A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, Volume 1 (of 2)
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Title: A Catalogue of Sculpture in the Department of Greek and Roman Antiquities, British Museum, Volume 1 (of 2)
Author: A. H. Smith
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Text enclosed by underscores is in italics (_italics_).
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A CATALOGUE OF SCULPTURE IN THE DEPARTMENT OF GREEK AND ROMAN
ANTIQUITIES, BRITISH MUSEUM.
by
A. H. SMITH, M.A.,
Assistant in the Department of Greek and Roman
Antiquities, in the British Museum.
VOL. I.
London:
Printed by Order of the Trustees.
1892.
London:
Printed by William Clowes and Sons, Limited
Stamford Street and Charing Cross.
PREFACE.
The present volume by Mr. Arthur Smith, Assistant in the Department
of Greek and Roman Antiquities, includes the sculptures of the Archaic
period: those of the Parthenon and other Athenian buildings; the
remains of the temple at Phigaleia; the Greek reliefs, and some other
sculptures which, though produced in Roman times, yet represent Greek
originals of the great age.
In the section which deals with the sculptures of Athens much has been
retained from Sir Charles Newton's _Guide to the Elgin Room_, Pts.
I.-II. While adding the results of more recent research, Mr. Smith has
contributed on his part interesting material.
The sculptures of the archaic period have of late years been the
subject of much discussion; the results of these discussions, as they
apply to the collection of the British Museum, have now been brought
together and summarized.
The Greek reliefs, which form an important section of the present
volume, belong to a class of sculptures which have produced much
difference of opinion as to the subjects represented by them. Mr.
Smith has stated briefly the principal views, by way of introduction
to the several classes of reliefs.
A. S. MURRAY
_3rd December, 1891._
CONTENTS OF VOL. I.
PAGE
EDITOR'S PREFACE iii
TABLE OF CONTENTS v
TABLE OF ABBREVIATIONS vii
INTRODUCTION 1
PART I.--THE ARCHAIC PERIOD.
MYCENAE, 1-6 12
BRANCHIDAE, 7-21 16
LYDIA, 22, 23 24
EPHESUS, 24-48 24
CARIA, 49-51 40
RHODES, 52-75 41
XANTHOS, 80-98 45
NAUCRATIS, 100-127 61
DELOS, 130 68
SELINUS (casts), 135-139 69
ATHENS AND ATTICA, 150-156 70
AEGINA (casts), 160-183 73
OLYMPIA (casts), 190-192 80
STATUES OF APOLLO (?), 200-211 82
MISCELLANEOUS ARCHAIC SCULPTURES, 215-217 88
PART II.--MYRON AND PHEIDIAS.
MYRON, 250 90
PHEIDIAS AND THE PARTHENON 91
Athene Parthenos, 300-302 96
East Pediment of Parthenon, 303 101
West Pediment of Parthenon, 304 116
Metopes of Parthenon, 305-323 132
Frieze of the Parthenon 145
East Side, 324 152
North Side, 325 165
West Side, 326 178
South Side, 327 181
Fragments of the Parthenon Sculptures, 328-345 193
Architectural Fragments of the Parthenon, 350-358 213
PART III.--THE SUCCESSORS OF PHEIDIAS.
THE TEMPLE CALLED THE THESEION 216
Sculpture (casts) and Architecture, 400-406 220
THE ERECHTHEION 231
Sculpture and Architecture, 407-420 233
TEMPLE OF NIKE APTEROS 239
Frieze and Reliefs of Balustrade (casts), 421-429 242
MONUMENT OF LYSICRATES 248
Frieze (casts), 430 251
MONUMENT OF THRASYLLOS, 432 257
THE PROPYLAEA, 433-435 259
MISCELLANEOUS ARCHITECTURAL FRAGMENTS FROM
ATHENS AND ATTICA, 436-448 261
AGORACRITOS OF PAROS, 460 264
POLYCLEITOS OF ARGOS, 500-504 265
TEMPLE OF APOLLO AT PHIGALEIA 270
Architectural Fragments, 505-509 273
Metopes, 510-519 274
Frieze, 520-542 277
Acrolithic Statue, 543, 544 288
MISCELLANEOUS SCULPTURES OF THE FIFTH CENTURY, 549-560 288
GREEK RELIEFS 293
SEPULCHRAL RELIEFS:
Decorative Stelae, 599-618 304
Domestic Scenes, &c., 619-680 308
Sepulchral Vases, 681-686 324
Figures clasping hands, 687-710 326
The Sepulchral Banquet, &c., 711-746 333
Rider and Horse, heroified, 750-757 347
Lycian Sepulchral Reliefs (casts), 760-766 350
VOTIVE RELIEFS, 770-817 354
PLATES I.-XII.
TABLE OF ABBREVIATIONS.
The following is a list of the works which are most frequently
referred to, in this Catalogue, under abbreviated forms:--
_Annali dell' Inst._ Annali dell' Instituto di Corrispondenza
Archeologica. Rome: 1829-1885. [Superseded by the "Roemische
Mittheilungen."]
_Antike Denkmaeler._ Antike Denkmaeler herausgegeben vom k.
deutschen Archaeologischen Institut. Berlin: from 1886. In
progress.
_Arch. Anzeiger._ Archaeologischer Anzeiger. [A supplement to the
Archeologische Zeitung, and to the Jahrbuch des Archaeologischen
Instituts.]
_Arch. Zeit._ Archaeologische Zeitung. Berlin: 1843-1885.
[Superseded by the Jahrbuch des Archaeologischen Instituts.]
_Athenische Mittheilungen._ Mittheilungen des k. deutschen
Archaeologischen Instituts, Athenische Abtheilung. Athens: from
1876. In progress.
_Brunn, Denkmaeler._ H. v. Brunn, Denkmaeler griechischer und
roemischer Sculptur. Munich: from 1888. In progress.
_Bull, de Corr. Hellenique._ Ecole francaise d'Athenes. Bulletin
de Correspondance Hellenique. Athens: from 1877. In progress.
_Bull. dell' Inst._ Bullettino dell' Instituto di Corrispondenza
Archeologica. Rome: 1829-1885.
_C. I. A._ Corpus Inscriptionum Atticarum. Berlin: from 1873. In
progress.
_C. I. G._ Corpus Inscriptionum Graecarum. Berlin: 1828-1877.
_Gaz. Arch._ Gazette Archeologique. Paris: 1874-1888.
_Greek Inscriptions in Brit. Mus._ The Collection of Ancient Greek
Inscriptions in the British Museum, by C. T. Newton, and E. L.
Hicks. 1874-1890.
_Guide to Elgin Room I._ Synopsis of the Contents of the British
Museum. Department of Greek and Roman Antiquities. The Sculptures
of the Parthenon. Elgin Room, Part I. (Third ed.). 1886.
_Guide to Elgin Room II._ Synopsis, etc.... The Sculptures in the
Elgin Room. Part II. 1881.
_Guide to First Vase Room._ Synopsis, etc.... First Vase Room.
(Last ed.) 1883.
_Guide to Graeco-Roman Sculptures I._ Synopsis, etc....
Graeco-Roman Sculptures. (Second ed.) 1879.
_Guide to Graeco-Roman Sculptures II._ Synopsis, etc....
Graeco-Roman Sculptures. Part II. 1876.
_Jahrbuch des Arch. Inst._ Jahrbuch des k. deutschen
Archaeologischen Instituts. Berlin: from 1886. In progress.
_Journ. of Hellen. Studies._ The Journal of Hellenic Studies.
London: from 1879. In progress.
_Mansell._ Photographs of objects in the British Museum, published
by W. A. Mansell, 271 Oxford Street, W.
_Michaelis._ A. Michaelis, Der Parthenon. Leipsic: 1871.
_Michaelis, Anc. Marbles._ A. Michaelis, Ancient Marbles in Great
Britain. 1882.
_Mitchell._ Lucy M. Mitchell, A History of Ancient Sculpture.
1883.
_Mitchell, Selections._ Selections from Ancient Sculpture.... A
Supplement to A History of Ancient Sculpture. By Lucy M. Mitchell.
1883.
_Mon. dell' Inst._ Monumenti Inediti, pubblicati dall' Instituto
di Corrispondenza Archaeologica. Rome, 1829-1886, and Berlin,
1891.
_Murray._ A. S. Murray, A History of Greek Sculpture. 1880-3.
[Second ed., 1890. The first ed. is quoted, unless otherwise
stated.]
_Mus. Marbles._ A description of the Collection of Ancient Marbles
in the British Museum. 1812-1861.
_Perrot & Chipiez._ G. Perrot and C. Chipiez, Histoire de l'Art
dans l'Antiquite. Paris: from 1882. In progress.
_Prachov._ A. Prachov, Antiquissima Monumenta Xanthiaca. St.
Petersburg, 1871.
_Rev. Arch._ Revue Archeologique. Paris: from 1844. In progress.
_Roehl, I. G. A._ H. Roehl, Inscriptiones Graecae Antiquissimae,
praeter Atticas in Attica repertas. Berlin: 1882.
_Roemische Mittheilungen._ Mittheilungen des k. deutschen
Archaeologischen Instituts, Roemische Abtheilung. Rome: from 1886.
In progress.
_Specimens._ Specimens of Ancient Sculpture ... selected from
different Collections in Great Britain, by the Society of
Dilettanti. London: 1809.
_Stereoscopic._ Photographs of objects in the British Museum,
published by the London Stereoscopic Company, 106 Regent Street,
W.
_Stuart._ James Stuart and Nicolas Revett, The Antiquities of
Athens. London: 1762-1830. [Second ed., 1825-1830. The first ed.
is quoted unless otherwise stated.]
_Synopsis._ Synopsis of the contents of the British Museum.
(Numerous editions.) 1808-1857. [Where a double reference is
given, as 189 (284), the number in the parenthesis was used in
editions of the Synopsis earlier than 1832.]
_Wolters._ Die Gipsabguesse Antiker Bildwerke in historischer Folge
erklaert. Bausteine ... von Carl Friederichs neu bearbeitet von
Paul Wolters. Berlin: 1885.
BRITISH AND METRIC SYSTEMS COMPARED.
1 inch = .025 metre.
1 foot = .304 metre.
3 feet = .914 metre.
1 metre = 39.37079 inches.
INTRODUCTION.
The collection of ancient sculpture in marble, included in the
Department of Greek and Roman Antiquities in the British Museum, may
be said to represent the efforts of more than two centuries, though
the foundation of the Museum itself is of a considerably more recent
date.[1]
The British Museum was established by Parliament in 1753. In that
year, by the statute 26 Geo. II. cap. 22, a trust was created to unite
and maintain as one collection the Museum of Sir Hans Sloane, the
Cottonian Library, and the Harleian Collection of Manuscripts.
Sir Hans Sloane (1660-1753),[2] physician, botanist, and President of
the Royal Society in succession to Newton, had formed in his lifetime
a very extensive museum, consisting mainly of books, natural history
collections, and ethnographical objects. At the same time classical
antiquities were represented by bronzes, gems, vases, terracottas, and
a few sculptures in marble. The examples, however, of Greek sculpture
were few and unimportant, and in most instances they cannot now be
recognized with certainty from the brief entries in Sir Hans Sloane's
catalogue. Such as they were, they were chiefly derived from the
collection of John Kemp, an antiquary and collector early in the
eighteenth century (died 1717). The Sloane Collection included the
sepulchral vase, No. 682 in the present volume; a small relief with
two dogs and a wild boar; a figure of Asclepios, a few heads, busts,
urns of marble or alabaster, and a few Greek and Latin inscriptions.
Three of the pieces of sculpture in the Museum are said by Sloane[3]
to have been derived from the Arundel Collection, which was the first
great collection of classical antiques formed in this country. Thomas
Howard, Earl of Arundel (1585-1646), was the first Englishman who
employed agents to collect for him in Greece and the Greek Islands,
as well as in Italy. The collection thus formed was broken up in the
reign of Charles II. The inscriptions were given by Henry Howard,
afterwards sixth Duke of Norfolk, to the University of Oxford in 1667.
The sculptures were scattered. A part passed through the hands of the
Earls of Pomfret to the University of Oxford, while others were lost,
or dispersed among private collectors.[4] The few examples named
above thus found their way into the original collection of the
British Museum. A more important fragment, however, from the Arundel
Collection was added to the Museum at an early date, namely the bronze
head, formerly known as Homer,[5] which was presented by the
ninth Earl of Exeter in 1760. This head had previously been in
the collection of Dr. Richard Mead,[6] physician and antiquary
(1673-1754), and was sold with his collection in 1754.[7]
Between the foundation of the British Museum in 1753 and the accession
of the Townley Collection in 1805, the collection of sculpture made
but slow progress. The first donor of sculpture was Thomas Hollis
(1720-1774), of Corscombe, in Dorsetshire, a collector, and benefactor
to several branches of the Museum. In 1757 Hollis gave a collection
of antiquities, including several marbles, chiefly small busts and
inscriptions.[8] In 1764 he gave a Greek relief, which cannot be
identified, and in 1765 a marble head of a Faun.
In 1772 Matthew Duane (lawyer and antiquary, 1707-1785) joined in a
gift of sculptures with Thomas Tyrwhitt (1720-1786), a scholar,
who also bequeathed his library of classical authors to the British
Museum. The sculptures in question[9] were purchased by the donors at
an auction in London,[10] in order that they might be put in a place
of safety.
The year 1772 is also noteworthy as the date of the first
Parliamentary grant for the augmentation of the Museum collection. The
House of Commons in that year voted a sum of L8410 for the purchase
of the valuable museum of antiquities which had been formed by Sir
William Hamilton (1730-1803), British Ambassador at Naples, 1764-1800.
The vases formed the most important section, but the collection also
contained several sculptures in the round and in relief.[11] On the
other hand a square altar with reliefs[12] was presented by Sir W.
Hamilton in 1776, and perhaps also a head of Heracles.[13] A colossal
foot of Apollo[14] was given in 1784.
In 1780 an interesting relief, No. 750, was presented by Sir Joseph
Banks, and Col. the Hon. A. C. Fraser, of Lovat (1736-1815). Sir
Joseph Banks (1743-1820), traveller, botanist, and President of the
Royal Society, was a great benefactor to the Library and Botanical
collections, but his gifts of sculpture were limited to this relief,
and to a relief representing Jupiter and Ceres, presented in 1809.
Charles Townley gave two marble fountains[15] in 1786, but his main
collections were not added to the Museum till after his death. A
valuable gift was received from the Society of Dilettanti, about
1795, consisting of the sculptures and inscriptions collected by the
expedition to Ionia which had been sent out by that Society in 1764,
under the direction of Dr. Richard Chandler. The collection included
several Attic reliefs,[16] and some important inscriptions, among them
the well-known report on the progress of the Erechtheion.[17] In 1870
the same Society presented the fruits of its excavations at Priene,
conducted by Mr. R. P. Pullan.
Two Roman portrait statues, of inferior merit, which had passed into
the hands of the British at the Capitulation of Alexandria, in 1800,
were placed in the Department of Antiquities, in 1802.
The collection of sculpture which had thus slowly come into existence
during the first fifty years of the Museum's history, received its
most brilliant accessions during the first quarter of the present
century.
The great collection that had been formed by Charles Townley[18] was
purchased in 1805 by Act of Parliament, 45 Geo. III. cap. 127, for
L20,000, a sum greatly below the value of the sculptures. Charles
Townley (1737-1805), of Townley, in Lancashire, acquired a large part
of his marbles, during a residence in Italy, between 1768 and 1772,
but continued collecting, after his return to England. The chief
sources from which he formed his museum were the following: (1) the
older Roman collections, from which Townley made numerous purchases;
(2) the excavations carried on by Gavin Hamilton, a Scotch painter
living in Rome (died 1797), and by Thomas Jenkins, an English banker;
(3) occasional purchases from older English collections. Thus the
relief of Exakestes[19] was derived from the collection of Dr. Richard
Mead (see above). The relief of Xanthippos[20] had been brought to
England by Dr. Anthony Askew, a physician, who visited Athens and the
East, about 1747, and compiled a manuscript volume of inscriptions,
now in the British Museum (Burney MSS., No. 402). Several pieces[21]
were also obtained from the collection formed at Wimbledon by Lyde
Browne, a virtuoso and Director of the Bank of England, who died in
1787.
The accession of the Townley Collection in 1805 made necessary the
erection of a special building in the garden of the then existing
Montague House, and also caused the creation of a separate Department
under Taylor Combe, for the custody of the antiquities, which had been
previously attached to the Library.
In 1814, the Phigaleian sculptures were purchased of the explorers[22]
in a public auction at Zante, and the Museum thereby acquired its
first series of sculptures from a Greek building. A fragment, which
had been lost during the transportation of the marbles,[23] was
presented by Mr. J. Spencer Stanhope in 1816.
Thomas Bruce, seventh Earl of Elgin (1766-1841), whose collection
was the next and greatest addition to the British Museum, had been
appointed British Ambassador to the Porte in 1799. On his appointment,
he resolved to make his time of office of service to the cause of art,
and accordingly engaged a body of five architects, draughtsmen and
formatori, under Lusieri, a Neapolitan portrait painter, to make
casts, plans and drawings from the remains in Greece, and more
particularly at Athens. While the work was in progress, Lord Elgin
became aware of the rapid destruction that was taking place of the
sculptures in Athens. The success of the British arms in Egypt
having made the disposition of the Porte favourable to the British
Ambassador, a firman was obtained which sanctioned the removal of the
sculptures. The whole collection, formed by Lord Elgin's agents, was,
after long negotiations, and an enquiry by a Select Committee of the
House of Commons, purchased of Lord Elgin for L35,000 in 1816. It
consists of sculptures and architectural fragments from the Parthenon,
the Erechtheion, and other Athenian buildings; casts, which have
now become of great value, from the Parthenon, the Theseion, and
the Monument of Lysicrates; a considerable number of Greek reliefs,
principally from Athens; fragments from Mycenae and elsewhere;
drawings and plans.
The marbles and casts of the Parthenon acquired in the Elgin
Collection, have since been supplemented, not only by casts of
sculptures newly discovered at Athens, but also by the additions of
fragments, removed from Athens by occasional travellers, and acquired
for the Museum by donation or purchase. The gifts include a head of a
Lapith,[24] from the Duke of Devonshire, and pieces of the frieze from
Mr. C. R. Cockerell,[25] and Mr. J. H. Smith-Barry;[26] also from the
Society of Dilettanti[27] and the Royal Academy.[28]
Lord Elgin was actively assisted in the East by his secretary, William
Richard Hamilton (1777-1859), who afterwards became Under-Secretary
of State for Foreign Affairs (1809-1822). From Mr. Hamilton the
Museum received a few sculptures, including a sepulchral relief from
Tarentum.[29]
In 1824 the British Museum obtained by bequest the collections of
Richard Payne Knight (1749-1824), a learned but fanciful antiquarian,
and a leading member of the Society of Dilettanti. Payne Knight's
collection was especially rich in bronzes, gems, and coins, but it
also contained a series of marble portrait busts.
The next addition of importance was the collection of sculptures and
casts brought at the public expense in 1842 from Xanthos and other
sites in Lycia, discovered by Sir Charles Fellows (1799-1860), in the
course of his journeys of 1838 and 1840.[30]
In 1846, permission was given by the Porte to the then British
Ambassador, Sir Stratford Canning, afterwards Viscount Stratford de
Redcliffe (1786-1880), to remove twelve slabs of the frieze of
the Mausoleum from Halicarnassos. These sculptures, long known to
travellers,[31] were taken from the walls of the castle of Budrum, and
presented by the Ambassador to the British Museum.
Ten years later the influence of Lord Stratford de Redcliffe was
exerted to support Sir Charles Newton in his explorations in Asia
Minor. Sir Charles Newton exchanged his position at the British
Museum, in 1856, for the post of British Vice-Consul at Mitylene,
which he held till 1859, and in that capacity he was able, on
behalf of the Trustees, to excavate the sites of the Mausoleum at
Halicarnassos, and of the temple of Demeter at Cnidos. He also removed
the archaic statues of Branchidae, and collected several minor pieces
of sculpture. The excavations on the site of the Mausoleum added four
slabs to the series presented by Lord Stratford de Redcliffe in 1840.
One additional slab was purchased in 1865 of the Marchese Serra, of
Genoa.
While the excavations of the Mausoleum were in progress, the Crimean
campaign afforded an opportunity to Col. Westmacott to form
a collection of sculptures from Kertch and the neighbourhood,
illustrating the later stages of Greek art on the Euxine.
In the years 1860-1861, Captain, now General Sir R. Murdoch Smith,
R.E., and Commander E. A. Porcher, R.N., carried out a series of
excavations on the site of Cyrene, 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 Aphrodite, and
elsewhere.
The excavations which were carried on at Ephesus by the late Mr.
John Turtle Wood,[32] for the British Museum, began in 1863, and
were continued till 1874, the site of the great temple of Artemis not
having been determined before the spring of 1870. Besides excavating
the site of the temple, Mr. Wood obtained inscriptions and sculptures
from the Odeum, the great Theatre, and the road to the temple of
Artemis.
The site of Naucratis in the Egyptian Delta was discovered by Mr. W.
M. Flinders Petrie, and was excavated, partly by the discoverer, and
partly by Mr. E. A. Gardner, at the cost of the Egypt Exploration
Fund in the years 1884-6.[33] The most important objects found were
fragments of pottery, but there were also some architectural remains,
and archaic statuettes of interest.
In 1889 and 1891, various sculptures, including a head of Eros from
Paphos, and a large capital with projecting bulls' heads from the
Cyprian Salamis, have been presented by the Cyprus Exploration Fund.
Besides the proceeds of the systematic researches enumerated above,
the collection of sculpture has been frequently increased during the
present century with the specimens collected by private travellers in
the East. Thus in 1818, H. Gally Knight (1784-1846), an antiquarian
and writer on the history of architecture, with N. Fazakerly,
presented a statue from Athens.[34] In 1820, J. P. Gandy Deering
(1787-1850), an architect who had taken part in the Dilettanti
Expedition to Ionia of 1811, presented sculptures that he had
discovered at Rhamnus in Attica.[35] In 1839, Colonel W. M. Leake, an
eminent traveller and topographer (1777-1860), presented several Greek
sculptures.[36] A small collection of reliefs, and of architectural
fragments from Athens and elsewhere, was purchased from H. W. Inwood,
the author of a treatise on the Erechtheion.
In 1861, the fifth Earl of Aberdeen presented a collection which had
been formed in Greece in 1801 by George, fourth Earl of Aberdeen, a
connoisseur, known to his contemporaries as "Athenian Aberdeen."[37]
In 1864 a collection of sculptures was purchased which had been formed
by Percy Clinton Sydney Smythe, sixth Viscount Strangford (1783-1855),
formerly Ambassador to the Porte, and which included the "Strangford
Apollo."[38]
Amongst purchases that have taken place from time to time we may also
mention that of the Apollo[39] from the collection of the Comte de
Choiseul-Gouffier in 1818. In 1864 several Graeco-Roman sculptures[40]
were purchased from the Farnese Collection at Rome. The museum of the
Duc de Blacas, purchased in 1867, contained the head of Asclepios
from Melos, and the relief discovered at the same time.[41] For
the numerous cases not here mentioned in which sculptures have been
acquired by donation or bequest, the reader is referred to the pages
of the catalogue.
Finally, it may be observed that not a few sculptures in the British
Museum have been found under peculiar circumstances in this country.
Such specimens have been brought to England by travellers, whose
collections have afterwards been broken up, lost or neglected, and
have been rescued by chance from warehouses, gardens, or masons'
yards.[42]
1: For the history of the collections in the British Museum, see
Edwards, _Lives of the Founders of the British Museum_;
Michaelis, _Ancient Marbles in Great Britain_, introduction.
2: There is a portrait of Sloane in the Mediaeval Room, and a bust
by Roubiliac in the Ceramic Gallery.
3: The entries in the Sloane Catalogue are:--"218. A vase of red
and grey marble with green veins, with a cover from the Earl of
Arundel's Collections. 222. A busto of Tully (?) when young.--Arundel.
223. A small Venus (?).--Arundel."
4: Michaelis, _Ancient Marbles_, p. 6.
5: _Mus. Marbles_, II., pl. 39.
6: There is a bust of Mead by Roubiliac in the Ceramic Gallery.
7: _Mus. Meadianum_, Pars altera, p. 219.
8: Cf. _Mus. Marbles_, V., pl. 1, fig. 3; pl. 6, fig. 4;
pl. 7, fig. 1; pl. 12, fig. 4.
9: Nos. 639, 703, 737.
10: _Archaeologia_, III., p. 230.
11: Nos. 774, 780; _Graeco-Roman Guide_, I., No. 140B.
12: _Graeco-Roman Guide_, II., No. 53.
13: _Mus. Marbles_, I., pl. 11.
14: _Graeco-Roman Guide_, II., No. 117.
15: _Graeco-Roman Guide_, II., Nos. 45, 61.
16: Nos. 605, 637, 642.
17: _Greek Inscriptions in Brit. Mus._, No. XXXV.
18: There is a bust of Townley in the Department of Antiquities.
19: No. 704.
20: No. 628.
21: _Mus. Marbles_, III., pl. 6; X., pls. 3, 5; XI., pl. 37.
22: See p. 270.
23: Part of No. 534.
24: 342, _3_.
25: 327, _4_.
26: 325, _75_.
27: 325, _50_.
28: 325, _85_.
29: Nos. 446, 712.
30: See p. 45, for a further account of the travels of Fellows.
31: _Antiquities of Ionia_, II. (1797), suppl., pl. 2.
32: See p. 24.
33: See p. 61.
34: No. 153.
35: Nos. 154, 460; cf. also No. 784.
36: Including Nos. 798, 816.
37: Including Nos. 632, 633, 644, 710, 802, 808, 811, 812.
38: No. 206. See also Nos. 302, 627, 651, 653, 666, 678, 722.
39: No. 209.
40: No. 401; _Graeco-Roman Guide_, I., Nos. 33, 45, 109, 132,
134; II., No. 96.
41: Nos. 550, 809.
42: See Nos. 211, 643, 652, 667, 680, 693, 699, 726, 736.
PART I.
_ARCHAIC PERIOD._
SCULPTURES FROM MYCENAE.
The sculptures contained in the first section of this catalogue are
derived from the site of Mycenae, the first four being fragments of
important works of architecture. There is great uncertainty as to
the date and origin of the Mycenaean monuments. A theory frequently
advanced supposes that they are remains of an old civilization whose
centre was Argolis, and which was swept away by Dorian invaders. If
this view is accepted, Nos. 1-6 are separated by a long interval of
years, and by a time of great political change, from the remaining
sculptures in this volume. From No. 7 onwards we have works produced
during the historical period; but the remains of Mycenae acquire
interest from the consideration that they may be authentic memorials
of a dynasty only dimly remembered in the Homeric Poems.
[Sidenote: =1-4.=]
Fragments of architecture from the building, commonly known as the
'Treasury of Atreus' at Mycenae. This building is a dome-covered tomb
(_tholos_) of beehive shape, approached by a long passage (_dromos_).
It is cut out from the side of a hill, and built of heavy masonry,
covered with earth, so as to form a tumulus. It was partially
excavated by Lord Elgin, and more completely in 1879 by the Greek
Archaeological Society. The fragments Nos. 1-4 are parts of an
elaborately decorated doorway to the tomb. They have been incorporated
in a somewhat fanciful restoration which was made by Donaldson, and
which has been much modified by later investigators.
For plans and views, see Stuart, 2nd ed., IV. pls. 1-5 (with
Donaldson's restoration). Dodwell, _Pelasgic Remains_, pls. 9, 10.
_Athenische Mittheilungen_, IV., p. 177, pls. 11-13 (Thiersch);
Mitchell, p. 143. Donaldson's restoration is based on an earlier
attempt by Lord Elgin's artists, which is now among the Elgin
drawings in the British Museum.
[Sidenote: =1.=]
Fragment from the 'Treasury of Atreus' at Mycenae. The decoration
consists of three bands of the wave pattern, separated by mouldings.
Two of these bands are in low relief; the third is in high relief,
with a hole bored in the centre of each spiral for the insertion of
glass or metal ornaments. Among the tools employed by the artist, the
chisel, saw, and the tubular drill, were plainly included. From the
fact that the end of the fragment is cut at an acute angle, it is
inferred that this fragment was placed above the doorway of the
building, in contact with a relief of triangular form. It is also
possible that it may have formed part of a triangular slab above the
door. A piece of red marble, similarly decorated, which is now at
Athens, exactly fits the apex of the triangular opening (_Athenische
Mittheilungen_, iv., pl. 13, fig. 1, A.).--_Elgin Coll._
Red marble. Height, 1 foot 4-1/4 inches; width, 3 feet 2-3/4
inches. Stuart, 2nd ed., IV., pl. 4, fig. 10; p. 32; cf. pl. 5;
Dodwell, _Tour_, II., p. 232; Murray, I., p. 38; Wolters, No. 3.
[Sidenote: =2.=]
Fragment from the 'Treasury of Atreus' at Mycenae. The decoration
consists of a band of the wave pattern, and a band of lozenges in low
relief, the bands being separated by mouldings of similar character to
those of No. 1. The saw and chisel were used by the artist.
This slab, according to Donaldson, formed a part of the architrave,
over the entrance to the building. According to Dodwell, it was
'found by the excavators of the Earl of Elgin, near the Treasury of
Atreus.'--_Elgin Coll._
Hard green limestone; height, 1 foot 6 inches; width, 3 feet 6
inches. Stuart, 2nd ed., IV., pl. 4, fig. 9; cf. pl. 5; Dodwell,
_Tour_, II., p. 232; Murray, I., p. 39; Wolters, No. 2.
[Illustration: Fig. 1.--Restored Capital from the 'Treasury of Atreus'
(after Puchstein).]
[Sidenote: =3.=]
Fragment from the 'Treasury of Atreus' at Mycenae. This fragment,
which is decorated with a portion of a wave pattern enclosed by two
mouldings meeting at an acute angle, is a part of one of the columns
that flanked the entrance to the building. These columns were
decorated with an elaborate system of ornament, composed of zigzag
bands of the wave pattern, best understood on reference to drawings of
the complete column (_cf._ fig. 1). The tubular drill has been used as
in No. 1.--_Presented by the Institute of British Architects_, 1843.
Hard green limestone; height, 11 inches; width, 9 inches. For
drawings of the restored column, with its capital (formerly taken
for the base) compare Stuart, 2nd ed., IV., pl. 4, figs. 1-5, pl.
5. Dodwell, _Tour_, II., pl. facing p. 232; Murray, I., p. 40;
Puchstein, _Das Ionische Capitell_, p. 50. For fragments of the
capital, see Gell, _Itinerary_, pl. 7; Mitchell, p. 145, fig. 70.
[Sidenote: =4.=]
Fragment from the 'Treasury of Atreus' at Mycenae. This is a part
of the lower member of the capital of a pilaster flanking the great
doorway (_cf._ fig. 1).--_Presented by the Institute of British
Architects_, 1843.
Hard green limestone; height, 3-1/2 inches; width, 10 inches.
Puchstein, _Das Ionische Capitell_, p. 50.
[Sidenote: =5.=]
Fragment of relief. Head and shoulder of rampant lion. From the shape
of the fragment it appears to have been a part of a triangular relief
filling the space above a doorway. (Compare No. 1 and the Gate of
Lions at Mycenae.) The lion's paw is extended as if towards another
lion confronting him. A pattern is drawn in fine lines on the
shoulder. Behind the lion is a branch of laurel.
[Illustration: Fig. 2.--Relief from Mycenae (?), No. 5.]
A part of this relief has been exposed to a corroding influence, which
has acted uniformly on the surface, so that the design is sunk, but
not obliterated.--_Mycenae (?)_ _Elgin Coll._
Limestone; height, 1 foot 10-1/4 inches; width, 2 feet 2 inches.
_Synopsis_, No. 204 (158). Murray (2nd ed.), I., p. 61.
[Sidenote: =6.=]
Fragment of relief. Forelegs and part of body of bull standing to
left. A joint is worked in the stone, in front of the bull.--_Mycenae
(?)_ _Elgin Coll._
Green limestone, closely resembling that of No. 5, but not
identical with it. Both are composed principally of flakes of
mica, which are, however, larger and more abundant in No. 6 than
in No. 5. Height, 1 foot 4-1/2 inches; width, 2 feet 5 inches.
_Synopsis_, No. 224 (160).
[Illustration: Fig. 3.--Relief from Mycenae, No. 6.]
SCULPTURES FROM BRANCHIDAE.
The temple and oracle of Apollo at Didyma, near Miletus, in Asia
Minor, were from time immemorial in the hands of the priestly clan
of the Branchidae, whose name came to denote the place itself. This
temple was destroyed by the Persians--probably by Darius on the
suppression of the Ionian Revolt--about 495 B.C. (Herod. vi., 19. See,
however, Strabo, xiv., p. 634; xi., p. 518.) After its destruction,
the temple was not rebuilt till the time of Alexander. The temple was
connected with the harbour Panormos by the Sacred Way. Along this the
sculptures stood at intervals. They are dedicatory offerings made to
Apollo, probably by the persons represented.
The following are the materials for fixing the period to which the
sculptures of Branchidae must be assigned. It is certain that none of
them are later than the destruction of the temple by the Persians,
and the latest of them (No. 16) appears a generation earlier than
the works associated with that period. On the other hand, there is no
reason to place the oldest before the early part of the sixth century
B.C. Thus these sculptures cover the period of (say) 580-520 B.C.
On epigraphic grounds, the date may be more closely defined. It is
believed that the older form for [Greek: e E (TN: drawn as 2 vertical
boxes)] was changed to H (TN: E =Eta) shortly before 550 B.C. By this
criterion, Nos. 10, 17, belong to an older group, and No. 14 to a
later group. An inscribed base now in the British Museum with the name
of an artist, Terpsicles, also belongs to the older group (Roehl,
_I.G.A._, 484). It has been suggested that Chares of Teichioussa (No.
14) was one of the local tyrants who were established after the
destruction of the kingdom of Croesus (546 B.C.), and this agrees well
with the epigraphical evidence.
The statues of Branchidae are of interest because they exhibit the
process by which the grotesque coarseness of primitive work tends
towards the stiff and formal refinement that marks the later stage of
archaic art. The series in the British Museum breaks off before
the second stage has been completely attained, but it can be well
supplemented by a seated female figure from Miletus, now in the Louvre
(Rayet et Thomas, _Milet et le Golfe Latmique_, pl. 21).
The sculptures of the Sacred Way were discovered by Chandler in
1765 (_Antiqs. of Ionia_, 1st ed., I. p. 46; Chandler, _Travels in
Asia Minor_, 1775, p. 152). They were more accurately examined by
Gell, and the second _Dilettanti_ expedition in 1812 (_Antiqs. of
Ionia_, 2nd ed., 1821, Part I., p. 29, vignette, and ch. III.,
pl. 1; Mueller, _Denkmaeler_, I., pl. 9, fig. 33). A more accurate
sketch was made by Ross (_Arch. Zeit._, 1850, pl. 13). Such of
the sculptures as could be found in 1858 were removed by Sir C.
Newton; Newton, II., p. 527. On the inscriptions see Kirchhoff,
_Studien_, 4th ed., pp. 19, 25.
[Sidenote: =7.=]
Female figure, seated on a chair, with her hand resting on her knees.
The head is wanting, and the upper part of the body is much mutilated.
The figure wears a long chiton, with sleeves, and a diploidion.
The feet of this figure (as of all the other figures) are bare. The
drapery falls down in front of the legs in stiff conventional folds.
The sleeve, however, of the chiton is worked in a more natural manner.
There are remains of a key-pattern on the sides of the cushion of the
chair.--_Sacred Way, Branchidae._
Parian marble; height, 3 feet 9 inches. Mansell, No. 607.
[Sidenote: =8.=]
Male figure, seated on a chair, with his hands resting on his knees.
The head, shoulders, left forearm, and hand are wanting. The figure
wears a long chiton with sleeves and a mantle. The lower part of the
chiton is entirely conventional, but parts of the mantle, and the
outlines of the arms are worked after nature. On the ends of
the cushion there is a pattern of zigzag lines.--_Sacred Way,
Branchidae._
Parian marble; height, 3 feet 11-1/4 inches. Newton, II., p. 534;
Mansell, No. 604 (left).
[Sidenote: =9.=]
Female figure, seated on a chair with hands resting on her knees. The
right hand is wanting, and also the toes and front of the base, which
seem to have been attached separately. The figure wears a long chiton
and a mantle, which passes over the back of the shoulders, under the
right arm, and in both directions across the left shoulder. Neither
garment has indications of fold, and the edges are conventionally
treated. The face, as far as can be seen, was full and thick. The hair
falls in pointed tresses, the undulations of which are indicated in a
conventional manner. The right ear is finished with care. This
chair has no cushion, the drapery of the figure being seen under the
arms.--_Sacred Way, Branchidae._
Parian marble; height, 5 feet 2 inches. Newton, I., pl. 75 (2nd
from right); Rayet et Thomas, _Milet et le Golfe Latmique_, pl.
26 (right); Overbeck, _Gr. Plast._, 3rd ed., I., p. 94, fig. 11c;
Wolters, No. 7.
[Sidenote: =10.=]
Male figure, seated on a chair, with the right hand resting on the
right knee, and the left hand beside the left thigh. The head, and the
fingers of the left hand are wanting. The figure wears a chiton with
sleeves, and a mantle, which passes round the body, under the right
arm, and passes in both directions over the left shoulder, so as
to hang down in folds over the knees. The ends of the cushion, the
sleeves of the chiton, and a part of the chiton seen on the left knee,
are decorated with the key pattern.
On the left arm of the chair is the inscription: [Greek: Eudemos me
epoie(i)n]--"Eudemos made me."--_Sacred Way, Branchidae._
Parian marble; height, 5 feet 1 inch. Newton, I., pl. 75 (right);
pl. 97, No. 71; II., p. 534; p. 783; Kirchhoff, _Studien_, 4th
ed., p. 26; Roehl, _I.G.A._, 485; Roberts, _Greek Epigraphy_, p.
162.
[Sidenote: =11.=]
Male figure, seated on a chair, with left hand on left knee, and
right hand, with palm turned upwards, on right thigh. The head, right
shoulder, and right hand are wanting. The figure wears a chiton with
sleeves, and a mantle. The folds of the lower parts are entirely
conventional, but those of the upper part of the chiton are indicated
by delicate wavy grooves. The hair falls behind in tresses which are
cut off square on the shoulders.--_Sacred Way, Branchidae._
Parian marble; height, 4 feet 4 inches; Newton, I., pl. 74
(right); Mansell, Nos. 603 (left), 604 (right).
[Sidenote: =12.=]
Male figure, seated on a chair, with left hand resting on left knee,
and right hand, with palm turned upwards, by right knee. The head,
shoulders, and breast, and the right hand are wanting. The figure
wears a chiton with sleeves, and a mantle, which passes under
the right arm, while the ends cross the left shoulder in contrary
directions. The artist has attempted to render the fine folds of the
upper part of the chiton.
The four legs of the chair are decorated with a design which appears
to be developed from the lotus bud, and is seen on Assyrian reliefs.
On the back of the top rail of the chair is the late inscription:
[Greek: Nike Glaukou], which is either "Nike, daughter of Glaukos,"
or, perhaps, a formula of the Christian period, "Victory of
Glaukos!"--_Sacred Way, Branchidae._
Parian marble; height, 5 feet. Newton, I., pl. 97, No. 73; II.,
p. 531, fig. 2; p. 787; Kirchhoff, _Studien_, 4th ed., p. 20.
[Sidenote: =13.=]
Male figure seated on a chair, with left hand resting on left knee,
and right hand, with palm turned upwards, by the right thigh. The
head and the right hand are wanting. The figure wears a chiton, and a
mantle which passes round the body under the right arm, and passes in
both directions over the left shoulder, so as to hang down in folds
before the knees. The artist has attempted to render the fine folds of
the upper part of the chiton, and has decorated the front legs of the
chair as in No. 12. The statue has been broken and repaired in ancient
times with lead cramps.--_Sacred Way, Branchidae._
Marble; height, 4 feet 8 inches. Newton, pl. 75 (second from
left); II., p. 531, fig. 1; Mansell, No. 605; Overbeck, _Gr.
Plast._, 3rd ed., I., p. 94, fig. 11b.
[Sidenote: =14.=]
Statue of Chares, a male figure, seated on a chair, with left hand
resting on left knee, and right hand, with palm turned upwards, by the
right thigh. The head and hands are wanting. The figure wears a chiton
with sleeves and a mantle which passes under the right arm, while the
ends pass in contrary directions over the left shoulder. The sleeves
of the chiton are bordered with a key pattern, which is doubled along
the seam.
On the right leg of the chair is the inscription:
[Illustration: [Greek: Chares eimi ho Kle(i)sios Teichio(u)s(s)es
archos . agalma to(u) Apollonos.]]
"I am Chares, son of Kleisis, ruler of Teichioussa. The statue is the
property of Apollo."--_Sacred Way, Branchidae._
Parian marble; height, 4 feet 10 inches. Newton, pl. 74 (left);
pl. 97, No. 72; II., pp. 532, 784; Mansell, No. 614; Rayet et
Thomas, _Milet et le Golfe Latmique_, pl. 25; Dieulafoy,
_L'Art Antique de la Perse_, Part III., pl. 15; Wolters, No.
6; Kirchhoff, _Studien_, 4th ed., p. 19; Roehl, _I.G.A._, 488;
Roberts, _Greek Epigraphy_, p. 163; _Palaeographical Society,
Facsimiles_, I., No. 76.
[Sidenote: =15.=]
Male figure, seated on a chair, with left hand on left knee, and right
hand by right thigh. The head and right hand are wanting. The figure
wears a chiton with sleeves and a mantle which passes under the right
arm, while the ends cross the left shoulder in contrary directions.
The fine folds of the upper part of the chiton are indicated.--_Sacred
Way, Branchidae._
Parian marble; height, 4 feet 2 inches.
[Sidenote: =16.=]
Female figure, seated on a chair, with hands on her knees. The
head and feet are wanting. The figure wears a sleeved chiton with a
diploidion and a veil. The sleeves terminate with long folds. The veil
falls down over the shoulders, in numerous folds.
In attempting to indicate the legs with greater detail than his
predecessors, the artist has rendered them as if they were nude;
but in naturalness and freedom this statue is conspicuously the most
advanced of the series.--_Sacred Way, Branchidae._
Parian marble; height, 4 feet. Newton, pl. 75 (left); Mansell, No.
603 (right); Rayet et Thomas, _Milet et le Golfe Latmique_, pl.
26 (left); Overbeck, _Gr. Plast._, 3rd ed., I., p. 94, fig. 11a;
Wolters, No. 7.
[Sidenote: =17.=]
Lion, recumbent, with right fore-paw passing in front of the body, and
with left paw laid over it. The hind quarters are half turned over,
the animal lying on the right haunch. The head is wanting. The mane
is rendered by stiff pointed locks of hair of conventional form. The
pose, however, of the animal shows careful study of nature.
On the flank is the inscription:
[Illustration]
1. [Greek: Ta agalmata tade anethesan hoi Or-
ionos paides to(u) archego(u), Thales
kai Pasikles kai Hegesandros k[a]i Eu-
bios kai Anaxileos, de[ka]ten to A-
5. pol(l)oni.]
"The sons of Orion, the governor, Thales, Pasicles, Hegesander, Eubios
and Anaxileos dedicated these statues as a tithe to Apollo."--_Sacred
Way, Branchidae._
Marble; height, 2 feet 6-1/4 inches; length, 7 feet. Newton, I.,
pl. 97, No. 66; II., p. 777; Kirchhoff, _Studien_, 4th ed., p. 26;
Roehl, _I.G.A._, 483; Roberts, _Greek Epigraphy_, p. 161; Mansell,
No. 615.
[Sidenote: =18.=]
Sphinx or lion, recumbent. This figure has been called a Sphinx or a
lion-sphinx. The distinguishing marks of a Greek Sphinx are wanting,
as the head is lost, and the figure is wingless.--_Sacred Way,
Branchidae._
Marble; height, 4 feet 2 inches; length, 6 feet 11-1/2 inches.
_Antiqs. of Ionia_, 2nd ed., I., p. 29; Ross, _Arch. Zeit._, 1850,
p. 132; Mueller, _Denkmaeler_, I., pl. 9, No. 33; Newton, II., p.
535; Milchhoefer, _Athenische Mittheilungen_, IV., p. 50.
[Sidenote: =19.=]
Beardless male head, from an archaic statue. The left shoulder
is preserved. The hair falls in tresses, as in the case of No.
9.--_Branchidae._
Marble; height, 1 foot 3 inches; Rayet et Thomas, _Milet et le
Golfe Latmique_, pl. 27.
[Sidenote: =20.=]
Female head (unfinished (?)) from an archaic statue. The figure wears
a veil which covers the whole of the head, except the face. The ears
are indicated beneath the veil.--_Branchidae._
Marble; height, 9 inches.
[Sidenote: =21.=]
Relief, with figures moving to the right, in a dance. It is incomplete
at both ends, and appears to have been part of a frieze formed of
several slabs. On the left are a woman and a man joining hands. On
the right is a woman between two men; of the man on the right only the
right leg is preserved. The right hand of the woman is seen behind,
while her left hand is held by the man before her. The man on the left
of this group has some object, perhaps a cup, in his right hand
which is stretched out behind him. Between the two groups, and in the
background, a woman rushes to the right, holding branches (?) in her
raised hands.
The men are considerably larger than the women. The women wear a plain
chiton, the men a chiton and mantle. All have bracelets, and long
hair, which falls in a peculiar manner over the forehead; one wears
a taenia, the remainder have stephanae. All the limbs are indicated
under the draperies, even those of the figures in the background,
which are seen through their own draperies and those of their
companions.--_Presented by J. Scott Tucker, Esq., R.N. Karakewi
(Teichioussa), near Branchidae._
Marble; height, 1 foot 9 inches; width, 2 feet 11 inches. Rayet et
Thomas, _Milet et le Golfe Latmique_, pl. 27; Brunn, _Denkmaeler_,
No. 101 B.
SCULPTURES FROM LYDIA.
The following sculptures were found in 1882 by Mr. George Dennis,
C.B., in one of the tumuli at Bin Tepe, near Sardes. Perrot (v., p.
904) suggests that they may have been part of a series of reliefs of
a hunting scene, decorating the sepulchral chamber. The date is
uncertain, but the reliefs may well be earlier than the fall of
Croesus.
[Sidenote: =22.=]
Relief. Three horsemen moving to the right. They wear large helmets
and cuirasses, with shoulder plates, and carry spears.
The figures are cut in a narrow panel, and appear to have served an
architectural purpose.--_Bin Tepe, Sardes._
Marble; height, 7-1/4 inches; width, 1 foot 5 inches. Perrot and
Chipiez, V., p. 903, fig. 535; Murray, _Gr. Sculpt._, 2nd ed., I.,
p. 107.
[Sidenote: =23.=]
Relief. Three deer, moving to the right, grazing. From a panel nearly
similar to the preceding.--_Bin Tepe, Sardes._
Marble; height, 6-3/4 inches; width, 1 foot 4 inches. Perrot and
Chipiez, V., p. 904, fig. 536; Murray, _Gr. Sculpt._, 2nd ed., I.,
p. 107.
SCULPTURES FROM EPHESUS.
The great temple of Artemis (or Diana), at Ephesus, which ranked among
the seven wonders of the ancient world, was built in the middle of the
4th century B.C. It was, according to tradition, the latest of a long
series of buildings. Not fewer than eight successive temples have been
enumerated by Falkener (_Ephesus_, p. 214; cf. Pliny, _H. N._, xvi.,
213). The excavations, however, have only produced the remains of two
temples. The earlier of the two, which is here described, is
probably that which was begun early in the sixth century B.C., by
the architects Theodoros, Chersiphron and Metagenes, was in course of
construction during the reign of Croesus (Brunn, _Gr. Kuenstler_, ii.,
p. 382), and was burnt by Herostratos on the night of Alexander's
birth (356 B.C.). The later temple, the remains of which are exhibited
in the Ephesus Room, was then built to replace that which had been
burnt; and the excavations have proved the interesting fact that the
most remarkable features of the later temple were borrowed from its
predecessor.
The extant fragments of the early temple were found by the late Mr.
J. T. Wood, in excavations which he carried on at Ephesus for the
Trustees of the British Museum. These fragments had, for the most
part, been used as building materials, and were extracted from certain
massive piers which rested against the foundations of the walls of the
temple cella. Mr. Wood assigned the piers to the Byzantine period, but
only adduced evidence to show that they were later than the walls of
the temple. It is therefore possible that they may have been added at
an early period, to strengthen the foundations.
Wood, _Ephesus_, pp. 190, 259. For the reconstruction of the
archaic temple, see _Journ. of Hellen. Studies_, X. (1889), p.
1 (A. S. Murray). The material is a finely-grained marble, with
occasional strongly marked blue veins.
ARCHITECTURAL FRAGMENTS.
[Sidenote: =24.=]
Part of a wall-stone from the archaic temple.
Length, 2 feet 7-1/2 inches; width, 1 foot 8 inches.
[Sidenote: =25.=]
Capital of Ionic column. Several fragments have been discovered,
from which it is possible to reconstruct with tolerable certainty the
capitals and necking of the columns of the archaic temple.
_Journ. of Hellen. Studies_, X., p. 8.
[Sidenote: =26.=]
Fragment of volute from cap of column. The groove between two
mouldings is filled with two strips of lead to which gold leaf is
attached.
Length, 7 inches. Wood, _Ephesus_, p. 245; _Journ. of Hellen.
Studies_, X., p. 9.
[Sidenote: =27.=]
Fluted fragment of column. The drum to which this fragment belonged
was 4 feet 3 inches in diameter, and had 40 flutings.
Height, 1 foot 10 inches; width, 3 feet 6 inches.
[Sidenote: =28.=]
Fragment of the base of an unfinished column, with torus moulding and
horizontal flutings only partially carried out.
Height, 1 foot 4 inches; width, 3 feet. _Journ. of Hellen.
Studies_, X., p. 5, part of fig. 3_b_.
[Sidenote: =29.=]
Base of sculptured column. The column has necessarily been
reconstructed from various fragments, which cannot be proved to have
belonged originally to the same column, but the combined fragments
serve to give a general idea of the appearance of the column. (Plate
I.)
[Sidenote: 1.]
The sculpture is surmounted by an egg and tongue moulding 11-1/2
inches high, which is not shown in the plate, _Journ. of Hellen.
Studies_, x., pl. 3. There are considerable remains of red paint.
[Sidenote: 2.]
Immediately below the sculptures is a moulding, which contains
fragments inscribed as follows:
[Greek: BA KR AN EN],
which have been restored as [Greek: Ba[sileus] Kr[oisos]
an[ethek]en.] 'King Croesus dedicated (the column).' It is known
from a statement of Herodotus that Croesus gave most of the
columns of the temple at Ephesus [Herod. i. 92, [Greek: Kroiso de
esti kai alla anathemata en te Helladi polla ... en de Epheso hai
te boes hai chryseai kai ton kionon hai pollai]]. It is probable
that the columns were inscribed with dedicatory inscriptions,
of which we here have fragments. The later temple had a similar
series of inscriptions. The columns offered by Croesus must be
earlier than the date of his fall, 546 B.C. The inscriptions are
no doubt of the same age as the columns, and they may have been
seen by Herodotus (Hicks, _Greek Inscriptions in Brit. Mus._,
dxviii.).
[Sidenote: 3.]
Below the moulding is the restoration of an early Ionic base.
(_Journ. of Hellen. Studies_, x., pl. 3, and p. 8).
The following fragments are inserted in the restoration of the
sculptured base:--
[Sidenote: 4.]
Upper part of male figure in high relief standing to the right,
wearing a close-fitting tunic, with sleeves to the elbows, and
having a lion's skin about the body and with long hair. The upper
part of the face is broken away. The right arm was bent at the
elbow, and crossed the body.
Height, 2 feet. _Journ. of Hellen. Studies_, X., pl. 3.
[Sidenote: 5.]
Lower part of male figure in high relief standing to the right,
wearing what appears to be a himation, falling to the knees.
Height, 3 feet 3 inches. Murray, I., p. 112; _Journ. of
Hellen. Studies_, X., pl. 3.
[Sidenote: 6.]
Female head, to the right, in high relief. The hair is enclosed
by a diadem, and falls down on the shoulders. A large circular
earring in the right ear. There are considerable remains of dark
red paint in the hair. The chin is broken away.
Height, 1 foot 1/2 inch. Murray, I., p. 111.
[Sidenote: 7.]
Middle part of a female figure, to the right, in high relief. The
figure wears a tunic, tied with a narrow girdle, and a diploidion
which fell in long folds at the sides. A key-pattern was painted
on the central fold of the dress.
Height, 1 foot 2 inches.
The following fragments from the bases of the columns, are not
inserted in the restoration:--
[Sidenote: =30.=]
Fragment, in high relief, of the head and shoulders of a figure, from
the drum of a column. The front surface is broken away, but the figure
appears to have looked to the front, with long hair falling on the
shoulders, which are draped.
Height, 1 foot 3 inches.
[Sidenote: =31.=]
Fragment, in high relief, of the right thigh of a draped figure,
standing to the right.
Height, 1 foot 1-1/2 inches. Worked above with a bed for another
drum.
[Sidenote: =32.=]
Middle part of a draped figure to the left in high relief. The figure
wears a tunic with sleeves and himation. The left hand is pressed
close to the thigh.
This fragment is similar in style to the sculptures on the columns,
but must have come from a rectangular base, corresponding to the
rectangular bases in the later temple.
Height, 1 foot 2 inches. Murray, I., p. 113.
[Sidenote: =33.=]
Fragment of a head containing the middle of the face. A straight edge
is worked along the left cheek.
Height, 8-1/2 inches.
[Sidenote: =34.=]
Fragment of the left side of a female head, wearing a band across the
forehead, a veil, and a circular earring. Some red on the lips.
Height, 9-1/2 inches.
[Sidenote: =35.=]
Fragment of the upper part of a head, wearing a close-fitting veil,
with curls between the veil and the forehead.
Height, 4 inches.
[Sidenote: =36.=]
Fragment of the right side of a head, containing the cheek, ear, and a
part of a veil which falls behind the ear.
Height, 8 inches.
[Sidenote: =37.=]
Fragment of a head, containing the left ear, and wearing a veil; hair
falls down at the back of the head.
Height, 6 inches.
[Sidenote: =38.=]
Fragment of a head, similar to the last.
Height, 9-1/2 inches.
[Sidenote: =39.=]
Fragment of the left side of a head, turned to the left, and wearing a
veil. It contains a part of the ear and eye.
Height, 6 inches.
[Sidenote: =40.=]
Fragment from the top of a head, with hair.
Height, 6 inches.
[Sidenote: =41.=]
Fragment from the right side of a head, with part of the neck, and
hair falling down. The hair is coloured red.
Height, 3-1/2 inches.
[Sidenote: =42.=]
Fragment, from the right side of a head, containing the top of the ear
and hair falling over it.
Height, 4 inches.
[Sidenote: =43.=]
Fragment of drapery, terminating in zigzag folds.
Height, 7-1/2 inches.
[Sidenote: =44.=]
Fragment of drapery, with the bottom of several folds. It has an
incised maeander, as in No. 29, 7, and a palmette ornament painted in
red.
Height, 6 inches.
[Sidenote: =45.=]
Fragment of the lower moulding of a sculptured base, with a left great
toe to the right, and the remains of a rectangular object rising from
the moulding.
Height, 6-1/2 inches; width, 1 foot 6-1/2 inches.
THE CORNICE OF THE ARCHAIC TEMPLE.
The restoration of the Sculptured Cornice, which has been built up
from the small fragments excavated by Mr. Wood, is certainly accurate
in its general outlines, although the result is quite unique in form.
In place of the small cornice with floral decorations, common in later
temples (compare the cornice from Phigaleia, No. 505), the archaic
temple of Artemis was surmounted by a lofty cornice, 2 ft. 10-3/4 in.
high. Lions' heads projected at intervals, and drained off the
rain water. The intervals between the lions' heads were occupied by
metope-like compositions, carved in a delicate early style.
The original frieze probably extended along the two long sides of the
temple. The existing remains are small portions of at least thirty
figures. It is therefore impossible to reconstruct the separate groups
with much certainty, although the subjects can, to a certain extent,
be conjectured. An attempted restoration of a combat between a Lapith
and a Centaur is exhibited. The frieze also included chariots and
horses; warriors in chariots, and on foot; and perhaps scenes with
Harpies.
The central group on the cornice with the combat of a Centaur and
Lapith is composed of the following fragments. See _Journ. of Hellen.
Studies_, x., p. 2, for sketches of No. 46, 1-18.
[Sidenote: =46.=]
[Sidenote: 1.]
Fragment with the forelegs, which are human, and the hind hoof of
a kneeling Centaur. In front the greaved left leg of a Lapith.
Height, 7 inches; width, 1 foot 7 inches. _Journ. of Hellen.
Studies_, X., pl. 4, fig. 6.
[Sidenote: 2.]
Hand with branch, from top of cornice, presumed to be the hand of
a Centaur.
Height, 4 inches; width, 5-1/2 inches.
[Sidenote: 3.]
Part of branch, from top of cornice.
Height, 3 inches; width, 8 inches.
[Sidenote: 4.]
Back of head of Lapith, to left, with part of top moulding of
cornice. Short curling hair.
Height, 5 inches; width, 6 inches.
[Sidenote: 5.]
Lower part of cuirass of Lapith worn over a short tunic.
Height, 3 inches; width, 8-1/2 inches.
Two female figures are placed as spectators on each side of the
combat. On the left the remains are:--
[Sidenote: 6.]
Part of a female head, turned to the right, and wearing a taenia.
Height, 4-1/2 inches; width, 4-1/2 inches.
[Sidenote: 7.]
Part of drapery of standing female figure.
Height, 4 inches; width, 6 inches.
[Sidenote: 8.]
Feet of standing female figure, wearing shoes, with slightly
turned-up toes, and three bands across each shoe.
Height, 6 inches; width, 7-1/2 inches.
The remains of the figure on the right of the group are:--
[Sidenote: 9.]
Upper part of female head to the left, wearing a diadem.
Height, 3 inches; width, 5 inches.
[Sidenote: 10.]
Part of middle of female figure, standing to the left, wearing
chiton and himation. The left hand by the side.
Height, 3-1/2 inches; width, 8-1/2 inches.
The following fragments have also been inserted in the restored
cornice:--
[Sidenote: 11.]
Head of youth, to the left, with short hair.
Height, 3 inches; width, 6 inches. _Journ. of Hellen.
Studies_, X., pl. 4, fig. 1.
[Sidenote: 12.]
Upper part of female head, to the left. The chief mass of the hair
is confined by a peaked cap, the ends passing out through the top.
A part of the hair terminates in short curls round the forehead,
and part falls down in front of the ears. A laurel wreath
surrounds the cap.
Height, 4 inches; width, 6 inches. _Journ. of Hellen.
Studies_, X., pl. 4, fig. 2.
[Sidenote: 13.]
Right foot and part of skirt of female figure walking, to the
right.
Height, 9 inches; width, 8 inches.
[Sidenote: 14.]
Right foot of a figure standing, to the left.
Height, 3 inches; width, 4-1/2 inches.
[Sidenote: 15.]
Part of the back of the head and the shoulders of a figure
standing with his back turned to the front. He wears a chiton, and
the hair falls in curls on his shoulders.
Height, 5 inches; width, 5 inches. _Journ. of Hellen.
Studies_, X., pl. 4, fig. 3.
[Sidenote: 16.]
Fragment containing the legs of a figure standing with back turned
to the front, perhaps a part of the figure described in the last
number. The right leg wears a greave. This fragment also contains
the right thigh of a figure kneeling to the front.
Height, 10 inches; width, 1 foot 2 inches.
The restored part of the cornice also contains:--
[Sidenote: 17.]
Lion's head. The front and lower parts of the face are wanting.
Height, 10 inches; width, 1 foot 2 inches.
[Sidenote: 18.]
Lion's head. The front of the upper jaw is wanting. Red paint in
the ears and the mouth.
Height, 1 foot 6 inches; width, 1 foot 7 inches.
The following are the principal fragments, from the cornice, not
inserted in the restoration:--
_Male Figures, turned to the Right._
[Sidenote: =47.=]
[Sidenote: 1.]
Parts of head and breast of figure, with helmet, tunic, and
cuirass (?). Long hair falls over the shoulder.
Height, 7 inches; width, 7 inches. _Journ. of Hellen.
Studies_, X., pl. 4, fig. 5.
[Sidenote: 2.]
Part of helmet, and top edge of cornice; also the fingers of the
right hand of the figure, throwing a spear (?).
Height, 2-1/2 inches; width, 6 inches.
[Sidenote: 3.]
Right shoulder, covered with shoulder plates.
Height, 4-1/2 inches; width, 7 inches.
[Sidenote: 4.]
Left thigh, bent at knee; a corner of drapery falls on the thigh;
wears greave.
Height, 6 inches; width, 7 inches.
[Sidenote: 5.]
Right knee of figure advancing to right; behind, the leg, wearing
a greave, of a fallen warrior (?).
Height, 5-1/2 inches; width, 5 inches.
[Sidenote: 6.]
Knees of a prostrate warrior, wearing greaves, trodden down by a
horse's hoof.
Height, 3 inches; width, 7 inches.
[Sidenote: 7.]
Knee wearing greave, slightly bent.
Height, 4 inches; width, 3-1/2 inches.
[Sidenote: 8.]
Left knee, partly covered with drapery.
Height, 3 inches; width, 3-1/2 inches.
_Male Figures to the Left._
[Sidenote: 9.]
Upper part of helmeted head with vizor raised.
Height, 3-1/2 inches; width, 5-1/2 inches.
[Sidenote: 10.]
Upper part of helmet, with projecting horn.
Height, 2-1/2 inches; width, 5-1/2 inches.
[Sidenote: 11.]
Back of neck and lower part of helmet.
Height, 2-1/2 inches; width, 5 inches.
[Sidenote: 12.]
Hips of a draped male (?) figure.
Height, 4 inches; width, 8-1/2 inches.
[Sidenote: 13.]
Right forearm of a figure lying prostrate, with head to the right
and with the arm bent at the elbow.
Height, 4 inches; width, 8 inches.
[Sidenote: 14.]
Right leg, wearing greave, of a figure striding to the left.
Height, 5 inches; width, 9-1/2 inches.
[Sidenote: 15.]
Right arm, extended, wearing a shield.
Height, 4 inches; width, 7 inches.
_Figures with the Back turned to the Front._
[Sidenote: 16.]
Shoulders and upper part of back of a figure wearing a chiton.
Height, 5 inches; width, 8-1/4 inches.
[Sidenote: 17.]
Shoulders and upper part of back of a figure wearing a chiton
across the right shoulder only.
Height, 3 inches; width, 8-1/2 inches.
_Female Figures to the Right._
[Sidenote: 18.]
Lower moulding of cornice, with the right foot and lower edge of
the drapery of a figure moving to the right.
Height, 8 inches; width, 1 foot 3 inches.
[Sidenote: 19.]
Lower moulding of cornice with the left foot and part of the
drapery of a figure moving to the right.
Height, 5 inches; width, 7-1/2 inches.
_Female Figure to the Front._
[Sidenote: 20.]
Part of the right arm, extended, and wearing a shield (?). A short
sleeve reaches to the elbow, coming from beneath a shoulder plate.
Height, 4 inches; width, 8 inches.
_Female Figures to the Left._
[Sidenote: 21.]
Fragment of a figure turned to the left, with fine delicate
drapery (?).
Height, 3-1/2 inches; width, 6 inches.
[Sidenote: 22.]
Left hand, beside the thigh, holding a fold of drapery.
Height, 3 inches; width, 9 inches.
[Sidenote: 23.]
Fragment of a draped figure, containing the legs between the knees
and the ankles.
Height, 4 inches; width, 4 inches.
_Fragments of Chariot Groups, and Horses._
[Sidenote: 24.]
Left knee and part of the left thigh of a figure stepping to the
right into a chariot. The figure wore a short chiton, probably
under a cuirass, and greaves. Part of the inside of the chariot is
painted red.
Height, 4 inches; width, 9-1/2 inches.
[Sidenote: 25.]
Fragment containing the hips of a male figure, stepping to the
left into a chariot. The figure wears a chiton beneath a cuirass,
and perhaps holds a spear.
Height, 4 inches; width, 7-1/2 inches.
[Sidenote: 26.]
Right hand closed and holding a rein (?).
Height, 2 inches; width, 5-1/2 inches.
[Sidenote: 27.]
Right arm of a youthful nude figure holding the reins of a horse
standing to the left, whose head is half turned to the front.
Height, 7 inches; width, 1 foot 1 inch. _Journ. of Hellen.
Studies_, X., pl. 4, fig. 4.
[Sidenote: 28.]
Part of a horse's head to the left, with ear and mane.
Height, 4 inches; width, 7-1/2 inches.
[Sidenote: 29.]
Back of a horse to the left, with a narrow thong tied about it.
Height, 4-1/2 inches; width, 7 inches.
[Sidenote: 30.]
Part of the hind legs of a horse to the left.
Height, 7-1/2 inches; width, 6 inches.
[Sidenote: 31.]
Two hoofs, side by side, as of the horses in a biga.
Height, 4 inches; width, 5 inches.
[Sidenote: 32.]
Part of lower moulding of cornice, and of chariot wheel. The
moulding and the wheel are painted red, and the ground of the
relief bright blue.
Height, 10 inches; width, 1 foot 6 inches.
[Sidenote: 33.]
Part of a chariot wheel, and of the body of a chariot, painted
red.
Height, 6 inches; width, 8 inches.
[Sidenote: 34.]
Left hand grasping the leg of a horse, or of a Centaur (?). The
ground is blue and red.
Height, 4 inches; width, 6-1/4 inches.
[Sidenote: 35.]
Fragment of a horse's tail, and part of the body of a chariot (?).
Height, 3 inches; width, 3-1/2 inches.
_Figures of Harpies (?)._
Certain fragments, which are not easily deciphered, appear
to belong to groups of winged draped beings, perhaps Harpies,
carrying off diminutive figures. The snakes in Nos. 36-38 suggest
the aegis of Athene; but if No. 38 is correctly interpreted, some
Gorgon-like figure must be imagined.
[Sidenote: 36.]
Neck and chin of a figure to the left, having a large circular
earring, and a fringe of snakes round the neck.
Height, 3-1/2 inches; width, 8 inches.
[Sidenote: 37.]
Fragment with snakes.
Height, 1-1/2 inches; width, 5 inches.
[Sidenote: 38.]
Left hand of the figure No. 36 holding a draped figure under
the knees. The right arm must be supposed to have supported the
smaller figure, near the shoulders. To the right is part of a
pendent wing.
Height, 3 inches; width, 9 inches.
[Sidenote: 39.]
Fragment with extremities of hair, and the beginning of a large
wing, curving upwards.
Height, 3-1/2 inches; width, 5 inches.
[Sidenote: 40.]
Fragment, apparently of the same wing as No. 39.
Height, 3-1/2 inches; width, 6 inches.
[Sidenote: 41.]
Fragment of draped thighs of a figure half kneeling to the left
with the right leg foremost. If the figure above described was
half kneeling in the usual early scheme for the Gorgon, this
fragment may well have belonged to it.
Height, 4 inches; width, 6 inches.
[Sidenote: 42.]
Fragment, perhaps from the same figure as the last.
Height, 3 inches; width, 5 inches.
[Sidenote: 43.]
Fragment of a winged, long-haired figure (?). The hair falls in a
mass on the tip of the wing.
Height, 7-1/2 inches.
[Sidenote: 44.]
Fragment of a Harpy, with a large bird's leg protruding from fine
drapery; behind, a part of a wing. Compare the Harpies on the
Harpy Tomb, No. 94.
Height, 6-1/2 inches; width, 10 inches.
[Sidenote: 45.]
Fragment, with the leg of a Harpy, to the right (?).
Height, 7 inches; width, 1 foot 3-1/2 inches.
_Miscellaneous Fragments._
[Sidenote: 46.]
Fragment of the lower moulding, and two legs of a pig or ox to the
right.
Height, 7 inches; width, 1 foot 1 inch.
[Sidenote: 47.]
Part of the leg of a chair. Traces of blue paint.
Height, 6 inches; width, 4-1/2 inches.
[Sidenote: 48.]
Part of the same leg of a chair as No. 47, and nearly joining it.
Traces of blue paint.
Height, 5-3/4 inches; width, 3-1/2 inches.
[Sidenote: 49.]
Part of the leg and seat of a chair.
Height, 5 inches; width, 5 inches.
[Sidenote: 50.]
Part of the front leg of the chair to which No. 47 belongs.
Height, 2-1/4 inches; width, 2 inches.
[Sidenote: 51.]
Unintelligible fragment, perhaps derived from the cornice.
Length, 1 foot; height, 6 inches; width, 7 inches.
_Fragments of Lions' Heads, from the Cornice._
[Sidenote: 52.]
Left side of lion's mane, with remains showing the attachment to
the cornice.
Height, 1 foot 3 inches.
[Sidenote: 53.]
Lion's head from the cornice(?). The mouth is closed. The lower
part is wanting.
Height, 1 foot 4 inches.
[Sidenote: 54.]
Upper part of lion's head from the cornice. Red paint on the mane.
Height, 11 inches; width, 1 foot 5 inches.
[Sidenote: 55.]
Right side of lion's head, from the cornice, with eye, ear, and
part of mane.
Height, 7-1/2 inches.
OTHER FRAGMENTS FROM EPHESUS.
[Sidenote: =48.=]
[Sidenote: 1.]
Fragment of the head of an ox, apparently projecting from a
background, in high relief. The head is seen in three-quarter face
to the left.
Height, 1 foot; width, 1 foot 5 inches.
[Sidenote: 2.]
Fragment of the head of an ox, including the forehead and eyes.
Apparently the head is seen in three-quarter face to the left, as
in the preceding.
Height, 10-1/2 inches; width, 1 foot 6 inches.
[Sidenote: 3.]
Fragment with part of the flank of an ox (?), springing from a
square base. Two horns intertwined (?) in relief on the side of the
fragment. If the explanation offered is correct, the animal must
have been part of an architectural member, such as occurs in the
temple of Hera at Samos (Stuart, 2nd ed., vol. iv., Kinnard on
Delos, pl. v.), or in the recently discovered bull's-head capital
from Salamis, in Cyprus (_Journ. of Hellen. Studies_, xii., p.
134).
Height, 1 foot 2-1/2 inches.
SCULPTURES FROM CARIA.
[Sidenote: =49.=]
A series of rude figures in stone and marble which are found in
primitive graves in the islands of the Aegean, and in Caria, have been
conjectured by archaeologists to be works of the early Carians. The
figures in question are for the most part utterly conventional and
gross representations of the female form. Male figures have also been
occasionally found, and more elaborate subjects, such as a seated
figure playing on the harp.
The specimens in the British Museum are exhibited in the First Vase
Room with the pottery found in the same deposits. They are described
in the _Guide to the First Vase Room_ (1883), p. 21, and in the
_Journ. of Hellen. Studies_, v., p. 50. Compare Perrot and Chipiez,
v., pp. 334, 905; _Journ. of Hellen. Studies_, ix., p. 82; _Athenische
Mittheilungen_, xvi., p. 46.
[Sidenote: =50.=]
Torso of female figure holding a dove between her breasts with the
left hand, and holding with the right hand a fold of drapery by
her right side. She wears a long dress, girt at the waist, with a
diploidion and sleeves. The head, and the legs from above the knees
are wanting.--_Theangela, in Caria._
Marble; height, 1 foot 3 inches.
[Sidenote: =51.=]
Beardless male head, having a considerable resemblance to No.
19.--_From the Temple of Apollo, Calymna._
Marble; height, 9 inches. Assigned by Collignon (_Gaz. Arch._,
1886, p. 239) to the same school as No. 205.
SCULPTURES FROM RHODES.
[Sidenote: =52.=]
Female head. The hair is parted over the middle of the head, and is
brought in waving ripples to the ears. At the back of the head it
is sketched in conventional lines. The head is bound with a
taenia.--_Rhodes._
Marble; height, 8-1/2 inches.
[Sidenote: =53.=]
Female head broken off at the top of the neck. The hair is brought
forward over each temple in a plait; a piece of linen is wound round
the head, passing under a band or diadem which encircles the head
behind the ear. The head-dress is arranged so as to leave on the top
of the head an aperture, through which the parting of the hair and a
top-knot are shown. Over the upper part of the ear hang what appear
to be three pendants; the lobe below is covered with an earring in the
form of a circular flower of seven leaves. On the fractured edge of
the neck are remains of drapery.--_Rhodes._
Limestone; height, 5 inches.
[Sidenote: =54.=]
Female figure seated in a chair, with footstool.--_Camiros._
Limestone; height, 4-1/8 inches.
[Sidenote: =55.=]
Naked male figure; the legs broken off above the knees. The palms
of the hands are placed against the thighs; the left leg has been
advanced; parts of the arms are wanting. The hair is drawn back from
the forehead in a smooth mass, and falls behind the ears over the nape
of the neck, where it is cut off square. There are traces of red above
the waist.--_Camiros._
Limestone; height, 10 inches.
[Sidenote: =56.=]
Naked male figure standing with the left foot advanced, and holding
with his right hand the right hind leg of a lion, whose tail he grasps
with his left hand. The head of this figure, the right arm and both
feet are wanting. From the waist to the hips the body has been painted
red all round. The lion has his tongue out; there are traces of red
colour about his mouth.--_Acropolis of Camiros._
Limestone; height, 10-1/4 inches.
[Sidenote: =57.=]
Fragment of a male figure from above the hips nearly to the knees.
The arms have been placed along the sides, with a hand on each
hip.--_Camiros._
Limestone; height, 4-1/4 inches.
[Sidenote: =58.=]
Upper part of a naked male figure broken off at the waist. The hair is
gathered into a thick mass behind the ears, and cut off square at the
nape of the neck; on the top of the head is a snake coiled. The arms
are broken away below the shoulders.--_Camiros._
Limestone; height, 5 inches.
[Sidenote: =59.=]
Upper part of female figure broken off above the waist. She wears a
wreath of upright leaves set between two plain horizontal bands; the
hair falls in a thick mass on each side of the neck. The arms are
broken away.--_Camiros._
Limestone; height, 4-3/4 inches.
[Sidenote: =60.=]
Draped male figure broken off below the knees. He wears chiton with
girdle and upper garment. With both hands this figure holds the young
of some quadruped, probably a kid, in front of his breast. His hair is
parted over his forehead, and falls behind the ears in a thick mass to
the nape of the neck.--_Camiros._
Limestone; height, 5-3/8 inches.
[Sidenote: =61.=]
Upper part of male figure from the base of the neck to the waist. In
the right hand this figure holds a small ibex against his breast. His
left arm is broken.--_Acropolis of Camiros._
Limestone; height, 4-1/5 inches.
[Sidenote: =62.=]
Lower part of a draped figure broken off at the waist. The left hand
holds by the forelegs a fawn, on the body of which the right hand
presses. Both arms are broken off below the elbow.--_Acropolis of
Camiros._
Limestone; height, 7 inches.
[Sidenote: =63.=]
Lower part of a draped figure broken off at the waist, and wearing a
chiton, which is bound with a girdle.--_Camiros._
Limestone; height, 1 foot.
[Sidenote: =64.=]
Lower half of draped figure wearing chiton. At the bottom of the skirt
are traces of a red border; the fingers of the left hand are placed
against the left hip.--_Camiros._
Limestone; height, 7-1/2 inches.
[Sidenote: =65.=]
Lower half of draped figure broken off above the knees. The left
hand has held against the side some object too indistinct to be made
out.--_Camiros._
Limestone; height, 6 inches.
[Sidenote: =66.=]
Lower half of draped figure broken off above the knees. In bad
condition.
Limestone; height, 4-1/8 inches.
[Sidenote: =67.=]
Draped male figure playing on the double flute, which he holds with
either hand. The band for strengthening the muscles used in blowing
the flute, _phorbeia_, is indicated by a red stripe; the chiton is
ornamented with a narrow red stripe on the shoulder down each side,
and round the hem.--_Camiros._
Limestone; height, 9 inches.
[Sidenote: =68.=]
Similar draped male figure playing on the double flute. The _phorbeia_
is indicated by a red stripe across the mouth; the headdress, probably
a wig, comes very low on the forehead, and falls in a thick mass on
the back of the neck. On the head-dress, eyebrows, and flutes, are
traces of black colour.--_Camiros._
Limestone; height, 7-3/8 inches.
[Sidenote: =69.=]
Upper part of draped male figure. In his right hand he holds a lotos
sceptre (?); his left arm hangs down by his left side. A thick mass of
hair falls on each side of the neck.--_Camiros._
Limestone; height, 4-1/2 inches.
[Sidenote: =70.=]
Androsphinx seated on a plinth. On the head are the combined crowns of
Upper and Lower Egypt; in front is a collar, or pectoral; on the
crown are traces of red colour. This Sphinx is a pseudo-Egyptian
work.--_Acropolis of Camiros._
Limestone; height, 5 inches.
[Sidenote: =71.=]
Androsphinx seated on a plinth. On the head are the crowns of Upper
and Lower Egypt.--_Acropolis of Camiros._
Limestone; height, 3-1/2 inches.
[Sidenote: =72.=]
Androsphinx seated on a plinth. From the head falls a mass of long
hair over the back and shoulders; the front of the body is covered
with a collar or pectoral; the upper part of the wings is broken
off.--_Acropolis of Camiros._
Limestone; height, 5 inches.
[Sidenote: =73.=]
Lion seated on a plinth. The mouth is open; the teeth are shown; about
the lips and edge of the mane are traces of red colour.--_Camiros._
Limestone; height, 5-1/4 inches.
[Sidenote: =74.=]
Bird standing on a plinth with wings closed. Head broken off; tail
long and spreading.
Height, 3-1/4 inches.
[Sidenote: =75.=]
The Egyptian ram-headed deity, Knef, seated in a chair. He wears a
long chiton bound with a girdle, on each side of which a lappet falls
as far as the knees; a thick mass of hair falls from behind each horn
on to the breast.--_Lindos, in Rhodes._
Limestone; height, 4 inches.
SCULPTURES FROM XANTHOS.
The following sculptures, Nos. 80-97, are the archaic portion of the
collection of sculptures from Xanthos, a town some ten miles from
the sea, in the south-west of Lycia. The people of Lycia were a
non-Hellenic race, but the sculptures of Xanthos are distinctly Greek,
though not without traces of oriental influence (cf. No. 86). In the
most important remains, especially in the Harpy Tomb (No. 94) we find
the characteristics of the Ionian School of Asia Minor.
The sculptures of Xanthos were discovered by Mr. (afterwards
Sir) Charles Fellows in April, 1838. (Fellows, _A Journal
written during an excursion in Asia Minor_, 1838.) The discoverer
revisited Xanthos in 1840, made a more minute examination of
the remains, and published a further account. (_An Account
of Discoveries in Lycia, being a Journal kept during a second
excursion in Asia Minor_, 1840-1841, quoted as "_Lycia_.") In
consequence of this work, a naval expedition, assisted by Fellows,
was employed in Jan., Feb., 1842, to ship the Marbles of Xanthos
for transport to England. (Fellows, _The Xanthian Marbles;
their acquisition, and transmission to England_, 1843. This was
reprinted by Fellows in _Travels and Researches in Asia Minor,
more particularly in the Province of Lycia_, 1852, pp. 423-456.)
Additional sculptures and casts from Lycia were obtained by a
second expedition in 1843. (_Athenaeum_, 1844, pp. 176, 339, 715,
779.) Besides the published material, valuable information may
be obtained from the plans and drawings by Mr. George Scharf,
who accompanied Fellows as draughtsman in 1840. The originals are
preserved in the British Museum, and referred to in this Catalogue
as Scharf's Drawings. See also Solly, _Memoirs of W. J. Mueller_,
1875; Beecheno, _E. T. Daniell, a Memoir_, 1889, p. 40; and
the publication of the Austrian expedition to Lycia, _Reisen in
Lykien_, vol. I. ed. by Benndorf and Niemann, 1884; vol. II. by
Petersen and von Luschan, 1889.
[Sidenote: =80.=]
Sepulchral chest (soros), adorned with reliefs on the four sides. This
tomb was made of a single block of hard coarse limestone. It was found
by Fellows in its original position, on a stele, which appears to have
been about 9 feet high. On the top of the chest there is a rebate to
receive the lid, which formed a separate block and has not been found.
The lower part of the block was sawn off by Fellows, to facilitate
transport. (_Xanthian Marbles_, p. 34.)
Perrot (vol. v., p. 396) is perhaps right in thinking that this is
the oldest of the Xanthian monuments, and represents Lycian sculpture
before the Ionian influence had begun to make itself felt.
The appearance of the monument as found is shown in Scharf's
drawing, here reproduced (pl. ii.), and also in a water-colour
drawing by W. J. Mueller, now in the Print Room of the British
Museum. Solly, _Memoir of W. J. Mueller_, pl. facing p. 216;
Fellows, _Asia Minor_, p. 168.
[Sidenote: 1.]
_South Side._--Lion to the left, recumbent, in high relief.
Between the paws of the lion is seen the head of a bull, which has
been thrown over by the lion, and is seized by the throat. Below
the forepaws of the lion is a tablet, which seems to have traces
of an inscription.
Height, 3 feet 1-1/2 inches; length, 4 feet; height of relief,
10 inches. Fellows, _Lycia_, pl. facing p. 176 (very poor);
Prachov, pl. 1, fig. 1; Perrot and Chipiez, V., p. 392, fig. 277;
p. 395, fig. 280; Dieulafoy, _L'Art. Ant. de la Perse_,
III., pl. 16.
[Sidenote: 2.]
_East Side._--Frieze in low relief, with its right end broken
away. A horseman wearing helmet and cloak rides to the right. He
is followed by an attendant, wearing a short chiton, and carrying
a spear on his right shoulder. Behind, a warrior moves to the
left, wearing a helmet with a large crest, a shield, and spear.
On the left, a shield, supposed to be fastened on a wall. This
relief, with its flat surface, devoid of detail, was probably
painted.
Height, 1 foot 6-1/2 inches; length, 3 feet 3 inches; height of
relief, 1/2 inch. Fellows, _Lycia_, pl. facing p. 176 (very
inaccurate); Perrot and Chipiez, V., p. 394, fig. 279.
[Sidenote: 3.]
_North Side._--Lioness, in high relief, recumbent to right,
playing with cubs. A cub is seen, with its forepaws across the
paws of the lioness, and with its hind quarters to the right; a
second cub lies on its back, over the first. The lower part of the
relief is broken away.
Height, 2 feet 4 inches; length, 3 feet 6 inches; height of
relief, 6 inches. Perrot and Chipiez, V., p. 391, fig. 276.
[Sidenote: 4.]
_West Side._--This side seems to have contained two separate
entrances to the tomb. On right and left were two groups in low
relief. (A.) On the right, a man, nude, with long hair, and armed
with sword, contending with a lion.
Height, 1 foot 10 inches; length, 1 foot 6 inches; height of
relief, 3/4 inch.
(B.) On the left a draped figure seated in a chair; left side
alone remains.
Height, 1 foot 7 inches; height of relief, 3/4 inch. Fellows,
_Lycia_, pl. facing p. 176; Prachov, pl. 1, fig. 1; Perrot and
Chipiez, V., p. 392, fig. 277; p. 393, fig. 278; Dieulafoy,
_L'Art Ant. de la Perse_, III., pl. 16.
[Sidenote: =81.=]
Frieze of Satyrs and animals, found by Fellows, built into the walls
of the Acropolis at Xanthos.
Beginning from the left, the slabs of the frieze contain:
[Sidenote: 1, 2.]
Bearded Satyr in combat with a wild boar. The Satyr, who has
pointed ears and tail, makes a thrust at the boar with a branch
torn off a tree. The strange attitude of the Satyr is due to the
artist's difficulty in dealing with the shape of the slab. Slab 1
has been much injured by dripping water. The two slabs are proved
to be connected by the bough which is seen on both.
Prachov, pl. vi. A, a; vi. B, c; Wolters, Nos. 146, 145; Fellows,
_Lycia_, pl. facing p. 174; Brunn, _Denkmaeler_, No. 104.
[Sidenote: 3.]
Lioness, couching for a spring, but with right paw raised.
Prachov, pl. vi. A, e.
[Sidenote: 4.]
Lion devouring deer. This group is of an established conventional
form.
Fellows, _Lycia_, pl. facing p. 174; Wolters, No. 148; Prachov,
pl. vi. B, d.; Dieulafoy, _L'Art Ant. de la Perse_, III., pl. 16;
Brunn, _Denkmaeler_, No. 104.
[Sidenote: 5.]
Lynx to left, with right paw raised.
Prachov, pl. vi. A, b.; Wolters, No. 147.
[Sidenote: 6, 7.]
Bull contending with Satyr, who appears to be in a position
similar to Satyr on slab 1; but a joint cuts off the right leg,
and the left arm is wanting.
Prachov, pl. vi. A, f; vi. B, g. Coarse limestone. The height of
the frieze is 2 feet 6-3/4 inches; the lengths of the slabs are:
(1) 4 feet 9 inches; (2) 6 feet; (3) 5 feet 9 inches; (4) 5 feet
1-1/2 inches; (5) 4 feet 11 inches; (6) 4 feet 9-1/2 inches;
(7) 3 feet 1 inch.
[Sidenote: =82.= 1-8.]
Frieze of cocks and hens. Six cocks and five hens represented as
standing still, picking up food, or fighting. The work is carefully
studied from nature.--_Built into the walls of the Acropolis at
Xanthos._
Coarse limestone; height, 1 foot 4-1/2 inches; combined length of
eight slabs, 28 feet 8 inches; Fellows, _Lycia_, pl. facing p. 174
(two slabs); Wolters, Nos. 136-144; Brunn, _Denkmaeler_, No. 103.
[Sidenote: =83.=]
Part of a tomb (?). From each of two opposite sides, the head and
forepaws of a lioness project. The heads are slightly turned towards
the front.--_Found at the foot of the Inscribed Monument, Xanthos._
Limestone; height, 1 foot 5 inches; length, 4 feet 1-3/4 inches.
Fellows, _Lycia_, pl. facing p. 174.
[Sidenote: =84.=]
Head and neck of a lion, from a tomb (?). Several pieces of the mane
were separately worked and attached.--_Xanthos._
Limestone; height, 1 foot 10 inches.
[Sidenote: =85.=]
Fragment of unfinished relief, with two legs of a seat or couch
(?).--_Xanthos._
Limestone; height, 2 feet 4 inches. Compare Perrot and Chipiez,
V., p. 304, fig. 211.
[Sidenote: =86.=]
A frieze representing a procession moving from left to right. The
figures beginning from the right are:--
[Sidenote: 1.]
An old man, seated in a car, driving two horses. Behind him stood
an attendant, of whose figure a piece of drapery on the next slab
alone remains.
[Sidenote: 2.]
A youth, leading a horse, saddled and bridled. He wears a short
chiton, and carries a whip. Details of the hair were probably
indicated with paint.
[Sidenote: 3, 4.]
A venerable old man, seated in a chair, placed in a war chariot
drawn by two horses. He has long hair, bound with a taenia, and a
long pointed beard. He wears a chiton with sleeves, and a mantle.
He holds a pomegranate flower in his left hand, and a cup (?) in
his right hand. Beside him is a charioteer treated like the youth
of the preceding group. The reins, now lost, were made of bronze.
Youth riding a spirited horse, equipped like the horse of the
second group. The rider wears a chiton with short sleeves, and a
himation. He has long hair falling on the shoulders.
[Sidenote: 5.]
A group of draped persons moving to right, and composed of the
following figures:--
Man (much mutilated) standing to right and turning to front. He
holds a whisk in the right hand, and a spear in the left hand.
Man, carrying a spear over the left shoulder, supporting it with
both hands clasped.
Man moving to right but looking back. He carries a spear on the
left shoulder; right hand holds a fold of the drapery.
Man with spear on left shoulder and whisk in right hand.
Man with spear on right shoulder; left hand holds an edge of the
himation.
Man with spear on left shoulder. The front part only of this
figure is preserved.
The standing figures all wear a long chiton, with long sleeves,
and a himation which is wrapped closely about the body, passing
under the right arm and over the left shoulder.
The size and treatment of the horses on the frieze, and the use of
whisks by the standing figures, show Oriental influences, although
the artistic style is distinctly Greek. The upright crest on the
head of the horse in the fourth group is seen on the horses of
Persepolitan sculpture. Compare the Persepolitan casts in the
British Museum, assigned to 500 B.C., and Fellows, _Lycia_, p.
173. The ends of the horses' tails are also tied with ribbon in
the same way as here. Saddle-cloths occur on early vases from
Daphnae (Petrie, _Nebesheh and Defenneh_, pl. 29, fig. 4), and on
painted sarcophagi from Clazomenae (_Journ. of Hellen. Studies_,
iv., p. 19, fig. 14).
The traces of Persian fashion make it probable that this relief is
later than the Persian conquest of Xanthos by Harpagos (about 545
B.C.).
The architectural disposition of the frieze has not been
ascertained. The slabs were found by Fellows, inserted in a wall
of late date on the Acropolis of Xanthos (Benndorf, _Reisen in
Lykien_, i., p. 86), but it is clear from the square holes that
occur at intervals of 4 ft. 8 in., that stone beams, imitating
wood construction, must once have projected, and from the raised
border round the holes it is seen that this was the intention of
the artist. It is probable that the frieze belonged to a tomb, and
perhaps represented a funeral procession. It is not possible
to say whether it was on the outside or on the inside of the
building. (Compare Nos. 87, 88, and the tomb of Gioel-Baschi.
Compare also the casts of reliefs from Pinara, Nos. 761-4, for the
projecting beam ends.)--_Acropolis of Xanthos._
A similar procession occurs on a sarcophagus from Amathus.
(Cesnola, _Cyprus_, pl. 14.)
Height, 2 feet 9-1/2 inches; combined length of five slabs,
17 feet 4 inches; height of relief, 2 feet 5 inches; but in
parts, upper margin is cut into. Fellows, _Lycia_, pls. facing pp.
173, 177; Prachov, pl. 3; Cesnola, _Cyprus_, pls. 16, 17; Murray,
I., pls. 4-6; Wolters, Nos. 131-134; Wolters in _Jahrbuch des
Arch. Inst._, I., p. 84; Brunn, _Denkmaeler_, No. 102.
[Sidenote: =87.=]
Slab from the left end of a frieze. A woman stands near the foot of a
couch upon which a dead man is laid out. Only the end of the couch
and the left foot of the corpse remain. The woman wears a long chiton,
himation, cap with tassel, and earrings. Behind her stands a male
attendant, wearing a short chiton, drawn up, beneath a girdle. He
holds a small piece of drapery in his left hand.
A groove to the left of the group seems to show that this slab was
at an interior angle of a building. The different dimensions make it
unlikely that it was a part of the same frieze as No. 86.--_Xanthos._
Limestone; height, 2 feet 9-1/2 inches; length, 2 feet 7 inches.
Prachov, pl. 1, fig. 2; Murray, I., pl. 6; Wolters, 135; Wolters
in _Jahrbuch des Arch. Inst._, I. p. 83.
[Sidenote: =88.=]
Slab from the left end of a frieze. A woman wearing a long chiton with
sleeves and a himation stands to right with right hand raised, and
holding a flower(?). She holds a piece of drapery in left hand. Before
her, the remains of another figure.
At the left of this figure is a groove, suggesting that this was an
interior angle stone.--_Xanthos._
Limestone; height, 2 feet 9 inches; length, 3 feet 6 inches.
Prachov, pl. 6 B. _h_; Wolters, _Jahrbuch des Arch. Inst._, I., p.
83.
[Sidenote: =89, 90.=]
Gable end of a tomb. On each side of a doorway is a seated Sphinx, and
above the lintel are two lions.--_Xanthos._
[Sidenote: =89.=]
The Sphinx on the left wears a cap enclosing most of the hair, a
pendant earring, and a narrow taenia. There are traces of red paint
on the cap, and of the markings of feathers on the wings. The head and
fore-quarters of the lion are wanting.
Limestone; height, 3 feet 9 inches; width, 3 feet 1 inch. About 3
inches appear to be wanting on the right of the slab. Prachov, pl.
5, fig. 1 (the head only of the Sphinx); Dieulafoy, _L'Art Ant. de
la Perse_, II., pl. 18, fig. 2; Brunn, _Denkmaeler_, No. 101A.
[Sidenote: =90.=]
The Sphinx on the right of the doorway has her hair confined by a
broad band, and has a pendant earring. The markings of the feathers
may be seen on the wings. When first discovered in 1840, this relief
was brilliantly coloured, as is recorded in a drawing by Scharf. The
ground of the relief was bright blue; the feathers were red, black,
blue, and white. The hair was yellow, and the taenia was painted with
a white pattern on a red ground. The head and fore-quarters of the
lion are wanting.
Limestone; height, 3 feet 4-1/2 inches; width, 3 feet 4 inches.
About 3 inches appear to be wanting on the left of the slab.
Prachov, pl. 5, fig. 2; _Museum of Class. Antiq._, I., p. 251;
Dieulafoy, _L'Art Ant. de la Perse_, II., pl. 18, fig. 2; Brunn,
_Denkmaeler_, No. 101A.
[Sidenote: =91, 92.=]
Gable end of a tomb. On each side of a doorway is a seated Sphinx.
Above the lintel of the door is a space which may have held a relief,
now wanting.--_Xanthos._
[Sidenote: =91.=]
The Sphinx on the left wears a stephane; a tress of hair falls on
the shoulder. There are faint traces of paint on the wing. The
hind-quarters are missing.
Limestone; height, 2 feet 10 inches; width, 2 feet 2 inches. The
joint of the stone is at the left side of the door. Prachov, pl.
4, fig. 2.
[Sidenote: =92.=]
The Sphinx on the right has her hair bound with a narrow taenia. There
are traces of paint on the wing. The hind-quarters are wanting.
Limestone; height, 2 feet 8 inches; width, 3 feet 1 inch. About 3
inches are lost from the left of this slab. Prachov, pl. 4, fig. 1
(the head only).
[Sidenote: =93.=]
Gable end of a tomb. In the centre of the relief is a low column, with
an Ionic capital, of peculiar form. A Siren stands to the front, on
the column. She wears a short chiton, girt at the waist and with loose
sleeves. She has spreading wings and tail, and bird's legs, but human
arms which are extended in front of the wings. The head is wanting.
On each side of the column is a seated male figure. On the left is a
beardless elderly man, wearing himation and chiton, with staff in
left hand and right hand extended. On the right is a bearded old man,
wearing chiton and himation, with staff in right hand and left hand
extended. The back of the head is in part broken away; part was never
represented. The lower part of the relief is wanting. A drawing
by Scharf shows the colouring of the relief when discovered. The
background was blue; the hair, the under side of the Siren's wings,
the drapery of the man on the left, the shaft and part of the capital
of the column were yellow; the drapery of the Siren and of the man
on the right, the seats and part of the capital of the column were
red.--_Xanthos._
Limestone; height, 2 feet 9 inches; width, 3 feet 5 inches.
_Annali dell' Inst._, 1844, p. 150.
THE HARPY TOMB.
[Sidenote: =94.=]
The monument known as the Harpy Tomb was discovered by Fellows among
the ruins of Xanthos on April 19, 1838. It was more carefully examined
and published by him in 1840 (_Lycia_, p. 170, and plate), and was
brought to England in the spring of 1842. The tomb was described by
Fellows in the following terms:--"The Harpy Tomb consisted of a square
shaft in one block, weighing about eighty tons, its height seventeen
feet, placed upon a base rising on one side six feet from the ground,
on the other but little above the present level of the earth. Around
the sides of the top of the shaft were ranged the bas-reliefs in
white marble about three feet three inches high; upon these rested
a capstone, apparently a series of stones, one projecting over the
other; but these are cut in one block, probably fifteen to twenty tons
in weight. Within the top of the shaft was hollowed out a chamber,
which, with the bas-relief sides was seven feet six inches high, and
seven feet square." (Fellows, _Xanthian Marbles_, p. 21; _Asia
Minor_, p. 438.) For views of this tomb see the drawing by Scharf here
reproduced (pl. iii.); also _Mon. dell' Inst._, iv., pl. 2; Benndorf,
_Reisen in Lykien_, i., pl. 26. In Christian times, the tomb was
made the cell of some _Stylites_, or dweller on a column. Traces of
painting and monograms were found on the interior of the chamber.
(Fellows, _Xanthian Marbles_, p. 21; Birch, _Archaeologia_, xxx., p.
186.)
[Sidenote: 1.]
_West Side._--This relief is divided into two unequal parts by a
small doorway which formed the entrance to the tomb. This doorway
may have been filled up with a slab of stone, resembling a funeral
stele, and the idea thus suggested was further carried out by the
sculpture above of a cow giving suck to a calf. (Compare the tomb
on the second frieze of the Xanthian Nereid Monument, _Mon. dell'
Inst._, x., pl. 16, fig. 161.)
On the left of the entrance is an enthroned female figure. She
is large and dignified, and is heavily draped. The left hand
is raised, the right hand is extended and holds a bowl; she
is adorned with stephane 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 stephane and bracelets. With a graceful,
if affected gesture of the right hand she holds up a pomegranate
flower, and in the left hand she holds a pomegranate fruit.
The back of the throne terminates in a swan's head, and the arm
terminates in the head of a ram.
Three maidens, who are nearly alike, except in the attitudes of
the hands, approach this figure. The first raises her mantle and
chiton with the left and right hands respectively. The second has
a pomegranate flower in her left hand, and a pomegranate fruit in
her right hand. The third holds up an egg with her right hand, and
holds the drapery in her left hand.
[Sidenote: 2.]
_North Side._--An old man, draped and bearded, is seated on a
chair to left; with the left hand he holds a spear, with the right
hand he receives a crested helmet which is offered to him by a
young warrior, who stands before him. The warrior has a short
chiton, and leather cuirass, sheathed sword, greaves, and a large
shield, which he supports with the left hand. Beneath the chair is
a small bear.
At each side of this group, but disconnected from it, are figures
commonly known as Harpies. They are represented as beings with
the head, breasts and arms of maidens, while the lower part of the
body is that of a bird conventionally rendered. It terminates in
oval form with a spreading tail and bird's talons attached. Long
wings spring from behind the shoulders and under the arms. Each
creature wears a stephane and chiton (see below). In their arms
and talons each gently carries a diminutive draped female figure,
that makes a gesture, as of affection.
At the right corner of the relief a draped figure crouches on the
ground in an attitude of deep grief, and looks up to the flying
figure above.
[Sidenote: 3.]
_East Side._--A venerable bearded man is seated on a throne,
to the right. He has a sceptre in the left hand, and holds up a
flower in the right hand. The arm of the throne is supported by
a Triton. Before him is a diminutive figure of a boy offering a
cock.
Behind the enthroned figure are two draped male figures, standing
to right. The first holds a pomegranate fruit in the left hand,
and a doubtful object in the right hand. The second, who is
bearded, holds a portion of his drapery with the left hand; with
his right hand he holds his beard.
On the right of the relief is a youth, accompanied by a dog. He
holds a stick with curved handle in his left hand, and has an
uncertain object in his right hand. Part of it was made of metal,
attached by a rivet. It may perhaps have been a kylix with a tall
stem.
[Sidenote: 4.]
_South Side._--A male figure, not bearded, is seated on a throne
to right. He has a sceptre resting on his right shoulder. In the
left hand he holds a pomegranate fruit, and in the right hand an
apple. Before him stands a male (?) figure, holding a dove in
the left hand by the wings, and having the right hand raised in
a gesture of adoration. On each side of the main group, but
disconnected from it, are the winged figures with their burdens as
already described. With certain differences of detail, chiefly in
the positions of the arms of the figures carried, these groups are
nearly similar to those of the north side.
_Drapery, &c._--All the figures on this tomb, except the
"Harpies," the diminutive figures connected with them, and the
warrior, are draped in chiton, and himation or peplos. The figures
borne by the "Harpies" and the figure crouching in grief wear long
chitons only. The "Harpies" wear chitons, of which the sleeves
alone are indicated. All the principal figures wear shoes or
sandals, so far as the feet are preserved, with the exception of
the second figure behind the throne on the east side. The women on
the west side, and the seated figure on the south side wear shoes
with pointed toes. The remaining figures wear sandals only. All
the figures on the east side had metal taeniae or stephanae, the
holes for the attachment of the metal being still visible. The
youth on the east side, as already stated, held a metal object in
his hand.
_Colouring._--The following indications of colour can be traced.
The ground of the reliefs was bright blue. Part of the colour
remains round the profile of the youth on the east side, and under
the right wrist of the first figure behind the throne on this
side. Birch (_Archaeologia_, xxx., p. 192) states that he has seen
scarlet on the crest of the helmet, and Scharf (_Mus. of Class.
Antiq._, i., p. 252) that there were "traces of red in the hollow
of the shields and upon sandals." Elsewhere the colour must be
inferred from the inequalities of the surface of the marble, due
to the unequal protecting powers of the different colours.
There was an egg and tongue pattern on the lower moulding, and a
maeander pattern on parts of the upper moulding. On the west side
the chair of the figure on the right was painted with palmette
ornament. On the east side there was also a palmette pattern on
the side of the throne.
_Interpretations._--The interpretations of this monument,
that have been proposed, may be divided into three groups--
(1.) According to the first commentators, the subject represented
was the rape of the daughters of Pandareos, king of Lycia, by the
Harpies (Homer, _Od._ xx., l. 66. Gibson, in Fellows, _Lycia_, p.
171; Birch, _Archaeologia_, xxx., p. 185.) The objections to this
view are that the subject is an improbable one for representation
on a tomb, that the "Harpies" evidently stand in a kindly relation
towards the persons whom they carry, and that the reliefs do not
agree well with the literary form of the myth. It is also doubtful
whether the "Harpies" were imagined with bird-bodies at the period
of these sculptures. (Furtwaengler, _Arch. Zeit._, 1882, p. 204.)
(2.) In the second group of theories, the enthroned figures are
deities of the lower world to whom the souls of the dead pay
reverence. On the west side are Demeter (left), and Persephone
(right), and three worshippers who carry symbols of life and
birth, as the egg and the pomegranate. The door of the tomb
signifies death, while the cow and calf, immediately above,
suggest the renewal of life. The three seated figures remaining,
are, according to this system, either Zeus (south), Poseidon
(east), and Hades (north), (Braun, _Annali dell' Inst._, 1844,
p. 151), or Zeus viewed under a triple aspect (Curtius,
_Arch. Zeit._, 1855, p. 10). The symbolic system has been most
elaborately worked out by Curtius (_loc. cit._, and _Arch. Zeit._,
1869, p. 10). Thus he regards the "Harpies'" bodies as intended
for eggs, and so symbolical of life. This view is untenable, as
the bodies are of the form usually given to birds in early art
(Conze, _Arch. Zeit._, 1869, p. 78).
(3.) In the third and most recent group of theories, the seated
figures are not deities, but heroified personages, buried in
the tomb, to whom offerings are made by members of their family.
(Milchhoefer, _Arch. Zeit._, 1881, p. 53; Wolters, p. 75.) This
view is supported by analogies found elsewhere (cf. p. 299), while
it avoids the difficulty of supposing deities to be represented
on a tomb. But no parallel has been adduced for such a scene as
a young warrior giving his arms to the figure of an heroified
ancestor; moreover the dignity and adornments of the enthroned
figures seem most appropriate to deities.
On the whole it seems best to suppose that we have on this tomb
scenes connected with death, though we cannot attempt, for want of
knowledge of Lycian mythology, to assign names to the personages
represented. Maidens make offerings to female deities, and men
to male deities. On the east side a boy makes an offering, on the
north side a young warrior gives up his armour, and on the south
side a man offers a bird. Kindly winged beings bear away the souls
of the dead, and the crouching figure on the north side suggests
the grief of the survivors. (Cf. Brunn, _Sitzungsber. d. k.
bayer. Akad. Phil. hist. Cl._, 1872, p. 523, who points out the
succession of ages among the figures, but does not consider the
idea of death to be implied in the central groups of the north,
east, and south sides.)
_Style and Period._--In the Harpy Tomb we have a fine example
of the work by the Ionian School of Asia Minor, whose chief
characteristic is a certain voluptuous fulness of form, and
languor of expression, contrasted with the muscular vigour of the
Doric sculpture, and the delicate refinement characteristic of a
part of the early Attic work (cf. Brunn, _loc. cit._, p. 205, and
Rayet, _Monuments_, No. 13). It is uncertain whether the tomb is
later than the Persian conquest of Xanthos (545 B.C.). It has
a remarkable resemblance to the tomb of Cyrus at Pasargadae as
described by Arrian (vi., 29) and Strabo (xv., 3, 7), although the
force of the parallel is rather diminished if Fergusson (_Nineveh
and Persepolis_, p. 215) has correctly identified the tomb. The
Harpy reliefs are usually assigned to the close of the sixth
century; but a comparison with the sculptures of Ephesus points to
a date nearer 550 B.C.
The Harpy tomb is of marble. The reliefs measure 3 feet 4-1/2
inches in height; 8 feet 2 inches in length on the east and west
sides; 7 feet 6 inches on the north and south sides. Fellows,
_Lycia_, p. 170, and pl.; Birch, _Archaeologia_, XXX., p. 185;
Braun, _Annali dell' Inst._, 1844, p. 133; _Mon. dell' Inst._,
IV., pl. 3; _Rhein. Mus._, N.F., III., 1845, p. 481; Curtius,
_Arch. Zeit._, 1855, p. 2, pl. 73; Overbeck, _Gr. Plast._, 3rd
edit., I., p. 171; Murray, I., p. 116, pl. 3, and figs. 22-25;
Rayet, _Monuments_, Nos. 13-16; Mitchell, p. 187, fig. 88 (west
and south sides); Wolters, Nos. 127-130.
[Sidenote: =95.=]
Fragment of relief, with parts of two female figures, draped and
having sandals, moving to the right in a dance. The relief appears
to have been on the face of a lintel, panelled on its lower
side.--_Xanthos._
Limestone; height, 1 foot 3-1/2 inches. Prachov, pl. 6B, fig.
_i._; Murray (2nd ed.), I., p. 125.
[Sidenote: =96-98.=]
The following sculptures illustrate the way in which the simplicity of
an archaic statue is sometimes preserved in later sculptures serving
an architectonic purpose:--
[Sidenote: =96.=]
Torso of female figure, wearing a long dress with diploidion, falling
in flat surfaces with few folds. The left leg is advanced, the
right hand gathered up a part of the drapery. The head and arms are
wanting.--_Xanthos._
Marble; height, 4 feet 1/4 inch. Prachov, pl. 2, fig. 5.
[Sidenote: =97.=]
Torso of female figure, nearly similar to preceding, but with surface
much mutilated.--_Xanthos._
Marble; height, 2 feet 4-1/2 inches. Prachov, pl. 2, fig. 6.
[Sidenote: =98.=]
Torso of female figure treated like No. 96, but holding the fold of
drapery with the left hand.--_Xanthos._
Marble; height, 3 feet 10-1/2 inches. Prachov, pl. 2, fig. 4.
SCULPTURES FROM NAUCRATIS.
The remains here described were obtained for the most part from the
site of the temple of Apollo at Naucratis, in the Nile Delta. The
site of Naucratis was discovered by Mr. W. M. Flinders Petrie, and the
remains of the temple were found in the course of excavations which he
carried on, in 1884-5. A few sculptures also were found by Mr. E. A.
Gardner in the excavations of 1885-6. The whole of the collections
from Naucratis in the British Museum were presented by the Egypt
Exploration Fund, which conducted the excavations.
Naucratis was a colony of Greeks, settled in Egypt for purposes of
trade. It is situated to the west of the most westerly or Canopic
mouth of the Nile, and is nearly midway between Cairo and Alexandria.
The date of the foundation of Naucratis has been a subject of
controversy. It is known that the colony owed much to Amasis, King
of Egypt (564-526 B.C.). According to the statement of Herodotus (ii.
178), Amasis showed his friendship to the Greeks by giving, to those
who came to Egypt, the city of Naucratis to live in ([Greek: Philellen
de genomenos ho Amasis alla te es Hellenon metexeterous apedeixato,
kai de kai toisi apikneumenoisi es Aigypton edoke Naukratin polin
enoikesai, k. t. l.]). The question has been discussed whether the
words of Herodotus prove that Amasis was the first to allow the Greeks
to live at Naucratis, or whether the account of Strabo (xvii., 1, 18)
can be accepted, according to which Naucratis was already occupied
by Greeks, especially by Greeks of Miletus. If Amasis introduced the
Greeks to Naucratis, no Hellenic remains on the site can be older than
504 B.C. If an earlier settlement is assumed, it may have dated from
the middle of the seventh century.
In either case the temple of the Milesian Apollo would have been among
the earliest buildings erected. Herodotus states that by permission
of Amasis, the Milesians independently founded a temenos of Apollo
([Greek: choris de ... ep' heouton hidrysanto temenos ... Milesioi
Apollonos]). Messrs. Petrie and Gardner, arguing for the older date,
put the foundation shortly after the middle of the seventh century.
The architectural remains are very scanty. Probably much of the first
temple was built of mud bricks. The stone portions may have been used
again in the building of the second temple, whose ornaments were
of marble. Moreover, all marble and stone is eagerly sought for and
removed by the modern Arab diggers.
_Naukratis_, Part I., 1884-5, by W. M. Flinders Petrie and others;
_Naukratis_, Part II., 1885-6, by E. A. Gardner; G. Hirschfeld in
_Rhein. Mus._, N.F., XLII. (1887), p. 209, and XLIV. (1889),
p. 461; Kirchhoff, _Studien_, 4th edit. p. 43; Roberts, _Greek
Epigraphy_, p. 323.
THE FIRST TEMPLE OF APOLLO.
[Sidenote: =100.=]
_Columns._--The architectural members of the first temple were of
limestone. They are insufficient to fix the dimensions of the temple,
which was, however, small. Mr. Petrie supposes it to have been not
more than twenty-five feet broad. A volute and a complete base of an
Ionic column were discovered, but were immediately destroyed by Arabs.
The following fragments are preserved:--
[Sidenote: 1, 2.]
Two members of an Ionic capital, consisting of two courses of
an egg and dart moulding. The upper course is considerably the
larger. The lower course is worked with a rebate to fit the upper
course. Below the mouldings are the tops of the flutings.
Upper course--height, 5 inches; diameter, 1 foot 7-1/2 inches;
lower course--height, 4-1/4 inches; diameter, 1 foot 4-1/2
inches. _Naukratis_, I., pl. 3.
[Sidenote: 3.]
Fragment of necking of a column, of a different design from the
preceding, and surrounded by a pattern of lotus buds and lotus
flowers.
Height, 11 inches; diameter, 1 foot 8 inches. _Naukratis_, I., pl. 3.
[Sidenote: 4.]
Fragment of necking of a column, somewhat similar to the
preceding.
Height, 4 inches; width, 5 inches.
[Sidenote: 5.]
Drum of a limestone column with flutings.
Height, 4-5/8 inches; diameter, 1 foot 6 inches.
[Sidenote: 6.]
Lower part of the base of an Ionic column.
Height, 4 inches; diameter, 1 foot 9 inches. _Naukratis_, I., pl. 3.
MISCELLANEOUS FRAGMENTS FROM FIRST TEMPLE.
[Sidenote: =101.= 1.]
Upper part of an acroterion, worked below with a rebate.
Height, 3-1/2 inches. _Naukratis_, I., pl. 14A.
[Sidenote: 2.]
Angle piece, with half of a palmette.
Height, 5 inches. _Naukratis_, I., pl. 14A.
[Sidenote: 3.]
Fragment of a plane surface of limestone, with a series of circles
painted in blue, white, and red.
Height, 2 inches; width, 7-1/2 inches.
[Sidenote: 4, 5.]
Fragments of two sculptured rosettes, perhaps intended for the
decoration of mud surfaces, and probably derived from the earlier
temple.
Diameters, 4-1/2 inches and 3 inches. _Naukratis_, I., pl. 18,
figs. 7, 8.
THE SECOND TEMPLE OF APOLLO.
[Sidenote: =102.=]
The remains assigned to the second temple are of marble, instead of
limestone. They are too fragmentary for restoration, but include bead
and reel mouldings, egg and dart patterns, portions of palmette and
lotus patterns of elaborate design. Several of the fragments are
brilliantly painted with red and blue. The second temple probably
belongs to the second half of the fifth century.
Compare _Naukratis_, I., pls. 14, 14A.
MISCELLANEOUS SCULPTURES FROM NAUCRATIS.
[Sidenote: =103.=]
Fragment of the lower part of a draped standing figure. In the middle
of the legs the drapery falls in conventional vertical folds. The
figure is painted white with a red stripe down each side.--_From the
temenos of Apollo._
Limestone; height, 1 foot 5 inches. _Naukratis_, I., p. 13.
[Sidenote: =104.=]
Upper part of an incense burner or small altar with rosettes and
Uraei.
Limestone; height, 4-3/4 inches. _Naukratis_, I., pl. 18, fig. 11.
[Sidenote: =105.=]
Part of a model of an Egyptian building.
Limestone; height, 5-1/2 inches. _Naukratis_, I., pl. 18, fig. 1.
[Sidenote: =106.=]
Model of a shrine.
Limestone; height, 8-1/2 inches.
[Sidenote: =107.=]
Portions of a group of two figures leading a bull to sacrifice. Of the
first figure no part remains except the hands which held a rope round
the bull's neck. The second figure stands beside the bull, and places
his right hand on its back. The head is wanting. An amphora stands on
the ground on each side of the figure. Red colour on the drapery and
on the tops of the vases.--_Temple of Apollo._
Limestone; height, 3 inches. _Naukratis_, I., pl. 2, fig. 21.
[Sidenote: =108.=]
Part of a figure kneading dough in a trough. Of the figure only the
hands and feet remain. Traces of red colour.--_Temple of Apollo._
Limestone; height, 2-1/8 inches. _Naukratis_, I., pl. 2, fig. 19.
[Sidenote: =109.=]
Figure seated on a chair with a box on its lap. Before it a table on
which lie four fish. The head of the figure is wanting.--_Temple of
Apollo._
Limestone; height, 1-3/4 inches. _Naukratis_, I., pl. 2, fig. 20.
[Sidenote: =110.=]
Torso of a male statuette, from the neck to the knees, holding a lion
by the tail and hind legs.
Alabaster; height, 5-3/4 inches. _Naukratis_, I., pl. 1, fig. 1.
[Sidenote: =111.=]
Upper part of a statuette of a warrior(?). The figure wears a peaked
helmet, a close-fitting tunic with sleeves, and armlets.
Alabaster; height, 4-1/4 inches. _Naukratis_, I., pl. 1, fig. 2.
[Sidenote: =112.=]
Vessel for holding ointment (_alabastron_). The upper part is in the
form of a female bust. The right hand holds a necklace on the breast.
The left hand is by the side.
Alabaster; height, 7-1/4 inches. _Naukratis_, II., pl. 14, fig.
11.
[Sidenote: =113.=]
Upper part of an _alabastron_ similar to the preceding.
Alabaster; height, 3-1/2 inches.
[Sidenote: =114.=]
Head, wearing a band across the forehead, and having a headdress with
a veil which is gathered back in folds from the front. Red on the lips
and headdress.
Limestone; height, 4 inches. _Naukratis_, I., pl. 1, fig. 5.
[Sidenote: =115.=]
Head, wearing a band across the forehead, from which lappets hang down
before the ears. Delicately executed archaic work.
Alabaster; height, 2-1/2 inches. _Naukratis_, II., pl. 17, fig.
13.
[Sidenote: =116.=]
Fragment of the rim of a basin, supported by a Harpy-like being,
carrying a diminutive figure at her breast. The figure is female, with
spreading wings. On its left side, the body ends in the egg-like form
of the figures on the Harpy tomb. On the opposite side, the form of
the body is uncertain. The head is wanting.
Alabaster; height, 3 inches.
[Sidenote: =117.=]
Nude female statuette, from the neck to the knees. She has necklaces,
armlets, bracelets, and rings, which are partly in relief, and partly
painted red. She wears also a red girdle, from which symbolic eyes are
suspended, one on the abdomen, and one on the small of the back. The
ends of this girdle fall one in front of each thigh, and finish in
lotus flowers.
Limestone; height, 5-3/8 inches. _Naukratis_, I., p. 33.
[Sidenote: =118.=]
Statuette of a Hunter, standing, with two hares and two young boars
slung over his shoulders. He holds his bow in the left hand, his hunting
knife in the right hand. He wears a close-fitting cap, and tunic girt at
the waist. Inscribed [Greek: Kalli[as aneth]e[ke]].--_Temenos of
Aphrodite._
Limestone; height, 1 foot 7-1/2 inches. _Naukratis_, II., pl. 13,
fig. 5.
[Sidenote: =119.=]
Female statuette, wearing long, close-fitting drapery and head-dress;
she wears a necklace and plays on a tympanum.--_Temenos of Aphrodite._
Limestone; height, 5-5/8 inches. _Naukratis_, II., pl. 14, fig. 9.
[Sidenote: =120.=]
Upper half of female statuette wearing close-fitting drapery, and
headdress. She wears a necklace, and holds a flower in the right hand
between her breasts.--_Temenos of Aphrodite._
Limestone; height, 6 inches. _Naukratis_, II., pl. 15, fig. 5.
[Sidenote: =121.=]
Female figure, standing, wearing a close-fitting dress, necklace and
shoes. She holds a part of the drapery in her right hand, before
her body, and a bird in her left hand between her breasts. Necklace,
armlets, bracelets, shoes, and stripes down her dress are painted red.
The head is wanting.--_Temenos of Aphrodite._
Limestone; height, 7-1/8 inches. _Naukratis_, II., pl. 14, fig.
12.
[Sidenote: =122.=]
Male figure, standing, playing on a lyre. He wears a chiton falling
to the feet, a closely-fitting upper tunic, and boots. Parts of the
tunic, lyre and boots are painted red. The head is wanting.--_Temenos
of Aphrodite._
Limestone; height, 7-1/4 inches. _Naukratis_, II., pl. 14, fig.
14.
[Sidenote: =123.=]
Upper part of a female figure, standing. She wears a closely-fitting
dress with long sleeves, and two necklaces. The right hand holds an
ankh (?) near the thigh; on the left hand sits a goat, before her body.
Red paint at the borders of the drapery, and on ankh.--_Temenos of
Aphrodite._
Limestone; height, 4-3/4 inches. _Naukratis_, II., pl. 14, fig. 8.
[Sidenote: =124.=]
Undraped male figure, standing, holding a lion by the hind legs
and tail. The left arm of the figure and the lion's tail are
wanting.--_Temenos of Aphrodite._
Limestone; height, 8-3/4 inches. _Naukratis_, II., pl. 14, fig.
10.
[Sidenote: =125.=]
Part of a bearded figure, closely draped, holding a goat before his
body by the legs. The head and body from the waist of the figure are
wanting.--_Temenos of Aphrodite._
Limestone; height, 3-1/2 inches. _Naukratis_, II., pl. 15, fig. 1.
[Sidenote: =126.=]
Female figure, enthroned. The left arm is wrapped in the
mantle.--_Temenos of Aphrodite._
Limestone; height, 3-1/2 inches. _Naukratis_, II., pl. 14, fig. 3.
[Sidenote: =127.=]
Isis and Osiris (?). Female figure, enthroned, wearing close-fitting
dress, necklace, and large mantle passing over the back of her head.
She holds a nude figure of a boy at her breast. Red paint on the
veil.--_Temenos of Aphrodite._
Limestone; height, 4-3/4 inches. _Naukratis_, II., pl. 14, fig. 7.
FRAGMENT FROM DELOS.
[Sidenote: =130.=]
Fragment of a foot of a colossal statue of Apollo, together with a
part of the plinth in the same block. The fragment consists of parts
of the four greater toes of the left foot. The plinth has dowel holes
at each side.
Naxian marble (?). Length of great toe, 1 foot 2 inches; height of
plinth, 2 feet 1 inch. This fragment was found by W. Kennard at
Delos, in 1818. Stuart, 2nd edit., III., p. 127; IV., section on
Delos, pl. 4, fig. 2. It is no doubt a part of a colossal statue
which was dedicated by the Naxians to Apollo at Delos, and of
which the base and other parts still remain _in situ_. The base
is inscribed on one side, [Greek: Naxioi Apolloni], and on another
side in archaic letters, [Greek: Tawytou lithou eim' andrias kai
to sphelas]: "I am of the same stone both statue and base." It is
supposed that this is "the great statue of the Naxians" at
Delos, which, it is said, was overturned by the fall of a brazen
palm-tree dedicated by Nicias (Plutarch, _Nicias_, 3).
The first modern traveller who saw the statue was Bondelmonte
(A.D. 1416), who found it prostrate, and says that he made an
unsuccessful attempt to set it up (_Liber Insularum Archipelagi_,
Sinner's edit., p. 92). In 1447 Cyriac of Ancona sketched the base
with one foot still in position (_Bull. dell' Inst._, 1861, p.
182). When visited by Spon and Wheler in 1675, the head, hands and
feet were lost, but the torso appears to have been nearly complete
(Wheler, _Journey_, p. 56). In 1700 Tournefort only found the
lower part of the body, and the thighs (Eng. ed. of 1741, vol. I.,
pl. facing p. 303). The parts seen by Tournefort remain at Delos,
and have been described by several travellers. Welcker, _Alte
Denkmaeler_, I., p. 400; Michaelis, _Annali dell' Inst._, 1864, p.
253; Furtwaengler, _Arch. Zeit._, 1882, p. 329. For the base and
inscription, see Blouet, _Exp. de Moree_, III., pl. 3, figs. 3, 4
_Bull. de Corr. Hellenique_, III., p. 2.
CASTS FROM SELINUS.
The following sculptures, Nos. 135-139, were excavated at Selinus
in 1823 by the architects William Harris and Samuel Angell. They are
divided into two series, derived from different temples.
Selinus, a colony of Megara, in the south-west of Sicily, was founded
about 628 B.C. The temple (commonly known as C), from which the
sculptures, Nos. 135-137, were obtained, is the oldest temple on the
Acropolis, and it is therefore probable that its construction
was begun not long after the foundation of the city. The earlier
sculptures are therefore assigned to the beginning of the sixth
century B.C.
The second series, Nos. 138-139, were obtained from the temple
commonly known as F. This is the third or youngest temple in the group
shown by architectural evidence to be the oldest. An exact date cannot
be assigned, but the sculptures probably belong to the close of the
sixth century. The originals, which are made of a coarse limestone,
are preserved in the Museum at Palermo.
The metopes were drawn on their discovery by William Harris. Harris
died of malarial fever contracted at Selinus, and the work was
published by Angell and Evans, _Sculptured Metopes ... of Selinus_,
1826. For further literature, see Benndorf, _Die Metopen von
Selinunt_.
[Sidenote: =135.=]
Cast of a metope, from the oldest temple at Selinus. Perseus slaying
Medusa in the presence of Athene. Perseus holds the hair of the Gorgon
in his left hand, and cuts off her head with his sword. Athene stands
on the left. The Gorgon is represented as embracing the winged horse,
Pegasos, who sprang from her spilt blood.--_Presented by S. Angell,
Esq._
Angell and Evans, pl. 7; Benndorf, p. 44, pl. 1; Overbeck, _Gr.
Plast._, 3rd ed. I., p. 80, fig. 5; Wolters, No. 149.
[Sidenote: =136.=]
Cast of a metope from the oldest temple at Selinus. Heracles carrying
the robbers named Kerkopes, with their legs tied to the ends of his
bow, or of a yoke.--_Presented by S. Angell, Esq._
Angell and Evans, pl. 8; Benndorf, p. 45, pl. 2; Overbeck, _Gr.
Plast._, 3rd edit., I., p. 80, fig. 5; Wolters, No. 150.
[Sidenote: =137.=]
Cast of a metope from the oldest temple at Selinus. A figure drives a
quadriga to the front; two figures are standing to the front, one at
each side of the chariot.--_Presented by S. Angell, Esq._
Angell and Evans, pl. 6; Benndorf, p. 47, pl. 3; Wolters, No. 151.
[Sidenote: =138.=]
Cast of a fragment of a metope from the third temple at Selinus, in
which a goddess, probably Athene, moves to the right, treading down
a prostrate giant. This metope was formed of two slabs, of which the
upper is wanting.--_Presented by S. Angell, Esq._
Angell and Evans, pl. 4 (incomplete); Benndorf, p. 50, pl. 5;
Overbeck, _Gr. Plast._, 3rd ed., I., p. 158, fig. 30_b_.
[Sidenote: =139.=]
Cast of a metope from the third temple at Selinus. A draped male
figure, apparently Dionysos, is engaged in combat with an armed giant,
who has sunk on his right knee.--_Presented by S. Angell, Esq._
Angell and Evans, pl. 3; Benndorf, p. 52, pl. 6; Overbeck, _Gr.
Plast._, 3rd ed., I., p. 158, fig. 30_a_; Wolters, No. 152.
SCULPTURES AND CASTS FROM ATHENS AND ATTICA.
[Sidenote: =150.=]
Female (?) head. The hair, which is bound by a narrow band, falls in
large waves on each side of the forehead to the ears, and thence
to the shoulders. At the back, the hair is rendered by conventional
undulations, parallel to the band.--_Athens (?)._ _Elgin Coll._
Marble; height, 8-1/2 inches, _Mus. Marbles_, IX., pl. 40, fig.
4; _Synopsis_, No. 251 (115); Ellis, _Elgin Marbles_, II., p. 119;
_cf._ Welcker, _Alte Denkmaeler_, I., p. 399.
[Sidenote: =151.=]
Cast of a torso of a standing female figure, wearing a chiton of fine
texture, and a mantle. The chiton is drawn over the girdle, and has
a short diploidion. The mantle is worn over the shoulders. The hair
falls in three tresses in front of each shoulder, and in overlapping
layers, down the back. The head, forearms and legs from the knees are
wanting. The original, of marble, is at _Athens_.
Height, 1 foot 6 inches. Le Bas, _Monuments Figures_, pl. 2, fig.
2; Sybel, No. 5007; Wolters, No. 112. Further literature is cited
by Wolters.
[Sidenote: =152.=]
Torso of a standing female figure wearing an under-chiton of fine
texture, and an over-chiton with diploidion which is worn so as to
leave the left shoulder bare. The figure appears to have held a vessel
in her lap, with both hands. The hair falls down the back, the
locks terminating below the shoulders. The head and arms are
wanting.--_Athens (?)._ _Elgin Coll_.
Marble; height, 2 feet 10 inches. Clarac, V., pl. 821A, fig. 2069
B, C.
[Sidenote: =153.=]
Torso of a standing female figure, wearing an under-chiton of fine
texture, and an over-chiton with diploidion which is worn so as to
leave the left shoulder bare. The figure held a bowl in the right
hand, and a fold of the skirt in the left hand. Broken off below
the knees. The head, left arm and left hand are wanting. This figure
appears to be of _archaistic_ rather than of archaic workmanship, that
is, the artist has consciously imitated the archaic style.--_Athens._
_Presented by H. Gally Knight and N. Fazakerly, Esqs., 1818._
Marble; height, 1 foot 9 inches. Clarac, V., pl. 821A, fig. 2069A.
[Sidenote: =154.=]
Torso of a standing female figure, wearing under-chiton of fine
texture and over-chiton with a diploidion which is worn so as to leave
the left shoulder bare; the figure also has sandals. The hair falls in
locks on the shoulders, and in a mass at the back. The head, arms
and left shoulder are wanting.--_From the smaller temple at Rhamnus._
_Presented by J. P. Gandy Deering, Esq._
Marble; height, 5 feet. Leake, _Athens and Demi of Attica_, II. p.
110; _Synopsis_, No. 325* (307*); _Athenische Mittheilungen_, XV.,
p. 65.
[Sidenote: =155.=]
Cast of a relief, representing a female figure stepping into a
chariot, holding the reins in her extended hands. The figure is
probably that of a goddess. It has been conjectured, but without
evidence, that the relief belonged to the Pre-Persian Parthenon. The
original, which is of Parian marble, is at _Athens_.
Le Bas, _Mon. Fig._, pl. 1; Overbeck, _Gr. Plast._, I., 3rd ed.,
p. 153, fig. 28; Murray, I., p. 196; Brunn, _Denkmaeler_, No. 21.
For further literature, see Wolters, No. 97.
[Sidenote: =156.=]
Cast of a sepulchral relief, representing a woman enthroned. She holds
a child in her arms. Before her are three figures, probably members of
her family, with offerings.
The original, which is of marble, is in the _Villa Albani at Rome_.
It was erroneously named by Winckelmann "Leucothea nursing the infant
Bacchus."--_From Athens (?)._
Winckelmann, _Monumenti Inediti_, No. 56; Zoega, _Bassirelievi
Ant._, I., pl. 41; Overbeck, _Gr. Plast._, 3rd ed., I., p. 175,
fig. 38. For further literature, see Wolters, No. 243.
CASTS OF SCULPTURES FROM AEGINA.
The temple of Athene at Aegina stands on a commanding plateau in the
north-east of the island. It is of the kind known as Doric peripteral
hexastyle; that is to say, it is of the Doric order, surrounded by a
colonnade, which has six columns at the ends and thirteen columns at
the sides. The site was excavated in 1811 by a party of English and
German explorers, and the sculptures discovered were purchased in 1812
by the Crown Prince of Bavaria. The principal figures were restored
at Rome by Thorwaldsen and J. M. Wagner. In 1817 the collection was
placed in the Glyptothek at Munich.
With the exception of an ivory eye (Cockerell, pl. 12) attributed by
the discoverers to the image inside the temple, the only sculptures
found were those which originally were contained in or surmounted the
pediments of the temple.
The Aeginetan sculptures belong to the latest stage of archaic Greek
art, and are the most important extant works of that period. For
determining the date of the sculptures, political history is only so
far of use that we may assume that they are not later than 456 B.C.,
in which year Aegina was subdued by Athens. From their style they
appear to be considerably older than that date.
A minute analysis of the sculptures (Brunn, _Das Alter der Aegin.
Bildw._ p. 9) shows that the east pediment is distinctly more advanced
than the west in the expression of emotion, in the rendering of
drapery, of the features, the beards, the veins; and in the general
proportions. Brunn assigns the groups to the period immediately
following the battle of Salamis (480 B.C.) and suggests that the
sculptor of the east pediment belonged to a younger generation than
his colleague.
The statues are made of Parian marble. They are attached to plinths
which were let into the upper surface of the cornice, and are cut
out of single blocks, a few small pieces of marble being separately
attached. They showed clear traces of colour throughout, when first
discovered. One shield from the east pediment was painted with a
female figure. There were numerous adjuncts of bronze, such as
arms and ornaments, which have been minutely enumerated by Brunn
(_Beschreibung_, &c., p. 67). The restored pediments in the British
Museum have been partially decorated in accordance with the scheme of
Cockerell, who says: "The members of the entablature and pediment
were discovered often in all their original vividness, which quickly
disappeared on exposure to the atmosphere." (Cockerell, p. 27, pl. 6).
C. R. Cockerell, _The Temple of Jupiter Panhellenius at Aegina_,
&c., 1860; Blouet, _Expedition de Moree_, III., p. 23; Brunn,
_Ueber das Alter der Aeginetischen Bildwerke_ in the _Sitzungsber.
der k. bayer. Akad._, 1867, I., p. 405, and _Ueber die Composition
der Aeginetischen Giebelgruppen_, _ibidem_, 1868, II., p. 448;
Brunn, _Beschreibung der Glyptothek Koenig Ludwig's I._, 4th ed.,
1879; Wolters, Nos. 69-85.
THE WEST PEDIMENT OF THE TEMPLE AT AEGINA.
The subject of the West pediment is a battle, in the presence of
Athene, over the body of a wounded warrior. From the Oriental dress
of the archer on the right, it is inferred that the battle is being
fought between Greeks and Trojans, and that the archer in question
is Paris. The scene represented does not correspond exactly with
any combat described by Homer. Archaeologists have accordingly been
divided in opinion as to the subject. Some hold that the battle is
that waged for the body of Patroclos, which was rescued principally by
Menelaos, and Ajax, son of Telamon of Aegina. (Homer, _Iliad_, xvii.;
Wolters, p. 48). Others have argued that the presence of Paris points
to the fight over the body of Achilles as described in the Aethiopis
of Arctinos. See especially Brunn, _Beschreibung_, p. 79. On account
of the discrepancies between the sculptures and the literary tradition
it is impossible to decide the question.
The arrangement adopted in the British Museum is that of Cockerell
(pl. 16). To complete the group Cockerell supposed that nude figures
similar to No. 178 of the East pediment advanced to the fallen hero
from each side; and that a spearman knelt between the Paris (No. 168)
and the wounded Trojan. Fragments remain of the two youths; but recent
writers have put the spearman (No. 166) next the Paris. The positions
of the spearmen and the archers on each side have also been reversed.
The archers are on this view placed furthest from the combat, and may
perhaps be supposed to be protected by the spearmen. Further changes
have been proposed which are based on fragments not represented by
casts, and which therefore need not here be discussed.
Restorations of the West Pediment. (1) With 11 figures, the bowmen
in front of the spearmen. Cockerell, supplementary plate; Blouet,
_Exp. de Moree_, III., pl. 58, fig. 2; Mueller, _Denkmaeler_,
I., pls. 6, 7; Overbeck, _Gr. Plast._, 3rd ed., I., fig. 19_a_;
Murray, I., pl. 7. (2) With 11 figures, the bowmen behind the
spearmen. Cockerell, plate; Brunn, _Sitzungsber. der k. bayer.
Akad._, 1868, II., plate; Lange, _Ber. der k. saechs. Ges. d.
Wissenschaften_, 1878, pl. 3, fig. 1. (3) With 13 figures.
Cockerell, pl. 16. (4) With 14 figures. Lange, _loc. cit._, pl. 3,
fig. 2; Overbeck, _Gr. Plast._, 3rd ed., I., fig. 19_b_.
The figures beginning from the left of the West pediment are:--
[Sidenote: =160.=]
Wounded Greek, recumbent, disarmed, drawing an arrow from his right
breast.
Restored:--Nose, right forearm, left leg from knee to ankle and
toes. Cockerell, pl. 15, No. 11; pl. 16; Blouet, III., pl. 69,
fig. 2; Brunn, _Denkmaeler_, No. 25.
[Sidenote: =161.=]
Greek advancing with spear. Brunn proposes the name of Ajax, son of
Oileus.
Restored:--Crest, right hand, left forearm and part of feet.
Cockerell, pl. 15, No. 9; pl. 16; Blouet, III., pl. 69, fig. 1.
[Sidenote: =162.=]
Greek archer, armed, kneeling and drawing his bow. This may well be
the Aeginetan hero, Teucer, brother of Telamonian Ajax.
Restored:--Head, arms, several flaps of the cuirass, and left leg
from the knee. Cockerell, pl. 15, No. 10; pl. 16; Blouet, III.,
pl. 66, fig. 1.
[Sidenote: =163.=]
Bearded Greek warrior advancing, with shield extended and right hand
raised to hurl spear. Perhaps Telamonian Ajax.
Restored:--Nose, crest, half right forearm, part of shield, both
legs. Cockerell, pl. 15, No. 3; pl. 16; Blouet, III., pl. 68, fig.
1.
[Sidenote: =164.=]
Wounded hero, leaning on his right hand, which held a sword; the
shield is held out to cover the body. This is either Achilles or
Patroclos according to the chief schemes of interpretation.
Restored:--Neck, right shoulder, fingers and toes. Cockerell, pl.
15, No. 2; pl. 16; Blouet, III., pl. 67, fig. 2.
[Sidenote: =165.=]
Figure of Athene presiding over the battle. She stands erect in the
centre of the pediment, fully armed and wearing her aegis. There is an
archaic formality in her pose and in the composition of the drapery,
which shows that the artist has adopted a traditional type of
temple-image. The earrings, locks of hair, a Gorgoneion, and snakes
bordering the aegis were made of metal, and attached.
Restored:--Nose, right hand, part of left hand. Cockerell, pl. 15,
No. 1; pl. 16; Blouet, III., pl. 67, fig. 1; Brunn, _Denkmaeler_
No. 23.
[Sidenote: =166.=]
Kneeling Trojan, with right hand raised to hurl spear.
Restored:--Head, right armpit and shoulder-blade, three fingers
of right hand; left arm from middle of biceps; right leg from
the knee; left knee with part of thigh, and part of left foot.
Cockerell, pl. 15, No. 6; pl. 16; Blouet, III., pl. 65, fig. 2.
[Sidenote: =167.=]
Warrior advancing with shield extended, and right hand raised to hurl
spear, closely corresponding to No. 163. Perhaps Aeneas.
Restored:--Head (which should probably be bearded), right armpit
and breast, fingers, parts of shield and legs. Cockerell, pl. 15,
No. 4; pl. 16; Blouet, III., pl. 66, fig. 2.
[Sidenote: =168.=]
Archer kneeling and drawing his bow. He wears a Phrygian cap, which
has holes in the front for a metal wreath. (Compare the wreath on the
Ephesian fragment No. 46, _12_); also closely-fitting breeches and
coat of leather. This figure, which is always known as Paris, closely
corresponds with the 'Teucer,' No. 162.
Restored:--Tips of cap, nose and chin; some fingers, and the
forepart of the left foot. Cockerell, pl. 15, No. 7; pl. 16;
Blouet, III., pl. 68, fig. 2; Brunn, _Denkmaeler_, No. 24.
[Sidenote: =169.=]
Wounded Trojan, leaning on the right arm. An arrow may have been fixed
in the left knee between the thumb and forefinger.
Restored:--Head, left arm, part of right forearm and hand; both
legs from the knees. Cockerell, pl. 15, No. 8; pl. 16; Blouet,
III., pl. 65, fig. 1.
[Sidenote: =170.=]
The pediment is surmounted by an acroterion, consisting of a palmette
between two large volutes, which are for the most part restorations.
(Cockerell, pls. 1, 4.)
On each side of the acroterion is an architectonic female figure,
treated in the same designedly archaic style as the figure of Athene.
[Sidenote: =171.=]
Female figure (on the left).
Restored:--Head, right hand and part of sleeve; left forearm with
part of sleeve and drapery. Cockerell, pl. 1.
[Sidenote: =172.=]
Female figure (on the right).
Restored:--Head; lower edge of right sleeve; right hand and
forearm; parts of drapery. Cockerell, pl. 1.
[Sidenote: =173.=]
At each angle are casts of lions' heads, which in the absence of casts
from the originals have been taken from the cornice of the archaic
temple at Ephesus. The lion's head engraved by Cockerell (pl. 13, fig.
4), appears to be his restoration.
[Sidenote: =174.=]
The angles are surmounted by Gryphons, which have been cast from
a single original. The original has been considerably restored,
especially the head.
Cockerell, pl. 13, fig, 4. The hind parts of one Gryphon were
discovered by Chandler in 1765, but they were immediately broken
and stolen. Chandler, _Travels in Greece_, p. 12.
THE EAST PEDIMENT OF THE TEMPLE AT AEGINA.
Of the east pediment only five figures were found, sufficiently
complete to be restored. The fragments leave no doubt that the
composition was as a whole analogous to that of the west pediment, and
that the subject was a battle for the body of a fallen warrior, fought
in the presence of Athene.
The clue to the subject represented is given by the figure of
Heracles, and archaeologists are almost unanimous in thinking that
the scene is a battle in the war which Telamon of Aegina, aided by
Heracles, waged against Laomedon, King of Troy (cf. Apollodorus, ii.,
6, 3, 4).
The arrangement is nearly that of Cockerell. The Heracles, however,
has been placed on the right side of the pediment, because the left
side of the statue is the most carefully finished, and was therefore
intended to be seen.
Restorations of the East Pediment. (1) With 10 figures; wounded
warrior as restored. Prachov, _Mon. dell' Inst._, IX., pl. 57.
(2) With parts of 12 figures; wounded warrior not as restored.
Cockerell, supplementary plate; Mueller, _Denkmaeler_, I., pl. 8;
Blouet, III., pl. 58, fig. 1; Murray, I., pl. 7. For two heads
from this pediment, see Brunn, _Denkmaeler_, No. 121.
The figures beginning with the left end of the pediment are the
following:--
[Sidenote: =175.=]
Warrior lying down, supported by his arm, within the handles of his
shield. He is wounded below the right breast.
Restored:--Crest, part of visor, four fingers of left hand,
four toes of left foot; right leg from the middle of the thigh.
Cockerell, p. 32, pl. 14, No. 4; Blouet, III., pl. 59, fig. 2.
[Sidenote: =176.=]
Warrior advancing, with a shield on the left arm, and a lance (?) in
the right hand.
Restored:--Head, hands, right hip; most of shield, Cockerell,
p. 32, pl. 14, No. 2; Blouet, III., pl. 59, fig. 1; Brunn,
_Denkmaeler_, No. 28.
[Sidenote: =177.=]
Wounded warrior fallen backwards on his shield.
Restored:--Head, arms, shield, right leg, left leg from the knee.
The correctness of the restoration has been doubted. The left side
is most corroded by the atmosphere, and would therefore seem to
have been uppermost. In that case the figure must have resembled
that of the fallen warrior in the centre of the west pediment. It
is thus drawn by Cockerell, in a supplementary plate. Engraved as
restored, Cockerell, pl. 14, No. 1; Blouet, III., pl. 61, fig. 1.
[Sidenote: =178.=]
Figure of a youth leaning forward, to draw away the fallen warrior.
Restored:--Nose, arms, pubis, most of right foot, and left foot;
Cockerell, pl. 14, No. 3; Blouet, III., pl. 61, fig. 2; Brunn,
_Denkmaeler_, No. 26.
[Sidenote: =179.=]
Heracles kneeling, and drawing his bow. He wears the lion's skin on
his head, and had a quiver on the left side.
Restored:--Nose, some flaps of the cuirass, left hand, right
forearm, right foot, part of left thigh and knee. Cockerell,
pl. 14, No. 5; Blouet, III., pl. 60; Rayet, _Monuments_, No. 25;
Brunn, _Denkmaeler_, No. 27; Mitchell, _Selections_, pl. 1.
[Sidenote: =180.=]
The acroterion; (181) the figures beside it; (182) the lions, and
(183) the Gryphons here exhibited, are repetitions of those of the
west pediment. The acroterion, which originally surmounted the
east pediment, was larger and more important than that of the west.
(Cockerell, pl. 13.) The figures which stood on each side of the east
acroterion, are shown by the surviving fragments to have been similar
to those of the western end, but were on a rather larger scale.
CASTS OF SCULPTURES FROM OLYMPIA.
The temple of Zeus at Olympia was being built from about 470-455 B.C.
(cf. Boetticher, _Olympia_, p. 247). It is certain that the metopes
must have been placed in position during the process of construction.
They should therefore probably be dated about 460 B.C. (Boetticher, p.
289).
[Sidenote: =190.=]
Cast of a metope, from the Temple of Zeus at Olympia. Heracles binding
the Cretan Bull.
The original is of marble. The greater part of this metope was
discovered by the French expedition to the Morea, in 1829, and
is now in the Louvre. The face and hind legs of the bull were
discovered in the German excavations, and are now at Olympia. The
parts first discovered are published in Overbeck, _Gr. Plast._,
3rd ed., I., p. 443. For the completed metope, see _Ausgrabungen
zu Olympia_, V., pl. 17; Boetticher, _Olympia_, p. 279; Wolters,
No. 274.
[Sidenote: =191.=]
Cast of a metope from the Temple of Zeus at Olympia. Heracles supports
on his shoulders the vault of heaven, while the Titan Atlas brings him
the golden apples of the Hesperides. Heracles has a folded cushion on
his shoulders to make the burden easier; Atlas stands before him
with six apples in his outstretched hands. A Hesperid or nymph stands
behind and raises one hand as if to share the weight.
The original is of marble, and is at Olympia, where it was
discovered by the German excavators. _Ausgrabungen zu Olympia_,
I., 26; _Athenische Mittheilungen_, I., pl. 11; Murray, II., pl.
13; Wolters, No. 280; Overbeck, _Gr. Plast._, 3rd ed., I., p. 445;
Boetticher, _Olympia_, p. 285. (Boetticher's illustration is most
nearly complete. That of Overbeck gives both hands of Atlas.) For
the female head, see _Journ. of Hellen. Studies_, V., pl. 45.
[Sidenote: =192.=]
Cast of a statue of Victory, by Paionios of Mende, 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 Mende, who made the acroteria of
the temple:--[Greek: Messanioi kai Naupaktioi anethen Dii | Olympio
dekatan apo tom polemion. Paionios epoiese Mendaios | kai takroteria
poion epi ton naon enika.] Mr. Murray (_Gr. Sculpt._, ii. p. 162)
suggests as an explanation of the last clause of the inscription
that the Victory was a replica of the acroteria (or figures above the
pediments) of the Temple of Zeus. These are known to have been gilded
figures of Victory (Paus., v. 10, 2). Pausanias was inclined to think
that the inscription referred to a war of the Messenians against the
Acarnanians (452 B.C.); but the Messenians of his time supposed
that the statue was erected soon after the defeat of the Spartans at
Sphacteria in 424 B.C.
Discovered by the German excavators at Olympia, and now in the Museum
at Olympia.
Marble. _Ausgrabungen zu Olympia_, I., pls. 9-12; inscr. _ibidem_,
pl. 32; pedestal, _ibidem_, II., pl. 34; Overbeck, _Gr. Plast._,
3rd ed., I., figs. 88, 89; Murray, II., pl. 19; Wolters, Nos. 496,
497.
STATUES OF APOLLO (?).
Of the following sculptures, Nos. 200-207 are examples of a somewhat
numerous class of nude male figures, standing constrainedly with the
heads directed straight to the front, having the hands either close by
the sides, or slightly raised, by a bending of the arms at the elbows.
The name of Apollo has been commonly given to sculptures of the type
here described, but doubts have often been raised as to the accuracy
of the title. It seems clear that at the stage of art represented by
these figures one type of nude male figure was made to serve various
purposes. It cannot be doubted that the type was often used to
represent Apollo, for such figures have been found in or near shrines
of Apollo at Naucratis (Petrie, _Naukratis_, i., pl. 1, fig. 4), Delos
(_Arch. Zeit._, 1882, p. 323), Actium (_Gaz. Arch._, 1886, p.
235), and at the temple of Apollo Ptooes in Boeotia (_Bull. de Corr.
Hellenique_, x., p. 66, Brunn, _Denkmaeler_, No. 12). The same type of
Apollo occurs, _e.g._ on a vase in the Brit. Mus. (No. E, 313; _Gaz.
Arch._, 1882, p. 58), on a vase published in _Annali dell' Inst._,
1849, pl. D (cf. _Hamilton Vases_, ii., pl. 6), and on a Pompeian
fresco (_Arch. Zeit._, 1882, p. 58). Compare a relief in the _Palazzo
Corsini_ (Duetschke, ii., p. 114). At the same time, similar figures
served to represent athletes (Paus., viii., 40) and, perhaps, were
placed on tombs, to represent a deceased person.
The series of figures which have the hands by the thighs is older than
that in which the hands are raised, and the invention of the type has
been assigned to the Cretan Daedalid School of Dipoinos and Skyllis
(Furtwaengler, _Arch. Zeit._, 1882, p. 55). For an enumeration and
discussion of the known examples of this series see Overbeck, _Gr.
Plast._, 3rd ed., i., p. 229, note 33; _Bull. de Corr. Hellenique_,
x., p. 67; xi., p. 1; _Gaz. Arch._, 1886, p. 239; Roscher, _Lexicon_,
i, p. 449; Wolters, No. 14. The second series, here represented by
Nos. 206, 207, in which the hands are raised, is developed from the
first, but shows a great advance in all respects. Perhaps it gives the
Cretan type as developed by artists of the school of Aegina.
[Sidenote: =200.=]
Figure of Apollo (?) standing with the right leg drawn back, and
with the hands pressed against the hips. He has a diadem across
the forehead, and the hair falls on the shoulders and down the
back.--_Naucratis._
Alabaster; height, 10-1/4 inches.
[Sidenote: =201.=]
Apollo (?) standing. Torso from the neck to the knees. The right leg
is drawn back, and the hands are pressed against the thighs. The hair
falls down on the shoulders and on the back.--_Naucratis._
Alabaster; height, 4-3/8 inches.
[Sidenote: =202.=]
Apollo. Torso from the neck to the middle of the thighs. The hands are
pressed against the thighs. The hair falls on the shoulders and on the
back. A belt crosses the body under the right arm, and over the left
shoulder.--_Temenos of Apollo, Naucratis._
Marble (?); height, 3-1/8 inches. _Naukratis_, I., pl. 1, fig. 9.
The following figures, Nos. 203, 204, belong to the same series,
though the type is slightly varied, and No. 203, having been found in
the temenos of Aphrodite, probably does not represent Apollo:--
[Sidenote: =203.=]
Male torso from the neck to the knees. The right hand lies across the
breast; the left leg is to the front. The hair is cut square at the
back, and in the front falls down on the shoulders.--_Temenos of
Aphrodite, Naucratis._
Alabaster; height, 6-1/4 inches. _Naukratis_, II., pl. 14, fig.
13.
[Sidenote: =204.=]
Apollo. Male torso, similar to the preceding, but having no hair on
the shoulders.--_Temenos of Apollo, Naucratis._
Alabaster; height, 4-3/4 inches. _Naukratis_, I., pl. 1, fig. 3.
[Sidenote: =205.=]
Figure of Apollo (?) standing, with the right leg drawn back, and with
the hands pressed against the hips. The hair falls on the shoulders,
terminating in a straight line, and intersected with conventional
grooves running at right angles to each other.--_From Greece, probably
from Boeotia._
Marble; height, 2 feet 6-1/4 inches. Murray, I., pl. 2, p. 107;
_Arch. Zeit._, 1882, pl. 4, p. 51; Mitchell, p. 213; Brunn,
_Denkmaeler_, No. 77.
[Sidenote: =206.=]
Figure of Apollo (?) standing, with the right leg drawn back. The hair
is dressed, with the headdress known as the _krobylos_.
Round the taenia are five drilled holes, indicating that a wreath
of bronze was attached. The arms, and the legs from the knees are
wanting.
This figure, commonly known as the Strangford Apollo, is referred by
Brunn to the school of Callon of Aegina.
From the collection of _Viscount Strangford_. Stated in 1864 to be
from _Lemnos_, but said also to have been found in _Anaphe_ (Newton,
_Essays_, p. 81).
Marble; height, 3 feet 4 inches. _Mon. dell' Inst._, IX., pl.
41; _Annali dell' Inst._, 1872, p. 181; Brunn, _Ber. d. k. bayer.
Akad. Phil.-hist. Classe_, 1872, p. 529; Overbeck, _Gr. Plast._,
3rd ed., I., p. 181, fig. 40; Murray, I., pl. 2; Rayet et Thomas,
_Milet et le Golfe Latmique_, pl. 28; Brunn, _Denkmaeler_, No. 51;
Wolters, No. 89; _Arch. Zeit._, 1864, p. 164*.
[Sidenote: =207.=]
Torso of Apollo (?) standing, with the right leg drawn back.
The head, arms, and legs from the knees are wanting; two points
of attachment near the front of the hips, show that the arms were
considerably bent at the elbows.
This figure was found in the _Dromos of a tomb at Marion (Cyprus)_.
Marble; height, 2 feet 5 inches. Herrmann, _Graeberfeld von
Marion_, p. 22. The tomb contained a coin of Idalium, of about
510 B.C., a gold cup with acorns _repousse_, several black figured
vases, one at least of an early character, and no red figured
vases.
[Sidenote: =208.=]
Head of Apollo. The hair is bound with a taenia and falls in short
corkscrew curls over the forehead, and in a flowing mass down the
shoulders. The sharply cut outlines of the features, and the wiry
character of the hair suggest that this head is a copy of an archaic
work in bronze. It has been conjectured that the head is copied from
the Apollo of Canachos at Branchidae, but there is no evidence in
favour of the theory, which has been given up as untenable. (Cf.
Overbeck, _Gr. Plast._, 3rd ed., i., p. 110). A bronze statuette from
the Payne Knight collection, which has a better claim to be considered
a copy of Apollo of Canachos, may be seen in the Bronze Room.
_Brought from Rome by Lord Cawdor, and purchased by Townley.--Townley
Coll._
Parian marble; height, 1 foot 5-1/2 inches. _Specimens_, I., pls.
5, 6; _Mus. Marbles_, III., pl. 4; Ellis, _Townley Gallery_, I.,
p. 321; Mueller, _Denkmaeler_, I., pl. 4, fig. 22; Overbeck, _Gr.
Plast._, 3rd ed., I., p. 109, fig. 14; Wolters, No. 228; _cf._
Rayet et Thomas, _Milet et le Golfe Latmique_, pl. 37; Michaelis,
_Anc. Marbles_, p. 94.
[Sidenote: =209.=]
Statue of Apollo, standing. The chief weight of the body is thrown on
the right leg, while the left knee is bent, and the left foot rests
lightly on the ground. The head is slightly turned to the right. The
hair is dressed with the headdress known as the _krobylos_.
The left hand and right forearm, which appear to have been separate
pieces, are wanting. The left hand held some attribute, perhaps a
branch, for which there is a mark of attachment by the left knee. The
right hand, which rested on the stump beside the right leg, seems to
have held a strap.--_From the Choiseul-Gouffier Collection, 1818._
Marble; height, 5 feet 10-1/2 inches. Restored: tip of nose.
_Specimens_, II., pl. 5; Ellis, _Townley Gallery_, I. p. 194;
Clarac, III., pl. 482B, No. 931A; _Mus. Marbles_, XI., pl. 32;
_Journ. of Hellen. Studies_, I., pl. 4; _Stereoscopic_, No. 143;
Murray, I., pl. 8; Wolters, No. 221.
This statue, commonly known as the Choiseul-Gouffier Apollo,
together with other examples of the same type, has given rise to
much discussion. The chief replica is a statue at Athens, commonly
called the 'Apollo on the Omphalos,' having been associated with a
marble _omphalos_, or sacred cone of Apollo, which was discovered
at the same time. Grave doubts, however, exist as to the
connection of the figure and of the omphalos. (_Journ. of Hellen.
Studies_, I., p. 180; _Athenische Mittheilungen_, IX., p. 248.)
The Athenian statue is published, Conze, _Beitraege_, pls. 3, 5;
_Journ. of Hellen. Studies_, I., pl. 5; Murray, I., pl. 8; Brunn,
_Denkmaeler_, No. 42. For a list of other replicas of the type,
see _Athenische Mittheilungen_, IX., p. 239. The statue is
generally taken to be an Apollo. It has, indeed, been argued that
it is a pugilist, and not Apollo (Waldstein, _Journ. of Hellen.
Studies_, I., p. 182; Overbeck, _Gr. Plast._, 3rd ed., II., p.
414); and if the figure is Apollo, it must be admitted that 'the
proportions are rather suited to the patron of pugilism (_Il._
[Greek: psi.] 660) than to the leader of a celestial orchestra'
(_Specimens_, II., pl. 5; _Athenische Mittheilungen_, IX., p.
244). But the title is established by a quiver attached to the
stump of a replica in Rome (Matz-Duhn, _Bildw. in Rom_, I., No.
179), and of a somewhat similar figure at Cassel (_Athenische
Mittheilungen_, I., pl. 10), and by the fact that a copy (No. 210)
has been found in the temple of Apollo at Cyrene. Moreover, the
head of a similar figure, undoubtedly an Apollo, occurs on
a relief in the Capitoline Museum (Braun, _Vorschule der
Kunstmythologie_, pl. 5). Compare also the figure of Apollo on a
vase at Bologna, _Mon. dell' Inst._, X., pl. 54. There has also
been much discussion as to the school of art to which the type
must be assigned, and as to the character of the original statue.
The statue has been assigned by different writers to Calamis
("Apollo Alexikakos"; Conze, _Beitraege_, p. 19; Murray, I.,
p. 189; Furtwaengler, in Roscher's _Lexicon_, I., p. 456); to
Pasiteles (Kekule, _Menelaos_, p. 30); to Alcamenes (Furtwaengler,
_Athenische Mittheilungen_, V., p. 39; _cf. Journ. of Hellen.
Studies_, VIII., p. 41); to Pythagoras of Rhegium ("Euthymos";
Waldstein, _loc. cit._); and to Callimachos ("Apollo
Daphnephoros"; Schreiber, _Athenische Mittheilungen_, IX., p.
248). It has been variously held that the original statue was of
bronze, and is therefore lost (_Mus. Marbles_, XI., pl. 32; _cf._
Murray, I., p. 191), or that the Athenian statue is the original,
whence other copies are derived (_Athenische Mittheilungen_, IX.,
p. 240).
The _krobylos_ seems to indicate some Attic sculptor of the first
half of the 5th cent. B.C. (Schreiber, _Athenische Mittheilungen_,
VIII., p. 255). The existence of numerous copies proves that the
original was famous, and it is generally supposed that the figure
is an Apollo. It is impossible to make a more definite statement
with confidence, in the present state of our knowledge as to the
Attic sculptors who preceded Pheidias.
[Sidenote: =210.=]
Head of Apollo, a replica of No. 209. The head is broken off in the
middle of the neck. The chin, the tip of the nose, and parts of
the hair are wanting. The author of this copy has misunderstood the
arrangement of the headdress.--Found by Smith and Porcher in the
_Temple of Apollo at Cyrene_.
Marble; height, 11 inches; Smith and Porcher, p. 100 No. 19
Murray, I., p. 190.
[Sidenote: =211.=]
Head of Apollo, a replica of No. 209. The head is broken off below the
chin. The nose and the tip of the chin are wanting.
This copy shows better than either 209 or 210, the arrangement of
the hair in the _krobylos_, the origin of the plaits being clearly
indicated. It chiefly differs from them in the amount of hair falling
down at the back of the ears; in this head there are the remains of
thick tresses, while in the other instances there are only a few
short curls. There is a rectangular hole at the back of the
head.--_Presented by the Hon. E. A. Pelham._
Marble; height, 9-1/2 inches. This head was found in 1882 at
a cottage at Ventnor, built by Sir Richard Worsley. It was,
doubtless, brought by him from Greece.
MISCELLANEOUS SCULPTURES.
[Sidenote: =215.=]
Fragment of lacunar, from a ceiling, with two panels in low relief.
(1) Horse galloping to the right. (2) Gryphon seizing a stag.
Below is a band of rosettes in squares. The whole is surrounded by
remains of a large bead ornament.--_Presented by Algernon, fourth Duke
of Northumberland._
Green limestone (?); height, 1 foot 1-1/2 inches; width, 1 foot 1
inch.
[Sidenote: =216.=]
Fragment of lacunar nearly similar to preceding. The upper
panel is wanting. Below is a Gryphon seizing a stag. Below is a
band of rosettes; between the two panels is a band of maeander
pattern.--_Presented by Algernon, fourth Duke of Northumberland._
Green limestone (?); height, 9-1/4 inches; width, 10-1/4 inches.
[Sidenote: =217.=]
Fragment of relief. On a pedestal is a lion, walking to the left.
Before the lion are three balls. Above were two figures standing to
the front, of which only the feet remain. The figure on the left stood
with feet side by side; that on the right stood with the legs crossed
(Fig. 4). This relief, though undoubtedly archaic, appears not
to belong to the prehistoric period of Mycenae (_cf._ Nos.
1-6).--_Mycenae._ _Inwood Coll._
Green limestone; height, 1 foot 1-1/4 inches; width, 9-1/2 inches.
_Synopsis_, No. 429; Loeschcke, _Athenische Mittheilungen_, IV.,
p. 296; Wolters, No. 53.
[Illustration: Fig. 4.--Relief from Mycenae, No. 217.]
PART II.
_MYRON AND PHEIDIAS._
Three great names represent the early prime of Greek sculpture,
namely, Myron, Pheidias, and Polycleitos of Argos. These three are
thought to have been fellow pupils of the Argive sculptor Ageladas.
The present part of the catalogue deals with Myron and Pheidias. The
third part deals first with their immediate successors in Attica,
and then turns to Polycleitos of Argos and the sculptures of the
Peloponnese; and next to the special class of Greek reliefs.
MYRON.
MYRON of Eleutherae in Attica worked at Athens in the first half of
the fifth century B.C. Although he had not entirely abandoned the
archaic style (notably, in his rendering of hair, Pliny, _H. N._
xxxiv., 58), he was distinguished for his skill in representing
life. His power lay partly in the rendering of vigorous movement
in sculpture, as in his athletic statues, and partly in a realistic
imitation of nature, as in his famous cow.
No original works of Myron are extant. His best known work, the
Discobolos, is preserved in copies, one of which is described below.
The bronze statuette of Marsyas in the Bronze Room may be studied
after a group of Athene and Marsyas by Myron.
[Sidenote: =250.=]
Graeco-Roman copy of the bronze Discobolos of Myron. A young athlete
is represented in the act of hurling the disk. He has swung it back,
and is about to throw it to the furthest possible distance before him.
The head, as here attached, looks straight to the ground, but in the
original it looked more backwards as in a copy formerly in the Massimi
palace at Rome. (Cf. Lucian, _Philopseud._ 18.) Compare a gem in the
British Museum (Fig. 5; _Cat. of Gems_, No. 742, pl. G), which is
inscribed [Greek: HYAKINTHOS]. According to a judgment of Quintilian,
the laboured complexity of the statue is extreme, but any one who
should blame it on this ground would do so under a misapprehension of
its purpose, inasmuch as the merit of the work lies in its novelty
and difficulty. "Quid tam distortum et elaboratum, quam est ille
discobolos Myronis? si quis tamen, ut parum rectum, improbet opus,
nonne ab intellectu artis abfuerit, in qua vel praecipue laudabilis
est ipsa illa novitas ac difficultas?"--Quint. _Inst. Orat._, ii., 13.
10.--_Found in 1791 in Hadrian's Villa at Tivoli._ _Townley Coll._
[Illustration: Fig. 5. [Greek: HYAKINTHOS](=Hyacinth)]
Marble; height, 5 feet 5 inches. Restorations:--Nose, lips, chin,
piece in neck, part of disk and r. hand; l. hand; piece under r.
arm; pubis; r. knee; a small piece in r. leg, and parts of the
toes. _Specimens_, I., pl. 29; _Mus. Marbles_, XI., pl. 44;
Clarac, V., pl. 860, No. 2194 B; Ellis, _Townley Gallery_, I.,
p. 241; _Guide to Graeco-Roman Sculptures_, I., No. 135;
_Stereoscopic_, No. 149; Wolters, No. 452.
PHEIDIAS AND THE SCULPTURES OF THE PARTHENON.
The sculptures of the Parthenon illustrate the style of Pheidias, the
greatest of Greek sculptors.
PHEIDIAS, son of Charmides, the Athenian, was born about 500 B.C.
He was a pupil of the sculptor Ageladas, of Argos, or, according to
others, of Hegias or Hegesias, of Athens. His youth was passed during
the period of the Persian wars, and his maturity was principally
devoted to the adornment of Athens, from the funds contributed by the
allied Greek states during the administration of Pericles.
Among the chief of the works of this period was the Parthenon, or
temple of the virgin Goddess Athene. The architect was Ictinos, but
the sculptural decorations, and probably the design of the temple,
were planned and executed under the superintendence of Pheidias. The
building was probably begun about B.C. 447 (according to Michaelis,
B.C. 454). It was sufficiently advanced to receive the statue of the
Parthenos in B.C. 438, and was probably completed either in that year
or a little later. It stood on the Acropolis of Athens, on a site
which had been already occupied by a more ancient temple, commonly
supposed to have been an ancient Parthenon, which was burnt on the
sacking of Athens by the Persians, B.C. 480. Recently, however,
the foundations of an early temple have been discovered between the
Parthenon and the Erechtheion. It has been thought that this is the
Pre-Persian Parthenon, and that the traces of an older foundation
below the existing Parthenon only date from the time immediately
following the Persian wars. A building is supposed to have then been
begun, on a plan somewhat different from that which was carried out by
Ictinos and Pericles.
The Parthenon was of the Doric order of architecture, and was of the
form termed _peripteral octastyle_; that is to say, it was surrounded
by a colonnade, which had eight columns at each end. The architectural
arrangements can be best learnt from the model, which is exhibited in
the Elgin Room. See also the plan (fig. 6.) and elevation (pl. iv.).
The principal chamber (cella) within the colonnade contained the
colossal statue of Athene Parthenos (see below, Nos. 300-302).
Externally the cella was decorated with a frieze in low relief (see
below, p. 145). The two pediments, or gables at each end of the
building (see below, Nos. 303, 304) were filled with figures
sculptured in the round. Above the architrave, or beam resting on the
columns, were metopes, or square panels, adorned with groups in very
high relief, which served to fill up the spaces between the triglyphs,
or groups of three vertical parallel bands, representing beam ends.
All these sculptured decorations were executed, like the architecture,
in Pentelic marble.
[Illustration: Fig. 8.--Plan of the Parthenon. (From Michaelis.)]
The statue of the Parthenos is known to have been in existence about
430 A.D.; but not long after this date the figure was removed, and the
Parthenon was converted into a Christian church, dedicated at first to
Santa Sophia (or the Divine Wisdom), and afterwards to the Panagia (or
Virgin Mary). For the purposes of the church, an apse was built at the
east end of the cella, and the entrance was moved to the west end. The
building was also given a vaulted roof, which covered the cella alone.
In consequence the frieze was exposed to the weather, and the east
pediment was much destroyed. From 1206 to 1458, during the period of
the Frankish Dukes of Athens, the Parthenon was a Latin church.
Athens was taken by the Turks in 1458, and the Parthenon was again
an Orthodox Greek church for two years. In 1460, however, it was
converted into a Turkish mosque. From this date it probably suffered
little until 1687, when Athens was taken by the Venetian General,
Morosini. In the course of a bombardment of the Acropolis, the
besiegers succeeded in throwing a shell into a powder magazine in the
Parthenon, and caused an explosion that destroyed the roof and much of
the long sides of the building. Further injury was done by Morosini,
who made an attempt to take down the central group of the west
pediment, which was still nearly complete.
Fortunately, many of the sculptures had been drawn by a skilful artist
before the explosion. In 1674 Jacques Carrey, a painter in the suite
of the Marquis de Nointel, French ambassador at the Porte, made
sketches of large portions of the frieze and metopes, and of the then
extant portions of the pedimental compositions. These drawings are
preserved in the French Bibliotheque Nationale, and are constantly
referred to in discussions of the Parthenon sculptures.
In 1688 Athens was restored to the Turks, and from this date to the
end of the last century the sculptures of the Parthenon were exposed
to constant injury. Some of them were made into lime, or built into
walls by the Turkish garrison; others were mutilated by the travellers
who from time to time obtained admission to the Acropolis, and broke
off portable fragments of the sculptures.
In 1749, when the west pediment was drawn by Dalton, many figures
still remained in position which had disappeared before the time of
Lord Elgin. Several portions also of the frieze, which were seen by
Stuart, had disappeared at the beginning of the present century. On
the other hand, the east pediment, being inaccessible, suffered no
important change between 1674 and 1800.
In the years 1801-3 many of the sculptures of the Parthenon were
removed to England by the Earl of Elgin, then British ambassador at
Constantinople, by means of a firman obtained from the Porte (see p.
6). The Elgin Collection, which includes other marbles obtained from
Athens and elsewhere, together with casts and drawings, was purchased
from Lord Elgin by the British Government in 1816 for L35,000. Several
portions of the sculptures of the Parthenon have been discovered since
the time of Lord Elgin on the Acropolis and its slopes, or in various
parts of Europe, to which they had been taken by travellers. These are
represented as far as possible in the British Museum by plaster casts.
The following aids to the study of the Parthenon will be found in the
Elgin Room:--
Model of the Athenian Acropolis, showing its condition in the year
1870. Presented by Prof. Adolf Michaelis.
Model of the Parthenon. The model was made by R. C. Lucas, on a scale
of a foot to 20 feet, and represents the state of the temple in
1687, after the explosion, but before Morosini had attacked the west
pediment.
Carrey's drawings of the pediments. Photographic reproductions of the
originals are exhibited.
A restored view of the Athenian Acropolis. By Richard Bohn.
_Bibliography of the Parthenon._
The work of Michaelis, _Der Parthenon_ (Leipzig, 1871), collects
the material for the study of the Parthenon, and contains an
excellent digest of all that had been written on the subject up to
the year 1871. For later writers, see below _passim_, and Wolters.
For the chronology of Pheidias, see Loeschcke, in _Untersuchungen
A. Schaefer gewidmet_, p. 25; for the question as to his master,
see Klein, _Arch.-Epigr. Mittheilungen aus Oesterreich_, VII.,
p. 64; Murray, _Greek Sculpture_, 2nd ed., p. 186. For the older
temple on the site of the Parthenon, see Doerpfeld, in _Athenische
Mittheilungen_, XII., p. 45; Harrison, _Mythology of Anc. Athens_,
p. 467. The plan given above is taken from Michaelis. Important
modifications have been proposed by Doerpfeld, _Athenische
Mittheilungen_, VI., pl. 12, p. 283; Harrison, _loc. cit._, p.
464. For the mediaeval history of the Parthenon, see Laborde;
_Athenes aux XV^e, XVI^e, et XVII^e Siecles_ (Paris, 1854);
Gregorovius, _Athen im Mittelalter_ (1889). Facsimiles of Carrey's
drawings are in the British Museum, and have been partially
published in the works of Laborde, _Le Parthenon_ (Paris, 1848).
For photographic copies of the drawings of the pediments,
see _Antike Denkmaeler_, I., pls. 6, 6a. Dalton's views of the
Acropolis were published in 1751, but the remains of Athens were
little known till the appearance of _The Antiquities of Athens_,
by James Stuart and Nicolas Revett. (London: vol. I., 1762; vol.
II., 1787; vol. III., 1794; vol. IV., 1816; vol. V., 1830).
A second edition, with additional matter, but having inferior
illustrations, was issued in 1825-1830. The original drawings,
made for this work by Pars, were presented to the British Museum
by the Society of Dilettanti. The official inquiry into the
proceedings of Lord Elgin is contained in the _Report from the
Select Committee of the House of Commons on the Earl of Elgin's
Collection of Sculptured Marbles; &c._ (London, 1816).
STATUE OF ATHENE PARTHENOS.
The colossal statue of Athene 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. Athene stood,
draped in chiton and aegis. In her left hand she held her spear and
shield. Between her and her shield was the serpent Erichthonios.
On her outstretched right hand was a winged Victory, six feet high,
holding a wreath. The helmet of the Goddess was adorned, according
to Pausanias, with a Sphinx and Gryphons. From detailed copies of
the head (_Athenische Mittheilungen_, viii., pl. 15; _Cat. of Gems in
B. M._ 637, 638) we learn that the Gryphons were on the cheek-pieces,
and that there was a figure of Pegasos on each side of the Sphinx.
There was also a row of small horses at the front of the helmet. All
available space was covered with reliefs. A battle between Greeks and
Amazons (see below, Nos. 301, 302) was seen on the exterior of the
shield, and one between Gods and Giants on its interior. On the base
was a representation of the birth of Pandora (see No. 301) and on the
edges of the sandals was a battle between Centaurs and Lapiths.
The statue disappeared from view with the fall of paganism. Nos.
300-302 afford some of the materials for its reconstruction. Rough
reproductions of the figure also occur on Attic reliefs, such as Nos.
771-773.
The statuette, No. 300, is of service for the details of the
composition, although it is artistically a poor copy. The Lenormant
statuette, No. 301, though rough and incomplete, is of more value for
its rendering of the features.
The column beneath the hand of Athene (in No. 300) presents some
difficulty, as it is not mentioned in descriptions of the statue and
seldom occurs in reproductions of it. It is seen in an Attic relief
(_Michaelis_, pl. 15, fig. 7) on a lead ticket (_Zeitschr. fuer
Numismatik_, x., p. 152) and, in the form of an olive tree, on a
Lycian coin of the time of Alexander (_Zeitschr. fuer Num._, _loc.
cit._; Murray, ii., pl. 11). It is more probable that an existing
support should be omitted in reliefs, than that it should be inserted
if non-existent. It is possible, however, that the support was not
a part of the design of Pheidias, but was an addition, found to be
necessary before the time of Alexander.
[Sidenote: =300.=]
Cast of a statuette, copied from the Athene Parthenos. The Goddess
wears a helmet, aegis, chiton with diploidion girt round the waist,
bracelets and sandals; her left hand rests on her shield, which stands
on its edge at her side. In the centre of the outside of the shield
is a mask of Medusa, and inside a serpent; the right hand of Athene
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 Athene is a Sphinx, and at each side has been
a Pegasos.
The statuette was found in a shrine in a private house. Compare the
vision of Proclos, who was bidden to prepare his house for Athene,
when her statue was being removed by the Christians from the
Parthenon, about 430 A.D. (Marinus, _Proclos_, 30; Michaelis, p. 270.)
The original, which is of Pentelic marble, is in the National
Museum at Athens. Height, with plinth, 3 feet 5 inches. Found in
1880, _near the Varvakion in Athens. Athenische Mittheilungen_,
VI., pls. 1, 2, p. 56; _Journ. of Hellen. Studies_, II., p.
3; Schreiber, _Athena Parthenos des Phidias_, pl. 1; Brunn,
_Denkmaeler_, Nos. 39, 40; Waldstein, pl. 14; Harrison, _Mythology
and Monuments of Anc. Athens_, p. 447. For literature see
Waldstein, _Essays_, p. 270; Wolters, No. 467.
[Sidenote: =301.=]
Cast of a statuette, copied from the statue of Athene Parthenos.
Athene wears a helmet, aegis, and chiton with diploidion girt round the
waist; her right hand is extended in front with the palm open upwards
as if to hold out the figure of Victory. In this part the statuette is
unfinished, the marble underneath the right arm not having been hewn
away. The left hand of the Goddess rests on her shield, which stands
on its edge at her side; inside the shield is a serpent; outside are
reliefs representing the battle between Greeks and Amazons, which
is seen in more detail in No. 302. Among the figures, we recognise
several which occur on No. 302. The figure of Pheidias (_a_, see No.
302) is near the top of the relief, and holds a stone, as described by
Plutarch. Next him perhaps is Pericles (_b_) separated from the fallen
Amazon (_c_), which is at the bottom of the shield, as in No. 302. The
group of the Greek seizing an Amazon (_d_) is seen on the right as in
No. 302. The fallen Amazon (_e_) with hands above her head is high
up, on the left of the relief. In place of the group of an Amazon
supporting her companion (_f_) which is in No. 302, we have here the
same subject, but differently treated. The Gorgon's head is roughly
indicated near the middle of the shield. From the manner in which the
rest of the figure corresponds to the chryselephantine statue, it has
been assumed that the rude outlines of figures in relief on the base
of the statuette represent the composition of Pheidias, of which the
subject was the birth of Pandora (Paus., i., xxiv., 7.)
The original of this statue, which is of marble, is in the
National Museum at Athens. Height 1 foot 4-3/4 inches. Found in
1859 _near the Pnyx, at Athens_. Lenormant, _Gazette des Beaux
Arts_, 1860, VIII., p. 133; Jahn, _Pop. Aufsaetze_, p. 215, pl.
1; Michaelis, pl. 15, fig. 1, p. 273; Overbeck, _Gr. Plast._, 3rd
ed., I., p. 253, fig. 54; Brunn, _Denkmaeler_, No. 38; Wolters,
No. 466; Harrison, _Mythology and Monuments of Anc. Athens_, p.
449. For the Pandora relief, see Puchstein, in _Jahrbuch des Arch.
Inst._, V., p. 113.
[Sidenote: =302.=]
Fragment of shield supposed to be a rough copy from the shield of the
statue of Athene Parthenos. Pliny (_H. N._, xxxvi., 18) and Pausanias
(i., 17, 2) state that the outside of the shield was ornamented with
the representation of a battle between Greeks and Amazons. Plutarch
adds (_Pericles_, 31) that one of the figures represented Pheidias
himself as an old bald-headed man raising a stone with both hands,
while in another figure, who was represented fighting against an
Amazon, with one hand holding out a spear in such a way as to conceal
the face, the sculptor introduced the likeness of Pericles. This
story is probably of late origin, and invented to account for two
characteristic figures on the shield. A head of Medusa, or Gorgoneion,
encircled by two serpents, forms the centre of the composition on the
fragment. Below the Gorgoneion is a Greek warrior (_a_, cf. No. 301),
bald-headed, who raises both hands above his head to strike with a
battle-axe. This figure has been thought to correspond with that of
Pheidias in the original design. Next to him on the right is a Greek
(_b_) who plants his left foot on the body of a fallen Amazon (_c_)
and is in the act of dealing a blow with his right hand; his right
arm is raised across his face and conceals the greater part of it.
The action of this figure again presents a partial correspondence
with that of Pericles as described by Plutarch. To the right of the
supposed Pericles are two Greeks: the one advances to the right; the
other (_d_) seizes by the hair an Amazon falling on the right. Above
this group is an Amazon running to the right and a Greek striding to
the left. His shield has the device of a hare. Above him are three
armed Greeks, and the remains of another figure. On the left of the
figure described as Pheidias is a Greek who has fallen on his knees.
Further to the left is a fallen Amazon (_e_) who lies with her head
towards the lower edge of the shield. Near her is a wounded Amazon
(_f_) supported by a companion of whom but little remains. The lower
part of a third figure, probably that of a Greek, is also seen. All
the Amazons wear high boots and a short chiton, leaving the right
breast exposed; their weapon is a double-headed axe. Red colour
remains on the two serpents which encircle the Gorgon's head, on
the shield of one of the Greeks and in several places on the
draperies.--_Obtained by Viscount Strangford from Athens._
Pentelic marble; height, 1 foot 4-3/4 inches; width, 1 foot 6
inches. Conze, _Arch. Zeit._, 1865, pls. 196, 197; Jahn, _Pop.
Aufsaetze_, p. 216, pl. 2, 1; Michaelis, pl. 15, fig. 34. Overbeck,
_Gr. Plast._, 3rd ed., I., p. 255, fig. 55; Mitchell, p. 313;
Mansell, No. 729; Wolters, No. 471; Harrison, _Mythology and
Monuments of Anc. Athens_, p. 453. There is a fragment of a
similar shield in the Vatican, Michaelis, pl. 15, fig. 35.
EASTERN PEDIMENT OF THE PARTHENON.
[Sidenote: =303.=]
We know from Pausanias (i., 24, 5) that the subject of the composition
in the eastern pediment had relation to the birth of Athene, who,
according to the legend, sprang forth, fully armed, from the brain
of Zeus. As all the central part of this composition was already
destroyed when Carrey made his drawing of the pediment, we have no
means of ascertaining how the subject was treated; and whether the
moment immediately after the birth was represented, as has been
generally supposed, or, as has been also suggested, the moment
immediately before the birth.
A relief surrounding a _puteal_ or well-head, now at Madrid, has been
thought to throw light on this question. There Zeus is enthroned,
looking to the right; Athene is before him, armed, and advances to the
right. A Victory flies towards her with a wreath. Behind the throne of
Zeus is Hephaestos, who has cleft the skull of Zeus with his axe, and
starts back in astonishment. On the extreme right of the composition
are the three Fates (Schneider, _Geburt der Athena_, pl. 1; Mitchell,
p. 350, fig. 157). Unfortunately the subordinate figures have not
a sufficient resemblance to those which are still extant of the
Parthenon pediment, to allow us to assume a direct connection between
the pediment and the relief. Some such composition, however, seems
more consonant with the dignity of Athene than the scheme which occurs
on vases and Etruscan mirrors (_e.g._ on a vase in the British Museum,
No. B. 53; _Mon. dell' Inst._, iii., pl. 44) where the Goddess is
represented as a diminutive figure, above the head of Zeus. This
conclusion is confirmed by Sauer's recent examination of the ground
of the pediment. It is now proved that the middle of the east pediment
was occupied by two figures of equal importance, and not by a single
central figure of Zeus, such as is required, if we suppose that the
subject was treated according to the tradition of the vase painters.
It is further shown to be probable that Zeus was seated on the left of
the centre, seen in profile and turned to the right, and that Athene
stood on the right of the centre, holding a spear in her outstretched
right hand. The whole group between the figures G and K is thought,
from the indications on the pediment, to have consisted of the
following figures, in order from the left:--Standing figure, stepping
inwards (cf. Hermes of the west pediment); standing figure; seated
figure in profile to the right; figure standing immediately behind
Zeus; Zeus and Athene; Hephaestos (H); seated figure in profile to
the left; standing figure; standing figure turned to the left (J);
standing figure turned outward (compare G).
If we confine our attention to the extant pedimental figures, we find
wide differences of opinion as to their interpretation. The figures in
the angles are the only ones as to which there can be no doubt. On the
left the sun-god, Helios, rises from the ocean, driving his car, and
on the right the moon-goddess Selene sets beneath the horizon.
These two figures may be interpreted as marking the boundaries either
of Olympos or of the universe. It has also been suggested that they
indicate the hour at which the birth took place. This, according to
Attic tradition, was at sunrise.
Thus far the interpretation rests upon sure grounds. Of the remaining
figures in the pediment, J has been generally recognised as Victory
greeting the newly born Goddess, and G has been generally taken for
Iris, announcing the news to the world (but see below, G). None of
the remaining figures have been conclusively identified. Most of
the numerous schemes of interpretation that have been proposed are
exhibited in a table by Michaelis, _Der Parthenon_, p. 165, cf. _Guide
to the Elgin Room, I._, Table A. As regards the general principles of
interpretation it is to be observed that the schemes may be divided
into two classes. We may either suppose with the earlier critics that
the space bounded by Helios and Selene 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 Athene, and Pindar, _Olymp._, vii., 35.
The best views of this pediment are (1) the drawing of Carrey in
the Bibliotheque Nationale (pl. v., fig. 1). A facsimile in
the British Museum; in Laborde, _Le Parthenon_, and _Antike
Denkmaeler_, I., pl. 6 (exhibited in Elgin Room); (2) sketch by
Pars, engraved in Stuart, vol. II., chap. I., pl. 1. The original
drawing is in the Print Room of the British Museum. For a list of
proposed restorations, see Schneider, _Geburt der Athena_, p. 23,
pls. 2-7; Waldstein, _Essays_, p. 139. For Sauer's examination of
the pediment, see _Athenische Mittheilungen_, XVI., pl. 3, p.
59; _Antike Denkmaeler_, I., pl. 58. The ends of the pediment are
reproduced in figs. 7, 8.
[Illustration: Fig. 7.--The South End of the East Pediment of the
Parthenon (according to Sauer).]
[Illustration: Fig. 8--The North End of the East Pediment of the
Parthenon (according to Sauer).]
[Sidenote: =303 A.=]
Helios, in his chariot emerging from the waves. The head is wanting,
the neck has a forward inclination corresponding with the action of
the arms, which are stretched out in front of the body, holding the
reins by which the upspringing horses of the Sun-god were guided
and controlled. The head of Helios had been already broken away in
Carrey's time; the wrist and hand of the right arm, now wanting, are
shown in his drawing. The surface of the marble on the neck having
been protected from weather by the cornice retains its original
polish. At the back and between the arms are sculptured small rippling
waves to represent a calm sea at sunrise. These waves are treated in
the conventional manner usual in representations of water in Greek
art; their profile shown on the edge of the plinth approximates very
nearly to the well-known wave pattern. The metal reins have been
attached to the upper surface of the plinth under the right forearm,
and also under the right hand, now lost; three dowel holes in this
part of the plinth served for their attachment. The waves were
probably distinguished by colour. It has been noted by Michaelis that
the angle in which this figure was placed is the darkest spot in the
eastern pediment, and that it is only fully illumined by the early
morning sun.
_Mus. Marbles_, VI., pl. 1; Michaelis, pl. 6, fig. 8; Overbeck,
I., p. 303, fig. 61 (with B, C).
[Sidenote: =303 B, C.=]
Two horses of Helios. The team of Helios was represented by four
horses' heads, two of which still remain in position on the temple, at
the back of the pediment. The two which are here are sculptured in the
round out of one block of marble. They are represented emerging from
the waves, the profile of which is sculptured in relief on the neck
of the nearest horse. The head of the horse nearest the eye (B)
looks outwards, and has projected beyond the plane of the pedimental
cornice, so that it must have caught the light. The action of this
horse's head is most spirited, though its effect is greatly impaired
by the loss of the lower jaw, and the injury which the surface of the
marble has received from exposure to the weather. The reins were of
metal, and the points of attachment of reins and bridle are marked by
three dowel holes in the plinth, a fourth behind the right ear, and a
fifth inside the mouth. The head of the other horse on this block (C),
which was advanced beyond the outside head, so as to be visible, is
nearly destroyed; only the neck and back of the head remain.
_Mus. Marbles_, VI., pl. 2; Michaelis, pl. 6, fig. 9;
_Stereoscopic_, No. 105. For the two heads still on the pediment,
see _Athenische Mittheilungen_, XVI., p. 81.
[Sidenote: =303 D.=]
This figure, which is commonly known as Theseus, reclines on a rock
and faces the horses of Helios. He leans on his left arm in an easy
attitude. The right arm is bent, but, as the hand is wanting, we can
only form conjectures as to what its action may have been. It probably
held a spear, or some other long object, the end of which may have
been attached to the left ankle at the place where a dowel hole is
still visible. According to some writers, the hole served for the
attachment of the laced work of a sandal in bronze. (_Ber. d. k.
saechs. Ges. d. Wissenschaften_, 1880, p. 44.) The legs are bent, the
left leg drawn back under the right. The headdress is in the form of
the krobylos (cf. No. 209). The body is entirely nude: over the rock
on which the figure rests is thrown a mantle under which is strewn a
skin, the claws of which are certainly those of some feline animal.
The type and position of this figure present so much resemblance
to the Heracles on the silver coins of Croton in Lower Italy (_Mus.
Marbles_, vi., title-page), that it has been identified with that hero
by Visconti, who supposed the skin on which he reclines to be that
of a lion. This skin, however, seems more like that of a panther, on
which ground the figure has been thought to be Dionysos, who appears
in a very similar reclining attitude on another Athenian work, the
Choragic monument of Lysicrates (No. 430, _1_); compare the statue
in the Louvre, Mueller-Wieseler, _Denkmaeler_, ii., pl. 32, No. 360.
Compare also the figure of Dionysos reclining, on a relief on an
_askos_ in the British Museum, No. G. 281 (see fig. 9). The figure,
however, differs greatly in character, not only from the figure on the
monument of Lysicrates, but also from the figure sometimes supposed to
be Dionysos on the frieze of the Parthenon. (East side, No. 38.) More
recently Brunn has interpreted this figure as the mountain of
Olympos illumined by the first rays of the rising sun, and it must be
acknowledged that the attitude and type of the so-called Theseus
is very suitable for the personification of a mountain. Compare the
figures of mountains from reliefs, collected by Waldstein (_Essays_,
pp. 173, 174).
[Illustration: Fig. 9.]
_Mus. Marbles_, VI., pls. 3, 4; Baumeister, _Denkmaeler_, p. 1180,
fig. 1370; Michaelis, pl. 6, fig. 10; Overbeck, _Gr. Plast._, 3rd
ed., I., p. 304, fig. 62; Murray, II., pl. 5; _Stereoscopic_,
No. 105; Waldstein, _Essays_, pl. 6; Brunn, _Ber. der k. bayer.
Akad., Phil. hist. Cl._, 1874, II., p. 14. The correct position
of the figure in the pediment has been ascertained by Sauer (_cf._
fig. 7).
[Sidenote: =303 E, F.=]
Two female figures, seated on square seats. They both wear a
sleeveless chiton, girt at the waist, and a diploidion. Over it is a
mantle thrown over their lower limbs in a rich composition of folds.
On the right wrist of the figure nearest the angle (E) is a dowel
hole, probably for the attachment of a bracelet. Her companion (F),
who wore metal fibulae on each shoulder, extends her left arm towards
the figure, which is advancing towards her. Her head has been broken
off at the base of the neck, but it has probably been turned towards
her companion, who rests her left arm affectionately on her shoulder,
and who probably looked towards her, perhaps as if listening to the
news brought by Iris. The seats, on which are laid folded carpets, are
carved out of the marble with great care and delicacy of finish, the
regular geometrical lines being valuable in opposition to the varied
undulations of the drapery. In the sides and backs of both seats are
oblong sunk panels, in one of which several archaeologists have tried
unsuccessfully to read the name of an artist (see Michaelis, p. 174;
Brunn, _Griech. Kuenstler_, i., p. 104). Most of the writers on the
Parthenon, from Visconti downwards, have named this group Demeter and
Persephone, two deities, whose cult in Attica ranked second only to
that of Athene 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. Broendsted (_Voyages et Recherches_, ii., p. xi.) suggested
that these two figures, with G, were the three Horae or Seasons,
worshipped in Attica under the names Thallo, Auxo and Karpo. Brunn
(followed by Waldstein) supposes that the two figures are Horae, but
that they must be viewed as the warders of the gates of Olympos (Hom.
_Il._, v., 749) rather than as Attic deities. On this theory the
position of figure G, if it represents Iris, would indicate that she
is on the point of reaching the boundary of Olympos and passing to the
outer world.
_Mus. Marbles_, VI., pl. 5; Michaelis, pl. 6, fig. 11; Murray,
II., pl. 4; _Stereoscopic_, No. 106; Rayet, _Monuments_, No. 32;
Waldstein, _Essays_, pl. 7; Mitchell, _Selections_, pl. 6; Brunn,
_Ber. der k. bayer. Akad., Phil. hist. Cl._, 1874, II., p. 15.
[Sidenote: =303 G.=]
Iris (?).--This figure is moving rapidly to our left, the right knee
bent. The left arm was probably extended; the right was bent nearly at
a right angle. Both hands probably held parts of the mantle, of which
a remnant floats behind, bellied out by the resistance of the air
to the rapid movement of the figure. The feet are wanting from the
instep. The figure was let into a socket about two inches deep, on the
floor of the pediment. It seems to be exactly in the same condition as
when Carrey saw it, except that in his drawing rather more of the neck
appears than now remains. The dress is a Doric chiton, _schistos_,
open down the left side, except for the girdle. Over this falls a
diploidion. The arms of this figure are small in proporti
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