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diff --git a/37558-8.txt b/37558-8.txt new file mode 100644 index 0000000..19b4de4 --- /dev/null +++ b/37558-8.txt @@ -0,0 +1,16090 @@ +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 + + +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 + + + + + +Title: A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, Volume I (of 2) + + +Author: A. H. Smith + + + +Release Date: September 28, 2011 [eBook #37558] + +Language: English + +Character set encoding: ISO-8859-1 + + +***START OF THE PROJECT GUTENBERG EBOOK A CATALOGUE OF SCULPTURE IN THE +DEPARTMENT OF GREEK AND ROMAN ANTIQUITIES, BRITISH MUSEUM, VOLUME I (OF +2)*** + + +E-text prepared by Jonathan Ingram, Lesley Halamek, and the Online +Distributed Proofreading Team (http://www.pgdp.net) + + + +Note: Project Gutenberg also has an HTML version of this + file which includes the many original illustrations. + See 37558-h.htm or 37558-h.zip: + (http://www.gutenberg.org/files/37558/37558-h/37558-h.htm) + or + (http://www.gutenberg.org/files/37558/37558-h.zip) + + +Transcriber's note: + + Text enclosed by underscores is in italics (_italics_). + + Text enclosed by equal signs is in bold face (=bold=). + + Text following a carat character is superscripted + (example: XV^e). + + 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. + + + + + +A CATALOGUE OF SCULPTURE IN THE DEPARTMENT OF GREEK AND ROMAN +ANTIQUITIES, BRITISH MUSEUM. + +by + +A. H. SMITH, M.A., + +Assistant in the Department of Greek and Roman +Antiquities, in the British Museum. + +VOL. I. + + + + + + + +London: +Printed by Order of the Trustees. +1892. + +London: +Printed by William Clowes and Sons, Limited +Stamford Street and Charing Cross. + + + + +PREFACE. + + +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. + +In the section which deals with the sculptures of Athens much has been +retained from Sir Charles Newton's _Guide to the Elgin Room_, Pts. +I.-II. While adding the results of more recent research, Mr. Smith has +contributed on his part interesting material. + +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. + +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. + + A. S. MURRAY + _3rd December, 1891._ + + + + +CONTENTS OF VOL. I. + + PAGE + + EDITOR'S PREFACE iii + + TABLE OF CONTENTS v + + TABLE OF ABBREVIATIONS vii + + INTRODUCTION 1 + + + PART I.--THE ARCHAIC PERIOD. + + MYCENAE, 1-6 12 + + BRANCHIDAE, 7-21 16 + + LYDIA, 22, 23 24 + + EPHESUS, 24-48 24 + + CARIA, 49-51 40 + + RHODES, 52-75 41 + + XANTHOS, 80-98 45 + + NAUCRATIS, 100-127 61 + + DELOS, 130 68 + + SELINUS (casts), 135-139 69 + + ATHENS AND ATTICA, 150-156 70 + + AEGINA (casts), 160-183 73 + + OLYMPIA (casts), 190-192 80 + + STATUES OF APOLLO (?), 200-211 82 + + MISCELLANEOUS ARCHAIC SCULPTURES, 215-217 88 + + + PART II.--MYRON AND PHEIDIAS. + + MYRON, 250 90 + + PHEIDIAS AND THE PARTHENON 91 + + Athenè Parthenos, 300-302 96 + + East Pediment of Parthenon, 303 101 + + West Pediment of Parthenon, 304 116 + + Metopes of Parthenon, 305-323 132 + + Frieze of the Parthenon 145 + + East Side, 324 152 + + North Side, 325 165 + + West Side, 326 178 + + South Side, 327 181 + + Fragments of the Parthenon Sculptures, 328-345 193 + + Architectural Fragments of the Parthenon, 350-358 213 + + + PART III.--THE SUCCESSORS OF PHEIDIAS. + + THE TEMPLE CALLED THE THESEION 216 + + Sculpture (casts) and Architecture, 400-406 220 + + THE ERECHTHEION 231 + + Sculpture and Architecture, 407-420 233 + + TEMPLE OF NIKÈ APTEROS 239 + + Frieze and Reliefs of Balustrade (casts), 421-429 242 + + MONUMENT OF LYSICRATES 248 + + Frieze (casts), 430 251 + + MONUMENT OF THRASYLLOS, 432 257 + + THE PROPYLAEA, 433-435 259 + + MISCELLANEOUS ARCHITECTURAL FRAGMENTS FROM + ATHENS AND ATTICA, 436-448 261 + + AGORACRITOS OF PAROS, 460 264 + + POLYCLEITOS OF ARGOS, 500-504 265 + + TEMPLE OF APOLLO AT PHIGALEIA 270 + + Architectural Fragments, 505-509 273 + + Metopes, 510-519 274 + + Frieze, 520-542 277 + + Acrolithic Statue, 543, 544 288 + + MISCELLANEOUS SCULPTURES OF THE FIFTH CENTURY, 549-560 288 + + GREEK RELIEFS 293 + + SEPULCHRAL RELIEFS: + + Decorative Stelae, 599-618 304 + + Domestic Scenes, &c., 619-680 308 + + Sepulchral Vases, 681-686 324 + + Figures clasping hands, 687-710 326 + + The Sepulchral Banquet, &c., 711-746 333 + + Rider and Horse, heroified, 750-757 347 + + Lycian Sepulchral Reliefs (casts), 760-766 350 + + VOTIVE RELIEFS, 770-817 354 + +PLATES I.-XII. + + + + +TABLE OF ABBREVIATIONS. + + +The following is a list of the works which are most frequently +referred to, in this Catalogue, under abbreviated forms:-- + + _Annali dell' Inst._ Annali dell' Instituto di Corrispondenza + Archeologica. Rome: 1829-1885. [Superseded by the "Roemische + Mittheilungen."] + + _Antike Denkmaeler._ Antike Denkmaeler herausgegeben vom k. + deutschen Archaeologischen Institut. Berlin: from 1886. In + progress. + + _Arch. Anzeiger._ Archaeologischer Anzeiger. [A supplement to the + Archeologische Zeitung, and to the Jahrbuch des Archaeologischen + Instituts.] + + _Arch. Zeit._ Archaeologische Zeitung. Berlin: 1843-1885. + [Superseded by the Jahrbuch des Archaeologischen Instituts.] + + _Athenische Mittheilungen._ Mittheilungen des k. deutschen + Archaeologischen Instituts, Athenische Abtheilung. Athens: from + 1876. In progress. + + _Brunn, Denkmaeler._ H. v. Brunn, Denkmaeler griechischer und + römischer Sculptur. Munich: from 1888. In progress. + + _Bull, de Corr. Hellénique._ École française d'Athènes. Bulletin + de Correspondance Hellénique. Athens: from 1877. In progress. + + _Bull. dell' Inst._ Bullettino dell' Instituto di Corrispondenza + Archeologica. Rome: 1829-1885. + + _C. I. A._ Corpus Inscriptionum Atticarum. Berlin: from 1873. In + progress. + + _C. I. G._ Corpus Inscriptionum Graecarum. Berlin: 1828-1877. + + _Gaz. Arch._ Gazette Archéologique. Paris: 1874-1888. + + _Greek Inscriptions in Brit. Mus._ The Collection of Ancient Greek + Inscriptions in the British Museum, by C. T. Newton, and E. L. + Hicks. 1874-1890. + + _Guide to Elgin Room I._ 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. + + _Guide to Elgin Room II._ Synopsis, etc.... The Sculptures in the + Elgin Room. Part II. 1881. + + _Guide to First Vase Room._ Synopsis, etc.... First Vase Room. + (Last ed.) 1883. + + _Guide to Graeco-Roman Sculptures I._ Synopsis, etc.... + Graeco-Roman Sculptures. (Second ed.) 1879. + + _Guide to Graeco-Roman Sculptures II._ Synopsis, etc.... + Graeco-Roman Sculptures. Part II. 1876. + + _Jahrbuch des Arch. Inst._ Jahrbuch des k. deutschen + Archaeologischen Instituts. Berlin: from 1886. In progress. + + _Journ. of Hellen. Studies._ The Journal of Hellenic Studies. + London: from 1879. In progress. + + _Mansell._ Photographs of objects in the British Museum, published + by W. A. Mansell, 271 Oxford Street, W. + + _Michaelis._ A. Michaelis, Der Parthenon. Leipsic: 1871. + + _Michaelis, Anc. Marbles._ A. Michaelis, Ancient Marbles in Great + Britain. 1882. + + _Mitchell._ Lucy M. Mitchell, A History of Ancient Sculpture. + 1883. + + _Mitchell, Selections._ Selections from Ancient Sculpture.... A + Supplement to A History of Ancient Sculpture. By Lucy M. Mitchell. + 1883. + + _Mon. dell' Inst._ Monumenti Inediti, pubblicati dall' Instituto + di Corrispondenza Archaeologica. Rome, 1829-1886, and Berlin, + 1891. + + _Murray._ A. S. Murray, A History of Greek Sculpture. 1880-3. + [Second ed., 1890. The first ed. is quoted, unless otherwise + stated.] + + _Mus. Marbles._ A description of the Collection of Ancient Marbles + in the British Museum. 1812-1861. + + _Perrot & Chipiez._ G. Perrot and C. Chipiez, Histoire de l'Art + dans l'Antiquité. Paris: from 1882. In progress. + + _Prachov._ A. Prachov, Antiquissima Monumenta Xanthiaca. St. + Petersburg, 1871. + + _Rev. Arch._ Revue Archéologique. Paris: from 1844. In progress. + + _Roehl, I. G. A._ H. Roehl, Inscriptiones Graecae Antiquissimae, + praeter Atticas in Attica repertas. Berlin: 1882. + + _Roemische Mittheilungen._ Mittheilungen des k. deutschen + Archaeologischen Instituts, Roemische Abtheilung. Rome: from 1886. + In progress. + + _Specimens._ Specimens of Ancient Sculpture ... selected from + different Collections in Great Britain, by the Society of + Dilettanti. London: 1809. + + _Stereoscopic._ Photographs of objects in the British Museum, + published by the London Stereoscopic Company, 106 Regent Street, + W. + + _Stuart._ James Stuart and Nicolas Revett, The Antiquities of + Athens. London: 1762-1830. [Second ed., 1825-1830. The first ed. + is quoted unless otherwise stated.] + + _Synopsis._ Synopsis 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.] + + _Wolters._ Die Gipsabgüsse Antiker Bildwerke in historischer Folge + erklärt. Bausteine ... von Carl Friederichs neu bearbeitet von + Paul Wolters. Berlin: 1885. + + +BRITISH AND METRIC SYSTEMS COMPARED. + + 1 inch = .025 metre. + 1 foot = .304 metre. + 3 feet = .914 metre. + + 1 metre = 39.37079 inches. + + + + +INTRODUCTION. + + +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.[1] + +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. + +Sir Hans Sloane (1660-1753),[2] 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, 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. + +Three of the pieces of sculpture in the Museum are said by Sloane[3] +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.[4] 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 Museum at an early date, namely the bronze +head, formerly known as Homer,[5] which was presented by the +ninth Earl of Exeter in 1760. This head had previously been in +the collection of Dr. Richard Mead,[6] physician and antiquary +(1673-1754), and was sold with his collection in 1754.[7] + +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.[8] In 1764 he gave a Greek relief, which cannot be +identified, and in 1765 a marble head of a Faun. + +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[9] were purchased by the donors at +an auction in London,[10] in order that they might be put in a place +of safety. + +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 £8410 for the purchase +of the valuable museum of antiquities which had been formed by Sir +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.[11] On the +other hand a square altar with reliefs[12] was presented by Sir W. +Hamilton in 1776, and perhaps also a head of Heracles.[13] A colossal +foot of Apollo[14] was given in 1784. + +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. + +Charles Townley gave two marble fountains[15] 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,[16] and some important inscriptions, among them +the well-known report on the progress of the Erechtheion.[17] In 1870 +the same Society presented the fruits of its excavations at Prienè, +conducted by Mr. R. P. Pullan. + +Two Roman portrait statues, of inferior merit, which had passed into +the hands of the British at the Capitulation of Alexandria, in 1800, +were placed in the Department of Antiquities, in 1802. + +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. + +The great collection that had been formed by Charles Townley[18] was +purchased in 1805 by Act of Parliament, 45 Geo. III. cap. 127, for +£20,000, 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[19] was derived from the collection of Dr. Richard +Mead (see above). The relief of Xanthippos[20] 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[21] +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. + +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. + +In 1814, the Phigaleian sculptures were purchased of the explorers[22] +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,[23] was +presented by Mr. J. Spencer Stanhope in 1816. + +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 £35,000 in 1816. It +consists of sculptures and architectural 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. + +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,[24] from the Duke of Devonshire, and pieces of the frieze from +Mr. C. R. Cockerell,[25] and Mr. J. H. Smith-Barry;[26] also from the +Society of Dilettanti[27] and the Royal Academy.[28] + +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.[29] + +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. + +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 by Sir Charles Fellows (1799-1860), in the +course of his journeys of 1838 and 1840.[30] + +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,[31] were taken from the walls of the castle of Budrum, and +presented by the Ambassador to the British Museum. + +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. + +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. + +In the years 1860-1861, Captain, now General Sir R. Murdoch Smith, +R.E., and Commander E. A. Porcher, R.N., carried out a series of +excavations on the site of Cyrenè, 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 Aphroditè, and +elsewhere. + +The excavations which were carried on at Ephesus by the late Mr. +John Turtle Wood,[32] 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. + +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.[33] The most important objects found were +fragments of pottery, but there were also some architectural remains, +and archaic statuettes of interest. + +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. + +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.[34] In 1820, 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.[35] In 1839, Colonel W. M. Leake, an +eminent traveller and topographer (1777-1860), presented several Greek +sculptures.[36] 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. + +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."[37] +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."[38] + +Amongst purchases that have taken place from time to time we may also +mention that of the Apollo[39] from the collection of the Comte de +Choiseul-Gouffier in 1818. In 1864 several Græco-Roman sculptures[40] +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.[41] For +the numerous cases not here mentioned in which sculptures have been +acquired by donation or bequest, the reader is referred to the pages +of the catalogue. + +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.[42] + + 1: For the history of the collections in the British Museum, see + Edwards, _Lives of the Founders of the British Museum_; + Michaelis, _Ancient Marbles in Great Britain_, introduction. + + 2: There is a portrait of Sloane in the Mediæval Room, and a bust + by Roubiliac in the Ceramic Gallery. + + 3: 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." + + 4: Michaelis, _Ancient Marbles_, p. 6. + + 5: _Mus. Marbles_, II., pl. 39. + + 6: There is a bust of Mead by Roubiliac in the Ceramic Gallery. + + 7: _Mus. Meadianum_, Pars altera, p. 219. + + 8: Cf. _Mus. Marbles_, V., pl. 1, fig. 3; pl. 6, fig. 4; + pl. 7, fig. 1; pl. 12, fig. 4. + + 9: Nos. 639, 703, 737. + + 10: _Archæologia_, III., p. 230. + + 11: Nos. 774, 780; _Græco-Roman Guide_, I., No. 140B. + + 12: _Græco-Roman Guide_, II., No. 53. + + 13: _Mus. Marbles_, I., pl. 11. + + 14: _Græco-Roman Guide_, II., No. 117. + + 15: _Græco-Roman Guide_, II., Nos. 45, 61. + + 16: Nos. 605, 637, 642. + + 17: _Greek Inscriptions in Brit. Mus._, No. XXXV. + + 18: There is a bust of Townley in the Department of Antiquities. + + 19: No. 704. + + 20: No. 628. + + 21: _Mus. Marbles_, III., pl. 6; X., pls. 3, 5; XI., pl. 37. + + 22: See p. 270. + + 23: Part of No. 534. + + 24: 342, _3_. + + 25: 327, _4_. + + 26: 325, _75_. + + 27: 325, _50_. + + 28: 325, _85_. + + 29: Nos. 446, 712. + + 30: See p. 45, for a further account of the travels of Fellows. + + 31: _Antiquities of Ionia_, II. (1797), suppl., pl. 2. + + 32: See p. 24. + + 33: See p. 61. + + 34: No. 153. + + 35: Nos. 154, 460; cf. also No. 784. + + 36: Including Nos. 798, 816. + + 37: Including Nos. 632, 633, 644, 710, 802, 808, 811, 812. + + 38: No. 206. See also Nos. 302, 627, 651, 653, 666, 678, 722. + + 39: No. 209. + + 40: No. 401; _Græco-Roman Guide_, I., Nos. 33, 45, 109, 132, + 134; II., No. 96. + + 41: Nos. 550, 809. + + 42: See Nos. 211, 643, 652, 667, 680, 693, 699, 726, 736. + + + + +PART I. + + +_ARCHAIC PERIOD._ + + + + +SCULPTURES FROM MYCENAE. + + +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. + +[Sidenote: =1-4.=] + +Fragments of architecture from the building, commonly known as the +'Treasury of Atreus' at Mycenae. This building is a dome-covered tomb +(_tholos_) of beehive shape, approached by a long passage (_dromos_). +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 +Archæological Society. The fragments Nos. 1-4 are parts of an +elaborately decorated doorway to the tomb. They have been incorporated +in a somewhat fanciful restoration which was made by Donaldson, and +which has been much modified by later investigators. + + For plans and views, see Stuart, 2nd ed., IV. pls. 1-5 (with + Donaldson's restoration). Dodwell, _Pelasgic Remains_, pls. 9, 10. + _Athenische Mittheilungen_, 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. + +[Sidenote: =1.=] + +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 (_Athenische +Mittheilungen_, iv., pl. 13, fig. 1, A.).--_Elgin Coll._ + + Red marble. Height, 1 foot 4-1/4 inches; width, 3 feet 2-3/4 + inches. Stuart, 2nd ed., IV., pl. 4, fig. 10; p. 32; cf. pl. 5; + Dodwell, _Tour_, II., p. 232; Murray, I., p. 38; Wolters, No. 3. + +[Sidenote: =2.=] + +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. + +This slab, according to Donaldson, formed a part of the architrave, +over the entrance to the building. According to Dodwell, it was +'found by the excavators of the Earl of Elgin, near the Treasury of +Atreus.'--_Elgin Coll._ + + 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, + _Tour_, II., p. 232; Murray, I., p. 39; Wolters, No. 2. + +[Illustration: Fig. 1.--Restored Capital from the 'Treasury of Atreus' +(after Puchstein).] + +[Sidenote: =3.=] + +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 (_cf._ fig. 1). The tubular drill has been used as +in No. 1.--_Presented by the Institute of British Architects_, 1843. + + 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, pl. + 5. Dodwell, _Tour_, II., pl. facing p. 232; Murray, I., p. 40; + Puchstein, _Das Ionische Capitell_, p. 50. For fragments of the + capital, see Gell, _Itinerary_, pl. 7; Mitchell, p. 145, fig. 70. + +[Sidenote: =4.=] + +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 (_cf._ fig. 1).--_Presented by the Institute of British +Architects_, 1843. + + Hard green limestone; height, 3-1/2 inches; width, 10 inches. + Puchstein, _Das Ionische Capitell_, p. 50. + +[Sidenote: =5.=] + +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. + +[Illustration: Fig. 2.--Relief from Mycenae (?), No. 5.] + +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.--_Mycenae (?)_ _Elgin Coll._ + + Limestone; height, 1 foot 10-1/4 inches; width, 2 feet 2 inches. + _Synopsis_, No. 204 (158). Murray (2nd ed.), I., p. 61. + +[Sidenote: =6.=] + +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.--_Mycenae +(?)_ _Elgin Coll._ + + 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 4-1/2 inches; width, 2 feet 5 inches. + _Synopsis_, No. 224 (160). + +[Illustration: Fig. 3.--Relief from Mycenae, No. 6.] + + + + +SCULPTURES FROM BRANCHIDAE. + + +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 B.C. (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. + +The following are the materials for fixing the period to 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 +B.C. Thus these sculptures cover the period of (say) 580-520 B.C. +On epigraphic grounds, the date may be more closely defined. It is +believed that the older form for [Greek: ê Ê (TN: drawn as 2 vertical +boxes)] was changed to H (TN: Ê =Eta) shortly before 550 B.C. 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.G.A._, 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 B.C.), and this agrees well +with the epigraphical evidence. + +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, _Milet et le Golfe Latmique_, pl. 21). + + The sculptures of the Sacred Way were discovered by Chandler in + 1765 (_Antiqs. of Ionia_, 1st ed., I. p. 46; Chandler, _Travels in + Asia Minor_, 1775, p. 152). They were more accurately examined by + Gell, and the second _Dilettanti_ expedition in 1812 (_Antiqs. of + Ionia_, 2nd ed., 1821, Part I., p. 29, vignette, and ch. III., + pl. 1; Müller, _Denkmaeler_, I., pl. 9, fig. 33). A more accurate + sketch was made by Ross (_Arch. Zeit._, 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, + _Studien_, 4th ed., pp. 19, 25. + +[Sidenote: =7.=] + +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 diploïdion. +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.--_Sacred Way, Branchidae._ + + Parian marble; height, 3 feet 9 inches. Mansell, No. 607. + +[Sidenote: =8.=] + +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.--_Sacred Way, +Branchidae._ + + Parian marble; height, 3 feet 11-1/4 inches. Newton, II., p. 534; + Mansell, No. 604 (left). + +[Sidenote: =9.=] + +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 has no cushion, the drapery of the figure being seen under the +arms.--_Sacred Way, Branchidae._ + + Parian marble; height, 5 feet 2 inches. Newton, I., pl. 75 (2nd + from right); Rayet et Thomas, _Milet et le Golfe Latmique_, pl. + 26 (right); Overbeck, _Gr. Plast._, 3rd ed., I., p. 94, fig. 11c; + Wolters, No. 7. + +[Sidenote: =10.=] + +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. + +On the left arm of the chair is the inscription: [Greek: Eudêmos me +epoie(i)n]--"Eudemos made me."--_Sacred Way, Branchidae._ + + Parian marble; height, 5 feet 1 inch. Newton, I., pl. 75 (right); + pl. 97, No. 71; II., p. 534; p. 783; Kirchhoff, _Studien_, 4th + ed., p. 26; Roehl, _I.G.A._, 485; Roberts, _Greek Epigraphy_, p. + 162. + +[Sidenote: =11.=] + +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.--_Sacred Way, Branchidae._ + + Parian marble; height, 4 feet 4 inches; Newton, I., pl. 74 + (right); Mansell, Nos. 603 (left), 604 (right). + +[Sidenote: =12.=] + +Male figure, seated on a chair, with left hand resting on left knee, +and right hand, with palm turned upwards, 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. + +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: +[Greek: Nikê Glaukou], which is either "Nikè, daughter of Glaukos," +or, perhaps, a formula of the Christian period, "Victory of +Glaukos!"--_Sacred Way, Branchidae._ + + Parian marble; height, 5 feet. Newton, I., pl. 97, No. 73; II., + p. 531, fig. 2; p. 787; Kirchhoff, _Studien_, 4th ed., p. 20. + +[Sidenote: =13.=] + +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.--_Sacred Way, Branchidae._ + + Marble; height, 4 feet 8 inches. Newton, pl. 75 (second from + left); II., p. 531, fig. 1; Mansell, No. 605; Overbeck, _Gr. + Plast._, 3rd ed., I., p. 94, fig. 11b. + +[Sidenote: =14.=] + +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 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. + +On the right leg of the chair is the inscription: + +[Illustration: [Greek: Charês eimi ho Kle(i)sios Teichio(u)s(s)ês +archos . agalma to(u) Apollônos.]] + +"I am Chares, son of Kleisis, ruler of Teichioussa. The statue is the +property of Apollo."--_Sacred Way, Branchidae._ + + 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, _Milet et le Golfe Latmique_, pl. 25; Dieulafoy, + _L'Art Antique de la Perse_, Part III., pl. 15; Wolters, No. + 6; Kirchhoff, _Studien_, 4th ed., p. 19; Roehl, _I.G.A._, 488; + Roberts, _Greek Epigraphy_, p. 163; _Palaeographical Society, + Facsimiles_, I., No. 76. + +[Sidenote: =15.=] + +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.--_Sacred +Way, Branchidae._ + + Parian marble; height, 4 feet 2 inches. + +[Sidenote: =16.=] + +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 +diploïdion and a veil. The sleeves terminate with long folds. The veil +falls down over the shoulders, in numerous folds. + +In attempting to indicate the legs with greater detail than his +predecessors, the artist has rendered them as if they were nude; +but in naturalness and freedom this statue is conspicuously the most +advanced of the series.--_Sacred Way, Branchidae._ + + Parian marble; height, 4 feet. Newton, pl. 75 (left); Mansell, No. + 603 (right); Rayet et Thomas, _Milet et le Golfe Latmique_, pl. + 26 (left); Overbeck, _Gr. Plast._, 3rd ed., I., p. 94, fig. 11a; + Wolters, No. 7. + +[Sidenote: =17.=] + +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. + +On the flank is the inscription: + +[Illustration] + + 1. [Greek: Ta agalmata tade anethesan hoi Ôr- + iônos paides to(u) archêgo(u), Thalês + kai Pasiklês kai Hêgêsandros k[a]i Eu- + bios kai Anaxileôs, de[ka]tên tô A- + 5. pol(l)ôni.] + +"The sons of Orion, the governor, Thales, Pasicles, Hegesander, Eubios +and Anaxileos dedicated these statues as a tithe to Apollo."--_Sacred +Way, Branchidae._ + + Marble; height, 2 feet 6-1/4 inches; length, 7 feet. Newton, I., + pl. 97, No. 66; II., p. 777; Kirchhoff, _Studien_, 4th ed., p. 26; + Roehl, _I.G.A._, 483; Roberts, _Greek Epigraphy_, p. 161; Mansell, + No. 615. + +[Sidenote: =18.=] + +Sphinx or lion, recumbent. This figure has been called a Sphinx or a +lion-sphinx. The distinguishing marks of a Greek Sphinx are wanting, +as the head is lost, and the figure is wingless.--_Sacred Way, +Branchidae._ + + Marble; height, 4 feet 2 inches; length, 6 feet 11-1/2 inches. + _Antiqs. of Ionia_, 2nd ed., I., p. 29; Ross, _Arch. Zeit._, 1850, + p. 132; Müller, _Denkmaeler_, I., pl. 9, No. 33; Newton, II., p. + 535; Milchhoefer, _Athenische Mittheilungen_, IV., p. 50. + +[Sidenote: =19.=] + +Beardless male head, from an archaic statue. The left shoulder +is preserved. The hair falls in tresses, as in the case of No. +9.--_Branchidae._ + + Marble; height, 1 foot 3 inches; Rayet et Thomas, _Milet et le + Golfe Latmique_, pl. 27. + +[Sidenote: =20.=] + +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.--_Branchidae._ + + Marble; height, 9 inches. + +[Sidenote: =21.=] + +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. + +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, +which are seen through their own draperies and those of their +companions.--_Presented by J. Scott Tucker, Esq., R.N. Karakewi +(Teichioussa), near Branchidae._ + + Marble; height, 1 foot 9 inches; width, 2 feet 11 inches. Rayet et + Thomas, _Milet et le Golfe Latmique_, pl. 27; Brunn, _Denkmaeler_, + No. 101 B. + + + + +SCULPTURES FROM LYDIA. + + +The following sculptures were found in 1882 by Mr. George Dennis, +C.B., in one of the tumuli at Bin Tepè, 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. + +[Sidenote: =22.=] + +Relief. Three horsemen moving to the right. They wear large helmets +and cuirasses, with shoulder plates, and carry spears. + +The figures are cut in a narrow panel, and appear to have served an +architectural purpose.--_Bin Tepè, Sardes._ + + Marble; height, 7-1/4 inches; width, 1 foot 5 inches. Perrot and + Chipiez, V., p. 903, fig. 535; Murray, _Gr. Sculpt._, 2nd ed., I., + p. 107. + +[Sidenote: =23.=] + +Relief. Three deer, moving to the right, grazing. From a panel nearly +similar to the preceding.--_Bin Tepè, Sardes._ + + Marble; height, 6-3/4 inches; width, 1 foot 4 inches. Perrot and + Chipiez, V., p. 904, fig. 536; Murray, _Gr. Sculpt._, 2nd ed., I., + p. 107. + + + + +SCULPTURES FROM EPHESUS. + + +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 B.C. It was, according to tradition, the latest of a long +series of buildings. Not fewer than eight successive temples have been +enumerated by Falkener (_Ephesus_, p. 214; cf. Pliny, _H. N._, 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 B.C., by +the architects Theodoros, Chersiphron and Metagenes, was in course of +construction during the reign of Croesus (Brunn, _Gr. Künstler_, ii., +p. 382), and was burnt by Herostratos on the night of Alexander's +birth (356 B.C.). 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. + +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. + + Wood, _Ephesus_, pp. 190, 259. For the reconstruction of the + archaic temple, see _Journ. of Hellen. Studies_, X. (1889), p. + 1 (A. S. Murray). The material is a finely-grained marble, with + occasional strongly marked blue veins. + + +ARCHITECTURAL FRAGMENTS. + +[Sidenote: =24.=] + +Part of a wall-stone from the archaic temple. + + Length, 2 feet 7-1/2 inches; width, 1 foot 8 inches. + +[Sidenote: =25.=] + +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. + + _Journ. of Hellen. Studies_, X., p. 8. + +[Sidenote: =26.=] + +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. + + Length, 7 inches. Wood, _Ephesus_, p. 245; _Journ. of Hellen. + Studies_, X., p. 9. + +[Sidenote: =27.=] + +Fluted fragment of column. The drum to which this fragment belonged +was 4 feet 3 inches in diameter, and had 40 flutings. + + Height, 1 foot 10 inches; width, 3 feet 6 inches. + +[Sidenote: =28.=] + +Fragment of the base of an unfinished column, with torus moulding and +horizontal flutings only partially carried out. + + Height, 1 foot 4 inches; width, 3 feet. _Journ. of Hellen. + Studies_, X., p. 5, part of fig. 3_b_. + +[Sidenote: =29.=] + +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. (Plate +I.) + + [Sidenote: 1.] + + The sculpture is surmounted by an egg and tongue moulding 11-1/2 + inches high, which is not shown in the plate, _Journ. of Hellen. + Studies_, x., pl. 3. There are considerable remains of red paint. + + [Sidenote: 2.] + + Immediately below the sculptures is a moulding, which contains + fragments inscribed as follows: + + [Greek: BA KR AN EN], + + which have been restored as [Greek: Ba[sileus] Kr[oisos] + an[ethêk]en.] 'King Croesus dedicated (the column).' It is known + from a statement of Herodotus that Croesus gave most of the + columns of the temple at Ephesus [Herod. i. 92, [Greek: Kroisô de + esti kai alla anathêmata en tê Helladi polla ... en de Ephesô hai + te boes hai chryseai kai tôn kionôn hai pollai]]. 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 B.C. The inscriptions are + no doubt of the same age as the columns, and they may have been + seen by Herodotus (Hicks, _Greek Inscriptions in Brit. Mus._, + dxviii.). + + [Sidenote: 3.] + + Below the moulding is the restoration of an early Ionic base. + (_Journ. of Hellen. Studies_, x., pl. 3, and p. 8). + + The following fragments are inserted in the restoration of the + sculptured base:-- + + [Sidenote: 4.] + + 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. + + Height, 2 feet. _Journ. of Hellen. Studies_, X., pl. 3. + + [Sidenote: 5.] + + Lower part of male figure in high relief standing to the right, + wearing what appears to be a himation, falling to the knees. + + Height, 3 feet 3 inches. Murray, I., p. 112; _Journ. of + Hellen. Studies_, X., pl. 3. + + [Sidenote: 6.] + + 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. + + Height, 1 foot 1/2 inch. Murray, I., p. 111. + + [Sidenote: 7.] + + Middle part of a female figure, to the right, in high relief. The + figure wears a tunic, tied with a narrow girdle, and a diploïdion + which fell in long folds at the sides. A key-pattern was painted + on the central fold of the dress. + + Height, 1 foot 2 inches. + + +The following fragments from the bases of the columns, are not +inserted in the restoration:-- + +[Sidenote: =30.=] + +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. + + Height, 1 foot 3 inches. + +[Sidenote: =31.=] + +Fragment, in high relief, of the right thigh of a draped figure, +standing to the right. + + Height, 1 foot 1-1/2 inches. Worked above with a bed for another + drum. + +[Sidenote: =32.=] + +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. + +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. + + Height, 1 foot 2 inches. Murray, I., p. 113. + +[Sidenote: =33.=] + +Fragment of a head containing the middle of the face. A straight edge +is worked along the left cheek. + + Height, 8-1/2 inches. + +[Sidenote: =34.=] + +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. + + Height, 9-1/2 inches. + +[Sidenote: =35.=] + +Fragment of the upper part of a head, wearing a close-fitting veil, +with curls between the veil and the forehead. + + Height, 4 inches. + +[Sidenote: =36.=] + +Fragment of the right side of a head, containing the cheek, ear, and a +part of a veil which falls behind the ear. + + Height, 8 inches. + +[Sidenote: =37.=] + +Fragment of a head, containing the left ear, and wearing a veil; hair +falls down at the back of the head. + + Height, 6 inches. + +[Sidenote: =38.=] + +Fragment of a head, similar to the last. + + Height, 9-1/2 inches. + +[Sidenote: =39.=] + +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. + + Height, 6 inches. + +[Sidenote: =40.=] + +Fragment from the top of a head, with hair. + + Height, 6 inches. + +[Sidenote: =41.=] + +Fragment from the right side of a head, with part of the neck, and +hair falling down. The hair is coloured red. + + Height, 3-1/2 inches. + +[Sidenote: =42.=] + +Fragment, from the right side of a head, containing the top of the ear +and hair falling over it. + + Height, 4 inches. + +[Sidenote: =43.=] + +Fragment of drapery, terminating in zigzag folds. + + Height, 7-1/2 inches. + +[Sidenote: =44.=] + +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. + + Height, 6 inches. + +[Sidenote: =45.=] + +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. + + Height, 6-1/2 inches; width, 1 foot 6-1/2 inches. + + +THE CORNICE OF THE ARCHAIC TEMPLE. + +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. 10-3/4 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. + +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. + +The central group on the cornice with the combat of a Centaur and +Lapith is composed of the following fragments. See _Journ. of Hellen. +Studies_, x., p. 2, for sketches of No. 46, 1-18. + +[Sidenote: =46.=] + + [Sidenote: 1.] + + Fragment with the forelegs, which are human, and the hind hoof of + a kneeling Centaur. In front the greaved left leg of a Lapith. + + Height, 7 inches; width, 1 foot 7 inches. _Journ. of Hellen. + Studies_, X., pl. 4, fig. 6. + + [Sidenote: 2.] + + Hand with branch, from top of cornice, presumed to be the hand of + a Centaur. + + Height, 4 inches; width, 5-1/2 inches. + + [Sidenote: 3.] + + Part of branch, from top of cornice. + + Height, 3 inches; width, 8 inches. + + [Sidenote: 4.] + + Back of head of Lapith, to left, with part of top moulding of + cornice. Short curling hair. + + Height, 5 inches; width, 6 inches. + + [Sidenote: 5.] + + Lower part of cuirass of Lapith worn over a short tunic. + + Height, 3 inches; width, 8-1/2 inches. + + Two female figures are placed as spectators on each side of the + combat. On the left the remains are:-- + + [Sidenote: 6.] + + Part of a female head, turned to the right, and wearing a taenia. + + Height, 4-1/2 inches; width, 4-1/2 inches. + + [Sidenote: 7.] + + Part of drapery of standing female figure. + + Height, 4 inches; width, 6 inches. + + [Sidenote: 8.] + + Feet of standing female figure, wearing shoes, with slightly + turned-up toes, and three bands across each shoe. + + Height, 6 inches; width, 7-1/2 inches. + + The remains of the figure on the right of the group are:-- + + [Sidenote: 9.] + + Upper part of female head to the left, wearing a diadem. + + Height, 3 inches; width, 5 inches. + + [Sidenote: 10.] + + Part of middle of female figure, standing to the left, wearing + chiton and himation. The left hand by the side. + + Height, 3-1/2 inches; width, 8-1/2 inches. + + The following fragments have also been inserted in the restored + cornice:-- + + [Sidenote: 11.] + + Head of youth, to the left, with short hair. + + Height, 3 inches; width, 6 inches. _Journ. of Hellen. + Studies_, X., pl. 4, fig. 1. + + [Sidenote: 12.] + + 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. + + Height, 4 inches; width, 6 inches. _Journ. of Hellen. + Studies_, X., pl. 4, fig. 2. + + [Sidenote: 13.] + + Right foot and part of skirt of female figure walking, to the + right. + + Height, 9 inches; width, 8 inches. + + [Sidenote: 14.] + + Right foot of a figure standing, to the left. + + Height, 3 inches; width, 4-1/2 inches. + + [Sidenote: 15.] + + 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. + + Height, 5 inches; width, 5 inches. _Journ. of Hellen. + Studies_, X., pl. 4, fig. 3. + + [Sidenote: 16.] + + 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 greave. This fragment also contains + the right thigh of a figure kneeling to the front. + + Height, 10 inches; width, 1 foot 2 inches. + + The restored part of the cornice also contains:-- + + [Sidenote: 17.] + + Lion's head. The front and lower parts of the face are wanting. + + Height, 10 inches; width, 1 foot 2 inches. + + [Sidenote: 18.] + + Lion's head. The front of the upper jaw is wanting. Red paint in + the ears and the mouth. + + Height, 1 foot 6 inches; width, 1 foot 7 inches. + + +The following are the principal fragments, from the cornice, not +inserted in the restoration:-- + + +_Male Figures, turned to the Right._ + +[Sidenote: =47.=] + + [Sidenote: 1.] + + Parts of head and breast of figure, with helmet, tunic, and + cuirass (?). Long hair falls over the shoulder. + + Height, 7 inches; width, 7 inches. _Journ. of Hellen. + Studies_, X., pl. 4, fig. 5. + + [Sidenote: 2.] + + Part of helmet, and top edge of cornice; also the fingers of the + right hand of the figure, throwing a spear (?). + + Height, 2-1/2 inches; width, 6 inches. + + [Sidenote: 3.] + + Right shoulder, covered with shoulder plates. + + Height, 4-1/2 inches; width, 7 inches. + + [Sidenote: 4.] + + Left thigh, bent at knee; a corner of drapery falls on the thigh; + wears greave. + + Height, 6 inches; width, 7 inches. + + [Sidenote: 5.] + + Right knee of figure advancing to right; behind, the leg, wearing + a greave, of a fallen warrior (?). + + Height, 5-1/2 inches; width, 5 inches. + + [Sidenote: 6.] + + Knees of a prostrate warrior, wearing greaves, trodden down by a + horse's hoof. + + Height, 3 inches; width, 7 inches. + + [Sidenote: 7.] + + Knee wearing greave, slightly bent. + + Height, 4 inches; width, 3-1/2 inches. + + [Sidenote: 8.] + + Left knee, partly covered with drapery. + + Height, 3 inches; width, 3-1/2 inches. + + + _Male Figures to the Left._ + + [Sidenote: 9.] + + Upper part of helmeted head with vizor raised. + + Height, 3-1/2 inches; width, 5-1/2 inches. + + [Sidenote: 10.] + + Upper part of helmet, with projecting horn. + + Height, 2-1/2 inches; width, 5-1/2 inches. + + [Sidenote: 11.] + + Back of neck and lower part of helmet. + + Height, 2-1/2 inches; width, 5 inches. + + [Sidenote: 12.] + + Hips of a draped male (?) figure. + + Height, 4 inches; width, 8-1/2 inches. + + [Sidenote: 13.] + + Right forearm of a figure lying prostrate, with head to the right + and with the arm bent at the elbow. + + Height, 4 inches; width, 8 inches. + + [Sidenote: 14.] + + Right leg, wearing greave, of a figure striding to the left. + + Height, 5 inches; width, 9-1/2 inches. + + [Sidenote: 15.] + + Right arm, extended, wearing a shield. + + Height, 4 inches; width, 7 inches. + + + _Figures with the Back turned to the Front._ + + [Sidenote: 16.] + + Shoulders and upper part of back of a figure wearing a chiton. + + Height, 5 inches; width, 8-1/4 inches. + + [Sidenote: 17.] + + Shoulders and upper part of back of a figure wearing a chiton + across the right shoulder only. + + Height, 3 inches; width, 8-1/2 inches. + + + _Female Figures to the Right._ + + [Sidenote: 18.] + + Lower moulding of cornice, with the right foot and lower edge of + the drapery of a figure moving to the right. + + Height, 8 inches; width, 1 foot 3 inches. + + [Sidenote: 19.] + + Lower moulding of cornice with the left foot and part of the + drapery of a figure moving to the right. + + Height, 5 inches; width, 7-1/2 inches. + + + _Female Figure to the Front._ + + [Sidenote: 20.] + + Part of the right arm, extended, and wearing a shield (?). A short + sleeve reaches to the elbow, coming from beneath a shoulder plate. + + Height, 4 inches; width, 8 inches. + + + _Female Figures to the Left._ + + [Sidenote: 21.] + + Fragment of a figure turned to the left, with fine delicate + drapery (?). + + Height, 3-1/2 inches; width, 6 inches. + + [Sidenote: 22.] + + Left hand, beside the thigh, holding a fold of drapery. + + Height, 3 inches; width, 9 inches. + + [Sidenote: 23.] + + Fragment of a draped figure, containing the legs between the knees + and the ankles. + + Height, 4 inches; width, 4 inches. + + + _Fragments of Chariot Groups, and Horses._ + + [Sidenote: 24.] + + Left knee and part of the left thigh of a figure stepping to the + right into a chariot. The figure wore a short chiton, probably + under a cuirass, and greaves. Part of the inside of the chariot is + painted red. + + Height, 4 inches; width, 9-1/2 inches. + + [Sidenote: 25.] + + 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. + + Height, 4 inches; width, 7-1/2 inches. + + [Sidenote: 26.] + + Right hand closed and holding a rein (?). + + Height, 2 inches; width, 5-1/2 inches. + + [Sidenote: 27.] + + 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. + + Height, 7 inches; width, 1 foot 1 inch. _Journ. of Hellen. + Studies_, X., pl. 4, fig. 4. + + [Sidenote: 28.] + + Part of a horse's head to the left, with ear and mane. + + Height, 4 inches; width, 7-1/2 inches. + + [Sidenote: 29.] + + Back of a horse to the left, with a narrow thong tied about it. + + Height, 4-1/2 inches; width, 7 inches. + + [Sidenote: 30.] + + Part of the hind legs of a horse to the left. + + Height, 7-1/2 inches; width, 6 inches. + + [Sidenote: 31.] + + Two hoofs, side by side, as of the horses in a biga. + + Height, 4 inches; width, 5 inches. + + [Sidenote: 32.] + + 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. + + Height, 10 inches; width, 1 foot 6 inches. + + [Sidenote: 33.] + + Part of a chariot wheel, and of the body of a chariot, painted + red. + + Height, 6 inches; width, 8 inches. + + [Sidenote: 34.] + + Left hand grasping the leg of a horse, or of a Centaur (?). The + ground is blue and red. + + Height, 4 inches; width, 6-1/4 inches. + + [Sidenote: 35.] + + Fragment of a horse's tail, and part of the body of a chariot (?). + + Height, 3 inches; width, 3-1/2 inches. + + + _Figures of Harpies (?)._ + + 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 Athenè; but if No. 38 is correctly interpreted, some + Gorgon-like figure must be imagined. + + [Sidenote: 36.] + + Neck and chin of a figure to the left, having a large circular + earring, and a fringe of snakes round the neck. + + Height, 3-1/2 inches; width, 8 inches. + + [Sidenote: 37.] + + Fragment with snakes. + + Height, 1-1/2 inches; width, 5 inches. + + [Sidenote: 38.] + + 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. + + Height, 3 inches; width, 9 inches. + + [Sidenote: 39.] + + Fragment with extremities of hair, and the beginning of a large + wing, curving upwards. + + Height, 3-1/2 inches; width, 5 inches. + + [Sidenote: 40.] + + Fragment, apparently of the same wing as No. 39. + + Height, 3-1/2 inches; width, 6 inches. + + [Sidenote: 41.] + + Fragment of draped thighs of a figure half kneeling to the left + with the right leg foremost. If the figure above described was + half kneeling in the usual early scheme for the Gorgon, this + fragment may well have belonged to it. + + Height, 4 inches; width, 6 inches. + + [Sidenote: 42.] + + Fragment, perhaps from the same figure as the last. + + Height, 3 inches; width, 5 inches. + + [Sidenote: 43.] + + Fragment of a winged, long-haired figure (?). The hair falls in a + mass on the tip of the wing. + + Height, 7-1/2 inches. + + [Sidenote: 44.] + + 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. + + Height, 6-1/2 inches; width, 10 inches. + + [Sidenote: 45.] + + Fragment, with the leg of a Harpy, to the right (?). + + Height, 7 inches; width, 1 foot 3-1/2 inches. + + + _Miscellaneous Fragments._ + + [Sidenote: 46.] + + Fragment of the lower moulding, and two legs of a pig or ox to the + right. + + Height, 7 inches; width, 1 foot 1 inch. + + [Sidenote: 47.] + + Part of the leg of a chair. Traces of blue paint. + + Height, 6 inches; width, 4-1/2 inches. + + [Sidenote: 48.] + + Part of the same leg of a chair as No. 47, and nearly joining it. + Traces of blue paint. + + Height, 5-3/4 inches; width, 3-1/2 inches. + + [Sidenote: 49.] + + Part of the leg and seat of a chair. + + Height, 5 inches; width, 5 inches. + + [Sidenote: 50.] + + Part of the front leg of the chair to which No. 47 belongs. + + Height, 2-1/4 inches; width, 2 inches. + + [Sidenote: 51.] + + Unintelligible fragment, perhaps derived from the cornice. + + Length, 1 foot; height, 6 inches; width, 7 inches. + + + _Fragments of Lions' Heads, from the Cornice._ + + [Sidenote: 52.] + + Left side of lion's mane, with remains showing the attachment to + the cornice. + + Height, 1 foot 3 inches. + + [Sidenote: 53.] + + Lion's head from the cornice(?). The mouth is closed. The lower + part is wanting. + + Height, 1 foot 4 inches. + + [Sidenote: 54.] + + Upper part of lion's head from the cornice. Red paint on the mane. + + Height, 11 inches; width, 1 foot 5 inches. + + [Sidenote: 55.] + + Right side of lion's head, from the cornice, with eye, ear, and + part of mane. + + Height, 7-1/2 inches. + + +OTHER FRAGMENTS FROM EPHESUS. + +[Sidenote: =48.=] + + [Sidenote: 1.] + + 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. + + Height, 1 foot; width, 1 foot 5 inches. + + [Sidenote: 2.] + + 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. + + Height, 10-1/2 inches; width, 1 foot 6 inches. + + [Sidenote: 3.] + + 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 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 (_Journ. of Hellen. Studies_, xii., p. + 134). + + Height, 1 foot 2-1/2 inches. + + + + +SCULPTURES FROM CARIA. + + +[Sidenote: =49.=] + +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 archæologists 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. + +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 _Guide to the First Vase Room_ (1883), p. 21, and in the +_Journ. of Hellen. Studies_, v., p. 50. Compare Perrot and Chipiez, +v., pp. 334, 905; _Journ. of Hellen. Studies_, ix., p. 82; _Athenische +Mittheilungen_, xvi., p. 46. + +[Sidenote: =50.=] + +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 +diploïdion and sleeves. The head, and the legs from above the knees +are wanting.--_Theangela, in Caria._ + + Marble; height, 1 foot 3 inches. + +[Sidenote: =51.=] + +Beardless male head, having a considerable resemblance to No. +19.--_From the Temple of Apollo, Calymna._ + + Marble; height, 9 inches. Assigned by Collignon (_Gaz. Arch._, + 1886, p. 239) to the same school as No. 205. + + + + +SCULPTURES FROM RHODES. + + +[Sidenote: =52.=] + +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.--_Rhodes._ + + Marble; height, 8-1/2 inches. + +[Sidenote: =53.=] + +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.--_Rhodes._ + + Limestone; height, 5 inches. + +[Sidenote: =54.=] + +Female figure seated in a chair, with footstool.--_Camiros._ + + Limestone; height, 4-1/8 inches. + +[Sidenote: =55.=] + +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.--_Camiros._ + + Limestone; height, 10 inches. + +[Sidenote: =56.=] + +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 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.--_Acropolis of Camiros._ + + Limestone; height, 10-1/4 inches. + +[Sidenote: =57.=] + +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.--_Camiros._ + + Limestone; height, 4-1/4 inches. + +[Sidenote: =58.=] + +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.--_Camiros._ + + Limestone; height, 5 inches. + +[Sidenote: =59.=] + +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.--_Camiros._ + + Limestone; height, 4-3/4 inches. + +[Sidenote: =60.=] + +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.--_Camiros._ + + Limestone; height, 5-3/8 inches. + +[Sidenote: =61.=] + +Upper part of male figure from the base of the neck to the waist. In +the right hand this figure holds a small ibex against his breast. His +left arm is broken.--_Acropolis of Camiros._ + + Limestone; height, 4-1/5 inches. + +[Sidenote: =62.=] + +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.--_Acropolis of +Camiros._ + + Limestone; height, 7 inches. + +[Sidenote: =63.=] + +Lower part of a draped figure broken off at the waist, and wearing a +chiton, which is bound with a girdle.--_Camiros._ + + Limestone; height, 1 foot. + +[Sidenote: =64.=] + +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.--_Camiros._ + + Limestone; height, 7-1/2 inches. + +[Sidenote: =65.=] + +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.--_Camiros._ + + Limestone; height, 6 inches. + +[Sidenote: =66.=] + +Lower half of draped figure broken off above the knees. In bad +condition. + + Limestone; height, 4-1/8 inches. + +[Sidenote: =67.=] + +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, _phorbeia_, 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.--_Camiros._ + + Limestone; height, 9 inches. + +[Sidenote: =68.=] + +Similar draped male figure playing on the double flute. The _phorbeia_ +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.--_Camiros._ + + Limestone; height, 7-3/8 inches. + +[Sidenote: =69.=] + +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.--_Camiros._ + + Limestone; height, 4-1/2 inches. + +[Sidenote: =70.=] + +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.--_Acropolis of Camiros._ + + Limestone; height, 5 inches. + +[Sidenote: =71.=] + +Androsphinx seated on a plinth. On the head are the crowns of Upper +and Lower Egypt.--_Acropolis of Camiros._ + + Limestone; height, 3-1/2 inches. + +[Sidenote: =72.=] + +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.--_Acropolis of Camiros._ + + Limestone; height, 5 inches. + +[Sidenote: =73.=] + +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.--_Camiros._ + + Limestone; height, 5-1/4 inches. + +[Sidenote: =74.=] + +Bird standing on a plinth with wings closed. Head broken off; tail +long and spreading. + + Height, 3-1/4 inches. + +[Sidenote: =75.=] + +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.--_Lindos, in Rhodes._ + + Limestone; height, 4 inches. + + + + +SCULPTURES FROM XANTHOS. + + +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. + + The sculptures of Xanthos were discovered by Mr. (afterwards + Sir) Charles Fellows in April, 1838. (Fellows, _A Journal + written during an excursion in Asia Minor_, 1838.) The discoverer + revisited Xanthos in 1840, made a more minute examination of + the remains, and published a further account. (_An Account + of Discoveries in Lycia, being a Journal kept during a second + excursion in Asia Minor_, 1840-1841, quoted as "_Lycia_.") 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, _The Xanthian Marbles; + their acquisition, and transmission to England_, 1843. This was + reprinted by Fellows in _Travels and Researches in Asia Minor, + more particularly in the Province of Lycia_, 1852, pp. 423-456.) + Additional sculptures and casts from Lycia were obtained by a + second expedition in 1843. (_Athenæum_, 1844, pp. 176, 339, 715, + 779.) 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, _Memoirs of W. J. Müller_, + 1875; Beecheno, _E. T. Daniell, a Memoir_, 1889, p. 40; and + the publication of the Austrian expedition to Lycia, _Reisen in + Lykien_, vol. I. ed. by Benndorf and Niemann, 1884; vol. II. by + Petersen and von Luschan, 1889. + +[Sidenote: =80.=] + +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 stelè, 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. (_Xanthian Marbles_, p. 34.) + +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. + + The appearance of the monument as found is shown in Scharf's + drawing, here reproduced (pl. ii.), and also in a water-colour + drawing by W. J. Müller, now in the Print Room of the British + Museum. Solly, _Memoir of W. J. Müller_, pl. facing p. 216; + Fellows, _Asia Minor_, p. 168. + + [Sidenote: 1.] + + _South Side._--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. + + Height, 3 feet 1-1/2 inches; length, 4 feet; height of relief, + 10 inches. Fellows, _Lycia_, pl. facing p. 176 (very poor); + Prachov, pl. 1, fig. 1; Perrot and Chipiez, V., p. 392, fig. 277; + p. 395, fig. 280; Dieulafoy, _L'Art. Ant. de la Perse_, + III., pl. 16. + + [Sidenote: 2.] + + _East Side._--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. + + Height, 1 foot 6-1/2 inches; length, 3 feet 3 inches; height of + relief, 1/2 inch. Fellows, _Lycia_, pl. facing p. 176 (very + inaccurate); Perrot and Chipiez, V., p. 394, fig. 279. + + [Sidenote: 3.] + + _North Side._--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. + + Height, 2 feet 4 inches; length, 3 feet 6 inches; height of + relief, 6 inches. Perrot and Chipiez, V., p. 391, fig. 276. + + [Sidenote: 4.] + + _West Side._--This side seems to have contained two separate + entrances to the tomb. On right and left were two groups in low + relief. (A.) On the right, a man, nude, with long hair, and armed + with sword, contending with a lion. + + Height, 1 foot 10 inches; length, 1 foot 6 inches; height of + relief, 3/4 inch. + + (B.) On the left a draped figure seated in a chair; left side + alone remains. + + Height, 1 foot 7 inches; height of relief, 3/4 inch. Fellows, + _Lycia_, pl. facing p. 176; Prachov, pl. 1, fig. 1; Perrot and + Chipiez, V., p. 392, fig. 277; p. 393, fig. 278; Dieulafoy, + _L'Art Ant. de la Perse_, III., pl. 16. + +[Sidenote: =81.=] + +Frieze of Satyrs and animals, found by Fellows, built into the walls +of the Acropolis at Xanthos. + +Beginning from the left, the slabs of the frieze contain: + + [Sidenote: 1, 2.] + + 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. + + Prachov, pl. vi. A, a; vi. B, c; Wolters, Nos. 146, 145; Fellows, + _Lycia_, pl. facing p. 174; Brunn, _Denkmaeler_, No. 104. + + [Sidenote: 3.] + + Lioness, couching for a spring, but with right paw raised. + + Prachov, pl. vi. A, e. + + [Sidenote: 4.] + + Lion devouring deer. This group is of an established conventional + form. + + Fellows, _Lycia_, pl. facing p. 174; Wolters, No. 148; Prachov, + pl. vi. B, d.; Dieulafoy, _L'Art Ant. de la Perse_, III., pl. 16; + Brunn, _Denkmaeler_, No. 104. + + [Sidenote: 5.] + + Lynx to left, with right paw raised. + + Prachov, pl. vi. A, b.; Wolters, No. 147. + + [Sidenote: 6, 7.] + + 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. + + Prachov, pl. vi. A, f; vi. B, g. Coarse limestone. The height of + the frieze is 2 feet 6-3/4 inches; the lengths of the slabs are: + (1) 4 feet 9 inches; (2) 6 feet; (3) 5 feet 9 inches; (4) 5 feet + 1-1/2 inches; (5) 4 feet 11 inches; (6) 4 feet 9-1/2 inches; + (7) 3 feet 1 inch. + +[Sidenote: =82.= 1-8.] + +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.--_Built into the walls of the Acropolis at +Xanthos._ + + Coarse limestone; height, 1 foot 4-1/2 inches; combined length of + eight slabs, 28 feet 8 inches; Fellows, _Lycia_, pl. facing p. 174 + (two slabs); Wolters, Nos. 136-144; Brunn, _Denkmaeler_, No. 103. + +[Sidenote: =83.=] + +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.--_Found at the foot of the Inscribed Monument, Xanthos._ + + Limestone; height, 1 foot 5 inches; length, 4 feet 1-3/4 inches. + Fellows, _Lycia_, pl. facing p. 174. + +[Sidenote: =84.=] + +Head and neck of a lion, from a tomb (?). Several pieces of the mane +were separately worked and attached.--_Xanthos._ + + Limestone; height, 1 foot 10 inches. + +[Sidenote: =85.=] + +Fragment of unfinished relief, with two legs of a seat or couch +(?).--_Xanthos._ + + Limestone; height, 2 feet 4 inches. Compare Perrot and Chipiez, + V., p. 304, fig. 211. + +[Sidenote: =86.=] + +A frieze representing a procession moving from left to right. The +figures beginning from the right are:-- + + [Sidenote: 1.] + + 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. + + [Sidenote: 2.] + + 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. + + [Sidenote: 3, 4.] + + 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. + + Youth riding a spirited horse, equipped like the horse of the + second group. The rider wears a chiton with short sleeves, and a + himation. He has long hair falling on the shoulders. + + [Sidenote: 5.] + + A group of draped persons moving to right, and composed of the + following figures:-- + + 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. + + Man, carrying a spear over the left shoulder, supporting it with + both hands clasped. + + Man moving to right but looking back. He carries a spear on the + left shoulder; right hand holds a fold of the drapery. + + Man with spear on left shoulder and whisk in right hand. + + Man with spear on right shoulder; left hand holds an edge of the + himation. + + Man with spear on left shoulder. The front part only of this + figure is preserved. + + 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. + + 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 B.C., and Fellows, _Lycia_, 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, _Nebesheh and Defenneh_, pl. 29, fig. 4), and on + painted sarcophagi from Clazomenae (_Journ. of Hellen. Studies_, + iv., p. 19, fig. 14). + + The traces of Persian fashion make it probable that this relief is + later than the Persian conquest of Xanthos by Harpagos (about 545 + B.C.). + + 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, _Reisen in + Lykien_, 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.)--_Acropolis of Xanthos._ + + A similar procession occurs on a sarcophagus from Amathus. + (Cesnola, _Cyprus_, pl. 14.) + + Height, 2 feet 9-1/2 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, _Lycia_, pls. facing pp. + 173, 177; Prachov, pl. 3; Cesnola, _Cyprus_, pls. 16, 17; Murray, + I., pls. 4-6; Wolters, Nos. 131-134; Wolters in _Jahrbuch des + Arch. Inst._, I., p. 84; Brunn, _Denkmaeler_, No. 102. + +[Sidenote: =87.=] + +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. + +A groove to the left of the group seems to show that this slab was +at an interior angle of a building. The different dimensions make it +unlikely that it was a part of the same frieze as No. 86.--_Xanthos._ + + Limestone; height, 2 feet 9-1/2 inches; length, 2 feet 7 inches. + Prachov, pl. 1, fig. 2; Murray, I., pl. 6; Wolters, 135; Wolters + in _Jahrbuch des Arch. Inst._, I. p. 83. + +[Sidenote: =88.=] + +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. + +At the left of this figure is a groove, suggesting that this was an +interior angle stone.--_Xanthos._ + + Limestone; height, 2 feet 9 inches; length, 3 feet 6 inches. + Prachov, pl. 6 B. _h_; Wolters, _Jahrbuch des Arch. Inst._, I., p. + 83. + +[Sidenote: =89, 90.=] + +Gable end of a tomb. On each side of a doorway is a seated Sphinx, and +above the lintel are two lions.--_Xanthos._ + +[Sidenote: =89.=] + +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. + + 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, _L'Art Ant. de + la Perse_, II., pl. 18, fig. 2; Brunn, _Denkmaeler_, No. 101A. + +[Sidenote: =90.=] + +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 ground. The head and fore-quarters of the +lion are wanting. + + Limestone; height, 3 feet 4-1/2 inches; width, 3 feet 4 inches. + About 3 inches appear to be wanting on the left of the slab. + Prachov, pl. 5, fig. 2; _Museum of Class. Antiq._, I., p. 251; + Dieulafoy, _L'Art Ant. de la Perse_, II., pl. 18, fig. 2; Brunn, + _Denkmaeler_, No. 101A. + +[Sidenote: =91, 92.=] + +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.--_Xanthos._ + +[Sidenote: =91.=] + +The Sphinx on the left wears a stephanè; a tress of hair falls on +the shoulder. There are faint traces of paint on the wing. The +hind-quarters are missing. + + 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. + +[Sidenote: =92.=] + +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. + + 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). + +[Sidenote: =93.=] + +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. + +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 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.--_Xanthos._ + + Limestone; height, 2 feet 9 inches; width, 3 feet 5 inches. + _Annali dell' Inst._, 1844, p. 150. + + +THE HARPY TOMB. + +[Sidenote: =94.=] + +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 (_Lycia_, 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, _Xanthian Marbles_, p. 21; _Asia +Minor_, p. 438.) For views of this tomb see the drawing by Scharf here +reproduced (pl. iii.); also _Mon. dell' Inst._, iv., pl. 2; Benndorf, +_Reisen in Lykien_, i., pl. 26. In Christian times, the tomb was +made the cell of some _Stylites_, or dweller on a column. Traces of +painting and monograms were found on the interior of the chamber. +(Fellows, _Xanthian Marbles_, p. 21; Birch, _Archæologia_, xxx., p. +186.) + + [Sidenote: 1.] + + _West Side._--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 + stelè, 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, _Mon. dell' + Inst._, x., pl. 16, fig. 161.) + + 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 stephanè 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 stephanè 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. + + 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. + + [Sidenote: 2.] + + _North Side._--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, sheathed sword, greaves, and a large + shield, which he supports with the left hand. Beneath the chair is + a small bear. + + 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 stephanè and chiton (see below). In their arms + and talons each gently carries a diminutive draped female figure, + that makes a gesture, as of affection. + + 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. + + [Sidenote: 3.] + + _East Side._--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. + + 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. + + 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. + + [Sidenote: 4.] + + _South Side._--A male figure, not bearded, is seated on a throne + to right. He has a sceptre resting on his right shoulder. 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. + + _Drapery, &c._--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. + + _Colouring._--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 (_Archæologia_, xxx., p. 192) states that he has seen + scarlet on the crest of the helmet, and Scharf (_Mus. of Class. + Antiq._, 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 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. + + _Interpretations._--The interpretations of this monument, + that have been proposed, may be divided into three groups-- + + (1.) According to the first commentators, the subject represented + was the rape of the daughters of Pandareos, king of Lycia, by the + Harpies (Homer, _Od._ xx., l. 66. Gibson, in Fellows, _Lycia_, p. + 171; Birch, _Archæologia_, 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, _Arch. Zeit._, 1882, p. 204.) + + (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 Persephonè + (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, _Annali dell' Inst._, 1844, + p. 151), or Zeus viewed under a triple aspect (Curtius, + _Arch. Zeit._, 1855, p. 10). The symbolic system has been most + elaborately worked out by Curtius (_loc. cit._, and _Arch. Zeit._, + 1869, p. 10). Thus he regards the "Harpies'" bodies as intended + for eggs, and so symbolical of life. This view is untenable, as + the bodies are of the form usually given to birds in early art + (Conze, _Arch. Zeit._, 1869, p. 78). + + (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, _Arch. Zeit._, 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. + + 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, _Sitzungsber. d. k. + bayer. Akad. Phil. hist. Cl._, 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.) + + _Style and Period._--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, _loc. cit._, p. 205, and + Rayet, _Monuments_, No. 13). It is uncertain whether the tomb is + later than the Persian conquest of Xanthos (545 B.C.). 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 (_Nineveh + and Persepolis_, 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 B.C. + + The Harpy tomb is of marble. The reliefs measure 3 feet 4-1/2 + 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, + _Lycia_, p. 170, and pl.; Birch, _Archæologia_, XXX., p. 185; + Braun, _Annali dell' Inst._, 1844, p. 133; _Mon. dell' Inst._, + IV., pl. 3; _Rhein. Mus._, N.F., III., 1845, p. 481; Curtius, + _Arch. Zeit._, 1855, p. 2, pl. 73; Overbeck, _Gr. Plast._, 3rd + edit., I., p. 171; Murray, I., p. 116, pl. 3, and figs. 22-25; + Rayet, _Monuments_, Nos. 13-16; Mitchell, p. 187, fig. 88 (west + and south sides); Wolters, Nos. 127-130. + +[Sidenote: =95.=] + +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.--_Xanthos._ + + Limestone; height, 1 foot 3-1/2 inches. Prachov, pl. 6B, fig. + _i._; Murray (2nd ed.), I., p. 125. + +[Sidenote: =96-98.=] + +The following sculptures illustrate the way in which the simplicity of +an archaic statue is sometimes preserved in later sculptures serving +an architectonic purpose:-- + +[Sidenote: =96.=] + +Torso of female figure, wearing a long dress with diploïdion, 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.--_Xanthos._ + + Marble; height, 4 feet 1/4 inch. Prachov, pl. 2, fig. 5. + +[Sidenote: =97.=] + +Torso of female figure, nearly similar to preceding, but with surface +much mutilated.--_Xanthos._ + + Marble; height, 2 feet 4-1/2 inches. Prachov, pl. 2, fig. 6. + +[Sidenote: =98.=] + +Torso of female figure treated like No. 96, but holding the fold of +drapery with the left hand.--_Xanthos._ + + Marble; height, 3 feet 10-1/2 inches. Prachov, pl. 2, fig. 4. + + + + +SCULPTURES FROM NAUCRATIS. + + +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. + +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 B.C.). 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 ([Greek: Philellên +de genomenos ho Amasis alla te es Hellênôn metexeterous apedeixato, +kai dê kai toisi apikneumenoisi es Aigypton edôke Naukratin polin +enoikêsai, k. t. l.]). 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 the +Greeks to Naucratis, no Hellenic remains on the site can be older than +504 B.C. If an earlier settlement is assumed, it may have dated from +the middle of the seventh century. + +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 +([Greek: chôris de ... ep' heôutôn hidrysanto temenos ... Milêsioi +Apollônos]). Messrs. Petrie and Gardner, arguing for the older date, +put the foundation shortly after the middle of the seventh century. + +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. + + _Naukratis_, Part I., 1884-5, by W. M. Flinders Petrie and others; + _Naukratis_, Part II., 1885-6, by E. A. Gardner; G. Hirschfeld in + _Rhein. Mus._, N.F., XLII. (1887), p. 209, and XLIV. (1889), + p. 461; Kirchhoff, _Studien_, 4th edit. p. 43; Roberts, _Greek + Epigraphy_, p. 323. + + +THE FIRST TEMPLE OF APOLLO. + +[Sidenote: =100.=] + +_Columns._--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:-- + + [Sidenote: 1, 2.] + + 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 worked with a rebate to fit the upper + course. Below the mouldings are the tops of the flutings. + + Upper course--height, 5 inches; diameter, 1 foot 7-1/2 inches; + lower course--height, 4-1/4 inches; diameter, 1 foot 4-1/2 + inches. _Naukratis_, I., pl. 3. + + [Sidenote: 3.] + + Fragment of necking of a column, of a different design from the + preceding, and surrounded by a pattern of lotus buds and lotus + flowers. + + Height, 11 inches; diameter, 1 foot 8 inches. _Naukratis_, I., pl. 3. + + [Sidenote: 4.] + + Fragment of necking of a column, somewhat similar to the + preceding. + + Height, 4 inches; width, 5 inches. + + [Sidenote: 5.] + + Drum of a limestone column with flutings. + + Height, 4-5/8 inches; diameter, 1 foot 6 inches. + + [Sidenote: 6.] + + Lower part of the base of an Ionic column. + + Height, 4 inches; diameter, 1 foot 9 inches. _Naukratis_, I., pl. 3. + + +MISCELLANEOUS FRAGMENTS FROM FIRST TEMPLE. + +[Sidenote: =101.= 1.] + + Upper part of an acroterion, worked below with a rebate. + + Height, 3-1/2 inches. _Naukratis_, I., pl. 14A. + + [Sidenote: 2.] + + Angle piece, with half of a palmette. + + Height, 5 inches. _Naukratis_, I., pl. 14A. + + [Sidenote: 3.] + + Fragment of a plane surface of limestone, with a series of circles + painted in blue, white, and red. + + Height, 2 inches; width, 7-1/2 inches. + + [Sidenote: 4, 5.] + + Fragments of two sculptured rosettes, perhaps intended for the + decoration of mud surfaces, and probably derived from the earlier + temple. + + Diameters, 4-1/2 inches and 3 inches. _Naukratis_, I., pl. 18, + figs. 7, 8. + + +THE SECOND TEMPLE OF APOLLO. + +[Sidenote: =102.=] + +The remains assigned to the second temple are of marble, instead of +limestone. They are too fragmentary for restoration, but include bead +and reel 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. + + Compare _Naukratis_, I., pls. 14, 14A. + + +MISCELLANEOUS SCULPTURES FROM NAUCRATIS. + +[Sidenote: =103.=] + +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.--_From the +temenos of Apollo._ + + Limestone; height, 1 foot 5 inches. _Naukratis_, I., p. 13. + +[Sidenote: =104.=] + +Upper part of an incense burner or small altar with rosettes and +Uraei. + + Limestone; height, 4-3/4 inches. _Naukratis_, I., pl. 18, fig. 11. + +[Sidenote: =105.=] + +Part of a model of an Egyptian building. + + Limestone; height, 5-1/2 inches. _Naukratis_, I., pl. 18, fig. 1. + +[Sidenote: =106.=] + +Model of a shrine. + + Limestone; height, 8-1/2 inches. + +[Sidenote: =107.=] + +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 colour on the drapery and +on the tops of the vases.--_Temple of Apollo._ + + Limestone; height, 3 inches. _Naukratis_, I., pl. 2, fig. 21. + +[Sidenote: =108.=] + +Part of a figure kneading dough in a trough. Of the figure only the +hands and feet remain. Traces of red colour.--_Temple of Apollo._ + + Limestone; height, 2-1/8 inches. _Naukratis_, I., pl. 2, fig. 19. + +[Sidenote: =109.=] + +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.--_Temple of +Apollo._ + + Limestone; height, 1-3/4 inches. _Naukratis_, I., pl. 2, fig. 20. + +[Sidenote: =110.=] + +Torso of a male statuette, from the neck to the knees, holding a lion +by the tail and hind legs. + + Alabaster; height, 5-3/4 inches. _Naukratis_, I., pl. 1, fig. 1. + +[Sidenote: =111.=] + +Upper part of a statuette of a warrior(?). The figure wears a peaked +helmet, a close-fitting tunic with sleeves, and armlets. + + Alabaster; height, 4-1/4 inches. _Naukratis_, I., pl. 1, fig. 2. + +[Sidenote: =112.=] + +Vessel for holding ointment (_alabastron_). 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. + + Alabaster; height, 7-1/4 inches. _Naukratis_, II., pl. 14, fig. + 11. + +[Sidenote: =113.=] + +Upper part of an _alabastron_ similar to the preceding. + + Alabaster; height, 3-1/2 inches. + +[Sidenote: =114.=] + +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. + + Limestone; height, 4 inches. _Naukratis_, I., pl. 1, fig. 5. + +[Sidenote: =115.=] + +Head, wearing a band across the forehead, from which lappets hang down +before the ears. Delicately executed archaic work. + + Alabaster; height, 2-1/2 inches. _Naukratis_, II., pl. 17, fig. + 13. + +[Sidenote: =116.=] + +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. + + Alabaster; height, 3 inches. + +[Sidenote: =117.=] + +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. + + Limestone; height, 5-3/8 inches. _Naukratis_, I., p. 33. + +[Sidenote: =118.=] + +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 [Greek: Kalli[as aneth]ê[ke]].--_Temenos of +Aphroditè._ + + Limestone; height, 1 foot 7-1/2 inches. _Naukratis_, II., pl. 13, + fig. 5. + +[Sidenote: =119.=] + +Female statuette, wearing long, close-fitting drapery and head-dress; +she wears a necklace and plays on a tympanum.--_Temenos of Aphroditè._ + + Limestone; height, 5-5/8 inches. _Naukratis_, II., pl. 14, fig. 9. + +[Sidenote: =120.=] + +Upper half of female statuette wearing close-fitting drapery, and +headdress. She wears a necklace, and holds a flower in the right hand +between her breasts.--_Temenos of Aphroditè._ + + Limestone; height, 6 inches. _Naukratis_, II., pl. 15, fig. 5. + +[Sidenote: =121.=] + +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.--_Temenos of Aphroditè._ + + Limestone; height, 7-1/8 inches. _Naukratis_, II., pl. 14, fig. + 12. + +[Sidenote: =122.=] + +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.--_Temenos +of Aphroditè._ + + Limestone; height, 7-1/4 inches. _Naukratis_, II., pl. 14, fig. + 14. + +[Sidenote: =123.=] + +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.--_Temenos of +Aphroditè._ + + Limestone; height, 4-3/4 inches. _Naukratis_, II., pl. 14, fig. 8. + +[Sidenote: =124.=] + +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.--_Temenos of Aphroditè._ + + Limestone; height, 8-3/4 inches. _Naukratis_, II., pl. 14, fig. + 10. + +[Sidenote: =125.=] + +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.--_Temenos of Aphroditè._ + + Limestone; height, 3-1/2 inches. _Naukratis_, II., pl. 15, fig. 1. + +[Sidenote: =126.=] + +Female figure, enthroned. The left arm is wrapped in the +mantle.--_Temenos of Aphroditè._ + + Limestone; height, 3-1/2 inches. _Naukratis_, II., pl. 14, fig. 3. + +[Sidenote: =127.=] + +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.--_Temenos of Aphroditè._ + + Limestone; height, 4-3/4 inches. _Naukratis_, II., pl. 14, fig. 7. + + + + +FRAGMENT FROM DELOS. + + +[Sidenote: =130.=] + +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. + + 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 _in situ_. The base + is inscribed on one side, [Greek: Naxioi Apollôni], and on another + side in archaic letters, [Greek: Tawytou lithou eim' andrias kai + to sphelas]: "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, _Nicias_, 3). + + The first modern traveller who saw the statue was Bondelmonte + (A.D. 1416), who found it prostrate, and says that he made an + unsuccessful attempt to set it up (_Liber Insularum Archipelagi_, + Sinner's edit., p. 92). In 1447 Cyriac of Ancona sketched the base + with one foot still in position (_Bull. dell' Inst._, 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, _Journey_, 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, _Alte + Denkmaeler_, I., p. 400; Michaelis, _Annali dell' Inst._, 1864, p. + 253; Furtwaengler, _Arch. Zeit._, 1882, p. 329. For the base and + inscription, see Blouet, _Exp. de Morée_, III., pl. 3, figs. 3, 4 + _Bull. de Corr. Hellénique_, III., p. 2. + + + + +CASTS FROM SELINUS. + + +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. + +Selinus, a colony of Megara, in the south-west of Sicily, was founded +about 628 B.C. 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 B.C. + +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. + +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, _Sculptured Metopes ... of Selinus_, +1826. For further literature, see Benndorf, _Die Metopen von +Selinunt_. + +[Sidenote: =135.=] + +Cast of a metope, from the oldest temple at Selinus. Perseus slaying +Medusa in the presence of Athenè. Perseus holds the hair of the Gorgon +in his left hand, and cuts off her head with his sword. Athenè stands +on the left. The Gorgon is represented as embracing the winged horse, +Pegasos, who sprang from her spilt blood.--_Presented by S. Angell, +Esq._ + + Angell and Evans, pl. 7; Benndorf, p. 44, pl. 1; Overbeck, _Gr. + Plast._, 3rd ed. I., p. 80, fig. 5; Wolters, No. 149. + +[Sidenote: =136.=] + +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.--_Presented by S. Angell, Esq._ + + Angell and Evans, pl. 8; Benndorf, p. 45, pl. 2; Overbeck, _Gr. + Plast._, 3rd edit., I., p. 80, fig. 5; Wolters, No. 150. + +[Sidenote: =137.=] + +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.--_Presented by S. Angell, Esq._ + + Angell and Evans, pl. 6; Benndorf, p. 47, pl. 3; Wolters, No. 151. + +[Sidenote: =138.=] + +Cast of a fragment of a metope from the third temple at Selinus, in +which a goddess, probably Athenè, moves to the right, treading down +a prostrate giant. This metope was formed of two slabs, of which the +upper is wanting.--_Presented by S. Angell, Esq._ + + Angell and Evans, pl. 4 (incomplete); Benndorf, p. 50, pl. 5; + Overbeck, _Gr. Plast._, 3rd ed., I., p. 158, fig. 30_b_. + +[Sidenote: =139.=] + +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.--_Presented by S. Angell, Esq._ + + Angell and Evans, pl. 3; Benndorf, p. 52, pl. 6; Overbeck, _Gr. + Plast._, 3rd ed., I., p. 158, fig. 30_a_; Wolters, No. 152. + + + + +SCULPTURES AND CASTS FROM ATHENS AND ATTICA. + + +[Sidenote: =150.=] + +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 hair is rendered by conventional +undulations, parallel to the band.--_Athens (?)._ _Elgin Coll._ + + Marble; height, 8-1/2 inches, _Mus. Marbles_, IX., pl. 40, fig. + 4; _Synopsis_, No. 251 (115); Ellis, _Elgin Marbles_, II., p. 119; + _cf._ Welcker, _Alte Denkmaeler_, I., p. 399. + +[Sidenote: =151.=] + +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 diploïdion. 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 _Athens_. + + Height, 1 foot 6 inches. Le Bas, _Monuments Figurés_, pl. 2, fig. + 2; Sybel, No. 5007; Wolters, No. 112. Further literature is cited + by Wolters. + +[Sidenote: =152.=] + +Torso of a standing female figure wearing an under-chiton of fine +texture, and an over-chiton with diploïdion 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.--_Athens (?)._ _Elgin Coll_. + + Marble; height, 2 feet 10 inches. Clarac, V., pl. 821A, fig. 2069 + B, C. + +[Sidenote: =153.=] + +Torso of a standing female figure, wearing an under-chiton of fine +texture, and an over-chiton with diploïdion 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 _archaistic_ rather than of archaic workmanship, that +is, the artist has consciously imitated the archaic style.--_Athens._ +_Presented by H. Gally Knight and N. Fazakerly, Esqs., 1818._ + + Marble; height, 1 foot 9 inches. Clarac, V., pl. 821A, fig. 2069A. + +[Sidenote: =154.=] + +Torso of a standing female figure, wearing under-chiton of fine +texture and over-chiton with a diploïdion 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.--_From the smaller temple at Rhamnus._ +_Presented by J. P. Gandy Deering, Esq._ + + Marble; height, 5 feet. Leake, _Athens and Demi of Attica_, II. p. + 110; _Synopsis_, No. 325* (307*); _Athenische Mittheilungen_, XV., + p. 65. + +[Sidenote: =155.=] + +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 _Athens_. + + Le Bas, _Mon. Fig._, pl. 1; Overbeck, _Gr. Plast._, I., 3rd ed., + p. 153, fig. 28; Murray, I., p. 196; Brunn, _Denkmaeler_, No. 21. + For further literature, see Wolters, No. 97. + +[Sidenote: =156.=] + +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. + +The original, which is of marble, is in the _Villa Albani at Rome_. +It was erroneously named by Winckelmann "Leucothea nursing the infant +Bacchus."--_From Athens (?)._ + + Winckelmann, _Monumenti Inediti_, No. 56; Zoega, _Bassirelievi + Ant._, I., pl. 41; Overbeck, _Gr. Plast._, 3rd ed., I., p. 175, + fig. 38. For further literature, see Wolters, No. 243. + + + + +CASTS OF SCULPTURES FROM AEGINA. + + +The temple of Athenè 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. + +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. + +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 B.C., +in which year Aegina was subdued by Athens. From their style they +appear to be considerably older than that date. + +A minute analysis of the sculptures (Brunn, _Das Alter der Aegin. +Bildw._ 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 B.C.) and suggests that the +sculptor of the east pediment belonged to a younger generation than +his colleague. + +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 +(_Beschreibung_, &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). + + C. R. Cockerell, _The Temple of Jupiter Panhellenius at Aegina_, + &c., 1860; Blouet, _Expédition de Morée_, III., p. 23; Brunn, + _Ueber das Alter der Aeginetischen Bildwerke_ in the _Sitzungsber. + der k. bayer. Akad._, 1867, I., p. 405, and _Ueber die Composition + der Aeginetischen Giebelgruppen_, _ibidem_, 1868, II., p. 448; + Brunn, _Beschreibung der Glyptothek König Ludwig's I._, 4th ed., + 1879; Wolters, Nos. 69-85. + + +THE WEST PEDIMENT OF THE TEMPLE AT AEGINA. + +The subject of the West pediment is a battle, in the presence of +Athenè, 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, _Iliad_, 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, _Beschreibung_, p. 79. On account +of the discrepancies between the sculptures and the literary tradition +it is impossible to decide the question. + +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. + + Restorations of the West Pediment. (1) With 11 figures, the bowmen + in front of the spearmen. Cockerell, supplementary plate; Blouet, + _Exp. de Morée_, III., pl. 58, fig. 2; Müller, _Denkmaeler_, + I., pls. 6, 7; Overbeck, _Gr. Plast._, 3rd ed., I., fig. 19_a_; + Murray, I., pl. 7. (2) With 11 figures, the bowmen behind the + spearmen. Cockerell, plate; Brunn, _Sitzungsber. der k. bayer. + Akad._, 1868, II., plate; Lange, _Ber. der k. sächs. Ges. d. + Wissenschaften_, 1878, pl. 3, fig. 1. (3) With 13 figures. + Cockerell, pl. 16. (4) With 14 figures. Lange, _loc. cit._, pl. 3, + fig. 2; Overbeck, _Gr. Plast._, 3rd ed., I., fig. 19_b_. + +The figures beginning from the left of the West pediment are:-- + +[Sidenote: =160.=] + +Wounded Greek, recumbent, disarmed, drawing an arrow from his right +breast. + + 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, _Denkmaeler_, No. 25. + +[Sidenote: =161.=] + +Greek advancing with spear. Brunn proposes the name of Ajax, son of +Oileus. + + Restored:--Crest, right hand, left forearm and part of feet. + Cockerell, pl. 15, No. 9; pl. 16; Blouet, III., pl. 69, fig. 1. + +[Sidenote: =162.=] + +Greek archer, armed, kneeling and drawing his bow. This may well be +the Aeginetan hero, Teucer, brother of Telamonian Ajax. + + 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. + +[Sidenote: =163.=] + +Bearded Greek warrior advancing, with shield extended and right hand +raised to hurl spear. Perhaps Telamonian Ajax. + + Restored:--Nose, crest, half right forearm, part of shield, both + legs. Cockerell, pl. 15, No. 3; pl. 16; Blouet, III., pl. 68, fig. + 1. + +[Sidenote: =164.=] + +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. + + Restored:--Neck, right shoulder, fingers and toes. Cockerell, pl. + 15, No. 2; pl. 16; Blouet, III., pl. 67, fig. 2. + +[Sidenote: =165.=] + +Figure of Athenè 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. + + Restored:--Nose, right hand, part of left hand. Cockerell, pl. 15, + No. 1; pl. 16; Blouet, III., pl. 67, fig. 1; Brunn, _Denkmaeler_ + No. 23. + +[Sidenote: =166.=] + +Kneeling Trojan, with right hand raised to hurl spear. + + 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. + +[Sidenote: =167.=] + +Warrior advancing with shield extended, and right hand raised to hurl +spear, closely corresponding to No. 163. Perhaps Aeneas. + + 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. + +[Sidenote: =168.=] + +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, _12_); also closely-fitting breeches and +coat of leather. This figure, which is always known as Paris, closely +corresponds with the 'Teucer,' No. 162. + + 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, _Denkmaeler_, No. 24. + +[Sidenote: =169.=] + +Wounded Trojan, leaning on the right arm. An arrow may have been fixed +in the left knee between the thumb and forefinger. + + 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. + +[Sidenote: =170.=] + +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.) + +On each side of the acroterion is an architectonic female figure, +treated in the same designedly archaic style as the figure of Athenè. + +[Sidenote: =171.=] + +Female figure (on the left). + + Restored:--Head, right hand and part of sleeve; left forearm with + part of sleeve and drapery. Cockerell, pl. 1. + +[Sidenote: =172.=] + +Female figure (on the right). + + Restored:--Head; lower edge of right sleeve; right hand and + forearm; parts of drapery. Cockerell, pl. 1. + +[Sidenote: =173.=] + +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. + +[Sidenote: =174.=] + +The angles are surmounted by Gryphons, which have been cast from +a single original. The original has been considerably restored, +especially the head. + + 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, _Travels in Greece_, p. 12. + + +THE EAST PEDIMENT OF THE TEMPLE AT AEGINA. + +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 Athenè. + +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). + +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 most carefully finished, and was therefore +intended to be seen. + + Restorations of the East Pediment. (1) With 10 figures; wounded + warrior as restored. Prachov, _Mon. dell' Inst._, IX., pl. 57. + (2) With parts of 12 figures; wounded warrior not as restored. + Cockerell, supplementary plate; Müller, _Denkmaeler_, I., pl. 8; + Blouet, III., pl. 58, fig. 1; Murray, I., pl. 7. For two heads + from this pediment, see Brunn, _Denkmaeler_, No. 121. + +The figures beginning with the left end of the pediment are the +following:-- + +[Sidenote: =175.=] + +Warrior lying down, supported by his arm, within the handles of his +shield. He is wounded below the right breast. + + 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. + +[Sidenote: =176.=] + +Warrior advancing, with a shield on the left arm, and a lance (?) in +the right hand. + + Restored:--Head, hands, right hip; most of shield, Cockerell, + p. 32, pl. 14, No. 2; Blouet, III., pl. 59, fig. 1; Brunn, + _Denkmaeler_, No. 28. + +[Sidenote: =177.=] + +Wounded warrior fallen backwards on his shield. + + 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. + +[Sidenote: =178.=] + +Figure of a youth leaning forward, to draw away the fallen warrior. + + Restored:--Nose, arms, pubis, most of right foot, and left foot; + Cockerell, pl. 14, No. 3; Blouet, III., pl. 61, fig. 2; Brunn, + _Denkmaeler_, No. 26. + +[Sidenote: =179.=] + +Heracles kneeling, and drawing his bow. He wears the lion's skin on +his head, and had a quiver on the left side. + + 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, _Monuments_, No. 25; + Brunn, _Denkmaeler_, No. 27; Mitchell, _Selections_, pl. 1. + +[Sidenote: =180.=] + +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. + + + + +CASTS OF SCULPTURES FROM OLYMPIA. + + +The temple of Zeus at Olympia was being built from about 470-455 B.C. +(cf. Boetticher, _Olympia_, 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 B.C. (Boetticher, p. +289). + +[Sidenote: =190.=] + +Cast of a metope, from the Temple of Zeus at Olympia. Heracles binding +the Cretan Bull. + + 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, _Gr. Plast._, + 3rd ed., I., p. 443. For the completed metope, see _Ausgrabungen + zu Olympia_, V., pl. 17; Boetticher, _Olympia_, p. 279; Wolters, + No. 274. + +[Sidenote: =191.=] + +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. + + The original is of marble, and is at Olympia, where it was + discovered by the German excavators. _Ausgrabungen zu Olympia_, + I., 26; _Athenische Mittheilungen_, I., pl. 11; Murray, II., pl. + 13; Wolters, No. 280; Overbeck, _Gr. Plast._, 3rd ed., I., p. 445; + Boetticher, _Olympia_, p. 285. (Boetticher's illustration is most + nearly complete. That of Overbeck gives both hands of Atlas.) For + the female head, see _Journ. of Hellen. Studies_, V., pl. 45. + +[Sidenote: =192.=] + +Cast of a statue of Victory, by Paionios of Mendè, 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 Mendè, who made the acroteria of +the temple:--[Greek: Messanioi kai Naupaktioi anethen Dii | Olympiô +dekatan apo tôm polemiôn. Paiônios epoiêse Mendaios | kai takrôtêria +poiôn epi ton naon enika.] Mr. Murray (_Gr. Sculpt._, 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 (452 B.C.); but the Messenians of his time supposed +that the statue was erected soon after the defeat of the Spartans at +Sphacteria in 424 B.C. + +Discovered by the German excavators at Olympia, and now in the Museum +at Olympia. + + Marble. _Ausgrabungen zu Olympia_, I., pls. 9-12; inscr. _ibidem_, + pl. 32; pedestal, _ibidem_, II., pl. 34; Overbeck, _Gr. Plast._, + 3rd ed., I., figs. 88, 89; Murray, II., pl. 19; Wolters, Nos. 496, + 497. + + + + +STATUES OF APOLLO (?). + + +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. + +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, _Naukratis_, i., pl. 1, fig. 4), Delos +(_Arch. Zeit._, 1882, p. 323), Actium (_Gaz. Arch._, 1886, p. +235), and at the temple of Apollo Ptoös in Boeotia (_Bull. de Corr. +Hellénique_, x., p. 66, Brunn, _Denkmaeler_, No. 12). The same type of +Apollo occurs, _e.g._ on a vase in the Brit. Mus. (No. E, 313; _Gaz. +Arch._, 1882, p. 58), on a vase published in _Annali dell' Inst._, +1849, pl. D (cf. _Hamilton Vases_, ii., pl. 6), and on a Pompeian +fresco (_Arch. Zeit._, 1882, p. 58). Compare a relief in the _Palazzo +Corsini_ (Dütschke, ii., p. 114). At the same time, similar figures +served to represent athletes (Paus., viii., 40) and, perhaps, were +placed on tombs, to represent a deceased person. + +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, _Arch. Zeit._, 1882, p. 55). For an enumeration and +discussion of the known examples of this series see Overbeck, _Gr. +Plast._, 3rd ed., i., p. 229, note 33; _Bull. de Corr. Hellénique_, +x., p. 67; xi., p. 1; _Gaz. Arch._, 1886, p. 239; Roscher, _Lexicon_, +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. + +[Sidenote: =200.=] + +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.--_Naucratis._ + + Alabaster; height, 10-1/4 inches. + +[Sidenote: =201.=] + +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.--_Naucratis._ + + Alabaster; height, 4-3/8 inches. + +[Sidenote: =202.=] + +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.--_Temenos of Apollo, Naucratis._ + + Marble (?); height, 3-1/8 inches. _Naukratis_, I., pl. 1, fig. 9. + +The following figures, Nos. 203, 204, belong to the same series, +though the type is slightly varied, and No. 203, having been found in +the temenos of Aphroditè, probably does not represent Apollo:-- + +[Sidenote: =203.=] + +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.--_Temenos of +Aphroditè, Naucratis._ + + Alabaster; height, 6-1/4 inches. _Naukratis_, II., pl. 14, fig. + 13. + +[Sidenote: =204.=] + +Apollo. Male torso, similar to the preceding, but having no hair on +the shoulders.--_Temenos of Apollo, Naucratis._ + + Alabaster; height, 4-3/4 inches. _Naukratis_, I., pl. 1, fig. 3. + +[Sidenote: =205.=] + +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.--_From Greece, probably +from Boeotia._ + + Marble; height, 2 feet 6-1/4 inches. Murray, I., pl. 2, p. 107; + _Arch. Zeit._, 1882, pl. 4, p. 51; Mitchell, p. 213; Brunn, + _Denkmaeler_, No. 77. + +[Sidenote: =206.=] + +Figure of Apollo (?) standing, with the right leg drawn back. The hair +is dressed, with the headdress known as the _krobylos_. + +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. + +This figure, commonly known as the Strangford Apollo, is referred by +Brunn to the school of Callon of Aegina. + +From the collection of _Viscount Strangford_. Stated in 1864 to be +from _Lemnos_, but said also to have been found in _Anaphè_ (Newton, +_Essays_, p. 81). + + Marble; height, 3 feet 4 inches. _Mon. dell' Inst._, IX., pl. + 41; _Annali dell' Inst._, 1872, p. 181; Brunn, _Ber. d. k. bayer. + Akad. Phil.-hist. Classe_, 1872, p. 529; Overbeck, _Gr. Plast._, + 3rd ed., I., p. 181, fig. 40; Murray, I., pl. 2; Rayet et Thomas, + _Milet et le Golfe Latmique_, pl. 28; Brunn, _Denkmaeler_, No. 51; + Wolters, No. 89; _Arch. Zeit._, 1864, p. 164*. + +[Sidenote: =207.=] + +Torso of Apollo (?) standing, with the right leg drawn back. + +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. + +This figure was found in the _Dromos of a tomb at Marion (Cyprus)_. + + Marble; height, 2 feet 5 inches. Herrmann, _Gräberfeld von + Marion_, p. 22. The tomb contained a coin of Idalium, of about + 510 B.C., a gold cup with acorns _repoussé_, several black figured + vases, one at least of an early character, and no red figured + vases. + +[Sidenote: =208.=] + +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, _Gr. Plast._, 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. + +_Brought from Rome by Lord Cawdor, and purchased by Townley.--Townley +Coll._ + + Parian marble; height, 1 foot 5-1/2 inches. _Specimens_, I., pls. + 5, 6; _Mus. Marbles_, III., pl. 4; Ellis, _Townley Gallery_, I., + p. 321; Müller, _Denkmaeler_, I., pl. 4, fig. 22; Overbeck, _Gr. + Plast._, 3rd ed., I., p. 109, fig. 14; Wolters, No. 228; _cf._ + Rayet et Thomas, _Milet et le Golfe Latmique_, pl. 37; Michaelis, + _Anc. Marbles_, p. 94. + +[Sidenote: =209.=] + +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 _krobylos_. + +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.--_From the Choiseul-Gouffier Collection, 1818._ + + Marble; height, 5 feet 10-1/2 inches. Restored: tip of nose. + _Specimens_, II., pl. 5; Ellis, _Townley Gallery_, I. p. 194; + Clarac, III., pl. 482B, No. 931A; _Mus. Marbles_, XI., pl. 32; + _Journ. of Hellen. Studies_, I., pl. 4; _Stereoscopic_, No. 143; + Murray, I., pl. 8; Wolters, No. 221. + + 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 _omphalos_, 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. (_Journ. of Hellen. + Studies_, I., p. 180; _Athenische Mittheilungen_, IX., p. 248.) + The Athenian statue is published, Conze, _Beiträge_, pls. 3, 5; + _Journ. of Hellen. Studies_, I., pl. 5; Murray, I., pl. 8; Brunn, + _Denkmaeler_, No. 42. For a list of other replicas of the type, + see _Athenische Mittheilungen_, 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, _Journ. of Hellen. + Studies_, I., p. 182; Overbeck, _Gr. Plast._, 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 (_Il._ + [Greek: psi.] 660) than to the leader of a celestial orchestra' + (_Specimens_, II., pl. 5; _Athenische Mittheilungen_, IX., p. + 244). But the title is established by a quiver attached to the + stump of a replica in Rome (Matz-Duhn, _Bildw. in Rom_, I., No. + 179), and of a somewhat similar figure at Cassel (_Athenische + Mittheilungen_, I., pl. 10), and by the fact that a copy (No. 210) + has been found in the temple of Apollo at Cyrenè. Moreover, the + head of a similar figure, undoubtedly an Apollo, occurs on + a relief in the Capitoline Museum (Braun, _Vorschule der + Kunstmythologie_, pl. 5). Compare also the figure of Apollo on a + vase at Bologna, _Mon. dell' Inst._, 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, _Beiträge_, p. 19; Murray, I., + p. 189; Furtwaengler, in Roscher's _Lexicon_, I., p. 456); to + Pasiteles (Kekulé, _Menelaos_, p. 30); to Alcamenes (Furtwaengler, + _Athenische Mittheilungen_, V., p. 39; _cf. Journ. of Hellen. + Studies_, VIII., p. 41); to Pythagoras of Rhegium ("Euthymos"; + Waldstein, _loc. cit._); and to Callimachos ("Apollo + Daphnephoros"; Schreiber, _Athenische Mittheilungen_, IX., p. + 248). It has been variously held that the original statue was of + bronze, and is therefore lost (_Mus. Marbles_, XI., pl. 32; _cf._ + Murray, I., p. 191), or that the Athenian statue is the original, + whence other copies are derived (_Athenische Mittheilungen_, IX., + p. 240). + + The _krobylos_ seems to indicate some Attic sculptor of the first + half of the 5th cent. B.C. (Schreiber, _Athenische Mittheilungen_, + 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. + +[Sidenote: =210.=] + +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 +_Temple of Apollo at Cyrenè_. + + Marble; height, 11 inches; Smith and Porcher, p. 100 No. 19 + Murray, I., p. 190. + +[Sidenote: =211.=] + +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. + +This copy shows better than either 209 or 210, the arrangement of +the hair in the _krobylos_, the origin of the 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.--_Presented by the Hon. E. A. Pelham._ + + Marble; height, 9-1/2 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. + + + + +MISCELLANEOUS SCULPTURES. + + +[Sidenote: =215.=] + +Fragment of lacunar, from a ceiling, with two panels in low relief. +(1) Horse galloping to the right. (2) Gryphon seizing a stag. + +Below is a band of rosettes in squares. The whole is surrounded by +remains of a large bead ornament.--_Presented by Algernon, fourth Duke +of Northumberland._ + + Green limestone (?); height, 1 foot 1-1/2 inches; width, 1 foot 1 + inch. + +[Sidenote: =216.=] + +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.--_Presented by Algernon, fourth Duke of Northumberland._ + + Green limestone (?); height, 9-1/4 inches; width, 10-1/4 inches. + +[Sidenote: =217.=] + +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 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 (_cf._ Nos. +1-6).--_Mycenae._ _Inwood Coll._ + + Green limestone; height, 1 foot 1-1/4 inches; width, 9-1/2 inches. + _Synopsis_, No. 429; Loeschcke, _Athenische Mittheilungen_, IV., + p. 296; Wolters, No. 53. + +[Illustration: Fig. 4.--Relief from Mycenae, No. 217.] + + + + +PART II. + + +_MYRON AND PHEIDIAS._ + + +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. + +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. + + + + +MYRON. + + +MYRON of Eleutherae in Attica worked at Athens in the first half of +the fifth century B.C. Although he had not entirely abandoned the +archaic style (notably, in his rendering of hair, Pliny, _H. N._ +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. + +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 Athenè and Marsyas by Myron. + +[Sidenote: =250.=] + +Graeco-Roman copy of the bronze Discobolos of Myron. 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, _Philopseud._ 18.) Compare a gem in the +British Museum (Fig. 5; _Cat. of Gems_, No. 742, pl. G), which is +inscribed [Greek: HYAKINTHOS]. 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. _Inst. Orat._, ii., 13. +10.--_Found in 1791 in Hadrian's Villa at Tivoli._ _Townley Coll._ + +[Illustration: Fig. 5. [Greek: HYAKINTHOS](=Hyacinth)] + + 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. _Specimens_, I., pl. 29; _Mus. Marbles_, XI., pl. 44; + Clarac, V., pl. 860, No. 2194 B; Ellis, _Townley Gallery_, I., + p. 241; _Guide to Graeco-Roman Sculptures_, I., No. 135; + _Stereoscopic_, No. 149; Wolters, No. 452. + + + + +PHEIDIAS AND THE SCULPTURES OF THE PARTHENON. + + +The sculptures of the Parthenon illustrate the style of Pheidias, the +greatest of Greek sculptors. + +PHEIDIAS, son of Charmides, the Athenian, was born about 500 B.C. +He was a pupil of the sculptor Ageladas, of Argos, or, according to +others, of Hegias or Hegesias, of Athens. 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. + +Among the chief of the works of this period was the Parthenon, or +temple of the virgin Goddess Athenè. 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 B.C. 447 (according to Michaelis, +B.C. 454). It was sufficiently advanced to receive the statue of the +Parthenos in B.C. 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, B.C. 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. + +The Parthenon was of the Doric order of architecture, and was of the +form termed _peripteral octastyle_; 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. 6.) and elevation (pl. iv.). + +The principal chamber (cella) within the colonnade contained the +colossal statue of Athenè Parthenos (see below, Nos. 300-302). +Externally the cella was decorated with a frieze in low relief (see +below, p. 145). The two pediments, or gables at each end of the +building (see below, Nos. 303, 304) 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. + +[Illustration: Fig. 8.--Plan of the Parthenon. (From Michaelis.)] + +The statue of the Parthenos is known to have been in existence about +430 A.D.; 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 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. + +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 Bibliothèque Nationale, and are constantly +referred to in discussions of the Parthenon sculptures. + +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. + +In 1749, when the west pediment was drawn by Dalton, many figures +still remained in position which had disappeared 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. + +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. +6). 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 £35,000. 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. + +The following aids to the study of the Parthenon will be found in the +Elgin Room:-- + +Model of the Athenian Acropolis, showing its condition in the year +1870. Presented by Prof. Adolf Michaelis. + +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. + +Carrey's drawings of the pediments. Photographic reproductions of the +originals are exhibited. + +A restored view of the Athenian Acropolis. By Richard Bohn. + + +_Bibliography of the Parthenon._ + + The work of Michaelis, _Der Parthenon_ (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 _passim_, and Wolters. + For the chronology of Pheidias, see Loeschcke, in _Untersuchungen + A. Schaefer gewidmet_, p. 25; for the question as to his master, + see Klein, _Arch.-Epigr. Mittheilungen aus Oesterreich_, VII., + p. 64; Murray, _Greek Sculpture_, 2nd ed., p. 186. For the older + temple on the site of the Parthenon, see Doerpfeld, in _Athenische + Mittheilungen_, XII., p. 45; Harrison, _Mythology of Anc. Athens_, + p. 467. The plan given above is taken from Michaelis. Important + modifications have been proposed by Doerpfeld, _Athenische + Mittheilungen_, VI., pl. 12, p. 283; Harrison, _loc. cit._, p. + 464. For the mediæval history of the Parthenon, see Laborde; + _Athènes aux XV^e, XVI^e, et XVII^e Siècles_ (Paris, 1854); + Gregorovius, _Athen im Mittelalter_ (1889). Facsimiles of Carrey's + drawings are in the British Museum, and have been partially + published in the works of Laborde, _Le Parthénon_ (Paris, 1848). + For photographic copies of the drawings of the pediments, + see _Antike Denkmäler_, 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 _The Antiquities of Athens_, + 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 _Report from the + Select Committee of the House of Commons on the Earl of Elgin's + Collection of Sculptured Marbles; &c._ (London, 1816). + + + + +STATUE OF ATHENÈ PARTHENOS. + + +The colossal statue of Athenè 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. Athenè 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 (_Athenische Mittheilungen_, viii., pl. 15; _Cat. of Gems in +B. M._ 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. 301) and on the +edges of the sandals was a battle between Centaurs and Lapiths. + +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. + +The statuette, No. 300, is of service for the details of the +composition, although it is artistically a poor copy. The Lenormant +statuette, No. 301, though rough and incomplete, is of more value for +its rendering of the features. + +The column beneath the hand of Athenè (in No. 300) 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 +(_Michaelis_, pl. 15, fig. 7) on a lead ticket (_Zeitschr. für +Numismatik_, x., p. 152) and, in the form of an olive tree, on a +Lycian coin of the time of Alexander (_Zeitschr. für Num._, _loc. +cit._; 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. + +[Sidenote: =300.=] + +Cast of a statuette, copied from the Athenè Parthenos. The Goddess +wears a helmet, ægis, chiton with diploïdion girt round the waist, +bracelets and sandals; her left hand rests on her shield, which stands +on its edge 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 Athenè +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 Athenè is a Sphinx, and at each side has been +a Pegasos. + +The statuette was found in a shrine in a private house. Compare the +vision of Proclos, who was bidden to prepare his house for Athenè, +when her statue was being removed by the Christians from the +Parthenon, about 430 A.D. (Marinus, _Proclos_, 30; Michaelis, p. 270.) + + The original, which is of Pentelic marble, is in the National + Museum at Athens. Height, with plinth, 3 feet 5 inches. Found in + 1880, _near the Varvakion in Athens. Athenische Mittheilungen_, + VI., pls. 1, 2, p. 56; _Journ. of Hellen. Studies_, II., p. + 3; Schreiber, _Athena Parthenos des Phidias_, pl. 1; Brunn, + _Denkmaeler_, Nos. 39, 40; Waldstein, pl. 14; Harrison, _Mythology + and Monuments of Anc. Athens_, p. 447. For literature see + Waldstein, _Essays_, p. 270; Wolters, No. 467. + +[Sidenote: =301.=] + +Cast of a statuette, copied from the statue of Athenè Parthenos. +Athenè wears a helmet, ægis, and chiton with diploïdion 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 (_a_, see No. +302) is near the top of the relief, and holds a stone, as described by +Plutarch. Next him perhaps is Pericles (_b_) separated from the fallen +Amazon (_c_), which is at the bottom of the shield, as in No. 302. The +group of the Greek seizing an Amazon (_d_) is seen on the right as in +No. 302. The fallen Amazon (_e_) 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 (_f_) 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.) + + The original of this statue, which is of marble, is in the + National Museum at Athens. Height 1 foot 4-3/4 inches. Found in + 1859 _near the Pnyx, at Athens_. Lenormant, _Gazette des Beaux + Arts_, 1860, VIII., p. 133; Jahn, _Pop. Aufsätze_, p. 215, pl. + 1; Michaelis, pl. 15, fig. 1, p. 273; Overbeck, _Gr. Plast._, 3rd + ed., I., p. 253, fig. 54; Brunn, _Denkmaeler_, No. 38; Wolters, + No. 466; Harrison, _Mythology and Monuments of Anc. Athens_, p. + 449. For the Pandora relief, see Puchstein, in _Jahrbuch des Arch. + Inst._, V., p. 113. + +[Sidenote: =302.=] + +Fragment of shield supposed to be a rough copy from the shield of the +statue of Athenè Parthenos. Pliny (_H. N._, 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 (_Pericles_, 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 the centre of the composition on the +fragment. Below the Gorgoneion is a Greek warrior (_a_, cf. No. 301), +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 +(_b_) who plants his left foot on the body of a fallen Amazon (_c_) +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 (_d_) 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 (_e_) who lies with her head +towards the lower edge of the shield. Near her is a wounded Amazon +(_f_) 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.--_Obtained by Viscount Strangford from Athens._ + + Pentelic marble; height, 1 foot 4-3/4 inches; width, 1 foot 6 + inches. Conze, _Arch. Zeit._, 1865, pls. 196, 197; Jahn, _Pop. + Aufsätze_, p. 216, pl. 2, 1; Michaelis, pl. 15, fig. 34. Overbeck, + _Gr. Plast._, 3rd ed., I., p. 255, fig. 55; Mitchell, p. 313; + Mansell, No. 729; Wolters, No. 471; Harrison, _Mythology and + Monuments of Anc. Athens_, p. 453. There is a fragment of a + similar shield in the Vatican, Michaelis, pl. 15, fig. 35. + + + + +EASTERN PEDIMENT OF THE PARTHENON. + + +[Sidenote: =303.=] + +We know from Pausanias (i., 24, 5) that the subject of the composition +in the eastern pediment had relation to the birth of Athenè, 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. + +A relief surrounding a _puteal_ or well-head, now at Madrid, has been +thought to throw light on this question. There Zeus is enthroned, +looking to the right; Athenè 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, _Geburt der Athena_, 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 Athenè than the scheme which occurs +on vases and Etruscan mirrors (_e.g._ on a vase in the British Museum, +No. B. 53; _Mon. dell' Inst._, 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 +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 Athenè +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 Athenè; Hephaestos (H); seated figure in profile to +the left; standing figure; standing figure turned to the left (J); +standing figure turned outward (compare G). + +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 Selenè sets beneath the horizon. + +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. + +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, G). None of +the remaining figures have been conclusively identified. Most of +the numerous schemes of interpretation that have been proposed are +exhibited in a table by Michaelis, _Der Parthenon_, p. 165, cf. _Guide +to the Elgin Room, 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 Selenè 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 Athenè, and Pindar, _Olymp._, vii., 35. + + The best views of this pediment are (1) the drawing of Carrey in + the Bibliothèque Nationale (pl. v., fig. 1). A facsimile in + the British Museum; in Laborde, _Le Parthénon_, and _Antike + Denkmaeler_, 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, _Geburt der Athena_, p. 23, + pls. 2-7; Waldstein, _Essays_, p. 139. For Sauer's examination of + the pediment, see _Athenische Mittheilungen_, XVI., pl. 3, p. + 59; _Antike Denkmaeler_, I., pl. 58. The ends of the pediment are + reproduced in figs. 7, 8. + +[Illustration: Fig. 7.--The South End of the East Pediment of the +Parthenon (according to Sauer).] + +[Illustration: Fig. 8--The North End of the East Pediment of the +Parthenon (according to Sauer).] + +[Sidenote: =303 A.=] + +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. + + _Mus. Marbles_, VI., pl. 1; Michaelis, pl. 6, fig. 8; Overbeck, + I., p. 303, fig. 61 (with B, C). + +[Sidenote: =303 B, C.=] + +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 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. + + _Mus. Marbles_, VI., pl. 2; Michaelis, pl. 6, fig. 9; + _Stereoscopic_, No. 105. For the two heads still on the pediment, + see _Athenische Mittheilungen_, XVI., p. 81. + +[Sidenote: =303 D.=] + +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. (_Ber. d. k. +sächs. Ges. d. Wissenschaften_, 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 (_Mus. +Marbles_, 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, _1_); compare the statue +in the Louvre, Müller-Wieseler, _Denkmaeler_, ii., pl. 32, No. 360. +Compare also the figure of Dionysos reclining, on a relief on an +_askos_ in the British Museum, No. G. 281 (see fig. 9). 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 (_Essays_, +pp. 173, 174). + +[Illustration: Fig. 9.] + + _Mus. Marbles_, VI., pls. 3, 4; Baumeister, _Denkmaeler_, p. 1180, + fig. 1370; Michaelis, pl. 6, fig. 10; Overbeck, _Gr. Plast._, 3rd + ed., I., p. 304, fig. 62; Murray, II., pl. 5; _Stereoscopic_, + No. 105; Waldstein, _Essays_, pl. 6; Brunn, _Ber. der k. bayer. + Akad., Phil. hist. Cl._, 1874, II., p. 14. The correct position + of the figure in the pediment has been ascertained by Sauer (_cf._ + fig. 7). + +[Sidenote: =303 E, F.=] + +Two female figures, seated on square seats. They both wear a +sleeveless chiton, girt at the waist, and a diploïdion. Over it is a +mantle thrown over their lower 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 fibulæ 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, _Griech. Künstler_, i., p. 104). Most of the writers on the +Parthenon, from Visconti downwards, have named this group Demeter and +Persephonè, two deities, whose cult in Attica ranked second only to +that of Athenè 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 (_Voyages et Recherches_, 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. +_Il._, 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 point of reaching the boundary of Olympos and passing to the +outer world. + + _Mus. Marbles_, VI., pl. 5; Michaelis, pl. 6, fig. 11; Murray, + II., pl. 4; _Stereoscopic_, No. 106; Rayet, _Monuments_, No. 32; + Waldstein, _Essays_, pl. 7; Mitchell, _Selections_, pl. 6; Brunn, + _Ber. der k. bayer. Akad., Phil. hist. Cl._, 1874, II., p. 15. + +[Sidenote: =303 G.=] + +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, _schistos_, +open down the left side, except for the girdle. Over this falls a +diploïdion. 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, archæologists 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 Nikè 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), Hebè +(Brunn, _Ber. d. k. bayer. Akad. Phil. hist. Cl._, 1874, ii., p. 19), +or simply a terrified maiden (Wolters, p. 254). + + _Mus. Marbles_, VI., pls. 6, 7; Baumeister, _Denkmaeler_, p. 1183, + fig. 1373; _Stereoscopic_, No. 106; Michaelis, pl. 6, figs. 12, + 12_a_; Murray, II., pl. 4; Mitchell, _Selections_, pl. 6. + +[Sidenote: =303 H.=] + +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 Athenè +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 _Athens_. + + Michaelis, pl. 6, figs. 13, 13_a_. + +[Sidenote: =303 J.=] + +Nikè, 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 +diploïdion 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 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. + +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. + +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 plate v., fig. 2, N, +Michaelis, p. 175, pl. 7, fig. N, and _Hilfstafel_, fig. N.) This +resemblance may be admitted; but if, on this ground, we identify +the torso of Nikè with the figure in the western pediment (N), which +stands by the car of Amphitritè, 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 Nikè were not present to welcome the new-born +Athenè. 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 +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. + + _Mus. Marbles_, VI., pl. 9; Michaelis, pl. 6, figs. 14, 14_a_; + Baumeister, _Denkmaeler_, p. 1182, fig. 1372. + +[Sidenote: =303 K, L, M.=] + +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 diploïdion, 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 +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. + +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 Selenè +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 Selenè, 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, Hersè, 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 Selenè has led Brunn (_Ber. +d. k. bayer. Akad. Phil. hist. Cl._, 1874, ii., p. 16) to see in them +personifications of clouds. + +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 Aphroditè in the lap of Thalassa (Ronchaud), or of Peitho +(Petersen), or Thalassa, the Sea, in the lap of Gaia, the Earth +(Waldstein). + + K. _Mus. Marbles_, VI., pl. 10; Michaelis, pl. 6, fig. 15; Murray, + II., pl. 7; Mitchell, _Selections_, pl. 6; _Stereoscopic_, No. + 108. + + L. M. _Mus. Marbles_, VI., pl. 11; Baumeister, _Denkmaeler_, + p. 1184, fig. 1374; Michaelis, pl. 6, fig. 16; Overbeck, _Gr. + Plast._, 3rd ed., I., p. 308, fig. 63; Murray, II., pl. 7; + _Stereoscopic_, No. 108; Waldstein, _Essays_, pl. 8; Mitchell, + _Selections_, pl. 6. + +[Sidenote: =303 N.=] + +Selenè.--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. + +It has usually been assumed that Selenè 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 Selenè rides a single +horse is thereby rendered untenable. + + Michaelis, pl. 6, figs. 17, 17a; _cf._ Wolters, pp. 256, 259; C. + Smith, _Journ. of Hellen. Studies_, IX., p. 8; _Stereoscopic_, No. + 109; Sauer, _Athenische Mittheilungen_, XVI., pl. 3, p. 84. + +[Sidenote: =303 O.=] + +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 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 Selenè 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, 303 N. + + _Mus. Marbles_, VI., pl. 12; Michaelis, pl. 6, figs. 18, 18_a_; + Murray, II., pl. 6; _Stereoscopic_, No. 109. + + + + +WESTERN PEDIMENT OF THE PARTHENON. + + +[Sidenote: =304.=] + +The subject of the western pediment of the Parthenon according to +Pausanias (i., 24, 5) was the strife of Poseidon with Athenè for the +soil of Attica. This contest, according to tradition, took place on +the Acropolis itself. Athenè, 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 Athenè. The spot where this double miracle took place was marked in +subsequent times by the joint temple of Erechtheus and Athenè Polias; +within the precincts of which were the sacred olive-tree produced by +Athenè, and the salt spring of Poseidon. + +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 Athenè. 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 Athenè 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 (_Ber. d. k. bayer. Akad. Phil. hist. +Cl._, 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 coast of Attica, from the +borders of Megaris to Cape Sunium. + +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 Athenè, 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 Athenè, and a fragment which may belong to the +Poseidon. + +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 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. + +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. + +[Sidenote: =304 A.=] + +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. 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. + + _Mus. Marbles_, VI., pls. 13, 14; Mansell, 700; Baumeister, + _Denkmaeler_, p. 1181, fig. 1371; Michaelis, pl. 8, fig. 1; + Overbeck, _Gr. Plast._, 3rd ed., I., p. 310, fig. 64; Murray, II., + pl. 8; Mitchell, _Selections_, pl. 4; Waldstein, _Essays_, pl. 3; + _Stereoscopic_, No. 110; Sauer, _Athenische Mittheilungen_, XVI., + p. 79. + +[Sidenote: =304 A*.=] + +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, _Athenische Mittheilungen_, 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. + +[Sidenote: =304 B, C.=] + +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, 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 diploïdion 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. (_Mus. Marbles_, vi., pl. 8, fig. 2.) + +This group has received various names. Spon and Wheler took it to +represent Hadrian and Sabina, and their opinion was repeated by Payne +Knight. The group has also been called Heracles and Hebè; Hephaestos +and Aphroditè. 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 +archæologists. 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. + + Michaelis, pl. 8, fig. 2; Murray, II., pl. 9; _Stereoscopic_, + 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 ([Greek: + Ephêmeris], 1890, pl. 12). + +[Sidenote: =304 D, E, F.=] + +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 Korè (F), as several +writers have supposed, but the young Erysichthon, son of Cecrops. +According to Brunn's scheme these three figures personify Lycabettos, +between Pentelicon and Hymettos. + +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, _8_). 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, _7_. + +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.) + +[Sidenote: =304 G.=] + +Next in order in Carrey's drawing is the seated female figure (G), who +acts as charioteer to Athenè, and who has been generally recognised as +Nikè. 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, _1_). A cast is exhibited in the Elgin Room. + +[Sidenote: =304 H.=] + +Hermes (?).--In the background, between the figure G and the horses, +Carrey gives a male figure (H), who looks 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 [Greek: pompaios], and who on other monuments is +represented conducting a chariot. + +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, _9_, and +339, _10_, may belong to this figure. A fragment of plinth, with two +feet, sometimes assigned to it, is described below, No. 329. + + _Mus. Marbles_, VI., pl. 15; Michaelis, pl. 8, fig. 3. + +[Sidenote: =304 L, M.=] + +Athenè and Poseidon.--The Athenè 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 horizontally in the same direction. Her left arm is +broken off below the shoulder; she wears a long chiton, over which +is a diploïdion, reaching to the hips, and falling in a fold over the +girdle. The ægis, 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 ægis 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. + + _Mus. Marbles_, VI., pl. 16; Michaelis, pl. 8, fig. 13. + +[Sidenote: =304 M.=] + +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 Athenè, 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 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. + + _Mus. Marbles_, VI., pl. 17; Lower part, Michaelis, pl. 8, fig. + 16; Laborde, _Le Parthénon_. The two parts are combined, Overbeck, + _Gr. Plast._, 3rd ed., I., p. 312, fig. 65; _Stereoscopic_, No. + 101. + +Though we know from Pausanias that the strife between Athenè 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. 339, +_15-17_), 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 Athenè 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, _Athenische +Mittheilungen_, 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. + +The chief divergent theory is that of Stephani, who published a +vase-painting representing the contest (_Compte Rendu_, 1872, pl. +1, p. 5; _Journ. of Hellenic Studies_, iii., p. 245). In that design +Poseidon and Athenè form an 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 Athenè +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 Athenè +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, _Athenische +Mittheilungen_, xvi., pl. 3, p. 73), and there can be little doubt +that the figure known as Amphitritè (O) acted as the charioteer of +Poseidon, and drove a pair of horses which corresponded closely to +the team of Athenè, 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. + +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. + + For the vase picture already referred to, see also de Witte, in + the _Monuments Grecs de l'Association pour l'encouragement des + études Grecques_, No. 4, 1875; Brunn, _Sitzungsber. d. k. bayer. + Akad. Phil.-hist. Cl._, 1876, p. 477; and Petersen, _Arch. Zeit._, + 1875, p. 115. For more recent discussions on the subject of the + dispute between Athenè and Poseidon, see Robert in _Hermes_, XVI., + p. 60, and in _Athenische Mittheilungen_, VII., p. 48; Petersen + in _Hermes_, XVII., p. 124; E. A. Gardner, in _Journ. of Hellen. + Studies_, III., p. 244; Wolters, p. 259. + +[Sidenote: =304 N.=] + +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. 303 J.) + +[Sidenote: =304 O.=] + +Amphitritè.--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 Amphitritè 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, _schistos_, as in Carrey's drawing. It should +be noted that this figure was not seated, as Carrey has drawn 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. + + _Mus. Marbles_, VI., pl. 18; Michaelis. pl. 8, figs. 18, 18_a_. + +[Sidenote: =304 P, Q.=] + +Leucothea, with boy (?).--Lower limbs of a seated female figure, which +in Carrey's drawing appears on the right of the Amphitritè, 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. + + _Mus. Marbles_, VI., pl. 19; Michaelis, pl. 8, fig. 19. + +[Sidenote: =304 R.=] + +A figure of a child appears in Carrey's drawing on the right of the +figure Q. It is doubtful whether it should 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, [Greek: Gê Kourotrophos], with children. On the +latter supposition R has generally been called Eros associated with +Aphroditè (S). + +[Sidenote: =304 S, T.=] + +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 Aphroditè +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 Aphroditè indicates +a shrine of that Goddess which stood on the cape. If, as seems +probable, the naked female figure is Aphroditè, 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.) + +[Sidenote: =304 U.=] + +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. + +[Sidenote: =304 V, W.=] + +Ilissos or Kephissos and Callirrhoè (?).--(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 Callirrhoè 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 Callirrhoè 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 +(_Athenische Mittheilungen_, xiii., p. 221); W according to the same +archæologist is a personification of the Myrtoan Sea. Dalton's drawing +shows no indication of either of these figures, though the lower half +of the Callirrhoè 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. 339, _20_. This agrees with the +statement of Sauer (_Athenische Mittheilungen_, 1891, p. 81), that the +figure leant with open hand on the ground. + +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 +diploïdion 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. + + Figure V., Laborde, _Le Parthénon_; Michaelis, pl. 8, fig. 21; + Figure W., Michaelis, pl. 8, fig. 22. + + + + +METOPES OF THE PARTHENON. + + +The metopes of the Parthenon are sculptured blocks which were inserted +in the spaces, _met[)o]pæ_, left between the ends of the beams of the +roof. These ends were represented by slabs, called _triglyphs_, 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. + +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 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. + +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. + +[Sidenote: =305.=] + +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, _6_. + + _Mus. Marbles_, VII., pl. 1; Baumeister, _Denkmaeler_, p. 1175, + fig. 1364; Michaelis, pl. 3, ii.; _Stereoscopic_, No. 80, A. + +[Sidenote: =306.=] + +The Lapith attacks the Centaur from behind, resting his right knee on +his crupper, and extending forward his 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. + + _Mus. Marbles_, VII., pl. 2; Michaelis, pl. 3, iii.; _Stereoscopic_, + No. 81. + +[Sidenote: =307.=] + +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 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. + + _Mus. Marbles_, VII., pl. 7; _Stereoscopic_, No. 82. For the + two heads, see Bröndsted, _Voyages et Recherches_, p. 171; _Mus. + Marbles_, VII., pl. 17; Michaelis, pl. 3, iv. + +[Sidenote: =308.=] + +[Illustration: Fig. 9.--Metopes 308, 309, from Carrey.] + +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 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. + + _Mus. Marbles_, VII., pl. 5; Michaelis, pl. 3, v.; _Stereoscopic_, + No. 83. + +[Sidenote: =309.=] + +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. + + _Mus. Marbles_, VII., pl. 15; Michaelis, pl. 3, vi.; + _Stereoscopic_, No. 84. + +[Sidenote: =310.=] + +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 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. + + _Mus. Marbles_, VII., pl. 3; Michaelis, pl. 3, vii.; + _Stereoscopic_, No. 85; Waldstein, in _Journ. of Hellen. Studies_, + III., pl. 23, p. 228; _Essays_, pls. 1, 2, p. 97. + +[Sidenote: =311.=] + +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. + + _Mus. Marbles_, VII., pl. 6; Michaelis, pl. 3, viii.; + _Stereoscopic_, No. 86. + +[Sidenote: =312.=] + +The Centaur has again the advantage. The Lapith is thrown down over a +large wine vessel, _pithos_; 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 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. + + _Mus. Marbles_, VII., pl. 4; Michaelis, pl. 3, ix.; + _Stereoscopic_, No. 87. + +[Sidenote: =313.=] + +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 diploïdion 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. + + _Mus. Marbles_, VII., pl. 16; Michaelis, pl. 3, x.; + _Stereoscopic_, No. 88. + +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, _1_. + + Michaelis, pl. 3, xi. + +[Sidenote: =314.=] + +This metope is cast from the original in the Acropolis Museum at +Athens. It represents a Centaur seizing a Lapith 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 diploïdion, 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, _1_, exhibited in +a Wall Case, probably belonged to the Elgin Collection. The action of +this leg is awkward and ungainly. + + Michaelis, pl. 3, xii.; _Stereoscopic_, No. 96A. + +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. + +Fragments have been recognised as belonging to the thirteen metopes +which have been destroyed since the time of Carrey. They are more +fully described below. + + Metope XIII (?). Breast. See No. 342, _5_. + " XIV. Male torso. See No. 342, _2_. + " XV (?). Arm. See No. 342, _6_. + " XVI. Male head and torso. See No. 342, _3_. + " XVII. Male torso. See No. 343, _2_. Fragment + of lyre(?) See No. 343, _3_. + " XIX. Arm and drapery. See No. 342, _7_. + " XX. Hand with roll. See No. 343, _4_. Draped + thigh. See No. 342, _4_. + " XXIV. Torso of Lapith. See No. 343, _5_. + +[Sidenote: =315.=] + +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 rivets. Carrey's drawing shows that this metope has suffered +little since his time. + + _Mus. Marbles_, VII., pl. 8; Michaelis, pl. 3, xxvi.; + _Stereoscopic_, No. 89. + +[Sidenote: =316.=] + +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. + + _Mus. Marbles_, VII., pl. 9; Baumeister, _Denkmaeler_, p. 1176, + fig. 1365; Michaelis, pl. 3, xxvii.; _Stereoscopic_, No. 90. + +[Sidenote: =317.=] + +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 dramatic power in the +conception and truth in the modelling of the forms, this metope is +unrivalled. + + _Mus. Marbles_, VII., pl. 10; Baumeister, _Denkmaeler_, p. 1177, + fig. 1366; Michaelis, pl. 3, xxviii.; _Stereoscopic_, No. 91. + +[Sidenote: =318.=] + +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. + + _Mus. Marbles_, VII., pl. 11; Michaelis, pl. 4, xxix.; + _Stereoscopic_, No. 92. + +[Sidenote: =319.=] + +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, 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. + + _Mus. Marbles_, VII., pl. 12; Michaelis, pl. 4, xxx.; + _Stereoscopic_, No. 93. + +[Sidenote: =320.=] + +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. + + _Mus. Marbles_, VII., pl. 13; Baumeister, _Denkmaeler_, p. 1178, + fig. 1367; Michaelis, pl. 4, xxxi.; _Stereoscopic_, No. 94. + +[Sidenote: =321.=] + +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 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. + + _Mus. Marbles_, VII., pl. 14; Michaelis, pl. 4, xxxii.; + _Stereoscopic_, No. 95. + + +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. + +[Sidenote: =322.=] + +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 diploïdia 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 Feodor in the +British Museum, taken when it was in a considerably better state. + + Michaelis, pl. 4, xxxii.; _Stereoscopic_, No. 96. + +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. + +[Sidenote: =323.=] + +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. + + Michaelis, pl. 5, West side, i.; _Stereoscopic_, No. 80. + +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. + + Michaelis, pl. 5, East side, i.-xiv. + + + + +THE FRIEZE OF THE PARTHENON. + + +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. + +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 2-1/4 inches, with an average height +of about 1-1/2 inch. At the bottom it varies between low relief and +about 1-1/4 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. + +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. + + -------------------------+--------+----------+-------+-------+---------- + | East. | South. | West.| North.| Total. + | ft. in.| ft. in. |ft. in.|ft. in.|ft. in. + -------------------------+--------+----------+-------+-------+---------- + Originals in the British}| | | | | + Museum }| 43 0 |108 6-1/2| 7 2 | 82 6 |241 2-1/2 + | | | | | + Casts in the British }| | | | | + Museum }| 21 2 | 33 9-1/2| 62 4 | 54 8 |171 11-1/2 + | | | | | + Preserved only in the }| | | | | + drawings of Carrey }| 3 4 | 27 6 | | 20 7 | 51 5 + | | | | | + Preserved only in the }| | | | | + drawings of Stuart }| | 0 6 | | 2 9 | 3 3 + | | | | | + Drawn by Carrey and }| | | | | + Stuart but not otherwise}| 2 0 | | | 5 7 | 7 7 + preserved }| | | | | + +--------+----------+-------+-------+---------- + Total existing or }| | | | | + recorded }| 69 6 |170 4 | 69 6 |166 1 |475 5 + | | | | | + Lost without a record | | 21 7 | | 25 10 | 47 5 + +--------+----------+-------+-------+---------- + Grand Total | 69 6 |191 11 | 69 6 |191 11 |522 10 + -------------------------+--------+----------+-------+-------+---------- + +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 (_The Parthenon +Frieze_) 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). + + *: The frieze of the Parthenon records in sculpture + the passionate delight with which Greeks, and more particularly + Athenians (cf. Hel. _Aeth._, III. 1), regarded festal processions. + + A vivid commentary on the Parthenon frieze is to be found in the + third book (chaps, i.-iii.) of the _Aethiopica_ 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 ([Greek: kana kanêphorousai]) 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 Athenè, 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. _Hipp._ 11 and _Hipparch._ 3). + +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 +Athenè 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 Athenè Polias, the tutelary +deity of the Athenian Acropolis, where she was supposed to dwell in +the "Old Temple," and where her worship was associated with that of +Erechtheus, who dwelt under the same roof. + +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, _peplos_, to the Goddess on her +birthday. The peplos of Athenè 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 Athenè were represented. It was used to +drape the rude wooden image of Athenè. + +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 (B.C. 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 _athlothetes_ or judge. + +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 Propylæa. 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, _Tour_, 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, _kanea_, +with implements and offerings for the sacrifice; the Diphrophori, who +attended the Canephori with stools (_diphroi_); the metoik or alien +Scaphephori, whose function it was to carry certain trays, _skaphæ_, +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 B.C. 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 +([Greek: pepompeu[kenai ka]ta ta prostetagmena hôs hoti k[allis]ta kai +euschêmone[stata]]), and had subscribed for a silver cup which they +wished to dedicate to Athenè. After this preamble the decree +doubtless awarded certain public honours such as are enumerated in +an inscription found by Mr. Murray at Petworth. (_Bull. de Corr. +Hellénique_, xiii., p. 169; _Athenische Mittheilungen_, 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 quadrigæ, +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 Euneidæ. + +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 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. + + +NOTE. The numbers of the slabs, painted in Roman figures on the lower +moulding, and placed in the right-hand 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. + + +EAST FRIEZE OF THE PARTHENON. + +[Sidenote: =324.=] + + [Rightnote: I.] + + [Sidenote: 1.] + + 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. + + [Rightnote: II.] + + [Sidenote: 2-5.] + + 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 + ([Greek: phialê omphalôtê]); portions now remain of four alone; + compare however No. 345, _1_. 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.] + + [Rightnote: III.] + + [Sidenote: 6-10.] + + 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 diploïdion; Nos. 7-10 have a + chiton and mantle. + + [Sidenote: 11-14.] + + 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 eastern frieze, were part of the sacred + furniture used in the festival and usually kept in the Treasury + of Athenè. Michaelis suggests that they may be the stands, + _krateutae_, in which turned the ends of the spits used in + roasting the sacrifice. This would explain the ring at the top. + + [Sidenote: 15, 16.] + + A pair of maidens with empty hands leads the procession. Nos. + 11-16 are all dressed alike, in long chiton, with diploïdion, + 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). + + [Sidenote: 17.] + + [Sidenote: 18.] + + 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 No. 18 is cast + from a fragment at Athens. + + [Rightnote: IV.] + + [Sidenote: 19-22.] + + 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, [Greek: Ath. pol.] ed. Kenyon, 60). + + [Sidenote: 23-40.] + + The central portion of the eastern frieze now to be described has + been the subject of much controversy. 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' _Parthenon_, pp. 262, 263, a tabular view + is given of these schemes (cf. _Guide to the Elgin Room_, 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: _Zum Parthenonfries_ (Würzburg, 1877). + + 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, _Phaedr._, 247_a_). Petersen + substitutes Peitho for Hestia; 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:-- + + No. Michaelis. Petersen. Flasch. + + 24. Dionysos. Dionysos. Apollo. + 25. Demeter. Demeter. Artemis. + 26. Triptolemos. Ares. Ares. + 27. Nikè. Nikè? Iris. + 38. Apollo Patroös. Apollo. Dionysos. + 39. Peitho. Peitho. Demeter. + + [Sidenote: 23.] + + [Sidenote: 24.] + + [Sidenote: 25.] + + [Sidenote: 26.] + + 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 (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 (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 (No. 26) cannot be Triptolemos. We must rather look for + an 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. + + [Rightnote: V.] + + [Sidenote: 27-29.] + + 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. + + The winged maidenly figure (No. 27) standing behind Hera must be + either Nikè or Iris, and is probably Iris, whose station is close + to Hera, while Nikè is usually more closely associated with Zeus + (Murray, _Class. Rev._ 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 (Plate vi., fig. 1). + + 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. + + The exquisite preservation of the head of Iris is explained if, + as is suggested, it was broken off in the sixth century, and + immediately built into a Byzantine wall (Waldstein, _American + Journ. of Archæology_, v. pl. 2, p. 1). + + [Sidenote: 30-34.] + + 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. + + 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.) + +[Illustration: Fig. 10.--Slave with seat.] + + No. 30 is a maiden holding an uncertain object, perhaps a casket + in her left hand, and supporting on her head a seat ([Greek: + diphros]) covered with a cushion, not unlike the seats on which + the Gods are, but smaller. She has a small pad ([Greek: tylê]) 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. + + No. 31 is another maiden, advancing slowly to the right, 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 Athenè had two attendants, of whom one was called + [Greek: kosmô] (Adorner), and the other [Greek: trapezophoros] + (Table-bearer, Harpocration), or [Greek: trapezô] (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, _Class. Rev._ + iii., p. 378; cf. _ibid._, p. 423; and Waldstein, _Journ. of + Hellen. Studies_, 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, _Minervae Poliadis Sacra_, + 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. Archæologists 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, _Zum Parthenonfries_, p. 83). The + left hand instinctively prevents the himation being displaced by + the raising of the right arm. + + 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 + archæologists 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. + + 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 Athenè, + 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 Athenè. 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 Athenè was the principal feature + in it. If we look to the place assigned to this 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. + + 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. + + [Sidenote: 35.] + + We now reach the second group of deities, seated to the right of + the central scene. The first figure is clearly that of Athenè. 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. Athenè + is dressed in a chiton with diploïdion and has short hair. An + indistinct object about her left wrist has been supposed to be a + snake from the fringe of the aegis of Athenè, 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 Athenè held some attribute, probably a + spear in her right hand. + + [Sidenote: 36.] + + Next to Athenè 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. + + [Rightnote: VI.] + + [Sidenote: 37.] + + [Sidenote: 38.] + + 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 (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. + + [Sidenote: 39.] + + 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 Aphroditè 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 is appropriately placed + between Dionysos and Aphroditè. 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. + + [Sidenote: 40.] + + [Sidenote: 41.] + + The next figure (No. 40) most of which is only preserved in + Carrey's drawing (Fig. 11), is unmistakably shown to be Aphroditè, + by the winged boy Eros who stands at her knee. Aphroditè 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 (No. 41) carries a parasol which conveniently + fills the space above his head and his wings. + +[Illustration: Fig. 11.--East frieze of the Parthenon, Nos. 39-41.] + + [Sidenote: 42-45.] + + 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. + + [Sidenote: 46.] + + [Sidenote: 47.] + + 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 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 (No. 47), a similar officer, stands facing the advancing + maidens. + + 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 + (_Trans. of R. Soc. of Lit._, v. (1856) p. 67; Baumeister, + _Denkmaeler_, 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. + + [Rightnote: VII.] + + [Sidenote: 48.] + + The next magistrate, or officer (No. 48), seems to hold in his + hand a _kanoun_, 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 phialè omphalotè. Holes in the marble may + indicate sashes of bronze, hanging from the dish. + + [Sidenote: 49, 50.] + + 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 + diploïdia, and wear small mantles over the shoulders. + + [Sidenote: 51.] + + [Sidenote: 52, 53.] + + 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 (Nos. 52, 53), who + stand with empty hands, like Nos. 49 and 50. + + [Sidenote: 54.] + + [Sidenote: 55.] + + The next maiden (No. 54) walks alone, carrying a bowl (phialè), + used for sacrificial libations. No. 55 looks back at the figure on + the next slab (No. 56), and helps her to carry her burden. + + 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. + + [Rightnote: VIII.] + + [Sidenote: 56.] + + [Sidenote: 57, 58] + + [Sidenote: 59, 60] + + 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 (Nos. + 57, 58), each carrying in the right hand a jug, oinochoè, then two + more (Nos. 59, 60), carrying phialae. + + In this slab the heads of Nos. 57, 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, _Selections_, pl. 4. + + [Rightnote: IX.] + + 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 phialè. + + +NORTH FRIEZE OF THE PARTHENON. + +[Sidenote: =325.=] + +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. + + [Rightnote: I.] + + Slab i. (see Plate vii.) 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. + + [Rightnote: II.] + + [Sidenote: 1, 2.] + + [Sidenote: 3, 4.] + + 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 Nos. 3 and 4. Here also the + rope was probably painted. + + This slab was discovered in 1833, beneath its original position on + the Parthenon. + + [Rightnote: III.] + + [Sidenote: 5, 6.] + + Of slab iii. only fragments remain. As drawn by Carrey, it + contains the figure of No. 4 (cf. Plate vii., and No. 345, _3_), + 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. C.). + 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. D. The originals of all these fragments are at Athens. + + [Rightnote: IV.] + + [Sidenote: 7-9.] + + [Sidenote: 10.] + + 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. Plate vii., and + No. 345, _4_). In Carrey's time the head and shoulders were still + extant. At the joint between this slab and the next there is a + marshal (No. 10), who turns to the division of the procession + approaching. Slab iv. was discovered in 1840. + + [Rightnote: V.] + + [Sidenote: 11.] + + 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 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. + + [Rightnote: VI.] + + [Sidenote: 12-14.] + + [Sidenote: 15.] + + [Sidenote: 16.] + + 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. 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 (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. + + [Rightnote: VII.] + + 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 vii., viii., and Nos. 345, _5_ and _6_. + + [Rightnote: VIII.] + + [Sidenote: 17, 18.] + + [Sidenote: 19.] + + 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. + + [Rightnote: IX., X.] + + [Sidenote: 19-30.] + + 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 band on their heads; No. 25 draws it over his + hair; Nos. 28 and 30 wear long hair, plaited in the manner of the + _krobylos_. 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. + + 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. + Plate viii., and No. 345, _8_). + + 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. + + [Rightnote: XI.] + + [Sidenote: 31.] + + With slab xi. the chariot groups begin. This part of the frieze + has greatly suffered from mutilation. The 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, _harmata tethrippa_, or quadrigæ; 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, _pompeus_. 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 (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. + + [Rightnote: XII.] + + [Sidenote: 32.] + + [Sidenote: 33.] + + 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 (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 + diploïdion 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. + + [Sidenote: 34.] + + 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 Plate viii., and _Stereoscopic_, No. 19.) + + [Rightnote: XIII.] + + 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, _9_). Above the back of the second horse is + the _hestor_ (see below), 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, _9_) contains the marshal + belonging to this slab. + + [Rightnote: XIV.] + + [Sidenote: 35.] + + [Sidenote: 36.] + + [Sidenote: 37.] + + 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 (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, 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). + + [Rightnote: XV.] + + [Sidenote: 38, 39.] + + 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. + + [Rightnote: XVII.] + + [Sidenote: 41.] + + [Sidenote: 42.] + + 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 (_antyx_), and + is about to step off the chariot. The marshal (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. + + 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, + _Denkmaeler_, p. 1186, fig. 1388. + + [Rightnote: XVIII.] + + [Sidenote: 43.] + + [Sidenote: 44-45.] + + 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 (No. 45) nothing remains + but his right arm and leg; and the lower part of his drapery, + which indicates rapid movement. Of the charioteer (No. 44), we + have only the lower part of the body and hands. + + 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 ([Greek: + rhymos]) passes from below the chariot between the horses. An + upright pin ([Greek: hestôr]) passes through the pole (slabs + xiii., xviii., xix., xxiii). At this point the yoke ([Greek: + zygon]) was secured by a ring ([Greek: krikos]) and by the + yoke-band ([Greek: zygodesmon]) (Hom. _Il._ 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. + +[Illustration: Fig. 12.--North Frieze, slab xix. (46. 47.)] + + [Rightnote: XIX.] + + 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, _12_. This slab was + discovered in 1834. + + [Rightnote: XX.] + + Slab xx. is now lost, but a horse's head now at Athens (No. 345, + _13_; Michaelis, pl. 12, xx.) may perhaps belong to it. + + [Rightnote: XXI.] + + 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. + + [Rightnote: XXII.] + + [Sidenote: 48, 49.] + + 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) 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. + + Stuart, 2nd ed., II., p. 50, note C. + + [Rightnote: XXIII.] + + [Sidenote: 52.] + + The chariot group represented on slabs xxii., xxiii. is + represented as standing still, and was probably the last 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. + + [Rightnote: XXIV.-XLII.] + + [Sidenote: 54-109.] + + 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. + + 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. + + 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. + + [Rightnote: XXIV.] + + [Sidenote: 52.] + + 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. + + [Rightnote: XXV.] + + [Sidenote: 57.] + + 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. + + [Rightnote: XXVI.] + + [Rightnote: XXVII.-XXXI.] + + 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 13 of Michaelis has been + followed. It may be assumed that a slab (xxvii.) is lost between + xxvi. and xxviii., which may have included the fragment No. 345, + _15_. 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. + +[Illustration: Fig. 13.--Slab xxv. restored from Stuart (from +Michaelis).] + + Slab xxviii. is original; slabs xxix.-xxxi. are casts from the + originals at Athens; No. 65 (on slab xxix.) is a marshal beckoning + to the riders. + + [Rightnote: XXXII.] + + [Sidenote: 75.] + + 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. + + [Rightnote: XXXV.] + + [Sidenote: 85.] + + 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. + + [Rightnote: XXXVII.] + + [Sidenote: 89.] + + 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. + + [Rightnote: XXXIX.] + + [Sidenote: 97.] + + The head of No. 97, on slab xxxix. was formerly in the Pourtalès + Collection, at the sale of which in 1865 it was purchased for the + British Museum, and inserted in its place on the frieze. + + [Rightnote: XLII.] + + [Sidenote: 107.] + + [Sidenote: 106.] + + 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 (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. + + [Sidenote: 109.] + + [Sidenote: 110.] + + 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. The attendant carries on his shoulder a folded + chlamys, probably that of his master. + + +WEST FRIEZE OF THE PARTHENON. + +[Sidenote: =326.=] + +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. + +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. + +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. + + [Rightnote: I.] + + [Sidenote: 1.] + + [Rightnote: II.] + + [Sidenote: 2, 3.] + + [Rightnote: III.] + + [Sidenote: 4.] + + [Sidenote: 6.] + + [Sidenote: 5.] + + [Rightnote: IV., V.] + + [Sidenote: 7, 8, 9.] + + [Rightnote: VI.] + + [Sidenote: 10.] + + [Sidenote: 11.] + + The single figure (No. 1) at the north-west angle is evidently + a herald or marshal directing the march of 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, [Greek: Ath. pol.] + 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. Then follow two mounted figures (Nos. 2, 3); in + the hair of No. 2 are holes in which probably a metal wreath was + inserted. 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 + (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 (Nos. 7, 8), and a youth (No. 9), standing by his horse, + and turning round to his mounted companion (No. 10), behind him. + Next comes a horseman (No. 11), 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. 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 ([Greek: thôrax + lepidôtos]). Below the girdle are flaps (_pteryges_) 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.) + + [Sidenote: 12.] + + 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. + + [Rightnote: VII.] + + [Sidenote: 13, 14.] + + [Rightnote: VIII.] + + [Sidenote: 15.] + + [Rightnote: IX.-XI.] + + [Sidenote: 16-21.] + + [Rightnote: XII.] + + [Sidenote: 22, 23.] + + [Sidenote: 24.] + + [Rightnote: XIII.] + + [Sidenote: 25.] + + [Rightnote: XIV.] + + [Sidenote: 26.] + + [Sidenote: 27.] + + [Rightnote: XV.] + + [Sidenote: 28.] + + [Sidenote: 29.] + + [Rightnote: XVI.] + + [Sidenote: 30.] + + 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 stands at the side of a rearing + horse, trying to control him. The violence of the action is shown + by the muscular strain and the disordered dress of this figure, + who wears a chiton, _exomis_, 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 (Nos. 16-21), 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) is not unlike that already described (Nos. 4-6). A + youth (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 (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 (No. 25), 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 (No. 26), who has let him go in order to + assist 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 (No. 28) 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 (No. 30) 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. + + +SOUTH FRIEZE OF THE PARTHENON. + +[Sidenote: =327.=] + +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. + + [Rightnote: I.] + + [Sidenote: 1-4.] + + 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 (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 + (_katablema_) hanging over the nape of the neck. + + [Rightnote: II.] + + [Sidenote: 5-7.] + + [Rightnote: III.] + + [Sidenote: 8-9.] + + Slab ii. is cast from the original on the Parthenon, which is in a + very mutilated condition (cf. No. 345, _16_). 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. 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 (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. + + [Rightnote: IV.] + + [Sidenote: 10-12.] + + 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. + + [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.] + + [Rightnote: V.] + + [Sidenote: 12-14.] + + [Rightnote: VI.-IX.] + + [Sidenote: 15-25.] + + 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. Slabs + vi.-ix. 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. + + [Rightnote: X.-XIII.] + + [Sidenote: 26-37.] + + [Rightnote: XIV.-XVI.] + + [Sidenote: 38-43.] + + There is a break in the composition at the beginning of slab x., + and a change of subject is marked by the group not being carried + across the joint. The figures (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 ([Greek: thôrax stadios]). 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. 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 (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 whether xvi. and xvii. joined + each other. Perhaps between them was a slab in which the horsemen + wore similar mantles of skin. + + 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. + + [Rightnote: XVII.] + + [Sidenote: 45*.] + + 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). + +[Illustration: Fig. 14.--South frieze, slab xvii. (44. 45. 45*.)] + + [Rightnote: XVIII.] + + The original of slab xviii. is at Athens, and was in its present + mutilated condition when drawn by Carrey. + + [Rightnote: XIX.] + + [Sidenote: 47.] + + [Sidenote: 48.] + + 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 No. 48, cf. No. 345, _18_. + + [Rightnote: XX.] + + Slab xx. (on the pilaster) is a cast from the original 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. + + [Rightnote: XXI.] + + [Sidenote: 51.] + + [Sidenote: 52.] + + [Sidenote: 53.] + + 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 No. 53, a figure + wearing a petasos, does not appear in the plate of Michaelis. + + [Rightnote: XXII., XXIII] + + 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. + + [Rightnote: XXIV.] + + [Rightnote: XXXIV.] + + 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.), 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. 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, _harmata polemisteria_, 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. + + [Rightnote: XXIV.] + + [Sidenote: 58.] + + Of the two figures in the chariot of slab xxiv., nothing now + remains but part of the shield and left arm of the hoplite (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 slab xxii., above.) + + 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. + + [Rightnote: XXV.] + + [Sidenote: 60.] + + [Sidenote: 61.] + + [Sidenote: 62.] + + In slab xxv. the horses' heads now wanting are given in Carrey's + drawing. Of the charioteer (No. 60) very little is now visible + but part of his drapery. The armed figure (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 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 (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. + + [Rightnote: XXVI., XXVII.] + + 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, _20_. + + [Rightnote: XXVIII.] + + Michaelis inserts to represent slab xxviii. a fragment which + belongs to the north side, slab xxiv. + + [Rightnote: XXIX.] + + 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. + + [Rightnote: XXX.] + + [Sidenote: 66.] + + 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 _hestor_ 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. + + [Rightnote: XXXI.] + + On slab xxxi., as in the preceding, the reins and the hestor were + of bronze. + + [Rightnote: XXXII.-XXXIV.] + + 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. + + [Rightnote: XXXV.-XXXVII.] + + [Sidenote: 72.] + + [Sidenote: 73.] + + [Sidenote: 79*.] + + 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 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 (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. + + [Rightnote: XXXVIII.-XLV.] + + 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 part of the procession. The order in which these + slabs are exhibited differs from that given by Michaelis in _Der + Parthenon_, pl. 11., because slab xliii., No. 84 (= Michaelis, No. + 126; cf. 345, _22_), 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 _Arch. + Zeit._, 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. + + [Sidenote: 85.] + + 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, 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 Nikè Apteros (No. 429); + and vase paintings as in _Journ. of Hellen. Studies_, ii., pl. 10. + + [Sidenote: 96.] + + In slab xl. the left lower corner is added in plaster, 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., 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. + + [Sidenote: 91.] + + Michaelis (_Arch. Zeit._, 1885, p. 57), in placing xlii. after + xl., makes the right hand seen on the left of xlii. to be the hand + of 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. + + 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. + + [Sidenote: 100, 101.] + + [Sidenote: 102.] + + 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. 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. + + 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. + + In the following conspectus of publications of the frieze, only the + _Museum Marbles_ 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 _Antiquities of + Athens_, II., chap. i., or IV., chap. iv., pls. 11-14. + A diagram showing all the slabs drawn by Stuart is given in + _Antiquities of Athens_, II., chap. i., pl. 30. P. indicates + that a slab was drawn by Pars, during the Dilettanti Expedition, + and was published in the _Antiquities of Athens_, IV., chap. + iv., pls. 6-10, 15-28. W. denotes slabs published, from drawings of + Pars, in the _Museum Worsleyanum_. + + + PARTHENON FRIEZE, EAST SIDE. + ------------------+-----------------+-------------+-------------------- + MICHAELIS, | _Museum_ | Mansell's | Early Drawings, &c. + _Der_ | _Marbles_, | Photographs.| + _Parthenon_, | Pt. VIII. | | + Pl. 14. | | | + ------------------+-----------------+-------------+-------------------- + Slab. | Pl. | | + I. | XXXIX. | 684 | C. + | | | + II. | | 684 | C. + | | | + III. |XXXVIII., XXXVII.| 685, 686 | C.S. + | | | + IV. | XXXVI., I. | 687, 688 |{ C.S. Brunn, + | | |{ _Denkmaeler_, + | | |{ Nos. 106, 107. + | | | + V. | II., III., IV. | 689, 690 |{ S.W. Brunn, + | | |{ _Denkmaeler_, + | | |{ Nos. 108, 109, 110. + | | | + VI. | V., VI. | 691, 692 |{ C. Baumeister, + | | |{ p. 1187. + | | | + VII. | VII. | | C. + | | | + VIII. | VIII. | 692_a_ | C.S. + | | | + IX. | | | C.S. + | | | + ------------------+-----------------+-------------+---------------------- + The East Frieze is also published by the Stereoscopic Company, Nos. 1-13. + + + PARTHENON FRIEZE, NORTH SIDE. + --------------+----------------+-------------+--------------- + MICHAELIS, | _Museum_ | Mansell's | Early + Pl. 12, 13. | _Marbles_, | Photographs.| Drawings. + | Pt. VIII. | | + --------------+----------------+-------------+--------------- + Slab. | Pl. | | + I.-V. | VIII. | | C.S. + VI. | | 656 | C. + VII.-XI. | | | C. (except X.) + XII. | IX. A. | 655 | C.S. + XIII. | | | C. + XIV. | IX. B. | 654 | C.S. + XV.-XVI. | | | C. + XVII. | XI. | | S.W. + XVIII. | X. C. | 653 | + XIX. | | | C. + XX. | | | + XXI. | X. D. | 652 | + XXII. | XII. | 651 | S. + XXIII. | XII. | 650 | S. + XXIV. | XIII. A. | 649 | + XXV. | | | S. + XXVI. | XIV. | 648 | S. + XXVII. | | | + XXVIII. | XIII. B. | 647 | + XXIX. | | | + XXX. | | | + XXXI. | | | + XXXII. | XV. | 646 | P. W. + XXXIII. | XVI. | 645 | P. W. + XXXIV. | XVI. | 644 | P. W. + XXXV. | XVII. | 643 | P. W. + XXXVI. | XVII. | 642 | P. W. + XXXVII. [*] | XVIII. | 641 | P. W. + XXXVIII. [*] | XVIII. | 640 | P. W. + XXXIX. | XIX. | 639 | P.S.W. + XL. | XIX. | 638 | S. W. + XLI. | XX. | 637 | S. W. + XLII. | XXI. | 636 | S. W. + --------------+----------------+-------------+---------- + + *: Slab XXXVII. is given by Brunn, _Denkmaeler_, No. 113; + Slab XXXVIII. = _Denkmaeler_, No. 114; Slab XLII. = _Denkmaeler_, + No. 115. The North Frieze is also published by the Stereoscopic + Company, Nos. 14-38. + + + PARTHENON FRIEZE, WEST SIDE. + --------------+----------------+-----------+------------ + | | Stereo- | + MICHAELIS, | _Museum_ | scopic | Early + Pl. 9 | _Marbles_, | Company's | Drawings. + | Pt. VIII. | Photo- | + | | graphs. | + --------------+----------------+-----------+------------ + Slab. | Pl. | No. | + I. | XXII. | | C.P.W. + II. | XXII. | 39 | C.P.W. + III. | XXIII. | 40, 40A | C.P.W. + IV. | XXIV. | 41 | C.P.W. + V. | XXV. | 42 | C.P.W. + VI. | XXVI. | 43 | C.P.W. + VII. | XVII. | 44 | C.P.W. + VIII. | XXVIII. | 45 | C.P.W. + IX. | XXIX. | 46 | C.P.W. + X. | XXX. | 47 | C.P.W. + XI. | XXXI. | 48 | C.P.W. + XII. | XXXII. | 49 | C.P.W. + XIII. | XXXIII. | 50 | C.P.W. + XIV. | XXXIV. | 51 | C.P.W. + XV. | XXXV. | 52 | C.P.W. + XVI. | XXXV. | 53 | C.P.W. + --------------+----------------+-----------+------------ + + + PARTHENON FRIEZE, SOUTH SIDE. + --------------+----------------+-------------+------------ + MICHAELIS, | _Museum_ | Mansell's | Early + Pl. 10, 11. | _Marbles_, | Photographs.| Drawings. + | Pt. VIII. | | + --------------+----------------+-------------+------------ + Slab | Pl. | | + I. | LVI. | 661 | S. + II. | | | S. + III. | LV. | 658 | S. + IV. | | | S. + V. | LV. | 659 | S. + VI. | LIV. | 660 | S.W. + VII. | LIV. | 657 | S.W. + VIII. | LIII. | 662 | S.W. + IX. | LIII. | 663 | S.W. + X. [*] | LII. | 664 | S.W. + XI.[*] | LII. | 665 | S.W. + XII. | LI. | 666 | S. + XIII. | LI. | 667 | S. + XIV. | | | + XV. | L. | 668 | + XVI. | | | + XVII. | | | + XVIII. | | | C. + XIX. | XLIX. | 669 | C. + XX. | | | C. + XXI. | XLIX. | 670 | C. + XXII. | XLVIII. | 671 | C. + XXIII. | | | C. + XXIV. | XLVII. | 672 | C. + XXV. | XLVII. | 673 | C. + XXVI. | | | C. + XXVII. | | | C. + XXVIII. | | | + XXIX. | XLVI. | 674 | + XXX. | XLV. | 675 | C. + XXXI. | XLV. | 676 | C. + XXXII. | | | C. + XXXIII. | | | C. + XXXIV. | | | C. + XXXV. | XLIV. | 677 | C. + XXXVI. | | | C. + XXXVII. | | | C. + XXXVIII. | XLIII. | 678 | + XXXIX. | XLII. | 679 | + XL. | XLI. | 680 | S. + XLI. | XLI. | 681 | S. + XLII. | XL. | 682 | + XLIII. | | | + XLIV. | XXXIX. | 683 | + --------------+----------------+-------------+----------- + + *: Slab X. is given by Brunn, _Denkmaeler_, No. 111; + Slab XI. = _Denkmaeler_, No. 112. The South Frieze is also + published by the Stereoscopic Company, Nos. 53-97. + + + + +FRAGMENTS OF THE PARTHENON SCULPTURES. + + +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. + + +MARBLE FRAGMENTS ATTRIBUTED TO THE PEDIMENTAL SCULPTURES. + +[Sidenote: =328.=] + +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 +Athenè, at Ægina, and is engraved in Cockerell, _Temples at Ægina, and +Bassæ_, pl. 12, fig. 4. Cf. also _Arch. Anzeiger_, 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 accordance with that of the +pedimental sculptures. This fragment was formerly thought to belong +to the Athenè of the western pediment, to which its scale would +correspond, but there are no other grounds for the attribution. + + Height, 10 inches. _Synopsis_, No. 101 (118); _Mus. Marbles_, VI., + pl. 16; Michaelis, pl. 8, fig. 14. + +[Sidenote: =329.=] + +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 Athenè 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 +Athenè 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 Athenè 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 Athenè and Poseidon, which Pausanias saw on the +Acropolis. But as to this there is no evidence either way. + + Length, 4 feet 6 inches. _Mus. Marbles_, VI., pl. 8; _Synopsis_, + No. 256 (201); Michaelis, pl. 8, fig. 4, p. 194; _Journ. of + Hellen. Studies_, III., p. 251. + +[Sidenote: =330.=] + +Part of colossal right arm of female figure, bent at a right angle +at the elbow. It comprises the upper arm, 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.) + + Height (to elbow), 1 foot 11 inches. Plate VI., fig. 2. In part + given by Michaelis, pl. 8, fig. 40; _Synopsis_, No. 342 (268). + +[Sidenote: =331.=] + +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.) + + Length, armpit to elbow, 1 foot 4-1/4 inches. Michaelis, pl. 8, + fig. 26; _Synopsis_, No. 315 (271*). + +[Sidenote: =332.=] + +Right arm of female figure, slightly bent, formed of two fragments +united at the elbow. This may, perhaps, belong to figure F. + + Length, 2 feet 7-1/2 inches. Michaelis (pl. 8, fig. 30) gives the + upper arm; _Synopsis_ No. 339 (269). + +[Sidenote: =333.=] + +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. + + Length, elbow to wrist, 1 foot 7 inches. _Synopsis_, No. 314 + (272). + +[Sidenote: =334.=] + +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. + + Length, 11-1/2 inches. _Synopsis_, No. 311 (264). + +[Sidenote: =335.=] + +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. 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. + + Length, 1 foot. _Synopsis_, No. 312 (267). + +[Sidenote: =336.=] + +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 Athenè of the west pediment. + + Length, 1 foot 1-3/4 inches (length of second toe, 3-3/4 inches). + Michaelis. pl. 8, fig. 32; _Synopsis_, No. 340 (244). + +[Sidenote: =337.=] + +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. + + Height, 2 feet 1-1/2 inches. _Synopsis_, No. 343 (144). + +[Sidenote: =338.=] + +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. + + Height, 11 inches. _Synopsis_, No. 303 (133). + + +CASTS FROM FRAGMENTS OF THE PEDIMENTAL SCULPTURES. + +[Sidenote: =339.= 1.] + + 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. + + 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 Athenè in the west pediment. But + it may have belonged to one of the figures N, Q, S, of the same + pediment. + + 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. + + Height, 1 foot 3-1/2 inches. Laborde, _Athènes_, II., pls. + facing pp. 228, 230; Michaelis, p. 195; pl. 8, fig. 6; Wolters, + No. 561, p. 257. + + [Sidenote: 2.] + + 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). + + Height, 11-1/2 inches. Michaelis, pl. 8, fig. 9; Laborde, pl. 24, + fig. 6. + + [Sidenote: 3.] + + 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. + + Height, 10-1/2 inches. + + [Sidenote: 4.] + + 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. + + Greatest length, 2 feet 6 inches. Michaelis, pl. 8, fig. 11; + Laborde, pl. 25, fig. 12; Overbeck, _Ber. d. k. sächs. Ges. + d. Wissenschaften_, 1880, pl. 3. + + [Sidenote: 5.] + + Three smaller fragments of similar wings. + + One is engraved, Michaelis, pl. 8, fig. 10; Laborde, pl. 25, + fig. 17. + + [Sidenote: 6.] + + Portion of chiton, the flowing lines of which greatly resemble the + treatment of the Iris? (G) of the east pediment. + + Length, 1 foot 6-1/2 inches. + + [Sidenote: 7.] + + 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). + + Height, 3 feet 3 inches. Michaelis, pl. 8, fig. 5. See above, + No. 304 D. + + [Sidenote: 8.] + + Left knee of seated draped figure, with the fingers of a small + hand on it. (West pediment, figs. D, E.) See No. 304, D, E. + + Height, 1 foot. + + [Sidenote: 9.] + + 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. + + The scale and the attitude seem to agree well with the figure of + Hermes (H) of the west pediment. + + Greatest circumference of the thigh, 2 feet 7-1/2 inches. + + [Sidenote: 10.] + + 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. + + Height, 1 foot 11 inches. + + [Sidenote: 11.] + + A colossal right foot, broken off at the ankle, and also half-way + between the instep and the toes. Less than 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 Athenè in the west pediment. + + Length of fragment, 11-1/2 inches. Michaelis, pl. 8, fig. 31; + Laborde, pl. 58, fig. 8. + + [Sidenote: 12.] + + 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 Amphitritè. + + Length, 1 foot 6 inches. Michaelis, pl. 8, fig. 17; Laborde, pl. + 24, fig. 9. + + [Sidenote: 13.] + + 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. + + Length, 9-1/2 inches. _Athenische Mittheilungen_, 1891, p. 79. + + [Sidenote: 14.] + + Right thigh and knee of a male figure, rather larger than life. It + is very doubtful whether this belongs to the Parthenon. + + Length, 10 inches. + + [Sidenote: 15.] + + Fragment of right leg of small figure, broken off above ankle and + below knee. It has been attached at the back. + + Length, 11 inches. + + [Sidenote: 16.] + + 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 the west pediment. If the hand is + derived thence, it is possible that the hand is a hand of Athenè, + 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 Athenè + would be placing her left hand on a projecting bough of her tree. + + Length of third finger, 6-1/4 inches. Overbeck, _Ber. d. k. sächs. + Ges. d. Wissenschaften_, 1880, pl. 3. + + [Sidenote: 17.] + + Fragment of an olive-tree with foliage. + + Height, 6-1/2 inches. + + [Sidenote: 18.] + + Similar fragment of olive-tree, larger than last. + + Height, 1 foot 4 inches. Michaelis, pl. 8, fig. 15. + + [Sidenote: 19.] + + 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. + + Height, 1 foot 3 inches. + + [Sidenote: 20.] + + 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. + + Length, 9-1/2 inches. Overbeck, _Ber. d. k. sächs. Ges. d. + Wissenschaften_, 1880, p. 43. + + [Sidenote: 21.] + + 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. 304 V. + + Breadth, 6-1/4 inches. + + [Sidenote: 22.] + + Right hand of female figure, small; the thumb and fingers broken + off. + + Breadth of palm, 4-1/4 inches. + + [Sidenote: 23.] + + Right hand; the thumb and fingers broken off. + + Breadth of palm, 4-3/4 inches. + + [Sidenote: 24.] + + Right arm of female figure, slightly bent; the upper arm broken + about the bottom of the biceps; the under side is worked rough. + + Length, 1 foot 2 inches. + + [Sidenote: 25.] + + Fragment of left upper arm of female figure with sleeve of chiton + fastened with studs (Michaelis, pl. 8, fig. 25). + + Length, 8-1/2 inches. + + [Sidenote: 26.] + + Fragment of right shoulder and upper part of back of arm of female + figure; over the shoulder is drapery. + + Height, 1 foot 1/2 inch. + + [Sidenote: 27.] + + Fragment of right hip and right side of body nearly to the navel, + of a boy, possibly from the west pediment. + + Greatest height, 8 inches. + + [Sidenote: 28.] + + Left breast of female figure, draped; the drapery has been + fastened on the left shoulder. This may be part of the figure of + Callirrhoè (W) in the west pediment. + + Height, 1 foot. + + [Sidenote: 29.] + + Left breast of female figure, the drapery strained over it; the + scale is similar to that of the figure C in the west pediment. + + Height, 9 inches. + +[Sidenote: =340.=] + +Cast of a marble head in the Bibliothèque Nationale at Paris, wrongly +assigned by C. Lenormant to the pediments of the Parthenon. + + Height, 1 foot 9 inches. _Gaz. Arch._, 1875, pl. 1; Wolters, + No. 1280; Laborde, _Athènes_, I., p. 157; Michaelis, p. 202, B*; + Babelon, _Cabinet des Antiques à la Bibl. Nat._, pl. 20. + + +CASTS FROM FRAGMENTS OF CHARIOT-HORSES OF WEST PEDIMENT. + +[Sidenote: =341.=] + +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. + + [Sidenote: 1.] + + 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. + + Michaelis, pl. 8, J. K. _a_; Laborde, pl. 26, fig. 25. + + [Sidenote: 2.] + + 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. + + Overbeck, _Ber. d. k. sächs. Ges. d. Wissenschaften_, 1879, + pl. 1, fig. 3. + + [Sidenote: 3.] + + 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 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. + + Michaelis, pl. 8, J. K. _f_; Laborde, pl. 26, fig. 40; Overbeck, + _Ber. d. k. sächs. Gesell. d. Wissenschaften_, 1879, p. 72, pl. 1; + and 1880, p. 161. + + [Sidenote: 4.] + + Left hindleg from stifle to below hough, bent, made up of two + fragments; the upper one may be Michaelis, pl. 8, J. K. _g_; + Laborde, pl. 26, fig. 36. + + [Sidenote: 5.] + + Left thigh from below stifle; the outer side split off, broken off + in the hough joint. + + [Sidenote: 6.] + + Right forefoot; made up of two fragments of which one is + Michaelis, pl. 8, J. K. _p_; broken off below the knee; the hoof + free from the ground. + + [Sidenote: 7.] + + 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. + + [Sidenote: 8.] + + Hindhoof attached to fragment of base. + + Michaelis, pl. 8, J. K. _m_; Laborde, pl. 26, fig. 41. + + [Sidenote: 9.] + + Left foreleg, bent, from above knee to below knee. + + Michaelis, pl. 8, J. K. _s_; Laborde, pl. 26, fig. 30 bis. + + +MARBLE FRAGMENTS OF METOPES. + +[Sidenote: =342.=] + +The following fragments can be assigned with confidence to their +respective places on the south side. + + [Sidenote: 1.] + + Metope XII. (No. 314). Foot of female figure. See _ante_, No. 314. + + [Sidenote: 2.] + + Metope XIV. The body of a male figure from the neck to the navel. + This fragment is engraved in the vignette to _Museum Marbles_, + 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. + + Michaelis, pl. 3, xiv.; _Synopsis_, No. 319 (143). + + [Sidenote: 3.] + + 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 _Museum Marbles_, Part + vii. The head was formerly at Chatsworth, and was presented to + the Museum by _the Duke of Devonshire_ in 1859. Carrey gives the + position of the head of the fallen figure very accurately. + + _Synopsis_, No. 323 (294); Michaelis, pl. 3, xvi. + + [Sidenote: 4.] + + Metope XX. Left thigh of female figure with clinging drapery, + standing turned to the left. + + + The following fragments are either of doubtful or unknown origins. + Probably they are all derived from metopes on the south side. + + [Sidenote: 5.] + + Left breast of draped female figure. South side, Metope No. XIII.? + + _Synopsis_, No. 302 (132); Michaelis, pl. 4, fig. K. + + [Sidenote: 6.] + + Fragment of right arm from the wrist to above the elbow, which is + bent; above the wrist is attached a corner of drapery. _Presented + by M. Dubois, 1840._ South side, Metope No. XV.? + + [Sidenote: 7.] + + 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.? + + _Synopsis_, No. 305 (136). + + [Sidenote: 8.] + + Fragment of left arm from the wrist to near the elbow. + + _Synopsis_, No. 306 (137). + + [Sidenote: 9.] + + Fragment of calf of leg. + + _Synopsis_, No. 307 (138). + + [Sidenote: 10.] + + Fragment of calf of leg covered with drapery. + + _Synopsis_, No. 308 (139). + + [Sidenote: 11.] + + Fragment of left arm from the wrist to near the elbow. + + _Synopsis_, No. 309 (140). + + [Sidenote: 12.] + + Part of the arm (?) of a draped figure, made up of two pieces. + + _Synopsis_, Nos. 320 (141) and 322 (142). + + [Sidenote: 13.] + + Fragment of the right upper arm of a draped female figure with + sleeve fastened with two studs. + + _Synopsis_, No. 304 (134). + + [Sidenote: 14.] + + Right shoulder and part of breast of draped female figure; the + chiton fastened down the shoulder with four studs. + + Michaelis, pl. 4, fig. O; _Synopsis_, No. 301 (131). + + [Sidenote: 15.] + + Left hind leg of Centaur up to above the hough. _Presented by M. + Dubois, 1840._ + + +CASTS FROM FRAGMENTS OF METOPES. + +[Sidenote: =343.=] + +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. + + [Sidenote: 1.] + + South side, Metope XI. Fragment of shield, held by left hands of + both Centaur and Lapith; cf. Michaelis, pl. 3, No. xi. See p. 138. + + [Sidenote: 2.] + + Metope XVII. Torso of male figure, extending from the 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. + + Michaelis, pl. 3, xvii. + + [Sidenote: 3.] + + 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. + + [Sidenote: 4.] + + Metope XX. Fragment of right hand holding the end of a scroll. + This metope, as drawn by Carrey, contained two draped figures, + holding scrolls. + + Michaelis, pl. 3, xx. + + [Sidenote: 5.] + + 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. + + Michaelis, pl. 3, xxiv. + + [Sidenote: 6.] + + Head of Lapith, perhaps from Metope No. 305. _Found in the + excavations on the Acropolis, of 1889._ + + Height, 7-1/2 inches. + + +MARBLE FRAGMENT OF FRIEZE. + +[Sidenote: =344.=] + +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. + + Height, 5-3/4 inches. + + +CASTS FROM FRAGMENTS OF THE FRIEZE. + +[Sidenote: =345.=] + +The fragments are here arranged, as far as possible, in the order +followed in the description of the frieze. + + +EAST FRIEZE. + + [Sidenote: 1.] + + 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. + + Height, 1 foot. Compare Michaelis, pl. 14, slab ii., No. 2. + + [Sidenote: 2.] + + 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. + + Height, 4-1/2 inches. + + + NORTH FRIEZE. + + [Sidenote: 3.] + + 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 + plate vii. + + Height, 1 foot 1 inch. + + [Sidenote: 4.] + + 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 + plate vii. + + Height, 7-1/2 inches. + + [Sidenote: 5.] + + 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). + + Height, 11-1/4 inches. (See Plate viii.) Michaelis, pl. 12, vii. + + [Sidenote: 6.] + + 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). + + Height, 1 foot 7-1/2 inches. + + [Sidenote: 7.] + + 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. Plate vii.); or it may have belonged to one of the + figures on slabs vii.--ix., notwithstanding that Carrey represents + them with bare feet. + + Height, 7 inches. + + [Sidenote: 8.] + + Fragment from the left of slab ix., giving parts of the three + figures shown in Carrey's drawing (see Plate viii.). 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. + + Height, 2 feet. + + [Sidenote: 9.] + + 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 mantle passes round the body from under the + right arm to the left shoulder. This, as Robert points out (_Arch. + Zeit._, 1875, p. 100, _l_), seems to be the marshal beside the + chariot group in Michaelis, pl. 12, xiii., fig. 48. (See Plate + viii., 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. + + Height, 1 foot 5 inches. + + [Sidenote: 10.] + + 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. + + Height, 1 foot 8 inches; Michaelis, pl. 12, slab xiii., fig. 48. + + [Sidenote: 11.] + + 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 + (_Arch. Zeit._, 1875, p. 100, _n_) 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. + + Height, 1 foot. + + [Sidenote: 12.] + + 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 been drawn in combination + with slab xix. It is not given by Michaelis, or in Robert's list + (_Arch. Zeit._, 1875, pp. 95-103). + + Height, 1 foot 5 inches. + + [Sidenote: 13.] + + 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. + + Height, 11-1/2 inches; Michaelis, pl. 12, slab xx. (cf. p. 173). + + [Sidenote: 14.] + + 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. + + Height, 1 foot 3 inches. + + [Sidenote: 15.] + + 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. + + Height, 1 foot 3 inches; Laborde, _Athènes_, II., p. 236; + Michaelis, pl. 13, xxvii. + + +SOUTH FRIEZE. + + [Sidenote: 16.] + + 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. + + Height, 5-1/4 inches. + + [Sidenote: 17.] + + Foreleg of a horse from below the knee to the hoof. The direction + is to the right. + + Length, 7-1/2 inches. + + [Sidenote: 18.] + + 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. + + Height, 7 inches. + + [Sidenote: 19.] + + 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. + + Height, 1 foot 4 inches; Michaelis, pl. 11, slab, xxvi.; No. 64. + + [Sidenote: 20.] + + 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. + + Height, 1 foot 1/4 inch; Michaelis, pl. 11, slab xxiv., A. + + [Sidenote: 21.] + + 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 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. + + Height, 10 inches. + + [Sidenote: 22.] + + 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. + + Height, 8 inches. + + +SOUTH OR NORTH FRIEZE. + + [Sidenote: 23.] + + 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. + + Height, 11-1/2 inches. + + + + +ARCHITECTURAL FRAGMENTS FROM THE PARTHENON. + + +[Sidenote: =350.=] + +The capital and uppermost drum of one of the Doric columns of the +north side. + + Width of abacus, 6 feet 7-1/4 inches; Penrose, _Athenian + Architecture_, pl. 19, fig. 1. + +[Sidenote: =351.=] + +Part of a marble tile-front. The roof of the Parthenon, like that +of many other Greek temples, was formed of marble tiles, _solenes_, +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 _kalypter anthemotos_. See the model of the Parthenon, +and Michaelis, pl. 2, fig. 8.--_Inwood Coll._ + + Height, 1 foot 1/2 inch. + +[Sidenote: =352.=] + +Cast of a similar but more perfect tile-front, from the original at +Athens. + + Height, 1 foot 8-1/2 inches; Michaelis, pl. 2, fig. 8; Inwood, + _Erechtheion_, pl. 22. + +[Sidenote: =353.=] + +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. + + Height, 1 foot 4-1/2 inches. See the model of the Parthenon; + Penrose, _Athenian Architecture_, pl. 17; Michaelis, pl. 2, fig. + 9; Brunn, _Denkmaeler_, No. 82 B. + +[Sidenote: =354, 5.=] + +Casts from two fragments of acroteria, probably from the western +pediment. + +The acroteria were ornaments placed above the centre of the pediments. +For an example of a complete acroterion, see that from Eleusis, No. 438. + + Lengths, 3 feet 3 inches and 1 foot 9 inches; Michaelis, pl. 2, + fig. 10, i, l. + +[Sidenote: =356.=] + +Marble fragment of a similar acroterion.--_Inwood Coll._ + + Height, 10 inches; Inwood, _Erechtheion_, pl. 22, p. 130. + +[Sidenote: =357.=] + +Marble fragment of moulding with painted mæander pattern.--_Inwood +Coll._ + + Length, 10 inches; Inwood, _Erechtheion_, pl. 22, p. 129. + +[Sidenote: =358.=] + +Marble fragment of moulding with painted mæander pattern. Both these +fragments (357, 358) appear to belong to the moulding which surmounted +the frieze and passed round the interior of the peristyle.--_Elgin +Coll._ + + Length, 1 foot 9 inches; Penrose, _Athenian Architecture_, pl. 20, + fig. 27_a_; pl. 23; Michaelis, pl. 2, fig. 17. + + + + +PART III. + + +_THE SUCCESSORS OF PHEIDIAS._ + + + + +SCULPTURES OF THE TEMPLE CALLED THE THESEION. + + +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. + +[Illustration: Fig. 15.--Plan of the Theseion. (From Baumeister.)] + +The temple is of the kind called _peripteral hexastyle_. Round the +_cella_, 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 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 _cella_ 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 _cella_; at +the east, the frieze is continued as far as the epistyle, or beams +surmounting the colonnade. + +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. + +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 B.C. 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. + +Ross, however (_Das Theseion_), 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 Athenè and Erechtheus held the Erechtheion in common +(Murray, i. p. 236). Curtius (_Sieben Carten_, text, p. 53) suggested +that the temple may have been that of Heracles in Melitè. In this view +he has been followed by Wachsmuth (_Stadt Athen_, 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 (_Mythology and Monuments of Anc. Athens_, 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). + +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 [Greek: Athênaiôn +Politeia] 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" ([Greek: exoplisian +en tô Thêseiô] [_sic_ MS.] [Greek: poiêsamenos ... ekeleusen autous +prosanabênai pros to Propylon tês ackropoleôs ... anelontes hoi epi +toutôn tetagmenoi ta hopla autôn kai synklêisantes eis ta plêsion +oikêmata tou Thêseiou k.t.l.] Aristot. [Greek: Ath. pol.] 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 (_Strat._ 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. + +The date of the temple is necessarily uncertain. It cannot be older +than the Persian invasion (480 B.C.), but most writers are of opinion +that each part is rather older than the corresponding part of the +Parthenon, both in the architecture (Julius, _Annali dell' Inst._ +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 (_Gr. Plast._ 3rd ed. I., p. 349). Doerpfeld, however, +followed by Miss Harrison, holds the temple to be later than the +Parthenon. + +It has been held by Brunn, Julius (_Annali dell' Inst._ 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. + + Stuart, _Antiqs. of Athens_, vol. III., chap. i.; _Mus. Marbles_, + IX., pls. 12-21; Müller, _Denkmaeler_, pl. 21; _Kunstarch. Werke_, + IV., p. 1; Ross, _Das Theseion_ (1st ed. 1838; 2nd ed., 1852); + Ulrichs, _Annali dell' Inst._, 1841, p. 74; Leake, _Topography of + Athens_ (2nd ed.), p. 498; Gurlitt, _Das Alter der Bildwerke + des sog. Theseion_; Brunn, _Sitzungsber. der k. bayer. Akad. + Phil.-hist. Cl._ 1874, II., p. 51; Wachsmuth, _Die Stadt Athen_, + I., p. 357; Julius, in _Annali dell' Inst._, 1877, p. 92; 1878, + p. 193; and _Mon. dell' Inst._, X., pls. 43, 44, 58, 59; Overbeck, + _Gr. Plast._, 3rd ed., I., p. 343; Murray, I., p. 235; Wolters, + No. 526; Baumeister, s. v. _Theseion; Elgin Room Guide_, II., B., + 1-16. The British Museum possesses an excellent series of drawings + of the Theseion by Lord Elgin's artists. + + +CASTS OF THE METOPES OF THE THESEION. + +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. + +Of these eighteen metopes the Museum possesses casts of only three, +Nos. 1, 2, and 4 on the North side. + +[Sidenote: =400.=] + +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 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. + + Height, 3 feet 9-1/2 inches. _Mus. Marbles_, IX., pl. 20. + +[Sidenote: =401.=] + +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. + + Height, 2 feet 9-1/2 inches. _Mus. Marbles_, IX., pl. 21. + +[Sidenote: =402.=] + +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. + + Height, 2 feet 9-1/2 inches. _Mus. Marbles_, IX., pl. 21. + + +CASTS OF THE WEST FRIEZE OF THE THESEION. + +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, _1_ with the Parthenon Metope, No. +307. In the parts of the frieze, not represented by casts, compare the +group engraved Overbeck, _Gr. Plast._ 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. + +[Illustration: Fig. 16.--The disposition of the West Frieze of the +Theseion. (From Baumeister).] + +[Sidenote: =403.= 1.] + + 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 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. + + Height of this and the following slabs, 2 feet 9-1/2 inches; + length, 2 feet 10 inches. _Mus. Marbles_, IX., pl. 18. + + Between Nos. 1 and 2 is a group, of which the Museum does not + possess a cast, representing two Lapiths and a fallen Centaur. + + [Sidenote: 2.] + + 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. + + 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. + + On the right of this group is a Lapith hastening to give succour + to Kaineus. His right arm, which was bent back 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. + + Length, 10 feet 9 inches. _Mus. Marbles_, IX., pls. 18, 19. + + 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. + + [Sidenote: 3.] + + 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. + + Length, 2 feet 9 inches. _Mus. Marbles_, IX., pl. 20. + + 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. + + +CASTS OF THE EAST FRIEZE OF THE THESEION. + + 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 (_Topography + of Athens_, 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 fray, + merely sit and watch. This, however, is a scheme of Gigantomachia + to which no parallel can be adduced. + +[Illustration: Fig. 17.--The disposition of the East Frieze. (From +Baumeister).] + + Brunn (_Sitzungsber. der k. bayer. Akad. Phil.-hist. Cl._, 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 figure on the left of the central group (404, _4_), 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, _8_), 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. + + 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. + + If the subject has any connection with Theseus, the theory of + K. O. Müller seems the best that has been proposed. According to + Müller (_Kunstarch. Werke_, 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. + _Theseus_, 13) formed a league against Theseus. Müller supposes + them to have been a race akin to the giants. Compare Soph. _Ægeus, + fr._ 19, ed. Dindorf, [Greek: ho sklêros houtos kai gigantas + ektrephôn Pallas]. See also Müller (p. 8) on the close connection + between Pallas, son of Pandion, and the Attic Pallenè, with Pallas + the giant and the Thracian Pallenè, the field of the great war of + the gods and giants. + +[Sidenote: =404.= 1.] + + 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 (_heteromaschalos_), advance to the right. + Before them is a conquered adversary, who has been forced down on + his knees by the 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. + + Height of this and the following slabs, 2 feet 9-1/2 inches; + length, 4 feet 6 inches. _Mus. Marbles_, IX., pl. 12. + + [Sidenote: 2.] + + 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 + diploïdion, 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 (_Les Ruines des + plus beaux Monuments de la Grèce_, 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 + Athenè. + + The central figure turns towards Athenè, 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. + + The second Goddess may well be Hera, and in that case her male + companion would probably be Zeus. + + Length, 4 feet 6 inches. _Mus. Marbles_, IX., pl. 13. + + [Sidenote: 3.] + + 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 _heteromaschalos_. 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. + + Length, 2 feet 10 inches. _Mus. Marbles_, IX., pl. 14. For the + missing group, see Stuart, III., ch. I., pl. 17; Overbeck, _Gr. + Plast._, 3rd. ed., I., p. 348. + + [Sidenote: 4.] + + 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. + + Length, 2 feet 8 inches. _Mus. Marbles_, IX., pl. 14. + + [Sidenote: 5.] + + 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 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. + + Length, 5 feet 10 inches. _Mus. Marbles_, IX., pl. 16. + + [Sidenote: 6.] + + 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 + _heteromaschalos_. 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. + + Length, 6 feet 6 inches. _Mus. Marbles_, IX., pl. 15. + + [Sidenote: 7.] + + 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 + _heteromaschalos_, while the prisoner wears a chlamys. + + 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. + + Length, 3 feet 8 inches. _Mus. Marbles_, IX., pl. 17. For missing + figure, see Stuart, III., ch. I., pl. 20; Overbeck, _Gr. Plast._, + 3rd ed. I., p. 348. + + [Sidenote: 8.] + + 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, _De Theseo_, p. 26; cf. Overbeck, _Gr. Plast._, 3rd ed., + I., p. 353. For this however there is very little room. Leake + suggested that the figure was engaged adjusting his greave + (_Topogr. of Athens_, 2nd ed., p. 511). + + Length, 1 foot 6 inches. _Mus. Marbles_, IX., pl. 17. + + +ARCHITECTURAL FRAGMENTS. + +[Sidenote: =405.=] + +Part of the ceiling, _lacunaria_, of the Theseion with six squares for +soffits cut through the marble. See fig. 17.--_Elgin Coll._ + + Length, 3 feet 11-1/2 inches; breadth, 3 feet 4-1/2 inches. + Stuart, III., ch. I., pl. 8, fig. 2. + +[Sidenote: =406.= 1.] + + Cover from panel of _lacunar_ of the Theseion.--_Elgin Coll._ + + Height, 10-1/8 inches; breadth, 10-1/8 inches. _Synopsis_, No. 365 + (243); Stuart, III., ch. I., pl. 8, fig. 2. + + [Sidenote: 2.] + + Similar to last. + + Height, 10-1/8 inches; breadth, 9-7/8 inches. _Synopsis_, No. 367 + (254); Stuart, III., ch. I., pl. 8, fig. 2. + + + + +THE ERECHTHEION. + + +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. + +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. + +The temple is known to have been incomplete in 409 B.C. 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. (_C. I. G._ 160; Newton & Hicks, _Greek Inscriptions in Brit. +Mus._, xxxv.). + +[Illustration: Fig. 18.--Ground Plan of the Erechtheion.] + +The east half of the building was devoted to Athenè Polias, whose +archaic statue was placed in it. + +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 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 contained the tomb of Cecrops. The Pandroseion, +which contained the sacred olive-tree of Athenè, and a small shrine of +Pandrosos, was annexed to the outside of the west end of the building. + +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. + + For a discussion of the Erechtheion, see Harrison, _Mythology and + Monuments of Anc. Athens_, p. 481. + +[Sidenote: =407.=] + +So-called Caryatid, or Canephoros, [Greek: kanêphoros] (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 _Korae_, "maidens." They have been called Canephori +(see p. 149) by Visconti (_Memoirs on the Sculptures of the Earl +of Elgin_, 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. + +[Illustration: Fig. 19.--Caryatid of the Erechtheion.] + +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 diploïdion, 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 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 _krobylos_ (cf. p. 87). +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 diploïdion. + +The head supports a capital, consisting first of a pad or cushion +[Greek: tylê], 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. + +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. + +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. + + Pentelic marble; height, 7 feet 7 inches. Stuart, II., ch. II., + pl. 19. _Mus. Marbles_, IX., pl. 6. Rayet, _Monuments_, No. 40; + Mitchell, _Selections_, pl. 7; Murray, II., pl. 17; Wolters, No. + 810; _Stereoscopic_, No. 115. + + +ARCHITECTURE OF THE ERECHTHEION. + +[Sidenote: =408.=] + +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. + + Height, 21 feet 7-1/2 inches. _Synopsis_, Nos. 125-7, 110; Stuart, + II, ch. II., pls. 4, 5, 6. + +[Sidenote: =409.=] + +Capital of one of the pilasters (_antae_) 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. + +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. + +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.--_Elgin Coll._ + + Height, 1 foot 7-1/2 inches. The slab containing the capital of + the pilaster is 6 feet in length. Of the other slabs, two are each + 4 feet 3 inches in length. The fourth is broken on the right-hand + joint, and measures 4 feet 1-1/2 inches. _Synopsis_ Nos. 252-255 + (127-130). _Greek Inscriptions in Brit. Mus._, I., p. 89, _e_, pl. + 3, fig. 8. Stuart, II., ch. II., pl. 5. Inwood, _Erechtheion_, p. + 110. + +[Sidenote: =410.=] + +Fragment of frieze similar to last. Joint on left. Found on the north +side of the Erechtheion.--_Inwood Coll._ + + Height, 6 inches; breadth, 6 inches. _Synopsis_, No. 116. Inwood, + _Erechtheion_, p. 138. + +[Sidenote: =411.=] + +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).--_Inwood Coll._ + + Length, 1 foot 2-1/4 inches; height, 5-1/2 inches. _Synopsis_, No. + 118. + +[Sidenote: =412.=] + +Cymatium moulding from inner architrave of the south portico of the +Erechtheion (E on plan). + + Height, 2-1/2 inches; length, 7-1/4 inches. _Synopsis_ No. 403. + Inwood, _Erechtheion_, pl. 20. See also Stuart, II., ch. II., pl. + 13. + +[Sidenote: =413.=] + +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.--_Elgin Coll._ + + Height, 2 feet 1 inch; length, 8 feet 2-1/2 inches. _Synopsis_, + No. 220 (85). Wilkins, _Prolusiones_, p. 29. + +[Sidenote: =414.=] + +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.--_Elgin Coll._ + + Height, 2 feet 1 inch; length, 8 feet 5-1/2 inches. _Synopsis_, + No. 219 (291). Wilkins, _Prolusiones_, p. 29; _Greek Inscriptions + in Brit. Mus._ I., pl. 3, fig. 9. + +[Sidenote: =415.=] + +Piece of corona of cornice, from the north portico of the Erechtheion +(H on plan). Although not derived from 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. + + Length, 4 feet 7 inches; height, 10-1/2 inches; breadth, 1 foot + 1-1/2 inches. _Synopsis_, No. 289 (165). Stuart, II., ch. II., + pls. 4, 5. For the frieze, see Brunn, _Denkmaeler_, Nos. 31-33; + Overbeck, _Gr. Plast._, 3rd ed., I., p. 361. + +[Sidenote: =416.=] + +Coffer from the _lacunaria_ of the north portico of the Erechtheion (J +on plan).--_Elgin Coll._ + + Height, 3 feet 2 inches; breadth, 3 feet 5-1/2 inches. _Synopsis_, + No. 108 (299). See Stuart, 2nd ed., II., p. 73, note. + +[Sidenote: =417.=] + +Part of coffer of east portico of the Erechtheion. Found near the +eastern portico (K on plan).--_Inwood Coll._ + + Height, 1 foot 4 inches; breadth, 1 foot 1-1/4 inches. _Synopsis_, + No. 117. Inwood, _Erechtheion_, pl. 20. + +[Sidenote: =418.=] + +Part of door jamb, perhaps from the eastern doorway of the Erechtheion +(L on plan).--_Inwood Coll._ + + Height, 1 foot 2-3/4 inches; breadth, 6-1/2 inches. _Synopsis_, + No. 115. Inwood, _Erechtheion_, pl. 20. + +[Sidenote: =419.=] + +Cast of console, _parotis_, from the doorway in the north portico of +the Erechtheion (M on plan). + + Height, 2 feet 3 inches. _Greek inscriptions in Brit. Mus._, I., + p. 98, § 14, _b_. Wilkins, _Prolusiones_, pls. 13, 14. _Journ. of + Hellen. Studies_, XII., pl. 1. + +[Sidenote: =420.=] + +Necking of Ionic column, copied from the columns of the east portico +of the Erechtheion.--_Elgin Coll._ + + Height, 11-1/4 inches; diameter, 2 feet 2-1/2 inches. _Synopsis_, + No. 120 (306*); _Elgin Room Guide_, II., No. A. 2. + + + + +TEMPLE OF NIKÈ APTEROS. + + +The temple of Nikè Apteros (Victory without wings), or more correctly +of Athenè Nikè, stood on the projecting eminence to the south of the +approach to the Propylaea at Athens (Paus., i. 22, 4). + +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. + +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. + +The temple consists only of a single cella, opening to the east, but +has four columns at each end (_tetrastyle amphiprostyle_). It stood +on a podium of three steps. The exterior was surrounded by a small +frieze, 1 ft. 5-1/2 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. 8-1/2 in., and 6 ft. 7-3/4 +in. The total length, 16 ft. 6-1/4 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 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 (_Die +Balustrade_, ed. 1869, p. 17) places them both on the south side, in +an order more probable than that suggested by Hawkins (_Mus. Marbles_, +ix., p. 29). The east side consisted of two slabs and two returns +arranged similarly to those of the west. + +[Illustration: Fig. 20.--Plan of the Propylaea and Temple of Wingless +Victory.] + +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 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 Platæa (479 B.C.), 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. + +It has been shown by Bohn (_Die Propyläen_, 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 B.C. 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 B.C. The frieze of Nikè Apteros may +perhaps be placed between 430 and 420 B.C. + + Spon, _Voyage_ (ed. 1679), II., p. 105; Wheler, _Journey into + Greece_, p. 358; Stuart, II., ch. V., pls. 12, 13 (from drawings + by Pars, now in the British Museum); Ross, Schaubert and Hansen, + _Die Akropolis von Athen; Abth. I. Der Tempel der Nike Apteros_, + 1839; _Mus. Marbles_, IX., pls. 7-10; Overbeck, _Gr. Plast._, 3rd + ed., I., p. 363; Bohn, _Die Propyläen der Akropolis zu Athen_, + 1882; Murray, II., p. 179; Kekulé (and Bohn) _Die Reliefs an + der Balustrade der Athena Nike_; Wolters, Nos. 747-760. For + Doerpfeld's views, see Harrison, _Mythology and Monuments of Anc. + Athens_, 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 _Stereoscopic_, No. 121. + + +THE WEST FRIEZE. + +[Sidenote: =421.=] + +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.--_Elgin Coll._ + + Pentelic marble; height, 1 feet 5-1/2 inches; length, 6 feet + 8-1/2 inches. _Synopsis_, No. 160 (259); Ross, pl. 11, i.; _Mus. + Marbles_, IX., pl. 9; Baumeister, fig. 1240; Brunn, _Denkmaeler_, + No. 118. + +[Sidenote: =422.=] + +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 +fallen man hastens up from the left. The right thigh of this figure, +which is now wanting, is preserved in a drawing by Pars. + +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.--_Elgin Coll._ + + Pentelic marble; height, 1 foot 5-1/2 inches; length, 6 feet + 7-3/4 inches. _Synopsis_, No. 161 (260); Ross, pl. 11, k.; _Mus. + Marbles_, IX., pl. 10; Overbeck, _Gr. Plast._, 3rd. ed., I., fig. + 81, p. q.; Baumeister, fig. 1239; Brunn, _Denkmaeler_, No. 118. + +On the right of the slab described was the return of the corner slab +of the south side, with a combat of two warriors. + + Ross, pl. 11, 1.; Overbeck, _Gr. Plast._, 3rd ed., I., fig. 81, r. + +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 +B[oe]otian, is untenable (Wolters, p. 284). + + +THE NORTH AND SOUTH FRIEZES. + +[Sidenote: =423.=] + +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. + +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.--_Elgin Coll._ + + Pentelic marble; height, 1 foot 5-1/2 inches; length, 5 feet + 10 inches. _Synopsis_, No. 158 (258); Ross, pl. 12, o; _Mus. + Marbles_, IX., pl. 7; Overbeck, _Gr. Plast._, 3rd ed., I., fig. + 81, i-l; Baumeister, fig. 1237; Brunn, _Denkmaeler_, No. 117. + +[Sidenote: =424.=] + +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. + +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. + +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.--_Elgin Coll._ + + Pentelic marble; height, 1 foot 5-1/2 inches; length, 6 feet 1-1/4 + inches. _Synopsis_, No. 159 (257); Ross, pl. 12, fig. g; _Mus. + Marbles_, IX., pl. 8; Overbeck, _Gr. Plast._, 3rd ed., I., fig. + 81, m, n; Baumeister, fig. 1238; Brunn, _Denkmaeler_, No. 117. On + the position of these slabs, cf. p. 240. + +[Sidenote: =425.=] + +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. + + Height, 1 foot 5-1/2 inches; length, 3 feet 11-1/4 inches. Ross, + pl. 12, fig. a; Overbeck, _Gr. Plast._, 3rd ed., I., fig. 81, g, + h; Murray, II., pl. 16, fig. 1. + +The dress of the Persians in this frieze is the usual chiton with long +sleeves, girt at the waist, and close-fitting trousers, _anaxyrides_. +One of them, the kneeling figure in No. 424, wears a quiver and bow +case, _gorytos_, from which 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 _kidaris_. 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. + + +CASTS FROM THE BALUSTRADE OF THE TEMPLE OF NIKÈ APTEROS. + +The temple of Nikè 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 Nikè, and on the south slope of the Acropolis. They are +preserved in the Acropolis Museum at Athens. + +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 Athenè. + +There is some uncertainty as to the date of the frieze. It cannot be +older than the temple, and therefore not earlier than 432 B.C. Kekulé +(_Balustrade_, 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 various schools and methods. No. 426, +severely draped in chiton and diploïdion, 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 Athenè (Kekulé, _Balustrade_, 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 Nikè 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 B.C. + + Height of Balustrade, 3 feet 2 inches. Ross, p. 17, pl. 13 (cf. + ante, p. 241); Michaelis, _Arch. Zeit._, 1862, p. 249. All the + materials are collected by Kekulé, _Die Reliefs an der Balustrade + der Athena Nike_ (1881), which superseded Kekulé, _Die Balustr. d. + Tempels d. Athena Nike_ (1869). See also Overbeck, _Gr. Plast._, + 3rd ed., I., p. 369; Murray, II., p. 186; Wolters, Nos. 761-804. + _Stereoscopic_, Nos. 158-160. + +[Sidenote: =426.=] + +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. + + Kekulé, _Balustrade_, pl. 5, fig. R; Overbeck, _Gr. Plast._, 3rd + ed., I., fig. 82. + +[Sidenote: =427.=] + +Winged Victory turned to the left stoops forward, raising her right +foot in order to adjust or unfasten her 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. + + Ross, pl. 13, figs. B, Bb; Kekulé, _Balustrade_, pl. 4, fig. O; + Overbeck, _Gr. Plast._, 3rd ed., I., fig. 82; Murray, II., pl. 16, + fig. 4; Brunn, _Denkmaeler_, 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, + _Syll._, 388, 15, cf. _ibidem_, 357, 25. + +[Sidenote: =428=] + +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. + + Kekulé, _Balustrade_, pl. 4, fig. M; _Arch. Zeit._, 1862, pl. 162; + Overbeck, _Gr. Plast._, 3rd ed., I., fig. 82; Brunn, _Denkmaeler_, + No. 35. + +[Sidenote: =429.=] + +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. + + Ross, pl. 13, fig. A; Kekulé, _Balustrade_, pl. 1, fig. A; + Overbeck, _Gr. Plast._, 3rd ed., I., fig. 82; Murray, II., pl. 16, + fig. 3; Brunn, _Denkmaeler_, No. 34. + + + + +THE CHORAGIC MONUMENT OF LYSICRATES. + + +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 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 _tholos_; 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 B.C. 335-4. + + *: _C. I. G._ 221; _C. I. A._, II., 1242. [Greek: + Lysikratês Lysitheidou Kikynneus echorêgei. Akamantis paidôn + enika. Theôn êulei. Lysiadês Athênaios edidaske. Euainetos + êrche.] + +[Illustration: Fig. 21.--The Choragic Monument of Lysicrates. (After +Stuart.)] + +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. 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. + +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, _Met._ +iii. 650; Nonnus, _Dionys._ xlv. 102; Philostr. _Im._ i. 19, &c. Cf. +_Gaz. Arch._ 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 (_Hom. Hymn_, 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, +_Auserlesene Vasenbilder_, i., pl. 49; Harrison, _Mythology and +Monuments of Anc. Athens_, p. 251. An intaglio, with a pirate half +transformed, as on the frieze, is engraved in the _Gaz. Arch._ 1875, +p. 13. + +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 B.C.) +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 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. + +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. + + Wheler, _Journey_, p. 397; Spon, _Voyage_ (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, _Ruines_, pl. 13. A view of the interior used as a library, + Dodwell, _Tour_, I., pl. facing p. 289. A view subsequent to the + destruction of the monastery is given, _Exp. de Morée_, III., pl. + 96. For the present state of the monument see Harrison, _Mythology + and Monuments of Anc. Athens_, p. 245. The original frieze is of + Pentelic marble; height, 10-1/2 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, _Denkmäler_, pl. 37; Overbeck, _Gr. + Plast._, 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 _Mus. Marbles_, IX., pls. 22-26, taken from + the Elgin casts. See also Ellis, _Elgin Marbles_, II., pp. 79-87. + The British Museum also possesses a careful series of drawings + from the sculptures, by Lord Elgin's artist, Lusieri. _Report of + the Elgin Committee, appendix_, p. xli.; Wolters, No. 1328. + +[Sidenote: =430.= 1.] + + 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. + + _Mus. Marbles_, IX., pl. 24. + + [Sidenote: 2.] + + Next on the left is a Satyr advancing over rocky ground towards a + large crater; in his right hand he holds an oinochoè, with which + he is about to take wine from the crater; in his left hand + has been a phialè; a fawn skin, _nebris_, 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. + + 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. + + _Mus. Marbles_, IX., pl. 24. + + [Sidenote: 3.] + + 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. + + _Mus. Marbles_, IX., pl. 23. + + [Sidenote: 4.] + + 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. + + _Mus. Marbles_, IX., pl. 23. + + [Sidenote: 5.] + + 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. + + _Mus. Marbles_, IX., pl. 23. + + 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. + + [Sidenote: 6.] + + 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. + + _Mus. Marbles_, IX., pl. 22. + + [Sidenote: 7.] + + 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 oinochoè or wine jug. His left is extended over the + crater and holds a phialè. 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. + + _Mus. Marbles_, IX., pl. 25. + + [Sidenote: 8.] + + 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. + + 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. + + _Mus. Marbles_, IX., pl. 25. + + [Sidenote: 9.] + + 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. + + _Mus. Marbles_, IX., pl. 26. + + [Sidenote: 10.] + + On the right of the transformed pirate is a group representing a + Satyr about to strike with a branch of a 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, + _Dionys._, xlv., 1. 134, the ropes of the rigging of the ship + turned to serpents. + +[Sidenote: =431.=] + +Cast from the capital of a column of the Choragic Monument of Lysicrates. + + Height, 2 feet 3/4 inches. _Synopsis_, No. 360*. See Stuart, I., + ch. IV. pl. 6, fig. 1. + + + + +THE CHORAGIC MONUMENT OF THRASYLLOS. + + +[Sidenote: =432.=] + +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, 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 B.C.); _C. I. G._, 224; _C. I. A._, 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 B.C.); _C. I. G._, 225, 226; _C. +I. A._, ii., 1292, 1293. At some date intermediate between these two, +probably about 310 B.C., 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, _Lehrb. d. +Griech. Antiq._, Müller's ed., iii., pt. ii., p. 339.) + +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 _Athenische Mittheilungen_, 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. + +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 1-1/2 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, _Ant. +Bildwerke_, text, p. 240), and the costume of the figure seems +assimilated to that of a citharist.--_Elgin Coll._ + + Pentelic marble; height, 6 feet 3 inches. The stone is roughly + hewn out at the back to lighten the figure. Wheler, _Journey_, p. + 368; Le Roy, _Ruines_, pl. 8; Stuart, II., ch. IV., pls. 3, 6; + _Mus. Marbles_, IX., pl. 1; Ellis, _Elgin Marbles_, II., p. 90; + Overbeck, _Gr. Plast._, 3rd ed., II., p. 94; Reisch, _Athenische + Mittheilungen_, XIII. (1888) pl. 8, p. 383; _Stereoscopic_, No. + 114; Brunn, _Denkmaeler_, No. 119. + + + + +THE PROPYLAEA. + + +The Propylaea, or gateways to the Acropolis, were constructed by +Mnesicles under the administration of Pericles, in the five years +436-431 B.C. + +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, fig. 20). 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.--_Presented by A. W. Franks, +Esq._ Cf. Dodwell, _Tour_, I., p. 313. + +[Sidenote: =433.=] + +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.--_Elgin Coll._ + + Pentelic marble; width of abacus, 5 feet 5-1/2 inches. _Synopsis_, + No. 130 (206). Stuart, II., ch. V., pl. 7, fig. 1. Penrose, + _Athen. Architecture_, ch. X., pl. 31; Bohn, _Die Propyläen_, pls. + 11, 13, fig. 2. + +[Sidenote: =434.=] + +Piece of drum of Ionic column from the inner order of the +Propylaea.--_Elgin Coll._ + + Pentelic marble; height, 1 foot 4-1/2 inches; diameter, 3 feet 1/8 + inch. _Synopsis_, No. 129. Penrose, _Athen. Architecture_, ch. X., + pl. 32. + +[Sidenote: =435.=] + +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.--_Elgin Coll._ + + Pentelic marble; height, 1 foot 7-1/4 inches; length, 3 feet + 10-1/2 inches. _Synopsis_, No. 131 (308). Stuart, II., ch. V., pl. + 8, fig. 1; Bohn, _Die Propyläen_, pl. 12, fig. 6. + + + + +MISCELLANEOUS ARCHITECTURAL FRAGMENTS. + + +[Sidenote: =436.=] + +Capital of one of the antae from the small Ionic temple near the +Ilissos seen by Stuart, but destroyed since his time in 1780.--_Elgin +Coll._ + + Height, 1 foot 1/8 inch; breadth, 2 feet 1/2 inch. _Synopsis_, + No. 170 (174). Stuart, I., ch. II., pl. 8, fig. 1. See also Leake, + _Topography of Athens_, 2nd ed., p. 250. + +[Sidenote: =437.=] + +Moulding with anthemion, plait, maeander, and leaf, bead and reel +patterns. Found near the south-east _anta_ of the Erechtheion. +--_Inwood Coll._ + + Height, 8-1/4 inches; breadth, 6-3/4 inches. _Synopsis_, No. 407. + Inwood, _Erechtheion_, pl. 26, p. 138. + +[Sidenote: =438.=] + +Antefixal ornament or acroterion from the temple of Demeter at +Eleusis. For a similar ornament see Kinnard in Stuart's _Antiquities +of Athens_, 2nd ed., iii., pl. 1, p. 53.--_Elgin Coll._ + + Pentelic marble; height, 3 feet 7-1/2 inches. _Synopsis_, No. 169 + (173); Laborde, _Le Parthénon_, pl. 27. + +[Sidenote: =439.=] + +Ornament of roof-tile, _kalypter anthemotos_. Purchased by Inwood at +Athens.--_Inwood Coll._ + + Pentelic marble; height, 8-3/4 inches. _Synopsis_, No. 417. + Inwood, _Erechtheion_, pl. 28, fig. 3, p. 144. + +[Sidenote: =440.=] + +Ornament of roof-tile. Probably purchased by Inwood at +Athens.--_Inwood Coll._ + + Pentelic marble; height, 10-3/4 inches. _Synopsis_, No. 412. + Inwood, _Erechtheion_, pl. 28, fig. 2, p. 144. + +[Sidenote: =441.=] + +Ornament of roof-tile, found "on the gable of a small Greek church, +that appears to have been on the site of a temple" "in the gardens at +Athens, beyond Mount Anchesmus."--_Inwood Coll._ + + Pentelic marble; height, 8-1/2 inches. _Synopsis_, No. 411. + Inwood, _Erechtheion_, pl. 23, p. 131. + +[Sidenote: =442.=] + +Ornament of roof-tile found built into a modern house near the +Choragic Monument of Lysicrates.--_Inwood Coll._ + + Pentelic marble; height, 11 inches. _Synopsis_, No. 413. Inwood, + _Erechtheion_, pl. 28, fig. 5, p. 144. + +[Sidenote: =443.=] + +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 stelè 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.--_Inwood +Coll._ + + Pentelic marble; width from centre of volute to centre of volute, + 12-3/4 inches. _Synopsis_, No. 398. Inwood, _Erechtheion_, p. 132, + pls. 24-25. Bötticher, _Tektonik_, pl. 30, fig. 7, text, p. 299. + +[Sidenote: =444.=] + +Volute of Ionic capital. Inwood (p. 128) states that it was found near +the site of the temple of Nikè 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 Nikè Apteros in Ross, _Akropolis von Athen_, pls. vii., viii. The +pulvinus of this capital is ornamented with leaves, as in the example +from Athens in Bötticher's _Tektonik_, pl. 31, fig. 5, text, p. +299.--_Inwood Coll._ + + Pentelic marble; height, 1 foot; breadth, 9-1/2 inches. + _Synopsis_, No. 404, where it is incorrectly described as a + capital from the temple of Nikè Apteros. Inwood, _Erechtheion_, + pl. 21. + +[Sidenote: =445.=] + +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.--_Inwood Coll._ + + Pentelic marble; height, 7-3/4 inches; breadth, 9 inches. + _Synopsis_, No. 410. Inwood, _Erechtheion_, pl. 20; Bötticher, + _Tektonik_, text, p. 299. + +[Sidenote: =446.=] + +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.--_Greece._ +_Presented by W. R. Hamilton, Esq._ + + Marble; height, 1 foot 7 inches; width, 1 foot 6 inches. + +[Sidenote: =447.=] + +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 B.C.).--_Formerly in the Elgin Collection._ + + Marble; height, 1 foot 4-1/2 inches. Stuart, I., chap. III., pl. + 7. + +[Sidenote: =448.=] + +Unfinished Ionic base.--_Formerly in the Elgin Collection._ + + Marble; height, 9 inches; diameter, 1 foot 10-3/4 inches. + + + + +AGORACRITOS OF PAROS. + + +[Sidenote: =460.=] + +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 B.C. + +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 Aphroditè, holding in her hands an apple branch +and a phialè, 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, _Theogony_, 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. + +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; _Anthol. Pal. App. Plan._, iv., 221, 222, 263). Found on +the site of the _Temple of Nemesis at Rhamnus_.--_Presented by J. P. +Gandy Deering, Esq., 1820._ + + Parian marble; height, 1 foot 4-1/2 inches. _Uned. Antiquities of + Attica_, p. 43; Leake, _Athens and Demi of Attica_, II., p. 108; + _Synopsis_, No. 325 (273); _Elgin Room Guide_, II., No. E. 4; + Six, _Num. Chron. 3rd. Ser._, II., p. 94; _cf._ coin of Cyprus, + _ibidem_, pl. 5; Gardner, _Journ. of Hellen. Studies_, VIII., p. + 47; Rossbach, _Athenische Mittheilungen_, XV., p. 64; Overbeck, + _Schriftquellen_, 834-843. + + + + +POLYCLEITOS OF ARGOS AND THE PELOPONNESIAN SCHOOL. + + +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. + +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 B.C., 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 B.C., and +it was probably near the end of the sculptor's life. + +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. + +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 _Canon_, 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. 500, 501), +are known to us from copies. They are of vigorous make and square +build, but somewhat heavy when compared with the graceful youths of +the Parthenon frieze. But the words of Quintilian, who says (_Inst. +Orat._, 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. + +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 (_Mus. Marbles_, ii., +pl. 31), which was ascribed by Winckelmann to Polycleitos (_Hist. de +l'Art_, Bk. vi., chap. 2; Pliny, _H. N._, xxxiv., 10), is no doubt of +a later period, and is therefore omitted. + +[Sidenote: =500.=] + +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. + +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. + +The head was found at a distance of two-thirds of a mile from the +torso. The torso was found in 1862 in the _Roman Theatre, at Vaison +(Vaucluse)_. + + 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. _Mon. dell' Inst._, X., pl. 49, figs. 1-3; _Annali dell' + Inst._, 1878, p. 11 (Michaelis); Rayet, _Monuments_, I., No. 30 + and text; Overbeck, _Gr. Plast._, 3rd ed., I., p. 388; Murray, I., + pl. 10, p. 274; Wolters, No. 508. + + Other examples more or less nearly reproducing this type + are:--(_a_) A bronze from the De Janzé Collection in the French + Bibliothèque Nationale. _Annali dell' Inst._, 1878, pl. B, p. 11 + (Michaelis); Rayet, _Monuments_, I., No. 31; Babelon, _Le Cabinet + des Ant. à la Bibl. Nationale_, pl. 13. (_b_) A terracotta + statuette in an English private collection. _Journ. of Hellen. + Studies_, VI., p. 243, pl. 61. (_c_) 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, _Vaticano_, IV. 84. (_d_) A gem. _Journ. of + Hellen. Studies_, II. p. 352. See also No. 501. + +[Sidenote: =501.=] + +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. + +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 has been held by several +writers, after the discovery of the Vaison Diadumenos.--_Farnese +Coll. 1864._ + + Pentelic marble; height, 4 feet 10-1/4 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, _Ant. Stat. Urb. + Romae Liber_, 1569, pl. 97). It was afterwards in the Farnese + Gardens, in the Farnese Palace, and at Naples. Guattani, _Mem. + Encicl._, V., pl. facing p. 83; Gerhard, _Ant. Bildwerke_, pl. + 69, p. 311; Müller-Wieseler, _Denkmaeler_, I., pl. 31, fig. 136; + Clarac, V., pl. 858 C, 2189 A; _Annali dell' Inst._, 1878, pl. A, + p. 20 (Michaelis); Murray, I., pl. 9, p. 273; Rayet, _Monuments_, + text to No. 30; Mitchell, p. 388; Wolters, No. 509; Mansell, No. + 726. + + The Polycleitan origin of the Farnese statue is supported by + Winckelmann (_Hist. de l'Art_, Bk. VI., chap. 2), Guattani (_loc. + cit._), Newton (Rayet, _loc. cit._), Brunn (_Annali dell' Inst._, + 1879, p. 218), Murray (_loc. cit._). + +[Sidenote: =502.=] + +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. + +The figure, like a bronze statuette at Athens (_Mon. dell' Inst._, +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 above). 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.--_Athens._ + + Marble; height, 9 inches. Unpublished. The principal examples of + the type are:--(_a_) Figure at Naples (Friederichs, _Doryphoros + des Polyclet_; Rayet, _Monuments_, I., No. 29; Overbeck, + _Gr. Plast._, 3rd ed., I., fig. 84). (_b_) Relief from Argos + (_Athenische Mittheilungen_, III., pl. 13; Mitchell, p. 386). + (_c_) Bronze bust from Herculaneum, at Naples, found with a + companion bust of an Amazon (Comparetti, _La Villa Ercolanese_, + pl. 8, fig. 3). (_d_) Gem at Berlin (Overbeck, _Gr. Plast._, _loc. + cit._). For other copies, see Michaelis, _Annali dell' Inst._, + 1878, p. 6; Wolters, Nos. 506, 507. + +[Sidenote: =503.=] + +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. + +Pliny relates (_H. N._, 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. + +The present head belongs to the type which various archaeologists +(Klügmann, _Rhein. Mus._ 1866, p. 327; Michaelis, _Jahrb. des Arch. +Inst._, 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. + +_Brought to England by Lyde Brown. Purchased by Townley, +1774._--_Townley Coll._ + + Greek marble; height of ancient portion, 10-1/4 inches. + Restorations:--Tip of nose, throat and bust. _Mus. Marbles_, X., + pl. 5; _Guide to Græco-Roman Sculptures_, I., No. 150; Murray, I., + p. 280; _Jahrbuch des Arch. Inst._, I., 1886, pl. 3, No. 2; p. 16, + _K_, (Michaelis). There is a drawing by Cipriani in the British + Museum (_Add. MSS._ 21,118, No. 12). + + The best examples of the type are:--(_a_) A statue at Lansdowne + House, London. _Specimens of Ant. Sculpture_, II., pl. 10. + _Cat. of Lansdowne Marbles_, No. 83. (_b_) A bronze head from + Herculaneum, now in the Museum at Naples. Comparetti, _La Villa + Ercolanese_, pl. 8, fig. 1. (_c_) Compare the Amazon on the + Phigaleian frieze (No. 522). For further literature and examples, + see Michaelis, _loc. cit._ + +[Sidenote: =504.=] + +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. + +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 (_Journ. of Hellen. Studies_, vi., pl. 54, Nos. +12-15).--_Girgenti._ + + 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. _Mon. dell' Inst._, IX., + pl. 1; Helbig, _Annali dell' Inst._, 1869, p. 144; Overbeck, _Gr. + Kunstmyth._, pl. 9, figs. 4, 5; II., p. 81, 3; Murray, I., p. 268; + Wolters, No. 501; Furtwaengler, _Arch. Zeit._, 1885, p. 275, fig. + A; Murray, _Römische Mittheilungen_, I., p. 123. + + + + +THE TEMPLE OF APOLLO AT PHIGALEIA. + + +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 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. + +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 B.C., although it +is doubtful whether the plague in Arcadia was connected with the more +celebrated pestilence at Athens. + +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 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, _Pelop._, i., p. 329; Michaelis, _Arch. Zeit._, +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.) + +[Illustration: Fig. 22.--Plan of the Temple of Apollo at Phigaleia.] + + The temple was discovered by a French architect, Bocher, in + November, 1765 (Chandler, _Travels in Greece_, 1776, p. 295). For + descriptions of the architecture and sculpture, see Stackelberg, + _Der Apollotempel zu Bassae, in Arcadien_, 1826; Donaldson, in + Stuart, 2nd ed., vol. IV.; Blouet, _Expédition scientifique de + Morée_, II; _Museum Marbles_, IV.; Leake, _Travels in the Morea_, + II., chap. xii., p. 1; Ellis, _Elgin and Phigaleian Marbles_, II., + p. 175; Cockerell, _The Temple of Jupiter Panhellenius at Aegina, + and of Apollo Epicurius at Bassae, near Phigaleia, in Arcadia_, + 1860; Overbeck, _Gr. Plast._, 3rd ed., I., p. 449; Murray, II., p. + 169; Wolters, Nos. 880-912. For literature specially relating to + the frieze, see below, p. 279. Views and plans of the temple are + exhibited in a table case. + + +ARCHITECTURAL FRAGMENTS. + +[Sidenote: =505.=] + +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. + + Marble; height, 1 foot 1/8 inch; width, 4 feet 2-3/4 inches. The + left-hand fragment is engraved in _Mus. Marbles_, IV., vignette. + _Synopsis_, Nos. 26, 27; Cockerell, _Phigaleia_, pl. 6; Ellis, + _Elgin and Phigaleian Marbles_, II., p. 212. + +[Sidenote: =506.=] + +Fragment of a Doric capital, from a column of the external colonnade. + + Limestone; height of fragment, 1 foot 5 inches; width. 1 foot 9 + inches. _Mus. Marbles_, IV., pl. 25, fig. 4; _Synopsis_, No. 24; + _cf._ Cockerell, _Phigaleia_, pl. 6. + +[Sidenote: =507.=] + +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. + + Limestone; height, 5-1/2 inches; width, 1 foot 6-1/2 inches. + +[Sidenote: =508.=] + +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 Museum +contains a part of the front and right side of the cap. + + Marble; height, 1 foot 6 inches. _Mus. Marbles_, IV., pl. 25, fig. + 3; _Synopsis_, No. 25; Cockerell, _Phigaleia_, pl. 14. + +[Sidenote: =509.= 1.] + + Roof tile, with antefixal end, with a palmette in relief above two + volutes springing from an acanthus. + +Marble; height, 1 foot 3-1/4 inches; length, 1 foot 8-1/2 inches. _Mus. +Marbles_, IV., pl. 25, fig. 1; _Synopsis_, No. 39; _Exp. de Morée_, +II., pl. 19, fig. 1; Cockerell, _Phigaleia_, pl. 7. + + [Sidenote: 2.] + + 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. + +Marble; height of fragment, 1 foot 4 inches; length, 1 foot 6 inches. +The complete length was about 2 feet 3 inches. _Mus. Marbles_, +IV., pl. 25, fig. 2; _Synopsis_, No. 40; Cockerell, _Phigaleia_, pl. 7, +figs. 5, 6. + + +PHIGALEIAN METOPES. + +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 _guttae_ +which occur at regular intervals below the frieze, and which imply +triglyphs.--Cockerell, _Phigaleia_, pl. 5. + +The fragmentary state of the metopes makes the subjects uncertain, in +most instances. + + For a general view of the metopes, see _Stereoscopic_, No. 122. + +[Sidenote: =510.=] + +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 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 Athenè, 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, +_Bassirel. Ant._ i., pl. 42). + + Marble; height, 1 foot 6 inches; width. 1 foot 4-1/2 inches. _Mus. + Marbles_, IV., pl. 24, fig. 1; Stackelberg, pl. 30, fig. 2; _Exp. + de Morée_, II., pl. 23, fig. 2; _Synopsis_, No. 28; Cockerell, + _Phigaleia_, pl. 8; Ellis; _Elgin and Phigaleian Marbles_, II, p. + 213. + +[Sidenote: =511.=] + +A mutilated male head, inserted in the same metope as last. It appears +to have been bearded, but this is doubtful. + + Marble; height, 5-1/2 inches; width, 9 inches. _Synopsis_, No. 33. + +[Sidenote: =512.=] + +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 _crotala_ or possibly flutes, and the left hand was extended. + + Marble; height, 1 foot 3 inches; width, 1 foot 5-1/2 inches. _Mus. + Marbles_, IV., pl. 24, fig. 2; Stackelberg, pl. 30, fig. 1; _Exp. + de Morée_, II., pl. 23, fig. 1; Ellis, _Elgin and Phigaleian + Marbles_, II., p. 213. + +[Sidenote: =513.=] + +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. + + Marble; height, 1 foot 10 inches; width, 9-1/4 inches. + +[Sidenote: =514.=] + +Right knee of a draped female figure standing to the right. + + Marble; height, 10 inches, width, 11 inches. _Synopsis_, No. 37. + +[Sidenote: =515.=] + +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, _Bronzen von Olympia_, +pl. 34. + + Marble; height, 4 inches; width, 6 inches. _Synopsis_, No. 31. + +[Sidenote: =516.=] + +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. + + Marble; height, 2 feet 7-1/2 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. _Synopsis_, + Nos. 36, 38. + +[Sidenote: =517.=] + + [Sidenote: 1.] + + 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, 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. + + [Sidenote: 2.] + + 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. + + Cockerell suggests that the subject is Apollo pursuing Daphnè, 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. + + Marble. Fragment 1: height, 1 foot 4-1/2 inches; width, 1 foot + 3 inches. _Synopsis_, No. 30; _Exp. de Morée_, II. pl. 23, fig. 3; + Stackelberg, pl. 30, fig. 3; _Mus. Marbles_, IV., pl. 24, fig. 3; + Ellis, _Elgin and Phigaleian Marbles_, II., p. 213. Fragment 2: + height, 8-3/4 inches; width, 1 foot 4 inches. _Synopsis_, No. 35. + +[Sidenote: =518.=] + +Upper part of body of draped female figure standing to the front. + + Marble; height, 8 inches; width, 10 inches. _Synopsis_, No. 32. + +[Sidenote: =519.=] + +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. + + Marble; height, 1 foot 3/4 inch; width, 8-1/2 inches. _Synopsis_, + No. 34; Cockerell, _Phigaleia_, pl. 5, Stackelberg, pl. 30, fig. + 4; _Exp. de Morée_, II., pl. 23, fig. 4. + + +THE PHIGALEIAN FRIEZE. + +The frieze of the Temple of Apollo Epicurios consists of 23 slabs of +marble, somewhat resembling Pentelic. The slabs are each 2 feet 1-1/4 +inches high, and they have a combined length of 101 feet 3/4 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 2-1/8 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 3-1/2 inches thick, and rested on +the edge of the architrave, being fastened with bolts to the ground +behind. + +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 6-3/4 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. + +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 (_Greek Sculpt._ ii. pl. 14) except as regards the position of +the slabs of the north side. + +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 to the designer. Among the artists suggested are +Alcamenes (Stackelberg, p. 84), Cresilas (Sauer, _Berliner Philol. +Wochenschr._, 1889, p. 583); an artist influenced by the paintings +of Polygnotos (Murray, ii., p. 176); an Attic artist (Jahn, _Pop. +Aufsätze_, p. 157), or an Arcadian artist under Attic influences +(Overbeck, _Gr. Plast._, 3rd ed., i., p. 457.) + + _Literature relating to the Frieze._ Wagner, _Bassorelievi Antichi + della Grecia_. See also works quoted above, and on p. 272. For the + proposed arrangements of the slabs of the frieze, see Cockerell, + p. 56; Ivanoff, _Annali dell' Inst._, 1865, p. 29; Lange, _Ber. + der. K. sächs Ges. d. Wissenschaften_, 1880, p. 56, pl. 3; + Wolters, Nos. 883-905; _Stereoscopic_, Nos. 119, 120, 122. + + +PHIGALEIAN FRIEZE, WEST SIDE. + +[Sidenote: =520.=] + +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 (_sphendonè_) 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. + + Length, 2 feet 5-3/4 inches. _Synopsis_, No. 7; _Mus. Marbles_, + IV., pl. 7; Stackelberg, pl. 25. + +[Sidenote: =521.=] + +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 has a horse's mane, which does not occur on the +Centaurs of the Parthenon or of the Theseion. + + Length, 4 feet 2-1/2 inches. _Synopsis_, No. 6; _Mus. Marbles_, + IV., pl. 6; Stackelberg, pl. 28. + +[Sidenote: =522.=] + +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 _Jahrbuch des Inst._ i., pl. 4.) + +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. + + Length, 4 feet 1-1/2 inches. _Synopsis_, No. 3; _Mus. Marbles_, + IV., pl. 3; Stackelberg, pl. 23. + +[Sidenote: =523.=] + +Apollo and Artemis coming to the aid of the Lapiths. Artemis drives a +chariot drawn by two stags; she wears the chiton, and large diploïdion +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. + + Length, 3 feet 9-1/2 inches. _Synopsis_, No. 11; _Mus. Marbles_, + IV., pl. 11; Stackelberg, pl. 19. + +[Sidenote: =524.=] + +Two Lapith women have taken refuge at the statue of a goddess, +probably Artemis, as she is coming to their aid. 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. +_Journ. of Hellen. Studies_, ix., pl. 1; Müller, _Denkmaeler_, pl. 44, +fig. 206; _Arch. Zeit._, 1869, pl. 14.) + +The group of the Lapith and Centaur is composed like the Parthenon +metope, No. 305. + + Length, 4 feet 6 inches. _Synopsis_, No. 10; _Mus. Marbles_, IV., + pl. 10; Stackelberg, pl. 29. + +[Sidenote: =525.=] + +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. + + Length, 4 feet 5 inches. _Synopsis_, No. 8; _Mus. Marbles_, IV., + pl. 8; Stackelberg, pl. 20. + +[Sidenote: =526.=] + +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 kneels on the +Centaur's back, and holds his hair with the right hand, and his wrists +with the left hand. + + Length, 4 feet 2-1/2 inches. _Synopsis_, No. 5; _Mus. Marbles_, + IV., pl. 5; Stackelberg, pl. 27. + +[Sidenote: =527.=] + +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. + + Length, 4 feet 1 inch. _Synopsis_, No. 2; _Mus. Marbles_, IV., pl. + 2 Stackelberg, pl. 21; Brunn, _Denkmaeler_, No. 91. + +[Sidenote: =528.=] + +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. + + Length, 4 feet 1 inch. _Synopsis_, No. 1; _Mus. Marbles_, IV., pl. + 1; Stackelberg, pl. 22. + + +PHIGALEIAN FEIEZE, NORTH SIDE. + +[Sidenote: =529.=] + +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. + + Length, 4 feet 4-1/2 inches. _Synopsis_, No. 9; _Mus. Marbles_, + IV., pl. 9; Stackelberg, pl. 24. + +[Sidenote: =530.=] + +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. + + Length, 5 feet 3-1/2 inches. _Synopsis_, No. 4; _Mus. Marbles_, + IV., pl. 4; Stackelberg, pl. 26; Brunn, _Denkmaeler_, No. 90. + +[Sidenote: =531.=] + +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. 278.) + +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 Athenè). 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 (_schistos_), like that of the Iris of the east pediment of +the Parthenon. + + Length, 4 feet 6-1/2 inches; _Synopsis_, No. 20; _Mus. Marbles_, + IV., pl. 20; Stackelberg, pl. 17. + + +PHIGALEIAN FRIEZE, EAST SIDE. + +[Sidenote: =532.=] + +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. + + Length, 4 feet 6-3/4 inches. _Synopsis_, No. 12; _Mus. Marbles_, + IV., pl. 12; Stackelberg, pl. 7. + +[Sidenote: =533.=] + +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. + +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. + + Length, 4 feet 5-3/4 inches. _Synopsis_, No. 13; _Mus. Marbles_, + IV., pl. 13; Stackelberg, pl. 8; Brunn, _Denkmaeler_, No. 88. + +[Sidenote: =534.=] + +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. 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 _presented by J. +Spencer Stanhope, Esq., 1816._ (Cf. Stackelberg, p. 23.) + + Length, 4 feet 4-3/4 inches. _Synopsis_, No. 17; _Mus. Marbles_, + IV., pl. 17; Stackelberg, pl. 13; Brunn, _Denkmaeler_, No. 87. + +[Sidenote: =535.=] + +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. + +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. + + Length, 4 feet 6-3/4 inches. _Synopsis_, No. 22; _Mus. Marbles_, + IV., pl. 22; Stackelberg, pl. 16; Brunn, _Denkmaeler_, No. 86. + +[Sidenote: =536.=] + +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. + + Length, 4 feet 6-3/4 inches. _Synopsis_, No. 15; _Mus. Marbles_, + IV., pl. 15; Stackelberg, pl. 12. + +[Sidenote: =537.=] + +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 quickly +forward to help her companion, and is about to strike the Greek. + + Length, 4 feet 4-3/4 inches. _Synopsis_, No. 21; _Mus. Marbles_, + IV., pl. 21; Stackelberg, pl. 11. + +[Sidenote: =538.=] + +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. + + Length, 4 feet 5-3/4 inches. _Synopsis_, No. 19; _Mus. Marbles_, + IV., pl. 19; Stackelberg, pl. 15. + +[Sidenote: =539.=] + +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. + + Length, 4 feet 9-1/4 inches. _Synopsis_, No. 14; _Mus. Marbles_, + IV., pl. 14; Stackelberg, pl. 18. + + +PHIGALEIAN FRIEZE, SOUTH SIDE. + +[Sidenote: =540.=] + +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 Nikè (No. 421). + +On the right a Greek and Amazon are fighting hotly. 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. + + Length, 4 feet 8-3/4 inches. _Synopsis_, No. 16; _Mus. Marbles_, + IV., pl. 16; Stackelberg, pl. 10. + +[Sidenote: =541.=] + +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 Athenè 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. + + Length, 5 feet 10 inches. _Synopsis_, No. 18; _Mus. Marbles_, IV., + pl. 18; Stackelberg, pl. 14; Brunn, _Denkmaeler_, No. 89. + +[Sidenote: =542.=] + +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. + + Length, 4 feet 2-1/4 inches. _Synopsis_, No. 23; _Mus. Marbles_, + IV., pl. 23; Stackelberg, pl. 9. + + +FRAGMENTS OF THE TEMPLE STATUE OF APOLLO. + +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 +_acrolithic_, _i.e._, that the extremities only were of marble, while +the rest of the figure was made of wood or other inferior material. + +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 B.C., and if the +acrolithic statue was made to take the place of that which was removed +it must be later than this date. + +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 _Exp. de Morée_, ii., pl. 23, +fig. 5; Cockerell, pl. 16. + +[Sidenote: =543.=] + +Fragment of the forepart of a right male foot, wearing a sandal. + + White marble; length, 6-1/2 inches. Stackelberg, pl. 31; + Cockerell, pl. 16. + +[Sidenote: =544.=] + +Fragment with the palm and base of the thumb of a right hand. + + White marble; length, 6-1/4 inches. Stackelberg, pl. 31; + Cockerell, pl. 16. + + + + +MISCELLANEOUS SCULPTURES, OF THE FIFTH CENTURY. + + +[Sidenote: =549.=] + +Bust of Pericles, wearing a helmet. Inscribed [Greek: Periklês] (fig. +23). Wolters assigns the original from which this fine bust is copied +to the end of the fifth century, and suggests that it may have been +the work of Cresilas, with reference to which Pliny (_H. N._ 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, +_Pericles_, 3). It is, however, more probable that the helmet merely +denotes military rank. _Found in the Villa of Cassius, at Tivoli, +1781._--_Townley Coll._ + +[Illustration: Fig. 23.--Bust of Pericles, No. 549.] + + Marble; height, 1 foot 11 inches. Restorations:--Nose, and small + parts of helmet. Stuart, II., p. 42; _Mus. Marbles_, II., pl. 32; + Ellis, _Townley Gallery_, II., p. 3; _Arch. Zeit._, 1868, pl. + 2, fig. 1; Wolters, No. 481; Furtwaengler, _Berl. Philol. + Wochenschr._, 1891, p. 286. Another copy, found at the same + time as the present bust, is in the Vatican (Visconti, _Iconogr. + Grecque_, pl. 15). + +[Sidenote: =550.=] + +Head of Asclepios? Colossal ideal bearded head. The hair falls in +heavy masses over the forehead, and on each 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. + +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 _Shrine of Asclepios, in +Melos_. _Blacas Coll._ + + Parian marble; height, 1 foot 11 inches. _Exp. de Morée_, III. pl. + 29, fig. 1; Müller-Wieseler, _Denkmaeler_, II., pl. 60, fig. 763; + _Overbeck_, _Gr. Kunstmyth._ pl. 2, figs. 11, 12; II., p. + 88; Murray, _Greek Sculpture_, II., pl. 11, p. 130; Mitchell, + _Selections_, pl. 13; Rayet, _Monuments_, II., No. 42; + _Stereoscopic_, No. 113; Wolters, No. 1283; Paris, _La Sculpt. + Ant._, 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). + +[Sidenote: =551.=] + +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 +_the neighbourhood of Epidauros_. Two small fragments of the right leg +were brought away with the torso. + + Parian marble; height, 3 feet 1-1/4 inches. _Mus. Marbles_, IX., + pl. 5; Ellis, _Elgin Marbles_, II., p. 121; _Synopsis_, No. 327; + _Elgin Room Guide_, II., No. E. 1. + +[Sidenote: =552.=] + +Female torso from the neck down to the waist. The dress is a chiton +with diploïdion; part of the tresses of hair which fall down on the +back still remains.--_Elgin Coll._ + + Pentelic marble; height, 1 foot 3 inches. _Synopsis_, No. 281 + (146); _Elgin Room Guide_, II., No. F. 15. + +[Sidenote: =553.=] + +Left breast and part of left side of female figure wearing a chiton +girt at the waist.--_Elgin Coll._ + + Pentelic marble; height, 1 foot 3-1/4 inches. _Synopsis_, No. 277 + (147). _Elgin Room Guide_, II., No. F. 16. + +[Sidenote: =554.=] + +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 (_schistos_) 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 Nikè.--_Elgin Coll._ + + Pentelic marble; height, 1 foot. _Synopsis_, No. 321 (79). + +[Sidenote: =555.=] + +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 +(_Ancient Terracottas in B. M._, 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 +idealized portraits of a Sicilian despot, and his consort. _Found in +the sea near Girgenti (Agrigentum)._--_Townley Coll._ + + Greek marble, perhaps Parian; height, 1 foot 5-1/4 inches; width, + 1 foot 4 inches. _Mus. Marbles_, X., pl. 32; Ellis, _Townley + Gallery_, II., p. 153. + +[Sidenote: =556.=] + +Head of Odysseus? Male head, with curling hair and short beard, +wearing a peaked cap (_pileus_). The surface is much decayed, and +most of the chin and mouth is broken away. This head may be from a +sepulchral monument.--_Elgin Coll._ + + Pentelic marble; height, 1 foot 1/2 inch. _Mus. Marbles_, IX., pl. + 40, fig. 3; Ellis, _Elgin Marbles_, II., p. 119. + +[Sidenote: =557.=] + +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. + + Pentelic marble; height, 10-1/2 inches. + +[Sidenote: =558.=] + +Head of a maiden, wearing a closely-fitting cap. The style is +characteristic of the fifth century.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 9 inches. _Synopsis_, No. 239 (122). + +[Sidenote: =559.=] + +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.--_Obtained in Greece by the fourth Earl of +Aberdeen in 1803, and presented by the fifth Earl of Aberdeen in +1861._ + + Coarse-grained marble; height, 11 inches. The head was found + wearing a bronze helmet, which, however, did not fit, and has been + removed. + +[Sidenote: =560.=] + +Cast of marble owl. L. Ross (_Annali dell' Inst._, 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 painted.--_Found on the Athenian Acropolis between the +Propylaea and the Parthenon._ + + The original, of Pentelic marble, is in the Acropolis Museum, at + Athens; height, 2 feet 2 inches. Ross, _Arch. Aufsätze_, I., pl. + 14, fig. 3, p. 205; _Elgin Room Guide_, II., No. G. 7; Wolters, + No. 111; Le Bas, _Mon. Fig._, pl. 62, fig. 3. + + + + +GREEK RELIEFS. + + +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. + +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. + +The following classification has been adopted, but the classes are not +perfectly distinct, as the sepulchral reliefs sometimes partake of a +votive character. + + _Sepulchral Reliefs._--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. + + _Votive Reliefs._--770-794, Figures of the God or his attributes. + 795-812, Figures of the Dedicator, or of the object dedicated. + 813-817, Agonistic reliefs. + + + + +SEPULCHRAL RELIEFS. + + +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. + +The early Attic examples which are assigned to a period before the +Persian wars, have recently been collected by Conze (_Die Attischen +Grabreliefs_, 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 +([Greek: stêlê]), set up on a mound ([Greek: tymbos]) to mark the +place of the grave, and such a tomb is well known to Homer (_Il._ xi., +371, etc.) + +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, _Coll. +Sabouroff_, 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 stelè with volutes and an acanthus. + +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 stelè 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, _Lexicon_, p. +2584, and Aristotle, _Constitution of Athens_, chap. 7, ed. Kenyon, +where the horse standing beside an archaic figure of Anthemion, son of +Diphilos (_Class. Rev._ 1891, p. 108), is said to prove his knighthood +([Greek: hippas]). (Cf. _Journ. of Hellen. Studies_, v. p. 114; Conze, +p. 4; Nos. 1, 14, 15, 16, 17, 19.) + +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.) + +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.) + +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_b_). + +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. + +_Decorative Stelae._--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 stelè of Artemidoros +with a bilingual Greek and Phoenician inscription. (Dodwell, _Tour_ +i., p. 411; _Greek Inscriptions in Brit. Mus._, cix.) + +_Scenes from Daily Life and figures of Animals._--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 _genre_ character with scenes from +children's games, &c. + +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). + +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 stelè. + +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 of the archaic period, and which +are more or less of religious or ritualist significance. + +_Vases._--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." + +There is ancient authority for the view that the vase indicates an +unmarried person. Eustath. on _Il._ XXIII., 141, p. 1293: [Greek: +kai tois pro gamou de teleutôsin hê loutrophoros, phasin, epetitheto +kalpis eis endeixin tou hoti aloutos ta nymphika kai agonos apeisi]. +Demosthenes (_in Leochar._ pp. 1086 and 1089, ed. Reiske) speaks also +of [Greek: hê loutrophoros] (sc. [Greek: hydria] or [Greek: kalpis]), +being placed on the tomb of an unmarried person. (Kumanudis, p. 18; +_Greek Inscriptions in Brit. Mus._, No. lxxx.) + +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 (_C. I. A._, 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 B.C. (_Athenische Mittheilungen_, x., pl. 13, p. 362.) + +_Figures clasping Hands._--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 more correct interpretation may be gathered from +a fragment of an archaic sepulchral relief from Aegina (_Athenische +Mittheilungen_, 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, _Coll. Sabouroff_, 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. + +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. +(_Athenische Mittheilungen_, x., pl. 13.) + +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 +(_Journ. of Hellen. Studies_, v., p. 111), or the home of the dead +person (Pervanoglu, _Grabsteine der alten Griechen_, p. 14), but there +is no evidence of any such special significance attaching to the form. +(Compare Furtwaengler, _Coll. Sabouroff_, i., p. 52.) + +_The Sepulchral Banquet._--From the fourth century onwards, a type of +relief commonly known as the Sepulchral 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. + +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 (_Athenische +Mittheilungen_, ii., pls. 20-25; Furtwaengler, _Coll. Sabouroff_, +pl. 1; _Journ. of Hellen. Studies_, 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. + +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 (_Athenische Mittheilungen_, 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 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 +_double_ 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 [Greek: nekysia]. + +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 +(_Rev. Arch._, N.S. xx. p. 247) and Hollaender (_De Operibus +Anaglyphis_), 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 (_Journ. of Hellenic Studies_, v., p. 130), and Furtwaengler +(_Coll. Sabouroff_, 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, _Lexicon_, p. 1687). +The votive character of the Banquet reliefs is proved in some +instances by inscriptions, (_Journ. of Hellen. Studies_, v., p. 116; +Roscher, _Lexicon_, p. 2553). It is doubtful, however, whether the +artist was always conscious of the meaning of his work, and in 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. + +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 ([Greek: Ephêmeris], 1890, pl. 7). For other examples of +the same type on vases of different meanings, see _Athenische +Mittheilungen_, xiii., pl. 9; _Arch. Anzeiger_, 1890, p. 89. For the +most recent discussion of the whole question, see Roscher, _Lexicon_, +p. 2565. + +_Hero and Horse._--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 Theban relief (_Athenische Mittheilungen_, iv., pl. 16), +and a relief in the Sabouroff Collection, inscribed [Greek: Kallitelês +Aleximachô anethêken] (_Coll. Sabouroff_, i., pl. 29), and a relief +from Cumae (Roscher, _Lexicon_, p. 2555). For a list of reliefs with +figures of horsemen, see Furtwaengler, _Coll. Sabouroff_, i., p. 40; +Roscher, _Lexicon_, 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. + +_Reliefs from Lycia._--See below, p. 350. + + +VOTIVE RELIEFS. + +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. + +Votive offerings cover the whole field of life including persons, +lands, buildings, and, in particular, objects appropriate (A) to +the god or his worship, or (B) to the dedicator and the cause of his +dedication. + +A. Objects appropriate to the god include temples (compare the +inscription of Alexander from Prienè, 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 Demeter, and the vases from Naucratis in the +First Vase Room); or lastly, attributes of the god, such as the owl +of Athenè (No. 560), and the pigs found in the shrine of Demeter at +Knidos, now in the Mausoleum Room. + +B. 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). + +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. + +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 Athenè, +and of the patron deity of the other state, which may appear in the +attitude of a suppliant or adorant. (Compare Schöne, _Griech. Reliefs_, +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). + + ++++++++++++++++++ + +STELAE SURMOUNTED BY DECORATIVE DESIGNS. + + +For an account of these stelae, see above, p. 296. + +[Sidenote: =599.=] + +Stelè with two rosettes. Above, an acroterion, formed of acanthus +leaves and palmette combined (fig. 24). + +[Illustration: Fig. 24.--Sepulchral stelè of Smikylion, No. 599.] + +Inscribed [Greek: Smikyliôn Eualkidôu ek Kerameôn]--Smikylion, son of +Eualkides, of the deme of the Cerameicos.--_Athens._ _Presented by A. +Robinson, Esq., R.N._ + + Pentelic marble; height, 2 feet 9-1/2 inches; width, 1 foot 5-1/2 + inches. _Synopsis_ No. 441. _Greek Inscriptions in Brit. Mus._, + LXXXVI.; _C.I.A._, II., 2139. + +[Sidenote: =600.=] + +Plain stelè of Hippocrates and Baukis; surmounted by an acroterion in +low relief, of palmette form. + +Inscribed [Greek: Hippokratês, Baukis]. Below the surface of the stelè +is flat, and probably was painted.--_Athens._ _Elgin Coll._ + + Pentelic marble; height, 4 feet 1 inch; width, 1 foot 3 inches. + _Mus. Marbles_, IX., pl. 29, fig. 4. _Synopsis_, No. 351 (175); + Ellis, _Elgin Marbles_, II., p. 152; _C.I.G._, 958; _C.I.A._, II., + 3810. _Greek Inscriptions in Brit. Mus._, CXX. + +[Sidenote: =601.=] + +Fragment of a plain stelè, surmounted by an acroterion, in the form of +a palmette in low relief, springing from acanthus leaves. + +Inscribed [Greek: Assklêpiodôros Thrasônos Olynthios, Epikydês +Asklêpiodôrou Olynthios]--Asclepiodoros, son of Thrason, of Olynthos; +Epikydes, son of Asclepiodoros, of Olynthos.--_Probably from Athens._ +_Elgin Coll._ + + Pentelic marble; height, 1 foot 5 inches; width, 1 foot 3/4 inch. + _Mus. Marbles_, IX., pl. 29, fig. 2; _Synopsis_, No. 258 (169); + Ellis, _Elgin Marbles_, II., p. 152; _C.I.G._, 879; _C.I.A._, II., + 3243; _Greek Inscriptions in Brit. Mus._, CVI. + +[Sidenote: =602.=] + +Acroterion in form of palmette from a stelè.--_Athens._ _Inwood Coll._ + + Pentelic marble; height, 1 foot 9 inches; width, 1 foot 10 inches. + _Synopsis_, No. 418. + +[Sidenote: =603.=] + +Acroterion, from a stelè, of palmette form, springing from acanthus +leaves.--_Inwood Coll._ + + Pentelic marble; height, 10 inches. _Synopsis_, No. 414; Inwood, + _Erechtheion_, pl. 31, p. 147. + +[Sidenote: =604.=] + +Fragment of an acroterion of a stelè in form of a palmette springing +from acanthus leaves.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 1 foot 8-1/2 inches; width, 11 inches. + _Synopsis_, No. 191 (95). _Mus. Marbles_, IX., pl. 29, fig. 3. + +[Sidenote: =605.=] + +Stelè, surmounted by acroterion. One central palmette, and two half +palmettes at the sides spring from acanthus leaves. + +Inscribed [Greek: Eumachos Euthymachou [A]lôpe[k]êthe[n]]--Eumachos, +son of Euthymachos, of the deme of Alopekè. + +_Athens._--_Obtained by Chandler in his Expedition for the Society of +Dilettanti in 1765, and presented by the Society._ + + Pentelic marble; height, 1 foot 8 inches; width, 1 foot 5-1/4 + inches. _Synopsis_, No. 283 (292*); _C.I.G._, 579; _C.I.A._, II., + 1812. _Greek Inscriptions in Brit. Mus._, LXXIX.; _Stereoscopic_, + No. 121; Wolters, No. 1104. + +[Sidenote: 606.] + +Top of stelè, with central palmette and two half palmettes, springing +from acanthus leaves. _Found in the side of a mound, near Maritza, +Rhodes._ + + Marble; height, 2 feet 3 inches; width, 2 feet 3-1/4 inches. + +[Sidenote: =607.=] + +Upper part of stelè, surmounted by a central palmette and two half +palmettes, springing from acanthus leaves. Similar to last, but in +lower relief. + +_Probably from Athens._ _Formerly in the collection of Lord Elgin._ + + Pentelic marble; height, 1 foot 7 inches; width, 1 foot 1-3/4 + inches. _Journ. of Hellen. Studies_, VI., p. 42, No. 2. + +[Sidenote: =608.=] + +Upper part of stelè, surmounted by a central palmette, and two +palmettes at the sides, broken. + +Inscribed [Greek: Chabrias Salyprianos]. Chabrias of +Selymbria.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 1 foot 7 inches; width, 1 foot 5-1/2 + inches. _Synopsis_, No. 290 (226); _Mus. Marbles_, IX., pl. + 30, fig. 1; _C.I.G._, 888; _C.I.A._, II., 3296; Ellis, _Elgin + Marbles_, II., p. 152; _Greek Inscriptions in Brit. Mus._, CVII. + +[Sidenote: =609.=] + +Top of stelè, 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. + +_Probably from Athens._ _Formerly in the collection of Lord Elgin._ + + Pentelic marble; height, 9-3/4 inches; width, 11 inches. _Journ. + of Hellen. Studies_, VI., p. 43, No. 6. + +[Sidenote: =610.=] + +Top of stelè, 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. + +_Probably from Athens._ _Formerly in the collection of Lord Elgin._ + + Pentelic marble; height, 1 foot 2 inches; width, 1 foot 6 inches. + +[Sidenote: =611.=] + +Upper part of stelè, with three rosettes; surmounted by a large +acroterion.--_Kertch._ + + Limestone; height, 3 feet 8 inches; width, 1 foot 11-1/2 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. + +[Sidenote: =612.=] + +Stelè, surmounted by acroterion.--_Kertch._ + + Limestone; height, 3 feet; width, 1 foot 11 inches. + +[Sidenote: =613.=] + +Stelè, with two rosettes in front and one at each side; surmounted by +acroterion.--_Kertch._ + + Limestone; height, 2 feet 10 inches; width, 1 foot 10 inches. + +[Sidenote: =614.=] + +Top of stelè with rosettes. Originally surmounted by a large +acroterion of which only the acanthus leaves at the base +remain.--_Kertch._ + + Limestone; height, 2 feet 6 inches; width, 2 feet 4 inches. + +[Sidenote: =615.=] + +Upper part of stelè. Two rosettes in front and one on each side; above +an acroterion, of which the top is wanting.--_Kertch._ + + Limestone; height, 2 feet 11 inches; width, 1 foot 11 inches. + +[Sidenote: =616.=] + +Fragment of palmette from the acroterion of a stelè.--_Kertch._ + + Marble; height, 1 foot 7 inches; width, 1 foot 11 inches. + +[Sidenote: =617.=] + +Palmette from top of stelè.--_Kertch._ + + Limestone; height, 2 feet 6 inches; width, 1 foot 7-1/2 inches. + +[Sidenote: =618.=] + +Top of stelè, 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.--_Kertch._ + + Limestone; height, 2 feet 3 inches; width, 2 feet 3 inches. + + + + +SEPULCHRAL MONUMENTS WITH SCENES FROM DAILY LIFE. + + +[Sidenote: =619.=] + +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 _sphendonè_, 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. + +Inscribed [Greek: Hêgêsô Proxeno(u)]--Hegeso daughter of Proxenos. + +This relief, which is unequalled for its grace and delicacy, appears +to belong to the close of the fifth century B.C. The original, +of Pentelic marble, is _near the Dipylon at Athens_, where it was +discovered in 1870. + + Height, 4 feet 9-3/4 inches; width, 3 feet 1 inch. _Arch. Zeit._, + 1871, pl. 43, p. 19; _C.I.A._, II., 3753; Mitchell, p. 502; + Waldstein, _Essays_, p. 309; Wolters, No. 1030; Conze, _Attische + Grabreliefs_, No. 68, pl. 30; _Stereoscopic_, No. 123. + +[Sidenote: =620.=] + +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 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. + +Inscribed [Greek: Ameinokleia Andromeno(u)s thugatêr L...] +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 _Athens_, was discovered in 1836 _at the Piraeus_. + + Height, 4 feet 4-3/4 inches; width, 2 feet 3-1/2 inches. Le + Bas, _Mon. Fig._, pl. 65. _C.I.A._, II., 2687; Mitchell, p. 500; + Wolters, No. 1032; _Stereoscopic_, No. 123. + +[Sidenote: =621.=] + +Fragment of relief. A female figure, richly draped, is seated on +a stool, to the left. The head, right arm, and knees are +wanting.--_Athens._ _Elgin Coll._ + + Pentelic marble; height, 2 feet 5 inches; width, 1 foot 5 inches. + _Mus. Marbles_, IX., pl. 39, fig. 3. _Synopsis_, No. 280 (279). + +[Sidenote: =622.=] + +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.--_Athens._ _Elgin Coll._ + + Pentelic marble; height, 1 foot 7 inches; width, 1 foot 11-1/2 + inches. _Synopsis_, No. 419. + +[Sidenote: =623.=] + +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. + + Marble; height, 4 feet 11 inches; width, 2 feet 10-1/2 inches. + +[Sidenote: =624.=] + +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.--_Athens._ _Strangford Coll._ + + Pentelic marble; height, 2 feet 6-1/2 inches; width, 1 foot 3 + inches. + +[Sidenote: =625.=] + +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 +[Greek: ÊDD].--_Delos._ _Presented by A. E. Impey, Esq., 1825._ + + Marble; height, 6 feet 5 inches; width, 3 feet 8-1/2 inches. _Mus. + Marbles_, XI., pl. 50; Ellis, _Townley Gallery_, II., p. 205. + +[Sidenote: =626.=] + +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. + +Inscribed [Greek: Tryphôn Eutychou]--Tryphon, son of +Eutychos.--_Athens._ _Collection of Rev. F. V. J. Arundell._ + + Pentelic marble; height, 5 feet 11 inches; width, 3 feet. + Restored: right hand upper corner. _Mus. Marbles_, XI., pl. 49; + _C.I.A._, III., 3391; _Greek Inscriptions in Brit. Mus._, CXXIX. + +[Sidenote: =627.=] + +Figure of a youth, standing, holding a bird, within a distyle portico, +of which the left side is wanting. (Pl. xi., fig. 3.)--_Athens._ +_Strangford Coll._ + + Pentelic marble; height, 3 feet 1 inch; width, 11-1/2 inches. + _Arch. Anzeiger_, 1864, p. 164,* No. 2. + +[Sidenote: =628.=] + +Sepulchral monument of Xanthippos. An elderly bearded figure is seated +on a chair. He holds a foot in 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 ([Greek: kalapous], cf. _Monumenti dell' Inst._, 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. + +Above the relief is a pediment, inscribed [Greek: Xanthippos]. (Pl. +xi., fig. 2.) + +_Brought from the monastery of Asomato or Petraki at Athens by Dr. +Anthony Askew about 1747._ _Townley Coll._ + + Pentelic marble; height, 2 feet 9 inches; width, 1 foot 8 inches. + _Burney MSS._, No. 402; _Mus. Marbles_, X., pl. 33; Ellis, + _Townley Gallery_, II., p. 106; _C.I.G._, 980; _C.I.A._, II., + 4040; _Greek Inscriptions in Brit. Mus._, CXXIII.; Wolters, No. + 1019; Brueckner, _Von den griech. Grabreliefs_, p. 26. + +[Sidenote: =629.=] + +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. + +The inscription runs: [Greek: Iasôn ho kai Dekmos Acharneus iatros, +k.t.l.], 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. + +_Obtained by Fauvel in Athens; afterwards in the Choiseul-Gouffier and +Pourtalès Collections._ + + Pentelic marble; height, 2 feet 7 inches; width, 1 foot 10-1/2 + inches. _C.I.G._, 606; _C.I.A._, III., 1445; Panofka, _Antiques du + Cabinet Pourtalès_, p. 78, pl. 26; _Greek Inscriptions in Brit. + Mus._, LXXXI.; Wolters, No. 1804. On the cupping vessel see the + two references last cited. + +[Sidenote: =630.=] + +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. + +Inscribed [Greek: Agathêmeris S Ê Aphrodeisiou ek Kol(l)yteôn. +Senprônios Nikêtês Kollyteus.] The letters [Greek: S Ê] have not been +explained. + +Discovered, in 1826, _between Athens and the Piraeus_.--_Presented by +Gen. Malcolm._ + + Pentelic marble; height, 5 feet 6-1/2 inches; width, 3 feet. + _C.I.G._, 662_b_; _C.I.A._, III., 1760. + +[Sidenote: =631.=] + +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. + +Inscribed [Greek: ... Diodôrou, chrêste, [chaire].--_Rhenea._ _From +the Earl of Belmore's Coll._ + + Parian marble; height, 4 feet; width, 1 foot 8 inches. _C.I.G._, + 2313. + +[Sidenote: =632.=] + +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. + +The inscription runs [Greek: Ari]stonikê Diokleio[us Xy]p[e(taiôn) | +K]êphisogenês Kêphisophôntos Xy(petaiôn) | Arist[o]nikê Kêphisophôntos +Xyp(etaiôn) | Kêphisophôn Kêphisodôrou Xype(taiôn)]. It contains the +names of Aristonikè, daughter of Diocles, of Xypetè; of Kephisogenes +and Aristonikè, probably the children of Kephisophon; and of +Kephisophon, son of Kephisodoros of Xypetè.--_Obtained in Greece +by the fourth Earl of Aberdeen, and presented by the fifth Earl of +Aberdeen._ + + Pentelic marble; height, 1 foot; width, 1 foot 2-1/4 inches. + _Greek Inscriptions in Brit. Mus._, XC.; _C.I.A._, II., 2365. + +[Sidenote: =633.=] + +Male figure stands to the left, with right arm extended. Before him +is a table, on which is a large hydria.--_Obtained in Greece by the +fourth Earl of Aberdeen, and presented by the fifth Earl of Aberdeen._ + + Pentelic marble; height, 1 foot 7-1/2 inches; width, 1 foot 3/4 + inch. + +[Sidenote: =634.=] + +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. + +Inscribed [Greek: Hermodôros Aristomenou(s)]--Hermodoros, son of +Aristomenes. + + Bluish Greek marble; height, 3 feet 10 inches; width, 1 foot 6-1/2 + inches. + +[Sidenote: =635.=] + +Bearded figure stands, draped in a himation. The stelè is surmounted +by a bulbous ornament not worked in relief. Inscribed [Greek: +E]rasippos, [Ka]llenikou [Kr]iôeus].--Erasippos, son of Callenicos of +Crioa.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 2 feet 1 inch; width, 9 inches. _Mus. + Marbles_, IX., pl. 30, fig. 3; _C.I.G._, 665; _C.I.A._, II., 2223; + _Greek Inscriptions in Brit. Mus._, LXXXVIII. + +[Sidenote: =636.=] + +Stelè fitting into a base. Figures of an athlete anointing himself, +and of an attendant holding spear and drapery. + + Marble; height, 1 foot 11 inches; width, 1 foot 3-1/2 inches. + +[Sidenote: =637.=] + +Fragment of sepulchral relief, containing the upper parts of a bearded +man and a woman conversing. On the left a younger female figure. + +Inscribed: [Greek: Aristodikê, Aristarchos, Athênaïs, +Sêstioi]--Aristodikè, Aristarchos, and Athenais, of Sestos.--_Athens._ +_Found by Chandler, fixed in the wall of a church, on the road to +Cephisia. Presented by the Society of Dilettanti._ + + Pentelic marble; height, 7-3/4 inches; width, 1 foot 2-1/2 inches. + Chandler, _Inscriptions Ant._, Part II., No. 95; _Synopsis_, + No. 336 (236*); _C.I.G._, 892; _C.I.A._, II., 3313; _Greek + Inscriptions in Brit. Mus._, CVIII. + +[Sidenote: =638.=] + +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: + + [Greek: + Polla meth' hêlikias homoêlikos hêdea paisas + ek gaias blastôn gaia palin gegona. + Eimi de Aristoklês Peiraieus, pais de Menônos]. + +'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.'--_Athens._ _Elgin Coll._ + + Pentelic marble; height, 2 feet 8 inches; width, 1 foot 6 inches. + Stuart, III., p. 56; Chandler, _Inscriptions Ant._, Part II., + No. 78 ("fixed in a wall at the door of the Greek School"); + _Mus. Marbles_, IX., pl. 34, fig. 3; _Synopsis_, No. 384 (213); + _C.I.G._, 749; _C.I.A._, II., 2442; _Greek Inscriptions in Brit. + Mus._, XCII.; Kaibel, 75. + +[Sidenote: =639.=] + +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. + +Inscribed: [Greek: Ho dêmos Isiada Mêtrodôrou Laodikida].--Decreed +by the people, in honour of Isias of Laodicea, daughter of +Metrodoros.--_Smyrna._ _Presented by M. Duane and T. Tyrwhitt, Esqs., +1772._ + + Bluish Greek marble; height, 4 feet 2-1/4 inches; width, 1 foot + 11 inches. Montfaucon, _Ant. Expl. Suppl._, V., p. 25; + _Archaeologia_, III., pl. 11, fig. 1; Ellis, _Townley Gallery_, + II., p. 161; _C.I.G._, 3234. + +[Sidenote: =640.=] + +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. + + Parian marble? height, 3 feet; width, 2 feet 4 inches. + +[Sidenote: =641.=] + +Fragment of sepulchral stelè, with the lower part of a female figure +moving to the right.--_From Mycenae._ _Inwood Coll._ + + Red marble; height, 10 inches; width, 10-3/4 inches. _Synopsis_, + No. 427. + +[Sidenote: =642.=] + +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. + +Inscribed: [Greek: Mousis Argaiou Milêsia]. Mousis, daughter of +Argaios of Miletus.--_Athens._ _Found by Chandler. Presented by the +Society of Dilettanti._ + + Pentelic marble; height, 2 feet 2-3/4 inches; width, 1 foot + 2-1/4 inches. Chandler, _Inscriptiones Ant._, Part II., No. 91; + _Synopsis_, 1st ed., Room VI., No. 27 (where Thomas Hollis is + incorrectly said to be the donor); Ellis, _Townley Gallery_, II., + p. 171; _C.I.G._, 726; _Greek Inscriptions in Brit. Mus._, CIII. + +[Sidenote: =643.=] + +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. + +Inscribed with a name now illegible, and [Greek: chaire].--_Found in a +store at Portsmouth. Probably from Smyrna._ + + Marble; height, 2 feet; width, 1 foot 2-1/2 inches. + +[Sidenote: =644.=] + +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. + +Inscribed with a name now illegible, terminating in [Greek: ô], and +[Greek: chairete hapantes].--_Obtained by the fourth Earl of Aberdeen +in Greece, and presented by the fifth Earl of Aberdeen._ + + Marble; height, 1 foot 9-1/2 inches; width, 1 foot 1/2 inch. + _Greek Inscriptions in Brit. Mus._, CXXXIII.; Conze, _Attische + Grabreliefs_, No. 46; pl. 23, fig. 1. + +[Sidenote: =645.=] + +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.--_Kertch._ + + Limestone; height, 1 foot 8 inches; width, 2 feet 2 inches. + +[Sidenote: =646.=] + +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. + +Inscribed: [Greek: [D]êmêtria].--_Probably from Athens._ _Obtained +by the fourth Earl of Aberdeen, and presented by the fifth Earl of +Aberdeen._ + + Pentelic marble; height, 2 feet 1/2 inch; width, 1 foot 1 inch. + _Greek Inscriptions in Brit. Mus._, CXIII.; _C.I.A._, III., 3072. + +[Sidenote: =647.=] + +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.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 1 foot 6 inches; width, 1 foot 3 inches. + _Mus. Marbles_, IX., pl. 39, fig. 2; _Synopsis_, No. 196 (162). + +[Sidenote: =648.=] + +Boy seated on a rock fishing with a rod and line for a large fish, a +basket in his left hand. Above a pediment. + +Inscribed in rude late characters, [Greek: Agathême<t>ros Asiachô +syntrophô mnêmês charin].--Placed by Agathemeros in memory of his +foster brother Asiachos.--_Athens._ _Purchased from the Besborough +Coll. 1801._ + + Pentelic marble; height, 1 foot 2 inches; width, 10-1/2 inches. + _C.I.G._, 6892. + +[Sidenote: =649.=] + +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. + +Inscribed: [Greek: Abeita zêsasa etê [=i] mênas dyo· chairete]--Avita, +who lived ten years and two months. Hail.--_Townley Coll._ + + Parian marble; height, 1 foot 1 inch; width, 11 inches. Ellis, + _Townley Gallery_, II., p. 165. _C.I.G._, 6866; Wolters, No. 1811. + +[Sidenote: =650.=] + +Youthful female figure, standing, holding an ivy-leaf fan in the right +hand, and a part of the mantle with the left hand. + +Inscribed: [Greek: Synphoro[n] Hêrakleid[ou] Karystia]. Synphoron, of +Carystos, daughter of Heracleides.--_Athens?_ + + Pentelic marble; height, 1 foot 7 inches; width, 11-1/2 inches. + _C.I.G._, 857; _C.I.A._, III., 2510; _Greek Inscriptions in Brit. + Mus._, CI. + +[Sidenote: =651.=] + +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. + +Inscribed: [Greek: Menekratês Menônos]--Menecrates, son of +Menon.--_Athens._ _Strangford Coll._ + + Pentelic marble; height, 1 foot 9 inches; width, 11 inches. _Greek + Inscriptions in Brit. Mus._, CXXI.; _C.I.A._, III., 3276; _Arch. + Anzeiger_, 1864, p. 164*. + +[Sidenote: =652.=] + +Fragment of sepulchral relief. A draped female figure is seated on a +couch, with right hand raised to her veil; before her, two girls, +of whom one holds a ball and the other a fan.--_Found in a store at +Portsmouth._ _Probably from Smyrna._ + + Marble; height, 10 inches; width, 1 foot 1-1/2 inch. + +[Sidenote: =653.=] + +A boy throws a ball for a dog which springs up towards +him.--_Strangford Coll._ + + Pentelic marble; height, 1 foot 8 inches; width, 10-1/2 inches. + _Arch. Anzeiger_, 1864, p. 165*. + +[Sidenote: =654.=] + +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.--_Kertch._ + + Limestone; height, 2 feet 3-3/4 inches; width, 1 foot 9-1/2 + inches. + +[Sidenote: =655.=] + +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, [Greek: SÔT ... +NIKE chaire]. + + Greek marble; height, 2 feet 2-1/2 inches; width, 1 foot. + +[Sidenote: =656.=] + +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. + +Inscribed: [Greek: Artipous Alkima] and [symbol: L][Greek: p]. +[symbol: L] 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 [Greek: p] is given its usual +value.--_Kertch._ + + Limestone; height, 4 feet 1/2 inch; width, 2 feet 5-3/4 inches. + _Greek Inscriptions in Brit. Mus._, CCII.; Latyschev, II., 133. + +[Sidenote: =657.=] + +A draped figure, Theodotè, 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. Above the relief are an arch, +springing from pilasters, a pediment with acroteria, and rosettes. + +Inscribed: [Greek: [Theod]otê gynê [Myrinou, chaire]].--_Kertch._ + + Limestone; height, 2 feet 5 inches; width, 1 foot 8-1/2 inches. + _Greek Inscriptions in Brit. Mus._, CCI.; Latyschev, II., 231. The + restoration is taken from a copy, given by Latyschev, which was + made before the inscription was broken. + +[Sidenote: =658.=] + +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. + +Inscribed: [Greek: Theophilê thyga[têr]...] Theophilè, daughter of +....--_Kertch_. + + Limestone; height, 2 feet 5 inches; width, 2 feet. _Greek + Inscriptions in Brit. Mus._, CC.; Latyschev, II., 235_b_. + +[Sidenote: =659.=] + +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. + +Inscribed: [Greek: Hellas gynê Mênodôrou, chaire]--Hellas, wife of +Menodoros, farewell.--_Kertch._ + + Limestone; height, 5 feet 1-1/2 inches; width, 1 foot 11-1/2 + inches. _Greek Inscriptions in Brit. Mus._, CXCVII.; Latyschev, + II., 228. + +[Sidenote: =660.=] + +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 +(_pyxis_). On the right is a horseman wearing chlamys, bow-case +and bow, and sword. There is also a small part of a second +horseman.--_Kertch._ + + Limestone; height, 1 foot 6 inches; width, 2 feet 4 inches. + +[Sidenote: =661.=] + +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.--_Kertch._ + + Limestone; height, 3 feet 3 inches; width, 1 foot 11-1/2 inches. + +[Sidenote: =662.=] + +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.--_Kertch._ + + Limestone; height, 2 feet 3 inches; width, 1 foot 5 inches. + +[Sidenote: =663.=] + +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. + +Inscribed: [Greek: Daïske Ariaramnou, chaire]--Daïscos, son of +Ariaramnos, farewell.--_Kertch._ + + Limestone; height, 2 feet 6 inches; width, 1 foot 10 inches. + _Greek Inscriptions in Brit. Mus._, CLXXXVII.; Latyschev, II., + 141. + +[Sidenote: =664.=] + +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. + +Inscribed: [Greek: Artemidôre Dioga epi tês pinakeidos, chaire]. +Wolters translates, "Hail, Artemidoros, son of Diogas, officer in +charge of the list."--_Kertch._ + + Limestone; height, 2 feet 3 inches; width, 2 feet 1-3/4 inches. + _Greek Inscriptions in Brit. Mus._, CLXXXIII.; Wolters, No. 1809 + Latyschev, II., 131. + +[Sidenote: =665.=] + +Fragment of relief, with figures of two horsemen standing confronted. +The head of one and the head and body of the other are lost. They +have short tunic, cloak, bow and arrows in bow-case, and a saddle +cloth.--_Kertch._ + + Limestone; height, 1 foot 5 inches; width, 1 foot 8 inches. + +[Sidenote: =666.=] + +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.--_Athens._ _Strangford Coll._ + + Pentelic marble; height, 1 foot 7 inches; width, 1 foot 10 inches. + +[Sidenote: =667.=] + +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 [Greek: Epigona Moschiônos Milêsia], +Epigona, wife of Moschio, of Miletus.--_Athens._ _Presented by J. +Johnstone, Esq., 1890._ + + 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, _Voyage_ + (ed. 1679), II., p. 445; _C.I.G._, 706; _C.I.A._, III., 2660. + +[Sidenote: =668.=] + +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.--_Elgin Coll._ + + Pentelic marble; height, 1 foot 6 inches. _Synopsis_, No. 198 + (109). + +[Sidenote: =669.=] + +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.--_Athens, 1848._ +_Lenormant Coll._ + + Pentelic marble; height, 6-3/4 inches. + +[Sidenote: =670.=] + +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.--_Inwood Coll._ + + Pentelic marble; height, 7 inches. + +[Sidenote: =671.=] + +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).--_Athens?_ +_Elgin Coll._ + + Pentelic marble; height, 8 inches. _Synopsis_, No. 250 (114); + Ellis, _Elgin Marbles_, II., p. 119. + +[Sidenote: =672.=] + +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.)--_Athens._ + + Pentelic marble; height, 8 inches. + +[Sidenote: =673.=] + +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.)--_Athens._ + + Pentelic marble; height, 10 inches. The tip of the nose is + restored. + +[Sidenote: =674.=] + +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. + + Marble; height, 6-1/2 inches. + +[Sidenote: =675.=] + +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. + + Marble; height, 6 inches. + +[Sidenote: =676.=] + +Fragment of the head of a youth, perhaps from a sepulchral relief. +A band passes across the forehead immediately below the +hair.--_Excavated by J. T. Wood, at Ephesus._ + + Marble; height, 5 inches. + +[Sidenote: =677.=] + +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.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 10-1/2 inches. _Synopsis_, No. 242 (120). + +[Sidenote: =678.=] + +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.--_Ephesus._ _Strangford Coll._ + + Pentelic marble? Height, 1 foot 4 inches; width, 11 inches. + +[Sidenote: =679.=] + +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 (_pteryges_), 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 arm raised for a spear +thrust at a fallen enemy.--_Found at the foot of the Inscribed +Monument, Xanthos._ + + Hard limestone; height, 3 feet 4 inches; width, 1 foot 11 inches. + _Synopsis_, _Lycian Room_, No. 141_b_. 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, _Reisen in Lykien_, I., p. 135; and at Tyssa, _loc. + cit._, II., p. 64. + +[Sidenote: =680.=] + +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, _Atlas von Athen_, pl. 4.)--_Brought from Greece +by C. R. Cockerell._ _Presented by Lord Hillingdon._ + + Pentelic marble; height, 3 feet 2-3/4 inches; length, 5 feet. + _Journ. of Hellen. Studies_, VI., pl. C., p. 32. + + + + +SEPULCHRAL VASES. + + +For the supposed significance of Vases as Sepulchral Monuments, see +above, p. 297. + +[Sidenote: =681.=] + +Plain sepulchral lekythos, in low relief.--_Elgin Coll._ + + Pentelic marble; height, 2 feet 11 inches. _Synopsis_, No. + 164 (276); _Mus. Marbles_, IX., pl. 34, fig. 1; Ellis, _Elgin + Marbles_, II., p. 161. + +[Sidenote: =682.=] + +Sepulchral lekythos, with relief. An old man, Pytharatos, stands, +clasping the hand of a seated man, Herophilos, who is also old. + +Inscribed: [Greek: Pytharatos, Hêrophilos].--_Sloane Coll._ + + Pentelic marble; height, 2 feet 9 inches; diameter, 10-1/4 inches, + Ellis, _Townley Gallery_, II., p. 221; _Greek Inscriptions in + Brit. Mus._, CXXVI. + +[Sidenote: =683.=] + +Plain sepulchral amphora of Phaidimos of Naucratis. Inscribed: [Greek: +Phaidimos Naukratitês].--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 3 feet 4-1/2 inches; diameter, 11 inches. + _Synopsis_, No. 124 (A. 51); _Mus. Marbles_, IX., pl. 33, fig. 4; + Ellis, _Elgin Marbles_, II., p. 164; _Greek Inscriptions in Brit. + Mus._, CV.; _C.I.A._, II., 3239. + +[Sidenote: =684.=] + +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. + +Inscribed: [Greek: Timophôn Timostratou Anagyrasios].--_Athens?_ +_Elgin Coll._ + + 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 (_American Journ. of Archaeology_, V., p. 178, + fig. 30). Published Dodwell, _Tour_, 1., p. 451; _Synopsis_ + No. 263 (163); _Mus. Marbles_, IX., pl. 32, fig. 4; _Greek + Inscriptions in Brit. Mus._, LXXX.; _C.I.G._, 585. Kumanudis + ([Greek: Att. Epig.] No. 236, and p. 18) and Köhler (_C.I.A._ II., + 1850) consider the inscription more recent than the vase. + +[Sidenote: =685.=] + +Fragment from the top of a sepulchral amphora in relief, with patterns +of foliage.--_Formerly in Lord Elgin's Collection._ + + Pentelic marble; height, 11 inches. _Journ. of Hellen. Studies_, + VI., p. 43, No. 4. + +[Sidenote: =686.=] + +Sepulchral cippus of Anaxicrates with an amphora carved in low relief. + +Inscribed: [Greek: Anaxikratês Dexiochou Athênaios].--_Athens?_ _Elgin +Coll._ + + Pentelic marble; height, 2 feet 1/2 inch. _Synopsis_, No. 123 + (240); _Mus. Marbles_, IX., pl. 34, fig. 2; _Greek Inscriptions in + Brit. Mus._, XCVI.; _C.I.G._, 801. + + + + +SEPULCHRAL VASES AND RELIEFS, WITH FIGURES CLASPING HANDS. + + +For the various interpretations that have been proposed for these +scenes, commonly known as "Scenes of Parting," see above, p. 297. + +[Sidenote: =687.=] + +Sepulchral lekythos with relief. A bearded figure stands before a +woman seated on a stool, and clasps her hand. + +Inscribed: [Greek: Pamphilos Meixiadou Aigilieus· Archippê +Meixiadou]--Pamphilos, son of Meixiades, of Aigilia; Archippè, +daughter of Meixiades. The figures represented are therefore brother +and sister.--_Found beside the portico of Hadrian, Athens._ _Elgin +Coll._ + + Pentelic marble; height, 2 feet 4-3/4 inches; diameter, 1 foot 5 + inches. Stuart I., pp. 44, 52; Dodwell, _Tour_, I., p. 454; _Mus. + Marbles_, IX. pl. 33, fig. 2; _Synopsis_ No. 192 (237); Ellis, + _Elgin Marbles_, II., p. 164; _C.I.G._, 560; _C.I.A._, II., 1737; + _Greek Inscriptions in Brit. Mus._, LXXV. + +[Sidenote: =688.=] + +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. + +Inscribed: [Greek: Mys, Philia, Mêtrodôra, Melês].--_Athens?_ _Elgin +Coll._ + + Pentelic marble; height, 1 foot 9-1/2 inches; diameter, 1 foot + 1-1/4 inches, _Mus. Marbles_, IX., pl. 32, fig. 3; _Synopsis_ No. + 199 (148); _C.I.G._, 974; _C.I.A._, II., 3998; _Greek Inscriptions + in Brit. Mus._, CXXII. Brueckner, _Von den griech. Grabreliefs_, + p. 12, fig. K. 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, _l.c._ + +[Sidenote: =689.=] + +Part of a sepulchral lekythos with relief. Two women, Callistratè (?) +and Demostratè, stand with right hands 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. + +Inscribed: [Greek: Dêmostratê, Kallistr[atê]].--_Athens?_ _Elgin +Coll._ + + Pentelic marble; height, 1 foot 7 inches; diameter, 1 foot 5 + inches. _Mus. Marbles_, IX., pl. 31, figs. 1, 2; _Synopsis_ No. + 275 (104); Ellis, _Elgin Marbles_, II., p. 165; _C.I.G._, 936; + _C.I.A._, II., 3611; _Greek Inscriptions in Brit. Mus._, CXIV. + +[Sidenote: =690.=] + +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. + +Inscribed with an elegiac inscription of four lines of which only the +terminations remain.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 2 feet 4-1/4 inches; diameter, 1 foot + 3-1/2 inches. _Mus. Marbles_, IX., pl. 32, fig. 1; _Synopsis_ No. + 122 (167); Ellis, _Elgin Marbles_, II., p. 161; _C.I.G._, 1041; + _C.I.A._, II., 4312; _Greek Inscriptions in Brit. Mus._, CXXXII. + +[Sidenote: =691.=] + +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.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 2 feet 6 inches; diameter, 1 foot 6 + inches. _Mus. Marbles_, IX., pl. 33, fig. 3; _Synopsis_ No. 195 + (228); Ellis, _Elgin Marbles_, II., p. 161. + +[Sidenote: =692.=] + +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 shield; behind +the seated figure is a woman standing with her right hand raised to +her chin. + +Inscribed: [Greek: Sôsippos].--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 2 feet; diameter, 11 inches. Dodwell, + _Tour_, I., p. 455; _Mus. Marbles_, IX., pl. 31, fig. 3; + _Synopsis_ No. 230 (239); Ellis, _Elgin Marbles_, II., p. 165; + _C.I.G._, 1008; _C.I.A._, II., 4156; _Greek Inscriptions in Brit. + Mus._, CXXVII. + +[Sidenote: =693.=] + +Stelè, 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.) + +Inscribed: [Greek: Archiadês Hagn(o)usios, Polemonikos +Athmoneus]--Archiades of Hagnus; Polemonicos of Athmonon.--_Formerly +in the Guilford Collection. Presented by G. Plucknett, Esq., 1886._ + + Pentelic marble; height, 2 feet 11-1/2 inches width, 1 foot 1 + inch. _C.I.G._, 552; _C.I.A._, II., 1700. + +[Sidenote: =694.=] + +Stelè, 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 stelè is +surmounted by a rounded top as if for a palmette, which may have been +painted. + +Inscribed: [Greek: Xenô, Hermodôros, Kleô].--_Athens?_--_Elgin Coll._ + + Pentelic marble; height, 2 feet 1 inch; width, 1 foot 2-1/2 + inches. _Mus. Marbles_, IX., pl. 30, fig. 4; _Synopsis_ No. 373 + (229); _C.I.G._, 981; _C.I.A._, II., 4042; _Greek Inscriptions in + Brit. Mus._, CXXIV. + +[Sidenote: =695.=] + +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. + +Inscribed: [Greek: Archagora, Pithyllis, Polystratos].--_Athens?_ +_Elgin Coll._ + + Pentelic marble; height, 1 foot 8 inches; diameter, 11 inches. + Dodwell, _Tour_, I., p. 455; _Mus. Marbles_, IX., pl. 31, fig. 4; + _Synopsis_, No. 182 (274); Ellis, _Elgin Marbles_, II., p. 165; + _C.I.G._, 996; _C.I.A._, II., 3524; _Greek Inscriptions in Brit. + Mus._, CXII. + +[Sidenote: =696.=] + +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.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 2 feet 11-1/2 inches; diameter, 11 + inches. _Mus. Marbles_, IX., pl. 33, fig. 1; _Synopsis_ No. 132 + (A. 50); Ellis, _Elgin Marbles_, II., p. 164. + +[Sidenote: =697.=] + +Sepulchral lekythos with relief. A bearded man stands before a woman +seated on a chair. + +Inscribed above the head of the woman: [Greek: Ada]. The name of +the man may have been inscribed originally, but it is now +obliterated.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 1 foot 10-1/2 inches; diameter, 1 foot. + _Mus. Marbles_, IX., pl. 32, fig. 2; _Synopsis_ No. 188 (110); + _Greek Inscriptions in Brit. Mus._ CXI.; _C.I.A._, II., 3438. + +[Sidenote: =698.=] + +Sepulchral lekythos with relief. A man, Alkimachos, stands before +a seated woman, Hedylè, and clasps her hand. A girl stands behind +Hedylè, and another girl of a smaller size stands behind Alkimachos. + +Inscribed: [Greek: Hêdylê, Alkimachos].--_Probably from Athens._ _From +the Earl of Belmore's Collection_, 1842. + + Pentelic marble; height, 1 foot 5 inches; diameter, 1 foot 1 inch. + _Greek Inscriptions in Brit. Mus._, CXVIII.; _C.I.A._, II., 3761. + +[Sidenote: =699.=] + +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.--_From a store at +Portsmouth._ _Perhaps from Smyrna._ + + Marble; height, 1 foot 7 inches; diameter, 1 foot. + +[Sidenote: =700.=] + +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.--_Athens?_ +_Elgin Coll._ + + Pentelic marble; height, 6 inches; width, 10-1/2 inches. + _Synopsis_, No. 423. + +[Sidenote: =701.=] + +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. + + Pentelic marble? Height, 1 foot; width, 11 inches. + +[Sidenote: =702.=] + +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. + +Inscribed: [Greek: Sôpatra Pausaniou. Antimachos Pausaniou. Philopatra +Mi[r]ylou. Pausanias Andriskou.] Sopatra and Antimachos are the +children of Pausanias and Philopatra.--_Pella._ + + Fine-grained white marble; height, 4 feet; width, 2 feet 6 inches. + _Greek Inscriptions in Brit. Mus._, CLXXII. + +[Sidenote: =703.=] + +An elderly bearded man, seated, to the left, clasps the hand of an old +man standing before him. Both figures 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 [Greek: Ho dêmos Dêmoklên +Amphilochou], [Greek: Ho dêmos Dêmoklên Dêmoklêous], recording honorary decrees +to Democles, son of Amphilochos, and Democles, son of Democles. Below +is a metrical epitaph, in eight lines: + +[Greek: + Ton pinyton kata panta kai exochon en poliêtais + anera gêral(e)ou termat' echonta biou + Aideô nychioio melas hypedexato kolpos + eusebeôn th' hosiên eunasen es klisiên. + mnêma d' apophthimenoio para trêchêan atarpon + touto païs kednê teuxe syn eunetidi. + xeine, sy d' aeisas Dêmokleos hyiea chairein + Dêmoklea steichois ablabes ichnos echôn.] + +--_Smyrna._ _Presented by M. Duane and T. Tyrwhitt, Esqs., 1772._ + + Bluish Greek marble; height, 4 feet 5 inches; width, 1 foot + 8-1/2 inches. Montfaucon, _Ant. Expl. Suppl._, V., p. 25; + _Archaeologia_, III., pl. 11, fig. 2; _C.I.G._, 3256; Kaibel, 237. + +[Sidenote: =704.=] + +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 stelè surmounted by two cornucopiae, and a candelabrum. Above, +two wreaths and the honorary inscription, [Greek: Ho dêmos Exakestên +Androboulou. Ho dêmos Mêtrein Hermippou, Exakestou de gynaika]. +The relief is surmounted by a pediment with acroteria and a +rosette.--_Perhaps from Smyrna._ _Townley Coll._ + + Greek marble; height, 2 feet 5-1/2 inches; width, 1 foot 4-1/2 + inches. _Mus. Marbles_, X., pl. 43; _C.I.G._, 3232; Ellis, + _Townley Gallery_, II., p. 165; Wolters, No. 1806. This relief was + once in the possession of Dr. Richard Mead (_Mus. Meadianum_, Pars + alt., 1759, p. 239). + +[Sidenote: =705.=] + +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 stelè is surmounted by a pediment. + + Greek marble; height, 2 feet 2-1/4 inches; width, 1 foot 2 inches. + +[Sidenote: =706.=] + +A woman, Laodikè (?), seated, clasps the hand of a youth standing +before her. The relief is crowned by a pediment. A nearly illegible +inscription appears to read: [Greek: Laodikê Hêr[ophilou?] ... +chaire]. + + Pentelic marble; height, 2 feet 3-1/4 inches; width, 1 foot 2 + inches. + +[Sidenote: =707.=] + +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.--_Kertch._ + + Limestone; height, 2 feet 4 inches; width, 1 foot 7 inches. + +[Sidenote: =708.=] + +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. + +Inscribed: [Greek: Bakchie Bageos kai hyie Bakchie chairete]. + + Limestone; height, 2 feet 11-3/4 inches; width, 1 foot 8-3/4 + inches. _Greek Inscriptions in Brit. Mus._, CLXXXIV.; Latyschev, + II., 78. + +[Sidenote: =709.=] + +A man and woman stand, clasping hands. A boy on the right. Above is a +pediment with acroteria and rosettes. + +Inscribed: [Greek: Gaïos Gaïou kai mêtêr Basili[nd]ina +chairete].--_Kertch._ + + Limestone; height, 2 feet 6-1/2 inches; width, 1 foot 7-1/4 + inches. _Greek Inscriptions in Brit. Mus._, CLXXXVI.; Latyschev, + II., 93. + +[Sidenote: =710.=] + +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 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.--_Obtained from Greece by the +fourth Earl of Aberdeen, and presented by the fifth Earl of Aberdeen, +1861._ + + Greek marble; height, 3 feet 7 inches; diameter, 2 feet 9 inches. + _Guide to Graeco-Roman Sculptures_, Part II., No. 75. + + + + +RELIEFS REPRESENTING THE SEPULCHRAL BANQUET. + + +For a discussion of the interpretation of this class of reliefs, see +above, p. 298. + +[Sidenote: =711.=] + +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 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 _the Piraeus_ in 1838, and is +now in the _National Museum at Athens_. + + Height, 1 foot 7-1/2 inches; width, 2 feet 1 inch. [Greek: + Ephêmeris], 1839, No. 269; Le Bas, _Mon. Fig._, pl. 52; + Pervanoglu, _Familienmahl_, p. 24, No. 60; Mitchell, p. 504; + Wolters, No. 1052; Roscher, _Lexicon_, p. 2574. + +[Sidenote: =712.=] + +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. + +On the lower margin is the modern inscription _Aesculapio Tarentino +Salenius Arcas_, 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, B.C. 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.--_Presented by W. R. Hamilton, Esq., 1845._ + + Marble, probably Pentelic; height, 1 foot 10-1/2 inches; width, + 2 feet 9 inches. The upper right-hand corner is restored. P. + Gardner, _Journ. of Hellen. Studies_, V., p. 105, and plate; + Wolters, No. 1054; Roscher, _Lexicon_, p. 2575. + +[Sidenote: =713.=] + +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.--_Townley Coll._ + + Pentelic marble; height, 1 foot 2 inches; width, 2 feet 2 inches. + +[Sidenote: =714.=] + +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.--_Athens?_ _Elgin +Coll._ + + Pentelic marble; height, 1 foot 3 inches; width, 1 foot 1/2 inch. + _Mus. Marbles_, IX., pl. 35, fig. 1; _Synopsis_, No. 279 (94); + Welcker, _Alte Denkmaeler_, II., p. 273; cf. Welcker, _loc. cit._, + II., pl. 13, No. 24; Pervanoglu, _Familienmahl_, p. 44, No. 174. + +[Sidenote: =715.=] + +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 distinguished, carrying a large vessel on the +head.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 1 foot 4-3/4 inches; width, 9-1/2 inches. + _Mus. Marbles_, IX., pl. 36, fig. 3; _Synopsis_, No. 189 (284); + _Guide to Elgin Room_, Part II., No. F. 6. + +[Sidenote: =716.=] + +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 _polos_ +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.--_Townley Coll._ + + Pentelic marble; height, 9-1/2 inches; width, 1 foot 1-3/4 inches. + Ellis, _Townley Gallery_, II., p. 167; Welcker, _Alte Denkmaeler_, + II. p. 278. + +[Sidenote: =717.=] + +Relief with banquet and sacrifice. A male figure, half draped and +wearing a _polos_ 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.-- +_Halicarnassos._ _Presented by H.M. Sultan Abdul Medjid to Viscount +Stratford de Redcliffe, and by him presented to the British Museum._ + + Marble; height, 10 inches; width, 1 foot 1 inch. + +[Sidenote: =718.=] + +Fragment of relief. A nude male figure who seems to be wearing a +Phrygian cap, and holds some object in his 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.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 1 foot 6 inches; width, 1 foot 3 inches. + _Synopsis_, No. 380 (101); _Mus. Marbles_, IX., pl. 37, fig. 1. + +[Sidenote: =719.=] + +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.--_Mytilene._ + + Marble; height, 10 inches; width, 11 inches. Conze, _Lesbos_, p. + 10, Note 3, No. 1. + +[Sidenote: =720.=] + +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 (_pyxis_) +of a woman, who had been seated at the foot of the couch. The relief +is bounded by pilasters, an entablature and a roof. + + Marble; height, 1 foot 1 inch; width, 9 inches. + +[Sidenote: =721.=] + +Relief with a female figure of the type of the banquet reliefs. A +woman seated, wearing a lofty head-dress (_polos_), holds an ivy-leaf +fan in her left hand, and with the right hand appears to be offering a +cup to a serpent.--_Athens?_ _Elgin Coll._ + + Pentelic marble; height, 2 feet 3-1/2 inches; width, 1 foot 5-3/4 + inches. _Mus. Marbles_, IX., pl. 38, fig. 3; _Synopsis_, No. 278 + (238); Ellis, _Elgin Marbles_, II., p. 127, No. 278. + +[Sidenote: =722.=] + +Relief with banquet. A man reclines on a couch with a cup in his left +hand. Before him is a table with 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. + +Inscribed: [Greek: Hermias Athaniônos]. Hermias, son of +Athenion.--_Athens._ _Strangford Coll._ + + Pentelic marble; height, 1 foot 5 inches; width, 10 inches. _Greek + Inscriptions in Brit. Mus._, CXVI.; _Arch. Anzeiger_, 1864, p. + 164*; Pervanoglu, _Familienmahl_, p. 15, No. 5. + +[Sidenote: =723.=] + +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 +[Greek: Ho dêmos]; also a pediment, having acroteria, and containing a +rosette. + +Inscribed: + +[Greek: + Ho dêmos Lênaion Artemidôrou· + kai to prin en polemois têrôn pyrgon, parodita, + kai nyn têrêsô, hôs dynamai, nekys ôn.] + +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. + + Bluish Greek marble; height, 3 feet 11-1/2 inches; width, 1 foot 7 + inches. _Rhein. Mus. N.F._ 1848, p. 82; Kaibel, 111. + +[Sidenote: =724.=] + +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: [Greek: Ho dêmos]. + +Inscribed: [Greek: Hellaniôn Tarseus], 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.--_Xanthos?_ +_Presented by J. Scott Tucker, Esq., R.N._ + + Bluish-grey marble; height, 2 feet 1/4 inch; width, 2 feet + 7 inches. _Arch. Anzeiger_, 1851, p. 128; Pervanoglu, + _Familienmahl_, p. 34, No. 113. + +[Sidenote: =725.=] + +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.--_Halicarnassos._ + + Marble; height, 1 foot 2 inches; width, 2 feet. + +[Sidenote: =726.=] + +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.--_Found in a store at Portsmouth._ _Probably +from Smyrna._ + + Bluish marble; height, 1 foot 10-1/2 inches; width, 1 foot 6 + inches. + +[Sidenote: =727.=] + +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 +a Sphinx. The heads of both figures are wanting of _Mytilene_. + + Marble; height, 11 inches; width, 10-1/2 inches. Conze, _Lesbos_, + p. 10, Note 3, No. 3. + +[Sidenote: =728.=] + +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.--_Naucratis._ _Presented by the Egypt +Exploration Fund, 1886._ + + Limestone, with traces of red paint; height, 1 foot 3 inches; + width 1 foot 8-1/2 inches. Gardner, _Naukratis_, II., p. 22. + +[Sidenote: =729.=] + +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.--_Mytilene._ + + Marble; height, 1 foot 3/4 inch; width, 7 inches. Conze, _Lesbos_, + p. 10, Note 3, No. 2. + +[Sidenote: =730.=] + +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. + + Marble; height, 11 inches; width, 10 inches. + +[Sidenote: =731.=] + +Fragment of relief with banquet. A male figure reclines on a couch +between two columns, with a bowl in his right hand. A table with cups +stands before the couch.--_Thasos._ _Strangford Coll._ + + Marble; height, 9 inches; width, 1 foot 2 inches. + +[Sidenote: =732.=] + +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. + + Marble; height, 1 foot 7 inches; width, 2 feet 6 inches. + +[Sidenote: =733.=] + +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.--_Excavated by +Mr. Wood at Ephesus._ + + Ephesian marble; height, 1 foot 7-1/2 inches; width, 2 feet 2-1/2 + inches. + +[Sidenote: =734.=] + +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.--_Townley Coll._ + + Greek marble; high relief. The upper part is wanting. Height 1 + foot 8-1/2 inches; width, 1 foot 6 inches. _Mus. Marbles_, X., pl. + 49, fig. 2. + +[Sidenote: =735.=] + +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. + +Inscribed: [Greek: ....nou chaire].--_Cyzicus._ _Presented by A. van +Branteghem, Esq., 1890._ + + Marble; height, 10-1/2 inches; width, 9-1/2 inches. _Rev. Arch._, + 1891, p. 12, No. 4. + +[Sidenote: =736.=] + +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 (_calathos_); 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. + +[Greek: + Dionysodôrou tou Pytheou. + a. Dionysodôre, chaire; b. kai sy ge, ô phile, + to nyn ech[on g]einôske me hôde keimenon, + kalon kai agathon kai kalôs ezôkota, + L]imnagenê gegonota, pasi prosphil[ê.] + +--_Brought from Cyzicus, in 1830, by H.M.S. Blonde._ _Found in 1880 in +a store at Portsmouth._ + + Bluish Greek marble; height, 2 feet 5-1/2 inches; width, 2 feet 8 + inches. _C.I.G._, 3684; Kaibel, 245; Wolters, _Rhein. Mus. N.F._, + 1886, p. 346. + +[Sidenote: =737.=] + +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 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. + +Inscribed: [Greek: Alexandros Alexandrou Beithynieu[s] kai Neikomêdeus +zôn heautô kateskeuas[a] to mnêmeion kai tê mêtri mou kai tê symbiô +Philippa Pontianou. kai boulome meta to tethênai hêmas eis tên kamaran +mêdena heteron anoixe; ei de para tauta poiêsei dôsei is ton +phiskon dên. b,ph (2,500) kai is tên polin dên. b,ph (2,500). +chairete.]--_Smyrna._ _Presented by M. Duane and T. Tyrwhitt, Esqs., +1772._ + + Marble; height, 2 feet 9 inches; width, 1 foot 8 inches. + _Archaeologia_, III., pl. 11, fig. 3; _C.I.G._, 3265; Pervanoglu, + _Familienmahl_, p. 45, No. 180. + +[Sidenote: =738.=] + +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. + +[Greek: + Nymphidiou thalamoio lipôn dyspenthea kosmon + kai goneôn oik[t]rôn dakryoenta domon + keimai es [au]chmêrous kai alampeas Aïdos eunas + eikos[i t]essar' echôn Kassiodôros etê; + ap[roi]dês nous[o]s me synêrpase; mounoeti[n de + n]êp[i]achon kourên lipô hyp' êelion.]--_Antioch?_ + + Marble; height, 1 foot 8 inches; width, 1 foot 3 inches. + Drummond's _Travels_ (1754), pl. facing p. 229, fig. 15 (very + rudely drawn), and p. 237; _C.I.G._, 4466; Kaibel, 431. In + Drummond's time the stone was "in the Library of the right + worshipful the Levant Company" at Aleppo. + +[Sidenote: =739.=] + +Stelè with reliefs in two panels. In the upper panel is a figure on +a couch holding a bunch of grapes. The upper part of the figure is +wanting. Before the couch are a table with food and three attendant +male figures. + +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.--_Kertch._ + + Limestone; height, 3 feet; width, 1 foot 9 inches. For the + collection of sculptures from Kertch, see above, p. 8. + +[Sidenote: =740.=] + +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. + +Inscribed: [Greek: ... de hyie Androne[ik]ou chaire]. Hail! ... son of +Andronicos.--_Kertch._ + + Limestone; height, 2 feet 7 inches; width, 2 feet 7 inches. _Greek + Inscriptions in Brit. Mus._, CLXXXII.; Latyschev, II., 212. + +[Sidenote: =741.=] + +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 oinochoè 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: [Greek: Isigonê gynê Hêraklidou chaire. +Hêrakleidê g(ynê) b chaire.]--_Kertch._ + + Limestone; height, 2 feet 8 inches; width, 2 feet 4-1/2 inches. + _Greek Inscriptions in Brit. Mus._, CXCI.; Latyschev, II., 96. + +[Sidenote: =742.=] + +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.--_Tomis._ + + Limestone; height, 6 feet 11 inches; width, 2 feet 8-1/2 inches. + _Greek Inscriptions in Brit. Mus._, CLXXVII. + +[Sidenote: =743.=] + +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 oinochoè (?), and a girl with a phialè. 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.--_Kertch._ + + Limestone; height, 7 feet 1 inch; width, 3 feet. + +[Sidenote: =744.=] + +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, [Greek: LYTE ...]--_Obtained by +the Euphrates Expedition_ _(1835-1837) and presented by Sir J. C. +Hobhouse, President of the Board of Control._ + + Marble; height, 2 feet; width, 1 foot 3 inches. + + +[Sidenote: =745.=] + +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. + +Inscribed with the metrical epitaph: + +[Greek: + Oupô] nymphidiôn kradiê peplêthota lektrôn + Diphi]lon aiaktô tôd' hypenasse taphô + gnôton] te gnôtê te panaidoiê<i> Stratonikê + hô k]ai Alexandron kouron homêgenea, + ast]ois kai xeinoisi prosêneas, esthla men eipein + esth]la de kai rhexai pantas epistamenous: + Maio]genes, sy de paidas en hêrôessi phylassois + eusebe]ôn aiei chôron eperchomenos.] + +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.--_Ephesus._ _Excavated by Mr. Wood, between the +Magnesian Gate and the Temple of Artemis._ + + Ephesian marble; height, 3 feet; width, 1 foot 7-1/2 inches. + Wood, _Ephesus_, p. 123; _Greek Inscriptions in Brit. Mus._, + DCXXV_a._ + +[Sidenote: =746.=] + +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 serpent; a bird sits on a branch. The +relief is bounded by pilasters, a circular arch with rosettes in the +spandrels, and a pediment. + +Inscribed: [Greek: Serapiôn, chrêste kai alype chaire]. + + Greek marble; height, 3 feet 2 inches; width, 1 foot 8-1/4 inches. + This stone was formerly at Venice, and afterwards in London, "apud + Dodd chemicum." Boeckh, _C.I.G._, 6990. + + + + +RELIEFS WITH RIDER AND HORSE, HEROIFIED. + + +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, p. +301. + +[Sidenote: =750.=] + +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. + +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.--_Brought from Greece by Mr. Topham, 1725; Presented by Sir +Joseph Banks and the Hon. A. C. Fraser, 1780._ + + Greek marble; height, 2 feet 1-7/8 inch; width, 3 feet 8-1/2 + inches. _Mus. Marbles_, II., pl. 41; Ellis, _Townley Gallery_, + II., p. 157; Jahn, _De Ant. Minervae Simulacris_, p. 23, pl. 3, + fig. 1; _C.I.G._, 1936; Wolters, 437. + +[Sidenote: =751.=] + +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 (_heteromaschalos_), 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. + + Marble; height, 3 feet; width, 3 feet. + +[Sidenote: =752.=] + +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.--_Blayds Coll._ + + White marble; height, 1 foot 1 inch; width, 1 foot 1 inch. + +[Sidenote: =753.=] + +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 oinochoè in +the right hand and a phialè in the left hand. Behind her is a +bearded figure on a smaller scale with the right hand raised as in +adoration.--_Aphanda, Rhodes._ + + Marble; height, 1 foot 5 inches; width, 2 feet. _Arch. Anzeiger_, + 1854, p. 485, No. 8; _Athenische Mittheilungen_, VIII., p. 370. + +[Sidenote: =754.=] + +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.--_Ephesus._ _J. T. +Wood._ + + Ephesian marble; height, 1 foot 4-1/2 inches; width, 8 inches. The + figure with the double-headed axe resembles that of the so-called + [Greek: theos sôzôn] on late reliefs from Asia Minor (_Journ. of + Hellen. Studies_, VIII., p. 235; Roscher, _Lexicon_, p. 2564). + +[Sidenote: =755.=] + +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.--_Ephesus._ _J. T. Wood._ + + Ephesian marble; height, 1 foot 2 inches; width, 1 foot 5 inches. + +[Sidenote: =756.=] + +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.--_Ephesus._ _J. T. Wood._ + + Ephesian marble; height, 10 inches; width, 6-1/2 inches. + +[Sidenote: =757.=] + +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. + +Inscribed: [Greek: Êzous Apoll[ôni]dou tois parag[ou]sin +chairein].--_From Phanagoria._ + + Limestone; height, 2 feet 4-1/2 inches; width, 1 foot 2 inches. + _C.I.G._, 2129; _Greek Inscriptions in Brit. Mus._, CCVI.; + Latyschev, II., 378. + + + + +CASTS OF LYCIAN SEPULCHRAL RELIEFS. + + +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. + +[Sidenote: =760.=] + +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.--_Tlos._ + + Height, 3 feet 6-1/2 inches; width, 3 feet 7-3/4 inches. Fellows, + _Lycia_, p. 136 and plate. For general view of the tomb, see + Benndorf, _Reisen in Lykien_, I., p. 139, and pl. 42 (on the + right). + +[Sidenote: =761-4.=] + +Casts of reliefs from the sides of the portico of a rock-cut tomb +at _Pinara_. The outside of the tomb has an elaborate facade with +sculptured pediment, frieze, and other ornaments. (For general view, +see Fellows, _Lycia_, pl. facing p. 141, and Benndorf, _Reisen in +Lykien_, 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 (_Lycia_, p. 141). + +[Sidenote: =761.=] + +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 and connected by a wall, on which is a relief of +three male figures. + + Height, 3 feet 1/2 inch; width, 4 feet 2-1/4 inches. + +[Sidenote: =762.=] + +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, _Pelasgic Remains_, pl. 27, +view of walls of a city near Mesolonghi. + + Height, 2 feet 10 inches; width, 4 feet 2-1/2 inches. + +[Sidenote: =763.=] + +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. + + Height, 3 feet 2 inches; width, 4 feet 1/2 inch. + +[Sidenote: =764.=] + +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. + + Height, 2 feet 10 inches; width, 4 feet 1/2 inch. The four reliefs + are engraved, Fellows, _Lycia_, pl. facing p. 142; Benndorf, + _Reisen in Lykien_, I., p. 54; _Synopsis_, _Lycian Room_, Nos. + 148, 149. + +[Sidenote: =765, 766.=] + +The following casts are from a portion of the sculptures decorating a +tomb, discovered by Sir C. Fellows, at _Cadyanda_. 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 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 oinochoè, and inscribed [Greek: Salas], and in +Lycian _zzala_. The second door is believed to have been fitted with a +panel, having the wife of Salas in relief. (Fellows, _Lycia_, 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. + + Fellows, _Lycia_, p. 116; Petersen, _Reisen in Lykien_, II., + p. 193. Views and plans of the tomb are included in the Scharf + portfolio of drawings in the British Museum. + +[Sidenote: =765.=] + +Cast of a portion of the relief on the south side of the tomb at +_Cadyanda_. + +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 [Greek: Mesos]. 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, _Reisen in Lykien_, +ii., p. 193). + + Height, 2 feet 3/4 inch; length, 4 feet 2 inches. Fellows, + _Lycia_, frontispiece, and pl. facing p. 116; _Synopsis_, _Lycian + Room_, No. 151; Petersen, _Reisen in Lykien_, II., p. 194, fig. + 84. + +[Sidenote: =766.=] + +Cast of the relief on the north side of the tomb at _Cadyanda_. 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 +[Greek: ...A....A]. 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 [Greek: ...easob] (?), and below +is the bilingual inscription _edazzala_ [Greek: Eidassalas]. 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 _mezo_ [Greek: Mesos]. On the +left of the second of the two figures is the bilingual inscription +_zzala_ [Greek: Salas], the Lycian being also repeated below, +_zzal(a)_. We must, therefore, suppose this figure to be Salas, the +owner of the tomb. The child is named _horlar_ (?) 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 [Greek: SIRO] +(?), 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 _...katamna_ [Greek: Hekatomnas]. On the third +couch are two men reclining. Above the first is the inscription +[Greek: Kparam[os]], and below _[k]pparama_. Below the second is the +bilingual inscription _mola_ [Greek: Molos] (?). Below the couch is a +dog. On the fourth couch are also two men reclining. Above the +first is the inscription [Greek: Seskôs], and below remains of the +corresponding Lycian inscription _ze...wwa_. Below the second is +a bilingual inscription, in which only the Greek name, [Greek: +Kendyomis], is legible. A dog stands below the couch. + +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 _äkatam[n]a_ [Greek: Hekatomnas]. + + Height, 2 feet 1 inch; length, 8 feet 8 inches. Fellows, _Lycia_, + pl. facing p. 116 (very inaccurate); _C.I.G._, 4225; _Synopsis_, + _Lycian Room_, No. 152; Petersen, _Reisen in Lykien_, II., p. 193. + + + + +VOTIVE RELIEFS. + + +For an account of Greek votive reliefs, of the occasions on which they +were dedicated and of the objects represented, see above, p. 302. + +[Sidenote: =770.=] + +Fragment of relief. Zeus, wearing a mantle, is seated on a stool +(_diphros_). 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.--_Athens (?)._ _Elgin Coll._ + + Pentelic marble; height, 1 foot 7 inches; width, 1 foot 2 inches. + _Synopsis_, No. 376 (227); _Mus. Marbles_, IX., pl. 37, fig. 2; + cf. Schöne, _Griechische Reliefs_, pl. 25, figs. 104, 105. + +[Sidenote: =771.=] + +Relief from the upper part of an inscribed stelè. Athenè, 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, as +if resting on a staff. She wears a long chiton, over which is a +diploïdion reaching nearly to the knees. A short mantle hangs on her +left arm. Athenè is clad in a long chiton with diploïdion; her left +hand rests on the edge of her shield at her side. + +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, _Griech. Reliefs_, pl. 16, fig. 75, p. 41; and the fragment, +No. 772.) + +The figure of Athenè here as on many other reliefs is in its general +outlines copied from the Athenè Parthenos of Pheidias. (Compare +Michaelis, pl. 15, figs. 6-17.)--_Athens (?)._ _Elgin Coll._ + + Pentelic marble; height, 11 inches; width, 1 foot 4-1/2 inches. + _Mus. Marbles_, IX., pl. 35, fig. 4; _Synopsis_, No. 375 (82); + _Elgin Room Guide_, Part II., No. F. 4. + +[Sidenote: =772.=] + +Fragment of relief from the upper part of an inscribed stelè. Athenè +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. Athenè wears a crested helmet and a long chiton, over which +is a diploïdion; 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 Athenè, as in the preceding relief, No. +771. + +This figure of Athenè, like the preceding, is in its general outlines +copied from the Athenè Parthenos of Pheidias.--_Athens (?)._ _Elgin +Coll._ + + Pentelic marble; height, 1 foot 4 inches; width, 9-1/2 inches. + _Mus. Marbles_, IX., pl. 36, fig. 1; _Synopsis_, No. 371 (89); + _Elgin Room Guide_, Part II., No. F. 5. For similar subjects, + see Schöne, _Griech. Reliefs_, pl. 22, No. 96; Wolters, Nos. + 1157-1181. + +[Sidenote: =773.=] + +Part of a relief, from the upper part of an inscribed stelè. Athenè +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. Athenè wears a helmet and chiton with diploïdion, and +places her left hand on her shield, of which the inner side is shown. +The spear of Athenè 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 Athenè (like Nos. 771, 772) +is roughly copied from the Athenè Parthenos of Pheidias. + + Pentelic marble; height, 1 foot 6 inches; width, 9-3/4 inches. + +[Sidenote: =774.=] + +Relief: Apollo receiving a libation from Victory. Apollo wears the +dress of a Kitharoedos, namely, a long chiton with sleeves, over +which is a diploïdion 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 diploïdion 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. 775, and also on a terracotta relief +in the British Museum. (For a list, see Welcker, _Alte Denkmaeler_, +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 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 _omphalos_, 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.--_Hamilton Coll., 1772._ + + 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. _Mus. Marbles_, II., pl. 13; Ellis, _Townley Gallery_, + II., p. 113; _Guide to Graeco-Roman Sculptures_, I., No. 169; + Wolters, No. 427; Welcker, _Alte Denkmaeler_, II., p. 41. + +[Sidenote: =775.=] + +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 diploïdion 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. + +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. + +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. 775.) 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.--_Elgin Coll._ + + Pentelic marble; height, 2 feet 4 inches; width, 1 foot 9 inches. + _Mus. Marbles_, IX., pl. 36, fig. 2; _Guide to Elgin Room_, Part + II., No. F. 2; Welcker, _Alte Denkmaeler_, II., p. 40. + +[Sidenote: =776.=] + +Votive relief representing an offering to Apollo. On the right, the +god is seated on the _omphalos_, 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 of a +dedication to Apollo, in elegiac verse, which has been restored as +follows, by Koehler: + +[Greek: + S[oi] Char[mos, ba]sileu Paian, hekatêbol' Apol[lon], + Hippo[kratous dôron] p[ai]s anethêke tode.]--_Townley Coll._ + + Pentelic marble; height, 1 foot 7-3/4 inches; width, 2 feet 8 + inches. Presented by the Duke of Bedford to Mr. Townley, in 1805. + _Mus. Marbles_, II., pl. 5; Ellis, _Townley Gallery_, II., p. + 135; _Guide to Graeco-Roman Sculptures_, I., No. 200; Wolters, No. + 1849; _C.I.G._, 1946; _C.I.A._, II., 1527_b_; Kaibel, 799; _Rhein. + Mus. N.F._, 1886, p. 346; Cavaceppi, _Raccolta d'Antiche Statue_, + III., pl. 1. + +[Sidenote: =777.=] + +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. + +Inscribed: [Greek: Asklêpiodotos Diphilou Apollôni Tadokômeitê +euchên].--_Cyzicus._ _Presented by A. van Branteghem, Esq., 1890._ + + Marble; height, 1 foot 1 inch; width, 11-1/2 inches. _Rev. Arch._, + 1891, p. 12, No. 3. + +[Sidenote: =778.=] + +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.--_Ephesus._ _J. T. Wood._ + + Ephesian marble; height, 1 foot 1 inch; width, 9 inches. + +[Sidenote: =779.=] + +Fragment of relief, including the upper part of a standing figure of +Artemis, from the middle of the thighs. At 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. + + Greek marble; height, 1 foot 1-1/2 inches; width, 1 foot. + +[Sidenote: =780.=] + +Votive relief (?). Two youths on horseback, probably the Dioscuri, +though the conical cap, _pileus_, 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.--_Purchased from Sir W. Hamilton, 1772._ + + Marble; height, 1 foot 5-1/2 inches; length, 1 foot 9-1/4 inches. + _Mus. Marbles_, II., pl. 11; Ellis, _Townley Gallery_, II., p. + 111; _Guide to Graeco-Roman Sculptures_, Part I., No. 153. + +[Sidenote: =781.=] + +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 oinochoè in his right hand, and +the other a phialè. They stand between two Ionic columns, surmounted +by an entablature, with antefixal tiles, and festoons of rosettes +above. + + Marble; height, 1 foot 6-1/2 inches; width, 1 foot 2-3/4 inches. + +[Sidenote: =782.=] + +Votive tablet with relief representing Kybelè 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 phialè over an altar; on +the left of the altar is a male worshipper standing.--_Cyzicus._ +_Presented by A. van Branteghem, Esq._ + + Marble; height, 7 inches; width, 4 inches. _Rev. Arch._, 1891, p. + 12 No. 6. + +[Sidenote: =783.=] + +Votive relief. Kybelè 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.--_Elgin Coll._ + + Greek marble; height, 1 foot 3 inches; width, 9 inches. _Mus. + Marbles_, IX., pl. 35, fig. 2; _Synopsis_, No. 293 (97); _Guide to + Elgin Room_, Part II., No. F. 7. + +[Sidenote: =784.=] + +Votive relief. Kybelè 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.--_Presented by J. P. Gandy Deering, Esq., 1820._ + + Greek marble; height, 11 inches; width, 10-1/2 inches. _Synopsis_, + No. 300 (103*). + +[Sidenote: =785.=] + +Fragment of a relief, probably votive, containing Hermes, who wears +a short chiton, chlamys, and petasos, and holds out a phialè in the +right hand. On his left is a female figure, also holding a phialè. +On the right, the right arm alone remains of a third figure with a +phialè.--_Knidos._ + + Marble; height, 1 foot 3 inches; width, 1 foot 1/2 inch. + +[Sidenote: =786.=] + +Relief with three figures. On the left is Athenè, having long chiton, +peplos, helmet, aegis, spear. Beside her is a seated animal, perhaps a +lion. In the centre is Aphroditè (?), 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.--_Presented by H. Gally Knight, Esq., 1839._ + + Parian marble (?); height, 1 foot 1-1/2 inches; width, 1 foot 1-1/4 + inches. Wolters, No. 1845. + +[Sidenote: =787.=] + +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.--_Athens (?)._ _Elgin +Coll._ + + Pentelic marble; height, 2 feet 5 inches; width, 1 foot 7 inches. + _Mus. Marbles_, IX., pl. 38, fig. 1; _Synopsis_, No. 176 (107). + +[Sidenote: =788.=] + +Fragment of a relief, with a group of gods, viz.: Hermes, with +caduceus and petasos; Zeus, with a sceptre; and Kybelè, 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. + + Marble; height, 1 foot 4 inches; width, 1 foot 10 inches. + +[Sidenote: =789.=] + +Relief, representing offerings to Eileithyia (?). A draped female +figure is seated on a chair with foot-stool, turned 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. + +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.--_From Sigeum in the Troad._ _Elgin Coll._ + + 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, _Letter_ XLIV. (of July 31, 1718); Chandler, + _Travels in Asia Minor_ (1775), p. 36; _Antiquities of Ionia_, + I., p. i. (The original drawing by Pars is in the Brit. Mus.) + Choiseul-Gouffier, _Voyage Pittoresque_, II., pl. 19; _Synopsis_, + No. 324 (99); _Mus. Marbles_, IX., pl. 11. + +[Sidenote: =790.=] + +Relief: Cyrenè crowned by Libya. This relief represents the nymph +Cyrenè in the act of strangling a lion, while, to commemorate this +triumph, a crown is held over her head by Libya. + + Inscribed: [Greek: + + Kyrênên poliôn mêtroptolin hên stephei autê + êpeirôn Libyê trisson echousa kleos, + enthad' hyper melathroio leontophonon theto Karpos, + euxamenos, megalês sêma philoxeniês.] + +The inscription may be thus translated: "Here over the architrave, +Karpos, making this dedication, placed Cyrenè, mother of cities, +slayer of lions, in token of great hospitality. Libya, who has the +glory of being a third continent, herself crowns her." + +Cyrenè 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. + +According to the legend told by Pindar (_Pyth._ ix. 26) Cyrenè 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. _Argon._, 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. Cyrenè performed this +exploit, and received in reward the promised district. It is probably +in connection with this later legend that Libya is introduced crowning +Cyrenè in the relief. Aristaeus, a mythic founder of Cyrenè, was the +son of Apollo and Cyrenè. The form of the relief suggests that it may +have been a metope, and the words [Greek: hyper melathroio] in +the inscription have therefore been translated "above the +architrave."--_Found outside the Temple of Aphroditè, Cyrenè._ + + 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, _De + marmoribus tribus Cyrenaicis_; Bonn, 1868, p. 16, and Plate; + _Guide to Graeco-Roman Sculptures_, Part II., No. 129; Overbeck, + _Griech. Kunstmythologie_, III., p. 496; _Atlas_, pl. 26, fig. 16; + Wolters, No. 1916; Studniczka, _Kyrene_, p. 31. The inscription is + given by Kaibel, _add._ 842_a_ (in some points incorrectly). For + the legends of Cyrenè, see Studniczka, p. 39. + +[Sidenote: =791.=] + +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. + + Pentelic marble; height, 2 feet 1/2 inch; width, 10 inches. + +[Sidenote: =792.=] + +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.--_Elgin Coll._ + + Pentelic marble; height, 1 foot 1/4 inch; width, 10 inches. + _Synopsis_, No. 361 (84); _Mus. Marbles_, IX., pl. 35, fig. 3. + +[Sidenote: =793.=] + +Votive relief to Demeter and Persephonè (?). 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 (Persephonè (?)) +leans her right elbow.--_Castellani Coll._ + + Limestone; height, 1 foot; width, 10-3/4 inches. + Restorations:--Upper part of ground and frame of relief with top + of tree and right forearm of Persephonè. + +[Sidenote: =794.=] + +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.--_From Amphitheatre, +Gortyna._ + + White marble; height, 1 foot; width, 11-1/4 inches. The Gryphon + and serpent are attributes of Sarapis on a relief at Andriakè in + Lycia. Petersen, _Reisen in Lykien_, II., p. 42, fig. 31. + +[Sidenote: =795.=] + +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.--_Athens._ _Inwood Coll._ + + Pentelic marble; height, 7-3/4 inches; width, 6 inches. _Elgin + Room Guide_, Part II., No. F. 12. + +[Sidenote: =796.=] + +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.--_Cyrenè._ + + White marble; height, 6-1/2 inches; width, 11 inches. Smith and + Porcher, p. 107, No. 138. + +[Sidenote: =797.=] + +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.--_Temple of Aphroditè, Cyrenè._ + + White marble; height, 1 foot; width, 10 inches. Smith and Porcher, + p. 104, No. 88. + +[Sidenote: =798.=] + +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. + +Inscribed: [Greek: Philombrotos, Aphthonêtos Deinomachou, +Poseidôni].--_From Phthiotic Thebes, in Thessaly._ _Presented by Col. +Leake, 1839._ + + Marble; height, 1 foot 1-1/2 inches; width, 1 foot 2-1/2 inches; + Millingen, _Ancient Unedited Monuments_, Part II., pl. 16, fig. + 2; Leake, _Travels in Northern Greece_, IV., p. 361; _Greek + Inscriptions in Brit. Mus._, CLXIII.; Daremberg and Saglio, + _Dict. des Antiqs._, _s.vv._ Coma and Donarium. On the custom + of dedicating hair by youths reaching manhood, see Daremberg and + Saglio, _loc. cit._, and _Bull. de Corr. Hellénique_, 1888, p. + 479. See also _Mus. Worsleyanum_, pl. 9. + +The following votive tablets (Nos. 799-808), with representations of +portions of the human body and with votive inscriptions to Highest +Zeus ([Greek: Zeus hypsistos]), 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, _Tour_, +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, _Der +Fels-Altar des Höchsten Zeus_, &c., 1852). The inscriptions, however, +which are here described, are of Roman times, and are of little value +for the decision of the question. (Cf. Hicks, _Greek Inscriptions in +Brit. Mus._ lx.) + +[Sidenote: =799.=] + +Tablet with votive relief representing a female breast dedicated by +Eutychis. + +Inscribed: [Greek: Eutychis hypsistô euchê(n)].--_Pnyx, Athens._ +_Elgin Coll._ + + Pentelic marble; height, 5-3/4 inches; width, 5-1/2 inches. + Dodwell, _Tour_, I., p. 403; _Synopsis_, No. 210 (245); _Mus. + Marbles_, IX., pl. 41, fig. 3; _C.I.G._, 504; Ellis, _Elgin + Marbles_, II., p. 105, No. 210; _Greek inscriptions in Brit. + Mus._, LXVI. + +[Sidenote: =800.=] + +Tablet with votive relief representing a female breast, dedicated by +Isias. + +Inscribed: [Greek: Eisias hyps[istô] eu[chên]].--_Pnyx, Athens._ +_Elgin Coll._ + + Pentelic marble; height, 8 inches; width, 6-1/2 inches. Dodwell, + _Tour_, I., p. 403; _Synopsis_, No. 209 (247); _Mus. Marbles_, + IX., pl. 41, fig. 2; _C.I.G._, 505; Ellis, _Elgin Marbles_, II., + p. 105, No. 209; _Greek Inscriptions in Brit. Mus._, LXVII. + +[Sidenote: =801.=] + +Tablet with votive relief, representing a pair of eyes, dedicated by +Philemation. + +Inscribed: [Greek: Philêmatin [e]uchên ane[th]êken].--_Pnyx, Athens._ +_Elgin Coll._ + + Pentelic marble; height, 3-1/2 inches; width, 5-1/2 inches. + Dodwell, _Tour_, I., p. 403, with woodcut; _Synopsis_, No. 214 + (251); _Mus. Marbles_, IX., pl. 41, fig. 5; _C.I.G._, 506; Ellis, + _Elgin Marbles_, II., p. 105, No. 212; _Greek Inscriptions in + Brit. Mus._, LXVIII. + +[Sidenote: =802.=] + +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: [Greek: hyps]ist[ô].--_Pnyx, Athens._ _Found +by the fourth Earl of Aberdeen in 1803, and presented by the fifth +Earl of Aberdeen in 1861._ + + Pentelic marble; height, 3-3/4 inches; width, 5 inches. _Greek + Inscriptions in Brit. Mus._, LXIX. This relief is perhaps + identical with _C.I.G._, 499. + +[Sidenote: =803.=] + +Fragment of votive relief, with toes and the forepart of the right +foot.--_Pnyx, Athens._ _Elgin Coll._ + + Pentelic marble; height, 6-1/2 inches; width, 5-1/2 inches. + _Synopsis_, No. 217 (253); _Mus. Marbles_, IX., pl. 41, fig. 4; + Ellis, _Elgin Marbles_, II., p. 105, No. 217. + +[Sidenote: =804.=] + +Tablet with votive relief of vulva, dedicated by Olympias. + +Inscribed: [Greek: Olympias hypsistô euchên].--_Pnyx, Athens._ _Elgin +Coll._ + + Pentelic marble; height, 5-1/2 inches; width, 7-1/2 inches. + Dodwell, _Tour_, I., p. 403; _Synopsis_, No. 216 (246); _C.I.G._, + 500; _Greek Inscriptions in Brit. Mus._, LXII. + +[Sidenote: =805.=] + +Tablet with votive relief, representing a human face from the bridge +of the nose downwards, dedicated by Tertia. + +Inscribed: [Greek: Tertia hypsistô euchên].--_Pnyx, Athens._ _Elgin +Coll._ + + Pentelic marble; height, 8-1/2 inches; width, 7-3/4 inches. + Dodwell, _Tour_, I., p. 404, with woodcut; _Synopsis_, No. 218 + (250); _Mus. Marbles_, IX., pl. 41, fig. 7; _C.I.G._, 501; Ellis, + _Elgin Marbles_, II., p. 105, No. 218; _Greek Inscriptions in + Brit. Mus._, LXIII. + +[Sidenote: =806.=] + +Tablet with votive relief, representing a pair of arms, within a +panel, dedicated by Claudia Prepusa. The hands are wanting. + +Inscribed: [Greek: Klaudia Prepousa eucharistô hypsistô].--_Pnyx, +Athens._ _Elgin Coll._ + + Pentelic marble; height, 6 inches; width, 7-1/4 inches. Dodwell, + _Tour_, I., p. 402, with woodcut; _Synopsis_, No. 215 (248); + _Mus. Marbles_, IX., pl. 41, fig. 6; _C.I.G._, 502; Ellis, _Elgin + Marbles_, II., p. 105, No. 215; _Greek Inscriptions in Brit. + Mus._, LXIV. + +[Sidenote: =807.=] + +Tablet with votive relief, representing a female breast somewhat +broken, dedicated by Onesimè. + +Inscribed: [Greek: Onêsimê euchên Diï hypsistô].--_Pnyx, Athens._ +_Elgin Coll._ + + Pentelic marble; height, 4-7/8 inches; width, 6 inches. Dodwell, + _Tour_, I., p. 403; _Synopsis_, No. 211 (249); _Mus. Marbles_, + IX., pl. 41, fig. 1; _C.I.G._, 503; Ellis, _Elgin Marbles_, II., + p. 105, No. 211; _Greek Inscriptions in Brit. Mus._, LXV. + +[Sidenote: =808.=] + +Fragment of a votive relief, with part of a thigh, or perhaps part of +the shoulder. + +Inscribed: [Greek: ....a theô hypsi[stô e]uchên].--_Pnyx, Athens. +Found by the fourth Earl of Aberdeen in 1803, and presented by the +fifth Earl of Aberdeen in 1861._ + + Pentelic marble; height, 4-1/4 inches; width, 4-1/2 inches. _Greek + Inscriptions in Brit. Mus._, LXX. + +[Sidenote: =809.=] + +Tablet with votive relief representing a left leg from above the knee +in relief, dedicated to Asclepios and Hygieia. + +Inscribed: [Greek: Asklêpiô kai Hyg(i)eia eucharistêrion].--_Found in +1828, in a Shrine of Asclepios in Melos._ _Blacas Coll._ + + Parian marble; height, 1 foot 1-1/2 inches; width, 7-1/2 inches. + _Annali dell' Inst._, 1829, p. 341; _Exp. de Morée_, III., pl. + 29, fig. 2; _C.I.G._, 2429; _Greek Inscriptions in Brit. Mus._, + CCCLXV. This relief was found together with the fine head of + Asclepios (No. 550) and with a votive inscription (_C.I.G._, + 2428). + +[Sidenote: =810.=] + +Tablet with votive relief, representing a right ear. The right side of +the tablet is lost.--_Cyrenè._ + + Marble; height, 6-3/4 inches; width, 10 inches. Smith and Porcher, + p. 108, No. 148. + +[Sidenote: =811.=] + +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 (phialè) +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 +relief is inscribed [Greek: Anthousê Damainetou hypostatria]. [Greek: +Hypostatria] probably denotes some minister of inferior rank in +the temple of the goddess to whom the tablet was dedicated. The +explanation of the word [Greek: statria] given by Hesychius ([Greek: +emplektria]), makes it probable that the function of the [Greek: +hypostatria] 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 _Slavochori in Laconia_, a +place which is believed to be the site of the ancient Amyclae. +The combination of pomegranates and ears of corn, the symbols of +Persephonè 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. + +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 +_Greek Inscriptions in Brit. Mus._, No. xxxiv.)--_Brought from Greece +by George, fourth Earl of Aberdeen; presented by George, fifth Earl of +Aberdeen, 1861._ + + Marble; height, 3 feet; width, 2 feet 9-1/2 inches. This + sculpture, with the following, was first published, in a strangely + perverted form, by Caylus (_Recueil d'Antiq._, II., pl. 51), + from drawings by Fourmont. Lord Aberdeen published them, with an + engraving in Walpole's _Memoirs relating to Turkey_, London, + 1817, I., p. 446. See also _C.I.G._, 1467; Leake, _Travels in + the Morea_, I., p. 188, and _Peloponnesiaca_, pp. 163-165; _Greek + Inscriptions in Brit. Mus._, CXLI.; Wolters, No. 1852; _Guide to + Graeco-Roman Sculptures_, Part II., No. 11; Mansell, No. 728. + +[Sidenote: =812.=] + +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, [Greek: Klau(dia) +Agêta Antipatrou, hiereia]; 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.--_From Slavochori in Laconia (cf. No. 811). Presented by the +fifth Earl of Aberdeen, 1861._ + + Marble; height, 2 feet 3-1/2 inches; width, 3 feet 6 inches. + Walpole's _Memoirs relating to Turkey_, 1817, I., p. 446; + _C.I.G._, 1466; _Greek Inscriptions in Brit. Mus._, CXLII.; _Guide + to Graeco-Roman Sculptures_, Part II., No. 12; Wolters, No. 1851. + +[Sidenote: =813.=] + +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: [Greek: Ho deina l]ampadi nikêsas, +gymnasiarchôn [anethêken]].--_Athens._ _Strangford Coll._ + + Pentelic marble; height, 1 foot 5-1/2 inches; width, 1 foot 1/2 + inch. _C.I.G._, 257; _Greek Inscriptions in Brit. Mus._, XLI.; + _C.I.A._, II., 1221. + +[Sidenote: =814.=] + +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. + +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 +(_Guide to Graeco-Roman Sculptures_, 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, _Griechische Reliefs_, pl. 18, fig. 80.)--_From +Consul Logothetis' house at Athens._ _Elgin Coll._ + + Pentelic marble; present height, 2 feet 3-1/2 inches; width, 2 + feet 8 inches. _Mus. Marbles_, IX., pl. 38, fig. 2; Ellis, _Elgin + Marbles_, II., p. 126; _Synopsis_, No. 197 (236). + +[Sidenote: =815.=] + +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. + + Marble; height, 11-1/2 inches; width, 1 foot 1 inch. _Guide to + Graeco-Roman Sculptures_, Part II., No. 47. + +[Sidenote: =816.=] + +Votive relief. Hecatè 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.--_Crannon in Thessaly._ +_Presented by Col. Leake, 1839._ + + White marble, with remains of blue paint on the ground; height, 1 + foot 3-1/2 inches; width, 1 foot 11 inches. Millingen, _Anc. + Uned. Monuments_, II., pl. 16, fig. 1. Compare a relief at Athens, + Schöne, _Griechische Reliefs_, pl. 26, fig. 108. + +[Sidenote: =817.=] + +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 phialè 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 phialè in the right hand. On the left +is a figure of Zeus, with a phialè 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. + +Below is a group of six male figures reclining, who are sketched out +in low relief. Before them are four figures: (_a_) on the left a +comic figure seated, playing on double flutes, and beating time with a +_kroupezion_ or scabellum; (_b_) a nude female figure dancing; (_c_) +a comic figure running, wearing a Phrygian cap, and having a pair +of double flutes in each hand; (_d_) on the right, a figure with an +oinochoè in each hand drawing wine from a large vessel. + +Inscribed: [Greek: Diï hypsistô k(ai) tô ch(o)rô Thallos epônymos ton +telamôna apedôka]. The relief ([Greek: telamôn]) appears to have been +dedicated by a successful dramatic poet, Thallos, who gave his name to +the fête.--_Cyzicus._ _Presented by A. van Branteghem, Esq._ + + Marble; height, 3 feet 1-1/2 inches; width, 1 foot 10 inches. + _Rev. Arch._, 1891, p. 10, No. 1. Compare a relief now at Athens, + from Nicaea, in Conze, _Reise auf der Insel Lesbos_, pl. 19; + Lüders, _Dionys. Künstler_, pl. 2. + + + + +LONDON: PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, STAMFORD +STREET AND CHARING CROSS. + + + + +PLATE I. + +[Illustration: SCULPTURED COLUMN FROM THE ARCHAIC TEMPLE AT EPHESUS. +No. 29.] + + +PLATE II. + +[Illustration: VIEW OF THE LION TOMB AT XANTHOS. No. 80. + +(_From a drawing by George Scharf._)] + + +PLATE III. + +[Illustration: VIEW OF THE HARPY TOMB AT XANTHOS. No. 94. + +(_From a drawing by George Scharf._)] + + +PLATE IV. + +[Illustration: SECTIONAL VIEW OF THE EAST END OF THE PARTHENON. (_G. +Niemann._)] + + +PLATE V. + +[Illustration: Fig. 1. CARREY'S DRAWING OF THE EAST PEDIMENT OF THE +PARTHENON.] + +[Illustration: Fig. 2. CARREY'S DRAWING OF THE WEST PEDIMENT OF THE +PARTHENON.] + + +PLATE VI. + +[Illustration: Fig. 1. IRIS AND HERA. EAST FRIEZE OF PARTHENON. +Nos. 27, 28.] + +[Illustration: Fig. 2. ARM. No. 330.] + + +PLATE VII. + +[Illustration: THE NORTH FRIEZE OF THE PARTHENON (Slabs I.-VII.) +RESTORED.] + + +PLATE VIII. + +[Illustration: THE NORTH FRIEZE OF THE PARTHENON (Slabs VII.-XIII.) +RESTORED.] + + +PLATE IX. + +[Illustration: LUSIERI'S DRAWING OF THE MISSING GROUP FROM THE +MONUMENT OF LYSICRATES. No. 430, _5_.] + + +PLATE X. + +[Illustration: VIEW OF THE TEMPLE OF APOLLO AT PHIGALEIA. (_From a +Photograph._)] + + +PLATE XI. + +[Illustration: Fig. 1. SEPULCHRAL RELIEF. No. 693.] + +[Illustration: Fig. 2. MONUMENT OF XANTHIPPOS. No. 628.] + +[Illustration: Fig. 3. SEPULCHRAL RELIEF. No. 627.] + + +PLATE XII. + +[Illustration: Fig. 1. FRAGMENT OF A SEPULCHRAL RELIEF. No. 673.] + +[Illustration: Fig. 2. FRAGMENT OF A SEPULCHRAL RELIEF. No. 672.] + + + + + * * * * * * + + + + +Transcriber's note: + +Some illustrations have been moved to the ends of their descriptive +paragraphs to allow for freer flow of the text. + +There are some inconsistencies in the spelling of (foreign) proper +names throughout the book. In each case, both forms have been retained. + +Journal numbers (X...; x...; etc.) appear in both upper and lower case +throughout the book. Both forms have been retained. + +There are a few instances of the high dot ·, or Greek colon, in the +Greek text, which have been retained. + +Pages 108 and 136: Fig. 9 was used twice in the original book, and both +instances have been retained. + +Page 10: 'donotion' corrected to 'donation' - +" ... have been acquired by donation or bequest," + +Page 11, Footnote 42: '214' corrected to '211'. + +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." + +Page 46: 'Beechino' corrected to 'Beecheno' - +"See also Solly, _Memoirs of W. J. Müller_, 1875; Beecheno," + +Page 64: 'real' corrected to 'reel' - +"... but include bead and reel mouldings," + + + +***END OF THE PROJECT GUTENBERG EBOOK A CATALOGUE OF SCULPTURE IN THE +DEPARTMENT OF GREEK AND ROMAN ANTIQUITIES, BRITISH MUSEUM, VOLUME I (OF +2)*** + + +******* This file should be named 37558-8.txt or 37558-8.zip ******* + + +This and all associated files of various formats will be found in: +http://www.gutenberg.org/dirs/3/7/5/5/37558 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +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. 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