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<title>The Project Gutenberg eBook of A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, Volume I (of 2), by A. H. Smith</title>
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<h1 class="pg">The Project Gutenberg eBook, A Catalogue of Sculpture in the Department of
Greek and Roman Antiquities, British Museum, Volume I (of 2), by A. H.
Smith</h1>
<pre>
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
<p>Title: A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, Volume I (of 2)</p>
<p>Author: A. H. Smith</p>
<p>Release Date: September 28, 2011  [eBook #37558]</p>
<p>Language: English</p>
<p>Character set encoding: ISO-8859-1</p>
<p>***START OF THE PROJECT GUTENBERG EBOOK A CATALOGUE OF SCULPTURE IN THE DEPARTMENT OF GREEK AND ROMAN ANTIQUITIES, BRITISH MUSEUM, VOLUME I (OF 2)***</p>
<p>&nbsp;</p>
<h3 class="pg">E-text prepared by Jonathan Ingram, Lesley Halamek,<br />
    and the Online Distributed Proofreading Team<br />
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<table class="tn" summary="tn" align="center" style="margin-top: 2em; margin-bottom: 5em;">
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    <td class="note">

<h4>Transcriber's Note</h4>

<p>There are some differences in context between Chapter or Section Headings and corresponding entries in the Table of Contents.
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<p>The transliteration of Greek words is indicated, in the text, by a dashed line underneath the Greek word/s.</p>
<p style="margin-top:-1em;">Scroll the mouse over the Greek word and the Latin text transliteration will appear:
<ins title="Greek: Mesos">&#924;&#8051;&#963;&#959;&#962;</ins>.</p>

<p>Some corrections are indicated, in the text, by a dotted line underneath the correction.</p>
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</td>
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</table>
<hr class="pg" />
<p>&nbsp;</p>
<p>&nbsp;</p>
<p>&nbsp;</p>

<h2 style="margin-top: 0">A &nbsp;CATALOGUE</h2>

<h5 style="margin-top: 1.5em;">OF</h5>

<h1>SCULPTURE</h1>

<h4 style="margin-top: 1.5em; line-height: 150%">IN THE DEPARTMENT OF<br />

GREEK AND ROMAN ANTIQUITIES,</h4>

<h2 style="margin-top: 1em;">BRITISH MUSEUM.</h2>

<h5 style="margin-top: 1.5em;">BY</h5>

<h3 style="margin-top: 1em;">A. H. SMITH, M.A.,</h3>

<h5 style="line-height: 150%; margin-top: 1em;">ASSISTANT IN THE DEPARTMENT OF GREEK AND ROMAN<br />

ANTIQUITIES, IN THE BRITISH MUSEUM.</h5>

<h3 style="margin-top: 1.5em;">VOL. I.</h3>

<p>&nbsp;</p>
<p>&nbsp;</p>
<p>&nbsp;</p>

<h5 style="line-height: 150%;">LONDON:<br />

PRINTED BY ORDER OF THE TRUSTEES.<br />

1892.</h5>

<h6 style="margin-top: 3em; line-height: 150%;">LONDON:<br />

<span class="sc">PRINTED BY WILLIAM CLOWES AND SONS, Limited</span><br />

STAMFORD STREET AND CHARING CROSS.</h6>

<hr />

<span class="pagenum"><a name="pageiii" id="pageiii"></a></span>

<h2 style="margin-top: 3em;">PREFACE.</h2>

<div class="figcenter"><img src="images/smallfancyrule-104.png" width="104" height="14" alt="small fancy rule" /></div>

<p>The present volume by Mr. Arthur Smith, Assistant in
the Department of Greek and Roman Antiquities, includes
the sculptures of the Archaic period: those of the
Parthenon and other Athenian buildings; the remains of
the temple at Phigaleia; the Greek reliefs, and some other
sculptures which, though produced in Roman times, yet
represent Greek originals of the great age.</p>

<p>In the section which deals with the sculptures of
Athens much has been retained from Sir Charles Newton's
<i>Guide to the Elgin Room</i>, Pts. I.-II. While adding the
results of more recent research, Mr. Smith has contributed
on his part interesting material.</p>

<p>The sculptures of the archaic period have of late years
been the subject of much discussion; the results of these
discussions, as they apply to the collection of the British
Museum, have now been brought together and summarized.</p>

<p>The Greek reliefs, which form an important section of
the present volume, belong to a class of sculptures which
have produced much difference of opinion as to the
subjects represented by them. Mr. Smith has stated
briefly the principal views, by way of introduction to
the several classes of reliefs.</p>

<p class="author"><span class="sc">A. S. Murray&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span></p>
<p class="ind1"><i>3rd December, 1891.</i></p>

<span class="pagenum"><a name="pagev" id="pagev"></a></span>
<h2>CONTENTS OF VOL. I.</h2>

<div class="figcenter"><img src="images/smallfancyrule-104.png" width="104" height="14" alt="small fancy rule" /></div>

 <table align="center" border="0" summary="contents" style="margin-bottom: 2em;">

<tr>
  <td>&nbsp;</td>
  <td class="right">PAGE</td>
</tr>
<tr>
  <td><span class="sc">Editor's Preface</span></td>
  <td class="right"><a href="#pageiii">iii</a></td>
</tr>
<tr>
  <td><span class="sc">Table of Contents</span></td>
  <td class="right"><a href="#pagev">v</a></td>
</tr>
<tr>
  <td><span class="sc">Table of Abbreviations</span></td>
  <td class="right"><a href="#pagevii">vii</a></td>
</tr>
<tr>
  <td><span class="sc">Introduction</span></td>
  <td class="right"><a href="#page1">1</a></td>
</tr>

<tr><th><h3><a class="toc" href="#page12">PART I.&mdash;THE ARCHAIC PERIOD.</a></h3></th></tr>

<tr>
  <td><span class="sc">Mycenae</span>, 1-6</td>
  <td class="right"><a href="#page12">12</a></td>
</tr>
<tr>
  <td><span class="sc">Branchidae</span>, 7-21</td>
  <td class="right"><a href="#page16a">16</a></td>
</tr>
<tr>
  <td><span class="sc">Lydia</span>, 22, 23</td>
  <td class="right"><a href="#page24a">24</a></td>
</tr>
<tr>
  <td><span class="sc">Ephesus</span>, 24-48</td>
  <td class="right"><a href="#page24b">24</a></td>
</tr>
<tr>
  <td><span class="sc">Caria</span>, 49-51</td>
  <td class="right"><a href="#page40a">40</a></td>
</tr>
<tr>
  <td><span class="sc">Rhodes</span>, 52-75</td>
  <td class="right"><a href="#page41a">41</a></td>
</tr>
<tr>
  <td><span class="sc">Xanthos</span>, 80-98</td>
  <td class="right"><a href="#page45a">45</a></td>
</tr>
<tr>
  <td><span class="sc">Naucratis</span>, 100-127</td>
  <td class="right"><a href="#page61a">61</a></td>
</tr>
<tr>
  <td><span class="sc">Delos</span>, 130</td>
  <td class="right"><a href="#page68a">68</a></td>
</tr>
<tr>
  <td><span class="sc">Selinus</span> (casts), 135-139</td>
  <td class="right"><a href="#page69">69</a></td>
</tr>
<tr>
  <td><span class="sc">Athens and Attica</span>, 150-156</td>
  <td class="right"><a href="#page70a">70</a></td>
</tr>
<tr>
  <td><span class="sc">Aegina</span> (casts), 160-183</td>
  <td class="right"><a href="#page73">73</a></td>
</tr>
<tr>
  <td><span class="sc">Olympia</span> (casts), 190-192</td>
  <td class="right"><a href="#page80a">80</a></td>
</tr>
<tr>
  <td><span class="sc">Statues of Apollo</span> (?), 200-211</td>
  <td class="right"><a href="#page82a">82</a></td>
</tr>
<tr>
  <td><span class="sc">Miscellaneous Archaic Sculptures</span>, 215-217</td>
  <td class="right"><a href="#page88a">88</a></td>
</tr>

<tr><th><h3><a class="toc" href="#page90">PART II.&mdash;MYRON AND PHEIDIAS.</a></h3></th></tr>

<tr>
  <td><span class="sc">Myron</span>, 250</td>
  <td class="right"><a href="#page90a">90</a></td>
</tr>
<tr>
  <td><span class="sc">Pheidias and the Parthenon</span></td>
  <td class="right"><a href="#page91a">91</a></td>
</tr>
<tr>
  <td class="left">Athenè Parthenos, 300-302</td>
  <td class="right"><a href="#page96a">96</a></td>
</tr>
<tr>
  <td class="left">East Pediment of Parthenon, 303</td>
  <td class="right"><a href="#page101">101</a></td>
</tr>
<tr>
  <td class="left">West Pediment of Parthenon, 304</td>
  <td class="right"><a href="#page116a">116</a></td>
</tr>
<tr>
  <td class="left">Metopes of Parthenon, 305-323</td>
  <td class="right"><a href="#page132a">132</a></td>
</tr>
<tr>
  <td class="left">Frieze of the Parthenon</td>
  <td class="right"><a href="#page145a">145</a></td>
</tr>
<tr>
  <td class="left1">East Side, 324</td>
  <td class="right"><a href="#page152a">152</a></td>
</tr>
<tr>
  <td class="left1">North Side, 325<span class="pagenum"><a name="pagevi" id="pagevi"></a>vi</span></td>
  <td class="right"><a href="#page165a">165</a></td>
</tr>
<tr>
  <td class="left1">West Side, 326</td>
  <td class="right"><a href="#page178a">178</a></td>
</tr>
<tr>
  <td class="left1">South Side, 327</td>
  <td class="right"><a href="#page181a">181</a></td>
</tr>
<tr>
  <td class="left">Fragments of the Parthenon Sculptures, 328-345</td>
  <td class="right"><a href="#page193">193</a></td>
</tr>
<tr>
  <td class="left">Architectural Fragments of the Parthenon, 350-358</td>
  <td class="right"><a href="#page213a">213</a></td>
</tr>

<tr><th><h3><a class="toc" href="#page216">PART III.&mdash;THE SUCCESSORS OF PHEIDIAS.</a></h3></th></tr>

<tr>
  <td><span class="sc">The Temple called the Theseion</span></td>
  <td class="right"><a href="#page216a">216</a></td>
</tr>
<tr>
  <td class="left">Sculpture (casts) and Architecture, 400-406</td>
  <td class="right"><a href="#page220">220</a></td>
</tr>
<tr>
  <td><span class="sc">The Erechtheion</span></td>
  <td class="right"><a href="#page231">231</a></td>
</tr>
<tr>
  <td class="left">Sculpture and Architecture, 407-420</td>
  <td class="right"><a href="#page233">233</a></td>
</tr>
<tr>
  <td><span class="sc">Temple of Nikè Apteros</span></td>
  <td class="right"><a href="#page239">239</a></td>
</tr>
<tr>
  <td class="left">Frieze and Reliefs of Balustrade (casts), 421-429</td>
  <td class="right"><a href="#page242">242</a></td>
</tr>
<tr>
  <td><span class="sc">Monument of Lysicrates</span></td>
  <td class="right"><a href="#page248">248</a></td>
</tr>
<tr>
  <td class="left">Frieze (casts), 430</td>
  <td class="right"><a href="#page251">251</a></td>
</tr>
<tr>
  <td><span class="sc">Monument of Thrasyllos</span>, 432</td>
  <td class="right"><a href="#page257">257</a></td>
</tr>
<tr>
  <td><span class="sc">The Propylaea</span>, 433-435</td>
  <td class="right"><a href="#page259">259</a></td>
</tr>
<tr>
  <td><span class="sc">Miscellaneous Architectural Fragments from
Athens and Attica</span>, 436-448</td>
  <td class="right"><a href="#page261">261</a></td>
</tr>
<tr>
  <td><span class="sc">Agoracritos of Paros</span>, 460</td>
  <td class="right"><a href="#page264">264</a></td>
</tr>
<tr>
  <td><span class="sc">Polycleitos of Argos</span>, 500-504</td>
  <td class="right"><a href="#page265">265</a></td>
</tr>
<tr>
  <td><span class="sc">Temple of Apollo at Phigaleia</span></td>
  <td class="right"><a href="#page270">270</a></td>
</tr>
<tr>
  <td class="lefta">Architectural Fragments, 505-509</td>
  <td class="right"><a href="#page273">273</a></td>
</tr>
<tr>
  <td class="lefta">Metopes, 510-519</td>
  <td class="right"><a href="#page274">274</a></td>
</tr>
<tr>
  <td class="lefta">Frieze, 520-542</td>
  <td class="right"><a href="#page277">277</a></td>
</tr>
<tr>
  <td class="lefta">Acrolithic Statue, 543, 544</td>
  <td class="right"><a href="#page288">288</a></td>
</tr>
<tr>
  <td><span class="sc">Miscellaneous Sculptures of the Fifth Century</span>, 549-560</td>
  <td class="right"><a href="#page288a">288</a></td>
</tr>
<tr>
  <td><span class="sc">Greek Reliefs</span></td>
  <td class="right"><a href="#page293">293</a></td>
</tr>
<tr>
  <td><span class="sc">Sepulchral Reliefs</span>:
  </td>
</tr>
<tr>
  <td class="lefta"> Decorative Stelae, 599-618</td>
  <td class="right"><a href="#page304">304</a></td>
</tr>
<tr>
  <td class="lefta">Domestic Scenes, &amp;c., 619-680</td>
  <td class="right"><a href="#page308">308</a></td>
</tr>
<tr>
  <td class="lefta">Sepulchral Vases, 681-686</td>
  <td class="right"><a href="#page324">324</a></td>
</tr>
<tr>
  <td class="lefta">Figures clasping hands, 687-710</td>
  <td class="right"><a href="#page326">326</a></td>
</tr>
<tr>
  <td class="lefta">The Sepulchral Banquet, &amp;c., 711-746</td>
  <td class="right"><a href="#page333">333</a></td>
</tr>
<tr>
  <td class="lefta">Rider and Horse, heroified, 750-757</td>
  <td class="right"><a href="#page347">347</a></td>
</tr>
<tr>
  <td class="lefta">Lycian Sepulchral Reliefs (casts), 760-766</td>
  <td class="right"><a href="#page350">350</a></td>
</tr>
<tr>
  <td><span class="sc">Votive Reliefs</span>, 770-817</td>
  <td class="right"><a href="#page354">354</a></td>
</tr>
<tr>
  <td><span class="sc">Plates I.-XII.</span></td>
  <td class="right">&nbsp;</td>
</tr>

<tr><th><hr /></th></tr>
<tr><th><h3>LIST OF ILLUSTRATIONS</h3></th></tr>
<tr><th><img src="images/smallfancyrule-104.png" width="104" height="14" alt="small fancy rule" /></th></tr>
<tr>
  <td>&nbsp;</td>
  <td class="right">PAGE</td>
</tr>
<tr><th><h4><a class="toc" href="#page12">PART I.&mdash;THE ARCHAIC PERIOD.</a></h4></th></tr>
<tr>
       <td>Fig. 1 &nbsp;Restored Capital from the 'Treasury of Atreus' (after Puchstein).</td>
       <td class="right"><a href="#page14a">14</a></td>
</tr>
<tr>
       <td>Fig. 2 &nbsp;Relief from Mycenae (?), No. 5.</td>
       <td class="right"><a href="#page15">15</a></td>
</tr>
<tr>
       <td>Fig. 3 &nbsp;Relief from Mycenae, No. 6.</td>
       <td class="right"><a href="#page16">16</a></td>
</tr>
<tr>
       <td class="left">Inscription on right leg of chair (No 14.)</td>
       <td class="right"><a href="#page21">21</a></td>
</tr>
<tr>
       <td class="left">Inscription on flank of lion (No 17.)</td>
       <td class="right"><a href="#page22">22</a></td>
</tr>
<tr>
       <td>Fig. 4 &nbsp;Relief from Mycenae, No. 217.</td>
       <td class="right"><a href="#page89">89</a></td>
</tr>

<tr><th><h4><a class="toc" href="#page90">PART II.&mdash;MYRON AND PHEIDIAS.</a></h4></th></tr>
<tr>
       <td>Fig. 5 &nbsp;<ins title="Greek: HYAKINTHOS (=Hyacinth)">
	   &#933;&#913;&#922;&#921;&#925;&#920;&#927;<span style="font-family: 'DejaVu Sans', consolas, calibri, arial, 'courier new', gulim, sans-serif; font-size: 1.1em;">&#1017;</span>. </ins></td>
       <td class="right"><a href="#page91">91</a></td>
</tr>
<tr>
       <td>Fig. 6 &nbsp;Plan of the Parthenon. (From Michaelis.)</td>
       <td class="right"><a href="#page93">93</a></td>
</tr>
<tr>
       <td>Fig. 7 &nbsp;The South End of the East Pediment of the Parthenon (according to Sauer).</td>
       <td class="right"><a href="#page104">104</a></td>
</tr>
<tr>
       <td>Fig. 8 &nbsp;The North End of the East Pediment of the Parthenon (according to Sauer).</td>
       <td class="right"><a href="#page105">105</a></td>
</tr>
<tr>
       <td>Fig. 9 &nbsp;Dionysos; utensil.</td>
       <td class="right"><a href="#page108">108</a></td>
</tr>
<tr>
       <td>Fig. 9 &nbsp;Metopes 308, 309, from Carrey.</td>
       <td class="right"><a href="#page136">136</a></td>
</tr>
<tr>
       <td>Fig. 10 &nbsp;Slave with seat.</td>
       <td class="right"><a href="#page157">157</a></td>
</tr>
<tr>
       <td>Fig. 11 East frieze of the Parthenon, Nos. 39-41.</td>
       <td class="right"><a href="#page162">162</a></td>
</tr>
<tr>
       <td>Fig. 12&nbsp;North Frieze, slab xix. (46. 47.)</td>
       <td class="right"><a href="#page172">172</a></td>
</tr>
<tr>
       <td>Fig. 13 &nbsp;Slab xxv. restored from Stuart (from Michaelis).</td>
       <td class="right"><a href="#page176">176</a></td>
</tr>
<tr>
       <td>Fig. 14 &nbsp;South frieze, slab xvii. (44. 45. 45*.)</td>
       <td class="right"><a href="#page184">184</a></td>
</tr>

<tr><th><h4><a class="toc" href="#page216">PART III.&mdash;THE SUCCESSORS OF PHEIDIAS.</a></h4></th></tr>
<tr>
       <td>Fig. 15 &nbsp;Plan of the Theseion. (From Baumeister.)</td>
       <td class="right"><a href="#page216a">216</a></td>
</tr>
<tr>
       <td>Fig. 16 &nbsp;The disposition of the West Frieze of the Theseion. (From Baumeister).</td>
       <td class="right"><a href="#page222">222</a></td>
</tr>
<tr>
       <td>Fig. 17 &nbsp;The disposition of the East Frieze. (From Baumeister).</td>
       <td class="right"><a href="#page225">225</a></td>
</tr>
<tr>
       <td>Fig. 18 &nbsp;Ground Plan of the Erechtheion.</td>
       <td class="right"><a href="#page231a">231</a></td>
</tr>
<tr>
       <td>Fig. 19 &nbsp;Caryatid of the Erechtheion.</td>
       <td class="right"><a href="#page233a">233</a></td>
</tr>
<tr>
       <td>Fig. 20 &nbsp;Plan of the Propylaea and Temple of Wingless Victory.</td>
       <td class="right"><a href="#page240a">240</a></td>
</tr>
<tr>
       <td>Fig. 21 &nbsp;The Choragic Monument of Lysicrates. (After Stuart.)</td>
       <td class="right"><a href="#page250a">250</a></td>
</tr>
<tr>
       <td>Fig. 22 &nbsp;Plan of the Temple of Apollo at Phigaleia.</td>
       <td class="right"><a href="#page272">272</a></td>
</tr>
<tr>
       <td>Fig. 23 &nbsp;Bust of Pericles, No. 549.</td>
       <td class="right"><a href="#page289a">289</a></td>
</tr>
<tr>
       <td>Fig. 24 &nbsp;Sepulchral stelè of Smikylion, No. 599.</td>
       <td class="right"><a href="#page304a">304</a></td>
</tr>

<tr><th><h4><a class="toc" href="#plate1">PLATES I. - XII.</a></h4></th></tr>
<tr>
       <td><b>Plate I</b></td>
</tr>
<tr>
	   <td class="left"><span class="sc">Sculptured Column from the Archaic Temple at Ephesus. No. 29.</span></td>
       <td class="right"><a href="#plate1">I</a></td>
</tr>
<tr>
       <td><b>Plate II</b></td>
</tr>
<tr>
	   <td class="left"><span class="sc">View of the Lion Tomb at Xanthos. No. 80.</span></td>
</tr>
<tr>
	   <td class="left1">(<i>From a drawing by George Scharf.</i>)</td>
       <td class="right"><a href="#plate2">II</a></td>
</tr>
<tr>
       <td><b>Plate III</b></td>
</tr>
<tr>
	   <td class="left"><span class="sc">View of the Harpy Tomb at Xanthos. No. 94.</span></td>
</tr>
<tr>
	   <td class="left1">(<i>From a drawing by George Scharf.</i>)</td>
       <td class="right"><a href="#plate3">III</a></td>
</tr>
<tr>
       <td><b>Plate IV</b></td>
</tr>
<tr>
	   <td class="left"><span class="sc">Sectional View of the East End of the Parthenon.</span></td>
</tr>
<tr>
	   <td class="left1">(<i>G. Niemann</i>.)</td>
       <td class="right"><a href="#plate4">IV</a></td>
</tr>
<tr>
       <td><b>Plate V</b></td>
</tr>
<tr>
	   <td class="left">
	   Fig. 1. <span class="sc">Carrey's Drawing of the East Pediment of the Parthenon.</span><br />
	   Fig. 2. <span class="sc">Carrey's Drawing of the West Pediment of the Parthenon.</span></td>
       <td class="right"><a href="#plate5">V</a></td>
</tr>
<tr>
       <td><b>Plate VI</b></td>
</tr>
<tr>
	   <td class="left">
	   Fig. 1. <span class="sc">Iris and Hera. East Frieze of Parthenon. Nos. 27, 28.</span><br />
       Fig. 2. <span class="sc">Arm. NO. 330.</span></td>
       <td class="right"><a href="#plate6">VI</a></td>
</tr>
<tr>
       <td><b>Plate VII</b></td>
</tr>
<tr>
	   <td class="left"><span class="sc">The North Frieze of the Parthenon (Slabs I.-VII.) Restored.</span></td>
       <td class="right"><a href="#plate7">VII</a></td>
</tr>
<tr>
       <td><b>Plate VIII</b></td>
</tr>
<tr>
	   <td class="left"><span class="sc">The North Frieze of the Parthenon (Slabs VII.-XIII.) Restored.</span></td>
       <td class="right"><a href="#plate8">VIII</a></td>
</tr>
<tr>
       <td><b>Plate IX</b></td>
</tr>
<tr>
	   <td class="left"><span class="sc">Lusieri's Drawing of the Missing Group from the Monument of Lysicrates. No. 430, <i>5</i>.</span></td>
       <td class="right"><a href="#plate9">IX</a></td>
</tr>
<tr>
       <td><b>Plate X</b></td>
</tr>
<tr>
	   <td class="left"><span class="sc">View of the Temple of Apollo at Phigaleia.</span></td>
</tr>
<tr>
       <td class="left1">(<i>From a Photograph.</i>)</td>
       <td class="right"><a href="#plate10">X</a></td>
</tr>
<tr>
       <td><b>Plate XI</b></td>
</tr>
<tr>
	   <td class="left">
	   Fig. 1. <span class="sc">Sepulchral Relief. No. 693.</span><br />
       Fig. 2. <span class="sc">Monument of Xanthippos. No. 628.</span><br />
       Fig. 3. <span class="sc">Sepulchral Relief. No. 627.</span></td>
       <td class="right"><a href="#plate11">XI</a></td>
</tr>
<tr>
       <td><b>Plate XII</b></td>
</tr>
<tr>
	   <td class="left">
	   Fig. 1. <span class="sc">Fragment of a Sepulchral Relief. No. 673.</span><br />
       Fig. 2. <span class="sc">Fragment of a Sepulchral Relief. No. 672.</span></td>
       <td class="right"><a href="#plate12">XII</a></td>
</tr>
</table>

<span class="pagenum"><a name="pagevii" id="pagevii"></a>vii</span>

<h2>TABLE OF ABBREVIATIONS.</h2>

<div class="figcenter"><img src="images/smallfancyrule-104.png" width="104" height="14" alt="small fancy rule" /></div>

<div class="ind">
<p><span class="outdent">The following is a list</span> of the works which are most frequently
referred to, in this Catalogue, under abbreviated forms:&mdash;</p>

<p><span class="outdent"><i>Annali dell' Inst.</i></span> Annali dell' Instituto di Corrispondenza Archeologica.
Rome: 1829-1885. [Superseded by the "Roemische Mittheilungen."]</p>

<p><span class="outdent"><i>Antike Denkmaeler.</i></span> Antike Denkmaeler herausgegeben vom k.
deutschen Archaeologischen Institut.  Berlin: from 1886. In
progress.</p>

<p><span class="outdent"><i>Arch. Anzeiger.</i></span> Archaeologischer Anzeiger. [A supplement to the
Archeologische Zeitung, and to the Jahrbuch des Archaeologischen Instituts.]</p>

<p><span class="outdent"><i>Arch. Zeit.</i></span> Archaeologische Zeitung. Berlin: 1843-1885. [Superseded
by the Jahrbuch des Archaeologischen Instituts.]</p>

<p><span class="outdent"><i>Athenische Mittheilungen.</i></span> Mittheilungen des k. deutschen Archaeologischen
Instituts, Athenische Abtheilung. Athens: from 1876.
In progress.</p>

<p><span class="outdent"><i>Brunn, Denkmaeler.</i></span> H. v. Brunn, Denkmaeler griechischer und
römischer Sculptur. Munich: from 1888. In progress.</p>

<p><span class="outdent"><i>Bull, de Corr. Hellénique.</i></span> École française d'Athènes. Bulletin de
Correspondance Hellénique. Athens: from 1877. In progress.</p>

<p><span class="outdent"><i>Bull. dell' Inst.</i> Bullettino</span> dell' Instituto di Corrispondenza Archeologica.
Rome: 1829-1885.</p>

<p><span class="outdent"><i>C. I. A.</i> Corpus Inscriptionum Atticarum.</span> Berlin: from 1873. In
progress.</p>

<p><span class="outdent"><i>C. I. G.</i> Corpus Inscriptionum Graecarum.</span> Berlin: 1828-1877.</p>

<p><span class="outdent"><i>Gaz. Arch.</i> Gazette Archéologique.</span> Paris: 1874-1888.</p>

<p><span class="outdent"><i>Greek Inscriptions in Brit. Mus.</i></span> The Collection of Ancient Greek
Inscriptions in the British Museum, by C. T. Newton, and E. L.
Hicks. 1874-1890.</p>

<p><span class="outdent"><i>Guide to Elgin Room I.</i></span> Synopsis of the Contents of the British
Museum. Department of Greek and Roman Antiquities. The
Sculptures of the Parthenon. Elgin Room, Part I. (Third ed.).
1886.</p>
<span class="pagenum"><a name="pageviii" id="pageviii"></a>viii</span>

<p><span class="outdent"><i>Guide to Elgin Room II.</i></span> Synopsis, etc.... The Sculptures in
the Elgin Room. Part II. 1881.</p>

<p><span class="outdent"><i>Guide to First Vase Room.</i></span> Synopsis, etc.... First Vase Room.
(Last ed.) 1883.</p>

<p><span class="outdent"><i>Guide to Graeco-Roman Sculptures I.</i></span> Synopsis, etc.... Graeco-Roman
Sculptures. (Second ed.) 1879.</p>

<p><span class="outdent"><i>Guide to Graeco-Roman Sculptures II.</i></span> Synopsis, etc.... Graeco-Roman
Sculptures. Part II. 1876.</p>

<p><span class="outdent"><i>Jahrbuch des Arch. Inst.</i></span> Jahrbuch des k. deutschen Archaeologischen
Instituts. Berlin: from 1886. In progress.</p>

<p><span class="outdent"><i>Journ. of Hellen. Studies.</i></span> The Journal of Hellenic Studies. London:
from 1879. In progress.</p>

<p><span class="outdent"><i>Mansell.</i> Photographs of objects</span> in the British Museum, published by
W. A. Mansell, 271 Oxford Street, W.</p>

<p><span class="outdent"><i>Michaelis.</i> A. Michaelis,</span> Der Parthenon. Leipsic: 1871.</p>

<p><span class="outdent"><i>Michaelis, Anc. Marbles.</i></span> A. Michaelis, Ancient Marbles in Great
Britain. 1882.</p>

<p><span class="outdent"><i>Mitchell.</i> Lucy M. Mitchell,</span> A History of Ancient Sculpture. 1883.</p>

<p><span class="outdent"><i>Mitchell, Selections.</i> Selections</span> from Ancient Sculpture.... A
Supplement to A History of Ancient Sculpture. By Lucy M.
Mitchell. 1883.</p>

<p><span class="outdent"><i>Mon. dell' Inst.</i> Monumenti Inediti,</span> pubblicati dall' Instituto di
Corrispondenza Archaeologica. Rome, 1829-1886, and Berlin,
1891.</p>

<p><span class="outdent"><i>Murray.</i> A. S. Murray, A History </span>of Greek Sculpture. 1880-3.
[Second ed., 1890. The first ed. is quoted, unless otherwise stated.]</p>

<p><span class="outdent"><i>Mus. Marbles.</i> A description</span> of the Collection of Ancient Marbles in
the British Museum. 1812-1861.</p>

<p><span class="outdent"><i>Perrot &amp; Chipiez.</i> G. Perrot</span> and C. Chipiez, Histoire de l'Art dans
l'Antiquité. Paris: from 1882. In progress.</p>

<p><span class="outdent"><i>Prachov.</i> A. Prachov, Antiquissima</span> Monumenta Xanthiaca.  St. Petersburg, 1871.</p>

<p><span class="outdent"><i>Rev. Arch.</i> Revue Archéologique.</span> Paris: from 1844. In progress.</p>

<p><span class="outdent"><i>Roehl, I. G. A.</i> H. Roehl, Inscriptiones</span> Graecae Antiquissimae,
praeter Atticas in Attica repertas. Berlin: 1882.</p>

<p><span class="outdent"><i>Roemische Mittheilungen.</i></span> Mittheilungen des k. deutschen Archaeologischen
Instituts, Roemische Abtheilung. Rome: from 1886.
In progress.</p>

<p><span class="outdent"><i>Specimens.</i> Specimens</span> of Ancient Sculpture ... selected from
different Collections in Great Britain, by the Society of Dilettanti.
London: 1809.</p>

<p><span class="outdent"><i>Stereoscopic.</i> Photographs</span> of objects in the British Museum, published
by the London Stereoscopic Company, 106 Regent Street, W.</p>
<span class="pagenum"><a name="pageix" id="pageix"></a>ix</span>

<p><span class="outdent"><i>Stuart.</i> James Stuart</span> and Nicolas Revett, The Antiquities of Athens.
London: 1762-1830. [Second ed., 1825-1830. The first ed. is
quoted unless otherwise stated.]</p>

<p><span class="outdent"><i>Synopsis.</i> Synopsis</span> of the contents of the British Museum.
(Numerous editions.) 1808-1857. [Where a double reference is given, as 189 (284), the number in the parenthesis was used in
editions of the Synopsis earlier than 1832.]</p>

<p><span class="outdent"><i>Wolters.</i> Die Gipsabgüsse</span> Antiker Bildwerke in historischer Folge
erklärt. Bausteine ... von Carl Friederichs neu bearbeitet von Paul Wolters. Berlin: 1885.</p>
</div>

<hr />

<table align="center" border="0" summary="contents" style="margin-top: 1em; margin-bottom: 2em;">

<tr><th><h4 style="margin-top: 1em;"><span class="sc">British and Metric Systems Compared.</span></h4></th></tr>
<tr>
<td class="center" style="font-size: 1em;">1 inch = &middot;025 metre.<br />
1 foot = &middot;304 metre.<br />
3 feet = &middot;914 metre.
</td>
</tr>
<tr>
<td class="center" style="font-size: 1em;">
1 metre = 39&middot;37079 inches.
</td>
</tr>
</table>

<hr />
<span class="pagenum"><a name="pagex" id="pagex"></a>x</span><br />
<span class="pagenum"><a name="page1" id="page1"></a>1</span>

<h2>INTRODUCTION.</h2>

<div class="figcenter"><img src="images/smallfancyrule-104.png" width="104" height="14" alt="small fancy rule" /></div>

<p>The collection of ancient sculpture in marble, included
in the Department of Greek and Roman Antiquities in
the British Museum, may be said to represent the
efforts of more than two centuries, though the foundation
of the Museum itself is of a considerably more recent
date.<a id="footnotetag1" name="footnotetag1"></a><a class="ask" href="#footnote1"><sup>1</sup></a></p>

<p>The British Museum was established by Parliament in
1753. In that year, by the statute 26 Geo. II. cap. 22, a
trust was created to unite and maintain as one collection
the Museum of Sir Hans Sloane, the Cottonian
Library, and the Harleian Collection of Manuscripts.</p>

<p>Sir Hans Sloane (1660-1753),<a id="footnotetag2" name="footnotetag2"></a><a class="ask" href="#footnote2"><sup>2</sup></a> physician, botanist, and
President of the Royal Society in succession to Newton,
had formed in his lifetime a very extensive museum, consisting
mainly of books, natural history collections, and
ethnographical objects. At the same time classical antiquities
were represented by bronzes, gems, vases, terracottas,
and a few sculptures in marble. The examples,
<span class="pagenum"><a name="page2" id="page2"></a>2</span>
however, of Greek sculpture were few and unimportant,
and in most instances they cannot now be recognized with
certainty from the brief entries in Sir Hans Sloane's
catalogue. Such as they were, they were chiefly derived
from the collection of John Kemp, an antiquary and
collector early in the eighteenth century (died 1717).
The Sloane Collection included the sepulchral vase,
No. 682 in the present volume; a small relief with two
dogs and a wild boar; a figure of Asclepios, a few heads,
busts, urns of marble or alabaster, and a few Greek and
Latin inscriptions.</p>

<p>Three of the pieces of sculpture in the Museum are
said by Sloane<a id="footnotetag3" name="footnotetag3"></a><a class="ask" href="#footnote3"><sup>3</sup></a> to have been derived from the Arundel
Collection, which was the first great collection of classical
antiques formed in this country. Thomas Howard, Earl
of Arundel (1585-1646), was the first Englishman who
employed agents to collect for him in Greece and the
Greek Islands, as well as in Italy. The collection thus
formed was broken up in the reign of Charles II. The
inscriptions were given by Henry Howard, afterwards
sixth Duke of Norfolk, to the University of Oxford in
1667. The sculptures were scattered. A part passed
through the hands of the Earls of Pomfret to the University
of Oxford, while others were lost, or dispersed
among private collectors.<a id="footnotetag4" name="footnotetag4"></a><a class="ask" href="#footnote4"><sup>4</sup></a> The few examples named
above thus found their way into the original collection
of the British Museum. A more important fragment,
however, from the Arundel Collection was added to the
<span class="pagenum"><a name="page3" id="page3"></a>3</span>
Museum at an early date, namely the bronze head,
formerly known as Homer,<a id="footnotetag5" name="footnotetag5"></a><a class="ask" href="#footnote5"><sup>5</sup></a> which was presented by the
ninth Earl of Exeter in 1760. This head had previously
been in the collection of Dr. Richard Mead,<a id="footnotetag6" name="footnotetag6"></a><a class="ask" href="#footnote6"><sup>6</sup></a> physician and
antiquary (1673-1754), and was sold with his collection
in 1754.<a id="footnotetag7" name="footnotetag7"></a><a href="#footnote7"><sup>7</sup></a></p>

<p>Between the foundation of the British Museum in 1753
and the accession of the Townley Collection in 1805, the
collection of sculpture made but slow progress. The first
donor of sculpture was Thomas Hollis (1720-1774), of
Corscombe, in Dorsetshire, a collector, and benefactor to
several branches of the Museum. In 1757 Hollis gave a
collection of antiquities, including several marbles, chiefly
small busts and inscriptions.<a id="footnotetag8" name="footnotetag8"></a><a class="ask" href="#footnote8"><sup>8</sup></a> In 1764 he gave a Greek
relief, which cannot be identified, and in 1765 a marble
head of a Faun.</p>

<p>In 1772 Matthew Duane (lawyer and antiquary, 1707-1785)
joined in a gift of sculptures with Thomas Tyrwhitt
(1720-1786), a scholar, who also bequeathed his
library of classical authors to the British Museum. The
sculptures in question<a id="footnotetag9" name="footnotetag9"></a><a class="ask" href="#footnote9"><sup>9</sup></a> were purchased by the donors at
an auction in London,<a id="footnotetag10" name="footnotetag10"></a><a class="ask" href="#footnote10"><sup>10</sup></a> in order that they might be put in
a place of safety.</p>

<p>The year 1772 is also noteworthy as the date of the
first Parliamentary grant for the augmentation of the
Museum collection. The House of Commons in that year
voted a sum of £8410 for the purchase of the valuable
museum of antiquities which had been formed by Sir
<span class="pagenum"><a name="page4" id="page4"></a>4</span>
William Hamilton (1730-1803), British Ambassador at
Naples, 1764-1800. The vases formed the most important
section, but the collection also contained several sculptures
in the round and in relief.<a id="footnotetag11" name="footnotetag11"></a><a class="ask" href="#footnote11"><sup>11</sup></a> On the other hand a square
altar with reliefs<a id="footnotetag12" name="footnotetag12"></a><a class="ask" href="#footnote12"><sup>12</sup></a> was presented by Sir W. Hamilton in
1776, and perhaps also a head of Heracles.<a id="footnotetag13" name="footnotetag13"></a><a class="ask" href="#footnote13"><sup>13</sup></a> A colossal
foot of Apollo<a id="footnotetag14" name="footnotetag14"></a><a class="ask" href="#footnote14"><sup>14</sup></a> was given in 1784.</p>

<p>In 1780 an interesting relief, No. 750, was presented
by Sir Joseph Banks, and Col. the Hon. A. C. Fraser, of
Lovat (1736-1815). Sir Joseph Banks (1743-1820), traveller,
botanist, and President of the Royal Society, was a
great benefactor to the Library and Botanical collections,
but his gifts of sculpture were limited to this relief, and to
a relief representing Jupiter and Ceres, presented in 1809.</p>

<p>Charles Townley gave two marble fountains<a id="footnotetag15" name="footnotetag15"></a><a class="ask" href="#footnote15"><sup>15</sup></a> in 1786,
but his main collections were not added to the Museum
till after his death. A valuable gift was received from
the Society of Dilettanti, about 1795, consisting of the
sculptures and inscriptions collected by the expedition to
Ionia which had been sent out by that Society in 1764,
under the direction of Dr. Richard Chandler. The collection
included several Attic reliefs,<a id="footnotetag16" name="footnotetag16"></a><a class="ask" href="#footnote16"><sup>16</sup></a> and some important
inscriptions, among them the well-known report on the
progress of the Erechtheion.<a id="footnotetag17" name="footnotetag17"></a><a class="ask" href="#footnote17"><sup>17</sup></a> In 1870 the same Society
presented the fruits of its excavations at Prienè, conducted
by Mr. R. P. Pullan.</p>

<p>Two Roman portrait statues, of inferior merit, which had
passed into the hands of the British at the Capitulation of
<span class="pagenum"><a name="page5" id="page5"></a>5</span>
Alexandria, in 1800, were placed in the Department of
Antiquities, in 1802.</p>

<p>The collection of sculpture which had thus slowly come
into existence during the first fifty years of the Museum's
history, received its most brilliant accessions during the
first quarter of the present century.</p>

<p>The great collection that had been formed by Charles
Townley<a id="footnotetag18" name="footnotetag18"></a><a class="ask" href="#footnote18"><sup>18</sup></a> was purchased in 1805 by Act of Parliament,
45 Geo. III. cap. 127, for £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<a id="footnotetag19" name="footnotetag19"></a><a class="ask" href="#footnote19"><sup>19</sup></a> was
derived from the collection of Dr. Richard Mead (see
above). The relief of Xanthippos<a id="footnotetag20" name="footnotetag20"></a><a class="ask" href="#footnote20"><sup>20</sup></a> had been brought to
England by Dr. Anthony Askew, a physician, who visited
Athens and the East, about 1747, and compiled a manuscript
volume of inscriptions, now in the British Museum
(Burney MSS., No. 402). Several pieces<a id="footnotetag21" name="footnotetag21"></a><a class="ask" href="#footnote21"><sup>21</sup></a> were also obtained
from the collection formed at Wimbledon by Lyde
Browne, a virtuoso and Director of the Bank of England,
who died in 1787.</p>
<span class="pagenum"><a name="page6" id="page6"></a>6</span>

<p>The accession of the Townley Collection in 1805 made
necessary the erection of a special building in the garden
of the then existing Montague House, and also caused the
creation of a separate Department under Taylor Combe,
for the custody of the antiquities, which had been
previously attached to the Library.</p>

<p>In 1814, the Phigaleian sculptures were purchased of
the explorers<a id="footnotetag22" name="footnotetag22"></a><a class="ask" href="#footnote22"><sup>22</sup></a> in a public auction at Zante, and the
Museum thereby acquired its first series of sculptures
from a Greek building. A fragment, which had been lost
during the transportation of the marbles,<a id="footnotetag23" name="footnotetag23"></a><a class="ask" href="#footnote23"><sup>23</sup></a> was presented
by Mr. J. Spencer Stanhope in 1816.</p>

<p>Thomas Bruce, seventh Earl of Elgin (1766-1841),
whose collection was the next and greatest addition to the
British Museum, had been appointed British Ambassador
to the Porte in 1799. On his appointment, he resolved
to make his time of office of service to the cause of art,
and accordingly engaged a body of five architects,
draughtsmen and formatori, under Lusieri, a Neapolitan
portrait painter, to make casts, plans and drawings from
the remains in Greece, and more particularly at Athens.
While the work was in progress, Lord Elgin became aware
of the rapid destruction that was taking place of the
sculptures in Athens. The success of the British arms in
Egypt having made the disposition of the Porte favourable
to the British Ambassador, a firman was obtained which
sanctioned the removal of the sculptures. The whole
collection, formed by Lord Elgin's agents, was, after long
negotiations, and an enquiry by a Select Committee of the
House of Commons, purchased of Lord Elgin for £35,000
in 1816. It consists of sculptures and architectural
<span class="pagenum"><a name="page7" id="page7"></a>7</span>
fragments from the Parthenon, the Erechtheion, and
other Athenian buildings; casts, which have now become
of great value, from the Parthenon, the Theseion, and the
Monument of Lysicrates; a considerable number of Greek
reliefs, principally from Athens; fragments from Mycenae
and elsewhere; drawings and plans.</p>

<p>The marbles and casts of the Parthenon acquired in the
Elgin Collection, have since been supplemented, not only
by casts of sculptures newly discovered at Athens, but also
by the additions of fragments, removed from Athens by occasional
travellers, and acquired for the Museum by donation
or purchase. The gifts include a head of a Lapith,<a id="footnotetag24" name="footnotetag24"></a><a class="ask" href="#footnote24"><sup>24</sup></a> from
the Duke of Devonshire, and pieces of the frieze from Mr. C. R.
Cockerell,<a id="footnotetag25" name="footnotetag25"></a><a class="ask" href="#footnote25"><sup>25</sup></a> and
Mr. J. H. Smith-Barry;<a id="footnotetag26" name="footnotetag26"></a><a class="ask" href="#footnote26"><sup>26</sup></a> also from the
Society of Dilettanti<a id="footnotetag27" name="footnotetag27"></a><a class="ask" href="#footnote27"><sup>27</sup></a> and
the Royal Academy.<a id="footnotetag28" name="footnotetag28"></a><a class="ask" href="#footnote28"><sup>28</sup></a></p>

<p>Lord Elgin was actively assisted in the East by his
secretary, William Richard Hamilton (1777-1859), who
afterwards became Under-Secretary of State for Foreign
Affairs (1809-1822). From Mr. Hamilton the Museum
received a few sculptures, including a sepulchral relief
from Tarentum.<a id="footnotetag29" name="footnotetag29"></a><a class="ask" href="#footnote29"><sup>29</sup></a></p>

<p>In 1824 the British Museum obtained by bequest the
collections of Richard Payne Knight (1749-1824), a
learned but fanciful antiquarian, and a leading member
of the Society of Dilettanti. Payne Knight's collection
was especially rich in bronzes, gems, and coins, but it also
contained a series of marble portrait busts.</p>

<p>The next addition of importance was the collection of
sculptures and casts brought at the public expense in
1842 from Xanthos and other sites in Lycia, discovered
<span class="pagenum"><a name="page8" id="page8"></a>8</span>
by Sir Charles Fellows (1799-1860), in the course of his
journeys of 1838 and 1840.<a id="footnotetag30" name="footnotetag30"></a><a class="ask" href="#footnote30"><sup>30</sup></a></p>

<p>In 1846, permission was given by the Porte to the then
British Ambassador, Sir Stratford Canning, afterwards
Viscount Stratford de Redcliffe (1786-1880), to remove
twelve slabs of the frieze of the Mausoleum from Halicarnassos.
These sculptures, long known to travellers,<a id="footnotetag31" name="footnotetag31"></a><a class="ask" href="#footnote31"><sup>31</sup></a>
were taken from the walls of the castle of Budrum, and
presented by the Ambassador to the British Museum.</p>

<p>Ten years later the influence of Lord Stratford de
Redcliffe was exerted to support Sir Charles Newton in
his explorations in Asia Minor. Sir Charles Newton
exchanged his position at the British Museum, in 1856,
for the post of British Vice-Consul at Mitylene, which he
held till 1859, and in that capacity he was able, on behalf
of the Trustees, to excavate the sites of the Mausoleum at
Halicarnassos, and of the temple of Demeter at Cnidos.
He also removed the archaic statues of Branchidae, and
collected several minor pieces of sculpture. The excavations
on the site of the Mausoleum added four slabs to the
series presented by Lord Stratford de Redcliffe in 1840.
One additional slab was purchased in 1865 of the Marchese
Serra, of Genoa.</p>

<p>While the excavations of the Mausoleum were in
progress, the Crimean campaign afforded an opportunity
to Col. Westmacott to form a collection of sculptures from
Kertch and the neighbourhood, illustrating the later stages
of Greek art on the Euxine.</p>

<p>In the years 1860-1861, Captain, now General Sir R.
Murdoch Smith, R.E., and Commander E. A. Porcher, R.N.,
<span class="pagenum"><a name="page9" id="page9"></a>9</span>
carried out a series of excavations on the site of 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.</p>

<p>The excavations which were carried on at Ephesus by
the late Mr. John Turtle Wood,<a id="footnotetag32" name="footnotetag32"></a><a class="ask" href="#footnote32"><sup>32</sup></a> for the British Museum,
began in 1863, and were continued till 1874, the site of
the great temple of Artemis not having been determined
before the spring of 1870. Besides excavating the site of
the temple, Mr. Wood obtained inscriptions and sculptures
from the Odeum, the great Theatre, and the road to the
temple of Artemis.</p>

<p>The site of Naucratis in the Egyptian Delta was discovered
by Mr. W. M. Flinders Petrie, and was excavated,
partly by the discoverer, and partly by Mr. E. A. Gardner,
at the cost of the Egypt Exploration Fund in the years
1884-6.<a id="footnotetag33" name="footnotetag33"></a><a class="ask" href="#footnote33"><sup>33</sup></a> The most important objects found were fragments
of pottery, but there were also some architectural
remains, and archaic statuettes of interest.</p>

<p>In 1889 and 1891, various sculptures, including a head
of Eros from Paphos, and a large capital with projecting
bulls' heads from the Cyprian Salamis, have been presented
by the Cyprus Exploration Fund.</p>

<p>Besides the proceeds of the systematic researches
enumerated above, the collection of sculpture has been
frequently increased during the present century with the
specimens collected by private travellers in the East.
Thus in 1818, H. Gally Knight (1784-1846), an antiquarian
and writer on the history of architecture, with
N. Fazakerly, presented a statue from Athens.<a id="footnotetag34" name="footnotetag34"></a><a class="ask" href="#footnote34"><sup>34</sup></a> In 1820,
<span class="pagenum"><a name="page10" id="page10"></a>10</span>
J. P. Gandy Deering (1787-1850), an architect who had
taken part in the Dilettanti Expedition to Ionia of 1811,
presented sculptures that he had discovered at Rhamnus
in Attica.<a id="footnotetag35" name="footnotetag35"></a><a class="ask" href="#footnote35"><sup>35</sup></a> In 1839, Colonel W. M. Leake, an eminent
traveller and topographer (1777-1860), presented several
Greek sculptures.<a id="footnotetag36" name="footnotetag36"></a><a class="ask" href="#footnote36"><sup>36</sup></a> A small collection of reliefs, and of
architectural fragments from Athens and elsewhere, was
purchased from H. W. Inwood, the author of a treatise on
the Erechtheion.</p>

<p>In 1861, the fifth Earl of Aberdeen presented a collection
which had been formed in Greece in 1801 by George,
fourth Earl of Aberdeen, a connoisseur, known to his
contemporaries as "Athenian Aberdeen."<a id="footnotetag37" name="footnotetag37"></a><a class="ask" href="#footnote37"><sup>37</sup></a> In 1864 a
collection of sculptures was purchased which had been
formed by Percy Clinton Sydney Smythe, sixth Viscount
Strangford (1783-1855), formerly Ambassador to the
Porte, and which included the "Strangford Apollo."<a id="footnotetag38" name="footnotetag38"></a><a class="ask" href="#footnote38"><sup>38</sup></a></p>

<p>Amongst purchases that have taken place from time to
time we may also mention that of the Apollo<a id="footnotetag39" name="footnotetag39"></a><a class="ask" href="#footnote39"><sup>39</sup></a> from the
collection of the Comte de Choiseul-Gouffier in 1818. In
1864 several Græco-Roman sculptures<a id="footnotetag40" name="footnotetag40"></a><a class="ask" href="#footnote40"><sup>40</sup></a> were purchased
from the Farnese Collection at Rome. The museum of
the Duc de Blacas, purchased in 1867, contained the head
of Asclepios from Melos, and the relief discovered at the
same time.<a id="footnotetag41" name="footnotetag41"></a><a class="ask" href="#footnote41"><sup>41</sup></a> For the numerous cases not here mentioned
in which sculptures have been acquired by <ins title="Transcriber's Note: original reads 'donotion'">donation</ins>
or bequest, the reader is referred to the pages of the
catalogue.</p>
<span class="pagenum"><a name="page11" id="page11"></a>11</span>

<p>Finally, it may be observed that not a few sculptures
in the British Museum have been found under peculiar
circumstances in this country. Such specimens have been
brought to England by travellers, whose collections have
afterwards been broken up, lost or neglected, and have
been rescued by chance from warehouses, gardens, or
masons' yards.<a id="footnotetag42" name="footnotetag42"></a><a class="ask" href="#footnote42"><sup>42</sup></a></p>

<p class="footnote1"><a id="footnote1" name="footnote1"></a><a class="ask" href="#footnotetag1"><sup>1</sup></a>&nbsp;&nbsp;  For the history of the collections in the British Museum, see
Edwards, <i>Lives of the Founders of the British Museum</i>; Michaelis, <i>Ancient Marbles in Great Britain</i>, introduction.</p>

<p class="footnote"><a id="footnote2" name="footnote2"></a><a class="ask" href="#footnotetag2"><sup>2</sup></a>&nbsp;&nbsp;  There is a portrait of Sloane in the Mediæval Room, and a bust by
Roubiliac in the Ceramic Gallery.</p>

<p class="footnote"><a id="footnote3" name="footnote3"></a><a class="ask" href="#footnotetag3"><sup>3</sup></a>&nbsp;&nbsp;  The entries in the Sloane Catalogue are:&mdash;"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.&mdash;Arundel. 223. A small Venus (?).&mdash;Arundel."</p>

<p class="footnote"><a id="footnote4" name="footnote4"></a><a class="ask" href="#footnotetag4"><sup>4</sup></a>&nbsp;&nbsp;  Michaelis, <i>Ancient Marbles</i>, p. 6.</p>

<p class="footnote"><a id="footnote5" name="footnote5"></a><a class="ask" href="#footnotetag5"><sup>5</sup></a>&nbsp;&nbsp;  <i>Mus. Marbles</i>, II., pl. 39.</p>

<p class="footnote"><a id="footnote6" name="footnote6"></a><a class="ask" href="#footnotetag6"><sup>6</sup></a>&nbsp;&nbsp;  There is a bust of Mead by Roubiliac in the Ceramic Gallery.</p>

<p class="footnote"><a id="footnote7" name="footnote7"></a><a class="ask" href="#footnotetag7"><sup>7</sup></a>&nbsp;&nbsp;  <i>Mus. Meadianum</i>, Pars altera, p. 219.</p>

<p class="footnote"><a id="footnote8" name="footnote8"></a><a class="ask" href="#footnotetag8"><sup>8</sup></a>&nbsp;&nbsp;  Cf. <i>Mus. Marbles</i>, V., pl. 1, fig. 3; pl. 6, fig. 4; pl. 7,
fig. 1; pl. 12, fig. 4.</p>

<p class="footnote"><a id="footnote9" name="footnote9"></a><a class="ask" href="#footnotetag9"><sup>9</sup></a>&nbsp;&nbsp;
Nos. <a class="ask" href="#n639">639</a>, <a class="ask" href="#n703">703</a>, <a class="ask" href="#n737">737</a>.</p>

<p class="footnote"><a id="footnote10" name="footnote10"></a><a class="ask" href="#footnotetag10"><sup>10</sup></a>&nbsp;&nbsp;  <i>Archæologia</i>, III., p. 230.</p>

<p class="footnote"><a id="footnote11" name="footnote11"></a><a class="ask" href="#footnotetag11"><sup>11</sup></a>&nbsp;&nbsp;
Nos. <a class="ask" href="#n774">774</a>, <a class="ask" href="#n780">780</a>; <i>Græco-Roman Guide</i>, I., No. 140<span class="sc">b</span>.</p>

<p class="footnote"><a id="footnote12" name="footnote12"></a><a class="ask" href="#footnotetag12"><sup>12</sup></a>&nbsp;&nbsp;  <i>Græco-Roman Guide</i>, II., No. 53.</p>

<p class="footnote"><a id="footnote13" name="footnote13"></a><a class="ask" href="#footnotetag13"><sup>13</sup></a>&nbsp;&nbsp;  <i>Mus. Marbles</i>, I., pl. 11.</p>

<p class="footnote"><a id="footnote14" name="footnote14"></a><a class="ask" href="#footnotetag14"><sup>14</sup></a>&nbsp;&nbsp;  <i>Græco-Roman Guide</i>, II., No. 117.</p>

<p class="footnote"><a id="footnote15" name="footnote15"></a><a class="ask" href="#footnotetag15"><sup>15</sup></a>&nbsp;&nbsp;  <i>Græco-Roman Guide</i>, II., Nos. 45, 61.</p>

<p class="footnote"><a id="footnote16" name="footnote16"></a><a class="ask" href="#footnotetag16"><sup>16</sup></a>&nbsp;&nbsp;
Nos. <a class="ask" href="#n605">605</a>, <a class="ask" href="#n637">637</a>, <a class="ask" href="#n642">642</a>.</p>

<p class="footnote"><a id="footnote17" name="footnote17"></a><a class="ask" href="#footnotetag17"><sup>17</sup></a>&nbsp;&nbsp;  <i>Greek Inscriptions in Brit. Mus.</i>, No. XXXV.</p>

<p class="footnote"><a id="footnote18" name="footnote18"></a><a class="ask" href="#footnotetag18"><sup>18</sup></a>&nbsp;&nbsp;  There is a bust of Townley in the Department of Antiquities.</p>

<p class="footnote"><a id="footnote19" name="footnote19"></a><a class="ask" href="#footnotetag19"><sup>19</sup></a>&nbsp;&nbsp;
No. <a class="ask" href="#n704">704</a>.</p>

<p class="footnote"><a id="footnote20" name="footnote20"></a><a class="ask" href="#footnotetag20"><sup>20</sup></a>&nbsp;&nbsp;
No. <a class="ask" href="#n628">628</a>.</p>

<p class="footnote"><a id="footnote21" name="footnote21"></a><a class="ask" href="#footnotetag21"><sup>21</sup></a>&nbsp;&nbsp;  <i>Mus. Marbles</i>, III., pl. 6; X., pls. 3, 5; XI., pl. 37.</p>

<p class="footnote"><a id="footnote22" name="footnote22"></a><a class="ask" href="#footnotetag22"><sup>22</sup></a>&nbsp;&nbsp;  See p. <a class="ask" href="#page270">270</a>.</p>

<p class="footnote"><a id="footnote23" name="footnote23"></a><a class="ask" href="#footnotetag23"><sup>23</sup></a>&nbsp;&nbsp;
Part of No. <a class="ask" href="#n534">534</a>.</p>

<p class="footnote"><a id="footnote24" name="footnote24"></a><a class="ask" href="#footnotetag24"><sup>24</sup></a>&nbsp;&nbsp;
<a class="ask" href="#n342-3">342, <i>3</i></a>.</p>

<p class="footnote"><a id="footnote25" name="footnote25"></a><a class="ask" href="#footnotetag25"><sup>25</sup></a>&nbsp;&nbsp;
<a class="ask" href="#n327-4">327, <i>4</i></a>.</p>

<p class="footnote"><a id="footnote26" name="footnote26"></a><a class="ask" href="#footnotetag26"><sup>26</sup></a>&nbsp;&nbsp;
<a class="ask" href="#n325-75">325, <i>75</i></a>.</p>

<p class="footnote"><a id="footnote27" name="footnote27"></a><a class="ask" href="#footnotetag27"><sup>27</sup></a>&nbsp;&nbsp;
<a class="ask" href="#n325-50">325, <i>50</i></a>.</p>

<p class="footnote"><a id="footnote28" name="footnote28"></a><a class="ask" href="#footnotetag28"><sup>28</sup></a>&nbsp;&nbsp;
<a class="ask" href="#n325-85">325, <i>85</i></a>.</p>

<p class="footnote"><a id="footnote29" name="footnote29"></a><a class="ask" href="#footnotetag29"><sup>29</sup></a>&nbsp;&nbsp;
Nos. <a class="ask" href="#n446">446</a>, <a class="ask" href="#n712">712</a>.</p>

<p class="footnote"><a id="footnote30" name="footnote30"></a><a class="ask" href="#footnotetag30"><sup>30</sup></a>&nbsp;&nbsp;
See p. <a class="ask" href="#page45">45</a>, for a further account of the travels of Fellows.</p>

<p class="footnote"><a id="footnote31" name="footnote31"></a><a class="ask" href="#footnotetag31"><sup>31</sup></a>&nbsp;&nbsp;  <i>Antiquities of Ionia</i>, II. (1797), suppl., pl. 2.</p>

<p class="footnote"><a id="footnote32" name="footnote32"></a><a class="ask" href="#footnotetag32"><sup>32</sup></a>&nbsp;&nbsp;  See p. <a class="ask" href="#page24">24</a>.</p>

<p class="footnote"><a id="footnote33" name="footnote33"></a><a class="ask" href="#footnotetag33"><sup>33</sup></a>&nbsp;&nbsp;  See p. <a class="ask" href="#page61">61</a>.</p>

<p class="footnote"><a id="footnote34" name="footnote34"></a><a class="ask" href="#footnotetag34"><sup>34</sup></a>&nbsp;&nbsp;
No. <a class="ask" href="#n153">153</a>.</p>

<p class="footnote"><a id="footnote35" name="footnote35"></a><a class="ask" href="#footnotetag35"><sup>35</sup></a>&nbsp;&nbsp;
Nos. <a class="ask" href="#n154">154</a>, <a class="ask" href="#n460">460</a>; cf. also No. <a class="ask" href="#n784">784</a>.</p>

<p class="footnote"><a id="footnote36" name="footnote36"></a><a class="ask" href="#footnotetag36"><sup>36</sup></a>&nbsp;&nbsp;
Including Nos. <a class="ask" href="#n798">798</a>, <a class="ask" href="#n816">816</a>.</p>

<p class="footnote"><a id="footnote37" name="footnote37"></a><a class="ask" href="#footnotetag37"><sup>37</sup></a>&nbsp;&nbsp;
Including Nos. <a class="ask" href="#n632">632</a>, <a class="ask" href="#n633">633</a>, <a class="ask" href="#n644">644</a>, <a class="ask" href="#n710">710</a>,
<a class="ask" href="#n802">802</a>, <a class="ask" href="#n808">808</a>, <a class="ask" href="#n811">811</a>, <a class="ask" href="#n812">812</a>.</p>

<p class="footnote"><a id="footnote38" name="footnote38"></a><a class="ask" href="#footnotetag38"><sup>38</sup></a>&nbsp;&nbsp;
 No. <a class="ask" href="#n206">206</a>.
See also Nos. <a class="ask" href="#n302">302</a>, <a class="ask" href="#n627">627</a>, <a class="ask" href="#n651">651</a>,
<a class="ask" href="#n653">653</a>, <a class="ask" href="#n666">666</a>, <a class="ask" href="#n678">678</a>, <a class="ask" href="#n722">722</a>.</p>

<p class="footnote"><a id="footnote39" name="footnote39"></a><a class="ask" href="#footnotetag39"><sup>39</sup></a>&nbsp;&nbsp;
No. <a class="ask" href="#n209">209</a>.</p>

<p class="footnote"><a id="footnote40" name="footnote40"></a><a class="ask" href="#footnotetag40"><sup>40</sup></a>&nbsp;&nbsp;
No. <a class="ask" href="#n401">401</a>; <i>Græco-Roman Guide</i>, I., Nos. 33, 45, 109, 132, 134;
II., No. 96.</p>

<p class="footnote"><a id="footnote41" name="footnote41"></a><a class="ask" href="#footnotetag41"><sup>41</sup></a>&nbsp;&nbsp;
Nos. <a class="ask" href="#n550">550</a>, <a class="ask" href="#n809">809</a>.</p>

<p class="footnote2"><a id="footnote42" name="footnote42"></a><a class="ask" href="#footnotetag42"><sup>42</sup></a>&nbsp;&nbsp;
See Nos. <ins title="Transcriber's Note: original reads '214'"><a class="ask" href="#n211">211</a></ins>, <a class="ask" href="#n643">643</a>, <a class="ask" href="#n652">652</a>, <a class="ask" href="#n667">667</a>,
<a class="ask" href="#n680">680</a>, <a class="ask" href="#n693">693</a>, <a class="ask" href="#n699">699</a>, <a class="ask" href="#n726">726</a>,
<a class="ask" href="#n736">736</a>.</p>

<span class="pagenum"><a name="page12" id="page12"></a>12</span>

<h1 style="margin-top: 3em;">PART I.</h1>

<h2><i>ARCHAIC PERIOD.</i></h2>

<div class="figcenter"><img src="images/small_rule-100.png" width="100" height="4" alt="small rule" /></div>

<h3>SCULPTURES FROM MYCENAE.</h3>

<p>The sculptures contained in the first section of this
catalogue are derived from the site of Mycenae, the first
four being fragments of important works of architecture.
There is great uncertainty as to the date and origin of
the Mycenaean monuments. A theory frequently advanced
supposes that they are remains of an old civilization
whose centre was Argolis, and which was swept away by
Dorian invaders. If this view is accepted, Nos. 1-6 are
separated by a long interval of years, and by a time of
great political change, from the remaining sculptures in
this volume. From No. 7 onwards we have works produced
during the historical period; but the remains of
Mycenae acquire interest from the consideration that they
may be authentic memorials of a dynasty only dimly
remembered in the Homeric Poems.</p>

<p><span class="leftside">1-4.</span>Fragments of architecture from the building, commonly
known as the 'Treasury of Atreus' at Mycenae. This
building is a dome-covered tomb (<i>tholos</i>) of beehive shape,
approached by a long passage (<i>dromos</i>). It is cut out
from the side of a hill, and built of heavy masonry, covered
with earth, so as to form a tumulus. It was partially
excavated by Lord Elgin, and more completely in 1879
by the Greek Archæological Society. The fragments
Nos. 1-4 are parts of an elaborately decorated doorway to
the tomb. They have been incorporated in a somewhat
<span class="pagenum"><a name="page13" id="page13"></a>13</span>
fanciful restoration which was made by Donaldson, and
which has been much modified by later investigators.</p>

<p class="indent">
For plans and views, see Stuart, 2nd ed., IV. pls. 1-5 (with Donaldson's
restoration). Dodwell, <i>Pelasgic Remains</i>, pls. 9, 10.
<i>Athenische Mittheilungen</i>, IV., p. 177, pls. 11-13 (Thiersch);
Mitchell, p. 143. Donaldson's restoration is based on an earlier
attempt by Lord Elgin's artists, which is now among the Elgin
drawings in the British Museum.
</p>

<p><span class="leftside">1.</span>Fragment from the 'Treasury of Atreus' at Mycenae.
The decoration consists of three bands of the wave pattern,
separated by mouldings. Two of these bands are in low
relief; the third is in high relief, with a hole bored in
the centre of each spiral for the insertion of glass or metal
ornaments. Among the tools employed by the artist, the
chisel, saw, and the tubular drill, were plainly included.
From the fact that the end of the fragment is cut at an
acute angle, it is inferred that this fragment was placed
above the doorway of the building, in contact with a
relief of triangular form. It is also possible that it may
have formed part of a triangular slab above the door. A
piece of red marble, similarly decorated, which is now
at Athens, exactly fits the apex of the triangular opening
(<i>Athenische Mittheilungen</i>, iv., pl. 13, fig. 1, <span class="sc">a</span>.).&mdash;<i>Elgin
Coll.</i></p>

<p class="indent">
Red marble. Height, 1 foot 4&frac14; inches; width, 3 feet 2&frac34; inches.
Stuart, 2nd ed., IV., pl. 4, fig. 10; p. 32; cf. pl. 5; Dodwell,
<i>Tour</i>, II., p. 232; Murray, I., p. 38; Wolters, No. 3.
</p>

<p><span class="leftside">2.</span>Fragment from the 'Treasury of Atreus' at Mycenae.
The decoration consists of a band of the wave pattern,
and a band of lozenges in low relief, the bands being
separated by mouldings of similar character to those of
No. 1. The saw and chisel were used by the artist.</p>

<p>This slab, according to Donaldson, formed a part of the
architrave, over the entrance to the building. According
<span class="pagenum"><a name="page14" id="page14"></a>14</span>
to Dodwell, it was 'found by the excavators of the Earl
of Elgin, near the Treasury of Atreus.'&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Hard green limestone; height, 1 foot 6 inches; width, 3 feet 6
inches. Stuart, 2nd ed., IV., pl. 4, fig. 9; cf. pl. 5; Dodwell,
<i>Tour</i>, II., p. 232; Murray, I., p. 39; Wolters, No. 2.
</p>

<a name="page14a" id="page14a"></a>
<div class="figcenter" style="width: 600px;"><a href="images/01fig1-1000.png"><img src="images/01fig1-600.png" width="600" height="457" alt="Fig. 1. Restored Capital from the 'Treasury of Atreus'" /></a>
<p class="center">Fig. 1.&mdash;Restored Capital from the 'Treasury of Atreus' (after
Puchstein).</p></div>

<p><span class="leftside">3.</span>Fragment from the 'Treasury of Atreus' at Mycenae.
This fragment, which is decorated with a portion of a
wave pattern enclosed by two mouldings meeting at an
acute angle, is a part of one of the columns that flanked
the entrance to the building. These columns were decorated
with an elaborate system of ornament, composed of
zigzag bands of the wave pattern, best understood on
reference to drawings of the complete column (<i>cf.</i> fig. 1).
The tubular drill has been used as in No. 1.&mdash;<i>Presented by
the Institute of British Architects</i>, 1843.</p>

<p class="indent">
Hard green limestone; height, 11 inches; width, 9 inches. For
drawings of the restored column, with its capital (formerly
taken for the base) compare Stuart, 2nd ed., IV., pl. 4, figs. 1-5,
<span class="pagenum"><a name="page15" id="page15"></a>15</span>
pl. 5. Dodwell, <i>Tour</i>, II., pl. facing p. 232; Murray, I., p. 40;
Puchstein, <i>Das Ionische Capitell</i>, p. 50. For fragments of the
capital, see Gell, <i>Itinerary</i>, pl. 7; Mitchell, p. 145, fig. 70.
</p>

<p><span class="leftside">4.</span>Fragment from the 'Treasury of Atreus' at Mycenae.
This is a part of the lower member of the capital of a
pilaster flanking the great doorway (<i>cf.</i> fig. 1).&mdash;<i>Presented
by the Institute of British Architects</i>, 1843.</p>

<p class="indent">
Hard green limestone; height, 3&frac12; inches; width, 10 inches. Puchstein,
<i>Das Ionische Capitell</i>, p. 50.
</p>

<p><span class="leftside">5.</span>Fragment of relief. Head and shoulder of rampant
lion. From the shape of the fragment it appears to have
been a part of a triangular relief filling the space above
a doorway. (Compare No. 1 and the Gate of Lions at
Mycenae.) The lion's paw is extended as if towards
another lion confronting him. A pattern is drawn in fine
lines on the shoulder. Behind the lion is a branch of laurel.</p>

<div class="figcenter" style="width: 300px;"><a href="images/02fig2-560.png"><img src="images/02fig2-300.png" width="300" height="246" alt="Fig. 2. Relief from Mycenae (?), No. 5." /></a>
<p class="center">Fig. 2.&mdash;Relief from Mycenae (?), No. 5.</p></div>

<p>A part of this relief has been exposed to a corroding
influence, which has acted uniformly on the surface, so
that the design is sunk, but not obliterated.&mdash;<i>Mycenae (?)
Elgin Coll.</i></p>

<p class="indent">
Limestone; height, 1 foot 10&frac14; inches; width, 2 feet 2 inches.
<i>Synopsis</i>, No. 204 (158). Murray (2nd ed.), I., p. 61.
</p>
<span class="pagenum"><a name="page16" id="page16"></a>16</span>

<p><span class="leftside">6.</span>Fragment of relief. Forelegs and part of body of bull
standing to left. A joint is worked in the stone, in front
of the bull.&mdash;<i>Mycenae (?) Elgin Coll.</i></p>

<p class="indent">
Green limestone, closely resembling that of No. 5, but not identical
with it. Both are composed principally of flakes of mica, which
are, however, larger and more abundant in No. 6 than in No. 5.
Height, 1 foot 4&frac12; inches; width, 2 feet 5 inches. <i>Synopsis</i>,
No. 224 (160).
</p>

<div class="figcenter" style="width: 400px;"><a href="images/03fig3-650.png"><img src="images/03fig3-400.png" width="400" height="237" alt="Fig. 3.&mdash;Relief from Mycenae, No. 6." /></a>
<p class="center">Fig. 3.&mdash;Relief from Mycenae, No. 6.</p></div>

<a name="page16a" id="page16a"></a>
<h3>SCULPTURES FROM BRANCHIDAE.</h3>

<p>The temple and oracle of Apollo at Didyma, near
Miletus, in Asia Minor, were from time immemorial in
the hands of the priestly clan of the Branchidae, whose
name came to denote the place itself. This temple was
destroyed by the Persians&mdash;probably by Darius on the
suppression of the Ionian Revolt&mdash;about 495 <span class="sc">b.c.</span> (Herod.
vi., 19. See, however, Strabo, xiv., p. 634; xi., p. 518.)
After its destruction, the temple was not rebuilt till
the time of Alexander. The temple was connected with
the harbour Panormos by the Sacred Way. Along this
the sculptures stood at intervals. They are dedicatory
offerings made to Apollo, probably by the persons represented.</p>

<p>The following are the materials for fixing the period to
<span class="pagenum"><a name="page17" id="page17"></a>17</span>
which the sculptures of Branchidae must be assigned. It
is certain that none of them are later than the destruction
of the temple by the Persians, and the latest of them
(No. 16) appears a generation earlier than the works
associated with that period. On the other hand, there is
no reason to place the oldest before the early part of the
sixth century <span class="sc">b.c.</span> Thus these sculptures cover the period
of (say) 580-520 <span class="sc">b.c.</span> On epigraphic grounds, the date
may be more closely defined. It is believed that the older form for
<ins title="Greek:+ ê Ê = eta, Eta">&#951; <span style="font-size: 1.3em;"><b>&#8863;</b></span></ins> was changed to
<ins title="Greek: Ê = Eta"><span style="font-family: sans-serif;"><b>&#919;</b></span></ins>
shortly before
550 <span class="sc">b.c.</span> By this criterion, Nos. 10, 17, belong to an older
group, and No. 14 to a later group. An inscribed base
now in the British Museum with the name of an artist,
Terpsicles, also belongs to the older group (Roehl, <i>I.G.A.</i>,
484). It has been suggested that Chares of Teichioussa
(No. 14) was one of the local tyrants who were established
after the destruction of the kingdom of Croesus (546 <span class="sc">b.c.</span>),
and this agrees well with the epigraphical evidence.</p>

<p>The statues of Branchidae are of interest because they
exhibit the process by which the grotesque coarseness
of primitive work tends towards the stiff and formal refinement
that marks the later stage of archaic art. The
series in the British Museum breaks off before the second
stage has been completely attained, but it can be well
supplemented by a seated female figure from Miletus,
now in the Louvre (Rayet et Thomas, <i>Milet et le Golfe
Latmique</i>, pl. 21).</p>

<p class="indent">
The sculptures of the Sacred Way were discovered by Chandler in
1765 (<i>Antiqs. of Ionia</i>, 1st ed., I. p. 46; Chandler, <i>Travels in
Asia Minor</i>, 1775, p. 152). They were more accurately examined
by Gell, and the second <i>Dilettanti</i> expedition in 1812
(<i>Antiqs. of Ionia</i>, 2nd ed., 1821, Part I., p. 29, vignette, and
ch. III., pl. 1; Müller, <i>Denkmaeler</i>, I., pl. 9, fig. 33). A more
accurate sketch was made by Ross (<i>Arch. Zeit.</i>, 1850, pl. 13).
Such of the sculptures as could be found in 1858 were removed
by Sir C. Newton; Newton, II., p. 527. On the inscriptions see
Kirchhoff, <i>Studien</i>, 4th ed., pp. 19, 25.
</p>
<span class="pagenum"><a name="page18" id="page18"></a>18</span>

<p><span class="leftside">7.</span>Female figure, seated on a chair, with her hand resting
on her knees. The head is wanting, and the upper part
of the body is much mutilated. The figure wears a long
chiton, with sleeves, and a 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.&mdash;<i>Sacred Way, Branchidae.</i></p>

<p class="indent">
Parian marble; height, 3 feet 9 inches. Mansell, No. 607.
</p>

<p><span class="leftside">8.</span>Male figure, seated on a chair, with his hands resting
on his knees. The head, shoulders, left forearm, and
hand are wanting. The figure wears a long chiton with
sleeves and a mantle. The lower part of the chiton is
entirely conventional, but parts of the mantle, and the
outlines of the arms are worked after nature. On the
ends of the cushion there is a pattern of zigzag lines.&mdash;<i>Sacred
Way, Branchidae.</i></p>

<p class="indent">
Parian marble; height, 3 feet 11&frac14; inches. Newton, II., p. 534;
Mansell, No. 604 (left).
</p>

<p><span class="leftside">9.</span>Female figure, seated on a chair with hands resting on
her knees. The right hand is wanting, and also the toes
and front of the base, which seem to have been attached
separately. The figure wears a long chiton and a mantle,
which passes over the back of the shoulders, under the
right arm, and in both directions across the left shoulder.
Neither garment has indications of fold, and the edges
are conventionally treated. The face, as far as can be
seen, was full and thick. The hair falls in pointed tresses,
the undulations of which are indicated in a conventional
manner. The right ear is finished with care. This chair
<span class="pagenum"><a name="page19" id="page19"></a>19</span>
has no cushion, the drapery of the figure being seen
under the arms.&mdash;<i>Sacred Way, Branchidae.</i></p>

<p class="indent">
Parian marble; height, 5 feet 2 inches. Newton, I., pl. 75 (2nd from
right); Rayet et Thomas, <i>Milet et le Golfe Latmique</i>, pl. 26 (right);
Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 94, fig. 11c; Wolters, No. 7.
</p>

<p><span class="leftside">10.</span>Male figure, seated on a chair, with the right hand
resting on the right knee, and the left hand beside the
left thigh. The head, and the fingers of the left hand
are wanting. The figure wears a chiton with sleeves,
and a mantle, which passes round the body, under the
right arm, and passes in both directions over the left
shoulder, so as to hang down in folds over the knees.
The ends of the cushion, the sleeves of the chiton, and a
part of the chiton seen on the left knee, are decorated
with the key pattern.</p>

<p>On the left arm of the chair is the inscription: <ins title="Greek: Eudêmos me epoie(i)n">
&#917;&#8020;&#948;&#951;&#956;&#8057;&#962; &#956;&#949; &#7952;&#960;&#959;&#8055;&#949;(&#953;)&#957;</ins>
&mdash;"Eudemos made me."&mdash;<i>Sacred Way, Branchidae.</i></p>

<p class="indent">
Parian marble; height, 5 feet 1 inch. Newton, I., pl. 75 (right);
pl. 97, No. 71; II., p. 534; p. 783; Kirchhoff, <i>Studien</i>, 4th ed.,
p. 26; Roehl, <i>I.G.A.</i>, 485; Roberts, <i>Greek Epigraphy</i>, p. 162.
</p>

<p><span class="leftside">11.</span>Male figure, seated on a chair, with left hand on left
knee, and right hand, with palm turned upwards, on right
thigh. The head, right shoulder, and right hand are
wanting. The figure wears a chiton with sleeves, and a
mantle. The folds of the lower parts are entirely conventional,
but those of the upper part of the chiton are
indicated by delicate wavy grooves. The hair falls
behind in tresses which are cut off square on the shoulders.&mdash;<i>Sacred
Way, Branchidae.</i></p>

<p class="indent">
Parian marble; height, 4 feet 4 inches; Newton, I., pl. 74 (right);
Mansell, Nos. 603 (left), 604 (right).
</p>

<p><span class="leftside">12.</span>Male figure, seated on a chair, with left hand resting
on left knee, and right hand, with palm turned upwards,
<span class="pagenum"><a name="page20" id="page20"></a>20</span>
by right knee. The head, shoulders, and breast, and the
right hand are wanting. The figure wears a chiton with
sleeves, and a mantle, which passes under the right arm,
while the ends cross the left shoulder in contrary directions.
The artist has attempted to render the fine folds
of the upper part of the chiton.</p>

<p>The four legs of the chair are decorated with a design
which appears to be developed from the lotus bud, and is
seen on Assyrian reliefs. On the back of the top rail of
the chair is the late inscription: <ins title="Greek: Nikê Glaukou">
&#925;&#8055;&#954;&#951; &#915;&#955;&#945;&#8059;&#954;&#959;&#965;</ins>, which is
either "Nikè, daughter of Glaukos," or, perhaps, a formula
of the Christian period, "Victory of Glaukos!"&mdash;<i>Sacred
Way, Branchidae.</i></p>

<p class="indent">
Parian marble; height, 5 feet. Newton, I., pl. 97, No. 73; II., p. 531,
fig. 2; p. 787; Kirchhoff, <i>Studien</i>, 4th ed., p. 20.
</p>

<p><span class="leftside">13.</span>Male figure seated on a chair, with left hand resting on
left knee, and right hand, with palm turned upwards, by
the right thigh. The head and the right hand are
wanting. The figure wears a chiton, and a mantle which
passes round the body under the right arm, and passes in
both directions over the left shoulder, so as to hang down
in folds before the knees. The artist has attempted to
render the fine folds of the upper part of the chiton, and
has decorated the front legs of the chair as in No. 12.
The statue has been broken and repaired in ancient
times with lead cramps.&mdash;<i>Sacred Way, Branchidae.</i></p>

<p class="indent">
Marble; height, 4 feet 8 inches. Newton, pl. 75 (second from left);
II., p. 531, fig. 1; Mansell, No. 605; Overbeck, <i>Gr. Plast.</i>,
3rd ed., I., p. 94, fig. 11b.
</p>

<p><span class="leftside">14.</span>Statue of Chares, a male figure, seated on a chair, with
left hand resting on left knee, and right hand, with palm
turned upwards, by the right thigh. The head and hands
are wanting. The figure wears a chiton with sleeves
and a mantle which passes under the right arm, while
<span class="pagenum"><a name="page21" id="page21"></a>21</span>
the ends pass in contrary directions over the left shoulder.
The sleeves of the chiton are bordered with a key pattern,
which is doubled along the seam.</p>

<p>On the right leg of the chair is the inscription:</p>

<div class="figcenter" style="width: 500px;"><a href="images/04gk1-1000.png"><img src="images/04gk1-500.png" width="500" height="87" alt="Greek: Charês eimi ho Kle(i)sios Teichio(u)s(s)ês archos. agalma to(u)  Apollônos." /></a>
</div>
<p class="center"><ins title="Greek: Charês eimi ho Kle(i)sios Teichio(u)s(s)ês archos . agalma to(u) Apollônos.">
&#935;&#8049;&#961;&#951;&#962;
&#949;&#7984;&#956;&#8054; &#8001;
&#922;&#955;&#949;(&#8055;)&#963;&#953;&#959;&#962;
&#932;&#949;&#953;&#967;&#953;&#959;(&#8059;)&#963;(&#963;)&#951;&#962;
&#7936;&#961;&#967;&#8056;&#962; .
&#7940;&#947;&#945;&#955;&#956;&#945; &#964;&#959;(&#8166;)
&#7944;&#960;&#8057;&#955;&#955;&#969;&#957;&#959;&#962;.</ins></p>

<p>"I am Chares, son of Kleisis, ruler of Teichioussa.
The statue is the property of Apollo."&mdash;<i>Sacred Way,
Branchidae.</i></p>

<p class="indent">
Parian marble; height, 4 feet 10 inches. Newton, pl. 74 (left);
pl. 97, No. 72; II., pp. 532, 784; Mansell, No. 614; Rayet
et Thomas, <i>Milet et le Golfe Latmique</i>, pl. 25; Dieulafoy, <i>L'Art
Antique de la Perse</i>, Part III., pl. 15; Wolters, No. 6; Kirchhoff,
<i>Studien</i>, 4th ed., p. 19; Roehl, <i>I.G.A.</i>, 488; Roberts, <i>Greek Epigraphy</i>,
p. 163; <i>Palaeographical Society, Facsimiles</i>, I., No. 76.
</p>

<p><span class="leftside">15.</span>Male figure, seated on a chair, with left hand on left
knee, and right hand by right thigh. The head and
right hand are wanting. The figure wears a chiton with
sleeves and a mantle which passes under the right arm,
while the ends cross the left shoulder in contrary directions.
The fine folds of the upper part of the chiton are
indicated.&mdash;<i>Sacred Way, Branchidae.</i></p>

<p class="indent">
Parian marble; height, 4 feet 2 inches.
</p>

<p><span class="leftside">16.</span>Female figure, seated on a chair, with hands on her
knees. The head and feet are wanting. The figure wears
a sleeved chiton with a diploïdion and a veil. The sleeves
terminate with long folds. The veil falls down over the
shoulders, in numerous folds.</p>

<p>In attempting to indicate the legs with greater detail
than his predecessors, the artist has rendered them as if
<span class="pagenum"><a name="page22" id="page22"></a>22</span>
they were nude; but in naturalness and freedom this
statue is conspicuously the most advanced of the series.&mdash;<i>Sacred
Way, Branchidae.</i></p>

<p class="indent">
Parian marble; height, 4 feet. Newton, pl. 75 (left); Mansell,
No. 603 (right); Rayet et Thomas, <i>Milet et le Golfe Latmique</i>,
pl. 26 (left); Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 94, fig. 11a;
Wolters, No. 7.
</p>

<p><span class="leftside">17.</span>Lion, recumbent, with right fore-paw passing in front
of the body, and with left paw laid over it. The hind
quarters are half turned over, the animal lying on the
right haunch. The head is wanting. The mane is rendered
by stiff pointed locks of hair of conventional form.
The pose, however, of the animal shows careful study of
nature.</p>

<p>On the flank is the inscription:</p>

<div class="figcenter" style="width: 600px;"><a href="images/05gk2-1000.png"><img src="images/05gk2-560.png" width="560" height="162" alt="Greek Inccription." /></a>
</div>
<div class="center" style="width: 500px; text-align: left; margin-left: 30%;">
1. <ins title="Greek: Ta agalmata tade anethesan hoi Ôr-">&#932;&#8048; &#7936;&#947;&#8049;&#955;&#956;&#945;&#964;&#945;
&#964;&#8049;&#948;&#949; &#7936;&#957;&#8051;&#952;&#949;&#963;&#945;&#957; &#959;&#7985; &#8040;&#961;-</ins><br />
&nbsp;&nbsp;&nbsp;&nbsp;<ins title="iônos paides to(u) archêgo(u), Thalês">&#8055;&#969;&#957;&#959;&#962; &#960;&#945;&#8150;&#948;&#949;&#962; &#964;&#959;(&#8166;)
&#7936;&#961;&#967;&#951;&#947;&#959;(&#8166;), &#920;&#945;&#955;&#8134;&#962;</ins><br />
&nbsp;&nbsp;&nbsp;&nbsp;<ins title="kai Pasiklês kai Hêgêsandros k[a]i Eu-">&#954;&#945;&#8054; &#928;&#945;&#963;&#953;&#954;&#955;&#8134;&#962;
&#954;&#945;&#8054; &#7977;&#947;&#8053;&#963;&#945;&#957;&#948;&#961;&#959;&#962; &#954;[&#945;]&#8054; &#917;&#8020;-</ins><br />
&nbsp;&nbsp;&nbsp;&nbsp;<ins title="bios kai Anaxileôs, de[ka]tên tô A-">&#946;&#953;&#959;&#962; &#954;&#945;&#8054; &#7944;&#957;&#945;&#958;&#8055;&#955;&#949;&#969;&#962;,
&#948;&#949;[&#954;&#8049;]&#964;&#951;&#957; &#964;&#8183; &#7944;-</ins><br />
5. <ins title="pol(l)ôni.">&#960;&#8057;&#955;(&#955;)&#969;&#957;&#953;</ins>.</div>

<p>"The sons of Orion, the governor, Thales, Pasicles,
Hegesander, Eubios and Anaxileos dedicated these statues
as a tithe to Apollo."&mdash;<i>Sacred Way, Branchidae.</i></p>

<p class="indent">
Marble; height, 2 feet 6&frac14; inches; length, 7 feet. Newton, I., pl. 97,
No. 66; II., p. 777; Kirchhoff, <i>Studien</i>, 4th ed., p. 26; Roehl,
<i>I.G.A.</i>, 483; Roberts, <i>Greek Epigraphy</i>, p. 161; Mansell, No. 615.
</p>

<p><span class="leftside">18.</span>Sphinx or lion, recumbent. This figure has been called
a Sphinx or a lion-sphinx. The distinguishing marks of
<span class="pagenum"><a name="page23" id="page23"></a>23</span>
a Greek Sphinx are wanting, as the head is lost, and the
figure is wingless.&mdash;<i>Sacred Way, Branchidae.</i></p>

<p class="indent">
Marble; height, 4 feet 2 inches; length, 6 feet 11&frac12; inches. <i>Antiqs.
of Ionia</i>, 2nd ed., I., p. 29; Ross, <i>Arch. Zeit.</i>, 1850, p. 132;
Müller, <i>Denkmaeler</i>, I., pl. 9, No. 33; Newton, II., p. 535; Milchhoefer,
<i>Athenische Mittheilungen</i>, IV., p. 50.
</p>

<p><span class="leftside">19.</span>Beardless male head, from an archaic statue. The left
shoulder is preserved. The hair falls in tresses, as in the
case of No. 9.&mdash;<i>Branchidae.</i></p>

<p class="indent">
Marble; height, 1 foot 3 inches; Rayet et Thomas, <i>Milet et le Golfe
Latmique</i>, pl. 27.
</p>

<p><span class="leftside">20.</span>Female head (unfinished (?)) from an archaic statue.
The figure wears a veil which covers the whole of the
head, except the face. The ears are indicated beneath the
veil.&mdash;<i>Branchidae.</i></p>

<p class="indent">
Marble; height, 9 inches.
</p>

<p><span class="leftside">21.</span>Relief, with figures moving to the right, in a dance.
It is incomplete at both ends, and appears to have been
part of a frieze formed of several slabs. On the left are
a woman and a man joining hands. On the right is a
woman between two men; of the man on the right only
the right leg is preserved. The right hand of the woman
is seen behind, while her left hand is held by the man
before her. The man on the left of this group has some
object, perhaps a cup, in his right hand which is stretched
out behind him. Between the two groups, and in the
background, a woman rushes to the right, holding
branches (?) in her raised hands.</p>

<p>The men are considerably larger than the women.
The women wear a plain chiton, the men a chiton and
mantle. All have bracelets, and long hair, which falls in
a peculiar manner over the forehead; one wears a taenia,
the remainder have stephanae. All the limbs are indicated
under the draperies, even those of the figures in the background,
<span class="pagenum"><a name="page24" id="page24"></a>24</span>
which are seen through their own draperies and
those of their companions.&mdash;<i>Presented by J. Scott Tucker,
Esq., R.N. Karakewi (Teichioussa), near Branchidae.</i></p>

<p class="indent">
Marble; height, 1 foot 9 inches; width, 2 feet 11 inches. Rayet et
Thomas, <i>Milet et le Golfe Latmique</i>, pl. 27; Brunn, <i>Denkmaeler</i>,
No. 101 B.
</p>

<a name="page24a" id="page24a"></a>
<h3>SCULPTURES FROM LYDIA.</h3>

<p>The following sculptures were found in 1882 by Mr.
George Dennis, C.B., in one of the tumuli at Bin 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.</p>

<p><span class="leftside">22.</span>Relief. Three horsemen moving to the right. They
wear large helmets and cuirasses, with shoulder plates,
and carry spears.</p>

<p>The figures are cut in a narrow panel, and appear to
have served an architectural purpose.&mdash;<i>Bin Tepè, Sardes.</i></p>

<p class="indent">
Marble; height, 7&frac14; inches; width, 1 foot 5 inches. Perrot and Chipiez,
V., p. 903, fig. 535; Murray, <i>Gr. Sculpt.</i>, 2nd ed., I., p. 107.
</p>

<p><span class="leftside">23.</span>Relief. Three deer, moving to the right, grazing.
From a panel nearly similar to the preceding.&mdash;<i>Bin Tepè,
Sardes.</i></p>

<p class="indent">
Marble; height, 6&frac34; inches; width, 1 foot 4 inches. Perrot and Chipiez,
V., p. 904, fig. 536; Murray, <i>Gr. Sculpt</i>., 2nd ed., I., p. 107.
</p>
<a name="page24b" id="page24b"></a>
<h3>SCULPTURES FROM EPHESUS.</h3>

<p>The great temple of Artemis (or Diana), at Ephesus,
which ranked among the seven wonders of the ancient
world, was built in the middle of the 4th century <span class="sc">b.c.</span>
It was, according to tradition, the latest of a long series
<span class="pagenum"><a name="page25" id="page25"></a>25</span>
of buildings. Not fewer than eight successive temples
have been enumerated by Falkener (<i>Ephesus</i>, p. 214;
cf. Pliny, <i>H. N.</i>, xvi., 213). The excavations, however,
have only produced the remains of two temples. The
earlier of the two, which is here described, is probably
that which was begun early in the sixth century <span class="sc">b.c.</span>,
by the architects Theodoros, Chersiphron and Metagenes,
was in course of construction during the reign of Croesus
(Brunn, <i>Gr. Künstler</i>, ii., p. 382), and was burnt by
Herostratos on the night of Alexander's birth (356 <span class="sc">b.c.</span>).
The later temple, the remains of which are exhibited in
the Ephesus Room, was then built to replace that which
had been burnt; and the excavations have proved the
interesting fact that the most remarkable features of the
later temple were borrowed from its predecessor.</p>

<p>The extant fragments of the early temple were found
by the late Mr. J. T. Wood, in excavations which he
carried on at Ephesus for the Trustees of the British
Museum. These fragments had, for the most part, been
used as building materials, and were extracted from
certain massive piers which rested against the foundations
of the walls of the temple cella. Mr. Wood assigned
the piers to the Byzantine period, but only adduced
evidence to show that they were later than the walls
of the temple. It is therefore possible that they may
have been added at an early period, to strengthen the
foundations.</p>

<p class="indent">
Wood, <i>Ephesus</i>, pp. 190, 259. For the reconstruction of the archaic
temple, see <i>Journ. of Hellen. Studies</i>, X. (1889), p. 1 (A. S.
Murray). The material is a finely-grained marble, with occasional
strongly marked blue veins.
</p>

<h3><span class="sc">Architectural Fragments.</span></h3>

<p><span class="leftside">24.</span>Part of a wall-stone from the archaic temple.</p>

<p class="indent">
Length, 2 feet 7&frac12; inches; width, 1 foot 8 inches.
</p>
<span class="pagenum"><a name="page26" id="page26"></a>26</span>

<p><span class="leftside">25.</span>Capital of Ionic column. Several fragments have been
discovered, from which it is possible to reconstruct with
tolerable certainty the capitals and necking of the columns
of the archaic temple.</p>

<p class="indent">
<i>Journ. of Hellen. Studies</i>, X., p. 8.
</p>

<p><span class="leftside">26.</span>Fragment of volute from cap of column. The groove
between two mouldings is filled with two strips of lead to
which gold leaf is attached.</p>

<p class="indent">
Length, 7 inches. Wood, <i>Ephesus</i>, p. 245; <i>Journ. of Hellen. Studies</i>,
X., p. 9.
</p>

<p><span class="leftside">27.</span>Fluted fragment of column. The drum to which this
fragment belonged was 4 feet 3 inches in diameter, and
had 40 flutings.</p>

<p class="indent">
Height, 1 foot 10 inches; width, 3 feet 6 inches.
</p>

<p><span class="leftside">28.</span>Fragment of the base of an unfinished column, with torus
moulding and horizontal flutings only partially carried out.</p>

<p class="indent">
Height, 1 foot 4 inches; width, 3 feet. <i>Journ. of Hellen. Studies</i>, X.,
p. 5, part of fig. 3<i>b</i>.
</p>

<p><span class="leftside">29.</span>Base of sculptured column. The column has necessarily
been reconstructed from various fragments, which cannot
be proved to have belonged originally to the same
column, but the combined fragments serve to give a
general idea of the appearance of the column. (<a class="ask" href="#plate1">Plate I.</a>)</p>

<blockquote>

<p><span class="leftside1">1.</span>The sculpture is surmounted by an egg and tongue
moulding 11&frac12; inches high, which is not shown in the
plate, <i>Journ. of Hellen. Studies</i>, x., pl. 3. There are considerable
remains of red paint.</p>

<p><span class="leftside1">2.</span>Immediately below the sculptures is a moulding,
which contains fragments inscribed as follows:
</p></blockquote>

<p class="ind1a"><ins title="Greek: BA&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;KR &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;AN &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;EN">
&#914;&#913;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#922;&#929;
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#913;&#925;
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#917;&#925;</ins>,</p>

<blockquote><p>
which have been restored as <ins title="Greek: Ba[sileus] Kr[oisos] an[ethêk]en.">
&#914;&#945;[&#963;&#953;&#955;&#949;&#8058;&#962;]
&#922;&#961;[&#959;&#8150;&#963;&#959;&#962;]
&#7936;&#957;[&#8051;&#952;&#951;&#954;]&#949;&#957;</ins>.
'King Croesus dedicated (the column).' It is known
<span class="pagenum"><a name="page27" id="page27"></a>27</span>
from a statement of Herodotus that Croesus gave most of
the columns of the temple at Ephesus [Herod. i. 92,
<ins title="Greek: --> Kroisô de esti kai alla anathêmata en tê Helladi polla ... ">
&#922;&#961;&#959;&#8055;&#963;&#8179;
&#948;&#8050; &#7956;&#963;&#964;&#953;
&#954;&#945;&#8054; &#7940;&#955;&#955;&#945;
&#7936;&#957;&#945;&#952;&#8053;&#956;&#945;&#964;&#945;
&#7952;&#957; &#964;&#8135;
&#7961;&#955;&#955;&#8049;&#948;&#953;
&#960;&#959;&#955;&#955;&#8049;</ins>&nbsp;&nbsp;.&nbsp;&nbsp;.&nbsp;&nbsp;.
<ins title="en de Ephesô hai te boes hai chryseai kai tôn kionôn hai pollai].">
&#7952;&#957; &#948;&#8050;
&#7960;&#966;&#8051;&#963;&#8179;
&#945;&#7989; &#964;&#949; &#946;&#8057;&#949;&#962;
&#945;&#7985;
&#967;&#961;&#8059;&#963;&#949;&#945;&#953; &#954;&#945;&#8054;
&#964;&#8182;&#957; &#954;&#953;&#8057;&#957;&#969;&#957;
&#945;&#7985; &#960;&#959;&#955;&#955;&#945;&#8055;].</ins>
It is probable that the columns were inscribed with dedicatory
inscriptions, of which we here have fragments.
The later temple had a similar series of inscriptions. The
columns offered by Croesus must be earlier than the date
of his fall, 546 <span class="sc">b.c.</span> The inscriptions are no doubt of the
same age as the columns, and they may have been seen by
Herodotus (Hicks, <i>Greek Inscriptions in Brit. Mus.</i>, dxviii.).</p>

<p><span class="leftside1">3.</span>Below the moulding is the restoration of an early
Ionic base. (<i>Journ. of Hellen. Studies</i>, x., pl. 3, and p. 8).</p>

<p>The following fragments are inserted in the restoration
of the sculptured base:&mdash;</p>

<p><span class="leftside1">4.</span>Upper part of male figure in high relief standing to
the right, wearing a close-fitting tunic, with sleeves to
the elbows, and having a lion's skin about the body and
with long hair. The upper part of the face is broken
away. The right arm was bent at the elbow, and crossed
the body.
</p></blockquote>

<p class="indent1">Height, 2 feet. <i>Journ. of Hellen. Studies</i>, X., pl. 3.</p>

<blockquote>
<p><span class="leftside1">5.</span>Lower part of male figure in high relief standing
to the right, wearing what appears to be a himation,
falling to the knees.
</p></blockquote>

<p class="indent1">Height, 3 feet 3 inches. Murray, I., p. 112; <i>Journ. of
Hellen. Studies</i>, X., pl. 3.</p>

<blockquote>
<p><span class="leftside1">6.</span>
Female head, to the right, in high relief. The hair
is enclosed by a diadem, and falls down on the shoulders.
A large circular earring in the right ear. There are
considerable remains of dark red paint in the hair. The
chin is broken away.
</p></blockquote>

<p class="indent1">Height, 1 foot &frac12; inch. Murray, I., p. 111.</p>

<span class="pagenum"><a name="page28" id="page28"></a>28</span>

<blockquote>
<p><span class="leftside1">7.</span>
Middle part of a female figure, to the right, in high
relief. The figure wears a tunic, tied with a narrow
girdle, and a diploïdion which fell in long folds at the
sides. A key-pattern was painted on the central fold of
the dress.
</p></blockquote>

<p class="indent1">Height, 1 foot 2 inches.</p>

<p style="margin-top: 3em;">The following fragments from the bases of the columns,
are not inserted in the restoration:&mdash;</p>

<p><span class="leftside">30.</span>Fragment, in high relief, of the head and shoulders of
a figure, from the drum of a column. The front surface
is broken away, but the figure appears to have looked to
the front, with long hair falling on the shoulders, which
are draped.</p>

<p class="indent">
Height, 1 foot 3 inches.
</p>

<p><span class="leftside">31.</span>Fragment, in high relief, of the right thigh of a draped
figure, standing to the right.</p>

<p class="indent">
Height, 1 foot 1&frac12; inches. Worked above with a bed for another drum.
</p>

<p><span class="leftside">32.</span>Middle part of a draped figure to the left in high relief.
The figure wears a tunic with sleeves and himation. The
left hand is pressed close to the thigh.</p>

<p>This fragment is similar in style to the sculptures on
the columns, but must have come from a rectangular base,
corresponding to the rectangular bases in the later temple.</p>

<p class="indent">
Height, 1 foot 2 inches. Murray, I., p. 113.
</p>

<p><span class="leftside">33.</span>Fragment of a head containing the middle of the face.
A straight edge is worked along the left cheek.</p>

<p class="indent">
Height, 8&frac12; inches.
</p>

<p><span class="leftside">34.</span>Fragment of the left side of a female head, wearing a
band across the forehead, a veil, and a circular earring.
Some red on the lips.</p>

<p class="indent">
Height, 9&frac12; inches.
</p>
<span class="pagenum"><a name="page29" id="page29"></a>29</span>

<p><span class="leftside">35.</span>Fragment of the upper part of a head, wearing a
close-fitting veil, with curls between the veil and the
forehead.</p>

<p class="indent">
Height, 4 inches.
</p>

<p><span class="leftside">36.</span>Fragment of the right side of a head, containing the
cheek, ear, and a part of a veil which falls behind the ear.</p>

<p class="indent">
Height, 8 inches.
</p>

<p><span class="leftside">37.</span>Fragment of a head, containing the left ear, and
wearing a veil; hair falls down at the back of the
head.</p>

<p class="indent">
Height, 6 inches.
</p>

<p><span class="leftside">38.</span>Fragment of a head, similar to the last.</p>

<p class="indent">
Height, 9&frac12; inches.
</p>

<p><span class="leftside">39.</span>Fragment of the left side of a head, turned to the left,
and wearing a veil. It contains a part of the ear and
eye.</p>

<p class="indent">
Height, 6 inches.
</p>

<p><span class="leftside">40.</span>Fragment from the top of a head, with hair.</p>

<p class="indent">
Height, 6 inches.
</p>

<p><span class="leftside">41.</span>Fragment from the right side of a head, with part of
the neck, and hair falling down. The hair is coloured
red.</p>

<p class="indent">
Height, 3&frac12; inches.
</p>

<p><span class="leftside">42.</span>Fragment, from the right side of a head, containing the
top of the ear and hair falling over it.</p>

<p class="indent">
Height, 4 inches.
</p>

<p><span class="leftside">43.</span>Fragment of drapery, terminating in zigzag folds.</p>

<p class="indent">
Height, 7&frac12; inches.
</p>
<span class="pagenum"><a name="page30" id="page30"></a>30</span>

<p><span class="leftside">44.</span>Fragment of drapery, with the bottom of several folds.
It has an incised maeander, as in No. 29, 7, and a palmette
ornament painted in red.</p>

<p class="indent">
Height, 6 inches.
</p>

<p><span class="leftside">45.</span>Fragment of the lower moulding of a sculptured base,
with a left great toe to the right, and the remains of a
rectangular object rising from the moulding.</p>

<p class="indent">
Height, 6&frac12; inches; width, 1 foot 6&frac12; inches.
</p>

<h3><span class="sc">The Cornice of the Archaic Temple.</span></h3>

<p>The restoration of the Sculptured Cornice, which has
been built up from the small fragments excavated by
Mr. Wood, is certainly accurate in its general outlines,
although the result is quite unique in form. In place of
the small cornice with floral decorations, common in later
temples (compare the cornice from Phigaleia, No. 505),
the archaic temple of Artemis was surmounted by a lofty
cornice, 2 ft. 10&frac34; in. high. Lions' heads projected at
intervals, and drained off the rain water. The intervals
between the lions' heads were occupied by metope-like
compositions, carved in a delicate early style.</p>

<p>The original frieze probably extended along the two
long sides of the temple. The existing remains are small
portions of at least thirty figures. It is therefore impossible
to reconstruct the separate groups with much
certainty, although the subjects can, to a certain extent,
be conjectured. An attempted restoration of a combat
between a Lapith and a Centaur is exhibited. The frieze
also included chariots and horses; warriors in chariots,
and on foot; and perhaps scenes with Harpies.</p>

<p>The central group on the cornice with the combat of
a Centaur and Lapith is composed of the following fragments.
See <i>Journ. of Hellen. Studies</i>, x., p. 2, for sketches of
No. 46, 1-18.</p>
<span class="pagenum"><a name="page31" id="page31"></a>31</span>

<blockquote>
<p><span class="leftside">46.</span><span class="leftside1">&nbsp;&nbsp;1.</span>Fragment with the forelegs, which are human, and
the hind hoof of a kneeling Centaur. In front the greaved
left leg of a Lapith.
</p></blockquote>

<p class="indent1">
Height, 7 inches; width, 1 foot 7 inches. <i>Journ. of Hellen.
Studies</i>, X., pl. 4, fig. 6.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;2.</span>Hand with branch, from top of cornice, presumed to be
the hand of a Centaur.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 5&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;3.</span>Part of branch, from top of cornice.
</p></blockquote>

<p class="indent1">Height, 3 inches; width, 8 inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;4.</span>Back of head of Lapith, to left, with part of top
moulding of cornice. Short curling hair.
</p></blockquote>

<p class="indent1">Height, 5 inches; width, 6 inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;5.</span>Lower part of cuirass of Lapith worn over a short
tunic.
</p></blockquote>

<p class="indent1">Height, 3 inches; width, 8&frac12; inches.</p>

<blockquote><p>
Two female figures are placed as spectators on each
side of the combat. On the left the remains are:&mdash;</p>
<p><span class="leftside1">&nbsp;&nbsp;6.</span>Part of a female head, turned to the right, and
wearing a taenia.
</p></blockquote>

<p class="indent1">Height, 4&frac12; inches; width, 4&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;7.</span>Part of drapery of standing female figure.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 6 inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;8.</span>Feet of standing female figure, wearing shoes, with
slightly turned-up toes, and three bands across each shoe.
</p></blockquote>

<p class="indent1">Height, 6 inches; width, 7&frac12; inches.</p>

<blockquote><p>
The remains of the figure on the right of the group
are:&mdash;</p>

<p><span class="leftside1">&nbsp;&nbsp;9.</span>Upper part of female head to the left, wearing a diadem.
</p></blockquote>

<p class="indent1">Height, 3 inches; width, 5 inches.</p>

<span class="pagenum"><a name="page32" id="page32"></a>32</span>

<blockquote>
<p><span class="leftside1">10.</span>Part of middle of female figure, standing to the left,
wearing chiton and himation. The left hand by the side.
</p></blockquote>

<p class="indent1">Height, 3&frac12; inches; width, 8&frac12; inches.</p>

<blockquote><p>
The following fragments have also been inserted in
the restored cornice:&mdash;</p>

<p><span class="leftside1">11.</span>Head of youth, to the left, with short hair.
</p></blockquote>

<p class="indent1">
Height, 3 inches; width, 6 inches. <i>Journ. of Hellen.
Studies</i>, X., pl. 4, fig. 1.</p>

<blockquote>
<p><span class="leftside1">12.</span>Upper part of female head, to the left. The chief mass
of the hair is confined by a peaked cap, the ends passing
out through the top. A part of the hair terminates in
short curls round the forehead, and part falls down in
front of the ears. A laurel wreath surrounds the cap.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 6 inches. <i>Journ. of Hellen.
Studies</i>, X., pl. 4, fig. 2.</p>

<blockquote>
<p><span class="leftside1">13</span>Right foot and part of skirt of female figure walking, to
the right.
</p></blockquote>

<p class="indent1">Height, 9 inches; width, 8 inches.</p>

<blockquote>
<p><span class="leftside1">14.</span>Right foot of a figure standing, to the left.
</p></blockquote>

<p class="indent1">Height, 3 inches; width, 4&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">15.</span>Part of the back of the head and the shoulders of a
figure standing with his back turned to the front. He
wears a chiton, and the hair falls in curls on his
shoulders.
</p></blockquote>

<p class="indent1">Height, 5 inches; width, 5 inches. <i>Journ. of Hellen.
Studies</i>, X., pl. 4, fig. 3.</p>

<blockquote>
<p><span class="leftside1">16.</span>Fragment containing the legs of a figure standing with
back turned to the front, perhaps a part of the figure
described in the last number. The right leg wears a
<span class="pagenum"><a name="page33" id="page33"></a>33</span>
greave. This fragment also contains the right thigh of
a figure kneeling to the front.
</p></blockquote>

<p class="indent1">Height, 10 inches; width, 1 foot 2 inches.</p>

<blockquote><p>
The restored part of the cornice also contains:&mdash;</p>

<p><span class="leftside1">17.</span>Lion's head. The front and lower parts of the face
are wanting.
</p></blockquote>

<p class="indent1">Height, 10 inches; width, 1 foot 2 inches.</p>

<blockquote>
<p><span class="leftside1">18.</span>Lion's head. The front of the upper jaw is wanting.
Red paint in the ears and the mouth.
</p></blockquote>

<p class="indent1">Height, 1 foot 6 inches; width, 1 foot 7 inches.</p>

<p style="margin-top: 3em;">The following are the principal fragments, from the
cornice, not inserted in the restoration:&mdash;</p>

<h4><i>Male Figures, turned to the Right.</i></h4>

<blockquote>
<p><span class="leftside">47.</span><span class="leftside1">&nbsp;&nbsp;1.</span>Parts of head and breast of figure, with helmet, tunic,
and cuirass (?). Long hair falls over the shoulder.
</p></blockquote>

<p class="indent1">Height, 7 inches; width, 7 inches. <i>Journ. of Hellen.
        Studies</i>, X., pl. 4, fig. 5.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;2.</span>Part of helmet, and top edge of cornice; also the fingers
of the right hand of the figure, throwing a spear (?).
</p></blockquote>

<p class="indent1">Height, 2&frac12; inches; width, 6 inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;3.</span>Right shoulder, covered with shoulder plates.
</p></blockquote>

<p class="indent1">Height, 4&frac12; inches; width, 7 inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;4.</span>Left thigh, bent at knee; a corner of drapery falls on
the thigh; wears greave.
</p></blockquote>

<p class="indent1">Height, 6 inches; width, 7 inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;5.</span>Right knee of figure advancing to right; behind, the
leg, wearing a greave, of a fallen warrior (?).
</p></blockquote>

<p class="indent1">Height, 5&frac12; inches; width, 5 inches.</p>

<span class="pagenum"><a name="page34" id="page34"></a>34</span>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;6.</span>Knees of a prostrate warrior, wearing greaves, trodden
down by a horse's hoof.
</p></blockquote>

<p class="indent1">Height, 3 inches; width, 7 inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;7.</span>Knee wearing greave, slightly bent.
</p></blockquote>

<p class="indent1"> Height, 4 inches; width, 3&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;8.</span>Left knee, partly covered with drapery.
</p></blockquote>

<p class="indent1">Height, 3 inches; width, 3&frac12; inches.</p>

<h4><i>Male Figures to the Left.</i></h4>
<blockquote>

<p><span class="leftside1">&nbsp;&nbsp;9.</span>Upper part of helmeted head with vizor raised.
</p></blockquote>

<p class="indent1">Height, 3&frac12; inches; width, 5&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">10.</span>Upper part of helmet, with projecting horn.
</p></blockquote>

<p class="indent1">Height, 2&frac12; inches; width, 5&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">11.</span>Back of neck and lower part of helmet.
</p></blockquote>

<p class="indent1">Height, 2&frac12; inches; width, 5 inches.</p>

<blockquote>
<p><span class="leftside1">12.</span>Hips of a draped male (?) figure.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 8&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">13.</span>Right forearm of a figure lying prostrate, with head to
the right and with the arm bent at the elbow.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 8 inches.</p>

<blockquote>
<p><span class="leftside1">14.</span>Right leg, wearing greave, of a figure striding to the
left.
</p></blockquote>

<p class="indent1">Height, 5 inches; width, 9&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">15.</span>Right arm, extended, wearing a shield.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 7 inches.</p>

<h4><i>Figures with the Back turned to the Front.</i></h4>

<blockquote>
<p><span class="leftside1">16.</span>Shoulders and upper part of back of a figure wearing
a chiton.
</p></blockquote>

<p class="indent1">Height, 5 inches; width, 8&frac14; inches.</p>

<span class="pagenum"><a name="page35" id="page35"></a>35</span>

<blockquote>
<p><span class="leftside1">17.</span>Shoulders and upper part of back of a figure wearing a
chiton across the right shoulder only.
</p></blockquote>

<p class="indent1">Height, 3 inches; width, 8&frac12; inches.</p>

<h4><i>Female Figures to the Right.</i></h4>

<blockquote>
<p><span class="leftside1">18.</span>Lower moulding of cornice, with the right foot and
lower edge of the drapery of a figure moving to the
right.
</p></blockquote>

<p class="indent1">Height, 8 inches; width, 1 foot 3 inches.</p>

<blockquote>
<p><span class="leftside1">19.</span>Lower moulding of cornice with the left foot and part
of the drapery of a figure moving to the right.
</p></blockquote>

<p class="indent1">Height, 5 inches; width, 7&frac12; inches.</p>

<h4><i>Female Figure to the Front.</i></h4>

<blockquote>
<p><span class="leftside1">20.</span>Part of the right arm, extended, and wearing a shield (?).
A short sleeve reaches to the elbow, coming from beneath
a shoulder plate.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 8 inches.</p>

<h4><i>Female Figures to the Left.</i></h4>

<blockquote>
<p><span class="leftside1">21.</span>Fragment of a figure turned to the left, with fine
delicate drapery (?).
</p></blockquote>

<p class="indent1">Height, 3&frac12; inches; width, 6 inches.</p>

<blockquote>
<p><span class="leftside1">22.</span>Left hand, beside the thigh, holding a fold of drapery.
</p></blockquote>

<p class="indent1">Height, 3 inches; width, 9 inches.</p>

<blockquote>
<p><span class="leftside1">23.</span>Fragment of a draped figure, containing the legs
between the knees and the ankles.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 4 inches.</p>

<h4><i>Fragments of Chariot Groups, and Horses</i>.</h4>

<blockquote>
<p><span class="leftside1">24.</span>Left knee and part of the left thigh of a figure stepping
to the right into a chariot. The figure wore a short
<span class="pagenum"><a name="page36" id="page36"></a>36</span>
chiton, probably under a cuirass, and greaves. Part of
the inside of the chariot is painted red.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 9&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">25.</span>Fragment containing the hips of a male figure, stepping
to the left into a chariot. The figure wears a chiton
beneath a cuirass, and perhaps holds a spear.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 7&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">26.</span>Right hand closed and holding a rein (?).
</p></blockquote>

<p class="indent1">Height, 2 inches; width, 5&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">27.</span>Right arm of a youthful nude figure holding the reins
of a horse standing to the left, whose head is half turned
to the front.
</p></blockquote>

<p class="indent1">Height, 7 inches; width, 1 foot 1 inch. <i>Journ. of Hellen.
Studies</i>, X., pl. 4, fig. 4.</p>

<blockquote>
<p><span class="leftside1">28.</span>Part of a horse's head to the left, with ear and mane.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 7&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">29.</span>Back of a horse to the left, with a narrow thong tied
about it.
</p></blockquote>

<p class="indent1">Height, 4&frac12; inches; width, 7 inches.</p>

<blockquote>
<p><span class="leftside1">30.</span>Part of the hind legs of a horse to the left.
</p></blockquote>

<p class="indent1">Height, 7&frac12; inches; width, 6 inches.</p>

<blockquote>
<p><span class="leftside1">31.</span>Two hoofs, side by side, as of the horses in a biga.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 5 inches.</p>

<blockquote>
<p><span class="leftside1">32.</span>Part of lower moulding of cornice, and of chariot wheel.
The moulding and the wheel are painted red, and the
ground of the relief bright blue.
</p></blockquote>

<p class="indent1">Height, 10 inches; width, 1 foot 6 inches.</p>

<blockquote>
<p><span class="leftside1">33.</span>Part of a chariot wheel, and of the body of a chariot,
painted red.
</p></blockquote>

<p class="indent1"> Height, 6 inches; width, 8 inches.</p>

<span class="pagenum"><a name="page37" id="page37"></a>37</span>

<blockquote>
<p><span class="leftside1">34.</span>Left hand grasping the leg of a horse, or of a Centaur (?).
The ground is blue and red.
</p></blockquote>

<p class="indent1"> Height, 4 inches; width, 6&frac14; inches.</p>

<blockquote>
<p><span class="leftside1">35.</span>Fragment of a horse's tail, and part of the body of a
chariot (?).
</p></blockquote>

<p class="indent1">Height, 3 inches; width, 3&frac12; inches.</p>

<h4><i>Figures of Harpies (?).</i></h4>

<blockquote>
<p>Certain fragments, which are not easily deciphered,
appear to belong to groups of winged draped beings,
perhaps Harpies, carrying off diminutive figures. The
snakes in Nos. 36-38 suggest the aegis of Athenè; but if
No. 38 is correctly interpreted, some Gorgon-like figure
must be imagined.</p>

<p><span class="leftside1">36.</span>Neck and chin of a figure to the left, having a large
circular earring, and a fringe of snakes round the neck.
</p></blockquote>

<p class="indent1">Height, 3&frac12; inches; width, 8 inches.</p>

<blockquote>
<p><span class="leftside1">37.</span>Fragment with snakes.
</p></blockquote>

<p class="indent1">Height, 1&frac12; inches; width, 5 inches.</p>

<blockquote>
<p><span class="leftside1">38.</span>Left hand of the figure No. 36 holding a draped figure
under the knees. The right arm must be supposed to
have supported the smaller figure, near the shoulders.
To the right is part of a pendent wing.
</p></blockquote>

<p class="indent1">Height, 3 inches; width, 9 inches.</p>

<blockquote>
<p><span class="leftside1">39.</span>Fragment with extremities of hair, and the beginning
of a large wing, curving upwards.
</p></blockquote>

<p class="indent1">Height, 3&frac12; inches; width, 5 inches.</p>

<blockquote>
<p><span class="leftside1">40.</span>Fragment, apparently of the same wing as No. 39.
</p></blockquote>

<p class="indent1">Height, 3&frac12; inches; width, 6 inches.</p>

<blockquote>
<p><span class="leftside1">41.</span>Fragment of draped thighs of a figure half kneeling
to the left with the right leg foremost. If the figure
<span class="pagenum"><a name="page38" id="page38"></a>38</span>
above described was half kneeling in the usual early
scheme for the Gorgon, this fragment may well have
belonged to it.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 6 inches.</p>

<blockquote>
<p><span class="leftside1">42.</span>Fragment, perhaps from the same figure as the last.
</p></blockquote>

<p class="indent1">Height, 3 inches; width, 5 inches.</p>

<blockquote>
<p><span class="leftside1">43.</span>Fragment of a winged, long-haired figure (?). The hair
falls in a mass on the tip of the wing.
</p></blockquote>

<p class="indent1">Height, 7&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">44.</span>Fragment of a Harpy, with a large bird's leg protruding
from fine drapery; behind, a part of a wing.
Compare the Harpies on the Harpy Tomb, No. 94.
</p></blockquote>

<p class="indent1">Height, 6&frac12; inches; width, 10 inches.</p>

<blockquote>
<p><span class="leftside1">45.</span>Fragment, with the leg of a Harpy, to the right (?).
</p></blockquote>

<p class="indent1">Height, 7 inches; width, 1 foot 3&frac12; inches.</p>

<h4><i>Miscellaneous Fragments.</i></h4>

<blockquote>

<p><span class="leftside1">46.</span>Fragment of the lower moulding, and two legs of a pig
or ox to the right.
</p></blockquote>

<p class="indent1">Height, 7 inches; width, 1 foot 1 inch.</p>

<blockquote>
<p><span class="leftside1">47.</span>Part of the leg of a chair. Traces of blue paint.
</p></blockquote>

<p class="indent1">Height, 6 inches; width, 4&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">48.</span>Part of the same leg of a chair as No. 47, and nearly
joining it. Traces of blue paint.
</p></blockquote>

<p class="indent1">Height, 5&frac34; inches; width, 3&frac12; inches.</p>

<blockquote>
<p><span class="leftside1">49.</span>Part of the leg and seat of a chair.
</p></blockquote>

<p class="indent1">Height, 5 inches; width, 5 inches.</p>

<blockquote>
<p><span class="leftside1">50.</span>Part of the front leg of the chair to which No. 47
belongs.
</p></blockquote>

<p class="indent1">Height, 2&frac14; inches; width, 2 inches.</p>

<span class="pagenum"><a name="page39" id="page39"></a>39</span>

<blockquote>
<p><span class="leftside1">51.</span>Unintelligible fragment, perhaps derived from the
cornice.
</p></blockquote>

<p class="indent1">Length, 1 foot; height, 6 inches; width, 7 inches.</p>

<blockquote>
<h4><i>Fragments of Lions' Heads, from the Cornice.</i></h4>

<p><span class="leftside1">52.</span>Left side of lion's mane, with remains showing the
attachment to the cornice.
</p></blockquote>

<p class="indent1">Height, 1 foot 3 inches.</p>

<blockquote>
<p><span class="leftside1">53.</span>Lion's head from the cornice(?). The mouth is closed.
The lower part is wanting.
</p></blockquote>

<p class="indent1">Height, 1 foot 4 inches.</p>

<blockquote>
<p><span class="leftside1">54.</span>Upper part of lion's head from the cornice. Red paint
on the mane.
</p></blockquote>

<p class="indent1">Height, 11 inches; width, 1 foot 5 inches.</p>

<blockquote>
<p><span class="leftside1">55.</span>Right side of lion's head, from the cornice, with eye,
ear, and part of mane.
</p></blockquote>

<p class="indent1">Height, 7&frac12; inches.</p>

<h3>OTHER FRAGMENTS FROM EPHESUS.</h3>

<blockquote>
<p><span class="leftside">48.</span><span class="leftside1">&nbsp;&nbsp;1.</span>Fragment of the head of an ox, apparently projecting
from a background, in high relief. The head is seen in
three-quarter face to the left.
</p></blockquote>

<p class="indent1">Height, 1 foot; width, 1 foot 5 inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;2.</span>Fragment of the head of an ox, including the forehead
and eyes. Apparently the head is seen in three-quarter
face to the left, as in the preceding.
</p></blockquote>

<p class="indent1">Height, 10&frac12; inches; width, 1 foot 6 inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;3.</span>Fragment with part of the flank of an ox (?), springing
from a square base. Two horns intertwined (?) in relief
on the side of the fragment. If the explanation offered is
correct, the animal must have been part of an architectural
<span class="pagenum"><a name="page40" id="page40"></a>40</span>
member, such as occurs in the temple of Hera at Samos
(Stuart, 2nd ed., vol. iv., Kinnard on Delos, pl. v.), or in
the recently discovered bull's-head capital from Salamis,
in Cyprus (<i>Journ. of Hellen. Studies</i>, xii., p. 134).
</p></blockquote>

<p class="indent1">Height, 1 foot 2&frac12; inches.</p>
<a name="page40a" id="page40a"></a>
<h3>SCULPTURES FROM CARIA.</h3>

<p><span class="leftside">49.</span>A series of rude figures in stone and marble which are
found in primitive graves in the islands of the Aegean,
and in Caria, have been conjectured by 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.</p>

<p>The specimens in the British Museum are exhibited in
the First Vase Room with the pottery found in the same
deposits. They are described in the <i>Guide to the First
Vase Room</i> (1883), p. 21, and in the <i>Journ. of Hellen.
Studies</i>, v., p. 50. Compare Perrot and Chipiez, v., pp. 334,
905; <i>Journ. of Hellen. Studies</i>, ix., p. 82; <i>Athenische
Mittheilungen</i>,
xvi., p. 46.</p>

<p><span class="leftside">50.</span>Torso of female figure holding a dove between her
breasts with the left hand, and holding with the right
hand a fold of drapery by her right side. She wears a
long dress, girt at the waist, with a diploïdion and sleeves.
The head, and the legs from above the knees are wanting.&mdash;<i>Theangela,
in Caria.</i></p>

<p class="indent">
Marble; height, 1 foot 3 inches.
</p>

<p><span class="leftside">51.</span>Beardless male head, having a considerable resemblance
to No. 19.&mdash;<i>From the Temple of Apollo, Calymna.</i></p>

<p class="indent">
Marble; height, 9 inches. Assigned by Collignon (<i>Gaz. Arch.</i>, 1886,
p. 239) to the same school as No. 205.
</p>
<span class="pagenum"><a name="page41" id="page41"></a>41</span>
<a name="page41a" id="page41a"></a>
<h3>SCULPTURES FROM RHODES.</h3>

<p><span class="leftside">52.</span>Female head. The hair is parted over the middle of
the head, and is brought in waving ripples to the ears.
At the back of the head it is sketched in conventional
lines. The head is bound with a taenia.&mdash;<i>Rhodes.</i></p>

<p class="indent">
Marble; height, 8&frac12; inches.
</p>

<p><span class="leftside">53.</span>Female head broken off at the top of the neck. The
hair is brought forward over each temple in a plait; a
piece of linen is wound round the head, passing under a
band or diadem which encircles the head behind the ear.
The head-dress is arranged so as to leave on the top of
the head an aperture, through which the parting of the
hair and a top-knot are shown. Over the upper part of
the ear hang what appear to be three pendants; the lobe
below is covered with an earring in the form of a circular
flower of seven leaves. On the fractured edge of the
neck are remains of drapery.&mdash;<i>Rhodes.</i></p>

<p class="indent">
Limestone; height, 5 inches.
</p>

<p><span class="leftside">54.</span>Female figure seated in a chair, with footstool.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 4&#8539; inches.
</p>

<p><span class="leftside">55.</span>Naked male figure; the legs broken off above the knees.
The palms of the hands are placed against the thighs; the
left leg has been advanced; parts of the arms are wanting.
The hair is drawn back from the forehead in a smooth
mass, and falls behind the ears over the nape of the neck,
where it is cut off square. There are traces of red above
the waist.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 10 inches.
</p>

<p><span class="leftside">56.</span>Naked male figure standing with the left foot advanced,
and holding with his right hand the right hind leg of a
lion, whose tail he grasps with his left hand. The head
<span class="pagenum"><a name="page42" id="page42"></a>42</span>
of this figure, the right arm and both feet are wanting.
From the waist to the hips the body has been painted red
all round. The lion has his tongue out; there are traces
of red colour about his mouth.&mdash;<i>Acropolis of Camiros.</i></p>

<p class="indent">
Limestone; height, 10&frac14; inches.
</p>

<p><span class="leftside">57.</span>Fragment of a male figure from above the hips nearly
to the knees. The arms have been placed along the sides,
with a hand on each hip.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 4&frac14; inches.
</p>

<p><span class="leftside">58.</span>Upper part of a naked male figure broken off at the
waist. The hair is gathered into a thick mass behind the
ears, and cut off square at the nape of the neck; on the
top of the head is a snake coiled. The arms are broken
away below the shoulders.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 5 inches.
</p>

<p><span class="leftside">59.</span>Upper part of female figure broken off above the waist.
She wears a wreath of upright leaves set between two
plain horizontal bands; the hair falls in a thick mass on
each side of the neck. The arms are broken away.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 4&frac34; inches.
</p>

<p><span class="leftside">60.</span>Draped male figure broken off below the knees. He
wears chiton with girdle and upper garment. With both
hands this figure holds the young of some quadruped,
probably a kid, in front of his breast. His hair is parted
over his forehead, and falls behind the ears in a thick
mass to the nape of the neck.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 5&#8540; inches.
</p>

<p><span class="leftside">61.</span>Upper part of male figure from the base of the neck to
the waist. In the right hand this figure holds a small
<span class="pagenum"><a name="page43" id="page43"></a>43</span>
ibex against his breast. His left arm is broken.&mdash;<i>Acropolis
of Camiros.</i></p>

<p class="indent">
Limestone; height, 4<span style= "font-size: 0.6em;"><sup>1</sup></span>&frasl;<span style="font-size: 0.6em;">5</span> inches.
</p>

<p><span class="leftside">62.</span>Lower part of a draped figure broken off at the waist.
The left hand holds by the forelegs a fawn, on the body
of which the right hand presses. Both arms are broken
off below the elbow.&mdash;<i>Acropolis of Camiros.</i></p>

<p class="indent">
Limestone; height, 7 inches.
</p>

<p><span class="leftside">63.</span>Lower part of a draped figure broken off at the waist, and
wearing a chiton, which is bound with a girdle.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 1 foot.
</p>

<p><span class="leftside">64.</span>Lower half of draped figure wearing chiton. At the
bottom of the skirt are traces of a red border; the fingers
of the left hand are placed against the left hip.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 7&frac12; inches.
</p>

<p><span class="leftside">65.</span>Lower half of draped figure broken off above the knees.
The left hand has held against the side some object too
indistinct to be made out.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 6 inches.
</p>

<p><span class="leftside">66.</span>Lower half of draped figure broken off above the knees.
In bad condition.</p>

<p class="indent">
Limestone; height, 4&#8539; inches.
</p>

<p><span class="leftside">67.</span>Draped male figure playing on the double flute, which
he holds with either hand. The band for strengthening
the muscles used in blowing the flute, <i>phorbeia</i>, is indicated
by a red stripe; the chiton is ornamented with a
narrow red stripe on the shoulder down each side, and
round the hem.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 9 inches.
</p>
<span class="pagenum"><a name="page44" id="page44"></a>44</span>

<p><span class="leftside">68.</span>Similar draped male figure playing on the double flute.
The <i>phorbeia</i> is indicated by a red stripe across the mouth;
the headdress, probably a wig, comes very low on the
forehead, and falls in a thick mass on the back of the
neck. On the head-dress, eyebrows, and flutes, are traces
of black colour.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 7&#8540; inches.
</p>

<p><span class="leftside">69.</span>Upper part of draped male figure. In his right hand
he holds a lotos sceptre (?); his left arm hangs down by
his left side. A thick mass of hair falls on each side of
the neck.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 4&frac12; inches.
</p>

<p><span class="leftside">70.</span>Androsphinx seated on a plinth. On the head are the
combined crowns of Upper and Lower Egypt; in front is
a collar, or pectoral; on the crown are traces of red
colour. This Sphinx is a pseudo-Egyptian work.&mdash;<i>Acropolis
of Camiros.</i></p>

<p class="indent">
Limestone; height, 5 inches.
</p>

<p><span class="leftside">71.</span>Androsphinx seated on a plinth. On the head are
the crowns of Upper and Lower Egypt.&mdash;<i>Acropolis of
Camiros.</i></p>

<p class="indent">
Limestone; height, 3&frac12; inches.
</p>

<p><span class="leftside">72.</span>Androsphinx seated on a plinth. From the head falls
a mass of long hair over the back and shoulders; the
front of the body is covered with a collar or pectoral;
the upper part of the wings is broken off.&mdash;<i>Acropolis of
Camiros.</i></p>

<p class="indent">
Limestone; height, 5 inches.
</p>

<p><span class="leftside">73.</span>Lion seated on a plinth. The mouth is open; the teeth
are shown; about the lips and edge of the mane are traces
of red colour.&mdash;<i>Camiros.</i></p>

<p class="indent">
Limestone; height, 5&frac14; inches.
</p>
<span class="pagenum"><a name="page45" id="page45"></a>45</span>

<p><span class="leftside">74.</span>Bird standing on a plinth with wings closed. Head
broken off; tail long and spreading.</p>

<p class="indent">
Height, 3&frac14; inches.
</p>

<p><span class="leftside">75.</span>The Egyptian ram-headed deity, Knef, seated in a
chair. He wears a long chiton bound with a girdle, on
each side of which a lappet falls as far as the knees; a
thick mass of hair falls from behind each horn on to the
breast.&mdash;<i>Lindos, in Rhodes.</i></p>

<p class="indent">
Limestone; height, 4 inches.
</p>
<a name="page45a" id="page45a"></a>
<h3>SCULPTURES FROM XANTHOS.</h3>

<p>The following sculptures, Nos. 80-97, are the archaic
portion of the collection of sculptures from Xanthos, a
town some ten miles from the sea, in the south-west of
Lycia. The people of Lycia were a non-Hellenic race,
but the sculptures of Xanthos are distinctly Greek, though
not without traces of oriental influence (cf. No. 86). In
the most important remains, especially in the Harpy
Tomb (No. 94) we find the characteristics of the Ionian
School of Asia Minor.</p>

<p class="indent">
The sculptures of Xanthos were discovered by Mr. (afterwards Sir)
Charles Fellows in April, 1838. (Fellows, <i>A Journal written
during an excursion in Asia Minor</i>, 1838.) The discoverer
revisited Xanthos in 1840, made a more minute examination of
the remains, and published a further account. (<i>An Account of
Discoveries in Lycia, being a Journal kept during a second excursion
in Asia Minor</i>, 1840-1841, quoted as "<i>Lycia.</i>") In consequence
of this work, a naval expedition, assisted by Fellows,
was employed in Jan., Feb., 1842, to ship the Marbles of Xanthos
for transport to England. (Fellows, <i>The Xanthian Marbles; their
acquisition, and transmission to England</i>, 1843. This was reprinted
by Fellows in <i>Travels and Researches in Asia Minor, more
particularly in the Province of Lycia</i>, 1852, pp. 423-456.) Additional
sculptures and casts from Lycia were obtained by a second
expedition in 1843. (<i>Athenæum</i>, 1844, pp. 176, 339, 715, 779.)
<span class="pagenum"><a name="page46" id="page46"></a>46</span>
Besides the published material, valuable information may be
obtained from the plans and drawings by Mr. George Scharf,
who accompanied Fellows as draughtsman in 1840. The originals
are preserved in the British Museum, and referred to in this
Catalogue as Scharf's Drawings. See also Solly, <i>Memoirs of
W. J. Müller</i>, 1875; <ins title="Transcriber's Note: original reads 'Beechino'">Beecheno</ins>, <i>E. T. Daniell, a Memoir</i>, 1889,
p. 40; and the publication of the Austrian expedition to Lycia,
<i>Reisen in Lykien</i>, vol. I. ed. by Benndorf and Niemann, 1884;
vol. II. by Petersen and von Luschan, 1889.
</p>

<p><span class="leftside">80.</span>Sepulchral chest (soros), adorned with reliefs on the
four sides. This tomb was made of a single block of
hard coarse limestone. It was found by Fellows in its
original position, on a 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. (<i>Xanthian
Marbles</i>, p. 34.)</p>

<p>Perrot (vol. v., p. 396) is perhaps right in thinking
that this is the oldest of the Xanthian monuments, and
represents Lycian sculpture before the Ionian influence
had begun to make itself felt.</p>

<p class="indent">
The appearance of the monument as found is shown in Scharf's
drawing, here reproduced (<a class="ask" href="#plate2">pl. ii.</a>), and also in a water-colour
drawing by W. J. Müller, now in the Print Room of the British
Museum. Solly, <i>Memoir of W. J. Müller</i>, pl. facing p. 216;
Fellows, <i>Asia Minor</i>, p. 168.
</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;1.</span><i>South Side.</i>&mdash;Lion to the left, recumbent, in high relief.
Between the paws of the lion is seen the head of a bull,
which has been thrown over by the lion, and is seized
by the throat. Below the forepaws of the lion is a tablet,
which seems to have traces of an inscription.
</p></blockquote>

<p class="indent1"> Height, 3 feet 1&frac12; inches; length, 4 feet; height of relief,
        10 inches. Fellows, <i>Lycia</i>, pl. facing p. 176 (very poor);
        Prachov, pl. 1, fig. 1; Perrot and Chipiez, V., p. 392, fig. 277;
        p. 395, fig. 280; Dieulafoy, <i>L'Art. Ant. de la Perse</i>,
        III., pl. 16.</p>

<span class="pagenum"><a name="page47" id="page47"></a>47</span>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;2.</span><i>East Side.</i>&mdash;Frieze in low relief, with its right end
broken away. A horseman wearing helmet and cloak
rides to the right. He is followed by an attendant, wearing
a short chiton, and carrying a spear on his right shoulder.
Behind, a warrior moves to the left, wearing a helmet with
a large crest, a shield, and spear. On the left, a shield,
supposed to be fastened on a wall. This relief, with its
flat surface, devoid of detail, was probably painted.
</p></blockquote>

<p class="indent1">Height, 1 foot 6&frac12; inches; length, 3 feet 3 inches; height of
        relief, &frac12; inch. Fellows, <i>Lycia</i>, pl. facing p. 176 (very
        inaccurate); Perrot and Chipiez, V., p. 394, fig. 279.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;3.</span><i>North Side.</i>&mdash;Lioness, in high relief, recumbent to
right, playing with cubs. A cub is seen, with its forepaws
across the paws of the lioness, and with its hind
quarters to the right; a second cub lies on its back, over
the first. The lower part of the relief is broken away.
</p></blockquote>

<p class="indent1">Height, 2 feet 4 inches; length, 3 feet 6 inches; height of
        relief, 6 inches. Perrot and Chipiez, V., p. 391, fig. 276.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;4.</span><i>West Side.</i>&mdash;This side seems to have contained two
separate entrances to the tomb. On right and left were
two groups in low relief. (<span class="sc">A.</span>) On the right, a man, nude,
with long hair, and armed with sword, contending with
a lion.
</p></blockquote>

<p class="indent1">Height, 1 foot 10 inches; length, 1 foot 6 inches; height of relief,
&frac34; inch.</p>

<blockquote><p>
(<span class="sc">B.</span>) On the left a draped figure seated in a chair; left
side alone remains.
</p></blockquote>

<p class="indent1"> Height, 1 foot 7 inches; height of relief, &frac34; inch. Fellows,
        <i>Lycia</i>, pl. facing p. 176; Prachov, pl. 1, fig. 1; Perrot
        and Chipiez, V., p. 392, fig. 277; p. 393, fig. 278; Dieulafoy,
        <i>L'Art Ant. de la Perse</i>, III., pl. 16.</p>

<p style="margin-top: 3em;"><span class="leftside">81.</span>Frieze of Satyrs and animals, found by Fellows, built
into the walls of the Acropolis at Xanthos.</p>
<span class="pagenum"><a name="page48" id="page48"></a>48</span>

<p>Beginning from the left, the slabs of the frieze contain:</p>

<blockquote>
<p><span class="leftside1a">1, 2.</span>Bearded Satyr in combat with a wild boar. The
Satyr, who has pointed ears and tail, makes a thrust at
the boar with a branch torn off a tree. The strange
attitude of the Satyr is due to the artist's difficulty in
dealing with the shape of the slab. Slab 1 has been much
injured by dripping water. The two slabs are proved to
be connected by the bough which is seen on both.
</p></blockquote>

<p class="indent1">Prachov, pl. vi. <span class="sc">a</span>, a; vi. <span class="sc">b</span>, c; Wolters,
        Nos. 146, 145; Fellows, <i>Lycia</i>, pl. facing p. 174; Brunn,
        <i>Denkmaeler</i>, No. 104.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;3.</span>Lioness, couching for a spring, but with right paw raised.
</p></blockquote>

<p class="indent1">Prachov, pl. vi. <span class="sc">a</span>, e.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;4.</span>Lion devouring deer. This group is of an established
conventional form.
</p></blockquote>

<p class="indent1">Fellows, <i>Lycia</i>, pl. facing p. 174; Wolters, No. 148;
        Prachov, pl. vi. <span class="sc">b</span>, d.; Dieulafoy, <i>L'Art Ant.
        de la Perse</i>, III., pl. 16; Brunn, <i>Denkmaeler</i>, No. 104.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;5.</span>Lynx to left, with right paw raised.
</p></blockquote>

<p class="indent1">Prachov, pl. vi. <span class="sc">a</span>, b.; Wolters, No. 147.</p>

<blockquote>
<p><span class="leftside1a">6, 7.</span>Bull contending with Satyr, who appears to be in a
position similar to Satyr on slab 1; but a joint cuts off
the right leg, and the left arm is wanting.
</p></blockquote>

<p class="indent1">Prachov, pl. vi. <span class="sc">a</span>, f; vi. <span class="sc">b</span>, g. Coarse limestone.
        The height of the frieze is 2 feet 6&frac34; inches; the lengths of
        the slabs are: (1) 4 feet 9 inches; (2) 6 feet; (3) 5 feet 9
        inches; (4) 5 feet 1&frac12; inches; (5) 4 feet 11 inches;
        (6) 4 feet 9&frac12; inches; (7) 3 feet 1 inch.</p>

 <blockquote>
<p><span class="leftside">82.</span><span class="leftside1a">1-8.</span>&nbsp;&nbsp;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.&mdash;<i>Built into the
walls of the Acropolis at Xanthos.</i></p>
</blockquote>

<p class="indent1">
Coarse limestone; height, 1 foot 4&frac12; inches; combined length of eight
slabs, 28 feet 8 inches; Fellows, <i>Lycia</i>, pl. facing p. 174 (two
slabs); Wolters, Nos. 136-144; Brunn, <i>Denkmaeler</i>, No. 103.
</p>
<span class="pagenum"><a name="page49" id="page49"></a>49</span>

<p><span class="leftside">83.</span>Part of a tomb (?). From each of two opposite sides, the
head and forepaws of a lioness project. The heads are
slightly turned towards the front.&mdash;<i>Found at the foot of
the Inscribed Monument, Xanthos.</i></p>

<p class="indent">
Limestone; height, 1 foot 5 inches; length, 4 feet 1&frac34; inches. Fellows,
<i>Lycia</i>, pl. facing p. 174.
</p>

<p><span class="leftside">84.</span>Head and neck of a lion, from a tomb (?). Several pieces
of the mane were separately worked and attached.&mdash;<i>Xanthos.</i></p>

<p class="indent">
Limestone; height, 1 foot 10 inches.
</p>

<p><span class="leftside">85.</span>Fragment of unfinished relief, with two legs of a seat
or couch (?).&mdash;<i>Xanthos.</i></p>

<p class="indent">
Limestone; height, 2 feet 4 inches. Compare Perrot and Chipiez,
V., p. 304, fig. 211.
</p>

<p><span class="leftside">86.</span>A frieze representing a procession moving from left to
right. The figures beginning from the right are:&mdash;</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;1.</span>An old man, seated in a car, driving two horses. Behind
him stood an attendant, of whose figure a piece of
drapery on the next slab alone remains.</p>

<p><span class="leftside1">&nbsp;&nbsp;2.</span>A youth, leading a horse, saddled and bridled. He
wears a short chiton, and carries a whip. Details of the
hair were probably indicated with paint.</p>

<p><span class="leftside1a">3, 4.</span>A venerable old man, seated in a chair, placed in a war
chariot drawn by two horses. He has long hair, bound
with a taenia, and a long pointed beard. He wears a
chiton with sleeves, and a mantle. He holds a pomegranate
flower in his left hand, and a cup (?) in his right
hand. Beside him is a charioteer treated like the youth
of the preceding group. The reins, now lost, were made
of bronze.</p>

<p>Youth riding a spirited horse, equipped like the horse
of the second group. The rider wears a chiton with
<span class="pagenum"><a name="page50" id="page50"></a>50</span>
short sleeves, and a himation. He has long hair falling
on the shoulders.</p>

<p><span class="leftside1">&nbsp;&nbsp;5.</span>A group of draped persons moving to right, and composed
of the following figures:&mdash;</p>

<p>Man (much mutilated) standing to right and turning
to front. He holds a whisk in the right hand, and a
spear in the left hand.</p>

<p>Man, carrying a spear over the left shoulder, supporting
it with both hands clasped.</p>

<p>Man moving to right but looking back. He carries a
spear on the left shoulder; right hand holds a fold of the
drapery.</p>

<p>Man with spear on left shoulder and whisk in right
hand.</p>

<p>Man with spear on right shoulder; left hand holds an
edge of the himation.</p>

<p>Man with spear on left shoulder. The front part only
of this figure is preserved.</p>

<p>The standing figures all wear a long chiton, with long
sleeves, and a himation which is wrapped closely about
the body, passing under the right arm and over the left
shoulder.</p>

<p>The size and treatment of the horses on the frieze, and
the use of whisks by the standing figures, show Oriental
influences, although the artistic style is distinctly Greek.
The upright crest on the head of the horse in the fourth
group is seen on the horses of Persepolitan sculpture.
Compare the Persepolitan casts in the British Museum,
assigned to 500 <span class="sc">b.c.</span>, and Fellows, <i>Lycia</i>, p. 173. The ends
of the horses' tails are also tied with ribbon in the same
way as here. Saddle-cloths occur on early vases from
Daphnae (Petrie, <i>Nebesheh and Defenneh</i>, pl. 29, fig. 4),
and on painted sarcophagi from Clazomenae (<i>Journ. of
Hellen. Studies</i>, iv., p. 19, fig. 14).</p>

<p>The traces of Persian fashion make it probable that
<span class="pagenum"><a name="page51" id="page51"></a>51</span>
this relief is later than the Persian conquest of Xanthos
by Harpagos (about 545 <span class="sc">b.c.</span>).</p>

<p>The architectural disposition of the frieze has not been
ascertained. The slabs were found by Fellows, inserted
in a wall of late date on the Acropolis of Xanthos (Benndorf,
<i>Reisen in Lykien</i>, i., p. 86), but it is clear from the
square holes that occur at intervals of 4 ft. 8 in., that
stone beams, imitating wood construction, must once have
projected, and from the raised border round the holes it
is seen that this was the intention of the artist. It is
probable that the frieze belonged to a tomb, and perhaps
represented a funeral procession. It is not possible to
say whether it was on the outside or on the inside of the
building. (Compare Nos. 87, 88, and the tomb of Giöl-Baschi.
Compare also the casts of reliefs from Pinara,
Nos. 761-4, for the projecting beam ends.)&mdash;<i>Acropolis of
Xanthos.</i></p>

<p>A similar procession occurs on a sarcophagus from
Amathus. (Cesnola, <i>Cyprus</i>, pl. 14.)
</p></blockquote>

<p class="indent1">Height, 2 feet 9&frac12; inches; combined length of five slabs,
        17 feet 4 inches; height of relief, 2 feet 5 inches; but in
        parts, upper margin is cut into. Fellows, <i>Lycia</i>, pls.
        facing pp. 173, 177; Prachov, pl. 3; Cesnola, <i>Cyprus</i>,
        pls. 16, 17; Murray, I., pls. 4-6; Wolters, Nos. 131-134;
        Wolters in <i>Jahrbuch des Arch. Inst.</i>, I., p. 84; Brunn,
        <i>Denkmaeler</i>, No. 102.</p>

<p><span class="leftside">87.</span>Slab from the left end of a frieze. A woman stands near
the foot of a couch upon which a dead man is laid out.
Only the end of the couch and the left foot of the corpse
remain. The woman wears a long chiton, himation, cap
with tassel, and earrings. Behind her stands a male
attendant, wearing a short chiton, drawn up, beneath a
girdle. He holds a small piece of drapery in his left
hand.</p>

<p>A groove to the left of the group seems to show that
this slab was at an interior angle of a building. The
<span class="pagenum"><a name="page52" id="page52"></a>52</span>
different dimensions make it unlikely that it was a part
of the same frieze as No. 86.&mdash;<i>Xanthos.</i></p>

<p class="indent">
Limestone; height, 2 feet 9&frac12; inches; length, 2 feet 7 inches. Prachov,
pl. 1, fig. 2; Murray, I., pl. 6; Wolters, 135; Wolters in <i>Jahrbuch
des Arch. Inst.</i>, I. p. 83.
</p>

<p><span class="leftside">88.</span>Slab from the left end of a frieze. A woman wearing a
long chiton with sleeves and a himation stands to right
with right hand raised, and holding a flower(?). She holds
a piece of drapery in left hand. Before her, the remains
of another figure.</p>

<p>At the left of this figure is a groove, suggesting that
this was an interior angle stone.&mdash;<i>Xanthos.</i></p>

<p class="indent">
Limestone; height, 2 feet 9 inches; length, 3 feet 6 inches. Prachov,
pl. 6 <span class="sc">b</span>. <i>h</i>; Wolters, <i>Jahrbuch des Arch. Inst.</i>, I., p. 83.
</p>

<p><span class="leftside">89, 90.</span>Gable end of a tomb. On each side of a doorway is a
seated Sphinx, and above the lintel are two lions.&mdash;<i>Xanthos.</i></p>

<p><span class="leftside">89.</span>The Sphinx on the left wears a cap enclosing most of
the hair, a pendant earring, and a narrow taenia. There
are traces of red paint on the cap, and of the markings of
feathers on the wings. The head and fore-quarters of the
lion are wanting.</p>

<p class="indent">
Limestone; height, 3 feet 9 inches; width, 3 feet 1 inch. About
3 inches appear to be wanting on the right of the slab. Prachov,
pl. 5, fig. 1 (the head only of the Sphinx); Dieulafoy, <i>L'Art Ant.
de la Perse</i>, II., pl. 18, fig. 2; Brunn, <i>Denkmaeler</i>, No. 101<span class="sc">a</span>.
</p>

<p><span class="leftside">90.</span>The Sphinx on the right of the doorway has her hair
confined by a broad band, and has a pendant earring.
The markings of the feathers may be seen on the wings.
When first discovered in 1840, this relief was brilliantly
coloured, as is recorded in a drawing by Scharf. The
ground of the relief was bright blue; the feathers were
red, black, blue, and white. The hair was yellow, and
the taenia was painted with a white pattern on a red
<span class="pagenum"><a name="page53" id="page53"></a>53</span>
ground. The head and fore-quarters of the lion are
wanting.</p>

<p class="indent">
Limestone; height, 3 feet 4&frac12; inches; width, 3 feet 4 inches. About
3 inches appear to be wanting on the left of the slab. Prachov,
pl. 5, fig. 2; <i>Museum of Class. Antiq.</i>, I., p. 251; Dieulafoy, <i>L'Art
Ant. de la Perse</i>, II., pl. 18, fig. 2; Brunn, <i>Denkmaeler</i>, No. 101<span class="sc">a</span>.
</p>

<p><span class="leftside">91, 92.</span>Gable end of a tomb. On each side of a doorway is a
seated Sphinx. Above the lintel of the door is a space
which may have held a relief, now wanting.&mdash;<i>Xanthos.</i></p>

<p><span class="leftside">91.</span>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.</p>

<p class="indent">
Limestone; height, 2 feet 10 inches; width, 2 feet 2 inches. The
joint of the stone is at the left side of the door. Prachov, pl. 4,
fig. 2.
</p>

<p><span class="leftside">92.</span>The Sphinx on the right has her hair bound with a
narrow taenia. There are traces of paint on the wing.
The hind-quarters are wanting.</p>

<p class="indent">
Limestone; height, 2 feet 8 inches; width, 3 feet 1 inch. About
3 inches are lost from the left of this slab. Prachov, pl. 4, fig. 1
(the head only).
</p>

<p><span class="leftside">93.</span>Gable end of a tomb. In the centre of the relief is a
low column, with an Ionic capital, of peculiar form. A
Siren stands to the front, on the column. She wears a
short chiton, girt at the waist and with loose sleeves.
She has spreading wings and tail, and bird's legs, but
human arms which are extended in front of the wings.
The head is wanting.</p>

<p>On each side of the column is a seated male figure. On
the left is a beardless elderly man, wearing himation and
chiton, with staff in left hand and right hand extended.
On the right is a bearded old man, wearing chiton and
himation, with staff in right hand and left hand extended.
The back of the head is in part broken away; part was
<span class="pagenum"><a name="page54" id="page54"></a>54</span>
never represented. The lower part of the relief is wanting.
A drawing by Scharf shows the colouring of the relief
when discovered. The background was blue; the hair,
the under side of the Siren's wings, the drapery of the
man on the left, the shaft and part of the capital of the
column were yellow; the drapery of the Siren and of
the man on the right, the seats and part of the capital
of the column were red.&mdash;<i>Xanthos.</i></p>

<p class="indent">
Limestone; height, 2 feet 9 inches; width, 3 feet 5 inches. <i>Annali
dell' Inst.</i>, 1844, p. 150.
</p>

<h3><span class="sc">The Harpy Tomb.</span></h3>

<p><span class="leftside">94.</span>The monument known as the Harpy Tomb was discovered
by Fellows among the ruins of Xanthos on
April 19, 1838. It was more carefully examined and
published by him in 1840 (<i>Lycia</i>, p. 170, and plate), and
was brought to England in the spring of 1842. The tomb
was described by Fellows in the following terms:&mdash;"The
Harpy Tomb consisted of a square shaft in one block,
weighing about eighty tons, its height seventeen feet,
placed upon a base rising on one side six feet from the
ground, on the other but little above the present level of
the earth. Around the sides of the top of the shaft were
ranged the bas-reliefs in white marble about three feet
three inches high; upon these rested a capstone, apparently
a series of stones, one projecting over the other; but these
are cut in one block, probably fifteen to twenty tons in
weight. Within the top of the shaft was hollowed out
a chamber, which, with the bas-relief sides was seven
feet six inches high, and seven feet square." (Fellows,
<i>Xanthian Marbles</i>, p. 21; <i>Asia Minor</i>, p. 438.) For views
of this tomb see the drawing by Scharf here reproduced
(<a class="ask" href="#plate3">pl. iii.</a>); also <i>Mon. dell' Inst.</i>, iv., pl. 2; Benndorf, <i>Reisen
in Lykien</i>, i., pl. 26. In Christian times, the tomb was made
the cell of some <i>Stylites</i>, or dweller on a column. Traces
<span class="pagenum"><a name="page55" id="page55"></a>55</span>
of painting and monograms were found on the interior of
the chamber. (Fellows, <i>Xanthian Marbles</i>, p. 21; Birch,
<i>Archæologia</i>, xxx., p. 186.)</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;1.</span><i>West Side.</i>&mdash;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, <i>Mon.
dell' Inst.</i>, x., pl. 16, fig. 161.)</p>

<p>On the left of the entrance is an enthroned female figure.
She is large and dignified, and is heavily draped. The
left hand is raised, the right hand is extended and holds
a bowl; she is adorned with 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.</p>

<p>Three maidens, who are nearly alike, except in the
attitudes of the hands, approach this figure. The first
raises her mantle and chiton with the left and right
hands respectively. The second has a pomegranate flower
in her left hand, and a pomegranate fruit in her right
hand. The third holds up an egg with her right hand,
and holds the drapery in her left hand.</p>

<p><span class="leftside1">&nbsp;&nbsp;2.</span><i>North Side.</i>&mdash;An old man, draped and bearded, is seated
on a chair to left; with the left hand he holds a spear,
with the right hand he receives a crested helmet which
is offered to him by a young warrior, who stands before
him. The warrior has a short chiton, and leather cuirass,
<span class="pagenum"><a name="page56" id="page56"></a>56</span>
sheathed sword, greaves, and a large shield, which he
supports with the left hand. Beneath the chair is a
small bear.</p>

<p>At each side of this group, but disconnected from it,
are figures commonly known as Harpies. They are represented
as beings with the head, breasts and arms of
maidens, while the lower part of the body is that of a
bird conventionally rendered. It terminates in oval form
with a spreading tail and bird's talons attached. Long
wings spring from behind the shoulders and under the
arms. Each creature wears a stephanè and chiton (see
<a class="ask" href="#drapery">below</a>). In their arms and talons each gently carries a
diminutive draped female figure, that makes a gesture, as
of affection.</p>

<p>At the right corner of the relief a draped figure crouches
on the ground in an attitude of deep grief, and looks up
to the flying figure above.</p>

<p><span class="leftside1">&nbsp;&nbsp;3.</span><i>East Side.</i>&mdash;A venerable bearded man is seated on a
throne, to the right. He has a sceptre in the left hand,
and holds up a flower in the right hand. The arm of
the throne is supported by a Triton. Before him is a
diminutive figure of a boy offering a cock.</p>

<p>Behind the enthroned figure are two draped male
figures, standing to right. The first holds a pomegranate
fruit in the left hand, and a doubtful object in the right
hand. The second, who is bearded, holds a portion of his
drapery with the left hand; with his right hand he holds
his beard.</p>

<p>On the right of the relief is a youth, accompanied by
a dog. He holds a stick with curved handle in his left
hand, and has an uncertain object in his right hand.
Part of it was made of metal, attached by a rivet. It
may perhaps have been a kylix with a tall stem.</p>

<p><span class="leftside1">&nbsp;&nbsp;4.</span><i>South Side.</i>&mdash;A male figure, not bearded, is seated on a
throne to right. He has a sceptre resting on his right shoulder.
<span class="pagenum"><a name="page57" id="page57"></a>57</span>
In the left hand he holds a pomegranate fruit, and in the
right hand an apple. Before him stands a male (?) figure,
holding a dove in the left hand by the wings, and having
the right hand raised in a gesture of adoration. On each
side of the main group, but disconnected from it, are the
winged figures with their burdens as already described.
With certain differences of detail, chiefly in the positions
of the arms of the figures carried, these groups are nearly
similar to those of the north side.</p>
<a name="drapery" id="drapery"></a>
<p><i>Drapery, &amp;c.</i>&mdash;All the figures on this tomb, except the
"Harpies," the diminutive figures connected with them,
and the warrior, are draped in chiton, and himation or
peplos. The figures borne by the "Harpies" and the figure
crouching in grief wear long chitons only. The "Harpies"
wear chitons, of which the sleeves alone are indicated. All
the principal figures wear shoes or sandals, so far as the
feet are preserved, with the exception of the second figure
behind the throne on the east side. The women on the
west side, and the seated figure on the south side wear shoes
with pointed toes. The remaining figures wear sandals
only. All the figures on the east side had metal taeniae
or stephanae, the holes for the attachment of the metal
being still visible. The youth on the east side, as already
stated, held a metal object in his hand.</p>

<p><i>Colouring.</i>&mdash;The following indications of colour can be
traced. The ground of the reliefs was bright blue. Part
of the colour remains round the profile of the youth on the
east side, and under the right wrist of the first figure behind
the throne on this side. Birch (<i>Archæologia</i>, xxx., p. 192)
states that he has seen scarlet on the crest of the helmet,
and Scharf (<i>Mus. of Class. Antiq.</i>, i., p. 252) that there
were "traces of red in the hollow of the shields and upon
sandals." Elsewhere the colour must be inferred from
the inequalities of the surface of the marble, due to the
unequal protecting powers of the different colours. There
<span class="pagenum"><a name="page58" id="page58"></a>58</span>
was an egg and tongue pattern on the lower moulding,
and a maeander pattern on parts of the upper moulding.
On the west side the chair of the figure on the right was
painted with palmette ornament. On the east side there
was also a palmette pattern on the side of the throne.
</p></blockquote>

<blockquote><p>
<i>Interpretations.</i>&mdash;The interpretations of this monument,
that have been proposed, may be divided into three groups&mdash;
</p></blockquote>

<blockquote><p>
&nbsp;&nbsp;&nbsp;&nbsp;(1.) &nbsp;According to the first commentators, the subject
represented was the rape of the daughters of Pandareos,
king of Lycia, by the Harpies (Homer, <i>Od.</i> xx., l. 66.
Gibson, in Fellows, <i>Lycia</i>, p. 171; Birch, <i>Archæologia</i>,
xxx., p. 185.) The objections to this view are that the
subject is an improbable one for representation on a tomb,
that the "Harpies" evidently stand in a kindly relation
towards the persons whom they carry, and that the reliefs
do not agree well with the literary form of the myth.
It is also doubtful whether the "Harpies" were imagined
with bird-bodies at the period of these sculptures. (Furtwaengler,
<i>Arch. Zeit.</i>, 1882, p. 204.)</p>

<p>&nbsp;&nbsp;&nbsp;&nbsp;(2.) &nbsp;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, <i>Annali dell' Inst.</i>, 1844, p. 151), or
Zeus viewed under a triple aspect (Curtius, <i>Arch. Zeit.</i>,
1855, p. 10). The symbolic system has been most
elaborately worked out by Curtius (<i>loc. cit.</i>, and <i>Arch. Zeit.</i>,
1869, p. 10). Thus he regards the "Harpies'" bodies as
intended for eggs, and so symbolical of life. This view is
<span class="pagenum"><a name="page59" id="page59"></a>59</span>
untenable, as the bodies are of the form usually given to
birds in early art (Conze, <i>Arch. Zeit.</i>, 1869, p. 78).</p>

<p>&nbsp;&nbsp;&nbsp;&nbsp;(3.) &nbsp;In the third and most recent group of theories, the
seated figures are not deities, but heroified personages,
buried in the tomb, to whom offerings are made by
members of their family. (Milchhoefer, <i>Arch. Zeit.</i>, 1881,
p. 53; Wolters, p. 75.) This view is supported by analogies
found elsewhere (cf. p. 299), while it avoids the difficulty
of supposing deities to be represented on a tomb. But no
parallel has been adduced for such a scene as a young
warrior giving his arms to the figure of an heroified
ancestor; moreover the dignity and adornments of the
enthroned figures seem most appropriate to deities.</p>

<p>On the whole it seems best to suppose that we have on
this tomb scenes connected with death, though we cannot
attempt, for want of knowledge of Lycian mythology, to
assign names to the personages represented. Maidens
make offerings to female deities, and men to male deities.
On the east side a boy makes an offering, on the north side
a young warrior gives up his armour, and on the south
side a man offers a bird. Kindly winged beings bear
away the souls of the dead, and the crouching figure
on the north side suggests the grief of the survivors.
(Cf. Brunn, <i>Sitzungsber. d. k. bayer. Akad. Phil. hist. Cl.</i>,
1872, p. 523, who points out the succession of ages among
the figures, but does not consider the idea of death to
be implied in the central groups of the north, east, and
south sides.)</p>

<p><i>Style and Period.</i>&mdash;In the Harpy Tomb we have a fine
example of the work by the Ionian School of Asia Minor,
whose chief characteristic is a certain voluptuous fulness
of form, and languor of expression, contrasted with the
muscular vigour of the Doric sculpture, and the delicate
refinement characteristic of a part of the early Attic work
(cf. Brunn, <i>loc. cit.</i>, p. 205, and Rayet, <i>Monuments</i>, No. 13).
<span class="pagenum"><a name="page60" id="page60"></a>60</span>
It is uncertain whether the tomb is later than the Persian
conquest of Xanthos (545 <span class="sc">b.c.</span>). It has a remarkable resemblance
to the tomb of Cyrus at Pasargadae as described
by Arrian (vi., 29) and Strabo (xv., 3, 7), although the
force of the parallel is rather diminished if Fergusson
(<i>Nineveh and Persepolis</i>, p. 215) has correctly identified the
tomb. The Harpy reliefs are usually assigned to the close
of the sixth century; but a comparison with the sculptures
of Ephesus points to a date nearer 550 <span class="sc">b.c.</span>
</p></blockquote>

<p class="indent1">
The Harpy tomb is of marble. The reliefs measure 3 feet 4&frac12; inches
in height; 8 feet 2 inches in length on the east and west sides;
7 feet 6 inches on the north and south sides. Fellows, <i>Lycia</i>,
p. 170, and pl.; Birch, <i>Archæologia</i>, XXX., p. 185; Braun,
<i>Annali dell' Inst.</i>, 1844, p. 133; <i>Mon. dell' Inst.</i>, IV., pl. 3;
<i>Rhein. Mus.</i>, N.F., III., 1845, p. 481; Curtius, <i>Arch. Zeit.</i>, 1855,
p. 2, pl. 73; Overbeck, <i>Gr. Plast.</i>, 3rd edit., I., p. 171; Murray,
I., p. 116, pl. 3, and figs. 22-25; Rayet, <i>Monuments</i>, Nos. 13-16;
Mitchell, p. 187, fig. 88 (west and south sides); Wolters,
Nos. 127-130.
</p>

<p><span class="leftside">95.</span>Fragment of relief, with parts of two female figures,
draped and having sandals, moving to the right in a
dance. The relief appears to have been on the face of a
lintel, panelled on its lower side.&mdash;<i>Xanthos.</i></p>

<p class="indent">
Limestone; height, 1 foot 3&frac12; inches. Prachov, pl. 6<span class="sc">b</span>, fig. <i>i.</i>;
Murray (2nd ed.), I., p. 125.
</p>

<p><span class="leftside">96-98.</span>The following sculptures illustrate the way in which
the simplicity of an archaic statue is sometimes preserved
in later sculptures serving an architectonic purpose:&mdash;</p>

<p><span class="leftside">96.</span>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.&mdash;<i>Xanthos.</i></p>

<p class="indent">
Marble; height, 4 feet &frac14; inch. Prachov, pl. 2, fig. 5.
</p>

<p><span class="leftside">97.</span>Torso of female figure, nearly similar to preceding, but
with surface much mutilated.&mdash;<i>Xanthos.</i></p>

<p class="indent">
Marble; height, 2 feet 4&frac12; inches. Prachov, pl. 2, fig. 6.
</p>
<span class="pagenum"><a name="page61" id="page61"></a>61</span>

<p><span class="leftside">98.</span>Torso of female figure treated like No. 96, but holding
the fold of drapery with the left hand.&mdash;<i>Xanthos.</i></p>

<p class="indent">
Marble; height, 3 feet 10&frac12; inches. Prachov, pl. 2, fig. 4.
</p>
<a name="page61a" id="page61a"></a>
<h3>SCULPTURES FROM NAUCRATIS.</h3>

<p>The remains here described were obtained for the most
part from the site of the temple of Apollo at Naucratis,
in the Nile Delta. The site of Naucratis was discovered
by Mr. W. M. Flinders Petrie, and the remains of the
temple were found in the course of excavations which he
carried on, in 1884-5. A few sculptures also were found
by Mr. E. A. Gardner in the excavations of 1885-6. The
whole of the collections from Naucratis in the British
Museum were presented by the Egypt Exploration Fund,
which conducted the excavations.</p>

<p>Naucratis was a colony of Greeks, settled in Egypt for
purposes of trade. It is situated to the west of the most
westerly or Canopic mouth of the Nile, and is nearly
midway between Cairo and Alexandria. The date of the
foundation of Naucratis has been a subject of controversy.
It is known that the colony owed much to Amasis, King
of Egypt (564-526 <span class="sc">b.c.</span>). According to the statement of
Herodotus (ii. 178), Amasis showed his friendship to the
Greeks by giving, to those who came to Egypt, the city of
Naucratis to live in
(<ins title="Greek: 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."
>&#934;&#953;&#955;&#8051;&#955;&#955;&#951;&#957; &#948;&#8050;
&#947;&#949;&#957;&#8057;&#956;&#949;&#957;&#959;&#962; &#8001;
&#7948;&#956;&#945;&#963;&#953;&#962; &#7940;&#955;&#955;&#945;
&#964;&#949; &#7952;&#962; &#7961;&#955;&#955;&#8053;&#957;&#969;&#957;
&#956;&#949;&#964;&#949;&#958;&#949;&#964;&#8051;&#961;&#959;&#965;&#962;
&#7936;&#960;&#949;&#948;&#949;&#8055;&#958;&#945;&#964;&#959;,
&#954;&#945;&#8054;
&#948;&#8052; &#954;&#945;&#8054;
&#964;&#959;&#8150;&#963;&#953;
&#7936;&#960;&#953;&#954;&#957;&#949;&#965;&#956;&#8051;&#957;&#959;&#953;&#963;&#953;
&#7952;&#962; &#913;&#7988;&#947;&#965;&#960;&#964;&#959;&#957;
&#7956;&#948;&#969;&#954;&#949;
&#925;&#945;&#8059;&#954;&#961;&#945;&#964;&#953;&#957; &#960;&#8057;&#955;&#953;&#957;
&#7952;&#957;&#959;&#953;&#954;&#8134;&#963;&#945;&#953;,
&#954;. &#964;. &#955;.</ins>).
The question has been discussed whether the
words of Herodotus prove that Amasis was the first to
allow the Greeks to live at Naucratis, or whether the
account of Strabo (xvii., 1, 18) can be accepted, according
to which Naucratis was already occupied by Greeks,
especially by Greeks of Miletus. If Amasis introduced
<span class="pagenum"><a name="page62" id="page62"></a>62</span>
the Greeks to Naucratis, no Hellenic remains on the site
can be older than 504 <span class="sc">b.c.</span> If an earlier settlement is
assumed, it may have dated from the middle of the seventh
century.</p>

<p>In either case the temple of the Milesian Apollo would
have been among the earliest buildings erected. Herodotus
states that by permission of Amasis, the Milesians
independently founded a temenos of Apollo
(<ins title="Greek: chôris de... ep' heôutôn hidrysanto temenos... Milêsioi Apollônos">&#967;&#969;&#961;&#8054;&#962;
&#948;&#8050; ...
&#7952;&#960;'
&#7953;&#969;&#965;&#964;&#8182;&#957;
&#7985;&#948;&#961;&#8059;&#963;&#945;&#957;&#964;&#959;
&#964;&#8051;&#956;&#949;&#957;&#959;&#962; ...
&#924;&#953;&#955;&#8053;&#963;&#953;&#959;&#953;
&#7944;&#960;&#8057;&#955;&#955;&#969;&#957;&#959;&#962;</ins>). Messrs.
Petrie and Gardner, arguing for the older date, put the
foundation shortly after the middle of the seventh
century.</p>

<p>The architectural remains are very scanty. Probably
much of the first temple was built of mud bricks. The
stone portions may have been used again in the building
of the second temple, whose ornaments were of marble.
Moreover, all marble and stone is eagerly sought for and
removed by the modern Arab diggers.</p>

<p class="indent">
<i>Naukratis</i>, Part I., 1884-5, by W. M. Flinders Petrie and others;
<i>Naukratis</i>, Part II., 1885-6, by E. A. Gardner; G. Hirschfeld in
<i>Rhein. Mus.</i>, N.F., XLII. (1887), p. 209, and XLIV. (1889),
p. 461; Kirchhoff, <i>Studien</i>, 4th edit. p. 43; Roberts, <i>Greek
Epigraphy</i>, p. 323.
</p>

<h3><span class="sc">The First Temple of Apollo.</span></h3>

<p><span class="leftside">100.</span><i>Columns.</i>&mdash;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:&mdash;</p>

<blockquote>
<p><span class="leftside1a">1, 2.</span>
Two members of an Ionic capital, consisting of two
courses of an egg and dart moulding. The upper
course is considerably the larger. The lower course is
<span class="pagenum"><a name="page63" id="page63"></a>63</span>
worked with a rebate to fit the upper course. Below the
mouldings are the tops of the flutings.
</p></blockquote>

<p class="indent1">Upper course&mdash;height, 5 inches; diameter, 1 foot 7&frac12; inches;
        lower course&mdash;height, 4&frac14; inches; diameter, 1 foot 4&frac12;
        inches. <i>Naukratis</i>, I., pl. 3.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;3.</span>Fragment of necking of a column, of a different design
from the preceding, and surrounded by a pattern of lotus
buds and lotus flowers.
</p></blockquote>

<p class="indent1">Height, 11 inches; diameter, 1 foot 8 inches. <i>Naukratis</i>, I., pl. 3.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;4.</span>Fragment of necking of a column, somewhat similar to
the preceding.
</p></blockquote>

<p class="indent1">Height, 4 inches; width, 5 inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;5.</span>Drum of a limestone column with flutings.
</p></blockquote>

<p class="indent1">Height, 4&#8541; inches; diameter, 1 foot 6 inches.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;6.</span>Lower part of the base of an Ionic column.
</p></blockquote>

<p class="indent1">Height, 4 inches; diameter, 1 foot 9 inches. <i>Naukratis</i>, I., pl. 3.</p>

<h3><span class="sc">Miscellaneous Fragments from First Temple.</span></h3>

<blockquote>
<p><span class="leftside">&nbsp;&nbsp;101.</span><span class="leftside1">&nbsp;&nbsp;1.</span>Upper part of an acroterion, worked below with a rebate.
</p></blockquote>

<p class="indent1">Height, 3&frac12; inches. <i>Naukratis</i>, I., pl. 14<span class="sc">a</span>.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;2.</span>Angle piece, with half of a palmette.
</p></blockquote>

<p class="indent1">Height, 5 inches. <i>Naukratis</i>, I., pl. 14<span class="sc">a</span>.</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;3.</span>Fragment of a plane surface of limestone, with a series
of circles painted in blue, white, and red.
</p></blockquote>

<p class="indent1">Height, 2 inches; width, 7&frac12; inches.</p>

<blockquote>
<span class="leftside1a">4, 5.</span>
<p>Fragments of two sculptured rosettes, perhaps intended
for the decoration of mud surfaces, and probably derived
from the earlier temple.
</p></blockquote>

<p class="indent1">Diameters, 4&frac12; inches and 3 inches. <i>Naukratis</i>, I., pl. 18, figs. 7, 8.</p>

<span class="pagenum"><a name="page64" id="page64"></a>64</span>

<h3><span class="sc">The Second Temple of Apollo.</span></h3>

<p><span class="leftside">102.</span>The remains assigned to the second temple are of marble,
instead of limestone. They are too fragmentary for restoration,
but include bead and <ins title="Transcriber's Note: original reads 'real'">reel</ins> mouldings, egg and dart
patterns, portions of palmette and lotus patterns of elaborate
design. Several of the fragments are brilliantly
painted with red and blue. The second temple probably
belongs to the second half of the fifth century.</p>

<p class="indent">
Compare <i>Naukratis</i>, I., pls. 14, 14<span class="sc">a</span>.
</p>

<h3><span class="sc">Miscellaneous Sculptures from Naucratis.</span></h3>

<p><span class="leftside">103.</span>Fragment of the lower part of a draped standing figure.
In the middle of the legs the drapery falls in conventional
vertical folds. The figure is painted white with a red
stripe down each side.&mdash;<i>From the temenos of Apollo.</i></p>

<p class="indent">
Limestone; height, 1 foot 5 inches. <i>Naukratis</i>, I., p. 13.
</p>

<p><span class="leftside">104.</span>Upper part of an incense burner or small altar with
rosettes and Uraei.</p>

<p class="indent">
Limestone; height, 4&frac34; inches. <i>Naukratis</i>, I., pl. 18, fig. 11.
</p>

<p><span class="leftside">105.</span>Part of a model of an Egyptian building.</p>

<p class="indent">
Limestone; height, 5&frac12; inches. <i>Naukratis</i>, I., pl. 18, fig. 1.
</p>

<p><span class="leftside">106.</span>Model of a shrine.</p>

<p class="indent">
Limestone; height, 8&frac12; inches.
</p>

<p><span class="leftside">107.</span>Portions of a group of two figures leading a bull to
sacrifice. Of the first figure no part remains except the
hands which held a rope round the bull's neck. The
second figure stands beside the bull, and places his right
hand on its back. The head is wanting. An amphora
stands on the ground on each side of the figure. Red
<span class="pagenum"><a name="page65" id="page65"></a>65</span>
colour on the drapery and on the tops of the vases.&mdash;<i>Temple
of Apollo.</i></p>

<p class="indent">
Limestone; height, 3 inches. <i>Naukratis</i>, I., pl. 2, fig. 21.
</p>

<p><span class="leftside">108.</span>Part of a figure kneading dough in a trough. Of the
figure only the hands and feet remain. Traces of red
colour.&mdash;<i>Temple of Apollo.</i></p>

<p class="indent">
Limestone; height, 2&#8539; inches. <i>Naukratis</i>, I., pl. 2, fig. 19.
</p>

<p><span class="leftside">109.</span>Figure seated on a chair with a box on its lap. Before
it a table on which lie four fish. The head of the figure
is wanting.&mdash;<i>Temple of Apollo.</i></p>

<p class="indent">
Limestone; height, 1&frac34; inches. <i>Naukratis</i>, I., pl. 2, fig. 20.
</p>

<p><span class="leftside">110.</span>Torso of a male statuette, from the neck to the knees,
holding a lion by the tail and hind legs.</p>

<p class="indent">
Alabaster; height, 5&frac34; inches. <i>Naukratis</i>, I., pl. 1, fig. 1.
</p>

<p><span class="leftside">111.</span>Upper part of a statuette of a warrior(?). The figure
wears a peaked helmet, a close-fitting tunic with sleeves,
and armlets.</p>

<p class="indent">
Alabaster; height, 4&frac14; inches. <i>Naukratis</i>, I., pl. 1, fig. 2.
</p>

<p><span class="leftside">112.</span>Vessel for holding ointment (<i>alabastron</i>). The upper
part is in the form of a female bust. The right hand holds
a necklace on the breast. The left hand is by the side.</p>

<p class="indent">
Alabaster; height, 7&frac14; inches. <i>Naukratis</i>, II., pl. 14, fig. 11.
</p>

<p><span class="leftside">113.</span>Upper part of an <i>alabastron</i> similar to the preceding.</p>

<p class="indent">
Alabaster; height, 3&frac12; inches.
</p>

<p><span class="leftside">114.</span>Head, wearing a band across the forehead, and having
a headdress with a veil which is gathered back in folds
from the front. Red on the lips and headdress.</p>

<p class="indent">
Limestone; height, 4 inches. <i>Naukratis</i>, I., pl. 1, fig. 5.
</p>
<span class="pagenum"><a name="page66" id="page66"></a>66</span>

<p><span class="leftside">115.</span>Head, wearing a band across the forehead, from which
lappets hang down before the ears. Delicately executed
archaic work.</p>

<p class="indent">
Alabaster; height, 2&frac12; inches. <i>Naukratis</i>, II., pl. 17, fig. 13.
</p>

<p><span class="leftside">116.</span>Fragment of the rim of a basin, supported by a Harpy-like
being, carrying a diminutive figure at her breast.
The figure is female, with spreading wings. On its left
side, the body ends in the egg-like form of the figures on
the Harpy tomb. On the opposite side, the form of the
body is uncertain. The head is wanting.</p>

<p class="indent">
Alabaster; height, 3 inches.
</p>

<p><span class="leftside">117.</span>Nude female statuette, from the neck to the knees.
She has necklaces, armlets, bracelets, and rings, which are
partly in relief, and partly painted red. She wears also
a red girdle, from which symbolic eyes are suspended, one
on the abdomen, and one on the small of the back. The
ends of this girdle fall one in front of each thigh, and
finish in lotus flowers.</p>

<p class="indent">
Limestone; height, 5&#8540; inches. <i>Naukratis</i>, I., p. 33.
</p>

<p><span class="leftside">118.</span>Statuette of a Hunter, standing, with two hares and
two young boars slung over his shoulders. He holds his
bow in the left hand, his hunting knife in the right hand.
He wears a close-fitting cap, and tunic girt at the waist.
Inscribed <ins title="Greek: Kalli[as aneth]ê[ke]">&#922;&#945;&#955;&#955;&#8055;[&#945;&#962;
&#7936;&#957;&#8051;&#952;]&#951;[&#954;&#949;]</ins>.&mdash;<i>Temenos of Aphroditè.</i>
</p>

<p class="indent">
Limestone; height, 1 foot 7&frac12; inches. <i>Naukratis</i>, II., pl. 13, fig. 5.
</p>

<p><span class="leftside">119.</span>Female statuette, wearing long, close-fitting drapery
and head-dress; she wears a necklace and plays on a
tympanum.&mdash;<i>Temenos of Aphroditè.</i></p>

<p class="indent">
Limestone; height, 5&#8541; inches. <i>Naukratis</i>, II., pl. 14, fig. 9.
</p>

<p><span class="leftside">120.</span>Upper half of female statuette wearing close-fitting
drapery, and headdress. She wears a necklace, and holds
<span class="pagenum"><a name="page67" id="page67"></a>67</span>
a flower in the right hand between her breasts.&mdash;<i>Temenos
of Aphroditè.</i></p>

<p class="indent">
Limestone; height, 6 inches. <i>Naukratis</i>, II., pl. 15, fig. 5.
</p>

<p><span class="leftside">121.</span>Female figure, standing, wearing a close-fitting dress,
necklace and shoes. She holds a part of the drapery in
her right hand, before her body, and a bird in her
left hand between her breasts. Necklace, armlets, bracelets,
shoes, and stripes down her dress are painted red.
The head is wanting.&mdash;<i>Temenos of Aphroditè.</i></p>

<p class="indent">
Limestone; height, 7&#8539; inches. <i>Naukratis</i>, II., pl. 14, fig. 12.
</p>

<p><span class="leftside">122.</span>Male figure, standing, playing on a lyre. He wears a
chiton falling to the feet, a closely-fitting upper tunic,
and boots. Parts of the tunic, lyre and boots are painted
red. The head is wanting.&mdash;<i>Temenos of Aphroditè.</i></p>

<p class="indent">
Limestone; height, 7&frac14; inches. <i>Naukratis</i>, II., pl. 14, fig. 14.
</p>

<p><span class="leftside">123.</span>Upper part of a female figure, standing. She wears a
closely-fitting dress with long sleeves, and two necklaces.
The right hand holds an ankh (?) near the thigh; on the
left hand sits a goat, before her body. Red paint at the
borders of the drapery, and on ankh.&mdash;<i>Temenos of Aphroditè.</i></p>

<p class="indent">
Limestone; height, 4&frac34; inches. <i>Naukratis</i>, II., pl. 14, fig. 8.
</p>

<p><span class="leftside">124.</span>Undraped male figure, standing, holding a lion by the
hind legs and tail. The left arm of the figure and the
lion's tail are wanting.&mdash;<i>Temenos of Aphroditè.</i></p>

<p class="indent">
Limestone; height, 8&frac34; inches. <i>Naukratis</i>, II., pl. 14, fig. 10.
</p>

<p><span class="leftside">125.</span>Part of a bearded figure, closely draped, holding a goat
before his body by the legs. The head and body from
the waist of the figure are wanting.&mdash;<i>Temenos of Aphroditè.</i></p>

<p class="indent">
Limestone; height, 3&frac12; inches. <i>Naukratis</i>, II., pl. 15, fig. 1.
</p>

<p><span class="leftside">126.</span>Female figure, enthroned. The left arm is wrapped in
the mantle.&mdash;<i>Temenos of Aphroditè.</i></p>

<p class="indent">
Limestone; height, 3&frac12; inches. <i>Naukratis</i>, II., pl. 14, fig. 3.
</p>
<span class="pagenum"><a name="page68" id="page68"></a>68</span>

<p><span class="leftside">127.</span>Isis and Osiris (?). Female figure, enthroned, wearing
close-fitting dress, necklace, and large mantle passing
over the back of her head. She holds a nude figure of a
boy at her breast. Red paint on the veil.&mdash;<i>Temenos of
Aphroditè.</i></p>

<p class="indent">
Limestone; height, 4&frac34; inches. <i>Naukratis</i>, II., pl. 14, fig. 7.
</p>
<a name="page68a" id="page68a"></a>
<h3>FRAGMENT FROM DELOS.</h3>

<p><span class="leftside">130.</span>Fragment of a foot of a colossal statue of Apollo,
together with a part of the plinth in the same block.
The fragment consists of parts of the four greater toes
of the left foot. The plinth has dowel holes at each side.</p>

<p class="indent">
Naxian marble (?). Length of great toe, 1 foot 2 inches; height of plinth,
2 feet 1 inch. This fragment was found by W. Kennard at Delos,
in 1818. Stuart, 2nd edit., III., p. 127; IV., section on Delos,
pl. 4, fig. 2. It is no doubt a part of a colossal statue which was
dedicated by the Naxians to Apollo at Delos, and of which the
base and other parts still remain <i>in situ</i>. The base is inscribed
on one side, <ins title ="Greek: Naxioi Apollôni">&#925;&#8049;&#958;&#953;&#959;&#953;
&#7944;&#960;&#8057;&#955;&#955;&#969;&#957;&#953;</ins>, and on another side in archaic
letters, <ins title="Greek: Tawytou lithou eim' andrias kai to sphelas">&#932;&#945;&#989;&#965;&#964;&#959;&#8166; &#955;&#8055;&#952;&#959;&#965;
&#949;&#7984;&#956;'
&#7936;&#957;&#948;&#961;&#8055;&#945;&#962;
&#954;&#945;&#8054;
&#964;&#8056; &#963;&#966;&#8051;&#955;&#945;&#962;</ins>:
"I am of the same stone both statue and base." It is supposed that this is
"the great statue of the Naxians" at Delos, which, it is said,
was overturned by the fall of a brazen palm-tree dedicated by
Nicias (Plutarch, <i>Nicias</i>, 3).</p>

<p class="indent">The first modern traveller who saw the statue was Bondelmonte
(<span class="sc">a.d.</span> 1416), who found it prostrate, and says that he made an
unsuccessful attempt to set it up (<i>Liber Insularum Archipelagi</i>,
Sinner's edit., p. 92). In 1447 Cyriac of Ancona sketched the base
with one foot still in position (<i>Bull. dell' Inst.</i>, 1861, p. 182). When
visited by Spon and Wheler in 1675, the head, hands and feet
were lost, but the torso appears to have been nearly complete
(Wheler, <i>Journey</i>, p. 56). In 1700 Tournefort only found the
lower part of the body, and the thighs (Eng. ed. of 1741, vol. I.,
pl. facing p. 303). The parts seen by Tournefort remain at
Delos, and have been described by several travellers. Welcker,
<i>Alte Denkmaeler</i>, I., p. 400; Michaelis, <i>Annali dell' Inst.</i>, 1864,
p. 253; Furtwaengler, <i>Arch. Zeit.</i>, 1882, p. 329. For the base
and inscription, see Blouet, <i>Exp. de Morée</i>, III., pl. 3, figs. 3, 4
<i>Bull. de Corr. Hellénique</i>, III., p. 2.
</p>
<span class="pagenum"><a name="page69" id="page69"></a>69</span>

<h3><b>CASTS FROM SELINUS.</b></h3>

<p>The following sculptures, Nos. 135-139, were excavated
at Selinus in 1823 by the architects William Harris and
Samuel Angell. They are divided into two series, derived
from different temples.</p>

<p>Selinus, a colony of Megara, in the south-west of
Sicily, was founded about 628 <span class="sc">b.c.</span> The temple (commonly
known as C), from which the sculptures, Nos. 135-137,
were obtained, is the oldest temple on the Acropolis, and
it is therefore probable that its construction was begun
not long after the foundation of the city. The earlier
sculptures are therefore assigned to the beginning of the
sixth century <span class="sc">b.c.</span></p>

<p>The second series, Nos. 138-139, were obtained from
the temple commonly known as F. This is the third or
youngest temple in the group shown by architectural
evidence to be the oldest. An exact date cannot be
assigned, but the sculptures probably belong to the close
of the sixth century. The originals, which are made of a
coarse limestone, are preserved in the Museum at Palermo.</p>

<p>The metopes were drawn on their discovery by
William Harris. Harris died of malarial fever contracted
at Selinus, and the work was published by Angell and
Evans, <i>Sculptured Metopes ... of Selinus</i>, 1826. For
further literature, see Benndorf, <i>Die Metopen von Selinunt</i>.</p>

<p><span class="leftside">135.</span>Cast of a metope, from the oldest temple at Selinus.
Perseus slaying Medusa in the presence of 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.&mdash;<i>Presented
by S. Angell, Esq.</i></p>

<p class="indent">
Angell and Evans, pl. 7; Benndorf, p. 44, pl. 1; Overbeck, <i>Gr. Plast.</i>,
3rd ed. I., p. 80, fig. 5; Wolters, No. 149.
</p>
<span class="pagenum"><a name="page70" id="page70"></a>70</span>

<p><span class="leftside">136.</span>Cast of a metope from the oldest temple at Selinus.
Heracles carrying the robbers named Kerkopes, with
their legs tied to the ends of his bow, or of a yoke.&mdash;<i>Presented
by S. Angell, Esq.</i></p>

<p class="indent">
Angell and Evans, pl. 8; Benndorf, p. 45, pl. 2; Overbeck, <i>Gr. Plast.</i>,
3rd edit., I., p. 80, fig. 5; Wolters, No. 150.
</p>

<p><span class="leftside">137.</span>Cast of a metope from the oldest temple at Selinus.
A figure drives a quadriga to the front; two figures are
standing to the front, one at each side of the chariot.&mdash;<i>Presented
by S. Angell, Esq.</i></p>

<p class="indent">
Angell and Evans, pl. 6; Benndorf, p. 47, pl. 3; Wolters, No. 151.
</p>

<p><span class="leftside">138.</span>Cast of a fragment of a metope from the third temple
at Selinus, in which a goddess, probably Athenè, moves
to the right, treading down a prostrate giant. This
metope was formed of two slabs, of which the upper is
wanting.&mdash;<i>Presented by S. Angell, Esq.</i></p>

<p class="indent">
Angell and Evans, pl. 4 (incomplete); Benndorf, p. 50, pl. 5; Overbeck,
<i>Gr. Plast.</i>, 3rd ed., I., p. 158, fig. 30<i>b</i>.
</p>

<p><span class="leftside">139.</span>Cast of a metope from the third temple at Selinus.
A draped male figure, apparently Dionysos, is engaged
in combat with an armed giant, who has sunk on his
right knee.&mdash;<i>Presented by S. Angell, Esq.</i></p>

<p class="indent">
Angell and Evans, pl. 3; Benndorf, p. 52, pl. 6; Overbeck, <i>Gr. Plast.</i>,
3rd ed., I., p. 158, fig. 30<i>a</i>; Wolters, No. 152.
</p>
<a name="page70a" id="page70a"></a>
<h3>SCULPTURES AND CASTS FROM ATHENS AND ATTICA.</h3>

<p><span class="leftside">150.</span>Female (?) head. The hair, which is bound by a narrow
band, falls in large waves on each side of the forehead
to the ears, and thence to the shoulders. At the back, the
<span class="pagenum"><a name="page71" id="page71"></a>71</span>
hair is rendered by conventional undulations, parallel to
the band.&mdash;<i>Athens (?). Elgin Coll.</i></p>

<p class="indent">
Marble; height, 8&frac12; inches. <i>Mus. Marbles</i>, IX., pl. 40, fig. 4; <i>Synopsis</i>,
No. 251 (115); Ellis, <i>Elgin Marbles</i>, II., p. 119; <i>cf.</i> Welcker,
<i>Alte Denkmaeler</i>, I., p. 399.
</p>

<p><span class="leftside">151.</span>Cast of a torso of a standing female figure, wearing a
chiton of fine texture, and a mantle. The chiton is drawn
over the girdle, and has a short 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
<i>Athens</i>.</p>

<p class="indent">
Height, 1 foot 6 inches. Le Bas, <i>Monuments Figurés</i>, pl. 2, fig. 2;
Sybel, No. 5007; Wolters, No. 112. Further literature is cited
by Wolters.
</p>

<p><span class="leftside">152.</span>Torso of a standing female figure wearing an under-chiton
of fine texture, and an over-chiton with 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.&mdash;<i>Athens (?). Elgin Coll</i>.</p>

<p class="indent">
Marble; height, 2 feet 10 inches. Clarac, V., pl. 821<span class="sc">a</span>, fig. 2069 <span class="sc">b</span>, <span class="sc">c</span>.
</p>
<a name="n153" id="n153"></a>
<p><span class="leftside">153.</span>Torso of a standing female figure, wearing an under-chiton
of fine texture, and an over-chiton with 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 <i>archaistic</i> rather than of archaic workmanship,
that is, the artist has consciously imitated the
<span class="pagenum"><a name="page72" id="page72"></a>72</span>
archaic style.&mdash;<i>Athens.</i> <i>Presented by H. Gally Knight and
N. Fazakerly, Esqs., 1818.</i></p>

<p class="indent">
Marble; height, 1 foot 9 inches. Clarac, V., pl. 821<span class="sc">a</span>, fig. 2069<span class="sc">a</span>.
</p>
<a name="n154" id="n154"></a>
<p><span class="leftside">154.</span>Torso of a standing female figure, wearing under-chiton
of fine texture and over-chiton with a 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.&mdash;<i>From the smaller temple
at Rhamnus. Presented by J. P. Gandy Deering, Esq.</i></p>

<p class="indent">
Marble; height, 5 feet. Leake, <i>Athens and Demi of Attica</i>, II.
p. 110; <i>Synopsis</i>, No. 325* (307*); <i>Athenische Mittheilungen</i>,
XV., p. 65.
</p>

<p><span class="leftside">155.</span>Cast of a relief, representing a female figure stepping
into a chariot, holding the reins in her extended hands.
The figure is probably that of a goddess. It has been
conjectured, but without evidence, that the relief belonged
to the Pre-Persian Parthenon. The original, which is of
Parian marble, is at <i>Athens</i>.</p>

<p class="indent">
Le Bas, <i>Mon. Fig.</i>, pl. 1; Overbeck, <i>Gr. Plast.</i>, I., 3rd ed., p. 153, fig. 28;
Murray, I., p. 196; Brunn, <i>Denkmaeler</i>, No. 21. For further
literature, see Wolters, No. 97.
</p>

<p><span class="leftside">156.</span>Cast of a sepulchral relief, representing a woman
enthroned. She holds a child in her arms. Before her
are three figures, probably members of her family, with
offerings.</p>

<p>The original, which is of marble, is in the <i>Villa Albani
at Rome</i>. It was erroneously named by Winckelmann
"Leucothea nursing the infant Bacchus."&mdash;<i>From Athens (?).</i></p>

<p class="indent">
Winckelmann, <i>Monumenti Inediti</i>, No. 56; Zoega, <i>Bassirelievi Ant.</i>,
I., pl. 41; Overbeck, <i>Gr. Plast</i>., 3rd ed., I., p. 175, fig. 38. For
further literature, see Wolters, No. 243.
</p>

<span class="pagenum"><a name="page73" id="page73"></a>73</span>

<h3>CASTS OF SCULPTURES FROM AEGINA.</h3>

<p>The temple of 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.</p>

<p>With the exception of an ivory eye (Cockerell, pl. 12)
attributed by the discoverers to the image inside the
temple, the only sculptures found were those which
originally were contained in or surmounted the pediments
of the temple.</p>

<p>The Aeginetan sculptures belong to the latest stage of
archaic Greek art, and are the most important extant
works of that period. For determining the date of the
sculptures, political history is only so far of use that we
may assume that they are not later than 456 <span class="sc">b.c.</span>, in
which year Aegina was subdued by Athens. From their
style they appear to be considerably older than that date.</p>

<p>A minute analysis of the sculptures (Brunn, <i>Das Alter
der Aegin. Bildw.</i> p. 9) shows that the east pediment is
distinctly more advanced than the west in the expression
of emotion, in the rendering of drapery, of the features,
the beards, the veins; and in the general proportions.
Brunn assigns the groups to the period immediately
following the battle of Salamis (480 <span class="sc">b.c.</span>) and suggests
that the sculptor of the east pediment belonged to a
younger generation than his colleague.</p>
<span class="pagenum"><a name="page74" id="page74"></a>74</span>

<p>The statues are made of Parian marble. They are
attached to plinths which were let into the upper surface
of the cornice, and are cut out of single blocks, a few
small pieces of marble being separately attached. They
showed clear traces of colour throughout, when first
discovered. One shield from the east pediment was
painted with a female figure. There were numerous
adjuncts of bronze, such as arms and ornaments, which
have been minutely enumerated by Brunn (<i>Beschreibung</i>,
&amp;c., p. 67). The restored pediments in the British
Museum have been partially decorated in accordance with
the scheme of Cockerell, who says: "The members of the
entablature and pediment were discovered often in all
their original vividness, which quickly disappeared on
exposure to the atmosphere." (Cockerell, p. 27, pl. 6).</p>

<p class="indent">
C. R. Cockerell, <i>The Temple of Jupiter Panhellenius at Aegina</i>, &amp;c.,
1860; Blouet, <i>Expédition de Morée</i>, III., p. 23; Brunn, <i>Ueber
das Alter der Aeginetischen Bildwerke</i> in the <i>Sitzungsber. der k.
bayer. Akad.</i>, 1867, I., p. 405, and <i>Ueber die Composition der
Aeginetischen Giebelgruppen, ibidem</i>, 1868, II., p. 448; Brunn,
<i>Beschreibung der Glyptothek König Ludwig's I.</i>, 4th ed., 1879;
Wolters, Nos. 69-85.
</p>

<h3><span class="sc">The West Pediment of the Temple at Aegina.</span></h3>

<p>The subject of the West pediment is a battle, in the
presence of 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, <i>Iliad</i>,
<span class="pagenum"><a name="page75" id="page75"></a>75</span>
xvii.; Wolters, p. 48). Others have argued that the
presence of Paris points to the fight over the body of
Achilles as described in the Aethiopis of Arctinos. See
especially Brunn, <i>Beschreibung</i>, p. 79. On account of the
discrepancies between the sculptures and the literary
tradition it is impossible to decide the question.</p>

<p>The arrangement adopted in the British Museum is
that of Cockerell (pl. 16). To complete the group
Cockerell supposed that nude figures similar to No. 178 of
the East pediment advanced to the fallen hero from each
side; and that a spearman knelt between the Paris
(No. 168) and the wounded Trojan. Fragments remain of
the two youths; but recent writers have put the spearman
(No. 166) next the Paris. The positions of the spearmen
and the archers on each side have also been reversed.
The archers are on this view placed furthest from the
combat, and may perhaps be supposed to be protected by
the spearmen. Further changes have been proposed
which are based on fragments not represented by casts,
and which therefore need not here be discussed.</p>

<p class="indent">
Restorations of the West Pediment. (1) With 11 figures, the bowmen
in front of the spearmen. Cockerell, supplementary plate;
Blouet, <i>Exp. de Morée</i>, III., pl. 58, fig. 2; Müller, <i>Denkmaeler</i>, I.,
pls. 6, 7; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., fig. 19<i>a</i>; Murray, I.,
pl. 7. (2) With 11 figures, the bowmen behind the spearmen.
Cockerell, plate; Brunn, <i>Sitzungsber. der k. bayer. Akad.</i>, 1868,
II., plate; Lange, <i>Ber. der k. sächs. Ges. d. Wissenschaften</i>, 1878,
pl. 3, fig. 1. (3) With 13 figures. Cockerell, pl. 16. (4) With
14 figures. Lange, <i>loc. cit.</i>, pl. 3, fig. 2; Overbeck, <i>Gr. Plast.</i>,
3rd ed., I., fig. 19<i>b</i>.
</p>

<p>The figures beginning from the left of the West pediment
are:&mdash;</p>

<p><span class="leftside">160.</span>
Wounded Greek, recumbent, disarmed, drawing an
arrow from his right breast.</p>

<p class="indent">
Restored:&mdash;Nose, right forearm, left leg from knee to ankle and toes.
Cockerell, pl. 15, No. 11; pl. 16; Blouet, III., pl. 69, fig. 2;
Brunn, <i>Denkmaeler</i>, No. 25.
</p>
<span class="pagenum"><a name="page76" id="page76"></a>76</span>

<p><span class="leftside">161.</span>
Greek advancing with spear. Brunn proposes the
name of Ajax, son of Oileus.</p>

<p class="indent">
Restored:&mdash;Crest, right hand, left forearm and part of feet. Cockerell,
pl. 15, No. 9; pl. 16; Blouet, III., pl. 69, fig. 1.
</p>

<p><span class="leftside">162.</span>
Greek archer, armed, kneeling and drawing his bow.
This may well be the Aeginetan hero, Teucer, brother of
Telamonian Ajax.</p>

<p class="indent">
Restored:&mdash;Head, arms, several flaps of the cuirass, and left leg from
the knee. Cockerell, pl. 15, No. 10; pl. 16; Blouet, III., pl. 66,
fig. 1.
</p>

<p><span class="leftside">163.</span>
Bearded Greek warrior advancing, with shield extended
and right hand raised to hurl spear. Perhaps Telamonian
Ajax.</p>

<p class="indent">
Restored:&mdash;Nose, crest, half right forearm, part of shield, both legs.
Cockerell, pl. 15, No. 3; pl. 16; Blouet, III., pl. 68, fig. 1.
</p>

<p><span class="leftside">164.</span>
Wounded hero, leaning on his right hand, which held
a sword; the shield is held out to cover the body. This
is either Achilles or Patroclos according to the chief
schemes of interpretation.</p>

<p class="indent">
Restored:&mdash;Neck, right shoulder, fingers and toes. Cockerell, pl. 15,
No. 2; pl. 16; Blouet, III., pl. 67, fig. 2.
</p>

<p><span class="leftside">165.</span>
Figure of 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.</p>

<p class="indent">
Restored:&mdash;Nose, right hand, part of left hand. Cockerell, pl. 15,
No. 1; pl. 16; Blouet, III., pl. 67, fig. 1; Brunn, <i>Denkmaeler</i>
No. 23.
</p>
<span class="pagenum"><a name="page77" id="page77"></a>77</span>

<p><span class="leftside">166.</span>
Kneeling Trojan, with right hand raised to hurl spear.</p>

<p class="indent">
Restored:&mdash;Head, right armpit and shoulder-blade, three fingers of
right hand; left arm from middle of biceps; right leg from the
knee; left knee with part of thigh, and part of left foot.
Cockerell, pl. 15, No. 6; pl. 16; Blouet, III., pl. 65, fig. 2.
</p>

<p><span class="leftside">167.</span>
Warrior advancing with shield extended, and right
hand raised to hurl spear, closely corresponding to
No. 163. Perhaps Aeneas.</p>

<p class="indent">
Restored:&mdash;Head (which should probably be bearded), right armpit
and breast, fingers, parts of shield and legs. Cockerell, pl. 15,
No. 4; pl. 16; Blouet, III., pl. 66, fig. 2.
</p>

<p><span class="leftside">168.</span>
Archer kneeling and drawing his bow. He wears a
Phrygian cap, which has holes in the front for a metal
wreath. (Compare the wreath on the Ephesian fragment
No. 46, <i>12</i>); also closely-fitting breeches and coat of
leather. This figure, which is always known as Paris,
closely corresponds with the 'Teucer,' No. 162.</p>

<p class="indent">
Restored:&mdash;Tips of cap, nose and chin; some fingers, and the forepart
of the left foot. Cockerell, pl. 15, No. 7; pl. 16; Blouet,
III., pl. 68, fig. 2; Brunn, <i>Denkmaeler</i>, No. 24.
</p>

<p><span class="leftside">169.</span>
Wounded Trojan, leaning on the right arm. An arrow
may have been fixed in the left knee between the thumb
and forefinger.</p>

<p class="indent">
Restored:&mdash;Head, left arm, part of right forearm and hand; both
legs from the knees. Cockerell, pl. 15, No. 8; pl. 16; Blouet,
III., pl. 65, fig. 1.
</p>

<p><span class="leftside">170.</span>
The pediment is surmounted by an acroterion, consisting
of a palmette between two large volutes, which are
for the most part restorations. (Cockerell, pls. 1, 4.)</p>

<p>On each side of the acroterion is an architectonic
female figure, treated in the same designedly archaic
style as the figure of Athenè.</p>
<span class="pagenum"><a name="page78" id="page78"></a>78</span>

<p><span class="leftside">171.</span>
Female figure (on the left).</p>

<p class="indent">
Restored:&mdash;Head, right hand and part of sleeve; left forearm with
part of sleeve and drapery. Cockerell, pl. 1.
</p>

<p><span class="leftside">172.</span>
Female figure (on the right).</p>

<p class="indent">
Restored:&mdash;Head; lower edge of right sleeve; right hand and forearm;
parts of drapery. Cockerell, pl. 1.
</p>

<p><span class="leftside">173.</span>
At each angle are casts of lions' heads, which in the
absence of casts from the originals have been taken from
the cornice of the archaic temple at Ephesus. The lion's
head engraved by Cockerell (pl. 13, fig. 4), appears to be
his restoration.</p>

<p><span class="leftside">174.</span>
The angles are surmounted by Gryphons, which have
been cast from a single original. The original has been
considerably restored, especially the head.</p>

<p class="indent">
Cockerell, pl. 13, fig, 4. The hind parts of one Gryphon were discovered
by Chandler in 1765, but they were immediately broken
and stolen. Chandler, <i>Travels in Greece</i>, p. 12.
</p>

<h3><span class="sc">The East Pediment of the Temple at Aegina.</span></h3>

<p>Of the east pediment only five figures were found,
sufficiently complete to be restored. The fragments leave
no doubt that the composition was as a whole analogous
to that of the west pediment, and that the subject was a
battle for the body of a fallen warrior, fought in the
presence of Athenè.</p>

<p>The clue to the subject represented is given by the
figure of Heracles, and archaeologists are almost unanimous
in thinking that the scene is a battle in the
war which Telamon of Aegina, aided by Heracles, waged
against Laomedon, King of Troy (cf. Apollodorus, ii.,
6, 3, 4).</p>

<p>The arrangement is nearly that of Cockerell. The
Heracles, however, has been placed on the right side of
the pediment, because the left side of the statue is the
<span class="pagenum"><a name="page79" id="page79"></a>79</span>
most carefully finished, and was therefore intended to be
seen.</p>

<p class="indent">
Restorations of the East Pediment. (1) With 10 figures; wounded
warrior as restored. Prachov, <i>Mon. dell' Inst.</i>, IX., pl. 57. (2)
With parts of 12 figures; wounded warrior not as restored.
Cockerell, supplementary plate; Müller, <i>Denkmaeler</i>, I., pl. 8;
Blouet, III., pl. 58, fig. 1; Murray, I., pl. 7. For two heads
from this pediment, see Brunn, <i>Denkmaeler</i>, No. 121.
</p>

<p>The figures beginning with the left end of the pediment
are the following:&mdash;</p>

<p><span class="leftside">175.</span>
Warrior lying down, supported by his arm, within the
handles of his shield. He is wounded below the right
breast.</p>

<p class="indent">
Restored:&mdash;Crest, part of visor, four fingers of left hand, four toes of
left foot; right leg from the middle of the thigh. Cockerell,
p. 32, pl. 14, No. 4; Blouet, III., pl. 59, fig. 2.
</p>

<p><span class="leftside">176.</span>
Warrior advancing, with a shield on the left arm, and
a lance (?) in the right hand.</p>

<p class="indent">
Restored:&mdash;Head, hands, right hip; most of shield, Cockerell, p. 32,
pl. 14, No. 2; Blouet, III., pl. 59, fig. 1; Brunn, <i>Denkmaeler</i>,
No. 28.
</p>

<p><span class="leftside">177.</span>
Wounded warrior fallen backwards on his shield.</p>

<p class="indent">
Restored:&mdash;Head, arms, shield, right leg, left leg from the knee.
The correctness of the restoration has been doubted. The left
side is most corroded by the atmosphere, and would therefore
seem to have been uppermost. In that case the figure must
have resembled that of the fallen warrior in the centre of the
west pediment. It is thus drawn by Cockerell, in a supplementary
plate. Engraved as restored, Cockerell, pl. 14, No. 1;
Blouet, III., pl. 61, fig. 1.
</p>

<p><span class="leftside">178.</span>
Figure of a youth leaning forward, to draw away the
fallen warrior.</p>

<p class="indent">
Restored:&mdash;Nose, arms, pubis, most of right foot, and left foot;
Cockerell, pl. 14, No. 3; Blouet, III., pl. 61, fig. 2; Brunn,
<i>Denkmaeler</i>, No. 26.
</p>
<span class="pagenum"><a name="page80" id="page80"></a>80</span>

<p><span class="leftside">179.</span>
Heracles kneeling, and drawing his bow. He wears
the lion's skin on his head, and had a quiver on the left
side.</p>

<p class="indent">
Restored:&mdash;Nose, some flaps of the cuirass, left hand, right forearm,
right foot, part of left thigh and knee. Cockerell, pl. 14, No. 5;
Blouet, III., pl. 60; Rayet, <i>Monuments</i>, No. 25; Brunn,
<i>Denkmaeler</i>, No. 27; Mitchell, <i>Selections</i>, pl. 1.
</p>

<p><span class="leftside">180.</span>
The acroterion; (181) the figures beside it; (182) the
lions, and (183) the Gryphons here exhibited, are repetitions
of those of the west pediment. The acroterion, which
originally surmounted the east pediment, was larger and
more important than that of the west. (Cockerell, pl. 13.)
The figures which stood on each side of the east acroterion,
are shown by the surviving fragments to have been
similar to those of the western end, but were on a rather
larger scale.</p>

<a name="page80a" id="page80a"></a>
<h3>CASTS OF SCULPTURES FROM OLYMPIA.</h3>

<p>The temple of Zeus at Olympia was being built from
about 470-455 <span class="sc">b.c.</span> (cf. Boetticher, <i>Olympia</i>, p. 247). It
is certain that the metopes must have been placed in
position during the process of construction. They should
therefore probably be dated about 460 <span class="sc">b.c.</span> (Boetticher,
p. 289).</p>

<p><span class="leftside">190.</span>
Cast of a metope, from the Temple of Zeus at Olympia.
Heracles binding the Cretan Bull.</p>

<p class="indent">
The original is of marble. The greater part of this metope was discovered
by the French expedition to the Morea, in 1829, and is
now in the Louvre. The face and hind legs of the bull were
discovered in the German excavations, and are now at Olympia.
The parts first discovered are published in Overbeck, <i>Gr. Plast.</i>,
3rd ed., I., p. 443. For the completed metope, see <i>Ausgrabungen
zu Olympia</i>, V., pl. 17; Boetticher, <i>Olympia</i>, p. 279; Wolters,
No. 274.
</p>
<span class="pagenum"><a name="page81" id="page81"></a>81</span>

<p><span class="leftside">191.</span>
Cast of a metope from the Temple of Zeus at Olympia.
Heracles supports on his shoulders the vault of heaven,
while the Titan Atlas brings him the golden apples of
the Hesperides. Heracles has a folded cushion on his
shoulders to make the burden easier; Atlas stands before
him with six apples in his outstretched hands. A
Hesperid or nymph stands behind and raises one hand as
if to share the weight.</p>

<p class="indent">
The original is of marble, and is at Olympia, where it was discovered
by the German excavators. <i>Ausgrabungen zu Olympia</i>,
I., 26; <i>Athenische Mittheilungen</i>, I., pl. 11; Murray, II., pl. 13;
Wolters, No. 280; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 445;
Boetticher, <i>Olympia</i>, p. 285. (Boetticher's illustration is most
nearly complete. That of Overbeck gives both hands of Atlas.)
For the female head, see <i>Journ. of Hellen. Studies</i>, V., pl. 45.
</p>

<p><span class="leftside">192.</span>
Cast of a statue of Victory, by Paionios of 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:&mdash;<ins title="Greek: Messanioi kai Naupaktioi anethen Dii | Olympiô dekatan apo tôm polemiôn. Paiônios epoiêse Mendaios | kai takrôtêria poiôn epi ton naon enika."
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&#964;&#7936;&#954;&#961;&#969;&#964;&#8053;&#961;&#953;&#945;
&#960;&#959;&#953;&#8182;&#957;
&#7952;&#960;&#8054; &#964;&#8056;&#957;
&#957;&#945;&#8056;&#957;
&#7952;&#957;&#8055;&#954;&#945;.</ins>
Mr. Murray (<i>Gr. Sculpt.</i>, ii. p. 162) suggests as an explanation
of the last clause of the inscription that the
Victory was a replica of the acroteria (or figures above
the pediments) of the Temple of Zeus. These are known
to have been gilded figures of Victory (Paus., v. 10, 2).
Pausanias was inclined to think that the inscription referred
to a war of the Messenians against the Acarnanians
<span class="pagenum"><a name="page82" id="page82"></a>82</span>
(452 <span class="sc">b.c.</span>); but the Messenians of his time supposed that
the statue was erected soon after the defeat of the Spartans
at Sphacteria in 424 <span class="sc">b.c.</span></p>

<p>Discovered by the German excavators at Olympia, and
now in the Museum at Olympia.</p>

<p class="indent">
Marble. <i>Ausgrabungen zu Olympia</i>, I., pls. 9-12; inscr. <i>ibidem</i>, pl. 32;
pedestal, <i>ibidem</i>, II., pl. 34; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I.,
figs. 88, 89; Murray, II., pl. 19; Wolters, Nos. 496, 497.
</p>

<a name="page82a" id="page82a"></a>
<h3>STATUES OF APOLLO (?).</h3>

<p>Of the following sculptures, Nos. 200-207 are examples
of a somewhat numerous class of nude male figures, standing
constrainedly with the heads directed straight to the
front, having the hands either close by the sides, or
slightly raised, by a bending of the arms at the
elbows.</p>

<p>The name of Apollo has been commonly given to
sculptures of the type here described, but doubts have
often been raised as to the accuracy of the title. It
seems clear that at the stage of art represented by these
figures one type of nude male figure was made to serve
various purposes. It cannot be doubted that the type
was often used to represent Apollo, for such figures have
been found in or near shrines of Apollo at Naucratis
(Petrie, <i>Naukratis</i>, i., pl. 1, fig. 4), Delos (<i>Arch. Zeit.</i>, 1882,
p. 323), Actium (<i>Gaz. Arch.</i>, 1886, p. 235), and at the
temple of Apollo Ptoös in Boeotia (<i>Bull. de Corr. Hellénique</i>,
x., p. 66, Brunn, <i>Denkmaeler</i>, No. 12). The same type
of Apollo occurs, <i>e.g.</i> on a vase in the Brit. Mus. (No. E,
313; <i>Gaz. Arch.</i>, 1882, p. 58), on a vase published in
<i>Annali dell' Inst.</i>, 1849, pl. D (cf. <i>Hamilton Vases</i>, ii., pl. 6),
and on a Pompeian fresco (<i>Arch. Zeit.</i>, 1882, p. 58).
Compare a relief in the <i>Palazzo Corsini</i> (Dütschke, ii.,
p. 114). At the same time, similar figures served
<span class="pagenum"><a name="page83" id="page83"></a>83</span>
to represent athletes (Paus., viii., 40) and, perhaps, were
placed on tombs, to represent a deceased person.</p>

<p>The series of figures which have the hands by the
thighs is older than that in which the hands are raised,
and the invention of the type has been assigned to the
Cretan Daedalid School of Dipoinos and Skyllis (Furtwaengler,
<i>Arch. Zeit.</i>, 1882, p. 55). For an enumeration
and discussion of the known examples of this series see
Overbeck, <i>Gr. Plast.</i>, 3rd ed., i., p. 229, note 33; <i>Bull. de
Corr. Hellénique</i>, x., p. 67; xi., p. 1; <i>Gaz. Arch.</i>, 1886,
p. 239; Roscher, <i>Lexicon</i>, i, p. 449; Wolters, No. 14. The
second series, here represented by Nos. 206, 207, in which
the hands are raised, is developed from the first, but shows
a great advance in all respects. Perhaps it gives the Cretan
type as developed by artists of the school of Aegina.</p>

<p><span class="leftside">200.</span>
Figure of Apollo (?) standing with the right leg drawn
back, and with the hands pressed against the hips. He
has a diadem across the forehead, and the hair falls on
the shoulders and down the back.&mdash;<i>Naucratis.</i></p>

<p class="indent">
Alabaster; height, 10&frac14; inches.
</p>

<p><span class="leftside">201.</span>
Apollo (?) standing. Torso from the neck to the
knees. The right leg is drawn back, and the hands
are pressed against the thighs. The hair falls down on
the shoulders and on the back.&mdash;<i>Naucratis.</i></p>

<p class="indent">
Alabaster; height, 4&#8540; inches.
</p>

<p><span class="leftside">202.</span>
Apollo. Torso from the neck to the middle of the
thighs. The hands are pressed against the thighs. The
hair falls on the shoulders and on the back. A belt
crosses the body under the right arm, and over the left
shoulder.&mdash;<i>Temenos of Apollo, Naucratis.</i></p>

<p class="indent">
Marble (?); height, 3&#8539; inches. <i>Naukratis</i>, I., pl. 1, fig. 9.
</p>

<p>The following figures, Nos. 203, 204, belong to the same
series, though the type is slightly varied, and No. 203,
<span class="pagenum"><a name="page84" id="page84"></a>84</span>
having been found in the temenos of Aphroditè, probably
does not represent Apollo:&mdash;</p>

<p><span class="leftside">203.</span>
Male torso from the neck to the knees. The right
hand lies across the breast; the left leg is to the front.
The hair is cut square at the back, and in the front
falls down on the shoulders.&mdash;<i>Temenos of Aphroditè,
Naucratis.</i></p>

<p class="indent">
Alabaster; height, 6&frac14; inches. <i>Naukratis</i>, II., pl. 14, fig. 13.
</p>

<p><span class="leftside">204.</span>
Apollo. Male torso, similar to the preceding, but having
no hair on the shoulders.&mdash;<i>Temenos of Apollo, Naucratis.</i></p>

<p class="indent">
Alabaster; height, 4&frac34; inches. <i>Naukratis</i>, I., pl. 1, fig. 3.
</p>

<p><span class="leftside">205.</span>
Figure of Apollo (?) standing, with the right leg drawn
back, and with the hands pressed against the hips. The
hair falls on the shoulders, terminating in a straight
line, and intersected with conventional grooves running
at right angles to each other.&mdash;<i>From Greece, probably from
Boeotia.</i></p>

<p class="indent">
Marble; height, 2 feet 6&frac14; inches. Murray, I., pl. 2, p. 107; <i>Arch.
Zeit.</i>, 1882, pl. 4, p. 51; Mitchell, p. 213; Brunn, <i>Denkmaeler</i>,
No. 77.
</p>
<a name="n206" id="n206"></a>
<p><span class="leftside">206.</span>
Figure of Apollo (?) standing, with the right leg drawn
back. The hair is dressed, with the headdress known
as the <i>krobylos</i>.</p>

<p>Round the taenia are five drilled holes, indicating that
a wreath of bronze was attached. The arms, and the legs
from the knees are wanting.</p>

<p>This figure, commonly known as the Strangford Apollo,
is referred by Brunn to the school of Callon of Aegina.</p>

<p>From the collection of <i>Viscount Strangford</i>. Stated
in 1864 to be from <i>Lemnos</i>, but said also to have been
found in <i>Anaphè</i> (Newton, <i>Essays</i>, p. 81).</p>

<p class="indent">
Marble; height, 3 feet 4 inches. <i>Mon. dell' Inst.</i>, IX., pl. 41; <i>Annali
dell' Inst.</i>, 1872, p. 181; Brunn, <i>Ber. d. k. bayer. Akad. Phil.-hist.</i>
<span class="pagenum"><a name="page85" id="page85"></a>85</span>
<i>Classe</i>, 1872, p. 529; Overbeck, <i>Gr. Plast</i>., 3rd ed., I.,
p. 181, fig. 40; Murray, I., pl. 2; Rayet et Thomas, <i>Milet et
le Golfe Latmique</i>, pl. 28; Brunn, <i>Denkmaeler</i>, No. 51; Wolters,
No. 89; <i>Arch. Zeit.</i>, 1864, p. 164*.
</p>

<p><span class="leftside">207.</span>
Torso of Apollo (?) standing, with the right leg drawn
back.</p>

<p>The head, arms, and legs from the knees are wanting;
two points of attachment near the front of the hips, show
that the arms were considerably bent at the elbows.</p>

<p>This figure was found in the <i>Dromos of a tomb at
Marion (Cyprus)</i>.</p>

<p class="indent">
Marble; height, 2 feet 5 inches. Herrmann, <i>Gräberfeld von Marion</i>,
p. 22. The tomb contained a coin of Idalium, of about 510 <span class="sc">b.c.</span>,
a gold cup with acorns <i>repoussé</i>, several black figured vases, one
at least of an early character, and no red figured vases.
</p>

<p><span class="leftside">208.</span>
Head of Apollo. The hair is bound with a taenia and
falls in short corkscrew curls over the forehead, and in a
flowing mass down the shoulders. The sharply cut
outlines of the features, and the wiry character of the
hair suggest that this head is a copy of an archaic work
in bronze. It has been conjectured that the head is
copied from the Apollo of Canachos at Branchidae, but
there is no evidence in favour of the theory, which has
been given up as untenable. (Cf. Overbeck, <i>Gr. Plast.</i>,
3rd ed., i., p. 110). A bronze statuette from the Payne
Knight collection, which has a better claim to be considered
a copy of Apollo of Canachos, may be seen in the Bronze
Room.</p>

<p><i>Brought from Rome by Lord Cawdor, and purchased by
Townley.&mdash;Townley Coll.</i></p>

<p class="indent">
Parian marble; height, 1 foot 5&frac12; inches. <i>Specimens</i>, I., pls. 5, 6; <i>Mus.
Marbles</i>, III., pl. 4; Ellis, <i>Townley Gallery</i>, I., p. 321; Müller,
<i>Denkmaeler</i>, I., pl. 4, fig. 22; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I.,
p. 109, fig. 14; Wolters, No. 228; <i>cf.</i> Rayet et Thomas, <i>Milet
et le Golfe Latmique</i>, pl. 37; Michaelis, <i>Anc. Marbles</i>, p. 94.
</p>
<span class="pagenum"><a name="page86" id="page86"></a>86</span>
<a name="n209" id="n209"></a>
<p><span class="leftside">209.</span>
Statue of Apollo, standing. The chief weight of the
body is thrown on the right leg, while the left knee is
bent, and the left foot rests lightly on the ground. The
head is slightly turned to the right. The hair is dressed
with the headdress known as the <i>krobylos</i>.</p>

<p>The left hand and right forearm, which appear to have
been separate pieces, are wanting. The left hand held
some attribute, perhaps a branch, for which there is a
mark of attachment by the left knee. The right hand,
which rested on the stump beside the right leg, seems to
have held a strap.&mdash;<i>From the Choiseul-Gouffier Collection,
1818.</i></p>

<p class="indent">
Marble; height, 5 feet 10&frac12; inches. Restored: tip of nose. <i>Specimens</i>,
II., pl. 5; Ellis, <i>Townley Gallery</i>, I. p. 194; Clarac, III., pl. 482<span class="sc">b</span>,
No. 931<span class="sc">a</span>; <i>Mus. Marbles</i>, XI., pl. 32; <i>Journ. of Hellen. Studies</i>, I.,
pl. 4; <i>Stereoscopic</i>, No. 143; Murray, I., pl. 8; Wolters, No. 221.</p>

<p class="indent">
This statue, commonly known as the Choiseul-Gouffier Apollo,
together with other examples of the same type, has given rise
to much discussion. The chief replica is a statue at Athens,
commonly called the 'Apollo on the Omphalos,' having been
associated with a marble <i>omphalos</i>, or sacred cone of Apollo,
which was discovered at the same time. Grave doubts, however,
exist as to the connection of the figure and of the
omphalos. (<i>Journ. of Hellen. Studies</i>, I., p. 180; <i>Athenische
Mittheilungen</i>, IX., p. 248.) The Athenian statue is published,
Conze, <i>Beiträge</i>, pls. 3, 5; <i>Journ. of Hellen. Studies</i>, I., pl. 5;
Murray, I., pl. 8; Brunn, <i>Denkmaeler</i>, No. 42. For a list of
other replicas of the type, see <i>Athenische Mittheilungen</i>, IX.,
p. 239. The statue is generally taken to be an Apollo. It
has, indeed, been argued that it is a pugilist, and not Apollo
(Waldstein, <i>Journ. of Hellen. Studies</i>, I., p. 182; Overbeck, <i>Gr.
Plast.</i>, 3rd ed., II., p. 414); and if the figure is Apollo, it must be
admitted that 'the proportions are rather suited to the patron of
pugilism (<i>Il.</i> <ins title="Greek: psi.">&#968;</ins>. 660) than to the leader of a celestial orchestra'
(<i>Specimens</i>, II., pl. 5; <i>Athenische Mittheilungen</i>, IX., p. 244). But
the title is established by a quiver attached to the stump of a
replica in Rome (Matz-Duhn, <i>Bildw. in Rom</i>, I., No. 179), and
of a somewhat similar figure at Cassel (<i>Athenische Mittheilungen</i>,
I., pl. 10), and by the fact that a copy (No. 210) has been found
in the temple of Apollo at Cyrenè. Moreover, the head of a
<span class="pagenum"><a name="page87" id="page87"></a>87</span>
similar figure, undoubtedly an Apollo, occurs on a relief in the
Capitoline Museum (Braun, <i>Vorschule der Kunstmythologie</i>, pl. 5).
Compare also the figure of Apollo on a vase at Bologna, <i>Mon.
dell' Inst.</i>, X., pl. 54. There has also been much discussion as to
the school of art to which the type must be assigned, and as to
the character of the original statue. The statue has been
assigned by different writers to Calamis ("Apollo Alexikakos";
Conze, <i>Beiträge</i>, p. 19; Murray, I., p. 189; Furtwaengler, in
Roscher's <i>Lexicon</i>, I., p. 456); to Pasiteles (Kekulé, <i>Menelaos</i>,
p. 30); to Alcamenes (Furtwaengler, <i>Athenische Mittheilungen</i>,
V., p. 39; <i>cf. Journ. of Hellen. Studies</i>, VIII., p. 41); to Pythagoras
of Rhegium ("Euthymos"; Waldstein, <i>loc. cit.</i>); and to
Callimachos ("Apollo Daphnephoros"; Schreiber, <i>Athenische
Mittheilungen</i>, IX., p. 248). It has been variously held that the
original statue was of bronze, and is therefore lost (<i>Mus.
Marbles</i>, XI., pl. 32; <i>cf.</i> Murray, I., p. 191), or that the Athenian
statue is the original, whence other copies are derived (<i>Athenische
Mittheilungen</i>, IX., p. 240).</p>

<p class="indent">
The <i>krobylos</i> seems to indicate some Attic sculptor of the first half of
the 5th cent. <span class="sc">b.c.</span> (Schreiber, <i>Athenische Mittheilungen</i>, VIII.,
p. 255). The existence of numerous copies proves that the
original was famous, and it is generally supposed that the figure
is an Apollo. It is impossible to make a more definite statement
with confidence, in the present state of our knowledge as to the
Attic sculptors who preceded Pheidias.
</p>

<p><span class="leftside">210.</span>
Head of Apollo, a replica of No. 209. The head is
broken off in the middle of the neck. The chin, the tip
of the nose, and parts of the hair are wanting. The
author of this copy has misunderstood the arrangement
of the headdress.&mdash;Found by Smith and Porcher in the
<i>Temple of Apollo at Cyrenè</i>.</p>

<p class="indent">
Marble; height, 11 inches; Smith and Porcher, p. 100 No. 19
Murray, I., p. 190.
</p>
<a name="n211" id="n211"></a>
<p><span class="leftside">211.</span>
Head of Apollo, a replica of No. 209. The head is
broken off below the chin. The nose and the tip of the
chin are wanting.</p>

<p>This copy shows better than either 209 or 210, the
arrangement of the hair in the <i>krobylos</i>, the origin of the
<span class="pagenum"><a name="page88" id="page88"></a>88</span>
plaits being clearly indicated. It chiefly differs from
them in the amount of hair falling down at the back
of the ears; in this head there are the remains of
thick tresses, while in the other instances there are
only a few short curls. There is a rectangular hole
at the back of the head.&mdash;<i>Presented by the Hon. E. A.
Pelham.</i></p>

<p class="indent">
Marble; height, 9&frac12; inches. This head was found in 1882 at a cottage
at Ventnor, built by Sir Richard Worsley. It was, doubtless,
brought by him from Greece.
</p>

<a name="page88a" id="page88a"></a>
<h3>MISCELLANEOUS SCULPTURES.</h3>

<p><span class="leftside">215.</span>
Fragment of lacunar, from a ceiling, with two panels
in low relief. (1) Horse galloping to the right. (2)
Gryphon seizing a stag.</p>

<p>Below is a band of rosettes in squares. The whole is
surrounded by remains of a large bead ornament.&mdash;<i>Presented
by Algernon, fourth Duke of Northumberland.</i></p>

<p class="indent">
Green limestone (?); height, 1 foot 1&frac12; inches; width, 1 foot 1 inch.
</p>

<p><span class="leftside">216.</span>
Fragment of lacunar nearly similar to preceding. The
upper panel is wanting. Below is a Gryphon seizing a
stag. Below is a band of rosettes; between the two
panels is a band of maeander pattern.&mdash;<i>Presented by
Algernon, fourth Duke of Northumberland.</i></p>

<p class="indent">
Green limestone (?); height, 9&frac14; inches; width, 10&frac14; inches.
</p>

<p><span class="leftside">217.</span>
Fragment of relief. On a pedestal is a lion, walking
to the left. Before the lion are three balls. Above were
two figures standing to the front, of which only the feet
remain. The figure on the left stood with feet side by
<span class="pagenum"><a name="page89" id="page89"></a>89</span>
side; that on the right stood with the legs crossed (Fig. 4).
This relief, though undoubtedly archaic, appears not to
belong to the prehistoric period of Mycenae (<i>cf.</i> Nos.
1-6).&mdash;<i>Mycenae.</i>
<i>Inwood Coll.</i></p>

<p class="indent">
Green limestone; height, 1 foot 1&frac14; inches; width, 9&frac12; inches. <i>Synopsis</i>,
No. 429; Loeschcke, <i>Athenische Mittheilungen</i>, IV., p. 296;
Wolters, No. 53.
</p>

<div class="figcenter" style="width: 500px;"><a href="images/06fig4-470.png"><img src="images/06fig4-300.png" width="300" height="373" alt="Fig. 4.&mdash;Relief from Mycenae, No. 217." /></a>
<p class="center">Fig. 4.&mdash;Relief from Mycenae, No. 217.</p></div>
<span class="pagenum"><a name="page90" id="page90"></a>90</span>

<h1 style="margin-top: 3em;">PART II.</h1>

<div class="figcenter"><img src="images/small_rule-100.png" width="100" height="4" alt="small rule" /></div>

<h3><i>MYRON AND PHEIDIAS.</i></h3>

<p>Three great names represent the early prime of Greek
sculpture, namely, Myron, Pheidias, and Polycleitos of
Argos. These three are thought to have been fellow
pupils of the Argive sculptor Ageladas.</p>

<p>The present part of the catalogue deals with Myron and
Pheidias. The third part deals first with their immediate
successors in Attica, and then turns to Polycleitos of
Argos and the sculptures of the Peloponnese; and next
to the special class of Greek reliefs.</p>
<a name="page90a" id="page90a"></a>
<h3>MYRON.</h3>

<p><span class="sc">Myron</span> of Eleutherae in Attica worked at Athens in
the first half of the fifth century <span class="sc">b.c.</span> Although he had
not entirely abandoned the archaic style (notably, in his
rendering of hair, Pliny, <i>H. N.</i> xxxiv., 58), he was distinguished
for his skill in representing life. His power lay
partly in the rendering of vigorous movement in sculpture,
as in his athletic statues, and partly in a realistic
imitation of nature, as in his famous cow.</p>

<p>No original works of Myron are extant. His best
known work, the Discobolos, is preserved in copies, one
of which is described below. The bronze statuette of
Marsyas in the Bronze Room may be studied after a group
of Athenè and Marsyas by Myron.</p>

<div class="figright" style="width: 100px;"><a href="images/07fig5-170.png"><img src="images/07fig5-100.png" width="100" height="131" alt="Fig. 5." title="Fig. 5. YAKINTHOS(=Hyacinth)" /></a>
<p class="center">Fig. 5.</p></div>
<p><span class="leftside">250.</span>
Graeco-Roman copy of the bronze Discobolos of Myron.
<span class="pagenum"><a name="page91" id="page91"></a>91</span>
A young athlete is represented in the act of hurling the
disk. He has swung it back, and is about to throw it to
the furthest possible distance before him. The head, as
here attached, looks straight to the ground, but in the
original it looked more backwards as in a copy formerly in
the Massimi palace at Rome. (Cf. Lucian, <i>Philopseud.</i> 18.)
Compare a gem in the British Museum (Fig. 5; <i>Cat. of Gems</i>,
No. 742, pl. G), which is inscribed <ins title="Greek: HYAKINTHOS(=Hyacinth)."
>&#933;&#913;&#922;&#921;&#925;&#920;&#927;<span style="font-family: 'DejaVu Sans', consolas, calibri, arial, 'courier new', 'gulim sans-serif'; font-size: 1.1em;">&#1017;</span>.</ins>
According to a judgment of Quintilian, the
laboured complexity of the statue is extreme,
but any one who should blame it on this
ground would do so under a misapprehension
of its purpose, inasmuch as the merit of the
work lies in its novelty and difficulty. "Quid
tam distortum et elaboratum, quam est ille discobolos
Myronis? si quis tamen, ut parum rectum, improbet opus,
nonne ab intellectu artis abfuerit, in qua vel praecipue
laudabilis est ipsa illa novitas ac difficultas?"&mdash;Quint. <i>Inst.
Orat.</i>, ii., 13. 10.&mdash;<i>Found in 1791 in Hadrian's Villa at
Tivoli.</i> <i>Townley Coll.</i></p>

<p class="indent">
Marble; height, 5 feet 5 inches. Restorations:&mdash;Nose, lips, chin, piece
in neck, part of disk and r. hand; l. hand; piece under r. arm;
pubis; r. knee; a small piece in r. leg, and parts of the toes.
<i>Specimens</i>, I., pl. 29; <i>Mus. Marbles</i>, XI., pl. 44; Clarac, V.,
pl. 860, No. 2194 <span class="sc">b</span>; Ellis, <i>Townley Gallery</i>, I., p. 241; <i>Guide to
Graeco-Roman Sculptures</i>, I., No. 135; <i>Stereoscopic</i>, No. 149;
Wolters, No. 452.
</p>
<a name="page91a" id="page91a"></a>
<h3>PHEIDIAS AND THE SCULPTURES OF THE PARTHENON.</h3>

<p>The sculptures of the Parthenon illustrate the style of
Pheidias, the greatest of Greek sculptors.</p>

<p><span class="sc">Pheidias</span>, son of Charmides, the Athenian, was born about
500 <span class="sc">b.c.</span> He was a pupil of the sculptor Ageladas, of Argos,
or, according to others, of Hegias or Hegesias, of Athens.
<span class="pagenum"><a name="page92" id="page92"></a>92</span>
His youth was passed during the period of the Persian
wars, and his maturity was principally devoted to the
adornment of Athens, from the funds contributed by the
allied Greek states during the administration of Pericles.</p>

<p>Among the chief of the works of this period was the
Parthenon, or temple of the virgin Goddess 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 <span class="sc">b.c.</span> 447 (according to
Michaelis, <span class="sc">b.c.</span> 454). It was sufficiently advanced to receive
the statue of the Parthenos in <span class="sc">b.c.</span> 438, and was probably
completed either in that year or a little later. It stood on
the Acropolis of Athens, on a site which had been already
occupied by a more ancient temple, commonly supposed
to have been an ancient Parthenon, which was burnt on
the sacking of Athens by the Persians, <span class="sc">b.c.</span> 480. Recently,
however, the foundations of an early temple have been
discovered between the Parthenon and the Erechtheion.
It has been thought that this is the Pre-Persian Parthenon,
and that the traces of an older foundation below the
existing Parthenon only date from the time immediately
following the Persian wars. A building is supposed to
have then been begun, on a plan somewhat different from
that which was carried out by Ictinos and Pericles.</p>

<p>The Parthenon was of the Doric order of architecture, and
was of the form termed <i>peripteral octastyle</i>; that is to say,
it was surrounded by a colonnade, which had eight columns
at each end. The architectural arrangements can be best
learnt from the model, which is exhibited in the Elgin
Room. See also the plan (fig. <a class="ask" href="#fig6">6</a>.) and elevation (<a class="ask" href="#plate4">pl. iv.</a>).</p>

<p>The principal chamber (cella) within the colonnade
contained the colossal statue of Athenè Parthenos (see
below, Nos. <a class="ask" href="#n300">300</a>-302). Externally the cella was decorated
with a frieze in low relief (see below, p. <a class="ask" href="#page145">145</a>). The
<span class="pagenum"><a name="page93" id="page93"></a>93</span>
two pediments, or gables at each end of the building (see
below, Nos. <a class="ask" href="#n303">303</a>, <a class="ask" href="#n304">304</a>) were filled with figures sculptured
in the round. Above the architrave, or beam resting on
the columns, were metopes, or square panels, adorned
with groups in very high relief, which served to fill up
the spaces between the triglyphs, or groups of three
vertical parallel bands, representing beam ends. All
these sculptured decorations were executed, like the
architecture, in Pentelic marble.</p>
<a name="fig6"></a>
<div class="figcenter" style="width: 600px;"><a href="images/08fig6-1000.png"><img src="images/08fig6-600.png" width="600" height="381" alt="Fig. 6.&mdash;Plan of the Parthenon. (From Michaelis.)" /></a>
<p class="center">Fig. 6.&mdash;Plan of the Parthenon. (From Michaelis.)</p></div>

<p>The statue of the Parthenos is known to have been in
existence about 430 <span class="sc">a.d.</span>; but not long after this date the
figure was removed, and the Parthenon was converted
into a Christian church, dedicated at first to Santa Sophia
(or the Divine Wisdom), and afterwards to the Panagia (or
Virgin Mary). For the purposes of the church, an apse
was built at the east end of the cella, and the entrance
was moved to the west end. The building was also given
<span class="pagenum"><a name="page94" id="page94"></a>94</span>
a vaulted roof, which covered the cella alone. In consequence
the frieze was exposed to the weather, and the
east pediment was much destroyed. From 1206 to 1458,
during the period of the Frankish Dukes of Athens, the
Parthenon was a Latin church. Athens was taken by the
Turks in 1458, and the Parthenon was again an Orthodox
Greek church for two years. In 1460, however, it was
converted into a Turkish mosque. From this date it
probably suffered little until 1687, when Athens was
taken by the Venetian General, Morosini. In the course
of a bombardment of the Acropolis, the besiegers succeeded
in throwing a shell into a powder magazine in the
Parthenon, and caused an explosion that destroyed the
roof and much of the long sides of the building. Further
injury was done by Morosini, who made an attempt to
take down the central group of the west pediment, which
was still nearly complete.</p>

<p>Fortunately, many of the sculptures had been drawn
by a skilful artist before the explosion. In 1674 Jacques
Carrey, a painter in the suite of the Marquis de Nointel,
French ambassador at the Porte, made sketches of large
portions of the frieze and metopes, and of the then extant
portions of the pedimental compositions. These drawings
are preserved in the French Bibliothèque Nationale, and
are constantly referred to in discussions of the Parthenon
sculptures.</p>

<p>In 1688 Athens was restored to the Turks, and from
this date to the end of the last century the sculptures of
the Parthenon were exposed to constant injury. Some of
them were made into lime, or built into walls by the
Turkish garrison; others were mutilated by the travellers
who from time to time obtained admission to the Acropolis,
and broke off portable fragments of the sculptures.</p>

<p>In 1749, when the west pediment was drawn by Dalton,
many figures still remained in position which had disappeared
<span class="pagenum"><a name="page95" id="page95"></a>95</span>
before the time of Lord Elgin. Several portions
also of the frieze, which were seen by Stuart, had disappeared
at the beginning of the present century. On
the other hand, the east pediment, being inaccessible,
suffered no important change between 1674 and 1800.</p>

<p>In the years 1801-3 many of the sculptures of the
Parthenon were removed to England by the Earl of Elgin,
then British ambassador at Constantinople, by means of
a firman obtained from the Porte (see p. <a class="ask" href="#page6">6</a>). The Elgin
Collection, which includes other marbles obtained from
Athens and elsewhere, together with casts and drawings,
was purchased from Lord Elgin by the British Government
in 1816 for £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.</p>

<p>The following aids to the study of the Parthenon will
be found in the Elgin Room:&mdash;</p>

<p>Model of the Athenian Acropolis, showing its condition
in the year 1870. Presented by Prof. Adolf Michaelis.</p>

<p>Model of the Parthenon. The model was made by
R. C. Lucas, on a scale of a foot to 20 feet, and represents
the state of the temple in 1687, after the explosion, but
before Morosini had attacked the west pediment.</p>

<p>Carrey's drawings of the pediments. Photographic
reproductions of the originals are exhibited.</p>

<p>A restored view of the Athenian Acropolis. By Richard
Bohn.</p>

<h4><i>Bibliography of the Parthenon.</i></h4>

<p class="indent">
The work of Michaelis, <i>Der Parthenon</i> (Leipzig, 1871), collects the
material for the study of the Parthenon, and contains an excellent
digest of all that had been written on the subject up to the
year 1871. For later writers, see below <i>passim</i>, and Wolters.
<span class="pagenum"><a name="page96" id="page96"></a>96</span>
For the chronology of Pheidias, see Loeschcke, in <i>Untersuchungen
A. Schaefer gewidmet</i>, p. 25; for the question as to his master, see
Klein, <i>Arch.-Epigr. Mittheilungen aus Oesterreich</i>, VII., p. 64;
Murray, <i>Greek Sculpture</i>, 2nd ed., p. 186. For the older temple
on the site of the Parthenon, see Doerpfeld, in <i>Athenische
Mittheilungen</i>, XII., p. 45; Harrison, <i>Mythology of Anc. Athens</i>,
p. 467. The plan given above is taken from Michaelis. Important
modifications have been proposed by Doerpfeld, <i>Athenische
Mittheilungen</i>, VI., pl. 12, p. 283; Harrison, <i>loc. cit.</i>, p. 464.
For the mediæval history of the Parthenon, see Laborde;
<i>Athènes aux XV<sup>e</sup>, XVI<sup>e</sup>, et XVII<sup>e</sup> Siècles</i> (Paris, 1854);
Gregorovius, <i>Athen im Mittelalter</i> (1889). Facsimiles of
Carrey's drawings are in the British Museum, and have been
partially published in the works of Laborde, <i>Le Parthénon</i>
(Paris, 1848). For photographic copies of the drawings of the
pediments, see <i>Antike Denkmäler</i>, I., pls. 6, 6a. Dalton's views
of the Acropolis were published in 1751, but the remains of
Athens were little known till the appearance of <i>The Antiquities
of Athens</i>, by James Stuart and Nicolas Revett. (London:
vol. I., 1762; vol. II., 1787; vol. III., 1794; vol. IV., 1816;
vol. V., 1830). A second edition, with additional matter, but
having inferior illustrations, was issued in 1825-1830. The
original drawings, made for this work by Pars, were presented
to the British Museum by the Society of Dilettanti. The
official inquiry into the proceedings of Lord Elgin is contained in
the <i>Report from the Select Committee of the House of Commons
on the Earl of Elgin's Collection of Sculptured Marbles; &amp;c.</i>
(London, 1816).
</p>
<a name="page96a" id="page96a"></a>
<h3>STATUE OF ATHENÈ PARTHENOS.</h3>

<p>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
<span class="pagenum"><a name="page97" id="page97"></a>97</span>
(<i>Athenische Mittheilungen</i>, viii., pl. 15; <i>Cat. of Gems in
B. M.</i> 637, 638) we learn that the Gryphons were on the
cheek-pieces, and that there was a figure of Pegasos on
each side of the Sphinx. There was also a row of small
horses at the front of the helmet. All available space
was covered with reliefs. A battle between Greeks and
Amazons (see below, Nos. 301, 302) was seen on the exterior
of the shield, and one between Gods and Giants on its
interior. On the base was a representation of the birth
of Pandora (see No. <a class="ask" href="#n301">301</a>) and on the edges of the sandals
was a battle between Centaurs and Lapiths.</p>

<p>The statue disappeared from view with the fall of
paganism. Nos. 300-302 afford some of the materials for
its reconstruction. Rough reproductions of the figure
also occur on Attic reliefs, such as Nos. 771-773.</p>

<p>The statuette, No. <a class="ask" href="#n300">300</a>, is of service for the details of the
composition, although it is artistically a poor copy. The
Lenormant statuette, No. <a class="ask" href="#n301">301</a>, though rough and incomplete,
is of more value for its rendering of the features.</p>

<p>The column beneath the hand of Athenè (in No. <a class="ask" href="#n300">300</a>)
presents some difficulty, as it is not mentioned in descriptions
of the statue and seldom occurs in reproductions of
it. It is seen in an Attic relief (<i>Michaelis</i>, pl. 15, fig. 7)
on a lead ticket (<i>Zeitschr. für Numismatik</i>, x., p. 152) and,
in the form of an olive tree, on a Lycian coin of the
time of Alexander (<i>Zeitschr. für Num.</i>, <i>loc. cit.</i>; Murray,
ii., pl. 11). It is more probable that an existing support
should be omitted in reliefs, than that it should be inserted
if non-existent. It is possible, however, that the support
was not a part of the design of Pheidias, but was an addition,
found to be necessary before the time of Alexander.</p>

<a name="n300" id="n300"></a>
<p><span class="leftside">300.</span>
Cast of a statuette, copied from the 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
<span class="pagenum"><a name="page98" id="page98"></a>98</span>
at her side. In the centre of the outside of the shield is a
mask of Medusa, and inside a serpent; the right hand of
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.</p>

<p>The statuette was found in a shrine in a private house.
Compare the vision of Proclos, who was bidden to prepare
his house for Athenè, when her statue was being removed
by the Christians from the Parthenon, about 430 <span class="sc">a.d.</span>
(Marinus, <i>Proclos</i>, 30; Michaelis, p. 270.)</p>

<p class="indent">
The original, which is of Pentelic marble, is in the National Museum
at Athens. Height, with plinth, 3 feet 5 inches. Found in 1880,
<i>near the Varvakion in Athens. Athenische Mittheilungen</i>, VI., pls.
1, 2, p. 56; <i>Journ. of Hellen. Studies</i>, II., p. 3; Schreiber, <i>Athena
Parthenos des Phidias</i>, pl. 1; Brunn, <i>Denkmaeler</i>, Nos. 39, 40;
Waldstein, pl. 14; Harrison, <i>Mythology and Monuments of Anc.
Athens</i>, p. 447. For literature see Waldstein, <i>Essays</i>, p. 270;
Wolters, No. 467.
</p>
<a name="n301" id="n301"></a>
<p><span class="leftside">301.</span>
Cast of a statuette, copied from the statue of 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 (<i>a</i>, see
No. <a class="ask" href="#n302">302</a>) is near the top of the relief, and holds a stone, as
described by Plutarch. Next him perhaps is Pericles (<i>b</i>)
separated from the fallen Amazon (<i>c</i>), which is at the
<span class="pagenum"><a name="page99" id="page99"></a>99</span>
bottom of the shield, as in No. 302. The group of the
Greek seizing an Amazon (<i>d</i>) is seen on the right as in
No. 302. The fallen Amazon (<i>e</i>) with hands above her
head is high up, on the left of the relief. In place of the
group of an Amazon supporting her companion (<i>f</i>) which
is in No. 302, we have here the same subject, but
differently treated. The Gorgon's head is roughly indicated
near the middle of the shield. From the manner
in which the rest of the figure corresponds to the chryselephantine
statue, it has been assumed that the rude outlines
of figures in relief on the base of the statuette represent
the composition of Pheidias, of which the subject was
the birth of Pandora (Paus., i., xxiv., 7.)</p>

<p class="indent">
The original of this statue, which is of marble, is in the National
Museum at Athens. Height 1 foot 4&frac34; inches. Found in 1859
<i>near the Pnyx, at Athens</i>. Lenormant, <i>Gazette des Beaux Arts</i>,
1860, VIII., p. 133; Jahn, <i>Pop. Aufsätze</i>, p. 215, pl. 1;
Michaelis, pl. 15, fig. 1, p. 273; Overbeck, <i>Gr. Plast.</i>, 3rd ed.,
I., p. 253, fig. 54; Brunn, <i>Denkmaeler</i>, No. 38; Wolters,
No. 466; Harrison, <i>Mythology and Monuments of Anc. Athens</i>,
p. 449. For the Pandora relief, see Puchstein, in <i>Jahrbuch des
Arch. Inst.</i>, V., p. 113.
</p>

<a name="n302" id="n302"></a>
<p><span class="leftside">302.</span>
Fragment of shield supposed to be a rough copy from
the shield of the statue of Athenè Parthenos. Pliny
(<i>H. N.</i>, xxxvi., 18) and Pausanias (i., 17, 2) state that the
outside of the shield was ornamented with the representation
of a battle between Greeks and Amazons. Plutarch
adds (<i>Pericles</i>, 31) that one of the figures represented
Pheidias himself as an old bald-headed man raising a
stone with both hands, while in another figure, who was
represented fighting against an Amazon, with one hand
holding out a spear in such a way as to conceal the face,
the sculptor introduced the likeness of Pericles. This
story is probably of late origin, and invented to account
for two characteristic figures on the shield. A head of
Medusa, or Gorgoneion, encircled by two serpents, forms
<span class="pagenum"><a name="page100" id="page100"></a>100</span>
the centre of the composition on the fragment. Below
the Gorgoneion is a Greek warrior (<i>a</i>, cf. No. <a class="ask" href="#n301">301</a>), bald-headed,
who raises both hands above his head to strike
with a battle-axe. This figure has been thought to
correspond with that of Pheidias in the original design.
Next to him on the right is a Greek (<i>b</i>) who plants his
left foot on the body of a fallen Amazon (<i>c</i>) and is in the
act of dealing a blow with his right hand; his right arm
is raised across his face and conceals the greater part of it.
The action of this figure again presents a partial correspondence
with that of Pericles as described by Plutarch.
To the right of the supposed Pericles are two Greeks: the
one advances to the right; the other (<i>d</i>) seizes by the hair
an Amazon falling on the right. Above this group is an
Amazon running to the right and a Greek striding to the
left. His shield has the device of a hare. Above him are
three armed Greeks, and the remains of another figure.
On the left of the figure described as Pheidias is a Greek
who has fallen on his knees. Further to the left is a
fallen Amazon (<i>e</i>) who lies with her head towards the
lower edge of the shield. Near her is a wounded Amazon
(<i>f</i>) supported by a companion of whom but little remains.
The lower part of a third figure, probably that of a Greek,
is also seen. All the Amazons wear high boots and a short
chiton, leaving the right breast exposed; their weapon
is a double-headed axe. Red colour remains on the two
serpents which encircle the Gorgon's head, on the shield
of one of the Greeks and in several places on the draperies.&mdash;<i>Obtained
by Viscount Strangford from Athens.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 4&frac34; inches; width, 1 foot 6 inches.
Conze, <i>Arch. Zeit.</i>, 1865, pls. 196, 197; Jahn, <i>Pop. Aufsätze</i>,
p. 216, pl. 2, 1; Michaelis, pl. 15, fig. 34. Overbeck, <i>Gr. Plast.</i>,
3rd ed., I., p. 255, fig. 55; Mitchell, p. 313; Mansell, No. 729;
Wolters, No. 471; Harrison, <i>Mythology and Monuments of Anc.
Athens</i>, p. 453. There is a fragment of a similar shield in the
Vatican, Michaelis, pl. 15, fig. 35.
</p>
<span class="pagenum"><a name="page101" id="page101"></a>101</span>

<h3>EASTERN PEDIMENT OF THE PARTHENON.</h3>
<a name="n303" id="n303"></a>
<p><span class="leftside">303.</span>
We know from Pausanias (i., 24, 5) that the subject of
the composition in the eastern pediment had relation to
the birth of 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.</p>

<p>A relief surrounding a <i>puteal</i> or well-head, now at
Madrid, has been thought to throw light on this question.
There Zeus is enthroned, looking to the right;
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, <i>Geburt der Athena</i>, pl. 1; Mitchell, p. 350,
fig. 157). Unfortunately the subordinate figures have
not a sufficient resemblance to those which are still
extant of the Parthenon pediment, to allow us to assume
a direct connection between the pediment and the relief.
Some such composition, however, seems more consonant
with the dignity of Athenè than the scheme which
occurs on vases and Etruscan mirrors (<i>e.g.</i> on a vase in
the British Museum, No. B. 53; <i>Mon. dell' Inst.</i>, iii., pl. 44)
where the Goddess is represented as a diminutive figure,
above the head of Zeus. This conclusion is confirmed by
Sauer's recent examination of the ground of the pediment.
It is now proved that the middle of the east pediment
<span class="pagenum"><a name="page102" id="page102"></a>102</span>
was occupied by two figures of equal importance, and not
by a single central figure of Zeus, such as is required, if
we suppose that the subject was treated according to the
tradition of the vase painters. It is further shown to be
probable that Zeus was seated on the left of the centre,
seen in profile and turned to the right, and that 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:&mdash;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).</p>

<p>If we confine our attention to the extant pedimental
figures, we find wide differences of opinion as to their
interpretation. The figures in the angles are the only
ones as to which there can be no doubt. On the left the
sun-god, Helios, rises from the ocean, driving his car, and
on the right the moon-goddess Selenè sets beneath the
horizon.</p>

<p>These two figures may be interpreted as marking the
boundaries either of Olympos or of the universe. It has
also been suggested that they indicate the hour at which
the birth took place. This, according to Attic tradition,
was at sunrise.</p>

<p>Thus far the interpretation rests upon sure grounds.
Of the remaining figures in the pediment, J has been
generally recognised as Victory greeting the newly born
Goddess, and G has been generally taken for Iris,
announcing the news to the world (but see below, <a class="ask" href="#n303g">G</a>).
None of the remaining figures have been conclusively
<span class="pagenum"><a name="page103" id="page103"></a>103</span>
identified. Most of the numerous schemes of interpretation
that have been proposed are exhibited in a table by
Michaelis, <i>Der Parthenon</i>, p. 165, cf. <i>Guide to the Elgin
Room, I.</i>, Table A. As regards the general principles of
interpretation it is to be observed that the schemes may be
divided into two classes. We may either suppose with the
earlier critics that the space bounded by Helios and 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, <i>Olymp.</i>, vii., 35.</p>

<p class="indent">
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, <i>Le Parthénon</i>, and <i>Antike Denkmaeler</i>,
I., pl. 6 (exhibited in Elgin Room); (2) sketch by Pars,
engraved in Stuart, vol. II., chap. I., pl. 1. The original drawing
is in the Print Room of the British Museum. For a list of
proposed restorations, see Schneider, <i>Geburt der Athena</i>, p. 23,
pls. 2-7; Waldstein, <i>Essays</i>, p. 139. For Sauer's examination
of the pediment, see <i>Athenische Mittheilungen</i>, XVI., pl. 3, p. 59;
<i>Antike Denkmaeler</i>, I., pl. 58. The ends of the pediment are
reproduced in figs. 7, 8.
</p>
<span class="pagenum"><a name="page104" id="page104"></a>104</span>

<div class="figcenter" style="width: 600px;"><a href="images/09fig7-1500.png"><img src="images/09fig7-600.png" width="600" height="246" alt="Fig. 7.&mdash;The South End of the East Pediment of the Parthenon" /></a>
<p class="center">Fig. 7.&mdash;The South End of the East Pediment of the Parthenon
(according to Sauer).</p></div>
<span class="pagenum"><a name="page105" id="page105"></a>105</span>

<div class="figcenter" style="width: 600px;"><a href="images/10fig8-1500.png"><img src="images/10fig8-600.png" width="600" height="237" alt="Fig. 8&mdash;The North End of the East Pediment of the Parthenon" /></a>
<p class="center">Fig. 8&mdash;The North End of the East Pediment of the Parthenon
(according to Sauer).</p></div>
<span class="pagenum"><a name="page106" id="page106"></a>106</span>

<p><span class="leftside">303 A.</span>
Helios, in his chariot emerging from the waves. The
head is wanting, the neck has a forward inclination corresponding
with the action of the arms, which are stretched
out in front of the body, holding the reins by which the
upspringing horses of the Sun-god were guided and controlled.
The head of Helios had been already broken
away in Carrey's time; the wrist and hand of the right
arm, now wanting, are shown in his drawing. The
surface of the marble on the neck having been protected
from weather by the cornice retains its original polish.
At the back and between the arms are sculptured small
rippling waves to represent a calm sea at sunrise. These
waves are treated in the conventional manner usual in
representations of water in Greek art; their profile
shown on the edge of the plinth approximates very
nearly to the well-known wave pattern. The metal
reins have been attached to the upper surface of the
plinth under the right forearm, and also under the
right hand, now lost; three dowel holes in this part of
the plinth served for their attachment. The waves were
probably distinguished by colour. It has been noted by
Michaelis that the angle in which this figure was placed
is the darkest spot in the eastern pediment, and that it is
only fully illumined by the early morning sun.</p>

<p class="indent">
<i>Mus. Marbles</i>, VI., pl. 1; Michaelis, pl. 6, fig. 8; Overbeck, I., p. 303,
fig. 61 (with B, C).
</p>

<p><span class="leftside">303 B, C.</span>
Two horses of Helios. The team of Helios was represented
by four horses' heads, two of which still remain in position
on the temple, at the back of the pediment. The two which
are here are sculptured in the round out of one block
of marble. They are represented emerging from the
waves, the profile of which is sculptured in relief on the
neck of the nearest horse. The head of the horse nearest
the eye (B) looks outwards, and has projected beyond the
plane of the pedimental cornice, so that it must have
caught the light. The action of this horse's head is most
spirited, though its effect is greatly impaired by the loss
of the lower jaw, and the injury which the surface of the
marble has received from exposure to the weather. The
reins were of metal, and the points of attachment of reins
and bridle are marked by three dowel holes in the plinth,
a fourth behind the right ear, and a fifth inside the
<span class="pagenum"><a name="page107" id="page107"></a>107</span>
mouth. The head of the other horse on this block (C),
which was advanced beyond the outside head, so as to be
visible, is nearly destroyed; only the neck and back of
the head remain.</p>

<p class="indent">
<i>Mus. Marbles</i>, VI., pl. 2; Michaelis, pl. 6, fig. 9; <i>Stereoscopic</i>, No. 105.
For the two heads still on the pediment, see <i>Athenische Mittheilungen</i>,
XVI., p. 81.
</p>

<p><span class="leftside">303 D.</span>
This figure, which is commonly known as Theseus,
reclines on a rock and faces the horses of Helios. He
leans on his left arm in an easy attitude. The right
arm is bent, but, as the hand is wanting, we can only form
conjectures as to what its action may have been. It
probably held a spear, or some other long object, the
end of which may have been attached to the left ankle
at the place where a dowel hole is still visible. According
to some writers, the hole served for the attachment of the
laced work of a sandal in bronze. (<i>Ber. d. k. sächs. Ges.
d. Wissenschaften</i>, 1880, p. 44.) The legs are bent, the
left leg drawn back under the right. The headdress is
in the form of the krobylos (cf. No. 209). The body is
entirely nude: over the rock on which the figure rests is
thrown a mantle under which is strewn a skin, the claws
of which are certainly those of some feline animal. The
type and position of this figure present so much resemblance
to the Heracles on the silver coins of Croton in
Lower Italy (<i>Mus. Marbles</i>, vi., title-page), that it has
been identified with that hero by Visconti, who supposed
the skin on which he reclines to be that of a lion. This
skin, however, seems more like that of a panther, on which
ground the figure has been thought to be Dionysos, who
appears in a very similar reclining attitude on another
Athenian work, the Choragic monument of Lysicrates
(No. 430, <i>1</i>); compare the statue in the Louvre, Müller-Wieseler,
<i>Denkmaeler</i>, ii., pl. 32, No. 360. Compare also
the figure of Dionysos reclining, on a relief on an <i>askos</i> in
<span class="pagenum"><a name="page108" id="page108"></a>108</span>
the British Museum, No. G. 281 (see <a class="ask" href="#fig9">fig. 9</a>). The figure,
however, differs greatly in character, not only from the
figure on the monument of Lysicrates, but also from the
figure sometimes supposed to be Dionysos on the frieze of
the Parthenon. (East side, No. 38.) More recently Brunn
has interpreted this figure as the mountain of Olympos
illumined by the first rays of the rising sun, and it must
be acknowledged that the attitude and type of the so-called
Theseus is very suitable for the personification of
a mountain. Compare the figures of mountains from
reliefs, collected by Waldstein (<i>Essays</i>, pp. 173, 174).</p>
<a name="fig9" id="fig9"></a>
<div class="figcenter" style="width: 500px;"><a href="images/11fig9-900.png"><img src="images/11fig9-500.png" width="500" height="319" alt="Fig. 9." /></a>
<p class="center">Fig. 9.</p></div>

<p class="indent">
<i>Mus. Marbles</i>, VI., pls. 3, 4; Baumeister, <i>Denkmaeler</i>, p. 1180, fig. 1370;
Michaelis, pl. 6, fig. 10; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 304,
fig. 62; Murray, II., pl. 5; <i>Stereoscopic</i>, No. 105; Waldstein,
<i>Essays</i>, pl. 6; Brunn, <i>Ber. der k. bayer. Akad.</i>, <i>Phil. hist. Cl.</i>,
1874, II., p. 14. The correct position of the figure in the pediment
has been ascertained by Sauer (<i>cf.</i> fig. 7).
</p>

<p><span class="leftside">303 E, F.</span>
Two female figures, seated on square seats. They both
wear a sleeveless chiton, girt at the waist, and a diploïdion.
Over it is a mantle thrown over their lower
<span class="pagenum"><a name="page109" id="page109"></a>109</span>
limbs in a rich composition of folds. On the right wrist
of the figure nearest the angle (E) is a dowel hole,
probably for the attachment of a bracelet. Her companion
(F), who wore metal 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,
<i>Griech. Künstler</i>, 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 (<i>Voyages
et Recherches</i>, ii., p. xi.) suggested that these two figures,
with G, were the three Horae or Seasons, worshipped in
Attica under the names Thallo, Auxo and Karpo. Brunn
(followed by Waldstein) supposes that the two figures are
Horae, but that they must be viewed as the warders of
the gates of Olympos (Hom. <i>Il.</i>, v., 749) rather than as
Attic deities. On this theory the position of figure G,
if it represents Iris, would indicate that she is on the
<span class="pagenum"><a name="page110" id="page110"></a>110</span>
point of reaching the boundary of Olympos and passing
to the outer world.</p>

<p class="indent">
<i>Mus. Marbles</i>, VI., pl. 5; Michaelis, pl. 6, fig. 11; Murray, II., pl. 4;
<i>Stereoscopic</i>, No. 106; Rayet, <i>Monuments</i>, No. 32; Waldstein,
<i>Essays</i>, pl. 7; Mitchell, <i>Selections</i>, pl. 6; Brunn, <i>Ber. der k. bayer.
Akad., Phil. hist. Cl.</i>, 1874, II., p. 15.
</p>
<a name="n303g" id="n303g"></a>
<p><span class="leftside">303 G.</span>
Iris (?).&mdash;This figure is moving rapidly to our left, the
right knee bent. The left arm was probably extended;
the right was bent nearly at a right angle. Both hands
probably held parts of the mantle, of which a remnant
floats behind, bellied out by the resistance of the air to
the rapid movement of the figure. The feet are wanting
from the instep. The figure was let into a socket about
two inches deep, on the floor of the pediment. It seems to
be exactly in the same condition as when Carrey saw it,
except that in his drawing rather more of the neck appears
than now remains. The dress is a Doric chiton, <i>schistos</i>, open
down the left side, except for the girdle. Over this falls
a 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
<span class="pagenum"><a name="page111" id="page111"></a>111</span>
(Brunn, <i>Ber. d. k. bayer. Akad. Phil. hist. Cl.</i>, 1874, ii.,
p. 19), or simply a terrified maiden (Wolters, p. 254).</p>

<p class="indent">
<i>Mus. Marbles</i>, VI., pls. 6, 7; Baumeister, <i>Denkmaeler</i>, p. 1183,
fig. 1373; <i>Stereoscopic</i>, No. 106; Michaelis, pl. 6, figs. 12, 12<i>a</i>;
Murray, II., pl. 4; Mitchell, <i>Selections</i>, pl. 6.
</p>

<p><span class="leftside">303 H.</span>
Cast of a torso of Hephaestos or Prometheus. Powerful
male torso, from the neck to the groin. The action of the
shoulders, and of the muscles of the ribs and back shows
that the arms were raised. Perhaps both hands held an
axe above the head, as if about to strike. This is the
only fragment besides No. 303 J. which has any claim to
be assigned to the central group of the eastern pediment.
Though we have little knowledge of how the central group
of this pediment was composed, we may suppose that the
personage would not have been omitted through whose
act of cleaving the head of Zeus with an axe the birth
of 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 <i>Athens</i>.</p>

<p class="indent">
Michaelis, pl. 6, figs. 13, 13<i>a</i>.
</p>
<a name="n303-j" id="n303-j"></a>
<p><span class="leftside">303 J.</span>
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
<span class="pagenum"><a name="page112" id="page112"></a>112</span>
of the wings, which must have been attached by
dowels in the holes pierced round the sinkings. It may
be inferred from the size of these sinkings that the wings
were of marble, not metal.</p>

<p>It has generally been taken for granted, that this
figure belongs to the eastern pediment, and it has been
inferred from its height that it was not placed much
nearer the centre than its present position.</p>

<p>This depends, however, on the original position of the
wings. If they were raised above the head, the figure
must have occupied a place nearer to the centre than it
does at present. But it should be observed, that in
Carrey's drawing of the eastern pediment this figure is
not given, and, though Visconti states that it was found
lying on the ground below the front of the temple, it has
been contended that he may have been misinformed on
this point, and that the figure so closely resembles one in
the western pediment as drawn by Carrey and Dalton
that it is probably the same. (See <a class="ask" href="#plate5">plate v</a>., fig. 2, N,
Michaelis, p. 175, pl. 7, fig. N, and <i>Hilfstafel</i>, fig. N.)
This resemblance may be admitted; but if, on this ground,
we identify the torso of 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
<span class="pagenum"><a name="page113" id="page113"></a>113</span>
this figure. The right thigh was identified and added
in 1860, and the left knee in 1875. The figure is placed
by Sauer in profile to the left.</p>

<p class="indent">
<i>Mus. Marbles</i>, VI., pl. 9; Michaelis, pl. 6, figs. 14, 14<i>a</i>; Baumeister,
<i>Denkmaeler</i>, p. 1182, fig. 1372.
</p>

<p><span class="leftside">303 K, L, M.</span>
Group of three female figures (or, perhaps, a group of
two, with a third figure less closely associated, the figure
K being made of a different block from L and M). The
figures are seated on rocks, levelled on the top, and in
the case of L, M, cut in step form to suit the composition.
The rocks are covered with draperies. These three
figures are considerably more complete in Carrey's drawings
than now, and the motives can best be understood
with the aid of the drawings. The figure K half turned
her head towards the central scene. The right arm was
bent at the elbow towards the front of the body. The
figure L was headless in Carrey's time. The right arm,
according to Carrey's drawing, was bent towards the
right shoulder, as if the action had been that of drawing
up the edge of the mantle with the right hand. The
body of this figure is bent forward and the feet drawn far
back, as would be the case with a person wishing to
spring up. This motive forms a contrast to that of the
reclining figure (M), whose right arm rests in her companion's
lap, and whose tranquil attitude and averted
gaze, shown by Carrey's drawing to have been directed
towards the angle of the pediment, seem to indicate
that the news of the birth has not yet reached her.
K wears sandals, a chiton with 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
<span class="pagenum"><a name="page114" id="page114"></a>114</span>
chiton, confined at the waist by a girdle, and has a
mantle wrapped about her legs. She appears to have
worn a bracelet on the right arm.</p>

<p>On comparing the composition of this triad with that
of the triad placed next to Helios in the opposite half of
the pediment a curious analogy of treatment may be
observed. The so-called Theseus (D), like the reclining
figure (M), seems to be quite unconscious of the great
event which is being announced, and they are turned
as by law of attraction to the groups of Day and Night
which bound the scene on either side. The central figure
on either triad seems only half aroused, while on either
side the figure nearest the central action appears to have
heard the news of the birth. If the triad near 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
(<i>Ber. d. k. bayer. Akad. Phil. hist. Cl.</i>, 1874, ii., p. 16) to
see in them personifications of clouds.</p>

<p>Among the writers who have regarded K as separate
from L and M, the most common opinion has been
that K is Hestia; L and M have been called Aphroditè in
<span class="pagenum"><a name="page115" id="page115"></a>115</span>
the lap of Thalassa (Ronchaud), or of Peitho (Petersen), or
Thalassa, the Sea, in the lap of Gaia, the Earth (Waldstein).</p>

<p class="indent">
K. <i>Mus. Marbles</i>, VI., pl. 10; Michaelis, pl. 6, fig. 15; Murray, II.,
pl. 7; Mitchell, <i>Selections</i>, pl. 6; <i>Stereoscopic</i>, No. 108.</p>

<p class="indent">L. M. <i>Mus. Marbles</i>, VI., pl. 11; Baumeister, <i>Denkmaeler</i>, p. 1184,
fig. 1374; Michaelis, pl. 6, fig. 16; Overbeck, <i>Gr. Plast.</i>, 3rd ed.,
I., p. 308, fig. 63; Murray, II., pl. 7; <i>Stereoscopic</i>, No. 108;
Waldstein, <i>Essays</i>, pl. 8; Mitchell, <i>Selections</i>, pl. 6.
</p>
<a name="n303-n" id="n303-n"></a>
<p><span class="leftside">303 N.</span>
Selenè.&mdash;It has been already stated that the horse's head in
the right-hand angle of the pediment belongs to the Goddess
of the Moon, who is represented by the torso cast in plaster
(N) which stands next to it. The original of this torso, now
at Athens, was discovered in 1840 on the east side of the
Parthenon. The arms and head are wanting, the body is cut
off below the waist, as only the upper part of the figure was
shown on the pediment. The dress is a sleeveless chiton
girt at the waist and fastened on each shoulder. The bosom
is crossed diagonally by two bands which pass round to the
back. Two large dowel holes in the girdle and two others on
the shoulders mark where metallic ornaments have been
attached. On the back is a remnant of drapery extending
from shoulder to shoulder; this is probably part of a
peplos, the ends of which may have fallen over the arms.</p>

<p>It has usually been assumed that 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.</p>

<p class="indent">
Michaelis, pl. 6, figs. 17, 17a; <i>cf.</i> Wolters, pp. 256, 259; C. Smith,
<i>Journ. of Hellen. Studies</i>, IX., p. 8; <i>Stereoscopic</i>, No. 109; Sauer,
<i>Athenische Mittheilungen</i>, XVI., pl. 3, p. 84.
</p>

<p><span class="leftside">303 O.</span>
Horse's Head.&mdash;The head was so placed in the pediment
that the muzzle projected over the cornice; in order to
adjust it securely in this position, a portion of the lower
<span class="pagenum"><a name="page116" id="page116"></a>116</span>
jaw was cut away. The inner side of the top of the
head has also been cut away, in order to give room
for the upper member of the pediment. This head presents,
as might have been expected, a marked contrast in
motive to the pair in the opposite angle. The heads of
the horses of Helios are thrown up with fiery impatience
as they spring from the waves; the downward inclination
of the head here described indicates that the car of 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, <a class="ask" href="#n303-n">303 N</a>.</p>

<p class="indent">
<i>Mus. Marbles</i>, VI., pl. 12; Michaelis, pl. 6, figs. 18, 18<i>a</i>; Murray, II.,
pl. 6; <i>Stereoscopic</i>, No. 109.
</p>
<a name="page116a" id="page116a"></a>
<h3>WESTERN PEDIMENT OF THE PARTHENON.</h3>
<a name="n304" id="n304"></a>
<p><span class="leftside">304.</span>
The subject of the western pediment of the Parthenon
according to Pausanias (i., 24, 5) was the strife of Poseidon
<span class="pagenum"><a name="page117" id="page117"></a>117</span>
with 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.</p>

<p>In the time of Carrey, the composition in this pediment
was nearly perfect, and to understand the torsos which
remain, reference should be made to Carrey's drawing
(Plate v., fig. 2), or to the large model of the Parthenon.
A few of the early writers on the Parthenon (Spon,
Woods, Leake, Weber) mistook the western pediment for
that which contained the representation of the birth of
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 (<i>Ber. d. k. bayer. Akad. Phil. hist. Cl.</i>, 1874, ii.,
p. 23). By an ingenious but inconclusive series of arguments
he has endeavoured to show that the west pediment
contains a personified representation of the whole
<span class="pagenum"><a name="page118" id="page118"></a>118</span>
coast of Attica, from the borders of Megaris to Cape
Sunium.</p>

<p>The great destruction of the western pediment since it
was seen by Carrey may have been partly due to the
explosion during the siege, but was chiefly the work of
the Venetian General Morosini. After taking the Acropolis
he tried to lower the horses of the car of 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.</p>

<p>All that remained in position in the western pediment
when Lord Elgin's agents came to Athens were the
figures B and C in the north angle, and in the south angle
the lower part of the reclining female figure W. The
figures are still in position, and the west end of the
Parthenon was therefore not touched by Lord Elgin. The
River-god A and the torsos H, L, M, O were found under
<span class="pagenum"><a name="page119" id="page119"></a>119</span>
the north-west angle of the pediment, after taking down
a Turkish house built against the columns. The lower
part of a female figure Q may also have been found on
this spot.</p>

<p>After the Acropolis passed into the possession of the
Greek government, the ground round the Parthenon was
partly cleared of its ruins, and this led to the discovery,
in 1835, of the crouching male figure V and of many
fragments, among which are remains of the horses lowered
by Morosini. The sculptures removed by Lord Elgin
are exhibited in combination with casts of the remains
now at Athens. The description that follows begins from
the left or northern angle of the pediment.</p>

<p><span class="leftside">304 A.</span>
Ilissos or Kephissos.&mdash;This figure, reclining in the angle
of the pediment, is universally admitted to be a River-god,
(cf. the description by Pausanias (v., 10, 7) of the pediment of
the temple of Zeus at Olympia). The figure is popularly
known as the Ilissos, but it may represent the Athenian
Kephissos. According to Brunn's topographical scheme,
it is a less familiar Kephissos, near Eleusis. This figure
appears not to have suffered much since Carrey drew it.
It was still in the pediment in Stuart's time, but had
been thrown down at the date of Lord Elgin's mission.
The body, half reclined, rests on the left arm, over which
is the end of an himation, which falls behind the back
in undulating lines, and is drawn up to the right knee.
As the head and most of the right arm are wanting, their
action must be a matter of conjecture; the general motion
of the figure seems to indicate the moment of sudden
transition from repose to action, and would be consistent
with the supposition that the head was turned towards
the central group, watching the momentous issue of the
contest, and that the River-god was in the act of rising.
In that case his right hand may have been drawing
forward the end of his himation over his right knee.
<span class="pagenum"><a name="page120" id="page120"></a>120</span>
This figure has been long and deservedly celebrated for
the perfection of its anatomy. In the front of the body,
the flexibility of the abdominal muscles is finely contrasted
with the strong framework of the ribs. The supple elastic
character of the skin is here rendered with the same
mastery as in the horse's head of the eastern pediment.
At the back some of the surface has retained its original
polish. In the undulating lines of the drapery, the
sculptor has succeeded in suggesting the idea of flowing
water without having recourse to direct or conventional
imitation. The ground on which the figure reclines is a
rock. The left hand rested on the bed of the pediment.
A drawing by Pars taken during his visit to Athens in
1765-66 (engraved Stuart, ii., chap. I., pl. 9), shows part
of the right forearm not shown in Carrey's drawing, and
the outline of the four fingers of the left hand overlapping
the edge of the pediment. A small attribute, probably of
marble, was attached to the floor of the pediment in front
of the figure.</p>

<p class="indent">
<i>Mus. Marbles</i>, VI., pls. 13, 14; Mansell, 700; Baumeister, <i>Denkmaeler</i>,
p. 1181, fig. 1371; Michaelis, pl. 8, fig. 1; Overbeck, <i>Gr. Plast.</i>,
3rd ed., I., p. 310, fig. 64; Murray, II., pl. 8; Mitchell, <i>Selections</i>,
pl. 4; Waldstein, <i>Essays</i>, pl. 3; <i>Stereoscopic</i>, No. 110; Sauer,
<i>Athenische Mittheilungen</i>, XVI., p. 79.
</p>

<p><span class="leftside">304 A*.</span>
Between A and the two next figures (B, C) a space
is shown in Dalton's drawing sufficient for a crouching
figure, though no vestige of such a figure is indicated by
Carrey. Traces also remain on the floor of the pediment
(Sauer, <i>Athenische Mittheilungen</i>, xvi., p. 78). This gap
may have been filled by a crouching Water Nymph, associated
with the River-god. Brunn suggests a tributary of
the Eleusinian Kephissos.</p>

<p><span class="leftside">304 B, C.</span>
Cecrops and Pandrosos (cast).&mdash;This group still remains
in the pediment at Athens, though much injured
by exposure to the weather. It consists of a male figure,
<span class="pagenum"><a name="page121" id="page121"></a>121</span>
whose left thigh receives the main weight of his body,
which leans a little to the right, resting on his left hand.
With him is grouped a female figure, who has thrown
herself in haste on both knees, with one arm round the
neck of her companion. Her action expresses surprise at
the event occurring in the centre of the pediment, towards
which she has looked back. She wears a long chiton,
and over it a 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. (<i>Mus. Marbles</i>,
vi., pl. 8, fig. 2.)</p>

<p>This group has received various names. Spon and
<span class="pagenum"><a name="page122" id="page122"></a>122</span>
Wheler took it to represent Hadrian and Sabina, and
their opinion was repeated by Payne Knight. The group
has also been called Heracles and 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.</p>

<p class="indent">
Michaelis, pl. 8, fig. 2; Murray, II., pl. 9; <i>Stereoscopic</i>, No. 111. A
remarkably accurate copy of this group was recently discovered at
Eleusis, and is now in the National Museum at Athens. In the
copy the coils of the serpent are omitted
(<ins title="Greek: Ephêmeris">&#7960;&#966;&#951;&#956;&#949;&#961;&#8055;&#962;</ins>, 1890, pl. 12).
</p>
<a name="n304-d" id="n304-d"></a>
<p><span class="leftside">304 D, E, F.</span>
If B and C are Cecrops and one of his daughters, the
two female figures (D, F), who in Carrey's drawing follow
next, might be his other two daughters. The boy (E)
between them would be, in that case, not the infant
Iakchos between Demeter (D) and Korè (F), as several
writers have supposed, but the young Erysichthon, son
of Cecrops. According to Brunn's scheme these three
<span class="pagenum"><a name="page123" id="page123"></a>123</span>
figures personify Lycabettos, between Pentelicon and
Hymettos.</p>

<p>Of the three figures D, E, F, only one fragment, now
at Athens, has been identified, representing the left knee
of a seated figure, with the right hand of a boy resting
on it, and thus corresponding with Carrey's drawing of
the seated figure on whose knee the boy Erysichthon rests
his right hand. A cast of this fragment is exhibited in
a Wall-Case (No. 339, <i>8</i>). A fragment, now at Athens
with the drapery on the right side of a figure seated on a
rock, has been conjecturally assigned by Michaelis (pl. 8,
fig. 5) to figure D or U. A cast is exhibited, No. 339, <i>7</i>.</p>

<p>In Dalton's drawing a draped female torso, broken off
at the knees, is placed next to C, which Michaelis
(p. 191), conjectures to be the remains of F. Dalton has
represented this figure with the chiton slipped down from
the right shoulder so as to show the right breast and
side. But the drawing by Pars shows next to C a part
of a figure which accords more with D as drawn by
Carrey. This fragment consists of a right arm bent at a
right angle and advanced, and a line of drapery falling
down the right side below the armpit. There is no reason
to doubt that the figure to which the arm belonged was
in position on the pediment when Pars drew it, and, if
so, Dalton's drawing must be wholly inaccurate in respect
to this figure. (See Michaelis, pl. 8, fig. 2.)</p>

<p><span class="leftside">304 G.</span>
Next in order in Carrey's drawing is the seated female
figure (G), who acts as charioteer to 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, <i>1</i>). A cast is exhibited in the Elgin
Room.</p>

<p><span class="leftside">304 H.</span>
Hermes (?).&mdash;In the background, between the figure G
and the horses, Carrey gives a male figure (H), who looks
<span class="pagenum"><a name="page124" id="page124"></a>124</span>
back at the charioteer, while he moves forward in the
same direction as the horses. The figure drawn by Carrey
has been generally recognised in the torso in the Museum
which has lost the head and lower limbs since Carrey's
time, and is probably the same torso which Dalton represents
lying on the bed of the pediment. This figure has
been called Erechtheus, Erichthonios, Ares, Cecrops,
Theseus, Pan, or Hermes. He is evidently aiding the
charioteer in the management of the horses; an office
very appropriate to Hermes, whose general character as a
guide is expressed by such epithets as <ins title="Greek: pompaios">
&#960;&#959;&#956;&#960;&#945;&#8150;&#959;&#962;</ins>, and who
on other monuments is represented conducting a chariot.</p>

<p>The drapery which hangs at the back of the torso
evidently represents a chlamys, which must have been
fastened in front just above the left clavicle, where a hole
is pierced to receive a metallic fastening. There is
another hole between the collar-bones. The right arm
was probably advanced nearly in a horizontal direction;
the left arm may have had the elbow a little drawn back;
and a portion of the chlamys evidently passed round this
arm, and was probably twisted round it, a fashion of
drapery characteristic of Hermes. Among the fragments
of the Parthenon at Athens is a small piece of the left
shoulder of this figure, a cast of which has been adjusted
to the marble in the Museum. The remains of the left
thigh show that the left leg was advanced as in Carrey's
drawing. The fragments described below, Nos. 339, <i>9</i>,
and 339, <i>10</i>, may belong to this figure. A fragment of
plinth, with two feet, sometimes assigned to it, is described
below, No. 329.</p>

<p class="indent">
<i>Mus. Marbles</i>, VI., pl. 15; Michaelis, pl. 8, fig. 3.
</p>

<p><span class="leftside">304 L, M.</span>
Athenè and Poseidon.&mdash;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
<span class="pagenum"><a name="page125" id="page125"></a>125</span>
horizontally in the same direction. Her left arm is
broken off below the shoulder; she wears a long chiton,
over which is a 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.</p>

<p class="indent">
<i>Mus. Marbles</i>, VI., pl. 16; Michaelis, pl. 8, fig. 13.
</p>

<p><span class="leftside">304 M.</span>
The torso of Poseidon is made up of three parts. The
fragment with the shoulders and upper part of the chest
was removed by Lord Elgin; the fragment containing
the remainder of the breast and the abdomen nearly to
the navel has been since discovered, and the original is
at Athens. Since this torso was engraved in the work of
Michaelis (pl. 8, fig. 16), a small piece has been added
to the lower part of the abdomen. It appears from
Carrey's drawing that Poseidon was starting back in
a direction contrary to that of 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
<span class="pagenum"><a name="page126" id="page126"></a>126</span>
the upper part of the shoulders is roughly cut away; the
chiselling does not appear to be ancient, but may have
been done after the figure had fallen from the pediment.
The upper part of this torso is remarkable for the grandeur
of the lines.</p>

<p class="indent">
<i>Mus. Marbles</i>, VI., pl. 17; Lower part, Michaelis, pl. 8, fig. 16;
Laborde, <i>Le Parthénon</i>. The two parts are combined, Overbeck,
<i>Gr. Plast.</i>, 3rd ed., I., p. 312, fig. 65; <i>Stereoscopic</i>, No. 101.
</p>

<p>Though we know from Pausanias that the strife between
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. <a class="ask" href="#n339-15">339, <i>15-17</i></a>), would be suitable
for a tree placed in the centre of the pediment between
the two contending deities. If these fragments belong to
the Parthenon (of which there is no positive proof), it
seems natural to suppose that 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, <i>Athenische Mittheilungen</i>,
xvi., pl. 3, p. 72). In this case the two gods are seen
starting asunder, but looking inwards, after the decisive
moment. The salt spring produced by the trident of
Poseidon may also have had a place in the composition,
though no trace of it is to be found either among the
fragments or in Carrey's drawing.</p>

<p>The chief divergent theory is that of Stephani, who published
a vase-painting representing the contest (<i>Compte
Rendu</i>, 1872, pl. 1, p. 5; <i>Journ. of Hellenic Studies</i>, iii.,
p. 245). In that design Poseidon and Athenè form an
<span class="pagenum"><a name="page127" id="page127"></a>127</span>
antagonistic group, which in composition presents some
resemblance with the central group in the pediment.
The olive-tree is placed between them, and Poseidon
controls, with his left hand, the upspringing horse.
Stephani argues from the vase-painting that Pheidias
made Poseidon produce the horse&mdash;a variant tradition, of
which there are traces in late literature&mdash;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, <i>Athenische Mittheilungen</i>, 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.</p>

<p>If we assume that this second pair of horses was
attached to the chariot of Poseidon, room may be found
for a representation of the salt spring either between
the left leg of the Sea-god and the forelegs of his chariot
horses, or beneath the horses.</p>

<p class="indent">
For the vase picture already referred to, see also de Witte, in the
<i>Monuments Grecs de l'Association pour l'encouragement des études</i>
<span class="pagenum"><a name="page128" id="page128"></a>128</span>
<i>Grecques</i>, No. 4, 1875; Brunn, <i>Sitzungsber. d. k. bayer. Akad.
Phil.-hist. Cl.</i>, 1876, p. 477; and Petersen, <i>Arch. Zeit.</i>, 1875,
p. 115. For more recent discussions on the subject of the dispute
between Athenè and Poseidon, see Robert in <i>Hermes</i>, XVI., p. 60,
and in <i>Athenische Mittheilungen</i>, VII., p. 48; Petersen in <i>Hermes</i>,
XVII., p. 124; E. A. Gardner, in <i>Journ. of Hellen. Studies</i>, III.,
p. 244; Wolters, p. 259.
</p>

<p><span class="leftside">304 N.</span>
This figure, which may have been a Nereid, has been
entirely lost since the time of Dalton, unless we identify
it with the supposed Victory of the east pediment. (See
No. <a class="ask" href="#n303-j">303 J</a>.)</p>

<p><span class="leftside">304 O.</span>
Amphitritè.&mdash;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, <i>schistos</i>, as in Carrey's drawing. It should be
noted that this figure was not seated, as Carrey has drawn
<span class="pagenum"><a name="page129" id="page129"></a>129</span>
it, but must have been standing with the body thrown
back and the arms extended in front, like the charioteer
(No. 33) in the north frieze.</p>

<p class="indent">
<i>Mus. Marbles</i>, VI., pl. 18; Michaelis. pl. 8, figs. 18, 18<i>a</i>.
</p>

<p><span class="leftside">304 P, Q.</span>
Leucothea, with boy (?).&mdash;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.</p>

<p class="indent">
<i>Mus. Marbles</i>, VI., pl. 19; Michaelis, pl. 8, fig. 19.
</p>

<p><span class="leftside">304 R.</span>
A figure of a child appears in Carrey's drawing on the
right of the figure Q. It is doubtful whether it should
<span class="pagenum"><a name="page130" id="page130"></a>130</span>
be associated most nearly with Q or with the figure next
on the right (S). On the former supposition, the figure
called above Leucothea has been interpreted as Leto with
Apollo and Artemis; as Leda with the Dioscuri; or as
Fostering Earth, <ins title="Greek: Gê Kourotrophos">
&#915;&#8134;
&#922;&#959;&#965;&#961;&#959;&#964;&#961;&#8057;&#966;&#959;&#962;</ins>,
with children. On the latter supposition R has generally been called Eros associated
with Aphroditè (S).</p>

<p><span class="leftside">304 S, T.</span>
Next in Carrey's drawing comes a draped female figure
(T), seated, in whose lap is a naked figure (S), supposed
by Carrey to be female. This is generally supposed to
be Thalassa, the Sea; the almost entire nudity of the
figure in her lap (S) makes it probable that 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.)</p>

<p><span class="leftside">304 U.</span>
Next in Carrey's drawing comes a female figure (U),
seated and draped. This had fallen out of the pediment
when Dalton drew it, and no fragment of it can now be
identified. It had lost the head and arms in Carrey's
time. The figure presents no distinctive characteristic
by which she may be identified. She is probably a marine
deity. Brunn interprets her as a personification of Cape
Zoster.</p>
<span class="pagenum"><a name="page131" id="page131"></a>131</span>

<p><span class="leftside">304 V, W.</span>
Ilissos or Kephissos and Callirrhoè (?).&mdash;(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 (<i>Athenische Mittheilungen</i>,
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. <a class="ask" href="#n339-20">339, <i>20</i></a>. This
agrees with the statement of Sauer (<i>Athenische Mittheilungen</i>,
1891, p. 81), that the figure leant with open hand
on the ground.</p>
<span class="pagenum"><a name="page132" id="page132"></a>132</span>

<p>The female figure (W) is reclining on her right side;
the right knee has been more bent than the left. The
upper part of the body seems, from the direction of the
folds of the drapery, to have been slightly raised, and to
have rested on the right elbow, as represented in Carrey's
drawing. The dress is a long chiton, over which falls
a 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.</p>

<p class="indent">
Figure V., Laborde, <i>Le Parthénon</i>; Michaelis, pl. 8, fig. 21; Figure
W., Michaelis, pl. 8, fig. 22.
</p>
<a name="page132a" id="page132a"></a>
<h3>METOPES OF THE PARTHENON.</h3>

<p>The metopes of the Parthenon are sculptured blocks
which were inserted in the spaces, <i>met&#335;p&aelig;</i>, left between
the ends of the beams of the roof. These ends were
represented by slabs, called <i>triglyphs</i>, from the three
parallel vertical bands cut in them. Reference to the
model of the Parthenon will show the relative position
of the metopes and triglyphs.</p>

<p>The Parthenon had originally ninety-two metopes, thirty-two
of which were on each of the long sides, and fourteen
at each end. Many of these are now only preserved in
the drawings by Carrey, having been destroyed in the
great explosion. Unfortunately, however, Carrey was only
able to sketch the metopes of the south side. Forty-one
metopes still remain on the temple, but are for the most
part so decayed through time and weather that there is
great difficulty in making out their subject. The British
<span class="pagenum"><a name="page133" id="page133"></a>133</span>
Museum possesses fifteen original metopes brought from
Athens by Lord Elgin. His contemporary, Choiseul-Gouffier,
while ambassador at Constantinople, obtained
one more (No. 313), which is now in the Louvre. These
sixteen metopes are all from the south side of the Parthenon,
and their subjects were taken from the contest
between the Centaurs and Lapiths at the marriage-feast
of Peirithoös. The first metope on the south side of the
Parthenon, reckoning from the south-west angle, is still
in position on the temple (Michaelis, pl. 3, 1); the second
on the temple is the first of the series of fifteen in the
Museum.</p>

<p>The sculpture of the metopes is in the highest relief
attainable in marble, large portions of some of the figures
being carved in the round so as to stand out quite free of
the background. There is a remarkable inequality of
style in the sculpture. Thus, for example, Nos. 319, 320
show traces of archaic feeling, and while No. 309 appears
to be the work of an indifferent artist, Nos. 310, 316, 317
are admirable.</p>

<p><span class="leftside">305.</span>
The Lapith kneels on the back of the Centaur, clasping
his head with his left arm, and pressing the fingers of
his left hand against his windpipe. The Centaur has
been thrown on his right knee; his head is forced back,
his mouth wide open as if uttering a cry of agony. His
left hand vainly endeavours to dislodge the grasp on his
throat, the right hand appears behind the right shoulder of
the Lapith. When drawn by Carrey, the head and right
foot of the Lapith and the right foreleg of the Centaur
still remained. The head of Lapith may be No. 343, <i>6</i>.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 1; Baumeister, <i>Denkmaeler</i>, p. 1175, fig. 1364;
Michaelis, pl. 3, ii.; <i>Stereoscopic</i>, No. 80, A.
</p>

<p><span class="leftside">306.</span>
The Lapith attacks the Centaur from behind, resting
his right knee on his crupper, and extending forward his
<span class="pagenum"><a name="page134" id="page134"></a>134</span>
right arm to seize the neck of his foe. The Centaur,
standing to the left, turns his human body half round
to meet his adversary. A skin is wound about his left
arm by way of shield. An ample chlamys hangs from
the shoulders of the Lapith, and he wears boots. His
left arm was drawn back to strike. A hole near the
pit between the collar-bones and another on the lowest
left rib show where a sword-belt has been attached.
Two similar holes are to be seen on the body of the
Centaur. These may have served for the attachment of
a bronze weapon held in the right hand. The head
of the Centaur still existed when Carrey drew this metope,
but had disappeared before the time of Stuart.</p>

<p class="indent"><i>Mus. Marbles</i>, VII., pl. 2; Michaelis, pl. 3, iii.; <i>Stereoscopic</i>,
No. 81.</p>

<p><span class="leftside">307.</span>
The Centaur is victorious; with both hands raised
above his head, he is about to hurl on his prostrate foe a
large hydria. His equine body is rearing against the
Lapith, who vainly endeavours to defend himself with his
uplifted buckler, while the Centaur strikes at him with
his fore feet. The right forearm of the Lapith, now
wanting, has rested on the ground. A fragment of his
right foot still remaining on the base of the metope below
the left hind leg of the Centaur shows that this leg was
extended nearly at full length, as it is drawn by Carrey.
The heads of both these figures and the right arm of the
Centaur are cast from the originals in the museum at
Copenhagen, which were sent from Athens in 1688 by a
Captain Hartmand, who probably served under Count
Königsmark in Morosini's army. Round the head of the
Lapith is a sinking into which a metallic band or wreath
has been fitted. On the ground under the body of the
Lapith are some folds of his chlamys, a fragment of
which may be traced on his left arm. Michaelis adds
to the Centaur's left hind-leg a hoof and lower part of
<span class="pagenum"><a name="page135" id="page135"></a>135</span>
leg, the original of which is in the museum at Copenhagen;
but he expresses a doubt whether this fragment
does not belong to the right hind-leg. When Carrey
drew the metope, it was nearly perfect. On the upper
margin of the marble still remains the bead and reel
moulding which once ornamented all the metopes, but
of which there are few traces elsewhere.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 7; <i>Stereoscopic</i>, No. 82. For the two heads,
see Bröndsted, <i>Voyages et Recherches</i>, p. 171; <i>Mus. Marbles</i>, VII.,
pl. 17; Michaelis, pl. 3, iv.
</p>

<p><span class="leftside">308.</span>
When Carrey saw this metope, the figure of the Lapith,
now wanting, was still extant, and we must therefore
supply the motive of the group by reference to his drawing
(fig. 9). In the original composition, the Centaur,
rearing up against his antagonist, grasps the Lapith's
right thigh between his forelegs, extending his left arm
towards him, probably to seize the hair of his head. The
Lapith with extended right arm is trying to keep the
Centaur at arm's length, while he struggles to escape; his
left arm must have been raised. The right arm of the
Centaur must have been drawn back to strike. All that
<span class="pagenum"><a name="page136" id="page136"></a>136</span>
now remains of the Lapith is a portion of the right wrist
attached to the Centaur near his throat. A skin, fastened
round the Centaur's neck, flies behind his back, falling
over his left upper arm.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 5; Michaelis, pl. 3, v.; <i>Stereoscopic</i>, No. 83.
</p>

<div class="figcenter" style="width: 600px;"><a href="images/12fig9-1000.png"><img src="images/12fig9-600.png" width="600" height="302" alt="Fig. 9.&mdash;Metopes 308, 309, from Carrey." /></a>
<p class="center">Fig. 9.&mdash;Metopes 308, 309, from Carrey.</p></div>

<p><span class="leftside">309.</span>
In this metope, as drawn by Carrey (fig. 9), the right arm
of the Lapith is raised with the forearm bent; the right
hand, which probably held a sword, was already broken
off in Carrey's time. His drawing gives the head and
part of the right upper arm of the Centaur, and the left
leg and half the right leg of the Lapith, but not his head.
The Centaur, while pressing his left hand on the left
shoulder of the Lapith, draws back a little from the blow
with which he is menaced. The action of both figures
is rather tame, and the victory undecided. An ample
chlamys is shown falling at the back of the Lapith.
Part of the right hind leg of the Centaur has been
added in plaster from the marble fragment now at
Athens.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 15; Michaelis, pl. 3, vi.; <i>Stereoscopic</i>, No. 84.
</p>

<p><span class="leftside">310.</span>
The Lapith presses forward, advancing his left hand to
seize the rearing Centaur by the throat, and forcing him
on his haunches; the right arm of the Lapith is drawn
back, as if about to strike; his right hand, now wanting,
probably held a sword: a mantle fastened on the right
shoulder falls over the left arm like a shield, and flies
back behind. The Centaur, rearing up against his
antagonist, tries in vain to pull away the left hand of the
Lapith, which, in Carrey's drawing, he grasps. The head
of the Centaur is a cast from the original at Athens.
From the shoulders of the Centaur hangs a small
chlamys; the folds fly behind, and show the violence and
swiftness of the action. The head of the Lapith is a cast
<span class="pagenum"><a name="page137" id="page137"></a>137</span>
from the original, which is now in the Louvre. Carrey's
drawing gives the missing parts of the legs of this group.
This is, perhaps, the finest of all the metopes in the
Museum. The action is most spirited, and the modelling
very thorough and masterly.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 3; Michaelis, pl. 3, vii.; <i>Stereoscopic</i>, No. 85;
Waldstein, in <i>Journ. of Hellen. Studies</i>, III., pl. 23, p. 228;
<i>Essays</i>, pls. 1, 2, p. 97.
</p>

<p><span class="leftside">311.</span>
The Lapith is kneeling on his right knee. The Centaur,
the human portion of whose body is broken away, presses
down his antagonist. From Carrey's drawing, taken
when this metope was nearly complete, we learn what
the action was. He represents the Centaur bending over
the kneeling Lapith, and raising his right hand to strike
a deadly blow at his antagonist, who looks up with his
head thrown back, and stretches out his left arm towards
the breast of the Centaur. A chlamys hangs down from
the left arm of the Lapith. His right arm, which was
lost in the time of Carrey, must have been raised. The
right hind foot of the Centaur rests on a rock.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 6; Michaelis, pl. 3, viii.; <i>Stereoscopic</i>, No. 86.
</p>

<p><span class="leftside">312.</span>
The Centaur has again the advantage. The Lapith is
thrown down over a large wine vessel, <i>pithos</i>; the Centaur
has grasped his left leg with his left hand, rolling him
back on the jar. The Lapith seizes his antagonist by the
beard with his left hand, while his right arm, now broken
off, has been vainly extended behind him, seeking some
support. The right thigh of this figure, the head and
part of the right arm of the Centaur are casts from three
fragments at Athens. Carrey's drawing gives the left
arm and side of the Centaur, as well as his head. The
head and right arm and hand of the Lapith are also shown
in his drawing, but not the portion of right thigh which
<span class="pagenum"><a name="page138" id="page138"></a>138</span>
has recently been added. The wine vessel in this metope,
and the hydria in No. 307, indicate the wedding feast of
Peirithoös as the scene of the contest.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 4; Michaelis, pl. 3, ix.; <i>Stereoscopic</i>, No. 87.
</p>

<p><span class="leftside">313.</span>
This metope is a cast from the one removed by Choiseul-Gouffier
when French ambassador at the Porte, about the
year 1787, and now in the Louvre. The group represents
a Centaur carrying off a Lapith wife or maiden. The
Centaur is rearing up; he grasps the woman between his
forelegs. His left hand presses against her left side, and
it appears from Carrey's drawing of this metope that his
right hand grasped her right wrist. With her left hand
she is vainly endeavouring to loosen his grasp round her
waist, and to readjust her disordered drapery. She wears a
chiton with 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.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 16; Michaelis, pl. 3, x.; <i>Stereoscopic</i>, No. 88.
</p>

<p>The next metope in order on the Parthenon is now
only preserved in Carrey's drawing, which represents
a Lapith armed with a shield, who seems to be stabbing
the Centaur in the belly. The Centaur grasps the edge
of the shield with his left hand. A fragment of this
shield with the left arm of the Lapith inside and the
fingers of the Centaur on the rim exists at Athens; cf.
No. 343, <i>1</i>.</p>

<p class="indent">
Michaelis, pl. 3, xi.
</p>
<a name="n314" id="n314"></a>
<p><span class="leftside">314.</span>
This metope is cast from the original in the Acropolis
Museum at Athens. It represents a Centaur seizing a Lapith
<span class="pagenum"><a name="page139" id="page139"></a>139</span>
wife or maiden. Carrey's drawing gives the head, left foreleg
from the knee, and left hindleg of the Centaur, and the
right arm of the female figure, all which parts are now
wanting. The group presents a somewhat involved and
complicated composition. The Centaur grasps the female
figure's left arm with his left hand; his right arm, not
shown, we must suppose to be passing round the back of
her waist. While the left foreleg of the Centaur is firmly
planted on the ground, his right foreleg clasps the left
leg of the female figure, pressing at the back of her knee,
so as to throw her off her balance. Her dress, a chiton
with a 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, <i>1</i>, exhibited in a Wall Case, probably belonged to
the Elgin Collection. The action of this leg is awkward
and ungainly.</p>

<p class="indent">
Michaelis, pl. 3, xii.; <i>Stereoscopic</i>, No. 96<span class="sc">a</span>.
</p>

<p>Next follow in Carrey's drawings thirteen metopes
(Michaelis, xiii.-xxv.) of which we have only a few fragments.
Of these the first eight (xiii.-xx.) represent
subjects of which the import is unknown, and in which
draped female figures predominate. Nos. xxii.-xxv. represent
combats between Centaurs and Lapiths or Lapith
women. If we suppose that No. xxi., which represents
two women standing by an archaic statue as if for sanctuary,
belongs to the Centaur series, then twelve metopes
at each end of the south side, namely, i.-xii., xxi.-xxxiii.
are devoted to this subject, while the eight central metopes
are an independent series.</p>

<p>Fragments have been recognised as belonging to the
<span class="pagenum"><a name="page140" id="page140"></a>140</span>
thirteen metopes which have been destroyed since the
time of Carrey. They are more fully described below.</p>

<table summary="Metopes" align="center" width="auto">

<tr>
       <td class="center1">Metope</td>
       <td class="left2">XIII (?).</td>
       <td class="left2">Breast. See No. <a class="ask" href="#n342-5">342, <i>5</i></a>.</td>
</tr>
<tr>
       <td class="center1">"</td>
       <td class="left2">XIV.</td>
       <td class="left2">Male torso. See No. <a class="ask" href="#n342-2">342, <i>2</i></a>.</td>
</tr>
<tr>
       <td class="center1">"</td>
       <td class="left2">XV (?).</td>
       <td class="left2">Arm. See No. <a class="ask" href="#n342-6">342, <i>6</i></a>.</td>
</tr>
<tr>
       <td class="center1">"</td>
       <td class="left2">XVI.</td>
       <td class="left2">Male head and torso. See No. <a class="ask" href="#n342-3">342, <i>3</i></a>.</td>
</tr>
<tr>
       <td class="center1">"</td>
       <td class="left2">XVII.</td>
       <td class="left2">Male torso. See No. <a class="ask" href="#n342-2">343, <i>2</i></a>. Fragment of lyre(?)
	   See No. <a class="ask" href="#n342-3">343, <i>3</i></a>.</td>
</tr>
<tr>
       <td class="center1">"</td>
       <td class="left2">XIX.</td>
       <td class="left2">Arm and drapery. See No. <a class="ask" href="#n342-7">342, <i>7</i></a>.</td>
</tr>
<tr>
       <td class="center1">"</td>
       <td class="left2">XX.</td>
       <td class="left2"> Hand with roll. See No. <a class="ask" href="#n343-4">343, <i>4</i></a>. Draped
                   thigh. See No. <a class="ask" href="#n342-4">342, <i>4</i></a>.</td>
</tr>
<tr>
       <td class="center1">"</td>
       <td class="left2">XXIV.</td>
       <td class="left2">Torso of Lapith. See No. <a class="ask" href="#n343-5">343, <i>5</i></a>.</td>
</tr>
</table>

<p><span class="leftside">315.</span></p>

<p>This metope, the 26th in the original series, is from the
eastern half of the south side of the temple. It represents
a contest between a Centaur and Lapith. The Centaur,
rearing, has raised his arms above his head, in order to
strike his antagonist with some weapon, perhaps a branch
of a tree. His antagonist thrusts the toes of his left foot
against the equine chest of the Centaur between his
forelegs, and, pressing his left hand against his adversary's
right elbow, is trying to force him back on his haunches.
His right arm, now wanting, has been drawn back to deal
a blow; its position is marked by a projection on the
ground of the relief. A chlamys hangs down at his back.
From the want of apparent support for the right foot of
the Lapith, the action of this figure appears weak and
undecided. On the left upper arm are two holes for the
attachment of some object, perhaps an end of drapery
hanging free in front of the arm. Another hole on the
flank of the equine portion of the Centaur, between the
ribs and haunch, shows where the end of a skin, hanging
down from the back, may have been attached. Parts of
the right hind leg appear to have been attached by metal
<span class="pagenum"><a name="page141" id="page141"></a>141</span>
rivets. Carrey's drawing shows that this metope has
suffered little since his time.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 8; Michaelis, pl. 3, xxvi.; <i>Stereoscopic</i>, No. 89.
</p>

<p><span class="leftside">316.</span>
In this metope, the 27th in the original series, the
Centaur, wounded in the back, attempts to fly, but is
checked by the Lapith, whose left hand grasps him round
the left side of the head, while his left leg presses against
his hind-quarters. The right arm of the Lapith is drawn
back to deal a blow, perhaps with a lance. The Centaur,
rearing up in agony, presses his right hand against the
wound in his back; his left arm, now wanting, must have
been raised, as appears from Carrey's drawing, in which
a small piece of the upper arm is given. The left foot of
the Lapith presses firmly against a rock. A mantle falls
over both arms, hanging in festoons behind his back.
Carrey's drawing gives both the head, and right leg, and
part of the right forearm of the Lapith. In composition
and execution this is one of the finest of the extant
metopes.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 9; Baumeister, <i>Denkmaeler</i>, p. 1176, fig. 1365;
Michaelis, pl. 3, xxvii.; <i>Stereoscopic</i>, No. 90.
</p>

<p><span class="leftside">317.</span>
In this metope, the 28th in the original series, the
Centaur is victorious; the Lapith lies dead under his feet.
Brandishing the lion's skin on his extended left arm with
a triumphant gesture, and lashing his tail, the Centaur
rushes forward to meet a new foe, with the ends of the
lion's skin flying behind him. His right arm, now wanting,
must have wielded the weapon with which he has
slain the Lapith. The Lapith lies on his chlamys, his
head thrown back, his right leg bent up, his right hand
lying over his right flank, his whole form relaxed by
death. Carrey's drawing gives the head, left foreleg,
and greater part of the right arm of the Centaur, but
wholly misinterprets the figure of the Lapith. For
<span class="pagenum"><a name="page142" id="page142"></a>142</span>
dramatic power in the conception and truth in the modelling
of the forms, this metope is unrivalled.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 10; Baumeister, <i>Denkmaeler</i>, p. 1177, fig. 1366;
Michaelis, pl. 3, xxviii.; <i>Stereoscopic</i>, No. 91.
</p>

<p><span class="leftside">318.</span>
In this metope, the 29th of the original series, the
Centaur is carrying off a Lapith woman. Clasping her
firmly round the waist with his left hand, he has raised
her from the ground. We see from Carrey's drawing
that his right hand, now wanting, grasped her right arm
above the elbow, so as to make her efforts to escape of no
avail; with her left hand she vainly endeavours to loosen
his hold round her waist. The disorder of her drapery
shows the violence of the struggle. Her chiton has
slipped from its attachment on the left shoulder, leaving
her left breast exposed. Over her left arm is the end of
a mantle, which, passing round her back, and twisted
over her right arm, floats unconfined behind the Centaur.
His head has the pointed ears which are characteristic
of the semi-bestial type, but which do not occur on the
other heads of Centaurs in these metopes. Carrey's
drawing gives the head of the female figure, and the
right arm and tail of the Centaur. There are traces of
the bead and reel moulding on the margin of this metope.
The drapery is beautifully wrought, but the design in its
present condition seems rather tame.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 11; Michaelis, pl. 4, xxix.; <i>Stereoscopic</i>, No. 92.
</p>

<p><span class="leftside">319.</span>
This metope, the 30th in the series, much resembles
No. 311, both in composition and in style. The Lapith has
fallen with his left leg bent under him; his left arm
rests on a stone, which he grasps in his left hand. His
right hand, which is disarmed, presses feebly against the
left side of the Centaur, who with his left hand seizes the
hair of his antagonist, and presses his left forefoot on his
right thigh, drawing back his right arm to deal a blow.
The countenance of the Lapith expresses bodily pain,
<span class="pagenum"><a name="page143" id="page143"></a>143</span>
as if he had just been half stunned by a blow on the
head. His bent knee does not yet touch the ground,
but the action of the Centaur deprives him of all chance
of recovering his erect position. A lion's skin floats in
the air at the back of the Centaur. A chlamys hangs
from the right arm of the Lapith, and passes behind his
back. The treatment of both the heads is a little austere,
but the bodies are well modelled, and the composition is
finely conceived. There are on this metope some remains
of the bead and reel moulding on the upper margin.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 12; Michaelis, pl. 4, xxx.; <i>Stereoscopic</i>, No. 93.
</p>

<p><span class="leftside">320.</span>
In this metope, the 31st of the original series, the
Centaur seems to have the advantage. The Lapith has,
with his right hand, seized him by the hair, pressing his
right knee on the Centaur's breast; his left arm is drawn
back, and has been slightly bent at the elbow. The
Centaur, rearing up, grasps his antagonist by the throat,
twisting his forelegs round the Lapith's right leg, so as
to paralyse its action. The position of the Centaur is
obviously much the stronger, and the bent left knee of
the Lapith indicates that he is tottering. We do not
know what weapon he held in his hand. The composition
in this metope is very good. In the faces there is the
same austere character as in No. 319. This metope seems
in the same state as when drawn by Carrey.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 13; Baumeister, <i>Denkmaeler</i>, p. 1178,
fig. 1367; Michaelis, pl. 4, xxxi.; <i>Stereoscopic</i>, No. 94.
</p>

<p><span class="leftside">321.</span>
In this metope, the 32nd of the original series, the
Centaur has seized the Lapith by the back of his head
with his left hand, of which a fragment is still visible.
His right arm has been drawn back to deal a blow,
probably with a spear. The left foreleg passes round
the loins of the Lapith, while the other foreleg has been
locked round his right thigh. His adversary, firmly
planted on the ground with his right leg advanced, has
<span class="pagenum"><a name="page144" id="page144"></a>144</span>
drawn back his left arm to prepare a blow, probably with
a sword. The action of his right shoulder shows that he
has seized the Centaur by the hair with his right hand.
A drawing by Feodor, one of the artists employed by
Lord Elgin at Athens, shows that the left arm and left
leg of the Lapith, now wanting, were then perfect,
and that he may have worn a bronze helmet up to the date
when the drawing was made. The direction of the missing
portions of the left arm and leg is indicated by projections
on the ground of the relief. The right arm was
wanting from the elbow. In Carrey's drawing, all the
right arm of the Centaur is given; but his legs were
mutilated.</p>

<p class="indent">
<i>Mus. Marbles</i>, VII., pl. 14; Michaelis, pl. 4, xxxii.; <i>Stereoscopic</i>,
No. 95.
</p>

<p>Of the thirty-two metopes which originally adorned
the north side of the Parthenon, only twelve (i.-iii. and
xxiv.-xxxii. of Michaelis, pl. 4) remain in their original
position, and three of these (ii., xxvi., xxx.) are so defaced
that their subjects cannot be made out. In the explosion
of 1687, twenty metopes (iv.-xxiii.) were destroyed, all
but a few fragments. The subjects of the metopes which
have perished may have been the combats of Centaurs
and Lapiths. Michaelis supposes xxiv., xxv. to represent
a scene from the taking of Troy.</p>

<p><span class="leftside">322.</span>
The only metope from the north side, of which a
cast is exhibited in the British Museum, is the last of the
series, at the north-west angle of the temple. It represents
a draped female figure seated on a rock, towards
whom advances from the left another draped female
figure, extending forward her left hand muffled in
drapery. Both figures wear talaric chitons, over which
fall 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
<span class="pagenum"><a name="page145" id="page145"></a>145</span>
Feodor in the British Museum, taken when it was in a
considerably better state.</p>

<p class="indent">
Michaelis, pl. 4, xxxii.; <i>Stereoscopic</i>, No. 96.
</p>

<p>On the western front of the Parthenon all the fourteen
metopes, except vi. and vii., remain in position on the
temple, but their surface has been so much injured, that
their subjects cannot be made out. The best preserved
of these metopes appear to represent a battle of Greeks
against Amazons.</p>

<p><span class="leftside">323.</span>
This is a cast from the first of the metopes of the west
side, and represents a figure mounted on a horse, moving
to the right, with the right hand drawn back as if aiming
a spear, and having a chlamys flying behind. If the
metopes on this front represented an Amazonomachia,
this figure may be an Amazon. The surface is much
damaged. A drawing by Pars in the British Museum
makes this a male figure.</p>

<p class="indent">
Michaelis, pl. 5, West side, i.; <i>Stereoscopic</i>, No. 80.
</p>

<p>The corresponding metopes on the east side of the
Parthenon remain on the building, but have all suffered
great injury. They appear to have represented scenes
from the war of the gods and giants.</p>

<p class="indent">
Michaelis, pl. 5, East side, i.-xiv.
</p>
<a name="page145a" id="page145a"></a>
<h3>THE FRIEZE OF THE PARTHENON.</h3>

<p>The Frieze of the Parthenon is a continuous band of
sculpture in low relief, which encircled and crowned the
central chamber or cella of the temple, together with the
smaller porticoes that immediately adjoined each end of it.</p>

<p>The frieze is nearly 3 ft. 4 in. high. The height of the
relief is somewhat greater at the top than at the bottom.
At the top the height of the relief may be as much as
<span class="pagenum"><a name="page146" id="page146"></a>146</span>
2&frac14; inches, with an average height of about 1&frac12;  inch. At the
bottom it varies between low relief and about 1&frac14; inch.
The whole surface of the relief is thus slightly tilted over
towards the spectator, in order to compensate as far as
possible for the disadvantageous conditions under which
the frieze had to be viewed. The length of each end of
the Parthenon frieze was 69 ft. 6 in.; the length of each
long side was 191 ft. 11 in. The length of the entire
frieze was therefore 522 ft. 10 in.</p>

<p>The frieze, which was nearly complete in the time of
Carrey, suffered greatly in the explosion, particularly
about the middle of the two long sides. Unfortunately,
however, Carrey only made drawings of the west end; the
east end, except its central slab which had been taken
down; about 74 feet in the middle of the south side; and
about 78 ft. 6 in. at the east end of the north side. Stuart
and Pars drew a considerable amount of the frieze, but not
much of what has since been entirely lost. The following
table shows approximately the state of the whole frieze.</p>

<table summary="approximately the state of the whole frieze." align="center" width="auto" border="0" style="border-collapse: collapse;">
<tr>
       <th class="border" style="border-left: 1px solid black;">&nbsp;</th>
	   <th class="border">East.</th>
	   <th class="border">South.</th>
	   <th class="border">West.</th>
	   <th class="border">North.</th>
	   <th class="border">Total.</th>
</tr>
<tr>
       <td class="grid" style="border-left: 1px solid black;">&nbsp;</td>
	   <td class="grid">&nbsp;&nbsp;&nbsp;ft. &nbsp;&nbsp;in.&nbsp;&nbsp;</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;ft. &nbsp;&nbsp;in.&nbsp;&nbsp;</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;ft. &nbsp;&nbsp;in.&nbsp;&nbsp;</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;ft. &nbsp;&nbsp;in.&nbsp;&nbsp;</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;&nbsp;ft. &nbsp;&nbsp;in.&nbsp;&nbsp;</td>
</tr>
<tr>
       <td class="grid" style="border-left: 1px solid black;">&nbsp;&nbsp;Originals in the British Museum </td>
	   <td class="grid">&nbsp;&nbsp;43 &nbsp;&nbsp;0</td>
       <td class="grid">&nbsp;108 &nbsp;&nbsp;6&frac12;</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;&nbsp;7 &nbsp;&nbsp;2</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;82 &nbsp;&nbsp; 6</td>
       <td class="grid">&nbsp;&nbsp;241 &nbsp;&nbsp;&nbsp;2&frac12;&nbsp;</td>
</tr>
<tr>
       <td class="grid" style="border-left: 1px solid black;">&nbsp;&nbsp;Casts in the British Museum </td>
       <td class="grid">&nbsp;&nbsp;21 &nbsp;&nbsp;2</td>
	   <td class="grid">&nbsp;&nbsp;&nbsp;33 &nbsp;&nbsp;9&frac12;</td>
       <td class="grid">&nbsp;&nbsp;62 &nbsp;&nbsp;4</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;54 &nbsp;&nbsp;&nbsp;8</td>
       <td class="grid">&nbsp;&nbsp;171 &nbsp;11&frac12;</td>
</tr>
<tr>
       <td class="grid" style="border-left: 1px solid black;">&nbsp;&nbsp;Preserved only in the drawings of Carrey&nbsp;&nbsp;</td>
	   <td class="grid">&nbsp;&nbsp;&nbsp;&nbsp;3 &nbsp;&nbsp;4</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;27 &nbsp;&nbsp;6</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;..</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;20 &nbsp;&nbsp; 7</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;&nbsp;51 &nbsp;&nbsp;5</td>
</tr>
<tr>
       <td class="grid" style="border-left: 1px solid black;">&nbsp;&nbsp;Preserved only in the drawings of Stuart </td>
	   <td class="grid">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;..</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;0 &nbsp;&nbsp;6 </td>
       <td class="grid">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;..</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2 &nbsp;&nbsp;&nbsp;9</td>
       <td class="grid">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3 &nbsp;&nbsp;3</td>
</tr>
<tr>
       <td class="grid" style="border-left: 1px solid black;">&nbsp;&nbsp;Drawn by Carrey and Stuart but not <br />&nbsp;&nbsp;otherwise preserved </td>
	   <td class="grid1">&nbsp;&nbsp;&nbsp;&nbsp;2  &nbsp;&nbsp;0</td>
       <td class="grid1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;..</td>
       <td class="grid1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;..</td>
       <td class="grid1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;5 &nbsp;&nbsp;&nbsp;7</td>
       <td class="grid1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;7 &nbsp;&nbsp;7</td>
</tr>
<tr>
       <td class="grid" style="border-left: 1px solid black;">&nbsp;&nbsp;Total existing or recorded </td>
       <td class="grid">&nbsp;&nbsp;69 &nbsp;&nbsp;6</td>
	   <td class="grid">&nbsp;170 &nbsp;&nbsp;4 </td>
       <td class="grid">&nbsp;&nbsp;69 &nbsp;&nbsp;6 </td>
       <td class="grid">&nbsp;166 &nbsp;&nbsp;&nbsp;&nbsp;1</td>
       <td class="grid">&nbsp;&nbsp;475 &nbsp;&nbsp;5</td>
</tr>
<tr>
       <td class="grid" style="border-left: 1px solid black;">&nbsp;&nbsp;Lost without a record</td>
	   <td class="grid1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;..</td>
       <td class="grid1">&nbsp;&nbsp;&nbsp;21  &nbsp;&nbsp;7</td>
       <td class="grid1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;..</td>
       <td class="grid1">&nbsp;&nbsp;&nbsp;25 &nbsp;&nbsp;10</td>
       <td class="grid1">&nbsp;&nbsp;&nbsp;&nbsp;47 &nbsp;&nbsp;5</td>
</tr>
<tr>
       <td class="grid2" style="border-left: 1px solid black;">&nbsp;&nbsp;Grand Total</td>
	   <td class="grid2">&nbsp;&nbsp;69 &nbsp;&nbsp;6</td>
       <td class="grid2">&nbsp;191 &nbsp;11</td>
       <td class="grid2">&nbsp;&nbsp;69 &nbsp;&nbsp;6</td>
       <td class="grid2">&nbsp;191 &nbsp;&nbsp;11</td>
       <td class="grid2">&nbsp;&nbsp;522 &nbsp;10</td>
</tr>
</table>

<span class="pagenum"><a name="page147" id="page147"></a>147</span>
<p>
The subject of the frieze of the Parthenon has been
considered, by most of the writers who have discussed
it, to be connected with the Panathenaic procession at
Athens. Those who have held a different view have
been the early travellers, such as Cyriac of Ancona, who
described the subject of the frieze as 'Athenian victories
in the time of Pericles,' and a few recent authors.
Davidson (<i>The Parthenon Frieze</i>) sees in the frieze a representation
of a Panhellenic assembly, which Pericles
tried to collect at Athens without success. Weber and
Boetticher held that the scene represented is the preparation
and rehearsal, rather than the procession itself.
C. Petersen thought that different festivals are represented
on different sides* (cf. Michaelis, p. 205).</p>

<p class="footnote">* The frieze of the Parthenon records in sculpture the passionate
delight with which Greeks, and more particularly Athenians (cf. Hel.
<i>Aeth.</i>, III. 1), regarded festal processions.</p>

<p class="footnote">A vivid commentary on the Parthenon frieze is to be found in the third
book (chaps, i.-iii.) of the <i>Aethiopica</i> of the novelist Heliodorus. The
passage adds the sound, colour, and movement needed for a complete conception
of the scene. The writer, however, is describing the procession of
a Thessalian embassy at Delphi, and some of the details only partially agree
with those of the frieze. "The Hecatomb led the procession, escorted by
men initiated in the mysteries. These were somewhat rustic in dress and
manner, and had their white tunics closely girded. The right shoulder
and breast were bare, and they carried an axe in the right hand. The
bulls were followed by a crowd of other victims, each kind being led
separately and in order. Meanwhile flute and pipe were playing a melody
which was, as it were, an introduction to the sacrifice. The cattle and
their escort were followed by maidens with flowing hair. They were in
two troops; the first carried baskets of fruits and flowers, the second
troop carried flat baskets (<ins title="Greek: kana kanêphorousai">&#954;&#945;&#957;&#8118;
&#954;&#945;&#957;&#951;&#966;&#959;&#961;&#959;&#8166;&#963;&#945;&#953;</ins>)
with sweetmeats and
incense, and filled the place with sweet smells. They bore their burdens
on their heads leaving their hands free, and kept their ranks true both
from front to rear and from side to side, that they might march and
dance while the first troop gave the time, singing a hymn in honour of
Thetis. The troops were so harmonious and the sound of marching was
so accurately timed to the song, that hearing seemed better than seeing,
and the spectators followed the maidens as they passed as if they were
drawn by the melody. But at length the appearance of the youthful
cavalry and of its leader proved that a noble sight was better than any
music. There were fifty ephebi, in two troops of five-and-twenty, acting
as body-guard of the leader of the embassy. Their boots were laced with
purple thongs, and tied above the ankle. Their cloaks were white with
dark blue borders, and were fastened on their breasts with golden brooches.
The horses were all Thessalian, and breathed the freedom of their native
plains. They tried to spue out their bits and covered them with foam, as if
rebellious, yet submitted to the will of the riders. It seemed as if there
had been a rivalry among the masters in adorning their horses with
frontlets and phalerae, silver or gilded. But, as a flash of lightning
makes all else seem dark, so, when the captain, Theagenes (the hero of
the novel), appeared, all eyes were turned to him. He also was mounted,
and wore armour, and brandished an ashen spear, tipped with bronze.
He had not put on his helmet, but rode bareheaded. He wore a purple
cloak, embroidered in gold with a fight of Centaurs and Lapiths; on his
brooch was an amber figure of 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. <i>Hipp.</i> 11 and
<i>Hipparch.</i> 3).</p>
<span class="pagenum"><a name="page148" id="page148"></a>148</span>

<p>Before examining how far the frieze represents the
Panathenaic procession in detail, it may be well to state
what facts respecting the festival have been handed down
to us by ancient authors. Its origin was ascribed in
antiquity to pre-historic times. Its mythic founder was
Erichthonios, the son of Hephaestos and foster-son of
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
<span class="pagenum"><a name="page149" id="page149"></a>149</span>
the "Old Temple," and where her worship was associated
with that of Erechtheus, who dwelt under the same roof.</p>

<p>A solemn sacrifice, equestrian and gymnastic contests,
and the Pyrrhic dance, were all included in the ceremonial;
but its principal feature was the offering of a new robe,
<i>peplos</i>, to the Goddess on her birthday. The peplos of
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.</p>

<p>The festival was originally an annual one, but after a
time it was celebrated once every four years with more
splendour and solemnity. The institution of this greater
Panathenaia is attributed to Peisistratos. From his time
(<span class="sc">b.c.</span> 560-527) dates the distinction between the Greater
and the Lesser Panathenaia. The sons of Peisistratos
added a contest of rhapsodes reciting the Homeric poems.
The festival was further amplified by Pericles, who introduced
a musical contest and himself acted as <i>athlothetes</i>
or judge.</p>

<p>On the birthday of the Goddess the procession which
conveyed the peplos to her temple assembled in the outer
Cerameicos, and passed through the lower city round the
Acropolis, which it ascended through the 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, <i>Tour</i>,
Letter xxx.). In this solemn ceremony, the whole body
of Athenian citizens were represented. Among those who
are particularly mentioned as taking part in the procession
were the noble Athenian maidens, Canephori, who bore
baskets, <i>kanea</i>, with implements and offerings for the
<span class="pagenum"><a name="page150" id="page150"></a>150</span>
sacrifice; the Diphrophori, who attended the Canephori
with stools (<i>diphroi</i>); the metoik or alien Scaphephori,
whose function it was to carry certain trays, <i>skaphæ</i>,
containing cakes and other offerings; the aged Athenian
citizens who bore olive branches, and were hence called
Thallophori. It has also recently been ascertained that
the selected maidens who prepared the peplos (the Ergastinae,
and perhaps the Arrhephori) also took part in the
Panathenaic procession. An Attic decree of 98 <span class="sc">b.c.</span> records
that these maidens had performed all their duties, and had
walked in the procession in the manner ordained with the
utmost beauty and grace (<ins title="Greek: pepompeu[kenai ka]ta ta prostetagmena hôs hoti k[allis]ta kai euschêmone[stata]"
>&#960;&#949;&#960;&#959;&#956;&#960;&#949;&#965;[&#954;&#8051;&#957;&#945;&#953;
&#954;&#945;]&#964;&#8048; &#964;&#8048;
&#960;&#961;&#959;&#963;&#964;&#949;&#964;&#945;&#947;&#956;&#8051;&#957;&#945;
&#8033;&#962; &#8005;&#964;&#953;
&#954;[&#8049;&#955;&#955;&#953;&#963;]&#964;&#945;
&#954;&#945;&#8054;
&#949;&#8016;&#963;&#967;&#951;&#956;&#959;&#957;&#8051;[&#963;&#964;&#945;&#964;&#945;]</ins>), 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.
(<i>Bull. de Corr. Hellénique</i>, xiii., p. 169; <i>Athenische
Mittheilungen</i>,
viii., p. 57.) At the Greater Panathenaia each
town in which land had been assigned to Athenian settlers
contributed animals to the sacrifice, perhaps a cow and
two sheep. The colonies also appear to have sent envoys
who had charge of the victims. Chariots and horsemen
took an important part in the procession. On this occasion
appeared certain 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.</p>

<p>When, with a knowledge of these facts, we examine the
composition of the frieze, we may recognise in its design
the main features of the actual procession. In our description
<span class="pagenum"><a name="page151" id="page151"></a>151</span>
we begin with No. 1, on the left of the east side.
We first observe Canephori and others leading the procession
of which the main part is seen on the south side.
Next are persons, perhaps Hieropoioi or magistrates receiving
this procession. In the centre of this side a
solemn act (commonly supposed to be the delivery of the
peplos) is being performed in the presence of an assembly
of deities, separated into two groups interjected among
the heads of the procession who have arrived and stand
waiting. These deities are supposed to be invisible, and
doubtless in a picture they would have been placed in the
background, seated in a semicircle and looking inwards.
In the narrow space of a frieze a combined arrangement
was necessary, such as we see here. Next we see the
persons receiving the procession on the north side, and
then at the head of that procession are Canephori,
victims with their attendants, Scaphephori, Spondophori,
musicians, pompic chariots and cavalry. After going
down the north side, meeting the procession, we pass
along the west side, where it is still in a state of preparation
for departure. We then pursue the other main
stream along the south side of the Temple passing the
cavalry, chariots and victims. All through the frieze
are magistrates and heralds marshalling the order of the
procession. It has been objected that many features
which we know to have formed a part of the original
ceremony, as, for instance, the ship on which the peplos
was borne, are not found on the frieze; but Pheidias would
only select for his composition such details from the actual
procession as he considered suitable for representation in
sculpture, working, as he here did, under certain architectonic
conditions.</p>

<p><span class="sc">NOTE.</span> The numbers of the slabs, painted in Roman
figures on the lower moulding, and placed in the right-hand
<span class="pagenum"><a name="page152" id="page152"></a>152</span>
margin of this catalogue, agree throughout with the
numbers of Michaelis. The numbers of the separate
figures assigned to them here and painted in Arabic
numerals above the frieze, do not agree with those of
Michaelis, except in the case of the west side.</p>
<a name="page152a" id="page152a"></a>
<h4><span class="sc">East Frieze of the Parthenon.</span></h4>

<blockquote>
<p><span class="leftside">&nbsp;&nbsp;324.</span><span class="leftside1">&nbsp;&nbsp;1.</span>
<span class="rightside">I.</span>
A man standing on the return face of slab xliv. (South
Frieze), looks back as if to make a signal to the procession
approaching along the south side, and thus makes a connection
between the south and east sides of the frieze.</p>

<p><span class="leftside1a">2-5.</span>
<span class="rightside">II.</span>
With slab ii. the band of maidens leading the southern
half of the procession begins. When complete the slab
contained five maidens, each probably carrying a circular
bowl, with a boss in the centre
(<ins title="Greek: phialê omphalôtê">&#966;&#953;&#8049;&#955;&#951;
&#8000;&#956;&#966;&#945;&#955;&#969;&#964;&#8053;</ins>);
portions now remain of four alone; compare however No. 345, <i>1</i>.
They are draped in long chiton and mantle. [Two casts
of the slab are exhibited, side by side, in order to represent
the missing portion.]</p>

<p><span class="leftside1a">6-10.</span>
<span class="rightside">III.</span>
Five maidens carry each a wine jug, supposed to be of
gold or silver. Several such vessels occur in the Treasure
lists of the Parthenon. No. 6 wears a chiton with diploïdion;
Nos. 7-10 have a chiton and mantle.</p>

<p><span class="leftside1a">11-14.</span>
In front of these are four maidens, walking in pairs.
Nos. 12 and 14 each carry in the right hand an object
not unlike the stand of an ancient candelabrum, which
tapers upwards from its base. This object is more distinctly
shown on the marble between Nos. 11 and 12,
than between Nos. 13 and 14. It is encircled by a double
torus moulding at the top, and above this moulding a
hole is pierced in the marble, as if there was here a ring
for suspension or to serve as a handle. It is probable
that these are metallic objects of some kind, which, like
the censer carried by No. 55 on the opposite side of the
<span class="pagenum"><a name="page153" id="page153"></a>153</span>
eastern frieze, were part of the sacred furniture used in
the festival and usually kept in the Treasury of Athenè.
Michaelis suggests that they may be the stands, <i>krateutae</i>,
in which turned the ends of the spits used in roasting the
sacrifice. This would explain the ring at the top.</p>

<p><span class="leftside1b">15, 16.</span>
A pair of maidens with empty hands leads the procession.
Nos. 11-16 are all dressed alike, in long chiton,
with 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).</p>

<p><span class="leftside1">17.</span>
In front of the procession is a man, probably one of the
marshals, who seems to approach a group of five persons,
and to hold out his hand as if with a gesture of greeting
to the nearest of the group. This figure is turned towards
the marshal, and leans heavily on his staff which is seen
below his knees. The marble fragment with parts of the
feet of Nos. 16 and 17 was acquired from the collection of
M. Steinhäuser. The lower part of <span class="leftside1">18.</span>No. 18 is cast from a
fragment at Athens.</p>

<p><span class="leftside1a">19-22.</span>
<span class="rightside">IV.</span>
On the left of the next slab are four men of the same
character as No. 18. They all wear himation and boots.
They converse in pairs and stand in easy attitudes,
leaning on their staffs. There is a corresponding group
of four male figures (Nos. 42-45) on slab vi., and
Michaelis supposes that the group of five figures (Nos.
18-22) and the opposite group (Nos. 42-45) of four
figures represent the nine Archons. That they are
functionaries of high rank can hardly be doubted, when
we consider their privileged place between the head of
the procession on each side and the seated divinities, but
they might well be Athlothetae, who controlled all the
arrangements (Aristotle, <ins title="Greek: Ath. pol."><span style="letter-spacing: -2px;">&#7944;&nbsp;</span><span class="gesperrt">&#952;.
&#960;&#959;&#955;</span>.</ins> ed. Kenyon, 60).</p>

<p><span class="leftside1a">23-40.</span>
The central portion of the eastern frieze now to be
described has been the subject of much controversy.
<span class="pagenum"><a name="page154" id="page154"></a>154</span>
Nearly all the authorities who have written on this question
agree in recognising the two groups of seated figures
as deities. This is indicated not only by the dignity of
their appearance but also by their scale. While the
figures of the mortals are about 3 ft. 2 in. high, those of
the deities are about 4 ft. 4 in. high. Though by the
principle known as Isokephalism the heads in a relief are
usually nearly on a level, this marked difference of scale
can hardly fail to indicate divine rank; compare the frieze
of the Theseion (No. 404). There is, however, a wide
divergence of opinion as to the particular divinities here
represented. From the destruction of most of the faces
and the absence of attributes or other indications by
which the figures can be severally identified, it is very
difficult to judge between the rival schemes of interpretation
which have been proposed. In Michaelis' <i>Parthenon</i>,
pp. 262, 263, a tabular view is given of these
schemes (cf. <i>Guide to the Elgin Room</i>, I., Table C). The
attributions proposed by Michaelis himself are for the
most part adopted here, with certain changes suggested
by Flasch in his memoir: <i>Zum Parthenonfries</i> (Würzburg,
1877).</p>

<p>The interpretations proposed by those who hold that
the seated figures are deities, are of two kinds. Most
writers have tried to identify some at least of the figures
with personages who were worshipped near the Acropolis,
or connected with the mythological history of Athens.
By this system, deities of lower rank such as the Dioscuri,
or heroes like Triptolemos are admitted, on the frieze, to
the company of the Olympian Gods. Petersen and Flasch,
on the other hand, argue that the twelve Olympian
deities are represented in the two groups, without regard
to local considerations. Hestia alone is omitted, who
always stays in Olympos to keep the hearth. (Plato,
<i>Phaedr.</i>, 247<i>a</i>). Petersen substitutes Peitho for Hestia;
<span class="pagenum"><a name="page155" id="page155"></a>155</span>
he also introduces Dionysos (24), making No. 38 Apollo.
Artemis is thus excluded from his scheme. The arrangement
of Flasch is happier, as Hestia alone is excluded of
the Olympian divinities. The attributions proposed by
Michaelis, Petersen, and Flasch are as follow, where they
differ between themselves:&mdash;
</p></blockquote>

<table summary="differences" align="center" width="auto" border="0">
<tr>
       <td class="center1">No.</td>
       <td class="left2">Michaelis.</td>
       <td class="left2">Petersen.</td>
       <td class="left2">Flasch.</td>
</tr>
<tr>
       <td class="center1">24.</td>
       <td class="left2">Dionysos.</td>
       <td class="left2">Dionysos.</td>
       <td class="left2">Apollo.</td>
</tr>
<tr>
       <td class="center1">25.</td>
       <td class="left2">Demeter.</td>
       <td class="left2">Demeter.</td>
       <td class="left2">Artemis.</td>
</tr>
<tr>
       <td class="center1">26.</td>
       <td class="left2">Triptolemos.</td>
       <td class="left2">Ares.</td>
       <td class="left2">Ares.</td>
</tr>
<tr>
       <td class="center1">27.</td>
       <td class="left2">Nikè.</td>
       <td class="left2">Nikè?</td>
       <td class="left2">Iris.</td>
</tr>
<tr>
       <td class="center1">38.</td>
       <td class="left2">Apollo Patroös.</td>
       <td class="left2">Apollo.</td>
       <td class="left2">Dionysos.</td>
</tr>
<tr>
       <td class="center1">39.</td>
       <td class="left2">Peitho.</td>
       <td class="left2">Peitho.</td>
       <td class="left2">Demeter.</td>
</tr>
</table>

<blockquote><p>
<span class="leftside1">23.</span>
<span class="rightside">IV.</span>
The earlier writers saw the Dioscuri, Castor and
Pollux in the two figures, Nos. 23, 24. It is now generally
agreed that the youthful elastic figure to the left is
Hermes, of whom the high boots, and the petasos spread
on his knees are specially characteristic. His right
hand is pierced and has held a metallic object, probably
the herald's staff, caduceus. The drapery is a small
chlamys fastened by a brooch, but at present worn about
the loins. The more robust figure leaning on his shoulder
 <span class="leftside1">24.</span>(No. 24), has his body turned in a direction contrary
to that of Hermes, and the singular manner in which his
lower limbs are so arranged as to clasp between them the
knees of the seated goddess (<span class="leftside1">25.</span>No. 25) seems to indicate
some intimate and special relation between them. The
goddess holds a torch, the usual attribute of Demeter,
and Michaelis sees in the group (Nos. 24-26) the triad of
Dionysos, Demeter, and Triptolemos. Flasch recognises
Apollo and Artemis in Nos. 24, 25, on the ground of their
intimate relationship. If we adopt this interpretation of
this group, it follows that the youthful figure <span class="leftside1">26.</span>(No. 26)
cannot be Triptolemos. We must rather look for an
<span class="pagenum"><a name="page156" id="page156"></a>156</span>
Olympian deity in this figure, and the suggestion that it
represents Ares, which has found favour with several
interpreters of this frieze, seems liable only to one
objection, that the form appears too slight and youthful.
The somewhat negligent attitude is that of a
person tired of sitting on a seat without a back, and
clasping his knee with his hands, to relieve the spine of
the weight of the head and shoulders. Flasch absurdly
describes the attitude as that of a passionate character,
forcibly restraining himself.</p>

<p><span class="leftside1a">27-29.</span>
<span class="rightside">V.</span>
The bearded figure (No. 29) on the left of the central
group is distinguished from the rest by the form, and
ornaments of his chair, which has a back and a side rail
which is supported by a Sphinx, while all the other figures
are seated on stools. It has been generally admitted that
this deity is Zeus. It is therefore reasonable to suppose
that the goddess seated next to him (No. 28) is his consort,
Hera. The type and action of this figure who raises
her veil, and looks towards Zeus, are very suitable to her.</p>

<p>The winged maidenly figure (No. 27) standing behind
Hera must be either Nikè or Iris, and is probably Iris,
whose station is close to Hera, while Nikè is usually more
closely associated with Zeus (Murray, <i>Class. Rev.</i> iii., p. 285).
The head of Iris which was discovered in 1889 in the
excavations on the Acropolis is admirably perfect. The
left hand raises a mass of the hair as if to coil it on
the head (<a class="ask" href="#plate6">Plate vi.</a>, fig. 1).</p>

<p>The slab to which the head belongs was removed from
its original position at some early time, probably at the
conversion of the Parthenon into a church, when an apse
was built at the eastern end. In 1672 it stood on the
ground (cf. Michaelis, pp. 47, 258), and the faces seem
to have suffered deliberate mutilation.</p>

<p>The exquisite preservation of the head of Iris is explained
if, as is suggested, it was broken off in the sixth
<span class="pagenum"><a name="page157" id="page157"></a>157</span>
century, and immediately built into a Byzantine wall
(Waldstein, <i>American Journ. of Archæology</i>, v. pl. 2, p. 1).</p>

<p><span class="leftside1a">30-34.</span>
Between the group of Gods just described and the
corresponding group on the right side of the centre, we
have a group of five figures.</p>

<p>We must suppose that these figures are in front of the
two groups of Gods who sit in a continuous semicircle.
(Murray, ii. pl. 1.)
</p></blockquote>

<div class="figcenter" style="width: 200px;"><a href="images/13fig10-400.png"><img src="images/13fig10-200.png" width="200" height="295" alt="Fig. 10.&mdash;Slave with seat." /></a>
<p class="center">Fig. 10.&mdash;Slave with seat.</p></div>

<blockquote><p>
No. 30 is a maiden holding an uncertain object, perhaps
a casket in her left hand, and supporting on her head a
seat (<ins title="Greek: diphros">&#948;&#8055;&#966;&#961;&#959;&#962;</ins>)
covered with a cushion, not unlike the seats
on which the Gods are, but smaller. She has a small pad
(<ins title="Greek: tylê">&#964;&#8059;&#955;&#951;</ins>)
on her head to make the weight easier to bear.
The legs of the seat are now wanting, but a rivet hole
near the maiden's right elbow shows where one leg was
attached. The other may have been painted on the
ground of the frieze. The cut (fig. 10), showing one of
the slaves of Cepheus carrying a stool with a cushion, is
taken from a vase in the British Museum, No. E. 188.</p>

<p>No. 31 is another maiden, advancing slowly to the right,
<span class="pagenum"><a name="page158" id="page158"></a>158</span>
bearing on her head a seat similar to that carried by No.
30. The foremost leg of the seat still exists, being of marble.
The position of the hinder leg is marked by a rivet hole.
On each of these stools is a circular object, probably a thick
cushion. These two figures have been called Arrhephori, or
Ersephori, on the assumption that they are carrying those
mystic objects, the nature of which it was forbidden to
divulge; but it is doubtful whether the Arrhephori took
part in the Panathenaic festival. There is evidence that the
priestess of Athenè had two attendants, of whom one was
called <ins title="Greek: kosmô">
&#954;&#959;&#963;&#956;&#8061;
</ins> (Adorner), and the other <ins title="Greek: trapezophoros">
&#964;&#961;&#945;&#960;&#949;&#950;&#959;&#966;&#8057;&#961;&#959;&#962;</ins>
(Table-bearer,
Harpocration), or <ins title="Greek: trapezô">
&#964;&#961;&#945;&#960;&#949;&#950;&#8061;</ins>
(Hesychius emended), and
it has been suggested that Nos. 30, 31 may have these titles,
and a corresponding ritual significance. Neither figure,
however, carries a table. (Miss Harrison, <i>Class. Rev.</i> iii.,
p. 378; cf. <i>ibid.</i>, p. 423; and Waldstein, <i>Journ. of Hellen.
Studies</i>, xi., p. 143). The same names were proposed by
C. O. Müller in 1820, but merely on the supposition that
two of the Ersephori were thus styled. (Müller, <i>Minervae
Poliadis Sacra</i>, p. 15.) On the other hand, Diphrophori are
mentioned by several ancient authors as being in attendance
on the noble Athenian maidens. They were the
daughters of aliens, and perhaps inferior rank as well as
youth is indicated by the scale on which they are represented.
No. 31 is confronted by a large and matronly
woman (No. 32), who raises her right hand to the under
side of the chair. 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, <i>Zum Parthenonfries</i>, p. 83).
The left hand instinctively prevents the himation being
displaced by the raising of the right arm.</p>
<span class="pagenum"><a name="page159" id="page159"></a>159</span>

<p>An elderly bearded man (No. 33), wearing a long chiton
with short sleeves and shoes, stands next to No. 32. On
his head are traces of metallic rust. He therefore may
have worn a metallic wreath, for which the marble at the
back of his head appears to have been hollowed. He
turns his back to No. 32, and is engaged with a boy.
The two figures between them support a large piece of
cloth, folded once lengthwise, and twice breadthwise. In
this case also 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.</p>

<p>The group of figures just described (30-34) contains
the centre of the composition, and the interpretation of
the frieze as a whole depends on the meaning we attach to
this group. Leaving on one side the writers referred to
on p. 147, who hold that the frieze does not represent
the Panathenaic festival, we find that a majority of writers
describes No. 32 as a Priestess of 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
<span class="pagenum"><a name="page160" id="page160"></a>160</span>
group in the eastern frieze, we find that these two figures
(Nos. 33, 34) stand in the centre of the eastern front,
under the apex of the pediment, and over the eastern door
of the cella. They therefore occupy the most conspicuous
place in the frieze, from the points of view alike of the
sculptured Gods and of the human spectator, and accordingly
may well be supposed to be busy with the chief
ceremony of the festival. This view is opposed by Flasch.
He argues that if the delivery of the peplos is represented,
there is a violation of the unity of time, as the act
which was the main motive of the procession is being
completed, while the procession is still in progress, and in
part has not yet started. Flasch therefore holds that we
have here the priest and priestess preparing for the
sacrifice that is to take place on the arrival of the procession.
The priestess is receiving chairs for herself and
for the priest from the Diphrophori. Meanwhile the
priest, who now only wears a long chiton, with short
sleeves, has taken off his himation, and, after folding it
several times, is seen giving it to an attendant to hold.</p>

<p>If, however, the action represented is merely that of
folding, and is not yet completed, it is impossible to determine
which is the giver and which the receiver. Nor
would the difficulty be solved if this could be ascertained,
as we do not know what ceremonies were performed when
the peplos arrived. The surface of the cloth on the frieze
is left quite plain; but, if it is the peplos, some indication
of the embroidered design may have been given in colour.</p>

<p><span class="leftside1">35.</span>
We now reach the second group of deities, seated to the
right of the central scene. The first figure is clearly that
of 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
<span class="pagenum"><a name="page161" id="page161"></a>161</span>
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.</p>

<p><span class="leftside1">36.</span>
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.</p>

<p><span class="leftside1">37.</span>
<span class="rightside">VI.</span>
This slab, containing figures Nos. 37-47, now in a very
fragmentary condition, was complete when drawn by
Carrey, in 1674. A bearded male figure (No. 37) with his
left hand raised is probably Poseidon. The left hand,
according to Flasch, once held a trident. The next
figure <span class="leftside1">38.</span>(No. 38), beardless and youthful, and seated in an
easy attitude, has of late years gone by the names of
Apollo Patroös or Dionysos. The latter title seems best
suited to the somewhat effeminate figure, more fully
draped than any other of the Gods. A series of holes
round the head shows the position of a bronze wreath, and
one at the elbow shows that the left hand may have been
supported by a thyrsos or sceptre.</p>

<p><span class="leftside1">39.</span>
A matronly figure (No. 39) is seated next to Dionysos,
wearing a chiton, which is slipping off from the left
shoulder, himation, cap and sandals. This figure is
called Peitho by Michaelis and Peterson, on the ground
that the worship of Peitho was associated with that of
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
<span class="pagenum"><a name="page162" id="page162"></a>162</span>
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.</p>

<p><span class="leftside1">40.</span>
The next figure (No. 40) most of which is only preserved
in Carrey's drawing (Fig. 11), is unmistakably
shown to be 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 <span class="leftside1">41.</span>(No. 41) carries a parasol
which conveniently fills the space above his head and his
wings.
</p></blockquote>

<div class="figcenter" style="width: 400px;"><a href="images/14fig11-600.png"><img src="images/14fig11-400.png" width="400" height="258" alt="Fig. 11.--;East frieze of the Parthenon, Nos. 39-41." /></a>
<p class="center">Fig. 11.&mdash;East frieze of the Parthenon, Nos. 39-41.</p></div>

<blockquote><p>
<span class="leftside1a">42-45.</span>
On the right of the gods is a group of four figures
corresponding to the five (Nos. 18-22) on the left. One
of these (No. 43) is young and beardless; the rest are
elderly, and all have staffs and himatia. No. 42 wears
sandals. These four figures are leaning on their staffs,
and three of them are looking towards the advancing procession,
while the fourth (No. 45) turns his back to it and
appears to be conversing with his companions.</p>

<p><span class="leftside1">46.</span>
The next figure (No. 46) is an officer, more immediately
concerned with the procession. It is evident from the
way in which his head is thrown back and his arm raised
<span class="pagenum"><a name="page163" id="page163"></a>163</span>
that he is not addressing the group beside him, but is
making a signal to some person at a considerable distance.
He may be supposed to be making a signal to
the southern half of the procession, and thus helps the
spectator to keep the two parts connected together in his mind.
The next figure<span class="leftside1">47.</span> (No. 47), a similar officer, stands
facing the advancing maidens.</p>

<p>Slab vi., which was complete in Carrey's time, has
since suffered greatly, and the parts now exhibited have
been combined from several sources. At some unknown
period the slab was broken through No. 40, much of
No. 40 being destroyed. The original fragment, with
the figures Nos. 37-39, is now at Athens, where it was
dug up in 1836. Since the cast in the Museum was made,
parts of the right hand and right foot of Poseidon have
been injured (<i>Trans. of R. Soc. of Lit.</i>, v. (1856) p. 67; Baumeister,
<i>Denkmaeler</i>, p. 1187. fig. 1389). About 1787 Fauvel
took a mould from the slab as he found it, which is now in
the Louvre. The slab then existed from the middle of
No. 41 to the joint after No. 47. Between 1787 and 1800
Nos. 41, 42 were lost, and the slab was divided through
No. 45, probably for convenience of transport. To facilitate
the division, No. 45, and the arm of No. 46, were
chiselled away. The main part of the figures Nos. 42-47
is the original marble. The additions to the marble are
the right foot of No. 39, the main part of Nos. 40, 41,
the lower part and the head of No. 42, the heads and
breasts of Nos. 43, 44, the whole of No. 45, and part of the
head of No. 47, together with his legs. These parts are
principally derived from the mould of Fauvel in the
Louvre. Certain fragments, however, are cast from
originals at Athens, namely, the chair-leg and some
drapery of No. 40, the knees of No. 41, and the head
and left foot of No. 47.</p>

<p><span class="leftside1">48.</span>
<span class="rightside">VII.</span>
The next magistrate, or officer (No. 48), seems to hold
<span class="pagenum"><a name="page164" id="page164"></a>164</span>
in his hand a <i>kanoun</i>, or dish, such as those in which the
corn, sashes, or sacrificial implements were usually brought
to the altar. The position of the left hand seems to show
that the thumb is inserted in a boss, as in a phialè omphalotè.
Holes in the marble may indicate sashes of
bronze, hanging from the dish.</p>

<p><span class="leftside1b">49, 50.</span>
Two maidens (Nos. 49, 50) are seen standing with
empty hands. Perhaps one has given up the dish which
is held by the officer (No. 48.) In that case these would
be Canephori, maidens of noble birth, whose privilege it
was to carry in the procession the dishes just described.
They are draped in long chitons, with diploïdia, and wear
small mantles over the shoulders.</p>

<p><span class="leftside1">51.</span>
Another officer (No. 51) stands looking towards the
procession. He has held in the right hand some object
in metal, perhaps a herald's staff. Two holes for the
attachment of it are visible in the marble. The gesture
of the left hand shows that the officer is giving some
order to the two maidens before him <span class="leftside1a">52, 53.</span>(Nos. 52, 53), who
stand with empty hands, like Nos. 49 and 50.</p>

<p><span class="leftside1a">54, 55.</span>
The next maiden (No. 54) walks alone, carrying a
bowl (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.</p>

<p>Slab vii. is a cast from the original, which was removed
from the Acropolis by Choiseul-Gouffier in 1787, and is
now in the Louvre. The right foot of the magistrate
(No. 48) is cast from a fragment which is still at Athens.</p>

<p><span class="leftside1">56.</span><span class="rightside">VIII.</span>The next maiden (No. 56), assisted by No. 55, holds
a thymiaterion with a conical cover, used for burning
incense. Censers of this form are not uncommon on
Greek vases. (Cf. Vases in the B. M., C. 32, E. 98, E. 241,
E. 285, E. 352.) Next follow two figures <span class="leftside1a">57, 58.</span>(Nos. 57, 58),
each carrying in the right hand a jug, oinochoè, then
two more (Nos. 59, 60), carrying phialae.</p>
<span class="pagenum"><a name="page165" id="page165"></a>165</span>

<p>In this slab the heads of Nos. 57, <span class="leftside1b">59, 60.</span>59, 60, which have
been adjusted to their places since the publication of
the work of Michaelis, are cast from the originals at
Athens. The slab in its present condition is shown in
Mitchell, <i>Selections</i>, pl. 4.</p>

<p><span class="rightside">IX.</span>The east side of the frieze was completed by the short
return of a slab which was still in existence in the time
of Stuart. On this slab were two maidens, belonging to
the procession. The second of these carried a phialè.
</p></blockquote>
<a name="page165a" id="page165a"></a>
<h4><span class="sc">North Frieze of the Parthenon.</span></h4>

<p>
<span class="leftside">325.</span>At the head of the procession on the north side we
meet a troop of cows and sheep, led by an escort. Each
cow is led by cords held by two youths, one on each side;
each sheep is led by one boy. There are some grounds
for the conjecture that the Athenian colonists contributed
each a cow and two sheep to the festival, while the
Athenians are not known to have sacrificed anything
except cows. It is therefore presumed that the victims
on this side of the frieze, on which alone sheep are represented,
are some of the colonial offerings; and in that case
the men by whom the victims are conducted would be the
Theori sent by the Colonies.</p>

<p><span class="rightside">I.</span>Slab i. (see <a class="ask" href="#plate7">Plate vii</a>.) was complete in the time of
Carrey, and partly extant in the time of Stuart. It contains
the first cow, led by two youths, who are standing
still, and the head and shoulders of the second cow.</p>

<blockquote>
<p><span class="leftside1a">1, 2.</span>
<span class="rightside">II.</span>
Nos. 1 and 2 walk on each side of the second cow, which
is going quietly, as is shown by the way in which the
youths are closely wrapped up in their himatia. The rope
by which the beast is led was probably painted on the
marble. The third cow is restive, and only restrained
with difficulty by <span class="leftside1a">3, 4.</span>Nos. 3 and 4. Here also the rope was
probably painted.</p>
<span class="pagenum"><a name="page166" id="page166"></a>166</span>

<p>This slab was discovered in 1833, beneath its original
position on the Parthenon.</p>

<p><span class="rightside">III.</span>
<span class="leftside1a">5, 6.</span>
Of slab iii. only fragments remain. As drawn by
Carrey, it contains the figure of No. 4 (cf. <a class="ask" href="#plate7">Plate vii</a>., and
No. 345, <i>3</i>), vigorously holding back his cow, and a
fourth cow, quietly led by two youths (Nos. 5, 6). For
economy of space this slab is compressed in the British
Museum to about two-thirds of its proper length. A cast
from a head, which, perhaps, is that of No. 4, is placed
at the corner of the slab (Michaelis, plate 13, xxvii. <span class="sc">c</span>.).
The drapery seen on a fragment with the fore-legs of a
cow belongs to No. 5, who leads the third cow. No. 6
is made up of six pieces, of which Michaelis had identified
the feet of the figure, and part of the fore-legs of the
cow. For its hind-legs, see his plate 13, xxvii. <span class="sc">d</span>. The
originals of all these fragments are at Athens.</p>

<p><span class="leftside1a">7-9.</span>
<span class="rightside">IV.</span>
Slab iv. contains parts of three figures, Nos. 7-9, who
conduct three horned sheep. Of the first figure (No. 7) a
part of the mantle is now left, and perhaps also the head
(cf. <a class="ask" href="#plate7">Plate vii</a>., and No. 345, <i>4</i>). In Carrey's time the head
and shoulders were still extant. At the joint between this
slab and the next there is a marshal <span class="leftside1">10.</span>(No. 10), who turns
to the division of the procession approaching.  Slab iv.
was discovered in 1840.</p>

<p><span class="leftside1">11.</span>
<span class="rightside">V.</span>
When drawn by Carrey and Stuart, the next group in
the procession consisted of three figures, of which one
only (No. 11) is now extant. These figures carry on
their shoulders oblong rectangular trays, not unlike a
butcher's tray in form. These trays have been identified
with the skaphae, or boat-shaped dishes which
were carried in the Panathenaic procession, and which
contained offerings of cakes. If we may trust Stuart's
engraving, the tray of one of the two figures which have
now disappeared contained fruits or cakes. These trays
were made of silver or bronze. Skaphae of bronze are
<span class="pagenum"><a name="page167" id="page167"></a>167</span>
mentioned in one of the inventories of the treasures,
deposited in the Parthenon. The Metoiks, whose duty
it was to carry these trays, were hence called Scaphephori.
Their place in the procession would naturally be immediately
after the victims led for sacrifice.</p>

<p><span class="leftside1a">12-14.</span>
<span class="rightside">VI.</span>
Slab vi. contains five male figures. Three (Nos. 12-14)
carry vases on their shoulders; a fourth (No. 15) stoops
to raise from the ground a similar vase, which is singularly
misinterpreted in Carrey's drawing as a lamb. <span class="leftside1">15.</span>The
vase resembles in form the three-handled water-pitcher,
hydria or calpis, which was in use in the period of
Pheidias, but two handles only are shown in the
sculpture; the third handle, which was attached to the
neck midway between the other two, is not seen, except,
perhaps, on the vase of No. 15. Michaelis supposes that
the vases here represented on the frieze contained the
wine used in the Panathenaic sacrifice, and that these
figures may be the Spondophori, who are mentioned by
Pollux <span class="leftside1">16.</span>(i. 35). On the right of this slab are the arms,
flute, and drapery of the first of the four flute-players
drawn by Carrey. This slab was found in 1833, inside
the peristyle of the Parthenon.</p>

<p><span class="rightside">VII.</span>The persons bringing objects connected with the sacrifice
are immediately followed by a band of musicians,
consisting of four flute-players and four lyre-players,
or citharists, all playing on their instruments. The
musicians, as is usual, wear long chitons and ample
mantles. Of slab vii. only two small fragments remain.
See Plates <a class="ask" href="#plate7">vii</a>., <a class="ask" href="#plate8">viii</a>., and Nos. <a class="ask" href="#page209">345</a>, <i>5</i> and <i>6</i>.</p>

<p><span class="leftside1d">17, 18, 19.</span>
<span class="rightside">VIII.</span>
The next slab contains parts of the second pair of
citharists and the foremost of a group of male figures,
principally on the two slabs immediately following.</p>

<p><span class="leftside1a">19-30.</span>
<span class="rightside">IX., X.</span>
The figures on these two slabs are bearded men
(Nos. 19-30), all clad in the himation, and moving
forward at a leisurely pace; Nos. 25 and 26 wear a
<span class="pagenum"><a name="page168" id="page168"></a>168</span>
band on their heads; No. 25 draws it over his hair;
Nos. 28 and 30 wear long hair, plaited in the manner
of the <i>krobylos</i>. The attire, elderly type, and general
deportment of these figures corresponds with that of the
Thallophori, by which name ancient authors designate
elderly citizens who carried olive branches in the Panathenaic
procession. The right hands of three of these
figures are closed, as if they were holding a wand or
branch.</p>

<p>Slab ix. was discovered in 1840, and is a fragment of
the slab drawn by Carrey, which, when he saw it, contained
nine figures similar to those on x. A recently-discovered
fragment, from the left of slab ix., has not been
inserted for want of space (cf. <a class="ask" href="#plate8">Plate viii</a>., and No. 345, <i>8</i>).</p>

<p>Slab x. was found at the north-west angle of the
Parthenon in 1835. A fragment which belongs to the
left-hand lower corner of the slab, and completes Nos. 24,
25, has been adjusted since the publication of the work of
Michaelis. This slab was not drawn by Carrey, who
indicates a lacuna at this point. It is therefore probable
that the slab had already fallen from its place. The last
two complete figures on this slab are looking back, as if
their attention is directed to the advancing chariots.
Michaelis has not observed that between these figures and
the marshal (No. 31) there has been another draped figure
(No. 30*), of whom nothing remains but the shoulders
and a little drapery, shown immediately in front of the
marshal (No. 31), and his right foot on slab x., seen next
to the right foot of No. 30, the left foot of No. 30 being
lost. This figure must have been the hindermost in the
procession of Thallophori, and the entire number of these
persons is therefore seventeen, not sixteen, as Michaelis
makes it.</p>

<p><span class="rightside">XI.</span>With slab xi. the chariot groups begin. This part of
the frieze has greatly suffered from mutilation. The
<span class="pagenum"><a name="page169" id="page169"></a>169</span>
remains of the chariot groups still extant show that there
were at least nine of these. According to the calculation
of Michaelis, that was the original number of chariots on
this frieze. All these chariots are drawn by four horses,
<i>harmata tethrippa</i>, or 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, <i>pompeus</i>. The vigour and animation of the
chariot groups form a marked contrast with the groups
that immediately precede them. The transition from the
rapid motion of the chariots to the quietude of the
Thallophori is skilfully effected by a chariot seen in
rapid motion but in the act of being suddenly checked
by the marshal <span class="leftside1">31.</span>(No. 31), who is represented eagerly
pressing back the plunging horses of the chariot which
follows on the next slab. In the haste of his movement
he has nearly thrown off his mantle, holding it from
slipping further with his right hand on his right thigh.
The original of this slab was found at Athens probably
about 1834.</p>

<p><span class="leftside1">32.</span>
<span class="rightside">XII.</span>
On the slab next on the right (xii.) is the hind quarter
of one of the horses, cut off at the joint. At the side of
the chariot is a marshal (No. 32), his face turned, and
his right arm extended towards the procession following
on the right. The charioteer <span class="leftside1">33.</span>(No. 33), who was
mistaken for a Victory by Visconti and others, but whose
figure is certainly not female, differs in costume from the
others in this frieze. He wears a long chiton, over which
is a 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.</p>
<span class="pagenum"><a name="page170" id="page170"></a>170</span>

<p><span class="leftside1">34.</span>
The warrior (No. 34) attached to the chariot was complete
in the time of Carrey. The upper half was lost
before the time of Stuart, and was only re-discovered in
the latest excavations on the Acropolis in 1889. He is
represented standing on the ground, and looking back to
the next chariot. His shield is raised as if to stop its
course. The wheel of this chariot, as of some that
succeed it, must have been, in part, wholly detached
from the ground. The foot of the marshal is complete,
but it is easy to trace where the wheel prevented the
convenient working of the ground beneath it. (See
<a class="ask" href="#plate8">Plate viii</a>., and <i>Stereoscopic</i>, No. 19.)</p>

<p><span class="rightside">XIII.</span>Of slab xiii., which Carrey places next, nothing has
been identified with certainty, but Michaelis is probably
right in assigning to this group the fragment of four
horses, of which a cast from the original at Athens is here
inserted (cf. Plate viii., and No. 345, <i>9</i>). Above the back
of the second horse is the <i>hestor</i> (see <a class="ask" href="#hestor">below</a>), and also what
appears to be a small piece of the drapery of a marshal.
This, however, cannot be the case if the fragment described
(No. 345, <i>9</i>) contains the marshal belonging to this
slab.</p>

<p><span class="leftside1">35.</span>
<span class="rightside">XIV.</span>
Slab xiv. contains the third chariot with part of the
team of horses. The marshal (No. 35) stands beyond
the horses, and looks towards the charioteer. The charioteer
(No. 36) had reins of bronze, as indicated by two
rivet holes. Like the driver on slab xviii. he wears a
chiton with long close-fitting sleeves. The apobates
(No. 37) appears about to step down from the chariot.
The wheel of this chariot as of that on slab xii. must
have stood out entirely free from the ground. When
Carrey drew this slab, the head of the charioteer <span class="leftside1a">36, 37.</span>(No. 36)
and the head and body of the apobates (No. 37), of which
only the lower part now remains, were extant. Close
behind the wheel are traces of a horse's forefoot, which,
<span class="pagenum"><a name="page171" id="page171"></a>171</span>
as we see from Carrey's drawing, belonged to the chariot
on the slab which follows next on the right (xv. according
to the order of Michaelis).</p>

<p><span class="leftside1">38, 39.</span>
<span class="rightside">XV.</span>
Of the fourth chariot group, which was also drawn by
Carrey, we have only the mutilated group to which the
charioteer (No. 38) and an apobates (No. 39) belong; this
is made up of four fragments, of which the originals were
found at Athens in 1837. In this group the apobates
(No. 39) stands in the chariot, looking back to the chariot
following so closely that the forelegs of the horses actually
overlap this group. Here also the wheel was in part
completely free from the ground of the relief.</p>

<p><span class="leftside1">41.</span>
<span class="rightside">XVII.</span>
From Carrey's sketch we know that the chariot on slab
xvii. was drawn by the horses, which occupied slab xvi.,
and whose hoofs are seen on slab xv., and that this was
the fifth chariot group. The apobates (No. 41) of this
chariot leans back, supporting himself by the right hand,
which grasped the chariot rail (<i>antyx</i>), and is about to
step off the chariot. The marshal <span class="leftside1">42.</span>(No. 42) steps back
to the left, looking in the contrary direction; his left
arm, muffled in his mantle, is raised as a signal to the
advancing throng; his right arm is also raised; the hand,
now wanting, was just above the level of the head. His
animated action forms a strong contrast to the still, calm
attitude of the marshal (No. 43) of the following group.</p>

<p>Slab xvii. is cast from the original, which was drawn
at Athens by Stuart, and, having been buried on the
Acropolis, was re-discovered there in 1833. The right
side of this slab is broken away, but there can be no
doubt that it comes next to slab xviii. A photograph
from the original is reproduced in Baumeister, <i>Denkmaeler</i>,
p. 1186, fig. 1388.</p>

<p><span class="leftside1">43.</span>
<span class="rightside">XVIII.</span>
In slab xviii. have been three figures. The marshal
(No. 43) stands beside the horses, in a calmer attitude
than is usual in this part of the frieze; of the apobates
<span class="pagenum"><a name="page172" id="page172"></a>172</span>
(No. 45) nothing remains but his right arm and leg; and
the lower part of his drapery, <span class="leftside1a">44-45.</span>which indicates rapid
movement. Of the charioteer (No. 44), we have only
the lower part of the body and hands.</p>

<p><span class="rightside">XVIII.</span>Parts of the harness can be seen on this slab, and also
on slabs xiii., xix., xxi., xxiii. The general arrangement
seems uniform, though there are differences of detail.
The chariot pole
(<ins title="Greek: rhymos">&#8165;&#965;&#956;&#8057;&#962;</ins>)
passes from below the chariot
between the horses. An upright pin (<ins title="Greek: hestôr">&#7957;&#963;&#964;&#969;&#961;</ins>)
passes through the pole (slabs xiii., xviii., xix., xxiii). At this point the yoke
(<ins title="Greek: zygon">&#950;&#965;&#947;&#8057;&#957;</ins>)
was secured by a ring
(<ins title="Greek: krikos">&#954;&#961;&#8055;&#954;&#959;&#962;</ins>)
and by the yoke-band
(<ins title="Greek: zygodesmon">&#950;&#965;&#947;&#8057;&#948;&#949;&#963;&#956;&#959;&#957;</ins>)
(Hom. <i>Il.</i> xxiv.). The near
end of the yoke, foreshortened and turned back, is visible
on slabs xviii., xix., xxi., xxiii. On slabs xix., xxi. the yoke
appears to be kept in position by a piece of metal passing
from the top of the pin to the pole, which may, perhaps,
serve instead of the ring. On slab xix. there appears to
be a loop of a leather thong on each side of the piece described.
This may be a part of the yoke-band. The reins
were usually guided by two rings attached to the yoke or
to the pole, but these do not appear to be shown on the
frieze. It is easy to see on slabs xviii., xix., xxi., that the
yoke was only fixed to the two middle horses, the outer
pair being attached by traces.
</p></blockquote>

<div class="figcenter" style="width: 499px;"><a href="images/15fig12-560.png"><img src="images/15fig12-400.png" width="400" height="285" alt="Fig. 12.&mdash;North Frieze, slab xix. (46. 47.)" /></a>
<p class="center">Fig. 12.&mdash;North Frieze, slab xix.</p></div>
<span class="pagenum"><a name="page173" id="page173"></a>173</span>

<blockquote><p>
<span class="rightside">XIX.</span>
The next slab (xix.) is a cast from the original at
Athens, which is broken away on the right, so that all
that remains of the charioteer (No. 47) is his right hand.
At the side of the horses is a marshal (No. 46), who turns
towards the chariot following on the right. Carrey's
drawing supplies the upper part of this figure, and shows
that he was holding up with his left hand the end of his
mantle, apparently as a signal to the advancing procession.
In fig. 12, slab xix. has been drawn in juxtaposition with
the hitherto unplaced fragment No. 345, <i>12</i>. This slab
was discovered in 1834.</p>

<p><span class="rightside">XX.</span>Slab xx. is now lost, but a horse's head now at Athens
(No. 345, <i>13</i>; Michaelis, pl. 12, xx.) may perhaps belong
to it.</p>

<p><span class="rightside">XXI.</span>Slab xxi. contains the bodies and hind quarters of the
horses drawing the chariot seen on slab xxii. Between
the charioteer (No. 48) and his horse is a fragment,
showing the front of the chariot, and the tails of the
horses, of which the original is at Athens, and which is
not figured in Michaelis.</p>

<a name="n325-50" id="n325-50"></a>
<p><span class="leftside1a">48, 49.</span>
<span class="rightside">XXII.</span>
On the left of slab xxii. is a chariot with the charioteer
(No. 48) and apobates (No. 49) who is stepping into the
chariot. On the right of this slab is an attendant
(No. 50) <span class="leftside1a">(50.)</span>standing at the heads of the horses of the last
chariot group. The lower fragments of this slab are at
Athens. The left-hand upper corner, which was wanting
in the time of Stuart, was brought home by Lord Elgin.
The upper fragment next to it, was once in the possession
of the Society of Dilettanti, and was presented by that
body. It had probably been brought from Athens by
Chandler.
</p></blockquote>

<p class="indent1">
    Stuart, 2nd ed., II., p. 50, note C.
</p>

<blockquote><p>
<span class="leftside1">52.</span>
<span class="rightside">XXIII.</span>
The chariot group represented on slabs xxii., xxiii. is
represented as standing still, and was probably the last
<span class="pagenum"><a name="page174" id="page174"></a>174</span>
chariot in the procession. This slab is shorter than any
of the others representing chariot groups. Part of the
head of the apobates (No. 52) is supplied in plaster from
the original fragment at Athens. A fragment of an
apobates, which may well belong to the figure No. 52,
has recently been fitted to the left of slab xxiv., thus
proving that No. xxiv. is the first slab of the cavalry, and
making it very probable that No. xxiii. is the last slab
of the chariots. This fragment, incorrectly drawn, is
assigned by Michaelis to slab xxviii. of the south side.</p>

<p><span class="leftside1a">54-109.</span>
<span class="rightside">XXIV.-XLII.</span>
From this point to the north-west angle of the frieze
we have a continuous procession of Athenian cavalry.
The horsemen advance in a loose throng, in which no
division into ranks or troops, nor indeed any settled order,
can be made out. The groups, being very crowded, are
carried on from slab to slab continuously, so that the
vertical lines of the joints intersect the figures, while on
the western frieze, on the contrary, the groups, being
more scattered, are always completed on single slabs.
The general effect of a body of horse in rapid movement
is admirably rendered in the composition of the northern
frieze, and is particularly fine in slabs xxx.-xlii., in
which the effect has not been marred by mutilation.
Though the entire composition is pervaded by the same
general motion, a wonderful fertility of invention is
shown in the arrangement of the successive groups. In
the one hundred and twenty-five mounted figures in this
cavalcade we do not find one single monotonous repetition.</p>

<p>Though the horses bound along with a fiery impatience,
which seems at every moment ready to break loose from
all control, these irregular movements never disturb the
even hand and well-assured seat of the riders. Thus, as
the cavalcade dashes along like a torrent, a rhythmical
effect is produced by the contrast of the impetuous horses
and their calm, steadfast riders.</p>
<span class="pagenum"><a name="page175" id="page175"></a>175</span>

<p>In this part of the frieze there is great variety in the
costumes and accoutrements of the horsemen. Crested
helmets are worn by Nos. 59, 62; flexible leather caps by
Nos. 84, 93, 96; a taenia by No. 97, and a petasos by
No. 105. Some figures wear high boots with flaps at the
knee as Nos. 98, 103, &amp;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, &amp;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, &amp;c. In a few instances it
has long sleeves, as in Nos. 73, 75, 80, 84, 97, 98, 109.
Two riders wear a cuirass, viz. Nos. 62, 92. The reins
and bridles were in nearly every instance of bronze,
marked by rivet holes behind the horse's ear, at his
mouth and in the rider's hands. Marble reins are seen
in the right hands of Nos. 98, 103.</p>

<p><span class="leftside1">52.</span>
<span class="rightside">XXIV.</span>
Slab xxiv. is shown, as has been already stated, to have
contained the first of the cavalry, by the figure of the
apobates which has been fitted to its left side. Neither
this fragment nor that at the upper right hand corner
have been engraved by Michaelis.</p>

<p><span class="leftside1">57.</span>
<span class="rightside">XXV.</span>
Slab xxv. was complete when drawn by Stuart. Only
a fragment, containing part of No. 57, now survives.
This is not inserted, in its place in the frieze, but is fixed
beside the south door to the Elgin Room.</p>

<p><span class="rightside">XXVI.</span>
Slab xxvi. is proved by Stuart's drawing to be continuous
with the fragmentary slab xxv. Between slabs xxvi. and
xxxi. the order is uncertain. The arrangement of plate
<span class="pagenum"><a name="page176" id="page176"></a>176</span>
13 of Michaelis has been followed. It may be assumed
that a slab (xxvii.) is lost between xxvi. and xxviii.,<span class="rightside">XXVII.-XXXI.</span>
which may have included the fragment No. 345, <i>15</i>.
Slab xxx. when complete may have fitted to xxix.; but,
as it has the joint preserved on the right, there can be no
doubt that it did not fit to No. xxxi. Between these two,
therefore, another slab may be supposed to be missing.
The three slabs enumerated as lost, viz. xx., xxvii., and the
slab between xxx., xxxi., may be supposed to have been
about 12 feet long. The missing part of xxx. may be 2 feet.
Of the 25 ft. 10 in. of the frieze lost without record 14
feet are thus accounted for; the remaining 11 ft. 10 in.
may be due to the loss of two more slabs, containing a
chariot group, or to miscalculated proportions in Carrey's
drawing.
</p></blockquote>

<div class="figcenter" style="width: 560px;"><a href="images/16fig13-800.png"><img src="images/16fig13-560.png" width="560" height="457" alt="Fig. 13.&mdash;Slab xxv. restored from Stuart (from Michaelis)." /></a>
<p class="center">Fig. 13.&mdash;Slab xxv. restored from Stuart (from Michaelis).</p></div>

<blockquote><p>
Slab xxviii. is original; slabs xxix.-xxxi. are casts from
<span class="pagenum"><a name="page177" id="page177"></a>177</span>
the originals at Athens; No. 65 (on slab xxix.) is a
marshal beckoning to the riders.</p>

<a name="n325-75" id="n325-75"></a>
<p><span class="leftside1">75.</span>
<span class="rightside">XXXII.</span>
The fragment (in slab xxxii.) containing the head of
No. 75 and the horse's head, having been discovered in
1850 in the collection of Sculptures at Marbury Hall in
Cheshire, was presented to the Museum in 1850 by J. H.
Smith Barry, Esq., the owner of that collection. A small
fragment, cast from the original at Athens, and added to
slab xxxiv., is not engraved by Michaelis.</p>
<a name="n325-85" id="n325-85"></a>
<p><span class="leftside1">85.</span>
<span class="rightside">XXXV.</span>
The fragment (in slab xxxv.) which contains the head
of No. 85 and of a horse, after having been in the
possession of the Society of Dilettanti, passed from that
body to the Royal Academy, by whom it was presented
to the British Museum in 1817.</p>

<p><span class="leftside1">89.</span>
<span class="rightside">XXXVII.</span>
The fragment (in slab xxxvii.) containing the head of
No. 89 and a horse's head, of which a plaster cast is
adjusted to the marble, is now at Athens.</p>

<p><span class="leftside1">97.</span>
<span class="rightside">XXXIX.</span>
The head of No. 97, on slab xxxix. was formerly in the
Pourtalès Collection, at the sale of which in 1865 it was
purchased for the British Museum, and inserted in its
place on the frieze.</p>

<p><span class="leftside1b">107.</span>
<span class="rightside">XLII.</span>
On the last slab of the north side, the procession is still
in a state of preparation, so that this slab prepares a
transition to the west side. In the foreground is a rider
(No. 107), standing by his rearing horse, whom he holds by
the rein with his right hand. In the background beyond
this group is a mounted figure <span class="leftside1b">106.</span>(No. 106), so entirely
concealed by the rearing horse in the foreground that the
only evidence of his presence is his right hand advanced
just beyond his horse's shoulder point.</p>

<p><span class="leftside1c">109, 110.</span>
To the right is a rider (No. 109) standing by his horse,
and in the act of drawing down his chiton under his
girdle in front, while a youthful attendant (No. 110)
assists him by pulling it down behind, or perhaps by
tying the lower girdle over which the folds were drawn.
<span class="pagenum"><a name="page178" id="page178"></a>178</span>
The attendant carries on his shoulder a folded chlamys,
probably that of his master.
</p></blockquote>
<a name="page178a" id="page178a"></a>
<h4><span class="sc">West Frieze of the Parthenon</span>.</h4>

<p><span class="leftside">326.</span>
The west side of the frieze contains a continuation of
the procession of the north side, but here the procession
is mainly in course of preparation, and the scene may be
supposed to be laid in the Cerameicos. In part, doubtless,
on account of the character of the subject, in this part of
the frieze there is less continuity of composition than elsewhere.
The subjects are disconnected, and are usually
on single slabs, and seldom carried over a joint. There is
the same variety of dress and accoutrements here as
among the riders of the north side; but there are
more figures in armour (Nos. 3, 7, 11, 12, 18, 20). It
may be noted, as showing that the west and north sides
were produced by different hands or at different times,
that on the west side the bridles were fixed to the heads of
the horses by four rivet holes, not by two, as on the north.</p>

<p>Slabs i., ii. are originals brought by Lord Elgin. The
remainder of this side (with the exception of No. 27) is
cast from the original slabs, which are still in position on
the temple.</p>

<p>Two sets of casts of this frieze are exhibited in parallel
lines. The upper series is taken from moulds made from
the original marble in 1872; the lower series from moulds
made at Athens, at the time of Lord Elgin's mission. A
comparison of these two sets of casts shows how much
the frieze has suffered from exposure to weather during
seventy years. As the frieze is still in position and
unsheltered, it must be presumed that the decay of the
originals continues.</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;1.</span>
<span class="rightside">I.</span>
The single figure (No. 1) at the north-west angle is
evidently a herald or marshal directing the march of
<span class="pagenum"><a name="page179" id="page179"></a>179</span>
the cavalry. In like manner Hippias, or, according to
Aristotle, Hipparchos, was in the outer Cerameicos,
"arranging how each part of the Panathenaic procession
ought to go forward," when he was attacked by Harmodios
and Aristogeiton. (Thuc. vi., 57; Aristotle,
<ins title="Greek: Ath. pol."><span style="letter-spacing: -2px;">&#7944;&nbsp;</span><span class="gesperrt">&#952;.
&#960;&#959;&#955;</span>.</ins> ed.
Kenyon, 18.) His right hand probably held a staff of office,
as the bent fingers are not closed. This figure is repeated,
in a plaster cast. <span class="leftside1a">&nbsp;&nbsp;2, 3.</span>Then follow two mounted figures
<span class="rightside">II.</span>(Nos. 2, 3); in the hair of No. 2 are holes in which
probably a metal wreath was inserted. <span class="rightside">III.</span>No. 4 raises both
hands as if to open his horse's mouth for the insertion of
the bit. Behind the horse stands a youth <span class="leftside1c">&nbsp;&nbsp;4, 6, 5.</span>(No. 6), either
the groom or attendant; his hands may have held a bridle.
A bearded man (No. 5), probably a marshal, turns towards
the youth as if addressing him. Then follow two more
mounted figures <span class="rightside">IV., V.</span>(Nos. 7, 8), and a youth <span class="leftside1c">7, 8, 9.</span>(No. 9), standing
by his horse, and turning round to his mounted  companion
(No. 10), behind him. Next comes a horseman
<span class="rightside">VI.</span>(No. 11), <span class="leftside1">10.</span>distinguished from all the figures in the frieze
by his richly decorated armour. On his head is a crested
helmet, on the crown of which is in relief an eagle
with outstretched neck. <span class="leftside1">11.</span>A hole a little behind the
temple shows where a wreath has been inserted. His
body is protected by a cuirass, on the front of which is
a Gorgon's head in relief, intended as a charm, to avert
wounds from the most vital part; on the shoulder-straps
are lions' heads, also in relief. Between the breast-plate
and back-piece of the cuirass is an interval at the sides,
which is protected by flexible scale armour
(<ins title="Greek: thôrax lepidôtos">&#952;&#8061;&#961;&#945;&#958;
&#955;&#949;&#960;&#953;&#948;&#969;&#964;&#8057;&#962;</ins>).
Below the girdle are flaps (<i>pteryges</i>) made of leather
covered with metal, which at the upper ends are united
to the girdle. Under the cuirass appears a chiton without
sleeves. The horse of No. 11 is one of the few on the
frieze that have all four legs off the ground. (Cf. north,
91, 97; west, 19; south, 14, 30.)</p>
<span class="pagenum"><a name="page180" id="page180"></a>180</span>

<p><span class="leftside1">12.</span>
No. 12 is on foot, and stoops forward, looking towards
the procession advancing from the right. His left foot
is raised on a rock, and he appears from the action of
his arms to be tying his boot.</p>

<p><span class="leftside1a">13, 14.</span>
<span class="rightside">VII.</span>
The next slab contains two mounted figures (Nos. 13,
14). No. 14 wears a mantle of skin. He is the only figure,
on this side of the frieze, thus decorated. No. 15<span class="rightside">VIII.</span> stands at
the side of a rearing horse, trying to control him.<span class="leftside1">15.</span> The
violence of the action is shown by the muscular strain
and the disordered dress of this figure, who wears a
chiton, <i>exomis</i>, over which is a chlamys flying behind his
back. On his head is a leathern cap. The attire of this
figure is precisely similar to that of No. 8 and No. 19.
Then follow six mounted figures <span class="leftside1a">16-21.</span>(Nos. 16-21)<span class="rightside">IX.-XI.</span>, all moving
rapidly to the left. One of these (No. 17) wears the
petasos, a flapping, broad-brimmed hat used by travellers.
From No. 22 onward to the south-west angle, none of the
figures are mounted. The first group (Nos. 22-24)<span class="rightside">XII.</span> is
not unlike that already described (Nos. 4-6). A youth
<span class="leftside1a">22, 23.</span>(No. 22) stands at the horse's head, and seems to be holding
the reins. At the side of the horse stands a taller figure
(No. 23), holding up his right hand as if giving an order
to a person at some little distance. In his left hand he
holds a short wand. This figure seems to be a marshal,
though his dress, a chiton girt at the waist and a chlamys,
differs from that of all the other marshals on the frieze,
while it frequently occurs among the riders. Behind the
horse is a youth <span class="leftside1">24.</span>(No. 24) who, from his stature and
attitude, is a groom or attendant; a thick garment is cast
over his shoulders. Next is a much mutilated figure
<span class="leftside1">25.</span>(No. 25)<span class="rightside">XIII.</span>, who seems to be pressing his right foot against
the heel of his horse's right fore leg to make him extend
himself so as to lower his back for mounting. Behind
this figure a horse springs forward, free from the control
of his rider <span class="leftside1a">26, 27.</span>(No. 26)<span class="rightside">XIV.</span>, who has let him go in order to assist
<span class="pagenum"><a name="page181" id="page181"></a>181</span>
a comrade (No. 27). This latter figure tries to master a
rearing horse, who threatens to escape from his control.
In the upper portion of this figure a fragment from the
original marble is adjusted to the cast. This fragment
was brought from Athens many years ago, and presented
to the Museum by M. J. J. Dubois in 1840. The next
figure <span class="leftside1a">28, 29.</span>(No. 28)<span class="rightside">XV.</span> stands at his horse's head, and behind him
is a rider (No. 29) not yet mounted, who is drawing on his
left boot in an attitude very similar to that of No. 12;
his right boot lies at the side of the rock on which his
left foot is raised. The horses of both these figures, in
contrast to the preceding group, stand tranquilly waiting
to be mounted. The last figure on the western frieze
<span class="leftside1">30.</span>(No. 30)<span class="rightside">XVI.</span> on the return of the first slab of the south side
stands holding up an ample mantle on his left arm, and
seems to be putting it on. From the size of the mantle
this figure might be that of a marshal, though his
youthful appearance suggests that he is a rider.
</p></blockquote>
<a name="page181a" id="page181a"></a>
<h4><span class="sc">South Frieze of the Parthenon</span>.</h4>

<p><span class="leftside">327.</span>
In following the procession along the south side from
west to east, we pursue one branch of the procession which
corresponds in the main with that on the north side.
The main difference is that on the south the victims
consist of cows only, while on the north there are sheep
as well as cows. It may therefore be the case that this
side represents the Hecatomb offered by the Athenians
themselves. All the victims are cows, in accordance with
Greek ritual, which ordained the sacrifice of male animals
to a God, and female animals to a Goddess.</p>
<a name="n327-4" id="n327-4"></a>
<blockquote><p>
<span class="leftside1a">1-4.</span>
<span class="rightside">I.</span>
The left-hand side of slab i. is still on the Parthenon;
the right-hand portion, containing the figure, No. 4, was
presented to the Museum by the late Mr. C. R. Cockerell.
A marshal (No. 1) stands at the angle; the first horseman
<span class="pagenum"><a name="page182" id="page182"></a>182</span>
(No. 2) advances at a walk, thus conforming to the
rule that the movement is always gentle at an angle of
the frieze. The horsemen of this slab all wear chiton,
chlamys, boots, and a leather cap with a flap (<i>katablema</i>)
hanging over the nape of the neck.</p>

<p><span class="leftside1a">5-7.</span>
<span class="rightside">II.</span>
Slab ii. is cast from the original on the Parthenon,
which is in a very mutilated condition (cf. No. 345, <i>16</i>).
Of No. 7 nothing now remains on this slab, but a bit of
his drapery, and on slab iii. his right foot and his horse's
nose and forelegs. Slab iii.<span class="rightside">III.</span> was complete on the left edge
in the time of Stuart, who gives the head and forehand of
the horse of No. 7. The horseman <span class="leftside1a">8-9.</span>(No. 8) wears a chlamys
only, which is cast back so as to show the entire right
side of the body. This is the only figure on the south
frieze who is so little clad.</p>

<p><span class="leftside1a">10-12.</span>
<span class="rightside">IV.</span>
On slab iv., the greater part of which still remains on
the Parthenon, are the remains of three figures (Nos. 10,
11, 12). On the right side are two fragments of this
slab, brought away by Lord Elgin, one of which only is
given by Michaelis. The other has been since discovered
in the magazines of the Museum.</p>

<p>[At this point it has been necessary to interrupt the
sequence by placing slabs xiv., xv., xx. on the sides of
the pilaster. These slabs are described below in their
respective places.]</p>

<p><span class="leftside1a">12-14.</span>
<span class="rightside">V.</span>
On slab v., No. 13 wears a close-fitting cuirass, but is bare-headed.
Compare the figures 26-35, and the description of
Theagenes in the passage of Heliodorus, quoted on p. 148.
<span class="leftside1a">15-25.</span>Slabs vi.-ix.<span class="rightside">VI.-IX.</span> contain unarmed Athenian horsemen, riding
bare-headed and for the most part wearing chiton with
double girdle and boots only. The head of the rider,
No. 15, is unfinished. The horses at this part of the
frieze have manes with a large forelock turned upwards.</p>

<p><span class="rightside">X.-XIII.</span>
There is a break in the composition at the beginning
of slab x., and a change of subject is marked by the
<span class="pagenum"><a name="page183" id="page183"></a>183</span>
group not being carried across the joint. The figures
<span class="leftside1a">26-37.</span>(Nos. 26-37) on slabs x.-xiii. are evidently arranged in
two ranks of six horsemen each, and are distinguished
from most of the riders in the southern cavalcade by
wearing a cuirass under which is a short chiton. Three
of these figures (Nos. 33, 36, 37) have a cuirass consisting
of a breastplate and backpiece, which are united at
the sides by a strip of flexible scale armour. From
the cuirass hang down the flaps, which protected the
loins. These cuirasses also have shoulder straps. The
riders, Nos. 26-36, wear the plain cuirass, rigid and
close-fitting
(<ins title="Greek: thôrax stadios">&#952;&#8061;&#961;&#945;&#958;
&#963;&#964;&#8049;&#948;&#953;&#959;&#962;</ins>).
All the riders in this part of
the procession wear high boots with a flap turning over
below the knee. They are all bareheaded except No. 36,
who wears a cap or helmet with a flap behind; No. 33,
who also wears a cap; and No. 35, who has a diadem
over which must have been a metallic wreath, as there
are four holes for its attachment on the crown of the head.
A chlamys hangs from the left arm of Nos. 26, 27, 28.
<span class="rightside">XIV.-XVI.</span>Slab xiv., which is a cast from the original at Athens,
and slab xv. are now exhibited on the pilaster. Slab xvi.,
which is also a cast from the original at Athens, is in its
place. Slab xiv. contains the head of the horse of No. 37.
In front of it is a space marking a division, and another
body of six horsemen <span class="leftside1a">38-43.</span>(Nos. 38-43). These appear to be
uniformly dressed in helmet, chiton without cuirass, and
boots, and, although the positions of xv., xvi. are conjectural,
the sequence proposed seems highly probable. In front
of No. 43 there is a space similar to that between Nos. 37,
38. On the right side of xvi. is the outline of a horse's
crupper, and floating above it in the air appears to be the
long end of a mantle of skin such as is worn by No. 14
in the west frieze; behind No. 44 appears to be part of a
garment of the same texture, the outline of which is seen
above the horse's hind quarter. It is, however, doubtful
<span class="pagenum"><a name="page184" id="page184"></a>184</span>
whether xvi. and xvii. joined each other. Perhaps between
them was a slab in which the horsemen wore similar mantles
of skin.</p>

<p>From this point the military order of the procession
becomes less marked, or is obscured by the defective
state of the marble. There is also more variety in the
costumes of the riders.</p>

<p><span class="leftside1a">45*.</span>
<span class="rightside">XVII.</span>
Slab xvii. is a cast from the original at Athens. Since
the publication of the work of Michaelis, two fragments
have been adjusted on the right, which prove the connection
of the slab with No. xviii. by supplying the hind
quarters of a horse of which the rest has been in xviii.
These two fragments, which were unknown to Michaelis,
also supply the forehand of another horse and the body
of the rider (No. 45*) from the waist to below the knee
(see fig. 14).
</p></blockquote>

<div class="figcenter" style="width: 300px;"><a href="images/17fig14-500.png"><img src="images/17fig14-300.png" width="300" height="251" alt="Fig. 14.&mdash;South frieze, slab xvii. (44. 45. 45*.)" /></a>
<p class="center">Fig. 14.&mdash;South frieze, slab xvii.</p></div>

<blockquote><p>
<span class="rightside">XVIII.</span>
The original of slab xviii. is at Athens, and was in its
present mutilated condition when drawn by Carrey.</p>

<p><span class="leftside1">47.</span>
<span class="rightside">XIX.</span>
The cast of the small fragment at the upper left-hand
corner of slab xix., giving the mane of the horse of No. 47,
has been  added since the publication  of the work of
Michaelis. For a fragment  engraved by Michaelis, as
the head of <span class="leftside1">48.</span>No. 48, cf. No. 345, <i>18</i>.</p>

<p><span class="rightside">XX.</span>Slab xx. (on the pilaster) is a cast from the original
<span class="pagenum"><a name="page185" id="page185"></a>185</span>
at Athens. This slab, which now only contains parts
of the legs of two horses and a rider (No. 48) was
nearly complete in the time of Carrey and contained
two riders wearing petasoi or broad-brimmed travellers'
hats.</p>

<p><span class="leftside1a">51, 52.</span>
<span class="rightside">XXI.</span>
In slab xxi. the head of the horse of No. 51 and the
head and shoulders of No. 52 are supplied by casts from
originals at Athens. The fragment containing the head
of <span class="leftside1">53.</span>No. 53, a figure wearing a petasos, does not appear in
the plate of Michaelis.</p>
<a name="slab_xxiv" id="slab_xxiv"></a>
<p><span class="rightside">XXII., XXIII</span>Slab xxii. and slab xxiii., which, with the exception of
a small fragment, is only preserved in Carrey's drawings,
contained the leading horsemen of the procession. Those
on slab xxii. are evidently pulling up their horses, while
the two horsemen on slab xxiii. are going at a foot-pace.
All the paces of the horse are thus displayed within a
short distance, at this part of the frieze. In slab xxii.
a fragment containing a horse's head and the mane
of another horse, which Michaelis assigns to the team on
slab xxiv., has been since adjusted to its place in front of
No. 56; to this has been fitted the small fragment of the
corner of slab xxiii.</p>

<p><span class="rightside">XXIV.</span>
The horsemen are immediately preceded in the procession
by the chariot-groups. Carrey draws eight chariots,
of which four partially survive and four are totally lost.
On the other hand, a part remains of two groups (slab
xxix.),<span class="rightside">XXXIV.</span> of which there is no trace in Carrey's drawings.
These, therefore, must probably be placed in a break in
the sequence of slabs indicated by Carrey. Originally
there must have been not fewer than ten chariot groups.
In each the charioteer is accompanied by an armed
warrior; but here the armed figure is not like the
apobates of the northern frieze in the act of stepping
out of the chariot in motion, but stands either in
the quadriga or (if it is not in motion) by its side.
<span class="pagenum"><a name="page186" id="page186"></a>186</span>
Therefore Michaelis supposes that, while the chariots on
the north frieze have reference to that contest in which
armed apobatae took a part, leaping off and on to the
quadriga during the race, the chariots in the south frieze
suggest the chariots of war, <i>harmata polemisteria</i>, in which
an armed hoplite stood in the chariot by the side of the
charioteer. Each chariot group, when complete, is seen
to be accompanied by a marshal.</p>

<p><span class="rightside">XXIV.</span>
Of the two figures in the chariot of slab xxiv., nothing
now remains but part of the shield and left arm of the
hoplite <span class="leftside1">58.</span>(No. 58), with a fold of drapery hanging from the
arm. The upper part of the slab was wanting in the time
of Carrey, but he gives the legs of the hoplite, who, like
the corresponding figure in slab xxv., was standing by the
wheel of the chariot, of which a small portion remains.
This position shows that both these chariots were represented
at the moment before they started. In the shield
of No. 58 are two rivet holes for the attachment of a
bronze handle. In the upper hole the metal still remains.
Similar rivet holes occur in the shields of Nos. 61 and 66.
Michaelis supplies the heads of the horses on this slab by
a fragment which belongs to the cavalcade of horsemen.
(See <a class="ask" href="#slab_xxiv">slab xxii</a>., above.)</p>

<p>The connection between slabs xxiv. and xxv. is proved
by a fragment which has been added to the lower corner
on the right of slab xxiv. since the work of Michaelis was
published. This fragment, of which the original is at
Athens, gives part of the wheel of the chariot of xxv. and
the forefeet of the horses of xxiv.</p>

<p><span class="rightside">XXV.</span>In slab xxv. the horses' heads now wanting are given
in Carrey's drawing. Of the charioteer <span class="leftside1">60.</span>(No. 60) very
little is now visible but part of his drapery. The armed
figure <span class="leftside1">61.</span>(No. 61) in this chariot group, whose appearance
is more youthful than that of the other hoplites in this
part of the frieze, wears a chiton with a double girdle
<span class="pagenum"><a name="page187" id="page187"></a>187</span>
and a chlamys. Near the edge of his shield are two
rivet holes for a bronze handle; in the upper one the
metal still remains. The marshal <span class="leftside1">62.</span>(No. 62) standing at
the side of the horses stretches out his right hand towards
the charioteer with the forefinger extended, a gesture
which indicates that he is giving an order. The rivet
holes on the horses' crests show that the reins were of
bronze.</p>

<p><span class="rightside">XXVI., XXVII.</span>Slabs xxvi., xxvii., of Michaelis, contained two chariot
groups which we only know through Carrey's drawings.
In both the horses are springing forward; cf. No. 345, <i>20</i>.</p>

<p><span class="rightside">XXVIII.</span>Michaelis inserts to represent slab xxviii. a fragment
which belongs to the north side, slab xxiv.</p>

<p><span class="rightside">XXIX.</span>The lower corner on the left side of xxix. has been
cast from a fragment at Athens, which has been identified
since the publication of the work of Michaelis. This
fragment supplies the missing part of the wheel and a
small piece of flying drapery belonging to one of the
figures in the chariot. In this group the marshal at the
side of the chariot is wanting. On the right-hand edge of
this slab, just above the horses' forelegs and close to the
joint, is part of the outline of a shield. This shield must
have belonged to one of the figures in the chariot following
on the next slab; it is evident, therefore, that between
xxix. and xxx. was another slab, now lost, which we
cannot recognise in any of Carrey's drawings.</p>
<a name="hestor" id="hestor"></a>
<p><span class="leftside1">66.</span>
<span class="rightside">XXX.</span>
The armed figure (No. 66) wears the Corinthian helmet,
which does not occur elsewhere on the frieze. The handle
of his shield was of bronze, of which a small portion still
remains in the rivet hole. Other rivet holes on the crests
of the horses show that the reins and the <i>hestor</i> for attaching
the yoke to the pole were also of bronze. Here, as in
xxix., the marshal is wanting. The horses' heads, which
are treated with more freedom on this slab than elsewhere
on the frieze, are of extraordinary beauty.</p>
<span class="pagenum"><a name="page188" id="page188"></a>188</span>

<p><span class="rightside">XXXI.</span>On slab xxxi., as in the preceding, the reins and the
hestor were of bronze.</p>

<p><span class="rightside">XXXII.-XXXIV.</span>Slabs xxxii.-xxxiv. are now wholly lost, except in
Carrey's drawings. They contained two chariots, both
at a standstill, or moving slowly, and the four last
persons of the crowd on foot.</p>

<p><span class="rightside">XXXV.-XXXVII.</span>Slabs xxxv., xxxvi., and part of slab xxxvii. contained
the remainder of the persons on foot. Fragments of
xxxv. and of xxxvi. (original at Athens) alone remain,
although the slabs were complete in the time of Carrey.
The figures as he draws them appear to be elderly men,
eighteen in number, and resembling in attire and general
character the Thallophori who have been already noticed
on the northern frieze. All are clad in the himation.
Michaelis thinks that <span class="leftside1a">72, 73.</span>No. 72 holds in his left hand a
small object shaped like a clarionet, but he appears to
have mistaken the right arm of No. 73 hanging down for
this object. Between these supposed Thallophori and
the victims Carrey inserts four figures, two of whom
hold in their left hands some object like a square tablet,
which may be the bottom of a lyre, as this is the place in
the procession where the musicians might be expected, if
the arrangement on this side corresponded with that on
the north side. The fragment <span class="leftside1">79*.</span>(No. 79*) representing the
upper part of a Scaphephoros carrying a tray must also
belong to this part of the frieze, and is therefore here
inserted. It is cast from the original at Athens, which
was not known to Michaelis. It probably implies that
one slab was wanting here, as well as the second half of
slab xxxvii., of which Carrey seems to have only drawn
the first half.</p>

<p><span class="rightside">XXXVIII.-XLV.</span>The remainder of the south frieze is occupied with
the procession of victims for the sacrifice. Cows only
are here represented, and, as has been observed, this
may indicate that we have here the native Athenian
<span class="pagenum"><a name="page189" id="page189"></a>189</span>
part of the procession. The order in which these slabs
are exhibited differs from that given by Michaelis in <i>Der
Parthenon</i>, pl. 11., because slab xliii., No. 84 (= Michaelis,
No. 126; cf. 345, <i>22</i>), which is the top left corner of a
slab, has been proved to join to the right side of xli.
Other changes have also been made, but the slab numbers
of Michaelis have been preserved for convenience of
reference, and the order now stands:&mdash;xli., joined by xliii.,
No. 84 (= Michaelis, No. 126); xxxix., which may join
xliii.; xl., which joins xxxix.; xxxviii., which may perhaps
join xl.; after an interval of one slab, xlii.; xliii., Nos. 100,
101 (= Michaelis, 127, 128); xliv., the corner slab. Michaelis
has proposed a revised arrangement in <i>Arch. Zeit.</i>, 1885,
p. 57, which agrees with the foregoing, except that slabs
xxxviii. and xlii. are transposed. Michaelis holds that
xlii. joins xl., and xxxviii. joins xlii. This arrangement
suits the conditions as to space, but the suggested joinings
are very doubtful.</p>

<p>Each cow is escorted by two youths, one on each side,
and a third figure, perhaps a marshal, at the head.
Those of the escort who are on the side of the spectator
are represented in vigorous action, guiding and restraining
the animals by ropes, which may have been painted on
the marble. All are clad in the himation, which in the
figures actively engaged in controlling the cattle is worn
so as to leave one or both shoulders free. Compare the
description of Heliodorus, p. 147. In slab xxxix. the
action is very animated. The youth, <span class="leftside1">85.</span>No. 85, leans back
with his foot pressed against a rock, to restrain the cow.
This motive is a favourite one in fifth century art.
Compare the west frieze, No. 15; a metope of the Theseion
representing Theseus and the bull of Marathon; the balustrade
of the temple of Nikè Apteros (No. 429); and vase
paintings as in <i>Journ. of Hellen. Studies</i>, ii., pl. 10.</p>

<p>In slab xl. the left lower corner is added in plaster,
<span class="pagenum"><a name="page190" id="page190"></a>190</span>
from the original fragment at Athens. In slab xxxviii.
the cow's right horn must have been carved in the round,
only the tip being attached to the background of the
relief. In slab xlii., <span class="leftside1">96.</span>No. 96 has both hands raised to his
head, as if adjusting a wreath. Compare the north frieze,
No. 25. What was the number of cattle in this part of
the frieze cannot now be ascertained, but there is evidence
that there were at least nine, and more probably ten.</p>

<p>Michaelis (<i>Arch. Zeit.</i>, 1885, p. 57), in placing xlii. after
xl., makes the right hand seen on the left of xlii. to be
the hand of <span class="leftside1">91.</span>No. 91 (= Michaelis, No. 115), and the portion
of a cow's belly seen between 90 and 91 to be part of the
cow on the left of xlii. It is to be noticed that the hind
legs of this cow have been altogether omitted.</p>

<p>There is a curious inequality in the depths of the relief
in this part of the frieze. Slabs xxxix., xl. are worked
more in the round than the remaining groups with cattle.</p>

<p><span class="leftside1c">100, 101.</span>
The fragment with the two heads, Nos. 100 and 101,
may be, as Michaelis suggests, a part of the corner slab
xliv., the two parts at present numbered as 101, 102
being different parts of the same figure. <span class="leftside1a">102.</span>The positions
of the head and the foot appear to agree. On the other
hand, the surfaces of the two fragments have weathered
very differently.</p>

<p>On the return face of slab xliv. is the marshal, who
forms the first figure of the east frieze, and makes a connection
between the two sides, by looking back, as if to
the advancing procession.
</p></blockquote>

<p class="indent1">
    In the following conspectus of publications of the frieze, only the
    <i>Museum Marbles</i> and the work of Michaelis, and the photographic
    reproductions are referred to in detail. For a fuller list of early
    publications the reader is referred to the work of Michaelis.
    Deficiencies in the published illustrations, as compared with the
    present state of the frieze, are noted in the description. In the
    fourth column C. indicates that the slab was drawn by Carrey; S.
    that it was drawn by Stuart, and published in the <i>Antiquities of
    Athens</i>, II., chap. i., or IV., chap. iv., pls. 11-14.
<span class="pagenum"><a name="page191" id="page191"></a>191</span>
    A diagram showing all the slabs drawn by Stuart is given in
    <i>Antiquities of Athens</i>, II., chap. i., pl. 30. P. indicates
    that a slab was drawn by Pars, during the Dilettanti Expedition,
    and was published in the <i>Antiquities of Athens</i>, IV., chap.
    iv., pls. 6-10, 15-28. W. denotes slabs published, from drawings of
    Pars, in the <i>Museum Worsleyanum</i>.
</p>

<h4><span class="sc">Parthenon Frieze, East Side.</span></h4>

<table summary="Parthenon Frieze, East Side." align="center" width="auto" style="border-collapse: collapse;">
<tr>
       <th class="border" style="border-left: 1px solid black;"><span class="sc">Michaelis</span>, <br /><i>Der Parthenon</i>, <br />Pl. 14.</th>
       <th class="border"><i>Museum Marbles</i>, <br />Pt. VIII.<br /></th>
       <th class="border">Mansell's <br />Photographs.</th>
       <th class="border">Early Drawings, &amp;c.</th>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">Slab.</td>
       <td class="gridc">Pl.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">I.</td>
       <td class="gridc">XXXIX.</td>
       <td class="gridc">684</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">II.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">684</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">III.</td>
       <td class="gridc">XXXVIII., XXXVII.</td>
       <td class="gridc">685, 686</td>
       <td class="gridc">C.S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">IV.</td>
       <td class="gridc">XXXVI., I.</td>
       <td class="gridc">687, 688</td>
       <td class="gridc">C.S. Brunn,&nbsp;&nbsp;&nbsp;&nbsp; <br /><i>Denkmaeler</i>,&nbsp;&nbsp; <br />Nos. 106, 107.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">V.</td>
       <td class="gridc">II., III., IV.</td>
       <td class="gridc">689, 690</td>
       <td class="gridc">S.W. Brunn, <br /><i>Denkmaeler</i>, <br />Nos. 108, 109, 110.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">VI.</td>
       <td class="gridc">V., VI.</td>
       <td class="gridc">691, 692</td>
       <td class="gridc">C. Baumeister, <br />p. 1187.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">VII.</td>
       <td class="gridc">VII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">VIII.</td>
       <td class="gridc">VIII.</td>
       <td class="gridc">692<i>a</i></td>
       <td class="gridc">C.S.</td>
</tr>
<tr>
       <td class="grid2c" style="border-left: 1px solid black;">IX.</td>
       <td class="grid2c">&nbsp;</td>
       <td class="grid2c">&nbsp;</td>
       <td class="grid2c">C.S.</td>
</tr>
</table>

<p class="center">The East Frieze is also published by the Stereoscopic Company, Nos. 1-13.</p>

<h4><span class="sc">Parthenon Frieze, North Side</span>.</h4>

<table summary="Parthenon Frieze, North Side." align="center" width="auto" style="border-collapse: collapse;">

<tr>
       <th class="border" style="border-left: 1px solid black;"><span class="sc">Michaelis</span>, <br />Pl. 12, 13.</th>
       <th class="border"><i>Museum</i> <br /><i>Marbles</i>, <br />Pt. VIII.</th>
       <th class="border">Mansell's <br />Photographs.</th>
       <th class="border">Early <br />Drawings.</th>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;"> Slab.</td>
       <td class="gridc">Pl.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">I.-V.</td>
       <td class="gridc">VIII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">VI.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">656</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">VII.-XI.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C. (except X.)</td>
</tr>
 <tr>
       <td class="gridc" style="border-left: 1px solid black;">XII.</td>
       <td class="gridc">IX. <span class="sc">A.</span></td>
       <td class="gridc">655</td>
       <td class="gridc">C.S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;"> XIII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XIV.</td>
       <td class="gridc">IX. <span class="sc">B.</span></td>
       <td class="gridc">654</td>
       <td class="gridc">C.S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XV.-XVI.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XVII.</td>
       <td class="gridc">XI.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">S.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XVIII.</td>
       <td class="gridc">X. <span class="sc">C.</span></td>
       <td class="gridc">653</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XIX.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XX.<span class="pagenum"><a name="page192" id="page192"></a>192</span></td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXI.</td>
       <td class="gridc">X. <span class="sc">d</span>.</td>
       <td class="gridc">652</td>
       <td class="gridc"></td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXII.</td>
       <td class="gridc">XII.</td>
       <td class="gridc">651</td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXIII.</td>
       <td class="gridc">XII.</td>
       <td class="gridc">650</td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXIV.</td>
       <td class="gridc">XIII. <span class="sc">a</span>.</td>
       <td class="gridc">649</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXV.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXVI.</td>
       <td class="gridc">XIV.</td>
       <td class="gridc">648</td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXVII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXVIII.</td>
       <td class="gridc">XIII. <span class="sc">b</span>.</td>
       <td class="gridc">647</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXIX.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXX.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXI.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXII.</td>
       <td class="gridc">XV.</td>
       <td class="gridc">646</td>
       <td class="gridc">P. W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXIII.</td>
       <td class="gridc">XVI.</td>
       <td class="gridc">645</td>
       <td class="gridc">P. W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXIV.</td>
       <td class="gridc">XVI.</td>
       <td class="gridc">644</td>
       <td class="gridc">P. W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXV.</td>
       <td class="gridc">XVII.</td>
       <td class="gridc">643</td>
       <td class="gridc">P. W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXVI.</td>
       <td class="gridc">XVII.</td>
       <td class="gridc">642</td>
       <td class="gridc">P. W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXVII.*</td>
       <td class="gridc">XVIII.</td>
       <td class="gridc">641</td>
       <td class="gridc">P. W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXVIII.*</td>
       <td class="gridc">XVIII.</td>
       <td class="gridc">640</td>
       <td class="gridc">P. W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXIX.</td>
       <td class="gridc">XIX.</td>
       <td class="gridc">639</td>
       <td class="gridc">P.S.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XL.</td>
       <td class="gridc">XIX.</td>
       <td class="gridc">638</td>
       <td class="gridc">S. W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XLI.</td>
       <td class="gridc">XX.</td>
       <td class="gridc">637</td>
       <td class="gridc">S. W.</td>
</tr>
<tr>
       <td class="grid2c" style="border-left: 1px solid black;">XLII.</td>
       <td class="grid2c">XXI.</td>
       <td class="grid2c">636</td>
       <td class="grid2c">S. W.</td>
</tr>
<tr>
       <td colspan="4" style="padding-top: 2em;">
    <p class="footnote2a">* Slab XXXVII. is given by Brunn, <i>Denkmaeler</i>, No. 113;<br />
    &nbsp;&nbsp;&nbsp;Slab XXXVIII. = <i>Denkmaeler</i>, No. 114;<br />
	&nbsp;&nbsp;&nbsp;Slab XLII. = <i>Denkmaeler</i>, No. 115.<br />
	&nbsp;&nbsp;&nbsp;The North Frieze is also published by the Stereoscopic Company, Nos. 14-38.</p>
	</td></tr>
</table>

 <h4><span class="sc">Parthenon Frieze, West Side</span>.</h4>
<table summary="Parthenon Frieze, West Side." align="center" width="auto" style="border-collapse: collapse;">
<tr>
       <th class="border" style="border-left: 1px solid black;"><span class="sc">Michaelis</span>, <br />Pl. 9</th>
       <th class="border"><i>Museum</i> <br /><i>Marbles</i>, <br />Pt. VIII.</th>
       <th class="border">Stereoscopic <br />Company's <br />Photographs.</th>
       <th class="border">Early <br />Drawings.</th>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">Slab.</td>
       <td class="gridc">Pl.</td>
       <td class="gridc">No.</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">I.</td>
       <td class="gridc">XXII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">II.</td>
       <td class="gridc">XXII.</td>
       <td class="gridc">39</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">III.</td>
       <td class="gridc">XXIII.</td>
       <td class="gridc">40, 40<span class="sc">a</span></td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">IV.</td>
       <td class="gridc">XXIV.</td>
       <td class="gridc">41</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">V.</td>
       <td class="gridc">XXV.</td>
       <td class="gridc">42</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">VI.</td>
       <td class="gridc">XXVI.</td>
       <td class="gridc">43</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">VII.</td>
       <td class="gridc">XVII.</td>
       <td class="gridc">44</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">VIII.</td>
       <td class="gridc">XXVIII.</td>
       <td class="gridc">45</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">IX.</td>
       <td class="gridc">XXIX.</td>
       <td class="gridc">46</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">X.</td>
       <td class="gridc">XXX.</td>
       <td class="gridc">47</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XI.</td>
       <td class="gridc">XXXI.</td>
       <td class="gridc">48</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XII.</td>
       <td class="gridc">XXXII.</td>
       <td class="gridc">49</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XIII.</td>
       <td class="gridc">XXXIII.</td>
       <td class="gridc">50</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XIV.</td>
       <td class="gridc">XXXIV.</td>
       <td class="gridc">51</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XV.</td>
       <td class="gridc">XXXV.</td>
       <td class="gridc">52</td>
       <td class="gridc">C.P.W.</td>
</tr>
<tr>
       <td class="grid2c" style="border-left: 1px solid black;">XVI.</td>
       <td class="grid2c">XXXV.</td>
       <td class="grid2c">53</td>
       <td class="grid2c">C.P.W.</td>
</tr>
</table>
<span class="pagenum"><a name="page193" id="page193"></a>193</span>

<h4><span class="sc">Parthenon Frieze, South Side</span>.</h4>

<table summary="Parthenon Frieze, South Side." align="center" width="auto" style="border-collapse: collapse;">
<tr>
       <th class="border" style="border-left: 1px solid black;"><span class="sc">Michaelis</span>, <br />Pl. 10, 11.</th>
       <th class="border"><i>Museum</i> <br /><i>Marbles</i>, <br />Pt.VIII.</th>
       <th class="border">Mansell's <br />Photographs.</th>
       <th class="border">Early <br />Drawings.</th>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">Slab</td>
       <td class="gridc">Pl.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">I.</td>
       <td class="gridc">LVI.</td>
       <td class="gridc">661</td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">II.</td>
       <td class="gridc"></td>
       <td class="gridc"></td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">III.</td>
       <td class="gridc">LV.</td>
       <td class="gridc">658</td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">IV.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">V.</td>
       <td class="gridc">LV.</td>
       <td class="gridc">659</td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">VI.</td>
       <td class="gridc">LIV.</td>
       <td class="gridc">660</td>
       <td class="gridc">S.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">VII.</td>
       <td class="gridc">LIV.</td>
       <td class="gridc">657</td>
       <td class="gridc">S.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">VIII.</td>
       <td class="gridc">LIII.</td>
       <td class="gridc">662</td>
       <td class="gridc">S.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">IX.</td>
       <td class="gridc">LIII.</td>
       <td class="gridc">663</td>
       <td class="gridc">S.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">X.*</td>
       <td class="gridc">LII.</td>
       <td class="gridc">664</td>
       <td class="gridc">S.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XI.*</td>
       <td class="gridc">LII.</td>
       <td class="gridc">665</td>
       <td class="gridc">S.W.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XII.</td>
       <td class="gridc">LI.</td>
       <td class="gridc">666</td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XIII.</td>
       <td class="gridc">LI.</td>
       <td class="gridc">667</td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XIV.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XV.</td>
       <td class="gridc">L.</td>
       <td class="gridc">668</td>
       <td class="gridc"></td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XVI.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XVII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XVIII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XIX.</td>
       <td class="gridc">XLIX.</td>
       <td class="gridc">669</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XX.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXI.</td>
       <td class="gridc">XLIX.</td>
       <td class="gridc">670</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXII.</td>
       <td class="gridc">XLVIII.</td>
       <td class="gridc">671</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXIII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXIV.</td>
       <td class="gridc">XLVII.</td>
       <td class="gridc">672</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXV.</td>
       <td class="gridc">XLVII.</td>
       <td class="gridc">673</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXVI.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXVII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXVIII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXIX.</td>
       <td class="gridc">XLVI.</td>
       <td class="gridc">674</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXX.</td>
       <td class="gridc">XLV.</td>
       <td class="gridc">675</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXI.</td>
       <td class="gridc">XLV.</td>
       <td class="gridc">676</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXIII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXIV.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXV.</td>
       <td class="gridc">XLIV.</td>
       <td class="gridc">677</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXVI.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXVII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">C.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXVIII.</td>
       <td class="gridc">XLIII.</td>
       <td class="gridc">678</td>
       <td class="gridc">&nbsp;</td>
</tr>
 <tr>
       <td class="gridc" style="border-left: 1px solid black;">XXXIX.</td>
       <td class="gridc">XLII.</td>
       <td class="gridc">679</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XL.</td>
       <td class="gridc">XLI.</td>
       <td class="gridc">680</td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XLI.</td>
       <td class="gridc">XLI.</td>
       <td class="gridc">681</td>
       <td class="gridc">S.</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XLII.</td>
       <td class="gridc">XL.</td>
       <td class="gridc">682</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="gridc" style="border-left: 1px solid black;">XLIII.</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
       <td class="gridc">&nbsp;</td>
</tr>
<tr>
       <td class="grid2c" style="border-left: 1px solid black;">XLIV.</td>
       <td class="grid2c">XXXIX.</td>
       <td class="grid2c">683</td>
       <td class="grid2c">&nbsp;</td>
</tr>
<tr>
       <td colspan="4" style="padding-top: 2em;">
    <p class="footnote2a">* Slab X. is given by Brunn, <i>Denkmaeler</i>, No. 111;<br />
    &nbsp;&nbsp;&nbsp;Slab XI. = <i>Denkmaeler</i>, No. 112.<br />
	&nbsp;&nbsp;&nbsp;The South Frieze is also published by the Stereoscopic Company, Nos. 53-97.</p>
</td></tr>
</table>

<span class="pagenum"><a name="page194" id="page194"></a>194</span>
<h3>FRAGMENTS OF THE PARTHENON SCULPTURES.</h3>

<p>Numerous small fragments of the Parthenon sculptures
were taken from Athens either by Lord Elgin, or by
travellers who visited Athens. Others have been more
recently discovered in excavations on the Acropolis, or on
its south slope, and are still at Athens. Casts of all such
fragments, so far as they could be obtained, are now in
the British Museum. As far as possible the fragments
have been adjusted in their correct positions on the
sculptures, and have been described in their respective
places in this Catalogue. Of the remainder all the
original marble fragments, and the most interesting of
the casts, are exhibited in the Elgin Room, and are
described below.</p>

<h4><span class="sc">Marble Fragments attributed to the Pedimental Sculptures.</span></h4>

<p><span class="leftside">328.</span>
Fragment of colossal head. According to Hamilton's
Memorandum, this fragment was discovered built into a
Turkish house at the west front of the temple. It
contains the upper part of a face and head. The
sockets of the eyes are hollow, and must have once
contained eyes composed of ivory, precious stones, or
enamel. (An ivory eye, which must have belonged to
a colossal statue, was found in the temple of Athenè, at
Ægina, and is engraved in Cockerell, <i>Temples at Ægina,
and Bassæ</i>, pl. 12, fig. 4. Cf. also <i>Arch. Anzeiger</i>, 1889,
p. 102). The surface of the marble is highly polished,
and traces of red colour have been remarked in the hair.
The back of the head is worked in a peculiar way, to
a plane surface, such as might be required if this was
a head from a pediment, on account of the cornice
above. The hard, conventional style, however, is not in
<span class="pagenum"><a name="page195" id="page195"></a>195</span>
accordance with that of the pedimental sculptures. This
fragment was formerly thought to belong to the Athenè
of the western pediment, to which its scale would
correspond, but there are no other grounds for the attribution.</p>

<p class="indent">
Height, 10 inches. <i>Synopsis</i>, No. 101 (118); <i>Mus. Marbles</i>, VI.,
pl. 16; Michaelis, pl. 8, fig. 14.
</p>

<p><span class="leftside">329.</span>
Two feet, shod with leather, attached to a plinth. The
feet belonged to a figure striding to the (spectator's)
right. The left foot was advanced, and bore the weight
of the body. Between the feet a stump of a tree is attached
to the plinth. The feet appear to be those of a female
figure, which in that case must have worn a short chiton.
The fragment has been assigned by different writers to
the 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.</p>

<p class="indent">
Length, 4 feet 6 inches. <i>Mus. Marbles</i>, VI., pl. 8; <i>Synopsis</i>,
No. 256 (201); Michaelis, pl. 8, fig. 4, p. 194; <i>Journ. of
Hellen. Studies</i>, III., p. 251.
</p>

<p><span class="leftside">330.</span>
Part of colossal right arm of female figure, bent at a
right angle at the elbow. It comprises the upper arm,
<span class="pagenum"><a name="page196" id="page196"></a>196</span>
from the shoulder, and the upper part of the forearm.
This fragment may, perhaps, have belonged to figure G
of the west pediment. (See Carrey's drawing.)</p>

<p class="indent">
Height (to elbow), 1 foot 11 inches. <a class="ask" href="#plate6">Plate VI</a>., fig. 2. In part given
by Michaelis, pl. 8, fig. 40; <i>Synopsis</i>, No. 342 (268).
</p>

<p><span class="leftside">331.</span>
Left arm of female figure, bent, from near the shoulder,
to a little above the elbow. Drapery, thrown over the
arm at the elbow joint, falls partly on the upper and
partly on the fore arm. In the drapery of the upper arm
is a hole for the attachment of an object in metal. This
fragment seems best suited to the figure N. (See Carrey's
drawing.)</p>

<p class="indent">
Length, armpit to elbow, 1 foot 4&frac14; inches. Michaelis, pl. 8, fig. 26;
<i>Synopsis</i>, No. 315 (271*).
</p>

<p><span class="leftside">332.</span>
Right arm of female figure, slightly bent, formed of
two fragments united at the elbow. This may, perhaps,
belong to figure F.</p>

<p class="indent">
Length, 2 feet 7&frac12; inches. Michaelis (pl. 8, fig. 30) gives the upper
arm; <i>Synopsis</i> No. 339 (269).
</p>

<p><span class="leftside">333.</span>
Left forearm of female figure, broken off above the
elbow (Michaelis, pl. 8, fig. 28). To this is united a cast
of a fragment at Athens with the wrist, which is bent a
little inwards. The arm must have been bent at the
elbow.</p>

<p class="indent">
Length, elbow to wrist, 1 foot 7 inches. <i>Synopsis</i>, No. 314 (272).
</p>

<p><span class="leftside">334.</span>
Forearm of female figure. Michaelis (pl. 8, fig. 29)
thinks that it may have belonged either to figure O or W
of the west pediment.</p>

<p class="indent">
Length, 11&frac12; inches. <i>Synopsis</i>, No. 311 (264).
</p>

<p><span class="leftside">335.</span>
Fragment of left thigh, above life size. Michaelis
(pl. 8, fig. 39) calls this a female fragment, and suggests
the nude seated female figure S of the west pediment.
<span class="pagenum"><a name="page197" id="page197"></a>197</span>
But he seems to be in error as to the sex, and the fragment
seems more appropriate to the figure of the boy, E,
in the same pediment.</p>

<p class="indent">
Length, 1 foot. <i>Synopsis</i>, No. 312 (267).
</p>

<p><span class="leftside">336.</span>
Fore part of right foot of female figure, resting on a
thick sole. The foot belonged to a colossal figure, which,
can hardly have been other than the Athenè of the west
pediment.</p>

<p class="indent">
Length, 1 foot 1&frac34; inches (length of second toe, 3&frac34; inches). Michaelis.
pl. 8, fig. 32; <i>Synopsis</i>, No. 340 (244).
</p>

<p><span class="leftside">337.</span>
Piece of drapery, which must have hung free, apparently
from the shoulder and outstretched right arm of a
colossal figure. At the upper extremity is part of a dowel
hole, showing that the marble had been attached here by
a joint.</p>

<p class="indent">
Height, 2 feet 1&frac12; inches. <i>Synopsis</i>, No. 343 (144).
</p>

<p><span class="leftside">338.</span>
Fragment of right shoulder and arm as low as the
deltoid. The upper arm presses against the side. This
fragment may belong to the boy P on the left of Q in
the west pediment.</p>

<p class="indent">
Height, 11 inches. <i>Synopsis</i>, No. 303 (133).
</p>

<h4><span class="sc">Casts from Fragments of the Pedimental Sculptures.</span></h4>

<blockquote><p>
<span class="leftside">&nbsp;&nbsp;339.</span><span class="leftside1">&nbsp;&nbsp;1.</span>
Colossal female head, slightly turned to its right. The
hair was confined in a plait round the head, and also by a
wreath or band, which was of metal, as is shown by the
holes for its attachment. The nose and mouth have been
restored; but the grand style of the antique parts of the
head agrees with that of the Parthenon pediments.</p>

<p>It is impossible, however, to determine to which figure
the head belongs. It has been assigned by Laborde and
others to the Victory (G) who is driving the chariot of
<span class="pagenum"><a name="page198" id="page198"></a>198</span>
Athenè in the west pediment. But it may have belonged
to one of the figures N, Q, S, of the same pediment.</p>

<p>The probability that the head is derived from the
Parthenon is increased by what is known of its history.
It was found in a house of the San Gallo family at Venice.
A member of this family, Felice San Gallo, was secretary
of Morosini, and may well have taken the head as a
trophy from Athens, in 1687. The head passed in 1823
into the possession of David Weber, and afterwards into
that of Laborde.
</p></blockquote>

<p class="indent1">
    Height, 1 foot 3&frac12; inches. Laborde, <i>Athènes</i>, II., pls.
    facing pp. 228, 230; Michaelis, p. 195; pl. 8, fig. 6; Wolters,
    No. 561, p. 257.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;2.</span>
Colossal female head, much defaced. The hair is
gathered in a cloth, which passes over the back of the
head. Compare the figure in the east frieze, slab vi.,
No. 39 (Michaelis, pl. 14, No. 40).
</p></blockquote>

<p class="indent1">
    Height, 11&frac12; inches. Michaelis, pl. 8, fig. 9; Laborde, pl. 24,
    fig. 6.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;3.</span>
Right side of colossal female head. The hair is
gathered into a plait from the brow and bound round the
head. This fine fragment agrees well in style with the
unrestored parts of the head, No. 1, above.
</p></blockquote>

<p class="indent1">
    Height, 10&frac12; inches.
</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;4.</span>Fragment of a wing, with a joint for attachment, and
a heavy support below. The figure of Victory (J) in the
east pediment probably had large wings; but it is difficult
to attach this cast to the statue.
</p></blockquote>

<p class="indent1">
    Greatest length, 2 feet 6 inches. Michaelis, pl. 8, fig. 11;
    Laborde, pl. 25, fig. 12; Overbeck, <i>Ber. d. k. sächs. Ges.
    d. Wissenschaften</i>, 1880, pl. 3.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;5.</span>
Three smaller fragments of similar wings.
</p></blockquote>

<p class="indent1">
    One is engraved, Michaelis, pl. 8, fig. 10; Laborde, pl. 25, fig. 17.
</p>
<span class="pagenum"><a name="page199" id="page199"></a>199</span>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;6.</span>
Portion of chiton, the flowing lines of which greatly
resemble the treatment of the Iris? (G) of the east pediment.
</p></blockquote>

<p class="indent1">
    Length, 1 foot 6&frac12; inches.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;7.</span>
Portion of the right side of a draped figure wearing
chiton and mantle, and sitting on a rock. Attributed by
Michaelis to the west pediment (fig. D or fig. U).
</p></blockquote>

<p class="indent1">
    Height, 3 feet 3 inches. Michaelis, pl. 8, fig. 5. See above,
    No. <a class="ask" href="#n304-d">304 D</a>.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;8.</span>
Left knee of seated draped figure, with the fingers of a
small hand on it. (West pediment, figs. D, E.) See
No. <a class="ask" href="#n304-d">304, D, E</a>.
</p></blockquote>

<p class="indent1">
    Height, 1 foot.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;9.</span>
Left leg of colossal male figure, bent nearly at a right
angle at the knee. It is made up from two pieces, a
fragment reaching from half-way up the thigh to below
the knee, and the fragment of a leg (Michaelis, pl. 8,
fig. 36), reaching to the bottom of the calf.</p>

<p>The scale and the attitude seem to agree well with the
figure of Hermes (H) of the west pediment.
</p></blockquote>

<p class="indent1">
Greatest circumference of the thigh, 2 feet 7&frac12; inches.
</p>

<blockquote><p>
<span class="leftside1">10.</span>
Fragment of the right leg and thigh of a colossal male
figure, made up of two pieces, the leg from below the
knee nearly to the ankle (Michaelis, pl. 8, fig. 38), and
the knee with the beginning of the thigh. This leg is
slightly bent at the knee. It is on the same scale as the
preceding No. 9, and appears to be in the required
position for the right knee of the figure of Hermes (H) in
the west pediment.
</p></blockquote>

<p class="indent1">
    Height, 1 foot 11 inches.
</p>

<blockquote><p>
<span class="leftside1">11.</span>
A colossal right foot, broken off at the ankle, and also
half-way between the instep and the toes. Less than
<span class="pagenum"><a name="page200" id="page200"></a>200</span>
half of the sole is roughly cut with a drill as if this part
of the foot had been slightly raised from the ground.
The heel and part of the sole under the instep have been
broken away. The scale is rather larger than that of
the preceding Nos. 9, 10, and it may therefore be one of
the feet of the Athenè in the west pediment.
</p></blockquote>

<p class="indent1">
    Length of fragment, 11&frac12; inches. Michaelis, pl. 8, fig. 31;
    Laborde, pl. 58, fig. 8.
</p>

<blockquote><p>
<span class="leftside1">12.</span>
Fragment of tail of some serpentine creature having
on the back a ridge of projections. This fragment has
been thought to be part of the tail of a Hippocamp
attached to the chariot of Amphitritè.
</p></blockquote>

<p class="indent1">
    Length, 1 foot 6 inches. Michaelis, pl. 8, fig. 17; Laborde, pl.
    24, fig. 9.
</p>

<blockquote><p>
<span class="leftside1">13.</span>
Fragment of left thigh, near the knee, of colossal figure;
on it falls a corner of drapery to which is attached a
gland. Sauer proposes to assign this fragment to the
figure S of the west pediment.
</p></blockquote>

<p class="indent1">
    Length, 9&frac12; inches. <i>Athenische Mittheilungen</i>, 1891, p. 79.
</p>

<blockquote><p>
<span class="leftside1">14.</span>
Right thigh and knee of a male figure, rather larger
than life. It is very doubtful whether this belongs to
the Parthenon.
</p></blockquote>

<p class="indent1">
    Length, 10 inches.
</p>
<a name="n339-15" id="n339-15"></a>
<blockquote><p>
<span class="leftside1">15.</span>
Fragment of right leg of small figure, broken off above
ankle and below knee. It has been attached at the back.
</p></blockquote>

<p class="indent1">
    Length, 11 inches.
</p>

<blockquote><p>
<span class="leftside1">16.</span>
Left hand of colossal female figure clasped round an uncertain
object. The hand is broken off at the wrist; the
forefinger and middle finger are wanting. There is no
evidence that this hand belongs to the Parthenon. The
scale, however, is suitable to one of the central figures of
<span class="pagenum"><a name="page201" id="page201"></a>201</span>
the west pediment. If the hand is derived thence, it is
possible that the hand is a hand of 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.
</p></blockquote>

<p class="indent1">
    Length of third finger, 6&frac14; inches. Overbeck, <i>Ber. d. k. sächs.
    Ges. d. Wissenschaften</i>, 1880, pl. 3.
</p>

<blockquote><p>
<span class="leftside1">17.</span>
Fragment of an olive-tree with foliage.
</p></blockquote>

<p class="indent1">
    Height, 6&frac12; inches.
</p>

<blockquote><p>
<span class="leftside1">18.</span>
Similar fragment of olive-tree, larger than last.
</p></blockquote>

<p class="indent1">
    Height, 1 foot 4 inches. Michaelis, pl. 8, fig. 15.
</p>

<blockquote><p>
<span class="leftside1">19.</span>
Fragment of ankle and part of calf of right leg wearing
high boot and attached on the right side to the trunk
of a tree. It is highly improbable that this fragment
belonged to the Parthenon.
</p></blockquote>

<p class="indent1">
    Height, 1 foot 3 inches.
</p>
<a name="n339-20" id="n339-20"></a>
<blockquote><p>
<span class="leftside1">20.</span>
Left hand and wrist of male figure; the palm is grooved
for the reception of some object like a staff; the thumb,
forefinger, and upper joints of the other fingers are wanting.
The scale is rather larger than that of the so-called
Theseus (D) of the east pediment, to which the fragment
has been attributed by Overbeck. The wrist is slightly
bent inwards. This hand is finely modelled.
</p></blockquote>

<p class="indent1">
    Length, 9&frac12; inches. Overbeck, <i>Ber. d. k. sächs. Ges. d.
    Wissenschaften</i>, 1880, p. 43.
</p>

<blockquote><p>
<span class="leftside1">21.</span>
Fragment of left hand and wrist of male figure, the
hand much bent back as if the figure had rested on the
open palm; broken across the middle of the metacarpal
bones; possibly the left hand of the River-God V in the
west pediment. See No. <a class="ask" href="#page131">304 V</a>.
</p></blockquote>

<p class="indent1">
    Breadth, 6&frac14; inches.
</p>
<span class="pagenum"><a name="page202" id="page202"></a>202</span>

<blockquote><p>
<span class="leftside1">22.</span>
Right hand of female figure, small; the thumb and
fingers broken off.
</p></blockquote>

<p class="indent1">
    Breadth of palm, 4&frac14; inches.
</p>

<blockquote><p>
<span class="leftside1">23.</span>
Right hand; the thumb and fingers broken off.
</p></blockquote>

<p class="indent1">
    Breadth of palm, 4&frac34; inches.
</p>

<blockquote><p>
<span class="leftside1">24.</span>
Right arm of female figure, slightly bent; the upper
arm broken about the bottom of the biceps; the under
side is worked rough.
</p></blockquote>

<p class="indent1">
    Length, 1 foot 2 inches.
</p>

<blockquote><p>
<span class="leftside1">25.</span>
Fragment of left upper arm of female figure with
sleeve of chiton fastened with studs (Michaelis, pl. 8,
fig. 25).
</p></blockquote>

<p class="indent1">
    Length, 8&frac12;  inches.
</p>

<blockquote><p>
<span class="leftside1">26.</span>
Fragment of right shoulder and upper part of back of
arm of female figure; over the shoulder is drapery.
</p></blockquote>

<p class="indent1">
    Height, 1 foot &frac12; inch.
</p>

<blockquote><p>
<span class="leftside1">27.</span>
Fragment of right hip and right side of body nearly to
the navel, of a boy, possibly from the west pediment.
</p></blockquote>

<p class="indent1">
    Greatest height, 8 inches.
</p>

<blockquote><p>
<span class="leftside1">28.</span>
Left breast of female figure, draped; the drapery has
been fastened on the left shoulder. This may be part of
the figure of Callirrhoè (W) in the west pediment.
</p></blockquote>

<p class="indent1">
    Height, 1 foot.
</p>

<blockquote><p>
<span class="leftside1">29.</span>
Left breast of female figure, the drapery strained over
it; the scale is similar to that of the figure C in the west
pediment.
</p></blockquote>

<p class="indent1">
    Height, 9 inches.
</p>
<span class="pagenum"><a name="page203" id="page203"></a>203</span>

<p><span class="leftside">340.</span>
Cast of a marble head in the Bibliothèque Nationale at
Paris, wrongly assigned by C. Lenormant to the pediments
of the Parthenon.</p>

<p class="indent">
Height, 1 foot 9 inches. <i>Gaz. Arch.</i>, 1875, pl. 1; Wolters, No. 1280;
Laborde, <i>Athènes</i>, I., p. 157; Michaelis, p. 202, <b>B*</b>; Babelon,
<i>Cabinet des Antiques à la Bibl. Nat.</i>, pl. 20.
</p>

<h4><span class="sc">Casts from Fragments of Chariot-horses of West Pediment</span>.</h4>

<p><span class="leftside">341.</span>
A large number of small fragments of horses from the
west pediment has been discovered. Several of these
fragments have been proved to have belonged to the
horses of Poseidon, which were lost before the visit of
Cyriac of Ancona, in 1447. Others belonged to the group
of horses, which was let fall by Morosini's workmen.
Casts of these are preserved in the British Museum, but
only the most remarkable are exhibited in the Elgin
Room.</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;1.</span>

Horse's head broken off at the setting off of the neck.
The nose wanting. The mane, which has been hogged,
and the surface of this head in several places are broken
away. This fragment and the two following are assigned
by Sauer to the chariot of Poseidon.
</p></blockquote>

<p class="indent1">
    Michaelis, pl. 8, J. K. <i>a</i>; Laborde, pl. 26, fig. 25.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;2.</span>
Horse's head, lower half broken away. The mane
hogged, with a loose lock in front. Behind the ears a
groove and two perforations are worked in the mane, and
above the ears two other perforations for the attachment
of trappings of metal.
</p></blockquote>

<p class="indent1">
    Overbeck, <i>Ber. d. k. sächs. Ges. d. Wissenschaften</i>, 1879,
    pl. 1, fig. 3.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;3.</span>
A right hindleg from the stifle joint to the pastern,
bent, so as to indicate a rearing action. From below the
hough to the hoof the leg is carved out of a block resting
<span class="pagenum"><a name="page204" id="page204"></a>204</span>
on the bed of the pediment. The greater part was sculptured
on another block also set in the bed, which is now
wanting, and was fitted to the first block at a joint roughly
tooled. The outside of the haunch and hough have been
cut away, evidently to gain room for the left hindleg of
another horse, or, according to Sauer, for the chariot-pole.
This limb is composed of three separate fragments.
</p></blockquote>

<p class="indent1">
    Michaelis, pl. 8, J. K. <i>f</i>; Laborde, pl. 26, fig. 40; Overbeck,
    <i>Ber. d. k. sächs. Gesell. d. Wissenschaften</i>, 1879, p. 72, pl. 1;
    and 1880, p. 161.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;4.</span>
Left hindleg from stifle to below hough, bent, made
up of two fragments; the upper one may be Michaelis, pl.
8, J. K. <i>g</i>; Laborde, pl. 26, fig. 36.</p>

<p><span class="leftside1">&nbsp;&nbsp;5.</span>
Left thigh from below stifle; the outer side split off,
broken off in the hough joint.</p>

<p><span class="leftside1">&nbsp;&nbsp;6.</span>
Right forefoot; made up of two fragments of which
one is Michaelis, pl. 8, J. K. <i>p</i>; broken off below the knee;
the hoof free from the ground.</p>

<p><span class="leftside1">&nbsp;&nbsp;7.</span>
Hoof of forefoot, free from the ground; cut away on
one side with rough surface; under the foot are holes round
the edge as if for nails.</p>

<p><span class="leftside1">&nbsp;&nbsp;8.</span>
Hindhoof attached to fragment of base.
</p></blockquote>

<p class="indent1">
    Michaelis, pl. 8, J. K. <i>m</i>; Laborde, pl. 26, fig. 41.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;9.</span>
Left foreleg, bent, from above knee to below knee.
</p></blockquote>

<p class="indent1">
Michaelis, pl. 8, J. K. <i>s</i>; Laborde, pl. 26, fig. 30 bis.
</p>

<h4><span class="sc">Marble Fragments of Metopes</span>.</h4>

<p><span class="leftside">342.</span>
The following fragments can be assigned with confidence
to their respective places on the south side.</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;1.</span>
Metope XII. (No. 314). Foot of female figure. See
<i>ante</i>, No. <a class="ask" href="#n314">314</a>.</p>

<a name="n342-2" id="n342-2"></a>
<p><span class="leftside1">&nbsp;&nbsp;2.</span>
Metope XIV. The body of a male figure from the neck
to the navel. This fragment is engraved in the vignette
<span class="pagenum"><a name="page205" id="page205"></a>205</span>
to <i>Museum Marbles</i>, Part vii., and was drawn by Carrey,
who gives the whole metope as a youth raising his hands
in astonishment, and a woman with a casket.</p>
</blockquote>

<p class="indent1">
    Michaelis, pl. 3, xiv.; <i>Synopsis</i>, No. 319 (143).
</p>
<a name="n342-3" id="n342-3"></a>
<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;3.</span>
Metope XVI. The head and trunk of a figure who
has fallen in a combat between two men. The trunk
was one of the Elgin fragments, and is also engraved in
the vignette to <i>Museum Marbles</i>, Part vii. The head was
formerly at Chatsworth, and was presented to the Museum
by <i>the Duke of Devonshire</i> in 1859. Carrey gives the
position of the head of the fallen figure very accurately.</p>
</blockquote>

<p class="indent1">
    <i>Synopsis</i>, No. 323 (294); Michaelis, pl. 3, xvi.
</p>
<a name="n342-4" id="n342-4"></a>
<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;4.</span>
Metope XX. Left thigh of female figure with clinging
drapery, standing turned to the left.</p>

<p>The following fragments are either of doubtful or
unknown origins. Probably they are all derived from
metopes on the south side.</p>
<a name="n342-5" id="n342-5"></a>
<p><span class="leftside1">&nbsp;&nbsp;5.</span>
Left breast of draped female figure. South side, Metope
No. XIII.?</p>
</blockquote>

<p class="indent1">
    <i>Synopsis</i>, No. 302 (132); Michaelis, pl. 4, fig. K.
</p>
<a name="n342-6" id="n342-6"></a>
<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;6.</span>
Fragment of right arm from the wrist to above the
elbow, which is bent; above the wrist is attached a
corner of drapery. <i>Presented by M. Dubois, 1840.</i> South
side, Metope No. XV.?</p>

<a name="n342-7" id="n342-7"></a>
<p><span class="leftside1">&nbsp;&nbsp;7.</span>
Fragment of right arm from the wrist to the elbow,
placed across the breast and left shoulder, with folds of
drapery hanging as if from the hand. South side,
Metope No. XIX.?</p>
</blockquote>

<p class="indent1">
    <i>Synopsis</i>, No. 305 (136).
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;8.</span>
Fragment of left arm from the wrist to near the elbow.
</p></blockquote>

<p class="indent1">
    <i>Synopsis</i>, No. 306 (137).
</p>
<span class="pagenum"><a name="page206" id="page206"></a>206</span>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;9.</span>
Fragment of calf of leg.
</p></blockquote>

<p class="indent1">
    <i>Synopsis</i>, No. 307 (138).
</p>

<blockquote><p>
<span class="leftside1">10.</span>
Fragment of calf of leg covered with drapery.
</p></blockquote>

<p class="indent1">
    <i>Synopsis</i>, No. 308 (139).
</p>

<blockquote><p>
<span class="leftside1">11.</span>
Fragment of left arm from the wrist to near the elbow.
</p></blockquote>

<p class="indent1">
    <i>Synopsis</i>, No. 309 (140).
</p>

<blockquote><p>
<span class="leftside1">12.</span>
Part of the arm (?) of a draped figure, made up of two
pieces.
</p></blockquote>

<p class="indent1">
    <i>Synopsis</i>, Nos. 320 (141) and 322 (142).
</p>

<blockquote><p>
<span class="leftside1">13.</span>
Fragment of the right upper arm of a draped female
figure with sleeve fastened with two studs.
</p></blockquote>

<p class="indent1">
    <i>Synopsis</i>, No. 304 (134).
</p>

<blockquote><p>
<span class="leftside1">14.</span>
Right shoulder and part of breast of draped female
figure; the chiton fastened down the shoulder with four
studs.
</p></blockquote>

<p class="indent1">
    Michaelis, pl. 4, fig. O; <i>Synopsis</i>, No. 301 (131).
</p>

<blockquote><p>
<span class="leftside1">15.</span>
Left hind leg of Centaur up to above the hough.
<i>Presented by M. Dubois, 1840.</i>
</p></blockquote>

<h4><span class="sc">Casts from Fragments of Metopes.</span></h4>

<p><span class="leftside">343.</span>
A large number of fragments have been discovered in
the course of excavations at Athens. Casts of these
have been attached, as far as possible to the Metopes.
Of the fragments which could not be so attached, the
following are the most important.</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;1.</span>
South side, Metope XI. Fragment of shield, held by
left hands of both Centaur and Lapith; cf. Michaelis, pl. 3, No. xi. See <a class="ask" href="#page138">p. 138</a>.</p>

<p><span class="leftside1">&nbsp;&nbsp;2.</span>
Metope XVII. Torso of male figure, extending from the
<span class="pagenum"><a name="page207" id="page207"></a>207</span>
left shoulder to half-way down the right thigh; drapery
hangs from the left shoulder and falls down the back to
the waist. This figure has stood on the right foot; the
left leg appears to have been bent. This metope, as
drawn by Carrey, appears to have contained a nearly
nude male figure, standing, and a draped figure of a
woman, or citharist, holding a lyre.
</p></blockquote>

<p class="indent1">
    Michaelis, pl. 3, xvii.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;3.</span>
Metope XVII. Fragment, possibly part of a lyre;
apparently this is the object held in the hands of the
draped figure of this metope. There are traces of fingers
at the back.</p>
<a name="n343-4" id="n343-4"></a>
<p><span class="leftside1">&nbsp;&nbsp;4.</span>
Metope XX. Fragment of right hand holding the end
of a scroll. This metope, as drawn by Carrey, contained
two draped figures, holding scrolls.</p>
</blockquote>

<p class="indent1">
    Michaelis, pl. 3, xx.
</p>
<a name="n343-5" id="n343-5"></a>
<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;5.</span>
Metope XXIV. Torso of Lapith. In the complete
metope, as drawn by Carrey, the Lapith holds the fallen
Centaur by the hair, and places his left foot on his body.</p>
</blockquote>

<p class="indent1">
    Michaelis, pl. 3, xxiv.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;6.</span>
Head of Lapith, perhaps from Metope No. 305. <i>Found
in the excavations on the Acropolis, of 1889.</i>
</p></blockquote>

<p class="indent1">
    Height, 7&frac12; inches.
</p>

<h4><span class="sc">Marble Fragment of Frieze.</span></h4>

<p><span class="leftside">344.</span>
Head of a youth, looking to the left, in low relief.
This fragment probably belongs to one of the horsemen
in the north frieze. It is placed by Michaelis (pl. 13)
in the space between slabs xxvi. and xxviii. This head
was formerly in the possession of Mr. Steinhaüser, at
Karlsruhe.</p>

<blockquote><p>
Height, 5&frac34; inches.
</p></blockquote>
<span class="pagenum"><a name="page208" id="page208"></a>208</span>

<h4><span class="sc">Casts From Fragments of the Frieze</span>.</h4>

<p><span class="leftside">345.</span>
The fragments are here arranged, as far as possible, in
the order followed in the description of the frieze.</p>

<h4><span class="sc">East Frieze</span>.</h4>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;1.</span>
Fragment from left-hand lower corner of slab, with
drapery falling in vertical folds from below the knee of a
figure; and with a right foot turned to the right, and
wearing a shoe with a thick sole. The figure to which
this fragment belongs must have been a maiden in the
procession; probably the figure on the left of slab ii. now
entirely lost, but preserved in Carrey's drawing.
</p></blockquote>

<p class="indent1">
    Height, 1 foot. Compare Michaelis, pl. 14, slab ii., No. 2.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;2.</span>
Female head, looking to the left. The hair is gathered
up under a net. This must have belonged to one of the
figures in the procession on the east side, slabs vii.-ix., and
probably to No. 56.
</p></blockquote>

<p class="indent1">
    Height, 4&frac12; inches.
</p>

<h4><span class="sc">North Frieze</span>.</h4>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;3.</span>
Fragment of arm and drapery of male figure moving to
the left. From the left edge of a slab. This seems to be
a part of the figure, No. 4, partly seen on slab ii., and has
been thus drawn on <a class="ask" href="#plate7">plate vii</a>.
</p></blockquote>

<p class="indent1">
    Height, 1 foot 1 inch.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;4.</span>
Left-hand upper corner of slab, on which is a youthful
male head, bound with a diadem, looking to the left; the
face shown in three quarters. This seems to agree best
with Carrey's drawing of the figure with the sheep,
slab iv., No. 7 (= Michaelis, No. 9). See <a class="ask" href="#plate7">plate vii</a>.
</p></blockquote>

<p class="indent1">
    Height, 7&frac12; inches.
</p>
<span class="pagenum"><a name="page209" id="page209"></a>209</span>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;5.</span>
Fragment containing the back of the head of one of the
lyre-players (Michaelis, No. 24) and part of the lyre of
the other (Michaelis, No. 25).
</p></blockquote>

<p class="indent1">
    Height, 11&frac14; inches. (See <a class="ask" href="#plate8">Plate viii</a>.) Michaelis, pl. 12, vii.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;6.</span>
Fragment from lower part of draped figure from knee
to right (?) foot, the direction being to the left. On the
right side of the fragment is a joint. The drapery
reaches to the ankle, with an upper fold falling half-way
down the calf. This fragment seems to have belonged to
the musician on slab vii., whose lyre is preserved on the
preceding fragment, and is thus drawn on Plate viii.
Michaelis is in error in marking a joint on the left of
his No. 26 (= Museum, No. 17).
</p></blockquote>

<p class="indent1">
    Height, 1 foot 7&frac12; inches.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;7.</span>
Fragment with left foot wearing a shoe, from a draped
figure moving to the left. The skirt falls just above the
ankle. This may be a part of the figure on slab i., only
preserved in Carrey's drawing (cf. <a class="ask" href="#plate7">Plate vii</a>.); or it may
have belonged to one of the figures on slabs vii.&mdash;ix., notwithstanding
that Carrey represents them with bare feet.
</p></blockquote>

<p class="indent1">
    Height, 7 inches.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;8.</span>
Fragment from the left of slab ix., giving parts of the
three figures shown in Carrey's drawing (see <a class="ask" href="#plate8">Plate viii</a>.).
This fragment agrees fairly well with Carrey, except
that he does not indicate the hand of the middle figure.
It was discovered in the excavations on the Acropolis in
1889.
</p></blockquote>

<p class="indent1">
    Height, 2 feet.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;9.</span>
Fragment from the right joint of a slab, containing
part of a male figure from the hip to the right shoulder.
The right arm was held horizontally, and bent at the
elbow, so that the hand is seen before the breast. A
<span class="pagenum"><a name="page210" id="page210"></a>210</span>
mantle passes round the body from under the right arm
to the left shoulder. This, as Robert points out (<i>Arch.
Zeit.</i>, 1875, p. 100, <i>l</i>), seems to be the marshal beside the
chariot group in Michaelis, pl. 12, xiii., fig. 48. (See
Plate <a class="ask" href="#plate8">viii</a>., slab xiii.) In that case the raised mass on
the left of the hip of this figure would be part of the
rump of the third horse.
</p></blockquote>

<p class="indent1">
    Height, 1 foot 5 inches.
</p>

<blockquote><p>
<span class="leftside1">10.</span>
Fragment with edge of hind quarter of horse, rearing
to the left, with part of the tail. Above the tail are
folds of drapery. This fragment is perhaps a part of slab
xiii., with the hinder chariot horse; but this is very
doubtful.
</p></blockquote>

<p class="indent1">
    Height, 1 foot 8 inches; Michaelis, pl. 12, slab xiii., fig. 48.
</p>

<blockquote><p>
<span class="leftside1">11.</span>
Part of a charioteer, between the waist and the knees;
he stands in a chariot, of which the antyx is visible.
The left forearm crosses the body as if holding the reins.
This fragment, which is not noticed by Michaelis, must
belong to the north frieze. Robert (<i>Arch. Zeit.</i>, 1875,
p. 100, <i>n</i>) proposed to assign it to slab No. xiii. of the
north frieze. This seems the most probable position,
though the fragment does not agree very well with
Carrey's drawing.
</p></blockquote>

<p class="indent1">
    Height, 1 foot.
</p>

<blockquote><p>
<span class="leftside1">12.</span>
Fragment of chariot group; an apobates standing in a
quadriga, leaning forward. The head and neck, right
arm from below elbow and legs from below the knee are
wanting. On his left arm is his oval buckler. He wears
a chiton which leaves the right arm and side bare. His
right hand must have grasped the antyx. On the left
a portion of the drapery of the charioteer is visible.
There is a joint on the left of this fragment. It must
belong to the northern frieze, and on p. 172, fig. 12, it has
<span class="pagenum"><a name="page211" id="page211"></a>211</span>
been drawn in combination with slab xix. It is not
given by Michaelis, or in Robert's list (<i>Arch. Zeit.</i>, 1875,
pp. 95-103).
</p></blockquote>

<p class="indent1">
    Height, 1 foot 5 inches.
</p>

<blockquote><p>
<span class="leftside1">13.</span>
Horse's head, reined back; a joint on the left side.
The scale and direction show that this head belonged to
a chariot group on the north side.
</p></blockquote>

<p class="indent1">
    Height, 11&frac12;  inches; Michaelis, pl. 12, slab xx. (cf. p. 173).
</p>

<blockquote><p>
<span class="leftside1">14.</span>
Fragment containing a part of the neck and lower
part of the mane of one of the horses of a chariot group,
together with a part of the neck of a second horse. This
fragment, which was discovered in the excavations on the
Acropolis of 1889, must belong to a chariot group of the
north frieze, perhaps to slab xi., xv., or xvi.
</p></blockquote>

<p class="indent1">
    Height, 1 foot 3 inches.
</p>

<blockquote><p>
<span class="leftside1">15.</span>
The upper part of two horsemen, and part of the head
or neck of a succeeding horse. The second rider, whose
hand is preserved, held metal reins. The horse had a
metal bridle. This fragment was formerly in the
Cataio Villa, and afterwards the property of Archduke
Karl of Austria. It must have belonged to the fragmentary
portion of the north frieze, between slabs xxvi.
and xxviii.
</p></blockquote>

<p class="indent1">
    Height, 1 foot 3 inches; Laborde, <i>Athènes</i>, II., p. 236;
    Michaelis, pl. 13, xxvii.
</p>

<h4><span class="sc">South Frieze</span>.</h4>

<blockquote><p>
<span class="leftside1">16.</span>
Helmeted head looking to the right. The lower part
of the face is broken away. The helmet has a cheekpiece
turned up at the side. This head probably belongs to
the horseman, No. 5, in the south frieze.
</p></blockquote>

<p class="indent1">
    Height, 5&frac14; inches.
</p>
<span class="pagenum"><a name="page212" id="page212"></a>212</span>

<blockquote><p>
<span class="leftside1">17.</span>
Foreleg of a horse from below the knee to the hoof.
The direction is to the right.
</p></blockquote>

<p class="indent1">
    Length, 7&frac12; inches.
</p>

<blockquote><p>
<span class="leftside1">18.</span>
Youthful beardless head wearing a petasos and looking
to the right. The right side of the head is broken away.
Michaelis engraved this head, pl. 11, slab xix., No. 48.
It no doubt belongs either to that horseman, or to one of
the two on the slab following (xx.), for which see Carrey's
drawing.
</p></blockquote>

<p class="indent1">
    Height, 7 inches.
</p>

<blockquote><p>
<span class="leftside1">19.</span>
Upper part of youthful male figure looking to the
right; behind, horse's head. The figure wore a chiton
with girdle, and, apparently, a close-fitting helmet or
leather cap. Part of the shoulder of a second figure
seems to be visible on the right edge of the fragment.
It is not easy to find a place for this fragment among the
horsemen of the south side. It seems more probable
that the head is that of the charioteer of slab xxvi.; it
agrees well with Carrey's drawing.
</p></blockquote>

<p class="indent1">
    Height, 1 foot 4 inches; Michaelis, pl. 11, slab, xxvi.; No. 64.
</p>

<blockquote><p>
<span class="leftside1">20.</span>
Fragment of male figure, turned to the right, extending
from the neck to the hip. The drapery consists only of a
mantle which is seen passing over the right shoulder and
round the body. The figure appears to be that of a
youth and to correspond best with one of the charioteers
of the south frieze, only preserved in Carrey's drawing,
Michaelis, pl. 11, slab xxvii.
</p></blockquote>

<p class="indent1">
    Height, 1 foot &frac14; inch; Michaelis, pl. 11, slab xxiv., <span class="sc">a</span>.
</p>

<blockquote><p>
<span class="leftside1">21.</span>
Fragment of elderly male figure, moving to the right;
from the hips to the beginning of the shoulder blades.
He wears a mantle closely wrapped about him, and
leaving the right arm bare. On the right of this fragment
<span class="pagenum"><a name="page213" id="page213"></a>213</span>
is a joint. It probably belongs to a figure in the group
of old men and musicians, slabs xxxiv.-xxxvii. Michaelis
inserts it in slab xxxv. (No. 97 in his pl. 11), but his drawing
is incorrect and the fragment cannot be adjusted there.
The only possible place seems to be on the right of slab
xxxiv.
</p></blockquote>

<p class="indent1">
    Height, 10 inches.
</p>

<blockquote><p>
<span class="leftside1">22.</span>
Fragment with left foot and part of drapery of figure
moving to the right, and having the left foot hindmost.
From the left-hand lower corner of a slab. The lowness
of the relief shows that this foot belongs to one of the
figures on the far side of the victims. Michaelis combines
it with his pl. 11., slab xliii., 126. This figure, which is
84 according to the Museum numbering, has now been
joined to slab xli. Although the fragment does not seem
to join satisfactorily to the angle of slab xli., yet this
seems its probable position.
</p></blockquote>

<p class="indent1">
    Height, 8 inches.
</p>

<h4><span class="sc">South or North Frieze</span>.</h4>

<blockquote><p>
<span class="leftside1">23.</span>
Fragment of helmeted head looking to the right. The
head is entirely destroyed except the back of the helmet
and its crest. This head perhaps belongs to one of the
warriors that accompany the chariots in the north
frieze.
</p></blockquote>

<p class="indent1">
    Height, 11&frac12;  inches.
</p>
<a name="page213a" id="page213a"></a>
<h3>ARCHITECTURAL FRAGMENTS FROM THE PARTHENON.</h3>

<p><span class="leftside">350.</span>
The capital and uppermost drum of one of the Doric
columns of the north side.</p>

<p class="indent">
Width of abacus, 6 feet 7&frac14; inches; Penrose, <i>Athenian Architecture</i>,
pl. 19, fig. 1.
</p>
<span class="pagenum"><a name="page214" id="page214"></a>214</span>

<p><span class="leftside">351.</span>
Part of a marble tile-front. The roof of the Parthenon,
like that of many other Greek temples, was formed of
marble tiles, <i>solenes</i>, carefully adjusted. In the case of
the Parthenon the tiles were placed side by side. Ridge
tiles covered the joints, and the lower end of each ridge
terminated in an anthemion. Hence the tile-front was
called by the Greeks <i>kalypter anthemotos</i>. See the model
of the Parthenon, and Michaelis, pl. 2, fig. 8.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Height, 1 foot &frac12; inch.
</p>

<p><span class="leftside">352.</span>
Cast of a similar but more perfect tile-front, from the
original at Athens.</p>

<p class="indent">
Height, 1 foot 8&frac12; inches; Michaelis, pl. 2, fig. 8; Inwood, <i>Erechtheion</i>,
pl. 22.
</p>

<p><span class="leftside">353.</span>
Cast of lion's head from one of the angles of the
pediment. This head, is worked from a block which
forms the springing stone of both the cymatium and the
corona of the pediment. In the modelling of the lion's
head, and especially in the treatment of the mane, there
is a noticeable austerity and conventionalism, such as is
appropriate to a purely decorative piece of sculpture.</p>

<p class="indent">
Height, 1 foot 4&frac12; inches. See the model of the Parthenon; Penrose,
<i>Athenian Architecture</i>, pl. 17; Michaelis, pl. 2, fig. 9; Brunn,
<i>Denkmaeler</i>, No. 82 <span class="sc">b</span>.
</p>

<p><span class="leftside">354, 5.</span>
Casts from two fragments of acroteria, probably from
the western pediment.</p>

<p>The acroteria were ornaments placed above the centre of
the pediments. For an example of a complete acroterion,
see that from Eleusis, No. 438.</p>

<p class="indent">
Lengths, 3 feet 3 inches and 1 foot 9 inches; Michaelis, pl. 2, fig. 10,
i, l.
</p>

<p><span class="leftside">356.</span>
Marble fragment of a similar acroterion.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Height, 10 inches; Inwood, <i>Erechtheion</i>, pl. 22, p. 130.
</p>
<span class="pagenum"><a name="page215" id="page215"></a>215</span>

<p><span class="leftside">357.</span>
Marble fragment of moulding with painted mæander
pattern.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Length, 10 inches; Inwood, <i>Erechtheion</i>, pl. 22, p. 129.
</p>

<p><span class="leftside">358.</span>
Marble fragment of moulding with painted 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.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Length, 1 foot 9 inches; Penrose, <i>Athenian Architecture</i>, pl. 20,
fig. 27<i>a</i>; pl. 23; Michaelis, pl. 2, fig. 17.
</p>
<span class="pagenum"><a name="page216" id="page216"></a>216</span>

<h1 style="margin-top: 3em;">PART III.</h1>

<h2><i>THE SUCCESSORS OF PHEIDIAS.</i></h2>

<div class="figcenter"><img src="images/small_rule-100.png" width="100" height="4" alt="small rule" /></div>

<a name="page216a" id="page216a"></a>
<h3>SCULPTURES OF THE TEMPLE CALLED <br />THE THESEION.</h3>

<p>The building which is commonly known as the Temple
of Theseus, or Theseion, stands about a quarter of a mile
to the north-west of the Acropolis of Athens.</p>

<div class="figcenter" style="width: 600px;"><a href="images/18fig15-1000.png"><img src="images/18fig15-600.png" width="600" height="277" alt="Fig. 15.--Plan of the Theseion. (From Baumeister.)" /></a>
<p class="center">Fig. 15.&mdash;Plan of the Theseion. (From Baumeister.)</p></div>

<p>The temple is of the kind called <i>peripteral hexastyle</i>.
Round the <i>cella</i>, or central chamber, is a single row of
columns, thirty-four in number, of which there are six at
each end. The order is Doric, with a frieze peculiarly
arranged. On the eastern front are ten sculptured metopes,
and there are four on each of the adjacent sides,
making a total of eighteen sculptured metopes. The
remaining metopes of the temple, fifty in number, are
plain slabs, which may possibly have had painted on them
<span class="pagenum"><a name="page217" id="page217"></a>217</span>
figures or ornaments. Of the pedimental groups, which
appear to have once existed at each end of the temple,
nothing now remains except the marks of the attachment
of sculptures. Within the colonnade the two ends of the
<i>cella</i> are adorned with a frieze of Parian marble, which
is still in position. At the west, the length of the frieze
is only equal to the width of the <i>cella</i>; at the east, the
frieze is continued as far as the epistyle, or beams surmounting
the colonnade.</p>

<p>The west frieze is about 25 feet long; casts of 16 feet
4 inches are in the British Museum. The east frieze is
about 37 feet long, and casts of 32 feet are in the Museum.</p>

<p>From the Middle Ages till recent times this building
has been called the Temple of Theseus, and was supposed
to have been dedicated to Theseus by the Athenians in the
time of Kimon. That statesman had transferred the
bones of Theseus to Athens from the island of Skyros in
469 <span class="sc">b.c.</span> The chief arguments for this attribution are:&mdash;(1)
That labours of Theseus are represented on the
metopes, and perhaps on the friezes; (2) that the building
is not far from the place where, according to Leake and
others, it might be expected from the description of Pausanias
(i. 17, 2); (3) that the temple was dedicated as a
Christian church to St. George, who corresponds in many
ways to Theseus.</p>

<p>Ross, however (<i>Das Theseion</i>), tried to prove that this
was not the Theseion. He argued that no connection
could be traced between the external sculptures and the
function of the building. He also argued that the real
Theseion cannot have been a complete temple, and that
it cannot have stood in the position of the temple now in
question. He proposed to call the building a temple of
Ares. It has since been suggested that Ares and Theseus
may have been joint occupants of the temple, as Athenè
and Erechtheus held the Erechtheion in common (Murray,
<span class="pagenum"><a name="page218" id="page218"></a>218</span>
i. p. 236). Curtius (<i>Sieben Carten</i>, text, p. 53) suggested
that the temple may have been that of Heracles in Melitè.
In this view he has been followed by Wachsmuth
(<i>Stadt Athen</i>, i. p. 364). Other patron deities have also
been proposed, as Apollo Patroös, or Heracles and Theseus
together, or Hephaestos. Doerpfeld, followed by Miss
Harrison (<i>Mythology and Monuments of Anc. Athens</i>, p. 112),
is strongly in favour of the last-mentioned attribution,
identifying the building with the temple of Hephaestos
mentioned by Pausanias (i., 14, 6).</p>

<p>It is clear, from a comparison of other temples, that no
conclusive argument can be drawn from the subjects of
the sculptures, especially of the metopes, which may have
little connection with the special purpose of the temple.
At the same time we know that the Theseion was decorated
with paintings relating to the story of Theseus,
and, so far as any weight can be attached to the subjects
of the sculptures, they favour the attribution of the
building to Theseus. It has been suggested that the
temple may have belonged to Heracles and Theseus in
common&mdash;not on the ground that we hear of such a
temple, but because the ten metopes on the east front
relate to Heracles. But this fact is inconclusive. The
Athenians would be content to point out the parallelism
of Heracles and Theseus, even if Theseus was made to
occupy a subordinate position. The newly-discovered <ins title="Greek: Athênaiôn Politeia">&#7944;&#952;&#951;&#957;&#945;&#8055;&#969;&#957;
&#928;&#959;&#955;&#953;&#964;&#949;&#8055;&#945;</ins> of Aristotle furnishes some new evidence.
The disarming of the Athenians by Peisistratos is said to
have been effected in the following manner. He caused
the citizens to put down their arms in the Theseion, presumably
in the temenos of Theseus, that he might address
them, and then drew them off to the Propylaea on the
pretext that they would be better able to hear him.
Meanwhile his agents shut up the arms in "the adjacent
buildings of the Theseion" <ins title="Greek: exoplisian en tô Thêseiô poiêsamenos ...">(&#7952;&#958;&#959;&#960;&#955;&#953;&#963;&#8055;&#945;&#957;
&#7952;&#957; &#964;&#8183;
&#920;&#951;&#963;&#949;&#8055;&#8179;
[<i>sic</i> MS.] &#960;&#959;&#953;&#951;&#963;&#8049;&#956;&#949;&#957;&#959;&#962; ...</ins>
<span class="pagenum"><a name="page219" id="page219"></a>219</span>
<ins title="Greek: ekeleusen autous prosanabênai pros to Propylon tês akropoleôs ...">
&#7952;&#954;&#8051;&#955;&#949;&#965;&#963;&#949;&#957;
&#945;&#8016;&#964;&#959;&#8058;&#962;
&#960;&#961;&#959;&#963;&#945;&#957;&#945;&#946;&#8134;&#957;&#945;&#953;
&#960;&#961;&#8056;&#962; &#964;&#8056;
&#928;&#961;&#8057;&#960;&#965;&#955;&#959;&#957;
&#964;&#8134;&#962;
&#7936;&#954;&#961;&#959;&#960;&#8057;&#955;&#949;&#969;&#962; ...</ins>
<ins title="Greek: anelontes hoi epi toutôn tetagmenoi ta hopla autôn kai synklêisantes eis ta plêsion oikêmata tou Thêseiou k.t.l.">
&#7936;&#957;&#949;&#955;&#8057;&#957;&#964;&#949;&#962;
&#959;&#7985;
&#7952;&#960;&#8054;
&#964;&#959;&#8059;&#964;&#969;&#957;
&#964;&#949;&#964;&#945;&#947;&#956;&#8051;&#957;&#959;&#953;
&#964;&#8048; &#8005;&#960;&#955;&#945;
&#945;&#8016;&#964;&#8182;&#957;
&#954;&#945;&#8054;
&#963;&#965;&#947;&#954;&#955;&#951;&#8055;&#963;&#945;&#957;&#964;&#949;&#962;
&#949;&#7984;&#962;
&#964;&#8048;
&#960;&#955;&#951;&#963;&#8055;&#959;&#957;
&#959;&#7984;&#954;&#8053;&#956;&#945;&#964;&#945;
&#964;&#959;&#8166;
&#920;&#951;&#963;&#949;&#8055;&#959;&#965; &#954;.&#964;.&#955;.</ins>
Aristot. <ins title="Greek: Ath. pol.">&#7944;&#952;. &#928;&#959;&#955;.</ins> ed. Kenyon, 15). From
this it may be inferred that the Theseion was at no great
distance from the Propylaea, though sufficiently removed
for the success of the stratagem. Polyaenus (<i>Strat.</i> i.,
21) tells the story, but states that the disarming took
place in the Anakeion, and that the arms were shut up in
the sanctuary of Aglauros. These are known sites below
the north and north-west sides of the Acropolis. The
account of Aristotle thus shows that there was a temenos
and shrine of Theseus in existence long before the time of
Kimon.</p>

<p>The date of the temple is necessarily uncertain. It
cannot be older than the Persian invasion (480 <span class="sc">b.c.</span>), but
most writers are of opinion that each part is rather older
than the corresponding part of the Parthenon, both in the
architecture (Julius, <i>Annali dell' Inst.</i> 1878, p. 205) and
in the sculpture. There are many parallels between
the metopes of the Parthenon and the sculptures, both
metopes and friezes, of the Theseion. There is also a
close analogy between the east friezes of the Parthenon
and the Theseion in point of composition; moreover certain
figures occur in both works (Murray, i. p. 244). But
there is no trace in the Theseion of the low relief of the
Parthenon frieze. The whole of the Theseion sculptures
are metope-like in the treatment of the high relief. Overbeck
states the order in point of time as follows:&mdash;Metopes
of Theseion; metopes of Parthenon; west frieze
of Theseion; east frieze of Theseion; frieze of Parthenon
(<i>Gr. Plast.</i> 3rd ed. I., p. 349). Doerpfeld, however, followed
by Miss Harrison, holds the temple to be later than the
Parthenon.</p>

<p>It has been held by Brunn, Julius (<i>Annali dell' Inst.</i>
<span class="pagenum"><a name="page220" id="page220"></a>220</span>
1878, p. 202), and Murray (i. p. 251), that the differences
between the sculptures of the two temples are due to the
fact that the sculptures of the Theseion were produced by
the school of Myron.</p>

<blockquote><p>
Stuart, <i>Antiqs. of Athens</i>, vol. III., chap. i.; <i>Mus. Marbles</i>, IX.,
pls. 12-21; Müller, <i>Denkmaeler</i>, pl. 21; <i>Kunstarch. Werke</i>, IV.,
p. 1; Ross, <i>Das Theseion</i> (1st ed. 1838; 2nd ed., 1852); Ulrichs,
<i>Annali dell' Inst.</i>, 1841, p. 74; Leake, <i>Topography of Athens</i>
(2nd ed.), p. 498; Gurlitt, <i>Das Alter der Bildwerke des sog.
Theseion</i>; Brunn, <i>Sitzungsber. der k. bayer. Akad. Phil.-hist. Cl.</i>
1874, II., p. 51; Wachsmuth, <i>Die Stadt Athen</i>, I., p. 357;
Julius, in <i>Annali dell' Inst.</i>, 1877, p. 92; 1878, p. 193; and
<i>Mon. dell' Inst.</i>, X., pls. 43, 44, 58, 59; Overbeck, <i>Gr. Plast.</i>, 3rd
ed., I., p. 343; Murray, I., p. 235; Wolters, No. 526; Baumeister,
s. v. <i>Theseion; Elgin Room Guide</i>, II., B., 1-16. The British
Museum possesses an excellent series of drawings of the Theseion
by Lord Elgin's artists.
</p></blockquote>

<h4><span class="sc">Casts of the Metopes of the Theseion</span>.</h4>

<p>The ten metopes on the eastern front contain nine
labours of Heracles, one labour being represented in two
groups. The eight metopes at the east ends of the
South and North sides represent the following exploits of
Theseus:&mdash;On the South side&mdash;(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&mdash;(1)
The victory of Theseus over the robber Periphetes,
also called Corynetes. (2) His contest with the Arcadian
wrestler, Kerkyon. (3) The punishment of Skiron.
(4) The capture of the sow of Crommyon.</p>

<p>Of these eighteen metopes the Museum possesses casts
of only three, Nos. 1, 2, and 4 on the North side.</p>

<p><span class="leftside">400.</span>
Theseus and the robber, Periphetes. Theseus stands
over his adversary, who has been thrown down on the
ground, and aims a blow at him. Both arms of Periphetes
are stretched out as if to avert a spear-thrust, and it
<span class="pagenum"><a name="page221" id="page221"></a>221</span>
seems probable that the weapon of Theseus was a spear,
which he directed with both hands. The left hand of
Theseus still remains in front of his breast.</p>

<p class="indent">
Height, 3 feet 9&frac12; inches. <i>Mus. Marbles</i>, IX., pl. 20.
</p>
<a name="n401" id="n401"></a>
<p><span class="leftside">401.</span>
Theseus and Kerkyon, an Arcadian wrestler, who
challenged all travellers to wrestle, and slew the vanquished.
Theseus has lifted his adversary from the
ground, and, clasping his hands together, grips him
tightly round the body. Kerkyon is nearly helpless.
His right arm passes behind the shoulder of Theseus,
but with his left hand he seizes Theseus' right heel.
Kerkyon is bearded, but the hair is hardly indicated in
detail.</p>

<p class="indent">
Height, 2 feet 9&frac12; inches. <i>Mus. Marbles</i>, IX., pl. 21.
</p>

<p><span class="leftside">402.</span>
Theseus and the Sow of Crommyon. The sow stands
on her hindlegs, resting her forefeet on the thigh and
the drapery of Theseus. Theseus advances to the attack.
The action of the right hand cannot be ascertained, but
the right arm must have been raised above the head, and
perhaps brandished a club. The left arm is concealed in
the chlamys, which Theseus wears in this metope.</p>

<p class="indent">
Height, 2 feet 9&frac12; inches. <i>Mus. Marbles</i>, IX., pl. 21.
</p>

<h4><span class="sc">Casts of the West Frieze of the Theseion</span>.</h4>

<p>The subject of the West frieze of the Theseion admits
of no doubt. Here we have represented the Battle of the
Centaurs and Lapiths at the marriage feast of Peirithoös.
It has been pointed out that this frieze appears to consist
of metope-like groups, with a few figures added to give
continuity between the different groups, such as is appropriate
to a frieze. Thus, compare No. 403, <i>1</i> with the
Parthenon Metope, No. 307. In the parts of the frieze,
not represented by casts, compare the group engraved
<span class="pagenum"><a name="page222" id="page222"></a>222</span>
Overbeck, <i>Gr. Plast.</i> 3rd ed. i., p. 348, No. 2, with
Michaelis, pl. 3, xxiv.; Overbeck, No. 6, with Parthenon
metope, No. 311; Overbeck No. 8 with Michaelis, pl. 3, xi.</p>

<div class="figcenter" style="width: 500px;"><a href="images/19fig16-780.png"><img src="images/19fig16-300.png" width="300" height="505" alt="Fig. 16.--The disposition of the West Frieze of the Theseion." /></a>
<p class="center">Fig. 16.&mdash;The disposition of the West Frieze of the Theseion.
(From Baumeister).</p></div>

<blockquote><p>
<span class="leftside">&nbsp;&nbsp;403.</span><span class="leftside1">&nbsp;&nbsp;1.</span>
Combat of Centaur and Lapith. The Lapith is defeated
and has fallen to the ground. He supports his body with
the right arm, of which the hand alone remains. The
left hand, which is wrapped in the chlamys, is raised
<span class="pagenum"><a name="page223" id="page223"></a>223</span>
imploringly to the Centaur, to whom also the head is
turned. The victorious Centaur rears up above the
Lapith, and is about to hurl a great stone, or perhaps a
hydria, with both hands.
</p></blockquote>

<p class="indent1">
    Height of this and the following slabs, 2 feet 9&frac12; inches;
    length, 2 feet 10 inches. <i>Mus. Marbles</i>, IX., pl. 18.
</p>

<blockquote><p style="margin-top: 2em;">
Between Nos. 1 and 2 is a group, of which the Museum
does not possess a cast, representing two Lapiths and a
fallen Centaur.</p></blockquote>

<blockquote>
<p style="margin-top: 2em;"><span class="leftside1">&nbsp;&nbsp;2.</span>
On the left is a group of a Lapith and a Centaur.
The combatants have for the moment drawn a little
apart. The Lapith has recoiled for a blow; the attention
of the Centaur seems more directed to the group on his
left. The symmetry of the grouping, which is apparent
in the frieze as a whole, requires us to regard these two
figures as connected, though they may appear somewhat
separated. The Centaur brandishes a branch of a tree, to
which his hands are still attached, though the arms are
lost. The Lapith had both arms raised, and perhaps held
a battle-axe. His dress is a chlamys.</p>

<p>We next have a group of two Centaurs, rearing up, and
heaving together a rock wherewith to crush the invulnerable
Lapith, Kaineus, who is half buried in the ground
between them, and who endeavours to defend himself
with his shield uplifted on his left arm. His head is
turned towards the Centaur on the right. His right arm,
now wanting, may have rested on the ground. But it is
possible, to judge from indications on the ground of the
relief, that it was bent at the elbow, and pierced with a
sword the abdomen of the Centaur. The Lapith wears a
helmet.</p>

<p>On the right of this group is a Lapith hastening to give
succour to Kaineus. His right arm, which was bent back
<span class="pagenum"><a name="page224" id="page224"></a>224</span>
at the elbow, had been raised to strike. His left arm has
been muffled in a chlamys. He also wore a petasos, part
of which is seen behind the shoulders. On the right of
this figure is a group of a Lapith attacking a Centaur.
The Lapith wears a crested helmet; on his left arm is a
shield, within which his chlamys hangs from his arm. He
also wears sandals. He places his left foot on a rock.
The Centaur opposed to him is rearing, with his back
turned to the spectator; his right arm, drawn back, has
held some weapon, probably the branch of a tree; on his
left arm and shoulder is the skin of a lion or panther
which hangs down his back.
</p></blockquote>

<p class="indent1">
    Length, 10 feet 9 inches. <i>Mus. Marbles</i>, IX., pls. 18, 19.
</p>

<blockquote><p style="margin-top: 2em;">
The next group on the frieze, which is not represented
by a cast, contains a Centaur struggling with a Lapith
who has fallen on his knees.</p>

<p><span class="leftside1">&nbsp;&nbsp;3.</span>
On the left is a Lapith, armed with shield and helmet,
and wearing a chiton and sandals. He seems about to
attack a Centaur, who rears to the right over the body of
a Lapith, who has sunk down in a sitting position.
</p></blockquote>

<p class="indent1">
    Length, 2 feet 9 inches. <i>Mus. Marbles</i>, IX., pl. 20.
</p>

<blockquote><p>
Most of the figure of the seated Lapith, and the whole
of the succeeding group of a Lapith and Centaur are not
represented by casts in the Museum.</p></blockquote>

<h4><span class="sc">Casts of the East Frieze of the Theseion.</span></h4>

<p>On the east frieze is represented a battle in the presence
of six seated deities arranged in two groups. In
one part of the frieze the combatants are hurling vast
rocks. Colonel Leake (<i>Topography of Athens</i>, 2nd ed.
p. 504), supposed that Heracles and some of the gods are
engaged in a battle with giants, while other deities,
among them some who usually take a leading part in the
<span class="pagenum"><a name="page225" id="page225"></a>225</span>
fray, merely sit and watch. This, however, is a scheme
of Gigantomachia to which no parallel can be adduced.
</p>
<a name="fig17" id="fig17"></a>
<div class="figcenter" style="width: 500px;"><a href="images/20fig17-600.png"><img src="images/20fig17-300.png" width="300" height="470" alt="Fig. 17.--The disposition of the East Frieze. (From Baumeister.)" /></a>
<p class="center">Fig. 17.&mdash;The disposition of the East Frieze. (From Baumeister.)</p></div>

<p>
Brunn (<i>Sitzungsber. der k. bayer. Akad. Phil.-hist. Cl.</i>,
1874, ii., p. 51), supposes the battle here represented to
be that fought by the Athenians under Theseus against
Eurystheus in defence of the Heracleidae. The scene on
the left would thus represent the first rout of the troops
of Eurystheus; then would come the storming of the
Skironian pass by Theseus, where we might expect masses
of rocks to be hurled on the assailants. The kneeling
<span class="pagenum"><a name="page226" id="page226"></a>226</span>
figure on the left of the central group (404, <i>4</i>), who is
being bound would, according to Brunn, be Eurystheus,
who was taken prisoner and put to death. The figure on
the extreme right (404, <i>8</i>), who is stooping forward, Brunn
supposes to be one of the victors erecting the boundary
stone, which, according to the Attic legend, was set up
by Theseus to mark the limits of the Peloponnese on the
side of Attica.</p>

<p>The theory is highly ingenious; but it demands a
forced interpretation of the rocks to suppose them to be
lining the two sides of a pass; and it overlooks the close
parallelism with the east frieze of the Parthenon, where
the two groups of gods must be supposed to form a single
background to the scene. Also, the Skironian pass was a
road between rocks and the sea. Moreover, the vast size
of the rocks indicates a giant race, rather than a group of
warriors who are reduced to using stones in an extremity.</p>

<p>If the subject has any connection with Theseus, the
theory of K. O. Müller seems the best that has been
proposed. According to Müller (<i>Kunstarch. Werke</i>, iv.
p. 1) it represents the Athenians under Theseus attacking
the Pallantidae, or sons of Pallas, who was a son of
Pandion, king of Attica. These in Attic legend (Plut.
<i>Theseus</i>, 13) formed a league against Theseus. Müller
supposes them to have been a race akin to the giants.
Compare Soph. <i>Ægeus, fr.</i> 19, ed. Dindorf,
<ins title="Greek: ho sklêros houtos kai gigantas ektrephôn Pallas">
&#8001; &#963;&#954;&#955;&#951;&#961;&#8056;&#962;
&#959;&#8023;&#964;&#959;&#962;
&#954;&#945;&#8054;
&#947;&#8055;&#947;&#945;&#957;&#964;&#945;&#962;
&#7952;&#954;&#964;&#961;&#8051;&#966;&#969;&#957;
&#928;&#8049;&#955;&#955;&#945;&#962;</ins>. 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.</p>

<blockquote>
<p><span class="leftside">404.</span><span class="leftside1">&nbsp;&nbsp;1.</span>
On the left of the slab, two armed warriors carrying
large shields on the left arm, and wearing, one a chlamys
and one a chiton over the left shoulder only (<i>heteromaschalos</i>),
advance to the right. Before them is a conquered
adversary, who has been forced down on his knees by the
<span class="pagenum"><a name="page227" id="page227"></a>227</span>
victor, who appears to tread down his buttock, while his
hands are engaged binding the hands of the prisoner.
The victor wears a chlamys, but the prisoner is nude.
The head of the prisoner was probably turned towards the
victor. On the extreme right of the slab there remains
the right foot of a figure. The original is extant (cf.
Stuart, vol. iii. ch. i. pl. 15), and is a nude armed figure,
moving to the right. The head is lost.
</p></blockquote>

<p class="indent1">
Height of this and the following slabs, 2 feet 9&frac12; inches;
length, 4 feet 6 inches. <i>Mus. Marbles</i>, IX., pl. 12.
</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;2.</span>
On the next slab is a group of three deities seated
on rocks, of whom the figure on the right is male and the
other two female. The two female deities wear long
chitons, in the one case with a 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
(<i>Les Ruines des plus beaux Monuments de la Grèce</i>, 1758),
though in most respects worthless, seems to show conclusively
that the heads are conjecturally restored in Stuart,
vol. iii. ch. i. pls. 15, 16, while in pls. 17 to 20 no restoration
is attempted. The remains of the figure make it
probable that the goddess here represented is Athenè.</p>

<p>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.</p>
<span class="pagenum"><a name="page228" id="page228"></a>228</span>

<p>The second Goddess may well be Hera, and in that case
her male companion would probably be Zeus.
</p></blockquote>

<p class="indent1">
    Length, 4 feet 6 inches. <i>Mus. Marbles</i>, IX., pl. 13.
</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;3.</span>
Combat of two warriors. The nude warrior on the
left, armed with shield and helmet, presses forward to the
attack; he probably held a sword in the right hand. His
adversary, whose back is turned towards us, appears to
be in retreat, but to be stopping to deliver a thrust,
probably with a spear held in the right hand. His left
arm must have held out a shield, of the rim of which
a fragment remains, attached to the left thigh. His
dress is a chiton <i>heteromaschalos</i>. On the right of the
slab is seen the right foot of a warrior, belonging to the
succeeding group, of which the British Museum possesses
no cast. The warrior stretches out his shield to protect
a wounded figure lying on the ground.
</p></blockquote>

<p class="indent1">
    Length, 2 feet 10 inches. <i>Mus. Marbles</i>, IX., pl. 14. For the
    missing group, see Stuart, III., ch. I., pl. 17; Overbeck, <i>Gr.
    Plast.</i>, 3rd. ed., I., p. 348.
</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;4.</span>
Part of the legs of the wounded warrior just referred to
remains on the ground, on the left. Next on the right are
two warriors moving to the right. Both these figures are
nude, but very seriously mutilated. It is doubtful whether
the figure on the left was armed with a shield, like his
companion. His right foot is advanced and he is hurrying
forward.
</p></blockquote>

<p class="indent1">
    Length, 2 feet 8 inches. <i>Mus. Marbles</i>, IX., pl. 14.
</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;5.</span>
A battle scene, in which the combatants, four in
number, are hurling rocks; a fifth, overcome in the fray,
lies prostrate on the ground. In this combat one warrior
appears to be fighting against three. On the left an heroic
figure, which may well be Theseus, is seen advancing. In
<span class="pagenum"><a name="page229" id="page229"></a>229</span>
the confusion his mantle has fallen off, and only hangs over
the left arm. With outstretched left hand he repels a
huge stone hurled against him by his adversary; the right
hand appears to have been stretched out behind the body,
and may have held a sword. There appear to be no means
of warding off the stone which the adversary throws with
his left hand. Confronting the hero, supposed to be
Theseus, is first the warrior just mentioned, who hurls
a stone with each hand. Behind him is a second figure,
who appears to be looking in the same direction. His right
hand was probably holding a stone behind his head, while
the left hand is stretched back to pick up another stone
from the ground. The third warrior hurls a great stone
with his right hand, while with his left hand he propels
the large stone seen behind the shoulders of the central
figure. The fallen figure lies on rocky ground in the
middle of the group of combatants, his head is much
below the level of his body; his right arm, now wanting,
has been resting on a lower level, his left arm is folded
helplessly across his body.
</p></blockquote>

<p class="indent1">
    Length, 5 feet 10 inches. <i>Mus. Marbles</i>, IX., pl. 16.
</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;6.</span>
Group of two warriors advancing rapidly to the right,
each with a shield on the left arm. One is nude, the
other wears a chiton <i>heteromaschalos</i>. Next on the right
is a group of one female and two male deities seated on
rocks, and observing the combat. The Goddess occupies
the centre of the group, her head slightly inclined forward,
and looking to the left. She wears a long chiton,
sandals, and a mantle wrapped about her lower limbs.
Both male figures have similar mantles. It may be conjectured
that the three figures in order from the left are
Poseidon, Demeter, and Dionysos; but it is impossible to
attribute names to them with any confidence.
</p></blockquote>

<p class="indent1">
    Length, 6 feet 6 inches. <i>Mus. Marbles</i>, IX., pl. 15.
</p>
<span class="pagenum"><a name="page230" id="page230"></a>230</span>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;7.</span>
Torso of a warrior armed with a large shield, who
moves to the left front. The head, now wanting, was
probably turned to the group next on the right, which
consists of two male figures. The one on the left is
evidently a victor holding a prisoner, who has his hands
tied behind his back. The victor wears a chiton <i>heteromaschalos</i>,
while the prisoner wears a chlamys.</p>

<p>Between this group and the next figure is a space,
in which should be a male figure standing, turned a little
to the right, and wearing a chlamys. He appears to be
giving an order to the figure on the right.
</p></blockquote>

<p class="indent1">
Length, 3 feet 8 inches. <i>Mus. Marbles</i>, IX., pl. 17. For missing
figure, see Stuart, III., ch. I., pl. 20; Overbeck, <i>Gr. Plast.</i>,
3rd ed. I., p. 348.
</p>

<blockquote>
<p><span class="leftside1">&nbsp;&nbsp;8.</span>
Male figure turned to the left, and bending forward.
Both arms have been extended in front of the body.
The figure wears a helmet and a chiton girt at the waist.
The left foot, which is advanced, rested on a higher level
than the right foot. There is some uncertainty as to the
motive of this figure. Stuart restores it as engaged in
the erection of a trophy, and this is accepted by Schultz,
<i>De Theseo</i>, p. 26; cf. Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 353.
For this however there is very little room. Leake suggested
that the figure was engaged adjusting his greave
(<i>Topogr. of Athens</i>, 2nd ed., p. 511).
</p></blockquote>

<p class="indent1">
    Length, 1 foot 6 inches. <i>Mus. Marbles</i>, IX., pl. 17.
</p>

<h4><span class="sc">Architectural Fragments</span>.</h4>

<p><span class="leftside">405.</span></p>

<p>Part of the ceiling, <i>lacunaria</i>, of the Theseion with six
squares for soffits cut through the marble. See <a class="ask" href="#fig17">fig. 17</a>.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Length, 3 feet 11&frac12; inches; breadth, 3 feet 4&frac12; inches. Stuart, III.,
ch. I., pl. 8, fig. 2.
</p>
<span class="pagenum"><a name="page231" id="page231"></a>231</span>

<blockquote><p>
<span class="leftside">406.</span><span class="leftside1">&nbsp;&nbsp;1.</span>
Cover from panel of <i>lacunar</i> of the Theseion.&mdash;<i>Elgin
Coll.</i>
</p></blockquote>

<p class="indent1">
    Height, 10&#8539; inches; breadth, 10&#8539; inches. <i>Synopsis</i>, No. 365
    (243); Stuart, III., ch. I., pl. 8, fig. 2.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;2.</span>
Similar to last.
</p></blockquote>

<p class="indent1">
Height, 10&#8539; inches; breadth, 9&#8542; inches. <i>Synopsis</i>, No. 367
(254); Stuart, III., ch. I., pl. 8, fig. 2.
</p>

<h3>THE ERECHTHEION.</h3>

<p>The Erechtheion is an Ionic temple of a peculiar form,
which stands near the north side of the Acropolis of
Athens. It embodies in a structure of the end of the
fifth century the shrines about which the Athenian religion
had centred from time immemorial, and to this fact
the anomalous character of the plan must be ascribed.</p>

<p>The building consisted of a central cella divided into
three portions, and having a portico of six columns at the
east end; a porch of six columns at the north-west
corner; and a porch of Caryatids at the south-west. It
was built of Pentelic marble, with the exception of the
frieze, which had a ground of dark Eleusinian marble.</p>

<p>The temple is known to have been incomplete in
409 <span class="sc">b.c.</span> At this time a minute survey of the building
was made, by order of the Assembly, and the result was
recorded in an inscription which is now in the British
Museum. (<i>C. I. G.</i> 160; Newton &amp; Hicks, <i>Greek Inscriptions
in Brit. Mus.</i>, xxxv.).</p>
<a name="page231a" id="page231a"></a>
<div class="figcenter" style="width: 400px;"><a href="images/21fig18-800.png"><img src="images/21fig18-400.png" width="400" height="514" alt="Fig. 18.--Ground Plan of the Erechtheion." /></a>
<p class="center">Fig. 18.&mdash;Ground Plan of the Erechtheion.</p></div>

<p>The east half of the building was devoted to Athenè
Polias, whose archaic statue was placed in it.</p>

<p>The remainder of the building was associated with the
cults of Poseidon, Erechtheus, Pandrosos, and others.
The arrangement has been a subject of much controversy.
The passage at the west of the cella probably contained
altars of Poseidon (with Erechtheus), of Boutes, and of
<span class="pagenum"><a name="page232" id="page232"></a>232</span>
Hephaestos; the tokens of Poseidon, namely the salt
spring, and the marks of the trident, were either in the
west central chamber or below the north portico. The
south porch served as an additional entrance, but it also
<span class="pagenum"><a name="page233" id="page233"></a>233</span>
contained the tomb of Cecrops. The Pandroseion, which
contained the sacred olive-tree of Athenè, and a small
shrine of Pandrosos, was annexed to the outside of the
west end of the building.</p>

<p>The Elgin Collection contains several specimens of the
architectural decorations of the Erechtheion. In the above
plan (fig. 18), those parts of the building are indicated by
letters from which fragments have been obtained. In
some instances the exact position is uncertain.</p>

<p class="indent1">
For a discussion of the Erechtheion, see Harrison, <i>Mythology and
Monuments of Anc. Athens</i>, p. 481.
</p>

<p style="margin-top: 2em;"><span class="leftside">407.</span>
So-called Caryatid, or Canephoros,
<ins title="Greek: kanêphoros">
&#954;&#945;&#957;&#951;&#966;&#8057;&#961;&#959;&#962;</ins> (fig. 19).
One of the six female figures which served as columns in
the southern portico of the Erechtheion. In the survey of
the building these figures are called <i>Korae</i>, "maidens."
They have been called Canephori (see p. <a class="ask" href="#page149">149</a>) by Visconti
(<i>Memoirs on the Sculptures of the Earl of Elgin</i>, p. 122), and
others. It is true that the maidens here represented are
such as those represented on the Parthenon frieze. But
there is nothing that specially connects them with the
Canephori, or persons who bore the sacred vessels on their
heads. By some writers they have been called Caryatids,
on account of a statement of Vitruvius (i., chap. 1) that
women of Carya, a town of Arcadia, were represented as
architectural supports&mdash;a punishment which they incurred
for betraying the Greeks to the Persians.</p>
<a name="page233a" id="page233a"></a>
<div class="figcenter" style="width: 400px;"><a href="images/22fig19-500.png"><img src="images/22fig19-220.png" width="220" height="489" alt="Fig. 19.&mdash;Caryatid of the Erechtheion." /></a>
<p class="center">Fig. 19.&mdash;Caryatid of the Erechtheion.</p></div>

<p>The figure here described wears a long chiton, which
is drawn up under the girdle, falling in rich folds, and
is fastened on each shoulder by a circular brooch. Attached
to this is the 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
<span class="pagenum"><a name="page234" id="page234"></a>234</span>
thick mass between the shoulders, tied together with a
band. The hair gathered from the forehead is woven into
tresses. Two fall on each shoulder; the others are twisted
round the head in the form of the <i>krobylos</i> (cf. p. 87).
<span class="pagenum"><a name="page235" id="page235"></a>235</span>
The arms are wanting from above the elbows. The right
hand probably hung by the side, where the surface of the
drapery is seen to have been protected from corrosion.
The left hand has drawn from behind one corner of the
diploïdion.</p>

<p>The head supports a capital, consisting first of a pad or
cushion <ins title="Greek: tylê">&#964;&#8059;&#955;&#951;</ins>, such as was, and still is, used to support
weights. (Compare the east frieze of the Parthenon,
Nos. 30, 31.) From this the transition to the square
abacus is effected by an egg and tongue and a bead and
reel moulding.</p>

<p>This statue is admirably designed, both in composition
and drapery, to fulfil its office as a part of an architectural
design. While the massiveness of the draped figure
suggests the idea that the support for the superimposed
architecture is not structurally inadequate, the lightness
and grace of the pose suggest that the maiden bears her
burden with ease.</p>

<p>The original position of the figure is marked A on the
plan. Four figures and part of a fifth still remain on the
Acropolis. They are uniform in their general design, but
differ slightly in pose and arrangement of drapery.</p>

<p class="indent1">
Pentelic marble; height, 7 feet 7 inches. Stuart, II., ch. II., pl. 19.
<i>Mus. Marbles</i>, IX., pl. 6. Rayet, <i>Monuments</i>, No. 40; Mitchell,
<i>Selections</i>, pl. 7; Murray, II., pl. 17; Wolters, No. 810;
<i>Stereoscopic</i>, No. 115.
</p>

<h4><span class="sc">Architecture of the Erechtheion.</span></h4>

<p><span class="leftside">408.</span>
Ionic column from the north end of the eastern portico
of the Erechtheion (B on plan). This being a column
from an angle of the building, the volutes occur on two
adjacent sides, so as to present themselves both to the
east and north view.</p>

<p class="indent">
Height, 21 feet 7&frac12; inches. <i>Synopsis</i>, Nos. 125-7, 110; Stuart, II,
ch. II., pls. 4, 5, 6.
</p>
<span class="pagenum"><a name="page236" id="page236"></a>236</span>

<p><span class="leftside">409.</span>
Capital of one of the pilasters (<i>antae</i>) and part of
necking or wall-band from the east wall of the Erechtheion
(C, C, C on plan). It is to be observed that the
frieze on the pilaster, though analogous to that on the
walls, differs from it in details which heighten the richness
of the effect, and which assimilate the pilaster to the
columns of the east portico, while the walls resemble the
capitals of the north portico. Moreover, on the pilaster
the carving of the frieze is raised above the surface of the
courses, while on the wall it is set back from the wall face.</p>

<p>The slab on the right must be from the north-east angle
of the Erechtheion. The three slabs next to it might
belong to the east, north, or south sides, as regards the
form and design. But the excellent preservation of the
surface, as compared with that of the unprotected north-east
angle, seems to show that these slabs are derived from
the east wall, where they were protected by the portico.</p>

<p>It is interesting to note the numerous repairs in the
series of slabs. They probably date from the time of the
construction of the building, and were meant to make good
what was broken by accident in the course of construction.
On the north side of the pilaster, seven inches of the bead
and reel moulding immediately surmounting the anthemia
have been skilfully inserted in a groove and fastened with
lead. On the east side of the pilaster one of the beads of
the lower bead and reel moulding was attached by a plug,
of which the hole remains. On the next slab on the left
one bead of the upper bead and reel moulding was similarly
added. On the second slab from the left, one tongue of
the egg and tongue moulding, one piece of spiral connecting
the anthemia and one bead were let into the marble.
Traces of red colour remain in the upper part of the frieze
on this slab.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Height, 1 foot 7&frac12; inches. The slab containing the capital of the
pilaster is 6 feet in length. Of the other slabs, two are each
<span class="pagenum"><a name="page237" id="page237"></a>237</span>
4 feet 3 inches in length. The fourth is broken on the right-hand
joint, and measures 4 feet 1&frac12; inches. <i>Synopsis</i> Nos. 252-255
(127-130). <i>Greek Inscriptions in Brit. Mus.</i>, I., p. 89, <i>e</i>,
pl. 3, fig. 8. Stuart, II., ch. II., pl. 5. Inwood, <i>Erechtheion</i>,
p. 110.
</p>

<p><span class="leftside">410.</span>
Fragment of frieze similar to last. Joint on left. Found
on the north side of the Erechtheion.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Height, 6 inches; breadth, 6 inches. <i>Synopsis</i>, No. 116. Inwood,
<i>Erechtheion</i>, p. 138.
</p>

<p><span class="leftside">411.</span>
Fragment of leaf, bead and reel, and egg mouldings
from the capital of a pilaster at the west side of the south
portico of the Erechtheion (D on plan).&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Length, 1 foot 2&frac14; inches; height, 5&frac12; inches. <i>Synopsis</i>, No. 118.
</p>

<p><span class="leftside">412.</span>
Cymatium moulding from inner architrave of the
south portico of the Erechtheion (E on plan).</p>

<p class="indent">
Height, 2&frac12; inches; length, 7&frac14; inches. <i>Synopsis</i> No. 403. Inwood,
<i>Erechtheion</i>, pl. 20. See also Stuart, II., ch. II., pl. 13.
</p>

<p><span class="leftside">413.</span>
Piece of architrave, probably part of the beam from the
north angle of the east portico of the Erechtheion (F, F
on plan). There is a joint on the left of this slab.&mdash;<i>Elgin
Coll.</i></p>

<p class="indent">
Height, 2 feet 1 inch; length, 8 feet 2&frac12; inches. <i>Synopsis</i>, No. 220
(85). Wilkins, <i>Prolusiones</i>, p. 29.
</p>

<p><span class="leftside">414.</span>
Piece of the architrave from the south wall of the
Erechtheion, broken at each end (G on plan). It is
connected with the preceding by a piece of moulding
cast in plaster.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Height, 2 feet 1 inch; length, 8 feet 5&frac12; inches. <i>Synopsis</i>, No. 219
(291). Wilkins, <i>Prolusiones</i>, p. 29; <i>Greek Inscriptions in Brit.
Mus.</i> I., pl. 3, fig. 9.
</p>

<p><span class="leftside">415.</span>
Piece of corona of cornice, from the north portico of the
Erechtheion (H on plan). Although not derived from
<span class="pagenum"><a name="page238" id="page238"></a>238</span>
the same part of the temple, this fragment has been
placed in connection with the slabs of the architrave,
Nos. 413, 414, in order to show the original effect. The
space of two feet between the corona and the architrave
was occupied by the sculptured frieze. This consisted of
marble figures in relief attached by metal clamps on a
ground of black Eleusinian marble. A few fragments are
extant at Athens.</p>

<p class="indent">
Length, 4 feet 7 inches; height, 10&frac12; inches; breadth, 1 foot 1&frac12; inches.
<i>Synopsis</i>, No. 289 (165). Stuart, II., ch. II., pls. 4, 5. For the
frieze, see Brunn, <i>Denkmaeler</i>, Nos. 31-33; Overbeck, <i>Gr. Plast.</i>,
3rd ed., I., p. 361.
</p>

<p><span class="leftside">416.</span>
Coffer from the <i>lacunaria</i> of the north portico of the
Erechtheion (J on plan).&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Height, 3 feet 2 inches; breadth, 3 feet 5&frac12; inches. <i>Synopsis</i>, No. 108
(299). See Stuart, 2nd ed., II., p. 73, note.
</p>

<p><span class="leftside">417.</span>
Part of coffer of east portico of the Erechtheion. Found
near the eastern portico (K on plan).&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Height, 1 foot 4 inches; breadth, 1 foot 1&frac14; inches. <i>Synopsis</i>,
No. 117. Inwood, <i>Erechtheion</i>, pl. 20.
</p>

<p><span class="leftside">418.</span>
Part of door jamb, perhaps from the eastern doorway of
the Erechtheion (L on plan).&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Height, 1 foot 2&frac34; inches; breadth, 6&frac12; inches. <i>Synopsis</i>, No. 115.
Inwood, <i>Erechtheion</i>, pl. 20.
</p>

<p><span class="leftside">419.</span>
Cast of console, <i>parotis</i>, from the doorway in the north
portico of the Erechtheion (M on plan).</p>

<p class="indent">
Height, 2 feet 3 inches. <i>Greek inscriptions in Brit. Mus.</i>, I., p. 98,
§ 14, <i>b</i>. Wilkins, <i>Prolusiones</i>, pls. 13, 14. <i>Journ. of Hellen.
Studies</i>, XII., pl. 1.
</p>

<p><span class="leftside">420.</span>
Necking of Ionic column, copied from the columns of
the east portico of the Erechtheion.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Height, 11&frac14; inches; diameter, 2 feet 2&frac12; inches. <i>Synopsis</i>, No. 120
(306*); <i>Elgin Room Guide</i>, II., No. A. 2.
</p>
<span class="pagenum"><a name="page239" id="page239"></a>239</span>

<h3>TEMPLE OF NIKÈ APTEROS.</h3>

<p>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).</p>

<p>The building had remained uninjured till the close of
the seventeenth century, and was seen in 1676 by the
travellers Spon and Wheler. But not long after, probably
about the year 1685, the temple was demolished by the
Turks, and the materials were used to build a bastion on
the spot where the temple had stood.</p>

<p>In 1835 Ludwig Ross, and the architects Schaubert and
Hansen took down the bastion and reconstructed the
temple as it now stands. A sufficient amount of the
lower part had remained undisturbed to enable them to
proceed with certainty.</p>

<p>The temple consists only of a single cella, opening to
the east, but has four columns at each end (<i>tetrastyle
amphiprostyle</i>). It stood on a podium of three steps.
The exterior was surrounded by a small frieze, 1 ft.
5&frac12; 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&frac12; in.,
and 6 ft. 7&frac34; in. The total length, 16 ft. 6&frac14; in., is thus
nearly equal to the estimated length of the side. The
distribution of the slabs belonging to the long sides is
doubtful. No. 425, cast from a corner stone, certainly
<span class="pagenum"><a name="page240" id="page240"></a>240</span>
belongs to the south side. Ross assigns No. 423 to the
south side, No. 424 to the north side, on the hypothesis
that the mounted horsemen on the same side proceed
in the same direction. Kekulé (<i>Die Balustrade</i>, ed. 1869,
p. 17) places them both on the south side, in an order
more probable than that suggested by Hawkins (<i>Mus.
Marbles</i>, ix., p. 29). The east side consisted of two
slabs and two returns arranged similarly to those of the
west.</p>
<a name="page240a" id="page240a"></a>
<div class="figcenter" style="width: 600px;"><a href="images/23fig20-800.png"><img src="images/23fig20-550.png" width="550" height="495" alt="Fig 20.--Plan of the Propylaea and Temple of Wingless Victory." /></a>
<p class="center">Fig. 20.&mdash;Plan of the Propylaea and Temple of Wingless Victory.</p></div>

<p>The subject of the east side appears to be a council of
Gods. The long sides each contained a battle between
Greeks and a series of warriors, mounted and on foot,
wearing Asiatic costumes and probably intended to
represent Persians. The west side is generally taken to
<span class="pagenum"><a name="page241" id="page241"></a>241</span>
represent a battle of Greeks with Greeks. Several attempts
have been made to show that historical battles are
represented on the frieze. Overbeck suggests that the
three sides on which there are combatants belong to one
battle, and he conjectures the battle of Platæa (479 <span class="sc">b.c.</span>),
when Greeks defeated the Persians and their Greek
adherents. Other writers, perhaps with more probability,
deny that any definite battle is intended, and hold that
we see merely a generalised representation of Athenians,
victorious alike over Greeks and Barbarians.</p>

<p>It has been shown by Bohn (<i>Die Propyläen</i>, p. 31)
and Doerpfeld on technical architectural grounds that
the Temple of Victory was not contemplated in the
first plans for the Propylaea, but that the form of the
Propylaea was modified during the course of construction
on account of it. The earliest date thus obtained for the
beginning of the present building is about 432 <span class="sc">b.c.</span> There
is nothing to show what time the temple took to build.
In point of style there is a great resemblance between
the sculptures of the frieze, and those of the frieze of
the Erechtheion, of which a part was being worked, as
we know from the inscription, in 409 <span class="sc">b.c.</span> The frieze of
Nikè Apteros may perhaps be placed between 430 and
420 <span class="sc">b.c.</span></p>

<p class="indent">
Spon, <i>Voyage</i> (ed. 1679), II., p. 105; Wheler, <i>Journey into Greece</i>,
p. 358; Stuart, II., ch. V., pls. 12, 13 (from drawings by Pars,
now in the British Museum); Ross, Schaubert and Hansen, <i>Die
Akropolis von Athen; Abth. I. Der Tempel der Nike Apteros</i>, 1839;
<i>Mus. Marbles</i>, IX., pls. 7-10; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I.,
p. 363; Bohn, <i>Die Propyläen der Akropolis zu Athen</i>, 1882;
Murray, II., p. 179; Kekulé (and Bohn) <i>Die Reliefs an der
Balustrade der Athena Nike</i>; Wolters, Nos. 747-760. For
Doerpfeld's views, see Harrison, <i>Mythology and Monuments of
Anc. Athens</i>, p. 356. For further references see Wolters, p. 284.
A photographic view of the temple is given by Baumeister, fig.
1234; and of Nos. 421 to 424 in <i>Stereoscopic</i>, No. 121.
</p>
<span class="pagenum"><a name="page242" id="page242"></a>242</span>

<h4><span class="sc">The West Frieze.</span></h4>

<p><span class="leftside">421.</span>
The return of a slab of the north side, now at Athens,
formed the left end of the frieze, and contains two figures
advancing to the right to join the fray (Ross, pl. 11. h.).
This is followed by slab No. 421, containing a battle of
Greeks. In the first group on the left two warriors
are engaged in vehement combat. The warrior on
the left supports with his right knee the shoulder of a
wounded comrade who has fallen at his feet and leans on
his right arm. In the next group are two antagonists
fighting over the body of a dead combatant, then a warrior
who has overthrown his adversary and treads him down
with his left foot. He raises his right hand to inflict the
mortal wound, and may perhaps have grasped the victim's
right wrist with his left hand. In the background is a
trophy which appears to consist of a trunk of a tree, to
which a helmet, shield, and cuirass have been attached.
On the right of the slab is a warrior pursuing a foe flying
to the right.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 feet 5&frac12; inches; length, 6 feet 8&frac12; inches.
<i>Synopsis</i>, No. 160 (259); Ross, pl. 11, i.; <i>Mus. Marbles</i>, IX.,
pl. 9; Baumeister, fig. 1240; Brunn, <i>Denkmaeler</i>, No. 118.
</p>

<p><span class="leftside">422.</span>
The first figure on the left of the slab appears to be
hastening to the assistance of the flying warrior on the
right of the slab just described. Next is a complicated
group of five warriors fighting for the body of a wounded
man. The latter has sunk helplessly on the ground. He
is half raised and clasped under the arms by a friend who
attempts to draw him away; a foe tries to seize an ankle,
and covers himself meanwhile with his outstretched shield.
More in the background two adversaries are engaged in
hot combat. The warrior on the left probably had a
sword, and that on the right a spear. A friend of the
<span class="pagenum"><a name="page243" id="page243"></a>243</span>
fallen man hastens up from the left. The right thigh of
this figure, which is now wanting, is preserved in a
drawing by Pars.</p>

<p>On the right are two pairs of combatants. In one of
these groups a warrior, who has fallen on his right knee,
tries to defend himself with his shield, while with the
right hand he seizes a stone. The antagonist has his
right arm raised to strike, perhaps with a battleaxe, and
seizes with his left hand the shield of the kneeling figure.
On the right of the slab one of the warriors flies before
the assault of his antagonist, whose arms are both raised
to strike him.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 5&frac12; inches; length, 6 feet 7&frac34; inches.
<i>Synopsis</i>, No. 161 (260); Ross, pl. 11, k.; <i>Mus. Marbles</i>, IX.,
pl. 10; Overbeck, <i>Gr. Plast.</i>, 3rd. ed., I., fig. 81, p. q.; Baumeister,
fig. 1239; Brunn, <i>Denkmaeler</i>, No. 118.
</p>

<p>On the right of the slab described was the return of
the corner slab of the south side, with a combat of two
warriors.</p>

<p class="indent">
Ross, pl. 11, 1.; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., fig. 81, r.
</p>

<p>There is a considerable variety of costumes on the west
side of the frieze. Some of the figures are nude; others
wear the chlamys only, the chiton only, or the two
garments together. The chiton is sometimes worn on
both shoulders, and some times only on one shoulder. The
warriors are for the most part armed with helmets and
large bucklers. In two instances a cap of a flexible
material is worn instead of a helmet. None, however, of
the costumes are non-Hellenic; and further the attempt
made by Overbeck (i. p. 365), to show that the helmet of
the figure on the extreme right of the frieze is distinctively
B&oelig;otian, is untenable (Wolters, p. 284).</p>
<span class="pagenum"><a name="page244" id="page244"></a>244</span>

<h4><span class="sc">The North and South Friezes.</span></h4>

<p><span class="leftside">423.</span>
Slab containing a part of the battle between Greeks
and Persians. In the first group on the left, a Persian
has fallen on his right knee, raising his right arm to
defend his head. The antagonist presses his left foot on
the right thigh of the Persian, raising his right arm for
a spear thrust, and probably seizing the hair of the
Persian with his left hand. Next is a group of two
Persians and a Greek. One of the Persians lies dead on
the ground; his mounted comrade urges his horse against
the Greek, who draws back, and raises his arm to strike
with a battle-axe.</p>

<p>The next group is composed of two Persians on foot
and a Greek. In the centre is a wounded Persian, who
has been forced down on his left knee and extends his
arms forward in entreaty to the Greek, who drags him
along, grasping the head of the Persian with his left
hand. The right hand of the Greek must have held
either a spear or a sword. On the right the other Persian
turns back to defend his fallen comrade against the Greek.
Both arms are raised to strike, and probably wielded a
battle-axe. At his left side hangs a quiver. On the
extreme right is a Greek moving to the right in pursuit
of a flying Persian of whom only the leg and part of the
drapery round the loins remain. The ground on which
this scene takes place is rocky.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 5&frac12; inches; length, 5 feet 10 inches.
<i>Synopsis</i>, No. 158 (258); Ross, pl. 12, o; <i>Mus. Marbles</i>, IX.,
pl. 7; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., fig. 81, i-l; Baumeister,
fig. 1237; Brunn, <i>Denkmaeler</i>, No. 117.
</p>

<p><span class="leftside">424.</span>
The first pair of combatants on the left are a Persian,
who has fallen on his right knee, and who holds up a
shield in the form of a crescent, on his left arm to defend
himself, and his antagonist, who advances from the right.</p>
<span class="pagenum"><a name="page245" id="page245"></a>245</span>

<p>Next is a combat between a Greek on foot and a
mounted Persian. The latter draws back his right hand,
which must have been armed with a spear aimed at the
Greek advancing from the left. The horse of the Persian
rears as if to strike down with his forefeet the left arm of
the Greek, which is thrust forward, protected by his shield.
A dead Persian lies on the ground.</p>

<p>Behind the mounted Persian is a comrade, hastening to
the left, and pursued by a Greek of whom nothing remains
except part of his shield and of the drapery round his
loins. This closes the scene on the right.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 5&frac12; inches; length, 6 feet 1&frac14; inches.
<i>Synopsis</i>, No. 159 (257); Ross, pl. 12, fig. g; <i>Mus. Marbles</i>, IX.,
pl. 8; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., fig. 81, m, n; Baumeister,
fig. 1238; Brunn, <i>Denkmaeler</i>, No. 117. On the position of these
slabs, cf. p. 240.
</p>

<p><span class="leftside">425.</span>
A plaster cast from one of the slabs now in position on
the temple. On the left is a mutilated group representing
a Greek warrior turning to assist a comrade who
has fallen on his right knee. Next is a Greek moving
forward to pursue a mounted Persian who is flying to the
right. On the extreme right a Persian on foot flies in the
same direction. A slain Persian lies in the foreground.
The position of this slab on the temple at the south-east
angle is fixed by the relief on its return face which is part
of the composition of the eastern front. This return is
not given in the cast here described.</p>

<p class="indent">
Height, 1 foot 5&frac12; inches; length, 3 feet 11&frac14; inches. Ross, pl. 12,
fig. a; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., fig. 81, g, h; Murray,
II., pl. 16, fig. 1.
</p>

<p>The dress of the Persians in this frieze is the usual
chiton with long sleeves, girt at the waist, and close-fitting
trousers, <i>anaxyrides</i>. One of them, the kneeling figure in
No. 424, wears a quiver and bow case, <i>gorytos</i>, from which
<span class="pagenum"><a name="page246" id="page246"></a>246</span>
appears the end of his bow, and two others wear quivers. The
only Persian whose face is preserved is bearded, and wears
the Persian headdress, the <i>kidaris</i>. The heads and weapons
of both sets of combatants have been nearly all destroyed.
Some of the Greeks are armed with the Argolic buckler.
Others have a chlamys wound round the left arm or
hanging loose from the body.</p>

<h3>CASTS FROM THE BALUSTRADE OF THE TEMPLE OF NIKÈ APTEROS.</h3>

<p>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.</p>

<p>The sculptures are too mutilated to be arranged in one
composition. It is evident, however, that the frieze consisted
of figures of Victories, variously engaged. Some
lead bulls to sacrifice, while others are erecting or decking
trophies in the presence of Athenè.</p>

<p>There is some uncertainty as to the date of the frieze.
It cannot be older than the temple, and therefore not
earlier than 432 <span class="sc">b.c.</span> Kekulé (<i>Balustrade</i>, p. 22), and
Wolters (p. 289) hold that the frieze was produced immediately
after that date. But a more admissible view is
that which puts the balustrade at the very close of the
fifth century. If the different fragments of the balustrade
are examined, they seem to reveal a combination of
<span class="pagenum"><a name="page247" id="page247"></a>247</span>
various schools and methods. No. 426, severely draped in
chiton and 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, <i>Balustrade</i>,
pl. ii.), have the spirit of the Parthenon frieze. In No. 427
and No. 428, the artist dwells on and emphasises the nude
form, displaying it through transparent drapery in a
manner that may well be supposed to have been that of
the transition from Pheidias to Praxiteles. Finally, in the
figure leading the bull (No. 429), there is a florid wealth of
drapery, which, among early works, only finds a partial
analogy in the frieze of Phigaleia, and which appears
more akin to the 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 <span class="sc">b.c.</span></p>

<p class="indent">
Height of Balustrade, 3 feet 2 inches. Ross, p. 17, pl. 13 (cf. ante,
p. 241); Michaelis, <i>Arch. Zeit.</i>, 1862, p. 249. All the materials
are collected by Kekulé, <i>Die Reliefs an der Balustrade der Athena
Nike</i> (1881), which superseded Kekulé, <i>Die Balustr. d. Tempels d.
Athena Nike</i> (1869). See also Overbeck, <i>Gr. Plast.</i>, 3rd ed., I.,
p. 369; Murray, II., p. 186; Wolters, Nos. 761-804. <i>Stereoscopic</i>,
Nos. 158-160.
</p>

<p><span class="leftside">426.</span>
Victory standing, half turned to the left. She holds a
greave in her left hand, with which she was probably
decking a trophy. She wears a leather helmet.</p>

<p class="indent">
Kekulé, <i>Balustrade</i>, pl. 5, fig. R; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I.,
fig. 82.
</p>

<p><span class="leftside">427.</span>
Winged Victory turned to the left stoops forward,
raising her right foot in order to adjust or unfasten her
<span class="pagenum"><a name="page248" id="page248"></a>248</span>
sandal. A somewhat similar incident is seen on the
Parthenon frieze, (west side, No. 29). There, however,
the figure has his foot resting on a rock, while here the
Victory balances herself on the left foot with the right
leg high in the air, in a position of effort such as does
not occur on the frieze of the Parthenon.</p>

<p class="indent">
Ross, pl. 13, figs. B, Bb; Kekulé, <i>Balustrade</i>, pl. 4, fig. O; Overbeck,
<i>Gr. Plast.</i>, 3rd ed., I., fig. 82; Murray, II., pl. 16, fig. 4; Brunn,
<i>Denkmaeler</i>, No. 35. The meaning of the subject is not known.
In the ritual inscription of Andania the initiated are ordered to
have bare feet, and possibly the Victory is supposed to be
removing her sandals before entering a shrine. Dittenberger,
<i>Syll.</i>, 388, 15, cf. <i>ibidem</i>, 357, 25.
</p>

<p><span class="leftside">428</span>
Winged Victory standing turned to the left, the right
arm advanced. The right hand and all the left arm being
broken away, the motive of this figure has not been
ascertained, but probably the Victory was decking a
trophy.</p>

<p class="indent">
Kekulé, <i>Balustrade</i>, pl. 4, fig. M; <i>Arch. Zeit.</i>, 1862, pl. 162;
Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., fig. 82; Brunn, <i>Denkmaeler</i>,
No. 35.
</p>

<p><span class="leftside">429.</span>
Two winged Victories about to sacrifice a bull, which
one of them is holding back as it springs forward. The
other Victory leads the way, moving to the right.</p>

<p class="indent">
Ross, pl. 13, fig. A; Kekulé, <i>Balustrade</i>, pl. 1, fig. A; Overbeck,
<i>Gr. Plast.</i>, 3rd ed., I., fig. 82; Murray, II., pl. 16, fig. 3;
Brunn, <i>Denkmaeler</i>, No. 34.
</p>

<h3>THE CHORAGIC MONUMENT OF LYSICRATES.</h3>

<p>The Choragic Monument of Lysicrates is a small edifice
which presents one of the earliest examples of the use of
the Corinthian order in Greek architecture. It may be
<span class="pagenum"><a name="page249" id="page249"></a>249-250</span>
thus described. On a square basement is a cylindrical
structure resting on six Corinthian columns. Between
them are six equal panels of white marble closely joined;
at each vertical joint a Corinthian column has been fitted,
so as to project more than half its diameter. Between
the capitals were figures of tripods in relief, of which
only one now survives. Above the colonnade is the
entablature and a cupola or <i>tholos</i>; this is in the form of
a tiling of laurel-leaves richly decorated round the circumference
with a double row of projecting ornaments.
From the apex of the roof rises a mass of foliage arranged
in a triple form, on the three most projecting leaves of
which was placed a bronze tripod, dedicated by a choragos,
who had provided a victorious chorus. An inscription
on the architrave immediately below the figure of Dionysos
furnishes the name and date of the dedicator. It
runs,* "Lysicrates of Kikynna, son of Lysitheides, was
Choragos. The youths of the tribe Acamantis were victors,
Theon was the flute player, Lysiades an Athenian was the
instructor of the Chorus, Euainetos was Archon." The
mention of this magistrate fixes the date of the monument
to <span class="sc">b.c.</span> 335-4.</p>

<p class="footnote">* <i>C. I. G.</i> 221; <i>C. I. A.</i>, II., 1242.
<ins title="Greek: Lysikratês Lysitheidou Kikynneus echorêgei. Akamantis paidôn enika. Theôn êulei. Lysiadês Athênaios edidaske. Euainetos êrche">
&#923;&#965;&#963;&#953;&#954;&#961;&#8049;&#964;&#951;&#962;
&#923;&#965;&#963;&#953;&#952;&#949;&#8055;&#948;&#959;&#965;
&#922;&#953;&#954;&#965;&#957;&#957;&#949;&#8058;&#962;
&#7952;&#967;&#959;&#961;&#8053;&#947;&#949;&#953;.
&#7944;&#954;&#945;&#956;&#945;&#957;&#964;&#8054;&#962;
&#960;&#945;&#8055;&#948;&#969;&#957;
&#7952;&#957;&#8055;&#954;&#945;.
&#920;&#8051;&#969;&#957;
&#951;&#8020;&#955;&#949;&#953;.
&#923;&#965;&#963;&#953;&#8049;&#948;&#951;&#962;
&#7944;&#952;&#951;&#957;&#945;&#8150;&#959;&#962;
&#7952;&#948;&#8055;&#948;&#945;&#963;&#954;&#949;.
&#917;&#8016;&#945;&#8055;&#957;&#949;&#964;&#959;&#962;
&#7974;&#961;&#967;&#949;</ins>.
</p>
<a name="page250a" id="page250a"></a>
<div class="figcenter" style="width: 400px;"><a href="images/24fig21-600.png"><img src="images/24fig21-240.png" width="240" height="494" alt="Fig. 21.--The Choragic Monument of Lysicrates. (After Stuart.)" /></a>
<p class="center">Fig. 21.&mdash;The Choragic Monument of Lysicrates. (After Stuart.)</p></div>

<p>The building still stands in its original position at
Athens, below the eastern side of the Acropolis and a
little to the north-east of the theatre of Dionysos. In
antiquity it stood in a street called "the street of tripods"
(Paus. i. 20, 1), because of the number of tripods which
were there dedicated to Dionysos. At least as early as
the 15th century the building was popularly known as the
Lantern of Demosthenes. In the 17th and 18th centuries
it was built into the wall of the French Capuchin monastery,
and the interior served as the library of the Superior.
<span class="pagenum"><a name="page251" id="page251"></a>251</span>
The monastery was burnt in 1821, and the only trace of
it is in a few tombstones of French citizens lying near.
The monument now stands in an open square. Lord
Elgin's casts are the best record of the frieze, as the
sculptures, which are of Pentelic marble, have suffered
considerably in the last ninety years.</p>

<p>The subject of the frieze here described is the victory of
Dionysos over the Tyrrhenian pirates who had kidnapped
him from Chios with the intention of selling him as a
slave. The God revenged himself by transforming the
pirates into dolphins, a myth which is to be found in the
Homeric Hymn to Dionysos (No. vi.) and elsewhere (Ovid,
<i>Met.</i> iii. 650; Nonnus, <i>Dionys.</i> xlv. 102; Philostr. <i>Im.</i> i.
19, &amp;c. Cf. <i>Gaz. Arch.</i> 1875, p. 7). In the frieze the
moment is represented when this transformation took
place. According to Homer and most other writers, the
event happened on board the ship, and the pirates were
first terrified by a miraculous appearance of vines and
wild beasts. The sculptor has preferred to represent the
scene as passing on the rocky shore on which the pirates
found Dionysos (<i>Hom. Hymn</i>, vi. l. 2) and has made Satyrs
help in the vengeance. The subject is thus made to
adapt itself to the requirements of sculpture. For a vase
with a representation of the literary form of the legend,
see Gerhard, <i>Auserlesene Vasenbilder</i>, i., pl. 49; Harrison,
<i>Mythology and Monuments of Anc. Athens</i>, p. 251. An
intaglio, with a pirate half transformed, as on the frieze,
is engraved in the <i>Gaz. Arch.</i> 1875, p. 13.</p>

<p>It is convenient to take the architectural remains of
Athens consecutively, and the monument of Lysicrates
has therefore been inserted in this place. But the
accurately ascertained date (335 <span class="sc">b.c.</span>) is a century later
than the Parthenon, and it is easy to discern the change
that has taken place. The form of Dionysos is becoming
softer and more effeminate. The Satyrs on tip-toe
<span class="pagenum"><a name="page252" id="page252"></a>252</span>
belong to a scheme not introduced in the 5th century
sculpture; more free play of humour is admitted. At
the same time Attic schemes of composition present
themselves, which had already come into use in the time
of Pheidias.</p>

<p>This frieze is a remarkable example of the Greek power
of combining variety and symmetry. On the right and
left of Dionysos the groups correspond with great
accuracy, but the correspondent groups always differ one
from another. On each side of the God we have an
attendant Satyr; a Satyr with a crater; a Satyr watching
the conflict; a Satyr hastening to join it; a Satyr
kneeling on a pirate; a Satyr about to strike a pirate
thrown to the ground; a Satyr breaking off a branch
from a tree; a pirate, half transformed, leaping into the
sea. The remainder of the frieze is less exactly symmetrical.</p>

<p class="indent"  style="margin-bottom: 2em;">
Wheler, <i>Journey</i>, p. 397; Spon, <i>Voyage</i> (ed. 1679), II., p. 132. A
view of the monument from the monastery garden is shown in
Stuart, I., chap. IV., pl. 1. The view from the street is in
Le Roy, <i>Ruines</i>, pl. 13. A view of the interior used as a library,
Dodwell, <i>Tour</i>, I., pl. facing p. 289. A view subsequent to the
destruction of the monastery is given, <i>Exp. de Morée</i>, III.,
pl. 96. For the present state of the monument see Harrison,
<i>Mythology and Monuments of Anc. Athens</i>, p. 245. The original
frieze is of Pentelic marble; height, 10&frac12; inches. Stuart, I., ch. IV.,
pls. 1-26. Stuart's drawings which are freely restored are
the basis of the inaccurate plate in Stuart, 2nd ed., Vol. I.,
ch. IV., pl. 30. The illustrations in most of the text-books are
derived from the latter plate; e.g., Müller, <i>Denkmäler</i>, pl. 37;
Overbeck, <i>Gr. Plast.</i>, 3rd ed., II., p. 91. These works all repeat
an erroneous order of the two groups of No. 8, which spoils the
symmetry of the frieze; cf. Murray, II., p. 333. An independent
and more accurate publication is that in <i>Mus. Marbles</i>, IX.,
pls. 22-26, taken from the Elgin casts. See also Ellis, <i>Elgin
Marbles</i>, II., pp. 79-87. The British Museum also possesses a
careful series of drawings from the sculptures, by Lord Elgin's
artist, Lusieri. <i>Report of the Elgin Committee, appendix</i>, p. xli.;
Wolters, No. 1328.
</p>
<span class="pagenum"><a name="page253" id="page253"></a>253</span>

<blockquote><p>
<span class="leftside">430.</span><span class="leftside1">&nbsp;&nbsp;1.</span>
In the centre of the composition is Dionysos turned to
the left, reclining on a rock over which drapery is thrown.
He leans on his left elbow; with his right hand he
caresses a panther which fawns on his knees. In the left
hand Dionysos appears to have held a cup and a thyrsos, of
which traces appear behind his left shoulder. This figure
is now entirely destroyed on the original. There is a
considerable resemblance in the pose of Dionysos to that
of the so-called Theseus of the east pediment of the
Parthenon. On either side of Dionysos is a Satyr, seated
on lower rocks. The Satyr on the right clasps his left knee
with both hands. (Compare the figure on the east frieze
of the Parthenon No. 26). His head was probably turned
towards Dionysos. The Satyr on the left of the God rests
his left hand on the rock behind him; his right knee is bent
and the right leg drawn up under it; in his right hand he
holds a thyrsos; his body and head are turned to the right.
</p>

<p class="indent1">
    <i>Mus. Marbles</i>, IX., pl. 24.
</p>

<p><span class="leftside1">&nbsp;&nbsp;2.</span>
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,
<i>nebris</i>, hangs from his left shoulder. His head appears to
have been turned towards Dionysos. On the opposite
side of the vase stands a Satyr turned to the left, resting
his elbows on the stump of a tree, over which is thrown a
panther's skin; the top of a thyrsos appears above his right
shoulder. He appears to have been bearded.</p>

<p>This figure looks on at the destruction of the pirates
which is represented in a series of groups on the left, and
which we must suppose to have taken place on a rocky
shore overlooked by the higher ground on which Dionysos
reclines.
</p></blockquote>

<p class="indent1">
    <i>Mus. Marbles</i>, IX., pl. 24.
</p>
<span class="pagenum"><a name="page254" id="page254"></a>254</span>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;3.</span>
A Satyr advances to the left with a burning torch,
with which he is about to assail the fallen pirate of the
next group. This Satyr is nude and bearded. His head
is bound with a diadem. The head and left leg are
now lost on the original. The next group on the left
represents a pirate thrown on his hands and knees upon
the rocks. On his back kneels a Satyr whose right arm
is upraised to strike his prostrate foe with some weapon
which is not clearly shown in the relief, but which was
probably a pedum, or perhaps a branch. The Satyr has a
panther's skin floating in the air, at his back. Between
the legs is a lump of plaster, which is due to a fault in the
moulding.
</p></blockquote>

<p class="indent1">
    <i>Mus. Marbles</i>, IX., pl. 23.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;4.</span>
Next on the left is a bearded Satyr, who draws back to
the right, to collect his force for a blow, with his thyrsos.
Meanwhile he looks back at a pirate on his left, who
kneels with his hands tied behind him, and looks round
towards the Satyr in helpless terror. A panther's skin,
hanging from the left shoulder of the Satyr, floats in the
air at his back.
</p></blockquote>

<p class="indent1">
    <i>Mus. Marbles</i>, IX., pl. 23.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;5.</span>
The next figure on the left is a bearded Satyr who
turns to the right kneeling on his left knee, set in the
fork of a tree close to the edge of the sea; with both
hands he is breaking off a branch. His panther's skin
floats in the air behind his back. His right foot stands in
shoal water, which is indicated by curling waves. Behind
him on the left is a pirate, whose body to the waist is
transformed into a dolphin, and who leaps head foremost
into the sea.
</p></blockquote>

<p class="indent1">
    <i>Mus. Marbles</i>, IX., pl. 23.
</p>
<span class="pagenum"><a name="page255" id="page255"></a>255</span>

<blockquote><p>
Between No. 5 and No. 6 is about a yard of frieze,
wanting in the cast. This is given, freely restored, by
Stuart. An accurate drawing by Lusieri is preserved in
the Museum (Plate ix.). A bearded Satyr holds out a
torch and pursues a pirate who runs away at full speed.
A hole has been cut between them for the insertion of a
beam. A rock and tree separate this group from the
following, No. 6.</p>

<p><span class="leftside1">&nbsp;&nbsp;6.</span>
This group is rather better preserved in the drawing of
Lusieri than in the cast. A young pirate is seated on the
ground leaning on his left arm. The right hand is
extended in supplication to the bearded Satyr, who is
dragging him seawards by the foot. A hole has been cut
through the figure for a beam. The Satyr stands in the
waves. Behind him a pirate, half transformed, is in the
act of leaping into the sea. This figure is now almost
destroyed in the original. As it is leaping to the right,
it belongs strictly to that part of the circular frieze which
represents the scene on the right of Dionysos.
</p></blockquote>

<p class="indent1">
    <i>Mus. Marbles</i>, IX., pl. 22.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;7.</span>
On the right of the central group (No. 1) is a bearded
Satyr moving to the right towards a large crater. In his
right hand he holds up an 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.
</p></blockquote>

<p class="indent1">
    <i>Mus. Marbles</i>, IX., pl. 25.
</p>
<span class="pagenum"><a name="page256" id="page256"></a>256</span>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;8.</span>
Next on the right is a prostrate pirate, on whose
buttock a bearded Satyr is kneeling with his left knee,
while he holds the pirate's hands, as if to tie them behind
his back. The pirate kneels on the rock, with his head
pressed upon the ground and turned towards the
spectator.</p>

<p>The next group on the right is composed of a Satyr,
who has thrown a pirate backward on the rock, and is
about to strike him with a pedum or club. The pirate
has his left knee bent under him, and leans back on his
right elbow: he advances his right foot and left arm to
defend himself. He is drawn by Lusieri with a negro face
and pointed ear. The ear seems pointed, but it is manifest
that the features are wrongly drawn. The head is now
wanting on the original. The Satyr has his body facing
to the front and inclined to the left with the right leg
advanced: his right hand is raised to the level of his
head. The action shows that he is about to swing his
body round to give effect to the blow which he is aiming
at the pirate. On his left arm is the panther's skin, worn
as a shield.
</p></blockquote>

<p class="indent1">
    <i>Mus. Marbles</i>, IX., pl. 25.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;9.</span>
In the next group are a Satyr and a transformed
pirate, separated by a tree which marks the edge of the
rocky shore, as at the opposite side of the frieze. The
Satyr stoops forward, breaking off with both hands a
branch of the tree, which he is about to use as a weapon.
He is bearded. The right leg is now wanting on the
original. The pirate darts head foremost into the water,
pressing his feet against the trunk of the tree.
</p></blockquote>

<p class="indent1">
    <i>Mus. Marbles</i>, IX., pl. 26.
</p>

<blockquote><p>
<span class="leftside1">10.</span>
On the right of the transformed pirate is a group
representing a Satyr about to strike with a branch of a
<span class="pagenum"><a name="page257" id="page257"></a>257</span>
tree a pirate seated on the ground, whose head he draws
back with his left hand, brandishing in his right hand
the branch held behind his neck; from the left arm of the
Satyr hangs his panther's skin. He is bearded. In the
drawing of Lusieri he has an ivy wreath and pointed
ears. On the original this group is mutilated almost
beyond recognition. The last group on the right is
composed of a Satyr darting forward with a lighted torch,
which he is about to apply to a pirate seated on a rock
with his hands tied behind his back. A large serpent
behind the pirate has fastened its fangs on his right
shoulder, and has one coil between his right arm and his
back. The pirate looks round in agony towards his assailants.
The serpent suggests the form of the legend
usually current, in which Dionysos is assisted by strange
monsters. According to Nonnus, <i>Dionys.</i>, xlv., 1. 134, the
ropes of the rigging of the ship turned to serpents.</p>
</blockquote>

<p><span class="leftside">431.</span>
Cast from the capital of a column of the Choragic
Monument of Lysicrates.
</p>

<p class="indent">
    Height, 2 feet &frac34; inches. <i>Synopsis</i>, No. 360*. See Stuart, I.,
    ch. IV. pl. 6, fig. 1.
</p>

<h3>THE CHORAGIC MONUMENT OF THRASYLLOS.</h3>

<p><span class="leftside">432.</span>
The statue of Dionysos, here described, originally decorated
a choragic monument, of which some scanty remains
may still be seen below the southern wall of the Acropolis
of Athens, and immediately above the Dionysiac theatre.
The monument was in the form of a portico, the architrave
of which rested on three pilasters which masked the
entrance to a cavern in the rock. Until removed by Lord
Elgin the statue stood above the façade. Since the removal
of the statue the portico itself has been destroyed,
<span class="pagenum"><a name="page258" id="page258"></a>258</span>
and at present only the base and lower portions of the
pilasters stand in position, while fragments of the inscription
lie close at hand. We learn from the inscription on
the centre of the face of the monument that it was dedicated
by Thrasyllos to commemorate the victory gained
by his tribe in the dramatic contest in which he was himself
choragos, in the archonship of Neaichmos (320 <span class="sc">b.c.</span>);
<i>C. I. G.</i>, 224; <i>C. I. A.</i>, ii., 1247. On the right and left were
inscriptions recording the dedication of tripods by Thrasycles,
son of Thrasyllos, who was agonothetes in the
archonship of Pytharatos (271 <span class="sc">b.c.</span>); <i>C. I. G.</i>, 225, 226;
<i>C. I. A.</i>, ii., 1292, 1293. At some date intermediate
between these two, probably about 310 <span class="sc">b.c.</span>, the state
had assumed the burden of providing the chorus, and
the agonothetes or director of the contest took the
place of the choragos, or provider of the chorus. (Hermann,
<i>Lehrb. d. Griech. Antiq.</i>, Müller's ed., iii., pt. ii.,
p. 339.)</p>

<p>It has commonly been supposed that the statue belongs
to the dedication of Thrasyllos. Stuart made the infelicitous
conjecture that it held the votive tripod on its
lap. The most recent writer on the subject, Reisch (in
the <i>Athenische Mittheilungen</i>, xiii., p. 383), conjectures that
the monument of Thrasyllos was originally surmounted
by a pediment on which was a tripod; and that the pediment
was removed by Thrasycles, who placed the statue
in the centre, and bases for his tripods at the sides.
It is left unexplained what became of the tripod of
Thrasyllos. From the style of the statue we cannot
decide between the two dates. Reisch well points out that
in composition and spirit there is an attempt, only
partially successful, to preserve the manner of Pheidias as
seen in the Parthenon pediments. The figure is majestic,
but the drapery is rather heavy. The influence of the
younger Attic school hardly makes itself felt.</p>
<span class="pagenum"><a name="page259" id="page259"></a>259</span>

<p>The statue is that of a colossal seated figure, the
head, arms, and right foot to the instep wanting. The
body is clad in a talaric chiton, over which is a panther's
skin, passing like a scarf from the left shoulder to the
right side, and bound round the waist by a broad girdle,
under which is seen the panther's face and teeth; an
ample mantle passes from the back of the figure over
the lower limbs, falling in rich folds across the lap.
The head and left arm of this statue were of separate
pieces of marble, and were originally morticed to the
body. The head was wanting as early as the visit of
Spon and Wheler to Athens in 1676. On the left thigh
is a sinking about 6 inches deep, 5 long, and 1&frac12; wide,
in which some object may have been inserted, but
which may have been used when the statue was being
placed in position. On the drapery of the left shoulder
there is a hole for a rivet. It seems probable that the
God was represented with a lyre, the base of which rested
on his left thigh. This instrument was the attribute of
Dionysos Melpomenos (see Gerhard, <i>Ant. Bildwerke</i>, text,
p. 240), and the costume of the figure seems assimilated
to that of a citharist.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 6 feet 3 inches. The stone is roughly
hewn out at the back to lighten the figure. Wheler, <i>Journey</i>,
p. 368; Le Roy, <i>Ruines</i>, pl. 8; Stuart, II., ch. IV., pls. 3, 6;
<i>Mus. Marbles</i>, IX., pl. 1; Ellis, <i>Elgin Marbles</i>, II., p. 90; Overbeck,
<i>Gr. Plast.</i>, 3rd ed., II., p. 94; Reisch, <i>Athenische Mittheilungen</i>,
XIII. (1888) pl. 8, p. 383; <i>Stereoscopic</i>, No. 114; Brunn,
<i>Denkmaeler</i>, No. 119.
</p>

<h3>THE PROPYLAEA.</h3>

<p>The Propylaea, or gateways to the Acropolis, were
constructed by Mnesicles under the administration of
Pericles, in the five years 436-431 <span class="sc">b.c.</span></p>
<span class="pagenum"><a name="page260" id="page260"></a>260</span>

<p>The main portion of the building consisted of two Doric
portions, facing respectively inwards to the Acropolis and
outwards. These were connected by a series of Ionic
columns. The entrance was flanked on each side by
wings (see the plan, <a class="ask" href="#page240a">fig. 20</a>). The Elgin Collection contains
a few architectural remains from the building. A
portion of the cedar dowels which connected the drums
of the columns of the Propylaea may be seen in the Bronze
Room.&mdash;<i>Presented by A. W. Franks, Esq.</i> Cf. Dodwell, <i>Tour</i>,
I., p. 313.</p>

<p><span class="leftside">433.</span>
Capital of Doric column from the Propylaea. It is
impossible to tell from the dimensions whether this capital
is derived from the internal or external portico.&mdash;<i>Elgin
Coll.</i></p>

<p class="indent">
Pentelic marble; width of abacus, 5 feet 5&frac12; inches. <i>Synopsis</i>,
No. 130 (206). Stuart, II., ch. V., pl. 7, fig. 1. Penrose,
<i>Athen. Architecture</i>, ch. X., pl. 31; Bohn, <i>Die Propyläen</i>,
pls. 11, 13, fig. 2.
</p>

<p><span class="leftside">434.</span>
Piece of drum of Ionic column from the inner order of
the Propylaea.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 4&frac12; inches; diameter, 3 feet &#8539; inch.
<i>Synopsis</i>, No. 129. Penrose, <i>Athen. Architecture</i>, ch. X., pl. 32.
</p>

<p><span class="leftside">435.</span>
Part of band for supporting the beams of the ceiling
in the central hall of the Propylaea. There are considerable
remains of the painted mouldings.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 7&frac14; inches; length, 3 feet 10&frac12; inches.
<i>Synopsis</i>, No. 131 (308). Stuart, II., ch. V., pl. 8, fig. 1; Bohn,
<i>Die Propyläen</i>, pl. 12, fig. 6.
</p>
<span class="pagenum"><a name="page261" id="page261"></a>261</span>

<h3>MISCELLANEOUS ARCHITECTURAL FRAGMENTS.</h3>

<p><span class="leftside">436.</span>
Capital of one of the antae from the small Ionic temple
near the Ilissos seen by Stuart, but destroyed since his
time in 1780.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Height, 1 foot &#8539; inch; breadth, 2 feet &frac12; inch. <i>Synopsis</i>, No. 170 (174).
Stuart, I., ch. II., pl. 8, fig. 1. See also Leake, <i>Topography of
Athens</i>, 2nd ed., p. 250.
</p>

<p><span class="leftside">437.</span>
Moulding with anthemion, plait, maeander, and leaf,
bead and reel patterns. Found near the south-east <i>anta</i>
of the Erechtheion.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Height, 8&frac14; inches; breadth, 6&frac34; inches. <i>Synopsis</i>, No. 407. Inwood,
<i>Erechtheion</i>, pl. 26, p. 138.
</p>

<p><span class="leftside">438.</span>
Antefixal ornament or acroterion from the temple of
Demeter at Eleusis. For a similar ornament see Kinnard
in Stuart's <i>Antiquities of Athens</i>, 2nd ed., iii., pl. 1, p. 53.&mdash;<i>Elgin
Coll.</i></p>

<p class="indent">
Pentelic marble; height, 3 feet 7&frac12; inches. <i>Synopsis</i>, No. 169 (173);
Laborde, <i>Le Parthénon</i>, pl. 27.
</p>

<p><span class="leftside">439.</span>
Ornament of roof-tile, <i>kalypter anthemotos</i>. Purchased
by Inwood at Athens.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Pentelic marble; height, 8&frac34; inches. <i>Synopsis</i>, No. 417. Inwood,
<i>Erechtheion</i>, pl. 28, fig. 3, p. 144.
</p>

<p><span class="leftside">440.</span>
Ornament of roof-tile. Probably purchased by Inwood
at Athens.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Pentelic marble; height, 10&frac34; inches. <i>Synopsis</i>, No. 412. Inwood,
<i>Erechtheion</i>, pl. 28, fig. 2, p. 144.
</p>

<p><span class="leftside">441.</span>
Ornament of roof-tile, found "on the gable of a small
Greek church, that appears to have been on the site of
<span class="pagenum"><a name="page262" id="page262"></a>262</span>
a temple" "in the gardens at Athens, beyond Mount
Anchesmus."&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Pentelic marble; height, 8&frac12; inches. <i>Synopsis</i>, No. 411. Inwood,
<i>Erechtheion</i>, pl. 23, p. 131.
</p>

<p><span class="leftside">442.</span>
Ornament of roof-tile found built into a modern house
near the Choragic Monument of Lysicrates.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Pentelic marble; height, 11 inches. <i>Synopsis</i>, No. 413. Inwood,
<i>Erechtheion</i>, pl. 28, fig. 5, p. 144.
</p>

<p><span class="leftside">443.</span>
Capital of Ionic column discovered by Inwood built
into the wall of a small Greek chapel called Agia Marina
on the left bank of the Ilissos at Athens. This is probably
the site of the temple of Artemis Eucleia mentioned
by Pausanias (i., 14, 5, and compare ix., 17, 1). Roses are
sculptured in the eyes of the volutes. Inwood remarks
(p. 136) that the central enrichment over the cymatium
between the volutes is unusual. From the absence of mortices
by which the capital could be secured to the architrave
or to the shaft, he infers (p. 133) that this capital
may have belonged to some sepulchral 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.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Pentelic marble; width from centre of volute to centre of volute,
12&frac34; inches. <i>Synopsis</i>, No. 398. Inwood, <i>Erechtheion</i>, p. 132, pls.
24-25. Bötticher, <i>Tektonik</i>, pl. 30, fig. 7, text, p. 299.
</p>

<p><span class="leftside">444.</span>
Volute of Ionic capital. Inwood (p. 128) states that it
was found near the site of the temple of 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, <i>Akropolis von Athen</i>, pls. vii., viii.
The pulvinus of this capital is ornamented with leaves, as
<span class="pagenum"><a name="page263" id="page263"></a>263</span>
in the example from Athens in Bötticher's <i>Tektonik</i>,
pl. 31, fig. 5, text, p. 299.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot; breadth, 9&frac12; inches. <i>Synopsis</i>,
No. 404, where it is incorrectly described as a capital from the
temple of Nikè Apteros. Inwood, <i>Erechtheion</i>, pl. 21.
</p>

<p><span class="leftside">445.</span>
Volute of Ionic capital, which, according to Inwood
(p. 127) was found in a wall below the north side of the
Acropolis at Athens. In the eye of this volute a rose is
sculptured in relief. In the capitals of the Erechtheion
there was a similar rose of bronze gilt, for which a recess
is carved in the marble.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Pentelic marble; height, 7&frac34; inches; breadth, 9 inches. <i>Synopsis</i>,
No. 410. Inwood, <i>Erechtheion</i>, pl. 20; Bötticher, <i>Tektonik</i>,
text, p. 299.
</p>
<a name="n446" id="n446"></a>
<p><span class="leftside">446.</span>
Fragment of the shaft of a column which was fluted
with twenty-four flutes, the diameter being about two feet
two inches. The dimensions differ from those of the
columns of the Erechtheion.&mdash;<i>Greece.</i> <i>Presented by W. R.
Hamilton, Esq.</i></p>

<p class="indent">
Marble; height, 1 foot 7 inches; width, 1 foot 6 inches.
</p>

<p><span class="leftside">447.</span>
Capital of Corinthian column, from one of the porches
of the building at Athens, commonly known as the Tower
of the Winds, or more correctly as the Horologium of
Andronicus Cyrrhestes (built probably in the 2nd century
<span class="sc">b.c.</span>).&mdash;<i>Formerly in the Elgin Collection.</i></p>

<p class="indent">
Marble; height, 1 foot 4&frac12; inches. Stuart, I., chap. III., pl. 7.
</p>

<p><span class="leftside">448.</span>
Unfinished Ionic base.&mdash;<i>Formerly in the Elgin Collection.</i></p>

<p class="indent">
Marble; height, 9 inches; diameter, 1 foot 10&frac34; inches.
</p>
<span class="pagenum"><a name="page264" id="page264"></a>264</span>

<h3>AGORACRITOS OF PAROS.</h3>
<a name="n460" id="n460"></a>
<p><span class="leftside">460.</span>
Fragment of colossal head, showing the right cheek,
right eyelid and right side of the head as far as the ear.
The hair is waved. On the crown of the head eleven
holes are pierced in the marble, evidently for the attachment
of a wreath or other ornament. The left side and
back of the head have been cut or broken away. So far
as can be inferred from the little original surface remaining,
this head was in a fine style of the fifth century <span class="sc">b.c.</span></p>

<p>The style and material of this work, and the place of
its discovery, give good grounds for thinking that it is a
fragment of the famous statue of Nemesis by Agoracritos of
Paros. The exact date of Agoracritos is not recorded, but
he is said to have been a favourite pupil of Pheidias. The
statue of Nemesis is described as a colossal figure of the
type of 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, <i>Theogony</i>, 581; the diadem of
Hera of Polycleitos (Paus., ii., 17, 4); the Cypriote terracottas,
in the Terracotta Room, wall cases 1 and 27; and the
Cypriote sculptures in the Cyprus Room. The numerous
holes mentioned above must have served for the attachment
of an ornament of some weight, and so confirm the
proposed identification.</p>

<p>According to tradition the statue was made of a block
of Parian marble, which was brought by the Persians,
before the battle of Marathon, to be erected as a trophy
for the capture of Athens. (Paus., i., 33. 2; <i>Anthol.
Pal. App. Plan.</i>, iv., 221, 222, 263). Found on the site
<span class="pagenum"><a name="page265" id="page265"></a>265</span>
of the <i>Temple of Nemesis at Rhamnus</i>.&mdash;<i>Presented by J. P.
Gandy Deering, Esq., 1820.</i></p>

<p class="indent">
Parian marble; height, 1 foot 4&frac12; inches. <i>Uned. Antiquities of Attica</i>,
p. 43; Leake, <i>Athens and Demi of Attica</i>, II., p. 108; <i>Synopsis</i>,
No. 325 (273); <i>Elgin Room Guide</i>, II., No. E. 4; Six, <i>Num.
Chron. 3rd. Ser.</i>, II., p. 94; <i>cf.</i> coin of Cyprus, <i>ibidem</i>, pl. 5;
Gardner, <i>Journ. of Hellen. Studies</i>, VIII., p. 47; Rossbach,
<i>Athenische Mittheilungen</i>, XV., p. 64; Overbeck, <i>Schriftquellen</i>,
834-843.
</p>
<a name="page265a" id="page265a"></a>
<h3>POLYCLEITOS OF ARGOS AND THE PELOPONNESIAN SCHOOL.</h3>

<p>Polycleitos of Argos was, as has already been observed
(p. 90), one of the great pupils of Ageladas of Argos, who
was also the master of Myron and perhaps of Pheidias.</p>

<p>Nothing is recorded as to the life of Polycleitos; his
age, as compared with that of Pheidias, is not accurately
known. It is probable that he was rather younger than
Pheidias, as he was working at a later date. Pliny gives
the 90th Olympiad, or 420 <span class="sc">b.c.</span>, as the date of Polycleitos.
This may be the date of his great statue of Hera at Argos,
the older temple of Hera having been burnt in 422 <span class="sc">b.c.</span>,
and it was probably near the end of the sculptor's life.</p>

<p>No original works by the hand of Polycleitos survive,
but several sculptures are known which can be shown
with probability to have been copied more or less directly
from originals, of which the character is thus ascertained.</p>

<p>Polycleitos was famous in antiquity as the author of a
methodical system of proportions for the human form.
One in particular of his figures, the Doryphoros, was
known as the <i>Canon</i>, and was adopted as the ideal type of
a youthful male figure by later sculptors. This figure,
and its companion the Diadumenos (see below, Nos. <a class="ask" href="#n500">500</a>,
<a class="ask" href="#n501">501</a>), are known to us from copies. They are of vigorous
<span class="pagenum"><a name="page266" id="page266"></a>266</span>
make and square build, but somewhat heavy when compared
with the graceful youths of the Parthenon frieze.
But the words of Quintilian, who says (<i>Inst. Orat.</i>, xii.,
10, 7) that some critics objected to the works of Polycleitos
as being wanting in weight and unduly elegant, suggest
that the extant copies do not convey an accurate impression
of the bronze originals, and in fact some of the
numerous Doryphoros heads which have been found in
Italy present a profile which strikingly recalls the profiles
of the youths on the Parthenon frieze. Polycleitos was also
noted for his technical skill and perfect workmanship.</p>

<p>The works that have been associated with Polycleitos,
in the British Museum, are here described (Nos. 500-503).
A fragment, however, of a group of two boys playing
with knuckle-bones (<i>Mus. Marbles</i>, ii., pl. 31), which was
ascribed by Winckelmann to Polycleitos (<i>Hist. de l'Art</i>,
Bk. vi., chap. 2; Pliny, <i>H. N.</i>, xxxiv., 10), is no doubt of
a later period, and is therefore omitted.</p>
<a name="n500" id="n500"></a>
<p><span class="leftside">500.</span>
Graeco-Roman copy of the Diadumenos of Polycleitos.
Statue of a nude youth, tying a band (taenia) about his
head. He stands principally on the right leg, resting
lightly on the left leg, and has both hands raised. The
left hand is lost. The band was made of bronze, and
holes remain for its attachment. The left side of the
face has been very much rubbed down. By the side of
the figure is a tree-stump.</p>

<p>That this figure is the Diadumenos of Polycleitos is
indicated by its close resemblance in style to the figure at
Naples, believed to be a copy of the Doryphoros (see
No. 502). It would be a remarkable coincidence if we had
two companion statues representing respectively a Diadumenos
and a Doryphoros, known from the number of
replicas to be copies of important works, and agreeing in
style with what would be expected of the art of Polycleitos,
but yet derived from independent sources.</p>
<span class="pagenum"><a name="page267" id="page267"></a>267</span>

<p>The head was found at a distance of two-thirds of a
mile from the torso. The torso was found in 1862 in the
<i>Roman Theatre, at Vaison (Vaucluse)</i>.</p>

<p class="indent">
Marble; height, 6 feet 1 inch. Restorations:&mdash;Nose, fingers of
right hand, parts of left thigh and of left shin and heel; also
the upper part of the stump. The figure should perhaps be set
with the ancient surface of the base horizontal, and so lean less
forwards. <i>Mon. dell' Inst.</i>, X., pl. 49, figs. 1-3; <i>Annali dell'
Inst.</i>, 1878, p. 11 (Michaelis); Rayet, <i>Monuments</i>, I., No. 30 and
text; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 388; Murray, I.,
pl. 10, p. 274; Wolters, No. 508.</p>

<p class="indent">Other examples more or less nearly reproducing this type are:&mdash;(<i>a</i>) A
bronze from the De Janzé Collection in the French Bibliothèque
Nationale. <i>Annali dell' Inst.</i>, 1878, pl. B, p. 11 (Michaelis); Rayet,
<i>Monuments</i>, I., No. 31; Babelon, <i>Le Cabinet des Ant. à la Bibl.
Nationale</i>, pl. 13. (<i>b</i>) A terracotta statuette in an English
private collection. <i>Journ. of Hellen. Studies</i>, VI., p. 243, pl. 61.
(<i>c</i>) A sepulchral relief from Praeneste, in the Vatican, commemorating
one Tiberius Octavius Diadumenus, and having a
relief of a Diadumenos, in allusion to the name. Pistolesi, <i>Vaticano</i>,
IV. 84. (<i>d</i>) A gem. <i>Journ. of Hellen. Studies</i>, II. p. 352.
See also No. 501.
</p>
<a name="n501" id="n501"></a>
<p><span class="leftside">501.</span>
Graeco-Roman statue of a Diadumenos. Statue of a
nude youth standing, tying a band (taenia) about his
head. Both arms were raised, but the left is lost. This
figure, like the Diadumenos of Vaison (No. 500), stands
principally on the right leg, but the left leg is differently
placed, and the whole pose is thereby altered. By the
side of the figure is a stump of a palm.</p>

<p>The hair falls in curls, and the figure is more youthful
than the Diadumenos of Vaison. Except in the similarity
of subject these statues have little in common, and
if the Vaison figure represents the statue of Polycleitos,
this figure would appear to be either an independent
rendering of the same subject, or only remotely derived
from Polycleitos. It was, however, for a long time regarded
as a copy of the work of Polycleitos, and this view
<span class="pagenum"><a name="page268" id="page268"></a>268</span>
has been held by several writers, after the discovery of
the Vaison Diadumenos.&mdash;<i>Farnese Coll. 1864.</i></p>

<p class="indent">
Pentelic marble; height, 4 feet 10&frac14; inches. Restorations:&mdash;Nose,
parts of band. The right leg appears to be ancient, but worked
over. In the earliest publications (Cavalieri, &amp;c.) the left arm
is drawn as if restored. The statue is first known in the Villa
Madama, near Rome (Cavalieri, <i>Ant. Stat. Urb. Romae Liber</i>,
1569, pl. 97). It was afterwards in the Farnese Gardens, in the
Farnese Palace, and at Naples. Guattani, <i>Mem. Encicl.</i>, V., pl.
facing p. 83; Gerhard, <i>Ant. Bildwerke</i>, pl. 69, p. 311; Müller-Wieseler,
<i>Denkmaeler</i>, I., pl. 31, fig. 136; Clarac, V., pl. 858 <span class="sc">c</span>,
2189 <span class="sc">a</span>; <i>Annali dell' Inst.</i>, 1878, pl. <span class="sc">a</span>, p. 20 (Michaelis); Murray,
I., pl. 9, p. 273; Rayet, <i>Monuments</i>, text to No. 30; Mitchell,
p. 388; Wolters, No. 509; Mansell, No. 726.</p>

<p class="indent">The Polycleitan origin of the Farnese statue is supported by Winckelmann
(<i>Hist. de l'Art</i>, Bk. VI., chap. 2), Guattani (<i>loc. cit.</i>),
Newton (Rayet, <i>loc. cit.</i>), Brunn (<i>Annali dell' Inst.</i>, 1879,
p. 218), Murray (<i>loc. cit.</i>).
</p>

<p><span class="leftside">502.</span>
Statuette copied from the Doryphoros of Polycleitos (?).
Figure of youth having the arms broken off from the
shoulders, and the legs from above the knees. The head
is slightly bent forwards, and turned to the left of
the figure. The left leg was advanced in front of the
right leg.</p>

<p>The figure, like a bronze statuette at Athens (<i>Mon. dell'
Inst.</i>, viii., pl. 53), which it nearly resembles, may perhaps
be a modified rendering of the Doryphoros of Polycleitos.
The Doryphoros (spear-bearer) was a figure of a nameless
athlete, which carried a spear, and which was the Canon
or typical model of later sculptors (see <a class="ask" href="#page265a">above</a>). The type
was first recognized by Friederichs in a statue from Pompeii,
now in the Museum at Naples, and other copies have
since been identified.&mdash;<i>Athens</i>.</p>

<p class="indent">
Marble; height, 9 inches. Unpublished. The principal examples of
the type are:&mdash;(<i>a</i>) Figure at Naples (Friederichs, <i>Doryphoros des
Polyclet</i>; Rayet, <i>Monuments</i>, I., No. 29; Overbeck, <i>Gr. Plast.</i>,
<span class="pagenum"><a name="page269" id="page269"></a>269</span>
3rd ed., I., fig. 84). (<i>b</i>) Relief from Argos (<i>Athenische Mittheilungen</i>,
III., pl. 13; Mitchell, p. 386). (<i>c</i>) Bronze bust from
Herculaneum, at Naples, found with a companion bust of an
Amazon (Comparetti, <i>La Villa Ercolanese</i>, pl. 8, fig. 3). (<i>d</i>) Gem
at Berlin (Overbeck, <i>Gr. Plast.</i>, <i>loc. cit.</i>). For other copies, see
Michaelis, <i>Annali dell' Inst.</i>, 1878, p. 6; Wolters, Nos. 506, 507.
</p>

<p><span class="leftside">503.</span>
Head of Amazon, slightly inclined to the left and
looking down, with an expression of pain on the face.
The hair is parted in the middle, and drawn back over
the ears to the back of the head, where it is gathered
in a bunch. The sharp parallel lines in which it is
worked suggest that the head is copied from a bronze
original.</p>

<p>Pliny relates (<i>H. N.</i>, xxxiv., 53) that four artists, Polycleitos,
Pheidias, Cresilas and Phradmon, made statues
of Amazons which were placed in the temple of Artemis
at Ephesus. Polycleitos was accounted to have won the
competition, as he obtained the second vote of each of his
rivals. This account of the contest has the appearance of
a late invention. There are, however, many statues and
busts of wounded Amazons which appear to be copies,
more or less exact, of three types, different one from
another, but yet so far alike that they may have been
produced by artists working on one plan.</p>

<p>The present head belongs to the type which various
archaeologists (Klügmann, <i>Rhein. Mus.</i> 1866, p. 327;
Michaelis, <i>Jahrb. des Arch. Inst.</i>, i., p. 40) have assigned to
Polycleitos. The complete figure is that of a wounded
Amazon, leaning with the left arm on a pillar, and having
the right hand resting on the top of the head.</p>

<p><i>Brought to England by Lyde Brown. Purchased by
Townley, 1774.</i>&mdash;<i>Townley Coll.</i></p>

<p class="indent">
Greek marble; height of ancient portion, 10&frac14; inches. Restorations:&mdash;Tip
of nose, throat and bust. <i>Mus. Marbles</i>, X., pl. 5; <i>Guide to
Græco-Roman Sculptures</i>, I., No. 150; Murray, I., p. 280;
<span class="pagenum"><a name="page270" id="page270"></a>270</span>
<i>Jahrbuch des Arch. Inst.</i>, I., 1886, pl. 3, No. 2; p. 16, <i>K</i>, (Michaelis).
There is a drawing by Cipriani in the British Museum (<i>Add.
MSS.</i> 21,118, No. 12).</p>

<p class="indent">The best examples of the type are:&mdash;(<i>a</i>) A statue at Lansdowne
House, London. <i>Specimens of Ant. Sculpture</i>, II., pl. 10. <i>Cat.
of Lansdowne Marbles</i>, No. 83. (<i>b</i>) A bronze head from Herculaneum,
now in the Museum at Naples. Comparetti, <i>La
Villa Ercolanese</i>, pl. 8, fig. 1. (<i>c</i>) Compare the Amazon on the
Phigaleian frieze (No. 522). For further literature and
examples, see Michaelis, <i>loc. cit.</i>
</p>

<p><span class="leftside">504.</span>
Head of Hera (?). Ideal female head wearing a lofty
diadem. The hair was brought to the back of the head,
where it was tied in a knot, now lost.</p>

<p>It is thought possible that this head may be derived
from the Argive statue of Hera by Polycleitos, for which
the coins of Argos may be compared (<i>Journ. of Hellen.
Studies</i>, vi., pl. 54, Nos. 12-15).&mdash;<i>Girgenti.</i></p>

<p class="indent">
Marble; height, 1 foot 4 inches. The lower part of the back of the
head on the right side, which had been broken, has been in modern
times roughly carved on the fractured surface to represent hair,
and the end of the diadem. The surface of the face has also
suffered from being worked over. The genuineness of the
sculpture has been questioned, without reason. <i>Mon. dell'
Inst.</i>, IX., pl. 1; Helbig, <i>Annali dell' Inst.</i>, 1869, p. 144;
Overbeck, <i>Gr. Kunstmyth.</i>, pl. 9, figs. 4, 5; II., p. 81, 3;
Murray, I., p. 268; Wolters, No. 501; Furtwaengler, <i>Arch. Zeit.</i>,
1885, p. 275, fig. A; Murray, <i>Römische Mittheilungen</i>, I., p. 123.
</p>

<h3>THE TEMPLE OF APOLLO AT PHIGALEIA.</h3>

<p>The Temple of Apollo Epicurios, at Phigaleia, in Arcadia,
stands in a slight depression on the bare and wind-swept
side of Mount Cotylion, above the valley of the
river Neda. It was discovered towards the end of the
eighteenth century, but on account of its remote position it
was seldom visited before 1811. In that year the party of
explorers, who had previously discovered the pedimental
<span class="pagenum"><a name="page271" id="page271"></a>271</span>
sculptures of Aegina, began excavations which were completed
in 1812. The party included Cockerell and Haller
in the first season, and Haller, Stackelberg and Bröndstedt
in the second season. The sculptures found were
removed to Zante, and were purchased by the British
Government in 1814.</p>

<p>The temple was visited by Pausanias, who describes it
as being situated at the village of Bassae on Mount Cotylion,
about five miles from Phigaleia. Pausanias states
that the temple and its roof were alike built of stone,
and that it might be counted among the temples of the
Peloponnesus, second only to that of Tegea, for beauty of
material and fineness of proportion. He adds that the
temple was dedicated to Apollo Epicurios (the Helper),
because the god had stayed a plague at Phigaleia in
the time of the Peloponnesian war. The architect was
Ictinos, the builder of the Parthenon (Paus. viii., 41, 5).
The date of the temple is therefore about 430 <span class="sc">b.c.</span>,
although it is doubtful whether the plague in Arcadia
was connected with the more celebrated pestilence at
Athens.</p>

<p>The temple is built of the light grey limestone of the
surrounding mountains. The sculptures, tiles, lacunaria,
and capitals of the interior architecture were all of marble,
which was probably obtained in the neighbourhood. The
form of the building is that known as amphiprostyle
peripteral hexastyle. The temple consisted of a central
cella with a pronaos and opisthodomos, and was surrounded
by a Doric colonnade, having six columns at the
ends and fifteen columns at the sides. The pronaos and
opisthodomos were each bounded by two Doric columns
between antae, surmounted by metopes. The cella contained
ten Ionic columns engaged in buttresses which
connected them with the side walls. Towards the south
end of the cella was a single Corinthian column, of
<span class="pagenum"><a name="page272" id="page272"></a>272</span>
remarkable form, which is now lost. Beyond it was the
temple image, which by a peculiar arrangement is thought
to have looked to the east, towards a side door, the orientation
of the temple being nearly north and south. It
has been thought that this arrangement may show that
an ancient shrine was embodied in the later temple.
(Curtius, <i>Pelop.</i>, i., p. 329; Michaelis, <i>Arch. Zeit.</i>, 1876,
p. 161). The frieze was internal, and passed round the
cella, with the exception of that portion which is south
of the Corinthian column. (Compare the ground plan,
fig. 22, and the view, plate xi.)</p>

<div class="figcenter" style="width: 600px;"><a href="images/25fig22-1000.png"><img src="images/25fig22-600.png" width="600" height="271" alt="Fig. 22.--Plan of the Temple of Apollo at Phigaleia." /></a>
<p class="center">Fig. 22.&mdash;Plan of the Temple of Apollo at Phigaleia.</p></div>

<p class="indent">
The temple was discovered by a French architect, Bocher, in
November, 1765 (Chandler, <i>Travels in Greece</i>, 1776, p. 295).
For descriptions of the architecture and sculpture, see Stackelberg,
<i>Der Apollotempel zu Bassae, in Arcadien</i>, 1826; Donaldson,
in Stuart, 2nd ed., vol. IV.; Blouet, <i>Expédition scientifique de
Morée</i>, II; <i>Museum Marbles</i>, IV.; Leake, <i>Travels in the Morea</i>,
II., chap. xii., p. 1; Ellis, <i>Elgin and Phigaleian Marbles</i>, II.,
p. 175; Cockerell, <i>The Temple of Jupiter Panhellenius at Aegina,
and of Apollo Epicurius at Bassae, near Phigaleia, in Arcadia</i>,
1860; Overbeck, <i>Gr. Plast.</i>, 3rd ed., I., p. 449; Murray, II.,
p. 169; Wolters, Nos. 880-912. For literature specially relating
to the frieze, see below, p. <a class="ask" href="#page279">279</a>. Views and plans of the temple
are exhibited in a table case.
</p>
<span class="pagenum"><a name="page273" id="page273"></a>273</span>

<h4><span class="sc">Architectural Fragments.</span></h4>

<p><span class="leftside">505.</span>
Two fragments of the cymatium cornice, with a pattern
of palmettes alternating with palmettes of a plainer form,
springing from acanthus leaves as on the cornice of the
Erechtheion. The member to which these fragments
belong surmounted the pediments.</p>

<p class="indent">
Marble; height, 1 foot &#8539; inch; width, 4 feet 2&frac34; inches. The left-hand
fragment is engraved in <i>Mus. Marbles</i>, IV., vignette.
<i>Synopsis</i>, Nos. 26, 27; Cockerell, <i>Phigaleia</i>, pl. 6; Ellis, <i>Elgin
and Phigaleian Marbles</i>, II., p. 212.
</p>

<p><span class="leftside">506.</span>
Fragment of a Doric capital, from a column of the
external colonnade.</p>

<p class="indent">
Limestone; height of fragment, 1 foot 5 inches; width. 1 foot 9 inches.
<i>Mus. Marbles</i>, IV., pl. 25, fig. 4; <i>Synopsis</i>, No. 24; <i>cf.</i> Cockerell,
<i>Phigaleia</i>, pl. 6.
</p>

<p><span class="leftside">507.</span>
Fragment of the capital of one of the Doric columns of
the pronaos or opisthodomos, including the lower part of
the echinus, and the upper part of the flutings.</p>

<p class="indent">
Limestone; height, 5&frac12; inches; width, 1 foot 6&frac12; inches.
</p>

<p><span class="leftside">508.</span>
Fragment of the capital of one of the Ionic columns of
the interior of the cella, with a part of the fluting. These
capitals are of peculiar form, each column being connected
at the back by a cross wall with the wall of the cella
(see plan). The three exposed faces of the capital had
each a pair of Ionic volutes. In the centre of the volute
is a stud of marble separately made. The hole for it was
prepared by a series of drill holes placed so as to form a
ring-like depression, the centre of which was afterwards
worked out. The profile of the side pairs of volutes was
somewhat different to that of the front pair, whence it
can be ascertained that the fragment in the British
<span class="pagenum"><a name="page274" id="page274"></a>274</span>
Museum contains a part of the front and right side of
the cap.</p>

<p class="indent">
Marble; height, 1 foot 6 inches. <i>Mus. Marbles</i>, IV., pl. 25, fig. 3;
<i>Synopsis</i>, No. 25; Cockerell, <i>Phigaleia</i>, pl. 14.
</p>

<blockquote><p>
<span class="leftside">509.</span><span class="leftside1">&nbsp;&nbsp;1.</span>
Roof tile, with antefixal end, with a palmette in relief
above two volutes springing from an acanthus.
</p></blockquote>

<p class="indent1">
Marble; height, 1 foot 3&frac14; inches; length, 1 foot 8&frac12; inches. <i>Mus.
Marbles</i>, IV., pl. 25, fig. 1; <i>Synopsis</i>, No. 39; <i>Exp. de Morée</i>,
II., pl. 19, fig. 1; Cockerell, <i>Phigaleia</i>, pl. 7.
</p>

<blockquote><p>
<span class="leftside1">&nbsp;&nbsp;2.</span></p>

<p>Part of roof tile from the ridge of the roof of the
temple. The central portion is not worked with palmettes,
as shown by Cockerell.
</p></blockquote>

<p class="indent1">
Marble; height of fragment, 1 foot 4 inches; length, 1 foot 6 inches.
The complete length was about 2 feet 3 inches. <i>Mus. Marbles</i>,
IV., pl. 25, fig. 2; <i>Synopsis</i>, No. 40; Cockerell, <i>Phigaleia</i>, pl. 7,
figs. 5, 6.
</p>

<h4><span class="sc">Phigaleian Metopes.</span></h4>

<p>The following fragments belong to a series of metopes
in high relief, which were placed over the entrance to the
cella of the temple, in a position similar to that occupied
by the metopes of the Temple of Zeus at Olympia. In
the Parthenon the frieze takes the place of the internal
metopes, of which however a trace remains in the <i>guttae</i>
which occur at regular intervals below the frieze, and
which imply triglyphs.&mdash;Cockerell, <i>Phigaleia</i>, pl. 5.</p>

<p>The fragmentary state of the metopes makes the subjects
uncertain, in most instances.</p>

<p class="indent">
For a general view of the metopes, see <i>Stereoscopic</i>, No. 122.
</p>

<p><span class="leftside">510.</span>
Figure wearing a helmet with a projecting tail-piece
(compare Parthenon frieze, south side, No. 4), a sleeveless
chiton girt at the waist, and a small cloak. The figure
wears a Gorgoneion on the breast; and with the left
<span class="pagenum"><a name="page275" id="page275"></a>275</span>
hand seems to be playing on a lyre, which is partly
expressed in relief, and must have been further indicated
in colour. The Gorgoneion suggests 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&mdash;(Zoega,
<i>Bassirel. Ant.</i> i., pl. 42).</p>

<p class="indent">
Marble; height, 1 foot 6 inches; width. 1 foot 4&frac12; inches. <i>Mus.
Marbles</i>, IV., pl. 24, fig. 1; Stackelberg, pl. 30, fig. 2; <i>Exp. de
Morée</i>, II., pl. 23, fig. 2; <i>Synopsis</i>, No. 28; Cockerell, <i>Phigaleia</i>,
pl. 8; Ellis; <i>Elgin and Phigaleian Marbles</i>, II, p. 213.
</p>

<p><span class="leftside">511.</span>
A mutilated male head, inserted in the same metope
as last. It appears to have been bearded, but this is
doubtful.</p>

<p class="indent">
Marble; height, 5&frac12; inches; width, 9 inches. <i>Synopsis</i>, No. 33.
</p>

<p><span class="leftside">512.</span>
Torso from the breasts to the knees of a female figure,
wearing a fine clinging chiton and a mantle. The right
hand holds two objects, perhaps <i>crotala</i> or possibly flutes,
and the left hand was extended.</p>

<p class="indent">
Marble; height, 1 foot 3 inches; width, 1 foot 5&frac12; inches. <i>Mus.
Marbles</i>, IV., pl. 24, fig. 2; Stackelberg, pl. 30, fig. 1; <i>Exp. de
Morée</i>, II., pl. 23, fig. 1; Ellis, <i>Elgin and Phigaleian Marbles</i>,
II., p. 213.
</p>

<p><span class="leftside">513.</span>
Lower part of a nude male figure from the waist to the
ankle of the left leg, standing. The right leg is wanting.
The figure stands to the left with drapery wrapped about
the left arm.</p>

<p class="indent">
Marble; height, 1 foot 10 inches; width, 9&frac14; inches.
</p>

<p><span class="leftside">514.</span>
Right knee of a draped female figure standing to the
right.</p>

<p class="indent">
Marble; height, 10 inches, width, 11 inches. <i>Synopsis</i>, No. 37.
</p>
<span class="pagenum"><a name="page276" id="page276"></a>276</span>

<p><span class="leftside">515.</span>
Fragment with the upper moulding of a metope, and
with a circular object in relief, which has a round depression
in the centre. This object has been interpreted as a
cymbal held up by a dancing figure. Perhaps, however,
it may be a ring from the top of a tripod of Apollo, such
as is frequently seen. Cf. Furtwaengler, <i>Bronzen von
Olympia</i>, pl. 34.</p>

<p class="indent">
Marble; height, 4 inches; width, 6 inches. <i>Synopsis</i>, No. 31.
</p>

<p><span class="leftside">516.</span>
Figure of Apollo Kitharoedos? A male figure, wearing
the dress of a citharist, with a long tunic falling to
the feet, confined by a belt and by bands crossing the
breast. The figure also wears a flowing mantle, and has
long hair falling on the shoulders. The figure is half
turned to the right, and looks back to the left. If the
preceding fragment is, as suggested, a part of a tripod,
Apollo may be supposed to have been standing beside the
Delphic tripod.</p>

<p class="indent">
Marble; height, 2 feet 7&frac12; inches; width, 1 foot 3 inches. The two
main portions of the figure of Apollo, which have only recently
been joined, give the height of the metopes. <i>Synopsis</i>,
Nos. 36, 38.
</p>

<p><span class="leftside">517.</span></p>

<blockquote><p>
This metope, though in a fragmentary state, appears to
represent the rape of a woman by a nude male figure.
A woman wearing a sleeveless chiton and a mantle,
<span class="leftside1">&nbsp;&nbsp;1.</span>raises her right hand wrapped in the mantle to her
head. Of the ravisher we only see the fingers of the
right hand grasping the neck of the woman, and a part
of his arm below the woman's right elbow, and behind
her drapery.</p>

<p><span class="leftside1">&nbsp;&nbsp;2.</span></p>

<p>On the second fragment, which may be assumed to
belong to the same metope, we see a part of the feet
of the woman, the toes of the man's right foot, and
doubtful traces of his left foot. He was probably represented
as seizing the woman by the neck and the knees.</p>
</blockquote>
<span class="pagenum"><a name="page277" id="page277"></a>277</span>

<blockquote>
<p>Cockerell suggests that the subject is Apollo pursuing
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.
</p></blockquote>

<p class="indent1">
    Marble. Fragment 1: height, 1 foot 4&frac12; inches; width, 1 foot
    3 inches. <i>Synopsis</i>, No. 30; <i>Exp. de Morée</i>, II. pl. 23, fig. 3;
    Stackelberg, pl. 30, fig. 3; <i>Mus. Marbles</i>, IV., pl. 24, fig. 3;
    Ellis, <i>Elgin and Phigaleian Marbles</i>, II., p. 213. Fragment 2:
    height, 8&frac34; inches; width, 1 foot 4 inches. <i>Synopsis</i>, No. 35.
</p>

<p><span class="leftside">518.</span>
Upper part of body of draped female figure standing
to the front.</p>

<p class="indent">
Marble; height, 8 inches; width, 10 inches. <i>Synopsis</i>, No. 32.
</p>

<p><span class="leftside">519.</span>
Torso of an obese bearded figure, from the neck to the
waist. The figure appears to have been seated, leaning
back, and having a staff and drapery under the left
arm. Cockerell restores it as a figure standing and
leaning on a staff.</p>

<p class="indent">
Marble; height, 1 foot &frac34; inch; width, 8&frac12; inches. <i>Synopsis</i>, No. 34;
Cockerell, <i>Phigaleia</i>, pl. 5, Stackelberg, pl. 30, fig. 4; <i>Exp. de
Morée</i>, II., pl. 23, fig. 4.
</p>

<h4><span class="sc">The Phigaleian Frieze.</span></h4>

<p>The frieze of the Temple of Apollo Epicurios consists of
23 slabs of marble, somewhat resembling Pentelic. The
slabs are each 2 feet 1&frac14; inches high, and they have a
combined length of 101 feet &frac34; 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&#8539; 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&frac12; inches thick, and rested on the edge of the
<span class="pagenum"><a name="page278" id="page278"></a>278</span>
architrave, being fastened with bolts to the ground
behind.</p>

<p>The subjects represented are: (1) Battle of Lapiths
and Centaurs; (2) Battle of Greeks and Amazons. The
former subject has 11 slabs of a combined length of
45 feet 6&frac34; inches, while the latter has 12 slabs measuring
55 feet 6 inches. The Centauromachia, therefore, occupied
two sides, less the length of one slab, which contained a
part of the Amazonomachia.</p>

<p>Several attempts have been made to fix the probable
order of the slabs, but except in certain cases we have no
evidence. It is probable that the slabs, No. 541 with
Heracles or Theseus, and No. 530 with Centaurs and
Kaineus, were in the centres of two short sides. They
are longer than any other slabs, and are well fitted to
form the central groups in the compositions. Slab No.
540 was certainly a corner slab, as is proved by the
rebate. Slab No. 532 was probably a corner slab. Slabs
Nos. 527 and 528 evidently were next to each other, and
No. 528 was probably at a corner. Beyond these fixed
points, the order can only be determined by considerations
of composition. In the description that follows, the slabs
are taken in the present order of arrangement in the
British Museum, which is that proposed by Mr. Murray
(<i>Greek Sculpt.</i> ii. pl. 14) except as regards the position of
the slabs of the north side.</p>

<p>The style of the reliefs is somewhat peculiar. Many
of the types of combat are familiar in Attic sculpture.
Compare the group of Kaineus with the same subject
on the frieze of the Theseion, and the Centaur groups
with the metopes of the Parthenon. At the same time
the style of the work, with its high relief, somewhat
florid and coarsely executed, is un-Attic, and it seems
probable that the actual production of the reliefs was in
the hands of local workmen. There is less certainty as
<span class="pagenum"><a name="page279" id="page279"></a>279</span>
to the designer. Among the artists suggested are Alcamenes
(Stackelberg, p. 84), Cresilas (Sauer, <i>Berliner
Philol. Wochenschr.</i>, 1889, p. 583); an artist influenced by
the paintings of Polygnotos (Murray, ii., p. 176); an
Attic artist (Jahn, <i>Pop. Aufsätze</i>, p. 157), or an Arcadian
artist under Attic influences (Overbeck, <i>Gr. Plast.</i>, 3rd
ed., i., p. 457.)</p>

<p class="indent">
<i>Literature relating to the Frieze.</i> Wagner, <i>Bassorelievi Antichi della
Grecia</i>. See also works quoted above, and on p. 272. For the
proposed arrangements of the slabs of the frieze, see Cockerell,
p. 56; Ivanoff, <i>Annali dell' Inst.</i>, 1865, p. 29; Lange, <i>Ber. der.
K. sächs Ges. d. Wissenschaften</i>, 1880, p. 56, pl. 3; Wolters,
Nos. 883-905; <i>Stereoscopic</i>, Nos. 119, 120, 122.
</p>

<h4><span class="sc">Phigaleian Frieze, West Side.</span></h4>

<p><span class="leftside">520.</span>
A Centaur carries away a Lapith woman, who stretches
out her arm in appeal for help. The woman's headdress
is somewhat peculiar, consisting of a cap (<i>sphendonè</i>) and
a narrow taenia, from under which the hair falls in small
curls on the forehead. On the right of the slab an
unarmed Lapith struggles with a Centaur, whose equine
body is wholly unexpressed except for one leg which
hardly seems to belong to him.</p>

<p class="indent">
Length, 2 feet 5&frac34; inches. <i>Synopsis</i>, No. 7; <i>Mus. Marbles</i>, IV., pl. 7;
Stackelberg, pl. 25.
</p>

<p><span class="leftside">521.</span>
On the left of this slab, a Centaur, whose head and
lower parts are lost, flings a stone with each hand. The
figure is shown to be a Centaur by the lion's skin over the
left arm. On the right, a Centaur, who also wears a lion's
skin knotted about his neck, treads down an armed
Lapith, and grasps his right hand to prevent him striking
with his sword. Between the two Centaurs is a Lapith
woman, who hastens to her right and holds her mantle
about her. The Centaur here and on certain other slabs
<span class="pagenum"><a name="page280" id="page280"></a>280</span>
has a horse's mane, which does not occur on the Centaurs
of the Parthenon or of the Theseion.</p>

<p class="indent">
Length, 4 feet 2&frac12; inches. <i>Synopsis</i>, No. 6; <i>Mus. Marbles</i>, IV., pl. 6;
Stackelberg, pl. 28.
</p>

<p><span class="leftside">522.</span>
On the left a Centaur draws towards himself a Lapith
woman who tries to escape. She has a child on her left
arm. The face of this figure has a strong resemblance to
that of the supposed Amazon of Polycleitos, and the
drapery of the breast is treated in the same way as
that of some of the statues of Amazons. (Compare the
fragment at Wörlitz, engraved <i>Jahrbuch des Inst.</i> i., pl. 4.)</p>

<p>On the right, a Centaur, who has a shield and lion's
skin, tramples down a Lapith, whose hands are stretched
out as if to keep the Centaur away. The Lapith is fully
armed, having a cuirass above a chiton, a chlamys, and
boots. He has no shield, but perhaps that of the Centaur
may be supposed to have been captured from him, as no
other Centaur is thus armed on the Phigaleian frieze, the
Theseion, or the Parthenon.</p>

<p class="indent">
Length, 4 feet 1&frac12; inches. <i>Synopsis</i>, No. 3; <i>Mus. Marbles</i>, IV., pl. 3;
Stackelberg, pl. 23.
</p>

<p><span class="leftside">523.</span>
Apollo and Artemis coming to the aid of the Lapiths.
Artemis drives a chariot drawn by two stags; she wears
the chiton, and large 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.</p>

<p class="indent">
Length, 3 feet 9&frac12; inches. <i>Synopsis</i>, No. 11; <i>Mus. Marbles</i>, IV.,
pl. 11; Stackelberg, pl. 19.
</p>

<p><span class="leftside">524.</span>
Two Lapith women have taken refuge at the statue of
a goddess, probably Artemis, as she is coming to their aid.
<span class="pagenum"><a name="page281" id="page281"></a>281</span>
One of the women stretches out her arms with a gesture
of despairing entreaty. The other embraces the statue,
which is a stiff archaic image wearing a polos; with her
left hand she clings to her mantle which has been seized
by the Centaur. The Centaur is attacked from behind
by a Lapith who kneels on his back, has his left arm
round the Centaur's neck, and is about to strike with
the sword originally held in the right hand. On the
right is a tree, with a lion's skin hanging from a bough.
The appearance of a deity near his own image is not
infrequent. (Cf. <i>Journ. of Hellen. Studies</i>, ix., pl. 1;
Müller, <i>Denkmaeler</i>, pl. 44, fig. 206; <i>Arch. Zeit.</i>, 1869,
pl. 14.)</p>

<p>The group of the Lapith and Centaur is composed like
the Parthenon metope, No. 305.</p>

<p class="indent">
Length, 4 feet 6 inches. <i>Synopsis</i>, No. 10; <i>Mus. Marbles</i>, IV., pl. 10;
Stackelberg, pl. 29.
</p>

<p><span class="leftside">525.</span>
A Lapith and a Centaur in combat. The Lapith draws
away to the left, and is about to throw a stone, while he
stretches out his shield on his left arm. The Centaur
rears up, and seems to be throwing a stone held in both
hands. The Lapith has only a helmet and small chlamys.
He also wore a metal sword belt. On the right of the
slab, a woman holding a boy on her right arm, moves
quickly to the left. With her left hand she holds a
floating piece of her veil.</p>

<p class="indent">
Length, 4 feet 5 inches. <i>Synopsis</i>, No. 8; <i>Mus. Marbles</i>, IV., pl. 8;
Stackelberg, pl. 20.
</p>

<p><span class="leftside">526.</span>
A Centaur is about to thrust with his sword at a
Lapith, who seizes the Centaur's left foreleg and left
hand. The Centaur has a lion's skin; the Lapith is
unarmed. On the right of this slab another unarmed
Lapith has forced the Centaur down on his knees. He
<span class="pagenum"><a name="page282" id="page282"></a>282</span>
kneels on the Centaur's back, and holds his hair with the
right hand, and his wrists with the left hand.</p>

<p class="indent">
Length, 4 feet 2&frac12; inches. <i>Synopsis</i>, No. 5; <i>Mus. Marbles</i>, IV., pl. 5;
Stackelberg, pl. 27.
</p>

<p><span class="leftside">527.</span>
The Centaur of this slab bites a Lapith in the neck.
The Lapith is about to fall with relaxed limbs, but
plunges his sword in the Centaur's body. At the same
time the Centaur kicks out with his hind legs at a Lapith
on the left, who holds out his shield as a defence. A dead
Centaur lies on the ground. Both Centaurs have lions'
skins. The Lapiths wore metal sword belts.</p>

<p class="indent">
Length, 4 feet 1 inch. <i>Synopsis</i>, No. 2; <i>Mus. Marbles</i>, IV., pl. 2
Stackelberg, pl. 21; Brunn, <i>Denkmaeler</i>, No. 91.
</p>

<p><span class="leftside">528.</span>
A Centaur has been thrown down by two Lapiths.
The one drags forward the Centaur by his hair, while the
other kneels on his back, and has his hand and sword
raised to strike. A Centaur, however, has come from
behind and arrests the Lapith's blow, and tries to draw
away his shield. The fallen Centaur feebly puts out his
right hand behind his back to meet the stroke.</p>

<p class="indent">
Length, 4 feet 1 inch. <i>Synopsis</i>, No. 1; <i>Mus. Marbles</i>, IV., pl. 1;
Stackelberg, pl. 22.
</p>

<h4><span class="sc">Phigaleian Frieze, North Side.</span></h4>

<p><span class="leftside">529.</span>
On the left a Lapith and Centaur are wrestling. The
Lapith holds the Centaur's head under his left arm, and
the Centaur seizes the thigh of the Lapith, and tries to
overthrow him, putting his right foreleg round the leg of
the Lapith. The Centaur wears a lion's skin. On the
right the Lapith has seized the Centaur by the hair, and
is about to strike. The Centaur is helpless and can only
stretch out his hands behind his back as a defence.</p>

<p class="indent">
Length, 4 feet 4&frac12; inches. <i>Synopsis</i>, No. 9; <i>Mus. Marbles</i>, IV., pl. 9;
Stackelberg, pl. 24.
</p>
<span class="pagenum"><a name="page283" id="page283"></a>283</span>

<p><span class="leftside">530.</span>
Two Centaurs heave a mighty stone to crush the
invulnerable Kaineus. Kaineus is half-buried and holds
his shield above his head. He probably held a sword in
the right hand. Both Centaurs wear lions' skins. The
same subject occurs on the frieze of the Theseion. Next
on the right is a Lapith armed with shield and helmet,
who seems to be dragging the Centaur by the hair. A
woman moves to the right, holding her floating mantle
with her right hand.</p>

<p class="indent">
Length, 5 feet 3&frac12; inches. <i>Synopsis</i>, No. 4; <i>Mus. Marbles</i>, IV., pl. 4;
Stackelberg, pl. 26; Brunn, <i>Denkmaeler</i>, No. 90.
</p>

<p><span class="leftside">531.</span>
The remaining slab on this side contains a part of the
battle of Greeks and Amazons. As the Amazon slabs are
longer than the slabs of Centaurs by about 10 feet, it is
clear that they must have filled two sides and a part of a
third. (See above, p. <a class="ask" href="#page278">278</a>.)</p>

<p>On the left a Greek and an Amazon are engaged in
combat. The Greek has a helmet, boots, and a chiton
which leaves the right shoulder bare. He advances his
left arm with the mantle hanging from it, in the manner of
Harmodios in the group of the Athenian Tyrannicides
(compare the Panathenaic vase in the Fourth Vase Room,
which has this group on the shield of 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
(<i>schistos</i>), like that of the Iris of the east pediment of the
Parthenon.</p>

<p class="indent">
Length, 4 feet 6&frac12; inches; <i>Synopsis</i>, No. 20; <i>Mus. Marbles</i>, IV., pl. 20;
Stackelberg, pl. 17.
</p>
<span class="pagenum"><a name="page284" id="page284"></a>284</span>

<h4><span class="sc">Phigaleian Frieze, East Side.</span></h4>

<p><span class="leftside">532.</span>
On the left of the slab a Greek tries to drag an Amazon
along by the hair. She is now unarmed, and tries to
resist with both hands and with the weight of her body.
Her shield is seen in the background. On the right an
Amazon who has sunk to the ground, but appears not to
be badly wounded, is defended by a companion who stands
beside her, and stretches out a large shield.</p>

<p class="indent">
Length, 4 feet 6&frac34; inches. <i>Synopsis</i>, No. 12; <i>Mus. Marbles</i>, IV.,
pl. 12; Stackelberg, pl. 7.
</p>

<p><span class="leftside">533.</span>
On the left a Greek makes a fierce attack on an enemy
represented in the adjoining slab, which was probably the
one just described. He has his sword arm raised above
his head for a strong blow.</p>

<p>In the centre is a vigorous combat between a Greek and
Amazon. The Greek covers himself with his shield and
draws back for a spear thrust. The action of the Amazon
appears to be that of thrusting a spear. The shield on
her left arm is not expressed. In the tightly stretched
skirt of the chiton the sculptor has sacrificed grace for
truth to nature and vivid movement. On the right, an
Amazon who has just received a mortal wound, is seen
falling to the ground, with all her limbs relaxed.</p>

<p class="indent">
Length, 4 feet 5&frac34; inches. <i>Synopsis</i>, No. 13; <i>Mus. Marbles</i>, IV.,
pl. 13; Stackelberg, pl. 8; Brunn, <i>Denkmaeler</i>, No. 88.
</p>
<a name="n534" id="n534"></a>
<p><span class="leftside">534.</span>
On the left a Greek drags down an Amazon from her
horse, grasping her hair with the left hand. He probably
held a sword in the right hand. The Amazon tries
feebly to loosen his grasp. She wears the split chiton,
like the Amazon of slab No. 531. On the right is an
Amazon, who draws back a little, extending her shield,
and at the same time raising her right hand to strike.
Here, as in No. 533, the drapery is tightly stretched.
<span class="pagenum"><a name="page285" id="page285"></a>285</span>
The upper part of the figure of the Greek had been
lost when the marbles were being transported from the
temple. It was afterwards found in a house near Bassae,
and was <i>presented by J. Spencer Stanhope, Esq., 1816.</i> (Cf.
Stackelberg, p. 23.)</p>

<p class="indent">
Length, 4 feet 4&frac34; inches. <i>Synopsis</i>, No. 17; <i>Mus. Marbles</i>, IV.,
pl. 17; Stackelberg, pl. 13; Brunn, <i>Denkmaeler</i>, No. 87.
</p>

<p><span class="leftside">535.</span>
An unarmed Amazon has taken refuge at an altar; a
Greek has seized her by the hair, and tries to drag her
away. The Amazon resists using her weight, and both
arms. The Greek had a sword in his right hand.</p>

<p>On the right a Greek and Amazon are engaged in hand
to hand combat, extending their shields and engaged in
fence with their swords. The drapery of the Amazon is
treated as on the two last slabs.</p>

<p class="indent">
Length, 4 feet 6&frac34; inches. <i>Synopsis</i>, No. 22; <i>Mus. Marbles</i>, IV.,
pl. 22; Stackelberg, pl. 16; Brunn, <i>Denkmaeler</i>, No. 86.</p>

<p><span class="leftside">536.</span>
A large part of the group on the left is wanting. The
Greek appears to be dragging the fallen Amazon by the
hair, and at the same time to be treading her down with
his right foot. With both hands she tries to free herself
from the grasp of the Greek. On the right, a Greek has
fallen on his knees and holds up his shield as a defence
against the victorious Amazon, whose right hand and
sword are raised to strike.</p>

<p class="indent">
Length, 4 feet 6&frac34; inches. <i>Synopsis</i>, No. 15; <i>Mus. Marbles</i>, IV.,
pl. 15; Stackelberg, pl. 12.
</p>

<p><span class="leftside">537.</span>
An Amazon is disarmed, and has fallen to the ground.
She stretches out her right hand, as if in entreaty to a
Greek who treads with his left foot on her knee, and is
about to thrust with his sword. A second Greek approaches
from the left. On the right an Amazon strides
<span class="pagenum"><a name="page286" id="page286"></a>286</span>
quickly forward to help her companion, and is about to
strike the Greek.</p>

<p class="indent">
Length, 4  feet 4&frac34; inches. <i>Synopsis</i>, No. 21; <i>Mus. Marbles</i>, IV.,
pl. 21; Stackelberg, pl. 11.
</p>

<p><span class="leftside">538.</span>
On the left, a Greek who is bearded and heavily armed,
has thrown down an Amazon, whom he drags by the hair,
while she tries to keep him at arm's length. On the
right the Greek has fallen on his knees, and holds up his
shield against the attack of the Amazon.</p>

<p class="indent">
Length, 4 feet 5&frac34; inches. <i>Synopsis</i>, No. 19; <i>Mus. Marbles</i>, IV.,
pl. 19; Stackelberg, pl. 15.
</p>

<p><span class="leftside">539.</span>
A Greek who has been killed in the battle, and perhaps
stripped, is being borne off the field on a companion's back.
Another Greek who has been badly wounded in the right
leg, leaves the field, leaning with his right hand on a
spear, now wanting. He puts his left arm round the neck
of a companion, who supports him round the body. In
the centre of the slab an Amazon draws away a shield
which belonged to one of the Greeks.</p>

<p class="indent">
Length, 4 feet 9&frac14; inches. <i>Synopsis</i>, No. 14; <i>Mus. Marbles</i>, IV., pl. 14;
Stackelberg, pl. 18.
</p>

<h4><span class="sc">Phigaleian Frieze, South Side.</span></h4>

<p><span class="leftside">540.</span>
This slab has a rebate on the left side, proving that it
belongs to the left end of a frieze. On the left, a wounded
Greek lying on the ground, is partly raised by a companion,
who eagerly watches the fight, but for the
moment only holds his sword in the left hand, while he
uses his right hand to support the wounded man. A
similar group occurs on the frieze of the Temple of Nikè
(No. 421).</p>

<p>On the right a Greek and Amazon are fighting hotly.
<span class="pagenum"><a name="page287" id="page287"></a>287</span>
The Greek presses forward, and the Amazon at the same
time draws back, collecting her strength for a blow. The
Amazon wears the split chiton.</p>

<p class="indent">
Length, 4 feet 8&frac34; inches. <i>Synopsis</i>, No. 16; <i>Mus. Marbles</i>, IV.,
pl. 16; Stackelberg, pl. 10.
</p>

<p><span class="leftside">541.</span>
The middle of the central slab is occupied by a single
combat between Heracles and an Amazon. They are
represented drawing back for a blow. The Amazon seems
to be making a spear thrust while Heracles raises his
club. The Amazon extends her shield; Heracles carries
the lion skin on his left arm. The pose of these two
combatants who have the most important position in the
whole frieze, is very similar to that of the Poseidon and
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.</p>

<p class="indent">
Length, 5 feet 10 inches. <i>Synopsis</i>, No. 18; <i>Mus. Marbles</i>, IV.,
pl. 18; Stackelberg, pl. 14; Brunn, <i>Denkmaeler</i>, No. 89.
</p>

<p><span class="leftside">542.</span>
A young Greek, wounded and fallen to the ground,
raises his right hand, as if in defence against the blow
about to be struck by the Amazon standing over him.
Another Amazon hastily approaches from the left, and
stretches out her hands, as if in defence of the Greek.
On the right of the slab, an Amazon supports a wounded
comrade, who is sinking to the ground with her head
drooping and all her muscles relaxed.</p>

<p class="indent">
Length, 4 feet 2&frac14; inches. <i>Synopsis</i>, No. 23; <i>Mus. Marbles</i>, IV.,
pl. 23; Stackelberg, pl. 9.
</p>
<span class="pagenum"><a name="page288" id="page288"></a>288</span>

<h4><span class="sc">Fragments of the Temple Statue of Apollo.</span></h4>

<p>A few small fragments of a colossal male statue were
discovered during the excavations. As the fragments
found belong to the extremities of the figure, and since
they are proved to have been separate pieces attached,
by the dowel holes, it is inferred that the statue was
<i>acrolithic</i>, <i>i.e.</i>, that the extremities only were of marble,
while the rest of the figure was made of wood or other
inferior material.</p>

<p>The original statue of Apollo Epicurios had been moved
to Megalopolis from Bassae, before the time of Pausanias
(Paus. viii., 30, 3). The foundation of Megalopolis took
place in 368 <span class="sc">b.c.</span>, and if the acrolithic statue was made
to take the place of that which was removed it must
be later than this date.</p>

<p>The two fragments here described are all that are in
the British Museum, but four other small pieces were also
discovered, and are engraved Stackelberg, pl. 31; reproduced
<i>Exp. de Morée</i>, ii., pl. 23, fig. 5; Cockerell, pl. 16.</p>

<p><span class="leftside">543.</span>
Fragment of the forepart of a right male foot, wearing
a sandal.</p>

<p class="indent">
White marble; length, 6&frac12; inches. Stackelberg, pl. 31; Cockerell,
pl. 16.
</p>

<p><span class="leftside">544.</span>
Fragment with the palm and base of the thumb of a
right hand.</p>

<p class="indent">
White marble; length, 6&frac14; inches. Stackelberg, pl. 31; Cockerell,
pl. 16.
</p>
<a name="page288a" id="page288a"></a>
<h3>MISCELLANEOUS SCULPTURES, OF THE FIFTH CENTURY.</h3>

<p><span class="leftside">549.</span>
Bust of Pericles, wearing a helmet. Inscribed <ins title="Greek: Periklês">&#928;&#949;&#961;&#953;&#954;&#955;&#8134;&#962;</ins>
(fig. 23). Wolters assigns the original from which this
fine bust is copied to the end of the fifth century, and
<span class="pagenum"><a name="page289" id="page289"></a>289</span>
suggests that it may have been the work of Cresilas, with
reference to which Pliny (<i>H. N.</i> xxxiv., 74) states that he
made an Olympian Pericles, worthy of the title, and ennobled
a noble subject. Plutarch explains the presence
of the helmet as caused by the ugly shape of the head
of Pericles (Plutarch, <i>Pericles</i>, 3). It is, however, more
probable that the helmet merely denotes military rank.
<i>Found in the Villa of Cassius, at Tivoli, 1781.</i>&mdash;<i>Townley Coll.</i></p>
<a name="page289a" id="page289a"></a>
<div class="figcenter" style="width: 300px;"><a href="images/26fig23-430.png"><img src="images/26fig23-280.png" width="280" height="486" alt="Fig. 23.--Bust of Pericles, No. 549." /></a>
<p class="center">Fig. 23.&mdash;Bust of Pericles, No. 549.</p></div>

<p class="indent">
Marble; height, 1 foot 11 inches. Restorations:&mdash;Nose, and small
parts of helmet. Stuart, II., p. 42; <i>Mus. Marbles</i>, II., pl. 32;
Ellis, <i>Townley Gallery</i>, II., p. 3; <i>Arch. Zeit.</i>, 1868, pl. 2, fig. 1;
Wolters, No. 481; Furtwaengler, <i>Berl. Philol. Wochenschr.</i>,
1891, p. 286. Another copy, found at the same time as the present
bust, is in the Vatican (Visconti, <i>Iconogr. Grecque</i>, pl. 15).
</p>
<a name="n550" id="n550"></a>
<p><span class="leftside">550.</span>
Head of Asclepios? Colossal ideal bearded head. The
hair falls in heavy masses over the forehead, and on each
<span class="pagenum"><a name="page290" id="page290"></a>290</span>
side of the head. A heavy metal wreath was fastened by
numerous rivets, which still remain. The head was
formed of three principal pieces of marble, the heaviest
piece being so shaped that it kept its position by its own
weight. The piece at the back of the head is lost. A
small piece, which is now missing, was also attached
behind the right ear.</p>

<p>This head would serve as well for Zeus as for Asclepios,
and it is possible that this may have been the original
intention of the artist. It was, however, discovered in
1828, in a <i>Shrine of Asclepios, in Melos</i>. <i>Blacas Coll.</i></p>

<p class="indent">
Parian marble; height, 1 foot 11 inches. <i>Exp. de Morée</i>, III.
pl. 29, fig. 1; Müller-Wieseler, <i>Denkmaeler</i>, II., pl. 60, fig. 763;
<i>Overbeck</i>, <i>Gr. Kunstmyth.</i> pl. 2, figs. 11, 12; II., p. 88; Murray,
<i>Greek Sculpture</i>, II., pl. 11, p. 130; Mitchell, <i>Selections</i>, pl. 13;
Rayet, <i>Monuments</i>, II., No. 42; <i>Stereoscopic</i>, No. 113; Wolters,
No. 1283; Paris, <i>La Sculpt. Ant.</i>, p. 221. Two votive inscriptions
to Asclepios and Hygieia were discovered with the head.
One of these, with a votive relief of a leg, is now in the British
Museum (No. 809).
</p>

<p><span class="leftside">551.</span>
Asclepios? A male draped torso broken off at the knees;
the right arm is wanting from below the shoulder, where
it has been fitted with a joint. The left arm, which is
entirely concealed in the mantle, is placed akimbo. The
back is unfinished. The composition is suitable to a figure
of Asclepios, an attribution which was probably originally
suggested by the fact that this torso was obtained by
Lord Elgin from <i>the neighbourhood of Epidauros</i>. Two
small fragments of the right leg were brought away with
the torso.</p>

<p class="indent">
Parian marble; height, 3 feet 1&frac14; inches. <i>Mus. Marbles</i>, IX., pl. 5;
Ellis, <i>Elgin Marbles</i>, II., p. 121; <i>Synopsis</i>, No. 327; <i>Elgin Room
Guide</i>, II., No. E. 1.
</p>

<p><span class="leftside">552.</span>
Female torso from the neck down to the waist. The
dress is a chiton with diploïdion; part of the tresses of
<span class="pagenum"><a name="page291" id="page291"></a>291</span>
hair which fall down on the back still remains.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 3 inches. <i>Synopsis</i>, No. 281 (146);
<i>Elgin Room Guide</i>, II., No. F. 15.
</p>

<p><span class="leftside">553.</span>
Left breast and part of left side of female figure wearing
a chiton girt at the waist.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 3&frac14; inches. <i>Synopsis</i>, No. 277 (147).
<i>Elgin Room Guide</i>, II., No. F. 16.
</p>

<p><span class="leftside">554.</span>

Upper part of the torso of a female figure moving
quickly to the left, with the arms raised. She wears a
sleeveless chiton which appears to have been unsewn
(<i>schistos</i>) down the right side. The shoulders are broken,
but there are remains of large dowel holes as if for the insertion
of wings, and the figure is not unlike the Victories
on the balustrade of the temple of Nikè.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot. <i>Synopsis</i>, No. 321 (79).
</p>

<p><span class="leftside">555.</span>
Heads of Pelops and Hippodamia? Heroic heads of
colossal male and female figures, turned to the right. The
female head is in low relief, and wears a diadem, and a
veil falling over the back of the head. Compare the
heads in a terracotta relief in the British Museum
(<i>Ancient Terracottas in B. M.</i>, pl. 19, No. 34). The male
head is almost worked in the round and wears a close-fitting
helmet. Some drapery passes over the left
shoulder. These two heads have long been called Pelops
and Hippodamia, and it is very likely that the figures
belonged to a chariot group. But they may well be the
somewhat idea
consort. <i>Found in the sea near Girgenti (Agrigentum).</i>&mdash;<i>Townley
Coll.</i></p>

<p class="indent">
Greek marble, perhaps Parian; height, 1 foot 5&frac14; inches; width,
1 foot 4 inches. <i>Mus. Marbles</i>, X., pl. 32; Ellis, <i>Townley
Gallery</i>, II., p. 153.
</p>
<span class="pagenum"><a name="page292" id="page292"></a>292</span>

<p><span class="leftside">556.</span>
Head of Odysseus? Male head, with curling hair and
short beard, wearing a peaked cap (<i>pileus</i>). The surface
is much decayed, and most of the chin and mouth is
broken away. This head may be from a sepulchral
monument.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot &frac12; inch. <i>Mus. Marbles</i>, IX., pl. 40,
fig. 3; Ellis, <i>Elgin Marbles</i>, II., p. 119.
</p>

<p><span class="leftside">557.</span>
Fragment from the back of a head. The hair is drawn
to a knot at the back of the head, and is confined by two
bands, crossing one another.</p>

<p class="indent">
Pentelic marble; height, 10&frac12; inches.
</p>

<p><span class="leftside">558.</span>
Head of a maiden, wearing a closely-fitting cap. The
style is characteristic of the fifth century.&mdash;<i>Athens?
Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 9 inches. <i>Synopsis</i>, No. 239 (122).
</p>

<p><span class="leftside">559.</span>
Heroic head of a youth, inclined slightly to his left.
The hair is very slightly indicated, and the back of the
head is worked away, as if for a bronze helmet.&mdash;<i>Obtained
in Greece by the fourth Earl of Aberdeen in 1803, and presented
by the fifth Earl of Aberdeen in 1861.</i></p>

<p class="indent">
Coarse-grained marble; height, 11 inches. The head was found
wearing a bronze helmet, which, however, did not fit, and has
been removed.
</p>

<p><span class="leftside">560.</span>
Cast of marble owl. L. Ross (<i>Annali dell' Inst.</i>, 1841,
pl. C., p. 25), supposes that this owl was a votive offering
which once surmounted a column found near it, on
which is inscribed the name of Timotheos of the deme
Anaphlystos. The lower part of the body, which is broken
away, has lately been found. The feathers of the wings
are set in formal rows, and the treatment throughout
is characterised by an archaic severity, as has been
remarked by Ross. The feathers have probably been
<span class="pagenum"><a name="page293" id="page293"></a>293</span>
painted.&mdash;<i>Found on the Athenian Acropolis between the
Propylaea and the Parthenon.</i></p>

<p class="indent">
The original, of Pentelic marble, is in the Acropolis Museum, at
Athens; height, 2 feet 2 inches. Ross, <i>Arch. Aufsätze</i>, I.,
pl. 14, fig. 3, p. 205; <i>Elgin Room Guide</i>, II., No. G. 7; Wolters,
No. 111; Le Bas, <i>Mon. Fig.</i>, pl. 62, fig. 3.
</p>

<h3>GREEK RELIEFS.</h3>

<p>Most of the single Greek reliefs in the British Museum
are described in the present section of the catalogue
(Nos. 599-817.) Those reliefs which are known to have
belonged to particular buildings, and to have served an
architectural function, are catalogued separately. A few
reliefs also, principally of the later Attic School, are
reserved for a subsequent part.</p>

<p>We deal, in this place, with a number of works of minor
importance, and of various degrees of artistic merit. At
the same time they are of interest both for their subjects
and also as showing the instinctive grace and skill of
subordinate Greek craftsmen, even in hastily executed
and unimportant work.</p>

<p>The following classification has been adopted, but the
classes are not perfectly distinct, as the sepulchral reliefs
sometimes partake of a votive character.</p>

<p class="indent">
<i>Sepulchral Reliefs.</i>&mdash;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, &amp;c. 750-757, Rider and Horse, heroified.
760-766, Reliefs from Lycia.</p>

<p class="indent"><i>Votive Reliefs.</i>&mdash;770-794, Figures of the God or
his attributes. 795-812, Figures of the Dedicator,
or of the object dedicated. 813-817, Agonistic
reliefs.
</p>
<span class="pagenum"><a name="page294" id="page294"></a>294</span>

<h3>SEPULCHRAL RELIEFS.</h3>

<p>The Greek sepulchral reliefs are of several distinct
types, each type having an independent origin and history,
though occasionally the different types are blended
one with another.</p>

<p>The early Attic examples which are assigned to a period
before the Persian wars, have recently been collected by
Conze (<i>Die Attischen Grabreliefs</i>, Part 1), and we are thus
enabled to trace the rise of the different types in Attica,
so far as the materials discovered allow. The earliest and
simplest form of monument is the plain stone
(<ins title="Greek: stêlê">&#963;&#964;&#8053;&#955;&#951;</ins>), set
up on a mound
(<ins title="Greek: tymbos">&#964;&#8059;&#956;&#946;&#959;&#962;</ins>)
to mark the place of the grave, and
such a tomb is well known to Homer (<i>Il.</i> xi., 371, etc.)</p>

<p>Such a stone would naturally bear the name of the
deceased, together with the name of his father, or of the
persons who erected the monument. The earliest Attic
examples are also surmounted by a simple ornament,
especially the palmette between volutes, partly in relief,
and partly in colour. The treatment of the palmette
closely resembles that of the antefixal ornament of the
Parthenon (No. 352). At an uncertain period in the fifth
century the use of the acanthus-leaf ornament was introduced,
and the decoration of the stelae became elaborate
and beautiful. It has been thought that the acanthus
was developed by the Greeks of Ionia, before the middle
of the fifth century, and only made its way slowly
in Athens (Furtwaengler, <i>Coll. Sabouroff</i>, i., p. 8), but it
cannot be proved to have become common before it had
been made familiar by the architecture of the Erechtheion,
towards the close of the fifth century. The early
Corinthian capital of the single column of the Temple
at Phigaleia appears to be copied from a stelè with
volutes and an acanthus.</p>
<span class="pagenum"><a name="page295" id="page295"></a>295</span>

<p>The smooth surface of the stone below the crowning
ornament was used, from an early time, to receive a
representation of the deceased person, which was either
painted or in relief, the relief being itself painted. Such
portraits, in the case of men&mdash;and only men's portraits
are certainly known to be preserved of the archaic period&mdash;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, <i>Lexicon</i>, p. 2584,
and Aristotle, <i>Constitution of Athens</i>, chap. 7, ed. Kenyon,
where the horse standing beside an archaic figure of
Anthemion, son of Diphilos (<i>Class. Rev.</i> 1891, p. 108), is
said to prove his knighthood
(<ins title="Greek: hippas">&#7985;&#960;&#960;&#8049;&#962;</ins>).
(Cf. <i>Journ. of Hellen.
Studies</i>, v. p. 114; Conze, p. 4; Nos. 1, 14, 15, 16, 17, 19.)</p>

<p>The female figures, of which only uncertain specimens
survive, were simple portraits, usually seated, and sometimes
accompanied by other members of the family, usually
represented on a diminutive scale. (Cf. Conze, No. 20.)</p>

<p>In one early Attic example there is an actual representation
of mourners as on Etruscan or Lycian tombs. But
in general, allusions to death and mourning are but
slightly indicated. (Cf. Conze, No. 19, pl. 11.)</p>

<p>Finally, there is a type of monument, which contains
the representation of some animal more or less associated
with the grave, such as the cock (Conze, No. 22, pl. 13)
or the Sphinx (Conze, No. 16, pl. 10, fig. 1<i>b</i>).</p>
<span class="pagenum"><a name="page296" id="page296"></a>296</span>

<p>The foregoing are the main types of the early Attic
reliefs. The British Museum does not contain any specimens
of the early period, but the study of the early
reliefs enables us to classify the later works, and to distinguish
the indigenous Attic types from those that are
imported, or of later development.</p>

<p><i>Decorative Stelae.</i>&mdash;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, <i>Tour</i> i., p. 411; <i>Greek
Inscriptions in Brit. Mus.</i>, cix.)</p>

<p><i>Scenes from Daily Life and figures of Animals.</i>&mdash;The
monuments with portraits and scenes from daily life are
catalogued below, Nos. 619-679. The incidents chosen
are taken from all parts of life, and in late times are apt
to be of a <i>genre</i> character with scenes from children's
games, &amp;c.</p>

<p>Reliefs with figures of horsemen, where the scene appears
only to be an incident from daily life, and not connected
with the heroification of the deceased, have also been
placed here (Nos. 638, 661-666).</p>

<p>Examples of the figure of an animal placed on the tomb,
of a symbolic or decorative character, are best seen among
the archaic sculptures (compare those from Xanthos),
but the bull, No. 680, is a specimen of a figure from an
Attic stelè.</p>

<p>The types which have been described so far, are simple
records of the deceased person. We turn now to various
classes, which are not represented among the Attic remains
<span class="pagenum"><a name="page297" id="page297"></a>297</span>
of the archaic period, and which are more or less of
religious or ritualist significance.</p>

<p><i>Vases.</i>&mdash;The Sepulchral Vases, which are represented
either in relief or in the round, are a common form of
monument at Athens, and are connected with the observances
paid to the dead. These vases which are sometimes
lekythi, and sometimes amphorae or hydriae, may be
decorated with patterns, or with subjects in relief, such
as appear on other sepulchral stelae. They probably are
to be traced from the vessels of pottery in which offerings
were brought, to be poured out as libations on the tomb.
Compare below the account of the "Sepulchral Banquet."</p>

<p>There is ancient authority for the view that the vase
indicates an unmarried person. Eustath. on <i>Il.</i> XXIII.,
141, p. 1293:
<ins title="Greek: kai tois pro gamou de teleutôsin hê loutrophoros, phasin, epetitheto kalpis eis endeixin tou hoti aloutos ta nymphika kai agonos apeisi">
&#954;&#945;&#8054;
&#964;&#959;&#8150;&#962;
&#960;&#961;&#8056;
&#947;&#8049;&#956;&#959;&#965;
&#948;&#8050;
&#964;&#949;&#955;&#949;&#965;&#964;&#8182;&#963;&#953;&#957;
&#7969;
&#955;&#959;&#965;&#964;&#961;&#959;&#966;&#8057;&#961;&#959;&#962;,
&#966;&#945;&#963;&#8055;&#957;,
&#7952;&#960;&#949;&#964;&#8055;&#952;&#949;&#964;&#959;
&#954;&#8049;&#955;&#960;&#953;&#962;
&#949;&#7984;&#962;
&#7956;&#957;&#948;&#949;&#953;&#958;&#953;&#957; &#964;&#959;&#8166;
&#8005;&#964;&#953;
&#7940;&#955;&#959;&#965;&#964;&#959;&#962;
&#964;&#8048;
&#957;&#965;&#956;&#966;&#953;&#954;&#8048;
&#954;&#945;&#8054;
&#7940;&#947;&#959;&#957;&#959;&#962;
&#7940;&#960;&#949;&#953;&#963;&#953;</ins>.
Demosthenes (<i>in Leochar.</i> pp. 1086 and 1089, ed. Reiske) speaks also of
<ins title="Greek: hê loutrophoros">
&#7969; &#955;&#959;&#965;&#964;&#961;&#959;&#966;&#8057;&#961;&#959;&#962;</ins>
(sc. <ins title="Greek: hydria">&#8017;&#948;&#961;&#8055;&#945;</ins>
or <ins title="Greek: kalpis">&#954;&#8049;&#955;&#960;&#953;&#962;</ins>), being placed on the tomb of an unmarried
person. (Kumanudis, p. 18; <i>Greek Inscriptions in Brit.
Mus.</i>, No. lxxx.)</p>

<p>On the other hand, the tombs of a father, Philoxenos,
and of his sons Parthenios and Dion, in the Cerameicos at
Athens were all surmounted by stone vases (<i>C. I. A.</i>, ii.,
3191-3193; Conze, p. 16). Perhaps a distinction must
be made between the lekythi which represent libations at
the tomb, and the hydriae, which have the special meaning
mentioned above. An early instance of the Attic sepulchral
vase, with painting and relief, is placed by Köhler
on epigraphic grounds between 450 and 430 <span class="sc">b.c.</span> (<i>Athenische
Mittheilungen</i>, x., pl. 13, p. 362.)</p>

<p><i>Figures clasping Hands.</i>&mdash;In Attic reliefs, chiefly of the
fourth and subsequent centuries, the two principal persons
are often represented clasping right hands together, and
such scenes are commonly known as Scenes of Parting. A
<span class="pagenum"><a name="page298" id="page298"></a>298</span>
more correct interpretation may be gathered from a fragment
of an archaic sepulchral relief from Aegina (<i>Athenische
Mittheilungen</i>, viii., pl. 17), in which a female figure,
enthroned and holding a pomegranate (compare the
Spartan reliefs mentioned below), clasps the hand of a
standing figure, which is shown by the scale to be that
of another deceased person. In this case the scene is
laid in Hades, and the clasping of the hands is significant
of affection, not of separation. Hence it has been
thought that all subjects with the clasped hands represent
the meeting and union in Hades after death (Furtwaengler,
<i>Coll. Sabouroff</i>, i., p. 46). There is, however, no proof that
the artist was always consciously placing the scene in
Hades, and in No. 710 Hermes seems about to conduct the
deceased person to the nether world. The presence of
figures in attitudes of grief, of children and servants,
seems to show that these reliefs are symbolic of family
affection, though the artist had no very clear and logical
conception of the moment depicted.</p>

<p>An early example of the clasping of hands on an Attic
monument is supplied by the sepulchral vase above mentioned,
of 450-430 B.C. (<i>Athenische Mittheilungen</i>, x., pl. 13.)</p>

<p>Such subjects as the foregoing are often placed within
an architectural structure, usually consisting of two
pilasters and an entablature, sometimes surmounted by a
pediment. Various theories have been proposed on the
subject. It has been suggested that the architectural
ornament indicates the votive character of the relief
(<i>Journ. of Hellen. Studies</i>, v., p. 111), or the home of the
dead person (Pervanoglu, <i>Grabsteine der alten Griechen</i>,
p. 14), but there is no evidence of any such special significance
attaching to the form. (Compare Furtwaengler,
<i>Coll. Sabouroff</i>, i., p. 52.)</p>

<p><i>The Sepulchral Banquet.</i>&mdash;From the fourth century onwards,
a type of relief commonly known as the Sepulchral
<span class="pagenum"><a name="page299" id="page299"></a>299</span>
Banquet becomes very common in Attica and elsewhere.
In a normal example of the fully developed type, the chief
figure is that of a man recumbent on a couch, holding a
cup. Before him is a table with food. A woman, according
to Greek custom, is seated upright at the foot of the
couch. Boys or attendants are seen drawing wine. The
head of a horse is often seen at the back of the relief. A
snake is frequently introduced, and often drinks wine from
a cup held by one of the figures. Further, a group of
adorant figures, usually on a small scale, may be represented
about to sacrifice at an altar, near the foot of the
couch.</p>

<p>The meaning of this type has been a subject of long
controversy, but it is best understood if the later reliefs
are studied in connection with the oldest known specimens
of the same subject. A series of archaic reliefs from the
neighbourhood of Sparta (<i>Athenische Mittheilungen</i>, ii.,
pls. 20-25; Furtwaengler, <i>Coll. Sabouroff</i>, pl. 1; <i>Journ.
of Hellen. Studies</i>, v., p. 123), contains subjects somewhat
of the following character: A male and female figure,
represented on a heroic or divine scale, are seated enthroned,
holding as attributes a large two-handled cup,
or a pomegranate. Figures of worshippers approach,
carrying a pomegranate or a cock, and a snake is
sometimes present. The sculptures of the Harpy Tomb
(No. 94), have been sometimes classed with the works
here described, but this has not yet been established.</p>

<p>The transition from the Spartan type to the Sepulchral
Banquet type is still obscure, but a connecting link is
furnished by a relief from Tegea (<i>Athenische Mittheilungen</i>,
iv., pl. 7), in which the woman is enthroned, while the
man reclines on a couch with a table before him. (Compare
also the relief from Mytilene No. 727.) It seems
probable that we have in these reliefs symbolic representations
of offerings made by living relations or descendants
<span class="pagenum"><a name="page300" id="page300"></a>300</span>
for the pleasure and sustenance of the dead. Such offerings
of food and drink made by the living at the tomb are
common to all primitive peoples. The Egyptians, in
particular, made regular offerings of actual food, and at
the same time surrounded the mummy with sculptural
representations of offerings, which, it was thought, served
to satisfy the incorporeal <i>double</i> of the dead person. The
early notion that the deceased was within the tomb, and
enjoyed the food and drink offered to him in a material
manner, became less distinct in later times. The periodical
offerings assumed a more ritualistic and symbolic character,
and were celebrated by the Greeks under the name of
<ins title="Greek: nekysia">
&#957;&#949;&#954;&#8059;&#963;&#953;&#945;</ins>.</p>

<p>The older archaeologists thought for the most part that
the Banquet reliefs were representations commemorative
of life on earth, or descriptive of the pleasures enjoyed by
the dead in Hades. Dumont (<i>Rev. Arch.</i>, <span class="sc">N.S.</span> xx. p. 247)
and Hollaender (<i>De Operibus Anaglyphis</i>), interpret them
as referring to the periodical offerings made at the tomb.
It will be seen that this view is not very different from
that which has been adopted above, and which is the
view of Gardner (<i>Journ. of Hellenic Studies</i>, v., p. 130), and
Furtwaengler (<i>Coll. Sabouroff</i>, i., p. 28). The reliefs, however,
have more force than mere pictorial groups, if we
accept the Egyptian analogy, and allow that the sculpture
represents, by substitution, the offerings of material food.
The snake is naturally associated with the grave, from its
rapid mysterious movements, and from living in caves and
holes. Compare the story of the snakes that were seen by
Polyeidos in the tomb of Glaukos. (Apollodor. 3, 3, 1;
Roscher, <i>Lexicon</i>, p. 1687). The votive character of the
Banquet reliefs is proved in some instances by inscriptions,
(<i>Journ. of Hellen. Studies</i>, v., p. 116; Roscher, <i>Lexicon</i>,
p. 2553). It is doubtful, however, whether the artist
was always conscious of the meaning of his work, and in
<span class="pagenum"><a name="page301" id="page301"></a>301</span>
some instances, as in the tomb at Cadyanda in Lycia
(No. 766), the banquet appears to be merely a scene from
daily life, and as such it closely resembles some of the vase
paintings. In No. 737 and other late examples, the relief,
though of the type of the banquet, is commemorative
rather than votive.</p>

<p>In Athens the type of the Sepulchral Banquet was also
applied to another purpose, namely, for votive reliefs to
Asclepios. The two classes of monuments are completely
assimilated in those examples in which worshippers come
to sacrifice at the end of the couch. Numerous specimens
of reliefs have been found in the temenos of Asclepios at
Athens, and it is possible that the sculptures from the
Elgin Collection, Nos. 714, 715, belong to this series. In
the newly-discovered papyrus fragments of Herodas, the
sons of Praxiteles are mentioned as authors of a relief
dedicated to Asclepios. A figure of Asclepios, composed
like the principal figure of the sepulchral reliefs, has also
been found on a vase from the Temple of the Cabeiri at
Thebes (<ins title="Greek: Ephêmeris">&#7960;<span class="gesperrt">&#966;&#951;&#956;&#949;&#961;&#8055;&#962;</span></ins>,
1890, pl. 7). For other examples of
the same type on vases of different meanings, see <i>Athenische
Mittheilungen</i>, xiii., pl. 9; <i>Arch. Anzeiger</i>, 1890, p. 89. For
the most recent discussion of the whole question, see
Roscher, <i>Lexicon</i>, p. 2565.</p>

<p><i>Hero and Horse.</i>&mdash;There is another type of sepulchral
relief, somewhat akin to that above described, in which,
however, the horse of the hero takes a more prominent
position. The hero is seen either riding on his horse or
standing near it, and receiving a libation poured out by a
female figure, sometimes a Victory. Here also the snake
is frequently introduced to mark the sepulchral character
of the relief. In the earliest examples the connection
between this type and the foregoing is made clearer by the
presence of diminutive figures of supplicants bringing
offerings, or making gestures of adoration. Compare a
<span class="pagenum"><a name="page302" id="page302"></a>302</span>
Theban relief (<i>Athenische Mittheilungen</i>, iv., pl. 16), and a
relief in the Sabouroff Collection,
inscribed <ins title="Greek: Kallitelês Aleximachô anethêken">&#922;&#945;&#955;&#955;&#953;&#964;&#8051;&#955;&#951;&#962;
&#7944;&#955;&#949;&#958;&#953;&#956;&#8049;&#967;&#8179;
&#7936;&#957;&#8051;&#952;&#951;&#954;&#949;&#957;</ins>
(<i>Coll. Sabouroff</i>, i., pl. 29), and a relief
from Cumae (Roscher, <i>Lexicon</i>, p. 2555). For a list of
reliefs with figures of horsemen, see Furtwaengler, <i>Coll.
Sabouroff</i>, i., p. 40; Roscher, <i>Lexicon</i>, p. 2556. It has
been thought that the horse is shown in these subjects on
account of its association with Hades, but in some instances,
if not in all, it relates to the pursuits and status of the
deceased, and is introduced for the use of its master, and
not for any Chthonian significance.</p>
<blockquote>
<p><i>Reliefs from Lycia.</i>&mdash;See below, p. <a class="ask" href="#page350">350</a>.</p>
</blockquote>

<h4><span class="sc">Votive Reliefs.</span></h4>

<p>A votive offering is, in its essence, a present made to a
god or to a superior being, in order to secure some favour
in the future, or to avert anger for a past offence, or to express
gratitude for a favour received. The last purpose includes
offerings made in fulfilment of a vow, the vow being
a kind of contract between the individual and the god.
Sometimes also objects were offered, nominally as gifts to
the god, but in reality in order that they might be secure.</p>

<p>Votive offerings cover the whole field of life including
persons, lands, buildings, and, in particular, objects
appropriate (<span class="sc">a</span>) to the god or his worship, or (<span class="sc">b</span>) to the
dedicator and the cause of his dedication.</p>

<p><span class="sc">a.</span> Objects appropriate to the god include temples
(compare the inscription of Alexander from 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
<span class="pagenum"><a name="page303" id="page303"></a>303</span>
Demeter, and the vases from Naucratis in the First Vase
Room); or lastly, attributes of the god, such as the owl
of Athenè (No. 560), and the pigs found in the shrine of
Demeter at Knidos, now in the Mausoleum Room.</p>

<p><span class="sc">b.</span> Objects appropriate to the dedicator or the cause
of his dedication include portraits of the dedicator,
such as the statue of Chares (No. 14), or of the priestess
Nicoclea, found in the temenos of Demeter of Knidos,
or the statuette of the hunter of Naucratis (No. 118);
spoils won in battle, as the helmet dedicated by Hiero, in
the Etruscan Room; figures of victorious horses (No. 814);
symbolic offerings such as the dedication of the hair or
the down of the beard to Poseidon (cf. No. 798), or to a
river god (Paus. viii., 41, 3); offerings connected with
remarkable cures (compare Nos. 799-810, and, perhaps,
the relief of Xanthippos, No. 628).</p>

<p>Where the object itself is perishable or otherwise unsuitable
as an offering, the sculptured representation takes
its place, by a natural process. Thus we have a representation
of the hair, in place of the actual hair (No. 798),
and the reliefs with limbs, mentioned above (Nos. 799-810).
It has been already suggested that in the Sepulchral
Banquet reliefs, which might be classed as votive reliefs,
the banquet is represented in sculpture as a substitute for
the actual offerings of food.</p>

<p>A special class of votive reliefs consists of those which
are found at the head of decrees, treaties, and similar
political documents. An Athenian treaty, for example,
is headed by a representation of Athenè, and of the patron
deity of the other state, which may appear in the attitude
of a suppliant or adorant. (Compare Schöne, <i>Griech.
Reliefs</i>, Nos. 48-53.) Similarly at the head of a decree of
citizenship or proxenia, the newly admitted citizen appears
as worshipping the goddess (cf. Schöne, No. 93, and p. 20,
and below, Nos. 771-773).</p>
<span class="pagenum"><a name="page304" id="page304"></a>304</span>

<h3>STELAE SURMOUNTED BY DECORATIVE DESIGNS.</h3>

<p>For an account of these stelae, see above, <a class="ask" href="#page296">p. 296</a>.</p>

<p><span class="leftside">599.</span>
Stelè with two rosettes. Above, an acroterion, formed
of acanthus leaves and palmette combined (fig. 24).</p>
<a name="page304a" id="page304a"></a>
<div class="figcenter" style="width: 300px;"><a href="images/27fig24-560.png"><img src="images/27fig24-250.png" width="250" height="470" alt="Fig. 24.--Sepulchral stelè of Smikylion, No. 599." /></a>
<p class="center">Fig. 24.&mdash;Sepulchral stelè of Smikylion, No. 599.</p></div>

<p>Inscribed <ins title="Greek: Smikyliôn Eualkidôu ek Kerameôn">&#931;&#956;&#953;&#954;&#965;&#955;&#8055;&#969;&#957;
&#917;&#8016;&#945;&#955;&#954;&#8055;&#948;&#959;&#965;
&#7952;&#954; &#922;&#949;&#961;&#945;&#956;&#8051;&#969;&#957;</ins>&mdash;Smikylion,
son of Eualkides, of the deme of the Cerameicos.&mdash;<i>Athens.</i>
<i>Presented by A. Robinson, Esq., R.N.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 9&frac12; inches; width, 1 foot 5&frac12; inches.
<i>Synopsis</i> No. 441. <i>Greek Inscriptions in Brit. Mus.</i>, LXXXVI.;
<i>C.I.A</i>., II., 2139.
</p>

<p><span class="leftside">600.</span>
Plain stelè of Hippocrates and Baukis; surmounted by
an acroterion in low relief, of palmette form.</p>

<p>Inscribed <ins title="Greek: Hippokratês, Baukis">&#7993;&#960;&#960;&#959;&#954;&#961;&#8049;&#964;&#951;&#962;,
&#914;&#945;&#965;&#954;&#8055;&#962;</ins>. Below the surface of the
<span class="pagenum"><a name="page305" id="page305"></a>305</span>
stelè is flat, and probably was painted.&mdash;<i>Athens.</i> <i>Elgin
Coll.</i></p>

<p class="indent">
Pentelic marble; height, 4 feet 1 inch; width, 1 foot 3 inches. <i>Mus.
Marbles</i>, IX., pl. 29, fig. 4. <i>Synopsis</i>, No. 351 (175); Ellis, <i>Elgin
Marbles</i>, II., p. 152; <i>C.I.G.</i>, 958; <i>C.I.A.</i>, II., 3810. <i>Greek
Inscriptions in Brit. Mus.</i>, CXX.
</p>

<p><span class="leftside">601.</span>
Fragment of a plain stelè, surmounted by an acroterion,
in the form of a palmette in low relief, springing from
acanthus leaves.</p>

<p>Inscribed <ins title="Greek: Assklêpiodôros Thrasônos Olynthios, Epikydês Asklêpiodôrou Olynthios"
>&#7944;&#963;&#963;&#954;&#955;&#951;&#960;&#953;&#8057;&#948;&#969;&#961;&#959;&#962;
&#920;&#961;&#8049;&#963;&#969;&#957;&#959;&#962;
&#8008;&#955;&#8059;&#957;&#952;&#953;&#959;&#962;,
&#7960;&#960;&#953;&#954;&#8059;&#948;&#951;&#962;
&#7944;&#963;&#954;&#955;&#951;&#960;&#953;&#959;&#948;&#8061;&#961;&#959;&#965;
&#8008;&#955;&#8059;&#957;&#952;&#953;&#959;&#962;</ins>&mdash;Asclepiodoros, son of Thrason, of
Olynthos; Epikydes, son of Asclepiodoros, of Olynthos.&mdash;<i>Probably
from Athens.</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 5 inches; width, 1 foot &frac34; inch. <i>Mus.
Marbles</i>, IX., pl. 29, fig. 2; <i>Synopsis</i>, No. 258 (169); Ellis,
<i>Elgin Marbles</i>, II., p. 152; <i>C.I.G.</i>, 879; <i>C.I.A.</i>, II., 3243; <i>Greek
Inscriptions in Brit. Mus.</i>, CVI.
</p>

<p><span class="leftside">602.</span>
Acroterion in form of palmette from a stelè.&mdash;<i>Athens.</i>
<i>Inwood Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 9 inches; width, 1 foot 10 inches.
<i>Synopsis</i>, No. 418.
</p>

<p><span class="leftside">603.</span>
Acroterion, from a stelè, of palmette form, springing
from acanthus leaves.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Pentelic marble; height, 10 inches. <i>Synopsis</i>, No. 414; Inwood,
<i>Erechtheion</i>, pl. 31, p. 147.
</p>

<p><span class="leftside">604.</span>
Fragment of an acroterion of a stelè in form of a palmette
springing from acanthus leaves.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 8&frac12; inches; width, 11 inches. <i>Synopsis</i>,
No. 191 (95). <i>Mus. Marbles</i>, IX., pl. 29, fig. 3.
</p>
<a name="n605" id="n605"></a>
<p><span class="leftside">605.</span>
Stelè, surmounted by acroterion. One central palmette,
and two half palmettes at the sides spring from acanthus
leaves.</p>
<span class="pagenum"><a name="page306" id="page306"></a>306</span>

<p>Inscribed <ins title="Greek: Eumachos Euthymachou [A]lôpe[k]êthe[n]">&#917;&#8020;&#956;&#945;&#967;&#959;&#962;
&#917;&#8016;&#952;&#965;&#956;&#8049;&#967;&#959;&#965;
[&#7944;]&#955;&#969;&#960;&#8051;[&#954;]&#951;&#952;&#949;[&#957;]</ins>&mdash;Eumachos,
son of Euthymachos, of the deme of Alopekè.</p>

<p><i>Athens.&mdash;Obtained by Chandler in his Expedition for the
Society of Dilettanti in</i> 1765, <i>and presented by the Society.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 8 inches; width, 1 foot 5&frac14; inches.
<i>Synopsis</i>, No. 283 (292*); <i>C.I.G.</i>, 579; <i>C.I.A.</i>, II., 1812. <i>Greek
Inscriptions in Brit. Mus.</i>, LXXIX.; <i>Stereoscopic</i>, No. 121;
Wolters, No. 1104.
</p>

<p><span class="leftside">606.</span>
Top of stelè, with central palmette and two half
palmettes, springing from acanthus leaves. <i>Found in the
side of a mound, near Maritza, Rhodes.</i></p>

<p class="indent">
Marble; height, 2 feet 3 inches; width, 2 feet 3&frac14; inches.
</p>

<p><span class="leftside">607.</span>
Upper part of stelè, surmounted by a central palmette
and two half palmettes, springing from acanthus leaves.
Similar to last, but in lower relief.</p>

<p><i>Probably from Athens. Formerly in the collection of Lord
Elgin.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 7 inches; width, 1 foot 1&frac34; inches.
<i>Journ. of Hellen. Studies</i>, VI., p. 42, No. 2.
</p>

<p><span class="leftside">608.</span>
Upper part of stelè, surmounted by a central palmette,
and two palmettes at the sides, broken.</p>

<p>Inscribed <ins title="Greek: Chabrias Salyprianos">&#935;&#945;&#946;&#961;&#8055;&#945;&#962;
&#931;&#945;&#955;&#965;&#960;&#961;&#953;&#945;&#957;&#8057;&#962;</ins>.
Chabrias of Selymbria.&mdash;<i>Athens?
Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 7 inches; width, 1 foot 5&frac12; inches.
<i>Synopsis</i>, No. 290 (226); <i>Mus. Marbles</i>, IX., pl. 30, fig. 1;
<i>C.I.G.</i>, 888; <i>C.I.A.</i>, II., 3296; Ellis, <i>Elgin Marbles</i>, II., p. 152;
<i>Greek Inscriptions in Brit. Mus.</i>, CVII.
</p>

<p><span class="leftside">609.</span>
Top of 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.</p>

<p><i>Probably from Athens. Formerly in the collection of Lord
Elgin.</i></p>

<p class="indent">
Pentelic marble; height, 9&frac34; inches; width, 11 inches. <i>Journ. of
Hellen. Studies</i>, VI., p. 43, No. 6.
</p>
<span class="pagenum"><a name="page307" id="page307"></a>307</span>

<p><span class="leftside">610.</span>
Top of 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.</p>

<p><i>Probably from Athens. Formerly in the collection of Lord
Elgin.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 2 inches; width, 1 foot 6 inches.
</p>

<p><span class="leftside">611.</span>
Upper part of stelè, with three rosettes; surmounted
by a large acroterion.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 3 feet 8 inches; width, 1 foot 11&frac12; inches. The
collection of sculptures from Kertch was obtained by Colonel
Westmacott during the occupation of the town by the British
and French troops in 1856.
</p>

<p><span class="leftside">612.</span>
Stelè, surmounted by acroterion.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 3 feet; width, 1 foot 11 inches.
</p>

<p><span class="leftside">613.</span>
Stelè, with two rosettes in front and one at each side;
surmounted by acroterion.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 10 inches; width, 1 foot 10 inches.
</p>

<p><span class="leftside">614.</span>
Top of stelè with rosettes. Originally surmounted by
a large acroterion of which only the acanthus leaves at
the base remain.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 6 inches; width, 2 feet 4 inches.
</p>

<p><span class="leftside">615.</span>
Upper part of stelè. Two rosettes in front and one on
each side; above an acroterion, of which the top is
wanting.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 11 inches; width, 1 foot 11 inches.
</p>

<p><span class="leftside">616.</span>
Fragment of palmette from the acroterion of a stelè.&mdash;<i>Kertch.</i></p>

<p class="indent">
Marble; height, 1 foot 7 inches; width, 1 foot 11 inches.
</p>
<span class="pagenum"><a name="page308" id="page308"></a>308</span>

<p><span class="leftside">617.</span>
Palmette from top of stelè.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 6 inches; width, 1 foot 7&frac12; inches.
</p>

<p><span class="leftside">618.</span>
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.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 3 inches; width, 2 feet 3 inches.
</p>

<h3>SEPULCHRAL MONUMENTS WITH SCENES FROM DAILY LIFE.</h3>

<p><span class="leftside">619.</span>
Cast of the sepulchral relief of Hegeso. A lady, Hegeso,
is seated on a chair, with a foot-stool. She appears to be
taking a necklace from a box which is held by a servant
standing before her. Hegeso is richly dressed in a chiton
with short sleeves, himation and sandals. Her hair is
confined by a <i>sphendonè</i>, or band, broadest in front. The
servant has a close-fitting cap, and a plain chiton with
long sleeves. The relief is bounded by two pilasters
surmounted by a pediment, with acroteria.</p>

<p>Inscribed <ins title="Greek: Hêgêsô Proxeno(u)">&#7977;&#947;&#951;&#963;&#8060;
&#928;&#961;&#959;&#958;&#8051;&#957;&#959;(&#965;)</ins>&mdash;Hegeso daughter of
Proxenos.</p>

<p>This relief, which is unequalled for its grace and
delicacy, appears to belong to the close of the fifth century
<span class="sc">b.c.</span> The original, of Pentelic marble, is <i>near the Dipylon
at Athens</i>, where it was discovered in 1870.</p>

<p class="indent">
Height, 4 feet 9&frac34; inches; width, 3 feet 1 inch. <i>Arch. Zeit.</i>, 1871,
pl. 43, p. 19; <i>C.I.A.</i>, II., 3753; Mitchell, p. 502; Waldstein,
<i>Essays</i>, p. 309; Wolters, No. 1030; Conze, <i>Attische Grabreliefs</i>,
No. 68, pl. 30; <i>Stereoscopic</i>, No. 123.
</p>

<p><span class="leftside">620.</span>
Cast of the sepulchral monument of Ameinocleia. A
lady is engaged with a girl who is adjusting a sandal on
her left foot. She chiefly supports herself on the right
<span class="pagenum"><a name="page309" id="page309"></a>309</span>
foot, and helps her balance by touching with her hand
the head of the maid kneeling before her. As in the
monument of Hegeso (No. 619), there is a marked contrast
between the mistress, richly draped in a chiton and
himation, and the girl before her, who has a plain long-sleeved
chiton and a cap. On the left is a female figure,
perhaps a sister of Ameinocleia. She seems to be reading
a tablet. The composition is framed by two pilasters,
surmounted by a pediment.</p>

<p>Inscribed <ins title="Greek: Ameinokleia Andromeno(u)s thugatêr L...">&#7944;&#956;&#949;&#953;&#957;&#8057;&#954;&#955;&#949;&#953;&#945;
&#7944;&#957;&#948;&#961;&#959;&#956;&#8051;&#957;&#959;(&#965;)&#962;
&#952;&#965;&#947;&#8049;&#964;&#951;&#961; &#923;&nbsp;.&nbsp;.&nbsp;.</ins> Ameinocleia,
daughter of Andromenes.... This relief appears to
belong to the close of the 5th century B.C. The original,
of Pentelic marble, which is now at <i>Athens</i>, was discovered
in 1836 <i>at the Piraeus</i>.</p>

<p class="indent">
Height, 4 feet 4&frac34; inches; width, 2 feet 3&frac12; inches. Le Bas, <i>Mon. Fig.</i>,
pl. 65. <i>C.I.A.</i>, II., 2687; Mitchell, p. 500; Wolters, No. 1032;
<i>Stereoscopic</i>, No. 123.
</p>

<p><span class="leftside">621.</span>
Fragment of relief. A female figure, richly draped, is
seated on a stool, to the left. The head, right arm, and
knees are wanting.&mdash;<i>Athens.</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 5 inches; width, 1 foot 5 inches.
<i>Mus. Marbles</i>, IX., pl. 39, fig. 3. <i>Synopsis</i>, No. 280 (279).
</p>

<p><span class="leftside">622.</span>
Fragment of relief. The upper part of a female figure,
richly draped, and seated, with her left hand raised, the
left elbow supported by the right hand. Very high
relief.&mdash;<i>Athens.</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 7 inches; width, 1 foot 11&frac12; inches.
<i>Synopsis</i>, No. 419.
</p>

<p><span class="leftside">623.</span>
Fragment of relief. Draped male figure seated, three-quarters
turned to the right, on a chair with a footstool.
The head is wanting. Behind is part of a draped female
figure standing. Her right arm is bent at the elbow, and
crosses her breast.</p>

<p class="indent">
Marble; height, 4 feet 11 inches; width, 2 feet 10&frac12; inches.
</p>
<span class="pagenum"><a name="page310" id="page310"></a>310</span>

<p><span class="leftside">624.</span>
Fragment of a relief. Torso of a male figure, wearing a
mantle about his legs and over the left shoulder. Head,
right leg, and left foot are wanting.&mdash;<i>Athens.</i> <i>Strangford
Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 6&frac12; inches; width, 1 foot 3 inches.
</p>

<p><span class="leftside">625.</span>
A nude youth stands, half turned to the left, and takes
some object, perhaps a lekythos, from a boy standing
before him. The boy is nude except for a chlamys
thrown over his left shoulder, which is probably that of
the older youth. Compare the Parthenon frieze, north side,
figure No. 110. The relief is bounded by two pilasters
surmounted by a pediment. On the side of one of the
pilasters is the inscription <ins title="Greek: ÊDD">&#919;&#916;&#916;</ins>.&mdash;<i>Delos.</i> <i>Presented by
A. E. Impey, Esq., 1825.</i></p>

<p class="indent">
Marble; height, 6 feet 5 inches; width, 3 feet 8&frac12; inches. <i>Mus.
Marbles</i>, XI., pl. 50; Ellis, <i>Townley Gallery</i>, II., p. 205.
</p>

<p><span class="leftside">626.</span>
A nude male figure, Tryphon, stands, half turned to the
left, having a chlamys above the left arm, and a strigil in
the right hand. The attitude is similar to that of the
Hermes of Andros. Compare the copy from the Farnese
Collection in the British Museum.</p>

<p>Inscribed <ins title="Greek: Tryphôn Eutychou">&#932;&#961;&#8059;&#966;&#969;&#957;
&#917;&#8016;&#964;&#8059;&#967;&#959;&#965;</ins>&mdash;Tryphon, son of Eutychos.&mdash;<i>Athens.</i>
<i>Collection of Rev. F. V. J. Arundell.</i></p>

<p class="indent">
Pentelic marble; height, 5 feet 11 inches; width, 3 feet. Restored:
right hand upper corner. <i>Mus. Marbles</i>, XI., pl. 49; <i>C.I.A.</i>,
III., 3391; <i>Greek Inscriptions in Brit. Mus.</i>, CXXIX.
</p>
<a name="n627" id="n627"></a>
<p><span class="leftside">627.</span>
Figure of a youth, standing, holding a bird, within a
distyle portico, of which the left side is wanting. (Pl. xi.,
fig. 3.)&mdash;<i>Athens.</i> <i>Strangford Coll.</i></p>

<p class="indent">
Pentelic marble; height, 3 feet 1 inch; width, 11&frac12; inches. <i>Arch.
Anzeiger</i>, 1864, p. 164,* No. 2.
</p>
<a name="n628" id="n628"></a>
<p><span class="leftside">628.</span>
Sepulchral monument of Xanthippos. An elderly
bearded figure is seated on a chair. He holds a foot in
<span class="pagenum"><a name="page311" id="page311"></a>311</span>
his extended right hand. Diminutive figures of a woman
and a girl stand beside him. The girl is gazing at the
foot, and raises her hands towards it, while the woman
looks towards Xanthippos. She holds a bird in her right
hand. It has been supposed that the foot is a votive
offering, to commemorate a remarkable cure. Wolters,
however, explains the object as a shoemaker's last

(<ins title="Greek: kalapous">&#954;&#945;&#955;&#8049;&#960;&#959;&#965;&#962;</ins>,
cf. <i>Monumenti dell' Inst.</i>, xi. pl. 29), and interprets it as an
allusion to the trade of Xanthippos. This theory hardly
accounts for the gestures of the attendant figures.</p>

<p>Above the relief is a pediment,
inscribed <ins title="Greek: Xanthippos">&#926;&#8049;&#957;&#952;&#953;&#960;&#960;&#959;&#962;</ins>.
(Pl. xi., fig. 2.)</p>

<p><i>Brought from the monastery of Asomato or Petraki at Athens
by Dr. Anthony Askew about 1747.</i> <i>Townley Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 9 inches; width, 1 foot 8 inches.
<i>Burney MSS.</i>, No. 402; <i>Mus. Marbles</i>, X., pl. 33; Ellis, <i>Townley
Gallery</i>, II., p. 106; <i>C.I.G.</i>, 980; <i>C.I.A.</i>, II., 4040; <i>Greek
Inscriptions in Brit. Mus.</i>, CXXIII.; Wolters, No. 1019;
Brueckner, <i>Von den griech. Grabreliefs</i>, p. 26.
</p>

<p><span class="leftside">629.</span>
Sepulchral monument of Jason. A physician, Jason,
an elderly bearded man, is seated on a stool. Before him
stands a boy, undergoing examination, and clearly shown
to be suffering, by his swollen belly and wasted limbs.
On the right is a vessel of peculiar form, resembling a
cupping glass, but on a scale out of all proportion to that
of the group, and not to be considered as a part of it.</p>

<p>The inscription runs: <ins title="Greek: Iasôn ho kai Dekmos Acharneus iatros, k.t.l.">&#7992;&#8049;&#963;&#969;&#957;
&#8001; &#954;&#945;&#8054; &#916;&#8051;&#954;&#956;&#959;&#962;
&#7944;&#967;&#945;&#961;&#957;&#949;&#8058;&#962;
&#7984;&#945;&#964;&#961;&#8057;&#962;,
&#954;.&#964;.&#955;.</ins>, and contains the names of 'Jason, called also
Decimus, of the Acharnian deme, a physician,' and of other
members of his family. The relief is surmounted by a
row of roughly indicated antefixal tiles.</p>

<p><i>Obtained by Fauvel in Athens; afterwards in the Choiseul-Gouffier
and Pourtalès Collections.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 7 inches; width, 1 foot 10&frac12; inches.
<i>C.I.G.</i>, 606; <i>C.I.A.</i>, III., 1445; Panofka, <i>Antiques du Cabinet</i>
<span class="pagenum"><a name="page312" id="page312"></a>312</span>
<i>Pourtalès</i>, p. 78, pl. 26; <i>Greek Inscriptions in Brit. Mus.</i>,
LXXXI.; Wolters, No. 1804. On the cupping vessel see the
two references last cited.
</p>

<p><span class="leftside">630.</span>
Sepulchral monument of Agathemeris and Sempronios
Niketes. Draped male and female figures stand to the
front. The woman wears the dress of a priestess of Isis,
with a sistrum in her right hand and a vase in her left
hand.</p>

<p>Inscribed <ins title="Greek: Agathêmeris S Ê Aphrodeisiou ek Kol(l)yteôn. Senprônios Nikêtês Kollyteus."
>&#7944;&#947;&#945;&#952;&#951;&#956;&#949;&#961;&#8054;&#962;
&#931; &#919; &#7944;&#966;&#961;&#959;&#948;&#949;&#953;&#963;&#8055;&#959;&#965;
&#7952;&#954; &#922;&#959;&#955;(&#955;)&#965;&#964;&#8051;&#969;&#957;.
&#931;&#949;&#957;&#960;&#961;&#8061;&#957;&#953;&#959;&#962;
&#925;&#953;&#954;&#8053;&#964;&#951;&#962;
&#922;&#959;&#955;&#955;&#965;&#964;&#949;&#8059;&#962;</ins>.
The letters <ins title="Greek: S Ê">&#931; &#919;</ins> have not
been explained.</p>

<p>Discovered, in 1826, <i>between Athens and the Piraeus</i>.&mdash;<i>Presented
by Gen. Malcolm.</i></p>

<p class="indent">
Pentelic marble; height, 5 feet 6&frac12; inches; width, 3 feet. <i>C.I.G.</i>,
662<i>b</i>; <i>C.I.A.</i>, III., 1760.
</p>

<p><span class="leftside">631.</span>
Figure of a youth, a son of one Diodoros, standing,
with a chlamys wrapped about his left arm. He holds
a cup (?) in the right hand and a strigil in the left hand.
Beside him, a diminutive figure of a nude boy holding a
strigil. A tree on the left.</p>

<p>Inscribed
<ins title="Greek: ... Diodôrou, chrêste, [chaire"> .&nbsp;.&nbsp;.&nbsp;&#916;&#953;&#959;&#948;&#8061;&#961;&#959;&#965;,
&#967;&#961;&#8134;&#963;&#964;&#949;, [&#967;&#945;&#8150;&#961;&#949;</ins>.&mdash;<i>Rhenea.</i> <i>From
the Earl of Belmore's Coll.</i></p>

<p class="indent">
Parian marble; height, 4 feet; width, 1 foot 8 inches. <i>C.I.G.</i>, 2313.
</p>
<a name="n632" id="n632"></a>
<p><span class="leftside">632.</span>
Upper part of a sepulchral relief. A draped male
figure is seated on a chair. Before him stands a figure
also draped. In the background, a bearded man and a
woman stand one on each side of the seated person.</p>

<p>The inscription runs <ins title="Greek: Ari]stonikê Diokleio[us Xy]p[e(taiôn)"
>&#7944;&#961;&#953;]&#963;&#964;&#959;&#957;&#8055;&#954;&#951;
&#916;&#953;&#959;&#954;&#955;&#949;&#8055;&#959;[&#965;&#962;
&#926;&#965;]&#960;[&#949;(&#964;&#945;&#8055;&#969;&#957;)</ins>
| <ins title="K]êphisogenês Kêphisophôntos Xy(petaiôn)">
&#922;]&#951;&#966;&#953;&#963;&#959;&#947;&#8051;&#957;&#951;&#962;
&#922;&#951;&#966;&#953;&#963;&#959;&#966;&#8182;&#957;&#964;&#959;&#962;
&#926;&#965;(&#960;&#949;&#964;&#945;&#8055;&#969;&#957;)</ins>
| <ins title="Arist[o]nikê Kêphisophôntos Xyp(etaiôn)">
&#7944;&#961;&#953;&#963;&#964;[&#959;]&#957;&#8055;&#954;&#951;
&#922;&#951;&#966;&#953;&#963;&#959;&#966;&#8182;&#957;&#964;&#959;&#962;
&#926;&#965;&#960;(&#949;&#964;&#945;&#8055;&#969;&#957;) </ins>
| <ins title="Kêphisophôn Kêphisodôrou Xype(taiôn)">
&#922;&#951;&#966;&#953;&#963;&#959;&#966;&#8182;&#957;
&#922;&#951;&#966;&#953;&#963;&#959;&#948;&#8061;&#961;&#959;&#965;
&#926;&#965;&#960;&#949;(&#964;&#945;&#8055;&#969;&#957;)</ins>.
It contains the names of Aristonikè, daughter
of Diocles, of Xypetè; of Kephisogenes and Aristonikè,
probably the children of Kephisophon; and of Kephisophon,
<span class="pagenum"><a name="page313" id="page313"></a>313</span>
son of Kephisodoros of Xypetè.&mdash;<i>Obtained in Greece by the
fourth Earl of Aberdeen, and presented by the fifth Earl of
Aberdeen.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot; width, 1 foot 2&frac14; inches. <i>Greek
Inscriptions in Brit. Mus.</i>, XC.; <i>C.I.A.</i>, II., 2365.
</p>
<a name="n633" id="n633"></a>
<p><span class="leftside">633.</span>
Male figure stands to the left, with right arm extended.
Before him is a table, on which is a large hydria.&mdash;<i>Obtained
in Greece by the fourth Earl of Aberdeen, and presented
by the fifth Earl of Aberdeen.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 7&frac12; inches; width, 1 foot &frac34; inch.
</p>

<p><span class="leftside">634.</span>
Beardless male figure stands, wearing a himation.
He has a short staff or scroll in the left hand. The relief
was originally surmounted by a pediment.</p>

<p>Inscribed <ins title="Greek: Hermodôros Aristomenou(s)">&#7961;&#961;&#956;&#8057;&#948;&#969;&#959;&#962;
&#7944;&#961;&#953;&#963;&#964;&#959;&#956;&#8051;&#957;&#959;&#965;(&#962;)</ins>&mdash;Hermodoros, son
of Aristomenes.</p>

<p class="indent">
Bluish Greek marble; height, 3 feet 10 inches; width, 1 foot 6&frac12; inches.
</p>

<p><span class="leftside">635.</span>
Bearded figure stands, draped in a himation. The
stelè is surmounted by a bulbous ornament not worked
in relief. Inscribed <ins title="Greek: E]rasippos, [Ka]llenikou [Kr]iôeus">&#7960;]&#961;&#8049;&#963;&#953;&#960;&#960;&#959;&#962;,
[&#922;&#945;]&#955;&#955;&#949;&#957;&#8055;&#954;&#959;&#965;
[&#922;&#961;]&#953;&#969;&#949;&#8059;&#962;</ins>.&mdash;Erasippos,
son of Callenicos of Crioa.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 1 inch; width, 9 inches. <i>Mus.
Marbles</i>, IX., pl. 30, fig. 3; <i>C.I.G.</i>, 665; <i>C.I.A.</i>, II., 2223;
<i>Greek Inscriptions in Brit. Mus.</i>, LXXXVIII.
</p>

<p><span class="leftside">636.</span>
Stelè fitting into a base. Figures of an athlete
anointing himself, and of an attendant holding spear
and drapery.</p>

<p class="indent">
Marble; height, 1 foot 11 inches; width, 1 foot 3&frac12; inches.
</p>
<a name="n637" id="n637"></a>
<p><span class="leftside">637.</span>
Fragment of sepulchral relief, containing the upper
parts of a bearded man and a woman conversing. On
the left a younger female figure.</p>

<p>Inscribed: <ins title="Greek: Aristodikê, Aristarchos, Athênaïs, Sêstioi">&#7944;&#961;&#953;&#963;&#964;&#959;&#948;&#8055;&#954;&#951;,
&#7944;&#961;&#8055;&#963;&#964;&#945;&#961;&#967;&#959;&#962;,
&#7944;&#952;&#951;&#957;&#945;&#8147;&#962;,
&#931;&#8053;&#963;&#964;&#953;&#959;&#953;</ins>&mdash;Aristodikè,
Aristarchos, and Athenais, of Sestos.&mdash;<i>Athens.</i>
<span class="pagenum"><a name="page314" id="page314"></a>314</span>
<i>Found by Chandler, fixed in the wall of a church, on the road
to Cephisia. Presented by the Society of Dilettanti.</i></p>

<p class="indent">
Pentelic marble; height, 7&frac34; inches; width, 1 foot 2&frac12; inches. Chandler,
<i>Inscriptions Ant.</i>, Part II., No. 95; <i>Synopsis</i>, No. 336 (236*);
<i>C.I.G.</i>, 892; <i>C.I.A.</i>, II., 3313; <i>Greek Inscriptions in Brit. Mus.</i>,
CVIII.
</p>

<p><span class="leftside">638.</span>
A bearded figure, Aristocles, rides a prancing horse
and places his right hand on its head. A youth in a
short chiton runs behind the horse. Inscribed:</p>

<div class="poem"><div class="stanza">
<p><ins title="Greek: Polla meth' hêlikias homoêlikos hêdea paisas">
&#928;&#959;&#955;&#955;&#8048;
&#956;&#949;&#952;' &#7969;&#955;&#953;&#954;&#8055;&#945;&#962;
&#8001;&#956;&#959;&#8053;&#955;&#953;&#954;&#959;&#962;
&#7969;&#948;&#8051;&#945; &#960;&#945;&#8055;&#963;&#945;&#962; </ins></p>
<p class="i2"><ins title="Greek: ek gaias blastôn gaia palin gegona">
&#7953;&#954; &#947;&#945;&#8055;&#945;&#962;
&#946;&#955;&#945;&#963;&#964;&#8060;&#957;
&#947;&#945;&#8150;&#945; &#960;&#8049;&#955;&#953;&#957;
&#947;&#8051;&#947;&#959;&#957;&#945;</ins>.</p>
<p><ins title="Greek: Eimi de Aristoklês Peiraieus, pais de Menônos">
&#917;&#7984;&#956;&#8054;
&#948;&#8050;
&#7944;&#961;&#953;&#963;&#964;&#959;&#954;&#955;&#8134;&#962;
&#928;&#949;&#953;&#961;&#945;&#953;&#949;&#8058;&#962;,
&#960;&#945;&#8150;&#962; &#948;&#8050;
&#924;&#8051;&#957;&#969;&#957;&#959;&#962;</ins>.</p>
  </div></div>

<p>'After many pleasant sports with my comrades, I who
sprang from dust, am dust once more. I am Aristocles, of
the Piraeus, son of Menon.'&mdash;<i>Athens.</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 8 inches; width, 1 foot 6 inches.
Stuart, III., p. 56; Chandler, <i>Inscriptions Ant.</i>, Part II., No. 78
("fixed in a wall at the door of the Greek School"); <i>Mus.
Marbles</i>, IX., pl. 34, fig. 3; <i>Synopsis</i>, No. 384 (213); <i>C.I.G.</i>, 749;
<i>C.I.A.</i>, II., 2442; <i>Greek Inscriptions in Brit. Mus.</i>, XCII.;
Kaibel, 75.
</p>
<a name="n639" id="n639"></a>
<p><span class="leftside">639.</span>
A priestess stands, with chiton, and a knotted himation
bordered with a fringe; she holds a key in her right hand,
and a basket in her left hand. On the right is a tree.
Above, a pediment with acroteria and a rosette; also an
honorary wreath.</p>

<p>Inscribed: <ins title="Greek: Ho dêmos Isiada Mêtrodôrou Laodikida">&#8009; &#948;&#8134;&#956;&#959;&#962;
&#7992;&#963;&#953;&#8049;&#948;&#945;
&#924;&#951;&#964;&#961;&#959;&#948;&#8061;&#961;&#959;&#965;
&#923;&#945;&#959;&#948;&#953;&#954;&#8055;&#948;&#945;</ins>.&mdash;Decreed
by the people, in honour of Isias of Laodicea,
daughter of Metrodoros.&mdash;<i>Smyrna.</i> <i>Presented by M. Duane
and T. Tyrwhitt, Esqs., 1772.</i></p>

<p class="indent">
Bluish Greek marble; height, 4 feet 2&frac14; inches; width, 1 foot 11
inches. Montfaucon, <i>Ant. Expl. Suppl.</i>, V., p. 25; <i>Archaeologia</i>,
III., pl. 11, fig. 1; Ellis, <i>Townley Gallery</i>, II., p. 161; <i>C.I.G.</i>,
3234.
</p>
<span class="pagenum"><a name="page315" id="page315"></a>315</span>

<p><span class="leftside">640.</span>
A draped female figure, seated on a chair, holds out a
corner of her veil with her right hand. Another female
figure stands before her, closely wrapped in her mantle.
A diminutive female figure is in the right-hand corner of
the relief. The relief is bounded by pilasters, a circular
arch, and a pediment.</p>

<p class="indent">
Parian marble? height, 3 feet; width, 2 feet 4 inches.
</p>

<p><span class="leftside">641.</span>
Fragment of sepulchral stelè, with the lower part of a
female figure moving to the right.&mdash;<i>From Mycenae.</i>
<i>Inwood Coll.</i></p>

<p class="indent">
Red marble; height, 10 inches; width, 10&frac34; inches. <i>Synopsis</i>, No. 427.
</p>
<a name="n642" id="n642"></a>
<p><span class="leftside">642.</span>
Late sepulchral relief. A female figure, seated on a
stool, holds her mantle, which passes over her head,
with the left hand, and a scroll (?) in her right hand.
The relief is surmounted by an arch and rosettes, above
which is a pediment with acroteria, unfinished, and a
rosette.</p>

<p>Inscribed: <ins title="Greek: Mousis Argaiou Milêsia">&#924;&#959;&#8166;&#963;&#953;&#962;
&#7944;&#961;&#947;&#945;&#8150;&#959;&#965;
&#924;&#953;&#955;&#951;&#963;&#8055;&#945;</ins>. Mousis, daughter
of Argaios of Miletus.&mdash;<i>Athens.</i> <i>Found by Chandler. Presented
by the Society of Dilettanti.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 2&frac34; inches; width, 1 foot 2&frac14; inches.
Chandler, <i>Inscriptiones Ant.</i>, Part II., No. 91; <i>Synopsis</i>, 1st ed.,
Room VI., No. 27 (where Thomas Hollis is incorrectly said to be
the donor); Ellis, <i>Townley Gallery</i>, II., p. 171; <i>C.I.G.</i>, 726;
<i>Greek Inscriptions in Brit. Mus.</i>, CIII.
</p>
<a name="n643" id="n643"></a>
<p><span class="leftside">643.</span>
A female figure, draped, and seated on a stool, raises
her right hand to draw her peplos over her head. A
draped male figure stands before her, and a boy at the
left corner; above is a pediment.</p>

<p>Inscribed with a name now illegible, and <ins title="Greek: chaire">&#967;&#945;&#8150;&#961;&#949;</ins>.&mdash;<i>Found
in a store at Portsmouth. Probably from Smyrna.</i></p>

<p class="indent">
Marble; height, 2 feet; width, 1 foot 2&frac12; inches.
</p>
<span class="pagenum"><a name="page316" id="page316"></a>316</span>
<a name="n644" id="n644"></a>
<p><span class="leftside">644.</span>
Sepulchral relief, mutilated on the left. A female figure
draped and seated on a chair, draws her peplos over her
shoulder with her left hand. Above, a pediment.</p>

<p>Inscribed with a name now illegible, terminating in <ins title="Greek: ô">&#969;</ins>,
and <ins title="Greek: chairete hapantes">&#967;&#945;&#8055;&#961;&#949;&#964;&#949;
&#7941;&#960;&#945;&#957;&#964;&#949;&#962;</ins>.&mdash;<i>Obtained by the fourth Earl of Aberdeen
in Greece, and presented by the fifth Earl of Aberdeen.</i></p>

<p class="indent">
Marble; height, 1 foot 9&frac12; inches; width, 1 foot &frac12; inch. <i>Greek Inscriptions
in Brit. Mus.</i>, CXXXIII.; Conze, <i>Attische Grabreliefs</i>,
No. 46; pl. 23, fig. 1.
</p>

<p><span class="leftside">645.</span>
Lower part of sepulchral relief, much mutilated. A
female figure is seated to the front on a lofty throne.
She holds a fruit in her left hand. On the left is a
youth with a box; and on the right a female figure,
whose right hand was raised to her chin. The arms of
the throne are supported by Sphinxes.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 1 foot 8 inches; width, 2 feet 2 inches.
</p>

<p><span class="leftside">646.</span>
A female figure, Demetria, seated on a chair, extends
her right hand to a box, held by a girl standing before
her; behind is another standing female figure.</p>

<p>Inscribed: <ins title="Greek: [D]êmêtria">[&#916;]&#951;&#956;&#951;&#964;&#961;&#8055;&#945;</ins>.&mdash;<i>Probably from Athens.</i>
<i>Obtained by the fourth Earl of Aberdeen, and presented by the fifth Earl of Aberdeen.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet &frac12; inch; width, 1 foot 1 inch. <i>Greek
Inscriptions in Brit. Mus.</i>, CXIII.; <i>C.I.A.</i>, III., 3072.
</p>

<p><span class="leftside">647.</span>
Lower part of a sepulchral relief. A fully draped
female figure, wanting above the breast, is seated on a
stool. The left hand was probably raised to the chin or
to the veil. Before her, a female figure of which nothing
remains except a portion of drapery, from the knees downwards.
A small boy stands at the knee of the seated
woman, and raises his right hand.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 6 inches; width, 1 foot 3 inches.
<i>Mus. Marbles</i>, IX., pl. 39, fig. 2; <i>Synopsis</i>, No. 196 (162).
</p>
<span class="pagenum"><a name="page317" id="page317"></a>317</span>

<p><span class="leftside">648.</span>
Boy seated on a rock fishing with a rod and line for a
large fish, a basket in his left hand. Above a pediment.</p>

<p>Inscribed in rude late characters, <ins title="Greek: Agathême&lt;t>ros Asiachô syntrophô mnêmês charin"
>&#7944;&#947;&#945;&#952;&#8053;&#956;&#949;&lt;&#964;&gt;&#961;&#959;&#962;
&#7944;&#963;&#953;&#945;&#967;&#8183;
&#963;&#965;&#957;&#964;&#961;&#8057;&#966;&#8182;
&#956;&#957;&#951;&#956;&#8134;&#962;
&#967;&#8049;&#961;&#953;&#957;</ins>.&mdash;Placed by Agathemeros in
memory of his foster brother Asiachos.&mdash;<i>Athens.</i> <i>Purchased
from the Besborough Coll. 1801.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 2 inches; width, 10&frac12; inches. <i>C.I.G.</i>, 6892.</p>

<p><span class="leftside">649.</span>
A girl, seated on a stool, holds an open scroll on her lap.
Before her is a column, on which is another scroll (?);
on the left is a dog raising a paw. The relief is bounded
by pilasters and a pediment, slightly sketched out.</p>

<p>Inscribed: <ins title="Greek: Abeita zêsasa etê [=i] mênas dyo · chairete">&#7944;&#946;&#949;&#8055;&#964;&#945;
&#950;&#8053;&#963;&#945;&#963;&#945;
&#7956;&#964;&#951; &#8145;
&#956;&#8134;&#957;&#945;&#962; &#948;&#8059;&#959; &#903;
&#967;&#945;&#8055;&#961;&#949;&#964;&#949;</ins>&mdash;Avita,
who lived ten years and two months. Hail.&mdash;<i>Townley
Coll.</i></p>

<p class="indent">
Parian marble; height, 1 foot 1 inch; width, 11 inches. Ellis,
<i>Townley Gallery</i>, II., p. 165. <i>C.I.G.</i>, 6866; Wolters, No. 1811.
</p>

<p><span class="leftside">650.</span>
Youthful female figure, standing, holding an ivy-leaf
fan in the right hand, and a part of the mantle with the
left hand.</p>

<p>Inscribed: <ins title="Greek: Synphoro[n] Hêrakleid[ou] Karystia">&#931;&#8059;&#957;&#966;&#959;&#961;&#959;[&#957;]
&#8089;&#961;&#945;&#954;&#955;&#949;&#8055;&#948;[&#959;&#965;]
&#922;&#945;&#961;&#965;&#963;&#964;&#8055;&#945;</ins>. Synphoron,
of Carystos, daughter of Heracleides.&mdash;<i>Athens?</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 7 inches; width, 11&frac12; inches. <i>C.I.G.</i>,
857; <i>C.I.A.</i>, III., 2510; <i>Greek Inscriptions in Brit. Mus.</i>, CI.
</p>
<a name="n651" id="n651"></a>
<p><span class="leftside">651.</span>
Nude figure of boy, standing, with chlamys thrown
over his left shoulder. He holds a partridge in his left
hand, and holds its beak with his right hand.</p>

<p>Inscribed: <ins title="Greek: Menekratês Menônos">&#924;&#949;&#957;&#949;&#954;&#961;&#8049;&#964;&#951;&#962;
&#924;&#8051;&#957;&#969;&#957;&#959;&#962;</ins>&mdash;Menecrates, son of
Menon.&mdash;<i>Athens.</i> <i>Strangford Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 9 inches; width, 11 inches. <i>Greek
Inscriptions in Brit. Mus.</i>, CXXI.; <i>C.I.A.</i>, III., 3276; <i>Arch.
Anzeiger</i>, 1864, p. 164*.</p>
<a name="n652" id="n652"></a>
<p><span class="leftside">652.</span>
Fragment of sepulchral relief. A draped female figure
is seated on a couch, with right hand raised to her veil;
<span class="pagenum"><a name="page318" id="page318"></a>318</span>
before her, two girls, of whom one holds a ball and the
other a fan.&mdash;<i>Found in a store at Portsmouth.</i> <i>Probably
from Smyrna.</i></p>

<p class="indent">
Marble; height, 10 inches; width, 1 foot 1&frac12; inch.
</p>
<a name="n653" id="n653"></a>
<p><span class="leftside">653.</span>
A boy throws a ball for a dog which springs up towards
him.&mdash;<i>Strangford Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 8 inches; width, 10&frac12; inches. <i>Arch.
Anzeiger</i>, 1864, p. 165*.
</p>

<p><span class="leftside">654.</span>
Draped male figure standing, with a boy at his side;
above an arch, springing from pilasters, and surmounted
by a pediment with rosette and acroteria.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 3&frac34; inches; width, 1 foot 9&frac12; inches.</p>

<p><span class="leftside">655.</span>
Sepulchral relief, rude and late. Standing, draped
female figure raises her right hand to her cheek. The
first inscription has been obliterated, and in place of it is
the inscription, <ins title="Greek: SÔT ... NIKE chaire">&#931;&#937;&#932; ... &#925;&#921;&#922;&#917;
&#967;&#945;&#8150;&#961;&#949;</ins>.</p>

<p class="indent">
Greek marble; height, 2 feet 2&frac12; inches; width, 1 foot.
</p>

<p><span class="leftside">656.</span>
Sepulchral monument of Artipous. An old woman is
seated wrapped in her mantle, with a pomegranate in her
left hand. A girl stands at her left side holding a box
and a purse (?). The relief is bounded by pilasters,
surmounted by a pediment with acroteria.</p>

<p>Inscribed: <ins title="Greek: Artipous Alkima">&#7944;&#961;&#964;&#8055;&#960;&#959;&#965;&#962;
&#7944;&#955;&#954;&#8055;&#956;&#945;</ins>
and <ins title="symbol: L"><b>&#8735;</b></ins><ins title="Greek: p">&#960;</ins>.
<ins title="symbol: L"><b>&#8735;</b></ins> is a symbol
chiefly used in Ptolemaic inscriptions to precede a numeral
denoting a year. The inscription therefore appears to
mean '80 years old,' if <ins title="Greek: p">&#960;</ins> is given its usual value.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 4 feet &frac12; inch; width, 2 feet 5&frac34; inches. <i>Greek
Inscriptions in Brit. Mus.</i>, CCII.; Latyschev, II., 133.
</p>

<p><span class="leftside">657.</span>
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.
<span class="pagenum"><a name="page319" id="page319"></a>319</span>
Above the relief are an arch, springing from pilasters,
a pediment with acroteria, and rosettes.</p>

<p>Inscribed: <ins title="Greek: [Theod]otê gynê [Myrinou, chaire]">[&#920;&#949;&#959;&#948;]&#8057;&#964;&#951;
&#947;&#965;&#957;&#8052;
[&#924;&#965;&#961;&#8055;&#957;&#959;&#965;,
&#967;&#945;&#8150;&#961;&#949;]</ins>.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 5 inches; width, 1 foot 8&frac12; inches. <i>Greek
Inscriptions in Brit. Mus.</i>, CCI.; Latyschev, II., 231. The
restoration is taken from a copy, given by Latyschev, which
was made before the inscription was broken.
</p>

<p><span class="leftside">658.</span>
A draped female figure, seated on a throne, raises her
left hand to her veil, and holds a mirror in her right
hand. A female figure stands before her. On each side
of the standing figure is a diminutive figure of a girl;
one holds a bird, and the other a vase. Above is a pediment
with acroteria and rosettes.</p>

<p>Inscribed: <ins title="Greek: Theophilê thyga[têr]...">&#920;&#949;&#959;&#966;&#8055;&#955;&#951;
&#952;&#965;&#947;&#8049;[&#964;&#951;&#961;]&nbsp;.&nbsp;.&nbsp;.</ins>  Theophilè, daughter
of ....&mdash;<i>Kertch</i>.</p>

<p class="indent">
Limestone; height, 2 feet 5 inches; width, 2 feet. <i>Greek Inscriptions
in Brit. Mus.</i>, CC.; Latyschev, II., 235<i>b</i>.
</p>

<p><span class="leftside">659.</span>
A female figure, seated on a throne, raises her left
hand to her veil. On right and left are diminutive
figures of girls. The arms of the throne are supported
by Sphinxes. Above is an arch, springing from pilasters,
a pediment with rosettes and acroteria.</p>

<p>Inscribed: <ins title="Greek: Hellas gynê Mênodôrou, chaire">&#7961;&#955;&#955;&#8048;&#962;
&#947;&#965;&#957;&#8052;
&#924;&#951;&#957;&#959;&#948;&#8061;&#961;&#959;&#965;,
&#967;&#945;&#8150;&#961;&#949;</ins>&mdash;Hellas,
wife of Menodoros, farewell.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 5 feet 1&frac12; inches; width, 1 foot 11&frac12; inches. <i>Greek
Inscriptions in Brit. Mus.</i>, CXCVII.; Latyschev, II., 228.
</p>

<p><span class="leftside">660.</span>
A draped female figure, seated on a chair to the front.
The head is wanting. On the left is an attendant figure
of a girl holding a box (<i>pyxis</i>). On the right is a
horseman wearing chlamys, bow-case and bow, and sword.
There is also a small part of a second horseman.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 1 foot 6 inches; width, 2 feet 4 inches.
</p>
<span class="pagenum"><a name="page320" id="page320"></a>320</span>

<p><span class="leftside">661.</span>
Two horsemen standing to right. The foremost has a
sword, bow, bow-case; the hinder one wears a conical cap.
Above, rosettes and a pediment, surmounted by acroteria.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 3 feet 3 inches; width, 1 foot 11&frac12; inches.
</p>

<p><span class="leftside">662.</span>
Sepulchral relief, with two panels. The upper panel
contains a mounted horseman in a chlamys, galloping to
the right. Of the lower panel only the upper part with
one head remains. Above the relief is a pediment.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 3 inches; width, 1 foot 5 inches.
</p>

<p><span class="leftside">663.</span>
Horseman to the right, with tunic, chlamys, and bow-case
with bow. Behind him, an attendant male figure.
Below the horse is a dog running.</p>

<p>Inscribed: <ins title="Greek: Daïske Ariaramnou, chaire">&#916;&#945;&#8147;&#963;&#954;&#949;
&#7944;&#961;&#953;&#945;&#961;&#8049;&#956;&#957;&#959;&#965;,
&#967;&#945;&#8150;&#961;&#949;</ins>&mdash;Daïscos, son of
Ariaramnos, farewell.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 6 inches; width, 1 foot 10 inches. <i>Greek
Inscriptions in Brit. Mus.</i>, CLXXXVII.; Latyschev, II., 141.
</p>

<p><span class="leftside">664.</span>
Sepulchral relief in two panels. The upper part is
broken away. The feet and tail of a horse, and a figure
of a dog standing to right remain. Before the horse are
the legs of a small attendant figure. In the lower panel
is a horseman riding to the right, with bow, bow-case,
sword and long spear. A colt stands beside the horse.</p>

<p>Inscribed: <ins title="Greek: Artemidôre Dioga epi tês pinakeidos, chaire">&#7944;&#961;&#964;&#949;&#956;&#8055;&#948;&#969;&#961;&#949;
&#916;&#953;&#959;&#947;&#8118;
&#7952;&#960;&#8054; &#964;&#8134;&#962;
&#960;&#953;&#957;&#945;&#954;&#949;&#8150;&#948;&#959;&#962;,
&#967;&#945;&#8150;&#961;&#949;</ins>.
Wolters translates, "Hail, Artemidoros, son of Diogas,
officer in charge of the list."&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 3 inches; width, 2 feet 1&frac34; inches. <i>Greek
Inscriptions in  Brit. Mus.</i>, CLXXXIII.; Wolters, No. 1809
Latyschev, II., 131.
</p>

<p><span class="leftside">665.</span>
Fragment of relief, with figures of two horsemen standing
confronted. The head of one and the head and body
<span class="pagenum"><a name="page321" id="page321"></a>321</span>
of the other are lost. They have short tunic, cloak, bow
and arrows in bow-case, and a saddle cloth.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 1 foot 5 inches; width, 1 foot 8 inches.
</p>
<a name="n666" id="n666"></a>
<p><span class="leftside">666.</span>
Fragment from the right-hand lower corner of a relief,
which is perhaps sepulchral, with the lower parts of two
mounted horsemen, wearing short tunics, cloaks and
swords, moving rapidly to the left.&mdash;<i>Athens.</i> <i>Strangford
Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 7 inches; width, 1 foot 10 inches.
</p>
<a name="n667" id="n667"></a>
<p><span class="leftside">667.</span>
Sepulchral relief. A woman stands to the front wearing
a chiton, and having a mantle wrapped closely about
her. The relief is bounded by pilasters and a high-pitched
pediment, in the tympanum of which is a vase in
low relief. Inscribed <ins title="Greek: Epigona Moschiônos Milêsia">&#7960;&#960;&#953;&#947;&#8057;&#957;&#945;
&#924;&#959;&#963;&#967;&#8055;&#969;&#957;&#959;&#962;
&#924;&#953;&#955;&#951;&#963;&#8055;&#945;</ins>, Epigona,
wife of Moschio, of Miletus.&mdash;<i>Athens.</i> <i>Presented by J. Johnstone,
Esq., 1890.</i></p>

<p class="indent">
Pentelic marble? Height, 3 feet 9 inches; width, 1 foot 7 inches.
This relief, which was seen at Athens, "in the court of Giorgaki
Livaditi," by Spon in 1676 and by Fourmont in 1720, was dug
up many years ago below a house in New Bond Street. Spon,
<i>Voyage</i> (ed. 1679), II., p. 445; <i>C.I.G.</i>, 706; <i>C.I.A.</i>, III., 2660.
</p>

<p><span class="leftside">668.</span>
Fragment of relief, with the body and legs of a boy
walking to the right. The arms appear to have been
raised. A small piece of drapery is seen behind the back
of the boy.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 6 inches. <i>Synopsis</i>, No. 198 (109).
</p>

<p><span class="leftside">669.</span>
Female head to the front in a somewhat severe style.
Apparently broken from a relief. The features are those
of a young girl. The hair is waved on each side, from a
central parting.&mdash;<i>Athens, 1848.</i> <i>Lenormant Coll.</i></p>

<p class="indent">
Pentelic marble; height, 6&frac34; inches.
</p>
<span class="pagenum"><a name="page322" id="page322"></a>322</span>

<p><span class="leftside">670.</span>
Helmeted head in profile to the right; broken from a
relief. Above the helmet is what appears to be part of
a horse's tail.&mdash;<i>Inwood Coll.</i></p>

<p class="indent">
Pentelic marble; height, 7 inches.
</p>

<p><span class="leftside">671.</span>
Head of a maiden, probably from a sepulchral relief.
She wears a closely-fitting cap, with a small flap hanging
down before the ear. There are remains of the tips
of two fingers and a thumb resting on the top of the
head, which make it probable that the complete figure
was that of an attendant kneeling before her mistress, like
the attendant who fastens the sandal of Ameinocleia
(No. 620).&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 8 inches. <i>Synopsis</i>, No. 250 (114); Ellis,
<i>Elgin Marbles</i>, II., p. 119.
</p>

<p><span class="leftside">672.</span>
Head of a youth, three-quarters turned to the right,
from the side of a sepulchral relief. He wears a taenia,
and there are traces of drapery which passed over the
shoulder. There is a part of a pilaster on the left
(Pl. xii., fig. 2.)&mdash;<i>Athens.</i></p>

<p class="indent">
Pentelic marble; height, 8 inches.
</p>

<p><span class="leftside">673.</span>
Head of a youth, half turned to the right, together
with the neck and part of the breast. From a sepulchral
relief. The waving locks of hair are freely treated.
(Pl. xii., fig. 1.)&mdash;<i>Athens.</i></p>

<p class="indent">
Pentelic marble; height, 10 inches. The tip of the nose is restored.
</p>

<p><span class="leftside">674.</span>
Fragment of a sepulchral relief. A male head in high
relief, wearing a taenia, is slightly bent forwards to the
right. There are remains of drapery which passed over
the shoulder. On the left is part of a pilaster which
bounds the relief.</p>

<p class="indent">
Marble; height, 6&frac12; inches.
</p>
<span class="pagenum"><a name="page323" id="page323"></a>323</span>

<p><span class="leftside">675.</span>
Female head, probably from a sepulchral relief. The
neck is much bent. A portion of the right hand remains
clasping the top of the head.</p>

<p class="indent">
Marble; height, 6 inches.
</p>

<p><span class="leftside">676.</span>
Fragment of the head of a youth, perhaps from a sepulchral
relief. A band passes across the forehead immediately
below the hair.&mdash;<i>Excavated by J. T. Wood, at
Ephesus.</i></p>

<p class="indent">
Marble; height, 5 inches.
</p>

<p><span class="leftside">677.</span>
Portrait head of a bearded man. This head appears to
be derived from a sepulchral monument in very high
relief, and to have been turned to the left, as the left side
is carefully finished, while the right side is rough and
inaccurate.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 10&frac12; inches. <i>Synopsis</i>, No. 242 (120).
</p>
<a name="n678" id="n678"></a>
<p><span class="leftside">678.</span>
Fragment of the right side of a relief which was probably
sepulchral. A female figure, wearing a sleeved
chiton and mantle, is seated on a chair. She extends her
hands, probably towards a figure now wanting. On the
right is the head of a figure looking to the right, and part
of a pilaster which bounds the scene. On the left is part
of the drapery of a third figure.&mdash;<i>Ephesus.</i> <i>Strangford
Coll.</i></p>

<p class="indent">
Pentelic marble? Height, 1 foot 4 inches; width, 11 inches.
</p>

<p><span class="leftside">679.</span>
Fragment of a relief, perhaps sepulchral, containing the
lower part of the body and the right leg of a warrior, who
stands on rocky ground drawing himself rather to the
left. He wears a short chiton, a cuirass with a triple row
of flaps (<i>pteryges</i>), and a mantle. Behind are the legs
from the knees of a recumbent figure. The warrior appears
to have had a shield on the left arm, and the right
<span class="pagenum"><a name="page324" id="page324"></a>324</span>
arm raised for a spear thrust at a fallen enemy.&mdash;<i>Found at
the foot of the Inscribed Monument, Xanthos.</i></p>

<p class="indent">
Hard limestone; height, 3 feet 4 inches; width, 1 foot 11 inches.
<i>Synopsis</i>, <i>Lycian Room</i>, No. 141<i>b</i>. Joints at both sides show that
the complete work was of considerable size. Compare the scenes
of combat in the entrance of the rock tomb at Kiöbaschi.
Benndorf, <i>Reisen in Lykien</i>, I., p. 135; and at Tyssa, <i>loc. cit.</i>,
II., p. 64.
</p>
<a name="n680" id="n680"></a>
<p><span class="leftside">680.</span>
Figure of bull lying down to the right, on rough
ground. The head is worked in a very natural manner.
The forms of the body are treated in the flat manner of a
bas-relief. The back has been left unfinished. Probably
the bull originally surmounted a tomb, at Athens. (Compare
Curtius and Kaupert, <i>Atlas von Athen</i>, pl. 4.)&mdash;<i>Brought
from Greece by C. R. Cockerell.</i> <i>Presented by Lord
Hillingdon.</i></p>

<p class="indent">
Pentelic marble; height, 3 feet 2&frac34; inches; length, 5 feet. <i>Journ. of
Hellen. Studies</i>, VI., pl. C., p. 32.
</p>

<h3>SEPULCHRAL VASES.</h3>

<p>For the supposed significance of Vases as Sepulchral
Monuments, see above, p. <a class="ask" href="#page297">297</a>.</p>

<p><span class="leftside">681.</span>
Plain sepulchral lekythos, in low relief.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 11 inches. <i>Synopsis</i>, No. 164 (276);
<i>Mus. Marbles</i>, IX., pl. 34, fig. 1; Ellis, <i>Elgin Marbles</i>, II.,
p. 161.
</p>

<p><span class="leftside">682.</span>
Sepulchral lekythos, with relief. An old man, Pytharatos,
stands, clasping the hand of a seated man, Herophilos,
who is also old.</p>

<p>Inscribed: <ins title="Greek: Pytharatos, Hêrophilos">&#928;&#965;&#952;&#8049;&#961;&#945;&#964;&#959;&#962;,
&#7977;&#961;&#8057;&#966;&#953;&#955;&#959;&#962;</ins>.&mdash;<i>Sloane Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 9 inches; diameter, 10&frac14; inches, Ellis,
<i>Townley Gallery</i>, II., p. 221; <i>Greek Inscriptions in Brit. Mus.</i>,
CXXVI.
</p>
<span class="pagenum"><a name="page325" id="page325"></a>325</span>

<p><span class="leftside">683.</span>
Plain sepulchral amphora of Phaidimos of Naucratis.
Inscribed: <ins title="Greek: Phaidimos Naukratitês">&#934;&#945;&#8055;&#948;&#953;&#956;&#959;&#962;
&#925;&#945;&#965;&#954;&#961;&#945;&#964;&#8055;&#964;&#951;&#962;</ins>.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 3 feet 4&frac12; inches; diameter, 11 inches.
<i>Synopsis</i>, No. 124 (A. 51); <i>Mus. Marbles</i>, IX., pl. 33, fig. 4; Ellis,
<i>Elgin Marbles</i>, II., p. 164; <i>Greek Inscriptions in Brit. Mus.</i>, CV.;
<i>C.I.A.</i>, II., 3239.
</p>

<p><span class="leftside">684.</span>
Body of sepulchral amphora of Timophon, of Anagyrus,
with ornate flutings, and a horizontal band of interwoven
fillets. Rosettes at the base of the handles.</p>

<p>Inscribed: <ins title="Greek: Timophôn Timostratou Anagyrasios">&#932;&#953;&#956;&#959;&#966;&#8182;&#957;
&#932;&#953;&#956;&#959;&#963;&#964;&#961;&#8049;&#964;&#959;&#965;
&#7944;&#957;&#945;&#947;&#965;&#961;&#8049;&#963;&#953;&#959;&#962;</ins>.&mdash;<i>Athens?</i>
<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 11 inches; diameter, 1 foot 2 inches.
For the form, cf. vase held by the wind Skiron on the Tower of
the Winds (Stuart, I., chap. III., pl. 19), and the relief from Icaria
(<i>American Journ. of Archaeology</i>, V., p. 178, fig. 30). Published
Dodwell, <i>Tour</i>, 1., p. 451; <i>Synopsis</i> No. 263 (163); <i>Mus. Marbles</i>,
IX., pl. 32, fig. 4; <i>Greek Inscriptions in Brit. Mus.</i>, LXXX.; <i>C.I.G.</i>,
585. Kumanudis (<ins title="Greek: Att. Epig.">&#7944;&#964;&#964;. &#7960;&#960;&#953;&#947;.</ins> No. 236, and p. 18) and Köhler
(<i>C.I.A.</i> II., 1850) consider the inscription more recent than the
vase.
</p>

<p><span class="leftside">685.</span>
Fragment from the top of a sepulchral amphora in
relief, with patterns of foliage.&mdash;<i>Formerly in Lord Elgin's
Collection.</i></p>

<p class="indent">
Pentelic marble; height, 11 inches. <i>Journ. of Hellen. Studies</i>, VI.,
p. 43, No. 4.
</p>

<p><span class="leftside">686.</span>
Sepulchral cippus of Anaxicrates with an amphora
carved in low relief.</p>

<p>Inscribed: <ins title="Greek: Anaxikratês Dexiochou Athênaios">&#7944;&#957;&#945;&#958;&#953;&#954;&#961;&#8049;&#964;&#951;&#962;
&#916;&#949;&#958;&#953;&#8057;&#967;&#959;&#965;
&#7944;&#952;&#951;&#957;&#945;&#8150;&#959;&#962;</ins>.&mdash;<i>Athens?</i>
<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet &frac12; inch. <i>Synopsis</i>, No. 123 (240);
<i>Mus. Marbles</i>, IX., pl. 34, fig. 2; <i>Greek Inscriptions in Brit.
Mus.</i>, XCVI.; <i>C.I.G.</i>, 801.
</p>
<span class="pagenum"><a name="page326" id="page326"></a>326</span>

<h3>SEPULCHRAL VASES AND RELIEFS, WITH FIGURES CLASPING HANDS.</h3>

<p>For the various interpretations that have been proposed
for these scenes, commonly known as "Scenes of
Parting," see above, <a class="ask" href="#page297">p. 297</a>.</p>

<p><span class="leftside">687.</span>
Sepulchral lekythos with relief. A bearded figure
stands before a woman seated on a stool, and clasps her
hand.</p>

<p>Inscribed: <ins title="Greek: Pamphilos Meixiadou Aigilieus · Archippê Meixiadou">&#928;&#8049;&#956;&#966;&#953;&#955;&#959;&#962;
&#924;&#949;&#953;&#958;&#953;&#8049;&#948;&#959;&#965;
&#913;&#7984;&#947;&#953;&#955;&#953;&#949;&#8059;&#962; &#903;
&#7944;&#961;&#967;&#8055;&#960;&#960;&#951;
&#924;&#949;&#953;&#958;&#953;&#8049;&#948;&#959;&#965;</ins>&mdash;Pamphilos, son of Meixiades, of Aigilia;
Archippè, daughter of Meixiades. The figures represented
are therefore brother and sister.&mdash;<i>Found beside
the portico of Hadrian, Athens.</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 4&frac34; inches; diameter, 1 foot 5 inches.
Stuart I., pp. 44, 52; Dodwell, <i>Tour</i>, I., p. 454; <i>Mus. Marbles</i>,
IX. pl. 33, fig. 2; <i>Synopsis</i> No. 192 (237); Ellis, <i>Elgin Marbles</i>,
II., p. 164; <i>C.I.G.</i>, 560; <i>C.I.A.</i>, II., 1737; <i>Greek Inscriptions in
Brit. Mus.</i>, LXXV.
</p>

<p><span class="leftside">688.</span>
Sepulchral lekythos with relief. Two female figures,
Philia and Metrodora, stand clasping hands. Two bearded
figures, Mys and Meles, stand, one on the left and one on
the right, each turning towards the central group.</p>

<p>Inscribed: <ins title="Greek: Mys, Philia, Mêtrodôra, Melês">&#924;&#8059;&#962;, &#934;&#953;&#955;&#8055;&#945;,
&#924;&#951;&#964;&#961;&#959;&#948;&#8061;&#961;&#945;,
&#924;&#8051;&#955;&#951;&#962;</ins>.&mdash;<i>Athens?</i>
<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 9&frac12; inches; diameter, 1 foot 1&frac14; inches,
<i>Mus. Marbles</i>, IX., pl. 32, fig. 3; <i>Synopsis</i> No. 199 (148); <i>C.I.G.</i>,
974; <i>C.I.A.</i>, II., 3998; <i>Greek Inscriptions in Brit. Mus.</i>, CXXII.
Brueckner, <i>Von den griech. Grabreliefs</i>, p. 12, fig. <span class="sc">K.</span> A companion
lekythos has been discovered at Chasani, in Attica, and is now
at Athens. In this relief, Mys and Meles clasp hands, while
Metrodora and Philia stand on the right and left. Brueckner, <i>l.c.</i>
</p>

<p><span class="leftside">689.</span>
Part of a sepulchral lekythos with relief. Two women,
Callistratè (?) and Demostratè, stand with right hands
<span class="pagenum"><a name="page327" id="page327"></a>327</span>
joined. Behind the latter a girl stands in an attitude of
grief with her head resting on her right hand. Behind
the former is a youth supporting his chin on his right
hand.</p>

<p>Inscribed: <ins title="Greek: Dêmostratê, Kallistr[atê]">&#916;&#951;&#956;&#959;&#963;&#964;&#961;&#8049;&#964;&#951;,
&#922;&#945;&#955;&#955;&#953;&#963;&#964;&#961;[&#8049;&#964;&#951;]</ins>.&mdash;<i>Athens?</i> <i>Elgin
Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 7 inches; diameter, 1 foot 5 inches.
<i>Mus. Marbles</i>, IX., pl. 31, figs. 1, 2; <i>Synopsis</i> No. 275 (104);
Ellis, <i>Elgin Marbles</i>, II., p. 165; <i>C.I.G.</i>, 936; <i>C.I.A.</i>, II., 3611;
<i>Greek Inscriptions in Brit. Mus.</i>, CXIV.
</p>

<p><span class="leftside">690.</span>
Sepulchral vase, with relief. A young warrior, wearing
chiton, shield and helmet, clasps the hand of an old man.
Behind the man stands a woman, who makes a gesture
with her right hand.</p>

<p>Inscribed with an elegiac inscription of four lines of
which only the terminations remain.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 4&frac14; inches; diameter, 1 foot 3&frac12; inches.
<i>Mus. Marbles</i>, IX., pl. 32, fig. 1; <i>Synopsis</i> No. 122 (167); Ellis,
<i>Elgin Marbles</i>, II., p. 161; <i>C.I.G.</i>, 1041; <i>C.I.A.</i>, II., 4312;
<i>Greek Inscriptions in Brit. Mus.</i>, CXXXII.
</p>

<p><span class="leftside">691.</span>
Sepulchral lekythos with relief. A young warrior,
wearing a cuirass over a short tunic, a chlamys and a
helmet, clasps the hand of a seated woman. He appears
to hold a scroll in his left hand. Behind him is an
attendant, holding a large shield.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 6 inches; diameter, 1 foot 6 inches.
<i>Mus. Marbles</i>, IX., pl. 33, fig. 3; <i>Synopsis</i> No. 195 (228); Ellis,
<i>Elgin Marbles</i>, II., p. 161.
</p>

<p><span class="leftside">692.</span>
Sepulchral lekythos with relief. An armed warrior,
Sosippos, who wears a tunic, cuirass, and chlamys, clasps
the hand of a seated woman, who, with her left hand
clasps the right hand of a small girl standing at her
knee. Behind the warrior is a boy carrying a large
<span class="pagenum"><a name="page328" id="page328"></a>328</span>
shield; behind the seated figure is a woman standing
with her right hand raised to her chin.</p>

<p>Inscribed: <ins title="Greek: Sôsippos">&#931;&#8061;&#963;&#953;&#960;&#960;&#959;&#962;</ins>.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet; diameter, 11 inches. Dodwell,
<i>Tour</i>, I., p. 455; <i>Mus. Marbles</i>, IX., pl. 31, fig. 3; <i>Synopsis</i>
No. 230 (239); Ellis, <i>Elgin Marbles</i>, II., p. 165; <i>C.I.G.</i>, 1008;
<i>C.I.A.</i>, II., 4156; <i>Greek Inscriptions in Brit. Mus.</i>, CXXVII.
</p>
<a name="n693" id="n693"></a>
<p><span class="leftside">693.</span>
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.)</p>

<p>Inscribed: <ins title="Greek: Archiadês Hagn(o)usios, Polemonikos Athmoneus">&#7944;&#961;&#967;&#953;&#8049;&#948;&#951;&#962;
&#7945;&#947;&#957;(&#959;)&#8059;&#963;&#953;&#959;&#962;,
&#928;&#959;&#955;&#949;&#956;&#8057;&#957;&#953;&#954;&#959;&#962;
&#7944;&#952;&#956;&#959;&#957;&#949;&#8059;&#962;</ins>&mdash;Archiades
of Hagnus; Polemonicos of Athmonon.&mdash;<i>Formerly
in the Guilford Collection. Presented by G. Plucknett,
Esq., 1886.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 11&frac12; inches width, 1 foot 1 inch.
<i>C.I.G.</i>, 552; <i>C.I.A.</i>, II., 1700.
</p>

<p><span class="leftside">694.</span>
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.</p>

<p>Inscribed: <ins title="Greek: Xenô, Hermodôros, Kleô">&#926;&#949;&#957;&#8061;,
&#7961;&#961;&#956;&#8057;&#948;&#969;&#961;&#959;&#962;,
&#922;&#955;&#949;&#8061;</ins>.&mdash;<i>Athens?</i>&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 1 inch; width, 1 foot 2&frac12; inches.
<i>Mus. Marbles</i>, IX., pl. 30, fig. 4; <i>Synopsis</i> No. 373 (229);
<i>C.I.G.</i>, 981; <i>C.I.A.</i>, II., 4042; <i>Greek Inscriptions in Brit.
Mus.</i>, CXXIV.
</p>

<p><span class="leftside">695.</span>
Sepulchral lekythos with relief. A youth, Polystratos,
clasps the hand of a woman, Archagora, who is seated on
a chair. A woman, Pithyllis, is seen in the background
between these two figures. She stands in an attitude of
grief, with her head bowed and her right hand raised to
her veil.</p>
<span class="pagenum"><a name="page329" id="page329"></a>329</span>

<p>Inscribed: <ins title="Greek: Archagora, Pithyllis, Polystratos">&#7944;&#961;&#967;&#945;&#947;&#8057;&#961;&#945;,
&#928;&#953;&#952;&#965;&#955;&#955;&#8055;&#962;,
&#928;&#959;&#955;&#8059;&#963;&#964;&#961;&#945;&#964;&#959;&#962;</ins>.&mdash;<i>Athens?</i>
<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 8 inches; diameter, 11 inches.
Dodwell, <i>Tour</i>, I., p. 455; <i>Mus. Marbles</i>, IX., pl. 31, fig. 4;
<i>Synopsis</i>, No. 182 (274); Ellis, <i>Elgin Marbles</i>, II., p. 165; <i>C.I.G.</i>,
996; <i>C.I.A.</i>, II., 3524; <i>Greek Inscriptions in Brit. Mus.</i>, CXII.
</p>

<p><span class="leftside">696.</span>
Sepulchral lekythos with relief. A bearded man stands
before a woman seated on a chair and clasps her hand.
There is no trace of an inscription.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 11&frac12; inches; diameter, 11 inches.
<i>Mus. Marbles</i>, IX., pl. 33, fig. 1; <i>Synopsis</i> No. 132 (A. 50); Ellis,
<i>Elgin Marbles</i>, II., p. 164.
</p>

<p><span class="leftside">697.</span>
Sepulchral lekythos with relief. A bearded man stands
before a woman seated on a chair.</p>

<p>Inscribed above the head of the woman: <ins title="Greek: Ada">&#7948;&#948;&#945;</ins>. The
name of the man may have been inscribed originally,
but it is now obliterated.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 10&frac12; inches; diameter, 1 foot. <i>Mus.
Marbles</i>, IX., pl. 32, fig. 2; <i>Synopsis</i> No. 188 (110); <i>Greek
Inscriptions in Brit. Mus.</i> CXI.; <i>C.I.A.</i>, II., 3438.
</p>

<p><span class="leftside">698.</span>
Sepulchral lekythos with relief. A man, Alkimachos,
stands before a seated woman, Hedylè, and clasps her
hand. A girl stands behind Hedylè, and another girl of
a smaller size stands behind Alkimachos.</p>

<p>Inscribed: <ins title="Greek: Hêdylê, Alkimachos">&#7977;&#948;&#8059;&#955;&#951;,
&#7944;&#955;&#954;&#8055;&#956;&#945;&#967;&#959;&#962;</ins>.&mdash;<i>Probably from Athens.</i>
<i>From the Earl of Belmore's Collection</i>, 1842.</p>

<p class="indent">
Pentelic marble; height, 1 foot 5 inches; diameter, 1 foot 1 inch.
<i>Greek Inscriptions in Brit. Mus.</i>, CXVIII.; <i>C.I.A.</i>, II., 3761.
</p>
<a name="n699" id="n699"></a>
<p><span class="leftside">699.</span>
Sepulchral lekythos with relief, much defaced. A
woman seated on a chair clasps the hand of a woman
standing before her. Behind the chair is a girl holding a
box in her left hand.&mdash;<i>From a store at Portsmouth.</i> <i>Perhaps
from Smyrna.</i></p>

<p class="indent">
Marble; height, 1 foot 7 inches; diameter, 1 foot.
</p>
<span class="pagenum"><a name="page330" id="page330"></a>330</span>

<p><span class="leftside">700.</span>
Fragment of sepulchral relief. A youth standing clasps
the hand of a bearded man, seated on a chair. Only the
upper parts are preserved of both figures, together with
the right side of the relief.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 6 inches; width, 10&frac12; inches. <i>Synopsis</i>,
No. 423.
</p>

<p><span class="leftside">701.</span>
Fragment of sepulchral relief. A woman, seated on a
chair, clasps the hand of a woman standing before her.
Her left hand appears to have been raised to her veil.
The upper parts of both figures are wanting, and also the
left side of the relief. A nude boy with an uncertain
object in his hands stands in the right corner.</p>

<p class="indent">
Pentelic marble? Height, 1 foot; width, 11 inches.
</p>

<p><span class="leftside">702.</span>
A woman seated to the right, on a stool, holds her veil
with the left hand, and clasps the arm of a boy standing
before her. Behind the boy, and partly embracing him,
stands a woman, who holds her veil with her right hand.
On the left, behind the seated figure is a woman standing
with the left hand raised to her cheek, and with the right
hand supporting the left elbow. At the foot of the seat
are two small female figures, one standing and one sitting.
These six figures are in high relief. In the background
are two men confronted in low relief; one is bearded.
Two other heads also appear to have been inserted, and to
have been afterwards obliterated. The relief is bounded
by two pilasters and an architrave, with roof tiles above.</p>

<p>Inscribed: <ins title="Greek: Sôpatra Pausaniou. Antimachos Pausaniou. Philopatra Mi[r]ylou. Pausanias Andriskou"
>&#931;&#969;&#960;&#8049;&#964;&#961;&#945;
&#928;&#945;&#965;&#963;&#945;&#957;&#8055;&#959;&#965;.
&#7944;&#957;&#964;&#8055;&#956;&#945;&#967;&#959;&#962;
&#928;&#945;&#965;&#963;&#945;&#957;&#8055;&#959;&#965;.
&#934;&#953;&#955;&#959;&#960;&#8049;&#964;&#961;&#945;
&#924;&#953;[&#961;]&#8059;&#955;&#959;&#965;.
&#928;&#945;&#965;&#963;&#945;&#957;&#8055;&#945;&#962;
&#7944;&#957;&#948;&#961;&#8055;&#963;&#954;&#959;&#965;</ins>. Sopatra and
Antimachos are the children of Pausanias and Philopatra.&mdash;<i>Pella.</i></p>

<p class="indent">
Fine-grained white marble; height, 4 feet; width, 2 feet 6 inches.
<i>Greek Inscriptions in Brit. Mus.</i>, CLXXII.
</p>
<a name="n703" id="n703"></a>
<p><span class="leftside">703.</span>
An elderly bearded man, seated, to the left, clasps the
hand of an old man standing before him. Both figures
<span class="pagenum"><a name="page331" id="page331"></a>331</span>
appear to be portraits. Small figures of boys stand at the
right and left. The boy on the left holds an uncertain
object. Above are a pediment with acroteria, and two olive wreaths, and the
inscriptions <ins title="Greek: Ho dêmos Dêmoklên Amphilochou">&#8009; &#948;&#8134;&#956;&#959;&#962;
&#916;&#951;&#956;&#959;&#954;&#955;&#8134;&#957;
&#7944;&#956;&#966;&#953;&#955;&#8057;&#967;&#959;&#965;</ins>,

<ins title="Greek: Ho dêmos Dêmoklên Dêmoklêous">&#8009; &#948;&#8134;&#956;&#959;&#962;
&#916;&#951;&#956;&#959;&#954;&#955;&#8134;&#957;
&#916;&#951;&#956;&#959;&#954;&#955;&#8053;&#959;&#965;&#962;</ins>, recording honorary decrees
to Democles, son of Amphilochos, and Democles, son of
Democles. Below is a metrical epitaph, in eight lines:</p>

<div class="poem"><div class="stanza">
<p><ins title="Greek: Ton pinyton kata panta kai exochon en poliêtais">
&#932;&#8056;&#957;
&#960;&#953;&#957;&#965;&#964;&#8056;&#957;
&#954;&#945;&#964;&#8048;
&#960;&#8049;&#957;&#964;&#945;
&#954;&#945;&#8054; &#7956;&#958;&#959;&#967;&#959;&#957;
&#7952;&#957;
&#960;&#959;&#955;&#953;&#8053;&#964;&#945;&#953;&#962;</ins></p>
<p class="i2"><ins title="Greek: anera gêral(e)ou termat' echonta biou">
&#7936;&#957;&#8051;&#961;&#945;
&#947;&#951;&#961;&#945;&#955;(&#8051;)&#959;&#965;
&#964;&#8051;&#961;&#956;&#945;&#964;'
&#7956;&#967;&#959;&#957;&#964;&#945;
&#946;&#8055;&#959;&#965;</ins></p>
<p><ins title="Greek: Aideô nychioio melas hypedexato kolpos">
&#913;&#7988;&#948;&#949;&#969;
&#957;&#965;&#967;&#8055;&#959;&#953;&#959;
&#956;&#8051;&#955;&#945;&#962;
&#8017;&#960;&#949;&#948;&#8051;&#958;&#945;&#964;&#959;
&#954;&#8057;&#955;&#960;&#959;&#962;</ins></p>
<p class="i2"><ins title="Greek: eusebeôn th' hosiên eunasen es klisiên">
&#949;&#8016;&#963;&#949;&#946;&#8051;&#969;&#957;
&#952;'
&#8001;&#963;&#8055;&#951;&#957;
&#949;&#8020;&#957;&#945;&#963;&#949;&#957;
&#7952;&#962;
&#954;&#955;&#953;&#963;&#8055;&#951;&#957;</ins>.</p>
<p><ins title="Greek: mnêma d' apophthimenoio para trêchêan atarpon">
&#956;&#957;&#8134;&#956;&#945; &#948;'
&#7936;&#960;&#959;&#966;&#952;&#953;&#956;&#8051;&#957;&#959;&#953;&#959;
&#960;&#945;&#961;&#8048;
&#964;&#961;&#951;&#967;&#8134;&#945;&#957;
&#7936;&#964;&#945;&#961;&#960;&#8056;&#957;</ins></p>
<p class="i2"><ins title="Greek: touto païs kednê teuxe syn eunetidi">
&#964;&#959;&#8166;&#964;&#959;
&#960;&#8049;&#0239;&#962; &#954;&#949;&#948;&#957;&#8135;
&#964;&#949;&#8166;&#958;&#949;
&#963;&#8058;&#957;
&#949;&#8016;&#957;&#949;&#964;&#8055;&#948;&#953;</ins>.</p>
<p><ins title="Greek: xeine, sy d' aeisas Dêmokleos hyiea chairein">
&#958;&#949;&#8150;&#957;&#949;
&#963;&#8058; &#948;'
&#7936;&#949;&#8055;&#963;&#945;&#962;
&#916;&#951;&#956;&#959;&#954;&#955;&#8051;&#959;&#962;
&#965;&#7985;&#8051;&#945;
&#967;&#945;&#8055;&#961;&#949;&#953;&#957;</ins></p>
<p class="i2"><ins title="Greek: Dêmoklea steichois ablabes ichnos echôn">
&#916;&#951;&#956;&#959;&#954;&#955;&#8051;&#945;
&#963;&#964;&#949;&#8055;&#967;&#959;&#953;&#962;
&#7936;&#946;&#955;&#945;&#946;&#8050;&#962;
&#7988;&#967;&#957;&#959;&#962;
&#7956;&#967;&#969;&#957;</ins>.</p>
</div></div>

<p>&mdash;<i>Smyrna.</i> <i>Presented by M. Duane and T. Tyrwhitt, Esqs.</i>,
1772.</p>

<p class="indent">
Bluish Greek marble; height, 4 feet 5 inches; width, 1 foot 8&frac12;
inches. Montfaucon, <i>Ant. Expl. Suppl.</i>, V., p. 25; <i>Archaeologia</i>,
III., pl. 11, fig. 2; <i>C.I.G.</i>, 3256; Kaibel, 237.
</p>
<a name="n704" id="n704"></a>
<p><span class="leftside">704.</span>
A man, Exakestes, seated, clasps the hand of his wife,
Metreis, standing before him. She holds a spindle in her
left hand. In the right and left corners of the relief are
small figures of a boy and girl. The girl holds a casket.
In the background of the relief are a stelè surmounted by
two cornucopiae, and a candelabrum. Above, two wreaths and the honorary
inscription, <ins title="Greek: Ho dêmos Exakestên Androboulou. Ho dêmos Mêtrein Hermippou, Exakestou de gynaika">&#8009; &#948;&#8134;&#956;&#959;&#962;
&#7960;&#958;&#945;&#954;&#8051;&#963;&#964;&#951;&#957;
&#7944;&#957;&#948;&#961;&#959;&#946;&#959;&#8059;&#955;&#959;&#965;.
&#8009; &#948;&#8134;&#956;&#959;&#962;
&#924;&#951;&#964;&#961;&#949;&#8150;&#957;
&#7961;&#961;&#956;&#8055;&#960;&#960;&#959;&#965;,
&#7960;&#958;&#945;&#954;&#8051;&#963;&#964;&#959;&#965;
&#948;&#8050; &#947;&#965;&#957;&#945;&#8150;&#954;&#945;</ins>.
The relief is surmounted by a pediment with acroteria
and a rosette.&mdash;<i>Perhaps from Smyrna.</i> <i>Townley Coll.</i></p>

<p class="indent">
Greek marble; height, 2 feet 5&frac12; inches; width, 1 foot 4&frac12; inches.
<i>Mus. Marbles</i>, X., pl. 43; <i>C.I.G.</i>, 3232; Ellis, <i>Townley Gallery</i>,
II., p. 165; Wolters, No. 1806. This relief was once in the possession
of Dr. Richard Mead (<i>Mus. Meadianum</i>, Pars alt., 1759,
p. 239).
</p>
<span class="pagenum"><a name="page332" id="page332"></a>332</span>

<p><span class="leftside">705.</span>
A woman seated clasps the hand of a young man who
stands before her, placing his left hand on her shoulder.
An older man stands on the left. The stelè is surmounted
by a pediment.</p>

<p class="indent">
Greek marble; height, 2 feet 2&frac14; inches; width, 1 foot 2 inches.
</p>

<p><span class="leftside">706.</span>
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: <ins title="Greek: Laodikê Hêr[ophilou?] ... chaire">&#923;&#945;&#959;&#948;&#8055;&#954;&#951;
&#7977;&#961;[&#959;&#966;&#8055;&#955;&#959;&#965;?]
 ... &#967;&#945;&#8150;&#961;&#949;</ins>.</p>

<p class="indent">
Pentelic marble; height, 2 feet 3&frac14; inches; width, 1 foot 2 inches.
</p>

<p><span class="leftside">707.</span>
A woman clasps the hand of a warrior, with short
tunic, cloak and shield. On the left a second warrior,
somewhat smaller, but similarly attired. Above is a
pediment with acroteria and rosettes.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 4 inches; width, 1 foot 7 inches.
</p>

<p><span class="leftside">708.</span>
Two men, one bearded and the other a youth, stand
clasping hands. They are father and son, each being
named Bakchios. Above is a pediment with acroteria and
rosettes.</p>

<p>Inscribed: <ins title="Greek: Bakchie Bageos kai hyie Bakchie chairete">&#914;&#8049;&#954;&#967;&#953;&#949;
&#914;&#8049;&#947;&#949;&#959;&#962;
&#954;&#945;&#8054; &#965;&#7985;&#8050;
&#914;&#8049;&#954;&#967;&#953;&#949;
&#967;&#945;&#8055;&#961;&#949;&#964;&#949;</ins>.</p>

<p class="indent">
Limestone; height, 2 feet 11&frac34; inches; width, 1 foot 8&frac34; inches.
<i>Greek Inscriptions in Brit. Mus.</i>, CLXXXIV.; Latyschev, II., 78.
</p>

<p><span class="leftside">709.</span>
A man and woman stand, clasping hands. A boy on the
right. Above is a pediment with acroteria and rosettes.</p>

<p>Inscribed: <ins title="Greek: Gaïos Gaïou kai mêtêr Basili[nd]ina chairete">&#915;&#8049;&#0239;&#959;&#962;
&#915;&#945;&#8147;&#959;&#965;
&#954;&#945;&#8054; &#956;&#951;&#964;&#8052;&#961;
&#914;&#945;&#963;&#953;&#955;&#953;[&#957;&#948;]&#8150;&#957;&#945;
&#967;&#945;&#8055;&#961;&#949;&#964;&#949;</ins>.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 6&frac12; inches; width, 1 foot 7&frac14; inches. <i>Greek
Inscriptions in Brit. Mus.</i>, CLXXXVI.; Latyschev, II., 93.
</p>
<a name="n710" id="n710"></a>
<p><span class="leftside">710.</span>
Circular pedestal or altar on a square plinth, on one
side of which is a sepulchral relief. A man stands on the
right, clasping the right hand of a seated woman, probably
<span class="pagenum"><a name="page333" id="page333"></a>333</span>
his wife. She holds her veil with her left hand.
Behind the woman stands Hermes Psychopompos, about
to conduct her shade to Hades. He has petasos, talaria,
chlamys and caduceus. On the right is another male
figure standing, with folded hands, and beyond is what
appears to be an altar. The altar is rectangular, and is
surmounted by a conical object, round which a serpent is
twined. By the side of the altar is the mutilated figure
of a boy. On the extreme left behind Hermes is a sundial,
to which his hand is pointing. At the side of the
chair stands a draped female attendant of diminutive
stature. This figure is much defaced, and the lower part
is broken away. The head of this figure has been broken
off, and the faces and general surface of all the figures are
much eaten away by exposure to weather. This relief
occupies about a third of the circle of the pedestal, the
remainder being ornamented by festoons of ivy suspended
between three bulls' heads. In the centre of the top of
the pedestal is a round hole, as if to receive a dowel, and
the surface of the marble seems prepared for a joint. The
whole may have served as a pedestal for a statue.&mdash;<i>Obtained
from Greece by the fourth Earl of Aberdeen, and
presented by the fifth Earl of Aberdeen, 1861.</i></p>

<p class="indent">
Greek marble; height, 3 feet 7 inches; diameter, 2 feet 9 inches.
<i>Guide to Graeco-Roman Sculptures</i>, Part II., No. 75.
</p>

<h3>RELIEFS REPRESENTING THE SEPULCHRAL BANQUET.</h3>

<p>For a discussion of the interpretation of this class of
reliefs, see above, p. <a class="ask" href="#page298">298</a>.</p>

<p><span class="leftside">711.</span>
Cast of a sepulchral relief, sometimes known as the
"Death of Socrates." A man, bearded, reclines on a
couch, with a bowl in his right hand, held out as if to
<span class="pagenum"><a name="page334" id="page334"></a>334</span>
pour a libation. A woman seated on a stool by the
foot of the couch, extends her hands. On the right is
a man, draped and bearded, and on the left a nude
youth who stands with a jug by a large crater. Below
the couch is a dog gnawing a bone. The original, of
white marble, was found at <i>the Piraeus</i> in 1838, and is
now in the <i>National Museum at Athens</i>.</p>

<p class="indent">
Height, 1 foot 7&frac12; inches; width, 2 feet 1 inch. <ins title="Greek: Ephêmeris">&#7960;&#966;&#951;&#956;&#949;&#961;&#8055;&#962;</ins>, 1839,
No. 269; Le Bas, <i>Mon. Fig.</i>, pl. 52; Pervanoglu, <i>Familienmahl</i>,
p. 24, No. 60; Mitchell, p. 504; Wolters, No. 1052; Roscher,
<i>Lexicon</i>, p. 2574.
</p>
<a name="n712" id="n712"></a>
<p><span class="leftside">712.</span>
Relief with banquet. Two male figures recline together
on a couch. One is a bearded man, the other is a
youth. The man holds a bowl in his left hand and places
his right hand on the shoulder of the youth who turns
his head towards him. Before the couch is a table with
provisions. On the right is a nude youth with a jug and
bowl. On the left is a youth, wearing tunic and chlamys,
who leads a horse. The relief is bounded by pilasters
and an architrave.</p>

<p>On the lower margin is the modern inscription <i>Aesculapio
Tarentino Salenius Arcas</i>, added by some person who
supposed that the relief was a votive tablet to Aesculapius.
The inscription, however, makes it probable that the relief
was obtained at Tarentum. The type of the horse also
agrees well with that on the coins of Tarentum, of about
the close of the fourth century, <span class="sc">B.C</span>. The relief is perhaps
erected to a father and two sons. It is also possible that
the two figures of the youth represent the same person,
and that only two persons in all are here commemorated.&mdash;<i>Presented
by W. R. Hamilton, Esq., 1845.</i></p>

<p class="indent">
Marble, probably Pentelic; height, 1 foot 10&frac12; inches; width, 2 feet
9 inches. The upper right-hand corner is restored. P. Gardner,
<i>Journ. of Hellen. Studies</i>, V., p. 105, and plate; Wolters,
No. 1054; Roscher, <i>Lexicon</i>, p. 2575.
</p>
<span class="pagenum"><a name="page335" id="page335"></a>335</span>

<p><span class="leftside">713.</span>
Relief with banquet, serpent, and sacrifice. Two men
recline on a couch. Both have cups in their left hands.
One holds up a rhyton terminating in a ram's head; the
other stretches out his right hand to a long table which
stands before the couch. A woman, seated on the end of
the couch, holds a cup in her left hand and stretches out
her right hand to the table. Below the table is a coiled
serpent. On the left of the woman is a nude youth holding
up a rhyton. Beyond is a square altar, to which a
boy, who is now almost obliterated, leads a pig. He holds
a bowl in his left hand. On the left are four adult
persons and two infants, and above, the head of a horse in
a frame. The relief is bounded by two pilasters surmounted
by an entablature, above which roof-tiles are
slightly indicated.&mdash;<i>Townley Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 2 inches; width, 2 feet 2 inches.
</p>

<p><span class="leftside">714.</span>
Fragment of relief with banquet and sacrifice. On the
right is part of the figure of a woman, who is seated at
the foot of a couch, most of which is now lost. Before
her is part of a table. At the foot of the couch is an
altar which is approached by a procession of three adult
persons and four children, one of whom leads a ram.
Above, a horse's head is seen at a window. The relief is
bounded by pilasters and an entablature, above which
roof-tiles are shown.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 3 inches; width, 1 foot &frac12; inch.
<i>Mus. Marbles</i>, IX., pl. 35, fig. 1; <i>Synopsis</i>, No. 279 (94);
Welcker, <i>Alte Denkmaeler</i>, II., p. 273; cf. Welcker, <i>loc. cit.</i>,
II., pl. 13, No. 24; Pervanoglu, <i>Familienmahl</i>, p. 44, No. 174.
</p>

<p><span class="leftside">715.</span>
Fragment of relief, which may be supposed to have
been similar to the preceding. Sacrificial procession,
including a man, of whom but little remains, a woman,
two children, and one draped figure, whose sex cannot be
<span class="pagenum"><a name="page336" id="page336"></a>336</span>
distinguished, carrying a large vessel on the head.&mdash;<i>Athens?</i>
<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 4&frac34; inches; width, 9&frac12; inches. <i>Mus.
Marbles</i>, IX., pl. 36, fig. 3; <i>Synopsis</i>, No. 189 (284); <i>Guide to
Elgin Room</i>, Part II., No. F. 6.
</p>

<p><span class="leftside">716.</span>
Relief with banquet and sacrifice. A male figure, who
is half draped, reclines on a couch with a bowl in his right
hand. He wears a <i>polos</i> and in type resembles a divinity.
Before him is a table with food. A woman is seated on
the foot of the couch and has a cup in her left hand. On
the right a youth draws wine from a crater. On the left
a man, woman, and boy approach as worshippers. The
relief is bounded by two pilasters, surmounted by an
entablature, above which are roof-tiles.&mdash;<i>Townley Coll.</i></p>

<p class="indent">
Pentelic marble; height, 9&frac12; inches; width, 1 foot 1&frac34; inches. Ellis,
<i>Townley Gallery</i>, II., p. 167; Welcker, <i>Alte Denkmaeler</i>, II.
p. 278.
</p>

<p><span class="leftside">717.</span>
Relief with banquet and sacrifice. A male figure, half
draped and wearing a <i>polos</i> as in the last relief, reclines
on a couch. He has a cup in the left hand and a rhyton
in the right hand. Before him is a table with food. A
woman is seated at the foot of the couch, with a cup in
her left hand. On the left a boy stands beside a jar of
wine, which is raised on a pedestal. At the left a woman,
and two smaller figures approach as worshippers. Above,
the head of a horse is seen looking through an opening.
The relief is bounded by two pilasters, surmounted by an
entablature, above which are roof-tiles.&mdash;<i>Halicarnassos.</i>
<i>Presented by H.M. Sultan Abdul Medjid to Viscount Stratford
de Redcliffe, and by him presented to the British Museum.</i></p>

<p class="indent">
Marble; height, 10 inches; width, 1 foot 1 inch.
</p>

<p><span class="leftside">718.</span>
Fragment of relief. A nude male figure who seems to
be wearing a Phrygian cap, and holds some object in his
<span class="pagenum"><a name="page337" id="page337"></a>337</span>
right hand, stands with his left hand over an altar. On
the right side of the altar was a male figure making a
libation. Only the right hand with the saucer, and the
right foot remain. On the left a bearded man stands,
with his right hand raised.&mdash;<i>Athens?</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 6 inches; width, 1 foot 3 inches.
<i>Synopsis</i>, No. 380 (101); <i>Mus. Marbles</i>, IX., pl. 37, fig. 1.
</p>

<p><span class="leftside">719.</span>
Group of persons about to sacrifice; from the left side of
a sepulchral relief. On the right of the fragment is a man
with a large amphora, turned to the right. Behind him
are two men and two women, all standing as worshippers.&mdash;<i>Mytilene.</i></p>

<p class="indent">
Marble; height, 10 inches; width, 11 inches. Conze, <i>Lesbos</i>, p. 10,
Note 3, No. 1.
</p>

<p><span class="leftside">720.</span>
Fragment of relief with banquet and serpent. A man
reclines on a couch and pours a libation from a bowl.
Before the couch is a table with food. A serpent is coiled
beneath the table and stretches its head towards the bowl.
On the left is the hand holding a casket (<i>pyxis</i>) of a
woman, who had been seated at the foot of the couch.
The relief is bounded by pilasters, an entablature and a
roof.</p>

<p class="indent">
Marble; height, 1 foot 1 inch; width, 9 inches.
</p>

<p><span class="leftside">721.</span>
Relief with a female figure of the type of the banquet
reliefs. A woman seated, wearing a lofty head-dress
(<i>polos</i>), holds an ivy-leaf fan in her left hand, and with
the right hand appears to be offering a cup to a serpent.&mdash;<i>Athens?</i>
<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 3&frac12; inches; width, 1 foot 5&frac34; inches.
<i>Mus. Marbles</i>, IX., pl. 38, fig. 3; <i>Synopsis</i>, No. 278 (238); Ellis,
<i>Elgin Marbles</i>, II., p. 127, No. 278.
</p>
<a name="n722" id="n722"></a>
<p><span class="leftside">722.</span>
Relief with banquet. A man reclines on a couch with
a cup in his left hand. Before him is a table with
<span class="pagenum"><a name="page338" id="page338"></a>338</span>
food. A woman is seated near the foot of the couch
with her left hand raised to her veil. On the right is a
boy in a short tunic, perhaps holding a kyathos. On the
left is a girl who is standing, and seems to be holding a
vase. The relief is surmounted by a pediment.</p>

<p>Inscribed: <ins title="Greek: Hermias Athaniônos">&#7961;&#961;&#956;&#8055;&#945;&#962;
&#7944;&#952;&#945;&#957;&#8055;&#969;&#957;&#959;&#962;</ins>.
Hermias, son of Athenion.&mdash;<i>Athens.</i>
<i>Strangford Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 5 inches; width, 10 inches. <i>Greek
Inscriptions in Brit. Mus.</i>, CXVI.; <i>Arch. Anzeiger</i>, 1864, p. 164*;
Pervanoglu, <i>Familienmahl</i>, p. 15, No. 5.
</p>

<p><span class="leftside">723.</span>
Relief with banquet. A man reclines on a couch, with
a bowl in his left hand; with the right hand he holds a
wreath on his head. Before him is a table with food.
The legs of the table terminate above in the form of swans'
heads. Above is an olive wreath, containing the words <ins title="Greek: Ho dêmos">&#8009;
&#948;&#8134;&#956;&#959;&#962;</ins>; also a pediment, having acroteria, and containing
a rosette.</p>

<p>Inscribed:</p>

<div class="poem"><div class="stanza">
<p class="i8"><ins title="Greek: Ho dêmos Lênaion Artemidôrou·">
&#8009; &#948;&#8134;&#956;&#959;&#962;&#903;
&#923;&#8053;&#957;&#945;&#953;&#959;&#957;
&#7944;&#961;&#964;&#949;&#956;&#953;&#948;&#8061;&#961;&#959;&#965;&#903;</ins></p>
<p><ins title="Greek: kai to prin en polemois têrôn pyrgon, parodita">
&#954;&#945;&#8054; &#964;&#8056;
&#960;&#961;&#8054;&#957; &#7952;&#957;
&#960;&#959;&#955;&#8051;&#956;&#959;&#953;&#962;
&#964;&#951;&#961;&#8182;&#957;
&#960;&#8059;&#961;&#947;&#959;&#957;,
&#960;&#945;&#961;&#959;&#948;&#8150;&#964;&#945;</ins>,</p>
<p class="i2"><ins title="Greek: kai nyn têrêsô, hôs dynamai, nekys ôn">
&#954;&#945;&#8054; &#957;&#8166;&#957;
&#964;&#951;&#961;&#8053;&#963;&#969;,
&#8033;&#962; &#948;&#8059;&#957;&#945;&#956;&#945;&#953;,
&#957;&#8051;&#954;&#965;&#962; &#8036;&#957;</ins>.</p>
</div></div>

<p>The 'tower' which Lenaios undertakes to defend in death
has been conjectured to be the Dipylon gate at Athens,
whence the relief was probably obtained.</p>

<p class="indent">
Bluish Greek marble; height, 3 feet 11&frac12; inches; width, 1 foot
7 inches. <i>Rhein. Mus. N.F.</i> 1848, p. 82; Kaibel, 111.
</p>

<p><span class="leftside">724.</span>
Sculptured pedestal. On the front is a relief of a
banquet. A man reclines on a couch, with a table of
food before him. He holds a bowl in his left hand, and
clasps with his right hand the hand of a woman who is
seated at the foot of the couch. A boy stands on the left.
A wreath is carved on the pilaster to the right of the
relief, which probably contained the inscription: <ins title="Greek: Ho dêmos">&#8009; &#948;&#8134;&#956;&#959;&#962;</ins>.</p>
<span class="pagenum"><a name="page339" id="page339"></a>339</span>

<p>Inscribed: <ins title="Greek: Hellaniôn Tarseus">&#7961;&#955;&#955;&#945;&#957;&#8055;&#969;&#957;
&#932;&#945;&#961;&#963;&#949;&#8059;&#962;</ins>, Hellanion of Tarsus. On
the right and left ends the pedestal is adorned with
pediments. Above, it is roughly worked to fit the
plinth of a statue.&mdash;<i>Xanthos?</i> <i>Presented by J. Scott
Tucker, Esq., R.N.</i></p>

<p class="indent">
Bluish-grey marble; height, 2 feet &frac14; inch; width, 2 feet 7 inches.
<i>Arch. Anzeiger</i>, 1851, p. 128; Pervanoglu, <i>Familienmahl</i>, p. 34,
No. 113.
</p>

<p><span class="leftside">725.</span>
Fragment of relief, with banquet. The upper half is
wanting. A man reclines on a couch, and holds a bowl
and a rhyton (?), which were perhaps of bronze attached,
in the left and right hands respectively. A woman sits
on the end of the couch. On the right is a diminutive
male figure with the hands clasped. On the left is a girl,
who stands leaning against the foot of the couch, and
holds an ivy-leaf fan in her left hand.&mdash;<i>Halicarnassos.</i></p>

<p class="indent">
Marble; height, 1 foot 2 inches; width, 2 feet.
</p>
<a name="n726" id="n726"></a>
<p><span class="leftside">726.</span>
Relief with banquet and serpent. A man fully draped,
reclines on a couch, with a bowl in his left hand. Before
the couch is a table with provisions. A woman is seated
on a stool by the foot of the couch. In her left hand she
extends a bowl from which a serpent is drinking. The
serpent is coiled about the trunk of a tree. On the right
is a diminutive male figure standing by a crater; on the
left is a female figure holding a box.&mdash;<i>Found in a store at
Portsmouth.</i> <i>Probably from Smyrna.</i></p>

<p class="indent">
Bluish marble; height, 1 foot 10&frac12; inches; width, 1 foot 6 inches.
</p>

<p><span class="leftside">727.</span>
Fragment of a relief with banquet and serpent. A
man reclines on a couch holding a bowl in his left hand.
A woman is seated on a chair by the head of the couch.
A snake issues from under the chair and approaches the
woman. One arm of the chair is supported by a figure of
<span class="pagenum"><a name="page340" id="page340"></a>340</span>
a Sphinx. The heads of both figures are wanting of
<i>Mytilene</i>.</p>

<p class="indent">
Marble; height, 11 inches; width, 10&frac12; inches. Conze, <i>Lesbos</i>, p. 10,
Note 3, No. 3.
</p>

<p><span class="leftside">728.</span>
Relief with banquet and serpent. A figure, apparently
that of a man, reclines on a couch. He has long hair, and
a closely-fitting chiton, and holds a cup in his left hand.
Before him is a table with food, towards which he extends
his right hand. A woman is seated on the foot of the
couch, and gives drink from a bowl to a serpent. On the
right a boy has drawn wine from a crater with a jug, and
is offering a bowl to the reclining figure. Behind is a stair-like
series of shelves, on which stand several vessels. On
the left a woman raises her right hand with a gesture as
of adoration. Above, a horse's head is seen looking through
an opening. The relief is bounded by two Ionic columns
surmounted by a flat arch.&mdash;<i>Naucratis.</i> <i>Presented by the
Egypt Exploration Fund, 1886.</i></p>

<p class="indent">
Limestone, with traces of red paint; height, 1 foot 3 inches; width
1 foot 8&frac12; inches. Gardner, <i>Naukratis</i>, II., p. 22.
</p>

<p><span class="leftside">729.</span>
Fragment of relief, with banquet and serpent. The
fragment contains the upper part of a male figure, wearing
a polos, reclining on a couch, holding a cup in the
left hand, and having a table before him. A snake is
coiled about one leg of the table.&mdash;<i>Mytilene.</i></p>

<p class="indent">
Marble; height, 1 foot &frac34; inch; width, 7 inches. Conze, <i>Lesbos</i>,
p. 10, Note 3, No. 2.
</p>

<p><span class="leftside">730.</span>
Fragment of relief, with banquet. A male figure reclines
on a couch. Before him is a table with food. He has a
rhyton in his right hand and a cup in his left hand.</p>

<p class="indent">
Marble; height, 11 inches; width, 10 inches.
</p>

<p><span class="leftside">731.</span>
Fragment of relief with banquet. A male figure reclines
on a couch between two columns, with a bowl in his right
<span class="pagenum"><a name="page341" id="page341"></a>341</span>
hand. A table with cups stands before the couch.&mdash;<i>Thasos.</i>
<i>Strangford Coll.</i></p>

<p class="indent">
Marble; height, 9 inches; width, 1 foot 2 inches.
</p>

<p><span class="leftside">732.</span>
Fragment of relief with banquet. A male figure, whose
legs alone are preserved, reclines on a couch. Before him
is a table with food. A woman, whose lower limbs
are alone preserved, is seated on a chair at the foot of the
couch. A small draped figure of a youth is on the right,
and there are remains of the figure of a girl on the left.</p>

<p class="indent">
Marble; height, 1 foot 7 inches; width, 2 feet 6 inches.
</p>

<p><span class="leftside">733.</span>
Relief with banquet. A man, bearded, reclines on a
couch, and holds up a rhyton in his right hand. Before
him is a table with food. A woman is seated on the
couch, and raises with the left hand a fold of her peplos.
On the left a boy draws wine from a large crater. The
head of a horse is seen at an opening. A round shield
hangs on the wall. The relief is bounded by two pilasters
and an entablature.&mdash;<i>Excavated by Mr. Wood at Ephesus.</i></p>

<p class="indent">
Ephesian marble; height, 1 foot 7&frac12; inches; width, 2 feet 2&frac12; inches.
</p>

<p><span class="leftside">734.</span>
Relief with banquet. A portrait figure of an old man,
whose head is bound with a taenia, reclines on a couch
with a two-handled cup in his left hand. Before him is
a table with pomegranate fruits and other food. A
portrait figure of a woman is seated near the foot of
the couch, with her left hand raised to her veil. A boy
in a short tunic stands on the right, and holds a kyathos
for drawing wine; a rhyton and a vase are seen above his
head. A girl kneels on the left below the seat of the
woman; a dog lies between the legs of the table.&mdash;<i>Townley
Coll.</i></p>

<p class="indent">
Greek marble; high relief. The upper part is wanting. Height
1 foot 8&frac12; inches; width, 1 foot 6 inches. <i>Mus. Marbles</i>, X.,
pl. 49, fig. 2.
</p>
<span class="pagenum"><a name="page342" id="page342"></a>342</span>

<p><span class="leftside">735.</span>
Relief with banquet. A male figure reclines on a couch,
before which is a table with provisions. A woman is
seated on a stool at the foot of the couch with her hand
raised to her chin.</p>

<p>Inscribed: <ins title="Greek: ...nou chaire">&nbsp;.&nbsp;.&nbsp;.&#957;&#959;&#965;
&#967;&#945;&#8150;&#961;&#949;</ins>.&mdash;<i>Cyzicus.</i> <i>Presented by A. van
Branteghem, Esq.</i>, 1890.</p>

<p class="indent">
Marble; height, 10&frac12; inches; width, 9&frac12; inches. <i>Rev. Arch.</i>, 1891,
p. 12, No. 4.
</p>
<a name="n736" id="n736"></a>
<p><span class="leftside">736.</span>
Relief with banquet. Three elderly male figures recline
on a long couch, wearing diadems and holding large bowls
in their left hands. Before them is a table with two large
pomegranates and a basket of fruit. At each end of the
couch is a seated woman. The head is lost of the woman
on the left. At the left angle in low relief is a diminutive
figure of a girl, with a basket (<i>calathos</i>); at the right
angle is a diminutive figure of a boy, with a crater. The
relief is bounded by pilasters and an entablature. Below
is the hull of a vessel in low relief, and the metrical
epitaph of Dionysodoros, son of Pytheas.</p>

<div class="poem"><div class="stanza">
<p class="i8"><ins title="Greek: Dionysodôrou tou Pytheou">
&#916;&#953;&#959;&#957;&#965;&#963;&#959;&#948;&#8061;&#961;&#959;&#965;
&#964;&#959;&#8166;
&#928;&#965;&#952;&#8051;&#959;&#965;</ins>.</p>
<p><ins title="Greek: a. Dionysodôre, chaire· b. kai sy ge, ô phile">
&#945;. &#916;&#953;&#959;&#957;&#965;&#963;&#8057;&#948;&#969;&#961;&#949;,
&#967;&#945;&#8150;&#961;&#949;&#903;
&nbsp;&nbsp;&#946;. &#954;&#945;&#8054; &#963;&#8059;
&#947;&#949;, &#8038; &#966;&#8055;&#955;&#949;</ins>,</p>
<p class="i2"><ins title="Greek: to nyn ech[on g]einôske me hôde keimenon">
&#964;&#8056; &#957;&#8166;&#957;
&#7956;&#967;[&#959;&#957;
&#947;]&#949;&#8055;&#957;&#969;&#963;&#954;&#8051;
&#956;&#949; &#8039;&#948;&#949;
&#954;&#949;&#8055;&#956;&#949;&#957;&#959;&#957;</ins>,</p>
<p class="i2"><ins title="Greek: kalon kai agathon kai kalôs ezôkota">
&#954;&#945;&#955;&#8056;&#957; &#954;&#945;&#8054;
&#7936;&#947;&#945;&#952;&#8056;&#957;
&#954;&#945;&#8054; &#954;&#945;&#955;&#8182;&#962;
&#7952;&#950;&#969;&#954;&#8057;&#964;&#945;</ins>,</p>
<p class="i2"><ins title="Greek: L]imnagenê gegonota, pasi prosphil[ê]">
&#923;]&#953;&#956;&#957;&#945;&#947;&#949;&#957;&#8134;
&#947;&#949;&#947;&#959;&#957;&#8057;&#964;&#945;,
&#960;&#8118;&#963;&#953;
&#960;&#961;&#959;&#963;&#966;&#953;&#955;[&#8134;]</ins>.</p>
</div></div>

<p>&mdash;<i>Brought from Cyzicus, in</i> 1830, <i>by H.M.S. Blonde.</i> <i>Found
in</i> 1880 <i>in a store at Portsmouth.</i></p>

<p class="indent">
Bluish Greek marble; height, 2 feet 5&frac12; inches; width, 2 feet 8 inches.
<i>C.I.G.</i>, 3684; Kaibel, 245; Wolters, <i>Rhein. Mus. N.F.</i>, 1886,
p. 346.
</p>
<a name="n737" id="n737"></a>
<p><span class="leftside">737.</span>
Late relief with banquet. A man and woman recline
on a couch. Before them is a table with food. The man
puts his right arm round the neck of the woman, who
appears to be holding a cup, or a wreath. On the left a
woman is seated on a stool; beneath the couch are a child
<span class="pagenum"><a name="page343" id="page343"></a>343</span>
and a girl (the upper part alone seen), who holds a dish.
The relief is bounded by two Doric columns and a pediment.
The monument was erected by one Alexander
for his mother, his wife Philippa, and himself. Penalties
are prescribed for persons violating the tomb.</p>

<p>Inscribed: <ins title="Greek: Alexandros Alexandrou Beithynieu[s] kai Neikomêdeus zôn heautô kateskeuas[a] to mnêmeion kai tê mêtri mou kai tê symbiô Philippa Pontianou."
>&#7944;&#955;&#8051;&#958;&#945;&#957;&#948;&#961;&#959;&#962;
&#7944;&#955;&#949;&#958;&#8049;&#957;&#948;&#961;&#959;&#965;
&#914;&#949;&#953;&#952;&#965;&#957;&#953;&#949;&#8058;[&#962;]
&#954;&#945;&#8054;
&#925;&#949;&#953;&#954;&#959;&#956;&#951;&#948;&#949;&#8058;&#962;
&#950;&#8182;&#957;
&#7953;&#945;&#965;&#964;&#8183;
&#954;&#945;&#964;&#949;&#963;&#954;&#949;&#8059;&#945;&#963;[&#945;]
&#964;&#8056;
&#956;&#957;&#951;&#956;&#949;&#8150;&#959;&#957;
&#954;&#945;&#8054; &#964;&#8135;
&#956;&#951;&#964;&#961;&#8055; &#956;&#959;&#965;
&#954;&#945;&#8054; &#964;&#8135;
&#963;&#965;&#956;&#946;&#8055;&#8179;
&#934;&#953;&#955;&#8055;&#960;&#960;&#8115;
&#928;&#959;&#957;&#964;&#953;&#945;&#957;&#959;&#8166;</ins>.
<ins title="Greek: kai boulome meta to tethênai hêmas eis tên kamaran mêdena heteron anoixe·">
&#954;&#945;&#8054;
&#946;&#959;&#8059;&#955;&#959;&#956;&#949;
&#956;&#949;&#964;&#8048; &#964;&#8056;
&#964;&#949;&#952;&#8134;&#957;&#945;&#953;
&#7969;&#956;&#8118;&#962;
&#949;&#7984;&#962; &#964;&#8052;&#957;
&#954;&#945;&#956;&#8049;&#961;&#945;&#957;
&#956;&#951;&#948;&#8051;&#957;&#945;
&#7957;&#964;&#949;&#961;&#959;&#957;
&#7936;&#957;&#959;&#8150;&#958;&#949;&#903;</ins>
<ins title="Greek: ei de para tauta poiêsei dôsei is ton phiskon dên. b,ph (2,500) kai is tên polin dên. b,ph (2,500). chairete.">
&#949;&#7984; &#948;&#8050;
&#960;&#945;&#961;&#8048;
&#964;&#945;&#8166;&#964;&#945;
&#960;&#959;&#953;&#8053;&#963;&#949;&#953;
&#948;&#8061;&#963;&#949;&#953; &#7984;&#962;
&#964;&#8056;&#957; &#966;&#8055;&#963;&#954;&#959;&#957; &#948;&#951;&#957;.
&#946;&#885;&#966;<span style="font-family: serif;">&#772;</span> &#954;&#945;&#8054; &#7984;&#962;
&#964;&#8052;&#957; &#960;&#8057;&#955;&#953;&#957;
&#948;&#951;&#957;. &#946;&#885;&#966;<span style="font-family: serif;">&#772;</span>. &#967;&#945;&#8055;&#961;&#949;&#964;&#949;</ins>.&mdash;<i>Smyrna.</i> <i>Presented by M. Duane and T.
Tyrwhitt, Esqs., 1772.</i></p>

<p class="indent">
Marble; height, 2 feet 9 inches; width, 1 foot 8 inches. <i>Archaeologia</i>,
III., pl. 11, fig. 3; <i>C.I.G.</i>, 3265; Pervanoglu, <i>Familienmahl</i>,
p. 45, No. 180.
</p>

<p><span class="leftside">738.</span>
Sepulchral relief. Two men recline on a couch; a
woman is seated on a stool at the head of the couch. The
inscribed metrical epitaph, in which one Cassiodoros relates
his death at the age of twenty-four, has no appropriateness
to the relief.</p>

<div class="poem"><div class="stanza">
<p><ins title="Greek: Nymphidiou thalamoio lipôn dyspenthea kosmon">
&#925;&#965;&#956;&#966;&#953;&#948;&#8055;&#959;&#965;
&#952;&#945;&#955;&#8049;&#956;&#959;&#953;&#959;
&#955;&#953;&#960;&#8060;&#957;
&#948;&#965;&#963;&#960;&#949;&#957;&#952;&#8051;&#945;
&#954;&#8057;&#963;&#956;&#959;&#957;</ins></p>
<p class="i2"><ins title="Greek: kai goneôn oik[t]rôn dakryoenta domon">
&#954;&#945;&#8054; &#947;&#959;&#957;&#8051;&#969;&#957;
&#959;&#7984;&#954;[&#964;]&#961;&#8182;&#957;
&#948;&#945;&#954;&#961;&#965;&#8057;&#949;&#957;&#964;&#945;
&#948;&#8057;&#956;&#959;&#957;</ins></p>
<p><ins title="Greek: keimai es [au]chmêrous kai alampeas Aïdos eunas">
&#954;&#949;&#8150;&#956;&#945;&#953; &#7952;&#962;
[&#945;&#8016;]&#967;&#956;&#951;&#961;&#959;&#8058;&#962;
&#954;&#945;&#8054;
&#7936;&#955;&#945;&#956;&#960;&#8051;&#945;&#962;
&#7944;&#8147;&#948;&#959;&#962;
&#949;&#8016;&#957;&#8048;&#962;</ins></p>
<p class="i2"><ins title="Greek: eikos[i t]essar' echôn Kassiodôros etê·">
&#949;&#7988;&#954;&#959;&#963;[&#953;
&#964;]&#8051;&#963;&#963;&#945;&#961;'
&#7956;&#967;&#969;&#957;
&#922;&#945;&#963;&#963;&#953;&#8057;&#948;&#969;&#961;&#959;&#962;
&#7956;&#964;&#951;&#903;</ins></p>
<p><ins title="Greek: ap[roi]dês nous[o]s me synêrpase· mounoeti[n de">
&#7936;&#960;[&#961;&#959;&#953;]&#948;&#8052;&#962;
&#957;&#959;&#8166;&#963;[&#8057;]&#962;
&#956;&#949; &#963;&#965;&#957;&#8053;&#961;&#960;&#945;&#963;&#949;&#903;
&#956;&#959;&#965;&#957;&#959;&#8051;&#964;&#953;[&#957;
&#948;&#8050;</ins></p>
<p class="i2"><ins title="Greek:  n]êp[i]achon kourên lipô hyp; êelion.">
&#957;]&#951;&#960;[&#8055;]&#945;&#967;&#959;&#957;
&#954;&#959;&#8059;&#961;&#951;&#957;
&#955;&#8055;&#960;&#969; &#8017;&#960;'
&#7968;&#8051;&#955;&#953;&#959;&#957;</ins>.&mdash;<i>Antioch?</i></p>

</div></div>

<p class="indent">
Marble; height, 1 foot 8 inches; width, 1 foot 3 inches. Drummond's
<i>Travels</i> (1754), pl. facing p. 229, fig. 15 (very rudely
drawn), and p. 237; <i>C.I.G.</i>, 4466; Kaibel, 431. In Drummond's
time the stone was "in the Library of the right worshipful the
Levant Company" at Aleppo.
</p>

<p><span class="leftside">739.</span>
Stelè with reliefs in two panels. In the upper panel is
a figure on a couch holding a bunch of grapes. The upper
<span class="pagenum"><a name="page344" id="page344"></a>344</span>
part of the figure is wanting. Before the couch are a
table with food and three attendant male figures.</p>

<p>In the lower panel is a woman seated with a boy standing
beside her. Most of these two figures is wanting. In
front are two warriors standing, with shields and spears.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 3 feet; width, 1 foot 9 inches. For the collection
of sculptures from Kertch, see above, p. <a class="ask" href="#page8">8</a>.
</p>

<p><span class="leftside">740.</span>
Relief with banquet. A draped figure, now for the
most part lost, reclines on a very lofty couch, holding a
two-handled cup in the left hand. On the left are the
knees and legs of a woman seated on a lofty throne, with
an arm supported by a series of arches. Before the couch
is a table with vessels of wine. A boy stands on a stool,
and holds a jug in his hands. On the right is an attendant.
On the left is a female figure holding a vase, and a
smaller figure.</p>

<p>Inscribed:&nbsp;  <ins title="Greek: ...de hyie Androne[ik]ou chaire">.&nbsp;.&nbsp;.&nbsp;&#948;&#949; &#965;&#7985;&#8050;
&#7944;&#957;&#948;&#961;&#959;&#957;&#949;[&#8055;&#954;]&#959;&#965;
&#967;&#945;&#8150;&#961;&#949;</ins>. Hail! ... son
of Andronicos.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 7 inches; width, 2 feet 7 inches. <i>Greek
Inscriptions in Brit. Mus.</i>, CLXXXII.; Latyschev, II., 212.
</p>

<p><span class="leftside">741.</span>
Lower part of relief with banquet, of very rude style.
A male figure reclines to the right on a couch, holding a
two-handled cup in the right hand. Before him is a
table, with vessels of wine. At the end of the couch a
woman is seated, enthroned, holding a veil with her left
hand. A boy with an 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: <ins title="Greek: Isigonê gynê Hêraklidou chaire. Hêrakleidê g(ynê) b chaire."
>&#7992;&#963;&#953;&#947;&#8057;&#957;&#951; &#947;&#965;&#957;&#8052;
&#7977;&#961;&#945;&#954;&#955;&#8055;&#948;&#959;&#965;
&#967;&#945;&#8150;&#961;&#949;.
&#7977;&#961;&#945;&#954;&#955;&#949;&#8055;&#948;&#951;
&#947;(&#965;&#957;&#8052;)
&#946;<span style="font-family: serif;">&#772;</span> &#967;&#945;&#8150;&#961;&#949;</ins>.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 2 feet 8 inches; width, 2 feet 4&frac12; inches. <i>Greek
Inscriptions in Brit. Mus.</i>, CXCI.; Latyschev, II., 96.
</p>
<span class="pagenum"><a name="page345" id="page345"></a>345</span>

<p><span class="leftside">742.</span>
Sepulchral monument with a banquet relief of very rude
style, contained in a lunette above the inscribed panel. A
male figure reclines on a couch, with a cup in his right hand,
with an uncertain object near the cup, which may perhaps
be intended to represent the snake. A table stands before
the couch with food. A woman sits on a stool at the foot
of the couch, and holds her veil with her left hand. A
small figure of a boy is at the head of the couch. On each
side of the inscribed panel is a vine branch with grapes;
above are a pine cone and two lions' heads to the front in
high relief. Below are the remains of a relief with a
mounted horseman. On the right and left edges of the
relief are snakes. The inscription states that the monument
is erected by Timocrates for his wife, his son, and
himself.&mdash;<i>Tomis.</i></p>

<p class="indent">
Limestone; height, 6 feet 11 inches; width, 2 feet 8&frac12; inches. <i>Greek
Inscriptions in Brit. Mus.</i>, CLXXVII.
</p>

<p><span class="leftside">743.</span>
Sepulchral monument with a banquet relief of the
rudest style. Two male figures, one being bearded,
recline on a couch, holding cups in their left hands.
Before them is a table with food; beside it a boy with
a cup and 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.&mdash;<i>Kertch.</i></p>

<p class="indent">
Limestone; height, 7 feet 1 inch; width, 3 feet.
</p>

<p><span class="leftside">744.</span>
Late sepulchral relief. A man reclines on a couch. A
woman stands at the foot of the couch. The relief is
contained in an arch-shaped field below a pediment.
Inscribed, <ins title="Greek: LYTE ...">&#923;&#933;&#932;&#917; ...</ins>&mdash;<i>Obtained by the Euphrates Expedition</i>
<span class="pagenum"><a name="page346" id="page346"></a>346</span>
<i>(1835-1837) and presented by Sir J. C. Hobhouse, President
of the Board of Control.</i></p>

<p class="indent" style="margin-bottom: 2em;">
Marble; height, 2 feet; width, 1 foot 3 inches.
</p>

<p><span class="leftside">745.</span>
Sepulchral relief, with a man seated, and a man standing
holding a scroll in his left hand. The two figures
probably joined their right hands. In the right and
left angles are diminutive figures. On the right is a
horse's head. A tree with a snake is seen above a wall
in the background. The relief is surmounted by an entablature.</p>

<p>Inscribed with the metrical epitaph:</p>

<div class="poem"><div class="stanza">
<p><ins title="Greek: Oupô] nymphidiôn kradiê peplêthota lektrôn">
&#927;&#8020;&#960;&#969;]
&#957;&#965;&#956;&#966;&#953;&#948;&#8055;&#969;&#957;
&#954;&#961;&#945;&#948;&#8055;&#8131;
&#960;&#949;&#960;&#955;&#951;&#952;&#8057;&#964;&#945;
&#955;&#8051;&#954;&#964;&#961;&#969;&#957;</ins></p>
<p class="i2"><ins title="Greek: Diphi]lon aiaktô tôd' hypenasse taphô">
&#916;&#8055;&#966;&#953;]&#955;&#959;&#957;
&#945;&#7984;&#945;&#954;&#964;&#8183;
&#964;&#8183;&#948;'
&#8017;&#960;&#8051;&#957;&#945;&#963;&#963;&#949;
&#964;&#8049;&#966;&#8179;</ins></p>
<p><ins title="Greek: gnôton] te gnôtê te panaidoiê&lt;i> Stratonikê">
&#947;&#957;&#969;&#964;&#8057;&#957;] &#964;&#949;
&#947;&#957;&#969;&#964;&#8053; &#964;&#949;
&#960;&#945;&#957;&#945;&#953;&#948;&#959;&#8055;&#951;&lt;&#953;&gt;
&#931;&#964;&#961;&#945;&#964;&#959;&#957;&#8055;&#954;&#951;</ins></p>
<p class="i2"><ins title="Greek: hô k]ai Alexandron kouron homêgenea">
&#8103; &#954;]&#945;&#8054;
&#7944;&#955;&#8051;&#958;&#945;&#957;&#948;&#961;&#959;&#957;
&#954;&#959;&#8166;&#961;&#959;&#957;
&#8001;&#956;&#951;&#947;&#949;&#957;&#8051;&#945;</ins>,</p>
<p><ins title="Greek: ast]ois kai xeinoisi prosêneas, esthla men eipein">
&#7936;&#963;&#964;]&#959;&#8150;&#962;
&#954;&#945;&#8054;
&#958;&#949;&#8055;&#957;&#959;&#953;&#963;&#953;
&#960;&#961;&#959;&#963;&#951;&#957;&#8051;&#945;&#962;,
&#7952;&#963;&#952;&#955;&#8048;
&#956;&#8050;&#957;
&#949;&#7984;&#960;&#949;&#8150;&#957;</ins></p>
<p class="i2"><ins title="Greek: esth]la de kai rhexai pantas epistamenous·">
&#7952;&#963;&#952;]&#955;&#8048;
&#948;&#8050; &#954;&#945;&#8054;
&#8165;&#8051;&#958;&#945;&#953;
&#960;&#8049;&#957;&#964;&#945;&#962;
&#7952;&#960;&#953;&#963;&#964;&#945;&#956;&#8051;&#957;&#959;&#965;&#962;&#903;</ins></p>
<p><ins title="Greek: Maio]genes, sy de paidas en hêrôessi phylassois">
&#924;&#945;&#953;&#959;]&#947;&#949;&#957;&#8051;&#962;,
&#963;&#8058; &#948;&#8050;
&#960;&#945;&#8150;&#948;&#945;&#962; &#7952;&#957;
&#7969;&#961;&#8180;&#949;&#963;&#963;&#953;
&#966;&#965;&#955;&#8049;&#963;&#963;&#959;&#953;&#962;</ins></p>
<p class="i2"><ins title="Greek: eusebe]ôn aiei chôron eperchomenos.">
&#949;&#8016;&#963;&#949;&#946;&#8051;]&#969;&#957;
&#945;&#7984;&#949;&#8054;
&#967;&#8182;&#961;&#959;&#957;
&#7952;&#960;&#949;&#961;&#967;&#8057;&#956;&#949;&#957;&#959;&#962;</ins></p>
</div></div>

<p>This sculpture, and the following, No. 746, have been
placed here, though they do not include the banquet,
because they have some details, such as the serpent and
the horse's head, similar to those on the banquet reliefs.&mdash;<i>Ephesus.</i>
<i>Excavated by Mr. Wood, between the Magnesian
Gate and the Temple of Artemis.</i></p>

<p class="indent">
Ephesian marble; height, 3 feet; width, 1 foot 7&frac12; inches. Wood,
<i>Ephesus</i>, p. 123; <i>Greek Inscriptions in Brit. Mus.</i>, DCXXV<i>a.</i>
</p>

<p><span class="leftside">746.</span>
A boy, Serapion, stands between two figures, probably
those of his father and mother. All three are closely
wrapped in himatia. Behind is a tree, about which is a
<span class="pagenum"><a name="page347" id="page347"></a>347</span>
serpent; a bird sits on a branch. The relief is bounded
by pilasters, a circular arch with rosettes in the spandrels,
and a pediment.</p>

<p>Inscribed: <ins title="Greek: Serapiôn, chrêste kai alype chaire.">&#931;&#949;&#961;&#945;&#960;&#8055;&#969;&#957;,
&#967;&#961;&#8134;&#963;&#964;&#949; &#954;&#945;&#8054;
&#7940;&#955;&#965;&#960;&#949;
&#967;&#945;&#8150;&#961;&#949;</ins>.</p>

<p class="indent">
Greek marble; height, 3 feet 2 inches; width, 1 foot 8&frac14; inches. This
stone was formerly at Venice, and afterwards in London, "apud
Dodd chemicum." Boeckh, <i>C.I.G.</i>, 6990.
</p>

<h3>RELIEFS WITH RIDER AND HORSE, HEROIFIED.</h3>

<p>In the following reliefs the deceased person is heroified,
and represented as receiving libations or worship. The
sepulchral serpent is frequently introduced. For a
discussion of the type, see above, <a class="ask" href="#page301">p. 301</a>.</p>

<p><span class="leftside">750.</span>
Sepulchral relief of a warrior. In the centre of the
relief is a bearded male figure, heavily armed. He wears
a helmet, cuirass, and greaves, and has a spear in his left
hand. He stands near a trophy which consists of a
helmet, cuirass, and greaves attached to the trunk of a
tree. On the left side of the trophy stands a female
figure, pouring a libation from a jug into a cup. A
serpent, coiled about the trophy, drinks from the cup. On
the right of the relief is the forepart of the warrior's
horse and the head of a groom. The relief is bounded by
two pilasters and an architrave.</p>

<p>The inscription on the upper and lower edges contains
a list of names of men in the dative case, with their
cities added. The persons commemorated belonged to
various parts of the Peloponnesus, Northern Greece,
Thrace and Macedonia. From the position of the inscription,
it is plain that it is independent of the relief, and
probably it is earlier.&mdash;<i>Brought from Greece by Mr. Topham, 1725;</i>
<span class="pagenum"><a name="page348" id="page348"></a>348</span>
<i>Presented by Sir Joseph Banks and the Hon. A. C.
Fraser, 1780.</i></p>

<p class="indent">
Greek marble; height, 2 feet 1&#8542; inch; width, 3 feet 8&frac12; inches. <i>Mus.
Marbles</i>, II., pl. 41; Ellis, <i>Townley Gallery</i>, II., p. 157; Jahn,
<i>De Ant. Minervae Simulacris</i>, p. 23, pl. 3, fig. 1; <i>C.I.G.</i>, 1936;
Wolters, 437.
</p>

<p><span class="leftside">751.</span>
Mutilated relief. A horseman is mounted, to the right.
He has an elaborate skin saddle-cloth, terminating with
an animal's head before the horse. Behind on the left is
an attendant with a tunic worn over one shoulder (<i>heteromaschalos</i>),
and with a shield. On the right are an altar
and a tree, about which a serpent is entwined. An
uncertain object is seen in the upper left corner of the
relief. The relief is very high. The horse originally
had reins of bronze.</p>

<p class="indent">
Marble; height, 3 feet; width, 3 feet.
</p>

<p><span class="leftside">752.</span>
Fragment of sepulchral relief? A figure was represented
leading a horse to the right. Only one hand and
foot, and parts of the horse remain. Before it stand three
male figures on a smaller scale, each figure raising the
right hand, making a gesture as of adoration. The relief
was bounded by pilasters and an entablature.&mdash;<i>Blayds
Coll.</i></p>

<p class="indent">
White marble; height, 1 foot 1 inch; width, 1 foot 1 inch.
</p>

<p><span class="leftside">753.</span>
Sepulchral relief. A youth rides on a horse, to the
right, wearing a short tunic and cloak. He approaches a
female figure, of a larger scale, who wears a long chiton
and himation. She has an 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.&mdash;<i>Aphanda,
Rhodes.</i></p>

<p class="indent">
Marble; height, 1 foot 5 inches; width, 2 feet. <i>Arch. Anzeiger</i>,
1854, p. 485, No. 8; <i>Athenische Mittheilungen</i>, VIII., p. 370.
</p>
<span class="pagenum"><a name="page349" id="page349"></a>349</span>

<p><span class="leftside">754.</span>
Fragment of a sepulchral relief, of a late period. A
mounted horseman advances to a flaming altar. On the
right of the altar is a pine tree, about which a snake is
coiled. Only the head and forelegs of the horse, and the
left hand of the horseman is preserved. The hand holds
a double-headed axe. A dog stands below the horse.&mdash;<i>Ephesus.</i>
<i>J. T. Wood.</i></p>

<p class="indent">
Ephesian marble; height, 1 foot 4&frac12; inches; width, 8 inches. The
figure with the double-headed axe resembles that of the so-called <ins title="Greek: theos sôzôn">&#952;&#949;&#8056;&#962;
&#963;&#8061;&#950;&#969;&#957;</ins> on late reliefs from Asia Minor (<i>Journ. of Hellen.
Studies</i>, VIII., p. 235; Roscher, <i>Lexicon</i>, p. 2564).
</p>

<p><span class="leftside">755.</span>
Fragment of a sepulchral relief of a late period. A
mounted horseman with a chiton and a cloak flying
behind him stands on the left of an altar, at which a
draped youth makes a libation. On the right is a tree
about which a snake is coiled. The left side of the relief
is wanting.&mdash;<i>Ephesus.</i> <i>J. T. Wood.</i></p>

<p class="indent">
Ephesian marble; height, 1 foot 2 inches; width, 1 foot 5 inches.
</p>

<p><span class="leftside">756.</span>
Fragment of a sepulchral relief, with a figure of a
mounted horseman wearing a chiton and cloak. The
head of the rider, and the head and hind-part of the horse
are wanting.&mdash;<i>Ephesus.</i> <i>J. T. Wood.</i></p>

<p class="indent">
Ephesian marble; height, 10 inches; width, 6&frac12; inches.
</p>

<p><span class="leftside">757.</span>
Mounted horseman to the right. Before him stands a
figure making a gesture of adoration. Above is a pediment,
with rosettes. The relief is in very late rude style.</p>

<p>Inscribed: <ins title="Greek: Êzous Apoll[ôni]dou tois parag[ou]sin chairein">&#7976;&#950;&#959;&#8166;&#962;
&#7944;&#960;&#959;&#955;&#955;[&#969;&#957;&#8055;]&#948;&#959;&#965;
&#964;&#959;&#8150;&#962; &#960;&#945;&#961;&#8049;&#947;[&#959;&#965;]&#963;&#953;&#957;
&#967;&#945;&#8055;&#961;&#949;&#953;&#957;</ins>.&mdash;<i>From
Phanagoria.</i></p>

<p class="indent">
Limestone; height, 2 feet 4&frac12; inches; width, 1 foot 2 inches. <i>C.I.G.</i>,
2129; <i>Greek Inscriptions in Brit. Mus.</i>, CCVI.; Latyschev,
II., 378.
</p>
<span class="pagenum"><a name="page350" id="page350"></a>350</span>

<h3>CASTS OF LYCIAN SEPULCHRAL RELIEFS.</h3>

<p>The following casts are derived from Lycian rock-cut
tombs, discovered by Sir C. Fellows. Tombs of the
normal type have a facade with architecture imitating
wooden construction. Behind the facade is a vestibule,
or portico, often adorned with reliefs on each side. At
the back is the door of the actual sepulchral chamber.
Nos. 760-764 are derived from tombs of this type.</p>

<p><span class="leftside">760.</span>
Cast of relief from the east or left side of the portico
of a rock-cut tomb. Bellerophon mounted on Pegasos
appears to be thrusting as with a spear at the Chimaera
which is roughly indicated in the right-hand lower corner
of the relief. Pegasos has the mane tied in a topknot
between the ears, as in the relief from Xanthos, No. 86.
The cast is painted in imitation of the original.&mdash;<i>Tlos.</i></p>

<p class="indent">
Height, 3 feet 6&frac12; inches; width, 3 feet 7&frac34; inches. Fellows, <i>Lycia</i>,
p. 136 and plate. For general view of the tomb, see Benndorf,
<i>Reisen in Lykien</i>, I., p. 139, and pl. 42 (on the right).
</p>

<p><span class="leftside">761-4.</span>
Casts of reliefs from the sides of the portico of a rock-cut
tomb at <i>Pinara</i>. The outside of the tomb has an
elaborate facade with sculptured pediment, frieze, and
other ornaments. (For general view, see Fellows, <i>Lycia</i>,
pl. facing p. 141, and Benndorf, <i>Reisen in Lykien</i>, I.,
pl. 19.) Within the portico, on each side, projecting beam
ends divide the sculpture into two panels. Each of the
four reliefs represents a view of a Lycian city, but there
is no proof that they are four different views of the city of
Pinara, as Fellows thought (<i>Lycia</i>, p. 141).</p>

<p><span class="leftside">761.</span>
Cast of the upper relief on the left or west side of
the portico. View of part of a city on a hill, with
castellated walls. Within are towers, with windows
<span class="pagenum"><a name="page351" id="page351"></a>351</span>
and connected by a wall, on which is a relief of three
male figures.</p>

<p class="indent">
Height, 3 feet &frac12; inch; width, 4 feet 2&frac14; inches.
</p>

<p><span class="leftside">762.</span>
Cast of the lower relief on the left or west side of the
portico. View of part of a city on a hill with castellated
walls and turrets, a large pylon (?) and several tombs of
forms well known in Lycia. In the lower wall is a relief,
with a draped and bearded man leaning on a staff and
addressing a smaller figure. For the triangular arch
openings in the wall, compare Dodwell, <i>Pelasgic Remains</i>,
pl. 27, view of walls of a city near Mesolonghi.</p>

<p class="indent">
Height, 2 feet 10 inches; width, 4 feet 2&frac12; inches.
</p>

<p><span class="leftside">763.</span>
Cast of the upper relief on the right or east side of the
portico. View of part of a city on a hill with castellated
walls and turrets. A figure, apparently intended to represent
a living man, and not a sculpture, as on the other
reliefs, lifts his hand near one of the towers.</p>

<p class="indent">
Height, 3 feet 2 inches; width, 4 feet &frac12; inch.
</p>

<p><span class="leftside">764.</span>
Cast of the lower relief on the right or east side of the
portico. View of part of a city with castellated walls
and turrets, built on natural rocks. On the right is a
large structure resembling a tomb. On the left is a staircase,
leading up to a door in a turret.</p>

<p class="indent">
Height, 2 feet 10 inches; width, 4 feet &frac12; inch. The four reliefs are
engraved, Fellows, <i>Lycia</i>, pl. facing p. 142; Benndorf, <i>Reisen
in Lykien</i>, I., p. 54; <i>Synopsis</i>, <i>Lycian Room</i>, Nos. 148, 149.
</p>

<p><span class="leftside">765, 766.</span>
The following casts are from a portion of the sculptures
decorating a tomb, discovered by Sir C. Fellows, at
<i>Cadyanda</i>. The tomb is cut out of a large piece of
detached rock, and in type somewhat resembles the large
Lycian tombs in the British Museum, or the tomb of
Xanthos, shown in the background of pl. iii., the principal
<span class="pagenum"><a name="page352" id="page352"></a>352</span>
difference being in the treatment of the roof. At the end
of the tomb are two doors. One door is filled with an immovable
panel, with a figure of a draped bearded man holding
an oinochoè, and inscribed <ins title="Greek: Salas">&#931;&#8049;&#955;&#945;&#962;</ins>, and in Lycian <i>zzala</i>.
The second door is believed to have been fitted with a panel,
having the wife of Salas in relief. (Fellows, <i>Lycia</i>,
p. 117.) The reliefs, of which casts are preserved in the
British Museum, formed a frieze immediately below the
cornice on each side of the tomb. Below this frieze on
each side was a combat of warriors on a larger scale.</p>

<p class="indent">
Fellows, <i>Lycia</i>, p. 116; Petersen, <i>Reisen in Lykien</i>, II., p. 193.
Views and plans of the tomb are included in the Scharf portfolio
of drawings in the British Museum.
</p>

<p><span class="leftside">765.</span>
Cast of a portion of the relief on the south side of the
tomb at <i>Cadyanda</i>.</p>

<p>At the left end of the relief a girl draped in plain
long chiton with sleeves, and a cap with tassel, stands to
the right holding an aryballos and alabastron. On the
left of the principal relief is a group of four figures playing
with knuckle-bones. In front are a girl seated and a
girl kneeling, both closely draped and having long hair.
Behind are a youth standing, wrapped in a mantle, and a
woman who holds an aryballos in her left hand and wears
her mantle over her head. All the figures make animated
gestures. Near the head of the youth is the inscription <ins title="Greek: Mesos">&#924;&#8051;&#963;&#959;&#962;</ins>.
Next on the right is a woman seated, holding a
boy in her hands, and wearing her mantle over her head.
Behind her is a female figure, much mutilated, standing
to the left with her right hand under her chin. The remainder
of the relief, which is not represented by a cast,
appears to have contained either a sacrificial group (Scharf),
or warriors (Petersen, <i>Reisen in Lykien</i>, ii., p. 193).</p>

<p class="indent">
Height, 2 feet &frac34; inch; length, 4 feet 2 inches. Fellows, <i>Lycia</i>,
frontispiece, and pl. facing p. 116; <i>Synopsis</i>, <i>Lycian Room</i>,
No. 151; Petersen, <i>Reisen in Lykien</i>, II., p. 194, fig. 84.
</p>
<span class="pagenum"><a name="page353" id="page353"></a>353</span>

<p><span class="leftside">766.</span>
Cast of the relief on the north side of the tomb at
<i>Cadyanda</i>. This relief which is much mutilated, appears
to contain a banquet scene, with four couches, each having
two persons reclining and several attendant figures. Two
attendants stand near the first couch on the left. One
has a wreath in the right hand. Near him is the inscription <ins title="Greek:...A....A.">.&nbsp;.&nbsp;.&nbsp;&#913;.&nbsp;.&nbsp;.&nbsp;.&nbsp;&#913;.</ins>
A smaller figure plays on the flute. On
the first couch are remains of a figure seated, nearly erect,
and of a figure lying with his head resting on his left
hand and having a bowl in his right hand. A portion of
the original sculpture is here inserted in the cast. Above
is the inscription <ins title="Greek: ...easob">.&nbsp;.&nbsp;.&nbsp;&#949;&#945;&#963;&#959;&#946;</ins> (?), and below is the bilingual
inscription <i>edazzala</i> <ins title="Greek: Eidassalas">&#917;&#7984;&#948;&#945;&#963;&#963;&#8049;&#955;&#945;&#962;</ins>.
The next group is obscure, but appears to consist of a figure seated, with the
right hand stretched out, so as to be seen above the head
of the figure last described, and a figure holding a child
which stretches out its arms to a figure on the right.
Below the first of these two figures is the bilingual inscription <i>mezo</i> <ins title="Greek: Mesos">&#924;&#8051;&#963;&#959;&#962;</ins>.
On the left of the second of the two figures is the bilingual
inscription <i>zzala</i> <ins title="Greek: Salas">&#931;&#8049;&#955;&#945;&#962;</ins>, the
Lycian being also repeated below, <i>zzal(a)</i>. We must,
therefore, suppose this figure to be Salas, the owner of the
tomb. The child is named <i>horlar</i> (?) On the next couch
is a draped figure reclining on the left elbow, and holding
out his right hand to the child. Near this figure is the
inscription <ins title="Greek: SIRO">&#931;&#921;&#929;&#927;</ins> (?), and below it, remains of an illegible
inscription. Next on the right is a small draped female
figure, seated on a chair, with the hands stretched out.
Behind her is a larger figure standing, with the bilingual
inscription <i>...katamna</i> <ins title="Greek: Hekatomnas">&#7961;&#954;&#945;&#964;&#8057;&#956;&#957;&#945;&#962;</ins>.
On the third couch are two men reclining.
Above the first is the inscription <ins title="Greek: Kparam[os]">
&#922;&#960;&#8049;&#961;&#945;&#956;[&#959;&#962;]</ins>, and below <i>[k]pparama</i>. Below the second is
the bilingual inscription <i>mola</i> <ins title="Greek: Molos">&#924;&#8057;&#955;&#959;&#962;</ins> (?).
Below the couch is a dog. On the fourth couch are also two men reclining.
Above the first is the inscription <ins title="Greek: Seskôs">&#931;&#8051;&#963;&#954;&#969;&#962;</ins>,
and below remains
<span class="pagenum"><a name="page354" id="page354"></a>354</span>
of the corresponding Lycian inscription <i>ze...wwa</i>.
Below the second is a bilingual inscription, in which only
the Greek name, <ins title="Greek: Kendyomis">&#922;&#949;&#957;&#948;&#8059;&#959;&#956;&#953;&#962;</ins>, is legible. A dog stands
below the couch.</p>

<p>At the right end of the relief, corresponding to the
figure at the left end of the north side, is a nude male
figure dancing, with the bilingual inscription <i>äkatam[n]a</i> <ins title="Greek: Hekatomnas">&#7961;&#954;&#945;&#964;&#8057;&#956;&#957;&#945;&#962;</ins>.</p>

<p class="indent">
Height, 2 feet 1 inch; length, 8 feet 8 inches. Fellows, <i>Lycia</i>, pl.
facing p. 116 (very inaccurate); <i>C.I.G.</i>, 4225; <i>Synopsis</i>, <i>Lycian
Room</i>, No. 152; Petersen, <i>Reisen in Lykien</i>, II., p. 193.
</p>

<h3>VOTIVE RELIEFS.</h3>

<p>For an account of Greek votive reliefs, of the occasions
on which they were dedicated and of the objects represented,
see above, p. <a class="ask" href="#page302">302</a>.</p>

<p><span class="leftside">770.</span>
Fragment of relief. Zeus, wearing a mantle, is seated on
a stool (<i>diphros</i>). His left arm is raised, as if resting on
a sceptre. The right hand is extended. Near him is
Hera, standing, with her right arm across her breast and
her left hand raised to her veil. The relief which is only
complete at the right side, was bounded by pilasters and
an architrave. The missing part may have contained the
figures of suppliants.&mdash;<i>Athens (?).</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 7 inches; width, 1 foot 2 inches.
<i>Synopsis</i>, No. 376 (227); <i>Mus. Marbles</i>, IX., pl. 37, fig. 2;
cf. Schöne, <i>Griechische Reliefs</i>, pl. 25, figs. 104, 105.
</p>

<p><span class="leftside">771.</span>
Relief from the upper part of an inscribed 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,
<span class="pagenum"><a name="page355" id="page355"></a>355</span>
as if resting on a staff. She wears a long chiton, over
which is a 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.</p>

<p>From a comparison of this relief, with other similar compositions
from Athens, it is probable that it is the heading
broken off from an honorary decree of the Athenian people
by which a crown was conferred on some city or individual
for services. (Compare above, p. 303; Schöne, <i>Griech.
Reliefs</i>, pl. 16, fig. 75, p. 41; and the fragment, No. 772.)</p>

<p>The figure of 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.)&mdash;<i>Athens (?).</i>
<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 11 inches; width, 1 foot 4&frac12; inches. <i>Mus.
Marbles</i>, IX., pl. 35, fig. 4; <i>Synopsis</i>, No. 375 (82); <i>Elgin Room
Guide</i>, Part II., No. F. 4.
</p>

<p><span class="leftside">772.</span>
Fragment of relief from the upper part of an inscribed
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.</p>

<p>This figure of Athenè, like the preceding, is in its
general outlines copied from the Athenè Parthenos of
Pheidias.&mdash;<i>Athens (?).</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 4 inches; width, 9&frac12; inches. <i>Mus.
Marbles</i>, IX., pl. 36, fig. 1; <i>Synopsis</i>, No. 371 (89); <i>Elgin Room
Guide</i>, Part II., No. F. 5. For similar subjects, see Schöne,
<i>Griech. Reliefs</i>, pl. 22, No. 96; Wolters, Nos. 1157-1181.
</p>
<span class="pagenum"><a name="page356" id="page356"></a>356</span>

<p><span class="leftside">773.</span>
Part of a relief, from the upper part of an inscribed
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.</p>

<p class="indent">
Pentelic marble; height, 1 foot 6 inches; width, 9&frac34; inches.
</p>
<a name="n774" id="n774"></a>
<p><span class="leftside">774.</span>
Relief: Apollo receiving a libation from Victory.
Apollo wears the dress of a Kitharoedos, namely, a long
chiton with sleeves, over which is a 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. <a class="ask" href="#n775">775</a>, and also on a terracotta relief in
the British Museum. (For a list, see Welcker, <i>Alte
Denkmaeler</i>, ii., p. 37.) All these sculptures exhibit
the same peculiar style of affected archaism, known as
archaistic. On a comparison of the reliefs in which
<span class="pagenum"><a name="page357" id="page357"></a>357</span>
this subject occurs, it will be seen that the one here
described is part of a larger composition in which Leto
and Artemis follow behind Apollo, and a temple is
introduced in the background; a tripod, a statue on a
pedestal, the <i>omphalos</i>, a plane tree, and the Horae on the
altar also occur as accessories. It seems probable that
these reliefs are votive, and that in selecting as their
subject the victory of Apollo in a musical contest, the
dedicator indirectly commemorated his own triumph in a
similar exercise of skill.&mdash;<i>Hamilton Coll., 1772.</i></p>

<p class="indent">
Marble; height, 2 feet 1 inch; width, 2 feet 1 inch. Restored:
the greater part of the body of Apollo, lower part of body of
Victory, column on left, and lower part of column on right.
The parts restored have been copied from more perfect marbles
in the Villa Albani. <i>Mus. Marbles</i>, II., pl. 13; Ellis, <i>Townley
Gallery</i>, II., p. 113; <i>Guide to Graeco-Roman Sculptures</i>, I., No.
169; Wolters, No. 427; Welcker, <i>Alte Denkmaeler</i>, II., p. 41.
</p>
<a name="n775" id="n775"></a>
<p><span class="leftside">775.</span>
Fragment of a relief which probably commemorates a
musical or dramatic victory. Two draped female figures
move to the right: the foremost of these (Artemis) holds
out in both hands a lighted torch; she also has a quiver
with a bow projecting from it, behind her shoulder. The
second figure, who is probably Leto, holds in her left hand
a sceptre, the head of which is formed by a pomegranate
flower. The drapery of both figures is arranged in the
archaistic style. Both figures wear a long chiton with
sleeves, over which is a long full garment reaching nearly
to the feet; over this again is a 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.</p>
<span class="pagenum"><a name="page358" id="page358"></a>358</span>

<p>These figures are moving beside a plain wall, beyond
which is shown a Corinthian temple; the tiles of the
roof with the ornamental fronts of the covering tiles are
represented, but in incorrect perspective: on the extreme
left of the scene is a tripod standing on a polygonal
pedestal which forms the termination of the wall.</p>

<p>In order to understand the subject of this fragment, it
must be compared with similar reliefs in which the remainder
of the original composition has been preserved.
(See above, No. <a class="ask" href="#n775">775</a>.) We may assume that the fragment
here described, when complete, had on the right a
figure of Apollo Kitharoedos leading the procession, and
holding out a bowl to receive a libation from a Victory.
The temple represented in these reliefs may be that of
Apollo at Delphi.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 4 inches; width, 1 foot 9 inches.
<i>Mus. Marbles</i>, IX., pl. 36, fig. 2; <i>Guide to Elgin Room</i>, Part II.,
No. F. 2; Welcker, <i>Alte Denkmaeler</i>, II., p. 40.
</p>

<p><span class="leftside">776.</span>
Votive relief representing an offering to Apollo. On the
right, the god is seated on the <i>omphalos</i>, holding up his
right hand. The object held up in this hand has been
broken away. A mantle is wrapped round his body, and
he wears sandals. On the left are three mortals, clad in
Roman military armour, who appear to be approaching as
if to consult the Oracle of Apollo, and who, from the
difference of stature, are probably a father and two sons.
Between them and the god are two female figures, of
colossal proportions, who stand to the front, their heads
turned towards Apollo. Each wears a diadem, and the
figure on the left holds a box containing incense in her
left hand. These two figures are thought to be Leto
and Artemis, whose worship was associated with that of
Apollo. The relief is bounded by two pilasters surmounted
by an entablature. On the base are the remains
<span class="pagenum"><a name="page359" id="page359"></a>359</span>
of a dedication to Apollo, in elegiac verse, which has been
restored as follows, by Koehler:</p>

<div class="poem"><div class="stanza">
<p><ins title="Greek: S[oi] Char[mos, ba]sileu Paian, hekatêbol' Apol[lon]">
&#931;[&#959;&#8054;]
&#935;&#8049;&#961;[&#956;&#959;&#962;,
&#946;&#945;]&#963;&#953;&#955;&#949;&#8166;
&#928;&#945;&#953;&#8048;&#957;,
&#7953;&#954;&#945;&#964;&#951;&#946;&#8057;&#955;'
&#7948;&#960;&#959;&#955;[&#955;&#959;&#957;]</ins>,</p>
<p class="i2"><ins title="Greek: Hippo[kratous dôron] p[ai]s anethêke tode.">
&#7993;&#960;&#960;&#959;[&#954;&#961;&#8049;&#964;&#959;&#965;&#962;
&#948;&#8182;&#961;&#959;&#957;]
&#960;[&#945;&#8150;]&#962;
&#7936;&#957;&#8051;&#952;&#951;&#954;&#949;
&#964;&#8057;&#948;&#949;</ins>.&mdash;<i>Townley Coll.</i></p>
</div></div>

<p class="indent">
Pentelic marble; height, 1 foot 7&frac34; inches; width, 2 feet 8 inches.
Presented by the Duke of Bedford to Mr. Townley, in 1805.
<i>Mus. Marbles</i>, II., pl. 5; Ellis, <i>Townley Gallery</i>, II., p. 135;
<i>Guide to Graeco-Roman Sculptures</i>, I., No. 200; Wolters, No. 1849;
<i>C.I.G.</i>, 1946; <i>C.I.A.</i>, II., 1527<i>b</i>; Kaibel, 799; <i>Rhein. Mus. N.F.</i>,
1886, p. 346; Cavaceppi, <i>Raccolta d'Antiche Statue</i>, III., pl. 1.
</p>

<p><span class="leftside">777.</span>
Fragment of votive relief dedicated by Asclepiodotos
to Apollo Tadokomeites. The upper part is missing. On
the right is the figure on a colossal scale of Apollo
Kitharoedos, preserved only from the knees downwards.
On the left a draped male figure kneels by an altar, holding
a ram, and having a knife in the right hand. Behind
the altar is a tree. On the left of the relief, a male
figure, whose head is wanting, stands holding a conical
object in his right hand.</p>

<p>Inscribed: <ins title="Greek: Asklêpiodotos Diphilou Apollôni Tadokômeitê euchên">
&#7944;&#963;&#954;&#955;&#951;&#960;&#953;&#8057;&#948;&#959;&#964;&#959;&#962;
&#916;&#953;&#966;&#8055;&#955;&#959;&#965;
&#7944;&#960;&#8057;&#955;&#955;&#969;&#957;&#953;
&#932;&#945;&#948;&#959;&#954;&#969;&#956;&#949;&#8055;&#964;&#8131;
&#949;&#8016;&#967;&#8053;&#957;</ins>.&mdash;<i>Cyzicus.</i>
<i>Presented by A. van Branteghem, Esq., 1890.</i></p>

<p class="indent">
Marble; height, 1 foot 1 inch; width, 11&frac12; inches. <i>Rev. Arch.</i>, 1891,
p. 12, No. 3.
</p>

<p><span class="leftside">778.</span>
Fragment of votive relief. Artemis stands with the
right arm on her right thigh, and leaning on what
appears to be a torch. She wears a huntress dress, with
short chiton, and has a hound standing beside her. On
the right is an altar at which a male worshipper appears
to be making an offering. On the extreme right is the
hand and drapery of a female figure making a gesture of
adoration.&mdash;<i>Ephesus.</i> <i>J. T. Wood.</i></p>

<p class="indent">
Ephesian marble; height, 1 foot 1 inch; width, 9 inches.
</p>

<p><span class="leftside">779.</span>
Fragment of relief, including the upper part of a standing
figure of Artemis, from the middle of the thighs. At
<span class="pagenum"><a name="page360" id="page360"></a>360</span>
her left side was a stag, of which the head alone remains.
In the centre is a female figure with the right arm extended.
On the right is a female worshipper of smaller
stature, who has the right hand raised, making a gesture
of adoration. Around the relief is a rudely cut rocky
background.</p>

<p class="indent">
Greek marble; height, 1 foot 1&frac12; inches; width, 1 foot.
</p>
<a name="n780" id="n780"></a>
<p><span class="leftside">780.</span>
Votive relief (?). Two youths on horseback, probably
the Dioscuri, though the conical cap, <i>pileus</i>, by which they
are distinguished is wanting. Each wears a chiton and
chlamys. They are beardless; their hair is short and
bound with a diadem; the bridles have been painted in
red, which is still faintly visible on the marble. The
horses are small and compact, like those on the frieze of
Parthenon, and have hogged manes.&mdash;<i>Purchased from
Sir W. Hamilton, 1772.</i></p>

<p class="indent">
Marble; height, 1 foot 5&frac12; inches; length, 1 foot 9&frac14; inches. <i>Mus.
Marbles</i>, II., pl. 11; Ellis, <i>Townley Gallery</i>, II., p. 111; <i>Guide
to Graeco-Roman Sculptures</i>, Part I., No. 153.
</p>

<p><span class="leftside">781.</span>
Votive relief. Two youthful male figures, perhaps the
Dioscuri, stand to the front, having an altar between them.
One is nude, and the other only has drapery on the left
arm. They have spears in their left hands. One appears
to be holding an 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.</p>

<p class="indent">
Marble; height, 1 foot 6&frac12; inches; width, 1 foot 2&frac34; inches.
</p>

<p><span class="leftside">782.</span>
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
<span class="pagenum"><a name="page361" id="page361"></a>361</span>
male worshipper standing.&mdash;<i>Cyzicus.</i> <i>Presented by A. van
Branteghem, Esq.</i></p>

<p class="indent">
Marble; height, 7 inches; width, 4 inches. <i>Rev. Arch.</i>, 1891, p. 12
No. 6.
</p>

<p><span class="leftside">783.</span>
Votive relief. 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.&mdash;<i>Elgin Coll.</i></p>

<p class="indent">
Greek marble; height, 1 foot 3 inches; width, 9 inches. <i>Mus.
Marbles</i>, IX., pl. 35, fig. 2; <i>Synopsis</i>, No. 293 (97); <i>Guide to
Elgin Room</i>, Part II., No. F. 7.
</p>
<a name="n784" id="n784"></a>
<p><span class="leftside">784.</span>
Votive relief. 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.&mdash;<i>Presented by J. P. Gandy
Deering, Esq., 1820.</i></p>

<p class="indent">
Greek marble; height, 11 inches; width, 10&frac12; inches. <i>Synopsis</i>,
No. 300 (103*).
</p>

<p><span class="leftside">785.</span>
Fragment of a relief, probably votive, containing
Hermes, who wears a short chiton, chlamys, and petasos,
and holds out a 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.&mdash;<i>Knidos.</i></p>

<p class="indent">
Marble; height, 1 foot 3 inches; width, 1 foot &frac12; inch.
</p>
<span class="pagenum"><a name="page362" id="page362"></a>362</span>

<p><span class="leftside">786.</span>
Relief with three figures. On the left is 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.&mdash;<i>Presented by H. Gally Knight, Esq.,
1839.</i></p>

<p class="indent">
Parian marble (?); height, 1 foot 1&frac12; inches; width, 1 foot 1&frac14; inches.
Wolters, No. 1845.
</p>

<p><span class="leftside">787.</span>
Fragment of a relief, with a male figure, heavily draped,
wearing long chiton and himation, and having long hair
falling on the shoulders. The left hand is raised, and
there are marks of the attachment of a metal object,
perhaps a sceptre or thyrsos. The figure also wore a
metal wreath. The relief, which is only complete on the
right side, was bounded by pilasters and an entablature.&mdash;<i>Athens (?).</i>
<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 2 feet 5 inches; width, 1 foot 7 inches.
<i>Mus. Marbles</i>, IX., pl. 38, fig. 1; <i>Synopsis</i>, No. 176 (107).
</p>

<p><span class="leftside">788.</span>
Fragment of a relief, with a group of gods, viz.:
Hermes, with caduceus and petasos; Zeus, with a sceptre;
and 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.</p>

<p class="indent">
Marble; height, 1 foot 4 inches; width, 1 foot 10 inches.
</p>

<p><span class="leftside">789.</span>
Relief, representing offerings to Eileithyia (?). A draped
female figure is seated on a chair with foot-stool, turned
<span class="pagenum"><a name="page363" id="page363"></a>363</span>
to the right. With the left hand she holds a part of her
mantle which passes over her head. On the right is a
draped woman who approaches, holding a closely-swathed
baby on her left arm, and making a gesture with the
right hand. A similar figure stands on the right, with a
baby on her left arm, and having the right hand raised to
her head in a manner expressive of sorrow. Behind the
chair is a woman advancing, holding a baby in both
arms, and on the left is a woman who carries a dish (?)
on her left hand and has a casket hanging from her right
hand.</p>

<p>The separate figures would be well suited to a sepulchral
relief, on which the seated figure and a figure with
a baby might well be represented. The whole composition,
however, seems more suitable for a representation
of mothers making offerings to some goddess, perhaps
Eileithyia.&mdash;<i>From Sigeum in the Troad.</i> <i>Elgin Coll.</i></p>

<p class="indent">
Bluish marble; height, 1 foot 4 inches; length, 5 feet 9 inches; width,
2 feet. The marble was probably the sculptured base of a statue or
group. Afterwards it was roughly converted into a water-basin,
and in modern times it served as a seat at the right side of the
door of a church at Sigeum. The Sigean inscription formed a
corresponding seat at the left side of the door. Lady M.
Wortley Montagu, <i>Letter</i> XLIV. (of July 31, 1718); Chandler,
<i>Travels in Asia Minor</i> (1775), p. 36; <i>Antiquities of Ionia</i>, I.,
p. i. (The original drawing by Pars is in the Brit. Mus.)
Choiseul-Gouffier, <i>Voyage Pittoresque</i>, II., pl. 19; <i>Synopsis</i>,
No. 324 (99); <i>Mus. Marbles</i>, IX., pl. 11.
</p>

<p><span class="leftside">790.</span>
Relief: 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.</p>

<p>Inscribed:</p>
<div class="poem"><div class="stanza">
<p><ins title="Greek: Kyrênên poliôn mêtroptolin hên stephei autê">
&#922;&#965;&#961;&#8053;&#957;&#951;&#957;
&#960;&#959;&#955;&#8055;&#969;&#957;
&#956;&#951;&#964;&#961;&#8057;&#960;&#964;&#959;&#955;&#953;&#957;
&#7971;&#957; &#963;&#964;&#8051;&#966;&#949;&#953;
&#945;&#8016;&#964;&#8052;</ins></p>
<p class="i2"><ins title="Greek: êpeirôn Libyê trisson echousa kleos">
&#7968;&#960;&#949;&#8055;&#961;&#969;&#957;
&#923;&#953;&#946;&#8059;&#951;
&#964;&#961;&#8055;&#963;&#963;&#959;&#957;
&#7956;&#967;&#959;&#965;&#963;&#945;
&#954;&#955;&#8051;&#959;&#962;</ins>,</p>
<p><ins title="Greek: enthad' hyper melathroio leontophonon theto Karpos">
&#7952;&#957;&#952;&#8049;&#948;&#8125;
&#8017;&#960;&#8050;&#961;
&#956;&#949;&#955;&#8049;&#952;&#961;&#959;&#953;&#959;
&#955;&#949;&#959;&#957;&#964;&#959;&#966;&#8057;&#957;&#959;&#957;
&#952;&#8051;&#964;&#959;
&#922;&#8049;&#961;&#960;&#959;&#962;</ins>,</p>
<p class="i2"><ins title="Greek: euxamenos, megalês sêma philoxeniês">
&#949;&#8016;&#958;&#8049;&#956;&#949;&#957;&#959;&#962;,
&#956;&#949;&#947;&#8049;&#955;&#951;&#962;
&#963;&#8134;&#956;&#945;
&#966;&#953;&#955;&#959;&#958;&#949;&#957;&#8055;&#951;&#962;</ins>.</p>
</div></div>
<span class="pagenum"><a name="page364" id="page364"></a>364</span>

<p>The inscription may be thus translated: "Here over
the architrave, Karpos, making this dedication, placed
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."</p>

<p>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.</p>

<p>According to the legend told by Pindar (<i>Pyth.</i> 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. <i>Argon.</i>,
ii., 498, &amp;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 <ins title="Greek: hyper melathroio">&#8017;&#960;&#8050;&#961;
&#956;&#949;&#955;&#8049;&#952;&#961;&#959;&#953;&#959;</ins>
in the inscription have therefore been translated "above
<span class="pagenum"><a name="page365" id="page365"></a>365</span>
the architrave."&mdash;<i>Found outside the Temple of Aphroditè,
Cyrenè.</i></p>

<p class="indent">
Marble; height, 3 feet 4 inches; width, 2 feet 3 inches. Smith and
Porcher, pl. 76, p. 98; pl. 83, No. 19. R. C. Puckett, <i>De
marmoribus tribus Cyrenaicis</i>; Bonn, 1868, p. 16, and Plate;
<i>Guide to Graeco-Roman Sculptures</i>, Part II., No. 129; Overbeck,
<i>Griech. Kunstmythologie</i>, III., p. 496; <i>Atlas</i>, pl. 26, fig. 16;
Wolters, No. 1916; Studniczka, <i>Kyrene</i>, p. 31. The inscription
is given by Kaibel, <i>add</i>. 842<i>a</i> (in some points incorrectly). For
the legends of Cyrenè, see Studniczka, p. 39.
</p>

<p><span class="leftside">791.</span>
Fragment from the right side of a votive relief. Heracles
stands, nude, with the lion-skin and club on his left
arm. The head and extended right hand are wanting.
On the left is a fragment of a draped figure. The relief
was contained in pilasters, surmounted by an entablature.</p>

<p class="indent">
Pentelic marble; height, 2 feet &frac12; inch; width, 10 inches.
</p>

<p><span class="leftside">792.</span>
Fragment of a votive relief. A beardless male figure
stands to the front, with a chlamys on the raised left arm,
and with a cup held out in his right hand. On the right
is the right arm, and a portion of the skirt of another
figure, perhaps female, of equal scale. On the left is the
figure, much defaced, of a bearded worshipper.&mdash;<i>Elgin
Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot &frac14; inch; width, 10 inches. <i>Synopsis</i>,
No. 361 (84); <i>Mus. Marbles</i>, IX., pl. 35, fig. 3.
</p>

<p><span class="leftside">793.</span>
Votive relief to Demeter and 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.&mdash;<i>Castellani Coll.</i></p>

<p class="indent">
Limestone; height, 1 foot; width, 10&frac34; inches. Restorations:&mdash;Upper
part of ground and frame of relief with top of tree and
right forearm of Persephonè.
</p>
<span class="pagenum"><a name="page366" id="page366"></a>366</span>

<p><span class="leftside">794.</span>
Fragment of relief, with the lower part of a draped
female figure, standing on a nude prostrate figure of a boy.
On the right is a Gryphon and on the left a large serpent.&mdash;<i>From
Amphitheatre, Gortyna.</i></p>

<p class="indent">
White marble; height, 1 foot; width, 11&frac14; inches. The Gryphon and
serpent are attributes of Sarapis on a relief at Andriakè in
Lycia. Petersen, <i>Reisen in Lykien</i>, II., p. 42, fig. 31.
</p>

<p><span class="leftside">795.</span>
Left side of votive tablet, on which is sculptured a
female figure standing to the front, holding a bowl in her
right hand: her head and left arm from above the elbow
are broken away. Some vertical object, perhaps a censer,
similar to that held by figure No. 56 in the eastern frieze of
the Parthenon, or perhaps a fold of her mantle, is sculptured
on the right.&mdash;<i>Athens.</i> <i>Inwood Coll.</i></p>

<p class="indent">
Pentelic marble; height, 7&frac34; inches; width, 6 inches. <i>Elgin Room
Guide</i>, Part II., No. F. 12.
</p>

<p><span class="leftside">796.</span>
Fragment of relief, containing a part of a half-draped
bearded man, standing as if leaning on a staff, to the
right, holding what appears to be a flower in his right
hand; and also part of the figure of a woman holding what
appears to be a pomegranate. The figures may be those
of suppliants with offerings on a votive relief.&mdash;<i>Cyrenè.</i></p>

<p class="indent">
White marble; height, 6&frac12; inches; width, 11 inches. Smith and
Porcher, p. 107, No. 138.
</p>

<p><span class="leftside">797.</span>
Fragment of relief containing a half-draped elderly
male figure, and a female figure wearing a long chiton.
Perhaps a fragment of a votive relief.&mdash;<i>Temple of Aphroditè,
Cyrenè.</i></p>

<p class="indent">
White marble; height, 1 foot; width, 10 inches. Smith and Porcher,
p. 104, No. 88.
</p>
<a name="n798" id="n798"></a>
<p><span class="leftside">798.</span>
Votive relief, with two plaits of formally twisted hair,
dedicated to Poseidon by Philombrotos and Aphthonetos.
The relief is bounded by two pilasters and an entablature.</p>
<span class="pagenum"><a name="page367" id="page367"></a>367</span>

<p>Inscribed: <ins title="Greek: Philombrotos, Aphthonêtos Deinomachou, Poseidôni">&#934;&#953;&#955;&#8057;&#956;&#946;&#961;&#959;&#964;&#959;&#962;,
&#7944;&#966;&#952;&#8057;&#957;&#951;&#964;&#959;&#962;
&#916;&#949;&#953;&#957;&#959;&#956;&#8049;&#967;&#959;&#965;,
&#928;&#959;&#963;&#949;&#953;&#948;&#8182;&#957;&#953;</ins>.&mdash;<i>From
Phthiotic Thebes, in Thessaly</i>. <i>Presented by Col.
Leake, 1839.</i></p>

<p class="indent">
Marble; height, 1 foot 1&frac12; inches; width, 1 foot 2&frac12; inches; Millingen,
<i>Ancient Unedited Monuments</i>, Part II., pl. 16, fig. 2; Leake,
<i>Travels in Northern Greece</i>, IV., p. 361; <i>Greek Inscriptions in
Brit. Mus.</i>, CLXIII.; Daremberg and Saglio, <i>Dict. des Antiqs.</i>,
<i>s.vv.</i> Coma and Donarium. On the custom of dedicating hair by
youths reaching manhood, see Daremberg and Saglio, <i>loc. cit.</i>, and
<i>Bull. de Corr. Hellénique</i>, 1888, p. 479. See also <i>Mus. Worsleyanum</i>,
pl. 9.
</p>

<p style="margin-top: 2em;">The following votive tablets (Nos. 799-808), with representations
of portions of the human body and with votive
inscriptions to Highest Zeus (<ins title="Greek: Zeus hypsistos">&#918;&#949;&#8058;&#962;
&#8021;&#968;&#953;&#963;&#964;&#959;&#962;</ins>), were discovered
by the fourth Earl of Aberdeen, in 1803. Excavations
were made at the foot of the rock-wall near the
rock-cut structure commonly known as the Bema of the
Pnyx, and the tablets which were then found, are presumed
to have fallen from niches cut to receive them in
the rock above (Dodwell, <i>Tour</i>, i., p. 402). It has been
argued that the spot where the reliefs were found was
not the Pnyx, but the altar of Highest Zeus (Welcker,
<i>Der Fels-Altar des Höchsten Zeus, &amp;c., 1852</i>). The inscriptions,
however, which are here described, are of
Roman times, and are of little value for the decision
of the question. (Cf. Hicks, <i>Greek Inscriptions in Brit.
Mus.</i> lx.)</p>

<p><span class="leftside">799.</span>
Tablet with votive relief representing a female breast
dedicated by Eutychis.</p>

<p>Inscribed: <ins title="Greek: Eutychis hypsistô euchê(n)">&#917;&#8016;&#964;&#965;&#967;&#8054;&#962;
&#8017;&#968;&#8055;&#963;&#964;&#8179;
&#949;&#8016;&#967;&#8053;(&#957;)</ins>.&mdash;<i>Pnyx, Athens.</i> <i>Elgin
Coll.</i></p>

<p class="indent">
Pentelic marble; height, 5&frac34; inches; width, 5&frac12; inches. Dodwell,
<i>Tour</i>, I., p. 403; <i>Synopsis</i>, No. 210 (245); <i>Mus. Marbles</i>, IX.,
pl. 41, fig. 3; <i>C.I.G.</i>, 504; Ellis, <i>Elgin Marbles</i>, II., p. 105,
No. 210; <i>Greek inscriptions in Brit. Mus.</i>, LXVI.
</p>
<span class="pagenum"><a name="page368" id="page368"></a>368</span>

<p><span class="leftside">800.</span>
Tablet with votive relief representing a female breast,
dedicated by Isias.</p>

<p>Inscribed: <ins title="Greek: Eisias hyps[istô] eu[chên]">&#917;&#7984;&#963;&#953;&#8048;&#962;
&#8017;&#968;[&#8055;&#963;&#964;&#8179;]
&#949;&#8016;[&#967;&#8053;&#957;]</ins>.&mdash;<i>Pnyx, Athens.</i> <i>Elgin
Coll.</i></p>

<p class="indent">
Pentelic marble; height, 8 inches; width, 6&frac12; inches. Dodwell,
<i>Tour</i>, I., p. 403; <i>Synopsis</i>, No. 209 (247); <i>Mus. Marbles</i>, IX.,
pl. 41, fig. 2; <i>C.I.G.</i>, 505; Ellis, <i>Elgin Marbles</i>, II., p. 105,
No. 209; <i>Greek Inscriptions in Brit. Mus.</i>, LXVII.
</p>

<p><span class="leftside">801.</span>
Tablet with votive relief, representing a pair of eyes,
dedicated by Philemation.</p>

<p>Inscribed: <ins title="Greek: Philêmatin [e]uchên ane[th]êken">&#934;&#953;&#955;&#951;&#956;&#8049;&#964;&#953;&#957;
[&#949;]&#8016;&#967;&#8052;&#957;
&#7936;&#957;&#8051;[&#952;]&#951;&#954;&#949;&#957;</ins>.&mdash;<i>Pnyx, Athens.</i>
<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 3&frac12; inches; width, 5&frac12; inches. Dodwell,
<i>Tour</i>, I., p. 403, with woodcut; <i>Synopsis</i>, No. 214 (251); <i>Mus.
Marbles</i>, IX., pl. 41, fig. 5; <i>C.I.G.</i>, 506; Ellis, <i>Elgin Marbles</i>,
II., p. 105, No. 212; <i>Greek Inscriptions in Brit. Mus.</i>, LXVIII.
</p>
<a name="n802" id="n802"></a>
<p><span class="leftside">802.</span>
Fragment of a votive relief, which originally represented
a pair of eyes in relief, but now has little remaining
except the left eye and part of the inscription: <ins title="Greek: hyps]ist[ô">&#8017;&#968;]&#8055;&#963;&#964;[&#8179;</ins>.&mdash;<i>Pnyx,
Athens.</i> <i>Found by the fourth Earl of Aberdeen in</i>
1803, <i>and presented by the fifth Earl of Aberdeen in</i> 1861.</p>

<p class="indent">
Pentelic marble; height, 3&frac34; inches; width, 5 inches. <i>Greek Inscriptions
in Brit. Mus.</i>, LXIX. This relief is perhaps identical
with <i>C.I.G.</i>, 499.
</p>

<p><span class="leftside">803.</span>
Fragment of votive relief, with toes and the forepart of
the right foot.&mdash;<i>Pnyx, Athens.</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 6&frac12; inches; width, 5&frac12; inches. <i>Synopsis</i>,
No. 217 (253); <i>Mus. Marbles</i>, IX., pl. 41, fig. 4; Ellis, <i>Elgin
Marbles</i>, II., p. 105, No. 217.
</p>

<p><span class="leftside">804.</span>
Tablet with votive relief of vulva, dedicated by Olympias.</p>

<p>Inscribed: <ins title="Greek: Olympias hypsistô euchên">&#8008;&#955;&#965;&#956;&#960;&#953;&#8048;&#962;
&#8017;&#968;&#8055;&#963;&#964;&#8179;
&#949;&#8016;&#967;&#8053;&#957;</ins>.&mdash;<i>Pnyx, Athens.</i> <i>Elgin
Coll.</i></p>

<p class="indent">
Pentelic marble; height, 5&frac12; inches; width, 7&frac12; inches. Dodwell,
<i>Tour</i>, I., p. 403; <i>Synopsis</i>, No. 216 (246); <i>C.I.G.</i>, 500; <i>Greek
Inscriptions in Brit. Mus.</i>, LXII.
</p>
<span class="pagenum"><a name="page369" id="page369"></a>369</span>

<p><span class="leftside">805.</span>
Tablet with votive relief, representing a human face
from the bridge of the nose downwards, dedicated by
Tertia.</p>

<p>Inscribed: <ins title="Greek: Tertia hypsistô euchên">&#932;&#949;&#961;&#964;&#8055;&#945;
&#8017;&#968;&#8055;&#963;&#964;&#8179;
&#949;&#8016;&#967;&#8053;&#957;</ins>.&mdash;<i>Pnyx, Athens.</i> <i>Elgin
Coll.</i></p>

<p class="indent">
Pentelic marble; height, 8&frac12; inches; width, 7&frac34; inches. Dodwell,
<i>Tour</i>, I., p. 404, with woodcut; <i>Synopsis</i>, No. 218 (250);
<i>Mus. Marbles</i>, IX., pl. 41, fig. 7; <i>C.I.G.</i>, 501; Ellis, <i>Elgin Marbles</i>,
II., p. 105, No. 218; <i>Greek Inscriptions in Brit. Mus.</i>, LXIII.
</p>

<p><span class="leftside">806.</span>
Tablet with votive relief, representing a pair of arms,
within a panel, dedicated by Claudia Prepusa. The hands
are wanting.</p>

<p>Inscribed: <ins title="Greek: Klaudia Prepousa eucharistô hypsistô">&#922;&#955;&#945;&#965;&#948;&#8055;&#945;
&#928;&#961;&#8051;&#960;&#959;&#965;&#963;&#945;
&#949;&#8016;&#967;&#945;&#961;&#953;&#963;&#964;&#8182;
&#8017;&#968;&#8055;&#963;&#964;&#8179;</ins>.&mdash;<i>Pnyx,
Athens.</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 6 inches; width, 7&frac14; inches. Dodwell,
<i>Tour</i>, I., p. 402, with woodcut; <i>Synopsis</i>, No. 215 (248); <i>Mus.
Marbles</i>, IX., pl. 41, fig. 6; <i>C.I.G.</i>, 502; Ellis, <i>Elgin Marbles</i>,
II., p. 105, No. 215; <i>Greek Inscriptions in Brit. Mus.</i>, LXIV.
</p>

<p><span class="leftside">807.</span>
Tablet with votive relief, representing a female breast
somewhat broken, dedicated by Onesimè.</p>

<p>Inscribed: <ins title="Greek: Onêsimê euchên Diï hypsistô">&#8008;&#957;&#951;&#963;&#8055;&#956;&#951;
&#949;&#8016;&#967;&#8052;&#957;
&#916;&#953;&#8146;
&#8017;&#968;&#8055;&#963;&#964;&#8179;</ins>.&mdash;<i>Pnyx, Athens.</i>
<i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; height, 4&#8542; inches; width, 6 inches. Dodwell,
<i>Tour</i>, I., p. 403; <i>Synopsis</i>, No. 211 (249); <i>Mus. Marbles</i>, IX.,
pl. 41, fig. 1; <i>C.I.G.</i>, 503; Ellis, <i>Elgin Marbles</i>, II., p. 105,
No. 211; <i>Greek Inscriptions in Brit. Mus.</i>, LXV.
</p>
<a name="n808" id="n808"></a>
<p><span class="leftside">808.</span>
Fragment of a votive relief, with part of a thigh, or
perhaps part of the shoulder.</p>

<p>Inscribed:&nbsp; <ins title="Greek: ...a theô hypsi[stô e]uchên">.&nbsp;.&nbsp;.&nbsp;.&nbsp;&#945; &#952;&#949;&#8183;
&#8017;&#968;&#8055;[&#963;&#964;&#8179;
&#949;]&#8016;&#967;&#8053;&#957;</ins>.&mdash;<i>Pnyx, Athens.
Found by the fourth Earl of Aberdeen in</i> 1803, <i>and presented
by the fifth Earl of Aberdeen in</i> 1861.</p>

<p class="indent">
Pentelic marble; height, 4&frac14; inches; width, 4&frac12; inches. <i>Greek Inscriptions
in Brit. Mus.</i>, LXX.
</p>
<span class="pagenum"><a name="page370" id="page370"></a>370</span>
<a name="n809" id="n809"></a>
<p><span class="leftside">809.</span>
Tablet with votive relief representing a left leg from
above the knee in relief, dedicated to Asclepios and
Hygieia.</p>

<p>Inscribed: <ins title="Greek: Asklêpiô kai Hyg(i)eia eucharistêrion">&#7944;&#963;&#954;&#955;&#951;&#960;&#8055;&#8179;
&#954;&#945;&#8054;
&#8025;&#947;(&#953;)&#949;&#8055;&#8115;
&#949;&#8016;&#967;&#945;&#961;&#953;&#963;&#964;&#8053;&#961;&#953;&#959;&#957;</ins>.&mdash;<i>Found
in</i> 1828, <i>in a Shrine of Asclepios in Melos.</i> <i>Blacas Coll.</i></p>

<p class="indent">
Parian marble; height, 1 foot 1&frac12; inches; width, 7&frac12; inches. <i>Annali
dell' Inst.</i>, 1829, p. 341; <i>Exp. de Morée</i>, III., pl. 29, fig. 2;
<i>C.I.G.</i>, 2429; <i>Greek Inscriptions in Brit. Mus.</i>, CCCLXV. This
relief was found together with the fine head of Asclepios
(No. 550) and with a votive inscription (<i>C.I.G.</i>, 2428).
</p>

<p><span class="leftside">810.</span>
Tablet with votive relief, representing a right ear. The
right side of the tablet is lost.&mdash;<i>Cyrenè.</i></p>

<p class="indent">
Marble; height, 6&frac34; inches; width, 10 inches. Smith and Porcher,
p. 108, No. 148.
</p>
<a name="n811" id="n811"></a>
<p><span class="leftside">811.</span>
Square votive tablet, dedicated by Anthusa, the daughter
of Damainetos. On the tablet, within a raised wreath,
the following objects are sculptured in relief:&mdash;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
<span class="pagenum"><a name="page371" id="page371"></a>371</span>
relief is inscribed <ins title="Greek: Anthousê Damainetou hypostatria">&#7944;&#957;&#952;&#959;&#8059;&#963;&#951;
&#916;&#945;&#956;&#945;&#953;&#957;&#8051;&#964;&#959;&#965;
&#8017;&#960;&#959;&#963;&#964;&#8049;&#964;&#961;&#953;&#945;</ins>.
<ins title="Greek: Hypostratria">&#8025;&#960;&#959;&#963;&#964;&#8049;&#964;&#961;&#953;&#945;</ins>
probably denotes some minister of inferior rank in the
temple of the goddess to whom the tablet was dedicated.
The explanation of the word <ins title="Greek: statria">&#963;&#964;&#8049;&#964;&#961;&#953;&#945;</ins> given by Hesychius (<ins title="Greek: emplektria">&#7952;&#956;&#960;&#955;&#949;&#954;&#964;&#961;&#8055;&#945;</ins>),
makes it probable that the function of the
<ins title="Greek: hypostatria">&#8017;&#960;&#959;&#963;&#964;&#8049;&#964;&#961;&#953;&#945;</ins> here mentioned was to dress the image of the
goddess. This and the tablet No. 812 were found by the
Earl of Aberdeen built into a ruined Byzantine church at
<i>Slavochori in Laconia</i>, a place which is believed to be the
site of the ancient Amyclae. The combination of pomegranates
and ears of corn, the symbols of 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.</p>

<p>Pausanias (iii., 20, 4) mentions a town near Amyclae
called Bryseae, where was a temple of Dionysos which none
but women were permitted to enter, and where women
only performed the sacrifices. It is not improbable, as
Lord Aberdeen conjectured, that these votive tablets were
originally dedicated in this temple, and thence brought to
Slavochori. It was a common custom among the Greeks to
dedicate articles of female attire and toilet in the temples
of goddesses. (See <i>Greek Inscriptions in Brit. Mus.</i>, No.
xxxiv.)&mdash;<i>Brought from Greece by George, fourth Earl of
Aberdeen; presented by George, fifth Earl of Aberdeen,</i>
1861.</p>

<p class="indent">
Marble; height, 3 feet; width, 2 feet 9&frac12; inches. This sculpture,
with the following, was first published, in a strangely perverted
form, by Caylus (<i>Recueil d'Antiq.</i>, II., pl. 51), from drawings by
Fourmont. Lord Aberdeen published them, with an engraving
in Walpole's <i>Memoirs relating to Turkey</i>, London, 1817, I., p. 446.
See also <i>C.I.G.</i>, 1467; Leake, <i>Travels in the Morea</i>, I., p. 188,
and <i>Peloponnesiaca</i>, pp. 163-165; <i>Greek Inscriptions in Brit. Mus.</i>,
CXLI.; Wolters, No. 1852; <i>Guide to Graeco-Roman Sculptures</i>,
Part II., No. 11; Mansell, No. 728.
</p>
<span class="pagenum"><a name="page372" id="page372"></a>372</span>
<a name="n812" id="n812"></a>
<p><span class="leftside">812.</span>
Votive tablet, dedicated by a priestess called Claudia
Ageta, on which are sculptured in relief various articles
of the toilet. In the centre is a bowl inscribed with the
name of the priestess, <ins title="Greek: Klau(dia) Agêta Antipatrou, hiereia">&#922;&#955;&#945;&#965;(&#948;&#8055;&#945;)
&#7944;&#947;&#8053;&#964;&#945;
&#7944;&#957;&#964;&#953;&#960;&#8049;&#964;&#961;&#959;&#965;,
&#7985;&#8051;&#961;&#949;&#953;&#945;</ins>;
round it are the following objects:&mdash;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.&mdash;<i>From Slavochori in Laconia (cf. No. 811). Presented
by the fifth Earl of Aberdeen, 1861.</i></p>

<p class="indent">
Marble; height, 2 feet 3&frac12; inches; width, 3 feet 6 inches. Walpole's
<i>Memoirs relating to Turkey</i>, 1817, I., p. 446; <i>C.I.G.</i>, 1466; <i>Greek
Inscriptions in Brit. Mus.</i>, CXLII.; <i>Guide to Graeco-Roman
Sculptures</i>, Part II., No. 12; Wolters, No. 1851.
</p>

<p><span class="leftside">813.</span>
Fragment of a votive relief dedicated by a victor in a
torch race. On the right a youth, with a whisk for
sprinkling, and a man stand at an altar. The head of
the man is lost. Three nude athletes, of whom two are
bearded, stand on the left conversing. Above is an entablature
with the dedicatory inscription: <ins title="Greek: Ho deina l]ampadi nikêsas, gymnasiarchôn [anethêken]">&#8009; &#948;&#949;&#8150;&#957;&#945;
&#955;]&#945;&#956;&#960;&#8049;&#948;&#953;
&#957;&#953;&#954;&#8053;&#963;&#945;&#962;,
&#947;&#965;&#956;&#957;&#945;&#963;&#953;&#945;&#961;&#967;&#8182;&#957;
[&#7936;&#957;&#8051;&#952;&#951;&#954;&#949;&#957;]</ins>.&mdash;<i>Athens.</i>
<i>Strangford Coll.</i></p>

<p class="indent">
Pentelic marble; height, 1 foot 5&frac12; inches; width, 1 foot &frac12; inch.
<i>C.I.G.</i>, 257; <i>Greek Inscriptions in Brit. Mus.</i>, XLI.; <i>C.I.A.</i>, II.,
1221.
</p>
<span class="pagenum"><a name="page373" id="page373"></a>373</span>

<p><span class="leftside">814.</span>
Votive tablet in commemoration of a victory in the
chariot race. A draped charioteer drives a chariot, drawn
by four horses, which move to the left in spirited action.
Over them floats in the air a winged Victory extending a
wreath, now wanting, towards the charioteer. The left
side of the relief and the lower edge have been broken
away. The missing portion on the left probably contained
a figure running in front of the chariot, as the end of a
staff and traces of the hand which grasped it, appear at
the edge of the slab. The charioteer wears a tunic girt at
the waist; a scarf passing round the back of the head
bellies out with the wind, while the ends, drawn back
under the arms, float behind.</p>

<p>This figure appears to be female, and in that case would
doubtless be a personification, possibly of the city to which
the victorious charioteer belonged. A similar votive
tablet mounted on a pilaster is shown outside a house
or temple in the composition representing the visit of
Dionysos to Icarios, in the third Graeco-Roman Gallery
(<i>Guide to Graeco-Roman Sculptures</i>, Pt. I., No. 176), and
such commemorative tablets were often dedicated by
Agonistic Victors. Compare a fragmentary relief at
Athens, on which a horse is crowned by Victory. (Schöne,
<i>Griechische Reliefs</i>, pl. 18, fig. 80.)&mdash;<i>From Consul Logothetis'
house at Athens.</i> <i>Elgin Coll.</i></p>

<p class="indent">
Pentelic marble; present height, 2 feet 3&frac12; inches; width, 2 feet 8
inches. <i>Mus. Marbles</i>, IX., pl. 38, fig. 2; Ellis, <i>Elgin Marbles</i>,
II., p. 126; <i>Synopsis</i>, No. 197 (236).
</p>

<p><span class="leftside">815.</span>
Fragment of a relief, perhaps a votive tablet in commemoration
of a chariot race. Four heads of horses in
rapid movement to the right; the head of the foremost
horse has been held by a figure, of which the right hand
only remains.</p>

<p class="indent">
Marble; height, 11&frac12; inches; width, 1 foot 1 inch. <i>Guide to Graeco-Roman
Sculptures</i>, Part II., No. 47.
</p>
<span class="pagenum"><a name="page374" id="page374"></a>374</span>
<a name="n816" id="n816"></a>
<p><span class="leftside">816.</span>
Votive relief. 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.&mdash;<i>Crannon in Thessaly.</i> <i>Presented by Col. Leake,
1839.</i></p>

<p class="indent">
White marble, with remains of blue paint on the ground; height,
1 foot 3&frac12; inches; width, 1 foot 11 inches. Millingen, <i>Anc.
Uned. Monuments</i>, II., pl. 16, fig. 1. Compare a relief at Athens,
Schöne, <i>Griechische Reliefs</i>, pl. 26, fig. 108.
</p>

<p><span class="leftside">817.</span>
Votive relief with three figures standing to the front.
On the right is Apollo wearing the dress of a minstrel,
having a long chiton girt at the waist, and a himation.
He holds out a 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.</p>

<p>Below is a group of six male figures reclining, who are
sketched out in low relief. Before them are four figures:
(<i>a</i>) on the left a comic figure seated, playing on double
flutes, and beating time with a <i>kroupezion</i> or scabellum;
(<i>b</i>) a nude female figure dancing; (<i>c</i>) a comic figure running,
wearing a Phrygian cap, and having a pair of double
flutes in each hand; (<i>d</i>) on the right, a figure with an
oinochoè in each hand drawing wine from a large vessel.</p>
<span class="pagenum"><a name="page375" id="page375"></a>375</span>

<p>Inscribed: <ins title="Greek: Diï hypsistô k(ai) tô ch(o)rô Thallos epônymos ton telamôna apedôka">&#916;&#953;&#8146;
&#8017;&#968;&#8055;&#963;&#964;&#8179;
&#954;(&#945;&#8054;)
&#964;&#8183;
&#967;(&#8057;)&#961;&#8179;
&#920;&#8049;&#955;&#955;&#959;&#962;
&#7952;&#960;&#8061;&#957;&#965;&#956;&#959;&#962;
&#964;&#8056;&#957;
&#964;&#949;&#955;&#945;&#956;&#8182;&#957;&#945;
&#7936;&#960;&#8051;&#948;&#969;&#954;&#945;</ins>.
The relief (<ins title="Greek: telamôn">&#964;&#949;&#955;&#945;&#956;&#8061;&#957;</ins>) appears to have
been dedicated by a successful dramatic poet, Thallos, who
gave his name to the fête.&mdash;<i>Cyzicus. Presented by A. van
Branteghem, Esq.</i></p>

<p class="indent" style="margin-bottom: 5em;">
Marble; height, 3 feet 1&frac12; inches; width, 1 foot 10 inches. <i>Rev.
Arch.</i>, 1891, p. 10, No. 1. Compare a relief now at Athens, from
Nicaea, in Conze, <i>Reise auf der Insel Lesbos</i>, pl. 19; Lüders,
<i>Dionys. Künstler</i>, pl. 2.
</p>

<hr />
<p class="center"><span class="sc">london: printed by william clowes and sons, limited, stamford street and
charing cross.</span></p>
<hr />

<a name="plate1" id="plate1"></a>
<h4><span class="sc">Plate I.</span></h4>

<div class="figcenter" style="width: 500px;"><a href="images/28-plate1-600.png"><img src="images/28-plate1-250.png" width="250" height="499" alt="Sculptured Column From the Archaic Temple at Ephesus. No. 29." /></a>
<p class="center"><span class="sc">Sculptured Column From the Archaic Temple at Ephesus.</span> No. 29</p></div>

<a name="plate2" id="plate2"></a>
<h4><span class="sc">Plate II.</span></h4>

<div class="figcenter" style="width: 400px;"><a href="images/29-plate2-700.png"><img src="images/29-plate2-300.png" width="300" height="459" alt="View of the Lion Tomb at Xanthos. No. 80." /></a>
<p class="center"><span class="sc">View of the Lion Tomb at Xanthos. No. 80.</span></p>
<p class="right">(<i>From a drawing by George Scharf.</i>)</p></div>

<a name="plate3" id="plate3"></a>
<h4><span class="sc">Plate III.</span></h4>

<div class="figcenter" style="width: 400px;"><a href="images/30-plate3-700.png"><img src="images/30-plate3-360.png" width="360" height="496" alt="View of the Harpy Tomb at Xanthos. No. 94." /></a>
<p class="center"><span class="sc">View of the Harpy Tomb at Xanthos. No. 94.</span></p>
<p class="right">(<i>From a drawing by George Scharf.</i>)</p></div>

<a name="plate4" id="plate4"></a>
<h4><span class="sc">Plate IV.</span></h4>

<div class="figcenter" style="width: 400px;"><a href="images/31-plate4-900.png"><img src="images/31-plate4-400.png" width="400" height="492" alt="Sectional View of the East End of the Parthenon." /></a>
<p class="center"><span class="sc">Sectional View of the East End of the Parthenon.</span>,</p>
<p class="right">(<i>G. Niemann</i>.)</p></div>

<a name="plate5" id="plate5"></a>
<h4><span class="sc">Plate V.</span></h4>

<div class="figcenter" style="width: 600px;"><a href="images/32-plate5-fig1-1500.png"><img src="images/32-plate5-fig1-600.png" width="600" height="111" alt="Fig. 1. Carrey's Drawing of the East Pediment of the East Pediment of the Parthenon." /></a>
<p class="center">Fig. 1. <span class="sc">Carrey's Drawing of the East Pediment of the
Parthenon.</span></p></div>

<div class="figcenter" style="width: 600px;"><a href="images/32-plate5-fig2-1500.png"><img src="images/32-plate5-fig2-600.png" width="600" height="161" alt="Fig. 2. Carrey's Drawing of the West Pediment of the Parthenon." /></a>
<p class="center">Fig. 2. <span class="sc">Carrey's Drawing of the West Pediment of the
Parthenon.</span></p></div>

<a name="plate6" id="plate6"></a>
<h4><span class="sc">Plate VI.</span></h4>

<table summary="sculptures" align="center" width="auto" border="0">
<tr>
       <td><div class="figcenter"><a href="images/33-plate6-fig1-700.png">
	   <img src="images/33-plate6-fig1-350.png" width="350" height="417" alt="Fig. 1. Iris and Hera. East Frieze of Parthenon." /></a></div></td>
       <td><div class="figcenter"><a href="images/33-plate6-fig2-500.png">
	   <img src="images/33-plate6-fig2-230.png" width="230" height="425" alt="Fig. 2. Arm. No. 330." /></a></div></td>
</tr>
<tr>
       <td valign="top"><p class="center">Fig. 1. <span class="sc">Iris and Hera. East Frieze of Parthenon.</span></p>
<p class="center">Nos. 27, 28.</p></td>
       <td valign="top"><p class="center">Fig. 2. <span class="sc">Arm. No. 330.</span></p></td>
</tr>
</table>

<a name="plate7" id="plate7"></a>
<h4><span class="sc">Plate VII.</span></h4>

<div class="figcenter" style="width: 600px;"><a href="images/34-plate7-1500.png"><img src="images/34-plate7-600.png" width="600" height="357" alt="The North Frieze of the Parthenon (Slabs I.-VII.)" /></a>
<p class="center"><span class="sc">The North Frieze of the Parthenon</span> (Slabs I.-VII.)
<span class="sc">Restored.</span></p></div>

<a name="plate8" id="plate8"></a>
<h4><span class="sc">Plate VIII.</span></h4>

<div class="figcenter" style="width: 600px;"><a href="images/35-plate8-1500.png"><img src="images/35-plate8-600.png" width="600" height="346" alt="The North Frieze of the Parthenon (Slabs VII.-XIII.)" /></a>
<p class="center"><span class="sc">The North Frieze of the Parthenon</span> (Slabs VII.-XIII.)
<span class="sc">Restored.</span></p></div>

<a name="plate9" id="plate9"></a>
<h4><span class="sc">Plate IX.</span></h4>

<div class="figcenter" style="width: 600px;"><a href="images/36-plate9-1500.png"><img src="images/36-plate9-600.png" width="600" height="206" alt="Lusieri's Drawing of the Missing Group From the Monument of Lysicrates." /></a>
<p class="center"><span class="sc">Lusieri's Drawing of the Missing Group From the Monument of
Lysicrates.</span> No. 430, <i>5</i>.</p></div>

<a name="plate10" id="plate10"></a>
<h4><span class="sc">Plate X.</span></h4>

<div class="figcenter" style="width: 600px;"><a href="images/37-plate10-1500.png"><img src="images/37-plate10-600.png" width="600" height="366" alt="View of the Temple of Apollo at Phigaleia." /></a>
<p class="center"><span class="sc">View of the Temple of Apollo at Phigaleia.</span> (<i>From a Photograph.</i>)</p></div>

<a name="plate11" id="plate11"></a>
<h4><span class="sc">Plate XI.</span></h4>
<table summary="sculptures" align="center" width="auto" border="0">
<tr>
       <td><div class="figcenter"><a href="images/38-plate11-1500.png"><img src="images/38-plate11-fig1-154.png" width="154" height="420" alt="Fig. 1. Sepulchral Relief." /></a>
</div></td>
       <td><div class="figcenter"><a href="images/38-plate11-1500.png"><img src="images/38-plate11-fig2-266.png" width="266" height="420" alt="Fig 2. Monument of Xanthippos." /></a>
</div></td>
       <td><div class="figcenter"><a href="images/38-plate11-1500.png"><img src="images/38-plate11-fig3-143.png" width="143" height="420" alt="Fig. 3. Sepulchral Relief." /></a>
</div></td>
</tr>
<tr>
       <td><p class="center">Fig. 1. <span class="sc">Sepulchral Relief.</span></p>
<p class="center">No. 693.</p></td>
       <td><p class="center">Fig. 2. <span class="sc">Monument of Xanthippos.</span></p>
<p class="center">No. 628.</p></td>
       <td><p class="center">Fig. 3. <span class="sc">Sepulchral Relief.</span></p>
<p class="center">No. 627.</p></td>
</tr>
</table>

<a name="plate12" id="plate12"></a>
<h4><span class="sc">Plate XII.</span></h4>
<table summary="sculptures" align="center" width="auto" border="0">

<tr>
       <td><div class="figcenter"><a href="images/39-plate12-fig1-800.png">
	   <img src="images/39-plate12-fig1-300.png" width="300" height="333" alt="Fig. 1. Fragment of a Sepulchral Relief. No. 673." /></a></div></td>
       <td><div class="figcenter"><a href="images/39-plate12-fig2-650.png">
	   <img src="images/39-plate12-fig2-250.png" width="250" height="283" alt="Fig. 2. Fragment of a Sepulchral Relief. No. 672." /></a></div></td>
</tr>
<tr>
       <td><p class="center">Fig. 1. <span class="sc">Fragment of a Sepulchral Relief.</span></p>
	   <p class="center">No. 673.</p></td>
       <td><p class="center">Fig. 2. <span class="sc">Fragment of a Sepulchral Relief.</span></p>
	   <p class="center">No. 672.</p></td>
</tr>
</table>

<hr class="full" />

<a name="transcriber_note"></a>
<table class="tn" summary="tn" align="center" style="margin-top: 2em; margin-bottom: 5em;">
<tr>
    <td class="note">

<h4>Transcriber's Note</h4>

<p>A List of Illustrations has been added to the Book.</p>

<p>Some illustrations have been moved to the ends of their descriptive paragraphs to allow for freer flow of the text.
This may result in a changed page number in the List of Illustrations. (e.g., page 135 changed to page 136)</p>

<p>There are some inconsistencies in the spelling of (foreign) proper names throughout the book.
In each case, both forms have been retained.</p>

<p>There were a few instances of the high dot, <span style="font-family: Gentium, 'New Athena Unicode', 'DejaVu Serif', 'Lucida Grande', 'Arial Unicode MS', 'Palatino Linotype', serif; font-size: 1.1em;">&#903;</span>, or Greek colon, in the Greek text, which have been retained.</p>

<p>Some parts of the Greek inscriptions are enclosed in brackets. This would appear to indicate restoration of indistinct
or missing text.</p>

<p>Journal numbers (X...; and x...; etc.) occur in both upper and lower case throughout book. Both forms have been retained.</p>

<p>Pages 108 and 136: Fig. 9 was used twice in the original book, and both instances have been retained.</p>

<p>The abbreviations 'C. I. A. (Corpus Inscriptionum Atticarum.) and C. I. G. (Corpus Inscriptionum Graecarum.) are spaced until page 297,
and unspaced (C.I.A and C.I.G.) from page 304 until the end of the book. Both forms have been retained.</p>

<p>Page 10: 'donotion' corrected to 'donation' - " ... have been acquired by donation or bequest,"</p>

<p>Page 11, Footnote 42: '214' corrected to '211'.</p>

<p style="margin-top: -1em;">Numbers '212', '213' and '214' do not exist. Thus, '211' is the number
before '215'; and '211' fits the category of the other numbers in this
footnote. "See Nos. 211, 643, 652, 667, 680, 693, 699, 726, 736."</p>

<p>Page 46: 'Beechino' corrected to 'Beecheno' - "See also Solly, <i>Memoirs of
W. J. Müller</i>, 1875; Beecheno,"</p>

<p>Page 64: 'real' corrected to 'reel' - "... but include bead and reel mouldings,"</p>

<a href="#top">Return to Top</a>

</td>
</tr>
</table>

<p>&nbsp;</p>
<p>&nbsp;</p>
<hr class="pg" />
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