers. The +relief is bounded by two pilasters, surmounted by an +entablature, above which are roof-tiles.—<i>Townley Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 9½ inches; width, 1 foot 1¾ inches. Ellis, +<i>Townley Gallery</i>, II., p. 167; Welcker, <i>Alte Denkmaeler</i>, II. +p. 278. +</p> + +<p><span class="leftside">717.</span> +Relief with banquet and sacrifice. A male figure, half +draped and wearing a <i>polos</i> as in the last relief, reclines +on a couch. He has a cup in the left hand and a rhyton +in the right hand. Before him is a table with food. A +woman is seated at the foot of the couch, with a cup in +her left hand. On the left a boy stands beside a jar of +wine, which is raised on a pedestal. At the left a woman, +and two smaller figures approach as worshippers. Above, +the head of a horse is seen looking through an opening. +The relief is bounded by two pilasters, surmounted by an +entablature, above which are roof-tiles.—<i>Halicarnassos.</i> +<i>Presented by H.M. Sultan Abdul Medjid to Viscount Stratford +de Redcliffe, and by him presented to the British Museum.</i></p> + +<p class="indent"> +Marble; height, 10 inches; width, 1 foot 1 inch. +</p> + +<p><span class="leftside">718.</span> +Fragment of relief. A nude male figure who seems to +be wearing a Phrygian cap, and holds some object in his +<span class="pagenum"><a name="page337" id="page337"></a>337</span> +right hand, stands with his left hand over an altar. On +the right side of the altar was a male figure making a +libation. Only the right hand with the saucer, and the +right foot remain. On the left a bearded man stands, +with his right hand raised.—<i>Athens?</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 6 inches; width, 1 foot 3 inches. +<i>Synopsis</i>, No. 380 (101); <i>Mus. Marbles</i>, IX., pl. 37, fig. 1. +</p> + +<p><span class="leftside">719.</span> +Group of persons about to sacrifice; from the left side of +a sepulchral relief. On the right of the fragment is a man +with a large amphora, turned to the right. Behind him +are two men and two women, all standing as worshippers.—<i>Mytilene.</i></p> + +<p class="indent"> +Marble; height, 10 inches; width, 11 inches. Conze, <i>Lesbos</i>, p. 10, +Note 3, No. 1. +</p> + +<p><span class="leftside">720.</span> +Fragment of relief with banquet and serpent. A man +reclines on a couch and pours a libation from a bowl. +Before the couch is a table with food. A serpent is coiled +beneath the table and stretches its head towards the bowl. +On the left is the hand holding a casket (<i>pyxis</i>) of a +woman, who had been seated at the foot of the couch. +The relief is bounded by pilasters, an entablature and a +roof.</p> + +<p class="indent"> +Marble; height, 1 foot 1 inch; width, 9 inches. +</p> + +<p><span class="leftside">721.</span> +Relief with a female figure of the type of the banquet +reliefs. A woman seated, wearing a lofty head-dress +(<i>polos</i>), holds an ivy-leaf fan in her left hand, and with +the right hand appears to be offering a cup to a serpent.—<i>Athens?</i> +<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 3½ inches; width, 1 foot 5¾ inches. +<i>Mus. Marbles</i>, IX., pl. 38, fig. 3; <i>Synopsis</i>, No. 278 (238); Ellis, +<i>Elgin Marbles</i>, II., p. 127, No. 278. +</p> +<a name="n722" id="n722"></a> +<p><span class="leftside">722.</span> +Relief with banquet. A man reclines on a couch with +a cup in his left hand. Before him is a table with +<span class="pagenum"><a name="page338" id="page338"></a>338</span> +food. A woman is seated near the foot of the couch +with her left hand raised to her veil. On the right is a +boy in a short tunic, perhaps holding a kyathos. On the +left is a girl who is standing, and seems to be holding a +vase. The relief is surmounted by a pediment.</p> + +<p>Inscribed: <ins title="Greek: Hermias Athaniônos">Ἑρμίας +Ἀθανίωνος</ins>. +Hermias, son of Athenion.—<i>Athens.</i> +<i>Strangford Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 5 inches; width, 10 inches. <i>Greek +Inscriptions in Brit. Mus.</i>, CXVI.; <i>Arch. Anzeiger</i>, 1864, p. 164*; +Pervanoglu, <i>Familienmahl</i>, p. 15, No. 5. +</p> + +<p><span class="leftside">723.</span> +Relief with banquet. A man reclines on a couch, with +a bowl in his left hand; with the right hand he holds a +wreath on his head. Before him is a table with food. +The legs of the table terminate above in the form of swans' +heads. Above is an olive wreath, containing the words <ins title="Greek: Ho dęmos">Ὁ +δῆμος</ins>; also a pediment, having acroteria, and containing +a rosette.</p> + +<p>Inscribed:</p> + +<div class="poem"><div class="stanza"> +<p class="i8"><ins title="Greek: Ho dęmos Lęnaion Artemidôrou·"> +Ὁ δῆμος· +Λήναιον +Ἀρτεμιδώρου·</ins></p> +<p><ins title="Greek: kai to prin en polemois tęrôn pyrgon, parodita"> +καὶ τὸ +πρὶν ἐν +πολέμοις +τηρῶν +πύργον, +παροδῖτα</ins>,</p> +<p class="i2"><ins title="Greek: kai nyn tęręsô, hôs dynamai, nekys ôn"> +καὶ νῦν +τηρήσω, +ὡς δύναμαι, +νέκυς ὤν</ins>.</p> +</div></div> + +<p>The 'tower' which Lenaios undertakes to defend in death +has been conjectured to be the Dipylon gate at Athens, +whence the relief was probably obtained.</p> + +<p class="indent"> +Bluish Greek marble; height, 3 feet 11½ inches; width, 1 foot +7 inches. <i>Rhein. Mus. N.F.</i> 1848, p. 82; Kaibel, 111. +</p> + +<p><span class="leftside">724.</span> +Sculptured pedestal. On the front is a relief of a +banquet. A man reclines on a couch, with a table of +food before him. He holds a bowl in his left hand, and +clasps with his right hand the hand of a woman who is +seated at the foot of the couch. A boy stands on the left. +A wreath is carved on the pilaster to the right of the +relief, which probably contained the inscription: <ins title="Greek: Ho dęmos">Ὁ δῆμος</ins>.</p> +<span class="pagenum"><a name="page339" id="page339"></a>339</span> + +<p>Inscribed: <ins title="Greek: Hellaniôn Tarseus">Ἑλλανίων +Ταρσεύς</ins>, Hellanion of Tarsus. On +the right and left ends the pedestal is adorned with +pediments. Above, it is roughly worked to fit the +plinth of a statue.—<i>Xanthos?</i> <i>Presented by J. Scott +Tucker, Esq., R.N.</i></p> + +<p class="indent"> +Bluish-grey marble; height, 2 feet ¼ inch; width, 2 feet 7 inches. +<i>Arch. Anzeiger</i>, 1851, p. 128; Pervanoglu, <i>Familienmahl</i>, p. 34, +No. 113. +</p> + +<p><span class="leftside">725.</span> +Fragment of relief, with banquet. The upper half is +wanting. A man reclines on a couch, and holds a bowl +and a rhyton (?), which were perhaps of bronze attached, +in the left and right hands respectively. A woman sits +on the end of the couch. On the right is a diminutive +male figure with the hands clasped. On the left is a girl, +who stands leaning against the foot of the couch, and +holds an ivy-leaf fan in her left hand.—<i>Halicarnassos.</i></p> + +<p class="indent"> +Marble; height, 1 foot 2 inches; width, 2 feet. +</p> +<a name="n726" id="n726"></a> +<p><span class="leftside">726.</span> +Relief with banquet and serpent. A man fully draped, +reclines on a couch, with a bowl in his left hand. Before +the couch is a table with provisions. A woman is seated +on a stool by the foot of the couch. In her left hand she +extends a bowl from which a serpent is drinking. The +serpent is coiled about the trunk of a tree. On the right +is a diminutive male figure standing by a crater; on the +left is a female figure holding a box.—<i>Found in a store at +Portsmouth.</i> <i>Probably from Smyrna.</i></p> + +<p class="indent"> +Bluish marble; height, 1 foot 10½ inches; width, 1 foot 6 inches. +</p> + +<p><span class="leftside">727.</span> +Fragment of a relief with banquet and serpent. A +man reclines on a couch holding a bowl in his left hand. +A woman is seated on a chair by the head of the couch. +A snake issues from under the chair and approaches the +woman. One arm of the chair is supported by a figure of +<span class="pagenum"><a name="page340" id="page340"></a>340</span> +a Sphinx. The heads of both figures are wanting of +<i>Mytilene</i>.</p> + +<p class="indent"> +Marble; height, 11 inches; width, 10½ inches. Conze, <i>Lesbos</i>, p. 10, +Note 3, No. 3. +</p> + +<p><span class="leftside">728.</span> +Relief with banquet and serpent. A figure, apparently +that of a man, reclines on a couch. He has long hair, and +a closely-fitting chiton, and holds a cup in his left hand. +Before him is a table with food, towards which he extends +his right hand. A woman is seated on the foot of the +couch, and gives drink from a bowl to a serpent. On the +right a boy has drawn wine from a crater with a jug, and +is offering a bowl to the reclining figure. Behind is a stair-like +series of shelves, on which stand several vessels. On +the left a woman raises her right hand with a gesture as +of adoration. Above, a horse's head is seen looking through +an opening. The relief is bounded by two Ionic columns +surmounted by a flat arch.—<i>Naucratis.</i> <i>Presented by the +Egypt Exploration Fund, 1886.</i></p> + +<p class="indent"> +Limestone, with traces of red paint; height, 1 foot 3 inches; width +1 foot 8½ inches. Gardner, <i>Naukratis</i>, II., p. 22. +</p> + +<p><span class="leftside">729.</span> +Fragment of relief, with banquet and serpent. The +fragment contains the upper part of a male figure, wearing +a polos, reclining on a couch, holding a cup in the +left hand, and having a table before him. A snake is +coiled about one leg of the table.—<i>Mytilene.</i></p> + +<p class="indent"> +Marble; height, 1 foot ¾ inch; width, 7 inches. Conze, <i>Lesbos</i>, +p. 10, Note 3, No. 2. +</p> + +<p><span class="leftside">730.</span> +Fragment of relief, with banquet. A male figure reclines +on a couch. Before him is a table with food. He has a +rhyton in his right hand and a cup in his left hand.</p> + +<p class="indent"> +Marble; height, 11 inches; width, 10 inches. +</p> + +<p><span class="leftside">731.</span> +Fragment of relief with banquet. A male figure reclines +on a couch between two columns, with a bowl in his right +<span class="pagenum"><a name="page341" id="page341"></a>341</span> +hand. A table with cups stands before the couch.—<i>Thasos.</i> +<i>Strangford Coll.</i></p> + +<p class="indent"> +Marble; height, 9 inches; width, 1 foot 2 inches. +</p> + +<p><span class="leftside">732.</span> +Fragment of relief with banquet. A male figure, whose +legs alone are preserved, reclines on a couch. Before him +is a table with food. A woman, whose lower limbs +are alone preserved, is seated on a chair at the foot of the +couch. A small draped figure of a youth is on the right, +and there are remains of the figure of a girl on the left.</p> + +<p class="indent"> +Marble; height, 1 foot 7 inches; width, 2 feet 6 inches. +</p> + +<p><span class="leftside">733.</span> +Relief with banquet. A man, bearded, reclines on a +couch, and holds up a rhyton in his right hand. Before +him is a table with food. A woman is seated on the +couch, and raises with the left hand a fold of her peplos. +On the left a boy draws wine from a large crater. The +head of a horse is seen at an opening. A round shield +hangs on the wall. The relief is bounded by two pilasters +and an entablature.—<i>Excavated by Mr. Wood at Ephesus.</i></p> + +<p class="indent"> +Ephesian marble; height, 1 foot 7½ inches; width, 2 feet 2½ inches. +</p> + +<p><span class="leftside">734.</span> +Relief with banquet. A portrait figure of an old man, +whose head is bound with a taenia, reclines on a couch +with a two-handled cup in his left hand. Before him is +a table with pomegranate fruits and other food. A +portrait figure of a woman is seated near the foot of +the couch, with her left hand raised to her veil. A boy +in a short tunic stands on the right, and holds a kyathos +for drawing wine; a rhyton and a vase are seen above his +head. A girl kneels on the left below the seat of the +woman; a dog lies between the legs of the table.—<i>Townley +Coll.</i></p> + +<p class="indent"> +Greek marble; high relief. The upper part is wanting. Height +1 foot 8½ inches; width, 1 foot 6 inches. <i>Mus. Marbles</i>, X., +pl. 49, fig. 2. +</p> +<span class="pagenum"><a name="page342" id="page342"></a>342</span> + +<p><span class="leftside">735.</span> +Relief with banquet. A male figure reclines on a couch, +before which is a table with provisions. A woman is +seated on a stool at the foot of the couch with her hand +raised to her chin.</p> + +<p>Inscribed: <ins title="Greek: ...nou chaire"> . . .νου +χαῖρε</ins>.—<i>Cyzicus.</i> <i>Presented by A. van +Branteghem, Esq.</i>, 1890.</p> + +<p class="indent"> +Marble; height, 10½ inches; width, 9½ inches. <i>Rev. Arch.</i>, 1891, +p. 12, No. 4. +</p> +<a name="n736" id="n736"></a> +<p><span class="leftside">736.</span> +Relief with banquet. Three elderly male figures recline +on a long couch, wearing diadems and holding large bowls +in their left hands. Before them is a table with two large +pomegranates and a basket of fruit. At each end of the +couch is a seated woman. The head is lost of the woman +on the left. At the left angle in low relief is a diminutive +figure of a girl, with a basket (<i>calathos</i>); at the right +angle is a diminutive figure of a boy, with a crater. The +relief is bounded by pilasters and an entablature. Below +is the hull of a vessel in low relief, and the metrical +epitaph of Dionysodoros, son of Pytheas.</p> + +<div class="poem"><div class="stanza"> +<p class="i8"><ins title="Greek: Dionysodôrou tou Pytheou"> +Διονυσοδώρου +τοῦ +Πυθέου</ins>.</p> +<p><ins title="Greek: a. Dionysodôre, chaire· b. kai sy ge, ô phile"> +α. Διονυσόδωρε, +χαῖρε· + β. καὶ σύ +γε, ὦ φίλε</ins>,</p> +<p class="i2"><ins title="Greek: to nyn ech[on g]einôske me hôde keimenon"> +τὸ νῦν +ἔχ[ον +γ]είνωσκέ +με ὧδε +κείμενον</ins>,</p> +<p class="i2"><ins title="Greek: kalon kai agathon kai kalôs ezôkota"> +καλὸν καὶ +ἀγαθὸν +καὶ καλῶς +ἐζωκότα</ins>,</p> +<p class="i2"><ins title="Greek: L]imnagenę gegonota, pasi prosphil[ę]"> +Λ]ιμναγενῆ +γεγονότα, +πᾶσι +προσφιλ[ῆ]</ins>.</p> +</div></div> + +<p>—<i>Brought from Cyzicus, in</i> 1830, <i>by H.M.S. Blonde.</i> <i>Found +in</i> 1880 <i>in a store at Portsmouth.</i></p> + +<p class="indent"> +Bluish Greek marble; height, 2 feet 5½ inches; width, 2 feet 8 inches. +<i>C.I.G.</i>, 3684; Kaibel, 245; Wolters, <i>Rhein. Mus. N.F.</i>, 1886, +p. 346. +</p> +<a name="n737" id="n737"></a> +<p><span class="leftside">737.</span> +Late relief with banquet. A man and woman recline +on a couch. Before them is a table with food. The man +puts his right arm round the neck of the woman, who +appears to be holding a cup, or a wreath. On the left a +woman is seated on a stool; beneath the couch are a child +<span class="pagenum"><a name="page343" id="page343"></a>343</span> +and a girl (the upper part alone seen), who holds a dish. +The relief is bounded by two Doric columns and a pediment. +The monument was erected by one Alexander +for his mother, his wife Philippa, and himself. Penalties +are prescribed for persons violating the tomb.</p> + +<p>Inscribed: <ins title="Greek: Alexandros Alexandrou Beithynieu[s] kai Neikomędeus zôn heautô kateskeuas[a] to mnęmeion kai tę mętri mou kai tę symbiô Philippa Pontianou." +>Ἀλέξανδρος +Ἀλεξάνδρου +Βειθυνιεὺ[ς] +καὶ +Νεικομηδεὺς +ζῶν +ἑαυτῷ +κατεσκεύασ[α] +τὸ +μνημεῖον +καὶ τῇ +μητρί μου +καὶ τῇ +συμβίῳ +Φιλίππᾳ +Ποντιανοῦ</ins>. +<ins title="Greek: kai boulome meta to tethęnai hęmas eis tęn kamaran mędena heteron anoixe·"> +καὶ +βούλομε +μετὰ τὸ +τεθῆναι +ἡμᾶς +εἰς τὴν +καμάραν +μηδένα +ἕτερον +ἀνοῖξε·</ins> +<ins title="Greek: ei de para tauta poięsei dôsei is ton phiskon dęn. b,ph (2,500) kai is tęn polin dęn. b,ph (2,500). chairete."> +εἰ δὲ +παρὰ +ταῦτα +ποιήσει +δώσει ἰς +τὸν φίσκον δην. +β͵φ<span style="font-family: serif;">̄</span> καὶ ἰς +τὴν πόλιν +δην. β͵φ<span style="font-family: serif;">̄</span>. χαίρετε</ins>.—<i>Smyrna.</i> <i>Presented by M. Duane and T. +Tyrwhitt, Esqs., 1772.</i></p> + +<p class="indent"> +Marble; height, 2 feet 9 inches; width, 1 foot 8 inches. <i>Archaeologia</i>, +III., pl. 11, fig. 3; <i>C.I.G.</i>, 3265; Pervanoglu, <i>Familienmahl</i>, +p. 45, No. 180. +</p> + +<p><span class="leftside">738.</span> +Sepulchral relief. Two men recline on a couch; a +woman is seated on a stool at the head of the couch. The +inscribed metrical epitaph, in which one Cassiodoros relates +his death at the age of twenty-four, has no appropriateness +to the relief.</p> + +<div class="poem"><div class="stanza"> +<p><ins title="Greek: Nymphidiou thalamoio lipôn dyspenthea kosmon"> +Νυμφιδίου +θαλάμοιο +λιπὼν +δυσπενθέα +κόσμον</ins></p> +<p class="i2"><ins title="Greek: kai goneôn oik[t]rôn dakryoenta domon"> +καὶ γονέων +οἰκ[τ]ρῶν +δακρυόεντα +δόμον</ins></p> +<p><ins title="Greek: keimai es [au]chmęrous kai alampeas Aďdos eunas"> +κεῖμαι ἐς +[αὐ]χμηροὺς +καὶ +ἀλαμπέας +Ἀΐδος +εὐνὰς</ins></p> +<p class="i2"><ins title="Greek: eikos[i t]essar' echôn Kassiodôros etę·"> +εἴκοσ[ι +τ]έσσαρ' +ἔχων +Κασσιόδωρος +ἔτη·</ins></p> +<p><ins title="Greek: ap[roi]dęs nous[o]s me synęrpase· mounoeti[n de"> +ἀπ[ροι]δὴς +νοῦσ[ό]ς +με συνήρπασε· +μουνοέτι[ν +δὲ</ins></p> +<p class="i2"><ins title="Greek: n]ęp[i]achon kouręn lipô hyp; ęelion."> +ν]ηπ[ί]αχον +κούρην +λίπω ὑπ' +ἠέλιον</ins>.—<i>Antioch?</i></p> + +</div></div> + +<p class="indent"> +Marble; height, 1 foot 8 inches; width, 1 foot 3 inches. Drummond's +<i>Travels</i> (1754), pl. facing p. 229, fig. 15 (very rudely +drawn), and p. 237; <i>C.I.G.</i>, 4466; Kaibel, 431. In Drummond's +time the stone was "in the Library of the right worshipful the +Levant Company" at Aleppo. +</p> + +<p><span class="leftside">739.</span> +Stelč with reliefs in two panels. In the upper panel is +a figure on a couch holding a bunch of grapes. The upper +<span class="pagenum"><a name="page344" id="page344"></a>344</span> +part of the figure is wanting. Before the couch are a +table with food and three attendant male figures.</p> + +<p>In the lower panel is a woman seated with a boy standing +beside her. Most of these two figures is wanting. In +front are two warriors standing, with shields and spears.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 3 feet; width, 1 foot 9 inches. For the collection +of sculptures from Kertch, see above, p. <a class="ask" href="#page8">8</a>. +</p> + +<p><span class="leftside">740.</span> +Relief with banquet. A draped figure, now for the +most part lost, reclines on a very lofty couch, holding a +two-handled cup in the left hand. On the left are the +knees and legs of a woman seated on a lofty throne, with +an arm supported by a series of arches. Before the couch +is a table with vessels of wine. A boy stands on a stool, +and holds a jug in his hands. On the right is an attendant. +On the left is a female figure holding a vase, and a +smaller figure.</p> + +<p>Inscribed: <ins title="Greek: ...de hyie Androne[ik]ou chaire">. . . δε υἱὲ +Ἀνδρονε[ίκ]ου +χαῖρε</ins>. Hail! ... son +of Andronicos.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 7 inches; width, 2 feet 7 inches. <i>Greek +Inscriptions in Brit. Mus.</i>, CLXXXII.; Latyschev, II., 212. +</p> + +<p><span class="leftside">741.</span> +Lower part of relief with banquet, of very rude style. +A male figure reclines to the right on a couch, holding a +two-handled cup in the right hand. Before him is a +table, with vessels of wine. At the end of the couch a +woman is seated, enthroned, holding a veil with her left +hand. A boy with an oinochoč stands on the right by +the table. A girl with a pyxis stands on the left behind +the throne. There are remains of pilasters. +Inscribed: <ins title="Greek: Isigonę gynę Hęraklidou chaire. Hęrakleidę g(ynę) b chaire." +>Ἰσιγόνη γυνὴ +Ἡρακλίδου +χαῖρε. +Ἡρακλείδη +γ(υνὴ) +β<span style="font-family: serif;">̄</span> χαῖρε</ins>.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 8 inches; width, 2 feet 4½ inches. <i>Greek +Inscriptions in Brit. Mus.</i>, CXCI.; Latyschev, II., 96. +</p> +<span class="pagenum"><a name="page345" id="page345"></a>345</span> + +<p><span class="leftside">742.</span> +Sepulchral monument with a banquet relief of very rude +style, contained in a lunette above the inscribed panel. A +male figure reclines on a couch, with a cup in his right hand, +with an uncertain object near the cup, which may perhaps +be intended to represent the snake. A table stands before +the couch with food. A woman sits on a stool at the foot +of the couch, and holds her veil with her left hand. A +small figure of a boy is at the head of the couch. On each +side of the inscribed panel is a vine branch with grapes; +above are a pine cone and two lions' heads to the front in +high relief. Below are the remains of a relief with a +mounted horseman. On the right and left edges of the +relief are snakes. The inscription states that the monument +is erected by Timocrates for his wife, his son, and +himself.—<i>Tomis.</i></p> + +<p class="indent"> +Limestone; height, 6 feet 11 inches; width, 2 feet 8½ inches. <i>Greek +Inscriptions in Brit. Mus.</i>, CLXXVII. +</p> + +<p><span class="leftside">743.</span> +Sepulchral monument with a banquet relief of the +rudest style. Two male figures, one being bearded, +recline on a couch, holding cups in their left hands. +Before them is a table with food; beside it a boy with +a cup and oinochoč (?), and a girl with a phialč. A +woman is seated on a chair by the head of the couch, +with the right hand raised to her chin. A vine branch +with grapes runs round the relief and the inscribed +panel. A Latin inscription states that the monument +was erected in memory of a girl, Ulpia Aurelia Valeria.—<i>Kertch.</i></p> + +<p class="indent"> +Limestone; height, 7 feet 1 inch; width, 3 feet. +</p> + +<p><span class="leftside">744.</span> +Late sepulchral relief. A man reclines on a couch. A +woman stands at the foot of the couch. The relief is +contained in an arch-shaped field below a pediment. +Inscribed, <ins title="Greek: LYTE ...">ΛΥΤΕ ...</ins>—<i>Obtained by the Euphrates Expedition</i> +<span class="pagenum"><a name="page346" id="page346"></a>346</span> +<i>(1835-1837) and presented by Sir J. C. Hobhouse, President +of the Board of Control.</i></p> + +<p class="indent" style="margin-bottom: 2em;"> +Marble; height, 2 feet; width, 1 foot 3 inches. +</p> + +<p><span class="leftside">745.</span> +Sepulchral relief, with a man seated, and a man standing +holding a scroll in his left hand. The two figures +probably joined their right hands. In the right and +left angles are diminutive figures. On the right is a +horse's head. A tree with a snake is seen above a wall +in the background. The relief is surmounted by an entablature.</p> + +<p>Inscribed with the metrical epitaph:</p> + +<div class="poem"><div class="stanza"> +<p><ins title="Greek: Oupô] nymphidiôn kradię peplęthota lektrôn"> +Οὔπω] +νυμφιδίων +κραδίῃ +πεπληθότα +λέκτρων</ins></p> +<p class="i2"><ins title="Greek: Diphi]lon aiaktô tôd' hypenasse taphô"> +Δίφι]λον +αἰακτῷ +τῷδ' +ὑπένασσε +τάφῳ</ins></p> +<p><ins title="Greek: gnôton] te gnôtę te panaidoię<i> Stratonikę"> +γνωτόν] τε +γνωτή τε +παναιδοίη<ι> +Στρατονίκη</ins></p> +<p class="i2"><ins title="Greek: hô k]ai Alexandron kouron homęgenea"> +ᾧ κ]αὶ +Ἀλέξανδρον +κοῦρον +ὁμηγενέα</ins>,</p> +<p><ins title="Greek: ast]ois kai xeinoisi prosęneas, esthla men eipein"> +ἀστ]οῖς +καὶ +ξείνοισι +προσηνέας, +ἐσθλὰ +μὲν +εἰπεῖν</ins></p> +<p class="i2"><ins title="Greek: esth]la de kai rhexai pantas epistamenous·"> +ἐσθ]λὰ +δὲ καὶ +ῥέξαι +πάντας +ἐπισταμένους·</ins></p> +<p><ins title="Greek: Maio]genes, sy de paidas en hęrôessi phylassois"> +Μαιο]γενές, +σὺ δὲ +παῖδας ἐν +ἡρῴεσσι +φυλάσσοις</ins></p> +<p class="i2"><ins title="Greek: eusebe]ôn aiei chôron eperchomenos."> +εὐσεβέ]ων +αἰεὶ +χῶρον +ἐπερχόμενος</ins></p> +</div></div> + +<p>This sculpture, and the following, No. 746, have been +placed here, though they do not include the banquet, +because they have some details, such as the serpent and +the horse's head, similar to those on the banquet reliefs.—<i>Ephesus.</i> +<i>Excavated by Mr. Wood, between the Magnesian +Gate and the Temple of Artemis.</i></p> + +<p class="indent"> +Ephesian marble; height, 3 feet; width, 1 foot 7½ inches. Wood, +<i>Ephesus</i>, p. 123; <i>Greek Inscriptions in Brit. Mus.</i>, DCXXV<i>a.</i> +</p> + +<p><span class="leftside">746.</span> +A boy, Serapion, stands between two figures, probably +those of his father and mother. All three are closely +wrapped in himatia. Behind is a tree, about which is a +<span class="pagenum"><a name="page347" id="page347"></a>347</span> +serpent; a bird sits on a branch. The relief is bounded +by pilasters, a circular arch with rosettes in the spandrels, +and a pediment.</p> + +<p>Inscribed: <ins title="Greek: Serapiôn, chręste kai alype chaire.">Σεραπίων, +χρῆστε καὶ +ἄλυπε +χαῖρε</ins>.</p> + +<p class="indent"> +Greek marble; height, 3 feet 2 inches; width, 1 foot 8¼ inches. This +stone was formerly at Venice, and afterwards in London, "apud +Dodd chemicum." Boeckh, <i>C.I.G.</i>, 6990. +</p> + +<h3>RELIEFS WITH RIDER AND HORSE, HEROIFIED.</h3> + +<p>In the following reliefs the deceased person is heroified, +and represented as receiving libations or worship. The +sepulchral serpent is frequently introduced. For a +discussion of the type, see above, <a class="ask" href="#page301">p. 301</a>.</p> + +<p><span class="leftside">750.</span> +Sepulchral relief of a warrior. In the centre of the +relief is a bearded male figure, heavily armed. He wears +a helmet, cuirass, and greaves, and has a spear in his left +hand. He stands near a trophy which consists of a +helmet, cuirass, and greaves attached to the trunk of a +tree. On the left side of the trophy stands a female +figure, pouring a libation from a jug into a cup. A +serpent, coiled about the trophy, drinks from the cup. On +the right of the relief is the forepart of the warrior's +horse and the head of a groom. The relief is bounded by +two pilasters and an architrave.</p> + +<p>The inscription on the upper and lower edges contains +a list of names of men in the dative case, with their +cities added. The persons commemorated belonged to +various parts of the Peloponnesus, Northern Greece, +Thrace and Macedonia. From the position of the inscription, +it is plain that it is independent of the relief, and +probably it is earlier.—<i>Brought from Greece by Mr. Topham, 1725;</i> +<span class="pagenum"><a name="page348" id="page348"></a>348</span> +<i>Presented by Sir Joseph Banks and the Hon. A. C. +Fraser, 1780.</i></p> + +<p class="indent"> +Greek marble; height, 2 feet 1⅞ inch; width, 3 feet 8½ inches. <i>Mus. +Marbles</i>, II., pl. 41; Ellis, <i>Townley Gallery</i>, II., p. 157; Jahn, +<i>De Ant. Minervae Simulacris</i>, p. 23, pl. 3, fig. 1; <i>C.I.G.</i>, 1936; +Wolters, 437. +</p> + +<p><span class="leftside">751.</span> +Mutilated relief. A horseman is mounted, to the right. +He has an elaborate skin saddle-cloth, terminating with +an animal's head before the horse. Behind on the left is +an attendant with a tunic worn over one shoulder (<i>heteromaschalos</i>), +and with a shield. On the right are an altar +and a tree, about which a serpent is entwined. An +uncertain object is seen in the upper left corner of the +relief. The relief is very high. The horse originally +had reins of bronze.</p> + +<p class="indent"> +Marble; height, 3 feet; width, 3 feet. +</p> + +<p><span class="leftside">752.</span> +Fragment of sepulchral relief? A figure was represented +leading a horse to the right. Only one hand and +foot, and parts of the horse remain. Before it stand three +male figures on a smaller scale, each figure raising the +right hand, making a gesture as of adoration. The relief +was bounded by pilasters and an entablature.—<i>Blayds +Coll.</i></p> + +<p class="indent"> +White marble; height, 1 foot 1 inch; width, 1 foot 1 inch. +</p> + +<p><span class="leftside">753.</span> +Sepulchral relief. A youth rides on a horse, to the +right, wearing a short tunic and cloak. He approaches a +female figure, of a larger scale, who wears a long chiton +and himation. She has an oinochoč in the right hand and +a phialč in the left hand. Behind her is a bearded figure +on a smaller scale with the right hand raised as in adoration.—<i>Aphanda, +Rhodes.</i></p> + +<p class="indent"> +Marble; height, 1 foot 5 inches; width, 2 feet. <i>Arch. Anzeiger</i>, +1854, p. 485, No. 8; <i>Athenische Mittheilungen</i>, VIII., p. 370. +</p> +<span class="pagenum"><a name="page349" id="page349"></a>349</span> + +<p><span class="leftside">754.</span> +Fragment of a sepulchral relief, of a late period. A +mounted horseman advances to a flaming altar. On the +right of the altar is a pine tree, about which a snake is +coiled. Only the head and forelegs of the horse, and the +left hand of the horseman is preserved. The hand holds +a double-headed axe. A dog stands below the horse.—<i>Ephesus.</i> +<i>J. T. Wood.</i></p> + +<p class="indent"> +Ephesian marble; height, 1 foot 4½ inches; width, 8 inches. The +figure with the double-headed axe resembles that of the so-called <ins title="Greek: theos sôzôn">θεὸς +σώζων</ins> on late reliefs from Asia Minor (<i>Journ. of Hellen. +Studies</i>, VIII., p. 235; Roscher, <i>Lexicon</i>, p. 2564). +</p> + +<p><span class="leftside">755.</span> +Fragment of a sepulchral relief of a late period. A +mounted horseman with a chiton and a cloak flying +behind him stands on the left of an altar, at which a +draped youth makes a libation. On the right is a tree +about which a snake is coiled. The left side of the relief +is wanting.—<i>Ephesus.</i> <i>J. T. Wood.</i></p> + +<p class="indent"> +Ephesian marble; height, 1 foot 2 inches; width, 1 foot 5 inches. +</p> + +<p><span class="leftside">756.</span> +Fragment of a sepulchral relief, with a figure of a +mounted horseman wearing a chiton and cloak. The +head of the rider, and the head and hind-part of the horse +are wanting.—<i>Ephesus.</i> <i>J. T. Wood.</i></p> + +<p class="indent"> +Ephesian marble; height, 10 inches; width, 6½ inches. +</p> + +<p><span class="leftside">757.</span> +Mounted horseman to the right. Before him stands a +figure making a gesture of adoration. Above is a pediment, +with rosettes. The relief is in very late rude style.</p> + +<p>Inscribed: <ins title="Greek: Ęzous Apoll[ôni]dou tois parag[ou]sin chairein">Ἠζοῦς +Ἀπολλ[ωνί]δου +τοῖς παράγ[ου]σιν +χαίρειν</ins>.—<i>From +Phanagoria.</i></p> + +<p class="indent"> +Limestone; height, 2 feet 4½ inches; width, 1 foot 2 inches. <i>C.I.G.</i>, +2129; <i>Greek Inscriptions in Brit. Mus.</i>, CCVI.; Latyschev, +II., 378. +</p> +<span class="pagenum"><a name="page350" id="page350"></a>350</span> + +<h3>CASTS OF LYCIAN SEPULCHRAL RELIEFS.</h3> + +<p>The following casts are derived from Lycian rock-cut +tombs, discovered by Sir C. Fellows. Tombs of the +normal type have a facade with architecture imitating +wooden construction. Behind the facade is a vestibule, +or portico, often adorned with reliefs on each side. At +the back is the door of the actual sepulchral chamber. +Nos. 760-764 are derived from tombs of this type.</p> + +<p><span class="leftside">760.</span> +Cast of relief from the east or left side of the portico +of a rock-cut tomb. Bellerophon mounted on Pegasos +appears to be thrusting as with a spear at the Chimaera +which is roughly indicated in the right-hand lower corner +of the relief. Pegasos has the mane tied in a topknot +between the ears, as in the relief from Xanthos, No. 86. +The cast is painted in imitation of the original.—<i>Tlos.</i></p> + +<p class="indent"> +Height, 3 feet 6½ inches; width, 3 feet 7¾ inches. Fellows, <i>Lycia</i>, +p. 136 and plate. For general view of the tomb, see Benndorf, +<i>Reisen in Lykien</i>, I., p. 139, and pl. 42 (on the right). +</p> + +<p><span class="leftside">761-4.</span> +Casts of reliefs from the sides of the portico of a rock-cut +tomb at <i>Pinara</i>. The outside of the tomb has an +elaborate facade with sculptured pediment, frieze, and +other ornaments. (For general view, see Fellows, <i>Lycia</i>, +pl. facing p. 141, and Benndorf, <i>Reisen in Lykien</i>, I., +pl. 19.) Within the portico, on each side, projecting beam +ends divide the sculpture into two panels. Each of the +four reliefs represents a view of a Lycian city, but there +is no proof that they are four different views of the city of +Pinara, as Fellows thought (<i>Lycia</i>, p. 141).</p> + +<p><span class="leftside">761.</span> +Cast of the upper relief on the left or west side of +the portico. View of part of a city on a hill, with +castellated walls. Within are towers, with windows +<span class="pagenum"><a name="page351" id="page351"></a>351</span> +and connected by a wall, on which is a relief of three +male figures.</p> + +<p class="indent"> +Height, 3 feet ½ inch; width, 4 feet 2¼ inches. +</p> + +<p><span class="leftside">762.</span> +Cast of the lower relief on the left or west side of the +portico. View of part of a city on a hill with castellated +walls and turrets, a large pylon (?) and several tombs of +forms well known in Lycia. In the lower wall is a relief, +with a draped and bearded man leaning on a staff and +addressing a smaller figure. For the triangular arch +openings in the wall, compare Dodwell, <i>Pelasgic Remains</i>, +pl. 27, view of walls of a city near Mesolonghi.</p> + +<p class="indent"> +Height, 2 feet 10 inches; width, 4 feet 2½ inches. +</p> + +<p><span class="leftside">763.</span> +Cast of the upper relief on the right or east side of the +portico. View of part of a city on a hill with castellated +walls and turrets. A figure, apparently intended to represent +a living man, and not a sculpture, as on the other +reliefs, lifts his hand near one of the towers.</p> + +<p class="indent"> +Height, 3 feet 2 inches; width, 4 feet ½ inch. +</p> + +<p><span class="leftside">764.</span> +Cast of the lower relief on the right or east side of the +portico. View of part of a city with castellated walls +and turrets, built on natural rocks. On the right is a +large structure resembling a tomb. On the left is a staircase, +leading up to a door in a turret.</p> + +<p class="indent"> +Height, 2 feet 10 inches; width, 4 feet ½ inch. The four reliefs are +engraved, Fellows, <i>Lycia</i>, pl. facing p. 142; Benndorf, <i>Reisen +in Lykien</i>, I., p. 54; <i>Synopsis</i>, <i>Lycian Room</i>, Nos. 148, 149. +</p> + +<p><span class="leftside">765, 766.</span> +The following casts are from a portion of the sculptures +decorating a tomb, discovered by Sir C. Fellows, at +<i>Cadyanda</i>. The tomb is cut out of a large piece of +detached rock, and in type somewhat resembles the large +Lycian tombs in the British Museum, or the tomb of +Xanthos, shown in the background of pl. iii., the principal +<span class="pagenum"><a name="page352" id="page352"></a>352</span> +difference being in the treatment of the roof. At the end +of the tomb are two doors. One door is filled with an immovable +panel, with a figure of a draped bearded man holding +an oinochoč, and inscribed <ins title="Greek: Salas">Σάλας</ins>, and in Lycian <i>zzala</i>. +The second door is believed to have been fitted with a panel, +having the wife of Salas in relief. (Fellows, <i>Lycia</i>, +p. 117.) The reliefs, of which casts are preserved in the +British Museum, formed a frieze immediately below the +cornice on each side of the tomb. Below this frieze on +each side was a combat of warriors on a larger scale.</p> + +<p class="indent"> +Fellows, <i>Lycia</i>, p. 116; Petersen, <i>Reisen in Lykien</i>, II., p. 193. +Views and plans of the tomb are included in the Scharf portfolio +of drawings in the British Museum. +</p> + +<p><span class="leftside">765.</span> +Cast of a portion of the relief on the south side of the +tomb at <i>Cadyanda</i>.</p> + +<p>At the left end of the relief a girl draped in plain +long chiton with sleeves, and a cap with tassel, stands to +the right holding an aryballos and alabastron. On the +left of the principal relief is a group of four figures playing +with knuckle-bones. In front are a girl seated and a +girl kneeling, both closely draped and having long hair. +Behind are a youth standing, wrapped in a mantle, and a +woman who holds an aryballos in her left hand and wears +her mantle over her head. All the figures make animated +gestures. Near the head of the youth is the inscription <ins title="Greek: Mesos">Μέσος</ins>. +Next on the right is a woman seated, holding a +boy in her hands, and wearing her mantle over her head. +Behind her is a female figure, much mutilated, standing +to the left with her right hand under her chin. The remainder +of the relief, which is not represented by a cast, +appears to have contained either a sacrificial group (Scharf), +or warriors (Petersen, <i>Reisen in Lykien</i>, ii., p. 193).</p> + +<p class="indent"> +Height, 2 feet ¾ inch; length, 4 feet 2 inches. Fellows, <i>Lycia</i>, +frontispiece, and pl. facing p. 116; <i>Synopsis</i>, <i>Lycian Room</i>, +No. 151; Petersen, <i>Reisen in Lykien</i>, II., p. 194, fig. 84. +</p> +<span class="pagenum"><a name="page353" id="page353"></a>353</span> + +<p><span class="leftside">766.</span> +Cast of the relief on the north side of the tomb at +<i>Cadyanda</i>. This relief which is much mutilated, appears +to contain a banquet scene, with four couches, each having +two persons reclining and several attendant figures. Two +attendants stand near the first couch on the left. One +has a wreath in the right hand. Near him is the inscription <ins title="Greek:...A....A.">. . . Α. . . . Α.</ins> +A smaller figure plays on the flute. On +the first couch are remains of a figure seated, nearly erect, +and of a figure lying with his head resting on his left +hand and having a bowl in his right hand. A portion of +the original sculpture is here inserted in the cast. Above +is the inscription <ins title="Greek: ...easob">. . . εασοβ</ins> (?), and below is the bilingual +inscription <i>edazzala</i> <ins title="Greek: Eidassalas">Εἰδασσάλας</ins>. +The next group is obscure, but appears to consist of a figure seated, with the +right hand stretched out, so as to be seen above the head +of the figure last described, and a figure holding a child +which stretches out its arms to a figure on the right. +Below the first of these two figures is the bilingual inscription <i>mezo</i> <ins title="Greek: Mesos">Μέσος</ins>. +On the left of the second of the two figures is the bilingual +inscription <i>zzala</i> <ins title="Greek: Salas">Σάλας</ins>, the +Lycian being also repeated below, <i>zzal(a)</i>. We must, +therefore, suppose this figure to be Salas, the owner of the +tomb. The child is named <i>horlar</i> (?) On the next couch +is a draped figure reclining on the left elbow, and holding +out his right hand to the child. Near this figure is the +inscription <ins title="Greek: SIRO">ΣΙΡΟ</ins> (?), and below it, remains of an illegible +inscription. Next on the right is a small draped female +figure, seated on a chair, with the hands stretched out. +Behind her is a larger figure standing, with the bilingual +inscription <i>...katamna</i> <ins title="Greek: Hekatomnas">Ἑκατόμνας</ins>. +On the third couch are two men reclining. +Above the first is the inscription <ins title="Greek: Kparam[os]"> +Κπάραμ[ος]</ins>, and below <i>[k]pparama</i>. Below the second is +the bilingual inscription <i>mola</i> <ins title="Greek: Molos">Μόλος</ins> (?). +Below the couch is a dog. On the fourth couch are also two men reclining. +Above the first is the inscription <ins title="Greek: Seskôs">Σέσκως</ins>, +and below remains +<span class="pagenum"><a name="page354" id="page354"></a>354</span> +of the corresponding Lycian inscription <i>ze...wwa</i>. +Below the second is a bilingual inscription, in which only +the Greek name, <ins title="Greek: Kendyomis">Κενδύομις</ins>, is legible. A dog stands +below the couch.</p> + +<p>At the right end of the relief, corresponding to the +figure at the left end of the north side, is a nude male +figure dancing, with the bilingual inscription <i>äkatam[n]a</i> <ins title="Greek: Hekatomnas">Ἑκατόμνας</ins>.</p> + +<p class="indent"> +Height, 2 feet 1 inch; length, 8 feet 8 inches. Fellows, <i>Lycia</i>, pl. +facing p. 116 (very inaccurate); <i>C.I.G.</i>, 4225; <i>Synopsis</i>, <i>Lycian +Room</i>, No. 152; Petersen, <i>Reisen in Lykien</i>, II., p. 193. +</p> + +<h3>VOTIVE RELIEFS.</h3> + +<p>For an account of Greek votive reliefs, of the occasions +on which they were dedicated and of the objects represented, +see above, p. <a class="ask" href="#page302">302</a>.</p> + +<p><span class="leftside">770.</span> +Fragment of relief. Zeus, wearing a mantle, is seated on +a stool (<i>diphros</i>). His left arm is raised, as if resting on +a sceptre. The right hand is extended. Near him is +Hera, standing, with her right arm across her breast and +her left hand raised to her veil. The relief which is only +complete at the right side, was bounded by pilasters and +an architrave. The missing part may have contained the +figures of suppliants.—<i>Athens (?).</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 7 inches; width, 1 foot 2 inches. +<i>Synopsis</i>, No. 376 (227); <i>Mus. Marbles</i>, IX., pl. 37, fig. 2; +cf. Schöne, <i>Griechische Reliefs</i>, pl. 25, figs. 104, 105. +</p> + +<p><span class="leftside">771.</span> +Relief from the upper part of an inscribed stelč. +Athenč, standing on the right of the scene, places with +her right hand a wreath on the head of a male figure less +in stature. On the left is a draped female figure holding +out in her right hand a wreath or a cup. The left hand +of this figure is raised to the level of the top of her head, +<span class="pagenum"><a name="page355" id="page355"></a>355</span> +as if resting on a staff. She wears a long chiton, over +which is a diploďdion reaching nearly to the knees. A +short mantle hangs on her left arm. Athenč is clad in a +long chiton with diploďdion; her left hand rests on the +edge of her shield at her side.</p> + +<p>From a comparison of this relief, with other similar compositions +from Athens, it is probable that it is the heading +broken off from an honorary decree of the Athenian people +by which a crown was conferred on some city or individual +for services. (Compare above, p. 303; Schöne, <i>Griech. +Reliefs</i>, pl. 16, fig. 75, p. 41; and the fragment, No. 772.)</p> + +<p>The figure of Athenč here as on many other reliefs is +in its general outlines copied from the Athenč Parthenos +of Pheidias. (Compare Michaelis, pl. 15, figs. 6-17.)—<i>Athens (?).</i> +<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 11 inches; width, 1 foot 4½ inches. <i>Mus. +Marbles</i>, IX., pl. 35, fig. 4; <i>Synopsis</i>, No. 375 (82); <i>Elgin Room +Guide</i>, Part II., No. F. 4. +</p> + +<p><span class="leftside">772.</span> +Fragment of relief from the upper part of an inscribed +stelč. Athenč stands on the right; with her right hand +she places a crown on the head of a youth, who stands +facing her on the left. He is clad in a mantle. Athenč +wears a crested helmet and a long chiton, over which is a +diploďdion; on her breast is the aegis; her left hand holds +her shield which rests on the ground on its edge. The +relief was bounded by pilasters and a pediment. It is +probable that originally a third figure balanced the +figure of Athenč, as in the preceding relief, No. 771.</p> + +<p>This figure of Athenč, like the preceding, is in its +general outlines copied from the Athenč Parthenos of +Pheidias.—<i>Athens (?).</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 4 inches; width, 9½ inches. <i>Mus. +Marbles</i>, IX., pl. 36, fig. 1; <i>Synopsis</i>, No. 371 (89); <i>Elgin Room +Guide</i>, Part II., No. F. 5. For similar subjects, see Schöne, +<i>Griech. Reliefs</i>, pl. 22, No. 96; Wolters, Nos. 1157-1181. +</p> +<span class="pagenum"><a name="page356" id="page356"></a>356</span> + +<p><span class="leftside">773.</span> +Part of a relief, from the upper part of an inscribed +stelč. Athenč stands on the left, and with her right +hand she crowns a draped male figure, apparently a +bearded man, who raises his right arm as if in adoration. +Athenč wears a helmet and chiton with diploďdion, and +places her left hand on her shield, of which the inner +side is shown. The spear of Athenč rests against her +left shoulder, with its end on the ground inside the +shield. The relief is bounded by pilasters, with entablature +and roof-tiles. The figure of Athenč (like Nos. 771, +772) is roughly copied from the Athenč Parthenos of +Pheidias.</p> + +<p class="indent"> +Pentelic marble; height, 1 foot 6 inches; width, 9¾ inches. +</p> +<a name="n774" id="n774"></a> +<p><span class="leftside">774.</span> +Relief: Apollo receiving a libation from Victory. +Apollo wears the dress of a Kitharoedos, namely, a long +chiton with sleeves, over which is a diploďdion girt at the +waist; a mantle hangs from his left shoulder; his long +hair is looped up in a broad plait behind, under a diadem; +a single long plait falls over each ear; he holds out a +bowl with his right hand, while his left strikes his lyre, +which is supported by a broad band passing over the left +wrist; from the lyre hang two ends of ribbons; he wears +armlets and sandals. The Victory is clad in a long chiton, +over which is a diploďdion girt at the waist; she wears +bracelets and armlets. Both figures stand with the heels +raised from the ground: at the side of the Victory is a +circular altar, on which is sculptured in relief a winged +female figure between two festoons. This subject occurs +on several other reliefs in marble, for one of which +see below, No. <a class="ask" href="#n775">775</a>, and also on a terracotta relief in +the British Museum. (For a list, see Welcker, <i>Alte +Denkmaeler</i>, ii., p. 37.) All these sculptures exhibit +the same peculiar style of affected archaism, known as +archaistic. On a comparison of the reliefs in which +<span class="pagenum"><a name="page357" id="page357"></a>357</span> +this subject occurs, it will be seen that the one here +described is part of a larger composition in which Leto +and Artemis follow behind Apollo, and a temple is +introduced in the background; a tripod, a statue on a +pedestal, the <i>omphalos</i>, a plane tree, and the Horae on the +altar also occur as accessories. It seems probable that +these reliefs are votive, and that in selecting as their +subject the victory of Apollo in a musical contest, the +dedicator indirectly commemorated his own triumph in a +similar exercise of skill.—<i>Hamilton Coll., 1772.</i></p> + +<p class="indent"> +Marble; height, 2 feet 1 inch; width, 2 feet 1 inch. Restored: +the greater part of the body of Apollo, lower part of body of +Victory, column on left, and lower part of column on right. +The parts restored have been copied from more perfect marbles +in the Villa Albani. <i>Mus. Marbles</i>, II., pl. 13; Ellis, <i>Townley +Gallery</i>, II., p. 113; <i>Guide to Graeco-Roman Sculptures</i>, I., No. +169; Wolters, No. 427; Welcker, <i>Alte Denkmaeler</i>, II., p. 41. +</p> +<a name="n775" id="n775"></a> +<p><span class="leftside">775.</span> +Fragment of a relief which probably commemorates a +musical or dramatic victory. Two draped female figures +move to the right: the foremost of these (Artemis) holds +out in both hands a lighted torch; she also has a quiver +with a bow projecting from it, behind her shoulder. The +second figure, who is probably Leto, holds in her left hand +a sceptre, the head of which is formed by a pomegranate +flower. The drapery of both figures is arranged in the +archaistic style. Both figures wear a long chiton with +sleeves, over which is a long full garment reaching nearly +to the feet; over this again is a diploďdion girt at the +waist. A mantle falls from the left shoulder of Artemis, +floating to below her knees; her companion with her +right hand draws forward over her right shoulder the +edge of a mantle, the other end of which falls over her +left arm. The heads of both figures are encircled by a +diadem, from beneath which two long plaits of hair fall +on each shoulder.</p> +<span class="pagenum"><a name="page358" id="page358"></a>358</span> + +<p>These figures are moving beside a plain wall, beyond +which is shown a Corinthian temple; the tiles of the +roof with the ornamental fronts of the covering tiles are +represented, but in incorrect perspective: on the extreme +left of the scene is a tripod standing on a polygonal +pedestal which forms the termination of the wall.</p> + +<p>In order to understand the subject of this fragment, it +must be compared with similar reliefs in which the remainder +of the original composition has been preserved. +(See above, No. <a class="ask" href="#n775">775</a>.) We may assume that the fragment +here described, when complete, had on the right a +figure of Apollo Kitharoedos leading the procession, and +holding out a bowl to receive a libation from a Victory. +The temple represented in these reliefs may be that of +Apollo at Delphi.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 4 inches; width, 1 foot 9 inches. +<i>Mus. Marbles</i>, IX., pl. 36, fig. 2; <i>Guide to Elgin Room</i>, Part II., +No. F. 2; Welcker, <i>Alte Denkmaeler</i>, II., p. 40. +</p> + +<p><span class="leftside">776.</span> +Votive relief representing an offering to Apollo. On the +right, the god is seated on the <i>omphalos</i>, holding up his +right hand. The object held up in this hand has been +broken away. A mantle is wrapped round his body, and +he wears sandals. On the left are three mortals, clad in +Roman military armour, who appear to be approaching as +if to consult the Oracle of Apollo, and who, from the +difference of stature, are probably a father and two sons. +Between them and the god are two female figures, of +colossal proportions, who stand to the front, their heads +turned towards Apollo. Each wears a diadem, and the +figure on the left holds a box containing incense in her +left hand. These two figures are thought to be Leto +and Artemis, whose worship was associated with that of +Apollo. The relief is bounded by two pilasters surmounted +by an entablature. On the base are the remains +<span class="pagenum"><a name="page359" id="page359"></a>359</span> +of a dedication to Apollo, in elegiac verse, which has been +restored as follows, by Koehler:</p> + +<div class="poem"><div class="stanza"> +<p><ins title="Greek: S[oi] Char[mos, ba]sileu Paian, hekatębol' Apol[lon]"> +Σ[οὶ] +Χάρ[μος, +βα]σιλεῦ +Παιὰν, +ἑκατηβόλ' +Ἄπολ[λον]</ins>,</p> +<p class="i2"><ins title="Greek: Hippo[kratous dôron] p[ai]s anethęke tode."> +Ἱππο[κράτους +δῶρον] +π[αῖ]ς +ἀνέθηκε +τόδε</ins>.—<i>Townley Coll.</i></p> +</div></div> + +<p class="indent"> +Pentelic marble; height, 1 foot 7¾ inches; width, 2 feet 8 inches. +Presented by the Duke of Bedford to Mr. Townley, in 1805. +<i>Mus. Marbles</i>, II., pl. 5; Ellis, <i>Townley Gallery</i>, II., p. 135; +<i>Guide to Graeco-Roman Sculptures</i>, I., No. 200; Wolters, No. 1849; +<i>C.I.G.</i>, 1946; <i>C.I.A.</i>, II., 1527<i>b</i>; Kaibel, 799; <i>Rhein. Mus. N.F.</i>, +1886, p. 346; Cavaceppi, <i>Raccolta d'Antiche Statue</i>, III., pl. 1. +</p> + +<p><span class="leftside">777.</span> +Fragment of votive relief dedicated by Asclepiodotos +to Apollo Tadokomeites. The upper part is missing. On +the right is the figure on a colossal scale of Apollo +Kitharoedos, preserved only from the knees downwards. +On the left a draped male figure kneels by an altar, holding +a ram, and having a knife in the right hand. Behind +the altar is a tree. On the left of the relief, a male +figure, whose head is wanting, stands holding a conical +object in his right hand.</p> + +<p>Inscribed: <ins title="Greek: Asklępiodotos Diphilou Apollôni Tadokômeitę euchęn"> +Ἀσκληπιόδοτος +Διφίλου +Ἀπόλλωνι +Ταδοκωμείτῃ +εὐχήν</ins>.—<i>Cyzicus.</i> +<i>Presented by A. van Branteghem, Esq., 1890.</i></p> + +<p class="indent"> +Marble; height, 1 foot 1 inch; width, 11½ inches. <i>Rev. Arch.</i>, 1891, +p. 12, No. 3. +</p> + +<p><span class="leftside">778.</span> +Fragment of votive relief. Artemis stands with the +right arm on her right thigh, and leaning on what +appears to be a torch. She wears a huntress dress, with +short chiton, and has a hound standing beside her. On +the right is an altar at which a male worshipper appears +to be making an offering. On the extreme right is the +hand and drapery of a female figure making a gesture of +adoration.—<i>Ephesus.</i> <i>J. T. Wood.</i></p> + +<p class="indent"> +Ephesian marble; height, 1 foot 1 inch; width, 9 inches. +</p> + +<p><span class="leftside">779.</span> +Fragment of relief, including the upper part of a standing +figure of Artemis, from the middle of the thighs. At +<span class="pagenum"><a name="page360" id="page360"></a>360</span> +her left side was a stag, of which the head alone remains. +In the centre is a female figure with the right arm extended. +On the right is a female worshipper of smaller +stature, who has the right hand raised, making a gesture +of adoration. Around the relief is a rudely cut rocky +background.</p> + +<p class="indent"> +Greek marble; height, 1 foot 1½ inches; width, 1 foot. +</p> +<a name="n780" id="n780"></a> +<p><span class="leftside">780.</span> +Votive relief (?). Two youths on horseback, probably +the Dioscuri, though the conical cap, <i>pileus</i>, by which they +are distinguished is wanting. Each wears a chiton and +chlamys. They are beardless; their hair is short and +bound with a diadem; the bridles have been painted in +red, which is still faintly visible on the marble. The +horses are small and compact, like those on the frieze of +Parthenon, and have hogged manes.—<i>Purchased from +Sir W. Hamilton, 1772.</i></p> + +<p class="indent"> +Marble; height, 1 foot 5½ inches; length, 1 foot 9¼ inches. <i>Mus. +Marbles</i>, II., pl. 11; Ellis, <i>Townley Gallery</i>, II., p. 111; <i>Guide +to Graeco-Roman Sculptures</i>, Part I., No. 153. +</p> + +<p><span class="leftside">781.</span> +Votive relief. Two youthful male figures, perhaps the +Dioscuri, stand to the front, having an altar between them. +One is nude, and the other only has drapery on the left +arm. They have spears in their left hands. One appears +to be holding an oinochoč in his right hand, and the other +a phialč. They stand between two Ionic columns, surmounted +by an entablature, with antefixal tiles, and +festoons of rosettes above.</p> + +<p class="indent"> +Marble; height, 1 foot 6½ inches; width, 1 foot 2¾ inches. +</p> + +<p><span class="leftside">782.</span> +Votive tablet with relief representing Kybelč seated. +She wears a polos, and has a tympanum in the left hand, +and has a lion by her left side. With the right hand she +holds a phialč over an altar; on the left of the altar is a +<span class="pagenum"><a name="page361" id="page361"></a>361</span> +male worshipper standing.—<i>Cyzicus.</i> <i>Presented by A. van +Branteghem, Esq.</i></p> + +<p class="indent"> +Marble; height, 7 inches; width, 4 inches. <i>Rev. Arch.</i>, 1891, p. 12 +No. 6. +</p> + +<p><span class="leftside">783.</span> +Votive relief. Kybelč seated within a distyle temple. +On her head is a calathos; a long tress of hair falls on +each shoulder; she wears a long chiton with sleeves and +girt at the waist, and a mantle. In her right hand she +holds a bowl; at her right side is a lion; her left hand +is advanced as if it had held a sceptre, probably of metal, +which is now wanting. On each side of the base of the +calathos is a hole, probably for the attachment of a metal +wreath.—<i>Elgin Coll.</i></p> + +<p class="indent"> +Greek marble; height, 1 foot 3 inches; width, 9 inches. <i>Mus. +Marbles</i>, IX., pl. 35, fig. 2; <i>Synopsis</i>, No. 293 (97); <i>Guide to +Elgin Room</i>, Part II., No. F. 7. +</p> +<a name="n784" id="n784"></a> +<p><span class="leftside">784.</span> +Votive relief. Kybelč seated, with a recumbent lion +in her lap, its head to the left. In her right hand she +has a bowl; in her left she holds some object, the form of +which cannot be made out. She wears a long chiton, girt +at the waist, and a mantle. Her head is broken off; on +each side of her neck a long tress falls on her shoulder. +Sculpture late and rough.—<i>Presented by J. P. Gandy +Deering, Esq., 1820.</i></p> + +<p class="indent"> +Greek marble; height, 11 inches; width, 10½ inches. <i>Synopsis</i>, +No. 300 (103*). +</p> + +<p><span class="leftside">785.</span> +Fragment of a relief, probably votive, containing +Hermes, who wears a short chiton, chlamys, and petasos, +and holds out a phialč in the right hand. On his left is a +female figure, also holding a phialč. On the right, the +right arm alone remains of a third figure with a phialč.—<i>Knidos.</i></p> + +<p class="indent"> +Marble; height, 1 foot 3 inches; width, 1 foot ½ inch. +</p> +<span class="pagenum"><a name="page362" id="page362"></a>362</span> + +<p><span class="leftside">786.</span> +Relief with three figures. On the left is Athenč, +having long chiton, peplos, helmet, aegis, spear. Beside +her is a seated animal, perhaps a lion. In the centre +is Aphroditč (?), wearing long chiton, peplos, and polos. +She has a spear in her left hand, and a much mutilated +Eros (?) standing by her side. On the right is a +figure of the deified Heracles (?), half-draped in mantle +and lion's skin, with the club in his left hand and a +sceptre or thyrsus in his right hand. He appears to wear +the Egyptian crown.—<i>Presented by H. Gally Knight, Esq., +1839.</i></p> + +<p class="indent"> +Parian marble (?); height, 1 foot 1½ inches; width, 1 foot 1¼ inches. +Wolters, No. 1845. +</p> + +<p><span class="leftside">787.</span> +Fragment of a relief, with a male figure, heavily draped, +wearing long chiton and himation, and having long hair +falling on the shoulders. The left hand is raised, and +there are marks of the attachment of a metal object, +perhaps a sceptre or thyrsos. The figure also wore a +metal wreath. The relief, which is only complete on the +right side, was bounded by pilasters and an entablature.—<i>Athens (?).</i> +<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 2 feet 5 inches; width, 1 foot 7 inches. +<i>Mus. Marbles</i>, IX., pl. 38, fig. 1; <i>Synopsis</i>, No. 176 (107). +</p> + +<p><span class="leftside">788.</span> +Fragment of a relief, with a group of gods, viz.: +Hermes, with caduceus and petasos; Zeus, with a sceptre; +and Kybelč, having a polos and sceptre. Each of the +three holds out a bowl in the right hand. On the left, in +low relief, is a diminutive figure seated on rocks by a +ship; on the right are two warriors, seated, having shields +and swords.</p> + +<p class="indent"> +Marble; height, 1 foot 4 inches; width, 1 foot 10 inches. +</p> + +<p><span class="leftside">789.</span> +Relief, representing offerings to Eileithyia (?). A draped +female figure is seated on a chair with foot-stool, turned +<span class="pagenum"><a name="page363" id="page363"></a>363</span> +to the right. With the left hand she holds a part of her +mantle which passes over her head. On the right is a +draped woman who approaches, holding a closely-swathed +baby on her left arm, and making a gesture with the +right hand. A similar figure stands on the right, with a +baby on her left arm, and having the right hand raised to +her head in a manner expressive of sorrow. Behind the +chair is a woman advancing, holding a baby in both +arms, and on the left is a woman who carries a dish (?) +on her left hand and has a casket hanging from her right +hand.</p> + +<p>The separate figures would be well suited to a sepulchral +relief, on which the seated figure and a figure with +a baby might well be represented. The whole composition, +however, seems more suitable for a representation +of mothers making offerings to some goddess, perhaps +Eileithyia.—<i>From Sigeum in the Troad.</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Bluish marble; height, 1 foot 4 inches; length, 5 feet 9 inches; width, +2 feet. The marble was probably the sculptured base of a statue or +group. Afterwards it was roughly converted into a water-basin, +and in modern times it served as a seat at the right side of the +door of a church at Sigeum. The Sigean inscription formed a +corresponding seat at the left side of the door. Lady M. +Wortley Montagu, <i>Letter</i> XLIV. (of July 31, 1718); Chandler, +<i>Travels in Asia Minor</i> (1775), p. 36; <i>Antiquities of Ionia</i>, I., +p. i. (The original drawing by Pars is in the Brit. Mus.) +Choiseul-Gouffier, <i>Voyage Pittoresque</i>, II., pl. 19; <i>Synopsis</i>, +No. 324 (99); <i>Mus. Marbles</i>, IX., pl. 11. +</p> + +<p><span class="leftside">790.</span> +Relief: Cyrenč crowned by Libya. This relief represents +the nymph Cyrenč in the act of strangling a lion, +while, to commemorate this triumph, a crown is held over +her head by Libya.</p> + +<p>Inscribed:</p> +<div class="poem"><div class="stanza"> +<p><ins title="Greek: Kyręnęn poliôn mętroptolin hęn stephei autę"> +Κυρήνην +πολίων +μητρόπτολιν +ἣν στέφει +αὐτὴ</ins></p> +<p class="i2"><ins title="Greek: ępeirôn Libyę trisson echousa kleos"> +ἠπείρων +Λιβύη +τρίσσον +ἔχουσα +κλέος</ins>,</p> +<p><ins title="Greek: enthad' hyper melathroio leontophonon theto Karpos"> +ἐνθάδ᾽ +ὑπὲρ +μελάθροιο +λεοντοφόνον +θέτο +Κάρπος</ins>,</p> +<p class="i2"><ins title="Greek: euxamenos, megalęs sęma philoxenięs"> +εὐξάμενος, +μεγάλης +σῆμα +φιλοξενίης</ins>.</p> +</div></div> +<span class="pagenum"><a name="page364" id="page364"></a>364</span> + +<p>The inscription may be thus translated: "Here over +the architrave, Karpos, making this dedication, placed +Cyrenč, mother of cities, slayer of lions, in token of great +hospitality. Libya, who has the glory of being a third +continent, herself crowns her."</p> + +<p>Cyrenč stands on the left, in attire very like that of +Artemis as a huntress. She wears a chiton reaching to +the knees, over which is a chlamys, and buskins; her +hair is drawn back from her face. Both her arms are +locked round the lion's neck. Libya wears a long +chiton girt at the waist, and a mantle fastened between +the breasts and falling down behind; her hair, bound +with a diadem, is arranged over her forehead in long, +regular curls, and falls down her neck; at her side is +an animal couchant, of which the head is broken off, +and which is perhaps a gazelle. The scene takes place +on rocky ground. Two vines arch their branches over +the group.</p> + +<p>According to the legend told by Pindar (<i>Pyth.</i> ix. 26) +Cyrenč was the daughter of Hypseus, king of the Lapiths +in Thessaly, whose flocks she guarded against wild beasts. +Apollo, seeing her slaying a lion in the valleys of Pelion, +became enamoured of her, and carried her off to the +part of Libya which afterwards bore her name. According +to another legend (Scholiast on Apoll. Rhod. <i>Argon.</i>, +ii., 498, &c.), Eurypylos, king of Libya, had promised a +portion of his kingdom to the person who would slay a +lion then dreaded for his ravages. Cyrenč performed this +exploit, and received in reward the promised district. +It is probably in connection with this later legend that +Libya is introduced crowning Cyrenč in the relief. +Aristaeus, a mythic founder of Cyrenč, was the son of +Apollo and Cyrenč. The form of the relief suggests that +it may have been a metope, and the words <ins title="Greek: hyper melathroio">ὑπὲρ +μελάθροιο</ins> +in the inscription have therefore been translated "above +<span class="pagenum"><a name="page365" id="page365"></a>365</span> +the architrave."—<i>Found outside the Temple of Aphroditč, +Cyrenč.</i></p> + +<p class="indent"> +Marble; height, 3 feet 4 inches; width, 2 feet 3 inches. Smith and +Porcher, pl. 76, p. 98; pl. 83, No. 19. R. C. Puckett, <i>De +marmoribus tribus Cyrenaicis</i>; Bonn, 1868, p. 16, and Plate; +<i>Guide to Graeco-Roman Sculptures</i>, Part II., No. 129; Overbeck, +<i>Griech. Kunstmythologie</i>, III., p. 496; <i>Atlas</i>, pl. 26, fig. 16; +Wolters, No. 1916; Studniczka, <i>Kyrene</i>, p. 31. The inscription +is given by Kaibel, <i>add</i>. 842<i>a</i> (in some points incorrectly). For +the legends of Cyrenč, see Studniczka, p. 39. +</p> + +<p><span class="leftside">791.</span> +Fragment from the right side of a votive relief. Heracles +stands, nude, with the lion-skin and club on his left +arm. The head and extended right hand are wanting. +On the left is a fragment of a draped figure. The relief +was contained in pilasters, surmounted by an entablature.</p> + +<p class="indent"> +Pentelic marble; height, 2 feet ½ inch; width, 10 inches. +</p> + +<p><span class="leftside">792.</span> +Fragment of a votive relief. A beardless male figure +stands to the front, with a chlamys on the raised left arm, +and with a cup held out in his right hand. On the right +is the right arm, and a portion of the skirt of another +figure, perhaps female, of equal scale. On the left is the +figure, much defaced, of a bearded worshipper.—<i>Elgin +Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot ¼ inch; width, 10 inches. <i>Synopsis</i>, +No. 361 (84); <i>Mus. Marbles</i>, IX., pl. 35, fig. 3. +</p> + +<p><span class="leftside">793.</span> +Votive relief to Demeter and Persephonč (?). Two +female figures, each wearing a chiton and himation, +stand to the front. Between them is the stump of a +tree, on which the figure on the right (Persephonč (?)) +leans her right elbow.—<i>Castellani Coll.</i></p> + +<p class="indent"> +Limestone; height, 1 foot; width, 10¾ inches. Restorations:—Upper +part of ground and frame of relief with top of tree and +right forearm of Persephonč. +</p> +<span class="pagenum"><a name="page366" id="page366"></a>366</span> + +<p><span class="leftside">794.</span> +Fragment of relief, with the lower part of a draped +female figure, standing on a nude prostrate figure of a boy. +On the right is a Gryphon and on the left a large serpent.—<i>From +Amphitheatre, Gortyna.</i></p> + +<p class="indent"> +White marble; height, 1 foot; width, 11¼ inches. The Gryphon and +serpent are attributes of Sarapis on a relief at Andriakč in +Lycia. Petersen, <i>Reisen in Lykien</i>, II., p. 42, fig. 31. +</p> + +<p><span class="leftside">795.</span> +Left side of votive tablet, on which is sculptured a +female figure standing to the front, holding a bowl in her +right hand: her head and left arm from above the elbow +are broken away. Some vertical object, perhaps a censer, +similar to that held by figure No. 56 in the eastern frieze of +the Parthenon, or perhaps a fold of her mantle, is sculptured +on the right.—<i>Athens.</i> <i>Inwood Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 7¾ inches; width, 6 inches. <i>Elgin Room +Guide</i>, Part II., No. F. 12. +</p> + +<p><span class="leftside">796.</span> +Fragment of relief, containing a part of a half-draped +bearded man, standing as if leaning on a staff, to the +right, holding what appears to be a flower in his right +hand; and also part of the figure of a woman holding what +appears to be a pomegranate. The figures may be those +of suppliants with offerings on a votive relief.—<i>Cyrenč.</i></p> + +<p class="indent"> +White marble; height, 6½ inches; width, 11 inches. Smith and +Porcher, p. 107, No. 138. +</p> + +<p><span class="leftside">797.</span> +Fragment of relief containing a half-draped elderly +male figure, and a female figure wearing a long chiton. +Perhaps a fragment of a votive relief.—<i>Temple of Aphroditč, +Cyrenč.</i></p> + +<p class="indent"> +White marble; height, 1 foot; width, 10 inches. Smith and Porcher, +p. 104, No. 88. +</p> +<a name="n798" id="n798"></a> +<p><span class="leftside">798.</span> +Votive relief, with two plaits of formally twisted hair, +dedicated to Poseidon by Philombrotos and Aphthonetos. +The relief is bounded by two pilasters and an entablature.</p> +<span class="pagenum"><a name="page367" id="page367"></a>367</span> + +<p>Inscribed: <ins title="Greek: Philombrotos, Aphthonętos Deinomachou, Poseidôni">Φιλόμβροτος, +Ἀφθόνητος +Δεινομάχου, +Ποσειδῶνι</ins>.—<i>From +Phthiotic Thebes, in Thessaly</i>. <i>Presented by Col. +Leake, 1839.</i></p> + +<p class="indent"> +Marble; height, 1 foot 1½ inches; width, 1 foot 2½ inches; Millingen, +<i>Ancient Unedited Monuments</i>, Part II., pl. 16, fig. 2; Leake, +<i>Travels in Northern Greece</i>, IV., p. 361; <i>Greek Inscriptions in +Brit. Mus.</i>, CLXIII.; Daremberg and Saglio, <i>Dict. des Antiqs.</i>, +<i>s.vv.</i> Coma and Donarium. On the custom of dedicating hair by +youths reaching manhood, see Daremberg and Saglio, <i>loc. cit.</i>, and +<i>Bull. de Corr. Hellénique</i>, 1888, p. 479. See also <i>Mus. Worsleyanum</i>, +pl. 9. +</p> + +<p style="margin-top: 2em;">The following votive tablets (Nos. 799-808), with representations +of portions of the human body and with votive +inscriptions to Highest Zeus (<ins title="Greek: Zeus hypsistos">Ζεὺς +ὕψιστος</ins>), were discovered +by the fourth Earl of Aberdeen, in 1803. Excavations +were made at the foot of the rock-wall near the +rock-cut structure commonly known as the Bema of the +Pnyx, and the tablets which were then found, are presumed +to have fallen from niches cut to receive them in +the rock above (Dodwell, <i>Tour</i>, i., p. 402). It has been +argued that the spot where the reliefs were found was +not the Pnyx, but the altar of Highest Zeus (Welcker, +<i>Der Fels-Altar des Höchsten Zeus, &c., 1852</i>). The inscriptions, +however, which are here described, are of +Roman times, and are of little value for the decision +of the question. (Cf. Hicks, <i>Greek Inscriptions in Brit. +Mus.</i> lx.)</p> + +<p><span class="leftside">799.</span> +Tablet with votive relief representing a female breast +dedicated by Eutychis.</p> + +<p>Inscribed: <ins title="Greek: Eutychis hypsistô euchę(n)">Εὐτυχὶς +ὑψίστῳ +εὐχή(ν)</ins>.—<i>Pnyx, Athens.</i> <i>Elgin +Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 5¾ inches; width, 5½ inches. Dodwell, +<i>Tour</i>, I., p. 403; <i>Synopsis</i>, No. 210 (245); <i>Mus. Marbles</i>, IX., +pl. 41, fig. 3; <i>C.I.G.</i>, 504; Ellis, <i>Elgin Marbles</i>, II., p. 105, +No. 210; <i>Greek inscriptions in Brit. Mus.</i>, LXVI. +</p> +<span class="pagenum"><a name="page368" id="page368"></a>368</span> + +<p><span class="leftside">800.</span> +Tablet with votive relief representing a female breast, +dedicated by Isias.</p> + +<p>Inscribed: <ins title="Greek: Eisias hyps[istô] eu[chęn]">Εἰσιὰς +ὑψ[ίστῳ] +εὐ[χήν]</ins>.—<i>Pnyx, Athens.</i> <i>Elgin +Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 8 inches; width, 6½ inches. Dodwell, +<i>Tour</i>, I., p. 403; <i>Synopsis</i>, No. 209 (247); <i>Mus. Marbles</i>, IX., +pl. 41, fig. 2; <i>C.I.G.</i>, 505; Ellis, <i>Elgin Marbles</i>, II., p. 105, +No. 209; <i>Greek Inscriptions in Brit. Mus.</i>, LXVII. +</p> + +<p><span class="leftside">801.</span> +Tablet with votive relief, representing a pair of eyes, +dedicated by Philemation.</p> + +<p>Inscribed: <ins title="Greek: Philęmatin [e]uchęn ane[th]ęken">Φιλημάτιν +[ε]ὐχὴν +ἀνέ[θ]ηκεν</ins>.—<i>Pnyx, Athens.</i> +<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 3½ inches; width, 5½ inches. Dodwell, +<i>Tour</i>, I., p. 403, with woodcut; <i>Synopsis</i>, No. 214 (251); <i>Mus. +Marbles</i>, IX., pl. 41, fig. 5; <i>C.I.G.</i>, 506; Ellis, <i>Elgin Marbles</i>, +II., p. 105, No. 212; <i>Greek Inscriptions in Brit. Mus.</i>, LXVIII. +</p> +<a name="n802" id="n802"></a> +<p><span class="leftside">802.</span> +Fragment of a votive relief, which originally represented +a pair of eyes in relief, but now has little remaining +except the left eye and part of the inscription: <ins title="Greek: hyps]ist[ô">ὑψ]ίστ[ῳ</ins>.—<i>Pnyx, +Athens.</i> <i>Found by the fourth Earl of Aberdeen in</i> +1803, <i>and presented by the fifth Earl of Aberdeen in</i> 1861.</p> + +<p class="indent"> +Pentelic marble; height, 3¾ inches; width, 5 inches. <i>Greek Inscriptions +in Brit. Mus.</i>, LXIX. This relief is perhaps identical +with <i>C.I.G.</i>, 499. +</p> + +<p><span class="leftside">803.</span> +Fragment of votive relief, with toes and the forepart of +the right foot.—<i>Pnyx, Athens.</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 6½ inches; width, 5½ inches. <i>Synopsis</i>, +No. 217 (253); <i>Mus. Marbles</i>, IX., pl. 41, fig. 4; Ellis, <i>Elgin +Marbles</i>, II., p. 105, No. 217. +</p> + +<p><span class="leftside">804.</span> +Tablet with votive relief of vulva, dedicated by Olympias.</p> + +<p>Inscribed: <ins title="Greek: Olympias hypsistô euchęn">Ὀλυμπιὰς +ὑψίστῳ +εὐχήν</ins>.—<i>Pnyx, Athens.</i> <i>Elgin +Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 5½ inches; width, 7½ inches. Dodwell, +<i>Tour</i>, I., p. 403; <i>Synopsis</i>, No. 216 (246); <i>C.I.G.</i>, 500; <i>Greek +Inscriptions in Brit. Mus.</i>, LXII. +</p> +<span class="pagenum"><a name="page369" id="page369"></a>369</span> + +<p><span class="leftside">805.</span> +Tablet with votive relief, representing a human face +from the bridge of the nose downwards, dedicated by +Tertia.</p> + +<p>Inscribed: <ins title="Greek: Tertia hypsistô euchęn">Τερτία +ὑψίστῳ +εὐχήν</ins>.—<i>Pnyx, Athens.</i> <i>Elgin +Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 8½ inches; width, 7¾ inches. Dodwell, +<i>Tour</i>, I., p. 404, with woodcut; <i>Synopsis</i>, No. 218 (250); +<i>Mus. Marbles</i>, IX., pl. 41, fig. 7; <i>C.I.G.</i>, 501; Ellis, <i>Elgin Marbles</i>, +II., p. 105, No. 218; <i>Greek Inscriptions in Brit. Mus.</i>, LXIII. +</p> + +<p><span class="leftside">806.</span> +Tablet with votive relief, representing a pair of arms, +within a panel, dedicated by Claudia Prepusa. The hands +are wanting.</p> + +<p>Inscribed: <ins title="Greek: Klaudia Prepousa eucharistô hypsistô">Κλαυδία +Πρέπουσα +εὐχαριστῶ +ὑψίστῳ</ins>.—<i>Pnyx, +Athens.</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 6 inches; width, 7¼ inches. Dodwell, +<i>Tour</i>, I., p. 402, with woodcut; <i>Synopsis</i>, No. 215 (248); <i>Mus. +Marbles</i>, IX., pl. 41, fig. 6; <i>C.I.G.</i>, 502; Ellis, <i>Elgin Marbles</i>, +II., p. 105, No. 215; <i>Greek Inscriptions in Brit. Mus.</i>, LXIV. +</p> + +<p><span class="leftside">807.</span> +Tablet with votive relief, representing a female breast +somewhat broken, dedicated by Onesimč.</p> + +<p>Inscribed: <ins title="Greek: Onęsimę euchęn Diď hypsistô">Ὀνησίμη +εὐχὴν +Διῒ +ὑψίστῳ</ins>.—<i>Pnyx, Athens.</i> +<i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 4⅞ inches; width, 6 inches. Dodwell, +<i>Tour</i>, I., p. 403; <i>Synopsis</i>, No. 211 (249); <i>Mus. Marbles</i>, IX., +pl. 41, fig. 1; <i>C.I.G.</i>, 503; Ellis, <i>Elgin Marbles</i>, II., p. 105, +No. 211; <i>Greek Inscriptions in Brit. Mus.</i>, LXV. +</p> +<a name="n808" id="n808"></a> +<p><span class="leftside">808.</span> +Fragment of a votive relief, with part of a thigh, or +perhaps part of the shoulder.</p> + +<p>Inscribed: <ins title="Greek: ...a theô hypsi[stô e]uchęn">. . . . α θεῷ +ὑψί[στῳ +ε]ὐχήν</ins>.—<i>Pnyx, Athens. +Found by the fourth Earl of Aberdeen in</i> 1803, <i>and presented +by the fifth Earl of Aberdeen in</i> 1861.</p> + +<p class="indent"> +Pentelic marble; height, 4¼ inches; width, 4½ inches. <i>Greek Inscriptions +in Brit. Mus.</i>, LXX. +</p> +<span class="pagenum"><a name="page370" id="page370"></a>370</span> +<a name="n809" id="n809"></a> +<p><span class="leftside">809.</span> +Tablet with votive relief representing a left leg from +above the knee in relief, dedicated to Asclepios and +Hygieia.</p> + +<p>Inscribed: <ins title="Greek: Asklępiô kai Hyg(i)eia eucharistęrion">Ἀσκληπίῳ +καὶ +Ὑγ(ι)είᾳ +εὐχαριστήριον</ins>.—<i>Found +in</i> 1828, <i>in a Shrine of Asclepios in Melos.</i> <i>Blacas Coll.</i></p> + +<p class="indent"> +Parian marble; height, 1 foot 1½ inches; width, 7½ inches. <i>Annali +dell' Inst.</i>, 1829, p. 341; <i>Exp. de Morée</i>, III., pl. 29, fig. 2; +<i>C.I.G.</i>, 2429; <i>Greek Inscriptions in Brit. Mus.</i>, CCCLXV. This +relief was found together with the fine head of Asclepios +(No. 550) and with a votive inscription (<i>C.I.G.</i>, 2428). +</p> + +<p><span class="leftside">810.</span> +Tablet with votive relief, representing a right ear. The +right side of the tablet is lost.—<i>Cyrenč.</i></p> + +<p class="indent"> +Marble; height, 6¾ inches; width, 10 inches. Smith and Porcher, +p. 108, No. 148. +</p> +<a name="n811" id="n811"></a> +<p><span class="leftside">811.</span> +Square votive tablet, dedicated by Anthusa, the daughter +of Damainetos. On the tablet, within a raised wreath, +the following objects are sculptured in relief:—In the +centre is a bowl (phialč) inscribed with the dedication. +Round this bowl are ranged a mirror, a torch, a spindle, a +comb, a small phial, a small box with a lid containing +three little circular boxes, which probably held paints; a +pair of shoes; a small mortar, containing a pestle, shaped +like a bent thumb; a knife, a strigil, a bottle, two +bodkins, a small oval box with a lid, which probably held +a sponge; a pair of shoes, and a conical object like a cap. +The raised wreath which encircles these objects is composed +of pomegranates, ears of corn, and ivy-berries, +round which a sash is wound. Outside the wreath, on +the upper right-hand corner of the tablet, a situla is +sculptured in low relief, and a small footstool (?) on the +lower corner on the same side. The corresponding angles +on the left side of the tablet have been broken away, but +the upper angle appears to have contained a situla. The +<span class="pagenum"><a name="page371" id="page371"></a>371</span> +relief is inscribed <ins title="Greek: Anthousę Damainetou hypostatria">Ἀνθούση +Δαμαινέτου +ὑποστάτρια</ins>. +<ins title="Greek: Hypostratria">Ὑποστάτρια</ins> +probably denotes some minister of inferior rank in the +temple of the goddess to whom the tablet was dedicated. +The explanation of the word <ins title="Greek: statria">στάτρια</ins> given by Hesychius (<ins title="Greek: emplektria">ἐμπλεκτρία</ins>), +makes it probable that the function of the +<ins title="Greek: hypostatria">ὑποστάτρια</ins> here mentioned was to dress the image of the +goddess. This and the tablet No. 812 were found by the +Earl of Aberdeen built into a ruined Byzantine church at +<i>Slavochori in Laconia</i>, a place which is believed to be the +site of the ancient Amyclae. The combination of pomegranates +and ears of corn, the symbols of Persephonč and +Demeter, with ivy-berries and fir-cones, the symbols of +Dionysos, makes it probable that in the temple in which +these tablets were dedicated, these deities had a joint +worship.</p> + +<p>Pausanias (iii., 20, 4) mentions a town near Amyclae +called Bryseae, where was a temple of Dionysos which none +but women were permitted to enter, and where women +only performed the sacrifices. It is not improbable, as +Lord Aberdeen conjectured, that these votive tablets were +originally dedicated in this temple, and thence brought to +Slavochori. It was a common custom among the Greeks to +dedicate articles of female attire and toilet in the temples +of goddesses. (See <i>Greek Inscriptions in Brit. Mus.</i>, No. +xxxiv.)—<i>Brought from Greece by George, fourth Earl of +Aberdeen; presented by George, fifth Earl of Aberdeen,</i> +1861.</p> + +<p class="indent"> +Marble; height, 3 feet; width, 2 feet 9½ inches. This sculpture, +with the following, was first published, in a strangely perverted +form, by Caylus (<i>Recueil d'Antiq.</i>, II., pl. 51), from drawings by +Fourmont. Lord Aberdeen published them, with an engraving +in Walpole's <i>Memoirs relating to Turkey</i>, London, 1817, I., p. 446. +See also <i>C.I.G.</i>, 1467; Leake, <i>Travels in the Morea</i>, I., p. 188, +and <i>Peloponnesiaca</i>, pp. 163-165; <i>Greek Inscriptions in Brit. Mus.</i>, +CXLI.; Wolters, No. 1852; <i>Guide to Graeco-Roman Sculptures</i>, +Part II., No. 11; Mansell, No. 728. +</p> +<span class="pagenum"><a name="page372" id="page372"></a>372</span> +<a name="n812" id="n812"></a> +<p><span class="leftside">812.</span> +Votive tablet, dedicated by a priestess called Claudia +Ageta, on which are sculptured in relief various articles +of the toilet. In the centre is a bowl inscribed with the +name of the priestess, <ins title="Greek: Klau(dia) Agęta Antipatrou, hiereia">Κλαυ(δία) +Ἀγήτα +Ἀντιπάτρου, +ἱέρεια</ins>; +round it are the following objects:—On the left of the +bowl, a shell to hold unguents, two mirrors (one much +smaller than the other), a small comb, a hair-pin, a small +bottle for unguents, a small oval tray with a lid, containing +a sponge, a larger bottle, a cylindrical object, and a +circular object like a stud; above the bowl is a small +elliptical box, a bottle, and an object which appears to be +a net for the hair; below are a comb, two bodkins, and a +strigil. On the right of the bowl are two pairs of shoes, +two studs linked together, a small mortar (in which is a +pestle like a bent thumb), a spoon, and a small oblong box +with a lid, into which are fitted six little circular boxes +or bottles. Round these sculptured objects runs a raised +frame richly ornamented with fir-cones, ivy, ears of corn, +and pomegranates, and with a coiled snake in its lower +side.—<i>From Slavochori in Laconia (cf. No. 811). Presented +by the fifth Earl of Aberdeen, 1861.</i></p> + +<p class="indent"> +Marble; height, 2 feet 3½ inches; width, 3 feet 6 inches. Walpole's +<i>Memoirs relating to Turkey</i>, 1817, I., p. 446; <i>C.I.G.</i>, 1466; <i>Greek +Inscriptions in Brit. Mus.</i>, CXLII.; <i>Guide to Graeco-Roman +Sculptures</i>, Part II., No. 12; Wolters, No. 1851. +</p> + +<p><span class="leftside">813.</span> +Fragment of a votive relief dedicated by a victor in a +torch race. On the right a youth, with a whisk for +sprinkling, and a man stand at an altar. The head of +the man is lost. Three nude athletes, of whom two are +bearded, stand on the left conversing. Above is an entablature +with the dedicatory inscription: <ins title="Greek: Ho deina l]ampadi nikęsas, gymnasiarchôn [anethęken]">Ὁ δεῖνα +λ]αμπάδι +νικήσας, +γυμνασιαρχῶν +[ἀνέθηκεν]</ins>.—<i>Athens.</i> +<i>Strangford Coll.</i></p> + +<p class="indent"> +Pentelic marble; height, 1 foot 5½ inches; width, 1 foot ½ inch. +<i>C.I.G.</i>, 257; <i>Greek Inscriptions in Brit. Mus.</i>, XLI.; <i>C.I.A.</i>, II., +1221. +</p> +<span class="pagenum"><a name="page373" id="page373"></a>373</span> + +<p><span class="leftside">814.</span> +Votive tablet in commemoration of a victory in the +chariot race. A draped charioteer drives a chariot, drawn +by four horses, which move to the left in spirited action. +Over them floats in the air a winged Victory extending a +wreath, now wanting, towards the charioteer. The left +side of the relief and the lower edge have been broken +away. The missing portion on the left probably contained +a figure running in front of the chariot, as the end of a +staff and traces of the hand which grasped it, appear at +the edge of the slab. The charioteer wears a tunic girt at +the waist; a scarf passing round the back of the head +bellies out with the wind, while the ends, drawn back +under the arms, float behind.</p> + +<p>This figure appears to be female, and in that case would +doubtless be a personification, possibly of the city to which +the victorious charioteer belonged. A similar votive +tablet mounted on a pilaster is shown outside a house +or temple in the composition representing the visit of +Dionysos to Icarios, in the third Graeco-Roman Gallery +(<i>Guide to Graeco-Roman Sculptures</i>, Pt. I., No. 176), and +such commemorative tablets were often dedicated by +Agonistic Victors. Compare a fragmentary relief at +Athens, on which a horse is crowned by Victory. (Schöne, +<i>Griechische Reliefs</i>, pl. 18, fig. 80.)—<i>From Consul Logothetis' +house at Athens.</i> <i>Elgin Coll.</i></p> + +<p class="indent"> +Pentelic marble; present height, 2 feet 3½ inches; width, 2 feet 8 +inches. <i>Mus. Marbles</i>, IX., pl. 38, fig. 2; Ellis, <i>Elgin Marbles</i>, +II., p. 126; <i>Synopsis</i>, No. 197 (236). +</p> + +<p><span class="leftside">815.</span> +Fragment of a relief, perhaps a votive tablet in commemoration +of a chariot race. Four heads of horses in +rapid movement to the right; the head of the foremost +horse has been held by a figure, of which the right hand +only remains.</p> + +<p class="indent"> +Marble; height, 11½ inches; width, 1 foot 1 inch. <i>Guide to Graeco-Roman +Sculptures</i>, Part II., No. 47. +</p> +<span class="pagenum"><a name="page374" id="page374"></a>374</span> +<a name="n816" id="n816"></a> +<p><span class="leftside">816.</span> +Votive relief. Hecatč stands, turned to the left, with +a large torch in her left hand. With the right hand she +places a wreath on the head of a mare standing before her. +She wears a chiton, confined by bands crossing on the +breast, such as are common on figures of charioteers, +Furies, and others. Behind her is a large dog. The +relief is surmounted by a large pediment. This relief +appears to have been dedicated by the owner of a successful +horse.—<i>Crannon in Thessaly.</i> <i>Presented by Col. Leake, +1839.</i></p> + +<p class="indent"> +White marble, with remains of blue paint on the ground; height, +1 foot 3½ inches; width, 1 foot 11 inches. Millingen, <i>Anc. +Uned. Monuments</i>, II., pl. 16, fig. 1. Compare a relief at Athens, +Schöne, <i>Griechische Reliefs</i>, pl. 26, fig. 108. +</p> + +<p><span class="leftside">817.</span> +Votive relief with three figures standing to the front. +On the right is Apollo wearing the dress of a minstrel, +having a long chiton girt at the waist, and a himation. +He holds out a phialč in his right hand. On the right is +an omphalos, about which a snake is coiled. The central +figure, who is bearded, wears the dress of Dionysos with +short tunic, high boots, and a himation closely confined. +He has a torch in the left hand and holds out a phialč in +the right hand. On the left is a figure of Zeus, with a +phialč held out in the right hand, and a sceptre in the +left hand. The relief is bounded by two pilasters surmounted +by an entablature and pediment.</p> + +<p>Below is a group of six male figures reclining, who are +sketched out in low relief. Before them are four figures: +(<i>a</i>) on the left a comic figure seated, playing on double +flutes, and beating time with a <i>kroupezion</i> or scabellum; +(<i>b</i>) a nude female figure dancing; (<i>c</i>) a comic figure running, +wearing a Phrygian cap, and having a pair of double +flutes in each hand; (<i>d</i>) on the right, a figure with an +oinochoč in each hand drawing wine from a large vessel.</p> +<span class="pagenum"><a name="page375" id="page375"></a>375</span> + +<p>Inscribed: <ins title="Greek: Diď hypsistô k(ai) tô ch(o)rô Thallos epônymos ton telamôna apedôka">Διῒ +ὑψίστῳ +κ(αὶ) +τῷ +χ(ό)ρῳ +Θάλλος +ἐπώνυμος +τὸν +τελαμῶνα +ἀπέδωκα</ins>. +The relief (<ins title="Greek: telamôn">τελαμών</ins>) appears to have +been dedicated by a successful dramatic poet, Thallos, who +gave his name to the fęte.—<i>Cyzicus. Presented by A. van +Branteghem, Esq.</i></p> + +<p class="indent" style="margin-bottom: 5em;"> +Marble; height, 3 feet 1½ inches; width, 1 foot 10 inches. <i>Rev. +Arch.</i>, 1891, p. 10, No. 1. Compare a relief now at Athens, from +Nicaea, in Conze, <i>Reise auf der Insel Lesbos</i>, pl. 19; Lüders, +<i>Dionys. Künstler</i>, pl. 2. +</p> + +<hr /> +<p class="center"><span class="sc">london: printed by william clowes and sons, limited, stamford street and +charing cross.</span></p> +<hr /> + +<a name="plate1" id="plate1"></a> +<h4><span class="sc">Plate I.</span></h4> + +<div class="figcenter" style="width: 500px;"><a href="images/28-plate1-600.png"><img src="images/28-plate1-250.png" width="250" height="499" alt="Sculptured Column From the Archaic Temple at Ephesus. No. 29." /></a> +<p class="center"><span class="sc">Sculptured Column From the Archaic Temple at Ephesus.</span> No. 29</p></div> + +<a name="plate2" id="plate2"></a> +<h4><span class="sc">Plate II.</span></h4> + +<div class="figcenter" style="width: 400px;"><a href="images/29-plate2-700.png"><img src="images/29-plate2-300.png" width="300" height="459" alt="View of the Lion Tomb at Xanthos. No. 80." /></a> +<p class="center"><span class="sc">View of the Lion Tomb at Xanthos. No. 80.</span></p> +<p class="right">(<i>From a drawing by George Scharf.</i>)</p></div> + +<a name="plate3" id="plate3"></a> +<h4><span class="sc">Plate III.</span></h4> + +<div class="figcenter" style="width: 400px;"><a href="images/30-plate3-700.png"><img src="images/30-plate3-360.png" width="360" height="496" alt="View of the Harpy Tomb at Xanthos. No. 94." /></a> +<p class="center"><span class="sc">View of the Harpy Tomb at Xanthos. No. 94.</span></p> +<p class="right">(<i>From a drawing by George Scharf.</i>)</p></div> + +<a name="plate4" id="plate4"></a> +<h4><span class="sc">Plate IV.</span></h4> + +<div class="figcenter" style="width: 400px;"><a href="images/31-plate4-900.png"><img src="images/31-plate4-400.png" width="400" height="492" alt="Sectional View of the East End of the Parthenon." /></a> +<p class="center"><span class="sc">Sectional View of the East End of the Parthenon.</span>,</p> +<p class="right">(<i>G. Niemann</i>.)</p></div> + +<a name="plate5" id="plate5"></a> +<h4><span class="sc">Plate V.</span></h4> + +<div class="figcenter" style="width: 600px;"><a href="images/32-plate5-fig1-1500.png"><img src="images/32-plate5-fig1-600.png" width="600" height="111" alt="Fig. 1. Carrey's Drawing of the East Pediment of the East Pediment of the Parthenon." /></a> +<p class="center">Fig. 1. <span class="sc">Carrey's Drawing of the East Pediment of the +Parthenon.</span></p></div> + +<div class="figcenter" style="width: 600px;"><a href="images/32-plate5-fig2-1500.png"><img src="images/32-plate5-fig2-600.png" width="600" height="161" alt="Fig. 2. Carrey's Drawing of the West Pediment of the Parthenon." /></a> +<p class="center">Fig. 2. <span class="sc">Carrey's Drawing of the West Pediment of the +Parthenon.</span></p></div> + +<a name="plate6" id="plate6"></a> +<h4><span class="sc">Plate VI.</span></h4> + +<table summary="sculptures" align="center" width="auto" border="0"> +<tr> + <td><div class="figcenter"><a href="images/33-plate6-fig1-700.png"> + <img src="images/33-plate6-fig1-350.png" width="350" height="417" alt="Fig. 1. Iris and Hera. East Frieze of Parthenon." /></a></div></td> + <td><div class="figcenter"><a href="images/33-plate6-fig2-500.png"> + <img src="images/33-plate6-fig2-230.png" width="230" height="425" alt="Fig. 2. Arm. No. 330." /></a></div></td> +</tr> +<tr> + <td valign="top"><p class="center">Fig. 1. <span class="sc">Iris and Hera. East Frieze of Parthenon.</span></p> +<p class="center">Nos. 27, 28.</p></td> + <td valign="top"><p class="center">Fig. 2. <span class="sc">Arm. No. 330.</span></p></td> +</tr> +</table> + +<a name="plate7" id="plate7"></a> +<h4><span class="sc">Plate VII.</span></h4> + +<div class="figcenter" style="width: 600px;"><a href="images/34-plate7-1500.png"><img src="images/34-plate7-600.png" width="600" height="357" alt="The North Frieze of the Parthenon (Slabs I.-VII.)" /></a> +<p class="center"><span class="sc">The North Frieze of the Parthenon</span> (Slabs I.-VII.) +<span class="sc">Restored.</span></p></div> + +<a name="plate8" id="plate8"></a> +<h4><span class="sc">Plate VIII.</span></h4> + +<div class="figcenter" style="width: 600px;"><a href="images/35-plate8-1500.png"><img src="images/35-plate8-600.png" width="600" height="346" alt="The North Frieze of the Parthenon (Slabs VII.-XIII.)" /></a> +<p class="center"><span class="sc">The North Frieze of the Parthenon</span> (Slabs VII.-XIII.) +<span class="sc">Restored.</span></p></div> + +<a name="plate9" id="plate9"></a> +<h4><span class="sc">Plate IX.</span></h4> + +<div class="figcenter" style="width: 600px;"><a href="images/36-plate9-1500.png"><img src="images/36-plate9-600.png" width="600" height="206" alt="Lusieri's Drawing of the Missing Group From the Monument of Lysicrates." /></a> +<p class="center"><span class="sc">Lusieri's Drawing of the Missing Group From the Monument of +Lysicrates.</span> No. 430, <i>5</i>.</p></div> + +<a name="plate10" id="plate10"></a> +<h4><span class="sc">Plate X.</span></h4> + +<div class="figcenter" style="width: 600px;"><a href="images/37-plate10-1500.png"><img src="images/37-plate10-600.png" width="600" height="366" alt="View of the Temple of Apollo at Phigaleia." /></a> +<p class="center"><span class="sc">View of the Temple of Apollo at Phigaleia.</span> (<i>From a Photograph.</i>)</p></div> + +<a name="plate11" id="plate11"></a> +<h4><span class="sc">Plate XI.</span></h4> +<table summary="sculptures" align="center" width="auto" border="0"> +<tr> + <td><div class="figcenter"><a href="images/38-plate11-1500.png"><img src="images/38-plate11-fig1-154.png" width="154" height="420" alt="Fig. 1. Sepulchral Relief." /></a> +</div></td> + <td><div class="figcenter"><a href="images/38-plate11-1500.png"><img src="images/38-plate11-fig2-266.png" width="266" height="420" alt="Fig 2. Monument of Xanthippos." /></a> +</div></td> + <td><div class="figcenter"><a href="images/38-plate11-1500.png"><img src="images/38-plate11-fig3-143.png" width="143" height="420" alt="Fig. 3. Sepulchral Relief." /></a> +</div></td> +</tr> +<tr> + <td><p class="center">Fig. 1. <span class="sc">Sepulchral Relief.</span></p> +<p class="center">No. 693.</p></td> + <td><p class="center">Fig. 2. <span class="sc">Monument of Xanthippos.</span></p> +<p class="center">No. 628.</p></td> + <td><p class="center">Fig. 3. <span class="sc">Sepulchral Relief.</span></p> +<p class="center">No. 627.</p></td> +</tr> +</table> + +<a name="plate12" id="plate12"></a> +<h4><span class="sc">Plate XII.</span></h4> +<table summary="sculptures" align="center" width="auto" border="0"> + +<tr> + <td><div class="figcenter"><a href="images/39-plate12-fig1-800.png"> + <img src="images/39-plate12-fig1-300.png" width="300" height="333" alt="Fig. 1. Fragment of a Sepulchral Relief. No. 673." /></a></div></td> + <td><div class="figcenter"><a href="images/39-plate12-fig2-650.png"> + <img src="images/39-plate12-fig2-250.png" width="250" height="283" alt="Fig. 2. Fragment of a Sepulchral Relief. No. 672." /></a></div></td> +</tr> +<tr> + <td><p class="center">Fig. 1. <span class="sc">Fragment of a Sepulchral Relief.</span></p> + <p class="center">No. 673.</p></td> + <td><p class="center">Fig. 2. <span class="sc">Fragment of a Sepulchral Relief.</span></p> + <p class="center">No. 672.</p></td> +</tr> +</table> + +<hr class="full" /> + +<a name="transcriber_note"></a> +<table class="tn" summary="tn" align="center" style="margin-top: 2em; margin-bottom: 5em;"> +<tr> + <td class="note"> + +<h4>Transcriber's Note</h4> + +<p>A List of Illustrations has been added to the Book.</p> + +<p>Some illustrations have been moved to the ends of their descriptive paragraphs to allow for freer flow of the text. +This may result in a changed page number in the List of Illustrations. (e.g., page 135 changed to page 136)</p> + +<p>There are some inconsistencies in the spelling of (foreign) proper names throughout the book. +In each case, both forms have been retained.</p> + +<p>There were a few instances of the high dot, <span style="font-family: Gentium, 'New Athena Unicode', 'DejaVu Serif', 'Lucida Grande', 'Arial Unicode MS', 'Palatino Linotype', serif; font-size: 1.1em;">·</span>, or Greek colon, in the Greek text, which have been retained.</p> + +<p>Some parts of the Greek inscriptions are enclosed in brackets. This would appear to indicate restoration of indistinct +or missing text.</p> + +<p>Journal numbers (X...; and x...; etc.) occur in both upper and lower case throughout book. Both forms have been retained.</p> + +<p>Pages 108 and 136: Fig. 9 was used twice in the original book, and both instances have been retained.</p> + +<p>The abbreviations 'C. I. A. (Corpus Inscriptionum Atticarum.) and C. I. G. (Corpus Inscriptionum Graecarum.) are spaced until page 297, +and unspaced (C.I.A and C.I.G.) from page 304 until the end of the book. Both forms have been retained.</p> + +<p>Page 10: 'donotion' corrected to 'donation' - " ... have been acquired by donation or bequest,"</p> + +<p>Page 11, Footnote 42: '214' corrected to '211'.</p> + +<p style="margin-top: -1em;">Numbers '212', '213' and '214' do not exist. Thus, '211' is the number +before '215'; and '211' fits the category of the other numbers in this +footnote. "See Nos. 211, 643, 652, 667, 680, 693, 699, 726, 736."</p> + +<p>Page 46: 'Beechino' corrected to 'Beecheno' - "See also Solly, <i>Memoirs of +W. J. Müller</i>, 1875; Beecheno,"</p> + +<p>Page 64: 'real' corrected to 'reel' - "... but include bead and reel mouldings,"</p> + +<a href="#top">Return to Top</a> + +</td> +</tr> +</table> + +<p> </p> +<p> </p> +<hr class="pg" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK A CATALOGUE OF SCULPTURE IN THE DEPARTMENT OF GREEK AND ROMAN ANTIQUITIES, BRITISH MUSEUM, VOLUME I (OF 2)***</p> +<p>******* This file should be named 37558-h.txt or 37558-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/3/7/5/5/37558">http://www.gutenberg.org/3/7/5/5/37558</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution.</p> + + + +<pre> +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +<a href="http://www.gutenberg.org/license">http://www.gutenberg.org/license)</a>. + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://www.gutenberg.org/about/contact + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://www.gutenberg.org/fundraising/pglaf + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://www.gutenberg.org/fundraising/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Each eBook is in a subdirectory of the same number as the eBook's +eBook number, often in several formats including plain vanilla ASCII, +compressed (zipped), HTML and others. + +Corrected EDITIONS of our eBooks replace the old file and take over +the old filename and etext number. The replaced older file is renamed. +VERSIONS based on separate sources are treated as new eBooks receiving +new filenames and etext numbers. + +Most people start at our Web site which has the main PG search facility: + +<a href="http://www.gutenberg.org">http://www.gutenberg.org</a> + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +EBooks posted prior to November 2003, with eBook numbers BELOW #10000, +are filed in directories based on their release date. If you want to +download any of these eBooks directly, rather than using the regular +search system you may utilize the following addresses and just +download by the etext year. + +<a href="http://www.gutenberg.org/dirs/etext06/">http://www.gutenberg.org/dirs/etext06/</a> + + (Or /etext 05, 04, 03, 02, 01, 00, 99, + 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90) + +EBooks posted since November 2003, with etext numbers OVER #10000, are +filed in a different way. The year of a release date is no longer part +of the directory path. The path is based on the etext number (which is +identical to the filename). The path to the file is made up of single +digits corresponding to all but the last digit in the filename. For +example an eBook of filename 10234 would be found at: + +http://www.gutenberg.org/dirs/1/0/2/3/10234 + +or filename 24689 would be found at: +http://www.gutenberg.org/dirs/2/4/6/8/24689 + +An alternative method of locating eBooks: +<a href="http://www.gutenberg.org/dirs/GUTINDEX.ALL">http://www.gutenberg.org/dirs/GUTINDEX.ALL</a> + +*** END: FULL LICENSE *** +</pre> +</body> +</html> diff --git a/37558-h/images/01fig1-1000.png b/37558-h/images/01fig1-1000.png Binary files differnew file mode 100644 index 0000000..ca89700 --- /dev/null +++ b/37558-h/images/01fig1-1000.png diff --git a/37558-h/images/01fig1-600.png b/37558-h/images/01fig1-600.png Binary files differnew file mode 100644 index 0000000..6afa485 --- /dev/null +++ b/37558-h/images/01fig1-600.png diff --git a/37558-h/images/02fig2-300.png b/37558-h/images/02fig2-300.png Binary files differnew file mode 100644 index 0000000..5a82849 --- /dev/null +++ b/37558-h/images/02fig2-300.png diff --git a/37558-h/images/02fig2-560.png b/37558-h/images/02fig2-560.png Binary files differnew file mode 100644 index 0000000..127104e --- /dev/null +++ b/37558-h/images/02fig2-560.png diff --git a/37558-h/images/03fig3-400.png b/37558-h/images/03fig3-400.png Binary files differnew file mode 100644 index 0000000..b109afb --- /dev/null +++ b/37558-h/images/03fig3-400.png diff --git a/37558-h/images/03fig3-650.png b/37558-h/images/03fig3-650.png Binary files differnew file mode 100644 index 0000000..1af9c89 --- /dev/null +++ b/37558-h/images/03fig3-650.png diff --git a/37558-h/images/04gk1-1000.png b/37558-h/images/04gk1-1000.png Binary files differnew file mode 100644 index 0000000..5296c5f --- /dev/null +++ b/37558-h/images/04gk1-1000.png diff --git a/37558-h/images/04gk1-500.png b/37558-h/images/04gk1-500.png Binary files differnew file mode 100644 index 0000000..1e5f334 --- /dev/null +++ b/37558-h/images/04gk1-500.png diff --git a/37558-h/images/05gk2-1000.png b/37558-h/images/05gk2-1000.png Binary files differnew file mode 100644 index 0000000..1059d3e --- /dev/null +++ b/37558-h/images/05gk2-1000.png diff --git a/37558-h/images/05gk2-560.png b/37558-h/images/05gk2-560.png Binary files differnew file mode 100644 index 0000000..8c30def --- /dev/null +++ b/37558-h/images/05gk2-560.png diff --git a/37558-h/images/06fig4-300.png b/37558-h/images/06fig4-300.png Binary files differnew file mode 100644 index 0000000..553232f --- /dev/null +++ b/37558-h/images/06fig4-300.png diff --git a/37558-h/images/06fig4-470.png b/37558-h/images/06fig4-470.png Binary files differnew file mode 100644 index 0000000..653ac2b --- /dev/null +++ b/37558-h/images/06fig4-470.png diff --git a/37558-h/images/07fig5-100.png b/37558-h/images/07fig5-100.png Binary files differnew file mode 100644 index 0000000..0116d28 --- /dev/null +++ b/37558-h/images/07fig5-100.png diff --git a/37558-h/images/07fig5-170.png b/37558-h/images/07fig5-170.png Binary files differnew file mode 100644 index 0000000..aabb2c1 --- /dev/null +++ b/37558-h/images/07fig5-170.png diff --git a/37558-h/images/08fig6-1000.png b/37558-h/images/08fig6-1000.png Binary files differnew file mode 100644 index 0000000..1fd0b2b --- /dev/null +++ b/37558-h/images/08fig6-1000.png diff --git a/37558-h/images/08fig6-600.png b/37558-h/images/08fig6-600.png Binary files differnew file mode 100644 index 0000000..4fbeb95 --- /dev/null +++ b/37558-h/images/08fig6-600.png diff --git a/37558-h/images/09fig7-1500.png b/37558-h/images/09fig7-1500.png Binary files differnew file mode 100644 index 0000000..989b73d --- /dev/null +++ b/37558-h/images/09fig7-1500.png diff --git a/37558-h/images/09fig7-600.png b/37558-h/images/09fig7-600.png Binary files differnew file mode 100644 index 0000000..3a76e66 --- /dev/null +++ b/37558-h/images/09fig7-600.png diff --git a/37558-h/images/10fig8-1500.png b/37558-h/images/10fig8-1500.png Binary files differnew file mode 100644 index 0000000..edac023 --- /dev/null +++ b/37558-h/images/10fig8-1500.png diff --git a/37558-h/images/10fig8-600.png b/37558-h/images/10fig8-600.png Binary files differnew file mode 100644 index 0000000..e9fb3fa --- /dev/null +++ b/37558-h/images/10fig8-600.png diff --git a/37558-h/images/11fig9-500.png b/37558-h/images/11fig9-500.png Binary files differnew file mode 100644 index 0000000..6340943 --- /dev/null +++ b/37558-h/images/11fig9-500.png diff --git a/37558-h/images/11fig9-900.png b/37558-h/images/11fig9-900.png Binary files differnew file mode 100644 index 0000000..194779c --- /dev/null +++ b/37558-h/images/11fig9-900.png diff --git a/37558-h/images/12fig9-1000.png b/37558-h/images/12fig9-1000.png Binary files differnew file mode 100644 index 0000000..43ca5b3 --- /dev/null +++ b/37558-h/images/12fig9-1000.png diff --git a/37558-h/images/12fig9-600.png b/37558-h/images/12fig9-600.png Binary files differnew file mode 100644 index 0000000..c321ec7 --- /dev/null +++ b/37558-h/images/12fig9-600.png diff --git a/37558-h/images/13fig10-200.png b/37558-h/images/13fig10-200.png Binary files differnew file mode 100644 index 0000000..e38d248 --- /dev/null +++ b/37558-h/images/13fig10-200.png diff --git a/37558-h/images/13fig10-400.png b/37558-h/images/13fig10-400.png Binary files differnew file mode 100644 index 0000000..aa15ef1 --- /dev/null +++ b/37558-h/images/13fig10-400.png diff --git a/37558-h/images/14fig11-400.png b/37558-h/images/14fig11-400.png Binary files differnew file mode 100644 index 0000000..1c98e30 --- /dev/null +++ b/37558-h/images/14fig11-400.png diff --git a/37558-h/images/14fig11-600.png b/37558-h/images/14fig11-600.png Binary files differnew file mode 100644 index 0000000..7261c3f --- /dev/null +++ b/37558-h/images/14fig11-600.png diff --git a/37558-h/images/15fig12-400.png b/37558-h/images/15fig12-400.png Binary files differnew file mode 100644 index 0000000..c0469c7 --- /dev/null +++ b/37558-h/images/15fig12-400.png diff --git a/37558-h/images/15fig12-560.png b/37558-h/images/15fig12-560.png Binary files differnew file mode 100644 index 0000000..706e763 --- /dev/null +++ b/37558-h/images/15fig12-560.png diff --git a/37558-h/images/16fig13-560.png b/37558-h/images/16fig13-560.png Binary files differnew file mode 100644 index 0000000..59f59fd --- /dev/null +++ b/37558-h/images/16fig13-560.png diff --git a/37558-h/images/16fig13-800.png b/37558-h/images/16fig13-800.png Binary files differnew file mode 100644 index 0000000..d0078f5 --- /dev/null +++ b/37558-h/images/16fig13-800.png diff --git a/37558-h/images/17fig14-300.png b/37558-h/images/17fig14-300.png Binary files differnew file mode 100644 index 0000000..13937fb --- /dev/null +++ b/37558-h/images/17fig14-300.png diff --git a/37558-h/images/17fig14-500.png b/37558-h/images/17fig14-500.png Binary files differnew file mode 100644 index 0000000..2605191 --- /dev/null +++ b/37558-h/images/17fig14-500.png diff --git a/37558-h/images/18fig15-1000.png b/37558-h/images/18fig15-1000.png Binary files differnew file mode 100644 index 0000000..f52e1b1 --- /dev/null +++ b/37558-h/images/18fig15-1000.png diff --git a/37558-h/images/18fig15-600.png b/37558-h/images/18fig15-600.png Binary files differnew file mode 100644 index 0000000..3bbaed7 --- /dev/null +++ b/37558-h/images/18fig15-600.png diff --git a/37558-h/images/19fig16-300.png b/37558-h/images/19fig16-300.png Binary files differnew file mode 100644 index 0000000..5a4526e --- /dev/null +++ b/37558-h/images/19fig16-300.png diff --git a/37558-h/images/19fig16-780.png b/37558-h/images/19fig16-780.png Binary files differnew file mode 100644 index 0000000..68cac8c --- /dev/null +++ b/37558-h/images/19fig16-780.png diff --git a/37558-h/images/20fig17-300.png b/37558-h/images/20fig17-300.png Binary files differnew file mode 100644 index 0000000..12af180 --- /dev/null +++ b/37558-h/images/20fig17-300.png diff --git a/37558-h/images/20fig17-600.png b/37558-h/images/20fig17-600.png Binary files differnew file mode 100644 index 0000000..17faad7 --- /dev/null +++ b/37558-h/images/20fig17-600.png diff --git a/37558-h/images/21fig18-400.png b/37558-h/images/21fig18-400.png Binary files differnew file mode 100644 index 0000000..1c840da --- /dev/null +++ b/37558-h/images/21fig18-400.png diff --git a/37558-h/images/21fig18-800.png b/37558-h/images/21fig18-800.png Binary files differnew file mode 100644 index 0000000..f66cc21 --- /dev/null +++ b/37558-h/images/21fig18-800.png diff --git a/37558-h/images/22fig19-220.png b/37558-h/images/22fig19-220.png Binary files differnew file mode 100644 index 0000000..2f831d1 --- /dev/null +++ b/37558-h/images/22fig19-220.png diff --git a/37558-h/images/22fig19-500.png b/37558-h/images/22fig19-500.png Binary files differnew file mode 100644 index 0000000..6ea981c --- /dev/null +++ b/37558-h/images/22fig19-500.png diff --git a/37558-h/images/23fig20-550.png b/37558-h/images/23fig20-550.png Binary files differnew file mode 100644 index 0000000..61602ae --- /dev/null +++ b/37558-h/images/23fig20-550.png diff --git a/37558-h/images/23fig20-800.png b/37558-h/images/23fig20-800.png Binary files differnew file mode 100644 index 0000000..578f09e --- /dev/null +++ b/37558-h/images/23fig20-800.png diff --git a/37558-h/images/24fig21-240.png b/37558-h/images/24fig21-240.png Binary files differnew file mode 100644 index 0000000..e8141aa --- /dev/null +++ b/37558-h/images/24fig21-240.png diff --git a/37558-h/images/24fig21-600.png b/37558-h/images/24fig21-600.png Binary files differnew file mode 100644 index 0000000..a6efa1e --- /dev/null +++ b/37558-h/images/24fig21-600.png diff --git a/37558-h/images/25fig22-1000.png b/37558-h/images/25fig22-1000.png Binary files differnew file mode 100644 index 0000000..efa8ba6 --- /dev/null +++ b/37558-h/images/25fig22-1000.png diff --git a/37558-h/images/25fig22-600.png b/37558-h/images/25fig22-600.png Binary files differnew file mode 100644 index 0000000..7cb9eea --- /dev/null +++ b/37558-h/images/25fig22-600.png diff --git a/37558-h/images/26fig23-280.png b/37558-h/images/26fig23-280.png Binary files differnew file mode 100644 index 0000000..1143e79 --- /dev/null +++ b/37558-h/images/26fig23-280.png diff --git a/37558-h/images/26fig23-430.png b/37558-h/images/26fig23-430.png Binary files differnew file mode 100644 index 0000000..cf78b76 --- /dev/null +++ b/37558-h/images/26fig23-430.png diff --git a/37558-h/images/27fig24-250.png b/37558-h/images/27fig24-250.png Binary files differnew file mode 100644 index 0000000..4afde25 --- /dev/null +++ b/37558-h/images/27fig24-250.png diff --git a/37558-h/images/27fig24-560.png b/37558-h/images/27fig24-560.png Binary files differnew file mode 100644 index 0000000..89b9838 --- /dev/null +++ b/37558-h/images/27fig24-560.png diff --git a/37558-h/images/28-plate1-250.png b/37558-h/images/28-plate1-250.png Binary files differnew file mode 100644 index 0000000..1d93802 --- /dev/null +++ b/37558-h/images/28-plate1-250.png diff --git a/37558-h/images/28-plate1-600.png b/37558-h/images/28-plate1-600.png Binary files differnew file mode 100644 index 0000000..0bec582 --- /dev/null +++ b/37558-h/images/28-plate1-600.png diff --git a/37558-h/images/29-plate2-300.png b/37558-h/images/29-plate2-300.png Binary files differnew file mode 100644 index 0000000..66ee429 --- /dev/null +++ b/37558-h/images/29-plate2-300.png diff --git a/37558-h/images/29-plate2-700.png b/37558-h/images/29-plate2-700.png Binary files differnew file mode 100644 index 0000000..d67f508 --- /dev/null +++ b/37558-h/images/29-plate2-700.png diff --git a/37558-h/images/30-plate3-360.png b/37558-h/images/30-plate3-360.png Binary files differnew file mode 100644 index 0000000..bcfb7bc --- /dev/null +++ b/37558-h/images/30-plate3-360.png diff --git a/37558-h/images/30-plate3-700.png b/37558-h/images/30-plate3-700.png Binary files differnew file mode 100644 index 0000000..26d9615 --- /dev/null +++ b/37558-h/images/30-plate3-700.png diff --git a/37558-h/images/31-plate4-400.png b/37558-h/images/31-plate4-400.png Binary files differnew file mode 100644 index 0000000..b977023 --- /dev/null +++ b/37558-h/images/31-plate4-400.png diff --git a/37558-h/images/31-plate4-900.png b/37558-h/images/31-plate4-900.png Binary files differnew file mode 100644 index 0000000..3ae970b --- /dev/null +++ b/37558-h/images/31-plate4-900.png diff --git a/37558-h/images/32-plate5-fig1-1500.png b/37558-h/images/32-plate5-fig1-1500.png Binary files differnew file mode 100644 index 0000000..5d2e637 --- /dev/null +++ b/37558-h/images/32-plate5-fig1-1500.png diff --git a/37558-h/images/32-plate5-fig1-600.png b/37558-h/images/32-plate5-fig1-600.png Binary files differnew file mode 100644 index 0000000..0968233 --- /dev/null +++ b/37558-h/images/32-plate5-fig1-600.png diff --git a/37558-h/images/32-plate5-fig2-1500.png b/37558-h/images/32-plate5-fig2-1500.png Binary files differnew file mode 100644 index 0000000..57c70aa --- /dev/null +++ b/37558-h/images/32-plate5-fig2-1500.png diff --git a/37558-h/images/32-plate5-fig2-600.png b/37558-h/images/32-plate5-fig2-600.png Binary files differnew file mode 100644 index 0000000..fd71a2b --- /dev/null +++ b/37558-h/images/32-plate5-fig2-600.png diff --git a/37558-h/images/33-plate6-fig1-350.png b/37558-h/images/33-plate6-fig1-350.png Binary files differnew file mode 100644 index 0000000..6ba8b0f --- /dev/null +++ b/37558-h/images/33-plate6-fig1-350.png diff --git a/37558-h/images/33-plate6-fig1-700.png b/37558-h/images/33-plate6-fig1-700.png Binary files differnew file mode 100644 index 0000000..ce32c2d --- /dev/null +++ b/37558-h/images/33-plate6-fig1-700.png diff --git a/37558-h/images/33-plate6-fig2-230.png b/37558-h/images/33-plate6-fig2-230.png Binary files differnew file mode 100644 index 0000000..e01e0a9 --- /dev/null +++ b/37558-h/images/33-plate6-fig2-230.png diff --git a/37558-h/images/33-plate6-fig2-500.png b/37558-h/images/33-plate6-fig2-500.png Binary files differnew file mode 100644 index 0000000..bb6f34a --- /dev/null +++ b/37558-h/images/33-plate6-fig2-500.png diff --git a/37558-h/images/34-plate7-1500.png b/37558-h/images/34-plate7-1500.png Binary files differnew file mode 100644 index 0000000..cf32192 --- /dev/null +++ b/37558-h/images/34-plate7-1500.png diff --git a/37558-h/images/34-plate7-600.png b/37558-h/images/34-plate7-600.png Binary files differnew file mode 100644 index 0000000..f3ac4e2 --- /dev/null +++ b/37558-h/images/34-plate7-600.png diff --git a/37558-h/images/35-plate8-1500.png b/37558-h/images/35-plate8-1500.png Binary files differnew file mode 100644 index 0000000..7ae5907 --- /dev/null +++ b/37558-h/images/35-plate8-1500.png diff --git a/37558-h/images/35-plate8-600.png b/37558-h/images/35-plate8-600.png Binary files differnew file mode 100644 index 0000000..5a3b71c --- /dev/null +++ b/37558-h/images/35-plate8-600.png diff --git a/37558-h/images/36-plate9-1500.png b/37558-h/images/36-plate9-1500.png Binary files differnew file mode 100644 index 0000000..744a1d3 --- /dev/null +++ b/37558-h/images/36-plate9-1500.png diff --git a/37558-h/images/36-plate9-600.png b/37558-h/images/36-plate9-600.png Binary files differnew file mode 100644 index 0000000..cec905a --- /dev/null +++ b/37558-h/images/36-plate9-600.png diff --git a/37558-h/images/37-plate10-1500.png b/37558-h/images/37-plate10-1500.png Binary files differnew file mode 100644 index 0000000..31dc456 --- /dev/null +++ b/37558-h/images/37-plate10-1500.png diff --git a/37558-h/images/37-plate10-600.png b/37558-h/images/37-plate10-600.png Binary files differnew file mode 100644 index 0000000..933f351 --- /dev/null +++ b/37558-h/images/37-plate10-600.png diff --git a/37558-h/images/38-plate11-1500.png b/37558-h/images/38-plate11-1500.png Binary files differnew file mode 100644 index 0000000..7d885c2 --- /dev/null +++ b/37558-h/images/38-plate11-1500.png diff --git a/37558-h/images/38-plate11-fig1-154.png b/37558-h/images/38-plate11-fig1-154.png Binary files differnew file mode 100644 index 0000000..c40a9ec --- /dev/null +++ b/37558-h/images/38-plate11-fig1-154.png diff --git a/37558-h/images/38-plate11-fig2-266.png b/37558-h/images/38-plate11-fig2-266.png Binary files differnew file mode 100644 index 0000000..9f09c5b --- /dev/null +++ b/37558-h/images/38-plate11-fig2-266.png diff --git a/37558-h/images/38-plate11-fig3-143.png b/37558-h/images/38-plate11-fig3-143.png Binary files differnew file mode 100644 index 0000000..5194d38 --- /dev/null +++ b/37558-h/images/38-plate11-fig3-143.png diff --git a/37558-h/images/39-plate12-fig1-300.png b/37558-h/images/39-plate12-fig1-300.png Binary files differnew file mode 100644 index 0000000..065459a --- /dev/null +++ b/37558-h/images/39-plate12-fig1-300.png diff --git a/37558-h/images/39-plate12-fig1-800.png b/37558-h/images/39-plate12-fig1-800.png Binary files differnew file mode 100644 index 0000000..2762404 --- /dev/null +++ b/37558-h/images/39-plate12-fig1-800.png diff --git a/37558-h/images/39-plate12-fig2-250.png b/37558-h/images/39-plate12-fig2-250.png Binary files differnew file mode 100644 index 0000000..e0476c6 --- /dev/null +++ b/37558-h/images/39-plate12-fig2-250.png diff --git a/37558-h/images/39-plate12-fig2-650.png b/37558-h/images/39-plate12-fig2-650.png Binary files differnew file mode 100644 index 0000000..530b312 --- /dev/null +++ b/37558-h/images/39-plate12-fig2-650.png diff --git a/37558-h/images/small_rule-100.png b/37558-h/images/small_rule-100.png Binary files differnew file mode 100644 index 0000000..7ed9e1d --- /dev/null +++ b/37558-h/images/small_rule-100.png diff --git a/37558-h/images/smallfancyrule-104.png b/37558-h/images/smallfancyrule-104.png Binary files differnew file mode 100644 index 0000000..c034f5e --- /dev/null +++ b/37558-h/images/smallfancyrule-104.png |
