file which includes the many original illustrations4 ,see #cgeeh-;h4htm or #cgeeh-;h4zip3 7https3_/_/www4gutenberg4org_/cache_/epu b_/#cgeeh_/pg#cgeeh-;images4html7 or 7https3_/_/www4gutenberg4org_/files_/#cg eeh_/cgeeh-;h4zip7 ,transcriber's note3 ,text enclosed by underscores is in italics 7italics74 ,text enclosed by equal signs is in bold face 7bold74 ,text following a carat character is superscripted 7example3 ,,xve74 ,there are some differences in context between ,chapter or ,section ,headings and corresponding entries in the ,table of ,contents4 ,in every case the original has been retained4 ,a ,,catalogue ,,of ,,sculpture ,,in ,,the ,,department ,,of ,,greek ,,and ,,roman ,,antiquities1 ,,british ,,museum4 by ,a4 ,h4 ,,smith1 ,m4,a41 ,assistant in the ,department of ,greek and ,roman ,antiquities1 in the ,british ,museum4 ,,vol4 ,i4 ,london3 ,printed by ,order of the ,trustees4 #ahib4 ,london3 ,printed by ,william ,clowes and ,sons1 ,limited ,stamford ,street and ,charing ,cross4 ,,preface4 ,the present volume by ,mr4 ,arthur ,smith1 ,assistant in the ,department of ,greek and ,roman ,antiquities1 includes the sculptures of the ,archaic period3 those of the ,parthenon and other ,athenian buildings2 the remains of the temple at ,phigaleia2 the ,greek reliefs1 and some other sculptures which1 though produced in ,roman times1 yet represent ,greek originals of the great age4 ,in the section which deals with the sculptures of ,athens much has been retained from ,sir ,charles ,newton's ,guide to the ,elgin ,room1 ,pts4 ,i4-,,ii4 ,while adding the results of more recent research1 ,mr4 ,smith has contributed on his part interesting material4 ,the sculptures of the archaic period have of late years been the subject of much discussion2 the results of these discussions1 as they apply to the collection of the ,british ,museum1 have now been brought together and summarized4 ,the ,greek reliefs1 which form an important section of the present volume1 belong to a class of sculptures which have produced much difference of opinion as to the subjects represented by them4 ,mr4 ,smith has stated briefly the principal views1 by way of introduction to the several classes of reliefs4 ,a4 ,s4 ,,murray #crd ,december1 #ahia4 ,,contents ,,of ,,vol4 ,i4 ,,page ,,editor',s ,,preface iii ,,table ,,of ,,contents v ,,table ,,of ,,abbreviations vii ,,introduction #a ,,part ,i4--,,the ,,archaic ,,period4 ,,mycenae1 #a-f #ab ,,branchidae1 #g-ba #af ,,lydia1 #bb1 #bc #bd ,,ephesus1 #bd-dh #bd ,,caria1 #di-ea #dj ,,rhodes1 #eb-ge #da ,,xanthos1 #hj-ih #de ,,naucratis1 #ajj-abg #fa ,,delos1 #acj #fh ,,selinus 7casts71 #ace-aci #fi ,,athens ,,and ,,attica1 #aej-aef #gj ,,aegina 7casts71 #afj-ahc #gc ,,olympia 7casts71 #aij-aib #hj ,,statues ,,of ,,apollo 7871 #bjj-baa #hb ,,miscellaneous ,,archaic ,,sculptures1 #bae-bag #hh ,,part ,,ii4--,,myron ,,and ,,pheidias4 ,,myron1 #bej #ij ,,pheidias ,,and ,,the ,,parthenon #ia ,athene ,parthenos1 #cjj-cjb #if ,east ,pediment of ,parthenon1 #cjc #aja ,west ,pediment of ,parthenon1 #cjd #aaf ,metopes of ,parthenon1 #cje-cbc #acb ,frieze of the ,parthenon #ade ,east ,side1 #cbd #aeb ,north ,side1 #cbe #afe ,west ,side1 #cbf #agh ,south ,side1 #cbg #aha ,fragments of the ,parthenon ,sculptures1 #cbh-cde #aic ,architectural ,fragments of the ,parthenon1 #cej-ceh #bac ,,part ,,iii4--,,the ,,successors ,,of ,,pheidias4 ,,the ,,temple ,,called ,,the ,,theseion #baf ,sculpture 7casts7 and ,architecture1 #djj-djf #bbj ,,the ,,erechtheion #bca ,sculpture and ,architecture1 #djg-dbj #bcc ,,temple ,,of ,,nike ,,apteros #bci ,frieze and ,reliefs of ,balustrade 7casts71 #dba-dbi #bdb ,,monument ,,of ,,lysicrates #bdh ,frieze 7casts71 #dcj #bea ,,monument ,,of ,,thrasyllos1 #dcb #beg ,,the ,,propylaea1 #dcc-dce #bei ,,miscellaneous ,,architectural ,,fragments ,,from ,,athens ,,and ,,attica1 #dcf-ddh #bfa ,,agoracritos ,,of ,,paros1 #dfj #bfd ,,polycleitos ,,of ,,argos1 #ejj-ejd #bfe ,,temple ,,of ,,apollo ,,at ,,phigaleia #bgj ,architectural ,fragments1 #eje-eji #bgc ,metopes1 #eaj-eai #bgd ,frieze1 #ebj-edb #bgg ,acrolithic ,statue1 #edc1 #edd #bhh ,,miscellaneous ,,sculptures ,,of ,,the ,,fifth ,,century1 #edi-efj #bhh ,,greek ,,reliefs #bic ,,sepulchral ,,reliefs3 ,decorative ,stelae1 #eii-fah #cjd ,domestic ,scenes1 c41 #fai-fhj #cjh ,sepulchral ,vases1 #fha-fhf #cbd ,figures clasping hands1 #fhg-gaj #cbf ,the ,sepulchral ,banquet1 c41 #gaa-gdf #ccc ,rider and ,horse1 heroified1 #gej-geg #cdg ,lycian ,sepulchral ,reliefs 7casts71 #gfj-gff #cej ,,votive ,,reliefs1 #ggj-hag #ced ,,plates ,i4-,,xii4 ,,table ,,of ,,abbreviations4 ,the following is a list of the works which are most frequently referred to1 in this ,catalogue1 under abbreviated forms3-- ,annali dell' ,inst4 ,annali dell' ,instituto di ,corrispondenza ,archeologica4 ,rome3 #ahbi-ahhe4 ,superseded by the ,roemische ,mittheilungen4 ,antike ,denkmaeler4 ,antike ,denkmaeler herausgegeben vom k4 deutschen ,archaeologischen ,institut4 ,berlin3 from #ahhf4 ,in progress4 ,arch4 ,anzeiger4 ,archaeologischer ,anzeiger4 ,a supplement to the ,archeologische ,zeitung1 and to the ,jahrbuch des ,archaeologischen ,instituts4 ,arch4 ,zeit4 ,archaeologische ,zeitung4 ,berlin3 #ahdc-ahhe4 ,superseded by the ,jahrbuch des ,archaeologischen ,instituts4 ,athenische ,mittheilungen4 ,mittheilungen des k4 deutschen ,archaeologischen ,instituts1 ,athenische ,abtheilung4 ,athens3 from #ahgf4 ,in progress4 ,brunn1 ,denkmaeler4 ,h4 v4 ,brunn1 ,denkmaeler griechischer und roemischer ,sculptur4 ,munich3 from #ahhh4 ,in progress4 ,bull1 de ,corr4 ,hellenique4 ,ecole francaise d',athenes4 ,bulletin de ,correspondance ,hellenique4 ,athens3 from #ahgg4 ,in progress4 ,bull4 dell' ,inst4 ,bullettino dell' ,instituto di ,corrispondenza ,archeologica4 ,rome3 #ahbi-ahhe4 ,c4 ,i4 ,a4 ,corpus ,inscriptionum ,atticarum4 ,berlin3 from #ahgc4 ,in progress4 ,c4 ,i4 ,g4 ,corpus ,inscriptionum ,graecarum4 ,berlin3 #ahbh-ahgg4 ,gaz4 ,arch4 ,gazette ,archeologique4 ,paris3 #ahgd-ahhh4 ,greek ,inscriptions in ,brit4 ,mus4 ,the ,collection of ,ancient ,greek ,inscriptions in the ,british ,museum1 by ,c4 ,t4 ,newton1 and ,e4 ,l4 ,hicks4 #ahgd-ahij4 ,guide to ,elgin ,room ,i4 ,synopsis of the ,contents of the ,british ,museum4 ,department of ,greek and ,roman ,antiquities4 ,the ,sculptures of the ,parthenon4 ,elgin ,room1 ,part ,i4 7,third ed474 #ahhf4 ,guide to ,elgin ,room ,,ii4 ,synopsis1 etc4444 ,the ,sculptures in the ,elgin ,room4 ,part ,,ii4 #ahha4 ,guide to ,first ,vase ,room4 ,synopsis1 etc4444 ,first ,vase ,room4 7,last ed47 #ahhc4 ,guide to ,graeco-,roman ,sculptures ,i4 ,synopsis1 etc4444 ,graeco-,roman ,sculptures4 7,second ed47 #ahgi4 ,guide to ,graeco-,roman ,sculptures ,,ii4 ,synopsis1 etc4444 ,graeco-,roman ,sculptures4 ,part ,,ii4 #ahgf4 ,jahrbuch des ,arch4 ,inst4 ,jahrbuch des k4 deutschen ,archaeologischen ,instituts4 ,berlin3 from #ahhf4 ,in progress4 ,journ4 of ,hellen4 ,studies4 ,the ,journal of ,hellenic ,studies4 ,london3 from #ahgi4 ,in progress4 ,mansell4 ,photographs of objects in the ,british ,museum1 published by ,w4 ,a4 ,mansell1 #bga ,oxford ,street1 ,w4 ,michaelis4 ,a4 ,michaelis1 ,der ,parthenon4 ,leipsic3 #ahga4 ,michaelis1 ,anc4 ,marbles4 ,a4 ,michaelis1 ,ancient ,marbles in ,great ,britain4 #ahhb4 ,mitchell4 ,lucy ,m4 ,mitchell1 ,a ,history of ,ancient ,sculpture4 #ahhc4 ,mitchell1 ,selections4 ,selections from ,ancient ,sculpture4444 ,a ,supplement to ,a ,history of ,ancient ,sculpture4 ,by ,lucy ,m4 ,mitchell4 #ahhc4 ,mon4 dell' ,inst4 ,monumenti ,inediti1 pubblicati dall' ,instituto di ,corrispondenza ,archaeologica4 ,rome1 #ahbi-ahhf1 and ,berlin1 #ahia4 ,murray4 ,a4 ,s4 ,murray1 ,a ,history of ,greek ,sculpture4 #ahhj-c4 ,second ed41 #ahij4 ,the first ed4 is quoted1 unless otherwise stated4 ,mus4 ,marbles4 ,a description of the ,collection of ,ancient ,marbles in the ,british ,museum4 #ahab-ahfa4 ,perrot ,chipiez4 ,g4 ,perrot and ,c4 ,chipiez1 ,histoire de l',art dans l',antiquite4 ,paris3 from #ahhb4 ,in progress4 ,prachov4 ,a4 ,prachov1 ,antiquissima ,monumenta ,xanthiaca4 ,st4 ,petersburg1 #ahga4 ,rev4 ,arch4 ,revue ,archeologique4 ,paris3 from #ahdd4 ,in progress4 ,roehl1 ,i4 ,g4 ,a4 ,h4 ,roehl1 ,inscriptiones ,graecae ,antiquissimae1 praeter ,atticas in ,attica repertas4 ,berlin3 #ahhb4 ,roemische ,mittheilungen4 ,mittheilungen des k4 deutschen ,archaeologischen ,instituts1 ,roemische ,abtheilung4 ,rome3 from #ahhf4 ,in progress4 ,specimens4 ,specimens of ,ancient ,sculpture 444 selected from different ,collections in ,great ,britain1 by the ,society of ,dilettanti4 ,london3 #ahji4 ,stereoscopic4 ,photographs of objects in the ,british ,museum1 published by the ,london ,stereoscopic ,company1 #ajf ,regent ,street1 ,w4 ,stuart4 ,james ,stuart and ,nicolas ,revett1 ,the ,antiquities of ,athens4 ,london3 #agfb-ahcj4 ,second ed41 #ahbe-ahcj4 ,the first ed4 is quoted unless otherwise stated4 ,synopsis4 ,synopsis of the contents of the ,british ,museum4 7,numerous editions47 #ahjh-aheg4 ,where a double reference is given1 as #ahi 7#bhd71 the number in the parenthesis was used in editions of the ,synopsis earlier than #ahcb4 ,wolters4 ,die ,gipsabguesse ,antiker ,bildwerke in historischer ,folge erklaert4 ,bausteine 444 von ,carl ,friederichs neu bearbeitet von ,paul ,wolters4 ,berlin3 #ahhe4 ,,british ,,and ,,metric ,,systems ,,compared4 #a inch 4#jbe metre4 #a foot 4#cjd metre4 #c feet 4#iad metre4 #a metre #ci4cgjgi inches4 ,,introduction4 ,the collection of ancient sculpture in marble1 included in the ,department of ,greek and ,roman ,antiquities in the ,british ,museum1 may be said to represent the efforts of more than two centuries1 though the foundation of the ,museum itself is of a considerably more recent date4#a ,the ,british ,museum was established by ,parliament in #agec4 ,in that year1 by the statute #bf ,geo4 ,,ii4 cap4 #bb1 a trust was created to unite and maintain as one collection the ,museum of ,sir ,hans ,sloane1 the ,cottonian ,library1 and the ,harleian ,collection of ,manuscripts4 ,sir ,hans ,sloane 7#affj-agec71b physician1 botanist1 and ,president of the ,royal ,society in succession to ,newton1 had formed in his lifetime a very extensive museum1 consisting mainly of books1 natural history collections1 and ethnographical objects4 ,at the same time classical antiquities were represented by bronzes1 gems1 vases1 terracottas1 and a few sculptures in marble4 ,the examples1 however1 of ,greek sculpture were few and unimportant1 and in most instances they cannot now be recognized with certainty from the brief entries in ,sir ,hans ,sloane's catalogue4 ,such as they were1 they were chiefly derived from the collection of ,john ,kemp1 an antiquary and collector early in the eighteenth century 7died #agag74 ,the ,sloane ,collection included the sepulchral vase1 ,no4 #fhb in the present volume2 a small relief with two dogs and a wild boar2 a figure of ,asclepios1 a few heads1 busts1 urns of marble or alabaster1 and a few ,greek and ,latin inscriptions4 ,three of the pieces of sculpture in the ,museum are said by ,sloane#c to have been derived from the ,arundel ,collection1 which was the first great collection of classical antiques formed in this country4 ,thomas ,howard1 ,earl of ,arundel 7#aehe-afdf71 was the first ,englishman who employed agents to collect for him in ,greece and the ,greek ,islands1 as well as in ,italy4 ,the collection thus formed was broken up in the reign of ,charles ,,ii4 ,the inscriptions were given by ,henry ,howard1 afterwards sixth ,duke of ,norfolk1 to the ,university of ,oxford in #affg4 ,the sculptures were scattered4 ,a part passed through the hands of the ,earls of ,pomfret to the ,university of ,oxford1 while others were lost1 or dispersed among private collectors4#d ,the few examples named above thus found their way into the original collection of the ,british ,museum4 ,a more important fragment1 however1 from the ,arundel ,collection was added to the ,museum at an early date1 namely the bronze head1 formerly known as ,homer1#e which was presented by the ninth ,earl of ,exeter in #agfj4 ,this head had previously been in the collection of ,dr4 ,richard ,mead1#f physician and antiquary 7#afgc-aged71 and was sold with his collection in #aged4g ,between the foundation of the ,british ,museum in #agec and the accession of the ,townley ,collection in #ahje1 the collection of sculpture made but slow progress4 ,the first donor of sculpture was ,thomas ,hollis 7#agbj-aggd71 of ,corscombe1 in ,dorsetshire1 a collector1 and benefactor to several branches of the ,museum4 ,in #ageg ,hollis gave a collection of antiquities1 including several marbles1 chiefly small busts and inscriptions4#h ,in #agfd he gave a ,greek relief1 which cannot be identified1 and in #agfe a marble head of a ,faun4 ,in #aggb ,matthew ,duane 7lawyer and antiquary1 #agjg-aghe7 joined in a gift of sculptures with ,thomas ,tyrwhitt 7#agbj-aghf71 a scholar1 who also bequeathed his library of classical authors to the ,british ,museum4 ,the sculptures in question#i were purchased by the donors at an auction in ,london1#aj in order that they might be put in a place of safety4 ,the year #aggb is also noteworthy as the date of the first ,parliamentary grant for the augmentation of the ,museum collection4 ,the ,house of ,commons in that year voted a sum of ,l#hdaj for the purchase of the valuable museum of antiquities which had been formed by ,sir ,william ,hamilton 7#agcj-ahjc71 ,british ,ambassador at ,naples1 #agfd-ahjj4 ,the vases formed the most important section1 but the collection also contained several sculptures in the round and in relief4#aa ,on the other hand a square altar with reliefs#ab was presented by ,sir ,w4 ,hamilton in #aggf1 and perhaps also a head of ,heracles4#ac ,a colossal foot of ,apollo#ad was given in #aghd4 ,in #aghj an interesting relief1 ,no4 #gej1 was presented by ,sir ,joseph ,banks1 and ,col4 the ,hon4 ,a4 ,c4 ,fraser1 of ,lovat 7#agcf-ahae74 ,sir ,joseph ,banks 7#agdc-ahbj71 traveller1 botanist1 and ,president of the ,royal ,society1 was a great benefactor to the ,library and ,botanical collections1 but his gifts of sculpture were limited to this relief1 and to a relief representing ,jupiter and ,ceres1 presented in #ahji4 ,charles ,townley gave two marble fountains#ae in #aghf1 but his main collections were not added to the ,museum till after his death4 ,a valuable gift was received from the ,society of ,dilettanti1 about #agie1 consisting of the sculptures and inscriptions collected by the expedition to ,ionia which had been sent out by that ,society in #agfd1 under the direction of ,dr4 ,richard ,chandler4 ,the collection included several ,attic reliefs1#af and some important inscriptions1 among them the well-known report on the progress of the ,erechtheion4#ag ,in #ahgj the same ,society presented the fruits of its excavations at ,priene1 conducted by ,mr4 ,r4 ,p4 ,pullan4 ,two ,roman portrait statues1 of inferior merit1 which had passed into the hands of the ,british at the ,capitulation of ,alexandria1 in #ahjj1 were placed in the ,department of ,antiquities1 in #ahjb4 ,the collection of sculpture which had thus slowly come into existence during the first fifty years of the ,museum's history1 received its most brilliant accessions during the first quarter of the present century4 ,the great collection that had been formed by ,charles ,townley#ah was purchased in #ahje by ,act of ,parliament1 #de ,geo4 ,,iii4 cap4 #abg1 for ,l#bj1jjj1 a sum greatly below the value of the sculptures4 ,charles ,townley 7#agcg-ahje71 of ,townley1 in ,lancashire1 acquired a large part of his marbles1 during a residence in ,italy1 between #agfh and #aggb1 but continued collecting1 after his return to ,england4 ,the chief sources from which he formed his museum were the following3 7#a7 the older ,roman collections1 from which ,townley made numerous purchases2 7#b7 the excavations carried on by ,gavin ,hamilton1 a ,scotch painter living in ,rome 7died #agig71 and by ,thomas ,jenkins1 an ,english banker2 7#c7 occasional purchases from older ,english collections4 ,thus the relief of ,exakestes#ai was derived from the collection of ,dr4 ,richard ,mead 7see above74 ,the relief of ,xanthippos#bj had been brought to ,england by ,dr4 ,anthony ,askew1 a physician1 who visited ,athens and the ,east1 about #agdg1 and compiled a manuscript volume of inscriptions1 now in the ,british ,museum 7,burney ,,mss41 ,no4 #djb74 ,several pieces#ba were also obtained from the collection formed at ,wimbledon by ,lyde ,browne1 a virtuoso and ,director of the ,bank of ,england1 who died in #aghg4 ,the accession of the ,townley ,collection in #ahje made necessary the erection of a special building in the garden of the then existing ,montague ,house1 and also caused the creation of a separate ,department under ,taylor ,combe1 for the custody of the antiquities1 which had been previously attached to the ,library4 ,in #ahad1 the ,phigaleian sculptures were purchased of the explorers#bb in a public auction at ,zante1 and the ,museum thereby acquired its first series of sculptures from a ,greek building4 ,a fragment1 which had been lost during the transportation of the marbles1#bc was presented by ,mr4 ,j4 ,spencer ,stanhope in #ahaf4 ,thomas ,bruce1 seventh ,earl of ,elgin 7#agff-ahda71 whose collection was the next and greatest addition to the ,british ,museum1 had been appointed ,british ,ambassador to the ,porte in #agii4 ,on his appointment1 he resolved to make his time of office of service to the cause of art1 and accordingly engaged a body of five architects1 draughtsmen and formatori1 under ,lusieri1 a ,neapolitan portrait painter1 to make casts1 plans and drawings from the remains in ,greece1 and more particularly at ,athens4 ,while the work was in progress1 ,lord ,elgin became aware of the rapid destruction that was taking place of the sculptures in ,athens4 ,the success of the ,british arms in ,egypt having made the disposition of the ,porte favourable to the ,british ,ambassador1 a firman was obtained which sanctioned the removal of the sculptures4 ,the whole collection1 formed by ,lord ,elgin's agents1 was1 after long negotiations1 and an enquiry by a ,select ,committee of the ,house of ,commons1 purchased of ,lord ,elgin for ,l#ce1jjj in #ahaf4 ,it consists of sculptures and architectural fragments from the ,parthenon1 the ,erechtheion1 and other ,athenian buildings2 casts1 which have now become of great value1 from the ,parthenon1 the ,theseion1 and the ,monument of ,lysicrates2 a considerable number of ,greek reliefs1 principally from ,athens2 fragments from ,mycenae and elsewhere2 drawings and plans4 ,the marbles and casts of the ,parthenon acquired in the ,elgin ,collection1 have since been supplemented1 not only by casts of sculptures newly discovered at ,athens1 but also by the additions of fragments1 removed from ,athens by occasional travellers1 and acquired for the ,museum by donation or purchase4 ,the gifts include a head of a ,lapith1#bd from the ,duke of ,devonshire1 and pieces of the frieze from ,mr4 ,c4 ,r4 ,cockerell1#be and ,mr4 ,j4 ,h4 ,smith-,barry2#bf also from the ,society of ,dilettanti#bg and the ,royal ,academy4#bh ,lord ,elgin was actively assisted in the ,east by his secretary1 ,william ,richard ,hamilton 7#aggg-ahei71 who afterwards became ,under-,secretary of ,state for ,foreign ,affairs 7#ahji-ahbb74 ,from ,mr4 ,hamilton the ,museum received a few sculptures1 including a sepulchral relief from ,tarentum4#bi ,in #ahbd the ,british ,museum obtained by bequest the collections of ,richard ,payne ,knight 7#agdi-ahbd71 a learned but fanciful antiquarian1 and a leading member of the ,society of ,dilettanti4 ,payne ,knight's collection was especially rich in bronzes1 gems1 and coins1 but it also contained a series of marble portrait busts4 ,the next addition of importance was the collection of sculptures and casts brought at the public expense in #ahdb from ,xanthos and other sites in ,lycia1 discovered by ,sir ,charles ,fellows 7#agii-ahfj71 in the course of his journeys of #ahch and #ahdj4cj ,in #ahdf1 permission was given by the ,porte to the then ,british ,ambassador1 ,sir ,stratford ,canning1 afterwards ,viscount ,stratford de ,redcliffe 7#aghf-ahhj71 to remove twelve slabs of the frieze of the ,mausoleum from ,halicarnassos4 ,these sculptures1 long known to travellers1#ca were taken from the walls of the castle of ,budrum1 and presented by the ,ambassador to the ,british ,museum4 ,ten years later the influence of ,lord ,stratford de ,redcliffe was exerted to support ,sir ,charles ,newton in his explorations in ,asia ,minor4 ,sir ,charles ,newton exchanged his position at the ,british ,museum1 in #ahef1 for the post of ,british ,vice-,consul at ,mitylene1 which he held till #ahei1 and in that capacity he was able1 on behalf of the ,trustees1 to excavate the sites of the ,mausoleum at ,halicarnassos1 and of the temple of ,demeter at ,cnidos4 ,he also removed the archaic statues of ,branchidae1 and collected several minor pieces of sculpture4 ,the excavations on the site of the ,mausoleum added four slabs to the series presented by ,lord ,stratford de ,redcliffe in #ahdj4 ,one additional slab was purchased in #ahfe of the ,marchese ,serra1 of ,genoa4 ,while the excavations of the ,mausoleum were in progress1 the ,crimean campaign afforded an opportunity to ,col4 ,westmacott to form a collection of sculptures from ,kertch and the neighbourhood1 illustrating the later stages of ,greek art on the ,euxine4 ,in the years #ahfj-ahfa1 ,captain1 now ,general ,sir ,r4 ,murdoch ,smith1 ,r4,e41 and ,commander ,e4 ,a4 ,porcher1 ,r4,n41 carried out a series of excavations on the site of ,cyrene1 and discovered a considerable number of sculptures in marble1 and an admirable bronze portrait head1 among the ruins of the temples of ,apollo1 ,dionysos and ,aphrodite1 and elsewhere4 ,the excavations which were carried on at ,ephesus by the late ,mr4 ,john ,turtle ,wood1#cb for the ,british ,museum1 began in #ahfc1 and were continued till #ahgd1 the site of the great temple of ,artemis not having been determined before the spring of #ahgj4 ,besides excavating the site of the temple1 ,mr4 ,wood obtained inscriptions and sculptures from the ,odeum1 the great ,theatre1 and the road to the temple of ,artemis4 ,the site of ,naucratis in the ,egyptian ,delta was discovered by ,mr4 ,w4 ,m4 ,flinders ,petrie1 and was excavated1 partly by the discoverer1 and partly by ,mr4 ,e4 ,a4 ,gardner1 at the cost of the ,egypt ,exploration ,fund in the years #ahhd-f4cc ,the most important objects found were fragments of pottery1 but there were also some architectural remains1 and archaic statuettes of interest4 ,in #ahhi and #ahia1 various sculptures1 including a head of ,eros from ,paphos1 and a large capital with projecting bulls' heads from the ,cyprian ,salamis1 have been presented by the ,cyprus ,exploration ,fund4 ,besides the proceeds of the systematic researches enumerated above1 the collection of sculpture has been frequently increased during the present century with the specimens collected by private travellers in the ,east4 ,thus in #ahah1 ,h4 ,gally ,knight 7#aghd-ahdf71 an antiquarian and writer on the history of architecture1 with ,n4 ,fazakerly1 presented a statue from ,athens4#cd ,in #ahbj1 ,j4 ,p4 ,gandy ,deering 7#aghg-ahej71 an architect who had taken part in the ,dilettanti ,expedition to ,ionia of #ahaa1 presented sculptures that he had discovered at ,rhamnus in ,attica4#ce ,in #ahci1 ,colonel ,w4 ,m4 ,leake1 an eminent traveller and topographer 7#aggg-ahfj71 presented several ,greek sculptures4#cf ,a small collection of reliefs1 and of architectural fragments from ,athens and elsewhere1 was purchased from ,h4 ,w4 ,inwood1 the author of a treatise on the ,erechtheion4 ,in #ahfa1 the fifth ,earl of ,aberdeen presented a collection which had been formed in ,greece in #ahja by ,george1 fourth ,earl of ,aberdeen1 a connoisseur1 known to his contemporaries as ,athenian ,aberdeen4#cg ,in #ahfd a collection of sculptures was purchased which had been formed by ,percy ,clinton ,sydney ,smythe1 sixth ,viscount ,strangford 7#aghc-ahee71 formerly ,ambassador to the ,porte1 and which included the ,strangford ,apollo4#ch ,amongst purchases that have taken place from time to time we may also mention that of the ,apollo#ci from the collection of the ,comte de ,choiseul-,gouffier in #ahah4 ,in #ahfd several ,graeco-,roman sculptures#dj were purchased from the ,farnese ,collection at ,rome4 ,the museum of the ,duc de ,blacas1 purchased in #ahfg1 contained the head of ,asclepios from ,melos1 and the relief discovered at the same time4#da ,for the numerous cases not here mentioned in which sculptures have been acquired by donation or bequest1 the reader is referred to the pages of the catalogue4 ,finally1 it may be observed that not a few sculptures in the ,british ,museum have been found under peculiar circumstances in this country4 ,such specimens have been brought to ,england by travellers1 whose collections have afterwards been broken up1 lost or neglected1 and have been rescued by chance from warehouses1 gardens1 or masons' yards4#db #a3 ,for the history of the collections in the ,british ,museum1 see ,edwards1 ,lives of the ,founders of the ,british ,museum2 ,michaelis1 ,ancient ,marbles in ,great ,britain1 introduction4 #b3 ,there is a portrait of ,sloane in the ,mediaeval ,room1 and a bust by ,roubiliac in the ,ceramic ,gallery4 #c3 ,the entries in the ,sloane ,catalogue are3--#bah4 ,a vase of red and grey marble with green veins1 with a cover from the ,earl of ,arundel's ,collections4 #bbb4 ,a busto of ,tully 787 when young4--,arundel4 #bbc4 ,a small ,venus 7874--,arundel4 #d3 ,michaelis1 ,ancient ,marbles1 p4 #f4 #e3 ,mus4 ,marbles1 ,,ii41 pl4 #ci4 #f3 ,there is a bust of ,mead by ,roubiliac in the ,ceramic ,gallery4 #g3 ,mus4 ,meadianum1 ,pars altera1 p4 #bai4 #h3 ,cf4 ,mus4 ,marbles1 ,v41 pl4 #a1 fig4 #c2 pl4 #f1 fig4 #d2 pl4 #g1 fig4 #a2 pl4 #ab1 fig4 #d4 #i3 ,nos4 #fci1 #gjc1 #gcg4 #aj3 ,archaeologia1 ,,iii41 p4 #bcj4 #aa3 ,nos4 #ggd1 #ghj2 ,graeco-,roman ,guide1 ,i41 ,no4 #adj;,b4 #ab3 ,graeco-,roman ,guide1 ,,ii41 ,no4 #ec4 #ac3 ,mus4 ,marbles1 ,i41 pl4 #aa4 #ad3 ,graeco-,roman ,guide1 ,,ii41 ,no4 #aag4 #ae3 ,graeco-,roman ,guide1 ,,ii41 ,nos4 #de1 #fa4 #af3 ,nos4 #fje1 #fcg1 #fdb4 #ag3 ,greek ,inscriptions in ,brit4 ,mus41 ,no4 ,,xxxv4 #ah3 ,there is a bust of ,townley in the ,department of ,antiquities4 #ai3 ,no4 #gjd4 #bj3 ,no4 #fbh4 #ba3 ,mus4 ,marbles1 ,,iii41 pl4 #f2 ,x41 pls4 #c1 #e2 ,,xi41 pl4 #cg4 #bb3 ,see p4 #bgj4 #bc3 ,part of ,no4 #ecd4 #bd3 #cdb1 #c4 #be3 #cbg1 #d4 #bf3 #cbe1 #ge4 #bg3 #cbe1 #ej4 #bh3 #cbe1 #he4 #bi3 ,nos4 #ddf1 #gab4 #cj3 ,see p4 #de1 for a further account of the travels of ,fellows4 #ca3 ,antiquities of ,ionia1 ,,ii4 7#agig71 suppl41 pl4 #b4 #cb3 ,see p4 #bd4 #cc3 ,see p4 #fa4 #cd3 ,no4 #aec4 #ce3 ,nos4 #aed1 #dfj2 cf4 also ,no4 #ghd4 #cf3 ,including ,nos4 #gih1 #haf4 #cg3 ,including ,nos4 #fcb1 #fcc1 #fdd1 #gaj1 #hjb1 #hjh1 #haa1 #hab4 #ch3 ,no4 #bjf4 ,see also ,nos4 #cjb1 #fbg1 #fea1 #fec1 #fff1 #fgh1 #gbb4 #ci3 ,no4 #bji4 #dj3 ,no4 #dja2 ,graeco-,roman ,guide1 ,i41 ,nos4 #cc1 #de1 #aji1 #acb1 #acd2 ,,ii41 ,no4 #if4 #da3 ,nos4 #eej1 #hji4 #db3 ,see ,nos4 #baa1 #fdc1 #feb1 #ffg1 #fhj1 #fic1 #fii1 #gbf1 #gcf4 ,,part ,i4 ,,archaic ,,period4 ,,sculptures ,,from ,,mycenae4 ,the sculptures contained in the first section of this catalogue are derived from the site of ,mycenae1 the first four being fragments of important works of architecture4 ,there is great uncertainty as to the date and origin of the ,mycenaean monuments4 ,a theory frequently advanced supposes that they are remains of an old civilization whose centre was ,argolis1 and which was swept away by ,dorian invaders4 ,if this view is accepted1 ,nos4 #a-f are separated by a long interval of years1 and by a time of great political change1 from the remaining sculptures in this volume4 ,from ,no4 #g onwards we have works produced during the historical period2 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 ,poems4 ,sidenote3 #a-d4 ,fragments of architecture from the building1 commonly known as the ',treasury of ,atreus' at ,mycenae4 ,this building is a dome-covered tomb 7tholos7 of beehive shape1 approached by a long passage 7dromos74 ,it is cut out from the side of a hill1 and built of heavy masonry1 covered with earth1 so as to form a tumulus4 ,it was partially excavated by ,lord ,elgin1 and more completely in #ahgi by the ,greek ,archaeological ,society4 ,the fragments ,nos4 #a-d are parts of an elaborately decorated doorway to the tomb4 ,they have been incorporated in a somewhat fanciful restoration which was made by ,donaldson1 and which has been much modified by later investigators4 ,for plans and views1 see ,stuart1 #bnd ed41 ,,iv4 pls4 #a-e 7with ,donaldson's restoration74 ,dodwell1 ,pelasgic ,remains1 pls4 #i1 #aj4 ,athenische ,mittheilungen1 ,,iv41 p4 #agg1 pls4 #aa-ac 7,thiersch72 ,mitchell1 p4 #adc4 ,donaldson's restoration is based on an earlier attempt by ,lord ,elgin's artists1 which is now among the ,elgin drawings in the ,british ,museum4 ,sidenote3 #a4 ,fragment from the ',treasury of ,atreus' at ,mycenae4 ,the decoration consists of three bands of the wave pattern1 separated by mouldings4 ,two of these bands are in low relief2 the third is in high relief1 with a hole bored in the centre of each spiral for the insertion of glass or metal ornaments4 ,among the tools employed by the artist1 the chisel1 saw1 and the tubular drill1 were plainly included4 ,from the fact that the end of the fragment is cut at an acute angle1 it is inferred that this fragment was placed above the doorway of the building1 in contact with a relief of triangular form4 ,it is also possible that it may have formed part of a triangular slab above the door4 ,a piece of red marble1 similarly decorated1 which is now at ,athens1 exactly fits the apex of the triangular opening 7,athenische ,mittheilungen1 iv41 pl4 #ac1 fig4 #a1 ,a474--,elgin ,coll4 ,red marble4 ,height1 #a foot #d-a_/d inches2 width1 #c feet #b-c_/d inches4 ,stuart1 #bnd ed41 ,,iv41 pl4 #d1 fig4 #aj2 p4 #cb2 cf4 pl4 #e2 ,dodwell1 ,tour1 ,,ii41 p4 #bcb2 ,murray1 ,i41 p4 #ch2 ,wolters1 ,no4 #c4 ,sidenote3 #b4 ,fragment from the ',treasury of ,atreus' at ,mycenae4 ,the decoration consists of a band of the wave pattern1 and a band of lozenges in low relief1 the bands being separated by mouldings of similar character to those of ,no4 #a4 ,the saw and chisel were used by the artist4 ,this slab1 according to ,donaldson1 formed a part of the architrave1 over the entrance to the building4 ,according to ,dodwell1 it was 'found by the excavators of the ,earl of ,elgin1 near the ,treasury of ,atreus4'--,elgin ,coll4 ,hard green limestone2 height1 #a foot #f inches2 width1 #c feet #f inches4 ,stuart1 #bnd ed41 ,,iv41 pl4 #d1 fig4 #i2 cf4 pl4 #e2 ,dodwell1 ,tour1 ,,ii41 p4 #bcb2 ,murray1 ,i41 p4 #ci2 ,wolters1 ,no4 #b4 ,illustration3 ,fig4 #a4--,restored ,capital from the ',treasury of ,atreus' 7after ,puchstein74 ,sidenote3 #c4 ,fragment from the ',treasury of ,atreus' at ,mycenae4 ,this fragment1 which is decorated with a portion of a wave pattern enclosed by two mouldings meeting at an acute angle1 is a part of one of the columns that flanked the entrance to the building4 ,these columns were decorated with an elaborate system of ornament1 composed of zigzag bands of the wave pattern1 best understood on reference to drawings of the complete column 7cf4 fig4 #a74 ,the tubular drill has been used as in ,no4 #a4--,presented by the ,institute of ,british ,architects1 #ahdc4 ,hard green limestone2 height1 #aa inches2 width1 #i inches4 ,for drawings of the restored column1 with its capital 7formerly taken for the base7 compare ,stuart1 #bnd ed41 ,,iv41 pl4 #d1 figs4 #a-e1 pl4 #e4 ,dodwell1 ,tour1 ,,ii41 pl4 facing p4 #bcb2 ,murray1 ,i41 p4 #dj2 ,puchstein1 ,das ,ionische ,capitell1 p4 #ej4 ,for fragments of the capital1 see ,gell1 ,itinerary1 pl4 #g2 ,mitchell1 p4 #ade1 fig4 #gj4 ,sidenote3 #d4 ,fragment from the ',treasury of ,atreus' at ,mycenae4 ,this is a part of the lower member of the capital of a pilaster flanking the great doorway 7cf4 fig4 #a74--,presented by the ,institute of ,british ,architects1 #ahdc4 ,hard green limestone2 height1 #c-a_/b inches2 width1 #aj inches4 ,puchstein1 ,das ,ionische ,capitell1 p4 #ej4 ,sidenote3 #e4 ,fragment of relief4 ,head and shoulder of rampant lion4 ,from the shape of the fragment it appears to have been a part of a triangular relief filling the space above a doorway4 7,compare ,no4 #a and the ,gate of ,lions at ,mycenae47 ,the lion's paw is extended as if towards another lion confronting him4 ,a pattern is drawn in fine lines on the shoulder4 ,behind the lion is a branch of laurel4 ,illustration3 ,fig4 #b4--,relief from ,mycenae 7871 ,no4 #e4 ,a part of this relief has been exposed to a corroding influence1 which has acted uniformly on the surface1 so that the design is sunk1 but not obliterated4--,mycenae 787 ,elgin ,coll4 ,limestone2 height1 #a foot #aj-a_/d inches2 width1 #b feet #b inches4 ,synopsis1 ,no4 #bjd 7#aeh74 ,murray 7#bnd ed471 ,i41 p4 #fa4 ,sidenote3 #f4 ,fragment of relief4 ,forelegs and part of body of bull standing to left4 ,a joint is worked in the stone1 in front of the bull4--,mycenae 787 ,elgin ,coll4 ,green limestone1 closely resembling that of ,no4 #e1 but not identical with it4 ,both are composed principally of flakes of mica1 which are1 however1 larger and more abundant in ,no4 #f than in ,no4 #e4 ,height1 #a foot #d-a_/b inches2 width1 #b feet #e inches4 ,synopsis1 ,no4 #bbd 7#afj74 ,illustration3 ,fig4 #c4--,relief from ,mycenae1 ,no4 #f4 ,,sculptures ,,from ,,branchidae4 ,the temple and oracle of ,apollo at ,didyma1 near ,miletus1 in ,asia ,minor1 were from time immemorial in the hands of the priestly clan of the ,branchidae1 whose name came to denote the place itself4 ,this temple was destroyed by the ,persians--probably by ,darius on the suppression of the ,ionian ,revolt--about #die ,b4,c4 7,herod4 vi41 #ai4 ,see1 however1 ,strabo1 xiv41 p4 #fcd2 xi41 p4 #eah47 ,after its destruction1 the temple was not rebuilt till the time of ,alexander4 ,the temple was connected with the harbour ,panormos by the ,sacred ,way4 ,along this the sculptures stood at intervals4 ,they are dedicatory offerings made to ,apollo1 probably by the persons represented4 ,the following are the materials for fixing the period to which the sculptures of ,branchidae must be assigned4 ,it is certain that none of them are later than the destruction of the temple by the ,persians1 and the latest of them 7,no4 #af7 appears a generation earlier than the works associated with that period4 ,on the other hand1 there is no reason to place the oldest before the early part of the sixth century ,b4,c4 ,thus these sculptures cover the period of 7say7 #ehj-ebj ,b4,c4 ,on epigraphic grounds1 the date may be more closely defined4 ,it is believed that the older form for ,greek3 e ,e 7,,tn3 drawn as #b vertical boxes7 was changed to ,h 7,,tn3 ,e ,eta7 shortly before #eej ,b4,c4 ,by this criterion1 ,nos4 #aj1 #ag1 belong to an older group1 and ,no4 #ad to a later group4 ,an inscribed base now in the ,british ,museum with the name of an artist1 ,terpsicles1 also belongs to the older group 7,roehl1 ,i4,g4,a41 #dhd74 ,it has been suggested that ,chares of ,teichioussa 7,no4 #ad7 was one of the local tyrants who were established after the destruction of the kingdom of ,croesus 7#edf ,b4,c471 and this agrees well with the epigraphical evidence4 ,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 art4 ,the series in the ,british ,museum breaks off before the second stage has been completely attained1 but it can be well supplemented by a seated female figure from ,miletus1 now in the ,louvre 7,rayet et ,thomas1 ,milet et le ,golfe ,latmique1 pl4 #ba74 ,the sculptures of the ,sacred ,way were discovered by ,chandler in #agfe 7,antiqs4 of ,ionia1 #ast ed41 ,i4 p4 #df2 ,chandler1 ,travels in ,asia ,minor1 #agge1 p4 #aeb74 ,they were more accurately examined by ,gell1 and the second ,dilettanti expedition in #ahab 7,antiqs4 of ,ionia1 #bnd ed41 #ahba1 ,part ,i41 p4 #bi1 vignette1 and ch4 ,,iii41 pl4 #a2 ,mueller1 ,denkmaeler1 ,i41 pl4 #i1 fig4 #cc74 ,a more accurate sketch was made by ,ross 7,arch4 ,zeit41 #ahej1 pl4 #ac74 ,such of the sculptures as could be found in #aheh were removed by ,sir ,c4 ,newton2 ,newton1 ,,ii41 p4 #ebg4 ,on the inscriptions see ,kirchhoff1 ,studien1 #dth ed41 pp4 #ai1 #be4 ,sidenote3 #g4 ,female figure1 seated on a chair1 with her hand resting on her knees4 ,the head is wanting1 and the upper part of the body is much mutilated4 ,the figure wears a long chiton1 with sleeves1 and a diploidion4 ,the feet of this figure 7as of all the other figures7 are bare4 ,the drapery falls down in front of the legs in stiff conventional folds4 ,the sleeve1 however1 of the chiton is worked in a more natural manner4 ,there are remains of a key-pattern on the sides of the cushion of the chair4--,sacred ,way1 ,branchidae4 ,parian marble2 height1 #c feet #i inches4 ,mansell1 ,no4 #fjg4 ,sidenote3 #h4 ,male figure1 seated on a chair1 with his hands resting on his knees4 ,the head1 shoulders1 left forearm1 and hand are wanting4 ,the figure wears a long chiton with sleeves and a mantle4 ,the lower part of the chiton is entirely conventional1 but parts of the mantle1 and the outlines of the arms are worked after nature4 ,on the ends of the cushion there is a pattern of zigzag lines4--,sacred ,way1 ,branchidae4 ,parian marble2 height1 #c feet #aa-a_/d inches4 ,newton1 ,,ii41 p4 #ecd2 ,mansell1 ,no4 #fjd 7left74 ,sidenote3 #i4 ,female figure1 seated on a chair with hands resting on her knees4 ,the right hand is wanting1 and also the toes and front of the base1 which seem to have been attached separately4 ,the figure wears a long chiton and a mantle1 which passes over the back of the shoulders1 under the right arm1 and in both directions across the left shoulder4 ,neither garment has indications of fold1 and the edges are conventionally treated4 ,the face1 as far as can be seen1 was full and thick4 ,the hair falls in pointed tresses1 the undulations of which are indicated in a conventional manner4 ,the right ear is finished with care4 ,this chair has no cushion1 the drapery of the figure being seen under the arms4--,sacred ,way1 ,branchidae4 ,parian marble2 height1 #e feet #b inches4 ,newton1 ,i41 pl4 #ge 7#bnd from right72 ,rayet et ,thomas1 ,milet et le ,golfe ,latmique1 pl4 #bf 7right72 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #id1 fig4 #aa;c2 ,wolters1 ,no4 #g4 ,sidenote3 #aj4 ,male figure1 seated on a chair1 with the right hand resting on the right knee1 and the left hand beside the left thigh4 ,the head1 and the fingers of the left hand are wanting4 ,the figure wears a chiton with sleeves1 and a mantle1 which passes round the body1 under the right arm1 and passes in both directions over the left shoulder1 so as to hang down in folds over the knees4 ,the ends of the cushion1 the sleeves of the chiton1 and a part of the chiton seen on the left knee1 are decorated with the key pattern4 ,on the left arm of the chair is the inscription3 ,greek3 ,eudemos me epoie7i7n--,eudemos made me4--,sacred ,way1 ,branchidae4 ,parian marble2 height1 #e feet #a inch4 ,newton1 ,i41 pl4 #ge 7right72 pl4 #ig1 ,no4 #ga2 ,,ii41 p4 #ecd2 p4 #ghc2 ,kirchhoff1 ,studien1 #dth ed41 p4 #bf2 ,roehl1 ,i4,g4,a41 #dhe2 ,roberts1 ,greek ,epigraphy1 p4 #afb4 ,sidenote3 #aa4 ,male figure1 seated on a chair1 with left hand on left knee1 and right hand1 with palm turned upwards1 on right thigh4 ,the head1 right shoulder1 and right hand are wanting4 ,the figure wears a chiton with sleeves1 and a mantle4 ,the folds of the lower parts are entirely conventional1 but those of the upper part of the chiton are indicated by delicate wavy grooves4 ,the hair falls behind in tresses which are cut off square on the shoulders4--,sacred ,way1 ,branchidae4 ,parian marble2 height1 #d feet #d inches2 ,newton1 ,i41 pl4 #gd 7right72 ,mansell1 ,nos4 #fjc 7left71 #fjd 7right74 ,sidenote3 #ab4 ,male figure1 seated on a chair1 with left hand resting on left knee1 and right hand1 with palm turned upwards1 by right knee4 ,the head1 shoulders1 and breast1 and the right hand are wanting4 ,the figure wears a chiton with sleeves1 and a mantle1 which passes under the right arm1 while the ends cross the left shoulder in contrary directions4 ,the artist has attempted to render the fine folds of the upper part of the chiton4 ,the four legs of the chair are decorated with a design which appears to be developed from the lotus bud1 and is seen on ,assyrian reliefs4 ,on the back of the top rail of the chair is the late inscription3 ,greek3 ,nike ,glaukou1 which is either ,nike1 daughter of ,glaukos1 or1 perhaps1 a formula of the ,christian period1 ,victory of ,glaukos6--,sacred ,way1 ,branchidae4 ,parian marble2 height1 #e feet4 ,newton1 ,i41 pl4 #ig1 ,no4 #gc2 ,,ii41 p4 #eca1 fig4 #b2 p4 #ghg2 ,kirchhoff1 ,studien1 #dth ed41 p4 #bj4 ,sidenote3 #ac4 ,male figure seated on a chair1 with left hand resting on left knee1 and right hand1 with palm turned upwards1 by the right thigh4 ,the head and the right hand are wanting4 ,the figure wears a chiton1 and a mantle which passes round the body under the right arm1 and passes in both directions over the left shoulder1 so as to hang down in folds before the knees4 ,the artist has attempted to render the fine folds of the upper part of the chiton1 and has decorated the front legs of the chair as in ,no4 #ab4 ,the statue has been broken and repaired in ancient times with lead cramps4--,sacred ,way1 ,branchidae4 ,marble2 height1 #d feet #h inches4 ,newton1 pl4 #ge 7second from left72 ,,ii41 p4 #eca1 fig4 #a2 ,mansell1 ,no4 #fje2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #id1 fig4 #aa;b4 ,sidenote3 #ad4 ,statue of ,chares1 a male figure1 seated on a chair1 with left hand resting on left knee1 and right hand1 with palm turned upwards1 by the right thigh4 ,the head and hands are wanting4 ,the figure wears a chiton with sleeves and a mantle which passes under the right arm1 while the ends pass in contrary directions over the left shoulder4 ,the sleeves of the chiton are bordered with a key pattern1 which is doubled along the seam4 ,on the right leg of the chair is the inscription3 ,illustration3 ,greek3 ,chares eimi ho ,kle7i7sios ,teichio7u7s7s7es archos 4 agalma to7u7 ,apollonos4 ,i am ,chares1 son of ,kleisis1 ruler of ,teichioussa4 ,the statue is the property of ,apollo4--,sacred ,way1 ,branchidae4 ,parian marble2 height1 #d feet #aj inches4 ,newton1 pl4 #gd 7left72 pl4 #ig1 ,no4 #gb2 ,,ii41 pp4 #ecb1 #ghd2 ,mansell1 ,no4 #fad2 ,rayet et ,thomas1 ,milet et le ,golfe ,latmique1 pl4 #be2 ,dieulafoy1 ,l',art ,antique de la ,perse1 ,part ,,iii41 pl4 #ae2 ,wolters1 ,no4 #f2 ,kirchhoff1 ,studien1 #dth ed41 p4 #ai2 ,roehl1 ,i4,g4,a41 #dhh2 ,roberts1 ,greek ,epigraphy1 p4 #afc2 ,palaeographical ,society1 ,facsimiles1 ,i41 ,no4 #gf4 ,sidenote3 #ae4 ,male figure1 seated on a chair1 with left hand on left knee1 and right hand by right thigh4 ,the head and right hand are wanting4 ,the figure wears a chiton with sleeves and a mantle which passes under the right arm1 while the ends cross the left shoulder in contrary directions4 ,the fine folds of the upper part of the chiton are indicated4--,sacred ,way1 ,branchidae4 ,parian marble2 height1 #d feet #b inches4 ,sidenote3 #af4 ,female figure1 seated on a chair1 with hands on her knees4 ,the head and feet are wanting4 ,the figure wears a sleeved chiton with a diploidion and a veil4 ,the sleeves terminate with long folds4 ,the veil falls down over the shoulders1 in numerous folds4 ,in attempting to indicate the legs with greater detail than his predecessors1 the artist has rendered them as if they were nude2 but in naturalness and freedom this statue is conspicuously the most advanced of the series4--,sacred ,way1 ,branchidae4 ,parian marble2 height1 #d feet4 ,newton1 pl4 #ge 7left72 ,mansell1 ,no4 #fjc 7right72 ,rayet et ,thomas1 ,milet et le ,golfe ,latmique1 pl4 #bf 7left72 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #id1 fig4 #aa;a2 ,wolters1 ,no4 #g4 ,sidenote3 #ag4 ,lion1 recumbent1 with right fore-paw passing in front of the body1 and with left paw laid over it4 ,the hind quarters are half turned over1 the animal lying on the right haunch4 ,the head is wanting4 ,the mane is rendered by stiff pointed locks of hair of conventional form4 ,the pose1 however1 of the animal shows careful study of nature4 ,on the flank is the inscription3 ,illustration #a4 ,greek3 ,ta agalmata tade anethesan hoi ,or- ionos paides to7u7 archego7u71 ,thales kai ,pasikles kai ,hegesandros kai ,eu- bios kai ,anaxileos1 dekaten to ,a- #e4 pol7l7oni4 ,the sons of ,orion1 the governor1 ,thales1 ,pasicles1 ,hegesander1 ,eubios and ,anaxileos dedicated these statues as a tithe to ,apollo4--,sacred ,way1 ,branchidae4 ,marble2 height1 #b feet #f-a_/d inches2 length1 #g feet4 ,newton1 ,i41 pl4 #ig1 ,no4 #ff2 ,,ii41 p4 #ggg2 ,kirchhoff1 ,studien1 #dth ed41 p4 #bf2 ,roehl1 ,i4,g4,a41 #dhc2 ,roberts1 ,greek ,epigraphy1 p4 #afa2 ,mansell1 ,no4 #fae4 ,sidenote3 #ah4 ,sphinx or lion1 recumbent4 ,this figure has been called a ,sphinx or a lion-sphinx4 ,the distinguishing marks of a ,greek ,sphinx are wanting1 as the head is lost1 and the figure is wingless4--,sacred ,way1 ,branchidae4 ,marble2 height1 #d feet #b inches2 length1 #f feet #aa-a_/b inches4 ,antiqs4 of ,ionia1 #bnd ed41 ,i41 p4 #bi2 ,ross1 ,arch4 ,zeit41 #ahej1 p4 #acb2 ,mueller1 ,denkmaeler1 ,i41 pl4 #i1 ,no4 #cc2 ,newton1 ,,ii41 p4 #ece2 ,milchhoefer1 ,athenische ,mittheilungen1 ,,iv41 p4 #ej4 ,sidenote3 #ai4 ,beardless male head1 from an archaic statue4 ,the left shoulder is preserved4 ,the hair falls in tresses1 as in the case of ,no4 #i4--;,branchidae4 ,marble2 height1 #a foot #c inches2 ,rayet et ,thomas1 ,milet et le ,golfe ,latmique1 pl4 #bg4 ,sidenote3 #bj4 ,female head 7unfinished 7877 from an archaic statue4 ,the figure wears a veil which covers the whole of the head1 except the face4 ,the ears are indicated beneath the veil4--,branchidae4 ,marble2 height1 #i inches4 ,sidenote3 #ba4 ,relief1 with figures moving to the right1 in a dance4 ,it is incomplete at both ends1 and appears to have been part of a frieze formed of several slabs4 ,on the left are a woman and a man joining hands4 ,on the right is a woman between two men2 of the man on the right only the right leg is preserved4 ,the right hand of the woman is seen behind1 while her left hand is held by the man before her4 ,the man on the left of this group has some object1 perhaps a cup1 in his right hand which is stretched out behind him4 ,between the two groups1 and in the background1 a woman rushes to the right1 holding branches 787 in her raised hands4 ,the men are considerably larger than the women4 ,the women wear a plain chiton1 the men a chiton and mantle4 ,all have bracelets1 and long hair1 which falls in a peculiar manner over the forehead2 one wears a taenia1 the remainder have stephanae4 ,all the limbs are indicated under the draperies1 even those of the figures in the background1 which are seen through their own draperies and those of their companions4--,presented by ,j4 ,scott ,tucker1 ,esq41 ,r4,n4 ,karakewi 7,teichioussa71 near ,branchidae4 ,marble2 height1 #a foot #i inches2 width1 #b feet #aa inches4 ,rayet et ,thomas1 ,milet et le ,golfe ,latmique1 pl4 #bg2 ,brunn1 ,denkmaeler1 ,no4 #aja ,b4 ,,sculptures ,,from ,,lydia4 ,the following sculptures were found in #ahhb by ,mr4 ,george ,dennis1 ,c4,b41 in one of the tumuli at ,bin ,tepe1 near ,sardes4 ,perrot 7v41 p4 #ijd7 suggests that they may have been part of a series of reliefs of a hunting scene1 decorating the sepulchral chamber4 ,the date is uncertain1 but the reliefs may well be earlier than the fall of ,croesus4 ,sidenote3 #bb4 ,relief4 ,three horsemen moving to the right4 ,they wear large helmets and cuirasses1 with shoulder plates1 and carry spears4 ,the figures are cut in a narrow panel1 and appear to have served an architectural purpose4--,bin ,tepe1 ,sardes4 ,marble2 height1 #g-a_/d inches2 width1 #a foot #e inches4 ,perrot and ,chipiez1 ,v41 p4 #ijc1 fig4 #ece2 ,murray1 ,gr4 ,sculpt41 #bnd ed41 ,i41 p4 #ajg4 ,sidenote3 #bc4 ,relief4 ,three deer1 moving to the right1 grazing4 ,from a panel nearly similar to the preceding4--,bin ,tepe1 ,sardes4 ,marble2 height1 #f-c_/d inches2 width1 #a foot #d inches4 ,perrot and ,chipiez1 ,v41 p4 #ijd1 fig4 #ecf2 ,murray1 ,gr4 ,sculpt41 #bnd ed41 ,i41 p4 #ajg4 ,,sculptures ,,from ,,ephesus4 ,the great temple of ,artemis 7or ,diana71 at ,ephesus1 which ranked among the seven wonders of the ancient world1 was built in the middle of the #dth century ,b4,c4 ,it was1 according to tradition1 the latest of a long series of buildings4 ,not fewer than eight successive temples have been enumerated by ,falkener 7,ephesus1 p4 #bad2 cf4 ,pliny1 ,h4 ,n41 xvi41 #bac74 ,the excavations1 however1 have only produced the remains of two temples4 ,the earlier of the two1 which is here described1 is probably that which was begun early in the sixth century ,b4,c41 by the architects ,theodoros1 ,chersiphron and ,metagenes1 was in course of construction during the reign of ,croesus 7,brunn1 ,gr4 ,kuenstler1 ii41 p4 #chb71 and was burnt by ,herostratos on the night of ,alexander's birth 7#cef ,b4,c474 ,the later temple1 the remains of which are exhibited in the ,ephesus ,room1 was then built to replace that which had been burnt2 and the excavations have proved the interesting fact that the most remarkable features of the later temple were borrowed from its predecessor4 ,the extant fragments of the early temple were found by the late ,mr4 ,j4 ,t4 ,wood1 in excavations which he carried on at ,ephesus for the ,trustees of the ,british ,museum4 ,these fragments had1 for the most part1 been used as building materials1 and were extracted from certain massive piers which rested against the foundations of the walls of the temple cella4 ,mr4 ,wood assigned the piers to the ,byzantine period1 but only adduced evidence to show that they were later than the walls of the temple4 ,it is therefore possible that they may have been added at an early period1 to strengthen the foundations4 ,wood1 ,ephesus1 pp4 #aij1 #bei4 ,for the reconstruction of the archaic temple1 see ,journ4 of ,hellen4 ,studies1 ,x4 7#ahhi71 p4 #a 7,a4 ,s4 ,murray74 ,the material is a finely-grained marble1 with occasional strongly marked blue veins4 ,,architectural ,,fragments4 ,sidenote3 #bd4 ,part of a wall-stone from the archaic temple4 ,length1 #b feet #g-a_/b inches2 width1 #a foot #h inches4 ,sidenote3 #be4 ,capital of ,ionic column4 ,several fragments have been discovered1 from which it is possible to reconstruct with tolerable certainty the capitals and necking of the columns of the archaic temple4 ,journ4 of ,hellen4 ,studies1 ,x41 p4 #h4 ,sidenote3 #bf4 ,fragment of volute from cap of column4 ,the groove between two mouldings is filled with two strips of lead to which gold leaf is attached4 ,length1 #g inches4 ,wood1 ,ephesus1 p4 #bde2 ,journ4 of ,hellen4 ,studies1 ,x41 p4 #i4 ,sidenote3 #bg4 ,fluted fragment of column4 ,the drum to which this fragment belonged was #d feet #c inches in diameter1 and had #dj flutings4 ,height1 #a foot #aj inches2 width1 #c feet #f inches4 ,sidenote3 #bh4 ,fragment of the base of an unfinished column1 with torus moulding and horizontal flutings only partially carried out4 ,height1 #a foot #d inches2 width1 #c feet4 ,journ4 of ,hellen4 ,studies1 ,x41 p4 #e1 part of fig4 #c;b4 ,sidenote3 #bi4 ,base of sculptured column4 ,the column has necessarily been reconstructed from various fragments1 which cannot be proved to have belonged originally to the same column1 but the combined fragments serve to give a general idea of the appearance of the column4 7,plate ,i47 ,sidenote3 #a4 ,the sculpture is surmounted by an egg and tongue moulding #aa-a_/b inches high1 which is not shown in the plate1 ,journ4 of ,hellen4 ,studies1 x41 pl4 #c4 ,there are considerable remains of red paint4 ,sidenote3 #b4 ,immediately below the sculptures is a moulding1 which contains fragments inscribed as follows3 ,greek3 ,,ba ,,kr ,,an ,,en1 which have been restored as ,greek3 ,basileus ,kroisos anetheken4 ',king ,croesus dedicated 7the column74' ,it is known from a statement of ,herodotus that ,croesus gave most of the columns of the temple at ,ephesus ,herod4 i4 #ib1 ,greek3 ,kroiso de esti kai alla anathemata en te ,helladi polla 444 en de ,epheso hai te boes hai chryseai kai ton kionon hai pollai4 ,it is probable that the columns were inscribed with dedicatory inscriptions1 of which we here have fragments4 ,the later temple had a similar series of inscriptions4 ,the columns offered by ,croesus must be earlier than the date of his fall1 #edf ,b4,c4 ,the inscriptions are no doubt of the same age as the columns1 and they may have been seen by ,herodotus 7,hicks1 ,greek ,inscriptions in ,brit4 ,mus41 dxviii474 ,sidenote3 #c4 ,below the moulding is the restoration of an early ,ionic base4 7,journ4 of ,hellen4 ,studies1 x41 pl4 #c1 and p4 #h74 ,the following fragments are inserted in the restoration of the sculptured base3-- ,sidenote3 #d4 ,upper part of male figure in high relief standing to the right1 wearing a close-fitting tunic1 with sleeves to the elbows1 and having a lion's skin about the body and with long hair4 ,the upper part of the face is broken away4 ,the right arm was bent at the elbow1 and crossed the body4 ,height1 #b feet4 ,journ4 of ,hellen4 ,studies1 ,x41 pl4 #c4 ,sidenote3 #e4 ,lower part of male figure in high relief standing to the right1 wearing what appears to be a himation1 falling to the knees4 ,height1 #c feet #c inches4 ,murray1 ,i41 p4 #aab2 ,journ4 of ,hellen4 ,studies1 ,x41 pl4 #c4 ,sidenote3 #f4 ,female head1 to the right1 in high relief4 ,the hair is enclosed by a diadem1 and falls down on the shoulders4 ,a large circular earring in the right ear4 ,there are considerable remains of dark red paint in the hair4 ,the chin is broken away4 ,height1 #a foot #a_/b inch4 ,murray1 ,i41 p4 #aaa4 ,sidenote3 #g4 ,middle part of a female figure1 to the right1 in high relief4 ,the figure wears a tunic1 tied with a narrow girdle1 and a diploidion which fell in long folds at the sides4 ,a key-pattern was painted on the central fold of the dress4 ,height1 #a foot #b inches4 ,the following fragments from the bases of the columns1 are not inserted in the restoration3-- ,sidenote3 #cj4 ,fragment1 in high relief1 of the head and shoulders of a figure1 from the drum of a column4 ,the front surface is broken away1 but the figure appears to have looked to the front1 with long hair falling on the shoulders1 which are draped4 ,height1 #a foot #c inches4 ,sidenote3 #ca4 ,fragment1 in high relief1 of the right thigh of a draped figure1 standing to the right4 ,height1 #a foot #a-a_/b inches4 ,worked above with a bed for another drum4 ,sidenote3 #cb4 ,middle part of a draped figure to the left in high relief4 ,the figure wears a tunic with sleeves and himation4 ,the left hand is pressed close to the thigh4 ,this fragment is similar in style to the sculptures on the columns1 but must have come from a rectangular base1 corresponding to the rectangular bases in the later temple4 ,height1 #a foot #b inches4 ,murray1 ,i41 p4 #aac4 ,sidenote3 #cc4 ,fragment of a head containing the middle of the face4 ,a straight edge is worked along the left cheek4 ,height1 #h-a_/b inches4 ,sidenote3 #cd4 ,fragment of the left side of a female head1 wearing a band across the forehead1 a veil1 and a circular earring4 ,some red on the lips4 ,height1 #i-a_/b inches4 ,sidenote3 #ce4 ,fragment of the upper part of a head1 wearing a close-fitting veil1 with curls between the veil and the forehead4 ,height1 #d inches4 ,sidenote3 #cf4 ,fragment of the right side of a head1 containing the cheek1 ear1 and a part of a veil which falls behind the ear4 ,height1 #h inches4 ,sidenote3 #cg4 ,fragment of a head1 containing the left ear1 and wearing a veil2 hair falls down at the back of the head4 ,height1 #f inches4 ,sidenote3 #ch4 ,fragment of a head1 similar to the last4 ,height1 #i-a_/b inches4 ,sidenote3 #ci4 ,fragment of the left side of a head1 turned to the left1 and wearing a veil4 ,it contains a part of the ear and eye4 ,height1 #f inches4 ,sidenote3 #dj4 ,fragment from the top of a head1 with hair4 ,height1 #f inches4 ,sidenote3 #da4 ,fragment from the right side of a head1 with part of the neck1 and hair falling down4 ,the hair is coloured red4 ,height1 #c-a_/b inches4 ,sidenote3 #db4 ,fragment1 from the right side of a head1 containing the top of the ear and hair falling over it4 ,height1 #d inches4 ,sidenote3 #dc4 ,fragment of drapery1 terminating in zigzag folds4 ,height1 #g-a_/b inches4 ,sidenote3 #dd4 ,fragment of drapery1 with the bottom of several folds4 ,it has an incised maeander1 as in ,no4 #bi1 #g1 and a palmette ornament painted in red4 ,height1 #f inches4 ,sidenote3 #de4 ,fragment of the lower moulding of a sculptured base1 with a left great toe to the right1 and the remains of a rectangular object rising from the moulding4 ,height1 #f-a_/b inches2 width1 #a foot #f-a_/b inches4 ,,the ,,cornice ,,of ,,the ,,archaic ,,temple4 ,the restoration of the ,sculptured ,cornice1 which has been built up from the small fragments excavated by ,mr4 ,wood1 is certainly accurate in its general outlines1 although the result is quite unique in form4 ,in place of the small cornice with floral decorations1 common in later temples 7compare the cornice from ,phigaleia1 ,no4 #eje71 the archaic temple of ,artemis was surmounted by a lofty cornice1 #b ft4 #aj-c_/d in4 high4 ,lions' heads projected at intervals1 and drained off the rain water4 ,the intervals between the lions' heads were occupied by metope-like compositions1 carved in a delicate early style4 ,the original frieze probably extended along the two long sides of the temple4 ,the existing remains are small portions of at least thirty figures4 ,it is therefore impossible to reconstruct the separate groups with much certainty1 although the subjects can1 to a certain extent1 be conjectured4 ,an attempted restoration of a combat between a ,lapith and a ,centaur is exhibited4 ,the frieze also included chariots and horses2 warriors in chariots1 and on foot2 and perhaps scenes with ,harpies4 ,the central group on the cornice with the combat of a ,centaur and ,lapith is composed of the following fragments4 ,see ,journ4 of ,hellen4 ,studies1 x41 p4 #b1 for sketches of ,no4 #df1 #a-ah4 ,sidenote3 #df4 ,sidenote3 #a4 ,fragment with the forelegs1 which are human1 and the hind hoof of a kneeling ,centaur4 ,in front the greaved left leg of a ,lapith4 ,height1 #g inches2 width1 #a foot #g inches4 ,journ4 of ,hellen4 ,studies1 ,x41 pl4 #d1 fig4 #f4 ,sidenote3 #b4 ,hand with branch1 from top of cornice1 presumed to be the hand of a ,centaur4 ,height1 #d inches2 width1 #e-a_/b inches4 ,sidenote3 #c4 ,part of branch1 from top of cornice4 ,height1 #c inches2 width1 #h inches4 ,sidenote3 #d4 ,back of head of ,lapith1 to left1 with part of top moulding of cornice4 ,short curling hair4 ,height1 #e inches2 width1 #f inches4 ,sidenote3 #e4 ,lower part of cuirass of ,lapith worn over a short tunic4 ,height1 #c inches2 width1 #h-a_/b inches4 ,two female figures are placed as spectators on each side of the combat4 ,on the left the remains are3-- ,sidenote3 #f4 ,part of a female head1 turned to the right1 and wearing a taenia4 ,height1 #d-a_/b inches2 width1 #d-a_/b inches4 ,sidenote3 #g4 ,part of drapery of standing female figure4 ,height1 #d inches2 width1 #f inches4 ,sidenote3 #h4 ,feet of standing female figure1 wearing shoes1 with slightly turned-up toes1 and three bands across each shoe4 ,height1 #f inches2 width1 #g-a_/b inches4 ,the remains of the figure on the right of the group are3-- ,sidenote3 #i4 ,upper part of female head to the left1 wearing a diadem4 ,height1 #c inches2 width1 #e inches4 ,sidenote3 #aj4 ,part of middle of female figure1 standing to the left1 wearing chiton and himation4 ,the left hand by the side4 ,height1 #c-a_/b inches2 width1 #h-a_/b inches4 ,the following fragments have also been inserted in the restored cornice3-- ,sidenote3 #aa4 ,head of youth1 to the left1 with short hair4 ,height1 #c inches2 width1 #f inches4 ,journ4 of ,hellen4 ,studies1 ,x41 pl4 #d1 fig4 #a4 ,sidenote3 #ab4 ,upper part of female head1 to the left4 ,the chief mass of the hair is confined by a peaked cap1 the ends passing out through the top4 ,a part of the hair terminates in short curls round the forehead1 and part falls down in front of the ears4 ,a laurel wreath surrounds the cap4 ,height1 #d inches2 width1 #f inches4 ,journ4 of ,hellen4 ,studies1 ,x41 pl4 #d1 fig4 #b4 ,sidenote3 #ac4 ,right foot and part of skirt of female figure walking1 to the right4 ,height1 #i inches2 width1 #h inches4 ,sidenote3 #ad4 ,right foot of a figure standing1 to the left4 ,height1 #c inches2 width1 #d-a_/b inches4 ,sidenote3 #ae4 ,part of the back of the head and the shoulders of a figure standing with his back turned to the front4 ,he wears a chiton1 and the hair falls in curls on his shoulders4 ,height1 #e inches2 width1 #e inches4 ,journ4 of ,hellen4 ,studies1 ,x41 pl4 #d1 fig4 #c4 ,sidenote3 #af4 ,fragment containing the legs of a figure standing with back turned to the front1 perhaps a part of the figure described in the last number4 ,the right leg wears a greave4 ,this fragment also contains the right thigh of a figure kneeling to the front4 ,height1 #aj inches2 width1 #a foot #b inches4 ,the restored part of the cornice also contains3-- ,sidenote3 #ag4 ,lion's head4 ,the front and lower parts of the face are wanting4 ,height1 #aj inches2 width1 #a foot #b inches4 ,sidenote3 #ah4 ,lion's head4 ,the front of the upper jaw is wanting4 ,red paint in the ears and the mouth4 ,height1 #a foot #f inches2 width1 #a foot #g inches4 ,the following are the principal fragments1 from the cornice1 not inserted in the restoration3-- ,male ,figures1 turned to the ,right4 ,sidenote3 #dg4 ,sidenote3 #a4 ,parts of head and breast of figure1 with helmet1 tunic1 and cuirass 7874 ,long hair falls over the shoulder4 ,height1 #g inches2 width1 #g inches4 ,journ4 of ,hellen4 ,studies1 ,x41 pl4 #d1 fig4 #e4 ,sidenote3 #b4 ,part of helmet1 and top edge of cornice2 also the fingers of the right hand of the figure1 throwing a spear 7874 ,height1 #b-a_/b inches2 width1 #f inches4 ,sidenote3 #c4 ,right shoulder1 covered with shoulder plates4 ,height1 #d-a_/b inches2 width1 #g inches4 ,sidenote3 #d4 ,left thigh1 bent at knee2 a corner of drapery falls on the thigh2 wears greave4 ,height1 #f inches2 width1 #g inches4 ,sidenote3 #e4 ,right knee of figure advancing to right2 behind1 the leg1 wearing a greave1 of a fallen warrior 7874 ,height1 #e-a_/b inches2 width1 #e inches4 ,sidenote3 #f4 ,knees of a prostrate warrior1 wearing greaves1 trodden down by a horse's hoof4 ,height1 #c inches2 width1 #g inches4 ,sidenote3 #g4 ,knee wearing greave1 slightly bent4 ,height1 #d inches2 width1 #c-a_/b inches4 ,sidenote3 #h4 ,left knee1 partly covered with drapery4 ,height1 #c inches2 width1 #c-a_/b inches4 ,male ,figures to the ,left4 ,sidenote3 #i4 ,upper part of helmeted head with vizor raised4 ,height1 #c-a_/b inches2 width1 #e-a_/b inches4 ,sidenote3 #aj4 ,upper part of helmet1 with projecting horn4 ,height1 #b-a_/b inches2 width1 #e-a_/b inches4 ,sidenote3 #aa4 ,back of neck and lower part of helmet4 ,height1 #b-a_/b inches2 width1 #e inches4 ,sidenote3 #ab4 ,hips of a draped male 787 figure4 ,height1 #d inches2 width1 #h-a_/b inches4 ,sidenote3 #ac4 ,right forearm of a figure lying prostrate1 with head to the right and with the arm bent at the elbow4 ,height1 #d inches2 width1 #h inches4 ,sidenote3 #ad4 ,right leg1 wearing greave1 of a figure striding to the left4 ,height1 #e inches2 width1 #i-a_/b inches4 ,sidenote3 #ae4 ,right arm1 extended1 wearing a shield4 ,height1 #d inches2 width1 #g inches4 ,figures with the ,back turned to the ,front4 ,sidenote3 #af4 ,shoulders and upper part of back of a figure wearing a chiton4 ,height1 #e inches2 width1 #h-a_/d inches4 ,sidenote3 #ag4 ,shoulders and upper part of back of a figure wearing a chiton across the right shoulder only4 ,height1 #c inches2 width1 #h-a_/b inches4 ,female ,figures to the ,right4 ,sidenote3 #ah4 ,lower moulding of cornice1 with the right foot and lower edge of the drapery of a figure moving to the right4 ,height1 #h inches2 width1 #a foot #c inches4 ,sidenote3 #ai4 ,lower moulding of cornice with the left foot and part of the drapery of a figure moving to the right4 ,height1 #e inches2 width1 #g-a_/b inches4 ,female ,figure to the ,front4 ,sidenote3 #bj4 ,part of the right arm1 extended1 and wearing a shield 7874 ,a short sleeve reaches to the elbow1 coming from beneath a shoulder plate4 ,height1 #d inches2 width1 #h inches4 ,female ,figures to the ,left4 ,sidenote3 #ba4 ,fragment of a figure turned to the left1 with fine delicate drapery 7874 ,height1 #c-a_/b inches2 width1 #f inches4 ,sidenote3 #bb4 ,left hand1 beside the thigh1 holding a fold of drapery4 ,height1 #c inches2 width1 #i inches4 ,sidenote3 #bc4 ,fragment of a draped figure1 containing the legs between the knees and the ankles4 ,height1 #d inches2 width1 #d inches4 ,fragments of ,chariot ,groups1 and ,horses4 ,sidenote3 #bd4 ,left knee and part of the left thigh of a figure stepping to the right into a chariot4 ,the figure wore a short chiton1 probably under a cuirass1 and greaves4 ,part of the inside of the chariot is painted red4 ,height1 #d inches2 width1 #i-a_/b inches4 ,sidenote3 #be4 ,fragment containing the hips of a male figure1 stepping to the left into a chariot4 ,the figure wears a chiton beneath a cuirass1 and perhaps holds a spear4 ,height1 #d inches2 width1 #g-a_/b inches4 ,sidenote3 #bf4 ,right hand closed and holding a rein 7874 ,height1 #b inches2 width1 #e-a_/b inches4 ,sidenote3 #bg4 ,right arm of a youthful nude figure holding the reins of a horse standing to the left1 whose head is half turned to the front4 ,height1 #g inches2 width1 #a foot #a inch4 ,journ4 of ,hellen4 ,studies1 ,x41 pl4 #d1 fig4 #d4 ,sidenote3 #bh4 ,part of a horse's head to the left1 with ear and mane4 ,height1 #d inches2 width1 #g-a_/b inches4 ,sidenote3 #bi4 ,back of a horse to the left1 with a narrow thong tied about it4 ,height1 #d-a_/b inches2 width1 #g inches4 ,sidenote3 #cj4 ,part of the hind legs of a horse to the left4 ,height1 #g-a_/b inches2 width1 #f inches4 ,sidenote3 #ca4 ,two hoofs1 side by side1 as of the horses in a biga4 ,height1 #d inches2 width1 #e inches4 ,sidenote3 #cb4 ,part of lower moulding of cornice1 and of chariot wheel4 ,the moulding and the wheel are painted red1 and the ground of the relief bright blue4 ,height1 #aj inches2 width1 #a foot #f inches4 ,sidenote3 #cc4 ,part of a chariot wheel1 and of the body of a chariot1 painted red4 ,height1 #f inches2 width1 #h inches4 ,sidenote3 #cd4 ,left hand grasping the leg of a horse1 or of a ,centaur 7874 ,the ground is blue and red4 ,height1 #d inches2 width1 #f-a_/d inches4 ,sidenote3 #ce4 ,fragment of a horse's tail1 and part of the body of a chariot 7874 ,height1 #c inches2 width1 #c-a_/b inches4 ,figures of ,harpies 7874 ,certain fragments1 which are not easily deciphered1 appear to belong to groups of winged draped beings1 perhaps ,harpies1 carrying off diminutive figures4 ,the snakes in ,nos4 #cf-ch suggest the aegis of ,athene2 but if ,no4 #ch is correctly interpreted1 some ,gorgon-like figure must be imagined4 ,sidenote3 #cf4 ,neck and chin of a figure to the left1 having a large circular earring1 and a fringe of snakes round the neck4 ,height1 #c-a_/b inches2 width1 #h inches4 ,sidenote3 #cg4 ,fragment with snakes4 ,height1 #a-a_/b inches2 width1 #e inches4 ,sidenote3 #ch4 ,left hand of the figure ,no4 #cf holding a draped figure under the knees4 ,the right arm must be supposed to have supported the smaller figure1 near the shoulders4 ,to the right is part of a pendent wing4 ,height1 #c inches2 width1 #i inches4 ,sidenote3 #ci4 ,fragment with extremities of hair1 and the beginning of a large wing1 curving upwards4 ,height1 #c-a_/b inches2 width1 #e inches4 ,sidenote3 #dj4 ,fragment1 apparently of the same wing as ,no4 #ci4 ,height1 #c-a_/b inches2 width1 #f inches4 ,sidenote3 #da4 ,fragment of draped thighs of a figure half kneeling to the left with the right leg foremost4 ,if the figure above described was half kneeling in the usual early scheme for the ,gorgon1 this fragment may well have belonged to it4 ,height1 #d inches2 width1 #f inches4 ,sidenote3 #db4 ,fragment1 perhaps from the same figure as the last4 ,height1 #c inches2 width1 #e inches4 ,sidenote3 #dc4 ,fragment of a winged1 long-haired figure 7874 ,the hair falls in a mass on the tip of the wing4 ,height1 #g-a_/b inches4 ,sidenote3 #dd4 ,fragment of a ,harpy1 with a large bird's leg protruding from fine drapery2 behind1 a part of a wing4 ,compare the ,harpies on the ,harpy ,tomb1 ,no4 #id4 ,height1 #f-a_/b inches2 width1 #aj inches4 ,sidenote3 #de4 ,fragment1 with the leg of a ,harpy1 to the right 7874 ,height1 #g inches2 width1 #a foot #c-a_/b inches4 ,miscellaneous ,fragments4 ,sidenote3 #df4 ,fragment of the lower moulding1 and two legs of a pig or ox to the right4 ,height1 #g inches2 width1 #a foot #a inch4 ,sidenote3 #dg4 ,part of the leg of a chair4 ,traces of blue paint4 ,height1 #f inches2 width1 #d-a_/b inches4 ,sidenote3 #dh4 ,part of the same leg of a chair as ,no4 #dg1 and nearly joining it4 ,traces of blue paint4 ,height1 #e-c_/d inches2 width1 #c-a_/b inches4 ,sidenote3 #di4 ,part of the leg and seat of a chair4 ,height1 #e inches2 width1 #e inches4 ,sidenote3 #ej4 ,part of the front leg of the chair to which ,no4 #dg belongs4 ,height1 #b-a_/d inches2 width1 #b inches4 ,sidenote3 #ea4 ,unintelligible fragment1 perhaps derived from the cornice4 ,length1 #a foot2 height1 #f inches2 width1 #g inches4 ,fragments of ,lions' ,heads1 from the ,cornice4 ,sidenote3 #eb4 ,left side of lion's mane1 with remains showing the attachment to the cornice4 ,height1 #a foot #c inches4 ,sidenote3 #ec4 ,lion's head from the cornice7874 ,the mouth is closed4 ,the lower part is wanting4 ,height1 #a foot #d inches4 ,sidenote3 #ed4 ,upper part of lion's head from the cornice4 ,red paint on the mane4 ,height1 #aa inches2 width1 #a foot #e inches4 ,sidenote3 #ee4 ,right side of lion's head1 from the cornice1 with eye1 ear1 and part of mane4 ,height1 #g-a_/b inches4 ,,other ,,fragments ,,from ,,ephesus4 ,sidenote3 #dh4 ,sidenote3 #a4 ,fragment of the head of an ox1 apparently projecting from a background1 in high relief4 ,the head is seen in three-quarter face to the left4 ,height1 #a foot2 width1 #a foot #e inches4 ,sidenote3 #b4 ,fragment of the head of an ox1 including the forehead and eyes4 ,apparently the head is seen in three-quarter face to the left1 as in the preceding4 ,height1 #aj-a_/b inches2 width1 #a foot #f inches4 ,sidenote3 #c4 ,fragment with part of the flank of an ox 7871 springing from a square base4 ,two horns intertwined 787 in relief on the side of the fragment4 ,if the explanation offered is correct1 the animal must have been part of an architectural member1 such as occurs in the temple of ,hera at ,samos 7,stuart1 #bnd ed41 vol4 iv41 ,kinnard on ,delos1 pl4 v471 or in the recently discovered bull's-head capital from ,salamis1 in ,cyprus 7,journ4 of ,hellen4 ,studies1 xii41 p4 #acd74 ,height1 #a foot #b-a_/b inches4 ,,sculptures ,,from ,,caria4 ,sidenote3 #di4 ,a series of rude figures in stone and marble which are found in primitive graves in the islands of the ,aegean1 and in ,caria1 have been conjectured by archaeologists to be works of the early ,carians4 ,the figures in question are for the most part utterly conventional and gross representations of the female form4 ,male figures have also been occasionally found1 and more elaborate subjects1 such as a seated figure playing on the harp4 ,the specimens in the ,british ,museum are exhibited in the ,first ,vase ,room with the pottery found in the same deposits4 ,they are described in the ,guide to the ,first ,vase ,room 7#ahhc71 p4 #ba1 and in the ,journ4 of ,hellen4 ,studies1 v41 p4 #ej4 ,compare ,perrot and ,chipiez1 v41 pp4 #ccd1 #ije2 ,journ4 of ,hellen4 ,studies1 ix41 p4 #hb2 ,athenische ,mittheilungen1 xvi41 p4 #df4 ,sidenote3 #ej4 ,torso of female figure holding a dove between her breasts with the left hand1 and holding with the right hand a fold of drapery by her right side4 ,she wears a long dress1 girt at the waist1 with a diploidion and sleeves4 ,the head1 and the legs from above the knees are wanting4--,theangela1 in ,caria4 ,marble2 height1 #a foot #c inches4 ,sidenote3 #ea4 ,beardless male head1 having a considerable resemblance to ,no4 #ai4--;,from the ,temple of ,apollo1 ,calymna4 ,marble2 height1 #i inches4 ,assigned by ,collignon 7,gaz4 ,arch41 #ahhf1 p4 #bci7 to the same school as ,no4 #bje4 ,,sculptures ,,from ,,rhodes4 ,sidenote3 #eb4 ,female head4 ,the hair is parted over the middle of the head1 and is brought in waving ripples to the ears4 ,at the back of the head it is sketched in conventional lines4 ,the head is bound with a taenia4--,rhodes4 ,marble2 height1 #h-a_/b inches4 ,sidenote3 #ec4 ,female head broken off at the top of the neck4 ,the hair is brought forward over each temple in a plait2 a piece of linen is wound round the head1 passing under a band or diadem which encircles the head behind the ear4 ,the head-dress is arranged so as to leave on the top of the head an aperture1 through which the parting of the hair and a top-knot are shown4 ,over the upper part of the ear hang what appear to be three pendants2 the lobe below is covered with an earring in the form of a circular flower of seven leaves4 ,on the fractured edge of the neck are remains of drapery4--,rhodes4 ,limestone2 height1 #e inches4 ,sidenote3 #ed4 ,female figure seated in a chair1 with footstool4--,camiros4 ,limestone2 height1 #d-a_/h inches4 ,sidenote3 #ee4 ,naked male figure2 the legs broken off above the knees4 ,the palms of the hands are placed against the thighs2 the left leg has been advanced2 parts of the arms are wanting4 ,the hair is drawn back from the forehead in a smooth mass1 and falls behind the ears over the nape of the neck1 where it is cut off square4 ,there are traces of red above the waist4--,camiros4 ,limestone2 height1 #aj inches4 ,sidenote3 #ef4 ,naked male figure standing with the left foot advanced1 and holding with his right hand the right hind leg of a lion1 whose tail he grasps with his left hand4 ,the head of this figure1 the right arm and both feet are wanting4 ,from the waist to the hips the body has been painted red all round4 ,the lion has his tongue out2 there are traces of red colour about his mouth4--,acropolis of ,camiros4 ,limestone2 height1 #aj-a_/d inches4 ,sidenote3 #eg4 ,fragment of a male figure from above the hips nearly to the knees4 ,the arms have been placed along the sides1 with a hand on each hip4--,camiros4 ,limestone2 height1 #d-a_/d inches4 ,sidenote3 #eh4 ,upper part of a naked male figure broken off at the waist4 ,the hair is gathered into a thick mass behind the ears1 and cut off square at the nape of the neck2 on the top of the head is a snake coiled4 ,the arms are broken away below the shoulders4--,camiros4 ,limestone2 height1 #e inches4 ,sidenote3 #ei4 ,upper part of female figure broken off above the waist4 ,she wears a wreath of upright leaves set between two plain horizontal bands2 the hair falls in a thick mass on each side of the neck4 ,the arms are broken away4--,camiros4 ,limestone2 height1 #d-c_/d inches4 ,sidenote3 #fj4 ,draped male figure broken off below the knees4 ,he wears chiton with girdle and upper garment4 ,with both hands this figure holds the young of some quadruped1 probably a kid1 in front of his breast4 ,his hair is parted over his forehead1 and falls behind the ears in a thick mass to the nape of the neck4--,camiros4 ,limestone2 height1 #e-c_/h inches4 ,sidenote3 #fa4 ,upper part of male figure from the base of the neck to the waist4 ,in the right hand this figure holds a small ibex against his breast4 ,his left arm is broken4--,acropolis of ,camiros4 ,limestone2 height1 #d-a_/e inches4 ,sidenote3 #fb4 ,lower part of a draped figure broken off at the waist4 ,the left hand holds by the forelegs a fawn1 on the body of which the right hand presses4 ,both arms are broken off below the elbow4--,acropolis of ,camiros4 ,limestone2 height1 #g inches4 ,sidenote3 #fc4 ,lower part of a draped figure broken off at the waist1 and wearing a chiton1 which is bound with a girdle4--,camiros4 ,limestone2 height1 #a foot4 ,sidenote3 #fd4 ,lower half of draped figure wearing chiton4 ,at the bottom of the skirt are traces of a red border2 the fingers of the left hand are placed against the left hip4--,camiros4 ,limestone2 height1 #g-a_/b inches4 ,sidenote3 #fe4 ,lower half of draped figure broken off above the knees4 ,the left hand has held against the side some object too indistinct to be made out4--,camiros4 ,limestone2 height1 #f inches4 ,sidenote3 #ff4 ,lower half of draped figure broken off above the knees4 ,in bad condition4 ,limestone2 height1 #d-a_/h inches4 ,sidenote3 #fg4 ,draped male figure playing on the double flute1 which he holds with either hand4 ,the band for strengthening the muscles used in blowing the flute1 phorbeia1 is indicated by a red stripe2 the chiton is ornamented with a narrow red stripe on the shoulder down each side1 and round the hem4--,camiros4 ,limestone2 height1 #i inches4 ,sidenote3 #fh4 ,similar draped male figure playing on the double flute4 ,the phorbeia is indicated by a red stripe across the mouth2 the headdress1 probably a wig1 comes very low on the forehead1 and falls in a thick mass on the back of the neck4 ,on the head-dress1 eyebrows1 and flutes1 are traces of black colour4--,camiros4 ,limestone2 height1 #g-c_/h inches4 ,sidenote3 #fi4 ,upper part of draped male figure4 ,in his right hand he holds a lotos sceptre 7872 his left arm hangs down by his left side4 ,a thick mass of hair falls on each side of the neck4--,camiros4 ,limestone2 height1 #d-a_/b inches4 ,sidenote3 #gj4 ,androsphinx seated on a plinth4 ,on the head are the combined crowns of ,upper and ,lower ,egypt2 in front is a collar1 or pectoral2 on the crown are traces of red colour4 ,this ,sphinx is a pseudo-,egyptian work4--,acropolis of ,camiros4 ,limestone2 height1 #e inches4 ,sidenote3 #ga4 ,androsphinx seated on a plinth4 ,on the head are the crowns of ,upper and ,lower ,egypt4--,acropolis of ,camiros4 ,limestone2 height1 #c-a_/b inches4 ,sidenote3 #gb4 ,androsphinx seated on a plinth4 ,from the head falls a mass of long hair over the back and shoulders2 the front of the body is covered with a collar or pectoral2 the upper part of the wings is broken off4--,acropolis of ,camiros4 ,limestone2 height1 #e inches4 ,sidenote3 #gc4 ,lion seated on a plinth4 ,the mouth is open2 the teeth are shown2 about the lips and edge of the mane are traces of red colour4--,camiros4 ,limestone2 height1 #e-a_/d inches4 ,sidenote3 #gd4 ,bird standing on a plinth with wings closed4 ,head broken off2 tail long and spreading4 ,height1 #c-a_/d inches4 ,sidenote3 #ge4 ,the ,egyptian ram-headed deity1 ,knef1 seated in a chair4 ,he wears a long chiton bound with a girdle1 on each side of which a lappet falls as far as the knees2 a thick mass of hair falls from behind each horn on to the breast4--,lindos1 in ,rhodes4 ,limestone2 height1 #d inches4 ,,sculptures ,,from ,,xanthos4 ,the following sculptures1 ,nos4 #hj-ig1 are the archaic portion of the collection of sculptures from ,xanthos1 a town some ten miles from the sea1 in the south-west of ,lycia4 ,the people of ,lycia were a non-,hellenic race1 but the sculptures of ,xanthos are distinctly ,greek1 though not without traces of oriental influence 7cf4 ,no4 #hf74 ,in the most important remains1 especially in the ,harpy ,tomb 7,no4 #id7 we find the characteristics of the ,ionian ,school of ,asia ,minor4 ,the sculptures of ,xanthos were discovered by ,mr4 7afterwards ,sir7 ,charles ,fellows in ,april1 #ahch4 7,fellows1 ,a ,journal written during an excursion in ,asia ,minor1 #ahch47 ,the discoverer revisited ,xanthos in #ahdj1 made a more minute examination of the remains1 and published a further account4 7,an ,account of ,discoveries in ,lycia1 being a ,journal kept during a second excursion in ,asia ,minor1 #ahdj-ahda1 quoted as ,lycia47 ,in consequence of this work1 a naval expedition1 assisted by ,fellows1 was employed in ,jan41 ,feb41 #ahdb1 to ship the ,marbles of ,xanthos for transport to ,england4 7,fellows1 ,the ,xanthian ,marbles2 their acquisition1 and transmission to ,england1 #ahdc4 ,this was reprinted by ,fellows in ,travels and ,researches in ,asia ,minor1 more particularly in the ,province of ,lycia1 #aheb1 pp4 #dbc-def47 ,additional sculptures and casts from ,lycia were obtained by a second expedition in #ahdc4 7,athenaeum1 #ahdd1 pp4 #agf1 #cci1 #gae1 #ggi47 ,besides the published material1 valuable information may be obtained from the plans and drawings by ,mr4 ,george ,scharf1 who accompanied ,fellows as draughtsman in #ahdj4 ,the originals are preserved in the ,british ,museum1 and referred to in this ,catalogue as ,scharf's ,drawings4 ,see also ,solly1 ,memoirs of ,w4 ,j4 ,mueller1 #ahge2 ,beecheno1 ,e4 ,t4 ,daniell1 a ,memoir1 #ahhi1 p4 #dj2 and the publication of the ,austrian expedition to ,lycia1 ,reisen in ,lykien1 vol4 ,i4 ed4 by ,benndorf and ,niemann1 #ahhd2 vol4 ,,ii4 by ,petersen and von ,luschan1 #ahhi4 ,sidenote3 #hj4 ,sepulchral chest 7soros71 adorned with reliefs on the four sides4 ,this tomb was made of a single block of hard coarse limestone4 ,it was found by ,fellows in its original position1 on a stele1 which appears to have been about #i feet high4 ,on the top of the chest there is a rebate to receive the lid1 which formed a separate block and has not been found4 ,the lower part of the block was sawn off by ,fellows1 to facilitate transport4 7,xanthian ,marbles1 p4 #cd47 ,perrot 7vol4 v41 p4 #cif7 is perhaps right in thinking that this is the oldest of the ,xanthian monuments1 and represents ,lycian sculpture before the ,ionian influence had begun to make itself felt4 ,the appearance of the monument as found is shown in ,scharf's drawing1 here reproduced 7pl4 ii471 and also in a water-colour drawing by ,w4 ,j4 ,mueller1 now in the ,print ,room of the ,british ,museum4 ,solly1 ,memoir of ,w4 ,j4 ,mueller1 pl4 facing p4 #baf2 ,fellows1 ,asia ,minor1 p4 #afh4 ,sidenote3 #a4 ,south ,side4--,lion to the left1 recumbent1 in high relief4 ,between the paws of the lion is seen the head of a bull1 which has been thrown over by the lion1 and is seized by the throat4 ,below the forepaws of the lion is a tablet1 which seems to have traces of an inscription4 ,height1 #c feet #a-a_/b inches2 length1 #d feet2 height of relief1 #aj inches4 ,fellows1 ,lycia1 pl4 facing p4 #agf 7very poor72 ,prachov1 pl4 #a1 fig4 #a2 ,perrot and ,chipiez1 ,v41 p4 #cib1 fig4 #bgg2 p4 #cie1 fig4 #bhj2 ,dieulafoy1 ,l',art4 ,ant4 de la ,perse1 ,,iii41 pl4 #af4 ,sidenote3 #b4 ,east ,side4--,frieze in low relief1 with its right end broken away4 ,a horseman wearing helmet and cloak rides to the right4 ,he is followed by an attendant1 wearing a short chiton1 and carrying a spear on his right shoulder4 ,behind1 a warrior moves to the left1 wearing a helmet with a large crest1 a shield1 and spear4 ,on the left1 a shield1 supposed to be fastened on a wall4 ,this relief1 with its flat surface1 devoid of detail1 was probably painted4 ,height1 #a foot #f-a_/b inches2 length1 #c feet #c inches2 height of relief1 #a_/b inch4 ,fellows1 ,lycia1 pl4 facing p4 #agf 7very inaccurate72 ,perrot and ,chipiez1 ,v41 p4 #cid1 fig4 #bgi4 ,sidenote3 #c4 ,north ,side4--,lioness1 in high relief1 recumbent to right1 playing with cubs4 ,a cub is seen1 with its forepaws across the paws of the lioness1 and with its hind quarters to the right2 a second cub lies on its back1 over the first4 ,the lower part of the relief is broken away4 ,height1 #b feet #d inches2 length1 #c feet #f inches2 height of relief1 #f inches4 ,perrot and ,chipiez1 ,v41 p4 #cia1 fig4 #bgf4 ,sidenote3 #d4 ,west ,side4--,this side seems to have contained two separate entrances to the tomb4 ,on right and left were two groups in low relief4 7,a47 ,on the right1 a man1 nude1 with long hair1 and armed with sword1 contending with a lion4 ,height1 #a foot #aj inches2 length1 #a foot #f inches2 height of relief1 #c_/d inch4 7,b47 ,on the left a draped figure seated in a chair2 left side alone remains4 ,height1 #a foot #g inches2 height of relief1 #c_/d inch4 ,fellows1 ,lycia1 pl4 facing p4 #agf2 ,prachov1 pl4 #a1 fig4 #a2 ,perrot and ,chipiez1 ,v41 p4 #cib1 fig4 #bgg2 p4 #cic1 fig4 #bgh2 ,dieulafoy1 ,l',art ,ant4 de la ,perse1 ,,iii41 pl4 #af4 ,sidenote3 #ha4 ,frieze of ,satyrs and animals1 found by ,fellows1 built into the walls of the ,acropolis at ,xanthos4 ,beginning from the left1 the slabs of the frieze contain3 ,sidenote3 #a1 #b4 ,bearded ,satyr in combat with a wild boar4 ,the ,satyr1 who has pointed ears and tail1 makes a thrust at the boar with a branch torn off a tree4 ,the strange attitude of the ,satyr is due to the artist's difficulty in dealing with the shape of the slab4 ,slab #a has been much injured by dripping water4 ,the two slabs are proved to be connected by the bough which is seen on both4 ,prachov1 pl4 vi4 ,a1 a2 vi4 ,b1 c2 ,wolters1 ,nos4 #adf1 #ade2 ,fellows1 ,lycia1 pl4 facing p4 #agd2 ,brunn1 ,denkmaeler1 ,no4 #ajd4 ,sidenote3 #c4 ,lioness1 couching for a spring1 but with right paw raised4 ,prachov1 pl4 vi4 ,a1 e4 ,sidenote3 #d4 ,lion devouring deer4 ,this group is of an established conventional form4 ,fellows1 ,lycia1 pl4 facing p4 #agd2 ,wolters1 ,no4 #adh2 ,prachov1 pl4 vi4 ,b1 d42 ,dieulafoy1 ,l',art ,ant4 de la ,perse1 ,,iii41 pl4 #af2 ,brunn1 ,denkmaeler1 ,no4 #ajd4 ,sidenote3 #e4 ,lynx to left1 with right paw raised4 ,prachov1 pl4 vi4 ,a1 b42 ,wolters1 ,no4 #adg4 ,sidenote3 #f1 #g4 ,bull contending with ,satyr1 who appears to be in a position similar to ,satyr on slab #a2 but a joint cuts off the right leg1 and the left arm is wanting4 ,prachov1 pl4 vi4 ,a1 f2 vi4 ,b1 g4 ,coarse limestone4 ,the height of the frieze is #b feet #f-c_/d inches2 the lengths of the slabs are3 7#a7 #d feet #i inches2 7#b7 #f feet2 7#c7 #e feet #i inches2 7#d7 #e feet #a-a_/b inches2 7#e7 #d feet #aa inches2 7#f7 #d feet #i-a_/b inches2 7#g7 #c feet #a inch4 ,sidenote3 #hb4 #a-h4 ,frieze of cocks and hens4 ,six cocks and five hens represented as standing still1 picking up food1 or fighting4 ,the work is carefully studied from nature4--,built into the walls of the ,acropolis at ,xanthos4 ,coarse limestone2 height1 #a foot #d-a_/b inches2 combined length of eight slabs1 #bh feet #h inches2 ,fellows1 ,lycia1 pl4 facing p4 #agd 7two slabs72 ,wolters1 ,nos4 #acf-add2 ,brunn1 ,denkmaeler1 ,no4 #ajc4 ,sidenote3 #hc4 ,part of a tomb 7874 ,from each of two opposite sides1 the head and forepaws of a lioness project4 ,the heads are slightly turned towards the front4--,found at the foot of the ,inscribed ,monument1 ,xanthos4 ,limestone2 height1 #a foot #e inches2 length1 #d feet #a-c_/d inches4 ,fellows1 ,lycia1 pl4 facing p4 #agd4 ,sidenote3 #hd4 ,head and neck of a lion1 from a tomb 7874 ,several pieces of the mane were separately worked and attached4--,xanthos4 ,limestone2 height1 #a foot #aj inches4 ,sidenote3 #he4 ,fragment of unfinished relief1 with two legs of a seat or couch 7874--,xanthos4 ,limestone2 height1 #b feet #d inches4 ,compare ,perrot and ,chipiez1 ,v41 p4 #cjd1 fig4 #baa4 ,sidenote3 #hf4 ,a frieze representing a procession moving from left to right4 ,the figures beginning from the right are3-- ,sidenote3 #a4 ,an old man1 seated in a car1 driving two horses4 ,behind him stood an attendant1 of whose figure a piece of drapery on the next slab alone remains4 ,sidenote3 #b4 ,a youth1 leading a horse1 saddled and bridled4 ,he wears a short chiton1 and carries a whip4 ,details of the hair were probably indicated with paint4 ,sidenote3 #c1 #d4 ,a venerable old man1 seated in a chair1 placed in a war chariot drawn by two horses4 ,he has long hair1 bound with a taenia1 and a long pointed beard4 ,he wears a chiton with sleeves1 and a mantle4 ,he holds a pomegranate flower in his left hand1 and a cup 787 in his right hand4 ,beside him is a charioteer treated like the youth of the preceding group4 ,the reins1 now lost1 were made of bronze4 ,youth riding a spirited horse1 equipped like the horse of the second group4 ,the rider wears a chiton with short sleeves1 and a himation4 ,he has long hair falling on the shoulders4 ,sidenote3 #e4 ,a group of draped persons moving to right1 and composed of the following figures3-- ,man 7much mutilated7 standing to right and turning to front4 ,he holds a whisk in the right hand1 and a spear in the left hand4 ,man1 carrying a spear over the left shoulder1 supporting it with both hands clasped4 ,man moving to right but looking back4 ,he carries a spear on the left shoulder2 right hand holds a fold of the drapery4 ,man with spear on left shoulder and whisk in right hand4 ,man with spear on right shoulder2 left hand holds an edge of the himation4 ,man with spear on left shoulder4 ,the front part only of this figure is preserved4 ,the standing figures all wear a long chiton1 with long sleeves1 and a himation which is wrapped closely about the body1 passing under the right arm and over the left shoulder4 ,the size and treatment of the horses on the frieze1 and the use of whisks by the standing figures1 show ,oriental influences1 although the artistic style is distinctly ,greek4 ,the upright crest on the head of the horse in the fourth group is seen on the horses of ,persepolitan sculpture4 ,compare the ,persepolitan casts in the ,british ,museum1 assigned to #ejj ,b4,c41 and ,fellows1 ,lycia1 p4 #agc4 ,the ends of the horses' tails are also tied with ribbon in the same way as here4 ,saddle-cloths occur on early vases from ,daphnae 7,petrie1 ,nebesheh and ,defenneh1 pl4 #bi1 fig4 #d71 and on painted sarcophagi from ,clazomenae 7,journ4 of ,hellen4 ,studies1 iv41 p4 #ai1 fig4 #ad74 ,the traces of ,persian fashion make it probable that this relief is later than the ,persian conquest of ,xanthos by ,harpagos 7about #ede ,b4,c474 ,the architectural disposition of the frieze has not been ascertained4 ,the slabs were found by ,fellows1 inserted in a wall of late date on the ,acropolis of ,xanthos 7,benndorf1 ,reisen in ,lykien1 i41 p4 #hf71 but it is clear from the square holes that occur at intervals of #d ft4 #h in41 that stone beams1 imitating wood construction1 must once have projected1 and from the raised border round the holes it is seen that this was the intention of the artist4 ,it is probable that the frieze belonged to a tomb1 and perhaps represented a funeral procession4 ,it is not possible to say whether it was on the outside or on the inside of the building4 7,compare ,nos4 #hg1 #hh1 and the tomb of ,gioel-,baschi4 ,compare also the casts of reliefs from ,pinara1 ,nos4 #gfa-d1 for the projecting beam ends47--,acropolis of ,xanthos4 ,a similar procession occurs on a sarcophagus from ,amathus4 7,cesnola1 ,cyprus1 pl4 #ad47 ,height1 #b feet #i-a_/b inches2 combined length of five slabs1 #ag feet #d inches2 height of relief1 #b feet #e inches2 but in parts1 upper margin is cut into4 ,fellows1 ,lycia1 pls4 facing pp4 #agc1 #agg2 ,prachov1 pl4 #c2 ,cesnola1 ,cyprus1 pls4 #af1 #ag2 ,murray1 ,i41 pls4 #d-f2 ,wolters1 ,nos4 #aca-acd2 ,wolters in ,jahrbuch des ,arch4 ,inst41 ,i41 p4 #hd2 ,brunn1 ,denkmaeler1 ,no4 #ajb4 ,sidenote3 #hg4 ,slab from the left end of a frieze4 ,a woman stands near the foot of a couch upon which a dead man is laid out4 ,only the end of the couch and the left foot of the corpse remain4 ,the woman wears a long chiton1 himation1 cap with tassel1 and earrings4 ,behind her stands a male attendant1 wearing a short chiton1 drawn up1 beneath a girdle4 ,he holds a small piece of drapery in his left hand4 ,a groove to the left of the group seems to show that this slab was at an interior angle of a building4 ,the different dimensions make it unlikely that it was a part of the same frieze as ,no4 #hf4--,xanthos4 ,limestone2 height1 #b feet #i-a_/b inches2 length1 #b feet #g inches4 ,prachov1 pl4 #a1 fig4 #b2 ,murray1 ,i41 pl4 #f2 ,wolters1 #ace2 ,wolters in ,jahrbuch des ,arch4 ,inst41 ,i4 p4 #hc4 ,sidenote3 #hh4 ,slab from the left end of a frieze4 ,a woman wearing a long chiton with sleeves and a himation stands to right with right hand raised1 and holding a flower7874 ,she holds a piece of drapery in left hand4 ,before her1 the remains of another figure4 ,at the left of this figure is a groove1 suggesting that this was an interior angle stone4--,xanthos4 ,limestone2 height1 #b feet #i inches2 length1 #c feet #f inches4 ,prachov1 pl4 #f ,b4 h2 ,wolters1 ,jahrbuch des ,arch4 ,inst41 ,i41 p4 #hc4 ,sidenote3 #hi1 #ij4 ,gable end of a tomb4 ,on each side of a doorway is a seated ,sphinx1 and above the lintel are two lions4--,xanthos4 ,sidenote3 #hi4 ,the ,sphinx on the left wears a cap enclosing most of the hair1 a pendant earring1 and a narrow taenia4 ,there are traces of red paint on the cap1 and of the markings of feathers on the wings4 ,the head and fore-quarters of the lion are wanting4 ,limestone2 height1 #c feet #i inches2 width1 #c feet #a inch4 ,about #c inches appear to be wanting on the right of the slab4 ,prachov1 pl4 #e1 fig4 #a 7the head only of the ,sphinx72 ,dieulafoy1 ,l',art ,ant4 de la ,perse1 ,,ii41 pl4 #ah1 fig4 #b2 ,brunn1 ,denkmaeler1 ,no4 #aja;,a4 ,sidenote3 #ij4 ,the ,sphinx on the right of the doorway has her hair confined by a broad band1 and has a pendant earring4 ,the markings of the feathers may be seen on the wings4 ,when first discovered in #ahdj1 this relief was brilliantly coloured1 as is recorded in a drawing by ,scharf4 ,the ground of the relief was bright blue2 the feathers were red1 black1 blue1 and white4 ,the hair was yellow1 and the taenia was painted with a white pattern on a red ground4 ,the head and fore-quarters of the lion are wanting4 ,limestone2 height1 #c feet #d-a_/b inches2 width1 #c feet #d inches4 ,about #c inches appear to be wanting on the left of the slab4 ,prachov1 pl4 #e1 fig4 #b2 ,museum of ,class4 ,antiq41 ,i41 p4 #bea2 ,dieulafoy1 ,l',art ,ant4 de la ,perse1 ,,ii41 pl4 #ah1 fig4 #b2 ,brunn1 ,denkmaeler1 ,no4 #aja;,a4 ,sidenote3 #ia1 #ib4 ,gable end of a tomb4 ,on each side of a doorway is a seated ,sphinx4 ,above the lintel of the door is a space which may have held a relief1 now wanting4--,xanthos4 ,sidenote3 #ia4 ,the ,sphinx on the left wears a stephane2 a tress of hair falls on the shoulder4 ,there are faint traces of paint on the wing4 ,the hind-quarters are missing4 ,limestone2 height1 #b feet #aj inches2 width1 #b feet #b inches4 ,the joint of the stone is at the left side of the door4 ,prachov1 pl4 #d1 fig4 #b4 ,sidenote3 #ib4 ,the ,sphinx on the right has her hair bound with a narrow taenia4 ,there are traces of paint on the wing4 ,the hind-quarters are wanting4 ,limestone2 height1 #b feet #h inches2 width1 #c feet #a inch4 ,about #c inches are lost from the left of this slab4 ,prachov1 pl4 #d1 fig4 #a 7the head only74 ,sidenote3 #ic4 ,gable end of a tomb4 ,in the centre of the relief is a low column1 with an ,ionic capital1 of peculiar form4 ,a ,siren stands to the front1 on the column4 ,she wears a short chiton1 girt at the waist and with loose sleeves4 ,she has spreading wings and tail1 and bird's legs1 but human arms which are extended in front of the wings4 ,the head is wanting4 ,on each side of the column is a seated male figure4 ,on the left is a beardless elderly man1 wearing himation and chiton1 with staff in left hand and right hand extended4 ,on the right is a bearded old man1 wearing chiton and himation1 with staff in right hand and left hand extended4 ,the back of the head is in part broken away2 part was never represented4 ,the lower part of the relief is wanting4 ,a drawing by ,scharf shows the colouring of the relief when discovered4 ,the background was blue2 the hair1 the under side of the ,siren's wings1 the drapery of the man on the left1 the shaft and part of the capital of the column were yellow2 the drapery of the ,siren and of the man on the right1 the seats and part of the capital of the column were red4--,xanthos4 ,limestone2 height1 #b feet #i inches2 width1 #c feet #e inches4 ,annali dell' ,inst41 #ahdd1 p4 #aej4 ,,the ,,harpy ,,tomb4 ,sidenote3 #id4 ,the monument known as the ,harpy ,tomb was discovered by ,fellows among the ruins of ,xanthos on ,april #ai1 #ahch4 ,it was more carefully examined and published by him in #ahdj 7,lycia1 p4 #agj1 and plate71 and was brought to ,england in the spring of #ahdb4 ,the tomb was described by ,fellows in the following terms3--,the ,harpy ,tomb consisted of a square shaft in one block1 weighing about eighty tons1 its height seventeen feet1 placed upon a base rising on one side six feet from the ground1 on the other but little above the present level of the earth4 ,around the sides of the top of the shaft were ranged the bas-reliefs in white marble about three feet three inches high2 upon these rested a capstone1 apparently a series of stones1 one projecting over the other2 but these are cut in one block1 probably fifteen to twenty tons in weight4 ,within the top of the shaft was hollowed out a chamber1 which1 with the bas-relief sides was seven feet six inches high1 and seven feet square4 7,fellows1 ,xanthian ,marbles1 p4 #ba2 ,asia ,minor1 p4 #dch47 ,for views of this tomb see the drawing by ,scharf here reproduced 7pl4 iii472 also ,mon4 dell' ,inst41 iv41 pl4 #b2 ,benndorf1 ,reisen in ,lykien1 i41 pl4 #bf4 ,in ,christian times1 the tomb was made the cell of some ,stylites1 or dweller on a column4 ,traces of painting and monograms were found on the interior of the chamber4 7,fellows1 ,xanthian ,marbles1 p4 #ba2 ,birch1 ,archaeologia1 xxx41 p4 #ahf47 ,sidenote3 #a4 ,west ,side4--,this relief is divided into two unequal parts by a small doorway which formed the entrance to the tomb4 ,this doorway may have been filled up with a slab of stone1 resembling a funeral stele1 and the idea thus suggested was further carried out by the sculpture above of a cow giving suck to a calf4 7,compare the tomb on the second frieze of the ,xanthian ,nereid ,monument1 ,mon4 dell' ,inst41 x41 pl4 #af1 fig4 #afa47 ,on the left of the entrance is an enthroned female figure4 ,she is large and dignified1 and is heavily draped4 ,the left hand is raised1 the right hand is extended and holds a bowl2 she is adorned with stephane and bracelets4 ,the arm of the chair terminates in a ram's head1 and is supported by a seated ,sphinx4 ,on the right is a second enthroned female figure of equal dignity4 ,she is adorned with a stephane and bracelets4 ,with a graceful1 if affected gesture of the right hand she holds up a pomegranate flower1 and in the left hand she holds a pomegranate fruit4 ,the back of the throne terminates in a swan's head1 and the arm terminates in the head of a ram4 ,three maidens1 who are nearly alike1 except in the attitudes of the hands1 approach this figure4 ,the first raises her mantle and chiton with the left and right hands respectively4 ,the second has a pomegranate flower in her left hand1 and a pomegranate fruit in her right hand4 ,the third holds up an egg with her right hand1 and holds the drapery in her left hand4 ,sidenote3 #b4 ,north ,side4--,an old man1 draped and bearded1 is seated on a chair to left2 with the left hand he holds a spear1 with the right hand he receives a crested helmet which is offered to him by a young warrior1 who stands before him4 ,the warrior has a short chiton1 and leather cuirass1 sheathed sword1 greaves1 and a large shield1 which he supports with the left hand4 ,beneath the chair is a small bear4 ,at each side of this group1 but disconnected from it1 are figures commonly known as ,harpies4 ,they are represented as beings with the head1 breasts and arms of maidens1 while the lower part of the body is that of a bird conventionally rendered4 ,it terminates in oval form with a spreading tail and bird's talons attached4 ,long wings spring from behind the shoulders and under the arms4 ,each creature wears a stephane and chiton 7see below74 ,in their arms and talons each gently carries a diminutive draped female figure1 that makes a gesture1 as of affection4 ,at the right corner of the relief a draped figure crouches on the ground in an attitude of deep grief1 and looks up to the flying figure above4 ,sidenote3 #c4 ,east ,side4--,a venerable bearded man is seated on a throne1 to the right4 ,he has a sceptre in the left hand1 and holds up a flower in the right hand4 ,the arm of the throne is supported by a ,triton4 ,before him is a diminutive figure of a boy offering a cock4 ,behind the enthroned figure are two draped male figures1 standing to right4 ,the first holds a pomegranate fruit in the left hand1 and a doubtful object in the right hand4 ,the second1 who is bearded1 holds a portion of his drapery with the left hand2 with his right hand he holds his beard4 ,on the right of the relief is a youth1 accompanied by a dog4 ,he holds a stick with curved handle in his left hand1 and has an uncertain object in his right hand4 ,part of it was made of metal1 attached by a rivet4 ,it may perhaps have been a kylix with a tall stem4 ,sidenote3 #d4 ,south ,side4--,a male figure1 not bearded1 is seated on a throne to right4 ,he has a sceptre resting on his right shoulder4 ,in the left hand he holds a pomegranate fruit1 and in the right hand an apple4 ,before him stands a male 787 figure1 holding a dove in the left hand by the wings1 and having the right hand raised in a gesture of adoration4 ,on each side of the main group1 but disconnected from it1 are the winged figures with their burdens as already described4 ,with certain differences of detail1 chiefly in the positions of the arms of the figures carried1 these groups are nearly similar to those of the north side4 ,drapery1 c4--,all the figures on this tomb1 except the ,harpies1 the diminutive figures connected with them1 and the warrior1 are draped in chiton1 and himation or peplos4 ,the figures borne by the ,harpies and the figure crouching in grief wear long chitons only4 ,the ,harpies wear chitons1 of which the sleeves alone are indicated4 ,all the principal figures wear shoes or sandals1 so far as the feet are preserved1 with the exception of the second figure behind the throne on the east side4 ,the women on the west side1 and the seated figure on the south side wear shoes with pointed toes4 ,the remaining figures wear sandals only4 ,all the figures on the east side had metal taeniae or stephanae1 the holes for the attachment of the metal being still visible4 ,the youth on the east side1 as already stated1 held a metal object in his hand4 ,colouring4--,the following indications of colour can be traced4 ,the ground of the reliefs was bright blue4 ,part of the colour remains round the profile of the youth on the east side1 and under the right wrist of the first figure behind the throne on this side4 ,birch 7,archaeologia1 xxx41 p4 #aib7 states that he has seen scarlet on the crest of the helmet1 and ,scharf 7,mus4 of ,class4 ,antiq41 i41 p4 #beb7 that there were traces of red in the hollow of the shields and upon sandals4 ,elsewhere the colour must be inferred from the inequalities of the surface of the marble1 due to the unequal protecting powers of the different colours4 ,there was an egg and tongue pattern on the lower moulding1 and a maeander pattern on parts of the upper moulding4 ,on the west side the chair of the figure on the right was painted with palmette ornament4 ,on the east side there was also a palmette pattern on the side of the throne4 ,interpretations4--,the interpretations of this monument1 that have been proposed1 may be divided into three groups-- 7#a47 ,according to the first commentators1 the subject represented was the rape of the daughters of ,pandareos1 king of ,lycia1 by the ,harpies 7,homer1 ,od4 xx41 l4 #ff4 ,gibson1 in ,fellows1 ,lycia1 p4 #aga2 ,birch1 ,archaeologia1 xxx41 p4 #ahe47 ,the objections to this view are that the subject is an improbable one for representation on a tomb1 that the ,harpies evidently stand in a kindly relation towards the persons whom they carry1 and that the reliefs do not agree well with the literary form of the myth4 ,it is also doubtful whether the ,harpies were imagined with bird-bodies at the period of these sculptures4 7,furtwaengler1 ,arch4 ,zeit41 #ahhb1 p4 #bjd47 7#b47 ,in the second group of theories1 the enthroned figures are deities of the lower world to whom the souls of the dead pay reverence4 ,on the west side are ,demeter 7left71 and ,persephone 7right71 and three worshippers who carry symbols of life and birth1 as the egg and the pomegranate4 ,the door of the tomb signifies death1 while the cow and calf1 immediately above1 suggest the renewal of life4 ,the three seated figures remaining1 are1 according to this system1 either ,zeus 7south71 ,poseidon 7east71 and ,hades 7north71 7,braun1 ,annali dell' ,inst41 #ahdd1 p4 #aea71 or ,zeus viewed under a triple aspect 7,curtius1 ,arch4 ,zeit41 #ahee1 p4 #aj74 ,the symbolic system has been most elaborately worked out by ,curtius 7loc4 cit41 and ,arch4 ,zeit41 #ahfi1 p4 #aj74 ,thus he regards the ,harpies' bodies as intended for eggs1 and so symbolical of life4 ,this view is untenable1 as the bodies are of the form usually given to birds in early art 7,conze1 ,arch4 ,zeit41 #ahfi1 p4 #gh74 7#c47 ,in the third and most recent group of theories1 the seated figures are not deities1 but heroified personages1 buried in the tomb1 to whom offerings are made by members of their family4 7,milchhoefer1 ,arch4 ,zeit41 #ahha1 p4 #ec2 ,wolters1 p4 #ge47 ,this view is supported by analogies found elsewhere 7cf4 p4 #bii71 while it avoids the difficulty of supposing deities to be represented on a tomb4 ,but no parallel has been adduced for such a scene as a young warrior giving his arms to the figure of an heroified ancestor2 moreover the dignity and adornments of the enthroned figures seem most appropriate to deities4 ,on the whole it seems best to suppose that we have on this tomb scenes connected with death1 though we cannot attempt1 for want of knowledge of ,lycian mythology1 to assign names to the personages represented4 ,maidens make offerings to female deities1 and men to male deities4 ,on the east side a boy makes an offering1 on the north side a young warrior gives up his armour1 and on the south side a man offers a bird4 ,kindly winged beings bear away the souls of the dead1 and the crouching figure on the north side suggests the grief of the survivors4 7,cf4 ,brunn1 ,sitzungsber4 d4 k4 bayer4 ,akad4 ,phil4 hist4 ,cl41 #ahgb1 p4 #ebc1 who points out the succession of ages among the figures1 but does not consider the idea of death to be implied in the central groups of the north1 east1 and south sides47 ,style and ,period4--,in the ,harpy ,tomb we have a fine example of the work by the ,ionian ,school of ,asia ,minor1 whose chief characteristic is a certain voluptuous fulness of form1 and languor of expression1 contrasted with the muscular vigour of the ,doric sculpture1 and the delicate refinement characteristic of a part of the early ,attic work 7cf4 ,brunn1 loc4 cit41 p4 #bje1 and ,rayet1 ,monuments1 ,no4 #ac74 ,it is uncertain whether the tomb is later than the ,persian conquest of ,xanthos 7#ede ,b4,c474 ,it has a remarkable resemblance to the tomb of ,cyrus at ,pasargadae as described by ,arrian 7vi41 #bi7 and ,strabo 7xv41 #c1 #g71 although the force of the parallel is rather diminished if ,fergusson 7,nineveh and ,persepolis1 p4 #bae7 has correctly identified the tomb4 ,the ,harpy reliefs are usually assigned to the close of the sixth century2 but a comparison with the sculptures of ,ephesus points to a date nearer #eej ,b4,c4 ,the ,harpy tomb is of marble4 ,the reliefs measure #c feet #d-a_/b inches in height2 #h feet #b inches in length on the east and west sides2 #g feet #f inches on the north and south sides4 ,fellows1 ,lycia1 p4 #agj1 and pl42 ,birch1 ,archaeologia1 ,,xxx41 p4 #ahe2 ,braun1 ,annali dell' ,inst41 #ahdd1 p4 #acc2 ,mon4 dell' ,inst41 ,,iv41 pl4 #c2 ,rhein4 ,mus41 ,n4,f41 ,,iii41 #ahde1 p4 #dha2 ,curtius1 ,arch4 ,zeit41 #ahee1 p4 #b1 pl4 #gc2 ,overbeck1 ,gr4 ,plast41 #crd edit41 ,i41 p4 #aga2 ,murray1 ,i41 p4 #aaf1 pl4 #c1 and figs4 #bb-be2 ,rayet1 ,monuments1 ,nos4 #ac-af2 ,mitchell1 p4 #ahg1 fig4 #hh 7west and south sides72 ,wolters1 ,nos4 #abg-acj4 ,sidenote3 #ie4 ,fragment of relief1 with parts of two female figures1 draped and having sandals1 moving to the right in a dance4 ,the relief appears to have been on the face of a lintel1 panelled on its lower side4--,xanthos4 ,limestone2 height1 #a foot #c-a_/b inches4 ,prachov1 pl4 #f;,b1 fig4 i42 ,murray 7#bnd ed471 ,i41 p4 #abe4 ,sidenote3 #if-ih4 ,the following sculptures illustrate the way in which the simplicity of an archaic statue is sometimes preserved in later sculptures serving an architectonic purpose3-- ,sidenote3 #if4 ,torso of female figure1 wearing a long dress with diploidion1 falling in flat surfaces with few folds4 ,the left leg is advanced1 the right hand gathered up a part of the drapery4 ,the head and arms are wanting4--,xanthos4 ,marble2 height1 #d feet #a_/d inch4 ,prachov1 pl4 #b1 fig4 #e4 ,sidenote3 #ig4 ,torso of female figure1 nearly similar to preceding1 but with surface much mutilated4--,xanthos4 ,marble2 height1 #b feet #d-a_/b inches4 ,prachov1 pl4 #b1 fig4 #f4 ,sidenote3 #ih4 ,torso of female figure treated like ,no4 #if1 but holding the fold of drapery with the left hand4--,xanthos4 ,marble2 height1 #c feet #aj-a_/b inches4 ,prachov1 pl4 #b1 fig4 #d4 ,,sculptures ,,from ,,naucratis4 ,the remains here described were obtained for the most part from the site of the temple of ,apollo at ,naucratis1 in the ,nile ,delta4 ,the site of ,naucratis was discovered by ,mr4 ,w4 ,m4 ,flinders ,petrie1 and the remains of the temple were found in the course of excavations which he carried on1 in #ahhd-e4 ,a few sculptures also were found by ,mr4 ,e4 ,a4 ,gardner in the excavations of #ahhe-f4 ,the whole of the collections from ,naucratis in the ,british ,museum were presented by the ,egypt ,exploration ,fund1 which conducted the excavations4 ,naucratis was a colony of ,greeks1 settled in ,egypt for purposes of trade4 ,it is situated to the west of the most westerly or ,canopic mouth of the ,nile1 and is nearly midway between ,cairo and ,alexandria4 ,the date of the foundation of ,naucratis has been a subject of controversy4 ,it is known that the colony owed much to ,amasis1 ,king of ,egypt 7#efd-ebf ,b4,c474 ,according to the statement of ,herodotus 7ii4 #agh71 ,amasis showed his friendship to the ,greeks by giving1 to those who came to ,egypt1 the city of ,naucratis to live in 7,greek3 ,philellen de genomenos ho ,amasis alla te es ,hellenon metexeterous apedeixato1 kai de kai toisi apikneumenoisi es ,aigypton edoke ,naukratin polin enoikesai1 k4 t4 l474 ,the question has been discussed whether the words of ,herodotus prove that ,amasis was the first to allow the ,greeks to live at ,naucratis1 or whether the account of ,strabo 7xvii41 #a1 #ah7 can be accepted1 according to which ,naucratis was already occupied by ,greeks1 especially by ,greeks of ,miletus4 ,if ,amasis introduced the ,greeks to ,naucratis1 no ,hellenic remains on the site can be older than #ejd ,b4,c4 ,if an earlier settlement is assumed1 it may have dated from the middle of the seventh century4 ,in either case the temple of the ,milesian ,apollo would have been among the earliest buildings erected4 ,herodotus states that by permission of ,amasis1 the ,milesians independently founded a temenos of ,apollo 7,greek3 choris de 444 ep' heouton hidrysanto temenos 444 ,milesioi ,apollonos74 ,messrs4 ,petrie and ,gardner1 arguing for the older date1 put the foundation shortly after the middle of the seventh century4 ,the architectural remains are very scanty4 ,probably much of the first temple was built of mud bricks4 ,the stone portions may have been used again in the building of the second temple1 whose ornaments were of marble4 ,moreover1 all marble and stone is eagerly sought for and removed by the modern ,arab diggers4 ,naukratis1 ,part ,i41 #ahhd-e1 by ,w4 ,m4 ,flinders ,petrie and others2 ,naukratis1 ,part ,,ii41 #ahhe-f1 by ,e4 ,a4 ,gardner2 ,g4 ,hirschfeld in ,rhein4 ,mus41 ,n4,f41 ,,xlii4 7#ahhg71 p4 #bji1 and ,,xliv4 7#ahhi71 p4 #dfa2 ,kirchhoff1 ,studien1 #dth edit4 p4 #dc2 ,roberts1 ,greek ,epigraphy1 p4 #cbc4 ,,the ,,first ,,temple ,,of ,,apollo4 ,sidenote3 #ajj4 ,columns4--,the architectural members of the first temple were of limestone4 ,they are insufficient to fix the dimensions of the temple1 which was1 however1 small4 ,mr4 ,petrie supposes it to have been not more than twenty-five feet broad4 ,a volute and a complete base of an ,ionic column were discovered1 but were immediately destroyed by ,arabs4 ,the following fragments are preserved3-- ,sidenote3 #a1 #b4 ,two members of an ,ionic capital1 consisting of two courses of an egg and dart moulding4 ,the upper course is considerably the larger4 ,the lower course is worked with a rebate to fit the upper course4 ,below the mouldings are the tops of the flutings4 ,upper course--height1 #e inches2 diameter1 #a foot #g-a_/b inches2 lower course--height1 #d-a_/d inches2 diameter1 #a foot #d-a_/b inches4 ,naukratis1 ,i41 pl4 #c4 ,sidenote3 #c4 ,fragment of necking of a column1 of a different design from the preceding1 and surrounded by a pattern of lotus buds and lotus flowers4 ,height1 #aa inches2 diameter1 #a foot #h inches4 ,naukratis1 ,i41 pl4 #c4 ,sidenote3 #d4 ,fragment of necking of a column1 somewhat similar to the preceding4 ,height1 #d inches2 width1 #e inches4 ,sidenote3 #e4 ,drum of a limestone column with flutings4 ,height1 #d-e_/h inches2 diameter1 #a foot #f inches4 ,sidenote3 #f4 ,lower part of the base of an ,ionic column4 ,height1 #d inches2 diameter1 #a foot #i inches4 ,naukratis1 ,i41 pl4 #c4 ,,miscellaneous ,,fragments ,,from ,,first ,,temple4 ,sidenote3 #aja4 #a4 ,upper part of an acroterion1 worked below with a rebate4 ,height1 #c-a_/b inches4 ,naukratis1 ,i41 pl4 #ad;,a4 ,sidenote3 #b4 ,angle piece1 with half of a palmette4 ,height1 #e inches4 ,naukratis1 ,i41 pl4 #ad;,a4 ,sidenote3 #c4 ,fragment of a plane surface of limestone1 with a series of circles painted in blue1 white1 and red4 ,height1 #b inches2 width1 #g-a_/b inches4 ,sidenote3 #d1 #e4 ,fragments of two sculptured rosettes1 perhaps intended for the decoration of mud surfaces1 and probably derived from the earlier temple4 ,diameters1 #d-a_/b inches and #c inches4 ,naukratis1 ,i41 pl4 #ah1 figs4 #g1 #h4 ,,the ,,second ,,temple ,,of ,,apollo4 ,sidenote3 #ajb4 ,the remains assigned to the second temple are of marble1 instead of limestone4 ,they are too fragmentary for restoration1 but include bead and reel mouldings1 egg and dart patterns1 portions of palmette and lotus patterns of elaborate design4 ,several of the fragments are brilliantly painted with red and blue4 ,the second temple probably belongs to the second half of the fifth century4 ,compare ,naukratis1 ,i41 pls4 #ad1 #ad;,a4 ,,miscellaneous ,,sculptures ,,from ,,naucratis4 ,sidenote3 #ajc4 ,fragment of the lower part of a draped standing figure4 ,in the middle of the legs the drapery falls in conventional vertical folds4 ,the figure is painted white with a red stripe down each side4--,from the temenos of ,apollo4 ,limestone2 height1 #a foot #e inches4 ,naukratis1 ,i41 p4 #ac4 ,sidenote3 #ajd4 ,upper part of an incense burner or small altar with rosettes and ,uraei4 ,limestone2 height1 #d-c_/d inches4 ,naukratis1 ,i41 pl4 #ah1 fig4 #aa4 ,sidenote3 #aje4 ,part of a model of an ,egyptian building4 ,limestone2 height1 #e-a_/b inches4 ,naukratis1 ,i41 pl4 #ah1 fig4 #a4 ,sidenote3 #ajf4 ,model of a shrine4 ,limestone2 height1 #h-a_/b inches4 ,sidenote3 #ajg4 ,portions of a group of two figures leading a bull to sacrifice4 ,of the first figure no part remains except the hands which held a rope round the bull's neck4 ,the second figure stands beside the bull1 and places his right hand on its back4 ,the head is wanting4 ,an amphora stands on the ground on each side of the figure4 ,red colour on the drapery and on the tops of the vases4--,temple of ,apollo4 ,limestone2 height1 #c inches4 ,naukratis1 ,i41 pl4 #b1 fig4 #ba4 ,sidenote3 #ajh4 ,part of a figure kneading dough in a trough4 ,of the figure only the hands and feet remain4 ,traces of red colour4--,temple of ,apollo4 ,limestone2 height1 #b-a_/h inches4 ,naukratis1 ,i41 pl4 #b1 fig4 #ai4 ,sidenote3 #aji4 ,figure seated on a chair with a box on its lap4 ,before it a table on which lie four fish4 ,the head of the figure is wanting4--,temple of ,apollo4 ,limestone2 height1 #a-c_/d inches4 ,naukratis1 ,i41 pl4 #b1 fig4 #bj4 ,sidenote3 #aaj4 ,torso of a male statuette1 from the neck to the knees1 holding a lion by the tail and hind legs4 ,alabaster2 height1 #e-c_/d inches4 ,naukratis1 ,i41 pl4 #a1 fig4 #a4 ,sidenote3 #aaa4 ,upper part of a statuette of a warrior7874 ,the figure wears a peaked helmet1 a close-fitting tunic with sleeves1 and armlets4 ,alabaster2 height1 #d-a_/d inches4 ,naukratis1 ,i41 pl4 #a1 fig4 #b4 ,sidenote3 #aab4 ,vessel for holding ointment 7alabastron74 ,the upper part is in the form of a female bust4 ,the right hand holds a necklace on the breast4 ,the left hand is by the side4 ,alabaster2 height1 #g-a_/d inches4 ,naukratis1 ,,ii41 pl4 #ad1 fig4 #aa4 ,sidenote3 #aac4 ,upper part of an alabastron similar to the preceding4 ,alabaster2 height1 #c-a_/b inches4 ,sidenote3 #aad4 ,head1 wearing a band across the forehead1 and having a headdress with a veil which is gathered back in folds from the front4 ,red on the lips and headdress4 ,limestone2 height1 #d inches4 ,naukratis1 ,i41 pl4 #a1 fig4 #e4 ,sidenote3 #aae4 ,head1 wearing a band across the forehead1 from which lappets hang down before the ears4 ,delicately executed archaic work4 ,alabaster2 height1 #b-a_/b inches4 ,naukratis1 ,,ii41 pl4 #ag1 fig4 #ac4 ,sidenote3 #aaf4 ,fragment of the rim of a basin1 supported by a ,harpy-like being1 carrying a diminutive figure at her breast4 ,the figure is female1 with spreading wings4 ,on its left side1 the body ends in the egg-like form of the figures on the ,harpy tomb4 ,on the opposite side1 the form of the body is uncertain4 ,the head is wanting4 ,alabaster2 height1 #c inches4 ,sidenote3 #aag4 ,nude female statuette1 from the neck to the knees4 ,she has necklaces1 armlets1 bracelets1 and rings1 which are partly in relief1 and partly painted red4 ,she wears also a red girdle1 from which symbolic eyes are suspended1 one on the abdomen1 and one on the small of the back4 ,the ends of this girdle fall one in front of each thigh1 and finish in lotus flowers4 ,limestone2 height1 #e-c_/h inches4 ,naukratis1 ,i41 p4 #cc4 ,sidenote3 #aah4 ,statuette of a ,hunter1 standing1 with two hares and two young boars slung over his shoulders4 ,he holds his bow in the left hand1 his hunting knife in the right hand4 ,he wears a close-fitting cap1 and tunic girt at the waist4 ,inscribed ,greek3 ,kallias anetheke4--,temenos of ,aphrodite4 ,limestone2 height1 #a foot #g-a_/b inches4 ,naukratis1 ,,ii41 pl4 #ac1 fig4 #e4 ,sidenote3 #aai4 ,female statuette1 wearing long1 close-fitting drapery and head-dress2 she wears a necklace and plays on a tympanum4--,temenos of ,aphrodite4 ,limestone2 height1 #e-e_/h inches4 ,naukratis1 ,,ii41 pl4 #ad1 fig4 #i4 ,sidenote3 #abj4 ,upper half of female statuette wearing close-fitting drapery1 and headdress4 ,she wears a necklace1 and holds a flower in the right hand between her breasts4--,temenos of ,aphrodite4 ,limestone2 height1 #f inches4 ,naukratis1 ,,ii41 pl4 #ae1 fig4 #e4 ,sidenote3 #aba4 ,female figure1 standing1 wearing a close-fitting dress1 necklace and shoes4 ,she holds a part of the drapery in her right hand1 before her body1 and a bird in her left hand between her breasts4 ,necklace1 armlets1 bracelets1 shoes1 and stripes down her dress are painted red4 ,the head is wanting4--,temenos of ,aphrodite4 ,limestone2 height1 #g-a_/h inches4 ,naukratis1 ,,ii41 pl4 #ad1 fig4 #ab4 ,sidenote3 #abb4 ,male figure1 standing1 playing on a lyre4 ,he wears a chiton falling to the feet1 a closely-fitting upper tunic1 and boots4 ,parts of the tunic1 lyre and boots are painted red4 ,the head is wanting4--,temenos of ,aphrodite4 ,limestone2 height1 #g-a_/d inches4 ,naukratis1 ,,ii41 pl4 #ad1 fig4 #ad4 ,sidenote3 #abc4 ,upper part of a female figure1 standing4 ,she wears a closely-fitting dress with long sleeves1 and two necklaces4 ,the right hand holds an ankh 787 near the thigh2 on the left hand sits a goat1 before her body4 ,red paint at the borders of the drapery1 and on ankh4--,temenos of ,aphrodite4 ,limestone2 height1 #d-c_/d inches4 ,naukratis1 ,,ii41 pl4 #ad1 fig4 #h4 ,sidenote3 #abd4 ,undraped male figure1 standing1 holding a lion by the hind legs and tail4 ,the left arm of the figure and the lion's tail are wanting4--,temenos of ,aphrodite4 ,limestone2 height1 #h-c_/d inches4 ,naukratis1 ,,ii41 pl4 #ad1 fig4 #aj4 ,sidenote3 #abe4 ,part of a bearded figure1 closely draped1 holding a goat before his body by the legs4 ,the head and body from the waist of the figure are wanting4--,temenos of ,aphrodite4 ,limestone2 height1 #c-a_/b inches4 ,naukratis1 ,,ii41 pl4 #ae1 fig4 #a4 ,sidenote3 #abf4 ,female figure1 enthroned4 ,the left arm is wrapped in the mantle4--,temenos of ,aphrodite4 ,limestone2 height1 #c-a_/b inches4 ,naukratis1 ,,ii41 pl4 #ad1 fig4 #c4 ,sidenote3 #abg4 ,isis and ,osiris 7874 ,female figure1 enthroned1 wearing close-fitting dress1 necklace1 and large mantle passing over the back of her head4 ,she holds a nude figure of a boy at her breast4 ,red paint on the veil4--,temenos of ,aphrodite4 ,limestone2 height1 #d-c_/d inches4 ,naukratis1 ,,ii41 pl4 #ad1 fig4 #g4 ,,fragment ,,from ,,delos4 ,sidenote3 #acj4 ,fragment of a foot of a colossal statue of ,apollo1 together with a part of the plinth in the same block4 ,the fragment consists of parts of the four greater toes of the left foot4 ,the plinth has dowel holes at each side4 ,naxian marble 7874 ,length of great toe1 #a foot #b inches2 height of plinth1 #b feet #a inch4 ,this fragment was found by ,w4 ,kennard at ,delos1 in #ahah4 ,stuart1 #bnd edit41 ,,iii41 p4 #abg2 ,,iv41 section on ,delos1 pl4 #d1 fig4 #b4 ,it is no doubt a part of a colossal statue which was dedicated by the ,naxians to ,apollo at ,delos1 and of which the base and other parts still remain in situ4 ,the base is inscribed on one side1 ,greek3 ,naxioi ,apolloni1 and on another side in archaic letters1 ,greek3 ,tawytou lithou eim' andrias kai to sphelas3 ,i am of the same stone both statue and base4 ,it is supposed that this is the great statue of the ,naxians at ,delos1 which1 it is said1 was overturned by the fall of a brazen palm-tree dedicated by ,nicias 7,plutarch1 ,nicias1 #c74 ,the first modern traveller who saw the statue was ,bondelmonte 7,a4,d4 #adaf71 who found it prostrate1 and says that he made an unsuccessful attempt to set it up 7,liber ,insularum ,archipelagi1 ,sinner's edit41 p4 #ib74 ,in #addg ,cyriac of ,ancona sketched the base with one foot still in position 7,bull4 dell' ,inst41 #ahfa1 p4 #ahb74 ,when visited by ,spon and ,wheler in #afge1 the head1 hands and feet were lost1 but the torso appears to have been nearly complete 7,wheler1 ,journey1 p4 #ef74 ,in #agjj ,tournefort only found the lower part of the body1 and the thighs 7,eng4 ed4 of #agda1 vol4 ,i41 pl4 facing p4 #cjc74 ,the parts seen by ,tournefort remain at ,delos1 and have been described by several travellers4 ,welcker1 ,alte ,denkmaeler1 ,i41 p4 #djj2 ,michaelis1 ,annali dell' ,inst41 #ahfd1 p4 #bec2 ,furtwaengler1 ,arch4 ,zeit41 #ahhb1 p4 #cbi4 ,for the base and inscription1 see ,blouet1 ,exp4 de ,moree1 ,,iii41 pl4 #c1 figs4 #c1 #d ,bull4 de ,corr4 ,hellenique1 ,,iii41 p4 #b4 ,,casts ,,from ,,selinus4 ,the following sculptures1 ,nos4 #ace-aci1 were excavated at ,selinus in #ahbc by the architects ,william ,harris and ,samuel ,angell4 ,they are divided into two series1 derived from different temples4 ,selinus1 a colony of ,megara1 in the south-west of ,sicily1 was founded about #fbh ,b4,c4 ,the temple 7commonly known as ,c71 from which the sculptures1 ,nos4 #ace-acg1 were obtained1 is the oldest temple on the ,acropolis1 and it is therefore probable that its construction was begun not long after the foundation of the city4 ,the earlier sculptures are therefore assigned to the beginning of the sixth century ,b4,c4 ,the second series1 ,nos4 #ach-aci1 were obtained from the temple commonly known as ,f4 ,this is the third or youngest temple in the group shown by architectural evidence to be the oldest4 ,an exact date cannot be assigned1 but the sculptures probably belong to the close of the sixth century4 ,the originals1 which are made of a coarse limestone1 are preserved in the ,museum at ,palermo4 ,the metopes were drawn on their discovery by ,william ,harris4 ,harris died of malarial fever contracted at ,selinus1 and the work was published by ,angell and ,evans1 ,sculptured ,metopes 444 of ,selinus1 #ahbf4 ,for further literature1 see ,benndorf1 ,die ,metopen von ,selinunt4 ,sidenote3 #ace4 ,cast of a metope1 from the oldest temple at ,selinus4 ,perseus slaying ,medusa in the presence of ,athene4 ,perseus holds the hair of the ,gorgon in his left hand1 and cuts off her head with his sword4 ,athene stands on the left4 ,the ,gorgon is represented as embracing the winged horse1 ,pegasos1 who sprang from her spilt blood4--,presented by ,s4 ,angell1 ,esq4 ,angell and ,evans1 pl4 #g2 ,benndorf1 p4 #dd1 pl4 #a2 ,overbeck1 ,gr4 ,plast41 #crd ed4 ,i41 p4 #hj1 fig4 #e2 ,wolters1 ,no4 #adi4 ,sidenote3 #acf4 ,cast of a metope from the oldest temple at ,selinus4 ,heracles carrying the robbers named ,kerkopes1 with their legs tied to the ends of his bow1 or of a yoke4--,presented by ,s4 ,angell1 ,esq4 ,angell and ,evans1 pl4 #h2 ,benndorf1 p4 #de1 pl4 #b2 ,overbeck1 ,gr4 ,plast41 #crd edit41 ,i41 p4 #hj1 fig4 #e2 ,wolters1 ,no4 #aej4 ,sidenote3 #acg4 ,cast of a metope from the oldest temple at ,selinus4 ,a figure drives a quadriga to the front2 two figures are standing to the front1 one at each side of the chariot4--,presented by ,s4 ,angell1 ,esq4 ,angell and ,evans1 pl4 #f2 ,benndorf1 p4 #dg1 pl4 #c2 ,wolters1 ,no4 #aea4 ,sidenote3 #ach4 ,cast of a fragment of a metope from the third temple at ,selinus1 in which a goddess1 probably ,athene1 moves to the right1 treading down a prostrate giant4 ,this metope was formed of two slabs1 of which the upper is wanting4--,presented by ,s4 ,angell1 ,esq4 ,angell and ,evans1 pl4 #d 7incomplete72 ,benndorf1 p4 #ej1 pl4 #e2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #aeh1 fig4 #cj;b4 ,sidenote3 #aci4 ,cast of a metope from the third temple at ,selinus4 ,a draped male figure1 apparently ,dionysos1 is engaged in combat with an armed giant1 who has sunk on his right knee4--,presented by ,s4 ,angell1 ,esq4 ,angell and ,evans1 pl4 #c2 ,benndorf1 p4 #eb1 pl4 #f2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #aeh1 fig4 #cj;a2 ,wolters1 ,no4 #aeb4 ,,sculptures ,,and ,,casts ,,from ,,athens ,,and ,,attica4 ,sidenote3 #aej4 ,female 787 head4 ,the hair1 which is bound by a narrow band1 falls in large waves on each side of the forehead to the ears1 and thence to the shoulders4 ,at the back1 the hair is rendered by conventional undulations1 parallel to the band4--,athens 7874 ,elgin ,coll4 ,marble2 height1 #h-a_/b inches1 ,mus4 ,marbles1 ,,ix41 pl4 #dj1 fig4 #d2 ,synopsis1 ,no4 #bea 7#aae72 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aai2 cf4 ,welcker1 ,alte ,denkmaeler1 ,i41 p4 #cii4 ,sidenote3 #aea4 ,cast of a torso of a standing female figure1 wearing a chiton of fine texture1 and a mantle4 ,the chiton is drawn over the girdle1 and has a short diploidion4 ,the mantle is worn over the shoulders4 ,the hair falls in three tresses in front of each shoulder1 and in overlapping layers1 down the back4 ,the head1 forearms and legs from the knees are wanting4 ,the original1 of marble1 is at ,athens4 ,height1 #a foot #f inches4 ,le ,bas1 ,monuments ,figures1 pl4 #b1 fig4 #b2 ,sybel1 ,no4 #ejjg2 ,wolters1 ,no4 #aab4 ,further literature is cited by ,wolters4 ,sidenote3 #aeb4 ,torso of a standing female figure wearing an under-chiton of fine texture1 and an over-chiton with diploidion which is worn so as to leave the left shoulder bare4 ,the figure appears to have held a vessel in her lap1 with both hands4 ,the hair falls down the back1 the locks terminating below the shoulders4 ,the head and arms are wanting4--,athens 7874 ,elgin ,coll4 ,marble2 height1 #b feet #aj inches4 ,clarac1 ,v41 pl4 #hba;,a1 fig4 #bjfi ,b1 ,c4 ,sidenote3 #aec4 ,torso of a standing female figure1 wearing an under-chiton of fine texture1 and an over-chiton with diploidion which is worn so as to leave the left shoulder bare4 ,the figure held a bowl in the right hand1 and a fold of the skirt in the left hand4 ,broken off below the knees4 ,the head1 left arm and left hand are wanting4 ,this figure appears to be of archaistic rather than of archaic workmanship1 that is1 the artist has consciously imitated the archaic style4--,athens4 ,presented by ,h4 ,gally ,knight and ,n4 ,fazakerly1 ,esqs41 #ahah4 ,marble2 height1 #a foot #i inches4 ,clarac1 ,v41 pl4 #hba;,a1 fig4 #bjfi;,a4 ,sidenote3 #aed4 ,torso of a standing female figure1 wearing under-chiton of fine texture and over-chiton with a diploidion which is worn so as to leave the left shoulder bare2 the figure also has sandals4 ,the hair falls in locks on the shoulders1 and in a mass at the back4 ,the head1 arms and left shoulder are wanting4--,from the smaller temple at ,rhamnus4 ,presented by ,j4 ,p4 ,gandy ,deering1 ,esq4 ,marble2 height1 #e feet4 ,leake1 ,athens and ,demi of ,attica1 ,,ii4 p4 #aaj2 ,synopsis1 ,no4 #cbe99 7#cjg9972 ,athenische ,mittheilungen1 ,,xv41 p4 #fe4 ,sidenote3 #aee4 ,cast of a relief1 representing a female figure stepping into a chariot1 holding the reins in her extended hands4 ,the figure is probably that of a goddess4 ,it has been conjectured1 but without evidence1 that the relief belonged to the ,pre-,persian ,parthenon4 ,the original1 which is of ,parian marble1 is at ,athens4 ,le ,bas1 ,mon4 ,fig41 pl4 #a2 ,overbeck1 ,gr4 ,plast41 ,i41 #crd ed41 p4 #aec1 fig4 #bh2 ,murray1 ,i41 p4 #aif2 ,brunn1 ,denkmaeler1 ,no4 #ba4 ,for further literature1 see ,wolters1 ,no4 #ig4 ,sidenote3 #aef4 ,cast of a sepulchral relief1 representing a woman enthroned4 ,she holds a child in her arms4 ,before her are three figures1 probably members of her family1 with offerings4 ,the original1 which is of marble1 is in the ,villa ,albani at ,rome4 ,it was erroneously named by ,winckelmann ,leucothea nursing the infant ,bacchus4--,from ,athens 7874 ,winckelmann1 ,monumenti ,inediti1 ,no4 #ef2 ,zoega1 ,bassirelievi ,ant41 ,i41 pl4 #da2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #age1 fig4 #ch4 ,for further literature1 see ,wolters1 ,no4 #bdc4 ,,casts ,,of ,,sculptures ,,from ,,aegina4 ,the temple of ,athene at ,aegina stands on a commanding plateau in the north-east of the island4 ,it is of the kind known as ,doric peripteral hexastyle2 that is to say1 it is of the ,doric order1 surrounded by a colonnade1 which has six columns at the ends and thirteen columns at the sides4 ,the site was excavated in #ahaa by a party of ,english and ,german explorers1 and the sculptures discovered were purchased in #ahab by the ,crown ,prince of ,bavaria4 ,the principal figures were restored at ,rome by ,thorwaldsen and ,j4 ,m4 ,wagner4 ,in #ahag the collection was placed in the ,glyptothek at ,munich4 ,with the exception of an ivory eye 7,cockerell1 pl4 #ab7 attributed by the discoverers to the image inside the temple1 the only sculptures found were those which originally were contained in or surmounted the pediments of the temple4 ,the ,aeginetan sculptures belong to the latest stage of archaic ,greek art1 and are the most important extant works of that period4 ,for determining the date of the sculptures1 political history is only so far of use that we may assume that they are not later than #def ,b4,c41 in which year ,aegina was subdued by ,athens4 ,from their style they appear to be considerably older than that date4 ,a minute analysis of the sculptures 7,brunn1 ,das ,alter der ,aegin4 ,bildw4 p4 #i7 shows that the east pediment is distinctly more advanced than the west in the expression of emotion1 in the rendering of drapery1 of the features1 the beards1 the veins2 and in the general proportions4 ,brunn assigns the groups to the period immediately following the battle of ,salamis 7#dhj ,b4,c47 and suggests that the sculptor of the east pediment belonged to a younger generation than his colleague4 ,the statues are made of ,parian marble4 ,they are attached to plinths which were let into the upper surface of the cornice1 and are cut out of single blocks1 a few small pieces of marble being separately attached4 ,they showed clear traces of colour throughout1 when first discovered4 ,one shield from the east pediment was painted with a female figure4 ,there were numerous adjuncts of bronze1 such as arms and ornaments1 which have been minutely enumerated by ,brunn 7,beschreibung1 c41 p4 #fg74 ,the restored pediments in the ,british ,museum have been partially decorated in accordance with the scheme of ,cockerell1 who says3 ,the members of the entablature and pediment were discovered often in all their original vividness1 which quickly disappeared on exposure to the atmosphere4 7,cockerell1 p4 #bg1 pl4 #f74 ,c4 ,r4 ,cockerell1 ,the ,temple of ,jupiter ,panhellenius at ,aegina1 c41 #ahfj2 ,blouet1 ,expedition de ,moree1 ,,iii41 p4 #bc2 ,brunn1 ,ueber das ,alter der ,aeginetischen ,bildwerke in the ,sitzungsber4 der k4 bayer4 ,akad41 #ahfg1 ,i41 p4 #dje1 and ,ueber die ,composition der ,aeginetischen ,giebelgruppen1 ibidem1 #ahfh1 ,,ii41 p4 #ddh2 ,brunn1 ,beschreibung der ,glyptothek ,koenig ,ludwig's ,i41 #dth ed41 #ahgi2 ,wolters1 ,nos4 #fi-he4 ,,the ,,west ,,pediment ,,of ,,the ,,temple ,,at ,,aegina4 ,the subject of the ,west pediment is a battle1 in the presence of ,athene1 over the body of a wounded warrior4 ,from the ,oriental dress of the archer on the right1 it is inferred that the battle is being fought between ,greeks and ,trojans1 and that the archer in question is ,paris4 ,the scene represented does not correspond exactly with any combat described by ,homer4 ,archaeologists have accordingly been divided in opinion as to the subject4 ,some hold that the battle is that waged for the body of ,patroclos1 which was rescued principally by ,menelaos1 and ,ajax1 son of ,telamon of ,aegina4 7,homer1 ,iliad1 xvii42 ,wolters1 p4 #dh74 ,others have argued that the presence of ,paris points to the fight over the body of ,achilles as described in the ,aethiopis of ,arctinos4 ,see especially ,brunn1 ,beschreibung1 p4 #gi4 ,on account of the discrepancies between the sculptures and the literary tradition it is impossible to decide the question4 ,the arrangement adopted in the ,british ,museum is that of ,cockerell 7pl4 #af74 ,to complete the group ,cockerell supposed that nude figures similar to ,no4 #agh of the ,east pediment advanced to the fallen hero from each side2 and that a spearman knelt between the ,paris 7,no4 #afh7 and the wounded ,trojan4 ,fragments remain of the two youths2 but recent writers have put the spearman 7,no4 #aff7 next the ,paris4 ,the positions of the spearmen and the archers on each side have also been reversed4 ,the archers are on this view placed furthest from the combat1 and may perhaps be supposed to be protected by the spearmen4 ,further changes have been proposed which are based on fragments not represented by casts1 and which therefore need not here be discussed4 ,restorations of the ,west ,pediment4 7#a7 ,with #aa figures1 the bowmen in front of the spearmen4 ,cockerell1 supplementary plate2 ,blouet1 ,exp4 de ,moree1 ,,iii41 pl4 #eh1 fig4 #b2 ,mueller1 ,denkmaeler1 ,i41 pls4 #f1 #g2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 fig4 #ai;a2 ,murray1 ,i41 pl4 #g4 7#b7 ,with #aa figures1 the bowmen behind the spearmen4 ,cockerell1 plate2 ,brunn1 ,sitzungsber4 der k4 bayer4 ,akad41 #ahfh1 ,,ii41 plate2 ,lange1 ,ber4 der k4 saechs4 ,ges4 d4 ,wissenschaften1 #ahgh1 pl4 #c1 fig4 #a4 7#c7 ,with #ac figures4 ,cockerell1 pl4 #af4 7#d7 ,with #ad figures4 ,lange1 loc4 cit41 pl4 #c1 fig4 #b2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 fig4 #ai;b4 ,the figures beginning from the left of the ,west pediment are3-- ,sidenote3 #afj4 ,wounded ,greek1 recumbent1 disarmed1 drawing an arrow from his right breast4 ,restored3--,nose1 right forearm1 left leg from knee to ankle and toes4 ,cockerell1 pl4 #ae1 ,no4 #aa2 pl4 #af2 ,blouet1 ,,iii41 pl4 #fi1 fig4 #b2 ,brunn1 ,denkmaeler1 ,no4 #be4 ,sidenote3 #afa4 ,greek advancing with spear4 ,brunn proposes the name of ,ajax1 son of ,oileus4 ,restored3--,crest1 right hand1 left forearm and part of feet4 ,cockerell1 pl4 #ae1 ,no4 #i2 pl4 #af2 ,blouet1 ,,iii41 pl4 #fi1 fig4 #a4 ,sidenote3 #afb4 ,greek archer1 armed1 kneeling and drawing his bow4 ,this may well be the ,aeginetan hero1 ,teucer1 brother of ,telamonian ,ajax4 ,restored3--,head1 arms1 several flaps of the cuirass1 and left leg from the knee4 ,cockerell1 pl4 #ae1 ,no4 #aj2 pl4 #af2 ,blouet1 ,,iii41 pl4 #ff1 fig4 #a4 ,sidenote3 #afc4 ,bearded ,greek warrior advancing1 with shield extended and right hand raised to hurl spear4 ,perhaps ,telamonian ,ajax4 ,restored3--,nose1 crest1 half right forearm1 part of shield1 both legs4 ,cockerell1 pl4 #ae1 ,no4 #c2 pl4 #af2 ,blouet1 ,,iii41 pl4 #fh1 fig4 #a4 ,sidenote3 #afd4 ,wounded hero1 leaning on his right hand1 which held a sword2 the shield is held out to cover the body4 ,this is either ,achilles or ,patroclos according to the chief schemes of interpretation4 ,restored3--,neck1 right shoulder1 fingers and toes4 ,cockerell1 pl4 #ae1 ,no4 #b2 pl4 #af2 ,blouet1 ,,iii41 pl4 #fg1 fig4 #b4 ,sidenote3 #afe4 ,figure of ,athene presiding over the battle4 ,she stands erect in the centre of the pediment1 fully armed and wearing her aegis4 ,there is an archaic formality in her pose and in the composition of the drapery1 which shows that the artist has adopted a traditional type of temple-image4 ,the earrings1 locks of hair1 a ,gorgoneion1 and snakes bordering the aegis were made of metal1 and attached4 ,restored3--,nose1 right hand1 part of left hand4 ,cockerell1 pl4 #ae1 ,no4 #a2 pl4 #af2 ,blouet1 ,,iii41 pl4 #fg1 fig4 #a2 ,brunn1 ,denkmaeler ,no4 #bc4 ,sidenote3 #aff4 ,kneeling ,trojan1 with right hand raised to hurl spear4 ,restored3--,head1 right armpit and shoulder-blade1 three fingers of right hand2 left arm from middle of biceps2 right leg from the knee2 left knee with part of thigh1 and part of left foot4 ,cockerell1 pl4 #ae1 ,no4 #f2 pl4 #af2 ,blouet1 ,,iii41 pl4 #fe1 fig4 #b4 ,sidenote3 #afg4 ,warrior advancing with shield extended1 and right hand raised to hurl spear1 closely corresponding to ,no4 #afc4 ,perhaps ,aeneas4 ,restored3--,head 7which should probably be bearded71 right armpit and breast1 fingers1 parts of shield and legs4 ,cockerell1 pl4 #ae1 ,no4 #d2 pl4 #af2 ,blouet1 ,,iii41 pl4 #ff1 fig4 #b4 ,sidenote3 #afh4 ,archer kneeling and drawing his bow4 ,he wears a ,phrygian cap1 which has holes in the front for a metal wreath4 7,compare the wreath on the ,ephesian fragment ,no4 #df1 #ab72 also closely-fitting breeches and coat of leather4 ,this figure1 which is always known as ,paris1 closely corresponds with the ',teucer1' ,no4 #afb4 ,restored3--,tips of cap1 nose and chin2 some fingers1 and the forepart of the left foot4 ,cockerell1 pl4 #ae1 ,no4 #g2 pl4 #af2 ,blouet1 ,,iii41 pl4 #fh1 fig4 #b2 ,brunn1 ,denkmaeler1 ,no4 #bd4 ,sidenote3 #afi4 ,wounded ,trojan1 leaning on the right arm4 ,an arrow may have been fixed in the left knee between the thumb and forefinger4 ,restored3--,head1 left arm1 part of right forearm and hand2 both legs from the knees4 ,cockerell1 pl4 #ae1 ,no4 #h2 pl4 #af2 ,blouet1 ,,iii41 pl4 #fe1 fig4 #a4 ,sidenote3 #agj4 ,the pediment is surmounted by an acroterion1 consisting of a palmette between two large volutes1 which are for the most part restorations4 7,cockerell1 pls4 #a1 #d47 ,on each side of the acroterion is an architectonic female figure1 treated in the same designedly archaic style as the figure of ,athene4 ,sidenote3 #aga4 ,female figure 7on the left74 ,restored3--,head1 right hand and part of sleeve2 left forearm with part of sleeve and drapery4 ,cockerell1 pl4 #a4 ,sidenote3 #agb4 ,female figure 7on the right74 ,restored3--,head2 lower edge of right sleeve2 right hand and forearm2 parts of drapery4 ,cockerell1 pl4 #a4 ,sidenote3 #agc4 ,at each angle are casts of lions' heads1 which in the absence of casts from the originals have been taken from the cornice of the archaic temple at ,ephesus4 ,the lion's head engraved by ,cockerell 7pl4 #ac1 fig4 #d71 appears to be his restoration4 ,sidenote3 #agd4 ,the angles are surmounted by ,gryphons1 which have been cast from a single original4 ,the original has been considerably restored1 especially the head4 ,cockerell1 pl4 #ac1 fig1 #d4 ,the hind parts of one ,gryphon were discovered by ,chandler in #agfe1 but they were immediately broken and stolen4 ,chandler1 ,travels in ,greece1 p4 #ab4 ,,the ,,east ,,pediment ,,of ,,the ,,temple ,,at ,,aegina4 ,of the east pediment only five figures were found1 sufficiently complete to be restored4 ,the fragments leave no doubt that the composition was as a whole analogous to that of the west pediment1 and that the subject was a battle for the body of a fallen warrior1 fought in the presence of ,athene4 ,the clue to the subject represented is given by the figure of ,heracles1 and archaeologists are almost unanimous in thinking that the scene is a battle in the war which ,telamon of ,aegina1 aided by ,heracles1 waged against ,laomedon1 ,king of ,troy 7cf4 ,apollodorus1 ii41 #f1 #c1 #d74 ,the arrangement is nearly that of ,cockerell4 ,the ,heracles1 however1 has been placed on the right side of the pediment1 because the left side of the statue is the most carefully finished1 and was therefore intended to be seen4 ,restorations of the ,east ,pediment4 7#a7 ,with #aj figures2 wounded warrior as restored4 ,prachov1 ,mon4 dell' ,inst41 ,,ix41 pl4 #eg4 7#b7 ,with parts of #ab figures2 wounded warrior not as restored4 ,cockerell1 supplementary plate2 ,mueller1 ,denkmaeler1 ,i41 pl4 #h2 ,blouet1 ,,iii41 pl4 #eh1 fig4 #a2 ,murray1 ,i41 pl4 #g4 ,for two heads from this pediment1 see ,brunn1 ,denkmaeler1 ,no4 #aba4 ,the figures beginning with the left end of the pediment are the following3-- ,sidenote3 #age4 ,warrior lying down1 supported by his arm1 within the handles of his shield4 ,he is wounded below the right breast4 ,restored3--,crest1 part of visor1 four fingers of left hand1 four toes of left foot2 right leg from the middle of the thigh4 ,cockerell1 p4 #cb1 pl4 #ad1 ,no4 #d2 ,blouet1 ,,iii41 pl4 #ei1 fig4 #b4 ,sidenote3 #agf4 ,warrior advancing1 with a shield on the left arm1 and a lance 787 in the right hand4 ,restored3--,head1 hands1 right hip2 most of shield1 ,cockerell1 p4 #cb1 pl4 #ad1 ,no4 #b2 ,blouet1 ,,iii41 pl4 #ei1 fig4 #a2 ,brunn1 ,denkmaeler1 ,no4 #bh4 ,sidenote3 #agg4 ,wounded warrior fallen backwards on his shield4 ,restored3--,head1 arms1 shield1 right leg1 left leg from the knee4 ,the correctness of the restoration has been doubted4 ,the left side is most corroded by the atmosphere1 and would therefore seem to have been uppermost4 ,in that case the figure must have resembled that of the fallen warrior in the centre of the west pediment4 ,it is thus drawn by ,cockerell1 in a supplementary plate4 ,engraved as restored1 ,cockerell1 pl4 #ad1 ,no4 #a2 ,blouet1 ,,iii41 pl4 #fa1 fig4 #a4 ,sidenote3 #agh4 ,figure of a youth leaning forward1 to draw away the fallen warrior4 ,restored3--,nose1 arms1 pubis1 most of right foot1 and left foot2 ,cockerell1 pl4 #ad1 ,no4 #c2 ,blouet1 ,,iii41 pl4 #fa1 fig4 #b2 ,brunn1 ,denkmaeler1 ,no4 #bf4 ,sidenote3 #agi4 ,heracles kneeling1 and drawing his bow4 ,he wears the lion's skin on his head1 and had a quiver on the left side4 ,restored3--,nose1 some flaps of the cuirass1 left hand1 right forearm1 right foot1 part of left thigh and knee4 ,cockerell1 pl4 #ad1 ,no4 #e2 ,blouet1 ,,iii41 pl4 #fj2 ,rayet1 ,monuments1 ,no4 #be2 ,brunn1 ,denkmaeler1 ,no4 #bg2 ,mitchell1 ,selections1 pl4 #a4 ,sidenote3 #ahj4 ,the acroterion2 7#aha7 the figures beside it2 7#ahb7 the lions1 and 7#ahc7 the ,gryphons here exhibited1 are repetitions of those of the west pediment4 ,the acroterion1 which originally surmounted the east pediment1 was larger and more important than that of the west4 7,cockerell1 pl4 #ac47 ,the figures which stood on each side of the east acroterion1 are shown by the surviving fragments to have been similar to those of the western end1 but were on a rather larger scale4 ,,casts ,,of ,,sculptures ,,from ,,olympia4 ,the temple of ,zeus at ,olympia was being built from about #dgj-dee ,b4,c4 7cf4 ,boetticher1 ,olympia1 p4 #bdg74 ,it is certain that the metopes must have been placed in position during the process of construction4 ,they should therefore probably be dated about #dfj ,b4,c4 7,boetticher1 p4 #bhi74 ,sidenote3 #aij4 ,cast of a metope1 from the ,temple of ,zeus at ,olympia4 ,heracles binding the ,cretan ,bull4 ,the original is of marble4 ,the greater part of this metope was discovered by the ,french expedition to the ,morea1 in #ahbi1 and is now in the ,louvre4 ,the face and hind legs of the bull were discovered in the ,german excavations1 and are now at ,olympia4 ,the parts first discovered are published in ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #ddc4 ,for the completed metope1 see ,ausgrabungen zu ,olympia1 ,v41 pl4 #ag2 ,boetticher1 ,olympia1 p4 #bgi2 ,wolters1 ,no4 #bgd4 ,sidenote3 #aia4 ,cast of a metope from the ,temple of ,zeus at ,olympia4 ,heracles supports on his shoulders the vault of heaven1 while the ,titan ,atlas brings him the golden apples of the ,hesperides4 ,heracles has a folded cushion on his shoulders to make the burden easier2 ,atlas stands before him with six apples in his outstretched hands4 ,a ,hesperid or nymph stands behind and raises one hand as if to share the weight4 ,the original is of marble1 and is at ,olympia1 where it was discovered by the ,german excavators4 ,ausgrabungen zu ,olympia1 ,i41 #bf2 ,athenische ,mittheilungen1 ,i41 pl4 #aa2 ,murray1 ,,ii41 pl4 #ac2 ,wolters1 ,no4 #bhj2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #dde2 ,boetticher1 ,olympia1 p4 #bhe4 7,boetticher's illustration is most nearly complete4 ,that of ,overbeck gives both hands of ,atlas47 ,for the female head1 see ,journ4 of ,hellen4 ,studies1 ,v41 pl4 #de4 ,sidenote3 #aib4 ,cast of a statue of ,victory1 by ,paionios of ,mende1 ,victory is supposed to be moving forward through mid-air4 ,one foot rests lightly on the back of an eagle1 beneath which is a rock4 ,the wings and draperies that were originally spread out behind the figure are now wanting4 ,the statue stood on a triangular pedestal1 about #ai feet high4 ,on the pedestal was an inscription recording that the ,victory was offered as a tithe of spoil to ,olympian ,zeus by the ,messenians and ,naupactians2 and that the author was ,paionios of ,mende1 who made the acroteria of the temple3--,greek3 ,messanioi kai ,naupaktioi anethen ,dii ,olympio dekatan apo tom polemion4 ,paionios epoiese ,mendaios kai takroteria poion epi ton naon enika4 ,mr4 ,murray 7,gr4 ,sculpt41 ii4 p4 #afb7 suggests as an explanation of the last clause of the inscription that the ,victory was a replica of the acroteria 7or figures above the pediments7 of the ,temple of ,zeus4 ,these are known to have been gilded figures of ,victory 7,paus41 v4 #aj1 #b74 ,pausanias was inclined to think that the inscription referred to a war of the ,messenians against the ,acarnanians 7#deb ,b4,c472 but the ,messenians of his time supposed that the statue was erected soon after the defeat of the ,spartans at ,sphacteria in #dbd ,b4,c4 ,discovered by the ,german excavators at ,olympia1 and now in the ,museum at ,olympia4 ,marble4 ,ausgrabungen zu ,olympia1 ,i41 pls4 #i-ab2 inscr4 ibidem1 pl4 #cb2 pedestal1 ibidem1 ,,ii41 pl4 #cd2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 figs4 #hh1 #hi2 ,murray1 ,,ii41 pl4 #ai2 ,wolters1 ,nos4 #dif1 #dig4 ,,statues ,,of ,,apollo 7874 ,of the following sculptures1 ,nos4 #bjj-bjg are examples of a somewhat numerous class of nude male figures1 standing constrainedly with the heads directed straight to the front1 having the hands either close by the sides1 or slightly raised1 by a bending of the arms at the elbows4 ,the name of ,apollo has been commonly given to sculptures of the type here described1 but doubts have often been raised as to the accuracy of the title4 ,it seems clear that at the stage of art represented by these figures one type of nude male figure was made to serve various purposes4 ,it cannot be doubted that the type was often used to represent ,apollo1 for such figures have been found in or near shrines of ,apollo at ,naucratis 7,petrie1 ,naukratis1 i41 pl4 #a1 fig4 #d71 ,delos 7,arch4 ,zeit41 #ahhb1 p4 #cbc71 ,actium 7,gaz4 ,arch41 #ahhf1 p4 #bce71 and at the temple of ,apollo ,ptooes in ,boeotia 7,bull4 de ,corr4 ,hellenique1 x41 p4 #ff1 ,brunn1 ,denkmaeler1 ,no4 #ab74 ,the same type of ,apollo occurs1 e4g4 on a vase in the ,brit4 ,mus4 7,no4 ,e1 #cac2 ,gaz4 ,arch41 #ahhb1 p4 #eh71 on a vase published in ,annali dell' ,inst41 #ahdi1 pl4 ,d 7cf4 ,hamilton ,vases1 ii41 pl4 #f71 and on a ,pompeian fresco 7,arch4 ,zeit41 #ahhb1 p4 #eh74 ,compare a relief in the ,palazzo ,corsini 7,duetschke1 ii41 p4 #aad74 ,at the same time1 similar figures served to represent athletes 7,paus41 viii41 #dj7 and1 perhaps1 were placed on tombs1 to represent a deceased person4 ,the series of figures which have the hands by the thighs is older than that in which the hands are raised1 and the invention of the type has been assigned to the ,cretan ,daedalid ,school of ,dipoinos and ,skyllis 7,furtwaengler1 ,arch4 ,zeit41 #ahhb1 p4 #ee74 ,for an enumeration and discussion of the known examples of this series see ,overbeck1 ,gr4 ,plast41 #crd ed41 i41 p4 #bbi1 note #cc2 ,bull4 de ,corr4 ,hellenique1 x41 p4 #fg2 xi41 p4 #a2 ,gaz4 ,arch41 #ahhf1 p4 #bci2 ,roscher1 ,lexicon1 i1 p4 #ddi2 ,wolters1 ,no4 #ad4 ,the second series1 here represented by ,nos4 #bjf1 #bjg1 in which the hands are raised1 is developed from the first1 but shows a great advance in all respects4 ,perhaps it gives the ,cretan type as developed by artists of the school of ,aegina4 ,sidenote3 #bjj4 ,figure of ,apollo 787 standing with the right leg drawn back1 and with the hands pressed against the hips4 ,he has a diadem across the forehead1 and the hair falls on the shoulders and down the back4--,naucratis4 ,alabaster2 height1 #aj-a_/d inches4 ,sidenote3 #bja4 ,apollo 787 standing4 ,torso from the neck to the knees4 ,the right leg is drawn back1 and the hands are pressed against the thighs4 ,the hair falls down on the shoulders and on the back4--,naucratis4 ,alabaster2 height1 #d-c_/h inches4 ,sidenote3 #bjb4 ,apollo4 ,torso from the neck to the middle of the thighs4 ,the hands are pressed against the thighs4 ,the hair falls on the shoulders and on the back4 ,a belt crosses the body under the right arm1 and over the left shoulder4--,temenos of ,apollo1 ,naucratis4 ,marble 7872 height1 #c-a_/h inches4 ,naukratis1 ,i41 pl4 #a1 fig4 #i4 ,the following figures1 ,nos4 #bjc1 #bjd1 belong to the same series1 though the type is slightly varied1 and ,no4 #bjc1 having been found in the temenos of ,aphrodite1 probably does not represent ,apollo3-- ,sidenote3 #bjc4 ,male torso from the neck to the knees4 ,the right hand lies across the breast2 the left leg is to the front4 ,the hair is cut square at the back1 and in the front falls down on the shoulders4--,temenos of ,aphrodite1 ,naucratis4 ,alabaster2 height1 #f-a_/d inches4 ,naukratis1 ,,ii41 pl4 #ad1 fig4 #ac4 ,sidenote3 #bjd4 ,apollo4 ,male torso1 similar to the preceding1 but having no hair on the shoulders4--,temenos of ,apollo1 ,naucratis4 ,alabaster2 height1 #d-c_/d inches4 ,naukratis1 ,i41 pl4 #a1 fig4 #c4 ,sidenote3 #bje4 ,figure of ,apollo 787 standing1 with the right leg drawn back1 and with the hands pressed against the hips4 ,the hair falls on the shoulders1 terminating in a straight line1 and intersected with conventional grooves running at right angles to each other4--,from ,greece1 probably from ,boeotia4 ,marble2 height1 #b feet #f-a_/d inches4 ,murray1 ,i41 pl4 #b1 p4 #ajg2 ,arch4 ,zeit41 #ahhb1 pl4 #d1 p4 #ea2 ,mitchell1 p4 #bac2 ,brunn1 ,denkmaeler1 ,no4 #gg4 ,sidenote3 #bjf4 ,figure of ,apollo 787 standing1 with the right leg drawn back4 ,the hair is dressed1 with the headdress known as the krobylos4 ,round the taenia are five drilled holes1 indicating that a wreath of bronze was attached4 ,the arms1 and the legs from the knees are wanting4 ,this figure1 commonly known as the ,strangford ,apollo1 is referred by ,brunn to the school of ,callon of ,aegina4 ,from the collection of ,viscount ,strangford4 ,stated in #ahfd to be from ,lemnos1 but said also to have been found in ,anaphe 7,newton1 ,essays1 p4 #ha74 ,marble2 height1 #c feet #d inches4 ,mon4 dell' ,inst41 ,,ix41 pl4 #da2 ,annali dell' ,inst41 #ahgb1 p4 #aha2 ,brunn1 ,ber4 d4 k4 bayer4 ,akad4 ,phil4-hist4 ,classe1 #ahgb1 p4 #ebi2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #aha1 fig4 #dj2 ,murray1 ,i41 pl4 #b2 ,rayet et ,thomas1 ,milet et le ,golfe ,latmique1 pl4 #bh2 ,brunn1 ,denkmaeler1 ,no4 #ea2 ,wolters1 ,no4 #hi2 ,arch4 ,zeit41 #ahfd1 p4 #afd994 ,sidenote3 #bjg4 ,torso of ,apollo 787 standing1 with the right leg drawn back4 ,the head1 arms1 and legs from the knees are wanting2 two points of attachment near the front of the hips1 show that the arms were considerably bent at the elbows4 ,this figure was found in the ,dromos of a tomb at ,marion 7,cyprus74 ,marble2 height1 #b feet #e inches4 ,herrmann1 ,graeberfeld von ,marion1 p4 #bb4 ,the tomb contained a coin of ,idalium1 of about #eaj ,b4,c41 a gold cup with acorns repousse1 several black figured vases1 one at least of an early character1 and no red figured vases4 ,sidenote3 #bjh4 ,head of ,apollo4 ,the hair is bound with a taenia and falls in short corkscrew curls over the forehead1 and in a flowing mass down the shoulders4 ,the sharply cut outlines of the features1 and the wiry character of the hair suggest that this head is a copy of an archaic work in bronze4 ,it has been conjectured that the head is copied from the ,apollo of ,canachos at ,branchidae1 but there is no evidence in favour of the theory1 which has been given up as untenable4 7,cf4 ,overbeck1 ,gr4 ,plast41 #crd ed41 i41 p4 #aaj74 ,a bronze statuette from the ,payne ,knight collection1 which has a better claim to be considered a copy of ,apollo of ,canachos1 may be seen in the ,bronze ,room4 ,brought from ,rome by ,lord ,cawdor1 and purchased by ,townley4--,townley ,coll4 ,parian marble2 height1 #a foot #e-a_/b inches4 ,specimens1 ,i41 pls4 #e1 #f2 ,mus4 ,marbles1 ,,iii41 pl4 #d2 ,ellis1 ,townley ,gallery1 ,i41 p4 #cba2 ,mueller1 ,denkmaeler1 ,i41 pl4 #d1 fig4 #bb2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #aji1 fig4 #ad2 ,wolters1 ,no4 #bbh2 cf4 ,rayet et ,thomas1 ,milet et le ,golfe ,latmique1 pl4 #cg2 ,michaelis1 ,anc4 ,marbles1 p4 #id4 ,sidenote3 #bji4 ,statue of ,apollo1 standing4 ,the chief weight of the body is thrown on the right leg1 while the left knee is bent1 and the left foot rests lightly on the ground4 ,the head is slightly turned to the right4 ,the hair is dressed with the headdress known as the krobylos4 ,the left hand and right forearm1 which appear to have been separate pieces1 are wanting4 ,the left hand held some attribute1 perhaps a branch1 for which there is a mark of attachment by the left knee4 ,the right hand1 which rested on the stump beside the right leg1 seems to have held a strap4--,from the ,choiseul-,gouffier ,collection1 #ahah4 ,marble2 height1 #e feet #aj-a_/b inches4 ,restored3 tip of nose4 ,specimens1 ,,ii41 pl4 #e2 ,ellis1 ,townley ,gallery1 ,i4 p4 #aid2 ,clarac1 ,,iii41 pl4 #dhb;,b1 ,no4 #ica;,a2 ,mus4 ,marbles1 ,,xi41 pl4 #cb2 ,journ4 of ,hellen4 ,studies1 ,i41 pl4 #d2 ,stereoscopic1 ,no4 #adc2 ,murray1 ,i41 pl4 #h2 ,wolters1 ,no4 #bba4 ,this statue1 commonly known as the ,choiseul-,gouffier ,apollo1 together with other examples of the same type1 has given rise to much discussion4 ,the chief replica is a statue at ,athens1 commonly called the ',apollo on the ,omphalos1' having been associated with a marble omphalos1 or sacred cone of ,apollo1 which was discovered at the same time4 ,grave doubts1 however1 exist as to the connection of the figure and of the omphalos4 7,journ4 of ,hellen4 ,studies1 ,i41 p4 #ahj2 ,athenische ,mittheilungen1 ,,ix41 p4 #bdh47 ,the ,athenian statue is published1 ,conze1 ,beitraege1 pls4 #c1 #e2 ,journ4 of ,hellen4 ,studies1 ,i41 pl4 #e2 ,murray1 ,i41 pl4 #h2 ,brunn1 ,denkmaeler1 ,no4 #db4 ,for a list of other replicas of the type1 see ,athenische ,mittheilungen1 ,,ix41 p4 #bci4 ,the statue is generally taken to be an ,apollo4 ,it has1 indeed1 been argued that it is a pugilist1 and not ,apollo 7,waldstein1 ,journ4 of ,hellen4 ,studies1 ,i41 p4 #ahb2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,,ii41 p4 #dad72 and if the figure is ,apollo1 it must be admitted that 'the proportions are rather suited to the patron of pugilism 7,il4 ,greek3 psi4 #ffj7 than to the leader of a celestial orchestra' 7,specimens1 ,,ii41 pl4 #e2 ,athenische ,mittheilungen1 ,,ix41 p4 #bdd74 ,but the title is established by a quiver attached to the stump of a replica in ,rome 7,matz-,duhn1 ,bildw4 in ,rom1 ,i41 ,no4 #agi71 and of a somewhat similar figure at ,cassel 7,athenische ,mittheilungen1 ,i41 pl4 #aj71 and by the fact that a copy 7,no4 #baj7 has been found in the temple of ,apollo at ,cyrene4 ,moreover1 the head of a similar figure1 undoubtedly an ,apollo1 occurs on a relief in the ,capitoline ,museum 7,braun1 ,vorschule der ,kunstmythologie1 pl4 #e74 ,compare also the figure of ,apollo on a vase at ,bologna1 ,mon4 dell' ,inst41 ,x41 pl4 #ed4 ,there has also been much discussion as to the school of art to which the type must be assigned1 and as to the character of the original statue4 ,the statue has been assigned by different writers to ,calamis 7,apollo ,alexikakos2 ,conze1 ,beitraege1 p4 #ai2 ,murray1 ,i41 p4 #ahi2 ,furtwaengler1 in ,roscher's ,lexicon1 ,i41 p4 #def72 to ,pasiteles 7,kekule1 ,menelaos1 p4 #cj72 to ,alcamenes 7,furtwaengler1 ,athenische ,mittheilungen1 ,v41 p4 #ci2 cf4 ,journ4 of ,hellen4 ,studies1 ,,viii41 p4 #da72 to ,pythagoras of ,rhegium 7,euthymos2 ,waldstein1 loc4 cit472 and to ,callimachos 7,apollo ,daphnephoros2 ,schreiber1 ,athenische ,mittheilungen1 ,,ix41 p4 #bdh74 ,it has been variously held that the original statue was of bronze1 and is therefore lost 7,mus4 ,marbles1 ,,xi41 pl4 #cb2 cf4 ,murray1 ,i41 p4 #aia71 or that the ,athenian statue is the original1 whence other copies are derived 7,athenische ,mittheilungen1 ,,ix41 p4 #bdj74 ,the krobylos seems to indicate some ,attic sculptor of the first half of the #eth cent4 ,b4,c4 7,schreiber1 ,athenische ,mittheilungen1 ,,viii41 p4 #bee74 ,the existence of numerous copies proves that the original was famous1 and it is generally supposed that the figure is an ,apollo4 ,it is impossible to make a more definite statement with confidence1 in the present state of our knowledge as to the ,attic sculptors who preceded ,pheidias4 ,sidenote3 #baj4 ,head of ,apollo1 a replica of ,no4 #bji4 ,the head is broken off in the middle of the neck4 ,the chin1 the tip of the nose1 and parts of the hair are wanting4 ,the author of this copy has misunderstood the arrangement of the headdress4--,found by ,smith and ,porcher in the ,temple of ,apollo at ,cyrene4 ,marble2 height1 #aa inches2 ,smith and ,porcher1 p4 #ajj ,no4 #ai ,murray1 ,i41 p4 #aij4 ,sidenote3 #baa4 ,head of ,apollo1 a replica of ,no4 #bji4 ,the head is broken off below the chin4 ,the nose and the tip of the chin are wanting4 ,this copy shows better than either #bji or #baj1 the arrangement of the hair in the krobylos1 the origin of the plaits being clearly indicated4 ,it chiefly differs from them in the amount of hair falling down at the back of the ears2 in this head there are the remains of thick tresses1 while in the other instances there are only a few short curls4 ,there is a rectangular hole at the back of the head4--,presented by the ,hon4 ,e4 ,a4 ,pelham4 ,marble2 height1 #i-a_/b inches4 ,this head was found in #ahhb at a cottage at ,ventnor1 built by ,sir ,richard ,worsley4 ,it was1 doubtless1 brought by him from ,greece4 ,,miscellaneous ,,sculptures4 ,sidenote3 #bae4 ,fragment of lacunar1 from a ceiling1 with two panels in low relief4 7#a7 ,horse galloping to the right4 7#b7 ,gryphon seizing a stag4 ,below is a band of rosettes in squares4 ,the whole is surrounded by remains of a large bead ornament4--,presented by ,algernon1 fourth ,duke of ,northumberland4 ,green limestone 7872 height1 #a foot #a-a_/b inches2 width1 #a foot #a inch4 ,sidenote3 #baf4 ,fragment of lacunar nearly similar to preceding4 ,the upper panel is wanting4 ,below is a ,gryphon seizing a stag4 ,below is a band of rosettes2 between the two panels is a band of maeander pattern4--,presented by ,algernon1 fourth ,duke of ,northumberland4 ,green limestone 7872 height1 #i-a_/d inches2 width1 #aj-a_/d inches4 ,sidenote3 #bag4 ,fragment of relief4 ,on a pedestal is a lion1 walking to the left4 ,before the lion are three balls4 ,above were two figures standing to the front1 of which only the feet remain4 ,the figure on the left stood with feet side by side2 that on the right stood with the legs crossed 7,fig4 #d74 ,this relief1 though undoubtedly archaic1 appears not to belong to the prehistoric period of ,mycenae 7cf4 ,nos4 #a-f74--,mycenae4 ,inwood ,coll4 ,green limestone2 height1 #a foot #a-a_/d inches2 width1 #i-a_/b inches4 ,synopsis1 ,no4 #dbi2 ,loeschcke1 ,athenische ,mittheilungen1 ,,iv41 p4 #bif2 ,wolters1 ,no4 #ec4 ,illustration3 ,fig4 #d4--,relief from ,mycenae1 ,no4 #bag4 ,,part ,,ii4 ,,myron ,,and ,,pheidias4 ,three great names represent the early prime of ,greek sculpture1 namely1 ,myron1 ,pheidias1 and ,polycleitos of ,argos4 ,these three are thought to have been fellow pupils of the ,argive sculptor ,ageladas4 ,the present part of the catalogue deals with ,myron and ,pheidias4 ,the third part deals first with their immediate successors in ,attica1 and then turns to ,polycleitos of ,argos and the sculptures of the ,peloponnese2 and next to the special class of ,greek reliefs4 ,,myron4 ,,myron of ,eleutherae in ,attica worked at ,athens in the first half of the fifth century ,b4,c4 ,although he had not entirely abandoned the archaic style 7notably1 in his rendering of hair1 ,pliny1 ,h4 ,n4 xxxiv41 #eh71 he was distinguished for his skill in representing life4 ,his power lay partly in the rendering of vigorous movement in sculpture1 as in his athletic statues1 and partly in a realistic imitation of nature1 as in his famous cow4 ,no original works of ,myron are extant4 ,his best known work1 the ,discobolos1 is preserved in copies1 one of which is described below4 ,the bronze statuette of ,marsyas in the ,bronze ,room may be studied after a group of ,athene and ,marsyas by ,myron4 ,sidenote3 #bej4 ,graeco-,roman copy of the bronze ,discobolos of ,myron4 ,a young athlete is represented in the act of hurling the disk4 ,he has swung it back1 and is about to throw it to the furthest possible distance before him4 ,the head1 as here attached1 looks straight to the ground1 but in the original it looked more backwards as in a copy formerly in the ,massimi palace at ,rome4 7,cf4 ,lucian1 ,philopseud4 #ah47 ,compare a gem in the ,british ,museum 7,fig4 #e2 ,cat4 of ,gems1 ,no4 #gdb1 pl4 ,g71 which is inscribed ,greek3 ,,hyakinthos4 ,according to a judgment of ,quintilian1 the laboured complexity of the statue is extreme1 but any one who should blame it on this ground would do so under a misapprehension of its purpose1 inasmuch as the merit of the work lies in its novelty and difficulty4 ,quid tam distortum et elaboratum1 quam est ille discobolos ,myronis8 si quis tamen1 ut parum rectum1 improbet opus1 nonne ab intellectu artis abfuerit1 in qua vel praecipue laudabilis est ipsa illa novitas ac difficultas8--,quint4 ,inst4 ,orat41 ii41 #ac4 #aj4--;,found in #agia in ,hadrian's ,villa at ,tivoli4 ,townley ,coll4 ,illustration3 ,fig4 #e4 ,greek3 ,,hyakinthos7,hyacinth7 ,marble2 height1 #e feet #e inches4 ,restorations3--,nose1 lips1 chin1 piece in neck1 part of disk and r4 hand2 l4 hand2 piece under r4 arm2 pubis2 r4 knee2 a small piece in r4 leg1 and parts of the toes4 ,specimens1 ,i41 pl4 #bi2 ,mus4 ,marbles1 ,,xi41 pl4 #dd2 ,clarac1 ,v41 pl4 #hfj1 ,no4 #baid ,b2 ,ellis1 ,townley ,gallery1 ,i41 p4 #bda2 ,guide to ,graeco-,roman ,sculptures1 ,i41 ,no4 #ace2 ,stereoscopic1 ,no4 #adi2 ,wolters1 ,no4 #deb4 ,,pheidias ,,and ,,the ,,sculptures ,,of ,,the ,,parthenon4 ,the sculptures of the ,parthenon illustrate the style of ,pheidias1 the greatest of ,greek sculptors4 ,,pheidias1 son of ,charmides1 the ,athenian1 was born about #ejj ,b4,c4 ,he was a pupil of the sculptor ,ageladas1 of ,argos1 or1 according to others1 of ,hegias or ,hegesias1 of ,athens4 ,his youth was passed during the period of the ,persian wars1 and his maturity was principally devoted to the adornment of ,athens1 from the funds contributed by the allied ,greek states during the administration of ,pericles4 ,among the chief of the works of this period was the ,parthenon1 or temple of the virgin ,goddess ,athene4 ,the architect was ,ictinos1 but the sculptural decorations1 and probably the design of the temple1 were planned and executed under the superintendence of ,pheidias4 ,the building was probably begun about ,b4,c4 #ddg 7according to ,michaelis1 ,b4,c4 #ded74 ,it was sufficiently advanced to receive the statue of the ,parthenos in ,b4,c4 #dch1 and was probably completed either in that year or a little later4 ,it stood on the ,acropolis of ,athens1 on a site which had been already occupied by a more ancient temple1 commonly supposed to have been an ancient ,parthenon1 which was burnt on the sacking of ,athens by the ,persians1 ,b4,c4 #dhj4 ,recently1 however1 the foundations of an early temple have been discovered between the ,parthenon and the ,erechtheion4 ,it has been thought that this is the ,pre-,persian ,parthenon1 and that the traces of an older foundation below the existing ,parthenon only date from the time immediately following the ,persian wars4 ,a building is supposed to have then been begun1 on a plan somewhat different from that which was carried out by ,ictinos and ,pericles4 ,the ,parthenon was of the ,doric order of architecture1 and was of the form termed peripteral octastyle2 that is to say1 it was surrounded by a colonnade1 which had eight columns at each end4 ,the architectural arrangements can be best learnt from the model1 which is exhibited in the ,elgin ,room4 ,see also the plan 7fig4 #f47 and elevation 7pl4 iv474 ,the principal chamber 7cella7 within the colonnade contained the colossal statue of ,athene ,parthenos 7see below1 ,nos4 #cjj-cjb74 ,externally the cella was decorated with a frieze in low relief 7see below1 p4 #ade74 ,the two pediments1 or gables at each end of the building 7see below1 ,nos4 #cjc1 #cjd7 were filled with figures sculptured in the round4 ,above the architrave1 or beam resting on the columns1 were metopes1 or square panels1 adorned with groups in very high relief1 which served to fill up the spaces between the triglyphs1 or groups of three vertical parallel bands1 representing beam ends4 ,all these sculptured decorations were executed1 like the architecture1 in ,pentelic marble4 ,illustration3 ,fig4 #h4--,plan of the ,parthenon4 7,from ,michaelis47 ,the statue of the ,parthenos is known to have been in existence about #dcj ,a4,d42 but not long after this date the figure was removed1 and the ,parthenon was converted into a ,christian church1 dedicated at first to ,santa ,sophia 7or the ,divine ,wisdom71 and afterwards to the ,panagia 7or ,virgin ,mary74 ,for the purposes of the church1 an apse was built at the east end of the cella1 and the entrance was moved to the west end4 ,the building was also given a vaulted roof1 which covered the cella alone4 ,in consequence the frieze was exposed to the weather1 and the east pediment was much destroyed4 ,from #abjf to #adeh1 during the period of the ,frankish ,dukes of ,athens1 the ,parthenon was a ,latin church4 ,athens was taken by the ,turks in #adeh1 and the ,parthenon was again an ,orthodox ,greek church for two years4 ,in #adfj1 however1 it was converted into a ,turkish mosque4 ,from this date it probably suffered little until #afhg1 when ,athens was taken by the ,venetian ,general1 ,morosini4 ,in the course of a bombardment of the ,acropolis1 the besiegers succeeded in throwing a shell into a powder magazine in the ,parthenon1 and caused an explosion that destroyed the roof and much of the long sides of the building4 ,further injury was done by ,morosini1 who made an attempt to take down the central group of the west pediment1 which was still nearly complete4 ,fortunately1 many of the sculptures had been drawn by a skilful artist before the explosion4 ,in #afgd ,jacques ,carrey1 a painter in the suite of the ,marquis de ,nointel1 ,french ambassador at the ,porte1 made sketches of large portions of the frieze and metopes1 and of the then extant portions of the pedimental compositions4 ,these drawings are preserved in the ,french ,bibliotheque ,nationale1 and are constantly referred to in discussions of the ,parthenon sculptures4 ,in #afhh ,athens was restored to the ,turks1 and from this date to the end of the last century the sculptures of the ,parthenon were exposed to constant injury4 ,some of them were made into lime1 or built into walls by the ,turkish garrison2 others were mutilated by the travellers who from time to time obtained admission to the ,acropolis1 and broke off portable fragments of the sculptures4 ,in #agdi1 when the west pediment was drawn by ,dalton1 many figures still remained in position which had disappeared before the time of ,lord ,elgin4 ,several portions also of the frieze1 which were seen by ,stuart1 had disappeared at the beginning of the present century4 ,on the other hand1 the east pediment1 being inaccessible1 suffered no important change between #afgd and #ahjj4 ,in the years #ahja-c many of the sculptures of the ,parthenon were removed to ,england by the ,earl of ,elgin1 then ,british ambassador at ,constantinople1 by means of a firman obtained from the ,porte 7see p4 #f74 ,the ,elgin ,collection1 which includes other marbles obtained from ,athens and elsewhere1 together with casts and drawings1 was purchased from ,lord ,elgin by the ,british ,government in #ahaf for ,l#ce1jjj4 ,several portions of the sculptures of the ,parthenon have been discovered since the time of ,lord ,elgin on the ,acropolis and its slopes1 or in various parts of ,europe1 to which they had been taken by travellers4 ,these are represented as far as possible in the ,british ,museum by plaster casts4 ,the following aids to the study of the ,parthenon will be found in the ,elgin ,room3-- ,model of the ,athenian ,acropolis1 showing its condition in the year #ahgj4 ,presented by ,prof4 ,adolf ,michaelis4 ,model of the ,parthenon4 ,the model was made by ,r4 ,c4 ,lucas1 on a scale of a foot to #bj feet1 and represents the state of the temple in #afhg1 after the explosion1 but before ,morosini had attacked the west pediment4 ,carrey's drawings of the pediments4 ,photographic reproductions of the originals are exhibited4 ,a restored view of the ,athenian ,acropolis4 ,by ,richard ,bohn4 ,bibliography of the ,parthenon4 ,the work of ,michaelis1 ,der ,parthenon 7,leipzig1 #ahga71 collects the material for the study of the ,parthenon1 and contains an excellent digest of all that had been written on the subject up to the year #ahga4 ,for later writers1 see below passim1 and ,wolters4 ,for the chronology of ,pheidias1 see ,loeschcke1 in ,untersuchungen ,a4 ,schaefer gewidmet1 p4 #be2 for the question as to his master1 see ,klein1 ,arch4-,epigr4 ,mittheilungen aus ,oesterreich1 ,,vii41 p4 #fd2 ,murray1 ,greek ,sculpture1 #bnd ed41 p4 #ahf4 ,for the older temple on the site of the ,parthenon1 see ,doerpfeld1 in ,athenische ,mittheilungen1 ,,xii41 p4 #de2 ,harrison1 ,mythology of ,anc4 ,athens1 p4 #dfg4 ,the plan given above is taken from ,michaelis4 ,important modifications have been proposed by ,doerpfeld1 ,athenische ,mittheilungen1 ,,vi41 pl4 #ab1 p4 #bhc2 ,harrison1 loc4 cit41 p4 #dfd4 ,for the mediaeval history of the ,parthenon1 see ,laborde2 ,athenes aux ,,xve1 ,,xvie1 et ,,xviie ,siecles 7,paris1 #ahed72 ,gregorovius1 ,athen im ,mittelalter 7#ahhi74 ,facsimiles of ,carrey's drawings are in the ,british ,museum1 and have been partially published in the works of ,laborde1 ,le ,parthenon 7,paris1 #ahdh74 ,for photographic copies of the drawings of the pediments1 see ,antike ,denkmaeler1 ,i41 pls4 #f1 #f;a4 ,dalton's views of the ,acropolis were published in #agea1 but the remains of ,athens were little known till the appearance of ,the ,antiquities of ,athens1 by ,james ,stuart and ,nicolas ,revett4 7,london3 vol4 ,i41 #agfb2 vol4 ,,ii41 #aghg2 vol4 ,,iii41 #agid2 vol4 ,,iv41 #ahaf2 vol4 ,v41 #ahcj74 ,a second edition1 with additional matter1 but having inferior illustrations1 was issued in #ahbe-ahcj4 ,the original drawings1 made for this work by ,pars1 were presented to the ,british ,museum by the ,society of ,dilettanti4 ,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 ,marbles2 c4 7,london1 #ahaf74 ,,statue ,,of ,,athene ,,parthenos4 ,the colossal statue of ,athene ,parthenos by ,pheidias was placed within the central chamber of the ,parthenon4 ,the figure was made of gold and ivory1 and was1 with its base1 about #dj feet high4 ,athene stood1 draped in chiton and aegis4 ,in her left hand she held her spear and shield4 ,between her and her shield was the serpent ,erichthonios4 ,on her outstretched right hand was a winged ,victory1 six feet high1 holding a wreath4 ,the helmet of the ,goddess was adorned1 according to ,pausanias1 with a ,sphinx and ,gryphons4 ,from detailed copies of the head 7,athenische ,mittheilungen1 viii41 pl4 #ae2 ,cat4 of ,gems in ,b4 ,m4 #fcg1 #fch7 we learn that the ,gryphons were on the cheek-pieces1 and that there was a figure of ,pegasos on each side of the ,sphinx4 ,there was also a row of small horses at the front of the helmet4 ,all available space was covered with reliefs4 ,a battle between ,greeks and ,amazons 7see below1 ,nos4 #cja1 #cjb7 was seen on the exterior of the shield1 and one between ,gods and ,giants on its interior4 ,on the base was a representation of the birth of ,pandora 7see ,no4 #cja7 and on the edges of the sandals was a battle between ,centaurs and ,lapiths4 ,the statue disappeared from view with the fall of paganism4 ,nos4 #cjj-cjb afford some of the materials for its reconstruction4 ,rough reproductions of the figure also occur on ,attic reliefs1 such as ,nos4 #gga-ggc4 ,the statuette1 ,no4 #cjj1 is of service for the details of the composition1 although it is artistically a poor copy4 ,the ,lenormant statuette1 ,no4 #cja1 though rough and incomplete1 is of more value for its rendering of the features4 ,the column beneath the hand of ,athene 7in ,no4 #cjj7 presents some difficulty1 as it is not mentioned in descriptions of the statue and seldom occurs in reproductions of it4 ,it is seen in an ,attic relief 7,michaelis1 pl4 #ae1 fig4 #g7 on a lead ticket 7,zeitschr4 fuer ,numismatik1 x41 p4 #aeb7 and1 in the form of an olive tree1 on a ,lycian coin of the time of ,alexander 7,zeitschr4 fuer ,num41 loc4 cit42 ,murray1 ii41 pl4 #aa74 ,it is more probable that an existing support should be omitted in reliefs1 than that it should be inserted if non-existent4 ,it is possible1 however1 that the support was not a part of the design of ,pheidias1 but was an addition1 found to be necessary before the time of ,alexander4 ,sidenote3 #cjj4 ,cast of a statuette1 copied from the ,athene ,parthenos4 ,the ,goddess wears a helmet1 aegis1 chiton with diploidion girt round the waist1 bracelets and sandals2 her left hand rests on her shield1 which stands on its edge at her side4 ,in the centre of the outside of the shield is a mask of ,medusa1 and inside a serpent2 the right hand of ,athene is extended in front and rests on a column with the palm open upwards1 holding a figure of ,victory1 in whose hands are remains of what is thought to be a garland4 ,the head of the ,victory is wanting4 ,on the centre of the helmet of ,athene is a ,sphinx1 and at each side has been a ,pegasos4 ,the statuette was found in a shrine in a private house4 ,compare the vision of ,proclos1 who was bidden to prepare his house for ,athene1 when her statue was being removed by the ,christians from the ,parthenon1 about #dcj ,a4,d4 7,marinus1 ,proclos1 #cj2 ,michaelis1 p4 #bgj47 ,the original1 which is of ,pentelic marble1 is in the ,national ,museum at ,athens4 ,height1 with plinth1 #c feet #e inches4 ,found in #ahhj1 near the ,varvakion in ,athens4 ,athenische ,mittheilungen1 ,,vi41 pls4 #a1 #b1 p4 #ef2 ,journ4 of ,hellen4 ,studies1 ,,ii41 p4 #c2 ,schreiber1 ,athena ,parthenos des ,phidias1 pl4 #a2 ,brunn1 ,denkmaeler1 ,nos4 #ci1 #dj2 ,waldstein1 pl4 #ad2 ,harrison1 ,mythology and ,monuments of ,anc4 ,athens1 p4 #ddg4 ,for literature see ,waldstein1 ,essays1 p4 #bgj2 ,wolters1 ,no4 #dfg4 ,sidenote3 #cja4 ,cast of a statuette1 copied from the statue of ,athene ,parthenos4 ,athene wears a helmet1 aegis1 and chiton with diploidion girt round the waist2 her right hand is extended in front with the palm open upwards as if to hold out the figure of ,victory4 ,in this part the statuette is unfinished1 the marble underneath the right arm not having been hewn away4 ,the left hand of the ,goddess rests on her shield1 which stands on its edge at her side2 inside the shield is a serpent2 outside are reliefs representing the battle between ,greeks and ,amazons1 which is seen in more detail in ,no4 #cjb4 ,among the figures1 we recognise several which occur on ,no4 #cjb4 ,the figure of ,pheidias 7a1 see ,no4 #cjb7 is near the top of the relief1 and holds a stone1 as described by ,plutarch4 ,next him perhaps is ,pericles 7b7 separated from the fallen ,amazon 7c71 which is at the bottom of the shield1 as in ,no4 #cjb4 ,the group of the ,greek seizing an ,amazon 7d7 is seen on the right as in ,no4 #cjb4 ,the fallen ,amazon 7e7 with hands above her head is high up1 on the left of the relief4 ,in place of the group of an ,amazon supporting her companion 7f7 which is in ,no4 #cjb1 we have here the same subject1 but differently treated4 ,the ,gorgon's head is roughly indicated near the middle of the shield4 ,from the manner in which the rest of the figure corresponds to the chryselephantine statue1 it has been assumed that the rude outlines of figures in relief on the base of the statuette represent the composition of ,pheidias1 of which the subject was the birth of ,pandora 7,paus41 i41 xxiv41 #g47 ,the original of this statue1 which is of marble1 is in the ,national ,museum at ,athens4 ,height #a foot #d-c_/d inches4 ,found in #ahei near the ,pnyx1 at ,athens4 ,lenormant1 ,gazette des ,beaux ,arts1 #ahfj1 ,,viii41 p4 #acc2 ,jahn1 ,pop4 ,aufsaetze1 p4 #bae1 pl4 #a2 ,michaelis1 pl4 #ae1 fig4 #a1 p4 #bgc2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #bec1 fig4 #ed2 ,brunn1 ,denkmaeler1 ,no4 #ch2 ,wolters1 ,no4 #dff2 ,harrison1 ,mythology and ,monuments of ,anc4 ,athens1 p4 #ddi4 ,for the ,pandora relief1 see ,puchstein1 in ,jahrbuch des ,arch4 ,inst41 ,v41 p4 #aac4 ,sidenote3 #cjb4 ,fragment of shield supposed to be a rough copy from the shield of the statue of ,athene ,parthenos4 ,pliny 7,h4 ,n41 xxxvi41 #ah7 and ,pausanias 7i41 #ag1 #b7 state that the outside of the shield was ornamented with the representation of a battle between ,greeks and ,amazons4 ,plutarch adds 7,pericles1 #ca7 that one of the figures represented ,pheidias himself as an old bald-headed man raising a stone with both hands1 while in another figure1 who was represented fighting against an ,amazon1 with one hand holding out a spear in such a way as to conceal the face1 the sculptor introduced the likeness of ,pericles4 ,this story is probably of late origin1 and invented to account for two characteristic figures on the shield4 ,a head of ,medusa1 or ,gorgoneion1 encircled by two serpents1 forms the centre of the composition on the fragment4 ,below the ,gorgoneion is a ,greek warrior 7a1 cf4 ,no4 #cja71 bald-headed1 who raises both hands above his head to strike with a battle-axe4 ,this figure has been thought to correspond with that of ,pheidias in the original design4 ,next to him on the right is a ,greek 7b7 who plants his left foot on the body of a fallen ,amazon 7c7 and is in the act of dealing a blow with his right hand2 his right arm is raised across his face and conceals the greater part of it4 ,the action of this figure again presents a partial correspondence with that of ,pericles as described by ,plutarch4 ,to the right of the supposed ,pericles are two ,greeks3 the one advances to the right2 the other 7d7 seizes by the hair an ,amazon falling on the right4 ,above this group is an ,amazon running to the right and a ,greek striding to the left4 ,his shield has the device of a hare4 ,above him are three armed ,greeks1 and the remains of another figure4 ,on the left of the figure described as ,pheidias is a ,greek who has fallen on his knees4 ,further to the left is a fallen ,amazon 7e7 who lies with her head towards the lower edge of the shield4 ,near her is a wounded ,amazon 7f7 supported by a companion of whom but little remains4 ,the lower part of a third figure1 probably that of a ,greek1 is also seen4 ,all the ,amazons wear high boots and a short chiton1 leaving the right breast exposed2 their weapon is a double-headed axe4 ,red colour remains on the two serpents which encircle the ,gorgon's head1 on the shield of one of the ,greeks and in several places on the draperies4--,obtained by ,viscount ,strangford from ,athens4 ,pentelic marble2 height1 #a foot #d-c_/d inches2 width1 #a foot #f inches4 ,conze1 ,arch4 ,zeit41 #ahfe1 pls4 #aif1 #aig2 ,jahn1 ,pop4 ,aufsaetze1 p4 #baf1 pl4 #b1 #a2 ,michaelis1 pl4 #ae1 fig4 #cd4 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #bee1 fig4 #ee2 ,mitchell1 p4 #cac2 ,mansell1 ,no4 #gbi2 ,wolters1 ,no4 #dga2 ,harrison1 ,mythology and ,monuments of ,anc4 ,athens1 p4 #dec4 ,there is a fragment of a similar shield in the ,vatican1 ,michaelis1 pl4 #ae1 fig4 #ce4 ,,eastern ,,pediment ,,of ,,the ,,parthenon4 ,sidenote3 #cjc4 ,we know from ,pausanias 7i41 #bd1 #e7 that the subject of the composition in the eastern pediment had relation to the birth of ,athene1 who1 according to the legend1 sprang forth1 fully armed1 from the brain of ,zeus4 ,as all the central part of this composition was already destroyed when ,carrey made his drawing of the pediment1 we have no means of ascertaining how the subject was treated2 and whether the moment immediately after the birth was represented1 as has been generally supposed1 or1 as has been also suggested1 the moment immediately before the birth4 ,a relief surrounding a puteal or well-head1 now at ,madrid1 has been thought to throw light on this question4 ,there ,zeus is enthroned1 looking to the right2 ,athene is before him1 armed1 and advances to the right4 ,a ,victory flies towards her with a wreath4 ,behind the throne of ,zeus is ,hephaestos1 who has cleft the skull of ,zeus with his axe1 and starts back in astonishment4 ,on the extreme right of the composition are the three ,fates 7,schneider1 ,geburt der ,athena1 pl4 #a2 ,mitchell1 p4 #cej1 fig4 #aeg74 ,unfortunately the subordinate figures have not a sufficient resemblance to those which are still extant of the ,parthenon pediment1 to allow us to assume a direct connection between the pediment and the relief4 ,some such composition1 however1 seems more consonant with the dignity of ,athene than the scheme which occurs on vases and ,etruscan mirrors 7e4g4 on a vase in the ,british ,museum1 ,no4 ,b4 #ec2 ,mon4 dell' ,inst41 iii41 pl4 #dd7 where the ,goddess is represented as a diminutive figure1 above the head of ,zeus4 ,this conclusion is confirmed by ,sauer's recent examination of the ground of the pediment4 ,it is now proved that the middle of the east pediment was occupied by two figures of equal importance1 and not by a single central figure of ,zeus1 such as is required1 if we suppose that the subject was treated according to the tradition of the vase painters4 ,it is further shown to be probable that ,zeus was seated on the left of the centre1 seen in profile and turned to the right1 and that ,athene stood on the right of the centre1 holding a spear in her outstretched right hand4 ,the whole group between the figures ,g and ,k is thought1 from the indications on the pediment1 to have consisted of the following figures1 in order from the left3--,standing figure1 stepping inwards 7cf4 ,hermes of the west pediment72 standing figure2 seated figure in profile to the right2 figure standing immediately behind ,zeus2 ,zeus and ,athene2 ,hephaestos 7,h72 seated figure in profile to the left2 standing figure2 standing figure turned to the left 7,j72 standing figure turned outward 7compare ,g74 ,if we confine our attention to the extant pedimental figures1 we find wide differences of opinion as to their interpretation4 ,the figures in the angles are the only ones as to which there can be no doubt4 ,on the left the sun-god1 ,helios1 rises from the ocean1 driving his car1 and on the right the moon-goddess ,selene sets beneath the horizon4 ,these two figures may be interpreted as marking the boundaries either of ,olympos or of the universe4 ,it has also been suggested that they indicate the hour at which the birth took place4 ,this1 according to ,attic tradition1 was at sunrise4 ,thus far the interpretation rests upon sure grounds4 ,of the remaining figures in the pediment1 ,j has been generally recognised as ,victory greeting the newly born ,goddess1 and ,g has been generally taken for ,iris1 announcing the news to the world 7but see below1 ,g74 ,none of the remaining figures have been conclusively identified4 ,most of the numerous schemes of interpretation that have been proposed are exhibited in a table by ,michaelis1 ,der ,parthenon1 p4 #afe1 cf4 ,guide to the ,elgin ,room1 ,i41 ,table ,a4 ,as regards the general principles of interpretation it is to be observed that the schemes may be divided into two classes4 ,we may either suppose with the earlier critics that the space bounded by ,helios and ,selene represents ,olympos1 and that all the figures contained within this space are definite mythological personages1 probably deities1 who may be supposed to have been present at the birth2 or we may assume that all the deities present were comprised in the central part of the pediment1 and that the figures towards the angles belong to the world outside ,olympos1 to whom the news is brought4 ,these may be definite mythological persons1 or they may be figures personifying parts of the natural world4 ,compare the ,homeric ,hymn to ,athene1 and ,pindar1 ,olymp41 vii41 #ce4 ,the best views of this pediment are 7#a7 the drawing of ,carrey in the ,bibliotheque ,nationale 7pl4 v41 fig4 #a74 ,a facsimile in the ,british ,museum2 in ,laborde1 ,le ,parthenon1 and ,antike ,denkmaeler1 ,i41 pl4 #f 7exhibited in ,elgin ,room72 7#b7 sketch by ,pars1 engraved in ,stuart1 vol4 ,,ii41 chap4 ,i41 pl4 #a4 ,the original drawing is in the ,print ,room of the ,british ,museum4 ,for a list of proposed restorations1 see ,schneider1 ,geburt der ,athena1 p4 #bc1 pls4 #b-g2 ,waldstein1 ,essays1 p4 #aci4 ,for ,sauer's examination of the pediment1 see ,athenische ,mittheilungen1 ,,xvi41 pl4 #c1 p4 #ei2 ,antike ,denkmaeler1 ,i41 pl4 #eh4 ,the ends of the pediment are reproduced in figs4 #g1 #h4 ,illustration3 ,fig4 #g4--,the ,south ,end of the ,east ,pediment of the ,parthenon 7according to ,sauer74 ,illustration3 ,fig4 #h--,the ,north ,end of the ,east ,pediment of the ,parthenon 7according to ,sauer74 ,sidenote3 #cjc ,a4 ,helios1 in his chariot emerging from the waves4 ,the head is wanting1 the neck has a forward inclination corresponding with the action of the arms1 which are stretched out in front of the body1 holding the reins by which the upspringing horses of the ,sun-god were guided and controlled4 ,the head of ,helios had been already broken away in ,carrey's time2 the wrist and hand of the right arm1 now wanting1 are shown in his drawing4 ,the surface of the marble on the neck having been protected from weather by the cornice retains its original polish4 ,at the back and between the arms are sculptured small rippling waves to represent a calm sea at sunrise4 ,these waves are treated in the conventional manner usual in representations of water in ,greek art2 their profile shown on the edge of the plinth approximates very nearly to the well-known wave pattern4 ,the metal reins have been attached to the upper surface of the plinth under the right forearm1 and also under the right hand1 now lost2 three dowel holes in this part of the plinth served for their attachment4 ,the waves were probably distinguished by colour4 ,it has been noted by ,michaelis that the angle in which this figure was placed is the darkest spot in the eastern pediment1 and that it is only fully illumined by the early morning sun4 ,mus4 ,marbles1 ,,vi41 pl4 #a2 ,michaelis1 pl4 #f1 fig4 #h2 ,overbeck1 ,i41 p4 #cjc1 fig4 #fa 7with ,b1 ,c74 ,sidenote3 #cjc ,b1 ,c4 ,two horses of ,helios4 ,the team of ,helios was represented by four horses' heads1 two of which still remain in position on the temple1 at the back of the pediment4 ,the two which are here are sculptured in the round out of one block of marble4 ,they are represented emerging from the waves1 the profile of which is sculptured in relief on the neck of the nearest horse4 ,the head of the horse nearest the eye 7,b7 looks outwards1 and has projected beyond the plane of the pedimental cornice1 so that it must have caught the light4 ,the action of this horse's head is most spirited1 though its effect is greatly impaired by the loss of the lower jaw1 and the injury which the surface of the marble has received from exposure to the weather4 ,the reins were of metal1 and the points of attachment of reins and bridle are marked by three dowel holes in the plinth1 a fourth behind the right ear1 and a fifth inside the mouth4 ,the head of the other horse on this block 7,c71 which was advanced beyond the outside head1 so as to be visible1 is nearly destroyed2 only the neck and back of the head remain4 ,mus4 ,marbles1 ,,vi41 pl4 #b2 ,michaelis1 pl4 #f1 fig4 #i2 ,stereoscopic1 ,no4 #aje4 ,for the two heads still on the pediment1 see ,athenische ,mittheilungen1 ,,xvi41 p4 #ha4 ,sidenote3 #cjc ,d4 ,this figure1 which is commonly known as ,theseus1 reclines on a rock and faces the horses of ,helios4 ,he leans on his left arm in an easy attitude4 ,the right arm is bent1 but1 as the hand is wanting1 we can only form conjectures as to what its action may have been4 ,it probably held a spear1 or some other long object1 the end of which may have been attached to the left ankle at the place where a dowel hole is still visible4 ,according to some writers1 the hole served for the attachment of the laced work of a sandal in bronze4 7,ber4 d4 k4 saechs4 ,ges4 d4 ,wissenschaften1 #ahhj1 p4 #dd47 ,the legs are bent1 the left leg drawn back under the right4 ,the headdress is in the form of the krobylos 7cf4 ,no4 #bji74 ,the body is entirely nude3 over the rock on which the figure rests is thrown a mantle under which is strewn a skin1 the claws of which are certainly those of some feline animal4 ,the type and position of this figure present so much resemblance to the ,heracles on the silver coins of ,croton in ,lower ,italy 7,mus4 ,marbles1 vi41 title-page71 that it has been identified with that hero by ,visconti1 who supposed the skin on which he reclines to be that of a lion4 ,this skin1 however1 seems more like that of a panther1 on which ground the figure has been thought to be ,dionysos1 who appears in a very similar reclining attitude on another ,athenian work1 the ,choragic monument of ,lysicrates 7,no4 #dcj1 #a72 compare the statue in the ,louvre1 ,mueller-,wieseler1 ,denkmaeler1 ii41 pl4 #cb1 ,no4 #cfj4 ,compare also the figure of ,dionysos reclining1 on a relief on an askos in the ,british ,museum1 ,no4 ,g4 #bha 7see fig4 #i74 ,the figure1 however1 differs greatly in character1 not only from the figure on the monument of ,lysicrates1 but also from the figure sometimes supposed to be ,dionysos on the frieze of the ,parthenon4 7,east side1 ,no4 #ch47 ,more recently ,brunn has interpreted this figure as the mountain of ,olympos illumined by the first rays of the rising sun1 and it must be acknowledged that the attitude and type of the so-called ,theseus is very suitable for the personification of a mountain4 ,compare the figures of mountains from reliefs1 collected by ,waldstein 7,essays1 pp4 #agc1 #agd74 ,illustration3 ,fig4 #i4 ,mus4 ,marbles1 ,,vi41 pls4 #c1 #d2 ,baumeister1 ,denkmaeler1 p4 #aahj1 fig4 #acgj2 ,michaelis1 pl4 #f1 fig4 #aj2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #cjd1 fig4 #fb2 ,murray1 ,,ii41 pl4 #e2 ,stereoscopic1 ,no4 #aje2 ,waldstein1 ,essays1 pl4 #f2 ,brunn1 ,ber4 der k4 bayer4 ,akad41 ,phil4 hist4 ,cl41 #ahgd1 ,,ii41 p4 #ad4 ,the correct position of the figure in the pediment has been ascertained by ,sauer 7cf4 fig4 #g74 ,sidenote3 #cjc ,e1 ,f4 ,two female figures1 seated on square seats4 ,they both wear a sleeveless chiton1 girt at the waist1 and a diploidion4 ,over it is a mantle thrown over their lower limbs in a rich composition of folds4 ,on the right wrist of the figure nearest the angle 7,e7 is a dowel hole1 probably for the attachment of a bracelet4 ,her companion 7,f71 who wore metal fibulae on each shoulder1 extends her left arm towards the figure1 which is advancing towards her4 ,her head has been broken off at the base of the neck1 but it has probably been turned towards her companion1 who rests her left arm affectionately on her shoulder1 and who probably looked towards her1 perhaps as if listening to the news brought by ,iris4 ,the seats1 on which are laid folded carpets1 are carved out of the marble with great care and delicacy of finish1 the regular geometrical lines being valuable in opposition to the varied undulations of the drapery4 ,in the sides and backs of both seats are oblong sunk panels1 in one of which several archaeologists have tried unsuccessfully to read the name of an artist 7see ,michaelis1 p4 #agd2 ,brunn1 ,griech4 ,kuenstler1 i41 p4 #ajd74 ,most of the writers on the ,parthenon1 from ,visconti downwards1 have named this group ,demeter and ,persephone1 two deities1 whose cult in ,attica ranked second only to that of ,athene herself4 ,this attribution would be strengthened if the reclining male figure could be identified with ,dionysos1 a deity whose worship in ,attica was closely connected with that of the ,eleusinian goddesses4 ,the composition of the group has suggested to other archaeologists a sisterly rather than a filial relation between the figures4 ,broendsted 7,voyages et ,recherches1 ii41 p4 xi47 suggested that these two figures1 with ,g1 were the three ,horae or ,seasons1 worshipped in ,attica under the names ,thallo1 ,auxo and ,karpo4 ,brunn 7followed by ,waldstein7 supposes that the two figures are ,horae1 but that they must be viewed as the warders of the gates of ,olympos 7,hom4 ,il41 v41 #gdi7 rather than as ,attic deities4 ,on this theory the position of figure ,g1 if it represents ,iris1 would indicate that she is on the point of reaching the boundary of ,olympos and passing to the outer world4 ,mus4 ,marbles1 ,,vi41 pl4 #e2 ,michaelis1 pl4 #f1 fig4 #aa2 ,murray1 ,,ii41 pl4 #d2 ,stereoscopic1 ,no4 #ajf2 ,rayet1 ,monuments1 ,no4 #cb2 ,waldstein1 ,essays1 pl4 #g2 ,mitchell1 ,selections1 pl4 #f2 ,brunn1 ,ber4 der k4 bayer4 ,akad41 ,phil4 hist4 ,cl41 #ahgd1 ,,ii41 p4 #ae4 ,sidenote3 #cjc ,g4 ,iris 7874--,this figure is moving rapidly to our left1 the right knee bent4 ,the left arm was probably extended2 the right was bent nearly at a right angle4 ,both hands probably held parts of the mantle1 of which a remnant floats behind1 bellied out by the resistance of the air to the rapid movement of the figure4 ,the feet are wanting from the instep4 ,the figure was let into a socket about two inches deep1 on the floor of the pediment4 ,it seems to be exactly in the same condition as when ,carrey saw it1 except that in his drawing rather more of the neck appears than now remains4 ,the dress is a ,doric chiton1 schistos1 open down the left side1 except for the girdle4 ,over this falls a diploidion4 ,the arms of this figure are small in proportion to the strength of the lower limbs1 and the breasts undeveloped like those of a young girl4 ,this would be consistent with the type of ,iris as the messenger of ,zeus and ,hera1 trained to swift movement4 ,the head may have been half turned back towards the central group1 but too little remains of the neck to make this certain4 ,from the rapid movement of the figure in a direction turned away from the centre of the composition1 archaeologists have been nearly unanimous in thinking that the figure is ,iris on her way to announce the event of the birth to the world outside ,olympos4 ,but the action is not that of a steady flight through the air1 for which the ,nike of ,paionios 7,no4 #aib7 should be compared4 ,it is rather that of a person starting aside in alarm4 ,moreover1 the figure has not the wings of ,iris1 and on these grounds she has been called ,eileithyia 7,murray1 ii41 p4 #ga71 ,hebe 7,brunn1 ,ber4 d4 k4 bayer4 ,akad4 ,phil4 hist4 ,cl41 #ahgd1 ii41 p4 #ai71 or simply a terrified maiden 7,wolters1 p4 #bed74 ,mus4 ,marbles1 ,,vi41 pls4 #f1 #g2 ,baumeister1 ,denkmaeler1 p4 #aahc1 fig4 #acgc2 ,stereoscopic1 ,no4 #ajf2 ,michaelis1 pl4 #f1 figs4 #ab1 #ab;a2 ,murray1 ,,ii41 pl4 #d2 ,mitchell1 ,selections1 pl4 #f4 ,sidenote3 #cjc ,h4 ,cast of a torso of ,hephaestos or ,prometheus4 ,powerful male torso1 from the neck to the groin4 ,the action of the shoulders1 and of the muscles of the ribs and back shows that the arms were raised4 ,perhaps both hands held an axe above the head1 as if about to strike4 ,this is the only fragment besides ,no4 #cjc ,j4 which has any claim to be assigned to the central group of the eastern pediment4 ,though we have little knowledge of how the central group of this pediment was composed1 we may suppose that the personage would not have been omitted through whose act of cleaving the head of ,zeus with an axe the birth of ,athene was accomplished4 ,in the most generally diffused version of the myth this was done by ,hephaestos1 but ,attic tradition preferred to attribute the deed to ,prometheus4 ,the original1 which was discovered on the east side of the ,parthenon in #ahcf1 is at ,athens4 ,michaelis1 pl4 #f1 figs4 #ac1 #ac;a4 ,sidenote3 #cjc ,j4 ,nike1 or ,victory4 ,torso of a female figure1 moving rapidly to the front1 and to our left1 with the right arm extended in the same direction4 ,the figure wears a short sleeveless chiton with a diploidion which is confined under the girdle1 to facilitate rapid motion4 ,a piece of bronze1 which is fixed in the marble about the middle of the left thigh1 may have served for the attachment of a metallic object1 perhaps a taenia held in the left hand4 ,at the back the drapery is tied together1 so as to leave the shoulder-blades bare4 ,on each shoulder-blade is a deep oblong sinking1 which can only have served for the insertion of the wings1 which must have been attached by dowels in the holes pierced round the sinkings4 ,it may be inferred from the size of these sinkings that the wings were of marble1 not metal4 ,it has generally been taken for granted1 that this figure belongs to the eastern pediment1 and it has been inferred from its height that it was not placed much nearer the centre than its present position4 ,this depends1 however1 on the original position of the wings4 ,if they were raised above the head1 the figure must have occupied a place nearer to the centre than it does at present4 ,but it should be observed1 that in ,carrey's drawing of the eastern pediment this figure is not given1 and1 though ,visconti states that it was found lying on the ground below the front of the temple1 it has been contended that he may have been misinformed on this point1 and that the figure so closely resembles one in the western pediment as drawn by ,carrey and ,dalton that it is probably the same4 7,see plate v41 fig4 #b1 ,n1 ,michaelis1 p4 #age1 pl4 #g1 fig4 ,n1 and ,hilfstafel1 fig4 ,n47 ,this resemblance may be admitted2 but if1 on this ground1 we identify the torso of ,nike with the figure in the western pediment 7,n71 which stands by the car of ,amphitrite1 we have a ,victory associated with the side of ,poseidon1 which seems inconsistent with the entire conception of the western pediment4 ,moreover1 the figure in ,carrey's drawing has a scarf hanging from the left arm1 which seems not in character with the type of ,victory2 and1 further1 ,carrey gives no indication of wings4 ,on the other hand1 the composition in the eastern pediment would be incomplete if ,nike were not present to welcome the new-born ,athene4 ,on the whole1 therefore1 there is strong reason for leaving this torso in the pediment to which it was originally assigned by ,visconti4 ,in recent years two valuable additions have been made to this figure4 ,the right thigh was identified and added in #ahfj1 and the left knee in #ahge4 ,the figure is placed by ,sauer in profile to the left4 ,mus4 ,marbles1 ,,vi41 pl4 #i2 ,michaelis1 pl4 #f1 figs4 #ad1 #ad;a2 ,baumeister1 ,denkmaeler1 p4 #aahb1 fig4 #acgb4 ,sidenote3 #cjc ,k1 ,l1 ,m4 ,group of three female figures 7or1 perhaps1 a group of two1 with a third figure less closely associated1 the figure ,k being made of a different block from ,l and ,m74 ,the figures are seated on rocks1 levelled on the top1 and in the case of ,l1 ,m1 cut in step form to suit the composition4 ,the rocks are covered with draperies4 ,these three figures are considerably more complete in ,carrey's drawings than now1 and the motives can best be understood with the aid of the drawings4 ,the figure ,k half turned her head towards the central scene4 ,the right arm was bent at the elbow towards the front of the body4 ,the figure ,l was headless in ,carrey's time4 ,the right arm1 according to ,carrey's drawing1 was bent towards the right shoulder1 as if the action had been that of drawing up the edge of the mantle with the right hand4 ,the body of this figure is bent forward and the feet drawn far back1 as would be the case with a person wishing to spring up4 ,this motive forms a contrast to that of the reclining figure 7,m71 whose right arm rests in her companion's lap1 and whose tranquil attitude and averted gaze1 shown by ,carrey's drawing to have been directed towards the angle of the pediment1 seem to indicate that the news of the birth has not yet reached her4 ,k wears sandals1 a chiton with diploidion1 and a mantle of thick substance which passes across the knees1 and over the left shoulder1 above which it may have been held with the left hand4 ,l wears a fine chiton1 confined with a cord beneath the arms1 and a mantle covering the back and passing across the knees4 ,m wears a fine chiton1 confined at the waist by a girdle1 and has a mantle wrapped about her legs4 ,she appears to have worn a bracelet on the right arm4 ,on comparing the composition of this triad with that of the triad placed next to ,helios in the opposite half of the pediment a curious analogy of treatment may be observed4 ,the so-called ,theseus 7,d71 like the reclining figure 7,m71 seems to be quite unconscious of the great event which is being announced1 and they are turned as by law of attraction to the groups of ,day and ,night which bound the scene on either side4 ,the central figure on either triad seems only half aroused1 while on either side the figure nearest the central action appears to have heard the news of the birth4 ,if the triad near ,selene are the ,three ,fates1 as ,visconti and many of his successors have supposed1 their place would more naturally be in the central part of the composition1 or at least they might be supposed to be more on the alert with respect to what was passing4 ,by others it has been argued that the place of this triad in immediate succession to ,selene1 and the direction in which the figure nearest to the angle 7,m7 is turned1 would point to some mythic connection between these three figures and the ,goddess of the ,moon4 ,such a connection is suggested by the names given to the group by ,welcker1 who saw in them the three daughters of ,cecrops1 ,aglauros1 ,herse1 and ,pandrosos1 mythic impersonations of the ,dew1 who have a conspicuous place in ,attic legend1 though ,pandrosos alone of the three seems to have been honoured with worship at ,athens4 ,the same desire to connect this triad with ,selene has led ,brunn 7,ber4 d4 k4 bayer4 ,akad4 ,phil4 hist4 ,cl41 #ahgd1 ii41 p4 #af7 to see in them personifications of clouds4 ,among the writers who have regarded ,k as separate from ,l and ,m1 the most common opinion has been that ,k is ,hestia2 ,l and ,m have been called ,aphrodite in the lap of ,thalassa 7,ronchaud71 or of ,peitho 7,petersen71 or ,thalassa1 the ,sea1 in the lap of ,gaia1 the ,earth 7,waldstein74 ,k4 ,mus4 ,marbles1 ,,vi41 pl4 #aj2 ,michaelis1 pl4 #f1 fig4 #ae2 ,murray1 ,,ii41 pl4 #g2 ,mitchell1 ,selections1 pl4 #f2 ,stereoscopic1 ,no4 #ajh4 ,l4 ,m4 ,mus4 ,marbles1 ,,vi41 pl4 #aa2 ,baumeister1 ,denkmaeler1 p4 #aahd1 fig4 #acgd2 ,michaelis1 pl4 #f1 fig4 #af2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #cjh1 fig4 #fc2 ,murray1 ,,ii41 pl4 #g2 ,stereoscopic1 ,no4 #ajh2 ,waldstein1 ,essays1 pl4 #h2 ,mitchell1 ,selections1 pl4 #f4 ,sidenote3 #cjc ,n4 ,selene4--,it has been already stated that the horse's head in the right-hand angle of the pediment belongs to the ,goddess of the ,moon1 who is represented by the torso cast in plaster 7,n7 which stands next to it4 ,the original of this torso1 now at ,athens1 was discovered in #ahdj on the east side of the ,parthenon4 ,the arms and head are wanting1 the body is cut off below the waist1 as only the upper part of the figure was shown on the pediment4 ,the dress is a sleeveless chiton girt at the waist and fastened on each shoulder4 ,the bosom is crossed diagonally by two bands which pass round to the back4 ,two large dowel holes in the girdle and two others on the shoulders mark where metallic ornaments have been attached4 ,on the back is a remnant of drapery extending from shoulder to shoulder2 this is probably part of a peplos1 the ends of which may have fallen over the arms4 ,it has usually been assumed that ,selene was driving a chariot1 and this has been conclusively proved by ,sauer1 who found the heads of two horses still in position on the pediment1 and indications of a fourth head now lost4 ,a theory recently suggested that ,selene rides a single horse is thereby rendered untenable4 ,michaelis1 pl4 #f1 figs4 #ag1 #ag;a2 cf4 ,wolters1 pp4 #bef1 #bei2 ,c4 ,smith1 ,journ4 of ,hellen4 ,studies1 ,,ix41 p4 #h2 ,stereoscopic1 ,no4 #aji2 ,sauer1 ,athenische ,mittheilungen1 ,,xvi41 pl4 #c1 p4 #hd4 ,sidenote3 #cjc ,o4 ,horse's ,head4--,the head was so placed in the pediment that the muzzle projected over the cornice2 in order to adjust it securely in this position1 a portion of the lower jaw was cut away4 ,the inner side of the top of the head has also been cut away1 in order to give room for the upper member of the pediment4 ,this head presents1 as might have been expected1 a marked contrast in motive to the pair in the opposite angle4 ,the heads of the horses of ,helios are thrown up with fiery impatience as they spring from the waves2 the downward inclination of the head here described indicates that the car of ,selene is about to vanish below the horizon4 ,in the whole range of ancient art there is1 perhaps1 no work in marble in which the sculptor has shown such complete mastery over his material4 ,the nostrils drink the air2 the fiery expression of the eye1 the bold1 sharply defined outlines of the bony structure so skilfully opposed to the sensitive flexibility of the nose1 and the brawny tenseness of the arched neck1 are so combined in this noble work that the praise bestowed on it by ,goethe is not extravagant4 ,this work1 he says1 whether created by the imagination of the artist or seen by him in nature1 seems the revelation of a prototype2 it combines real truth with the highest poetical conception4 ,behind the ears is a dowel hole2 another is on the nose between the eyes and the mouth1 and a third on the inner corner of the mouth4 ,these show where a metal bridle was attached4 ,on the crest of the hogged mane are eleven smaller holes1 in which some metallic ornament must have been inserted4 ,two horses' heads still remain in the angle of the pediment4 ,see above1 #cjc ,n4 ,mus4 ,marbles1 ,,vi41 pl4 #ab2 ,michaelis1 pl4 #f1 figs4 #ah1 #ah;a2 ,murray1 ,,ii41 pl4 #f2 ,stereoscopic1 ,no4 #aji4 ,,western ,,pediment ,,of ,,the ,,parthenon4 ,sidenote3 #cjd4 ,the subject of the western pediment of the ,parthenon according to ,pausanias 7i41 #bd1 #e7 was the strife of ,poseidon with ,athene for the soil of ,attica4 ,this contest1 according to tradition1 took place on the ,acropolis itself4 ,athene1 on this occasion1 showed her power by making the soil produce the olive-tree2 ,poseidon1 striking the ground with his trident1 produced a salt spring1 or1 according to another and later version1 a horse4 ,the victory in the contest was adjudged to ,athene4 ,the spot where this double miracle took place was marked in subsequent times by the joint temple of ,erechtheus and ,athene ,polias2 within the precincts of which were the sacred olive-tree produced by ,athene1 and the salt spring of ,poseidon4 ,in the time of ,carrey1 the composition in this pediment was nearly perfect1 and to understand the torsos which remain1 reference should be made to ,carrey's drawing 7,plate v41 fig4 #b71 or to the large model of the ,parthenon4 ,a few of the early writers on the ,parthenon 7,spon1 ,woods1 ,leake1 ,weber7 mistook the western pediment for that which contained the representation of the birth of ,athene4 ,if we omit the archaeologists who were under this misapprehension1 we find that1 while there is much difference of opinion as to the identification of the single figures in the western pediment as drawn by ,carrey1 it is generally admitted that the space bounded by the reclining figures in the angles represents the ,acropolis between the two rivers of ,athens1 and that the figures to the left of ,athene are ,attic deities or heroes1 who would sympathise actively with her in the contest which is the subject of the pediment1 while those to the right of ,poseidon are the subordinate marine deities who would naturally be present as the supporters of the ,ruler of the sea4 ,the most interesting dissentient theory is that of ,brunn 7,ber4 d4 k4 bayer4 ,akad4 ,phil4 hist4 ,cl41 #ahgd1 ii41 p4 #bc74 ,by an ingenious but inconclusive series of arguments he has endeavoured to show that the west pediment contains a personified representation of the whole coast of ,attica1 from the borders of ,megaris to ,cape ,sunium4 ,the great destruction of the western pediment since it was seen by ,carrey may have been partly due to the explosion during the siege1 but was chiefly the work of the ,venetian ,general ,morosini4 ,after taking the ,acropolis he tried to lower the horses of the car of ,athene1 but the tackle he used broke1 and this matchless group fell to the ground4 ,if the fragments had been then collected and put together1 much of this beautiful design might have been saved1 but they remained on the spot where they fell till after the establishment of the ,greek kingdom at ,athens 7#ahcc71 when such of them as were extant were gathered up and placed in a magazine on the ,acropolis4 ,they were subsequently moulded1 and casts of them are now exhibited in the ,elgin ,room4 ,between the time of ,morosini and the middle of the last century1 when ,dalton drew the western pediment1 the work of destruction had been carried much further4 ,in the right wing of the composition the figures ,n1 ,o1 ,q1 ,s1 ,t1 and in the left wing only four figures1 ,a1 ,b1 ,c1 and ,f787 are shown in position on the pediment in ,dalton's ,plate4 ,in the intervening middle space1 two torsos are lying on the floor of the pediment4 ,one of these is probably the ,poseidon2 the other may be the figure marked ,h4 ,on the ground below the pediment lies the body of a draped figure1 perhaps ,athene1 and a fragment which may belong to the ,poseidon4 ,all that remained in position in the western pediment when ,lord ,elgin's agents came to ,athens were the figures ,b and ,c in the north angle1 and in the south angle the lower part of the reclining female figure ,w4 ,the figures are still in position1 and the west end of the ,parthenon was therefore not touched by ,lord ,elgin4 ,the ,river-god ,a and the torsos ,h1 ,l1 ,m1 ,o were found under the north-west angle of the pediment1 after taking down a ,turkish house built against the columns4 ,the lower part of a female figure ,q may also have been found on this spot4 ,after the ,acropolis passed into the possession of the ,greek government1 the ground round the ,parthenon was partly cleared of its ruins1 and this led to the discovery1 in #ahce1 of the crouching male figure ,v and of many fragments1 among which are remains of the horses lowered by ,morosini4 ,the sculptures removed by ,lord ,elgin are exhibited in combination with casts of the remains now at ,athens4 ,the description that follows begins from the left or northern angle of the pediment4 ,sidenote3 #cjd ,a4 ,ilissos or ,kephissos4--,this figure1 reclining in the angle of the pediment1 is universally admitted to be a ,river-god1 7cf4 the description by ,pausanias 7v41 #aj1 #g7 of the pediment of the temple of ,zeus at ,olympia74 ,the figure is popularly known as the ,ilissos1 but it may represent the ,athenian ,kephissos4 ,according to ,brunn's topographical scheme1 it is a less familiar ,kephissos1 near ,eleusis4 ,this figure appears not to have suffered much since ,carrey drew it4 ,it was still in the pediment in ,stuart's time1 but had been thrown down at the date of ,lord ,elgin's mission4 ,the body1 half reclined1 rests on the left arm1 over which is the end of an himation1 which falls behind the back in undulating lines1 and is drawn up to the right knee4 ,as the head and most of the right arm are wanting1 their action must be a matter of conjecture2 the general motion of the figure seems to indicate the moment of sudden transition from repose to action1 and would be consistent with the supposition that the head was turned towards the central group1 watching the momentous issue of the contest1 and that the ,river-god was in the act of rising4 ,in that case his right hand may have been drawing forward the end of his himation over his right knee4 ,this figure has been long and deservedly celebrated for the perfection of its anatomy4 ,in the front of the body1 the flexibility of the abdominal muscles is finely contrasted with the strong framework of the ribs4 ,the supple elastic character of the skin is here rendered with the same mastery as in the horse's head of the eastern pediment4 ,at the back some of the surface has retained its original polish4 ,in the undulating lines of the drapery1 the sculptor has succeeded in suggesting the idea of flowing water without having recourse to direct or conventional imitation4 ,the ground on which the figure reclines is a rock4 ,the left hand rested on the bed of the pediment4 ,a drawing by ,pars taken during his visit to ,athens in #agfe-ff 7engraved ,stuart1 ii41 chap4 ,i41 pl4 #i71 shows part of the right forearm not shown in ,carrey's drawing1 and the outline of the four fingers of the left hand overlapping the edge of the pediment4 ,a small attribute1 probably of marble1 was attached to the floor of the pediment in front of the figure4 ,mus4 ,marbles1 ,,vi41 pls4 #ac1 #ad2 ,mansell1 #gjj2 ,baumeister1 ,denkmaeler1 p4 #aaha1 fig4 #acga2 ,michaelis1 pl4 #h1 fig4 #a2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #caj1 fig4 #fd2 ,murray1 ,,ii41 pl4 #h2 ,mitchell1 ,selections1 pl4 #d2 ,waldstein1 ,essays1 pl4 #c2 ,stereoscopic1 ,no4 #aaj2 ,sauer1 ,athenische ,mittheilungen1 ,,xvi41 p4 #gi4 ,sidenote3 #cjd ,a994 ,between ,a and the two next figures 7,b1 ,c7 a space is shown in ,dalton's drawing sufficient for a crouching figure1 though no vestige of such a figure is indicated by ,carrey4 ,traces also remain on the floor of the pediment 7,sauer1 ,athenische ,mittheilungen1 xvi41 p4 #gh74 ,this gap may have been filled by a crouching ,water ,nymph1 associated with the ,river-god4 ,brunn suggests a tributary of the ,eleusinian ,kephissos4 ,sidenote3 #cjd ,b1 ,c4 ,cecrops and ,pandrosos 7cast74--,this group still remains in the pediment at ,athens1 though much injured by exposure to the weather4 ,it consists of a male figure1 whose left thigh receives the main weight of his body1 which leans a little to the right1 resting on his left hand4 ,with him is grouped a female figure1 who has thrown herself in haste on both knees1 with one arm round the neck of her companion4 ,her action expresses surprise at the event occurring in the centre of the pediment1 towards which she has looked back4 ,she wears a long chiton1 and over it a diploidion which falls below the girdle1 and which has slipped from the left shoulder1 leaving the left breast and side exposed4 ,her left arm1 now entirely wanting1 was broken off a little below the shoulder at the date of ,carrey's drawing4 ,the male figure has a mantle cast over his lower limbs4 ,his right arm1 which was broken off below the elbow in the time of ,stuart1 is now reduced to a stump4 ,the right leg and knee and part of the right thigh have also been lost since the time of ,stuart4 ,it appears from the statements of travellers 7cf4 ,michaelis1 p4 #aid7 that these figures lost their heads in the years #ahjb and #ahjc4 ,the careful drawing of the group made by ,pars1 and preserved in the ,british ,museum 7,stuart1 ii41 chap4 ,i41 pl4 #i2 ,michaelis1 pl4 #h1 fig4 #b71 shows that the heads of both figures were turned towards the central group1 the head of the female figure being1 moreover1 slightly inclined over the left shoulder4 ,in this drawing the right arm of the male figure is bent at a right angle1 the upper part being nearly horizontal4 ,on the ground between the pair is a convex mass1 which has been recognised to be part of the coil of a large serpent4 ,the remainder of this serpent may be seen at the back of the group1 passing under the left hand of the male figure4 ,in front of this hand the body of the serpent terminates in a joint with a rectangular sinking1 into which a fragment from the ,elgin ,collection has been fitted4 7,mus4 ,marbles1 vi41 pl4 #h1 fig4 #b47 ,this group has received various names4 ,spon and ,wheler took it to represent ,hadrian and ,sabina1 and their opinion was repeated by ,payne ,knight4 ,the group has also been called ,heracles and ,hebe2 ,hephaestos and ,aphrodite4 ,the association of the serpent with the male figure has led ,michaelis 7p4 #aic7 to recognise in him ,asclepios1 in which case the female figure would naturally be ,hygieia1 who is constantly associated with the father of the healing art1 and who was worshipped1 conjointly with ,asclepios1 in a shrine at the southern foot of the ,athenian ,acropolis4 ,the bearded head1 too1 of the male figure1 as drawn by ,pars1 would well accord with the type of ,asclepios4 ,on the other hand1 the serpent in connection with that deity is usually coiled round his staff1 not winding along the ground1 as on the pediment4 ,the whole composition of this serpent in relation to the kneeling male figure rather suggests the type of the earth-born ,cecrops1 as has been maintained by a considerable number of archaeologists4 ,if we adopt this attribution1 then the female figure so intimately associated with the bearded figure in this group would be one of the daughters of ,cecrops1 perhaps ,pandrosos4 ,for the topographical interpretations of ,boetticher 7,marathon and ,salamis7 and of ,brunn 7,kithaeron and ,parnes7 there is no evidence4 ,michaelis1 pl4 #h1 fig4 #b2 ,murray1 ,,ii41 pl4 #i2 ,stereoscopic1 ,no4 #aaa4 ,a remarkably accurate copy of this group was recently discovered at ,eleusis1 and is now in the ,national ,museum at ,athens4 ,in the copy the coils of the serpent are omitted 7,greek3 ,ephemeris1 #ahij1 pl4 #ab74 ,sidenote3 #cjd ,d1 ,e1 ,f4 ,if ,b and ,c are ,cecrops and one of his daughters1 the two female figures 7,d1 ,f71 who in ,carrey's drawing follow next1 might be his other two daughters4 ,the boy 7,e7 between them would be1 in that case1 not the infant ,iakchos between ,demeter 7,d7 and ,kore 7,f71 as several writers have supposed1 but the young ,erysichthon1 son of ,cecrops4 ,according to ,brunn's scheme these three figures personify ,lycabettos1 between ,pentelicon and ,hymettos4 ,of the three figures ,d1 ,e1 ,f1 only one fragment1 now at ,athens1 has been identified1 representing the left knee of a seated figure1 with the right hand of a boy resting on it1 and thus corresponding with ,carrey's drawing of the seated figure on whose knee the boy ,erysichthon rests his right hand4 ,a cast of this fragment is exhibited in a ,wall-,case 7,no4 #cci1 #h74 ,a fragment1 now at ,athens with the drapery on the right side of a figure seated on a rock1 has been conjecturally assigned by ,michaelis 7pl4 #h1 fig4 #e7 to figure ,d or ,u4 ,a cast is exhibited1 ,no4 #cci1 #g4 ,in ,dalton's drawing a draped female torso1 broken off at the knees1 is placed next to ,c1 which ,michaelis 7p4 #aia71 conjectures to be the remains of ,f4 ,dalton has represented this figure with the chiton slipped down from the right shoulder so as to show the right breast and side4 ,but the drawing by ,pars shows next to ,c a part of a figure which accords more with ,d as drawn by ,carrey4 ,this fragment consists of a right arm bent at a right angle and advanced1 and a line of drapery falling down the right side below the armpit4 ,there is no reason to doubt that the figure to which the arm belonged was in position on the pediment when ,pars drew it1 and1 if so1 ,dalton's drawing must be wholly inaccurate in respect to this figure4 7,see ,michaelis1 pl4 #h1 fig4 #b47 ,sidenote3 #cjd ,g4 ,next in order in ,carrey's drawing is the seated female figure 7,g71 who acts as charioteer to ,athene1 and who has been generally recognised as ,nike4 ,the only fragment which can be attributed with any probability to this figure is the head1 obtained from ,venice by ,count de ,laborde 7,no4 #cci1 #a74 ,a cast is exhibited in the ,elgin ,room4 ,sidenote3 #cjd ,h4 ,hermes 7874--,in the background1 between the figure ,g and the horses1 ,carrey gives a male figure 7,h71 who looks back at the charioteer1 while he moves forward in the same direction as the horses4 ,the figure drawn by ,carrey has been generally recognised in the torso in the ,museum which has lost the head and lower limbs since ,carrey's time1 and is probably the same torso which ,dalton represents lying on the bed of the pediment4 ,this figure has been called ,erechtheus1 ,erichthonios1 ,ares1 ,cecrops1 ,theseus1 ,pan1 or ,hermes4 ,he is evidently aiding the charioteer in the management of the horses2 an office very appropriate to ,hermes1 whose general character as a guide is expressed by such epithets as ,greek3 pompaios1 and who on other monuments is represented conducting a chariot4 ,the drapery which hangs at the back of the torso evidently represents a chlamys1 which must have been fastened in front just above the left clavicle1 where a hole is pierced to receive a metallic fastening4 ,there is another hole between the collar-bones4 ,the right arm was probably advanced nearly in a horizontal direction2 the left arm may have had the elbow a little drawn back2 and a portion of the chlamys evidently passed round this arm1 and was probably twisted round it1 a fashion of drapery characteristic of ,hermes4 ,among the fragments of the ,parthenon at ,athens is a small piece of the left shoulder of this figure1 a cast of which has been adjusted to the marble in the ,museum4 ,the remains of the left thigh show that the left leg was advanced as in ,carrey's drawing4 ,the fragments described below1 ,nos4 #cci1 #i1 and #cci1 #aj1 may belong to this figure4 ,a fragment of plinth1 with two feet1 sometimes assigned to it1 is described below1 ,no4 #cbi4 ,mus4 ,marbles1 ,,vi41 pl4 #ae2 ,michaelis1 pl4 #h1 fig4 #c4 ,sidenote3 #cjd ,l1 ,m4 ,athene and ,poseidon4--,the ,athene of which ,l is the remnant is drawn by ,carrey moving rapidly to the left2 her right arm1 broken off above the elbow1 is advanced horizontally in the same direction4 ,her left arm is broken off below the shoulder2 she wears a long chiton1 over which is a diploidion1 reaching to the hips1 and falling in a fold over the girdle4 ,the aegis1 folded like a narrow band1 passes obliquely across the bosom between the breasts1 and has extended from the right shoulder round the left side1 and probably across the back4 ,it is scalloped on its lower edge1 and at the points holes are pierced for the attachment of serpents of metal4 ,in the centre of the aegis is another hole1 in which a circular object six inches in diameter1 doubtless a ,gorgoneion1 has been fixed4 ,carrey's drawing shows the base of the neck1 which was broken off before the time of ,lord ,elgin4 ,it has been recognised among the fragments on the ,acropolis1 and a cast of it is now adjusted to the marble4 ,it is evident from this that the head of the goddess was turned towards her antagonist4 ,mus4 ,marbles1 ,,vi41 pl4 #af2 ,michaelis1 pl4 #h1 fig4 #ac4 ,sidenote3 #cjd ,m4 ,the torso of ,poseidon is made up of three parts4 ,the fragment with the shoulders and upper part of the chest was removed by ,lord ,elgin2 the fragment containing the remainder of the breast and the abdomen nearly to the navel has been since discovered1 and the original is at ,athens4 ,since this torso was engraved in the work of ,michaelis 7pl4 #h1 fig4 #af71 a small piece has been added to the lower part of the abdomen4 ,it appears from ,carrey's drawing that ,poseidon was starting back in a direction contrary to that of ,athene1 with the weight of his body thrown on the left knee1 which is bent4 ,carrey's drawing shows the same portion of the right upper arm1 which is preserved4 ,it is raised with the shoulder and may have been extended in a nearly horizontal direction4 ,the head in ,carrey's drawing is slightly inclined over the right shoulder4 ,at the back the upper part of the shoulders is roughly cut away2 the chiselling does not appear to be ancient1 but may have been done after the figure had fallen from the pediment4 ,the upper part of this torso is remarkable for the grandeur of the lines4 ,mus4 ,marbles1 ,,vi41 pl4 #ag2 ,lower part1 ,michaelis1 pl4 #h1 fig4 #af2 ,laborde1 ,le ,parthenon4 ,the two parts are combined1 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #cab1 fig4 #fe2 ,stereoscopic1 ,no4 #aja4 ,though we know from ,pausanias that the strife between ,athene and ,poseidon for the soil of ,attica was the subject of the western pediment1 the exact action represented by the central group cannot be determined4 ,most writers suppose that the combatants have produced their respective tokens1 and that the strife is just decided4 ,among the fragments found on the ,acropolis were three which are certainly parts of an olive-tree 7,michaelis1 pl4 #h1 fig4 #ae74 ,the scale of these fragments1 casts of which are exhibited 7see below1 ,nos4 #cci1 #ae-ag71 would be suitable for a tree placed in the centre of the pediment between the two contending deities4 ,if these fragments belong to the ,parthenon 7of which there is no positive proof71 it seems natural to suppose that ,athene is represented as having produced her olive1 which stood in the centre of the pediment1 and was fixed in a rectangular socket1 well adapted to support it 7,sauer1 ,athenische ,mittheilungen1 xvi41 pl4 #c1 p4 #gb74 ,in this case the two gods are seen starting asunder1 but looking inwards1 after the decisive moment4 ,the salt spring produced by the trident of ,poseidon may also have had a place in the composition1 though no trace of it is to be found either among the fragments or in ,carrey's drawing4 ,the chief divergent theory is that of ,stephani1 who published a vase-painting representing the contest 7,compte ,rendu1 #ahgb1 pl4 #a1 p4 #e2 ,journ4 of ,hellenic ,studies1 iii41 p4 #bde74 ,in that design ,poseidon and ,athene form an antagonistic group1 which in composition presents some resemblance with the central group in the pediment4 ,the olive-tree is placed between them1 and ,poseidon controls1 with his left hand1 the upspringing horse4 ,stephani argues from the vase-painting that ,pheidias made ,poseidon produce the horse--a variant tradition1 of which there are traces in late literature--that ,poseidon was represented striking the ground with his trident and ,athene striking it with her lance to produce the tokens1 which are shown1 by anticipation1 in the pediment itself4 ,it is more likely that on the vase the tokens have been produced and ,poseidon attacks1 while ,athene defends the olive4 ,but neither in the protagonists nor in the rest of the design on the vase is there that close correspondence in type and action which would justify the conclusion that the vase-painter copied directly any portion of the pedimental composition4 ,on the other hand1 considerable portions of the bodies of three horses in addition to those represented by casts in the ,british ,museum 7,no4 #cda7 have been discovered in the excavations on the ,acropolis 7,sauer1 ,athenische ,mittheilungen1 xvi41 pl4 #c1 p4 #gc71 and there can be little doubt that the figure known as ,amphitrite 7,o7 acted as the charioteer of ,poseidon1 and drove a pair of horses which corresponded closely to the team of ,athene1 and completed the symmetry of the composition4 ,inasmuch therefore as each deity has a similar pair of horses1 it is impossible to regard those of ,poseidon as his distinctive token in the combat4 ,if we assume that this second pair of horses was attached to the chariot of ,poseidon1 room may be found for a representation of the salt spring either between the left leg of the ,sea-god and the forelegs of his chariot horses1 or beneath the horses4 ,for the vase picture already referred to1 see also de ,witte1 in the ,monuments ,grecs de l',association pour l'encouragement des etudes ,grecques1 ,no4 #d1 #ahge2 ,brunn1 ,sitzungsber4 d4 k4 bayer4 ,akad4 ,phil4-hist4 ,cl41 #ahgf1 p4 #dgg2 and ,petersen1 ,arch4 ,zeit41 #ahge1 p4 #aae4 ,for more recent discussions on the subject of the dispute between ,athene and ,poseidon1 see ,robert in ,hermes1 ,,xvi41 p4 #fj1 and in ,athenische ,mittheilungen1 ,,vii41 p4 #dh2 ,petersen in ,hermes1 ,,xvii41 p4 #abd2 ,e4 ,a4 ,gardner1 in ,journ4 of ,hellen4 ,studies1 ,,iii41 p4 #bdd2 ,wolters1 p4 #bei4 ,sidenote3 #cjd ,n4 ,this figure1 which may have been a ,nereid1 has been entirely lost since the time of ,dalton1 unless we identify it with the supposed ,victory of the east pediment4 7,see ,no4 #cjc ,j47 ,sidenote3 #cjd ,o4 ,amphitrite4--,in ,carrey's drawing this torso appears as a seated figure1 the right foot on a higher level than the left1 the left arm drawn back as if holding the reins2 between the feet appears the head either of a dolphin or a marine monster4 ,the head1 left hand1 and apparently the right arm of ,amphitrite are wanting4 ,according to ,dalton's imperfect drawing1 the figure had in his time lost the left forearm and left leg4 ,the torso at present wants the head1 right arm from the shoulder1 left arm from below the shoulder1 and all the lower limbs except the upper part of the left thigh4 ,the body is clad in a long chiton without sleeves2 an upper fold falls over the bosom as low as the waist1 passing under a broad girdle such as would be suitable for charioteers4 ,a small mantle passes obliquely across the back1 one end passing over the left shoulder and under the left arm2 the other had passed over the right shoulder4 ,the places where metallic ornaments were attached on this figure are marked by five holes pierced in the marble1 one of which is on the base of the neck1 one on the right shoulder at the fastening of the chiton1 and three on the left shoulder4 ,on the inside of the left thigh are folds of fine drapery2 the surface of the outside still shows that the chiton had been open at the side1 schistos1 as in ,carrey's drawing4 ,it should be noted that this figure was not seated1 as ,carrey has drawn it1 but must have been standing with the body thrown back and the arms extended in front1 like the charioteer 7,no4 #cc7 in the north frieze4 ,mus4 ,marbles1 ,,vi41 pl4 #ah2 ,michaelis4 pl4 #h1 figs4 #ah1 #ah;a4 ,sidenote3 #cjd ,p1 ,q4 ,leucothea1 with boy 7874--,lower limbs of a seated female figure1 which in ,carrey's drawing appears on the right of the ,amphitrite1 and which then had its head4 ,the head of the female figure looks out of the pediment2 the feet are placed very close together4 ,in ,dalton's drawing this figure is still in position1 but headless4 ,in its present state1 nothing remains of this figure but the lap and legs to the ankles4 ,on the right of the figure1 the body of a youth 7,p7 appears in ,carrey's drawing4 ,the beginning of the right thigh1 with the lower part of the buttock1 is still preserved2 of the left thigh1 the outline as far as the knee is preserved on the marble4 ,three fingers of his right hand may still be traced on the right knee of the female figure 7,q71 where they rest on an end of drapery1 probably his himation1 which reappears1 wound round his left thigh4 ,these remains show that the body of this boy faced the right side of the female figure1 pressing against her4 ,if we assume that she is a marine goddess1 the name ,leucothea seems the best attribution1 and the youth at her side would then be ,palaemon4 ,a mantle is thrown over the thighs1 falling down between the knees over the chiton4 ,the folds are deeply undercut1 as if to express the gentle agitation of the drapery by the movement of a light breeze4 ,in ,brunn's topographical scheme1 ,p ,q are the coast of ,attica from ,munychia to the ,piraeus4 ,mus4 ,marbles1 ,,vi41 pl4 #ai2 ,michaelis1 pl4 #h1 fig4 #ai4 ,sidenote3 #cjd ,r4 ,a figure of a child appears in ,carrey's drawing on the right of the figure ,q4 ,it is doubtful whether it should be associated most nearly with ,q or with the figure next on the right 7,s74 ,on the former supposition1 the figure called above ,leucothea has been interpreted as ,leto with ,apollo and ,artemis2 as ,leda with the ,dioscuri2 or as ,fostering ,earth1 ,greek3 ,ge ,kourotrophos1 with children4 ,on the latter supposition ,r has generally been called ,eros associated with ,aphrodite 7,s74 ,sidenote3 #cjd ,s1 ,t4 ,next in ,carrey's drawing comes a draped female figure 7,t71 seated1 in whose lap is a naked figure 7,s71 supposed by ,carrey to be female4 ,this is generally supposed to be ,thalassa1 the ,sea2 the almost entire nudity of the figure in her lap 7,s7 makes it probable that ,aphrodite is here represented2 her position in the lap of ,thalassa would be a way of expressing her sea-born origin4 ,according to ,brunn1 ,t is a personification of ,cape ,colias1 and the figure of ,aphrodite indicates a shrine of that ,goddess which stood on the cape4 ,if1 as seems probable1 the naked female figure is ,aphrodite1 the boy 7,r7 is probably ,eros4 ,both the female figures were still in the pediment when ,dalton drew it4 ,the marble fragment 7,t71 representing the right thigh of a draped female figure seated on a rock1 is probably the only extant remnant of ,thalassa4 ,a mantle has been brought round the lower limbs of this figure1 so that one edge of it falls on the rock on which she is seated4 ,this disposition of the drapery is indicated in ,carrey's drawing4 7,michaelis1 pl4 #h1 fig4 #bj47 ,sidenote3 #cjd ,u4 ,next in ,carrey's drawing comes a female figure 7,u71 seated and draped4 ,this had fallen out of the pediment when ,dalton drew it1 and no fragment of it can now be identified4 ,it had lost the head and arms in ,carrey's time4 ,the figure presents no distinctive characteristic by which she may be identified4 ,she is probably a marine deity4 ,brunn interprets her as a personification of ,cape ,zoster4 ,sidenote3 #cjd ,v1 ,w4 ,ilissos or ,kephissos and ,callirrhoe 7874--7,casts7 ,the draped female figure 7,w7 reclining in the extreme angle of the pediment appears in ,carrey's drawing leaning on her right elbow1 and with her head turned towards the male figure 7,v7 who kneels on both knees1 inclining his body towards his companion1 and leaning on his left arm4 ,the manner in which these figures are here associated suggests an intimate relation between the two2 the female figure has all the characteristics of a local ,nymph1 and the flow of her drapery would well accord with an aquatic type4 ,it seems probable1 therefore1 that the celebrated ,athenian fountain ,callirrhoe may be personified by this figure1 and in that case the male figure next to her 7,v71 though not in the reclining attitude usually characteristic of ,river-gods1 may be the ,ilissos1 out of whose bed the fountain ,callirrhoe rises4 ,brunn holds that ,v is a personification of the ,attic coast1 ,paralia4 ,this1 however1 appears1 from a recently-discovered inscription1 to be represented as female 7,athenische ,mittheilungen1 xiii41 p4 #bba72 ,w according to the same archaeologist is a personification of the ,myrtoan ,sea4 ,dalton's drawing shows no indication of either of these figures1 though the lower half of the ,callirrhoe is to this day in position on the pediment4 ,the torso of the male figure had been broken1 and was found in two places in the excavations on the ,acropolis in #ahcc4 ,the head1 arms1 and left leg have disappeared since ,carrey's time4 ,the right leg is doubled up under the figure2 the left knee must have been somewhat higher4 ,this figure is nude with the exception of a chlamys which falls down the back and passes in front over the right ankle4 ,for a fragment which may belong to the left hand1 see ,no4 #cci1 #bj4 ,this agrees with the statement of ,sauer 7,athenische ,mittheilungen1 #ahia1 p4 #ha71 that the figure leant with open hand on the ground4 ,the female figure 7,w7 is reclining on her right side2 the right knee has been more bent than the left4 ,the upper part of the body seems1 from the direction of the folds of the drapery1 to have been slightly raised1 and to have rested on the right elbow1 as represented in ,carrey's drawing4 ,the dress is a long chiton1 over which falls a diploidion nearly to the waist4 ,all that remains of the figure are the right side from below the arm to a little below the right hip1 and parts of both legs wanting the knees4 ,according to ,carrey the left arm of this figure was raised so that the hand projected beyond the cornice4 ,between the figures ,v and ,w a hole is pierced in the bed of the pediment1 in which some bronze object was inserted4 ,figure ,v41 ,laborde1 ,le ,parthenon2 ,michaelis1 pl4 #h1 fig4 #ba2 ,figure ,w41 ,michaelis1 pl4 #h1 fig4 #bb4 ,,metopes ,,of ,,the ,,parthenon4 ,the metopes of the ,parthenon are sculptured blocks which were inserted in the spaces1 met7opae1 left between the ends of the beams of the roof4 ,these ends were represented by slabs1 called triglyphs1 from the three parallel vertical bands cut in them4 ,reference to the model of the ,parthenon will show the relative position of the metopes and triglyphs4 ,the ,parthenon had originally ninety-two metopes1 thirty-two of which were on each of the long sides1 and fourteen at each end4 ,many of these are now only preserved in the drawings by ,carrey1 having been destroyed in the great explosion4 ,unfortunately1 however1 ,carrey was only able to sketch the metopes of the south side4 ,forty-one metopes still remain on the temple1 but are for the most part so decayed through time and weather that there is great difficulty in making out their subject4 ,the ,british ,museum possesses fifteen original metopes brought from ,athens by ,lord ,elgin4 ,his contemporary1 ,choiseul-,gouffier1 while ambassador at ,constantinople1 obtained one more 7,no4 #cac71 which is now in the ,louvre4 ,these sixteen metopes are all from the south side of the ,parthenon1 and their subjects were taken from the contest between the ,centaurs and ,lapiths at the marriage-feast of ,peirithooes4 ,the first metope on the south side of the ,parthenon1 reckoning from the south-west angle1 is still in position on the temple 7,michaelis1 pl4 #c1 #a72 the second on the temple is the first of the series of fifteen in the ,museum4 ,the sculpture of the metopes is in the highest relief attainable in marble1 large portions of some of the figures being carved in the round so as to stand out quite free of the background4 ,there is a remarkable inequality of style in the sculpture4 ,thus1 for example1 ,nos4 #cai1 #cbj show traces of archaic feeling1 and while ,no4 #cji appears to be the work of an indifferent artist1 ,nos4 #caj1 #caf1 #cag are admirable4 ,sidenote3 #cje4 ,the ,lapith kneels on the back of the ,centaur1 clasping his head with his left arm1 and pressing the fingers of his left hand against his windpipe4 ,the ,centaur has been thrown on his right knee2 his head is forced back1 his mouth wide open as if uttering a cry of agony4 ,his left hand vainly endeavours to dislodge the grasp on his throat1 the right hand appears behind the right shoulder of the ,lapith4 ,when drawn by ,carrey1 the head and right foot of the ,lapith and the right foreleg of the ,centaur still remained4 ,the head of ,lapith may be ,no4 #cdc1 #f4 ,mus4 ,marbles1 ,,vii41 pl4 #a2 ,baumeister1 ,denkmaeler1 p4 #aage1 fig4 #acfd2 ,michaelis1 pl4 #c1 ii42 ,stereoscopic1 ,no4 #hj1 ,a4 ,sidenote3 #cjf4 ,the ,lapith attacks the ,centaur from behind1 resting his right knee on his crupper1 and extending forward his right arm to seize the neck of his foe4 ,the ,centaur1 standing to the left1 turns his human body half round to meet his adversary4 ,a skin is wound about his left arm by way of shield4 ,an ample chlamys hangs from the shoulders of the ,lapith1 and he wears boots4 ,his left arm was drawn back to strike4 ,a hole near the pit between the collar-bones and another on the lowest left rib show where a sword-belt has been attached4 ,two similar holes are to be seen on the body of the ,centaur4 ,these may have served for the attachment of a bronze weapon held in the right hand4 ,the head of the ,centaur still existed when ,carrey drew this metope1 but had disappeared before the time of ,stuart4 ,mus4 ,marbles1 ,,vii41 pl4 #b2 ,michaelis1 pl4 #c1 iii42 ,stereoscopic1 ,no4 #ha4 ,sidenote3 #cjg4 ,the ,centaur is victorious2 with both hands raised above his head1 he is about to hurl on his prostrate foe a large hydria4 ,his equine body is rearing against the ,lapith1 who vainly endeavours to defend himself with his uplifted buckler1 while the ,centaur strikes at him with his fore feet4 ,the right forearm of the ,lapith1 now wanting1 has rested on the ground4 ,a fragment of his right foot still remaining on the base of the metope below the left hind leg of the ,centaur shows that this leg was extended nearly at full length1 as it is drawn by ,carrey4 ,the heads of both these figures and the right arm of the ,centaur are cast from the originals in the museum at ,copenhagen1 which were sent from ,athens in #afhh by a ,captain ,hartmand1 who probably served under ,count ,koenigsmark in ,morosini's army4 ,round the head of the ,lapith is a sinking into which a metallic band or wreath has been fitted4 ,on the ground under the body of the ,lapith are some folds of his chlamys1 a fragment of which may be traced on his left arm4 ,michaelis adds to the ,centaur's left hind-leg a hoof and lower part of leg1 the original of which is in the museum at ,copenhagen2 but he expresses a doubt whether this fragment does not belong to the right hind-leg4 ,when ,carrey drew the metope1 it was nearly perfect4 ,on the upper margin of the marble still remains the bead and reel moulding which once ornamented all the metopes1 but of which there are few traces elsewhere4 ,mus4 ,marbles1 ,,vii41 pl4 #g2 ,stereoscopic1 ,no4 #hb4 ,for the two heads1 see ,broendsted1 ,voyages et ,recherches1 p4 #aga2 ,mus4 ,marbles1 ,,vii41 pl4 #ag2 ,michaelis1 pl4 #c1 iv4 ,sidenote3 #cjh4 ,illustration3 ,fig4 #i4--,metopes #cjh1 #cji1 from ,carrey4 ,when ,carrey saw this metope1 the figure of the ,lapith1 now wanting1 was still extant1 and we must therefore supply the motive of the group by reference to his drawing 7fig4 #i74 ,in the original composition1 the ,centaur1 rearing up against his antagonist1 grasps the ,lapith's right thigh between his forelegs1 extending his left arm towards him1 probably to seize the hair of his head4 ,the ,lapith with extended right arm is trying to keep the ,centaur at arm's length1 while he struggles to escape2 his left arm must have been raised4 ,the right arm of the ,centaur must have been drawn back to strike4 ,all that now remains of the ,lapith is a portion of the right wrist attached to the ,centaur near his throat4 ,a skin1 fastened round the ,centaur's neck1 flies behind his back1 falling over his left upper arm4 ,mus4 ,marbles1 ,,vii41 pl4 #e2 ,michaelis1 pl4 #c1 v42 ,stereoscopic1 ,no4 #hc4 ,sidenote3 #cji4 ,in this metope1 as drawn by ,carrey 7fig4 #i71 the right arm of the ,lapith is raised with the forearm bent2 the right hand1 which probably held a sword1 was already broken off in ,carrey's time4 ,his drawing gives the head and part of the right upper arm of the ,centaur1 and the left leg and half the right leg of the ,lapith1 but not his head4 ,the ,centaur1 while pressing his left hand on the left shoulder of the ,lapith1 draws back a little from the blow with which he is menaced4 ,the action of both figures is rather tame1 and the victory undecided4 ,an ample chlamys is shown falling at the back of the ,lapith4 ,part of the right hind leg of the ,centaur has been added in plaster from the marble fragment now at ,athens4 ,mus4 ,marbles1 ,,vii41 pl4 #ae2 ,michaelis1 pl4 #c1 vi42 ,stereoscopic1 ,no4 #hd4 ,sidenote3 #caj4 ,the ,lapith presses forward1 advancing his left hand to seize the rearing ,centaur by the throat1 and forcing him on his haunches2 the right arm of the ,lapith is drawn back1 as if about to strike2 his right hand1 now wanting1 probably held a sword3 a mantle fastened on the right shoulder falls over the left arm like a shield1 and flies back behind4 ,the ,centaur1 rearing up against his antagonist1 tries in vain to pull away the left hand of the ,lapith1 which1 in ,carrey's drawing1 he grasps4 ,the head of the ,centaur is a cast from the original at ,athens4 ,from the shoulders of the ,centaur hangs a small chlamys2 the folds fly behind1 and show the violence and swiftness of the action4 ,the head of the ,lapith is a cast from the original1 which is now in the ,louvre4 ,carrey's drawing gives the missing parts of the legs of this group4 ,this is1 perhaps1 the finest of all the metopes in the ,museum4 ,the action is most spirited1 and the modelling very thorough and masterly4 ,mus4 ,marbles1 ,,vii41 pl4 #c2 ,michaelis1 pl4 #c1 vii42 ,stereoscopic1 ,no4 #he2 ,waldstein1 in ,journ4 of ,hellen4 ,studies1 ,,iii41 pl4 #bc1 p4 #bbh2 ,essays1 pls4 #a1 #b1 p4 #ig4 ,sidenote3 #caa4 ,the ,lapith is kneeling on his right knee4 ,the ,centaur1 the human portion of whose body is broken away1 presses down his antagonist4 ,from ,carrey's drawing1 taken when this metope was nearly complete1 we learn what the action was4 ,he represents the ,centaur bending over the kneeling ,lapith1 and raising his right hand to strike a deadly blow at his antagonist1 who looks up with his head thrown back1 and stretches out his left arm towards the breast of the ,centaur4 ,a chlamys hangs down from the left arm of the ,lapith4 ,his right arm1 which was lost in the time of ,carrey1 must have been raised4 ,the right hind foot of the ,centaur rests on a rock4 ,mus4 ,marbles1 ,,vii41 pl4 #f2 ,michaelis1 pl4 #c1 viii42 ,stereoscopic1 ,no4 #hf4 ,sidenote3 #cab4 ,the ,centaur has again the advantage4 ,the ,lapith is thrown down over a large wine vessel1 pithos2 the ,centaur has grasped his left leg with his left hand1 rolling him back on the jar4 ,the ,lapith seizes his antagonist by the beard with his left hand1 while his right arm1 now broken off1 has been vainly extended behind him1 seeking some support4 ,the right thigh of this figure1 the head and part of the right arm of the ,centaur are casts from three fragments at ,athens4 ,carrey's drawing gives the left arm and side of the ,centaur1 as well as his head4 ,the head and right arm and hand of the ,lapith are also shown in his drawing1 but not the portion of right thigh which has recently been added4 ,the wine vessel in this metope1 and the hydria in ,no4 #cjg1 indicate the wedding feast of ,peirithooes as the scene of the contest4 ,mus4 ,marbles1 ,,vii41 pl4 #d2 ,michaelis1 pl4 #c1 ix42 ,stereoscopic1 ,no4 #hg4 ,sidenote3 #cac4 ,this metope is a cast from the one removed by ,choiseul-,gouffier when ,french ambassador at the ,porte1 about the year #aghg1 and now in the ,louvre4 ,the group represents a ,centaur carrying off a ,lapith wife or maiden4 ,the ,centaur is rearing up2 he grasps the woman between his forelegs4 ,his left hand presses against her left side1 and it appears from ,carrey's drawing of this metope that his right hand grasped her right wrist4 ,with her left hand she is vainly endeavouring to loosen his grasp round her waist1 and to readjust her disordered drapery4 ,she wears a chiton with diploidion fastened on the right shoulder with a brooch4 ,in the struggle the chiton has fallen from the left shoulder4 ,on her right foot is a sandal with a thick sole2 her left foot is broken off above the ankle4 ,carrey's drawing gives this foot resting on a rock1 also other parts of the group which are now wanting4 ,mus4 ,marbles1 ,,vii41 pl4 #af2 ,michaelis1 pl4 #c1 x42 ,stereoscopic1 ,no4 #hh4 ,the next metope in order on the ,parthenon is now only preserved in ,carrey's drawing1 which represents a ,lapith armed with a shield1 who seems to be stabbing the ,centaur in the belly4 ,the ,centaur grasps the edge of the shield with his left hand4 ,a fragment of this shield with the left arm of the ,lapith inside and the fingers of the ,centaur on the rim exists at ,athens2 cf4 ,no4 #cdc1 #a4 ,michaelis1 pl4 #c1 xi4 ,sidenote3 #cad4 ,this metope is cast from the original in the ,acropolis ,museum at ,athens4 ,it represents a ,centaur seizing a ,lapith wife or maiden4 ,carrey's drawing gives the head1 left foreleg from the knee1 and left hindleg of the ,centaur1 and the right arm of the female figure1 all which parts are now wanting4 ,the group presents a somewhat involved and complicated composition4 ,the ,centaur grasps the female figure's left arm with his left hand2 his right arm1 not shown1 we must suppose to be passing round the back of her waist4 ,while the left foreleg of the ,centaur is firmly planted on the ground1 his right foreleg clasps the left leg of the female figure1 pressing at the back of her knee1 so as to throw her off her balance4 ,her dress1 a chiton with a diploidion1 is disordered in the struggle4 ,the action of her right hand1 as drawn by ,carrey1 indicates that she is attempting to readjust the upper part of her chiton4 ,her right leg from the knee to the ankle is supplied by a cast from a fragment at ,athens2 the foot is cast from another fragment1 of which the original1 ,no4 #cdb1 #a1 exhibited in a ,wall ,case1 probably belonged to the ,elgin ,collection4 ,the action of this leg is awkward and ungainly4 ,michaelis1 pl4 #c1 xii42 ,stereoscopic1 ,no4 #if;,a4 ,next follow in ,carrey's drawings thirteen metopes 7,michaelis1 xiii4-xxv47 of which we have only a few fragments4 ,of these the first eight 7xiii4-xx47 represent subjects of which the import is unknown1 and in which draped female figures predominate4 ,nos4 xxii4-xxv4 represent combats between ,centaurs and ,lapiths or ,lapith women4 ,if we suppose that ,no4 xxi41 which represents two women standing by an archaic statue as if for sanctuary1 belongs to the ,centaur series1 then twelve metopes at each end of the south side1 namely1 i4-xii41 xxi4-xxxiii4 are devoted to this subject1 while the eight central metopes are an independent series4 ,fragments have been recognised as belonging to the thirteen metopes which have been destroyed since the time of ,carrey4 ,they are more fully described below4 ,metope ,,xiii 7874 ,breast4 ,see ,no4 #cdb1 #e4 ,,xiv4 ,male torso4 ,see ,no4 #cdb1 #b4 ,,xv 7874 ,arm4 ,see ,no4 #cdb1 #f4 ,,xvi4 ,male head and torso4 ,see ,no4 #cdb1 #c4 ,,xvii4 ,male torso4 ,see ,no4 #cdc1 #b4 ,fragment of lyre787 ,see ,no4 #cdc1 #c4 ,,xix4 ,arm and drapery4 ,see ,no4 #cdb1 #g4 ,,xx4 ,hand with roll4 ,see ,no4 #cdc1 #d4 ,draped thigh4 ,see ,no4 #cdb1 #d4 ,,xxiv4 ,torso of ,lapith4 ,see ,no4 #cdc1 #e4 ,sidenote3 #cae4 ,this metope1 the #bfth in the original series1 is from the eastern half of the south side of the temple4 ,it represents a contest between a ,centaur and ,lapith4 ,the ,centaur1 rearing1 has raised his arms above his head1 in order to strike his antagonist with some weapon1 perhaps a branch of a tree4 ,his antagonist thrusts the toes of his left foot against the equine chest of the ,centaur between his forelegs1 and1 pressing his left hand against his adversary's right elbow1 is trying to force him back on his haunches4 ,his right arm1 now wanting1 has been drawn back to deal a blow2 its position is marked by a projection on the ground of the relief4 ,a chlamys hangs down at his back4 ,from the want of apparent support for the right foot of the ,lapith1 the action of this figure appears weak and undecided4 ,on the left upper arm are two holes for the attachment of some object1 perhaps an end of drapery hanging free in front of the arm4 ,another hole on the flank of the equine portion of the ,centaur1 between the ribs and haunch1 shows where the end of a skin1 hanging down from the back1 may have been attached4 ,parts of the right hind leg appear to have been attached by metal rivets4 ,carrey's drawing shows that this metope has suffered little since his time4 ,mus4 ,marbles1 ,,vii41 pl4 #h2 ,michaelis1 pl4 #c1 xxvi42 ,stereoscopic1 ,no4 #hi4 ,sidenote3 #caf4 ,in this metope1 the #bgth in the original series1 the ,centaur1 wounded in the back1 attempts to fly1 but is checked by the ,lapith1 whose left hand grasps him round the left side of the head1 while his left leg presses against his hind-quarters4 ,the right arm of the ,lapith is drawn back to deal a blow1 perhaps with a lance4 ,the ,centaur1 rearing up in agony1 presses his right hand against the wound in his back2 his left arm1 now wanting1 must have been raised1 as appears from ,carrey's drawing1 in which a small piece of the upper arm is given4 ,the left foot of the ,lapith presses firmly against a rock4 ,a mantle falls over both arms1 hanging in festoons behind his back4 ,carrey's drawing gives both the head1 and right leg1 and part of the right forearm of the ,lapith4 ,in composition and execution this is one of the finest of the extant metopes4 ,mus4 ,marbles1 ,,vii41 pl4 #i2 ,baumeister1 ,denkmaeler1 p4 #aagf1 fig4 #acfe2 ,michaelis1 pl4 #c1 xxvii42 ,stereoscopic1 ,no4 #ij4 ,sidenote3 #cag4 ,in this metope1 the #bhth in the original series1 the ,centaur is victorious2 the ,lapith lies dead under his feet4 ,brandishing the lion's skin on his extended left arm with a triumphant gesture1 and lashing his tail1 the ,centaur rushes forward to meet a new foe1 with the ends of the lion's skin flying behind him4 ,his right arm1 now wanting1 must have wielded the weapon with which he has slain the ,lapith4 ,the ,lapith lies on his chlamys1 his head thrown back1 his right leg bent up1 his right hand lying over his right flank1 his whole form relaxed by death4 ,carrey's drawing gives the head1 left foreleg1 and greater part of the right arm of the ,centaur1 but wholly misinterprets the figure of the ,lapith4 ,for dramatic power in the conception and truth in the modelling of the forms1 this metope is unrivalled4 ,mus4 ,marbles1 ,,vii41 pl4 #aj2 ,baumeister1 ,denkmaeler1 p4 #aagg1 fig4 #acff2 ,michaelis1 pl4 #c1 xxviii42 ,stereoscopic1 ,no4 #ia4 ,sidenote3 #cah4 ,in this metope1 the #bith of the original series1 the ,centaur is carrying off a ,lapith woman4 ,clasping her firmly round the waist with his left hand1 he has raised her from the ground4 ,we see from ,carrey's drawing that his right hand1 now wanting1 grasped her right arm above the elbow1 so as to make her efforts to escape of no avail2 with her left hand she vainly endeavours to loosen his hold round her waist4 ,the disorder of her drapery shows the violence of the struggle4 ,her chiton has slipped from its attachment on the left shoulder1 leaving her left breast exposed4 ,over her left arm is the end of a mantle1 which1 passing round her back1 and twisted over her right arm1 floats unconfined behind the ,centaur4 ,his head has the pointed ears which are characteristic of the semi-bestial type1 but which do not occur on the other heads of ,centaurs in these metopes4 ,carrey's drawing gives the head of the female figure1 and the right arm and tail of the ,centaur4 ,there are traces of the bead and reel moulding on the margin of this metope4 ,the drapery is beautifully wrought1 but the design in its present condition seems rather tame4 ,mus4 ,marbles1 ,,vii41 pl4 #aa2 ,michaelis1 pl4 #d1 xxix42 ,stereoscopic1 ,no4 #ib4 ,sidenote3 #cai4 ,this metope1 the #cjth in the series1 much resembles ,no4 #caa1 both in composition and in style4 ,the ,lapith has fallen with his left leg bent under him2 his left arm rests on a stone1 which he grasps in his left hand4 ,his right hand1 which is disarmed1 presses feebly against the left side of the ,centaur1 who with his left hand seizes the hair of his antagonist1 and presses his left forefoot on his right thigh1 drawing back his right arm to deal a blow4 ,the countenance of the ,lapith expresses bodily pain1 as if he had just been half stunned by a blow on the head4 ,his bent knee does not yet touch the ground1 but the action of the ,centaur deprives him of all chance of recovering his erect position4 ,a lion's skin floats in the air at the back of the ,centaur4 ,a chlamys hangs from the right arm of the ,lapith1 and passes behind his back4 ,the treatment of both the heads is a little austere1 but the bodies are well modelled1 and the composition is finely conceived4 ,there are on this metope some remains of the bead and reel moulding on the upper margin4 ,mus4 ,marbles1 ,,vii41 pl4 #ab2 ,michaelis1 pl4 #d1 xxx42 ,stereoscopic1 ,no4 #ic4 ,sidenote3 #cbj4 ,in this metope1 the #cast of the original series1 the ,centaur seems to have the advantage4 ,the ,lapith has1 with his right hand1 seized him by the hair1 pressing his right knee on the ,centaur's breast2 his left arm is drawn back1 and has been slightly bent at the elbow4 ,the ,centaur1 rearing up1 grasps his antagonist by the throat1 twisting his forelegs round the ,lapith's right leg1 so as to paralyse its action4 ,the position of the ,centaur is obviously much the stronger1 and the bent left knee of the ,lapith indicates that he is tottering4 ,we do not know what weapon he held in his hand4 ,the composition in this metope is very good4 ,in the faces there is the same austere character as in ,no4 #cai4 ,this metope seems in the same state as when drawn by ,carrey4 ,mus4 ,marbles1 ,,vii41 pl4 #ac2 ,baumeister1 ,denkmaeler1 p4 #aagh1 fig4 #acfg2 ,michaelis1 pl4 #d1 xxxi42 ,stereoscopic1 ,no4 #id4 ,sidenote3 #cba4 ,in this metope1 the #cbnd of the original series1 the ,centaur has seized the ,lapith by the back of his head with his left hand1 of which a fragment is still visible4 ,his right arm has been drawn back to deal a blow1 probably with a spear4 ,the left foreleg passes round the loins of the ,lapith1 while the other foreleg has been locked round his right thigh4 ,his adversary1 firmly planted on the ground with his right leg advanced1 has drawn back his left arm to prepare a blow1 probably with a sword4 ,the action of his right shoulder shows that he has seized the ,centaur by the hair with his right hand4 ,a drawing by ,feodor1 one of the artists employed by ,lord ,elgin at ,athens1 shows that the left arm and left leg of the ,lapith1 now wanting1 were then perfect1 and that he may have worn a bronze helmet up to the date when the drawing was made4 ,the direction of the missing portions of the left arm and leg is indicated by projections on the ground of the relief4 ,the right arm was wanting from the elbow4 ,in ,carrey's drawing1 all the right arm of the ,centaur is given2 but his legs were mutilated4 ,mus4 ,marbles1 ,,vii41 pl4 #ad2 ,michaelis1 pl4 #d1 xxxii42 ,stereoscopic1 ,no4 #ie4 ,of the thirty-two metopes which originally adorned the north side of the ,parthenon1 only twelve 7i4-iii4 and xxiv4-xxxii4 of ,michaelis1 pl4 #d7 remain in their original position1 and three of these 7ii41 xxvi41 xxx47 are so defaced that their subjects cannot be made out4 ,in the explosion of #afhg1 twenty metopes 7iv4-xxiii47 were destroyed1 all but a few fragments4 ,the subjects of the metopes which have perished may have been the combats of ,centaurs and ,lapiths4 ,michaelis supposes xxiv41 xxv4 to represent a scene from the taking of ,troy4 ,sidenote3 #cbb4 ,the only metope from the north side1 of which a cast is exhibited in the ,british ,museum1 is the last of the series1 at the north-west angle of the temple4 ,it represents a draped female figure seated on a rock1 towards whom advances from the left another draped female figure1 extending forward her left hand muffled in drapery4 ,both figures wear talaric chitons1 over which fall diploidia and mantles4 ,the figure advancing wears sandals4 ,the folds of the drapery are very rich and abundant4 ,there is a careful drawing of this metope by ,feodor in the ,british ,museum1 taken when it was in a considerably better state4 ,michaelis1 pl4 #d1 xxxii42 ,stereoscopic1 ,no4 #if4 ,on the western front of the ,parthenon all the fourteen metopes1 except vi4 and vii41 remain in position on the temple1 but their surface has been so much injured1 that their subjects cannot be made out4 ,the best preserved of these metopes appear to represent a battle of ,greeks against ,amazons4 ,sidenote3 #cbc4 ,this is a cast from the first of the metopes of the west side1 and represents a figure mounted on a horse1 moving to the right1 with the right hand drawn back as if aiming a spear1 and having a chlamys flying behind4 ,if the metopes on this front represented an ,amazonomachia1 this figure may be an ,amazon4 ,the surface is much damaged4 ,a drawing by ,pars in the ,british ,museum makes this a male figure4 ,michaelis1 pl4 #e1 ,west side1 i42 ,stereoscopic1 ,no4 #hj4 ,the corresponding metopes on the east side of the ,parthenon remain on the building1 but have all suffered great injury4 ,they appear to have represented scenes from the war of the gods and giants4 ,michaelis1 pl4 #e1 ,east side1 i4-xiv4 ,,the ,,frieze ,,of ,,the ,,parthenon4 ,the ,frieze of the ,parthenon is a continuous band of sculpture in low relief1 which encircled and crowned the central chamber or cella of the temple1 together with the smaller porticoes that immediately adjoined each end of it4 ,the frieze is nearly #c ft4 #d in4 high4 ,the height of the relief is somewhat greater at the top than at the bottom4 ,at the top the height of the relief may be as much as #b-a_/d inches1 with an average height of about #a-a_/b inch4 ,at the bottom it varies between low relief and about #a-a_/d inch4 ,the whole surface of the relief is thus slightly tilted over towards the spectator1 in order to compensate as far as possible for the disadvantageous conditions under which the frieze had to be viewed4 ,the length of each end of the ,parthenon frieze was #fi ft4 #f in42 the length of each long side was #aia ft4 #aa in4 ,the length of the entire frieze was therefore #ebb ft4 #aj in4 ,the frieze1 which was nearly complete in the time of ,carrey1 suffered greatly in the explosion1 particularly about the middle of the two long sides4 ,unfortunately1 however1 ,carrey only made drawings of the west end2 the east end1 except its central slab which had been taken down2 about #gd feet in the middle of the south side2 and about #gh ft4 #f in4 at the east end of the north side4 ,stuart and ,pars drew a considerable amount of the frieze1 but not much of what has since been entirely lost4 ,the following table shows approximately the state of the whole frieze4 ---------------------------------------- --------------------------- ,east4 ,south4 ,west4 ,north4 ,total4 ft4 in4 ft4 in4 ft4 in4ft4 in4ft4 in4 ---------------------------------------- --------------------------- ,originals in the ,british ,museum #dc #j #ajh #f-a_/b #g #b #hb #f #bda #b-a_/b ,casts in the ,british ,museum #ba #b #cc #i-a_/b #fb #d #ed #h #aga #aa-a_/b ,preserved only in the drawings of ,carrey #c #d #bg #f #bj #g #ea #e ,preserved only in the drawings of ,stuart #j #f #b #i #c #c ,drawn by ,carrey and ,stuart but not otherwise #b #j #e #g #g #g preserved ---------------------------------------- -- ,total existing or recorded #fi #f #agj #d #fi #f #aff #a #dge #e ,lost without a record #ba #g #be #aj #dg #e ---------------------------------------- -- ,grand ,total #fi #f #aia #aa #fi #f #aia #aa #ebb #aj ---------------------------------------- --------------------------- ,the subject of the frieze of the ,parthenon has been considered1 by most of the writers who have discussed it1 to be connected with the ,panathenaic procession at ,athens4 ,those who have held a different view have been the early travellers1 such as ,cyriac of ,ancona1 who described the subject of the frieze as ',athenian victories in the time of ,pericles1' and a few recent authors4 ,davidson 7,the ,parthenon ,frieze7 sees in the frieze a representation of a ,panhellenic assembly1 which ,pericles tried to collect at ,athens without success4 ,weber and ,boetticher held that the scene represented is the preparation and rehearsal1 rather than the procession itself4 ,c4 ,petersen thought that different festivals are represented on different sides99 7cf4 ,michaelis1 p4 #bje74 993 ,the frieze of the ,parthenon records in sculpture the passionate delight with which ,greeks1 and more particularly ,athenians 7cf4 ,hel4 ,aeth41 ,,iii4 #a71 regarded festal processions4 ,a vivid commentary on the ,parthenon frieze is to be found in the third book 7chaps1 i4-iii47 of the ,aethiopica of the novelist ,heliodorus4 ,the passage adds the sound1 colour1 and movement needed for a complete conception of the scene4 ,the writer1 however1 is describing the procession of a ,thessalian embassy at ,delphi1 and some of the details only partially agree with those of the frieze4 ,the ,hecatomb led the procession1 escorted by men initiated in the mysteries4 ,these were somewhat rustic in dress and manner1 and had their white tunics closely girded4 ,the right shoulder and breast were bare1 and they carried an axe in the right hand4 ,the bulls were followed by a crowd of other victims1 each kind being led separately and in order4 ,meanwhile flute and pipe were playing a melody which was1 as it were1 an introduction to the sacrifice4 ,the cattle and their escort were followed by maidens with flowing hair4 ,they were in two troops2 the first carried baskets of fruits and flowers1 the second troop carried flat baskets 7,greek3 kana kanephorousai7 with sweetmeats and incense1 and filled the place with sweet smells4 ,they bore their burdens on their heads leaving their hands free1 and kept their ranks true both from front to rear and from side to side1 that they might march and dance while the first troop gave the time1 singing a hymn in honour of ,thetis4 ,the troops were so harmonious and the sound of marching was so accurately timed to the song1 that hearing seemed better than seeing1 and the spectators followed the maidens as they passed as if they were drawn by the melody4 ,but at length the appearance of the youthful cavalry and of its leader proved that a noble sight was better than any music4 ,there were fifty ephebi1 in two troops of five-and-twenty1 acting as body-guard of the leader of the embassy4 ,their boots were laced with purple thongs1 and tied above the ankle4 ,their cloaks were white with dark blue borders1 and were fastened on their breasts with golden brooches4 ,the horses were all ,thessalian1 and breathed the freedom of their native plains4 ,they tried to spue out their bits and covered them with foam1 as if rebellious1 yet submitted to the will of the riders4 ,it seemed as if there had been a rivalry among the masters in adorning their horses with frontlets and phalerae1 silver or gilded4 ,but1 as a flash of lightning makes all else seem dark1 so1 when the captain1 ,theagenes 7the hero of the novel71 appeared1 all eyes were turned to him4 ,he also was mounted1 and wore armour1 and brandished an ashen spear1 tipped with bronze4 ,he had not put on his helmet1 but rode bareheaded4 ,he wore a purple cloak1 embroidered in gold with a fight of ,centaurs and ,lapiths2 on his brooch was an amber figure of ,athene1 wearing the ,gorgon's head on her breastplate4 ,a gentle breeze gave him further grace1 spreading his hair about his neck1 and parting the locks on his forehead1 and blowing the ends of his cloak about the back and flanks of his horse4 ,and the horse itself seemed conscious of the exceeding beauty of its master1 as it arched its neck1 and pricked up its ears1 and frowned its brows1 and advanced proudly1 giving ready obedience to the rein1 balancing on alternate shoulders1 lightly striking the tips of its hoofs on the ground1 and attuning its pace to a gentle motion4 ,interesting passages of ,xenophon describe horses that prance as they ought in processions1 and also lay down the duty of the leaders of a procession of horsemen 7,xen4 ,hipp4 #aa and ,hipparch4 #c74 ,before examining how far the frieze represents the ,panathenaic procession in detail1 it may be well to state what facts respecting the festival have been handed down to us by ancient authors4 ,its origin was ascribed in antiquity to pre-historic times4 ,its mythic founder was ,erichthonios1 the son of ,hephaestos and foster-son of ,athene herself2 and the festival is said to have been renewed by ,theseus when he united all the ,attic demes into one city4 ,the goddess in whose honour it was celebrated was ,athene ,polias1 the tutelary deity of the ,athenian ,acropolis1 where she was supposed to dwell in the ,old ,temple1 and where her worship was associated with that of ,erechtheus1 who dwelt under the same roof4 ,a solemn sacrifice1 equestrian and gymnastic contests1 and the ,pyrrhic dance1 were all included in the ceremonial2 but its principal feature was the offering of a new robe1 peplos1 to the ,goddess on her birthday4 ,the peplos of ,athene was a woven mantle renewed every four years4 ,on the ground1 which is described as dark violet and also as saffron-coloured1 was interwoven the battle of the ,gods and the ,giants1 in which ,zeus and ,athene were represented4 ,it was used to drape the rude wooden image of ,athene4 ,the festival was originally an annual one1 but after a time it was celebrated once every four years with more splendour and solemnity4 ,the institution of this greater ,panathenaia is attributed to ,peisistratos4 ,from his time 7,b4,c4 #efj-ebg7 dates the distinction between the ,greater and the ,lesser ,panathenaia4 ,the sons of ,peisistratos added a contest of rhapsodes reciting the ,homeric poems4 ,the festival was further amplified by ,pericles1 who introduced a musical contest and himself acted as athlothetes or judge4 ,on the birthday of the ,goddess the procession which conveyed the peplos to her temple assembled in the outer ,cerameicos1 and passed through the lower city round the ,acropolis1 which it ascended through the ,propylaea4 ,during its passage through the city the peplos was displayed on the mast and yard of a ship1 which was drawn on rollers4 ,in the procession of ,rosalia at ,palermo1 a ship is employed for a similar purpose 7,brydone1 ,tour1 ,letter xxx474 ,in this solemn ceremony1 the whole body of ,athenian citizens were represented4 ,among those who are particularly mentioned as taking part in the procession were the noble ,athenian maidens1 ,canephori1 who bore baskets1 kanea1 with implements and offerings for the sacrifice2 the ,diphrophori1 who attended the ,canephori with stools 7diphroi72 the metoik or alien ,scaphephori1 whose function it was to carry certain trays1 skaphae1 containing cakes and other offerings2 the aged ,athenian citizens who bore olive branches1 and were hence called ,thallophori4 ,it has also recently been ascertained that the selected maidens who prepared the peplos 7the ,ergastinae1 and perhaps the ,arrhephori7 also took part in the ,panathenaic procession4 ,an ,attic decree of #ih ,b4,c4 records that these maidens had performed all their duties1 and had walked in the procession in the manner ordained with the utmost beauty and grace 7,greek3 pepompeukenai kata ta prostetagmena hos hoti kallista kai euschemonestata71 and had subscribed for a silver cup which they wished to dedicate to ,athene4 ,after this preamble the decree doubtless awarded certain public honours such as are enumerated in an inscription found by ,mr4 ,murray at ,petworth4 7,bull4 de ,corr4 ,hellenique1 xiii41 p4 #afi2 ,athenische ,mittheilungen1 viii41 p4 #eg47 ,at the ,greater ,panathenaia each town in which land had been assigned to ,athenian settlers contributed animals to the sacrifice1 perhaps a cow and two sheep4 ,the colonies also appear to have sent envoys who had charge of the victims4 ,chariots and horsemen took an important part in the procession4 ,on this occasion appeared certain quadrigae1 which were only used in procession1 and were hence called pompic chariots2 and an escort of ,athenian cavalry and heavy infantry completed the show4 ,the arrangements for the sacrifice were under the direction of the hieropoioi1 and the multitudinous procession was marshalled and kept in order by the demarchs1 the hipparchs1 and by the heralds of a particular gens1 the ,euneidae4 ,when1 with a knowledge of these facts1 we examine the composition of the frieze1 we may recognise in its design the main features of the actual procession4 ,in our description we begin with ,no4 #a1 on the left of the east side4 ,we first observe ,canephori and others leading the procession of which the main part is seen on the south side4 ,next are persons1 perhaps ,hieropoioi or magistrates receiving this procession4 ,in the centre of this side a solemn act 7commonly supposed to be the delivery of the peplos7 is being performed in the presence of an assembly of deities1 separated into two groups interjected among the heads of the procession who have arrived and stand waiting4 ,these deities are supposed to be invisible1 and doubtless in a picture they would have been placed in the background1 seated in a semicircle and looking inwards4 ,in the narrow space of a frieze a combined arrangement was necessary1 such as we see here4 ,next we see the persons receiving the procession on the north side1 and then at the head of that procession are ,canephori1 victims with their attendants1 ,scaphephori1 ,spondophori1 musicians1 pompic chariots and cavalry4 ,after going down the north side1 meeting the procession1 we pass along the west side1 where it is still in a state of preparation for departure4 ,we then pursue the other main stream along the south side of the ,temple passing the cavalry1 chariots and victims4 ,all through the frieze are magistrates and heralds marshalling the order of the procession4 ,it has been objected that many features which we know to have formed a part of the original ceremony1 as1 for instance1 the ship on which the peplos was borne1 are not found on the frieze2 but ,pheidias would only select for his composition such details from the actual procession as he considered suitable for representation in sculpture1 working1 as he here did1 under certain architectonic conditions4 ,,note4 ,the numbers of the slabs1 painted in ,roman figures on the lower moulding1 and placed in the right-hand margin of this catalogue1 agree throughout with the numbers of ,michaelis4 ,the numbers of the separate figures assigned to them here and painted in ,arabic numerals above the frieze1 do not agree with those of ,michaelis1 except in the case of the west side4 ,,east ,,frieze ,,of ,,the ,,parthenon4 ,sidenote3 #cbd4 ,rightnote3 ,i4 ,sidenote3 #a4 ,a man standing on the return face of slab xliv4 7,south ,frieze71 looks back as if to make a signal to the procession approaching along the south side1 and thus makes a connection between the south and east sides of the frieze4 ,rightnote3 ,,ii4 ,sidenote3 #b-e4 ,with slab ii4 the band of maidens leading the southern half of the procession begins4 ,when complete the slab contained five maidens1 each probably carrying a circular bowl1 with a boss in the centre 7,greek3 phiale omphalote72 portions now remain of four alone2 compare however ,no4 #cde1 #a4 ,they are draped in long chiton and mantle4 ,two casts of the slab are exhibited1 side by side1 in order to represent the missing portion4 ,rightnote3 ,,iii4 ,sidenote3 #f-aj4 ,five maidens carry each a wine jug1 supposed to be of gold or silver4 ,several such vessels occur in the ,treasure lists of the ,parthenon4 ,no4 #f wears a chiton with diploidion2 ,nos4 #g-aj have a chiton and mantle4 ,sidenote3 #aa-ad4 ,in front of these are four maidens1 walking in pairs4 ,nos4 #ab and #ad each carry in the right hand an object not unlike the stand of an ancient candelabrum1 which tapers upwards from its base4 ,this object is more distinctly shown on the marble between ,nos4 #aa and #ab1 than between ,nos4 #ac and #ad4 ,it is encircled by a double torus moulding at the top1 and above this moulding a hole is pierced in the marble1 as if there was here a ring for suspension or to serve as a handle4 ,it is probable that these are metallic objects of some kind1 which1 like the censer carried by ,no4 #ee on the opposite side of the eastern frieze1 were part of the sacred furniture used in the festival and usually kept in the ,treasury of ,athene4 ,michaelis suggests that they may be the stands1 krateutae1 in which turned the ends of the spits used in roasting the sacrifice4 ,this would explain the ring at the top4 ,sidenote3 #ae1 #af4 ,a pair of maidens with empty hands leads the procession4 ,nos4 #aa-af are all dressed alike1 in long chiton1 with diploidion1 together with a small mantle4 ,they also appear to have the hair similarly dressed4 ,it falls in a mass on the shoulders1 as in the ,caryatid of the ,erechtheion 7,no4 #djg74 ,sidenote3 #ag4 ,sidenote3 #ah4 ,in front of the procession is a man1 probably one of the marshals1 who seems to approach a group of five persons1 and to hold out his hand as if with a gesture of greeting to the nearest of the group4 ,this figure is turned towards the marshal1 and leans heavily on his staff which is seen below his knees4 ,the marble fragment with parts of the feet of ,nos4 #af and #ag was acquired from the collection of ,m4 ,steinhaeuser4 ,the lower part of ,no4 #ah is cast from a fragment at ,athens4 ,rightnote3 ,,iv4 ,sidenote3 #ai-bb4 ,on the left of the next slab are four men of the same character as ,no4 #ah4 ,they all wear himation and boots4 ,they converse in pairs and stand in easy attitudes1 leaning on their staffs4 ,there is a corresponding group of four male figures 7,nos4 #db-de7 on slab vi41 and ,michaelis supposes that the group of five figures 7,nos4 #ah-bb7 and the opposite group 7,nos4 #db-de7 of four figures represent the nine ,archons4 ,that they are functionaries of high rank can hardly be doubted1 when we consider their privileged place between the head of the procession on each side and the seated divinities1 but they might well be ,athlothetae1 who controlled all the arrangements 7,aristotle1 ,greek3 ,ath4 pol4 ed4 ,kenyon1 #fj74 ,sidenote3 #bc-dj4 ,the central portion of the eastern frieze now to be described has been the subject of much controversy4 ,nearly all the authorities who have written on this question agree in recognising the two groups of seated figures as deities4 ,this is indicated not only by the dignity of their appearance but also by their scale4 ,while the figures of the mortals are about #c ft4 #b in4 high1 those of the deities are about #d ft4 #d in4 high4 ,though by the principle known as ,isokephalism the heads in a relief are usually nearly on a level1 this marked difference of scale can hardly fail to indicate divine rank2 compare the frieze of the ,theseion 7,no4 #djd74 ,there is1 however1 a wide divergence of opinion as to the particular divinities here represented4 ,from the destruction of most of the faces and the absence of attributes or other indications by which the figures can be severally identified1 it is very difficult to judge between the rival schemes of interpretation which have been proposed4 ,in ,michaelis' ,parthenon1 pp4 #bfb1 #bfc1 a tabular view is given of these schemes 7cf4 ,guide to the ,elgin ,room1 ,i41 ,table ,c74 ,the attributions proposed by ,michaelis himself are for the most part adopted here1 with certain changes suggested by ,flasch in his memoir3 ,zum ,parthenonfries 7,wuerzburg1 #ahgg74 ,the interpretations proposed by those who hold that the seated figures are deities1 are of two kinds4 ,most writers have tried to identify some at least of the figures with personages who were worshipped near the ,acropolis1 or connected with the mythological history of ,athens4 ,by this system1 deities of lower rank such as the ,dioscuri1 or heroes like ,triptolemos are admitted1 on the frieze1 to the company of the ,olympian ,gods4 ,petersen and ,flasch1 on the other hand1 argue that the twelve ,olympian deities are represented in the two groups1 without regard to local considerations4 ,hestia alone is omitted1 who always stays in ,olympos to keep the hearth4 7,plato1 ,phaedr41 #bdg;a74 ,petersen substitutes ,peitho for ,hestia2 he also introduces ,dionysos 7#bd71 making ,no4 #ch ,apollo4 ,artemis is thus excluded from his scheme4 ,the arrangement of ,flasch is happier1 as ,hestia alone is excluded of the ,olympian divinities4 ,the attributions proposed by ,michaelis1 ,petersen1 and ,flasch are as follow1 where they differ between themselves3-- ,no4 ,michaelis4 ,petersen4 ,flasch4 #bd4 ,dionysos4 ,dionysos4 ,apollo4 #be4 ,demeter4 ,demeter4 ,artemis4 #bf4 ,triptolemos4 ,ares4 ,ares4 #bg4 ,nike4 ,nike8 ,iris4 #ch4 ,apollo ,patrooes4 ,apollo4 ,dionysos4 #ci4 ,peitho4 ,peitho4 ,demeter4 ,sidenote3 #bc4 ,sidenote3 #bd4 ,sidenote3 #be4 ,sidenote3 #bf4 ,the earlier writers saw the ,dioscuri1 ,castor and ,pollux in the two figures1 ,nos4 #bc1 #bd4 ,it is now generally agreed that the youthful elastic figure to the left is ,hermes1 of whom the high boots1 and the petasos spread on his knees are specially characteristic4 ,his right hand is pierced and has held a metallic object1 probably the herald's staff1 caduceus4 ,the drapery is a small chlamys fastened by a brooch1 but at present worn about the loins4 ,the more robust figure leaning on his shoulder 7,no4 #bd71 has his body turned in a direction contrary to that of ,hermes1 and the singular manner in which his lower limbs are so arranged as to clasp between them the knees of the seated goddess 7,no4 #be7 seems to indicate some intimate and special relation between them4 ,the goddess holds a torch1 the usual attribute of ,demeter1 and ,michaelis sees in the group 7,nos4 #bd-bf7 the triad of ,dionysos1 ,demeter1 and ,triptolemos4 ,flasch recognises ,apollo and ,artemis in ,nos4 #bd1 #be1 on the ground of their intimate relationship4 ,if we adopt this interpretation of this group1 it follows that the youthful figure 7,no4 #bf7 cannot be ,triptolemos4 ,we must rather look for an ,olympian deity in this figure1 and the suggestion that it represents ,ares1 which has found favour with several interpreters of this frieze1 seems liable only to one objection1 that the form appears too slight and youthful4 ,the somewhat negligent attitude is that of a person tired of sitting on a seat without a back1 and clasping his knee with his hands1 to relieve the spine of the weight of the head and shoulders4 ,flasch absurdly describes the attitude as that of a passionate character1 forcibly restraining himself4 ,rightnote3 ,v4 ,sidenote3 #bg-bi4 ,the bearded figure 7,no4 #bi7 on the left of the central group is distinguished from the rest by the form1 and ornaments of his chair1 which has a back and a side rail which is supported by a ,sphinx1 while all the other figures are seated on stools4 ,it has been generally admitted that this deity is ,zeus4 ,it is therefore reasonable to suppose that the goddess seated next to him 7,no4 #bh7 is his consort1 ,hera4 ,the type and action of this figure who raises her veil1 and looks towards ,zeus1 are very suitable to her4 ,the winged maidenly figure 7,no4 #bg7 standing behind ,hera must be either ,nike or ,iris1 and is probably ,iris1 whose station is close to ,hera1 while ,nike is usually more closely associated with ,zeus 7,murray1 ,class4 ,rev4 iii41 p4 #bhe74 ,the head of ,iris which was discovered in #ahhi in the excavations on the ,acropolis is admirably perfect4 ,the left hand raises a mass of the hair as if to coil it on the head 7,plate vi41 fig4 #a74 ,the slab to which the head belongs was removed from its original position at some early time1 probably at the conversion of the ,parthenon into a church1 when an apse was built at the eastern end4 ,in #afgb it stood on the ground 7cf4 ,michaelis1 pp4 #dg1 #beh71 and the faces seem to have suffered deliberate mutilation4 ,the exquisite preservation of the head of ,iris is explained if1 as is suggested1 it was broken off in the sixth century1 and immediately built into a ,byzantine wall 7,waldstein1 ,american ,journ4 of ,archaeology1 v4 pl4 #b1 p4 #a74 ,sidenote3 #cj-cd4 ,between the group of ,gods just described and the corresponding group on the right side of the centre1 we have a group of five figures4 ,we must suppose that these figures are in front of the two groups of ,gods who sit in a continuous semicircle4 7,murray1 ii4 pl4 #a47 ,illustration3 ,fig4 #aj4--,slave with seat4 ,no4 #cj is a maiden holding an uncertain object1 perhaps a casket in her left hand1 and supporting on her head a seat 7,greek3 diphros7 covered with a cushion1 not unlike the seats on which the ,gods are1 but smaller4 ,she has a small pad 7,greek3 tyle7 on her head to make the weight easier to bear4 ,the legs of the seat are now wanting1 but a rivet hole near the maiden's right elbow shows where one leg was attached4 ,the other may have been painted on the ground of the frieze4 ,the cut 7fig4 #aj71 showing one of the slaves of ,cepheus carrying a stool with a cushion1 is taken from a vase in the ,british ,museum1 ,no4 ,e4 #ahh4 ,no4 #ca is another maiden1 advancing slowly to the right1 bearing on her head a seat similar to that carried by ,no4 #cj4 ,the foremost leg of the seat still exists1 being of marble4 ,the position of the hinder leg is marked by a rivet hole4 ,on each of these stools is a circular object1 probably a thick cushion4 ,these two figures have been called ,arrhephori1 or ,ersephori1 on the assumption that they are carrying those mystic objects1 the nature of which it was forbidden to divulge2 but it is doubtful whether the ,arrhephori took part in the ,panathenaic festival4 ,there is evidence that the priestess of ,athene had two attendants1 of whom one was called ,greek3 kosmo 7,adorner71 and the other ,greek3 trapezophoros 7,table-bearer1 ,harpocration71 or ,greek3 trapezo 7,hesychius emended71 and it has been suggested that ,nos4 #cj1 #ca may have these titles1 and a corresponding ritual significance4 ,neither figure1 however1 carries a table4 7,miss ,harrison1 ,class4 ,rev4 iii41 p4 #cgh2 cf4 ibid41 p4 #dbc2 and ,waldstein1 ,journ4 of ,hellen4 ,studies1 xi41 p4 #adc74 ,the same names were proposed by ,c4 ,o4 ,mueller in #ahbj1 but merely on the supposition that two of the ,ersephori were thus styled4 7,mueller1 ,minervae ,poliadis ,sacra1 p4 #ae47 ,on the other hand1 ,diphrophori are mentioned by several ancient authors as being in attendance on the noble ,athenian maidens4 ,they were the daughters of aliens1 and perhaps inferior rank as well as youth is indicated by the scale on which they are represented4 ,no4 #ca is confronted by a large and matronly woman 7,no4 #cb71 who raises her right hand to the under side of the chair4 ,archaeologists have been uncertain whether the woman 7,no4 #cb7 has just placed the chairs on the heads of the maidens1 or is just about to remove them4 ,there can be little doubt1 however1 that ,no4 #ca1 if we consider the position of her feet1 has hardly ceased approaching to ,no4 #cb1 who is just raising her hands to lift down the chair 7cf4 ,flasch1 ,zum ,parthenonfries1 p4 #hc74 ,the left hand instinctively prevents the himation being displaced by the raising of the right arm4 ,an elderly bearded man 7,no4 #cc71 wearing a long chiton with short sleeves and shoes1 stands next to ,no4 #cb4 ,on his head are traces of metallic rust4 ,he therefore may have worn a metallic wreath1 for which the marble at the back of his head appears to have been hollowed4 ,he turns his back to ,no4 #cb1 and is engaged with a boy4 ,the two figures between them support a large piece of cloth1 folded once lengthwise1 and twice breadthwise4 ,in this case also archaeologists have been doubtful which is the giver and which is the receiver of the cloth2 but the action represented is not one either of giving or receiving4 ,from the peculiar way in which the boy grips an angle of the folded cloth between his elbow and his side1 while his hands are otherwise occupied1 the act of folding the cloth square seems to be represented4 ,the portion nearest to the spectator is being dropped down till its edges are parallel with those of the lower part1 so that the two parts should be exactly doubled4 ,the group of figures just described 7#cj-cd7 contains the centre of the composition1 and the interpretation of the frieze as a whole depends on the meaning we attach to this group4 ,leaving on one side the writers referred to on p4 #adg1 who hold that the frieze does not represent the ,panathenaic festival1 we find that a majority of writers describes ,no4 #cb as a ,priestess of ,athene1 giving the sacred vessels to the ,arrhephori or ,ersephori1 and ,no4 #cc as a priest or ,archon ,basileus receiving or giving the sacred peplos of ,athene4 ,this view of ,nos4 #cj-cb was necessarily abandoned1 when it had been perceived that the objects held by the maidens are chairs1 not baskets4 ,as regards ,nos4 #cc1 #cd1 the main arguments for interpreting the cloth as the peplos are1 that the accounts of the procession preserved in ancient authors show that the conveyance of the peplos of ,athene was the principal feature in it4 ,if we look to the place assigned to this group in the eastern frieze1 we find that these two figures 7,nos4 #cc1 #cd7 stand in the centre of the eastern front1 under the apex of the pediment1 and over the eastern door of the cella4 ,they therefore occupy the most conspicuous place in the frieze1 from the points of view alike of the sculptured ,gods and of the human spectator1 and accordingly may well be supposed to be busy with the chief ceremony of the festival4 ,this view is opposed by ,flasch4 ,he argues that if the delivery of the peplos is represented1 there is a violation of the unity of time1 as the act which was the main motive of the procession is being completed1 while the procession is still in progress1 and in part has not yet started4 ,flasch therefore holds that we have here the priest and priestess preparing for the sacrifice that is to take place on the arrival of the procession4 ,the priestess is receiving chairs for herself and for the priest from the ,diphrophori4 ,meanwhile the priest1 who now only wears a long chiton1 with short sleeves1 has taken off his himation1 and1 after folding it several times1 is seen giving it to an attendant to hold4 ,if1 however1 the action represented is merely that of folding1 and is not yet completed1 it is impossible to determine which is the giver and which the receiver4 ,nor would the difficulty be solved if this could be ascertained1 as we do not know what ceremonies were performed when the peplos arrived4 ,the surface of the cloth on the frieze is left quite plain2 but1 if it is the peplos1 some indication of the embroidered design may have been given in colour4 ,sidenote3 #ce4 ,we now reach the second group of deities1 seated to the right of the central scene4 ,the first figure is clearly that of ,athene4 ,she sits in a position corresponding to that of ,zeus1 and the ,goddess of ,athens is thus put in the same rank as the supreme ,god4 ,athene is dressed in a chiton with diploidion and has short hair4 ,an indistinct object about her left wrist has been supposed to be a snake from the fringe of the aegis of ,athene1 or by some writers to be the snake of ,hygieia4 ,but the object seems merely to be a bracelet in the form of a snake1 which is not uncommon1 and there is therefore no indication of an aegis4 ,four rivet holes in a straight line show that ,athene held some attribute1 probably a spear in her right hand4 ,sidenote3 #cf4 ,next to ,athene is an elderly bearded figure1 who turns his head towards her4 ,he has a knotted staff under his right arm1 and leans upon it heavily4 ,this figure is usually known as ,hephaestos4 ,it is supposed that his lameness may be indicated by the awkward pose of his right foot1 and by the staff on which he leans4 ,rightnote3 ,,vi4 ,sidenote3 #cg4 ,sidenote3 #ch4 ,this slab1 containing figures ,nos4 #cg-dg1 now in a very fragmentary condition1 was complete when drawn by ,carrey1 in #afgd4 ,a bearded male figure 7,no4 #cg7 with his left hand raised is probably ,poseidon4 ,the left hand1 according to ,flasch1 once held a trident4 ,the next figure 7,no4 #ch71 beardless and youthful1 and seated in an easy attitude1 has of late years gone by the names of ,apollo ,patrooes or ,dionysos4 ,the latter title seems best suited to the somewhat effeminate figure1 more fully draped than any other of the ,gods4 ,a series of holes round the head shows the position of a bronze wreath1 and one at the elbow shows that the left hand may have been supported by a thyrsos or sceptre4 ,sidenote3 #ci4 ,a matronly figure 7,no4 #ci7 is seated next to ,dionysos1 wearing a chiton1 which is slipping off from the left shoulder1 himation1 cap and sandals4 ,this figure is called ,peitho by ,michaelis and ,peterson1 on the ground that the worship of ,peitho was associated with that of ,aphrodite ,pandemos 7,no4 #dj7 on the south side of the ,acropolis4 ,flasch with more probability makes this goddess ,demeter1 arguing that ,peitho was not entitled to a place among the great ,gods of ,olympos1 while ,demeter is appropriately placed between ,dionysos and ,aphrodite4 ,flasch suggests that the right hand may have held an ear of corn4 ,a hole shows that the object in question was made of bronze4 ,sidenote3 #dj4 ,sidenote3 #da4 ,the next figure 7,no4 #dj7 most of which is only preserved in ,carrey's drawing 7,fig4 #aa71 is unmistakably shown to be ,aphrodite1 by the winged boy ,eros who stands at her knee4 ,aphrodite wears a chiton1 himation1 a cap1 and to judge from ,carrey's drawing a veil4 ,she rests her left hand on the shoulder of ,eros1 extending her forefinger1 as if pointing out some object in the procession to the boy4 ,eros 7,no4 #da7 carries a parasol which conveniently fills the space above his head and his wings4 ,illustration3 ,fig4 #aa4--;,east frieze of the ,parthenon1 ,nos4 #ci-da4 ,sidenote3 #db-de4 ,on the right of the gods is a group of four figures corresponding to the five 7,nos4 #ah-bb7 on the left4 ,one of these 7,no4 #dc7 is young and beardless2 the rest are elderly1 and all have staffs and himatia4 ,no4 #db wears sandals4 ,these four figures are leaning on their staffs1 and three of them are looking towards the advancing procession1 while the fourth 7,no4 #de7 turns his back to it and appears to be conversing with his companions4 ,sidenote3 #df4 ,sidenote3 #dg4 ,the next figure 7,no4 #df7 is an officer1 more immediately concerned with the procession4 ,it is evident from the way in which his head is thrown back and his arm raised that he is not addressing the group beside him1 but is making a signal to some person at a considerable distance4 ,he may be supposed to be making a signal to the southern half of the procession1 and thus helps the spectator to keep the two parts connected together in his mind4 ,the next figure 7,no4 #dg71 a similar officer1 stands facing the advancing maidens4 ,slab vi41 which was complete in ,carrey's time1 has since suffered greatly1 and the parts now exhibited have been combined from several sources4 ,at some unknown period the slab was broken through ,no4 #dj1 much of ,no4 #dj being destroyed4 ,the original fragment1 with the figures ,nos4 #cg-ci1 is now at ,athens1 where it was dug up in #ahcf4 ,since the cast in the ,museum was made1 parts of the right hand and right foot of ,poseidon have been injured 7,trans4 of ,r4 ,soc4 of ,lit41 v4 7#ahef7 p4 #fg2 ,baumeister1 ,denkmaeler1 p4 #aahg4 fig4 #achi74 ,about #aghg ,fauvel took a mould from the slab as he found it1 which is now in the ,louvre4 ,the slab then existed from the middle of ,no4 #da to the joint after ,no4 #dg4 ,between #aghg and #ahjj ,nos4 #da1 #db were lost1 and the slab was divided through ,no4 #de1 probably for convenience of transport4 ,to facilitate the division1 ,no4 #de1 and the arm of ,no4 #df1 were chiselled away4 ,the main part of the figures ,nos4 #db-dg is the original marble4 ,the additions to the marble are the right foot of ,no4 #ci1 the main part of ,nos4 #dj1 #da1 the lower part and the head of ,no4 #db1 the heads and breasts of ,nos4 #dc1 #dd1 the whole of ,no4 #de1 and part of the head of ,no4 #dg1 together with his legs4 ,these parts are principally derived from the mould of ,fauvel in the ,louvre4 ,certain fragments1 however1 are cast from originals at ,athens1 namely1 the chair-leg and some drapery of ,no4 #dj1 the knees of ,no4 #da1 and the head and left foot of ,no4 #dg4 ,rightnote3 ,,vii4 ,sidenote3 #dh4 ,the next magistrate1 or officer 7,no4 #dh71 seems to hold in his hand a kanoun1 or dish1 such as those in which the corn1 sashes1 or sacrificial implements were usually brought to the altar4 ,the position of the left hand seems to show that the thumb is inserted in a boss1 as in a phiale omphalote4 ,holes in the marble may indicate sashes of bronze1 hanging from the dish4 ,sidenote3 #di1 #ej4 ,two maidens 7,nos4 #di1 #ej7 are seen standing with empty hands4 ,perhaps one has given up the dish which is held by the officer 7,no4 #dh47 ,in that case these would be ,canephori1 maidens of noble birth1 whose privilege it was to carry in the procession the dishes just described4 ,they are draped in long chitons1 with diploidia1 and wear small mantles over the shoulders4 ,sidenote3 #ea4 ,sidenote3 #eb1 #ec4 ,another officer 7,no4 #ea7 stands looking towards the procession4 ,he has held in the right hand some object in metal1 perhaps a herald's staff4 ,two holes for the attachment of it are visible in the marble4 ,the gesture of the left hand shows that the officer is giving some order to the two maidens before him 7,nos4 #eb1 #ec71 who stand with empty hands1 like ,nos4 #di and #ej4 ,sidenote3 #ed4 ,sidenote3 #ee4 ,the next maiden 7,no4 #ed7 walks alone1 carrying a bowl 7phiale71 used for sacrificial libations4 ,no4 #ee looks back at the figure on the next slab 7,no4 #ef71 and helps her to carry her burden4 ,slab vii4 is a cast from the original1 which was removed from the ,acropolis by ,choiseul-,gouffier in #aghg1 and is now in the ,louvre4 ,the right foot of the magistrate 7,no4 #dh7 is cast from a fragment which is still at ,athens4 ,rightnote3 ,,viii4 ,sidenote3 #ef4 ,sidenote3 #eg1 #eh ,sidenote3 #ei1 #fj ,the next maiden 7,no4 #ef71 assisted by ,no4 #ee1 holds a thymiaterion with a conical cover1 used for burning incense4 ,censers of this form are not uncommon on ,greek vases4 7,cf4 ,vases in the ,b4 ,m41 ,c4 #cb1 ,e4 #ih1 ,e4 #bda1 ,e4 #bhe1 ,e4 #ceb47 ,next follow two figures 7,nos4 #eg1 #eh71 each carrying in the right hand a jug1 oinochoe1 then two more 7,nos4 #ei1 #fj71 carrying phialae4 ,in this slab the heads of ,nos4 #eg1 #ei1 #fj1 which have been adjusted to their places since the publication of the work of ,michaelis1 are cast from the originals at ,athens4 ,the slab in its present condition is shown in ,mitchell1 ,selections1 pl4 #d4 ,rightnote3 ,,ix4 ,the east side of the frieze was completed by the short return of a slab which was still in existence in the time of ,stuart4 ,on this slab were two maidens1 belonging to the procession4 ,the second of these carried a phiale4 ,,north ,,frieze ,,of ,,the ,,parthenon4 ,sidenote3 #cbe4 ,at the head of the procession on the north side we meet a troop of cows and sheep1 led by an escort4 ,each cow is led by cords held by two youths1 one on each side2 each sheep is led by one boy4 ,there are some grounds for the conjecture that the ,athenian colonists contributed each a cow and two sheep to the festival1 while the ,athenians are not known to have sacrificed anything except cows4 ,it is therefore presumed that the victims on this side of the frieze1 on which alone sheep are represented1 are some of the colonial offerings2 and in that case the men by whom the victims are conducted would be the ,theori sent by the ,colonies4 ,rightnote3 ,i4 ,slab i4 7see ,plate vii47 was complete in the time of ,carrey1 and partly extant in the time of ,stuart4 ,it contains the first cow1 led by two youths1 who are standing still1 and the head and shoulders of the second cow4 ,rightnote3 ,,ii4 ,sidenote3 #a1 #b4 ,sidenote3 #c1 #d4 ,nos4 #a and #b walk on each side of the second cow1 which is going quietly1 as is shown by the way in which the youths are closely wrapped up in their himatia4 ,the rope by which the beast is led was probably painted on the marble4 ,the third cow is restive1 and only restrained with difficulty by ,nos4 #c and #d4 ,here also the rope was probably painted4 ,this slab was discovered in #ahcc1 beneath its original position on the ,parthenon4 ,rightnote3 ,,iii4 ,sidenote3 #e1 #f4 ,of slab iii4 only fragments remain4 ,as drawn by ,carrey1 it contains the figure of ,no4 #d 7cf4 ,plate vii41 and ,no4 #cde1 #c71 vigorously holding back his cow1 and a fourth cow1 quietly led by two youths 7,nos4 #e1 #f74 ,for economy of space this slab is compressed in the ,british ,museum to about two-thirds of its proper length4 ,a cast from a head1 which1 perhaps1 is that of ,no4 #d1 is placed at the corner of the slab 7,michaelis1 plate #ac1 xxvii4 ,c474 ,the drapery seen on a fragment with the fore-legs of a cow belongs to ,no4 #e1 who leads the third cow4 ,no4 #f is made up of six pieces1 of which ,michaelis had identified the feet of the figure1 and part of the fore-legs of the cow4 ,for its hind-legs1 see his plate #ac1 xxvii4 ,d4 ,the originals of all these fragments are at ,athens4 ,rightnote3 ,,iv4 ,sidenote3 #g-i4 ,sidenote3 #aj4 ,slab iv4 contains parts of three figures1 ,nos4 #g-i1 who conduct three horned sheep4 ,of the first figure 7,no4 #g7 a part of the mantle is now left1 and perhaps also the head 7cf4 ,plate vii41 and ,no4 #cde1 #d74 ,in ,carrey's time the head and shoulders were still extant4 ,at the joint between this slab and the next there is a marshal 7,no4 #aj71 who turns to the division of the procession approaching4 ,slab iv4 was discovered in #ahdj4 ,rightnote3 ,v4 ,sidenote3 #aa4 ,when drawn by ,carrey and ,stuart1 the next group in the procession consisted of three figures1 of which one only 7,no4 #aa7 is now extant4 ,these figures carry on their shoulders oblong rectangular trays1 not unlike a butcher's tray in form4 ,these trays have been identified with the skaphae1 or boat-shaped dishes which were carried in the ,panathenaic procession1 and which contained offerings of cakes4 ,if we may trust ,stuart's engraving1 the tray of one of the two figures which have now disappeared contained fruits or cakes4 ,these trays were made of silver or bronze4 ,skaphae of bronze are mentioned in one of the inventories of the treasures1 deposited in the ,parthenon4 ,the ,metoiks1 whose duty it was to carry these trays1 were hence called ,scaphephori4 ,their place in the procession would naturally be immediately after the victims led for sacrifice4 ,rightnote3 ,,vi4 ,sidenote3 #ab-ad4 ,sidenote3 #ae4 ,sidenote3 #af4 ,slab vi4 contains five male figures4 ,three 7,nos4 #ab-ad7 carry vases on their shoulders2 a fourth 7,no4 #ae7 stoops to raise from the ground a similar vase1 which is singularly misinterpreted in ,carrey's drawing as a lamb4 ,the vase resembles in form the three-handled water-pitcher1 hydria or calpis1 which was in use in the period of ,pheidias1 but two handles only are shown in the sculpture2 the third handle1 which was attached to the neck midway between the other two1 is not seen1 except1 perhaps1 on the vase of ,no4 #ae4 ,michaelis supposes that the vases here represented on the frieze contained the wine used in the ,panathenaic sacrifice1 and that these figures may be the ,spondophori1 who are mentioned by ,pollux 7i4 #ce74 ,on the right of this slab are the arms1 flute1 and drapery of the first of the four flute-players drawn by ,carrey4 ,this slab was found in #ahcc1 inside the peristyle of the ,parthenon4 ,rightnote3 ,,vii4 ,the persons bringing objects connected with the sacrifice are immediately followed by a band of musicians1 consisting of four flute-players and four lyre-players1 or citharists1 all playing on their instruments4 ,the musicians1 as is usual1 wear long chitons and ample mantles4 ,of slab vii4 only two small fragments remain4 ,see ,plates vii41 viii41 and ,nos4 #cde1 #e and #f4 ,rightnote3 ,,viii4 ,sidenote3 #ag1 #ah4 ,sidenote3 #ai4 ,the next slab contains parts of the second pair of citharists and the foremost of a group of male figures1 principally on the two slabs immediately following4 ,rightnote3 ,,ix41 ,x4 ,sidenote3 #ai-cj4 ,the figures on these two slabs are bearded men 7,nos4 #ai-cj71 all clad in the himation1 and moving forward at a leisurely pace2 ,nos4 #be and #bf wear a band on their heads2 ,no4 #be draws it over his hair2 ,nos4 #bh and #cj wear long hair1 plaited in the manner of the krobylos4 ,the attire1 elderly type1 and general deportment of these figures corresponds with that of the ,thallophori1 by which name ancient authors designate elderly citizens who carried olive branches in the ,panathenaic procession4 ,the right hands of three of these figures are closed1 as if they were holding a wand or branch4 ,slab ix4 was discovered in #ahdj1 and is a fragment of the slab drawn by ,carrey1 which1 when he saw it1 contained nine figures similar to those on x4 ,a recently-discovered fragment1 from the left of slab ix41 has not been inserted for want of space 7cf4 ,plate viii41 and ,no4 #cde1 #h74 ,slab x4 was found at the north-west angle of the ,parthenon in #ahce4 ,a fragment which belongs to the left-hand lower corner of the slab1 and completes ,nos4 #bd1 #be1 has been adjusted since the publication of the work of ,michaelis4 ,this slab was not drawn by ,carrey1 who indicates a lacuna at this point4 ,it is therefore probable that the slab had already fallen from its place4 ,the last two complete figures on this slab are looking back1 as if their attention is directed to the advancing chariots4 ,michaelis has not observed that between these figures and the marshal 7,no4 #ca7 there has been another draped figure 7,no4 #cj9971 of whom nothing remains but the shoulders and a little drapery1 shown immediately in front of the marshal 7,no4 #ca71 and his right foot on slab x41 seen next to the right foot of ,no4 #cj1 the left foot of ,no4 #cj being lost4 ,this figure must have been the hindermost in the procession of ,thallophori1 and the entire number of these persons is therefore seventeen1 not sixteen1 as ,michaelis makes it4 ,rightnote3 ,,xi4 ,sidenote3 #ca4 ,with slab xi4 the chariot groups begin4 ,this part of the frieze has greatly suffered from mutilation4 ,the remains of the chariot groups still extant show that there were at least nine of these4 ,according to the calculation of ,michaelis1 that was the original number of chariots on this frieze4 ,all these chariots are drawn by four horses1 harmata tethrippa1 or quadrigae2 the charioteer stands in the chariot1 and is accompanied by the apobates1 who is armed with a helmet and ,argolic buckler1 and is represented in the act of stepping down from the chariot or standing behind it4 ,each quadriga is accompanied by a marshal1 pompeus4 ,the vigour and animation of the chariot groups form a marked contrast with the groups that immediately precede them4 ,the transition from the rapid motion of the chariots to the quietude of the ,thallophori is skilfully effected by a chariot seen in rapid motion but in the act of being suddenly checked by the marshal 7,no4 #ca71 who is represented eagerly pressing back the plunging horses of the chariot which follows on the next slab4 ,in the haste of his movement he has nearly thrown off his mantle1 holding it from slipping further with his right hand on his right thigh4 ,the original of this slab was found at ,athens probably about #ahcd4 ,rightnote3 ,,xii4 ,sidenote3 #cb4 ,sidenote3 #cc4 ,on the slab next on the right 7xii47 is the hind quarter of one of the horses1 cut off at the joint4 ,at the side of the chariot is a marshal 7,no4 #cb71 his face turned1 and his right arm extended towards the procession following on the right4 ,the charioteer 7,no4 #cc71 who was mistaken for a ,victory by ,visconti and others1 but whose figure is certainly not female1 differs in costume from the others in this frieze4 ,he wears a long chiton1 over which is a diploidion reaching to the hips4 ,the breast is crossed diagonally by two bands4 ,as a part of the hair is on a fragment known to have been missing before the time of ,stuart1 his drawing of the figure is proved to be untrustworthy4 ,sidenote3 #cd4 ,the warrior 7,no4 #cd7 attached to the chariot was complete in the time of ,carrey4 ,the upper half was lost before the time of ,stuart1 and was only re-discovered in the latest excavations on the ,acropolis in #ahhi4 ,he is represented standing on the ground1 and looking back to the next chariot4 ,his shield is raised as if to stop its course4 ,the wheel of this chariot1 as of some that succeed it1 must have been1 in part1 wholly detached from the ground4 ,the foot of the marshal is complete1 but it is easy to trace where the wheel prevented the convenient working of the ground beneath it4 7,see ,plate viii41 and ,stereoscopic1 ,no4 #ai47 ,rightnote3 ,,xiii4 ,of slab xiii41 which ,carrey places next1 nothing has been identified with certainty1 but ,michaelis is probably right in assigning to this group the fragment of four horses1 of which a cast from the original at ,athens is here inserted 7cf4 ,plate viii41 and ,no4 #cde1 #i74 ,above the back of the second horse is the hestor 7see below71 and also what appears to be a small piece of the drapery of a marshal4 ,this1 however1 cannot be the case if the fragment described 7,no4 #cde1 #i7 contains the marshal belonging to this slab4 ,rightnote3 ,,xiv4 ,sidenote3 #ce4 ,sidenote3 #cf4 ,sidenote3 #cg4 ,slab xiv4 contains the third chariot with part of the team of horses4 ,the marshal 7,no4 #ce7 stands beyond the horses1 and looks towards the charioteer4 ,the charioteer 7,no4 #cf7 had reins of bronze1 as indicated by two rivet holes4 ,like the driver on slab xviii4 he wears a chiton with long close-fitting sleeves4 ,the apobates 7,no4 #cg7 appears about to step down from the chariot4 ,the wheel of this chariot as of that on slab xii4 must have stood out entirely free from the ground4 ,when ,carrey drew this slab1 the head of the charioteer 7,no4 #cf7 and the head and body of the apobates 7,no4 #cg71 of which only the lower part now remains1 were extant4 ,close behind the wheel are traces of a horse's forefoot1 which1 as we see from ,carrey's drawing1 belonged to the chariot on the slab which follows next on the right 7xv4 according to the order of ,michaelis74 ,rightnote3 ,,xv4 ,sidenote3 #ch1 #ci4 ,of the fourth chariot group1 which was also drawn by ,carrey1 we have only the mutilated group to which the charioteer 7,no4 #ch7 and an apobates 7,no4 #ci7 belong2 this is made up of four fragments1 of which the originals were found at ,athens in #ahcg4 ,in this group the apobates 7,no4 #ci7 stands in the chariot1 looking back to the chariot following so closely that the forelegs of the horses actually overlap this group4 ,here also the wheel was in part completely free from the ground of the relief4 ,rightnote3 ,,xvii4 ,sidenote3 #da4 ,sidenote3 #db4 ,from ,carrey's sketch we know that the chariot on slab xvii4 was drawn by the horses1 which occupied slab xvi41 and whose hoofs are seen on slab xv41 and that this was the fifth chariot group4 ,the apobates 7,no4 #da7 of this chariot leans back1 supporting himself by the right hand1 which grasped the chariot rail 7antyx71 and is about to step off the chariot4 ,the marshal 7,no4 #db7 steps back to the left1 looking in the contrary direction2 his left arm1 muffled in his mantle1 is raised as a signal to the advancing throng2 his right arm is also raised2 the hand1 now wanting1 was just above the level of the head4 ,his animated action forms a strong contrast to the still1 calm attitude of the marshal 7,no4 #dc7 of the following group4 ,slab xvii4 is cast from the original1 which was drawn at ,athens by ,stuart1 and1 having been buried on the ,acropolis1 was re-discovered there in #ahcc4 ,the right side of this slab is broken away1 but there can be no doubt that it comes next to slab xviii4 ,a photograph from the original is reproduced in ,baumeister1 ,denkmaeler1 p4 #aahf1 fig4 #achh4 ,rightnote3 ,,xviii4 ,sidenote3 #dc4 ,sidenote3 #dd-de4 ,in slab xviii4 have been three figures4 ,the marshal 7,no4 #dc7 stands beside the horses1 in a calmer attitude than is usual in this part of the frieze2 of the apobates 7,no4 #de7 nothing remains but his right arm and leg2 and the lower part of his drapery1 which indicates rapid movement4 ,of the charioteer 7,no4 #dd71 we have only the lower part of the body and hands4 ,parts of the harness can be seen on this slab1 and also on slabs xiii41 xix41 xxi41 xxiii4 ,the general arrangement seems uniform1 though there are differences of detail4 ,the chariot pole 7,greek3 rhymos7 passes from below the chariot between the horses4 ,an upright pin 7,greek3 hestor7 passes through the pole 7slabs xiii41 xviii41 xix41 xxiii74 ,at this point the yoke 7,greek3 zygon7 was secured by a ring 7,greek3 krikos7 and by the yoke-band 7,greek3 zygodesmon7 7,hom4 ,il4 xxiv474 ,the near end of the yoke1 foreshortened and turned back1 is visible on slabs xviii41 xix41 xxi41 xxiii4 ,on slabs xix41 xxi4 the yoke appears to be kept in position by a piece of metal passing from the top of the pin to the pole1 which may1 perhaps1 serve instead of the ring4 ,on slab xix4 there appears to be a loop of a leather thong on each side of the piece described4 ,this may be a part of the yoke-band4 ,the reins were usually guided by two rings attached to the yoke or to the pole1 but these do not appear to be shown on the frieze4 ,it is easy to see on slabs xviii41 xix41 xxi41 that the yoke was only fixed to the two middle horses1 the outer pair being attached by traces4 ,illustration3 ,fig4 #ab4--,north ,frieze1 slab xix4 7#df4 #dg47 ,rightnote3 ,,xix4 ,the next slab 7xix47 is a cast from the original at ,athens1 which is broken away on the right1 so that all that remains of the charioteer 7,no4 #dg7 is his right hand4 ,at the side of the horses is a marshal 7,no4 #df71 who turns towards the chariot following on the right4 ,carrey's drawing supplies the upper part of this figure1 and shows that he was holding up with his left hand the end of his mantle1 apparently as a signal to the advancing procession4 ,in fig4 #ab1 slab xix4 has been drawn in juxtaposition with the hitherto unplaced fragment ,no4 #cde1 #ab4 ,this slab was discovered in #ahcd4 ,rightnote3 ,,xx4 ,slab xx4 is now lost1 but a horse's head now at ,athens 7,no4 #cde1 #ac2 ,michaelis1 pl4 #ab1 xx47 may perhaps belong to it4 ,rightnote3 ,,xxi4 ,slab xxi4 contains the bodies and hind quarters of the horses drawing the chariot seen on slab xxii4 ,between the charioteer 7,no4 #dh7 and his horse is a fragment1 showing the front of the chariot1 and the tails of the horses1 of which the original is at ,athens1 and which is not figured in ,michaelis4 ,rightnote3 ,,xxii4 ,sidenote3 #dh1 #di4 ,on the left of slab xxii4 is a chariot with the charioteer 7,no4 #dh7 and apobates 7,no4 #di7 who is stepping into the chariot4 ,on the right of this slab is an attendant 7,no4 #ej7 standing at the heads of the horses of the last chariot group4 ,the lower fragments of this slab are at ,athens4 ,the left-hand upper corner1 which was wanting in the time of ,stuart1 was brought home by ,lord ,elgin4 ,the upper fragment next to it1 was once in the possession of the ,society of ,dilettanti1 and was presented by that body4 ,it had probably been brought from ,athens by ,chandler4 ,stuart1 #bnd ed41 ,,ii41 p4 #ej1 note ,c4 ,rightnote3 ,,xxiii4 ,sidenote3 #eb4 ,the chariot group represented on slabs xxii41 xxiii4 is represented as standing still1 and was probably the last chariot in the procession4 ,this slab is shorter than any of the others representing chariot groups4 ,part of the head of the apobates 7,no4 #eb7 is supplied in plaster from the original fragment at ,athens4 ,a fragment of an apobates1 which may well belong to the figure ,no4 #eb1 has recently been fitted to the left of slab xxiv41 thus proving that ,no4 xxiv4 is the first slab of the cavalry1 and making it very probable that ,no4 xxiii4 is the last slab of the chariots4 ,this fragment1 incorrectly drawn1 is assigned by ,michaelis to slab xxviii4 of the south side4 ,rightnote3 ,,xxiv4-,,xlii4 ,sidenote3 #ed-aji4 ,from this point to the north-west angle of the frieze we have a continuous procession of ,athenian cavalry4 ,the horsemen advance in a loose throng1 in which no division into ranks or troops1 nor indeed any settled order1 can be made out4 ,the groups1 being very crowded1 are carried on from slab to slab continuously1 so that the vertical lines of the joints intersect the figures1 while on the western frieze1 on the contrary1 the groups1 being more scattered1 are always completed on single slabs4 ,the general effect of a body of horse in rapid movement is admirably rendered in the composition of the northern frieze1 and is particularly fine in slabs xxx4-xlii41 in which the effect has not been marred by mutilation4 ,though the entire composition is pervaded by the same general motion1 a wonderful fertility of invention is shown in the arrangement of the successive groups4 ,in the one hundred and twenty-five mounted figures in this cavalcade we do not find one single monotonous repetition4 ,though the horses bound along with a fiery impatience1 which seems at every moment ready to break loose from all control1 these irregular movements never disturb the even hand and well-assured seat of the riders4 ,thus1 as the cavalcade dashes along like a torrent1 a rhythmical effect is produced by the contrast of the impetuous horses and their calm1 steadfast riders4 ,in this part of the frieze there is great variety in the costumes and accoutrements of the horsemen4 ,crested helmets are worn by ,nos4 #ei1 #fb2 flexible leather caps by ,nos4 #hd1 #ic1 #if2 a taenia by ,no4 #ig1 and a petasos by ,no4 #aje4 ,some figures wear high boots with flaps at the knee as ,nos4 #ih1 #ajc1 c41 while others wear boots without flaps as ,nos4 #ij1 #ia1 #ib2 a few have bare feet1 as ,nos4 #gb1 #hg1 #hi4 ,the usual dress is a sleeveless chiton and a cloak4 ,some riders1 however1 wear a chiton only1 as ,nos4 #ei1 #fj #fc1 #gb1 c41 and others wear a cloak only1 as ,nos4 #fd1 #gf1 #gi1 #hg1 #id4 ,it may be mentioned that1 according to ,theophrastus1 it was a mark of the man of small ambitions1 when he took part in a cavalry procession1 to give all his garments to a slave to carry home except only his cloak1 in which he would display himself1 walking about the agora4 ,the chiton may have either one girdle1 as ,no4 #gb1 or two girdles1 as ,nos4 #eg1 #ei1 c4 ,in a few instances it has long sleeves1 as in ,nos4 #gc1 #ge1 #hj1 #hd1 #ig1 #ih1 #aji4 ,two riders wear a cuirass1 viz4 ,nos4 #fb1 #ib4 ,the reins and bridles were in nearly every instance of bronze1 marked by rivet holes behind the horse's ear1 at his mouth and in the rider's hands4 ,marble reins are seen in the right hands of ,nos4 #ih1 #ajc4 ,rightnote3 ,,xxiv4 ,sidenote3 #eb4 ,slab xxiv4 is shown1 as has been already stated1 to have contained the first of the cavalry1 by the figure of the apobates which has been fitted to its left side4 ,neither this fragment nor that at the upper right hand corner have been engraved by ,michaelis4 ,rightnote3 ,,xxv4 ,sidenote3 #eg4 ,slab xxv4 was complete when drawn by ,stuart4 ,only a fragment1 containing part of ,no4 #eg1 now survives4 ,this is not inserted1 in its place in the frieze1 but is fixed beside the south door to the ,elgin ,room4 ,rightnote3 ,,xxvi4 ,rightnote3 ,,xxvii4-,,xxxi4 ,slab xxvi4 is proved by ,stuart's drawing to be continuous with the fragmentary slab xxv4 ,between slabs xxvi4 and xxxi4 the order is uncertain4 ,the arrangement of plate #ac of ,michaelis has been followed4 ,it may be assumed that a slab 7xxvii47 is lost between xxvi4 and xxviii41 which may have included the fragment ,no4 #cde1 #ae4 ,slab xxx4 when complete may have fitted to xxix42 but1 as it has the joint preserved on the right1 there can be no doubt that it did not fit to ,no4 xxxi4 ,between these two1 therefore1 another slab may be supposed to be missing4 ,the three slabs enumerated as lost1 viz4 xx41 xxvii41 and the slab between xxx41 xxxi41 may be supposed to have been about #ab feet long4 ,the missing part of xxx4 may be #b feet4 ,of the #be ft4 #aj in4 of the frieze lost without record #ad feet are thus accounted for2 the remaining #aa ft4 #aj in4 may be due to the loss of two more slabs1 containing a chariot group1 or to miscalculated proportions in ,carrey's drawing4 ,illustration3 ,fig4 #ac4--,slab xxv4 restored from ,stuart 7from ,michaelis74 ,slab xxviii4 is original2 slabs xxix4-xxxi4 are casts from the originals at ,athens2 ,no4 #fe 7on slab xxix47 is a marshal beckoning to the riders4 ,rightnote3 ,,xxxii4 ,sidenote3 #ge4 ,the fragment 7in slab xxxii47 containing the head of ,no4 #ge and the horse's head1 having been discovered in #ahej in the collection of ,sculptures at ,marbury ,hall in ,cheshire1 was presented to the ,museum in #ahej by ,j4 ,h4 ,smith ,barry1 ,esq41 the owner of that collection4 ,a small fragment1 cast from the original at ,athens1 and added to slab xxxiv41 is not engraved by ,michaelis4 ,rightnote3 ,,xxxv4 ,sidenote3 #he4 ,the fragment 7in slab xxxv47 which contains the head of ,no4 #he and of a horse1 after having been in the possession of the ,society of ,dilettanti1 passed from that body to the ,royal ,academy1 by whom it was presented to the ,british ,museum in #ahag4 ,rightnote3 ,,xxxvii4 ,sidenote3 #hi4 ,the fragment 7in slab xxxvii47 containing the head of ,no4 #hi and a horse's head1 of which a plaster cast is adjusted to the marble1 is now at ,athens4 ,rightnote3 ,,xxxix4 ,sidenote3 #ig4 ,the head of ,no4 #ig1 on slab xxxix4 was formerly in the ,pourtales ,collection1 at the sale of which in #ahfe it was purchased for the ,british ,museum1 and inserted in its place on the frieze4 ,rightnote3 ,,xlii4 ,sidenote3 #ajg4 ,sidenote3 #ajf4 ,on the last slab of the north side1 the procession is still in a state of preparation1 so that this slab prepares a transition to the west side4 ,in the foreground is a rider 7,no4 #ajg71 standing by his rearing horse1 whom he holds by the rein with his right hand4 ,in the background beyond this group is a mounted figure 7,no4 #ajf71 so entirely concealed by the rearing horse in the foreground that the only evidence of his presence is his right hand advanced just beyond his horse's shoulder point4 ,sidenote3 #aji4 ,sidenote3 #aaj4 ,to the right is a rider 7,no4 #aji7 standing by his horse1 and in the act of drawing down his chiton under his girdle in front1 while a youthful attendant 7,no4 #aaj7 assists him by pulling it down behind1 or perhaps by tying the lower girdle over which the folds were drawn4 ,the attendant carries on his shoulder a folded chlamys1 probably that of his master4 ,,west ,,frieze ,,of ,,the ,,parthenon4 ,sidenote3 #cbf4 ,the west side of the frieze contains a continuation of the procession of the north side1 but here the procession is mainly in course of preparation1 and the scene may be supposed to be laid in the ,cerameicos4 ,in part1 doubtless1 on account of the character of the subject1 in this part of the frieze there is less continuity of composition than elsewhere4 ,the subjects are disconnected1 and are usually on single slabs1 and seldom carried over a joint4 ,there is the same variety of dress and accoutrements here as among the riders of the north side2 but there are more figures in armour 7,nos4 #c1 #g1 #aa1 #ab1 #ah1 #bj74 ,it may be noted1 as showing that the west and north sides were produced by different hands or at different times1 that on the west side the bridles were fixed to the heads of the horses by four rivet holes1 not by two1 as on the north4 ,slabs i41 ii4 are originals brought by ,lord ,elgin4 ,the remainder of this side 7with the exception of ,no4 #bg7 is cast from the original slabs1 which are still in position on the temple4 ,two sets of casts of this frieze are exhibited in parallel lines4 ,the upper series is taken from moulds made from the original marble in #ahgb2 the lower series from moulds made at ,athens1 at the time of ,lord ,elgin's mission4 ,a comparison of these two sets of casts shows how much the frieze has suffered from exposure to weather during seventy years4 ,as the frieze is still in position and unsheltered1 it must be presumed that the decay of the originals continues4 ,rightnote3 ,i4 ,sidenote3 #a4 ,rightnote3 ,,ii4 ,sidenote3 #b1 #c4 ,rightnote3 ,,iii4 ,sidenote3 #d4 ,sidenote3 #f4 ,sidenote3 #e4 ,rightnote3 ,,iv41 ,v4 ,sidenote3 #g1 #h1 #i4 ,rightnote3 ,,vi4 ,sidenote3 #aj4 ,sidenote3 #aa4 ,the single figure 7,no4 #a7 at the north-west angle is evidently a herald or marshal directing the march of the cavalry4 ,in like manner ,hippias1 or1 according to ,aristotle1 ,hipparchos1 was in the outer ,cerameicos1 arranging how each part of the ,panathenaic procession ought to go forward1 when he was attacked by ,harmodios and ,aristogeiton4 7,thuc4 vi41 #eg2 ,aristotle1 ,greek3 ,ath4 pol4 ed4 ,kenyon1 #ah47 ,his right hand probably held a staff of office1 as the bent fingers are not closed4 ,this figure is repeated1 in a plaster cast4 ,then follow two mounted figures 7,nos4 #b1 #c72 in the hair of ,no4 #b are holes in which probably a metal wreath was inserted4 ,no4 #d raises both hands as if to open his horse's mouth for the insertion of the bit4 ,behind the horse stands a youth 7,no4 #f71 either the groom or attendant2 his hands may have held a bridle4 ,a bearded man 7,no4 #e71 probably a marshal1 turns towards the youth as if addressing him4 ,then follow two more mounted figures 7,nos4 #g1 #h71 and a youth 7,no4 #i71 standing by his horse1 and turning round to his mounted companion 7,no4 #aj71 behind him4 ,next comes a horseman 7,no4 #aa71 distinguished from all the figures in the frieze by his richly decorated armour4 ,on his head is a crested helmet1 on the crown of which is in relief an eagle with outstretched neck4 ,a hole a little behind the temple shows where a wreath has been inserted4 ,his body is protected by a cuirass1 on the front of which is a ,gorgon's head in relief1 intended as a charm1 to avert wounds from the most vital part2 on the shoulder-straps are lions' heads1 also in relief4 ,between the breast-plate and back-piece of the cuirass is an interval at the sides1 which is protected by flexible scale armour 7,greek3 thorax lepidotos74 ,below the girdle are flaps 7pteryges7 made of leather covered with metal1 which at the upper ends are united to the girdle4 ,under the cuirass appears a chiton without sleeves4 ,the horse of ,no4 #aa is one of the few on the frieze that have all four legs off the ground4 7,cf4 north1 #ia1 #ig2 west1 #ai2 south1 #ad1 #cj47 ,sidenote3 #ab4 ,no4 #ab is on foot1 and stoops forward1 looking towards the procession advancing from the right4 ,his left foot is raised on a rock1 and he appears from the action of his arms to be tying his boot4 ,rightnote3 ,,vii4 ,sidenote3 #ac1 #ad4 ,rightnote3 ,,viii4 ,sidenote3 #ae4 ,rightnote3 ,,ix4-,,xi4 ,sidenote3 #af-ba4 ,rightnote3 ,,xii4 ,sidenote3 #bb1 #bc4 ,sidenote3 #bd4 ,rightnote3 ,,xiii4 ,sidenote3 #be4 ,rightnote3 ,,xiv4 ,sidenote3 #bf4 ,sidenote3 #bg4 ,rightnote3 ,,xv4 ,sidenote3 #bh4 ,sidenote3 #bi4 ,rightnote3 ,,xvi4 ,sidenote3 #cj4 ,the next slab contains two mounted figures 7,nos4 #ac1 #ad74 ,no4 #ad wears a mantle of skin4 ,he is the only figure1 on this side of the frieze1 thus decorated4 ,no4 #ae stands at the side of a rearing horse1 trying to control him4 ,the violence of the action is shown by the muscular strain and the disordered dress of this figure1 who wears a chiton1 exomis1 over which is a chlamys flying behind his back4 ,on his head is a leathern cap4 ,the attire of this figure is precisely similar to that of ,no4 #h and ,no4 #ai4 ,then follow six mounted figures 7,nos4 #af-ba71 all moving rapidly to the left4 ,one of these 7,no4 #ag7 wears the petasos1 a flapping1 broad-brimmed hat used by travellers4 ,from ,no4 #bb onward to the south-west angle1 none of the figures are mounted4 ,the first group 7,nos4 #bb-bd7 is not unlike that already described 7,nos4 #d-f74 ,a youth 7,no4 #bb7 stands at the horse's head1 and seems to be holding the reins4 ,at the side of the horse stands a taller figure 7,no4 #bc71 holding up his right hand as if giving an order to a person at some little distance4 ,in his left hand he holds a short wand4 ,this figure seems to be a marshal1 though his dress1 a chiton girt at the waist and a chlamys1 differs from that of all the other marshals on the frieze1 while it frequently occurs among the riders4 ,behind the horse is a youth 7,no4 #bd7 who1 from his stature and attitude1 is a groom or attendant2 a thick garment is cast over his shoulders4 ,next is a much mutilated figure 7,no4 #be71 who seems to be pressing his right foot against the heel of his horse's right fore leg to make him extend himself so as to lower his back for mounting4 ,behind this figure a horse springs forward1 free from the control of his rider 7,no4 #bf71 who has let him go in order to assist a comrade 7,no4 #bg74 ,this latter figure tries to master a rearing horse1 who threatens to escape from his control4 ,in the upper portion of this figure a fragment from the original marble is adjusted to the cast4 ,this fragment was brought from ,athens many years ago1 and presented to the ,museum by ,m4 ,j4 ,j4 ,dubois in #ahdj4 ,the next figure 7,no4 #bh7 stands at his horse's head1 and behind him is a rider 7,no4 #bi7 not yet mounted1 who is drawing on his left boot in an attitude very similar to that of ,no4 #ab2 his right boot lies at the side of the rock on which his left foot is raised4 ,the horses of both these figures1 in contrast to the preceding group1 stand tranquilly waiting to be mounted4 ,the last figure on the western frieze 7,no4 #cj7 on the return of the first slab of the south side stands holding up an ample mantle on his left arm1 and seems to be putting it on4 ,from the size of the mantle this figure might be that of a marshal1 though his youthful appearance suggests that he is a rider4 ,,south ,,frieze ,,of ,,the ,,parthenon4 ,sidenote3 #cbg4 ,in following the procession along the south side from west to east1 we pursue one branch of the procession which corresponds in the main with that on the north side4 ,the main difference is that on the south the victims consist of cows only1 while on the north there are sheep as well as cows4 ,it may therefore be the case that this side represents the ,hecatomb offered by the ,athenians themselves4 ,all the victims are cows1 in accordance with ,greek ritual1 which ordained the sacrifice of male animals to a ,god1 and female animals to a ,goddess4 ,rightnote3 ,i4 ,sidenote3 #a-d4 ,the left-hand side of slab i4 is still on the ,parthenon2 the right-hand portion1 containing the figure1 ,no4 #d1 was presented to the ,museum by the late ,mr4 ,c4 ,r4 ,cockerell4 ,a marshal 7,no4 #a7 stands at the angle2 the first horseman 7,no4 #b7 advances at a walk1 thus conforming to the rule that the movement is always gentle at an angle of the frieze4 ,the horsemen of this slab all wear chiton1 chlamys1 boots1 and a leather cap with a flap 7katablema7 hanging over the nape of the neck4 ,rightnote3 ,,ii4 ,sidenote3 #e-g4 ,rightnote3 ,,iii4 ,sidenote3 #h-i4 ,slab ii4 is cast from the original on the ,parthenon1 which is in a very mutilated condition 7cf4 ,no4 #cde1 #af74 ,of ,no4 #g nothing now remains on this slab1 but a bit of his drapery1 and on slab iii4 his right foot and his horse's nose and forelegs4 ,slab iii4 was complete on the left edge in the time of ,stuart1 who gives the head and forehand of the horse of ,no4 #g4 ,the horseman 7,no4 #h7 wears a chlamys only1 which is cast back so as to show the entire right side of the body4 ,this is the only figure on the south frieze who is so little clad4 ,rightnote3 ,,iv4 ,sidenote3 #aj-ab4 ,on slab iv41 the greater part of which still remains on the ,parthenon1 are the remains of three figures 7,nos4 #aj1 #aa1 #ab74 ,on the right side are two fragments of this slab1 brought away by ,lord ,elgin1 one of which only is given by ,michaelis4 ,the other has been since discovered in the magazines of the ,museum4 ,at this point it has been necessary to interrupt the sequence by placing slabs xiv41 xv41 xx4 on the sides of the pilaster4 ,these slabs are described below in their respective places4 ,rightnote3 ,v4 ,sidenote3 #ab-ad4 ,rightnote3 ,,vi4-,,ix4 ,sidenote3 #ae-be4 ,on slab v41 ,no4 #ac wears a close-fitting cuirass1 but is bare-headed4 ,compare the figures #bf-ce1 and the description of ,theagenes in the passage of ,heliodorus1 quoted on p4 #adh4 ,slabs vi4-ix4 contain unarmed ,athenian horsemen1 riding bare-headed and for the most part wearing chiton with double girdle and boots only4 ,the head of the rider1 ,no4 #ae1 is unfinished4 ,the horses at this part of the frieze have manes with a large forelock turned upwards4 ,rightnote3 ,x4-,,xiii4 ,sidenote3 #bf-cg4 ,rightnote3 ,,xiv4-,,xvi4 ,sidenote3 #ch-dc4 ,there is a break in the composition at the beginning of slab x41 and a change of subject is marked by the group not being carried across the joint4 ,the figures 7,nos4 #bf-cg7 on slabs x4-xiii4 are evidently arranged in two ranks of six horsemen each1 and are distinguished from most of the riders in the southern cavalcade by wearing a cuirass under which is a short chiton4 ,three of these figures 7,nos4 #cc1 #cf1 #cg7 have a cuirass consisting of a breastplate and backpiece1 which are united at the sides by a strip of flexible scale armour4 ,from the cuirass hang down the flaps1 which protected the loins4 ,these cuirasses also have shoulder straps4 ,the riders1 ,nos4 #bf-cf1 wear the plain cuirass1 rigid and close-fitting 7,greek3 thorax stadios74 ,all the riders in this part of the procession wear high boots with a flap turning over below the knee4 ,they are all bareheaded except ,no4 #cf1 who wears a cap or helmet with a flap behind2 ,no4 #cc1 who also wears a cap2 and ,no4 #ce1 who has a diadem over which must have been a metallic wreath1 as there are four holes for its attachment on the crown of the head4 ,a chlamys hangs from the left arm of ,nos4 #bf1 #bg1 #bh4 ,slab xiv41 which is a cast from the original at ,athens1 and slab xv4 are now exhibited on the pilaster4 ,slab xvi41 which is also a cast from the original at ,athens1 is in its place4 ,slab xiv4 contains the head of the horse of ,no4 #cg4 ,in front of it is a space marking a division1 and another body of six horsemen 7,nos4 #ch-dc74 ,these appear to be uniformly dressed in helmet1 chiton without cuirass1 and boots1 and1 although the positions of xv41 xvi4 are conjectural1 the sequence proposed seems highly probable4 ,in front of ,no4 #dc there is a space similar to that between ,nos4 #cg1 #ch4 ,on the right side of xvi4 is the outline of a horse's crupper1 and floating above it in the air appears to be the long end of a mantle of skin such as is worn by ,no4 #ad in the west frieze2 behind ,no4 #dd appears to be part of a garment of the same texture1 the outline of which is seen above the horse's hind quarter4 ,it is1 however1 doubtful whether xvi4 and xvii4 joined each other4 ,perhaps between them was a slab in which the horsemen wore similar mantles of skin4 ,from this point the military order of the procession becomes less marked1 or is obscured by the defective state of the marble4 ,there is also more variety in the costumes of the riders4 ,rightnote3 ,,xvii4 ,sidenote3 #de994 ,slab xvii4 is a cast from the original at ,athens4 ,since the publication of the work of ,michaelis1 two fragments have been adjusted on the right1 which prove the connection of the slab with ,no4 xviii4 by supplying the hind quarters of a horse of which the rest has been in xviii4 ,these two fragments1 which were unknown to ,michaelis1 also supply the forehand of another horse and the body of the rider 7,no4 #de997 from the waist to below the knee 7see fig4 #ad74 ,illustration3 ,fig4 #ad4--,south frieze1 slab xvii4 7#dd4 #de4 #de9947 ,rightnote3 ,,xviii4 ,the original of slab xviii4 is at ,athens1 and was in its present mutilated condition when drawn by ,carrey4 ,rightnote3 ,,xix4 ,sidenote3 #dg4 ,sidenote3 #dh4 ,the cast of the small fragment at the upper left-hand corner of slab xix41 giving the mane of the horse of ,no4 #dg1 has been added since the publication of the work of ,michaelis4 ,for a fragment engraved by ,michaelis1 as the head of ,no4 #dh1 cf4 ,no4 #cde1 #ah4 ,rightnote3 ,,xx4 ,slab xx4 7on the pilaster7 is a cast from the original at ,athens4 ,this slab1 which now only contains parts of the legs of two horses and a rider 7,no4 #dh7 was nearly complete in the time of ,carrey and contained two riders wearing petasoi or broad-brimmed travellers' hats4 ,rightnote3 ,,xxi4 ,sidenote3 #ea4 ,sidenote3 #eb4 ,sidenote3 #ec4 ,in slab xxi4 the head of the horse of ,no4 #ea and the head and shoulders of ,no4 #eb are supplied by casts from originals at ,athens4 ,the fragment containing the head of ,no4 #ec1 a figure wearing a petasos1 does not appear in the plate of ,michaelis4 ,rightnote3 ,,xxii41 ,,xxiii ,slab xxii4 and slab xxiii41 which1 with the exception of a small fragment1 is only preserved in ,carrey's drawings1 contained the leading horsemen of the procession4 ,those on slab xxii4 are evidently pulling up their horses1 while the two horsemen on slab xxiii4 are going at a foot-pace4 ,all the paces of the horse are thus displayed within a short distance1 at this part of the frieze4 ,in slab xxii4 a fragment containing a horse's head and the mane of another horse1 which ,michaelis assigns to the team on slab xxiv41 has been since adjusted to its place in front of ,no4 #ef2 to this has been fitted the small fragment of the corner of slab xxiii4 ,rightnote3 ,,xxiv4 ,rightnote3 ,,xxxiv4 ,the horsemen are immediately preceded in the procession by the chariot-groups4 ,carrey draws eight chariots1 of which four partially survive and four are totally lost4 ,on the other hand1 a part remains of two groups 7slab xxix471 of which there is no trace in ,carrey's drawings4 ,these1 therefore1 must probably be placed in a break in the sequence of slabs indicated by ,carrey4 ,originally there must have been not fewer than ten chariot groups4 ,in each the charioteer is accompanied by an armed warrior2 but here the armed figure is not like the apobates of the northern frieze in the act of stepping out of the chariot in motion1 but stands either in the quadriga or 7if it is not in motion7 by its side4 ,therefore ,michaelis supposes that1 while the chariots on the north frieze have reference to that contest in which armed apobatae took a part1 leaping off and on to the quadriga during the race1 the chariots in the south frieze suggest the chariots of war1 harmata polemisteria1 in which an armed hoplite stood in the chariot by the side of the charioteer4 ,each chariot group1 when complete1 is seen to be accompanied by a marshal4 ,rightnote3 ,,xxiv4 ,sidenote3 #eh4 ,of the two figures in the chariot of slab xxiv41 nothing now remains but part of the shield and left arm of the hoplite 7,no4 #eh71 with a fold of drapery hanging from the arm4 ,the upper part of the slab was wanting in the time of ,carrey1 but he gives the legs of the hoplite1 who1 like the corresponding figure in slab xxv41 was standing by the wheel of the chariot1 of which a small portion remains4 ,this position shows that both these chariots were represented at the moment before they started4 ,in the shield of ,no4 #eh are two rivet holes for the attachment of a bronze handle4 ,in the upper hole the metal still remains4 ,similar rivet holes occur in the shields of ,nos4 #fa and #ff4 ,michaelis supplies the heads of the horses on this slab by a fragment which belongs to the cavalcade of horsemen4 7,see slab xxii41 above47 ,the connection between slabs xxiv4 and xxv4 is proved by a fragment which has been added to the lower corner on the right of slab xxiv4 since the work of ,michaelis was published4 ,this fragment1 of which the original is at ,athens1 gives part of the wheel of the chariot of xxv4 and the forefeet of the horses of xxiv4 ,rightnote3 ,,xxv4 ,sidenote3 #fj4 ,sidenote3 #fa4 ,sidenote3 #fb4 ,in slab xxv4 the horses' heads now wanting are given in ,carrey's drawing4 ,of the charioteer 7,no4 #fj7 very little is now visible but part of his drapery4 ,the armed figure 7,no4 #fa7 in this chariot group1 whose appearance is more youthful than that of the other hoplites in this part of the frieze1 wears a chiton with a double girdle and a chlamys4 ,near the edge of his shield are two rivet holes for a bronze handle2 in the upper one the metal still remains4 ,the marshal 7,no4 #fb7 standing at the side of the horses stretches out his right hand towards the charioteer with the forefinger extended1 a gesture which indicates that he is giving an order4 ,the rivet holes on the horses' crests show that the reins were of bronze4 ,rightnote3 ,,xxvi41 ,,xxvii4 ,slabs xxvi41 xxvii41 of ,michaelis1 contained two chariot groups which we only know through ,carrey's drawings4 ,in both the horses are springing forward2 cf4 ,no4 #cde1 #bj4 ,rightnote3 ,,xxviii4 ,michaelis inserts to represent slab xxviii4 a fragment which belongs to the north side1 slab xxiv4 ,rightnote3 ,,xxix4 ,the lower corner on the left side of xxix4 has been cast from a fragment at ,athens1 which has been identified since the publication of the work of ,michaelis4 ,this fragment supplies the missing part of the wheel and a small piece of flying drapery belonging to one of the figures in the chariot4 ,in this group the marshal at the side of the chariot is wanting4 ,on the right-hand edge of this slab1 just above the horses' forelegs and close to the joint1 is part of the outline of a shield4 ,this shield must have belonged to one of the figures in the chariot following on the next slab2 it is evident1 therefore1 that between xxix4 and xxx4 was another slab1 now lost1 which we cannot recognise in any of ,carrey's drawings4 ,rightnote3 ,,xxx4 ,sidenote3 #ff4 ,the armed figure 7,no4 #ff7 wears the ,corinthian helmet1 which does not occur elsewhere on the frieze4 ,the handle of his shield was of bronze1 of which a small portion still remains in the rivet hole4 ,other rivet holes on the crests of the horses show that the reins and the hestor for attaching the yoke to the pole were also of bronze4 ,here1 as in xxix41 the marshal is wanting4 ,the horses' heads1 which are treated with more freedom on this slab than elsewhere on the frieze1 are of extraordinary beauty4 ,rightnote3 ,,xxxi4 ,on slab xxxi41 as in the preceding1 the reins and the hestor were of bronze4 ,rightnote3 ,,xxxii4-,,xxxiv4 ,slabs xxxii4-xxxiv4 are now wholly lost1 except in ,carrey's drawings4 ,they contained two chariots1 both at a standstill1 or moving slowly1 and the four last persons of the crowd on foot4 ,rightnote3 ,,xxxv4-,,xxxvii4 ,sidenote3 #gb4 ,sidenote3 #gc4 ,sidenote3 #gi994 ,slabs xxxv41 xxxvi41 and part of slab xxxvii4 contained the remainder of the persons on foot4 ,fragments of xxxv4 and of xxxvi4 7original at ,athens7 alone remain1 although the slabs were complete in the time of ,carrey4 ,the figures as he draws them appear to be elderly men1 eighteen in number1 and resembling in attire and general character the ,thallophori who have been already noticed on the northern frieze4 ,all are clad in the himation4 ,michaelis thinks that ,no4 #gb holds in his left hand a small object shaped like a clarionet1 but he appears to have mistaken the right arm of ,no4 #gc hanging down for this object4 ,between these supposed ,thallophori and the victims ,carrey inserts four figures1 two of whom hold in their left hands some object like a square tablet1 which may be the bottom of a lyre1 as this is the place in the procession where the musicians might be expected1 if the arrangement on this side corresponded with that on the north side4 ,the fragment 7,no4 #gi997 representing the upper part of a ,scaphephoros carrying a tray must also belong to this part of the frieze1 and is therefore here inserted4 ,it is cast from the original at ,athens1 which was not known to ,michaelis4 ,it probably implies that one slab was wanting here1 as well as the second half of slab xxxvii41 of which ,carrey seems to have only drawn the first half4 ,rightnote3 ,,xxxviii4-,,xlv4 ,the remainder of the south frieze is occupied with the procession of victims for the sacrifice4 ,cows only are here represented1 and1 as has been observed1 this may indicate that we have here the native ,athenian part of the procession4 ,the order in which these slabs are exhibited differs from that given by ,michaelis in ,der ,parthenon1 pl4 #aa41 because slab xliii41 ,no4 #hd 7 ,michaelis1 ,no4 #abf2 cf4 #cde1 #bb71 which is the top left corner of a slab1 has been proved to join to the right side of xli4 ,other changes have also been made1 but the slab numbers of ,michaelis have been preserved for convenience of reference1 and the order now stands3--xli41 joined by xliii41 ,no4 #hd 7 ,michaelis1 ,no4 #abf72 xxxix41 which may join xliii42 xl41 which joins xxxix42 xxxviii41 which may perhaps join xl42 after an interval of one slab1 xlii42 xliii41 ,nos4 #ajj1 #aja 7 ,michaelis1 #abg1 #abh72 xliv41 the corner slab4 ,michaelis has proposed a revised arrangement in ,arch4 ,zeit41 #ahhe1 p4 #eg1 which agrees with the foregoing1 except that slabs xxxviii4 and xlii4 are transposed4 ,michaelis holds that xlii4 joins xl41 and xxxviii4 joins xlii4 ,this arrangement suits the conditions as to space1 but the suggested joinings are very doubtful4 ,sidenote3 #he4 ,each cow is escorted by two youths1 one on each side1 and a third figure1 perhaps a marshal1 at the head4 ,those of the escort who are on the side of the spectator are represented in vigorous action1 guiding and restraining the animals by ropes1 which may have been painted on the marble4 ,all are clad in the himation1 which in the figures actively engaged in controlling the cattle is worn so as to leave one or both shoulders free4 ,compare the description of ,heliodorus1 p4 #adg4 ,in slab xxxix4 the action is very animated4 ,the youth1 ,no4 #he1 leans back with his foot pressed against a rock1 to restrain the cow4 ,this motive is a favourite one in fifth century art4 ,compare the west frieze1 ,no4 #ae2 a metope of the ,theseion representing ,theseus and the bull of ,marathon2 the balustrade of the temple of ,nike ,apteros 7,no4 #dbi72 and vase paintings as in ,journ4 of ,hellen4 ,studies1 ii41 pl4 #aj4 ,sidenote3 #if4 ,in slab xl4 the left lower corner is added in plaster1 from the original fragment at ,athens4 ,in slab xxxviii4 the cow's right horn must have been carved in the round1 only the tip being attached to the background of the relief4 ,in slab xlii41 ,no4 #if has both hands raised to his head1 as if adjusting a wreath4 ,compare the north frieze1 ,no4 #be4 ,what was the number of cattle in this part of the frieze cannot now be ascertained1 but there is evidence that there were at least nine1 and more probably ten4 ,sidenote3 #ia4 ,michaelis 7,arch4 ,zeit41 #ahhe1 p4 #eg71 in placing xlii4 after xl41 makes the right hand seen on the left of xlii4 to be the hand of ,no4 #ia 7 ,michaelis1 ,no4 #aae71 and the portion of a cow's belly seen between #ij and #ia to be part of the cow on the left of xlii4 ,it is to be noticed that the hind legs of this cow have been altogether omitted4 ,there is a curious inequality in the depths of the relief in this part of the frieze4 ,slabs xxxix41 xl4 are worked more in the round than the remaining groups with cattle4 ,sidenote3 #ajj1 #aja4 ,sidenote3 #ajb4 ,the fragment with the two heads1 ,nos4 #ajj and #aja1 may be1 as ,michaelis suggests1 a part of the corner slab xliv41 the two parts at present numbered as #aja1 #ajb being different parts of the same figure4 ,the positions of the head and the foot appear to agree4 ,on the other hand1 the surfaces of the two fragments have weathered very differently4 ,on the return face of slab xliv4 is the marshal1 who forms the first figure of the east frieze1 and makes a connection between the two sides1 by looking back1 as if to the advancing procession4 ,in the following conspectus of publications of the frieze1 only the ,museum ,marbles and the work of ,michaelis1 and the photographic reproductions are referred to in detail4 ,for a fuller list of early publications the reader is referred to the work of ,michaelis4 ,deficiencies in the published illustrations1 as compared with the present state of the frieze1 are noted in the description4 ,in the fourth column ,c4 indicates that the slab was drawn by ,carrey2 ,s4 that it was drawn by ,stuart1 and published in the ,antiquities of ,athens1 ,,ii41 chap4 i41 or ,,iv41 chap4 iv41 pls4 #aa-ad4 ,a diagram showing all the slabs drawn by ,stuart is given in ,antiquities of ,athens1 ,,ii41 chap4 i41 pl4 #cj4 ,p4 indicates that a slab was drawn by ,pars1 during the ,dilettanti ,expedition1 and was published in the ,antiquities of ,athens1 ,,iv41 chap4 iv41 pls4 #f-aj1 #ae-bh4 ,w4 denotes slabs published1 from drawings of ,pars1 in the ,museum ,worsleyanum4 ,,parthenon ,,frieze1 ,,east ,,side4 ---------------------------------------- ---------------------------- ,,michaelis1 ,museum ,mansell's ,early ,drawings1 c4 ,der ,marbles1 ,photographs4 ,parthenon1 ,pt4 ,,viii4 ,pl4 #ad4 ---------------------------------------- ---------------------------- ,slab4 ,pl4 ,i4 ,,xxxix4 #fhd ,c4 ,,ii4 #fhd ,c4 ,,iii4 ,,xxxviii41 ,,xxxvii4 #fhe1 #fhf ,c4,s4 ,,iv4 ,,xxxvi41 ,i4 #fhg1 #fhh ,c4,s4 ,brunn1 ,denkmaeler1 ,nos4 #ajf1 #ajg4 ,v4 ,,ii41 ,,iii41 ,,iv4 #fhi1 #fij ,s4,w4 ,brunn1 ,denkmaeler1 ,nos4 #ajh1 #aji1 #aaj4 ,,vi4 ,v41 ,,vi4 #fia1 #fib ,c4 ,baumeister1 p4 #aahg4 ,,vii4 ,,vii4 ,c4 ,,viii4 ,,viii4 #fib;a ,c4,s4 ,,ix4 ,c4,s4 ---------------------------------------- ------------------------------ ,the ,east ,frieze is also published by the ,stereoscopic ,company1 ,nos4 #a-ac4 ,,parthenon ,,frieze1 ,,north ,,side4 ---------------------------------------- ------------------ ,,michaelis1 ,museum ,mansell's ,early ,pl4 #ab1 #ac4 ,marbles1 ,photographs4 ,drawings4 ,pt4 ,,viii4 ---------------------------------------- ------------------ ,slab4 ,pl4 ,i4-,v4 ,,viii4 ,c4,s4 ,,vi4 #fef ,c4 ,,vii4-,,xi4 ,c4 7except ,x47 ,,xii4 ,,ix4 ,a4 #fee ,c4,s4 ,,xiii4 ,c4 ,,xiv4 ,,ix4 ,b4 #fed ,c4,s4 ,,xv4-,,xvi4 ,c4 ,,xvii4 ,,xi4 ,s4,w4 ,,xviii4 ,x4 ,c4 #fec ,,xix4 ,c4 ,,xx4 ,,xxi4 ,x4 ,d4 #feb ,,xxii4 ,,xii4 #fea ,s4 ,,xxiii4 ,,xii4 #fej ,s4 ,,xxiv4 ,,xiii4 ,a4 #fdi ,,xxv4 ,s4 ,,xxvi4 ,,xiv4 #fdh ,s4 ,,xxvii4 ,,xxviii4 ,,xiii4 ,b4 #fdg ,,xxix4 ,,xxx4 ,,xxxi4 ,,xxxii4 ,,xv4 #fdf ,p4 ,w4 ,,xxxiii4 ,,xvi4 #fde ,p4 ,w4 ,,xxxiv4 ,,xvi4 #fdd ,p4 ,w4 ,,xxxv4 ,,xvii4 #fdc ,p4 ,w4 ,,xxxvi4 ,,xvii4 #fdb ,p4 ,w4 ,,xxxvii4 99 ,,xviii4 #fda ,p4 ,w4 ,,xxxviii4 99 ,,xviii4 #fdj ,p4 ,w4 ,,xxxix4 ,,xix4 #fci ,p4,s4,w4 ,,xl4 ,,xix4 #fch ,s4 ,w4 ,,xli4 ,,xx4 #fcg ,s4 ,w4 ,,xlii4 ,,xxi4 #fcf ,s4 ,w4 ---------------------------------------- ------------- 993 ,slab ,,xxxvii4 is given by ,brunn1 ,denkmaeler1 ,no4 #aac2 ,slab ,,xxxviii4 ,denkmaeler1 ,no4 #aad2 ,slab ,,xlii4 ,denkmaeler1 ,no4 #aae4 ,the ,north ,frieze is also published by the ,stereoscopic ,company1 ,nos4 #ad-ch4 ,,parthenon ,,frieze1 ,,west ,,side4 ---------------------------------------- ------------- ,stereo- ,,michaelis1 ,museum scopic ,early ,pl4 #i ,marbles1 ,company's ,drawings4 ,pt4 ,,viii4 ,photo- graphs4 ---------------------------------------- ------------- ,slab4 ,pl4 ,no4 ,i4 ,,xxii4 ,c4,p4,w4 ,,ii4 ,,xxii4 #ci ,c4,p4,w4 ,,iii4 ,,xxiii4 #dj1 #dj;,a ,c4,p4,w4 ,,iv4 ,,xxiv4 #da ,c4,p4,w4 ,v4 ,,xxv4 #db ,c4,p4,w4 ,,vi4 ,,xxvi4 #dc ,c4,p4,w4 ,,vii4 ,,xvii4 #dd ,c4,p4,w4 ,,viii4 ,,xxviii4 #de ,c4,p4,w4 ,,ix4 ,,xxix4 #df ,c4,p4,w4 ,x4 ,,xxx4 #dg ,c4,p4,w4 ,,xi4 ,,xxxi4 #dh ,c4,p4,w4 ,,xii4 ,,xxxii4 #di ,c4,p4,w4 ,,xiii4 ,,xxxiii4 #ej ,c4,p4,w4 ,,xiv4 ,,xxxiv4 #ea ,c4,p4,w4 ,,xv4 ,,xxxv4 #eb ,c4,p4,w4 ,,xvi4 ,,xxxv4 #ec ,c4,p4,w4 ---------------------------------------- ------------- ,,parthenon ,,frieze1 ,,south ,,side4 ---------------------------------------- --------------- ,,michaelis1 ,museum ,mansell's ,early ,pl4 #aj1 #aa4 ,marbles1 ,photographs4 ,drawings4 ,pt4 ,,viii4 ---------------------------------------- --------------- ,slab ,pl4 ,i4 ,,lvi4 #ffa ,s4 ,,ii4 ,s4 ,,iii4 ,,lv4 #feh ,s4 ,,iv4 ,s4 ,v4 ,,lv4 #fei ,s4 ,,vi4 ,,liv4 #ffj ,s4,w4 ,,vii4 ,,liv4 #feg ,s4,w4 ,,viii4 ,,liii4 #ffb ,s4,w4 ,,ix4 ,,liii4 #ffc ,s4,w4 ,x4 99 ,,lii4 #ffd ,s4,w4 ,,xi499 ,,lii4 #ffe ,s4,w4 ,,xii4 ,,li4 #fff ,s4 ,,xiii4 ,,li4 #ffg ,s4 ,,xiv4 ,,xv4 ,l4 #ffh ,,xvi4 ,,xvii4 ,,xviii4 ,c4 ,,xix4 ,,xlix4 #ffi ,c4 ,,xx4 ,c4 ,,xxi4 ,,xlix4 #fgj ,c4 ,,xxii4 ,,xlviii4 #fga ,c4 ,,xxiii4 ,c4 ,,xxiv4 ,,xlvii4 #fgb ,c4 ,,xxv4 ,,xlvii4 #fgc ,c4 ,,xxvi4 ,c4 ,,xxvii4 ,c4 ,,xxviii4 ,,xxix4 ,,xlvi4 #fgd ,,xxx4 ,,xlv4 #fge ,c4 ,,xxxi4 ,,xlv4 #fgf ,c4 ,,xxxii4 ,c4 ,,xxxiii4 ,c4 ,,xxxiv4 ,c4 ,,xxxv4 ,,xliv4 #fgg ,c4 ,,xxxvi4 ,c4 ,,xxxvii4 ,c4 ,,xxxviii4 ,,xliii4 #fgh ,,xxxix4 ,,xlii4 #fgi ,,xl4 ,,xli4 #fhj ,s4 ,,xli4 ,,xli4 #fha ,s4 ,,xlii4 ,,xl4 #fhb ,,xliii4 ,,xliv4 ,,xxxix4 #fhc ---------------------------------------- -------------- 993 ,slab ,x4 is given by ,brunn1 ,denkmaeler1 ,no4 #aaa2 ,slab ,,xi4 ,denkmaeler1 ,no4 #aab4 ,the ,south ,frieze is also published by the ,stereoscopic ,company1 ,nos4 #ec-ig4 ,,fragments ,,of ,,the ,,parthenon ,,sculptures4 ,numerous small fragments of the ,parthenon sculptures were taken from ,athens either by ,lord ,elgin1 or by travellers who visited ,athens4 ,others have been more recently discovered in excavations on the ,acropolis1 or on its south slope1 and are still at ,athens4 ,casts of all such fragments1 so far as they could be obtained1 are now in the ,british ,museum4 ,as far as possible the fragments have been adjusted in their correct positions on the sculptures1 and have been described in their respective places in this ,catalogue4 ,of the remainder all the original marble fragments1 and the most interesting of the casts1 are exhibited in the ,elgin ,room1 and are described below4 ,,marble ,,fragments ,,attributed ,,to ,,the ,,pedimental ,,sculptures4 ,sidenote3 #cbh4 ,fragment of colossal head4 ,according to ,hamilton's ,memorandum1 this fragment was discovered built into a ,turkish house at the west front of the temple4 ,it contains the upper part of a face and head4 ,the sockets of the eyes are hollow1 and must have once contained eyes composed of ivory1 precious stones1 or enamel4 7,an ivory eye1 which must have belonged to a colossal statue1 was found in the temple of ,athene1 at ,aegina1 and is engraved in ,cockerell1 ,temples at ,aegina1 and ,bassae1 pl4 #ab1 fig4 #d4 ,cf4 also ,arch4 ,anzeiger1 #ahhi1 p4 #ajb74 ,the surface of the marble is highly polished1 and traces of red colour have been remarked in the hair4 ,the back of the head is worked in a peculiar way1 to a plane surface1 such as might be required if this was a head from a pediment1 on account of the cornice above4 ,the hard1 conventional style1 however1 is not in accordance with that of the pedimental sculptures4 ,this fragment was formerly thought to belong to the ,athene of the western pediment1 to which its scale would correspond1 but there are no other grounds for the attribution4 ,height1 #aj inches4 ,synopsis1 ,no4 #aja 7#aah72 ,mus4 ,marbles1 ,,vi41 pl4 #af2 ,michaelis1 pl4 #h1 fig4 #ad4 ,sidenote3 #cbi4 ,two feet1 shod with leather1 attached to a plinth4 ,the feet belonged to a figure striding to the 7spectator's7 right4 ,the left foot was advanced1 and bore the weight of the body4 ,between the feet a stump of a tree is attached to the plinth4 ,the feet appear to be those of a female figure1 which in that case must have worn a short chiton4 ,the fragment has been assigned by different writers to the ,athene of the west pediment1 which is impossible1 on account of the attitude2 to the ,poseidon1 which is impossible1 on account of the scale2 and to the ,athene of the east pediment1 about whom we have no information4 ,it has also1 with more plausibility1 been assigned to the figure of ,hermes 7,h2 see ,carrey's drawing71 who accompanies the chariot of ,athene on the west pediment4 ,it is1 however1 unlikely that that figure was shod with leather shoes2 and the stump also has to be accounted for4 ,it is very probable that the plinth does not belong to the pedimental sculptures at all1 and ,sauer's plan of the floor of the pediment seems to leave no room for it4 ,it has been suggested that it is part of an independent group of ,athene and ,poseidon1 which ,pausanias saw on the ,acropolis4 ,but as to this there is no evidence either way4 ,length1 #d feet #f inches4 ,mus4 ,marbles1 ,,vi41 pl4 #h2 ,synopsis1 ,no4 #bef 7#bja72 ,michaelis1 pl4 #h1 fig4 #d1 p4 #aid2 ,journ4 of ,hellen4 ,studies1 ,,iii41 p4 #bea4 ,sidenote3 #ccj4 ,part of colossal right arm of female figure1 bent at a right angle at the elbow4 ,it comprises the upper arm1 from the shoulder1 and the upper part of the forearm4 ,this fragment may1 perhaps1 have belonged to figure ,g of the west pediment4 7,see ,carrey's drawing47 ,height 7to elbow71 #a foot #aa inches4 ,plate ,,vi41 fig4 #b4 ,in part given by ,michaelis1 pl4 #h1 fig4 #dj2 ,synopsis1 ,no4 #cdb 7#bfh74 ,sidenote3 #cca4 ,left arm of female figure1 bent1 from near the shoulder1 to a little above the elbow4 ,drapery1 thrown over the arm at the elbow joint1 falls partly on the upper and partly on the fore arm4 ,in the drapery of the upper arm is a hole for the attachment of an object in metal4 ,this fragment seems best suited to the figure ,n4 7,see ,carrey's drawing47 ,length1 armpit to elbow1 #a foot #d-a_/d inches4 ,michaelis1 pl4 #h1 fig4 #bf2 ,synopsis1 ,no4 #cae 7#bga9974 ,sidenote3 #ccb4 ,right arm of female figure1 slightly bent1 formed of two fragments united at the elbow4 ,this may1 perhaps1 belong to figure ,f4 ,length1 #b feet #g-a_/b inches4 ,michaelis 7pl4 #h1 fig4 #cj7 gives the upper arm2 ,synopsis ,no4 #cci 7#bfi74 ,sidenote3 #ccc4 ,left forearm of female figure1 broken off above the elbow 7,michaelis1 pl4 #h1 fig4 #bh74 ,to this is united a cast of a fragment at ,athens with the wrist1 which is bent a little inwards4 ,the arm must have been bent at the elbow4 ,length1 elbow to wrist1 #a foot #g inches4 ,synopsis1 ,no4 #cad 7#bgb74 ,sidenote3 #ccd4 ,forearm of female figure4 ,michaelis 7pl4 #h1 fig4 #bi7 thinks that it may have belonged either to figure ,o or ,w of the west pediment4 ,length1 #aa-a_/b inches4 ,synopsis1 ,no4 #caa 7#bfd74 ,sidenote3 #cce4 ,fragment of left thigh1 above life size4 ,michaelis 7pl4 #h1 fig4 #ci7 calls this a female fragment1 and suggests the nude seated female figure ,s of the west pediment4 ,but he seems to be in error as to the sex1 and the fragment seems more appropriate to the figure of the boy1 ,e1 in the same pediment4 ,length1 #a foot4 ,synopsis1 ,no4 #cab 7#bfg74 ,sidenote3 #ccf4 ,fore part of right foot of female figure1 resting on a thick sole4 ,the foot belonged to a colossal figure1 which1 can hardly have been other than the ,athene of the west pediment4 ,length1 #a foot #a-c_/d inches 7length of second toe1 #c-c_/d inches74 ,michaelis4 pl4 #h1 fig4 #cb2 ,synopsis1 ,no4 #cdj 7#bdd74 ,sidenote3 #ccg4 ,piece of drapery1 which must have hung free1 apparently from the shoulder and outstretched right arm of a colossal figure4 ,at the upper extremity is part of a dowel hole1 showing that the marble had been attached here by a joint4 ,height1 #b feet #a-a_/b inches4 ,synopsis1 ,no4 #cdc 7#add74 ,sidenote3 #cch4 ,fragment of right shoulder and arm as low as the deltoid4 ,the upper arm presses against the side4 ,this fragment may belong to the boy ,p on the left of ,q in the west pediment4 ,height1 #aa inches4 ,synopsis1 ,no4 #cjc 7#acc74 ,,casts ,,from ,,fragments ,,of ,,the ,,pedimental ,,sculptures4 ,sidenote3 #cci4 #a4 ,colossal female head1 slightly turned to its right4 ,the hair was confined in a plait round the head1 and also by a wreath or band1 which was of metal1 as is shown by the holes for its attachment4 ,the nose and mouth have been restored2 but the grand style of the antique parts of the head agrees with that of the ,parthenon pediments4 ,it is impossible1 however1 to determine to which figure the head belongs4 ,it has been assigned by ,laborde and others to the ,victory 7,g7 who is driving the chariot of ,athene in the west pediment4 ,but it may have belonged to one of the figures ,n1 ,q1 ,s1 of the same pediment4 ,the probability that the head is derived from the ,parthenon is increased by what is known of its history4 ,it was found in a house of the ,san ,gallo family at ,venice4 ,a member of this family1 ,felice ,san ,gallo1 was secretary of ,morosini1 and may well have taken the head as a trophy from ,athens1 in #afhg4 ,the head passed in #ahbc into the possession of ,david ,weber1 and afterwards into that of ,laborde4 ,height1 #a foot #c-a_/b inches4 ,laborde1 ,athenes1 ,,ii41 pls4 facing pp4 #bbh1 #bcj2 ,michaelis1 p4 #aie2 pl4 #h1 fig4 #f2 ,wolters1 ,no4 #efa1 p4 #beg4 ,sidenote3 #b4 ,colossal female head1 much defaced4 ,the hair is gathered in a cloth1 which passes over the back of the head4 ,compare the figure in the east frieze1 slab vi41 ,no4 #ci 7,michaelis1 pl4 #ad1 ,no4 #dj74 ,height1 #aa-a_/b inches4 ,michaelis1 pl4 #h1 fig4 #i2 ,laborde1 pl4 #bd1 fig4 #f4 ,sidenote3 #c4 ,right side of colossal female head4 ,the hair is gathered into a plait from the brow and bound round the head4 ,this fine fragment agrees well in style with the unrestored parts of the head1 ,no4 #a1 above4 ,height1 #aj-a_/b inches4 ,sidenote3 #d4 ,fragment of a wing1 with a joint for attachment1 and a heavy support below4 ,the figure of ,victory 7,j7 in the east pediment probably had large wings2 but it is difficult to attach this cast to the statue4 ,greatest length1 #b feet #f inches4 ,michaelis1 pl4 #h1 fig4 #aa2 ,laborde1 pl4 #be1 fig4 #ab2 ,overbeck1 ,ber4 d4 k4 saechs4 ,ges4 d4 ,wissenschaften1 #ahhj1 pl4 #c4 ,sidenote3 #e4 ,three smaller fragments of similar wings4 ,one is engraved1 ,michaelis1 pl4 #h1 fig4 #aj2 ,laborde1 pl4 #be1 fig4 #ag4 ,sidenote3 #f4 ,portion of chiton1 the flowing lines of which greatly resemble the treatment of the ,iris8 7,g7 of the east pediment4 ,length1 #a foot #f-a_/b inches4 ,sidenote3 #g4 ,portion of the right side of a draped figure wearing chiton and mantle1 and sitting on a rock4 ,attributed by ,michaelis to the west pediment 7fig4 ,d or fig4 ,u74 ,height1 #c feet #c inches4 ,michaelis1 pl4 #h1 fig4 #e4 ,see above1 ,no4 #cjd ,d4 ,sidenote3 #h4 ,left knee of seated draped figure1 with the fingers of a small hand on it4 7,west pediment1 figs4 ,d1 ,e47 ,see ,no4 #cjd1 ,d1 ,e4 ,height1 #a foot4 ,sidenote3 #i4 ,left leg of colossal male figure1 bent nearly at a right angle at the knee4 ,it is made up from two pieces1 a fragment reaching from half-way up the thigh to below the knee1 and the fragment of a leg 7,michaelis1 pl4 #h1 fig4 #cf71 reaching to the bottom of the calf4 ,the scale and the attitude seem to agree well with the figure of ,hermes 7,h7 of the west pediment4 ,greatest circumference of the thigh1 #b feet #g-a_/b inches4 ,sidenote3 #aj4 ,fragment of the right leg and thigh of a colossal male figure1 made up of two pieces1 the leg from below the knee nearly to the ankle 7,michaelis1 pl4 #h1 fig4 #ch71 and the knee with the beginning of the thigh4 ,this leg is slightly bent at the knee4 ,it is on the same scale as the preceding ,no4 #i1 and appears to be in the required position for the right knee of the figure of ,hermes 7,h7 in the west pediment4 ,height1 #a foot #aa inches4 ,sidenote3 #aa4 ,a colossal right foot1 broken off at the ankle1 and also half-way between the instep and the toes4 ,less than half of the sole is roughly cut with a drill as if this part of the foot had been slightly raised from the ground4 ,the heel and part of the sole under the instep have been broken away4 ,the scale is rather larger than that of the preceding ,nos4 #i1 #aj1 and it may therefore be one of the feet of the ,athene in the west pediment4 ,length of fragment1 #aa-a_/b inches4 ,michaelis1 pl4 #h1 fig4 #ca2 ,laborde1 pl4 #eh1 fig4 #h4 ,sidenote3 #ab4 ,fragment of tail of some serpentine creature having on the back a ridge of projections4 ,this fragment has been thought to be part of the tail of a ,hippocamp attached to the chariot of ,amphitrite4 ,length1 #a foot #f inches4 ,michaelis1 pl4 #h1 fig4 #ag2 ,laborde1 pl4 #bd1 fig4 #i4 ,sidenote3 #ac4 ,fragment of left thigh1 near the knee1 of colossal figure2 on it falls a corner of drapery to which is attached a gland4 ,sauer proposes to assign this fragment to the figure ,s of the west pediment4 ,length1 #i-a_/b inches4 ,athenische ,mittheilungen1 #ahia1 p4 #gi4 ,sidenote3 #ad4 ,right thigh and knee of a male figure1 rather larger than life4 ,it is very doubtful whether this belongs to the ,parthenon4 ,length1 #aj inches4 ,sidenote3 #ae4 ,fragment of right leg of small figure1 broken off above ankle and below knee4 ,it has been attached at the back4 ,length1 #aa inches4 ,sidenote3 #af4 ,left hand of colossal female figure clasped round an uncertain object4 ,the hand is broken off at the wrist2 the forefinger and middle finger are wanting4 ,there is no evidence that this hand belongs to the ,parthenon4 ,the scale1 however1 is suitable to one of the central figures of the west pediment4 ,if the hand is derived thence1 it is possible that the hand is a hand of ,athene1 and that the object it holds is not the base of a torch1 as has been suggested1 but part of the olive-tree4 ,in that case ,athene would be placing her left hand on a projecting bough of her tree4 ,length of third finger1 #f-a_/d inches4 ,overbeck1 ,ber4 d4 k4 saechs4 ,ges4 d4 ,wissenschaften1 #ahhj1 pl4 #c4 ,sidenote3 #ag4 ,fragment of an olive-tree with foliage4 ,height1 #f-a_/b inches4 ,sidenote3 #ah4 ,similar fragment of olive-tree1 larger than last4 ,height1 #a foot #d inches4 ,michaelis1 pl4 #h1 fig4 #ae4 ,sidenote3 #ai4 ,fragment of ankle and part of calf of right leg wearing high boot and attached on the right side to the trunk of a tree4 ,it is highly improbable that this fragment belonged to the ,parthenon4 ,height1 #a foot #c inches4 ,sidenote3 #bj4 ,left hand and wrist of male figure2 the palm is grooved for the reception of some object like a staff2 the thumb1 forefinger1 and upper joints of the other fingers are wanting4 ,the scale is rather larger than that of the so-called ,theseus 7,d7 of the east pediment1 to which the fragment has been attributed by ,overbeck4 ,the wrist is slightly bent inwards4 ,this hand is finely modelled4 ,length1 #i-a_/b inches4 ,overbeck1 ,ber4 d4 k4 saechs4 ,ges4 d4 ,wissenschaften1 #ahhj1 p4 #dc4 ,sidenote3 #ba4 ,fragment of left hand and wrist of male figure1 the hand much bent back as if the figure had rested on the open palm2 broken across the middle of the metacarpal bones2 possibly the left hand of the ,river-,god ,v in the west pediment4 ,see ,no4 #cjd ,v4 ,breadth1 #f-a_/d inches4 ,sidenote3 #bb4 ,right hand of female figure1 small2 the thumb and fingers broken off4 ,breadth of palm1 #d-a_/d inches4 ,sidenote3 #bc4 ,right hand2 the thumb and fingers broken off4 ,breadth of palm1 #d-c_/d inches4 ,sidenote3 #bd4 ,right arm of female figure1 slightly bent2 the upper arm broken about the bottom of the biceps2 the under side is worked rough4 ,length1 #a foot #b inches4 ,sidenote3 #be4 ,fragment of left upper arm of female figure with sleeve of chiton fastened with studs 7,michaelis1 pl4 #h1 fig4 #be74 ,length1 #h-a_/b inches4 ,sidenote3 #bf4 ,fragment of right shoulder and upper part of back of arm of female figure2 over the shoulder is drapery4 ,height1 #a foot #a_/b inch4 ,sidenote3 #bg4 ,fragment of right hip and right side of body nearly to the navel1 of a boy1 possibly from the west pediment4 ,greatest height1 #h inches4 ,sidenote3 #bh4 ,left breast of female figure1 draped2 the drapery has been fastened on the left shoulder4 ,this may be part of the figure of ,callirrhoe 7,w7 in the west pediment4 ,height1 #a foot4 ,sidenote3 #bi4 ,left breast of female figure1 the drapery strained over it2 the scale is similar to that of the figure ,c in the west pediment4 ,height1 #i inches4 ,sidenote3 #cdj4 ,cast of a marble head in the ,bibliotheque ,nationale at ,paris1 wrongly assigned by ,c4 ,lenormant to the pediments of the ,parthenon4 ,height1 #a foot #i inches4 ,gaz4 ,arch41 #ahge1 pl4 #a2 ,wolters1 ,no4 #abhj2 ,laborde1 ,athenes1 ,i41 p4 #aeg2 ,michaelis1 p4 #bjb1 ,b992 ,babelon1 ,cabinet des ,antiques a la ,bibl4 ,nat41 pl4 #bj4 ,,casts ,,from ,,fragments ,,of ,,chariot-,,horses ,,of ,,west ,,pediment4 ,sidenote3 #cda4 ,a large number of small fragments of horses from the west pediment has been discovered4 ,several of these fragments have been proved to have belonged to the horses of ,poseidon1 which were lost before the visit of ,cyriac of ,ancona1 in #addg4 ,others belonged to the group of horses1 which was let fall by ,morosini's workmen4 ,casts of these are preserved in the ,british ,museum1 but only the most remarkable are exhibited in the ,elgin ,room4 ,sidenote3 #a4 ,horse's head broken off at the setting off of the neck4 ,the nose wanting4 ,the mane1 which has been hogged1 and the surface of this head in several places are broken away4 ,this fragment and the two following are assigned by ,sauer to the chariot of ,poseidon4 ,michaelis1 pl4 #h1 ,j4 ,k4 a2 ,laborde1 pl4 #bf1 fig4 #be4 ,sidenote3 #b4 ,horse's head1 lower half broken away4 ,the mane hogged1 with a loose lock in front4 ,behind the ears a groove and two perforations are worked in the mane1 and above the ears two other perforations for the attachment of trappings of metal4 ,overbeck1 ,ber4 d4 k4 saechs4 ,ges4 d4 ,wissenschaften1 #ahgi1 pl4 #a1 fig4 #c4 ,sidenote3 #c4 ,a right hindleg from the stifle joint to the pastern1 bent1 so as to indicate a rearing action4 ,from below the hough to the hoof the leg is carved out of a block resting on the bed of the pediment4 ,the greater part was sculptured on another block also set in the bed1 which is now wanting1 and was fitted to the first block at a joint roughly tooled4 ,the outside of the haunch and hough have been cut away1 evidently to gain room for the left hindleg of another horse1 or1 according to ,sauer1 for the chariot-pole4 ,this limb is composed of three separate fragments4 ,michaelis1 pl4 #h1 ,j4 ,k4 f2 ,laborde1 pl4 #bf1 fig4 #dj2 ,overbeck1 ,ber4 d4 k4 saechs4 ,gesell4 d4 ,wissenschaften1 #ahgi1 p4 #gb1 pl4 #a2 and #ahhj1 p4 #afa4 ,sidenote3 #d4 ,left hindleg from stifle to below hough1 bent1 made up of two fragments2 the upper one may be ,michaelis1 pl4 #h1 ,j4 ,k4 g2 ,laborde1 pl4 #bf1 fig4 #cf4 ,sidenote3 #e4 ,left thigh from below stifle2 the outer side split off1 broken off in the hough joint4 ,sidenote3 #f4 ,right forefoot2 made up of two fragments of which one is ,michaelis1 pl4 #h1 ,j4 ,k4 p2 broken off below the knee2 the hoof free from the ground4 ,sidenote3 #g4 ,hoof of forefoot1 free from the ground2 cut away on one side with rough surface2 under the foot are holes round the edge as if for nails4 ,sidenote3 #h4 ,hindhoof attached to fragment of base4 ,michaelis1 pl4 #h1 ,j4 ,k4 m2 ,laborde1 pl4 #bf1 fig4 #da4 ,sidenote3 #i4 ,left foreleg1 bent1 from above knee to below knee4 ,michaelis1 pl4 #h1 ,j4 ,k4 s2 ,laborde1 pl4 #bf1 fig4 #cj bis4 ,,marble ,,fragments ,,of ,,metopes4 ,sidenote3 #cdb4 ,the following fragments can be assigned with confidence to their respective places on the south side4 ,sidenote3 #a4 ,metope ,,xii4 7,no4 #cad74 ,foot of female figure4 ,see ante1 ,no4 #cad4 ,sidenote3 #b4 ,metope ,,xiv4 ,the body of a male figure from the neck to the navel4 ,this fragment is engraved in the vignette to ,museum ,marbles1 ,part vii41 and was drawn by ,carrey1 who gives the whole metope as a youth raising his hands in astonishment1 and a woman with a casket4 ,michaelis1 pl4 #c1 xiv42 ,synopsis1 ,no4 #cai 7#adc74 ,sidenote3 #c4 ,metope ,,xvi4 ,the head and trunk of a figure who has fallen in a combat between two men4 ,the trunk was one of the ,elgin fragments1 and is also engraved in the vignette to ,museum ,marbles1 ,part vii4 ,the head was formerly at ,chatsworth1 and was presented to the ,museum by the ,duke of ,devonshire in #ahei4 ,carrey gives the position of the head of the fallen figure very accurately4 ,synopsis1 ,no4 #cbc 7#bid72 ,michaelis1 pl4 #c1 xvi4 ,sidenote3 #d4 ,metope ,,xx4 ,left thigh of female figure with clinging drapery1 standing turned to the left4 ,the following fragments are either of doubtful or unknown origins4 ,probably they are all derived from metopes on the south side4 ,sidenote3 #e4 ,left breast of draped female figure4 ,south side1 ,metope ,no4 ,,xiii48 ,synopsis1 ,no4 #cjb 7#acb72 ,michaelis1 pl4 #d1 fig4 ,k4 ,sidenote3 #f4 ,fragment of right arm from the wrist to above the elbow1 which is bent2 above the wrist is attached a corner of drapery4 ,presented by ,m4 ,dubois1 #ahdj4 ,south side1 ,metope ,no4 ,,xv48 ,sidenote3 #g4 ,fragment of right arm from the wrist to the elbow1 placed across the breast and left shoulder1 with folds of drapery hanging as if from the hand4 ,south side1 ,metope ,no4 ,,xix48 ,synopsis1 ,no4 #cje 7#acf74 ,sidenote3 #h4 ,fragment of left arm from the wrist to near the elbow4 ,synopsis1 ,no4 #cjf 7#acg74 ,sidenote3 #i4 ,fragment of calf of leg4 ,synopsis1 ,no4 #cjg 7#ach74 ,sidenote3 #aj4 ,fragment of calf of leg covered with drapery4 ,synopsis1 ,no4 #cjh 7#aci74 ,sidenote3 #aa4 ,fragment of left arm from the wrist to near the elbow4 ,synopsis1 ,no4 #cji 7#adj74 ,sidenote3 #ab4 ,part of the arm 787 of a draped figure1 made up of two pieces4 ,synopsis1 ,nos4 #cbj 7#ada7 and #cbb 7#adb74 ,sidenote3 #ac4 ,fragment of the right upper arm of a draped female figure with sleeve fastened with two studs4 ,synopsis1 ,no4 #cjd 7#acd74 ,sidenote3 #ad4 ,right shoulder and part of breast of draped female figure2 the chiton fastened down the shoulder with four studs4 ,michaelis1 pl4 #d1 fig4 ,o2 ,synopsis1 ,no4 #cja 7#aca74 ,sidenote3 #ae4 ,left hind leg of ,centaur up to above the hough4 ,presented by ,m4 ,dubois1 #ahdj4 ,,casts ,,from ,,fragments ,,of ,,metopes4 ,sidenote3 #cdc4 ,a large number of fragments have been discovered in the course of excavations at ,athens4 ,casts of these have been attached1 as far as possible to the ,metopes4 ,of the fragments which could not be so attached1 the following are the most important4 ,sidenote3 #a4 ,south side1 ,metope ,,xi4 ,fragment of shield1 held by left hands of both ,centaur and ,lapith2 cf4 ,michaelis1 pl4 #c1 ,no4 xi4 ,see p4 #ach4 ,sidenote3 #b4 ,metope ,,xvii4 ,torso of male figure1 extending from the left shoulder to half-way down the right thigh2 drapery hangs from the left shoulder and falls down the back to the waist4 ,this figure has stood on the right foot2 the left leg appears to have been bent4 ,this metope1 as drawn by ,carrey1 appears to have contained a nearly nude male figure1 standing1 and a draped figure of a woman1 or citharist1 holding a lyre4 ,michaelis1 pl4 #c1 xvii4 ,sidenote3 #c4 ,metope ,,xvii4 ,fragment1 possibly part of a lyre2 apparently this is the object held in the hands of the draped figure of this metope4 ,there are traces of fingers at the back4 ,sidenote3 #d4 ,metope ,,xx4 ,fragment of right hand holding the end of a scroll4 ,this metope1 as drawn by ,carrey1 contained two draped figures1 holding scrolls4 ,michaelis1 pl4 #c1 xx4 ,sidenote3 #e4 ,metope ,,xxiv4 ,torso of ,lapith4 ,in the complete metope1 as drawn by ,carrey1 the ,lapith holds the fallen ,centaur by the hair1 and places his left foot on his body4 ,michaelis1 pl4 #c1 xxiv4 ,sidenote3 #f4 ,head of ,lapith1 perhaps from ,metope ,no4 #cje4 ,found in the excavations on the ,acropolis1 of #ahhi4 ,height1 #g-a_/b inches4 ,,marble ,,fragment ,,of ,,frieze4 ,sidenote3 #cdd4 ,head of a youth1 looking to the left1 in low relief4 ,this fragment probably belongs to one of the horsemen in the north frieze4 ,it is placed by ,michaelis 7pl4 #ac7 in the space between slabs xxvi4 and xxviii4 ,this head was formerly in the possession of ,mr4 ,steinhaueser1 at ,karlsruhe4 ,height1 #e-c_/d inches4 ,,casts ,,from ,,fragments ,,of ,,the ,,frieze4 ,sidenote3 #cde4 ,the fragments are here arranged1 as far as possible1 in the order followed in the description of the frieze4 ,,east ,,frieze4 ,sidenote3 #a4 ,fragment from left-hand lower corner of slab1 with drapery falling in vertical folds from below the knee of a figure2 and with a right foot turned to the right1 and wearing a shoe with a thick sole4 ,the figure to which this fragment belongs must have been a maiden in the procession2 probably the figure on the left of slab ii4 now entirely lost1 but preserved in ,carrey's drawing4 ,height1 #a foot4 ,compare ,michaelis1 pl4 #ad1 slab ii41 ,no4 #b4 ,sidenote3 #b4 ,female head1 looking to the left4 ,the hair is gathered up under a net4 ,this must have belonged to one of the figures in the procession on the east side1 slabs vii4-ix41 and probably to ,no4 #ef4 ,height1 #d-a_/b inches4 ,,north ,,frieze4 ,sidenote3 #c4 ,fragment of arm and drapery of male figure moving to the left4 ,from the left edge of a slab4 ,this seems to be a part of the figure1 ,no4 #d1 partly seen on slab ii41 and has been thus drawn on plate vii4 ,height1 #a foot #a inch4 ,sidenote3 #d4 ,left-hand upper corner of slab1 on which is a youthful male head1 bound with a diadem1 looking to the left2 the face shown in three quarters4 ,this seems to agree best with ,carrey's drawing of the figure with the sheep1 slab iv41 ,no4 #g 7 ,michaelis1 ,no4 #i74 ,see plate vii4 ,height1 #g-a_/b inches4 ,sidenote3 #e4 ,fragment containing the back of the head of one of the lyre-players 7,michaelis1 ,no4 #bd7 and part of the lyre of the other 7,michaelis1 ,no4 #be74 ,height1 #aa-a_/d inches4 7,see ,plate viii47 ,michaelis1 pl4 #ab1 vii4 ,sidenote3 #f4 ,fragment from lower part of draped figure from knee to right 787 foot1 the direction being to the left4 ,on the right side of the fragment is a joint4 ,the drapery reaches to the ankle1 with an upper fold falling half-way down the calf4 ,this fragment seems to have belonged to the musician on slab vii41 whose lyre is preserved on the preceding fragment1 and is thus drawn on ,plate viii4 ,michaelis is in error in marking a joint on the left of his ,no4 #bf 7 ,museum1 ,no4 #ag74 ,height1 #a foot #g-a_/b inches4 ,sidenote3 #g4 ,fragment with left foot wearing a shoe1 from a draped figure moving to the left4 ,the skirt falls just above the ankle4 ,this may be a part of the figure on slab i41 only preserved in ,carrey's drawing 7cf4 ,plate vii472 or it may have belonged to one of the figures on slabs vii4--ix41 notwithstanding that ,carrey represents them with bare feet4 ,height1 #g inches4 ,sidenote3 #h4 ,fragment from the left of slab ix41 giving parts of the three figures shown in ,carrey's drawing 7see ,plate viii474 ,this fragment agrees fairly well with ,carrey1 except that he does not indicate the hand of the middle figure4 ,it was discovered in the excavations on the ,acropolis in #ahhi4 ,height1 #b feet4 ,sidenote3 #i4 ,fragment from the right joint of a slab1 containing part of a male figure from the hip to the right shoulder4 ,the right arm was held horizontally1 and bent at the elbow1 so that the hand is seen before the breast4 ,a mantle passes round the body from under the right arm to the left shoulder4 ,this1 as ,robert points out 7,arch4 ,zeit41 #ahge1 p4 #ajj1 l71 seems to be the marshal beside the chariot group in ,michaelis1 pl4 #ab1 xiii41 fig4 #dh4 7,see ,plate viii41 slab xiii47 ,in that case the raised mass on the left of the hip of this figure would be part of the rump of the third horse4 ,height1 #a foot #e inches4 ,sidenote3 #aj4 ,fragment with edge of hind quarter of horse1 rearing to the left1 with part of the tail4 ,above the tail are folds of drapery4 ,this fragment is perhaps a part of slab xiii41 with the hinder chariot horse2 but this is very doubtful4 ,height1 #a foot #h inches2 ,michaelis1 pl4 #ab1 slab xiii41 fig4 #dh4 ,sidenote3 #aa4 ,part of a charioteer1 between the waist and the knees2 he stands in a chariot1 of which the antyx is visible4 ,the left forearm crosses the body as if holding the reins4 ,this fragment1 which is not noticed by ,michaelis1 must belong to the north frieze4 ,robert 7,arch4 ,zeit41 #ahge1 p4 #ajj1 n7 proposed to assign it to slab ,no4 xiii4 of the north frieze4 ,this seems the most probable position1 though the fragment does not agree very well with ,carrey's drawing4 ,height1 #a foot4 ,sidenote3 #ab4 ,fragment of chariot group2 an apobates standing in a quadriga1 leaning forward4 ,the head and neck1 right arm from below elbow and legs from below the knee are wanting4 ,on his left arm is his oval buckler4 ,he wears a chiton which leaves the right arm and side bare4 ,his right hand must have grasped the antyx4 ,on the left a portion of the drapery of the charioteer is visible4 ,there is a joint on the left of this fragment4 ,it must belong to the northern frieze1 and on p4 #agb1 fig4 #ab1 it has been drawn in combination with slab xix4 ,it is not given by ,michaelis1 or in ,robert's list 7,arch4 ,zeit41 #ahge1 pp4 #ie-ajc74 ,height1 #a foot #e inches4 ,sidenote3 #ac4 ,horse's head1 reined back2 a joint on the left side4 ,the scale and direction show that this head belonged to a chariot group on the north side4 ,height1 #aa-a_/b inches2 ,michaelis1 pl4 #ab1 slab xx4 7cf4 p4 #agc74 ,sidenote3 #ad4 ,fragment containing a part of the neck and lower part of the mane of one of the horses of a chariot group1 together with a part of the neck of a second horse4 ,this fragment1 which was discovered in the excavations on the ,acropolis of #ahhi1 must belong to a chariot group of the north frieze1 perhaps to slab xi41 xv41 or xvi4 ,height1 #a foot #c inches4 ,sidenote3 #ae4 ,the upper part of two horsemen1 and part of the head or neck of a succeeding horse4 ,the second rider1 whose hand is preserved1 held metal reins4 ,the horse had a metal bridle4 ,this fragment was formerly in the ,cataio ,villa1 and afterwards the property of ,archduke ,karl of ,austria4 ,it must have belonged to the fragmentary portion of the north frieze1 between slabs xxvi4 and xxviii4 ,height1 #a foot #c inches2 ,laborde1 ,athenes1 ,,ii41 p4 #bcf2 ,michaelis1 pl4 #ac1 xxvii4 ,,south ,,frieze4 ,sidenote3 #af4 ,helmeted head looking to the right4 ,the lower part of the face is broken away4 ,the helmet has a cheekpiece turned up at the side4 ,this head probably belongs to the horseman1 ,no4 #e1 in the south frieze4 ,height1 #e-a_/d inches4 ,sidenote3 #ag4 ,foreleg of a horse from below the knee to the hoof4 ,the direction is to the right4 ,length1 #g-a_/b inches4 ,sidenote3 #ah4 ,youthful beardless head wearing a petasos and looking to the right4 ,the right side of the head is broken away4 ,michaelis engraved this head1 pl4 #aa1 slab xix41 ,no4 #dh4 ,it no doubt belongs either to that horseman1 or to one of the two on the slab following 7xx471 for which see ,carrey's drawing4 ,height1 #g inches4 ,sidenote3 #ai4 ,upper part of youthful male figure looking to the right2 behind1 horse's head4 ,the figure wore a chiton with girdle1 and1 apparently1 a close-fitting helmet or leather cap4 ,part of the shoulder of a second figure seems to be visible on the right edge of the fragment4 ,it is not easy to find a place for this fragment among the horsemen of the south side4 ,it seems more probable that the head is that of the charioteer of slab xxvi42 it agrees well with ,carrey's drawing4 ,height1 #a foot #d inches2 ,michaelis1 pl4 #aa1 slab1 xxvi42 ,no4 #fd4 ,sidenote3 #bj4 ,fragment of male figure1 turned to the right1 extending from the neck to the hip4 ,the drapery consists only of a mantle which is seen passing over the right shoulder and round the body4 ,the figure appears to be that of a youth and to correspond best with one of the charioteers of the south frieze1 only preserved in ,carrey's drawing1 ,michaelis1 pl4 #aa1 slab xxvii4 ,height1 #a foot #a_/d inch2 ,michaelis1 pl4 #aa1 slab xxiv41 ,a4 ,sidenote3 #ba4 ,fragment of elderly male figure1 moving to the right2 from the hips to the beginning of the shoulder blades4 ,he wears a mantle closely wrapped about him1 and leaving the right arm bare4 ,on the right of this fragment is a joint4 ,it probably belongs to a figure in the group of old men and musicians1 slabs xxxiv4-xxxvii4 ,michaelis inserts it in slab xxxv4 7,no4 #ig in his pl4 #aa71 but his drawing is incorrect and the fragment cannot be adjusted there4 ,the only possible place seems to be on the right of slab xxxiv4 ,height1 #aj inches4 ,sidenote3 #bb4 ,fragment with left foot and part of drapery of figure moving to the right1 and having the left foot hindmost4 ,from the left-hand lower corner of a slab4 ,the lowness of the relief shows that this foot belongs to one of the figures on the far side of the victims4 ,michaelis combines it with his pl4 #aa41 slab xliii41 #abf4 ,this figure1 which is #hd according to the ,museum numbering1 has now been joined to slab xli4 ,although the fragment does not seem to join satisfactorily to the angle of slab xli41 yet this seems its probable position4 ,height1 #h inches4 ,,south ,,or ,,north ,,frieze4 ,sidenote3 #bc4 ,fragment of helmeted head looking to the right4 ,the head is entirely destroyed except the back of the helmet and its crest4 ,this head perhaps belongs to one of the warriors that accompany the chariots in the north frieze4 ,height1 #aa-a_/b inches4 ,,architectural ,,fragments ,,from ,,the ,,parthenon4 ,sidenote3 #cej4 ,the capital and uppermost drum of one of the ,doric columns of the north side4 ,width of abacus1 #f feet #g-a_/d inches2 ,penrose1 ,athenian ,architecture1 pl4 #ai1 fig4 #a4 ,sidenote3 #cea4 ,part of a marble tile-front4 ,the roof of the ,parthenon1 like that of many other ,greek temples1 was formed of marble tiles1 solenes1 carefully adjusted4 ,in the case of the ,parthenon the tiles were placed side by side4 ,ridge tiles covered the joints1 and the lower end of each ridge terminated in an anthemion4 ,hence the tile-front was called by the ,greeks kalypter anthemotos4 ,see the model of the ,parthenon1 and ,michaelis1 pl4 #b1 fig4 #h4--;,inwood ,coll4 ,height1 #a foot #a_/b inch4 ,sidenote3 #ceb4 ,cast of a similar but more perfect tile-front1 from the original at ,athens4 ,height1 #a foot #h-a_/b inches2 ,michaelis1 pl4 #b1 fig4 #h2 ,inwood1 ,erechtheion1 pl4 #bb4 ,sidenote3 #cec4 ,cast of lion's head from one of the angles of the pediment4 ,this head1 is worked from a block which forms the springing stone of both the cymatium and the corona of the pediment4 ,in the modelling of the lion's head1 and especially in the treatment of the mane1 there is a noticeable austerity and conventionalism1 such as is appropriate to a purely decorative piece of sculpture4 ,height1 #a foot #d-a_/b inches4 ,see the model of the ,parthenon2 ,penrose1 ,athenian ,architecture1 pl4 #ag2 ,michaelis1 pl4 #b1 fig4 #i2 ,brunn1 ,denkmaeler1 ,no4 #hb ,b4 ,sidenote3 #ced1 #e4 ,casts from two fragments of acroteria1 probably from the western pediment4 ,the acroteria were ornaments placed above the centre of the pediments4 ,for an example of a complete acroterion1 see that from ,eleusis1 ,no4 #dch4 ,lengths1 #c feet #c inches and #a foot #i inches2 ,michaelis1 pl4 #b1 fig4 #aj1 i1 l4 ,sidenote3 #cef4 ,marble fragment of a similar acroterion4--,inwood ,coll4 ,height1 #aj inches2 ,inwood1 ,erechtheion1 pl4 #bb1 p4 #acj4 ,sidenote3 #ceg4 ,marble fragment of moulding with painted maeander pattern4--,inwood ,coll4 ,length1 #aj inches2 ,inwood1 ,erechtheion1 pl4 #bb1 p4 #abi4 ,sidenote3 #ceh4 ,marble fragment of moulding with painted maeander pattern4 ,both these fragments 7#ceg1 #ceh7 appear to belong to the moulding which surmounted the frieze and passed round the interior of the peristyle4--,elgin ,coll4 ,length1 #a foot #i inches2 ,penrose1 ,athenian ,architecture1 pl4 #bj1 fig4 #bg;a2 pl4 #bc2 ,michaelis1 pl4 #b1 fig4 #ag4 ,,part ,,iii4 ,,the ,,successors ,,of ,,pheidias4 ,,sculptures ,,of ,,the ,,temple ,,called ,,the ,,theseion4 ,the building which is commonly known as the ,temple of ,theseus1 or ,theseion1 stands about a quarter of a mile to the north-west of the ,acropolis of ,athens4 ,illustration3 ,fig4 #ae4--,plan of the ,theseion4 7,from ,baumeister47 ,the temple is of the kind called peripteral hexastyle4 ,round the cella1 or central chamber1 is a single row of columns1 thirty-four in number1 of which there are six at each end4 ,the order is ,doric1 with a frieze peculiarly arranged4 ,on the eastern front are ten sculptured metopes1 and there are four on each of the adjacent sides1 making a total of eighteen sculptured metopes4 ,the remaining metopes of the temple1 fifty in number1 are plain slabs1 which may possibly have had painted on them figures or ornaments4 ,of the pedimental groups1 which appear to have once existed at each end of the temple1 nothing now remains except the marks of the attachment of sculptures4 ,within the colonnade the two ends of the cella are adorned with a frieze of ,parian marble1 which is still in position4 ,at the west1 the length of the frieze is only equal to the width of the cella2 at the east1 the frieze is continued as far as the epistyle1 or beams surmounting the colonnade4 ,the west frieze is about #be feet long2 casts of #af feet #d inches are in the ,british ,museum4 ,the east frieze is about #cg feet long1 and casts of #cb feet are in the ,museum4 ,from the ,middle ,ages till recent times this building has been called the ,temple of ,theseus1 and was supposed to have been dedicated to ,theseus by the ,athenians in the time of ,kimon4 ,that statesman had transferred the bones of ,theseus to ,athens from the island of ,skyros in #dfi ,b4,c4 ,the chief arguments for this attribution are3--7#a7 ,that labours of ,theseus are represented on the metopes1 and perhaps on the friezes2 7#b7 that the building is not far from the place where1 according to ,leake and others1 it might be expected from the description of ,pausanias 7i4 #ag1 #b72 7#c7 that the temple was dedicated as a ,christian church to ,st4 ,george1 who corresponds in many ways to ,theseus4 ,ross1 however 7,das ,theseion71 tried to prove that this was not the ,theseion4 ,he argued that no connection could be traced between the external sculptures and the function of the building4 ,he also argued that the real ,theseion cannot have been a complete temple1 and that it cannot have stood in the position of the temple now in question4 ,he proposed to call the building a temple of ,ares4 ,it has since been suggested that ,ares and ,theseus may have been joint occupants of the temple1 as ,athene and ,erechtheus held the ,erechtheion in common 7,murray1 i4 p4 #bcf74 ,curtius 7,sieben ,carten1 text1 p4 #ec7 suggested that the temple may have been that of ,heracles in ,melite4 ,in this view he has been followed by ,wachsmuth 7,stadt ,athen1 i4 p4 #cfd74 ,other patron deities have also been proposed1 as ,apollo ,patrooes1 or ,heracles and ,theseus together1 or ,hephaestos4 ,doerpfeld1 followed by ,miss ,harrison 7,mythology and ,monuments of ,anc4 ,athens1 p4 #aab71 is strongly in favour of the last-mentioned attribution1 identifying the building with the temple of ,hephaestos mentioned by ,pausanias 7i41 #ad1 #f74 ,it is clear1 from a comparison of other temples1 that no conclusive argument can be drawn from the subjects of the sculptures1 especially of the metopes1 which may have little connection with the special purpose of the temple4 ,at the same time we know that the ,theseion was decorated with paintings relating to the story of ,theseus1 and1 so far as any weight can be attached to the subjects of the sculptures1 they favour the attribution of the building to ,theseus4 ,it has been suggested that the temple may have belonged to ,heracles and ,theseus in common--not on the ground that we hear of such a temple1 but because the ten metopes on the east front relate to ,heracles4 ,but this fact is inconclusive4 ,the ,athenians would be content to point out the parallelism of ,heracles and ,theseus1 even if ,theseus was made to occupy a subordinate position4 ,the newly-discovered ,greek3 ,athenaion ,politeia of ,aristotle furnishes some new evidence4 ,the disarming of the ,athenians by ,peisistratos is said to have been effected in the following manner4 ,he caused the citizens to put down their arms in the ,theseion1 presumably in the temenos of ,theseus1 that he might address them1 and then drew them off to the ,propylaea on the pretext that they would be better able to hear him4 ,meanwhile his agents shut up the arms in the adjacent buildings of the ,theseion 7,greek3 exoplisian en to ,theseio sic ,,ms4 ,greek3 poiesamenos 444 ekeleusen autous prosanabenai pros to ,propylon tes ackropoleos 444 anelontes hoi epi touton tetagmenoi ta hopla auton kai synkleisantes eis ta plesion oikemata tou ,theseiou k4t4l4 ,aristot4 ,greek3 ,ath4 pol4 ed4 ,kenyon1 #ae74 ,from this it may be inferred that the ,theseion was at no great distance from the ,propylaea1 though sufficiently removed for the success of the stratagem4 ,polyaenus 7,strat4 i41 #ba7 tells the story1 but states that the disarming took place in the ,anakeion1 and that the arms were shut up in the sanctuary of ,aglauros4 ,these are known sites below the north and north-west sides of the ,acropolis4 ,the account of ,aristotle thus shows that there was a temenos and shrine of ,theseus in existence long before the time of ,kimon4 ,the date of the temple is necessarily uncertain4 ,it cannot be older than the ,persian invasion 7#dhj ,b4,c471 but most writers are of opinion that each part is rather older than the corresponding part of the ,parthenon1 both in the architecture 7,julius1 ,annali dell' ,inst4 #ahgh1 p4 #bje7 and in the sculpture4 ,there are many parallels between the metopes of the ,parthenon and the sculptures1 both metopes and friezes1 of the ,theseion4 ,there is also a close analogy between the east friezes of the ,parthenon and the ,theseion in point of composition2 moreover certain figures occur in both works 7,murray1 i4 p4 #bdd74 ,but there is no trace in the ,theseion of the low relief of the ,parthenon frieze4 ,the whole of the ,theseion sculptures are metope-like in the treatment of the high relief4 ,overbeck states the order in point of time as follows3--,metopes of ,theseion2 metopes of ,parthenon2 west frieze of ,theseion2 east frieze of ,theseion2 frieze of ,parthenon 7,gr4 ,plast4 #crd ed4 ,i41 p4 #cdi74 ,doerpfeld1 however1 followed by ,miss ,harrison1 holds the temple to be later than the ,parthenon4 ,it has been held by ,brunn1 ,julius 7,annali dell' ,inst4 #ahgh1 p4 #bjb71 and ,murray 7i4 p4 #bea71 that the differences between the sculptures of the two temples are due to the fact that the sculptures of the ,theseion were produced by the school of ,myron4 ,stuart1 ,antiqs4 of ,athens1 vol4 ,,iii41 chap4 i42 ,mus4 ,marbles1 ,,ix41 pls4 #ab-ba2 ,mueller1 ,denkmaeler1 pl4 #ba2 ,kunstarch4 ,werke1 ,,iv41 p4 #a2 ,ross1 ,das ,theseion 7#ast ed4 #ahch2 #bnd ed41 #aheb72 ,ulrichs1 ,annali dell' ,inst41 #ahda1 p4 #gd2 ,leake1 ,topography of ,athens 7#bnd ed471 p4 #dih2 ,gurlitt1 ,das ,alter der ,bildwerke des sog4 ,theseion2 ,brunn1 ,sitzungsber4 der k4 bayer4 ,akad4 ,phil4-hist4 ,cl4 #ahgd1 ,,ii41 p4 #ea2 ,wachsmuth1 ,die ,stadt ,athen1 ,i41 p4 #ceg2 ,julius1 in ,annali dell' ,inst41 #ahgg1 p4 #ib2 #ahgh1 p4 #aic2 and ,mon4 dell' ,inst41 ,x41 pls4 #dc1 #dd1 #eh1 #ei2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #cdc2 ,murray1 ,i41 p4 #bce2 ,wolters1 ,no4 #ebf2 ,baumeister1 s4 v4 ,theseion2 ,elgin ,room ,guide1 ,,ii41 ,b41 #a-af4 ,the ,british ,museum possesses an excellent series of drawings of the ,theseion by ,lord ,elgin's artists4 ,,casts ,,of ,,the ,,metopes ,,of ,,the ,,theseion4 ,the ten metopes on the eastern front contain nine labours of ,heracles1 one labour being represented in two groups4 ,the eight metopes at the east ends of the ,south and ,north sides represent the following exploits of ,theseus3--,on the ,south side--7#a7 ,the victory over the ,minotaur4 7#b7 ,the capture of the bull of ,marathon4 7#c7 ,the punishment of ,sinis ,pityocamptes4 7#d7 ,the punishment of ,procrustes 7874 ,on the ,north side are--7#a7 ,the victory of ,theseus over the robber ,periphetes1 also called ,corynetes4 7#b7 ,his contest with the ,arcadian wrestler1 ,kerkyon4 7#c7 ,the punishment of ,skiron4 7#d7 ,the capture of the sow of ,crommyon4 ,of these eighteen metopes the ,museum possesses casts of only three1 ,nos4 #a1 #b1 and #d on the ,north side4 ,sidenote3 #djj4 ,theseus and the robber1 ,periphetes4 ,theseus stands over his adversary1 who has been thrown down on the ground1 and aims a blow at him4 ,both arms of ,periphetes are stretched out as if to avert a spear-thrust1 and it seems probable that the weapon of ,theseus was a spear1 which he directed with both hands4 ,the left hand of ,theseus still remains in front of his breast4 ,height1 #c feet #i-a_/b inches4 ,mus4 ,marbles1 ,,ix41 pl4 #bj4 ,sidenote3 #dja4 ,theseus and ,kerkyon1 an ,arcadian wrestler1 who challenged all travellers to wrestle1 and slew the vanquished4 ,theseus has lifted his adversary from the ground1 and1 clasping his hands together1 grips him tightly round the body4 ,kerkyon is nearly helpless4 ,his right arm passes behind the shoulder of ,theseus1 but with his left hand he seizes ,theseus' right heel4 ,kerkyon is bearded1 but the hair is hardly indicated in detail4 ,height1 #b feet #i-a_/b inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ba4 ,sidenote3 #djb4 ,theseus and the ,sow of ,crommyon4 ,the sow stands on her hindlegs1 resting her forefeet on the thigh and the drapery of ,theseus4 ,theseus advances to the attack4 ,the action of the right hand cannot be ascertained1 but the right arm must have been raised above the head1 and perhaps brandished a club4 ,the left arm is concealed in the chlamys1 which ,theseus wears in this metope4 ,height1 #b feet #i-a_/b inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ba4 ,,casts ,,of ,,the ,,west ,,frieze ,,of ,,the ,,theseion4 ,the subject of the ,west frieze of the ,theseion admits of no doubt4 ,here we have represented the ,battle of the ,centaurs and ,lapiths at the marriage feast of ,peirithooes4 ,it has been pointed out that this frieze appears to consist of metope-like groups1 with a few figures added to give continuity between the different groups1 such as is appropriate to a frieze4 ,thus1 compare ,no4 #djc1 #a with the ,parthenon ,metope1 ,no4 #cjg4 ,in the parts of the frieze1 not represented by casts1 compare the group engraved ,overbeck1 ,gr4 ,plast4 #crd ed4 i41 p4 #cdh1 ,no4 #b1 with ,michaelis1 pl4 #c1 xxiv42 ,overbeck1 ,no4 #f1 with ,parthenon metope1 ,no4 #caa2 ,overbeck ,no4 #h with ,michaelis1 pl4 #c1 xi4 ,illustration3 ,fig4 #af4--,the disposition of the ,west ,frieze of the ,theseion4 7,from ,baumeister74 ,sidenote3 #djc4 #a4 ,combat of ,centaur and ,lapith4 ,the ,lapith is defeated and has fallen to the ground4 ,he supports his body with the right arm1 of which the hand alone remains4 ,the left hand1 which is wrapped in the chlamys1 is raised imploringly to the ,centaur1 to whom also the head is turned4 ,the victorious ,centaur rears up above the ,lapith1 and is about to hurl a great stone1 or perhaps a hydria1 with both hands4 ,height of this and the following slabs1 #b feet #i-a_/b inches2 length1 #b feet #aj inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ah4 ,between ,nos4 #a and #b is a group1 of which the ,museum does not possess a cast1 representing two ,lapiths and a fallen ,centaur4 ,sidenote3 #b4 ,on the left is a group of a ,lapith and a ,centaur4 ,the combatants have for the moment drawn a little apart4 ,the ,lapith has recoiled for a blow2 the attention of the ,centaur seems more directed to the group on his left4 ,the symmetry of the grouping1 which is apparent in the frieze as a whole1 requires us to regard these two figures as connected1 though they may appear somewhat separated4 ,the ,centaur brandishes a branch of a tree1 to which his hands are still attached1 though the arms are lost4 ,the ,lapith had both arms raised1 and perhaps held a battle-axe4 ,his dress is a chlamys4 ,we next have a group of two ,centaurs1 rearing up1 and heaving together a rock wherewith to crush the invulnerable ,lapith1 ,kaineus1 who is half buried in the ground between them1 and who endeavours to defend himself with his shield uplifted on his left arm4 ,his head is turned towards the ,centaur on the right4 ,his right arm1 now wanting1 may have rested on the ground4 ,but it is possible1 to judge from indications on the ground of the relief1 that it was bent at the elbow1 and pierced with a sword the abdomen of the ,centaur4 ,the ,lapith wears a helmet4 ,on the right of this group is a ,lapith hastening to give succour to ,kaineus4 ,his right arm1 which was bent back at the elbow1 had been raised to strike4 ,his left arm has been muffled in a chlamys4 ,he also wore a petasos1 part of which is seen behind the shoulders4 ,on the right of this figure is a group of a ,lapith attacking a ,centaur4 ,the ,lapith wears a crested helmet2 on his left arm is a shield1 within which his chlamys hangs from his arm4 ,he also wears sandals4 ,he places his left foot on a rock4 ,the ,centaur opposed to him is rearing1 with his back turned to the spectator2 his right arm1 drawn back1 has held some weapon1 probably the branch of a tree2 on his left arm and shoulder is the skin of a lion or panther which hangs down his back4 ,length1 #aj feet #i inches4 ,mus4 ,marbles1 ,,ix41 pls4 #ah1 #ai4 ,the next group on the frieze1 which is not represented by a cast1 contains a ,centaur struggling with a ,lapith who has fallen on his knees4 ,sidenote3 #c4 ,on the left is a ,lapith1 armed with shield and helmet1 and wearing a chiton and sandals4 ,he seems about to attack a ,centaur1 who rears to the right over the body of a ,lapith1 who has sunk down in a sitting position4 ,length1 #b feet #i inches4 ,mus4 ,marbles1 ,,ix41 pl4 #bj4 ,most of the figure of the seated ,lapith1 and the whole of the succeeding group of a ,lapith and ,centaur are not represented by casts in the ,museum4 ,,casts ,,of ,,the ,,east ,,frieze ,,of ,,the ,,theseion4 ,on the east frieze is represented a battle in the presence of six seated deities arranged in two groups4 ,in one part of the frieze the combatants are hurling vast rocks4 ,colonel ,leake 7,topography of ,athens1 #bnd ed4 p4 #ejd71 supposed that ,heracles and some of the gods are engaged in a battle with giants1 while other deities1 among them some who usually take a leading part in the fray1 merely sit and watch4 ,this1 however1 is a scheme of ,gigantomachia to which no parallel can be adduced4 ,illustration3 ,fig4 #ag4--,the disposition of the ,east ,frieze4 7,from ,baumeister74 ,brunn 7,sitzungsber4 der k4 bayer4 ,akad4 ,phil4-hist4 ,cl41 #ahgd1 ii41 p4 #ea71 supposes the battle here represented to be that fought by the ,athenians under ,theseus against ,eurystheus in defence of the ,heracleidae4 ,the scene on the left would thus represent the first rout of the troops of ,eurystheus2 then would come the storming of the ,skironian pass by ,theseus1 where we might expect masses of rocks to be hurled on the assailants4 ,the kneeling figure on the left of the central group 7#djd1 #d71 who is being bound would1 according to ,brunn1 be ,eurystheus1 who was taken prisoner and put to death4 ,the figure on the extreme right 7#djd1 #h71 who is stooping forward1 ,brunn supposes to be one of the victors erecting the boundary stone1 which1 according to the ,attic legend1 was set up by ,theseus to mark the limits of the ,peloponnese on the side of ,attica4 ,the theory is highly ingenious2 but it demands a forced interpretation of the rocks to suppose them to be lining the two sides of a pass2 and it overlooks the close parallelism with the east frieze of the ,parthenon1 where the two groups of gods must be supposed to form a single background to the scene4 ,also1 the ,skironian pass was a road between rocks and the sea4 ,moreover1 the vast size of the rocks indicates a giant race1 rather than a group of warriors who are reduced to using stones in an extremity4 ,if the subject has any connection with ,theseus1 the theory of ,k4 ,o4 ,mueller seems the best that has been proposed4 ,according to ,mueller 7,kunstarch4 ,werke1 iv4 p4 #a7 it represents the ,athenians under ,theseus attacking the ,pallantidae1 or sons of ,pallas1 who was a son of ,pandion1 king of ,attica4 ,these in ,attic legend 7,plut4 ,theseus1 #ac7 formed a league against ,theseus4 ,mueller supposes them to have been a race akin to the giants4 ,compare ,soph4 ,aegeus1 fr4 #ai1 ed4 ,dindorf1 ,greek3 ho skleros houtos kai gigantas ektrephon ,pallas4 ,see also ,mueller 7p4 #h7 on the close connection between ,pallas1 son of ,pandion1 and the ,attic ,pallene1 with ,pallas the giant and the ,thracian ,pallene1 the field of the great war of the gods and giants4 ,sidenote3 #djd4 #a4 ,on the left of the slab1 two armed warriors carrying large shields on the left arm1 and wearing1 one a chlamys and one a chiton over the left shoulder only 7heteromaschalos71 advance to the right4 ,before them is a conquered adversary1 who has been forced down on his knees by the victor1 who appears to tread down his buttock1 while his hands are engaged binding the hands of the prisoner4 ,the victor wears a chlamys1 but the prisoner is nude4 ,the head of the prisoner was probably turned towards the victor4 ,on the extreme right of the slab there remains the right foot of a figure4 ,the original is extant 7cf4 ,stuart1 vol4 iii4 ch4 i4 pl4 #ae71 and is a nude armed figure1 moving to the right4 ,the head is lost4 ,height of this and the following slabs1 #b feet #i-a_/b inches2 length1 #d feet #f inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ab4 ,sidenote3 #b4 ,on the next slab is a group of three deities seated on rocks1 of whom the figure on the right is male and the other two female4 ,the two female deities wear long chitons1 in the one case with a diploidion1 and in the other case with sleeves4 ,the figure on the left has the right hand1 which is still preserved1 by her side4 ,it evidently held a spear4 ,in ,stuart's engraving this figure wears a helmet1 but the drawing published by ,le ,roy 7,les ,ruines des plus beaux ,monuments de la ,grece1 #ageh71 though in most respects worthless1 seems to show conclusively that the heads are conjecturally restored in ,stuart1 vol4 iii4 ch4 i4 pls4 #ae1 #af1 while in pls4 #ag to #bj no restoration is attempted4 ,the remains of the figure make it probable that the goddess here represented is ,athene4 ,the central figure turns towards ,athene1 to whom her right arm was probably extended4 ,passing over the back of her head is a large mantle1 which is also wrapped about the legs1 and falls over the left arm4 ,the male figure in the group probably looked to the right at the pair of combatants which follows next in order4 ,he has a mantle twisted round his lower limbs and passing behind his back4 ,his left hand rested on a sceptre held vertically1 which has now been broken away4 ,all these three figures wear sandals4 ,the second ,goddess may well be ,hera1 and in that case her male companion would probably be ,zeus4 ,length1 #d feet #f inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ac4 ,sidenote3 #c4 ,combat of two warriors4 ,the nude warrior on the left1 armed with shield and helmet1 presses forward to the attack2 he probably held a sword in the right hand4 ,his adversary1 whose back is turned towards us1 appears to be in retreat1 but to be stopping to deliver a thrust1 probably with a spear held in the right hand4 ,his left arm must have held out a shield1 of the rim of which a fragment remains1 attached to the left thigh4 ,his dress is a chiton heteromaschalos4 ,on the right of the slab is seen the right foot of a warrior1 belonging to the succeeding group1 of which the ,british ,museum possesses no cast4 ,the warrior stretches out his shield to protect a wounded figure lying on the ground4 ,length1 #b feet #aj inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ad4 ,for the missing group1 see ,stuart1 ,,iii41 ch4 ,i41 pl4 #ag2 ,overbeck1 ,gr4 ,plast41 #crd4 ed41 ,i41 p4 #cdh4 ,sidenote3 #d4 ,part of the legs of the wounded warrior just referred to remains on the ground1 on the left4 ,next on the right are two warriors moving to the right4 ,both these figures are nude1 but very seriously mutilated4 ,it is doubtful whether the figure on the left was armed with a shield1 like his companion4 ,his right foot is advanced and he is hurrying forward4 ,length1 #b feet #h inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ad4 ,sidenote3 #e4 ,a battle scene1 in which the combatants1 four in number1 are hurling rocks2 a fifth1 overcome in the fray1 lies prostrate on the ground4 ,in this combat one warrior appears to be fighting against three4 ,on the left an heroic figure1 which may well be ,theseus1 is seen advancing4 ,in the confusion his mantle has fallen off1 and only hangs over the left arm4 ,with outstretched left hand he repels a huge stone hurled against him by his adversary2 the right hand appears to have been stretched out behind the body1 and may have held a sword4 ,there appear to be no means of warding off the stone which the adversary throws with his left hand4 ,confronting the hero1 supposed to be ,theseus1 is first the warrior just mentioned1 who hurls a stone with each hand4 ,behind him is a second figure1 who appears to be looking in the same direction4 ,his right hand was probably holding a stone behind his head1 while the left hand is stretched back to pick up another stone from the ground4 ,the third warrior hurls a great stone with his right hand1 while with his left hand he propels the large stone seen behind the shoulders of the central figure4 ,the fallen figure lies on rocky ground in the middle of the group of combatants1 his head is much below the level of his body2 his right arm1 now wanting1 has been resting on a lower level1 his left arm is folded helplessly across his body4 ,length1 #e feet #aj inches4 ,mus4 ,marbles1 ,,ix41 pl4 #af4 ,sidenote3 #f4 ,group of two warriors advancing rapidly to the right1 each with a shield on the left arm4 ,one is nude1 the other wears a chiton heteromaschalos4 ,next on the right is a group of one female and two male deities seated on rocks1 and observing the combat4 ,the ,goddess occupies the centre of the group1 her head slightly inclined forward1 and looking to the left4 ,she wears a long chiton1 sandals1 and a mantle wrapped about her lower limbs4 ,both male figures have similar mantles4 ,it may be conjectured that the three figures in order from the left are ,poseidon1 ,demeter1 and ,dionysos2 but it is impossible to attribute names to them with any confidence4 ,length1 #f feet #f inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ae4 ,sidenote3 #g4 ,torso of a warrior armed with a large shield1 who moves to the left front4 ,the head1 now wanting1 was probably turned to the group next on the right1 which consists of two male figures4 ,the one on the left is evidently a victor holding a prisoner1 who has his hands tied behind his back4 ,the victor wears a chiton heteromaschalos1 while the prisoner wears a chlamys4 ,between this group and the next figure is a space1 in which should be a male figure standing1 turned a little to the right1 and wearing a chlamys4 ,he appears to be giving an order to the figure on the right4 ,length1 #c feet #h inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ag4 ,for missing figure1 see ,stuart1 ,,iii41 ch4 ,i41 pl4 #bj2 ,overbeck1 ,gr4 ,plast41 #crd ed4 ,i41 p4 #cdh4 ,sidenote3 #h4 ,male figure turned to the left1 and bending forward4 ,both arms have been extended in front of the body4 ,the figure wears a helmet and a chiton girt at the waist4 ,the left foot1 which is advanced1 rested on a higher level than the right foot4 ,there is some uncertainty as to the motive of this figure4 ,stuart restores it as engaged in the erection of a trophy1 and this is accepted by ,schultz1 ,de ,theseo1 p4 #bf2 cf4 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #cec4 ,for this however there is very little room4 ,leake suggested that the figure was engaged adjusting his greave 7,topogr4 of ,athens1 #bnd ed41 p4 #eaa74 ,length1 #a foot #f inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ag4 ,,architectural ,,fragments4 ,sidenote3 #dje4 ,part of the ceiling1 lacunaria1 of the ,theseion with six squares for soffits cut through the marble4 ,see fig4 #ag4--;,elgin ,coll4 ,length1 #c feet #aa-a_/b inches2 breadth1 #c feet #d-a_/b inches4 ,stuart1 ,,iii41 ch4 ,i41 pl4 #h1 fig4 #b4 ,sidenote3 #djf4 #a4 ,cover from panel of lacunar of the ,theseion4--,elgin ,coll4 ,height1 #aj-a_/h inches2 breadth1 #aj-a_/h inches4 ,synopsis1 ,no4 #cfe 7#bdc72 ,stuart1 ,,iii41 ch4 ,i41 pl4 #h1 fig4 #b4 ,sidenote3 #b4 ,similar to last4 ,height1 #aj-a_/h inches2 breadth1 #i-g_/h inches4 ,synopsis1 ,no4 #cfg 7#bed72 ,stuart1 ,,iii41 ch4 ,i41 pl4 #h1 fig4 #b4 ,,the ,,erechtheion4 ,the ,erechtheion is an ,ionic temple of a peculiar form1 which stands near the north side of the ,acropolis of ,athens4 ,it embodies in a structure of the end of the fifth century the shrines about which the ,athenian religion had centred from time immemorial1 and to this fact the anomalous character of the plan must be ascribed4 ,the building consisted of a central cella divided into three portions1 and having a portico of six columns at the east end2 a porch of six columns at the north-west corner2 and a porch of ,caryatids at the south-west4 ,it was built of ,pentelic marble1 with the exception of the frieze1 which had a ground of dark ,eleusinian marble4 ,the temple is known to have been incomplete in #dji ,b4,c4 ,at this time a minute survey of the building was made1 by order of the ,assembly1 and the result was recorded in an inscription which is now in the ,british ,museum4 7,c4 ,i4 ,g4 #afj2 ,newton ,hicks1 ,greek ,inscriptions in ,brit4 ,mus41 xxxv474 ,illustration3 ,fig4 #ah4--;,ground ,plan of the ,erechtheion4 ,the east half of the building was devoted to ,athene ,polias1 whose archaic statue was placed in it4 ,the remainder of the building was associated with the cults of ,poseidon1 ,erechtheus1 ,pandrosos1 and others4 ,the arrangement has been a subject of much controversy4 ,the passage at the west of the cella probably contained altars of ,poseidon 7with ,erechtheus71 of ,boutes1 and of ,hephaestos2 the tokens of ,poseidon1 namely the salt spring1 and the marks of the trident1 were either in the west central chamber or below the north portico4 ,the south porch served as an additional entrance1 but it also contained the tomb of ,cecrops4 ,the ,pandroseion1 which contained the sacred olive-tree of ,athene1 and a small shrine of ,pandrosos1 was annexed to the outside of the west end of the building4 ,the ,elgin ,collection contains several specimens of the architectural decorations of the ,erechtheion4 ,in the above plan 7fig4 #ah71 those parts of the building are indicated by letters from which fragments have been obtained4 ,in some instances the exact position is uncertain4 ,for a discussion of the ,erechtheion1 see ,harrison1 ,mythology and ,monuments of ,anc4 ,athens1 p4 #dha4 ,sidenote3 #djg4 ,so-called ,caryatid1 or ,canephoros1 ,greek3 kanephoros 7fig4 #ai74 ,one of the six female figures which served as columns in the southern portico of the ,erechtheion4 ,in the survey of the building these figures are called ,korae1 maidens4 ,they have been called ,canephori 7see p4 #adi7 by ,visconti 7,memoirs on the ,sculptures of the ,earl of ,elgin1 p4 #abb71 and others4 ,it is true that the maidens here represented are such as those represented on the ,parthenon frieze4 ,but there is nothing that specially connects them with the ,canephori1 or persons who bore the sacred vessels on their heads4 ,by some writers they have been called ,caryatids1 on account of a statement of ,vitruvius 7i41 chap4 #a7 that women of ,carya1 a town of ,arcadia1 were represented as architectural supports--a punishment which they incurred for betraying the ,greeks to the ,persians4 ,illustration3 ,fig4 #ai4--;,caryatid of the ,erechtheion4 ,the figure here described wears a long chiton1 which is drawn up under the girdle1 falling in rich folds1 and is fastened on each shoulder by a circular brooch4 ,attached to this is the diploidion1 which falls down before and behind4 ,in front it falls to the waist2 behind it would trail on the ground1 if a part were not looped up to the shoulders1 so as to make a deep fold1 falling as low as the hips4 ,the hair from the back of the head falls in a thick mass between the shoulders1 tied together with a band4 ,the hair gathered from the forehead is woven into tresses4 ,two fall on each shoulder2 the others are twisted round the head in the form of the krobylos 7cf4 p4 #hg74 ,the arms are wanting from above the elbows4 ,the right hand probably hung by the side1 where the surface of the drapery is seen to have been protected from corrosion4 ,the left hand has drawn from behind one corner of the diploidion4 ,the head supports a capital1 consisting first of a pad or cushion ,greek3 tyle1 such as was1 and still is1 used to support weights4 7,compare the east frieze of the ,parthenon1 ,nos4 #cj1 #ca47 ,from this the transition to the square abacus is effected by an egg and tongue and a bead and reel moulding4 ,this statue is admirably designed1 both in composition and drapery1 to fulfil its office as a part of an architectural design4 ,while the massiveness of the draped figure suggests the idea that the support for the superimposed architecture is not structurally inadequate1 the lightness and grace of the pose suggest that the maiden bears her burden with ease4 ,the original position of the figure is marked ,a on the plan4 ,four figures and part of a fifth still remain on the ,acropolis4 ,they are uniform in their general design1 but differ slightly in pose and arrangement of drapery4 ,pentelic marble2 height1 #g feet #g inches4 ,stuart1 ,,ii41 ch4 ,,ii41 pl4 #ai4 ,mus4 ,marbles1 ,,ix41 pl4 #f4 ,rayet1 ,monuments1 ,no4 #dj2 ,mitchell1 ,selections1 pl4 #g2 ,murray1 ,,ii41 pl4 #ag2 ,wolters1 ,no4 #haj2 ,stereoscopic1 ,no4 #aae4 ,,architecture ,,of ,,the ,,erechtheion4 ,sidenote3 #djh4 ,ionic column from the north end of the eastern portico of the ,erechtheion 7,b on plan74 ,this being a column from an angle of the building1 the volutes occur on two adjacent sides1 so as to present themselves both to the east and north view4 ,height1 #ba feet #g-a_/b inches4 ,synopsis1 ,nos4 #abe-g1 #aaj2 ,stuart1 ,,ii1 ch4 ,,ii41 pls4 #d1 #e1 #f4 ,sidenote3 #dji4 ,capital of one of the pilasters 7antae7 and part of necking or wall-band from the east wall of the ,erechtheion 7,c1 ,c1 ,c on plan74 ,it is to be observed that the frieze on the pilaster1 though analogous to that on the walls1 differs from it in details which heighten the richness of the effect1 and which assimilate the pilaster to the columns of the east portico1 while the walls resemble the capitals of the north portico4 ,moreover1 on the pilaster the carving of the frieze is raised above the surface of the courses1 while on the wall it is set back from the wall face4 ,the slab on the right must be from the north-east angle of the ,erechtheion4 ,the three slabs next to it might belong to the east1 north1 or south sides1 as regards the form and design4 ,but the excellent preservation of the surface1 as compared with that of the unprotected north-east angle1 seems to show that these slabs are derived from the east wall1 where they were protected by the portico4 ,it is interesting to note the numerous repairs in the series of slabs4 ,they probably date from the time of the construction of the building1 and were meant to make good what was broken by accident in the course of construction4 ,on the north side of the pilaster1 seven inches of the bead and reel moulding immediately surmounting the anthemia have been skilfully inserted in a groove and fastened with lead4 ,on the east side of the pilaster one of the beads of the lower bead and reel moulding was attached by a plug1 of which the hole remains4 ,on the next slab on the left one bead of the upper bead and reel moulding was similarly added4 ,on the second slab from the left1 one tongue of the egg and tongue moulding1 one piece of spiral connecting the anthemia and one bead were let into the marble4 ,traces of red colour remain in the upper part of the frieze on this slab4--,elgin ,coll4 ,height1 #a foot #g-a_/b inches4 ,the slab containing the capital of the pilaster is #f feet in length4 ,of the other slabs1 two are each #d feet #c inches in length4 ,the fourth is broken on the right-hand joint1 and measures #d feet #a-a_/b inches4 ,synopsis ,nos4 #beb-bee 7#abg-acj74 ,greek ,inscriptions in ,brit4 ,mus41 ,i41 p4 #hi1 e1 pl4 #c1 fig4 #h4 ,stuart1 ,,ii41 ch4 ,,ii41 pl4 #e4 ,inwood1 ,erechtheion1 p4 #aaj4 ,sidenote3 #daj4 ,fragment of frieze similar to last4 ,joint on left4 ,found on the north side of the ,erechtheion4--,inwood ,coll4 ,height1 #f inches2 breadth1 #f inches4 ,synopsis1 ,no4 #aaf4 ,inwood1 ,erechtheion1 p4 #ach4 ,sidenote3 #daa4 ,fragment of leaf1 bead and reel1 and egg mouldings from the capital of a pilaster at the west side of the south portico of the ,erechtheion 7,d on plan74--,inwood ,coll4 ,length1 #a foot #b-a_/d inches2 height1 #e-a_/b inches4 ,synopsis1 ,no4 #aah4 ,sidenote3 #dab4 ,cymatium moulding from inner architrave of the south portico of the ,erechtheion 7,e on plan74 ,height1 #b-a_/b inches2 length1 #g-a_/d inches4 ,synopsis ,no4 #djc4 ,inwood1 ,erechtheion1 pl4 #bj4 ,see also ,stuart1 ,,ii41 ch4 ,,ii41 pl4 #ac4 ,sidenote3 #dac4 ,piece of architrave1 probably part of the beam from the north angle of the east portico of the ,erechtheion 7,f1 ,f on plan74 ,there is a joint on the left of this slab4--,elgin ,coll4 ,height1 #b feet #a inch2 length1 #h feet #b-a_/b inches4 ,synopsis1 ,no4 #bbj 7#he74 ,wilkins1 ,prolusiones1 p4 #bi4 ,sidenote3 #dad4 ,piece of the architrave from the south wall of the ,erechtheion1 broken at each end 7,g on plan74 ,it is connected with the preceding by a piece of moulding cast in plaster4--,elgin ,coll4 ,height1 #b feet #a inch2 length1 #h feet #e-a_/b inches4 ,synopsis1 ,no4 #bai 7#bia74 ,wilkins1 ,prolusiones1 p4 #bi2 ,greek ,inscriptions in ,brit4 ,mus4 ,i41 pl4 #c1 fig4 #i4 ,sidenote3 #dae4 ,piece of corona of cornice1 from the north portico of the ,erechtheion 7,h on plan74 ,although not derived from the same part of the temple1 this fragment has been placed in connection with the slabs of the architrave1 ,nos4 #dac1 #dad1 in order to show the original effect4 ,the space of two feet between the corona and the architrave was occupied by the sculptured frieze4 ,this consisted of marble figures in relief attached by metal clamps on a ground of black ,eleusinian marble4 ,a few fragments are extant at ,athens4 ,length1 #d feet #g inches2 height1 #aj-a_/b inches2 breadth1 #a foot #a-a_/b inches4 ,synopsis1 ,no4 #bhi 7#afe74 ,stuart1 ,,ii41 ch4 ,,ii41 pls4 #d1 #e4 ,for the frieze1 see ,brunn1 ,denkmaeler1 ,nos4 #ca-cc2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #cfa4 ,sidenote3 #daf4 ,coffer from the lacunaria of the north portico of the ,erechtheion 7,j on plan74--,elgin ,coll4 ,height1 #c feet #b inches2 breadth1 #c feet #e-a_/b inches4 ,synopsis1 ,no4 #ajh 7#bii74 ,see ,stuart1 #bnd ed41 ,,ii41 p4 #gc1 note4 ,sidenote3 #dag4 ,part of coffer of east portico of the ,erechtheion4 ,found near the eastern portico 7,k on plan74--,inwood ,coll4 ,height1 #a foot #d inches2 breadth1 #a foot #a-a_/d inches4 ,synopsis1 ,no4 #aag4 ,inwood1 ,erechtheion1 pl4 #bj4 ,sidenote3 #dah4 ,part of door jamb1 perhaps from the eastern doorway of the ,erechtheion 7,l on plan74--,inwood ,coll4 ,height1 #a foot #b-c_/d inches2 breadth1 #f-a_/b inches4 ,synopsis1 ,no4 #aae4 ,inwood1 ,erechtheion1 pl4 #bj4 ,sidenote3 #dai4 ,cast of console1 parotis1 from the doorway in the north portico of the ,erechtheion 7,m on plan74 ,height1 #b feet #c inches4 ,greek inscriptions in ,brit4 ,mus41 ,i41 p4 #ih1 ,sec4 #ad1 b4 ,wilkins1 ,prolusiones1 pls4 #ac1 #ad4 ,journ4 of ,hellen4 ,studies1 ,,xii41 pl4 #a4 ,sidenote3 #dbj4 ,necking of ,ionic column1 copied from the columns of the east portico of the ,erechtheion4--,elgin ,coll4 ,height1 #aa-a_/d inches2 diameter1 #b feet #b-a_/b inches4 ,synopsis1 ,no4 #abj 7#cjf9972 ,elgin ,room ,guide1 ,,ii41 ,no4 ,a4 #b4 ,,temple ,,of ,,nike ,,apteros4 ,the temple of ,nike ,apteros 7,victory without wings71 or more correctly of ,athene ,nike1 stood on the projecting eminence to the south of the approach to the ,propylaea at ,athens 7,paus41 i4 #bb1 #d74 ,the building had remained uninjured till the close of the seventeenth century1 and was seen in #afgf by the travellers ,spon and ,wheler4 ,but not long after1 probably about the year #afhe1 the temple was demolished by the ,turks1 and the materials were used to build a bastion on the spot where the temple had stood4 ,in #ahce ,ludwig ,ross1 and the architects ,schaubert and ,hansen took down the bastion and reconstructed the temple as it now stands4 ,a sufficient amount of the lower part had remained undisturbed to enable them to proceed with certainty4 ,the temple consists only of a single cella1 opening to the east1 but has four columns at each end 7tetrastyle amphiprostyle74 ,it stood on a podium of three steps4 ,the exterior was surrounded by a small frieze1 #a ft4 #e-a_/b in4 high1 and measuring #bf ft4 on its long sides1 and #ag ft4 #b in4 at the ends4 ,the annexed cut 7fig4 #bj7 shows the plan of the temple4 ,the arrangement of the slabs of the frieze has been most fully discussed by ,ross1 but is still uncertain in parts4 ,the west frieze1 according to ,ross1 consisted of the two slabs1 ,nos4 #dba1 #dbb1 in the ,elgin ,collection1 and the return faces of two slabs of the north and south sides4 ,each return measures #a ft4 #g in4 ,the slabs1 ,nos4 #dba1 #dbb1 measure respectively #f ft4 #h-a_/b in41 and #f ft4 #g-c_/d in4 ,the total length1 #af ft4 #f-a_/d in41 is thus nearly equal to the estimated length of the side4 ,the distribution of the slabs belonging to the long sides is doubtful4 ,no4 #dbe1 cast from a corner stone1 certainly belongs to the south side4 ,ross assigns ,no4 #dbc to the south side1 ,no4 #dbd to the north side1 on the hypothesis that the mounted horsemen on the same side proceed in the same direction4 ,kekule 7,die ,balustrade1 ed4 #ahfi1 p4 #ag7 places them both on the south side1 in an order more probable than that suggested by ,hawkins 7,mus4 ,marbles1 ix41 p4 #bi74 ,the east side consisted of two slabs and two returns arranged similarly to those of the west4 ,illustration3 ,fig4 #bj4--,plan of the ,propylaea and ,temple of ,wingless ,victory4 ,the subject of the east side appears to be a council of ,gods4 ,the long sides each contained a battle between ,greeks and a series of warriors1 mounted and on foot1 wearing ,asiatic costumes and probably intended to represent ,persians4 ,the west side is generally taken to represent a battle of ,greeks with ,greeks4 ,several attempts have been made to show that historical battles are represented on the frieze4 ,overbeck suggests that the three sides on which there are combatants belong to one battle1 and he conjectures the battle of ,plataea 7#dgi ,b4,c471 when ,greeks defeated the ,persians and their ,greek adherents4 ,other writers1 perhaps with more probability1 deny that any definite battle is intended1 and hold that we see merely a generalised representation of ,athenians1 victorious alike over ,greeks and ,barbarians4 ,it has been shown by ,bohn 7,die ,propylaeen1 p4 #ca7 and ,doerpfeld on technical architectural grounds that the ,temple of ,victory was not contemplated in the first plans for the ,propylaea1 but that the form of the ,propylaea was modified during the course of construction on account of it4 ,the earliest date thus obtained for the beginning of the present building is about #dcb ,b4,c4 ,there is nothing to show what time the temple took to build4 ,in point of style there is a great resemblance between the sculptures of the frieze1 and those of the frieze of the ,erechtheion1 of which a part was being worked1 as we know from the inscription1 in #dji ,b4,c4 ,the frieze of ,nike ,apteros may perhaps be placed between #dcj and #dbj ,b4,c4 ,spon1 ,voyage 7ed4 #afgi71 ,,ii41 p4 #aje2 ,wheler1 ,journey into ,greece1 p4 #ceh2 ,stuart1 ,,ii41 ch4 ,v41 pls4 #ab1 #ac 7from drawings by ,pars1 now in the ,british ,museum72 ,ross1 ,schaubert and ,hansen1 ,die ,akropolis von ,athen2 ,abth4 ,i4 ,der ,tempel der ,nike ,apteros1 #ahci2 ,mus4 ,marbles1 ,,ix41 pls4 #g-aj2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #cfc2 ,bohn1 ,die ,propylaeen der ,akropolis zu ,athen1 #ahhb2 ,murray1 ,,ii41 p4 #agi2 ,kekule 7and ,bohn7 ,die ,reliefs an der ,balustrade der ,athena ,nike2 ,wolters1 ,nos4 #gdg-gfj4 ,for ,doerpfeld's views1 see ,harrison1 ,mythology and ,monuments of ,anc4 ,athens1 p4 #cef4 ,for further references see ,wolters1 p4 #bhd4 ,a photographic view of the temple is given by ,baumeister1 fig4 #abcd2 and of ,nos4 #dba to #dbd in ,stereoscopic1 ,no4 #aba4 ,,the ,,west ,,frieze4 ,sidenote3 #dba4 ,the return of a slab of the north side1 now at ,athens1 formed the left end of the frieze1 and contains two figures advancing to the right to join the fray 7,ross1 pl4 #aa4 h474 ,this is followed by slab ,no4 #dba1 containing a battle of ,greeks4 ,in the first group on the left two warriors are engaged in vehement combat4 ,the warrior on the left supports with his right knee the shoulder of a wounded comrade who has fallen at his feet and leans on his right arm4 ,in the next group are two antagonists fighting over the body of a dead combatant1 then a warrior who has overthrown his adversary and treads him down with his left foot4 ,he raises his right hand to inflict the mortal wound1 and may perhaps have grasped the victim's right wrist with his left hand4 ,in the background is a trophy which appears to consist of a trunk of a tree1 to which a helmet1 shield1 and cuirass have been attached4 ,on the right of the slab is a warrior pursuing a foe flying to the right4--,elgin ,coll4 ,pentelic marble2 height1 #a feet #e-a_/b inches2 length1 #f feet #h-a_/b inches4 ,synopsis1 ,no4 #afj 7#bei72 ,ross1 pl4 #aa1 i42 ,mus4 ,marbles1 ,,ix41 pl4 #i2 ,baumeister1 fig4 #abdj2 ,brunn1 ,denkmaeler1 ,no4 #aah4 ,sidenote3 #dbb4 ,the first figure on the left of the slab appears to be hastening to the assistance of the flying warrior on the right of the slab just described4 ,next is a complicated group of five warriors fighting for the body of a wounded man4 ,the latter has sunk helplessly on the ground4 ,he is half raised and clasped under the arms by a friend who attempts to draw him away2 a foe tries to seize an ankle1 and covers himself meanwhile with his outstretched shield4 ,more in the background two adversaries are engaged in hot combat4 ,the warrior on the left probably had a sword1 and that on the right a spear4 ,a friend of the fallen man hastens up from the left4 ,the right thigh of this figure1 which is now wanting1 is preserved in a drawing by ,pars4 ,on the right are two pairs of combatants4 ,in one of these groups a warrior1 who has fallen on his right knee1 tries to defend himself with his shield1 while with the right hand he seizes a stone4 ,the antagonist has his right arm raised to strike1 perhaps with a battleaxe1 and seizes with his left hand the shield of the kneeling figure4 ,on the right of the slab one of the warriors flies before the assault of his antagonist1 whose arms are both raised to strike him4--,elgin ,coll4 ,pentelic marble2 height1 #a foot #e-a_/b inches2 length1 #f feet #g-c_/d inches4 ,synopsis1 ,no4 #afa 7#bfj72 ,ross1 pl4 #aa1 k42 ,mus4 ,marbles1 ,,ix41 pl4 #aj2 ,overbeck1 ,gr4 ,plast41 #crd4 ed41 ,i41 fig4 #ha1 p4 q42 ,baumeister1 fig4 #abci2 ,brunn1 ,denkmaeler1 ,no4 #aah4 ,on the right of the slab described was the return of the corner slab of the south side1 with a combat of two warriors4 ,ross1 pl4 #aa1 #a42 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 fig4 #ha1 r4 ,there is a considerable variety of costumes on the west side of the frieze4 ,some of the figures are nude2 others wear the chlamys only1 the chiton only1 or the two garments together4 ,the chiton is sometimes worn on both shoulders1 and some times only on one shoulder4 ,the warriors are for the most part armed with helmets and large bucklers4 ,in two instances a cap of a flexible material is worn instead of a helmet4 ,none1 however1 of the costumes are non-,hellenic2 and further the attempt made by ,overbeck 7i4 p4 #cfe71 to show that the helmet of the figure on the extreme right of the frieze is distinctively ,boeotian1 is untenable 7,wolters1 p4 #bhd74 ,,the ,,north ,,and ,,south ,,friezes4 ,sidenote3 #dbc4 ,slab containing a part of the battle between ,greeks and ,persians4 ,in the first group on the left1 a ,persian has fallen on his right knee1 raising his right arm to defend his head4 ,the antagonist presses his left foot on the right thigh of the ,persian1 raising his right arm for a spear thrust1 and probably seizing the hair of the ,persian with his left hand4 ,next is a group of two ,persians and a ,greek4 ,one of the ,persians lies dead on the ground2 his mounted comrade urges his horse against the ,greek1 who draws back1 and raises his arm to strike with a battle-axe4 ,the next group is composed of two ,persians on foot and a ,greek4 ,in the centre is a wounded ,persian1 who has been forced down on his left knee and extends his arms forward in entreaty to the ,greek1 who drags him along1 grasping the head of the ,persian with his left hand4 ,the right hand of the ,greek must have held either a spear or a sword4 ,on the right the other ,persian turns back to defend his fallen comrade against the ,greek4 ,both arms are raised to strike1 and probably wielded a battle-axe4 ,at his left side hangs a quiver4 ,on the extreme right is a ,greek moving to the right in pursuit of a flying ,persian of whom only the leg and part of the drapery round the loins remain4 ,the ground on which this scene takes place is rocky4--,elgin ,coll4 ,pentelic marble2 height1 #a foot #e-a_/b inches2 length1 #e feet #aj inches4 ,synopsis1 ,no4 #aeh 7#beh72 ,ross1 pl4 #ab1 o2 ,mus4 ,marbles1 ,,ix41 pl4 #g2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 fig4 #ha1 i-l2 ,baumeister1 fig4 #abcg2 ,brunn1 ,denkmaeler1 ,no4 #aag4 ,sidenote3 #dbd4 ,the first pair of combatants on the left are a ,persian1 who has fallen on his right knee1 and who holds up a shield in the form of a crescent1 on his left arm to defend himself1 and his antagonist1 who advances from the right4 ,next is a combat between a ,greek on foot and a mounted ,persian4 ,the latter draws back his right hand1 which must have been armed with a spear aimed at the ,greek advancing from the left4 ,the horse of the ,persian rears as if to strike down with his forefeet the left arm of the ,greek1 which is thrust forward1 protected by his shield4 ,a dead ,persian lies on the ground4 ,behind the mounted ,persian is a comrade1 hastening to the left1 and pursued by a ,greek of whom nothing remains except part of his shield and of the drapery round his loins4 ,this closes the scene on the right4--,elgin ,coll4 ,pentelic marble2 height1 #a foot #e-a_/b inches2 length1 #f feet #a-a_/d inches4 ,synopsis1 ,no4 #aei 7#beg72 ,ross1 pl4 #ab1 fig4 g2 ,mus4 ,marbles1 ,,ix41 pl4 #h2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 fig4 #ha1 m1 n2 ,baumeister1 fig4 #abch2 ,brunn1 ,denkmaeler1 ,no4 #aag4 ,on the position of these slabs1 cf4 p4 #bdj4 ,sidenote3 #dbe4 ,a plaster cast from one of the slabs now in position on the temple4 ,on the left is a mutilated group representing a ,greek warrior turning to assist a comrade who has fallen on his right knee4 ,next is a ,greek moving forward to pursue a mounted ,persian who is flying to the right4 ,on the extreme right a ,persian on foot flies in the same direction4 ,a slain ,persian lies in the foreground4 ,the position of this slab on the temple at the south-east angle is fixed by the relief on its return face which is part of the composition of the eastern front4 ,this return is not given in the cast here described4 ,height1 #a foot #e-a_/b inches2 length1 #c feet #aa-a_/d inches4 ,ross1 pl4 #ab1 fig4 a2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 fig4 #ha1 g1 h2 ,murray1 ,,ii41 pl4 #af1 fig4 #a4 ,the dress of the ,persians in this frieze is the usual chiton with long sleeves1 girt at the waist1 and close-fitting trousers1 anaxyrides4 ,one of them1 the kneeling figure in ,no4 #dbd1 wears a quiver and bow case1 gorytos1 from which appears the end of his bow1 and two others wear quivers4 ,the only ,persian whose face is preserved is bearded1 and wears the ,persian headdress1 the kidaris4 ,the heads and weapons of both sets of combatants have been nearly all destroyed4 ,some of the ,greeks are armed with the ,argolic buckler4 ,others have a chlamys wound round the left arm or hanging loose from the body4 ,,casts ,,from ,,the ,,balustrade ,,of ,,the ,,temple ,,of ,,nike ,,apteros4 ,the temple of ,nike ,apteros stood on a lofty projecting bastion1 as may be seen from the model of the ,acropolis4 ,this bastion was surrounded for safety with a breast-high parapet1 consisting of a frieze of sculpture in relief1 facing outwards1 surmounted by a bronze screen4 ,several fragments of the frieze or balustrade were discovered on the site1 in #ahce4 7,ross1 pl4 #ac47 ,additional fragments were found by ,beule in #aheb1 and in more recent excavations to the east of the temple of ,nike1 and on the south slope of the ,acropolis4 ,they are preserved in the ,acropolis ,museum at ,athens4 ,the sculptures are too mutilated to be arranged in one composition4 ,it is evident1 however1 that the frieze consisted of figures of ,victories1 variously engaged4 ,some lead bulls to sacrifice1 while others are erecting or decking trophies in the presence of ,athene4 ,there is some uncertainty as to the date of the frieze4 ,it cannot be older than the temple1 and therefore not earlier than #dcb ,b4,c4 ,kekule 7,balustrade1 p4 #bb71 and ,wolters 7p4 #bhi7 hold that the frieze was produced immediately after that date4 ,but a more admissible view is that which puts the balustrade at the very close of the fifth century4 ,if the different fragments of the balustrade are examined1 they seem to reveal a combination of various schools and methods4 ,no4 #dbf1 severely draped in chiton and diploidion1 seems to have the somewhat stiff dignity best seen in sculptures of the ,temple of ,zeus at ,olympia1 but occasionally suggested by the ,parthenon sculptures4 ,the figures of ,athene 7,kekule1 ,balustrade1 pl4 ii471 have the spirit of the ,parthenon frieze4 ,in ,no4 #dbg and ,no4 #dbh1 the artist dwells on and emphasises the nude form1 displaying it through transparent drapery in a manner that may well be supposed to have been that of the transition from ,pheidias to ,praxiteles4 ,finally1 in the figure leading the bull 7,no4 #dbi71 there is a florid wealth of drapery1 which1 among early works1 only finds a partial analogy in the frieze of ,phigaleia1 and which appears more akin to the ,nike of ,samothrace than to ,attic work of the fifth century4 ,this want of uniformity in style suggests a time of transition in which the traditions of the school of ,pheidias were still to some extent operative1 while newer tendencies were beginning to make themselves felt4 ,perhaps also they indicate that the work was spread over a space of several years1 such as might be expected in the troubled close of the fifth century ,b4,c4 ,height of ,balustrade1 #c feet #b inches4 ,ross1 p4 #ag1 pl4 #ac 7cf4 ante1 p4 #bda72 ,michaelis1 ,arch4 ,zeit41 #ahfb1 p4 #bdi4 ,all the materials are collected by ,kekule1 ,die ,reliefs an der ,balustrade der ,athena ,nike 7#ahha71 which superseded ,kekule1 ,die ,balustr4 d4 ,tempels d4 ,athena ,nike 7#ahfi74 ,see also ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #cfi2 ,murray1 ,,ii41 p4 #ahf2 ,wolters1 ,nos4 #gfa-hjd4 ,stereoscopic1 ,nos4 #aeh-afj4 ,sidenote3 #dbf4 ,victory standing1 half turned to the left4 ,she holds a greave in her left hand1 with which she was probably decking a trophy4 ,she wears a leather helmet4 ,kekule1 ,balustrade1 pl4 #e1 fig4 ,r2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 fig4 #hb4 ,sidenote3 #dbg4 ,winged ,victory turned to the left stoops forward1 raising her right foot in order to adjust or unfasten her sandal4 ,a somewhat similar incident is seen on the ,parthenon frieze1 7west side1 ,no4 #bi74 ,there1 however1 the figure has his foot resting on a rock1 while here the ,victory balances herself on the left foot with the right leg high in the air1 in a position of effort such as does not occur on the frieze of the ,parthenon4 ,ross1 pl4 #ac1 figs4 ,b1 ,bb2 ,kekule1 ,balustrade1 pl4 #d1 fig4 ,o2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 fig4 #hb2 ,murray1 ,,ii41 pl4 #af1 fig4 #d2 ,brunn1 ,denkmaeler1 ,no4 #ce4 ,the meaning of the subject is not known4 ,in the ritual inscription of ,andania the initiated are ordered to have bare feet1 and possibly the ,victory is supposed to be removing her sandals before entering a shrine4 ,dittenberger1 ,syll41 #chh1 #ae1 cf4 ibidem1 #ceg1 #be4 ,sidenote3 #dbh ,winged ,victory standing turned to the left1 the right arm advanced4 ,the right hand and all the left arm being broken away1 the motive of this figure has not been ascertained1 but probably the ,victory was decking a trophy4 ,kekule1 ,balustrade1 pl4 #d1 fig4 ,m2 ,arch4 ,zeit41 #ahfb1 pl4 #afb2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 fig4 #hb2 ,brunn1 ,denkmaeler1 ,no4 #ce4 ,sidenote3 #dbi4 ,two winged ,victories about to sacrifice a bull1 which one of them is holding back as it springs forward4 ,the other ,victory leads the way1 moving to the right4 ,ross1 pl4 #ac1 fig4 ,a2 ,kekule1 ,balustrade1 pl4 #a1 fig4 ,a2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 fig4 #hb2 ,murray1 ,,ii41 pl4 #af1 fig4 #c2 ,brunn1 ,denkmaeler1 ,no4 #cd4 ,,the ,,choragic ,,monument ,,of ,,lysicrates4 ,the ,choragic ,monument of ,lysicrates is a small edifice which presents one of the earliest examples of the use of the ,corinthian order in ,greek architecture4 ,it may be thus described4 ,on a square basement is a cylindrical structure resting on six ,corinthian columns4 ,between them are six equal panels of white marble closely joined2 at each vertical joint a ,corinthian column has been fitted1 so as to project more than half its diameter4 ,between the capitals were figures of tripods in relief1 of which only one now survives4 ,above the colonnade is the entablature and a cupola or tholos2 this is in the form of a tiling of laurel-leaves richly decorated round the circumference with a double row of projecting ornaments4 ,from the apex of the roof rises a mass of foliage arranged in a triple form1 on the three most projecting leaves of which was placed a bronze tripod1 dedicated by a choragos1 who had provided a victorious chorus4 ,an inscription on the architrave immediately below the figure of ,dionysos furnishes the name and date of the dedicator4 ,it runs199 ,lysicrates of ,kikynna1 son of ,lysitheides1 was ,choragos4 ,the youths of the tribe ,acamantis were victors1 ,theon was the flute player1 ,lysiades an ,athenian was the instructor of the ,chorus1 ,euainetos was ,archon4 ,the mention of this magistrate fixes the date of the monument to ,b4,c4 #cce-d4 993 ,c4 ,i4 ,g4 #bba2 ,c4 ,i4 ,a41 ,,ii41 #abdb4 ,greek3 ,lysikrates ,lysitheidou ,kikynneus echoregei4 ,akamantis paidon enika4 ,theon eulei4 ,lysiades ,athenaios edidaske4 ,euainetos erche4 ,illustration3 ,fig4 #ba4--,the ,choragic ,monument of ,lysicrates4 7,after ,stuart47 ,the building still stands in its original position at ,athens1 below the eastern side of the ,acropolis and a little to the north-east of the theatre of ,dionysos4 ,in antiquity it stood in a street called the street of tripods 7,paus4 i4 #bj1 #a71 because of the number of tripods which were there dedicated to ,dionysos4 ,at least as early as the #aeth century the building was popularly known as the ,lantern of ,demosthenes4 ,in the #agth and #ahth centuries it was built into the wall of the ,french ,capuchin monastery1 and the interior served as the library of the ,superior4 ,the monastery was burnt in #ahba1 and the only trace of it is in a few tombstones of ,french citizens lying near4 ,the monument now stands in an open square4 ,lord ,elgin's casts are the best record of the frieze1 as the sculptures1 which are of ,pentelic marble1 have suffered considerably in the last ninety years4 ,the subject of the frieze here described is the victory of ,dionysos over the ,tyrrhenian pirates who had kidnapped him from ,chios with the intention of selling him as a slave4 ,the ,god revenged himself by transforming the pirates into dolphins1 a myth which is to be found in the ,homeric ,hymn to ,dionysos 7,no4 vi47 and elsewhere 7,ovid1 ,met4 iii4 #fej2 ,nonnus1 ,dionys4 xlv4 #ajb2 ,philostr4 ,im4 i4 #ai1 c4 ,cf4 ,gaz4 ,arch4 #ahge1 p4 #g74 ,in the frieze the moment is represented when this transformation took place4 ,according to ,homer and most other writers1 the event happened on board the ship1 and the pirates were first terrified by a miraculous appearance of vines and wild beasts4 ,the sculptor has preferred to represent the scene as passing on the rocky shore on which the pirates found ,dionysos 7,hom4 ,hymn1 vi4 l4 #b7 and has made ,satyrs help in the vengeance4 ,the subject is thus made to adapt itself to the requirements of sculpture4 ,for a vase with a representation of the literary form of the legend1 see ,gerhard1 ,auserlesene ,vasenbilder1 i41 pl4 #di2 ,harrison1 ,mythology and ,monuments of ,anc4 ,athens1 p4 #bea4 ,an intaglio1 with a pirate half transformed1 as on the frieze1 is engraved in the ,gaz4 ,arch4 #ahge1 p4 #ac4 ,it is convenient to take the architectural remains of ,athens consecutively1 and the monument of ,lysicrates has therefore been inserted in this place4 ,but the accurately ascertained date 7#cce ,b4,c47 is a century later than the ,parthenon1 and it is easy to discern the change that has taken place4 ,the form of ,dionysos is becoming softer and more effeminate4 ,the ,satyrs on tip-toe belong to a scheme not introduced in the #eth century sculpture2 more free play of humour is admitted4 ,at the same time ,attic schemes of composition present themselves1 which had already come into use in the time of ,pheidias4 ,this frieze is a remarkable example of the ,greek power of combining variety and symmetry4 ,on the right and left of ,dionysos the groups correspond with great accuracy1 but the correspondent groups always differ one from another4 ,on each side of the ,god we have an attendant ,satyr2 a ,satyr with a crater2 a ,satyr watching the conflict2 a ,satyr hastening to join it2 a ,satyr kneeling on a pirate2 a ,satyr about to strike a pirate thrown to the ground2 a ,satyr breaking off a branch from a tree2 a pirate1 half transformed1 leaping into the sea4 ,the remainder of the frieze is less exactly symmetrical4 ,wheler1 ,journey1 p4 #cig2 ,spon1 ,voyage 7ed4 #afgi71 ,,ii41 p4 #acb4 ,a view of the monument from the monastery garden is shown in ,stuart1 ,i41 chap4 ,,iv41 pl4 #a4 ,the view from the street is in ,le ,roy1 ,ruines1 pl4 #ac4 ,a view of the interior used as a library1 ,dodwell1 ,tour1 ,i41 pl4 facing p4 #bhi4 ,a view subsequent to the destruction of the monastery is given1 ,exp4 de ,moree1 ,,iii41 pl4 #if4 ,for the present state of the monument see ,harrison1 ,mythology and ,monuments of ,anc4 ,athens1 p4 #bde4 ,the original frieze is of ,pentelic marble2 height1 #aj-a_/b inches4 ,stuart1 ,i41 ch4 ,,iv41 pls4 #a-bf4 ,stuart's drawings which are freely restored are the basis of the inaccurate plate in ,stuart1 #bnd ed41 ,vol4 ,i41 ch4 ,,iv41 pl4 #cj4 ,the illustrations in most of the text-books are derived from the latter plate2 e4g41 ,mueller1 ,denkmaeler1 pl4 #cg2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,,ii41 p4 #ia4 ,these works all repeat an erroneous order of the two groups of ,no4 #h1 which spoils the symmetry of the frieze2 cf4 ,murray1 ,,ii41 p4 #ccc4 ,an independent and more accurate publication is that in ,mus4 ,marbles1 ,,ix41 pls4 #bb-bf1 taken from the ,elgin casts4 ,see also ,ellis1 ,elgin ,marbles1 ,,ii41 pp4 #gi-hg4 ,the ,british ,museum also possesses a careful series of drawings from the sculptures1 by ,lord ,elgin's artist1 ,lusieri4 ,report of the ,elgin ,committee1 appendix1 p4 xli42 ,wolters1 ,no4 #acbh4 ,sidenote3 #dcj4 #a4 ,in the centre of the composition is ,dionysos turned to the left1 reclining on a rock over which drapery is thrown4 ,he leans on his left elbow2 with his right hand he caresses a panther which fawns on his knees4 ,in the left hand ,dionysos appears to have held a cup and a thyrsos1 of which traces appear behind his left shoulder4 ,this figure is now entirely destroyed on the original4 ,there is a considerable resemblance in the pose of ,dionysos to that of the so-called ,theseus of the east pediment of the ,parthenon4 ,on either side of ,dionysos is a ,satyr1 seated on lower rocks4 ,the ,satyr on the right clasps his left knee with both hands4 7,compare the figure on the east frieze of the ,parthenon ,no4 #bf74 ,his head was probably turned towards ,dionysos4 ,the ,satyr on the left of the ,god rests his left hand on the rock behind him2 his right knee is bent and the right leg drawn up under it2 in his right hand he holds a thyrsos2 his body and head are turned to the right4 ,mus4 ,marbles1 ,,ix41 pl4 #bd4 ,sidenote3 #b4 ,next on the left is a ,satyr advancing over rocky ground towards a large crater2 in his right hand he holds an oinochoe1 with which he is about to take wine from the crater2 in his left hand has been a phiale2 a fawn skin1 nebris1 hangs from his left shoulder4 ,his head appears to have been turned towards ,dionysos4 ,on the opposite side of the vase stands a ,satyr turned to the left1 resting his elbows on the stump of a tree1 over which is thrown a panther's skin2 the top of a thyrsos appears above his right shoulder4 ,he appears to have been bearded4 ,this figure looks on at the destruction of the pirates which is represented in a series of groups on the left1 and which we must suppose to have taken place on a rocky shore overlooked by the higher ground on which ,dionysos reclines4 ,mus4 ,marbles1 ,,ix41 pl4 #bd4 ,sidenote3 #c4 ,a ,satyr advances to the left with a burning torch1 with which he is about to assail the fallen pirate of the next group4 ,this ,satyr is nude and bearded4 ,his head is bound with a diadem4 ,the head and left leg are now lost on the original4 ,the next group on the left represents a pirate thrown on his hands and knees upon the rocks4 ,on his back kneels a ,satyr whose right arm is upraised to strike his prostrate foe with some weapon which is not clearly shown in the relief1 but which was probably a pedum1 or perhaps a branch4 ,the ,satyr has a panther's skin floating in the air1 at his back4 ,between the legs is a lump of plaster1 which is due to a fault in the moulding4 ,mus4 ,marbles1 ,,ix41 pl4 #bc4 ,sidenote3 #d4 ,next on the left is a bearded ,satyr1 who draws back to the right1 to collect his force for a blow1 with his thyrsos4 ,meanwhile he looks back at a pirate on his left1 who kneels with his hands tied behind him1 and looks round towards the ,satyr in helpless terror4 ,a panther's skin1 hanging from the left shoulder of the ,satyr1 floats in the air at his back4 ,mus4 ,marbles1 ,,ix41 pl4 #bc4 ,sidenote3 #e4 ,the next figure on the left is a bearded ,satyr who turns to the right kneeling on his left knee1 set in the fork of a tree close to the edge of the sea2 with both hands he is breaking off a branch4 ,his panther's skin floats in the air behind his back4 ,his right foot stands in shoal water1 which is indicated by curling waves4 ,behind him on the left is a pirate1 whose body to the waist is transformed into a dolphin1 and who leaps head foremost into the sea4 ,mus4 ,marbles1 ,,ix41 pl4 #bc4 ,between ,no4 #e and ,no4 #f is about a yard of frieze1 wanting in the cast4 ,this is given1 freely restored1 by ,stuart4 ,an accurate drawing by ,lusieri is preserved in the ,museum 7,plate ix474 ,a bearded ,satyr holds out a torch and pursues a pirate who runs away at full speed4 ,a hole has been cut between them for the insertion of a beam4 ,a rock and tree separate this group from the following1 ,no4 #f4 ,sidenote3 #f4 ,this group is rather better preserved in the drawing of ,lusieri than in the cast4 ,a young pirate is seated on the ground leaning on his left arm4 ,the right hand is extended in supplication to the bearded ,satyr1 who is dragging him seawards by the foot4 ,a hole has been cut through the figure for a beam4 ,the ,satyr stands in the waves4 ,behind him a pirate1 half transformed1 is in the act of leaping into the sea4 ,this figure is now almost destroyed in the original4 ,as it is leaping to the right1 it belongs strictly to that part of the circular frieze which represents the scene on the right of ,dionysos4 ,mus4 ,marbles1 ,,ix41 pl4 #bb4 ,sidenote3 #g4 ,on the right of the central group 7,no4 #a7 is a bearded ,satyr moving to the right towards a large crater4 ,in his right hand he holds up an oinochoe or wine jug4 ,his left is extended over the crater and holds a phiale4 ,this figure appears to be bearded1 though it is drawn as beardless by ,lusieri2 the head is now wanting4 ,next on the right are two ,satyrs1 each wearing a panther skin4 ,the ,satyr on the left turns to the right and extends his right hand towards the second ,satyr1 as if giving him an order4 ,the latter looks round to the left1 as if to receive the order1 while he is hastening to the right with both hands raised1 as if pointing4 ,mus4 ,marbles1 ,,ix41 pl4 #be4 ,sidenote3 #h4 ,next on the right is a prostrate pirate1 on whose buttock a bearded ,satyr is kneeling with his left knee1 while he holds the pirate's hands1 as if to tie them behind his back4 ,the pirate kneels on the rock1 with his head pressed upon the ground and turned towards the spectator4 ,the next group on the right is composed of a ,satyr1 who has thrown a pirate backward on the rock1 and is about to strike him with a pedum or club4 ,the pirate has his left knee bent under him1 and leans back on his right elbow3 he advances his right foot and left arm to defend himself4 ,he is drawn by ,lusieri with a negro face and pointed ear4 ,the ear seems pointed1 but it is manifest that the features are wrongly drawn4 ,the head is now wanting on the original4 ,the ,satyr has his body facing to the front and inclined to the left with the right leg advanced3 his right hand is raised to the level of his head4 ,the action shows that he is about to swing his body round to give effect to the blow which he is aiming at the pirate4 ,on his left arm is the panther's skin1 worn as a shield4 ,mus4 ,marbles1 ,,ix41 pl4 #be4 ,sidenote3 #i4 ,in the next group are a ,satyr and a transformed pirate1 separated by a tree which marks the edge of the rocky shore1 as at the opposite side of the frieze4 ,the ,satyr stoops forward1 breaking off with both hands a branch of the tree1 which he is about to use as a weapon4 ,he is bearded4 ,the right leg is now wanting on the original4 ,the pirate darts head foremost into the water1 pressing his feet against the trunk of the tree4 ,mus4 ,marbles1 ,,ix41 pl4 #bf4 ,sidenote3 #aj4 ,on the right of the transformed pirate is a group representing a ,satyr about to strike with a branch of a tree a pirate seated on the ground1 whose head he draws back with his left hand1 brandishing in his right hand the branch held behind his neck2 from the left arm of the ,satyr hangs his panther's skin4 ,he is bearded4 ,in the drawing of ,lusieri he has an ivy wreath and pointed ears4 ,on the original this group is mutilated almost beyond recognition4 ,the last group on the right is composed of a ,satyr darting forward with a lighted torch1 which he is about to apply to a pirate seated on a rock with his hands tied behind his back4 ,a large serpent behind the pirate has fastened its fangs on his right shoulder1 and has one coil between his right arm and his back4 ,the pirate looks round in agony towards his assailants4 ,the serpent suggests the form of the legend usually current1 in which ,dionysos is assisted by strange monsters4 ,according to ,nonnus1 ,dionys41 xlv41 #a4 #acd1 the ropes of the rigging of the ship turned to serpents4 ,sidenote3 #dca4 ,cast from the capital of a column of the ,choragic ,monument of ,lysicrates4 ,height1 #b feet #c_/d inches4 ,synopsis1 ,no4 #cfj994 ,see ,stuart1 ,i41 ch4 ,,iv4 pl4 #f1 fig4 #a4 ,,the ,,choragic ,,monument ,,of ,,thrasyllos4 ,sidenote3 #dcb4 ,the statue of ,dionysos1 here described1 originally decorated a choragic monument1 of which some scanty remains may still be seen below the southern wall of the ,acropolis of ,athens1 and immediately above the ,dionysiac theatre4 ,the monument was in the form of a portico1 the architrave of which rested on three pilasters which masked the entrance to a cavern in the rock4 ,until removed by ,lord ,elgin the statue stood above the facade4 ,since the removal of the statue the portico itself has been destroyed1 and at present only the base and lower portions of the pilasters stand in position1 while fragments of the inscription lie close at hand4 ,we learn from the inscription on the centre of the face of the monument that it was dedicated by ,thrasyllos to commemorate the victory gained by his tribe in the dramatic contest in which he was himself choragos1 in the archonship of ,neaichmos 7#cbj ,b4,c472 ,c4 ,i4 ,g41 #bbd2 ,c4 ,i4 ,a41 ii41 #abdg4 ,on the right and left were inscriptions recording the dedication of tripods by ,thrasycles1 son of ,thrasyllos1 who was agonothetes in the archonship of ,pytharatos 7#bga ,b4,c472 ,c4 ,i4 ,g41 #bbe1 #bbf2 ,c4 ,i4 ,a41 ii41 #abib1 #abic4 ,at some date intermediate between these two1 probably about #caj ,b4,c41 the state had assumed the burden of providing the chorus1 and the agonothetes or director of the contest took the place of the choragos1 or provider of the chorus4 7,hermann1 ,lehrb4 d4 ,griech4 ,antiq41 ,mueller's ed41 iii41 pt4 ii41 p4 #cci47 ,it has commonly been supposed that the statue belongs to the dedication of ,thrasyllos4 ,stuart made the infelicitous conjecture that it held the votive tripod on its lap4 ,the most recent writer on the subject1 ,reisch 7in the ,athenische ,mittheilungen1 xiii41 p4 #chc71 conjectures that the monument of ,thrasyllos was originally surmounted by a pediment on which was a tripod2 and that the pediment was removed by ,thrasycles1 who placed the statue in the centre1 and bases for his tripods at the sides4 ,it is left unexplained what became of the tripod of ,thrasyllos4 ,from the style of the statue we cannot decide between the two dates4 ,reisch well points out that in composition and spirit there is an attempt1 only partially successful1 to preserve the manner of ,pheidias as seen in the ,parthenon pediments4 ,the figure is majestic1 but the drapery is rather heavy4 ,the influence of the younger ,attic school hardly makes itself felt4 ,the statue is that of a colossal seated figure1 the head1 arms1 and right foot to the instep wanting4 ,the body is clad in a talaric chiton1 over which is a panther's skin1 passing like a scarf from the left shoulder to the right side1 and bound round the waist by a broad girdle1 under which is seen the panther's face and teeth2 an ample mantle passes from the back of the figure over the lower limbs1 falling in rich folds across the lap4 ,the head and left arm of this statue were of separate pieces of marble1 and were originally morticed to the body4 ,the head was wanting as early as the visit of ,spon and ,wheler to ,athens in #afgf4 ,on the left thigh is a sinking about #f inches deep1 #e long1 and #a-a_/b wide1 in which some object may have been inserted1 but which may have been used when the statue was being placed in position4 ,on the drapery of the left shoulder there is a hole for a rivet4 ,it seems probable that the ,god was represented with a lyre1 the base of which rested on his left thigh4 ,this instrument was the attribute of ,dionysos ,melpomenos 7see ,gerhard1 ,ant4 ,bildwerke1 text1 p4 #bdj71 and the costume of the figure seems assimilated to that of a citharist4--,elgin ,coll4 ,pentelic marble2 height1 #f feet #c inches4 ,the stone is roughly hewn out at the back to lighten the figure4 ,wheler1 ,journey1 p4 #cfh2 ,le ,roy1 ,ruines1 pl4 #h2 ,stuart1 ,,ii41 ch4 ,,iv41 pls4 #c1 #f2 ,mus4 ,marbles1 ,,ix41 pl4 #a2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #ij2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,,ii41 p4 #id2 ,reisch1 ,athenische ,mittheilungen1 ,,xiii4 7#ahhh7 pl4 #h1 p4 #chc2 ,stereoscopic1 ,no4 #aad2 ,brunn1 ,denkmaeler1 ,no4 #aai4 ,,the ,,propylaea4 ,the ,propylaea1 or gateways to the ,acropolis1 were constructed by ,mnesicles under the administration of ,pericles1 in the five years #dcf-dca ,b4,c4 ,the main portion of the building consisted of two ,doric portions1 facing respectively inwards to the ,acropolis and outwards4 ,these were connected by a series of ,ionic columns4 ,the entrance was flanked on each side by wings 7see the plan1 fig4 #bj74 ,the ,elgin ,collection contains a few architectural remains from the building4 ,a portion of the cedar dowels which connected the drums of the columns of the ,propylaea may be seen in the ,bronze ,room4--,presented by ,a4 ,w4 ,franks1 ,esq4 ,cf4 ,dodwell1 ,tour1 ,i41 p4 #cac4 ,sidenote3 #dcc4 ,capital of ,doric column from the ,propylaea4 ,it is impossible to tell from the dimensions whether this capital is derived from the internal or external portico4--,elgin ,coll4 ,pentelic marble2 width of abacus1 #e feet #e-a_/b inches4 ,synopsis1 ,no4 #acj 7#bjf74 ,stuart1 ,,ii41 ch4 ,v41 pl4 #g1 fig4 #a4 ,penrose1 ,athen4 ,architecture1 ch4 ,x41 pl4 #ca2 ,bohn1 ,die ,propylaeen1 pls4 #aa1 #ac1 fig4 #b4 ,sidenote3 #dcd4 ,piece of drum of ,ionic column from the inner order of the ,propylaea4--,elgin ,coll4 ,pentelic marble2 height1 #a foot #d-a_/b inches2 diameter1 #c feet #a_/h inch4 ,synopsis1 ,no4 #abi4 ,penrose1 ,athen4 ,architecture1 ch4 ,x41 pl4 #cb4 ,sidenote3 #dce4 ,part of band for supporting the beams of the ceiling in the central hall of the ,propylaea4 ,there are considerable remains of the painted mouldings4--,elgin ,coll4 ,pentelic marble2 height1 #a foot #g-a_/d inches2 length1 #c feet #aj-a_/b inches4 ,synopsis1 ,no4 #aca 7#cjh74 ,stuart1 ,,ii41 ch4 ,v41 pl4 #h1 fig4 #a2 ,bohn1 ,die ,propylaeen1 pl4 #ab1 fig4 #f4 ,,miscellaneous ,,architectural ,,fragments4 ,sidenote3 #dcf4 ,capital of one of the antae from the small ,ionic temple near the ,ilissos seen by ,stuart1 but destroyed since his time in #aghj4--;,elgin ,coll4 ,height1 #a foot #a_/h inch2 breadth1 #b feet #a_/b inch4 ,synopsis1 ,no4 #agj 7#agd74 ,stuart1 ,i41 ch4 ,,ii41 pl4 #h1 fig4 #a4 ,see also ,leake1 ,topography of ,athens1 #bnd ed41 p4 #bej4 ,sidenote3 #dcg4 ,moulding with anthemion1 plait1 maeander1 and leaf1 bead and reel patterns4 ,found near the south-east anta of the ,erechtheion4 --,inwood ,coll4 ,height1 #h-a_/d inches2 breadth1 #f-c_/d inches4 ,synopsis1 ,no4 #djg4 ,inwood1 ,erechtheion1 pl4 #bf1 p4 #ach4 ,sidenote3 #dch4 ,antefixal ornament or acroterion from the temple of ,demeter at ,eleusis4 ,for a similar ornament see ,kinnard in ,stuart's ,antiquities of ,athens1 #bnd ed41 iii41 pl4 #a1 p4 #ec4--;,elgin ,coll4 ,pentelic marble2 height1 #c feet #g-a_/b inches4 ,synopsis1 ,no4 #afi 7#agc72 ,laborde1 ,le ,parthenon1 pl4 #bg4 ,sidenote3 #dci4 ,ornament of roof-tile1 kalypter anthemotos4 ,purchased by ,inwood at ,athens4--,inwood ,coll4 ,pentelic marble2 height1 #h-c_/d inches4 ,synopsis1 ,no4 #dag4 ,inwood1 ,erechtheion1 pl4 #bh1 fig4 #c1 p4 #add4 ,sidenote3 #ddj4 ,ornament of roof-tile4 ,probably purchased by ,inwood at ,athens4--,inwood ,coll4 ,pentelic marble2 height1 #aj-c_/d inches4 ,synopsis1 ,no4 #dab4 ,inwood1 ,erechtheion1 pl4 #bh1 fig4 #b1 p4 #add4 ,sidenote3 #dda4 ,ornament of roof-tile1 found on the gable of a small ,greek church1 that appears to have been on the site of a temple in the gardens at ,athens1 beyond ,mount ,anchesmus4--,inwood ,coll4 ,pentelic marble2 height1 #h-a_/b inches4 ,synopsis1 ,no4 #daa4 ,inwood1 ,erechtheion1 pl4 #bc1 p4 #aca4 ,sidenote3 #ddb4 ,ornament of roof-tile found built into a modern house near the ,choragic ,monument of ,lysicrates4--,inwood ,coll4 ,pentelic marble2 height1 #aa inches4 ,synopsis1 ,no4 #dac4 ,inwood1 ,erechtheion1 pl4 #bh1 fig4 #e1 p4 #add4 ,sidenote3 #ddc4 ,capital of ,ionic column discovered by ,inwood built into the wall of a small ,greek chapel called ,agia ,marina on the left bank of the ,ilissos at ,athens4 ,this is probably the site of the temple of ,artemis ,eucleia mentioned by ,pausanias 7i41 #ad1 #e1 and compare ix41 #ag1 #a74 ,roses are sculptured in the eyes of the volutes4 ,inwood remarks 7p4 #acf7 that the central enrichment over the cymatium between the volutes is unusual4 ,from the absence of mortices by which the capital could be secured to the architrave or to the shaft1 he infers 7p4 #acc7 that this capital may have belonged to some sepulchral stele or other work1 where great strength of construction was not required4 ,boetticher1 who engraves this or a similar capital1 is of the same opinion4 ,the opposite face of the capital is nearly all broken away4--,inwood ,coll4 ,pentelic marble2 width from centre of volute to centre of volute1 #ab-c_/d inches4 ,synopsis1 ,no4 #cih4 ,inwood1 ,erechtheion1 p4 #acb1 pls4 #bd-be4 ,boetticher1 ,tektonik1 pl4 #cj1 fig4 #g1 text1 p4 #bii4 ,sidenote3 #ddd4 ,volute of ,ionic capital4 ,inwood 7p4 #abh7 states that it was found near the site of the temple of ,nike ,apteros1 and that from its scale it probably belongs to that temple4 ,this1 however1 is not the case1 as may be seen by comparing this fragment with the capital of the temple of ,nike ,apteros in ,ross1 ,akropolis von ,athen1 pls4 vii41 viii4 ,the pulvinus of this capital is ornamented with leaves1 as in the example from ,athens in ,boetticher's ,tektonik1 pl4 #ca1 fig4 #e1 text1 p4 #bii4--;,inwood ,coll4 ,pentelic marble2 height1 #a foot2 breadth1 #i-a_/b inches4 ,synopsis1 ,no4 #djd1 where it is incorrectly described as a capital from the temple of ,nike ,apteros4 ,inwood1 ,erechtheion1 pl4 #ba4 ,sidenote3 #dde4 ,volute of ,ionic capital1 which1 according to ,inwood 7p4 #abg7 was found in a wall below the north side of the ,acropolis at ,athens4 ,in the eye of this volute a rose is sculptured in relief4 ,in the capitals of the ,erechtheion there was a similar rose of bronze gilt1 for which a recess is carved in the marble4--,inwood ,coll4 ,pentelic marble2 height1 #g-c_/d inches2 breadth1 #i inches4 ,synopsis1 ,no4 #daj4 ,inwood1 ,erechtheion1 pl4 #bj2 ,boetticher1 ,tektonik1 text1 p4 #bii4 ,sidenote3 #ddf4 ,fragment of the shaft of a column which was fluted with twenty-four flutes1 the diameter being about two feet two inches4 ,the dimensions differ from those of the columns of the ,erechtheion4--,greece4 ,presented by ,w4 ,r4 ,hamilton1 ,esq4 ,marble2 height1 #a foot #g inches2 width1 #a foot #f inches4 ,sidenote3 #ddg4 ,capital of ,corinthian column1 from one of the porches of the building at ,athens1 commonly known as the ,tower of the ,winds1 or more correctly as the ,horologium of ,andronicus ,cyrrhestes 7built probably in the #bnd century ,b4,c474--,formerly in the ,elgin ,collection4 ,marble2 height1 #a foot #d-a_/b inches4 ,stuart1 ,i41 chap4 ,,iii41 pl4 #g4 ,sidenote3 #ddh4 ,unfinished ,ionic base4--,formerly in the ,elgin ,collection4 ,marble2 height1 #i inches2 diameter1 #a foot #aj-c_/d inches4 ,,agoracritos ,,of ,,paros4 ,sidenote3 #dfj4 ,fragment of colossal head1 showing the right cheek1 right eyelid and right side of the head as far as the ear4 ,the hair is waved4 ,on the crown of the head eleven holes are pierced in the marble1 evidently for the attachment of a wreath or other ornament4 ,the left side and back of the head have been cut or broken away4 ,so far as can be inferred from the little original surface remaining1 this head was in a fine style of the fifth century ,b4,c4 ,the style and material of this work1 and the place of its discovery1 give good grounds for thinking that it is a fragment of the famous statue of ,nemesis by ,agoracritos of ,paros4 ,the exact date of ,agoracritos is not recorded1 but he is said to have been a favourite pupil of ,pheidias4 ,the statue of ,nemesis is described as a colossal figure of the type of ,aphrodite1 holding in her hands an apple branch and a phiale1 on which were figures of ,aethiopians4 ,she had no wings1 and stood on a base1 sculptured with subjects relating to the birth of ,helen and the ,trojan war4 ,the figure wore a diadem1 adorned with deer and figures of ,victory of no great size4 ,compare the diadem of ,pandora1 described by ,hesiod1 ,theogony1 #eha2 the diadem of ,hera of ,polycleitos 7,paus41 ii41 #ag1 #d72 the ,cypriote terracottas1 in the ,terracotta ,room1 wall cases #a and #bg2 and the ,cypriote sculptures in the ,cyprus ,room4 ,the numerous holes mentioned above must have served for the attachment of an ornament of some weight1 and so confirm the proposed identification4 ,according to tradition the statue was made of a block of ,parian marble1 which was brought by the ,persians1 before the battle of ,marathon1 to be erected as a trophy for the capture of ,athens4 7,paus41 i41 #cc4 #b2 ,anthol4 ,pal4 ,app4 ,plan41 iv41 #bba1 #bbb1 #bfc74 ,found on the site of the ,temple of ,nemesis at ,rhamnus4--,presented by ,j4 ,p4 ,gandy ,deering1 ,esq41 #ahbj4 ,parian marble2 height1 #a foot #d-a_/b inches4 ,uned4 ,antiquities of ,attica1 p4 #dc2 ,leake1 ,athens and ,demi of ,attica1 ,,ii41 p4 #ajh2 ,synopsis1 ,no4 #cbe 7#bgc72 ,elgin ,room ,guide1 ,,ii41 ,no4 ,e4 #d2 ,six1 ,num4 ,chron4 #crd4 ,ser41 ,,ii41 p4 #id2 cf4 coin of ,cyprus1 ibidem1 pl4 #e2 ,gardner1 ,journ4 of ,hellen4 ,studies1 ,,viii41 p4 #dg2 ,rossbach1 ,athenische ,mittheilungen1 ,,xv41 p4 #fd2 ,overbeck1 ,schriftquellen1 #hcd-hdc4 ,,polycleitos ,,of ,,argos ,,and ,,the ,,peloponnesian ,,school4 ,polycleitos of ,argos was1 as has already been observed 7p4 #ij71 one of the great pupils of ,ageladas of ,argos1 who was also the master of ,myron and perhaps of ,pheidias4 ,nothing is recorded as to the life of ,polycleitos2 his age1 as compared with that of ,pheidias1 is not accurately known4 ,it is probable that he was rather younger than ,pheidias1 as he was working at a later date4 ,pliny gives the #ijth ,olympiad1 or #dbj ,b4,c41 as the date of ,polycleitos4 ,this may be the date of his great statue of ,hera at ,argos1 the older temple of ,hera having been burnt in #dbb ,b4,c41 and it was probably near the end of the sculptor's life4 ,no original works by the hand of ,polycleitos survive1 but several sculptures are known which can be shown with probability to have been copied more or less directly from originals1 of which the character is thus ascertained4 ,polycleitos was famous in antiquity as the author of a methodical system of proportions for the human form4 ,one in particular of his figures1 the ,doryphoros1 was known as the ,canon1 and was adopted as the ideal type of a youthful male figure by later sculptors4 ,this figure1 and its companion the ,diadumenos 7see below1 ,nos4 #ejj1 #eja71 are known to us from copies4 ,they are of vigorous make and square build1 but somewhat heavy when compared with the graceful youths of the ,parthenon frieze4 ,but the words of ,quintilian1 who says 7,inst4 ,orat41 xii41 #aj1 #g7 that some critics objected to the works of ,polycleitos as being wanting in weight and unduly elegant1 suggest that the extant copies do not convey an accurate impression of the bronze originals1 and in fact some of the numerous ,doryphoros heads which have been found in ,italy present a profile which strikingly recalls the profiles of the youths on the ,parthenon frieze4 ,polycleitos was also noted for his technical skill and perfect workmanship4 ,the works that have been associated with ,polycleitos1 in the ,british ,museum1 are here described 7,nos4 #ejj-ejc74 ,a fragment1 however1 of a group of two boys playing with knuckle-bones 7,mus4 ,marbles1 ii41 pl4 #ca71 which was ascribed by ,winckelmann to ,polycleitos 7,hist4 de l',art1 ,bk4 vi41 chap4 #b2 ,pliny1 ,h4 ,n41 xxxiv41 #aj71 is no doubt of a later period1 and is therefore omitted4 ,sidenote3 #ejj4 ,graeco-,roman copy of the ,diadumenos of ,polycleitos4 ,statue of a nude youth1 tying a band 7taenia7 about his head4 ,he stands principally on the right leg1 resting lightly on the left leg1 and has both hands raised4 ,the left hand is lost4 ,the band was made of bronze1 and holes remain for its attachment4 ,the left side of the face has been very much rubbed down4 ,by the side of the figure is a tree-stump4 ,that this figure is the ,diadumenos of ,polycleitos is indicated by its close resemblance in style to the figure at ,naples1 believed to be a copy of the ,doryphoros 7see ,no4 #ejb74 ,it would be a remarkable coincidence if we had two companion statues representing respectively a ,diadumenos and a ,doryphoros1 known from the number of replicas to be copies of important works1 and agreeing in style with what would be expected of the art of ,polycleitos1 but yet derived from independent sources4 ,the head was found at a distance of two-thirds of a mile from the torso4 ,the torso was found in #ahfb in the ,roman ,theatre1 at ,vaison 7,vaucluse74 ,marble2 height1 #f feet #a inch4 ,restorations3--,nose1 fingers of right hand1 parts of left thigh and of left shin and heel2 also the upper part of the stump4 ,the figure should perhaps be set with the ancient surface of the base horizontal1 and so lean less forwards4 ,mon4 dell' ,inst41 ,x41 pl4 #di1 figs4 #a-c2 ,annali dell' ,inst41 #ahgh1 p4 #aa 7,michaelis72 ,rayet1 ,monuments1 ,i41 ,no4 #cj and text2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #chh2 ,murray1 ,i41 pl4 #aj1 p4 #bgd2 ,wolters1 ,no4 #ejh4 ,other examples more or less nearly reproducing this type are3--7a7 ,a bronze from the ,de ,janze ,collection in the ,french ,bibliotheque ,nationale4 ,annali dell' ,inst41 #ahgh1 pl4 ,b1 p4 #aa 7,michaelis72 ,rayet1 ,monuments1 ,i41 ,no4 #ca2 ,babelon1 ,le ,cabinet des ,ant4 a la ,bibl4 ,nationale1 pl4 #ac4 7b7 ,a terracotta statuette in an ,english private collection4 ,journ4 of ,hellen4 ,studies1 ,,vi41 p4 #bdc1 pl4 #fa4 7c7 ,a sepulchral relief from ,praeneste1 in the ,vatican1 commemorating one ,tiberius ,octavius ,diadumenus1 and having a relief of a ,diadumenos1 in allusion to the name4 ,pistolesi1 ,vaticano1 ,,iv4 #hd4 7d7 ,a gem4 ,journ4 of ,hellen4 ,studies1 ,,ii4 p4 #ceb4 ,see also ,no4 #eja4 ,sidenote3 #eja4 ,graeco-,roman statue of a ,diadumenos4 ,statue of a nude youth standing1 tying a band 7taenia7 about his head4 ,both arms were raised1 but the left is lost4 ,this figure1 like the ,diadumenos of ,vaison 7,no4 #ejj71 stands principally on the right leg1 but the left leg is differently placed1 and the whole pose is thereby altered4 ,by the side of the figure is a stump of a palm4 ,the hair falls in curls1 and the figure is more youthful than the ,diadumenos of ,vaison4 ,except in the similarity of subject these statues have little in common1 and if the ,vaison figure represents the statue of ,polycleitos1 this figure would appear to be either an independent rendering of the same subject1 or only remotely derived from ,polycleitos4 ,it was1 however1 for a long time regarded as a copy of the work of ,polycleitos1 and this view has been held by several writers1 after the discovery of the ,vaison ,diadumenos4--,farnese ,coll4 #ahfd4 ,pentelic marble2 height1 #d feet #aj-a_/d inches4 ,restorations3--,nose1 parts of band4 ,the right leg appears to be ancient1 but worked over4 ,in the earliest publications 7,cavalieri1 c47 the left arm is drawn as if restored4 ,the statue is first known in the ,villa ,madama1 near ,rome 7,cavalieri1 ,ant4 ,stat4 ,urb4 ,romae ,liber1 #aefi1 pl4 #ig74 ,it was afterwards in the ,farnese ,gardens1 in the ,farnese ,palace1 and at ,naples4 ,guattani1 ,mem4 ,encicl41 ,v41 pl4 facing p4 #hc2 ,gerhard1 ,ant4 ,bildwerke1 pl4 #fi1 p4 #caa2 ,mueller-,wieseler1 ,denkmaeler1 ,i41 pl4 #ca1 fig4 #acf2 ,clarac1 ,v41 pl4 #heh ,c1 #bahi ,a2 ,annali dell' ,inst41 #ahgh1 pl4 ,a1 p4 #bj 7,michaelis72 ,murray1 ,i41 pl4 #i1 p4 #bgc2 ,rayet1 ,monuments1 text to ,no4 #cj2 ,mitchell1 p4 #chh2 ,wolters1 ,no4 #eji2 ,mansell1 ,no4 #gbf4 ,the ,polycleitan origin of the ,farnese statue is supported by ,winckelmann 7,hist4 de l',art1 ,bk4 ,,vi41 chap4 #b71 ,guattani 7loc4 cit471 ,newton 7,rayet1 loc4 cit471 ,brunn 7,annali dell' ,inst41 #ahgi1 p4 #bah71 ,murray 7loc4 cit474 ,sidenote3 #ejb4 ,statuette copied from the ,doryphoros of ,polycleitos 7874 ,figure of youth having the arms broken off from the shoulders1 and the legs from above the knees4 ,the head is slightly bent forwards1 and turned to the left of the figure4 ,the left leg was advanced in front of the right leg4 ,the figure1 like a bronze statuette at ,athens 7,mon4 dell' ,inst41 viii41 pl4 #ec71 which it nearly resembles1 may perhaps be a modified rendering of the ,doryphoros of ,polycleitos4 ,the ,doryphoros 7spear-bearer7 was a figure of a nameless athlete1 which carried a spear1 and which was the ,canon or typical model of later sculptors 7see above74 ,the type was first recognized by ,friederichs in a statue from ,pompeii1 now in the ,museum at ,naples1 and other copies have since been identified4--,athens4 ,marble2 height1 #i inches4 ,unpublished4 ,the principal examples of the type are3--7a7 ,figure at ,naples 7,friederichs1 ,doryphoros des ,polyclet2 ,rayet1 ,monuments1 ,i41 ,no4 #bi2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 fig4 #hd74 7b7 ,relief from ,argos 7,athenische ,mittheilungen1 ,,iii41 pl4 #ac2 ,mitchell1 p4 #chf74 7c7 ,bronze bust from ,herculaneum1 at ,naples1 found with a companion bust of an ,amazon 7,comparetti1 ,la ,villa ,ercolanese1 pl4 #h1 fig4 #c74 7d7 ,gem at ,berlin 7,overbeck1 ,gr4 ,plast41 loc4 cit474 ,for other copies1 see ,michaelis1 ,annali dell' ,inst41 #ahgh1 p4 #f2 ,wolters1 ,nos4 #ejf1 #ejg4 ,sidenote3 #ejc4 ,head of ,amazon1 slightly inclined to the left and looking down1 with an expression of pain on the face4 ,the hair is parted in the middle1 and drawn back over the ears to the back of the head1 where it is gathered in a bunch4 ,the sharp parallel lines in which it is worked suggest that the head is copied from a bronze original4 ,pliny relates 7,h4 ,n41 xxxiv41 #ec7 that four artists1 ,polycleitos1 ,pheidias1 ,cresilas and ,phradmon1 made statues of ,amazons which were placed in the temple of ,artemis at ,ephesus4 ,polycleitos was accounted to have won the competition1 as he obtained the second vote of each of his rivals4 ,this account of the contest has the appearance of a late invention4 ,there are1 however1 many statues and busts of wounded ,amazons which appear to be copies1 more or less exact1 of three types1 different one from another1 but yet so far alike that they may have been produced by artists working on one plan4 ,the present head belongs to the type which various archaeologists 7,kluegmann1 ,rhein4 ,mus4 #ahff1 p4 #cbg2 ,michaelis1 ,jahrb4 des ,arch4 ,inst41 i41 p4 #dj7 have assigned to ,polycleitos4 ,the complete figure is that of a wounded ,amazon1 leaning with the left arm on a pillar1 and having the right hand resting on the top of the head4 ,brought to ,england by ,lyde ,brown4 ,purchased by ,townley1 #aggd4--,townley ,coll4 ,greek marble2 height of ancient portion1 #aj-a_/d inches4 ,restorations3--,tip of nose1 throat and bust4 ,mus4 ,marbles1 ,x41 pl4 #e2 ,guide to ,graeco-,roman ,sculptures1 ,i41 ,no4 #aej2 ,murray1 ,i41 p4 #bhj2 ,jahrbuch des ,arch4 ,inst41 ,i41 #ahhf1 pl4 #c1 ,no4 #b2 p4 #af1 ,k1 7,michaelis74 ,there is a drawing by ,cipriani in the ,british ,museum 7,add4 ,,mss4 #ba1aah1 ,no4 #ab74 ,the best examples of the type are3--7a7 ,a statue at ,lansdowne ,house1 ,london4 ,specimens of ,ant4 ,sculpture1 ,,ii41 pl4 #aj4 ,cat4 of ,lansdowne ,marbles1 ,no4 #hc4 7b7 ,a bronze head from ,herculaneum1 now in the ,museum at ,naples4 ,comparetti1 ,la ,villa ,ercolanese1 pl4 #h1 fig4 #a4 7c7 ,compare the ,amazon on the ,phigaleian frieze 7,no4 #ebb74 ,for further literature and examples1 see ,michaelis1 loc4 cit4 ,sidenote3 #ejd4 ,head of ,hera 7874 ,ideal female head wearing a lofty diadem4 ,the hair was brought to the back of the head1 where it was tied in a knot1 now lost4 ,it is thought possible that this head may be derived from the ,argive statue of ,hera by ,polycleitos1 for which the coins of ,argos may be compared 7,journ4 of ,hellen4 ,studies1 vi41 pl4 #ed1 ,nos4 #ab-ae74--;,girgenti4 ,marble2 height1 #a foot #d inches4 ,the lower part of the back of the head on the right side1 which had been broken1 has been in modern times roughly carved on the fractured surface to represent hair1 and the end of the diadem4 ,the surface of the face has also suffered from being worked over4 ,the genuineness of the sculpture has been questioned1 without reason4 ,mon4 dell' ,inst41 ,,ix41 pl4 #a2 ,helbig1 ,annali dell' ,inst41 #ahfi1 p4 #add2 ,overbeck1 ,gr4 ,kunstmyth41 pl4 #i1 figs4 #d1 #e2 ,,ii41 p4 #ha1 #c2 ,murray1 ,i41 p4 #bfh2 ,wolters1 ,no4 #eja2 ,furtwaengler1 ,arch4 ,zeit41 #ahhe1 p4 #bge1 fig4 ,a2 ,murray1 ,roemische ,mittheilungen1 ,i41 p4 #abc4 ,,the ,,temple ,,of ,,apollo ,,at ,,phigaleia4 ,the ,temple of ,apollo ,epicurios1 at ,phigaleia1 in ,arcadia1 stands in a slight depression on the bare and wind-swept side of ,mount ,cotylion1 above the valley of the river ,neda4 ,it was discovered towards the end of the eighteenth century1 but on account of its remote position it was seldom visited before #ahaa4 ,in that year the party of explorers1 who had previously discovered the pedimental sculptures of ,aegina1 began excavations which were completed in #ahab4 ,the party included ,cockerell and ,haller in the first season1 and ,haller1 ,stackelberg and ,broendstedt in the second season4 ,the sculptures found were removed to ,zante1 and were purchased by the ,british ,government in #ahad4 ,the temple was visited by ,pausanias1 who describes it as being situated at the village of ,bassae on ,mount ,cotylion1 about five miles from ,phigaleia4 ,pausanias states that the temple and its roof were alike built of stone1 and that it might be counted among the temples of the ,peloponnesus1 second only to that of ,tegea1 for beauty of material and fineness of proportion4 ,he adds that the temple was dedicated to ,apollo ,epicurios 7the ,helper71 because the god had stayed a plague at ,phigaleia in the time of the ,peloponnesian war4 ,the architect was ,ictinos1 the builder of the ,parthenon 7,paus4 viii41 #da1 #e74 ,the date of the temple is therefore about #dcj ,b4,c41 although it is doubtful whether the plague in ,arcadia was connected with the more celebrated pestilence at ,athens4 ,the temple is built of the light grey limestone of the surrounding mountains4 ,the sculptures1 tiles1 lacunaria1 and capitals of the interior architecture were all of marble1 which was probably obtained in the neighbourhood4 ,the form of the building is that known as amphiprostyle peripteral hexastyle4 ,the temple consisted of a central cella with a pronaos and opisthodomos1 and was surrounded by a ,doric colonnade1 having six columns at the ends and fifteen columns at the sides4 ,the pronaos and opisthodomos were each bounded by two ,doric columns between antae1 surmounted by metopes4 ,the cella contained ten ,ionic columns engaged in buttresses which connected them with the side walls4 ,towards the south end of the cella was a single ,corinthian column1 of remarkable form1 which is now lost4 ,beyond it was the temple image1 which by a peculiar arrangement is thought to have looked to the east1 towards a side door1 the orientation of the temple being nearly north and south4 ,it has been thought that this arrangement may show that an ancient shrine was embodied in the later temple4 7,curtius1 ,pelop41 i41 p4 #cbi2 ,michaelis1 ,arch4 ,zeit41 #ahgf1 p4 #afa74 ,the frieze was internal1 and passed round the cella1 with the exception of that portion which is south of the ,corinthian column4 7,compare the ground plan1 fig4 #bb1 and the view1 plate xi47 ,illustration3 ,fig4 #bb4--,plan of the ,temple of ,apollo at ,phigaleia4 ,the temple was discovered by a ,french architect1 ,bocher1 in ,november1 #agfe 7,chandler1 ,travels in ,greece1 #aggf1 p4 #bie74 ,for descriptions of the architecture and sculpture1 see ,stackelberg1 ,der ,apollotempel zu ,bassae1 in ,arcadien1 #ahbf2 ,donaldson1 in ,stuart1 #bnd ed41 vol4 ,,iv42 ,blouet1 ,expedition scientifique de ,moree1 ,,ii2 ,museum ,marbles1 ,,iv42 ,leake1 ,travels in the ,morea1 ,,ii41 chap4 xii41 p4 #a2 ,ellis1 ,elgin and ,phigaleian ,marbles1 ,,ii41 p4 #age2 ,cockerell1 ,the ,temple of ,jupiter ,panhellenius at ,aegina1 and of ,apollo ,epicurius at ,bassae1 near ,phigaleia1 in ,arcadia1 #ahfj2 ,overbeck1 ,gr4 ,plast41 #crd ed41 ,i41 p4 #ddi2 ,murray1 ,,ii41 p4 #afi2 ,wolters1 ,nos4 #hhj-iab4 ,for literature specially relating to the frieze1 see below1 p4 #bgi4 ,views and plans of the temple are exhibited in a table case4 ,,architectural ,,fragments4 ,sidenote3 #eje4 ,two fragments of the cymatium cornice1 with a pattern of palmettes alternating with palmettes of a plainer form1 springing from acanthus leaves as on the cornice of the ,erechtheion4 ,the member to which these fragments belong surmounted the pediments4 ,marble2 height1 #a foot #a_/h inch2 width1 #d feet #b-c_/d inches4 ,the left-hand fragment is engraved in ,mus4 ,marbles1 ,,iv41 vignette4 ,synopsis1 ,nos4 #bf1 #bg2 ,cockerell1 ,phigaleia1 pl4 #f2 ,ellis1 ,elgin and ,phigaleian ,marbles1 ,,ii41 p4 #bab4 ,sidenote3 #ejf4 ,fragment of a ,doric capital1 from a column of the external colonnade4 ,limestone2 height of fragment1 #a foot #e inches2 width4 #a foot #i inches4 ,mus4 ,marbles1 ,,iv41 pl4 #be1 fig4 #d2 ,synopsis1 ,no4 #bd2 cf4 ,cockerell1 ,phigaleia1 pl4 #f4 ,sidenote3 #ejg4 ,fragment of the capital of one of the ,doric columns of the pronaos or opisthodomos1 including the lower part of the echinus1 and the upper part of the flutings4 ,limestone2 height1 #e-a_/b inches2 width1 #a foot #f-a_/b inches4 ,sidenote3 #ejh4 ,fragment of the capital of one of the ,ionic columns of the interior of the cella1 with a part of the fluting4 ,these capitals are of peculiar form1 each column being connected at the back by a cross wall with the wall of the cella 7see plan74 ,the three exposed faces of the capital had each a pair of ,ionic volutes4 ,in the centre of the volute is a stud of marble separately made4 ,the hole for it was prepared by a series of drill holes placed so as to form a ring-like depression1 the centre of which was afterwards worked out4 ,the profile of the side pairs of volutes was somewhat different to that of the front pair1 whence it can be ascertained that the fragment in the ,british ,museum contains a part of the front and right side of the cap4 ,marble2 height1 #a foot #f inches4 ,mus4 ,marbles1 ,,iv41 pl4 #be1 fig4 #c2 ,synopsis1 ,no4 #be2 ,cockerell1 ,phigaleia1 pl4 #ad4 ,sidenote3 #eji4 #a4 ,roof tile1 with antefixal end1 with a palmette in relief above two volutes springing from an acanthus4 ,marble2 height1 #a foot #c-a_/d inches2 length1 #a foot #h-a_/b inches4 ,mus4 ,marbles1 ,,iv41 pl4 #be1 fig4 #a2 ,synopsis1 ,no4 #ci2 ,exp4 de ,moree1 ,,ii41 pl4 #ai1 fig4 #a2 ,cockerell1 ,phigaleia1 pl4 #g4 ,sidenote3 #b4 ,part of roof tile from the ridge of the roof of the temple4 ,the central portion is not worked with palmettes1 as shown by ,cockerell4 ,marble2 height of fragment1 #a foot #d inches2 length1 #a foot #f inches4 ,the complete length was about #b feet #c inches4 ,mus4 ,marbles1 ,,iv41 pl4 #be1 fig4 #b2 ,synopsis1 ,no4 #dj2 ,cockerell1 ,phigaleia1 pl4 #g1 figs4 #e1 #f4 ,,phigaleian ,,metopes4 ,the following fragments belong to a series of metopes in high relief1 which were placed over the entrance to the cella of the temple1 in a position similar to that occupied by the metopes of the ,temple of ,zeus at ,olympia4 ,in the ,parthenon the frieze takes the place of the internal metopes1 of which however a trace remains in the guttae which occur at regular intervals below the frieze1 and which imply triglyphs4--,cockerell1 ,phigaleia1 pl4 #e4 ,the fragmentary state of the metopes makes the subjects uncertain1 in most instances4 ,for a general view of the metopes1 see ,stereoscopic1 ,no4 #abb4 ,sidenote3 #eaj4 ,figure wearing a helmet with a projecting tail-piece 7compare ,parthenon frieze1 south side1 ,no4 #d71 a sleeveless chiton girt at the waist1 and a small cloak4 ,the figure wears a ,gorgoneion on the breast2 and with the left hand seems to be playing on a lyre1 which is partly expressed in relief1 and must have been further indicated in colour4 ,the ,gorgoneion suggests ,athene1 but it is more likely that it is merely worn as an amulet1 and the figure may be that of a ,thracian citharist 7cf4 ,wolters1 p4 #cja74 ,the dress is nearly the same as that of ,orpheus on the well-known relief in the ,villa ,albani--7,zoega1 ,bassirel4 ,ant4 i41 pl4 #db74 ,marble2 height1 #a foot #f inches2 width4 #a foot #d-a_/b inches4 ,mus4 ,marbles1 ,,iv41 pl4 #bd1 fig4 #a2 ,stackelberg1 pl4 #cj1 fig4 #b2 ,exp4 de ,moree1 ,,ii41 pl4 #bc1 fig4 #b2 ,synopsis1 ,no4 #bh2 ,cockerell1 ,phigaleia1 pl4 #h2 ,ellis2 ,elgin and ,phigaleian ,marbles1 ,,ii1 p4 #bac4 ,sidenote3 #eaa4 ,a mutilated male head1 inserted in the same metope as last4 ,it appears to have been bearded1 but this is doubtful4 ,marble2 height1 #e-a_/b inches2 width1 #i inches4 ,synopsis1 ,no4 #cc4 ,sidenote3 #eab4 ,torso from the breasts to the knees of a female figure1 wearing a fine clinging chiton and a mantle4 ,the right hand holds two objects1 perhaps crotala or possibly flutes1 and the left hand was extended4 ,marble2 height1 #a foot #c inches2 width1 #a foot #e-a_/b inches4 ,mus4 ,marbles1 ,,iv41 pl4 #bd1 fig4 #b2 ,stackelberg1 pl4 #cj1 fig4 #a2 ,exp4 de ,moree1 ,,ii41 pl4 #bc1 fig4 #a2 ,ellis1 ,elgin and ,phigaleian ,marbles1 ,,ii41 p4 #bac4 ,sidenote3 #eac4 ,lower part of a nude male figure from the waist to the ankle of the left leg1 standing4 ,the right leg is wanting4 ,the figure stands to the left with drapery wrapped about the left arm4 ,marble2 height1 #a foot #aj inches2 width1 #i-a_/d inches4 ,sidenote3 #ead4 ,right knee of a draped female figure standing to the right4 ,marble2 height1 #aj inches1 width1 #aa inches4 ,synopsis1 ,no4 #cg4 ,sidenote3 #eae4 ,fragment with the upper moulding of a metope1 and with a circular object in relief1 which has a round depression in the centre4 ,this object has been interpreted as a cymbal held up by a dancing figure4 ,perhaps1 however1 it may be a ring from the top of a tripod of ,apollo1 such as is frequently seen4 ,cf4 ,furtwaengler1 ,bronzen von ,olympia1 pl4 #cd4 ,marble2 height1 #d inches2 width1 #f inches4 ,synopsis1 ,no4 #ca4 ,sidenote3 #eaf4 ,figure of ,apollo ,kitharoedos8 ,a male figure1 wearing the dress of a citharist1 with a long tunic falling to the feet1 confined by a belt and by bands crossing the breast4 ,the figure also wears a flowing mantle1 and has long hair falling on the shoulders4 ,the figure is half turned to the right1 and looks back to the left4 ,if the preceding fragment is1 as suggested1 a part of a tripod1 ,apollo may be supposed to have been standing beside the ,delphic tripod4 ,marble2 height1 #b feet #g-a_/b inches2 width1 #a foot #c inches4 ,the two main portions of the figure of ,apollo1 which have only recently been joined1 give the height of the metopes4 ,synopsis1 ,nos4 #cf1 #ch4 ,sidenote3 #eag4 ,sidenote3 #a4 ,this metope1 though in a fragmentary state1 appears to represent the rape of a woman by a nude male figure4 ,a woman wearing a sleeveless chiton and a mantle1 raises her right hand wrapped in the mantle to her head4 ,of the ravisher we only see the fingers of the right hand grasping the neck of the woman1 and a part of his arm below the woman's right elbow1 and behind her drapery4 ,sidenote3 #b4 ,on the second fragment1 which may be assumed to belong to the same metope1 we see a part of the feet of the woman1 the toes of the man's right foot1 and doubtful traces of his left foot4 ,he was probably represented as seizing the woman by the neck and the knees4 ,cockerell suggests that the subject is ,apollo pursuing ,daphne1 who was a daughter of the neighbouring river ,ladon1 but he is mistaken in thinking that the man's fingers are stretched out straight1 and have no grasp of the woman's neck4 ,marble4 ,fragment #a3 height1 #a foot #d-a_/b inches2 width1 #a foot #c inches4 ,synopsis1 ,no4 #cj2 ,exp4 de ,moree1 ,,ii4 pl4 #bc1 fig4 #c2 ,stackelberg1 pl4 #cj1 fig4 #c2 ,mus4 ,marbles1 ,,iv41 pl4 #bd1 fig4 #c2 ,ellis1 ,elgin and ,phigaleian ,marbles1 ,,ii41 p4 #bac4 ,fragment #b3 height1 #h-c_/d inches2 width1 #a foot #d inches4 ,synopsis1 ,no4 #ce4 ,sidenote3 #eah4 ,upper part of body of draped female figure standing to the front4 ,marble2 height1 #h inches2 width1 #aj inches4 ,synopsis1 ,no4 #cb4 ,sidenote3 #eai4 ,torso of an obese bearded figure1 from the neck to the waist4 ,the figure appears to have been seated1 leaning back1 and having a staff and drapery under the left arm4 ,cockerell restores it as a figure standing and leaning on a staff4 ,marble2 height1 #a foot #c_/d inch2 width1 #h-a_/b inches4 ,synopsis1 ,no4 #cd2 ,cockerell1 ,phigaleia1 pl4 #e1 ,stackelberg1 pl4 #cj1 fig4 #d2 ,exp4 de ,moree1 ,,ii41 pl4 #bc1 fig4 #d4 ,,the ,,phigaleian ,,frieze4 ,the frieze of the ,temple of ,apollo ,epicurios consists of #bc slabs of marble1 somewhat resembling ,pentelic4 ,the slabs are each #b feet #a-a_/d inches high1 and they have a combined length of #aja feet #c_/d inch4 ,the frieze formed an internal decoration1 above the colonnade within the cella1 and had two long sides measuring #ce feet #i inches1 and two short sides measuring #ad feet #b-a_/h inches4 ,the excess in the measured length of the slabs is explained by the fact that they overlapped at the angles4 ,the slabs are about #c-a_/b inches thick1 and rested on the edge of the architrave1 being fastened with bolts to the ground behind4 ,the subjects represented are3 7#a7 ,battle of ,lapiths and ,centaurs2 7#b7 ,battle of ,greeks and ,amazons4 ,the former subject has #aa slabs of a combined length of #de feet #f-c_/d inches1 while the latter has #ab slabs measuring #ee feet #f inches4 ,the ,centauromachia1 therefore1 occupied two sides1 less the length of one slab1 which contained a part of the ,amazonomachia4 ,several attempts have been made to fix the probable order of the slabs1 but except in certain cases we have no evidence4 ,it is probable that the slabs1 ,no4 #eda with ,heracles or ,theseus1 and ,no4 #ecj with ,centaurs and ,kaineus1 were in the centres of two short sides4 ,they are longer than any other slabs1 and are well fitted to form the central groups in the compositions4 ,slab ,no4 #edj was certainly a corner slab1 as is proved by the rebate4 ,slab ,no4 #ecb was probably a corner slab4 ,slabs ,nos4 #ebg and #ebh evidently were next to each other1 and ,no4 #ebh was probably at a corner4 ,beyond these fixed points1 the order can only be determined by considerations of composition4 ,in the description that follows1 the slabs are taken in the present order of arrangement in the ,british ,museum1 which is that proposed by ,mr4 ,murray 7,greek ,sculpt4 ii4 pl4 #ad7 except as regards the position of the slabs of the north side4 ,the style of the reliefs is somewhat peculiar4 ,many of the types of combat are familiar in ,attic sculpture4 ,compare the group of ,kaineus with the same subject on the frieze of the ,theseion1 and the ,centaur groups with the metopes of the ,parthenon4 ,at the same time the style of the work1 with its high relief1 somewhat florid and coarsely executed1 is un-,attic1 and it seems probable that the actual production of the reliefs was in the hands of local workmen4 ,there is less certainty as to the designer4 ,among the artists suggested are ,alcamenes 7,stackelberg1 p4 #hd71 ,cresilas 7,sauer1 ,berliner ,philol4 ,wochenschr41 #ahhi1 p4 #ehc72 an artist influenced by the paintings of ,polygnotos 7,murray1 ii41 p4 #agf72 an ,attic artist 7,jahn1 ,pop4 ,aufsaetze1 p4 #aeg71 or an ,arcadian artist under ,attic influences 7,overbeck1 ,gr4 ,plast41 #crd ed41 i41 p4 #deg47 ,literature relating to the ,frieze4 ,wagner1 ,bassorelievi ,antichi della ,grecia4 ,see also works quoted above1 and on p4 #bgb4 ,for the proposed arrangements of the slabs of the frieze1 see ,cockerell1 p4 #ef2 ,ivanoff1 ,annali dell' ,inst41 #ahfe1 p4 #bi2 ,lange1 ,ber4 der4 ,k4 saechs ,ges4 d4 ,wissenschaften1 #ahhj1 p4 #ef1 pl4 #c2 ,wolters1 ,nos4 #hhc-ije2 ,stereoscopic1 ,nos4 #aai1 #abj1 #abb4 ,,phigaleian ,,frieze1 ,,west ,,side4 ,sidenote3 #ebj4 ,a ,centaur carries away a ,lapith woman1 who stretches out her arm in appeal for help4 ,the woman's headdress is somewhat peculiar1 consisting of a cap 7sphendone7 and a narrow taenia1 from under which the hair falls in small curls on the forehead4 ,on the right of the slab an unarmed ,lapith struggles with a ,centaur1 whose equine body is wholly unexpressed except for one leg which hardly seems to belong to him4 ,length1 #b feet #e-c_/d inches4 ,synopsis1 ,no4 #g2 ,mus4 ,marbles1 ,,iv41 pl4 #g2 ,stackelberg1 pl4 #be4 ,sidenote3 #eba4 ,on the left of this slab1 a ,centaur1 whose head and lower parts are lost1 flings a stone with each hand4 ,the figure is shown to be a ,centaur by the lion's skin over the left arm4 ,on the right1 a ,centaur1 who also wears a lion's skin knotted about his neck1 treads down an armed ,lapith1 and grasps his right hand to prevent him striking with his sword4 ,between the two ,centaurs is a ,lapith woman1 who hastens to her right and holds her mantle about her4 ,the ,centaur here and on certain other slabs has a horse's mane1 which does not occur on the ,centaurs of the ,parthenon or of the ,theseion4 ,length1 #d feet #b-a_/b inches4 ,synopsis1 ,no4 #f2 ,mus4 ,marbles1 ,,iv41 pl4 #f2 ,stackelberg1 pl4 #bh4 ,sidenote3 #ebb4 ,on the left a ,centaur draws towards himself a ,lapith woman who tries to escape4 ,she has a child on her left arm4 ,the face of this figure has a strong resemblance to that of the supposed ,amazon of ,polycleitos1 and the drapery of the breast is treated in the same way as that of some of the statues of ,amazons4 7,compare the fragment at ,woerlitz1 engraved ,jahrbuch des ,inst4 i41 pl4 #d47 ,on the right1 a ,centaur1 who has a shield and lion's skin1 tramples down a ,lapith1 whose hands are stretched out as if to keep the ,centaur away4 ,the ,lapith is fully armed1 having a cuirass above a chiton1 a chlamys1 and boots4 ,he has no shield1 but perhaps that of the ,centaur may be supposed to have been captured from him1 as no other ,centaur is thus armed on the ,phigaleian frieze1 the ,theseion1 or the ,parthenon4 ,length1 #d feet #a-a_/b inches4 ,synopsis1 ,no4 #c2 ,mus4 ,marbles1 ,,iv41 pl4 #c2 ,stackelberg1 pl4 #bc4 ,sidenote3 #ebc4 ,apollo and ,artemis coming to the aid of the ,lapiths4 ,artemis drives a chariot drawn by two stags2 she wears the chiton1 and large diploidion crossed by bands1 which is the dress of charioteers on the ,parthenon sculptures4 ,her right foot is on the ground and she appears to be checking the chariot1 while ,apollo stands at its side and draws his bow4 ,the bow1 arrow1 and reins were added in bronze4 ,the chariot is represented three-quarters to the front4 ,length1 #c feet #i-a_/b inches4 ,synopsis1 ,no4 #aa2 ,mus4 ,marbles1 ,,iv41 pl4 #aa2 ,stackelberg1 pl4 #ai4 ,sidenote3 #ebd4 ,two ,lapith women have taken refuge at the statue of a goddess1 probably ,artemis1 as she is coming to their aid4 ,one of the women stretches out her arms with a gesture of despairing entreaty4 ,the other embraces the statue1 which is a stiff archaic image wearing a polos2 with her left hand she clings to her mantle which has been seized by the ,centaur4 ,the ,centaur is attacked from behind by a ,lapith who kneels on his back1 has his left arm round the ,centaur's neck1 and is about to strike with the sword originally held in the right hand4 ,on the right is a tree1 with a lion's skin hanging from a bough4 ,the appearance of a deity near his own image is not infrequent4 7,cf4 ,journ4 of ,hellen4 ,studies1 ix41 pl4 #a2 ,mueller1 ,denkmaeler1 pl4 #dd1 fig4 #bjf2 ,arch4 ,zeit41 #ahfi1 pl4 #ad47 ,the group of the ,lapith and ,centaur is composed like the ,parthenon metope1 ,no4 #cje4 ,length1 #d feet #f inches4 ,synopsis1 ,no4 #aj2 ,mus4 ,marbles1 ,,iv41 pl4 #aj2 ,stackelberg1 pl4 #bi4 ,sidenote3 #ebe4 ,a ,lapith and a ,centaur in combat4 ,the ,lapith draws away to the left1 and is about to throw a stone1 while he stretches out his shield on his left arm4 ,the ,centaur rears up1 and seems to be throwing a stone held in both hands4 ,the ,lapith has only a helmet and small chlamys4 ,he also wore a metal sword belt4 ,on the right of the slab1 a woman holding a boy on her right arm1 moves quickly to the left4 ,with her left hand she holds a floating piece of her veil4 ,length1 #d feet #e inches4 ,synopsis1 ,no4 #h2 ,mus4 ,marbles1 ,,iv41 pl4 #h2 ,stackelberg1 pl4 #bj4 ,sidenote3 #ebf4 ,a ,centaur is about to thrust with his sword at a ,lapith1 who seizes the ,centaur's left foreleg and left hand4 ,the ,centaur has a lion's skin2 the ,lapith is unarmed4 ,on the right of this slab another unarmed ,lapith has forced the ,centaur down on his knees4 ,he kneels on the ,centaur's back1 and holds his hair with the right hand1 and his wrists with the left hand4 ,length1 #d feet #b-a_/b inches4 ,synopsis1 ,no4 #e2 ,mus4 ,marbles1 ,,iv41 pl4 #e2 ,stackelberg1 pl4 #bg4 ,sidenote3 #ebg4 ,the ,centaur of this slab bites a ,lapith in the neck4 ,the ,lapith is about to fall with relaxed limbs1 but plunges his sword in the ,centaur's body4 ,at the same time the ,centaur kicks out with his hind legs at a ,lapith on the left1 who holds out his shield as a defence4 ,a dead ,centaur lies on the ground4 ,both ,centaurs have lions' skins4 ,the ,lapiths wore metal sword belts4 ,length1 #d feet #a inch4 ,synopsis1 ,no4 #b2 ,mus4 ,marbles1 ,,iv41 pl4 #b ,stackelberg1 pl4 #ba2 ,brunn1 ,denkmaeler1 ,no4 #ia4 ,sidenote3 #ebh4 ,a ,centaur has been thrown down by two ,lapiths4 ,the one drags forward the ,centaur by his hair1 while the other kneels on his back1 and has his hand and sword raised to strike4 ,a ,centaur1 however1 has come from behind and arrests the ,lapith's blow1 and tries to draw away his shield4 ,the fallen ,centaur feebly puts out his right hand behind his back to meet the stroke4 ,length1 #d feet #a inch4 ,synopsis1 ,no4 #a2 ,mus4 ,marbles1 ,,iv41 pl4 #a2 ,stackelberg1 pl4 #bb4 ,,phigaleian ,,feieze1 ,,north ,,side4 ,sidenote3 #ebi4 ,on the left a ,lapith and ,centaur are wrestling4 ,the ,lapith holds the ,centaur's head under his left arm1 and the ,centaur seizes the thigh of the ,lapith1 and tries to overthrow him1 putting his right foreleg round the leg of the ,lapith4 ,the ,centaur wears a lion's skin4 ,on the right the ,lapith has seized the ,centaur by the hair1 and is about to strike4 ,the ,centaur is helpless and can only stretch out his hands behind his back as a defence4 ,length1 #d feet #d-a_/b inches4 ,synopsis1 ,no4 #i2 ,mus4 ,marbles1 ,,iv41 pl4 #i2 ,stackelberg1 pl4 #bd4 ,sidenote3 #ecj4 ,two ,centaurs heave a mighty stone to crush the invulnerable ,kaineus4 ,kaineus is half-buried and holds his shield above his head4 ,he probably held a sword in the right hand4 ,both ,centaurs wear lions' skins4 ,the same subject occurs on the frieze of the ,theseion4 ,next on the right is a ,lapith armed with shield and helmet1 who seems to be dragging the ,centaur by the hair4 ,a woman moves to the right1 holding her floating mantle with her right hand4 ,length1 #e feet #c-a_/b inches4 ,synopsis1 ,no4 #d2 ,mus4 ,marbles1 ,,iv41 pl4 #d2 ,stackelberg1 pl4 #bf2 ,brunn1 ,denkmaeler1 ,no4 #ij4 ,sidenote3 #eca4 ,the remaining slab on this side contains a part of the battle of ,greeks and ,amazons4 ,as the ,amazon slabs are longer than the slabs of ,centaurs by about #aj feet1 it is clear that they must have filled two sides and a part of a third4 7,see above1 p4 #bgh47 ,on the left a ,greek and an ,amazon are engaged in combat4 ,the ,greek has a helmet1 boots1 and a chiton which leaves the right shoulder bare4 ,he advances his left arm with the mantle hanging from it1 in the manner of ,harmodios in the group of the ,athenian ,tyrannicides 7compare the ,panathenaic vase in the ,fourth ,vase ,room1 which has this group on the shield of ,athene74 ,the ,amazon wears a similar chiton1 and rushes forward against the ,greek1 in the attitude of the ,aristogeiton in the group mentioned above4 ,on the right a wounded ,amazon has sunk to the ground1 and is supported by a companion who wears the chiton split at the side 7schistos71 like that of the ,iris of the east pediment of the ,parthenon4 ,length1 #d feet #f-a_/b inches2 ,synopsis1 ,no4 #bj2 ,mus4 ,marbles1 ,,iv41 pl4 #bj2 ,stackelberg1 pl4 #ag4 ,,phigaleian ,,frieze1 ,,east ,,side4 ,sidenote3 #ecb4 ,on the left of the slab a ,greek tries to drag an ,amazon along by the hair4 ,she is now unarmed1 and tries to resist with both hands and with the weight of her body4 ,her shield is seen in the background4 ,on the right an ,amazon who has sunk to the ground1 but appears not to be badly wounded1 is defended by a companion who stands beside her1 and stretches out a large shield4 ,length1 #d feet #f-c_/d inches4 ,synopsis1 ,no4 #ab2 ,mus4 ,marbles1 ,,iv41 pl4 #ab2 ,stackelberg1 pl4 #g4 ,sidenote3 #ecc4 ,on the left a ,greek makes a fierce attack on an enemy represented in the adjoining slab1 which was probably the one just described4 ,he has his sword arm raised above his head for a strong blow4 ,in the centre is a vigorous combat between a ,greek and ,amazon4 ,the ,greek covers himself with his shield and draws back for a spear thrust4 ,the action of the ,amazon appears to be that of thrusting a spear4 ,the shield on her left arm is not expressed4 ,in the tightly stretched skirt of the chiton the sculptor has sacrificed grace for truth to nature and vivid movement4 ,on the right1 an ,amazon who has just received a mortal wound1 is seen falling to the ground1 with all her limbs relaxed4 ,length1 #d feet #e-c_/d inches4 ,synopsis1 ,no4 #ac2 ,mus4 ,marbles1 ,,iv41 pl4 #ac2 ,stackelberg1 pl4 #h2 ,brunn1 ,denkmaeler1 ,no4 #hh4 ,sidenote3 #ecd4 ,on the left a ,greek drags down an ,amazon from her horse1 grasping her hair with the left hand4 ,he probably held a sword in the right hand4 ,the ,amazon tries feebly to loosen his grasp4 ,she wears the split chiton1 like the ,amazon of slab ,no4 #eca4 ,on the right is an ,amazon1 who draws back a little1 extending her shield1 and at the same time raising her right hand to strike4 ,here1 as in ,no4 #ecc1 the drapery is tightly stretched4 ,the upper part of the figure of the ,greek had been lost when the marbles were being transported from the temple4 ,it was afterwards found in a house near ,bassae1 and was presented by ,j4 ,spencer ,stanhope1 ,esq41 #ahaf4 7,cf4 ,stackelberg1 p4 #bc47 ,length1 #d feet #d-c_/d inches4 ,synopsis1 ,no4 #ag2 ,mus4 ,marbles1 ,,iv41 pl4 #ag2 ,stackelberg1 pl4 #ac2 ,brunn1 ,denkmaeler1 ,no4 #hg4 ,sidenote3 #ece4 ,an unarmed ,amazon has taken refuge at an altar2 a ,greek has seized her by the hair1 and tries to drag her away4 ,the ,amazon resists using her weight1 and both arms4 ,the ,greek had a sword in his right hand4 ,on the right a ,greek and ,amazon are engaged in hand to hand combat1 extending their shields and engaged in fence with their swords4 ,the drapery of the ,amazon is treated as on the two last slabs4 ,length1 #d feet #f-c_/d inches4 ,synopsis1 ,no4 #bb2 ,mus4 ,marbles1 ,,iv41 pl4 #bb2 ,stackelberg1 pl4 #af2 ,brunn1 ,denkmaeler1 ,no4 #hf4 ,sidenote3 #ecf4 ,a large part of the group on the left is wanting4 ,the ,greek appears to be dragging the fallen ,amazon by the hair1 and at the same time to be treading her down with his right foot4 ,with both hands she tries to free herself from the grasp of the ,greek4 ,on the right1 a ,greek has fallen on his knees and holds up his shield as a defence against the victorious ,amazon1 whose right hand and sword are raised to strike4 ,length1 #d feet #f-c_/d inches4 ,synopsis1 ,no4 #ae2 ,mus4 ,marbles1 ,,iv41 pl4 #ae2 ,stackelberg1 pl4 #ab4 ,sidenote3 #ecg4 ,an ,amazon is disarmed1 and has fallen to the ground4 ,she stretches out her right hand1 as if in entreaty to a ,greek who treads with his left foot on her knee1 and is about to thrust with his sword4 ,a second ,greek approaches from the left4 ,on the right an ,amazon strides quickly forward to help her companion1 and is about to strike the ,greek4 ,length1 #d feet #d-c_/d inches4 ,synopsis1 ,no4 #ba2 ,mus4 ,marbles1 ,,iv41 pl4 #ba2 ,stackelberg1 pl4 #aa4 ,sidenote3 #ech4 ,on the left1 a ,greek who is bearded and heavily armed1 has thrown down an ,amazon1 whom he drags by the hair1 while she tries to keep him at arm's length4 ,on the right the ,greek has fallen on his knees1 and holds up his shield against the attack of the ,amazon4 ,length1 #d feet #e-c_/d inches4 ,synopsis1 ,no4 #ai2 ,mus4 ,marbles1 ,,iv41 pl4 #ai2 ,stackelberg1 pl4 #ae4 ,sidenote3 #eci4 ,a ,greek who has been killed in the battle1 and perhaps stripped1 is being borne off the field on a companion's back4 ,another ,greek who has been badly wounded in the right leg1 leaves the field1 leaning with his right hand on a spear1 now wanting4 ,he puts his left arm round the neck of a companion1 who supports him round the body4 ,in the centre of the slab an ,amazon draws away a shield which belonged to one of the ,greeks4 ,length1 #d feet #i-a_/d inches4 ,synopsis1 ,no4 #ad2 ,mus4 ,marbles1 ,,iv41 pl4 #ad2 ,stackelberg1 pl4 #ah4 ,,phigaleian ,,frieze1 ,,south ,,side4 ,sidenote3 #edj4 ,this slab has a rebate on the left side1 proving that it belongs to the left end of a frieze4 ,on the left1 a wounded ,greek lying on the ground1 is partly raised by a companion1 who eagerly watches the fight1 but for the moment only holds his sword in the left hand1 while he uses his right hand to support the wounded man4 ,a similar group occurs on the frieze of the ,temple of ,nike 7,no4 #dba74 ,on the right a ,greek and ,amazon are fighting hotly4 ,the ,greek presses forward1 and the ,amazon at the same time draws back1 collecting her strength for a blow4 ,the ,amazon wears the split chiton4 ,length1 #d feet #h-c_/d inches4 ,synopsis1 ,no4 #af2 ,mus4 ,marbles1 ,,iv41 pl4 #af2 ,stackelberg1 pl4 #aj4 ,sidenote3 #eda4 ,the middle of the central slab is occupied by a single combat between ,heracles and an ,amazon4 ,they are represented drawing back for a blow4 ,the ,amazon seems to be making a spear thrust while ,heracles raises his club4 ,the ,amazon extends her shield2 ,heracles carries the lion skin on his left arm4 ,the pose of these two combatants who have the most important position in the whole frieze1 is very similar to that of the ,poseidon and ,athene of the west pediment of the ,parthenon4 ,in both cases also the central group is bounded by figures of horses4 ,the figure here called ,heracles has also been interpreted as ,theseus4 ,on the left1 a mounted ,amazon is victorious1 and thrusts with a spear at a wounded and fallen ,greek4 ,on the right1 the ,greek is the victor2 he seizes the ,amazon by arm and foot and throws her off her horse1 which has fallen on its knees4 ,length1 #e feet #aj inches4 ,synopsis1 ,no4 #ah2 ,mus4 ,marbles1 ,,iv41 pl4 #ah2 ,stackelberg1 pl4 #ad2 ,brunn1 ,denkmaeler1 ,no4 #hi4 ,sidenote3 #edb4 ,a young ,greek1 wounded and fallen to the ground1 raises his right hand1 as if in defence against the blow about to be struck by the ,amazon standing over him4 ,another ,amazon hastily approaches from the left1 and stretches out her hands1 as if in defence of the ,greek4 ,on the right of the slab1 an ,amazon supports a wounded comrade1 who is sinking to the ground with her head drooping and all her muscles relaxed4 ,length1 #d feet #b-a_/d inches4 ,synopsis1 ,no4 #bc2 ,mus4 ,marbles1 ,,iv41 pl4 #bc2 ,stackelberg1 pl4 #i4 ,,fragments ,,of ,,the ,,temple ,,statue ,,of ,,apollo4 ,a few small fragments of a colossal male statue were discovered during the excavations4 ,as the fragments found belong to the extremities of the figure1 and since they are proved to have been separate pieces attached1 by the dowel holes1 it is inferred that the statue was acrolithic1 i4e41 that the extremities only were of marble1 while the rest of the figure was made of wood or other inferior material4 ,the original statue of ,apollo ,epicurios had been moved to ,megalopolis from ,bassae1 before the time of ,pausanias 7,paus4 viii41 #cj1 #c74 ,the foundation of ,megalopolis took place in #cfh ,b4,c41 and if the acrolithic statue was made to take the place of that which was removed it must be later than this date4 ,the two fragments here described are all that are in the ,british ,museum1 but four other small pieces were also discovered1 and are engraved ,stackelberg1 pl4 #ca2 reproduced ,exp4 de ,moree1 ii41 pl4 #bc1 fig4 #e2 ,cockerell1 pl4 #af4 ,sidenote3 #edc4 ,fragment of the forepart of a right male foot1 wearing a sandal4 ,white marble2 length1 #f-a_/b inches4 ,stackelberg1 pl4 #ca2 ,cockerell1 pl4 #af4 ,sidenote3 #edd4 ,fragment with the palm and base of the thumb of a right hand4 ,white marble2 length1 #f-a_/d inches4 ,stackelberg1 pl4 #ca2 ,cockerell1 pl4 #af4 ,,miscellaneous ,,sculptures1 ,,of ,,the ,,fifth ,,century4 ,sidenote3 #edi4 ,bust of ,pericles1 wearing a helmet4 ,inscribed ,greek3 ,perikles 7fig4 #bc74 ,wolters assigns the original from which this fine bust is copied to the end of the fifth century1 and suggests that it may have been the work of ,cresilas1 with reference to which ,pliny 7,h4 ,n4 xxxiv41 #gd7 states that he made an ,olympian ,pericles1 worthy of the title1 and ennobled a noble subject4 ,plutarch explains the presence of the helmet as caused by the ugly shape of the head of ,pericles 7,plutarch1 ,pericles1 #c74 ,it is1 however1 more probable that the helmet merely denotes military rank4 ,found in the ,villa of ,cassius1 at ,tivoli1 #agha4--,townley ,coll4 ,illustration3 ,fig4 #bc4--;,bust of ,pericles1 ,no4 #edi4 ,marble2 height1 #a foot #aa inches4 ,restorations3--,nose1 and small parts of helmet4 ,stuart1 ,,ii41 p4 #db2 ,mus4 ,marbles1 ,,ii41 pl4 #cb2 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #c2 ,arch4 ,zeit41 #ahfh1 pl4 #b1 fig4 #a2 ,wolters1 ,no4 #dha2 ,furtwaengler1 ,berl4 ,philol4 ,wochenschr41 #ahia1 p4 #bhf4 ,another copy1 found at the same time as the present bust1 is in the ,vatican 7,visconti1 ,iconogr4 ,grecque1 pl4 #ae74 ,sidenote3 #eej4 ,head of ,asclepios8 ,colossal ideal bearded head4 ,the hair falls in heavy masses over the forehead1 and on each side of the head4 ,a heavy metal wreath was fastened by numerous rivets1 which still remain4 ,the head was formed of three principal pieces of marble1 the heaviest piece being so shaped that it kept its position by its own weight4 ,the piece at the back of the head is lost4 ,a small piece1 which is now missing1 was also attached behind the right ear4 ,this head would serve as well for ,zeus as for ,asclepios1 and it is possible that this may have been the original intention of the artist4 ,it was1 however1 discovered in #ahbh1 in a ,shrine of ,asclepios1 in ,melos4 ,blacas ,coll4 ,parian marble2 height1 #a foot #aa inches4 ,exp4 de ,moree1 ,,iii4 pl4 #bi1 fig4 #a2 ,mueller-,wieseler1 ,denkmaeler1 ,,ii41 pl4 #fj1 fig4 #gfc2 ,overbeck1 ,gr4 ,kunstmyth4 pl4 #b1 figs4 #aa1 #ab2 ,,ii41 p4 #hh2 ,murray1 ,greek ,sculpture1 ,,ii41 pl4 #aa1 p4 #acj2 ,mitchell1 ,selections1 pl4 #ac2 ,rayet1 ,monuments1 ,,ii41 ,no4 #db2 ,stereoscopic1 ,no4 #aac2 ,wolters1 ,no4 #abhc2 ,paris1 ,la ,sculpt4 ,ant41 p4 #bba4 ,two votive inscriptions to ,asclepios and ,hygieia were discovered with the head4 ,one of these1 with a votive relief of a leg1 is now in the ,british ,museum 7,no4 #hji74 ,sidenote3 #eea4 ,asclepios8 ,a male draped torso broken off at the knees2 the right arm is wanting from below the shoulder1 where it has been fitted with a joint4 ,the left arm1 which is entirely concealed in the mantle1 is placed akimbo4 ,the back is unfinished4 ,the composition is suitable to a figure of ,asclepios1 an attribution which was probably originally suggested by the fact that this torso was obtained by ,lord ,elgin from the neighbourhood of ,epidauros4 ,two small fragments of the right leg were brought away with the torso4 ,parian marble2 height1 #c feet #a-a_/d inches4 ,mus4 ,marbles1 ,,ix41 pl4 #e2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aba2 ,synopsis1 ,no4 #cbg2 ,elgin ,room ,guide1 ,,ii41 ,no4 ,e4 #a4 ,sidenote3 #eeb4 ,female torso from the neck down to the waist4 ,the dress is a chiton with diploidion2 part of the tresses of hair which fall down on the back still remains4--,elgin ,coll4 ,pentelic marble2 height1 #a foot #c inches4 ,synopsis1 ,no4 #bha 7#adf72 ,elgin ,room ,guide1 ,,ii41 ,no4 ,f4 #ae4 ,sidenote3 #eec4 ,left breast and part of left side of female figure wearing a chiton girt at the waist4--,elgin ,coll4 ,pentelic marble2 height1 #a foot #c-a_/d inches4 ,synopsis1 ,no4 #bgg 7#adg74 ,elgin ,room ,guide1 ,,ii41 ,no4 ,f4 #af4 ,sidenote3 #eed4 ,upper part of the torso of a female figure moving quickly to the left1 with the arms raised4 ,she wears a sleeveless chiton which appears to have been unsewn 7schistos7 down the right side4 ,the shoulders are broken1 but there are remains of large dowel holes as if for the insertion of wings1 and the figure is not unlike the ,victories on the balustrade of the temple of ,nike4--,elgin ,coll4 ,pentelic marble2 height1 #a foot4 ,synopsis1 ,no4 #cba 7#gi74 ,sidenote3 #eee4 ,heads of ,pelops and ,hippodamia8 ,heroic heads of colossal male and female figures1 turned to the right4 ,the female head is in low relief1 and wears a diadem1 and a veil falling over the back of the head4 ,compare the heads in a terracotta relief in the ,british ,museum 7,ancient ,terracottas in ,b4 ,m41 pl4 #ai1 ,no4 #cd74 ,the male head is almost worked in the round and wears a close-fitting helmet4 ,some drapery passes over the left shoulder4 ,these two heads have long been called ,pelops and ,hippodamia1 and it is very likely that the figures belonged to a chariot group4 ,but they may well be the somewhat idealized portraits of a ,sicilian despot1 and his consort4 ,found in the sea near ,girgenti 7,agrigentum74--,townley ,coll4 ,greek marble1 perhaps ,parian2 height1 #a foot #e-a_/d inches2 width1 #a foot #d inches4 ,mus4 ,marbles1 ,x41 pl4 #cb2 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #aec4 ,sidenote3 #eef4 ,head of ,odysseus8 ,male head1 with curling hair and short beard1 wearing a peaked cap 7pileus74 ,the surface is much decayed1 and most of the chin and mouth is broken away4 ,this head may be from a sepulchral monument4--,elgin ,coll4 ,pentelic marble2 height1 #a foot #a_/b inch4 ,mus4 ,marbles1 ,,ix41 pl4 #dj1 fig4 #c2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aai4 ,sidenote3 #eeg4 ,fragment from the back of a head4 ,the hair is drawn to a knot at the back of the head1 and is confined by two bands1 crossing one another4 ,pentelic marble2 height1 #aj-a_/b inches4 ,sidenote3 #eeh4 ,head of a maiden1 wearing a closely-fitting cap4 ,the style is characteristic of the fifth century4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #i inches4 ,synopsis1 ,no4 #bci 7#abb74 ,sidenote3 #eei4 ,heroic head of a youth1 inclined slightly to his left4 ,the hair is very slightly indicated1 and the back of the head is worked away1 as if for a bronze helmet4--,obtained in ,greece by the fourth ,earl of ,aberdeen in #ahjc1 and presented by the fifth ,earl of ,aberdeen in #ahfa4 ,coarse-grained marble2 height1 #aa inches4 ,the head was found wearing a bronze helmet1 which1 however1 did not fit1 and has been removed4 ,sidenote3 #efj4 ,cast of marble owl4 ,l4 ,ross 7,annali dell' ,inst41 #ahda1 pl4 ,c41 p4 #be71 supposes that this owl was a votive offering which once surmounted a column found near it1 on which is inscribed the name of ,timotheos of the deme ,anaphlystos4 ,the lower part of the body1 which is broken away1 has lately been found4 ,the feathers of the wings are set in formal rows1 and the treatment throughout is characterised by an archaic severity1 as has been remarked by ,ross4 ,the feathers have probably been painted4--,found on the ,athenian ,acropolis between the ,propylaea and the ,parthenon4 ,the original1 of ,pentelic marble1 is in the ,acropolis ,museum1 at ,athens2 height1 #b feet #b inches4 ,ross1 ,arch4 ,aufsaetze1 ,i41 pl4 #ad1 fig4 #c1 p4 #bje2 ,elgin ,room ,guide1 ,,ii41 ,no4 ,g4 #g2 ,wolters1 ,no4 #aaa2 ,le ,bas1 ,mon4 ,fig41 pl4 #fb1 fig4 #c4 ,,greek ,,reliefs4 ,most of the single ,greek reliefs in the ,british ,museum are described in the present section of the catalogue 7,nos4 #eii-hag47 ,those reliefs which are known to have belonged to particular buildings1 and to have served an architectural function1 are catalogued separately4 ,a few reliefs also1 principally of the later ,attic ,school1 are reserved for a subsequent part4 ,we deal1 in this place1 with a number of works of minor importance1 and of various degrees of artistic merit4 ,at the same time they are of interest both for their subjects and also as showing the instinctive grace and skill of subordinate ,greek craftsmen1 even in hastily executed and unimportant work4 ,the following classification has been adopted1 but the classes are not perfectly distinct1 as the sepulchral reliefs sometimes partake of a votive character4 ,sepulchral ,reliefs4--#eii-fah1 ,decorative ,stelae4 #fai-fhj1 ,scenes from ,daily ,life and ,animals4 #fha-fhf1 ,plain ,vases4 #fhg-gaj1 ,vases and reliefs with figures clasping hands4 #gaa-gdf1 ,sepulchral ,banquets1 c4 #gej-geg1 ,rider and ,horse1 heroified4 #gfj-gff1 ,reliefs from ,lycia4 ,votive ,reliefs4--#ggj-gid1 ,figures of the ,god or his attributes4 #gie-hab1 ,figures of the ,dedicator1 or of the object dedicated4 #hac-hag1 ,agonistic reliefs4 ,,sepulchral ,,reliefs4 ,the ,greek sepulchral reliefs are of several distinct types1 each type having an independent origin and history1 though occasionally the different types are blended one with another4 ,the early ,attic examples which are assigned to a period before the ,persian wars1 have recently been collected by ,conze 7,die ,attischen ,grabreliefs1 ,part #a71 and we are thus enabled to trace the rise of the different types in ,attica1 so far as the materials discovered allow4 ,the earliest and simplest form of monument is the plain stone 7,greek3 stele71 set up on a mound 7,greek3 tymbos7 to mark the place of the grave1 and such a tomb is well known to ,homer 7,il4 xi41 #cga1 etc47 ,such a stone would naturally bear the name of the deceased1 together with the name of his father1 or of the persons who erected the monument4 ,the earliest ,attic examples are also surmounted by a simple ornament1 especially the palmette between volutes1 partly in relief1 and partly in colour4 ,the treatment of the palmette closely resembles that of the antefixal ornament of the ,parthenon 7,no4 #ceb74 ,at an uncertain period in the fifth century the use of the acanthus-leaf ornament was introduced1 and the decoration of the stelae became elaborate and beautiful4 ,it has been thought that the acanthus was developed by the ,greeks of ,ionia1 before the middle of the fifth century1 and only made its way slowly in ,athens 7,furtwaengler1 ,coll4 ,sabouroff1 i41 p4 #h71 but it cannot be proved to have become common before it had been made familiar by the architecture of the ,erechtheion1 towards the close of the fifth century4 ,the early ,corinthian capital of the single column of the ,temple at ,phigaleia appears to be copied from a stele with volutes and an acanthus4 ,the smooth surface of the stone below the crowning ornament was used1 from an early time1 to receive a representation of the deceased person1 which was either painted or in relief1 the relief being itself painted4 ,such portraits1 in the case of men--and only men's portraits are certainly known to be preserved of the archaic period--take the form either of a simple standing figure1 or of a figure engaged in some occupation taken from life4 ,see the figures of the ,discobolos and of the spear-thrower 7,conze1 pls4 #e1 #g71 and as an example of the painted portrait see the stele of ,lyseas 7,conze1 pl4 #a74 ,the male portrait is often accompanied by a small figure of a youth riding or leading a horse4 ,on a class of monuments described below 7,nos4 #gej-geg7 it is not impossible that the figure of the horse may have some special reference to death1 but in the early ,attic reliefs it seems more likely that the horse indicates the favourite pursuits or the knightly rank of the dead person4 ,compare ,roscher1 ,lexicon1 p4 #behd1 and ,aristotle1 ,constitution of ,athens1 chap4 #g1 ed4 ,kenyon1 where the horse standing beside an archaic figure of ,anthemion1 son of ,diphilos 7,class4 ,rev4 #ahia1 p4 #ajh71 is said to prove his knighthood 7,greek3 hippas74 7,cf4 ,journ4 of ,hellen4 ,studies1 v4 p4 #aad2 ,conze1 p4 #d2 ,nos4 #a1 #ad1 #ae1 #af1 #ag1 #ai47 ,the female figures1 of which only uncertain specimens survive1 were simple portraits1 usually seated1 and sometimes accompanied by other members of the family1 usually represented on a diminutive scale4 7,cf4 ,conze1 ,no4 #bj47 ,in one early ,attic example there is an actual representation of mourners as on ,etruscan or ,lycian tombs4 ,but in general1 allusions to death and mourning are but slightly indicated4 7,cf4 ,conze1 ,no4 #ai1 pl4 #aa47 ,finally1 there is a type of monument1 which contains the representation of some animal more or less associated with the grave1 such as the cock 7,conze1 ,no4 #bb1 pl4 #ac7 or the ,sphinx 7,conze1 ,no4 #af1 pl4 #aj1 fig4 #a;b74 ,the foregoing are the main types of the early ,attic reliefs4 ,the ,british ,museum does not contain any specimens of the early period1 but the study of the early reliefs enables us to classify the later works1 and to distinguish the indigenous ,attic types from those that are imported1 or of later development4 ,decorative ,stelae4--,the stelae crowned with the palmette and acanthus acroteria are described below1 ,nos4 #eii-fah4 ,they are principally derived from ,athens1 but several specimens 7,nos4 #faa-fah7 roughly worked in coarse limestone are a part of the collection of sculptures from ,kertch4 ,one of the best examples of ,attic work of this class in the ,british ,museum1 will be found in the ,department of ,egyptian and ,assyrian antiquities1 namely the stele of ,artemidoros with a bilingual ,greek and ,phoenician inscription4 7,dodwell1 ,tour i41 p4 #daa2 ,greek ,inscriptions in ,brit4 ,mus41 cix47 ,scenes from ,daily ,life and figures of ,animals4--,the monuments with portraits and scenes from daily life are catalogued below1 ,nos4 #fai-fgi4 ,the incidents chosen are taken from all parts of life1 and in late times are apt to be of a genre character with scenes from children's games1 c4 ,reliefs with figures of horsemen1 where the scene appears only to be an incident from daily life1 and not connected with the heroification of the deceased1 have also been placed here 7,nos4 #fch1 #ffa-fff74 ,examples of the figure of an animal placed on the tomb1 of a symbolic or decorative character1 are best seen among the archaic sculptures 7compare those from ,xanthos71 but the bull1 ,no4 #fhj1 is a specimen of a figure from an ,attic stele4 ,the types which have been described so far1 are simple records of the deceased person4 ,we turn now to various classes1 which are not represented among the ,attic remains of the archaic period1 and which are more or less of religious or ritualist significance4 ,vases4--,the ,sepulchral ,vases1 which are represented either in relief or in the round1 are a common form of monument at ,athens1 and are connected with the observances paid to the dead4 ,these vases which are sometimes lekythi1 and sometimes amphorae or hydriae1 may be decorated with patterns1 or with subjects in relief1 such as appear on other sepulchral stelae4 ,they probably are to be traced from the vessels of pottery in which offerings were brought1 to be poured out as libations on the tomb4 ,compare below the account of the ,sepulchral ,banquet4 ,there is ancient authority for the view that the vase indicates an unmarried person4 ,eustath4 on ,il4 ,,xxiii41 #ada1 p4 #abic3 ,greek3 kai tois pro gamou de teleutosin he loutrophoros1 phasin1 epetitheto kalpis eis endeixin tou hoti aloutos ta nymphika kai agonos apeisi4 ,demosthenes 7in ,leochar4 pp4 #ajhf and #ajhi1 ed4 ,reiske7 speaks also of ,greek3 he loutrophoros 7sc4 ,greek3 hydria or ,greek3 kalpis71 being placed on the tomb of an unmarried person4 7,kumanudis1 p4 #ah2 ,greek ,inscriptions in ,brit4 ,mus41 ,no4 lxxx47 ,on the other hand1 the tombs of a father1 ,philoxenos1 and of his sons ,parthenios and ,dion1 in the ,cerameicos at ,athens were all surmounted by stone vases 7,c4 ,i4 ,a41 ii41 #caia-caic2 ,conze1 p4 #af74 ,perhaps a distinction must be made between the lekythi which represent libations at the tomb1 and the hydriae1 which have the special meaning mentioned above4 ,an early instance of the ,attic sepulchral vase1 with painting and relief1 is placed by ,koehler on epigraphic grounds between #dej and #dcj ,b4,c4 7,athenische ,mittheilungen1 x41 pl4 #ac1 p4 #cfb47 ,figures clasping ,hands4--,in ,attic reliefs1 chiefly of the fourth and subsequent centuries1 the two principal persons are often represented clasping right hands together1 and such scenes are commonly known as ,scenes of ,parting4 ,a more correct interpretation may be gathered from a fragment of an archaic sepulchral relief from ,aegina 7,athenische ,mittheilungen1 viii41 pl4 #ag71 in which a female figure1 enthroned and holding a pomegranate 7compare the ,spartan reliefs mentioned below71 clasps the hand of a standing figure1 which is shown by the scale to be that of another deceased person4 ,in this case the scene is laid in ,hades1 and the clasping of the hands is significant of affection1 not of separation4 ,hence it has been thought that all subjects with the clasped hands represent the meeting and union in ,hades after death 7,furtwaengler1 ,coll4 ,sabouroff1 i41 p4 #df74 ,there is1 however1 no proof that the artist was always consciously placing the scene in ,hades1 and in ,no4 #gaj ,hermes seems about to conduct the deceased person to the nether world4 ,the presence of figures in attitudes of grief1 of children and servants1 seems to show that these reliefs are symbolic of family affection1 though the artist had no very clear and logical conception of the moment depicted4 ,an early example of the clasping of hands on an ,attic monument is supplied by the sepulchral vase above mentioned1 of #dej-dcj ,b4,c4 7,athenische ,mittheilungen1 x41 pl4 #ac47 ,such subjects as the foregoing are often placed within an architectural structure1 usually consisting of two pilasters and an entablature1 sometimes surmounted by a pediment4 ,various theories have been proposed on the subject4 ,it has been suggested that the architectural ornament indicates the votive character of the relief 7,journ4 of ,hellen4 ,studies1 v41 p4 #aaa71 or the home of the dead person 7,pervanoglu1 ,grabsteine der alten ,griechen1 p4 #ad71 but there is no evidence of any such special significance attaching to the form4 7,compare ,furtwaengler1 ,coll4 ,sabouroff1 i41 p4 #eb47 ,the ,sepulchral ,banquet4--,from the fourth century onwards1 a type of relief commonly known as the ,sepulchral ,banquet becomes very common in ,attica and elsewhere4 ,in a normal example of the fully developed type1 the chief figure is that of a man recumbent on a couch1 holding a cup4 ,before him is a table with food4 ,a woman1 according to ,greek custom1 is seated upright at the foot of the couch4 ,boys or attendants are seen drawing wine4 ,the head of a horse is often seen at the back of the relief4 ,a snake is frequently introduced1 and often drinks wine from a cup held by one of the figures4 ,further1 a group of adorant figures1 usually on a small scale1 may be represented about to sacrifice at an altar1 near the foot of the couch4 ,the meaning of this type has been a subject of long controversy1 but it is best understood if the later reliefs are studied in connection with the oldest known specimens of the same subject4 ,a series of archaic reliefs from the neighbourhood of ,sparta 7,athenische ,mittheilungen1 ii41 pls4 #bj-be2 ,furtwaengler1 ,coll4 ,sabouroff1 pl4 #a2 ,journ4 of ,hellen4 ,studies1 v41 p4 #abc71 contains subjects somewhat of the following character3 ,a male and female figure1 represented on a heroic or divine scale1 are seated enthroned1 holding as attributes a large two-handled cup1 or a pomegranate4 ,figures of worshippers approach1 carrying a pomegranate or a cock1 and a snake is sometimes present4 ,the sculptures of the ,harpy ,tomb 7,no4 #id71 have been sometimes classed with the works here described1 but this has not yet been established4 ,the transition from the ,spartan type to the ,sepulchral ,banquet type is still obscure1 but a connecting link is furnished by a relief from ,tegea 7,athenische ,mittheilungen1 iv41 pl4 #g71 in which the woman is enthroned1 while the man reclines on a couch with a table before him4 7,compare also the relief from ,mytilene ,no4 #gbg47 ,it seems probable that we have in these reliefs symbolic representations of offerings made by living relations or descendants for the pleasure and sustenance of the dead4 ,such offerings of food and drink made by the living at the tomb are common to all primitive peoples4 ,the ,egyptians1 in particular1 made regular offerings of actual food1 and at the same time surrounded the mummy with sculptural representations of offerings1 which1 it was thought1 served to satisfy the incorporeal double of the dead person4 ,the early notion that the deceased was within the tomb1 and enjoyed the food and drink offered to him in a material manner1 became less distinct in later times4 ,the periodical offerings assumed a more ritualistic and symbolic character1 and were celebrated by the ,greeks under the name of ,greek3 nekysia4 ,the older archaeologists thought for the most part that the ,banquet reliefs were representations commemorative of life on earth1 or descriptive of the pleasures enjoyed by the dead in ,hades4 ,dumont 7,rev4 ,arch41 ,n4,s4 xx4 p4 #bdg7 and ,hollaender 7,de ,operibus ,anaglyphis71 interpret them as referring to the periodical offerings made at the tomb4 ,it will be seen that this view is not very different from that which has been adopted above1 and which is the view of ,gardner 7,journ4 of ,hellenic ,studies1 v41 p4 #acj71 and ,furtwaengler 7,coll4 ,sabouroff1 i41 p4 #bh74 ,the reliefs1 however1 have more force than mere pictorial groups1 if we accept the ,egyptian analogy1 and allow that the sculpture represents1 by substitution1 the offerings of material food4 ,the snake is naturally associated with the grave1 from its rapid mysterious movements1 and from living in caves and holes4 ,compare the story of the snakes that were seen by ,polyeidos in the tomb of ,glaukos4 7,apollodor4 #c1 #c1 #a2 ,roscher1 ,lexicon1 p4 #afhg74 ,the votive character of the ,banquet reliefs is proved in some instances by inscriptions1 7,journ4 of ,hellen4 ,studies1 v41 p4 #aaf2 ,roscher1 ,lexicon1 p4 #beec74 ,it is doubtful1 however1 whether the artist was always conscious of the meaning of his work1 and in some instances1 as in the tomb at ,cadyanda in ,lycia 7,no4 #gff71 the banquet appears to be merely a scene from daily life1 and as such it closely resembles some of the vase paintings4 ,in ,no4 #gcg and other late examples1 the relief1 though of the type of the banquet1 is commemorative rather than votive4 ,in ,athens the type of the ,sepulchral ,banquet was also applied to another purpose1 namely1 for votive reliefs to ,asclepios4 ,the two classes of monuments are completely assimilated in those examples in which worshippers come to sacrifice at the end of the couch4 ,numerous specimens of reliefs have been found in the temenos of ,asclepios at ,athens1 and it is possible that the sculptures from the ,elgin ,collection1 ,nos4 #gad1 #gae1 belong to this series4 ,in the newly-discovered papyrus fragments of ,herodas1 the sons of ,praxiteles are mentioned as authors of a relief dedicated to ,asclepios4 ,a figure of ,asclepios1 composed like the principal figure of the sepulchral reliefs1 has also been found on a vase from the ,temple of the ,cabeiri at ,thebes 7,greek3 ,ephemeris1 #ahij1 pl4 #g74 ,for other examples of the same type on vases of different meanings1 see ,athenische ,mittheilungen1 xiii41 pl4 #i2 ,arch4 ,anzeiger1 #ahij1 p4 #hi4 ,for the most recent discussion of the whole question1 see ,roscher1 ,lexicon1 p4 #befe4 ,hero and ,horse4--,there is another type of sepulchral relief1 somewhat akin to that above described1 in which1 however1 the horse of the hero takes a more prominent position4 ,the hero is seen either riding on his horse or standing near it1 and receiving a libation poured out by a female figure1 sometimes a ,victory4 ,here also the snake is frequently introduced to mark the sepulchral character of the relief4 ,in the earliest examples the connection between this type and the foregoing is made clearer by the presence of diminutive figures of supplicants bringing offerings1 or making gestures of adoration4 ,compare a ,theban relief 7,athenische ,mittheilungen1 iv41 pl4 #af71 and a relief in the ,sabouroff ,collection1 inscribed ,greek3 ,kalliteles ,aleximacho anetheken 7,coll4 ,sabouroff1 i41 pl4 #bi71 and a relief from ,cumae 7,roscher1 ,lexicon1 p4 #beee74 ,for a list of reliefs with figures of horsemen1 see ,furtwaengler1 ,coll4 ,sabouroff1 i41 p4 #dj2 ,roscher1 ,lexicon1 p4 #beef4 ,it has been thought that the horse is shown in these subjects on account of its association with ,hades1 but in some instances1 if not in all1 it relates to the pursuits and status of the deceased1 and is introduced for the use of its master1 and not for any ,chthonian significance4 ,reliefs from ,lycia4--,see below1 p4 #cej4 ,,votive ,,reliefs4 ,a votive offering is1 in its essence1 a present made to a god or to a superior being1 in order to secure some favour in the future1 or to avert anger for a past offence1 or to express gratitude for a favour received4 ,the last purpose includes offerings made in fulfilment of a vow1 the vow being a kind of contract between the individual and the god4 ,sometimes also objects were offered1 nominally as gifts to the god1 but in reality in order that they might be secure4 ,votive offerings cover the whole field of life including persons1 lands1 buildings1 and1 in particular1 objects appropriate 7,a7 to the god or his worship1 or 7,b7 to the dedicator and the cause of his dedication4 ,a4 ,objects appropriate to the god include temples 7compare the inscription of ,alexander from ,priene1 in the ,hall of ,inscriptions72 parts of a temple 7compare the columns dedicated by ,croesus1 ,no4 #bi72 images of the god represented in an appropriate attitude 7compare the reliefs1 ,nos4 #ggj-gid72 objects connected with the worship of the god and temple furniture 7compare the stool in the ,hall of ,inscriptions1 dedicated by ,philis to ,demeter1 and the vases from ,naucratis in the ,first ,vase ,room72 or lastly1 attributes of the god1 such as the owl of ,athene 7,no4 #efj71 and the pigs found in the shrine of ,demeter at ,knidos1 now in the ,mausoleum ,room4 ,b4 ,objects appropriate to the dedicator or the cause of his dedication include portraits of the dedicator1 such as the statue of ,chares 7,no4 #ad71 or of the priestess ,nicoclea1 found in the temenos of ,demeter of ,knidos1 or the statuette of the hunter of ,naucratis 7,no4 #aah72 spoils won in battle1 as the helmet dedicated by ,hiero1 in the ,etruscan ,room2 figures of victorious horses 7,no4 #had72 symbolic offerings such as the dedication of the hair or the down of the beard to ,poseidon 7cf4 ,no4 #gih71 or to a river god 7,paus4 viii41 #da1 #c72 offerings connected with remarkable cures 7compare ,nos4 #gii-haj1 and1 perhaps1 the relief of ,xanthippos1 ,no4 #fbh74 ,where the object itself is perishable or otherwise unsuitable as an offering1 the sculptured representation takes its place1 by a natural process4 ,thus we have a representation of the hair1 in place of the actual hair 7,no4 #gih71 and the reliefs with limbs1 mentioned above 7,nos4 #gii-haj74 ,it has been already suggested that in the ,sepulchral ,banquet reliefs1 which might be classed as votive reliefs1 the banquet is represented in sculpture as a substitute for the actual offerings of food4 ,a special class of votive reliefs consists of those which are found at the head of decrees1 treaties1 and similar political documents4 ,an ,athenian treaty1 for example1 is headed by a representation of ,athene1 and of the patron deity of the other state1 which may appear in the attitude of a suppliant or adorant4 7,compare ,schoene1 ,griech4 ,reliefs1 ,nos4 #dh-ec47 ,similarly at the head of a decree of citizenship or proxenia1 the newly admitted citizen appears as worshipping the goddess 7cf4 ,schoene1 ,no4 #ic1 and p4 #bj1 and below1 ,nos4 #gga-ggc74 ,,stelae ,,surmounted ,,by ,,decorative ,,designs4 ,for an account of these stelae1 see above1 p4 #bif4 ,sidenote3 #eii4 ,stele with two rosettes4 ,above1 an acroterion1 formed of acanthus leaves and palmette combined 7fig4 #bd74 ,illustration3 ,fig4 #bd4--,sepulchral stele of ,smikylion1 ,no4 #eii4 ,inscribed ,greek3 ,smikylion ,eualkidou ek ,kerameon--,smikylion1 son of ,eualkides1 of the deme of the ,cerameicos4--,athens4 ,presented by ,a4 ,robinson1 ,esq41 ,r4,n4 ,pentelic marble2 height1 #b feet #i-a_/b inches2 width1 #a foot #e-a_/b inches4 ,synopsis ,no4 #dda4 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxxxvi42 ,c4,i4,a41 ,,ii41 #baci4 ,sidenote3 #fjj4 ,plain stele of ,hippocrates and ,baukis2 surmounted by an acroterion in low relief1 of palmette form4 ,inscribed ,greek3 ,hippokrates1 ,baukis4 ,below the surface of the stele is flat1 and probably was painted4--,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #d feet #a inch2 width1 #a foot #c inches4 ,mus4 ,marbles1 ,,ix41 pl4 #bi1 fig4 #d4 ,synopsis1 ,no4 #cea 7#age72 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aeb2 ,c4,i4,g41 #ieh2 ,c4,i4,a41 ,,ii41 #chaj4 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxx4 ,sidenote3 #fja4 ,fragment of a plain stele1 surmounted by an acroterion1 in the form of a palmette in low relief1 springing from acanthus leaves4 ,inscribed ,greek3 ,assklepiodoros ,thrasonos ,olynthios1 ,epikydes ,asklepiodorou ,olynthios--,asclepiodoros1 son of ,thrason1 of ,olynthos2 ,epikydes1 son of ,asclepiodoros1 of ,olynthos4--,probably from ,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #e inches2 width1 #a foot #c_/d inch4 ,mus4 ,marbles1 ,,ix41 pl4 #bi1 fig4 #b2 ,synopsis1 ,no4 #beh 7#afi72 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aeb2 ,c4,i4,g41 #hgi2 ,c4,i4,a41 ,,ii41 #cbdc2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cvi4 ,sidenote3 #fjb4 ,acroterion in form of palmette from a stele4--,athens4 ,inwood ,coll4 ,pentelic marble2 height1 #a foot #i inches2 width1 #a foot #aj inches4 ,synopsis1 ,no4 #dah4 ,sidenote3 #fjc4 ,acroterion1 from a stele1 of palmette form1 springing from acanthus leaves4--,inwood ,coll4 ,pentelic marble2 height1 #aj inches4 ,synopsis1 ,no4 #dad2 ,inwood1 ,erechtheion1 pl4 #ca1 p4 #adg4 ,sidenote3 #fjd4 ,fragment of an acroterion of a stele in form of a palmette springing from acanthus leaves4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #h-a_/b inches2 width1 #aa inches4 ,synopsis1 ,no4 #aia 7#ie74 ,mus4 ,marbles1 ,,ix41 pl4 #bi1 fig4 #c4 ,sidenote3 #fje4 ,stele1 surmounted by acroterion4 ,one central palmette1 and two half palmettes at the sides spring from acanthus leaves4 ,inscribed ,greek3 ,eumachos ,euthymachou ,alopekethen--,eumachos1 son of ,euthymachos1 of the deme of ,alopeke4 ,athens4--,obtained by ,chandler in his ,expedition for the ,society of ,dilettanti in #agfe1 and presented by the ,society4 ,pentelic marble2 height1 #a foot #h inches2 width1 #a foot #e-a_/d inches4 ,synopsis1 ,no4 #bhc 7#bib9972 ,c4,i4,g41 #egi2 ,c4,i4,a41 ,,ii41 #ahab4 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxxix42 ,stereoscopic1 ,no4 #aba2 ,wolters1 ,no4 #aajd4 ,sidenote3 #fjf4 ,top of stele1 with central palmette and two half palmettes1 springing from acanthus leaves4 ,found in the side of a mound1 near ,maritza1 ,rhodes4 ,marble2 height1 #b feet #c inches2 width1 #b feet #c-a_/d inches4 ,sidenote3 #fjg4 ,upper part of stele1 surmounted by a central palmette and two half palmettes1 springing from acanthus leaves4 ,similar to last1 but in lower relief4 ,probably from ,athens4 ,formerly in the collection of ,lord ,elgin4 ,pentelic marble2 height1 #a foot #g inches2 width1 #a foot #a-c_/d inches4 ,journ4 of ,hellen4 ,studies1 ,,vi41 p4 #db1 ,no4 #b4 ,sidenote3 #fjh4 ,upper part of stele1 surmounted by a central palmette1 and two palmettes at the sides1 broken4 ,inscribed ,greek3 ,chabrias ,salyprianos4 ,chabrias of ,selymbria4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #g inches2 width1 #a foot #e-a_/b inches4 ,synopsis1 ,no4 #bij 7#bbf72 ,mus4 ,marbles1 ,,ix41 pl4 #cj1 fig4 #a2 ,c4,i4,g41 #hhh2 ,c4,i4,a41 ,,ii41 #cbif2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aeb2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cvii4 ,sidenote3 #fji4 ,top of stele1 in form of a capital of a pilaster with a palmette between two volutes springing from acanthus leaves1 and an egg and dart moulding4 ,late work4 ,probably from ,athens4 ,formerly in the collection of ,lord ,elgin4 ,pentelic marble2 height1 #i-c_/d inches2 width1 #aa inches4 ,journ4 of ,hellen4 ,studies1 ,,vi41 p4 #dc1 ,no4 #f4 ,sidenote3 #faj4 ,top of stele1 in the form of the capital of a pilaster2 treated in a similar way to the capitals of the ,tower of the ,winds4 7,compare ,no4 #ddg47 ,late work4 ,probably from ,athens4 ,formerly in the collection of ,lord ,elgin4 ,pentelic marble2 height1 #a foot #b inches2 width1 #a foot #f inches4 ,sidenote3 #faa4 ,upper part of stele1 with three rosettes2 surmounted by a large acroterion4--,kertch4 ,limestone2 height1 #c feet #h inches2 width1 #a foot #aa-a_/b inches4 ,the collection of sculptures from ,kertch was obtained by ,colonel ,westmacott during the occupation of the town by the ,british and ,french troops in #ahef4 ,sidenote3 #fab4 ,stele1 surmounted by acroterion4--,kertch4 ,limestone2 height1 #c feet2 width1 #a foot #aa inches4 ,sidenote3 #fac4 ,stele1 with two rosettes in front and one at each side2 surmounted by acroterion4--,kertch4 ,limestone2 height1 #b feet #aj inches2 width1 #a foot #aj inches4 ,sidenote3 #fad4 ,top of stele with rosettes4 ,originally surmounted by a large acroterion of which only the acanthus leaves at the base remain4--,kertch4 ,limestone2 height1 #b feet #f inches2 width1 #b feet #d inches4 ,sidenote3 #fae4 ,upper part of stele4 ,two rosettes in front and one on each side2 above an acroterion1 of which the top is wanting4--,kertch4 ,limestone2 height1 #b feet #aa inches2 width1 #a foot #aa inches4 ,sidenote3 #faf4 ,fragment of palmette from the acroterion of a stele4--,kertch4 ,marble2 height1 #a foot #g inches2 width1 #a foot #aa inches4 ,sidenote3 #fag4 ,palmette from top of stele4--,kertch4 ,limestone2 height1 #b feet #f inches2 width1 #a foot #g-a_/b inches4 ,sidenote3 #fah4 ,top of stele1 with acanthus leaves forming the base of the acroterion4 ,the leaves are only sketched in outline on the front1 but have been finished on the right and left4--,kertch4 ,limestone2 height1 #b feet #c inches2 width1 #b feet #c inches4 ,,sepulchral ,,monuments ,,with ,,scenes ,,from ,,daily ,,life4 ,sidenote3 #fai4 ,cast of the sepulchral relief of ,hegeso4 ,a lady1 ,hegeso1 is seated on a chair1 with a foot-stool4 ,she appears to be taking a necklace from a box which is held by a servant standing before her4 ,hegeso is richly dressed in a chiton with short sleeves1 himation and sandals4 ,her hair is confined by a sphendone1 or band1 broadest in front4 ,the servant has a close-fitting cap1 and a plain chiton with long sleeves4 ,the relief is bounded by two pilasters surmounted by a pediment1 with acroteria4 ,inscribed ,greek3 ,hegeso ,proxeno7u7--,hegeso daughter of ,proxenos4 ,this relief1 which is unequalled for its grace and delicacy1 appears to belong to the close of the fifth century ,b4,c4 ,the original1 of ,pentelic marble1 is near the ,dipylon at ,athens1 where it was discovered in #ahgj4 ,height1 #d feet #i-c_/d inches2 width1 #c feet #a inch4 ,arch4 ,zeit41 #ahga1 pl4 #dc1 p4 #ai2 ,c4,i4,a41 ,,ii41 #cgec2 ,mitchell1 p4 #ejb2 ,waldstein1 ,essays1 p4 #cji2 ,wolters1 ,no4 #ajcj2 ,conze1 ,attische ,grabreliefs1 ,no4 #fh1 pl4 #cj2 ,stereoscopic1 ,no4 #abc4 ,sidenote3 #fbj4 ,cast of the sepulchral monument of ,ameinocleia4 ,a lady is engaged with a girl who is adjusting a sandal on her left foot4 ,she chiefly supports herself on the right foot1 and helps her balance by touching with her hand the head of the maid kneeling before her4 ,as in the monument of ,hegeso 7,no4 #fai71 there is a marked contrast between the mistress1 richly draped in a chiton and himation1 and the girl before her1 who has a plain long-sleeved chiton and a cap4 ,on the left is a female figure1 perhaps a sister of ,ameinocleia4 ,she seems to be reading a tablet4 ,the composition is framed by two pilasters1 surmounted by a pediment4 ,inscribed ,greek3 ,ameinokleia ,andromeno7u7s thugater ,l444 ,ameinocleia1 daughter of ,andromenes4444 ,this relief appears to belong to the close of the #eth century ,b4,c4 ,the original1 of ,pentelic marble1 which is now at ,athens1 was discovered in #ahcf at the ,piraeus4 ,height1 #d feet #d-c_/d inches2 width1 #b feet #c-a_/b inches4 ,le ,bas1 ,mon4 ,fig41 pl4 #fe4 ,c4,i4,a41 ,,ii41 #bfhg2 ,mitchell1 p4 #ejj2 ,wolters1 ,no4 #ajcb2 ,stereoscopic1 ,no4 #abc4 ,sidenote3 #fba4 ,fragment of relief4 ,a female figure1 richly draped1 is seated on a stool1 to the left4 ,the head1 right arm1 and knees are wanting4--,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #b feet #e inches2 width1 #a foot #e inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ci1 fig4 #c4 ,synopsis1 ,no4 #bhj 7#bgi74 ,sidenote3 #fbb4 ,fragment of relief4 ,the upper part of a female figure1 richly draped1 and seated1 with her left hand raised1 the left elbow supported by the right hand4 ,very high relief4--,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #g inches2 width1 #a foot #aa-a_/b inches4 ,synopsis1 ,no4 #dai4 ,sidenote3 #fbc4 ,fragment of relief4 ,draped male figure seated1 three-quarters turned to the right1 on a chair with a footstool4 ,the head is wanting4 ,behind is part of a draped female figure standing4 ,her right arm is bent at the elbow1 and crosses her breast4 ,marble2 height1 #d feet #aa inches2 width1 #b feet #aj-a_/b inches4 ,sidenote3 #fbd4 ,fragment of a relief4 ,torso of a male figure1 wearing a mantle about his legs and over the left shoulder4 ,head1 right leg1 and left foot are wanting4--,athens4 ,strangford ,coll4 ,pentelic marble2 height1 #b feet #f-a_/b inches2 width1 #a foot #c inches4 ,sidenote3 #fbe4 ,a nude youth stands1 half turned to the left1 and takes some object1 perhaps a lekythos1 from a boy standing before him4 ,the boy is nude except for a chlamys thrown over his left shoulder1 which is probably that of the older youth4 ,compare the ,parthenon frieze1 north side1 figure ,no4 #aaj4 ,the relief is bounded by two pilasters surmounted by a pediment4 ,on the side of one of the pilasters is the inscription ,greek3 ,,edd4--,delos4 ,presented by ,a4 ,e4 ,impey1 ,esq41 #ahbe4 ,marble2 height1 #f feet #e inches2 width1 #c feet #h-a_/b inches4 ,mus4 ,marbles1 ,,xi41 pl4 #ej2 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #bje4 ,sidenote3 #fbf4 ,a nude male figure1 ,tryphon1 stands1 half turned to the left1 having a chlamys above the left arm1 and a strigil in the right hand4 ,the attitude is similar to that of the ,hermes of ,andros4 ,compare the copy from the ,farnese ,collection in the ,british ,museum4 ,inscribed ,greek3 ,tryphon ,eutychou--,tryphon1 son of ,eutychos4--,athens4 ,collection of ,rev4 ,f4 ,v4 ,j4 ,arundell4 ,pentelic marble2 height1 #e feet #aa inches2 width1 #c feet4 ,restored3 right hand upper corner4 ,mus4 ,marbles1 ,,xi41 pl4 #di2 ,c4,i4,a41 ,,iii41 #ccia2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxxix4 ,sidenote3 #fbg4 ,figure of a youth1 standing1 holding a bird1 within a distyle portico1 of which the left side is wanting4 7,pl4 xi41 fig4 #c47--;,athens4 ,strangford ,coll4 ,pentelic marble2 height1 #c feet #a inch2 width1 #aa-a_/b inches4 ,arch4 ,anzeiger1 #ahfd1 p4 #afd199 ,no4 #b4 ,sidenote3 #fbh4 ,sepulchral monument of ,xanthippos4 ,an elderly bearded figure is seated on a chair4 ,he holds a foot in his extended right hand4 ,diminutive figures of a woman and a girl stand beside him4 ,the girl is gazing at the foot1 and raises her hands towards it1 while the woman looks towards ,xanthippos4 ,she holds a bird in her right hand4 ,it has been supposed that the foot is a votive offering1 to commemorate a remarkable cure4 ,wolters1 however1 explains the object as a shoemaker's last 7,greek3 kalapous1 cf4 ,monumenti dell' ,inst41 xi4 pl4 #bi71 and interprets it as an allusion to the trade of ,xanthippos4 ,this theory hardly accounts for the gestures of the attendant figures4 ,above the relief is a pediment1 inscribed ,greek3 ,xanthippos4 7,pl4 xi41 fig4 #b47 ,brought from the monastery of ,asomato or ,petraki at ,athens by ,dr4 ,anthony ,askew about #agdg4 ,townley ,coll4 ,pentelic marble2 height1 #b feet #i inches2 width1 #a foot #h inches4 ,burney ,,mss41 ,no4 #djb2 ,mus4 ,marbles1 ,x41 pl4 #cc2 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #ajf2 ,c4,i4,g41 #ihj2 ,c4,i4,a41 ,,ii41 #djdj2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxxiii42 ,wolters1 ,no4 #ajai2 ,brueckner1 ,von den griech4 ,grabreliefs1 p4 #bf4 ,sidenote3 #fbi4 ,sepulchral monument of ,jason4 ,a physician1 ,jason1 an elderly bearded man1 is seated on a stool4 ,before him stands a boy1 undergoing examination1 and clearly shown to be suffering1 by his swollen belly and wasted limbs4 ,on the right is a vessel of peculiar form1 resembling a cupping glass1 but on a scale out of all proportion to that of the group1 and not to be considered as a part of it4 ,the inscription runs3 ,greek3 ,iason ho kai ,dekmos ,acharneus iatros1 k4t4l41 and contains the names of ',jason1 called also ,decimus1 of the ,acharnian deme1 a physician1' and of other members of his family4 ,the relief is surmounted by a row of roughly indicated antefixal tiles4 ,obtained by ,fauvel in ,athens2 afterwards in the ,choiseul-,gouffier and ,pourtales ,collections4 ,pentelic marble2 height1 #b feet #g inches2 width1 #a foot #aj-a_/b inches4 ,c4,i4,g41 #fjf2 ,c4,i4,a41 ,,iii41 #adde2 ,panofka1 ,antiques du ,cabinet ,pourtales1 p4 #gh1 pl4 #bf2 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxxxi42 ,wolters1 ,no4 #ahjd4 ,on the cupping vessel see the two references last cited4 ,sidenote3 #fcj4 ,sepulchral monument of ,agathemeris and ,sempronios ,niketes4 ,draped male and female figures stand to the front4 ,the woman wears the dress of a priestess of ,isis1 with a sistrum in her right hand and a vase in her left hand4 ,inscribed ,greek3 ,agathemeris ,s ,e ,aphrodeisiou ek ,kol7l7yteon4 ,senpronios ,niketes ,kollyteus4 ,the letters ,greek3 ,s ,e have not been explained4 ,discovered1 in #ahbf1 between ,athens and the ,piraeus4--,presented by ,gen4 ,malcolm4 ,pentelic marble2 height1 #e feet #f-a_/b inches2 width1 #c feet4 ,c4,i4,g41 #ffb;b2 ,c4,i4,a41 ,,iii41 #agfj4 ,sidenote3 #fca4 ,figure of a youth1 a son of one ,diodoros1 standing1 with a chlamys wrapped about his left arm4 ,he holds a cup 787 in the right hand and a strigil in the left hand4 ,beside him1 a diminutive figure of a nude boy holding a strigil4 ,a tree on the left4 ,inscribed ,greek3 444 ,diodorou1 chreste1 chaire4--,rhenea4 ,from the ,earl of ,belmore's ,coll4 ,parian marble2 height1 #d feet2 width1 #a foot #h inches4 ,c4,i4,g41 #bcac4 ,sidenote3 #fcb4 ,upper part of a sepulchral relief4 ,a draped male figure is seated on a chair4 ,before him stands a figure also draped4 ,in the background1 a bearded man and a woman stand one on each side of the seated person4 ,the inscription runs ,greek3 ,aristonike ,diokleious ,xype7taion7 ,kephisogenes ,kephisophontos ,xy7petaion7 ,aristonike ,kephisophontos ,xyp7etaion7 ,kephisophon ,kephisodorou ,xype7taion74 ,it contains the names of ,aristonike1 daughter of ,diocles1 of ,xypete2 of ,kephisogenes and ,aristonike1 probably the children of ,kephisophon2 and of ,kephisophon1 son of ,kephisodoros of ,xypete4--,obtained in ,greece by the fourth ,earl of ,aberdeen1 and presented by the fifth ,earl of ,aberdeen4 ,pentelic marble2 height1 #a foot2 width1 #a foot #b-a_/d inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,xc42 ,c4,i4,a41 ,,ii41 #bcfe4 ,sidenote3 #fcc4 ,male figure stands to the left1 with right arm extended4 ,before him is a table1 on which is a large hydria4--,obtained in ,greece by the fourth ,earl of ,aberdeen1 and presented by the fifth ,earl of ,aberdeen4 ,pentelic marble2 height1 #a foot #g-a_/b inches2 width1 #a foot #c_/d inch4 ,sidenote3 #fcd4 ,beardless male figure stands1 wearing a himation4 ,he has a short staff or scroll in the left hand4 ,the relief was originally surmounted by a pediment4 ,inscribed ,greek3 ,hermodoros ,aristomenou7s7--,hermodoros1 son of ,aristomenes4 ,bluish ,greek marble2 height1 #c feet #aj inches2 width1 #a foot #f-a_/b inches4 ,sidenote3 #fce4 ,bearded figure stands1 draped in a himation4 ,the stele is surmounted by a bulbous ornament not worked in relief4 ,inscribed ,greek3 ,erasippos1 ,kallenikou ,krioeus4--,erasippos1 son of ,callenicos of ,crioa4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #b feet #a inch2 width1 #i inches4 ,mus4 ,marbles1 ,,ix41 pl4 #cj1 fig4 #c2 ,c4,i4,g41 #ffe2 ,c4,i4,a41 ,,ii41 #bbbc2 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxxxviii4 ,sidenote3 #fcf4 ,stele fitting into a base4 ,figures of an athlete anointing himself1 and of an attendant holding spear and drapery4 ,marble2 height1 #a foot #aa inches2 width1 #a foot #c-a_/b inches4 ,sidenote3 #fcg4 ,fragment of sepulchral relief1 containing the upper parts of a bearded man and a woman conversing4 ,on the left a younger female figure4 ,inscribed3 ,greek3 ,aristodike1 ,aristarchos1 ,athenais1 ,sestioi--,aristodike1 ,aristarchos1 and ,athenais1 of ,sestos4--,athens4 ,found by ,chandler1 fixed in the wall of a church1 on the road to ,cephisia4 ,presented by the ,society of ,dilettanti4 ,pentelic marble2 height1 #g-c_/d inches2 width1 #a foot #b-a_/b inches4 ,chandler1 ,inscriptions ,ant41 ,part ,,ii41 ,no4 #ie2 ,synopsis1 ,no4 #ccf 7#bcf9972 ,c4,i4,g41 #hib2 ,c4,i4,a41 ,,ii41 #ccac2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cviii4 ,sidenote3 #fch4 ,a bearded figure1 ,aristocles1 rides a prancing horse and places his right hand on its head4 ,a youth in a short chiton runs behind the horse4 ,inscribed3 ,greek3 ,polla meth' helikias homoelikos hedea paisas ek gaias blaston gaia palin gegona4 ,eimi de ,aristokles ,peiraieus1 pais de ,menonos4 ',after many pleasant sports with my comrades1 ,i who sprang from dust1 am dust once more4 ,i am ,aristocles1 of the ,piraeus1 son of ,menon4'--,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #b feet #h inches2 width1 #a foot #f inches4 ,stuart1 ,,iii41 p4 #ef2 ,chandler1 ,inscriptions ,ant41 ,part ,,ii41 ,no4 #gh 7fixed in a wall at the door of the ,greek ,school72 ,mus4 ,marbles1 ,,ix41 pl4 #cd1 fig4 #c2 ,synopsis1 ,no4 #chd 7#bac72 ,c4,i4,g41 #gdi2 ,c4,i4,a41 ,,ii41 #bddb2 ,greek ,inscriptions in ,brit4 ,mus41 ,,xcii42 ,kaibel1 #ge4 ,sidenote3 #fci4 ,a priestess stands1 with chiton1 and a knotted himation bordered with a fringe2 she holds a key in her right hand1 and a basket in her left hand4 ,on the right is a tree4 ,above1 a pediment with acroteria and a rosette2 also an honorary wreath4 ,inscribed3 ,greek3 ,ho demos ,isiada ,metrodorou ,laodikida4--,decreed by the people1 in honour of ,isias of ,laodicea1 daughter of ,metrodoros4--,smyrna4 ,presented by ,m4 ,duane and ,t4 ,tyrwhitt1 ,esqs41 #aggb4 ,bluish ,greek marble2 height1 #d feet #b-a_/d inches2 width1 #a foot #aa inches4 ,montfaucon1 ,ant4 ,expl4 ,suppl41 ,v41 p4 #be2 ,archaeologia1 ,,iii41 pl4 #aa1 fig4 #a2 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #afa2 ,c4,i4,g41 #cbcd4 ,sidenote3 #fdj4 ,a draped female figure1 seated on a chair1 holds out a corner of her veil with her right hand4 ,another female figure stands before her1 closely wrapped in her mantle4 ,a diminutive female figure is in the right-hand corner of the relief4 ,the relief is bounded by pilasters1 a circular arch1 and a pediment4 ,parian marble8 height1 #c feet2 width1 #b feet #d inches4 ,sidenote3 #fda4 ,fragment of sepulchral stele1 with the lower part of a female figure moving to the right4--,from ,mycenae4 ,inwood ,coll4 ,red marble2 height1 #aj inches2 width1 #aj-c_/d inches4 ,synopsis1 ,no4 #dbg4 ,sidenote3 #fdb4 ,late sepulchral relief4 ,a female figure1 seated on a stool1 holds her mantle1 which passes over her head1 with the left hand1 and a scroll 787 in her right hand4 ,the relief is surmounted by an arch and rosettes1 above which is a pediment with acroteria1 unfinished1 and a rosette4 ,inscribed3 ,greek3 ,mousis ,argaiou ,milesia4 ,mousis1 daughter of ,argaios of ,miletus4--,athens4 ,found by ,chandler4 ,presented by the ,society of ,dilettanti4 ,pentelic marble2 height1 #b feet #b-c_/d inches2 width1 #a foot #b-a_/d inches4 ,chandler1 ,inscriptiones ,ant41 ,part ,,ii41 ,no4 #ia2 ,synopsis1 #ast ed41 ,room ,,vi41 ,no4 #bg 7where ,thomas ,hollis is incorrectly said to be the donor72 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #aga2 ,c4,i4,g41 #gbf2 ,greek ,inscriptions in ,brit4 ,mus41 ,,ciii4 ,sidenote3 #fdc4 ,a female figure1 draped1 and seated on a stool1 raises her right hand to draw her peplos over her head4 ,a draped male figure stands before her1 and a boy at the left corner2 above is a pediment4 ,inscribed with a name now illegible1 and ,greek3 chaire4--,found in a store at ,portsmouth4 ,probably from ,smyrna4 ,marble2 height1 #b feet2 width1 #a foot #b-a_/b inches4 ,sidenote3 #fdd4 ,sepulchral relief1 mutilated on the left4 ,a female figure draped and seated on a chair1 draws her peplos over her shoulder with her left hand4 ,above1 a pediment4 ,inscribed with a name now illegible1 terminating in ,greek3 o1 and ,greek3 chairete hapantes4--,obtained by the fourth ,earl of ,aberdeen in ,greece1 and presented by the fifth ,earl of ,aberdeen4 ,marble2 height1 #a foot #i-a_/b inches2 width1 #a foot #a_/b inch4 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxxxiii42 ,conze1 ,attische ,grabreliefs1 ,no4 #df2 pl4 #bc1 fig4 #a4 ,sidenote3 #fde4 ,lower part of sepulchral relief1 much mutilated4 ,a female figure is seated to the front on a lofty throne4 ,she holds a fruit in her left hand4 ,on the left is a youth with a box2 and on the right a female figure1 whose right hand was raised to her chin4 ,the arms of the throne are supported by ,sphinxes4--,kertch4 ,limestone2 height1 #a foot #h inches2 width1 #b feet #b inches4 ,sidenote3 #fdf4 ,a female figure1 ,demetria1 seated on a chair1 extends her right hand to a box1 held by a girl standing before her2 behind is another standing female figure4 ,inscribed3 ,greek3 ,demetria4--,probably from ,athens4 ,obtained by the fourth ,earl of ,aberdeen1 and presented by the fifth ,earl of ,aberdeen4 ,pentelic marble2 height1 #b feet #a_/b inch2 width1 #a foot #a inch4 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxiii42 ,c4,i4,a41 ,,iii41 #cjgb4 ,sidenote3 #fdg4 ,lower part of a sepulchral relief4 ,a fully draped female figure1 wanting above the breast1 is seated on a stool4 ,the left hand was probably raised to the chin or to the veil4 ,before her1 a female figure of which nothing remains except a portion of drapery1 from the knees downwards4 ,a small boy stands at the knee of the seated woman1 and raises his right hand4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #f inches2 width1 #a foot #c inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ci1 fig4 #b2 ,synopsis1 ,no4 #aif 7#afb74 ,sidenote3 #fdh4 ,boy seated on a rock fishing with a rod and line for a large fish1 a basket in his left hand4 ,above a pediment4 ,inscribed in rude late characters1 ,greek3 ,agathemetros ,asiacho syntropho mnemes charin4--,placed by ,agathemeros in memory of his foster brother ,asiachos4--,athens4 ,purchased from the ,besborough ,coll4 #ahja4 ,pentelic marble2 height1 #a foot #b inches2 width1 #aj-a_/b inches4 ,c4,i4,g41 #fhib4 ,sidenote3 #fdi4 ,a girl1 seated on a stool1 holds an open scroll on her lap4 ,before her is a column1 on which is another scroll 7872 on the left is a dog raising a paw4 ,the relief is bounded by pilasters and a pediment1 slightly sketched out4 ,inscribed3 ,greek3 ,abeita zesasa ete i menas dyo4 chairete--,avita1 who lived ten years and two months4 ,hail4--,townley ,coll4 ,parian marble2 height1 #a foot #a inch2 width1 #aa inches4 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #afe4 ,c4,i4,g41 #fhff2 ,wolters1 ,no4 #ahaa4 ,sidenote3 #fej4 ,youthful female figure1 standing1 holding an ivy-leaf fan in the right hand1 and a part of the mantle with the left hand4 ,inscribed3 ,greek3 ,synphoron ,herakleidou ,karystia4 ,synphoron1 of ,carystos1 daughter of ,heracleides4--,athens8 ,pentelic marble2 height1 #a foot #g inches2 width1 #aa-a_/b inches4 ,c4,i4,g41 #heg2 ,c4,i4,a41 ,,iii41 #beaj2 ,greek ,inscriptions in ,brit4 ,mus41 ,,ci4 ,sidenote3 #fea4 ,nude figure of boy1 standing1 with chlamys thrown over his left shoulder4 ,he holds a partridge in his left hand1 and holds its beak with his right hand4 ,inscribed3 ,greek3 ,menekrates ,menonos--,menecrates1 son of ,menon4--,athens4 ,strangford ,coll4 ,pentelic marble2 height1 #a foot #i inches2 width1 #aa inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxxi42 ,c4,i4,a41 ,,iii41 #cbgf2 ,arch4 ,anzeiger1 #ahfd1 p4 #afd994 ,sidenote3 #feb4 ,fragment of sepulchral relief4 ,a draped female figure is seated on a couch1 with right hand raised to her veil2 before her1 two girls1 of whom one holds a ball and the other a fan4--,found in a store at ,portsmouth4 ,probably from ,smyrna4 ,marble2 height1 #aj inches2 width1 #a foot #a-a_/b inch4 ,sidenote3 #fec4 ,a boy throws a ball for a dog which springs up towards him4--,strangford ,coll4 ,pentelic marble2 height1 #a foot #h inches2 width1 #aj-a_/b inches4 ,arch4 ,anzeiger1 #ahfd1 p4 #afe994 ,sidenote3 #fed4 ,draped male figure standing1 with a boy at his side2 above an arch1 springing from pilasters1 and surmounted by a pediment with rosette and acroteria4--,kertch4 ,limestone2 height1 #b feet #c-c_/d inches2 width1 #a foot #i-a_/b inches4 ,sidenote3 #fee4 ,sepulchral relief1 rude and late4 ,standing1 draped female figure raises her right hand to her cheek4 ,the first inscription has been obliterated1 and in place of it is the inscription1 ,greek3 ,,sot 444 ,,nike chaire4 ,greek marble2 height1 #b feet #b-a_/b inches2 width1 #a foot4 ,sidenote3 #fef4 ,sepulchral monument of ,artipous4 ,an old woman is seated wrapped in her mantle1 with a pomegranate in her left hand4 ,a girl stands at her left side holding a box and a purse 7874 ,the relief is bounded by pilasters1 surmounted by a pediment with acroteria4 ,inscribed3 ,greek3 ,artipous ,alkima and symbol3 ,l,greek3 p4 symbol3 ,l is a symbol1 chiefly used in ,ptolemaic inscriptions to precede a numeral denoting a year4 ,the inscription therefore appears to mean '#hj years old1' if ,greek3 p is given its usual value4--,kertch4 ,limestone2 height1 #d feet #a_/b inch2 width1 #b feet #e-c_/d inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,ccii42 ,latyschev1 ,,ii41 #acc4 ,sidenote3 #feg4 ,a draped figure1 ,theodote1 seated on a throne1 raises her left hand to her veil4 ,before her a figure of a girl1 standing4 ,the arms of the throne are supported by ,sphinxes4 ,above the relief are an arch1 springing from pilasters1 a pediment with acroteria1 and rosettes4 ,inscribed3 ,greek3 ,theodote gyne ,myrinou1 chaire4--,kertch4 ,limestone2 height1 #b feet #e inches2 width1 #a foot #h-a_/b inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,cci42 ,latyschev1 ,,ii41 #bca4 ,the restoration is taken from a copy1 given by ,latyschev1 which was made before the inscription was broken4 ,sidenote3 #feh4 ,a draped female figure1 seated on a throne1 raises her left hand to her veil1 and holds a mirror in her right hand4 ,a female figure stands before her4 ,on each side of the standing figure is a diminutive figure of a girl2 one holds a bird1 and the other a vase4 ,above is a pediment with acroteria and rosettes4 ,inscribed3 ,greek3 ,theophile thygater444 ,theophile1 daughter of 4444--,kertch4 ,limestone2 height1 #b feet #e inches2 width1 #b feet4 ,greek ,inscriptions in ,brit4 ,mus41 ,,cc42 ,latyschev1 ,,ii41 #bce;b4 ,sidenote3 #fei4 ,a female figure1 seated on a throne1 raises her left hand to her veil4 ,on right and left are diminutive figures of girls4 ,the arms of the throne are supported by ,sphinxes4 ,above is an arch1 springing from pilasters1 a pediment with rosettes and acroteria4 ,inscribed3 ,greek3 ,hellas gyne ,menodorou1 chaire--,hellas1 wife of ,menodoros1 farewell4--,kertch4 ,limestone2 height1 #e feet #a-a_/b inches2 width1 #a foot #aa-a_/b inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxcvii42 ,latyschev1 ,,ii41 #bbh4 ,sidenote3 #ffj4 ,a draped female figure1 seated on a chair to the front4 ,the head is wanting4 ,on the left is an attendant figure of a girl holding a box 7pyxis74 ,on the right is a horseman wearing chlamys1 bow-case and bow1 and sword4 ,there is also a small part of a second horseman4--,kertch4 ,limestone2 height1 #a foot #f inches2 width1 #b feet #d inches4 ,sidenote3 #ffa4 ,two horsemen standing to right4 ,the foremost has a sword1 bow1 bow-case2 the hinder one wears a conical cap4 ,above1 rosettes and a pediment1 surmounted by acroteria4--,kertch4 ,limestone2 height1 #c feet #c inches2 width1 #a foot #aa-a_/b inches4 ,sidenote3 #ffb4 ,sepulchral relief1 with two panels4 ,the upper panel contains a mounted horseman in a chlamys1 galloping to the right4 ,of the lower panel only the upper part with one head remains4 ,above the relief is a pediment4--,kertch4 ,limestone2 height1 #b feet #c inches2 width1 #a foot #e inches4 ,sidenote3 #ffc4 ,horseman to the right1 with tunic1 chlamys1 and bow-case with bow4 ,behind him1 an attendant male figure4 ,below the horse is a dog running4 ,inscribed3 ,greek3 ,daiske ,ariaramnou1 chaire--,daiscos1 son of ,ariaramnos1 farewell4--,kertch4 ,limestone2 height1 #b feet #f inches2 width1 #a foot #aj inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,clxxxvii42 ,latyschev1 ,,ii41 #ada4 ,sidenote3 #ffd4 ,sepulchral relief in two panels4 ,the upper part is broken away4 ,the feet and tail of a horse1 and a figure of a dog standing to right remain4 ,before the horse are the legs of a small attendant figure4 ,in the lower panel is a horseman riding to the right1 with bow1 bow-case1 sword and long spear4 ,a colt stands beside the horse4 ,inscribed3 ,greek3 ,artemidore ,dioga epi tes pinakeidos1 chaire4 ,wolters translates1 ,hail1 ,artemidoros1 son of ,diogas1 officer in charge of the list4--,kertch4 ,limestone2 height1 #b feet #c inches2 width1 #b feet #a-c_/d inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,clxxxiii42 ,wolters1 ,no4 #ahji ,latyschev1 ,,ii41 #aca4 ,sidenote3 #ffe4 ,fragment of relief1 with figures of two horsemen standing confronted4 ,the head of one and the head and body of the other are lost4 ,they have short tunic1 cloak1 bow and arrows in bow-case1 and a saddle cloth4--,kertch4 ,limestone2 height1 #a foot #e inches2 width1 #a foot #h inches4 ,sidenote3 #fff4 ,fragment from the right-hand lower corner of a relief1 which is perhaps sepulchral1 with the lower parts of two mounted horsemen1 wearing short tunics1 cloaks and swords1 moving rapidly to the left4--,athens4 ,strangford ,coll4 ,pentelic marble2 height1 #a foot #g inches2 width1 #a foot #aj inches4 ,sidenote3 #ffg4 ,sepulchral relief4 ,a woman stands to the front wearing a chiton1 and having a mantle wrapped closely about her4 ,the relief is bounded by pilasters and a high-pitched pediment1 in the tympanum of which is a vase in low relief4 ,inscribed ,greek3 ,epigona ,moschionos ,milesia1 ,epigona1 wife of ,moschio1 of ,miletus4--,athens4 ,presented by ,j4 ,johnstone1 ,esq41 #ahij4 ,pentelic marble8 ,height1 #c feet #i inches2 width1 #a foot #g inches4 ,this relief1 which was seen at ,athens1 in the court of ,giorgaki ,livaditi1 by ,spon in #afgf and by ,fourmont in #agbj1 was dug up many years ago below a house in ,new ,bond ,street4 ,spon1 ,voyage 7ed4 #afgi71 ,,ii41 p4 #dde2 ,c4,i4,g41 #gjf2 ,c4,i4,a41 ,,iii41 #bffj4 ,sidenote3 #ffh4 ,fragment of relief1 with the body and legs of a boy walking to the right4 ,the arms appear to have been raised4 ,a small piece of drapery is seen behind the back of the boy4--,elgin ,coll4 ,pentelic marble2 height1 #a foot #f inches4 ,synopsis1 ,no4 #aih 7#aji74 ,sidenote3 #ffi4 ,female head to the front in a somewhat severe style4 ,apparently broken from a relief4 ,the features are those of a young girl4 ,the hair is waved on each side1 from a central parting4--,athens1 #ahdh4 ,lenormant ,coll4 ,pentelic marble2 height1 #f-c_/d inches4 ,sidenote3 #fgj4 ,helmeted head in profile to the right2 broken from a relief4 ,above the helmet is what appears to be part of a horse's tail4--,inwood ,coll4 ,pentelic marble2 height1 #g inches4 ,sidenote3 #fga4 ,head of a maiden1 probably from a sepulchral relief4 ,she wears a closely-fitting cap1 with a small flap hanging down before the ear4 ,there are remains of the tips of two fingers and a thumb resting on the top of the head1 which make it probable that the complete figure was that of an attendant kneeling before her mistress1 like the attendant who fastens the sandal of ,ameinocleia 7,no4 #fbj74--;,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #h inches4 ,synopsis1 ,no4 #bej 7#aad72 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aai4 ,sidenote3 #fgb4 ,head of a youth1 three-quarters turned to the right1 from the side of a sepulchral relief4 ,he wears a taenia1 and there are traces of drapery which passed over the shoulder4 ,there is a part of a pilaster on the left 7,pl4 xii41 fig4 #b47--;,athens4 ,pentelic marble2 height1 #h inches4 ,sidenote3 #fgc4 ,head of a youth1 half turned to the right1 together with the neck and part of the breast4 ,from a sepulchral relief4 ,the waving locks of hair are freely treated4 7,pl4 xii41 fig4 #a47--;,athens4 ,pentelic marble2 height1 #aj inches4 ,the tip of the nose is restored4 ,sidenote3 #fgd4 ,fragment of a sepulchral relief4 ,a male head in high relief1 wearing a taenia1 is slightly bent forwards to the right4 ,there are remains of drapery which passed over the shoulder4 ,on the left is part of a pilaster which bounds the relief4 ,marble2 height1 #f-a_/b inches4 ,sidenote3 #fge4 ,female head1 probably from a sepulchral relief4 ,the neck is much bent4 ,a portion of the right hand remains clasping the top of the head4 ,marble2 height1 #f inches4 ,sidenote3 #fgf4 ,fragment of the head of a youth1 perhaps from a sepulchral relief4 ,a band passes across the forehead immediately below the hair4--,excavated by ,j4 ,t4 ,wood1 at ,ephesus4 ,marble2 height1 #e inches4 ,sidenote3 #fgg4 ,portrait head of a bearded man4 ,this head appears to be derived from a sepulchral monument in very high relief1 and to have been turned to the left1 as the left side is carefully finished1 while the right side is rough and inaccurate4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #aj-a_/b inches4 ,synopsis1 ,no4 #bdb 7#abj74 ,sidenote3 #fgh4 ,fragment of the right side of a relief which was probably sepulchral4 ,a female figure1 wearing a sleeved chiton and mantle1 is seated on a chair4 ,she extends her hands1 probably towards a figure now wanting4 ,on the right is the head of a figure looking to the right1 and part of a pilaster which bounds the scene4 ,on the left is part of the drapery of a third figure4--,ephesus4 ,strangford ,coll4 ,pentelic marble8 ,height1 #a foot #d inches2 width1 #aa inches4 ,sidenote3 #fgi4 ,fragment of a relief1 perhaps sepulchral1 containing the lower part of the body and the right leg of a warrior1 who stands on rocky ground drawing himself rather to the left4 ,he wears a short chiton1 a cuirass with a triple row of flaps 7pteryges71 and a mantle4 ,behind are the legs from the knees of a recumbent figure4 ,the warrior appears to have had a shield on the left arm1 and the right arm raised for a spear thrust at a fallen enemy4--,found at the foot of the ,inscribed ,monument1 ,xanthos4 ,hard limestone2 height1 #c feet #d inches2 width1 #a foot #aa inches4 ,synopsis1 ,lycian ,room1 ,no4 #ada;b4 ,joints at both sides show that the complete work was of considerable size4 ,compare the scenes of combat in the entrance of the rock tomb at ,kioebaschi4 ,benndorf1 ,reisen in ,lykien1 ,i41 p4 #ace2 and at ,tyssa1 loc4 cit41 ,,ii41 p4 #fd4 ,sidenote3 #fhj4 ,figure of bull lying down to the right1 on rough ground4 ,the head is worked in a very natural manner4 ,the forms of the body are treated in the flat manner of a bas-relief4 ,the back has been left unfinished4 ,probably the bull originally surmounted a tomb1 at ,athens4 7,compare ,curtius and ,kaupert1 ,atlas von ,athen1 pl4 #d47--;,brought from ,greece by ,c4 ,r4 ,cockerell4 ,presented by ,lord ,hillingdon4 ,pentelic marble2 height1 #c feet #b-c_/d inches2 length1 #e feet4 ,journ4 of ,hellen4 ,studies1 ,,vi41 pl4 ,c41 p4 #cb4 ,,sepulchral ,,vases4 ,for the supposed significance of ,vases as ,sepulchral ,monuments1 see above1 p4 #big4 ,sidenote3 #fha4 ,plain sepulchral lekythos1 in low relief4--,elgin ,coll4 ,pentelic marble2 height1 #b feet #aa inches4 ,synopsis1 ,no4 #afd 7#bgf72 ,mus4 ,marbles1 ,,ix41 pl4 #cd1 fig4 #a2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #afa4 ,sidenote3 #fhb4 ,sepulchral lekythos1 with relief4 ,an old man1 ,pytharatos1 stands1 clasping the hand of a seated man1 ,herophilos1 who is also old4 ,inscribed3 ,greek3 ,pytharatos1 ,herophilos4--,sloane ,coll4 ,pentelic marble2 height1 #b feet #i inches2 diameter1 #aj-a_/d inches1 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #bba2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxxvi4 ,sidenote3 #fhc4 ,plain sepulchral amphora of ,phaidimos of ,naucratis4 ,inscribed3 ,greek3 ,phaidimos ,naukratites4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #c feet #d-a_/b inches2 diameter1 #aa inches4 ,synopsis1 ,no4 #abd 7,a4 #ea72 ,mus4 ,marbles1 ,,ix41 pl4 #cc1 fig4 #d2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #afd2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cv42 ,c4,i4,a41 ,,ii41 #cbci4 ,sidenote3 #fhd4 ,body of sepulchral amphora of ,timophon1 of ,anagyrus1 with ornate flutings1 and a horizontal band of interwoven fillets4 ,rosettes at the base of the handles4 ,inscribed3 ,greek3 ,timophon ,timostratou ,anagyrasios4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #aa inches2 diameter1 #a foot #b inches4 ,for the form1 cf4 vase held by the wind ,skiron on the ,tower of the ,winds 7,stuart1 ,i41 chap4 ,,iii41 pl4 #ai71 and the relief from ,icaria 7,american ,journ4 of ,archaeology1 ,v41 p4 #agh1 fig4 #cj74 ,published ,dodwell1 ,tour1 #a41 p4 #dea2 ,synopsis ,no4 #bfc 7#afc72 ,mus4 ,marbles1 ,,ix41 pl4 #cb1 fig4 #d2 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxxx42 ,c4,i4,g41 #ehe4 ,kumanudis 7,greek3 ,att4 ,epig4 ,no4 #bcf1 and p4 #ah7 and ,koehler 7,c4,i4,a4 ,,ii41 #ahej7 consider the inscription more recent than the vase4 ,sidenote3 #fhe4 ,fragment from the top of a sepulchral amphora in relief1 with patterns of foliage4--,formerly in ,lord ,elgin's ,collection4 ,pentelic marble2 height1 #aa inches4 ,journ4 of ,hellen4 ,studies1 ,,vi41 p4 #dc1 ,no4 #d4 ,sidenote3 #fhf4 ,sepulchral cippus of ,anaxicrates with an amphora carved in low relief4 ,inscribed3 ,greek3 ,anaxikrates ,dexiochou ,athenaios4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #b feet #a_/b inch4 ,synopsis1 ,no4 #abc 7#bdj72 ,mus4 ,marbles1 ,,ix41 pl4 #cd1 fig4 #b2 ,greek ,inscriptions in ,brit4 ,mus41 ,,xcvi42 ,c4,i4,g41 #hja4 ,,sepulchral ,,vases ,,and ,,reliefs1 ,,with ,,figures ,,clasping ,,hands4 ,for the various interpretations that have been proposed for these scenes1 commonly known as ,scenes of ,parting1 see above1 p4 #big4 ,sidenote3 #fhg4 ,sepulchral lekythos with relief4 ,a bearded figure stands before a woman seated on a stool1 and clasps her hand4 ,inscribed3 ,greek3 ,pamphilos ,meixiadou ,aigilieus4 ,archippe ,meixiadou--,pamphilos1 son of ,meixiades1 of ,aigilia2 ,archippe1 daughter of ,meixiades4 ,the figures represented are therefore brother and sister4--,found beside the portico of ,hadrian1 ,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #b feet #d-c_/d inches2 diameter1 #a foot #e inches4 ,stuart ,i41 pp4 #dd1 #eb2 ,dodwell1 ,tour1 ,i41 p4 #ded2 ,mus4 ,marbles1 ,,ix4 pl4 #cc1 fig4 #b2 ,synopsis ,no4 #aib 7#bcg72 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #afd2 ,c4,i4,g41 #efj2 ,c4,i4,a41 ,,ii41 #agcg2 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxxv4 ,sidenote3 #fhh4 ,sepulchral lekythos with relief4 ,two female figures1 ,philia and ,metrodora1 stand clasping hands4 ,two bearded figures1 ,mys and ,meles1 stand1 one on the left and one on the right1 each turning towards the central group4 ,inscribed3 ,greek3 ,mys1 ,philia1 ,metrodora1 ,meles4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #i-a_/b inches2 diameter1 #a foot #a-a_/d inches1 ,mus4 ,marbles1 ,,ix41 pl4 #cb1 fig4 #c2 ,synopsis ,no4 #aii 7#adh72 ,c4,i4,g41 #igd2 ,c4,i4,a41 ,,ii41 #ciih2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxxii4 ,brueckner1 ,von den griech4 ,grabreliefs1 p4 #ab1 fig4 ,k4 ,a companion lekythos has been discovered at ,chasani1 in ,attica1 and is now at ,athens4 ,in this relief1 ,mys and ,meles clasp hands1 while ,metrodora and ,philia stand on the right and left4 ,brueckner1 l4c4 ,sidenote3 #fhi4 ,part of a sepulchral lekythos with relief4 ,two women1 ,callistrate 787 and ,demostrate1 stand with right hands joined4 ,behind the latter a girl stands in an attitude of grief with her head resting on her right hand4 ,behind the former is a youth supporting his chin on his right hand4 ,inscribed3 ,greek3 ,demostrate1 ,kallistrate4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #g inches2 diameter1 #a foot #e inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ca1 figs4 #a1 #b2 ,synopsis ,no4 #bge 7#ajd72 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #afe2 ,c4,i4,g41 #icf2 ,c4,i4,a41 ,,ii41 #cfaa2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxiv4 ,sidenote3 #fij4 ,sepulchral vase1 with relief4 ,a young warrior1 wearing chiton1 shield and helmet1 clasps the hand of an old man4 ,behind the man stands a woman1 who makes a gesture with her right hand4 ,inscribed with an elegiac inscription of four lines of which only the terminations remain4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #b feet #d-a_/d inches2 diameter1 #a foot #c-a_/b inches4 ,mus4 ,marbles1 ,,ix41 pl4 #cb1 fig4 #a2 ,synopsis ,no4 #abb 7#afg72 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #afa2 ,c4,i4,g41 #ajda2 ,c4,i4,a41 ,,ii41 #dcab2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxxxii4 ,sidenote3 #fia4 ,sepulchral lekythos with relief4 ,a young warrior1 wearing a cuirass over a short tunic1 a chlamys and a helmet1 clasps the hand of a seated woman4 ,he appears to hold a scroll in his left hand4 ,behind him is an attendant1 holding a large shield4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #b feet #f inches2 diameter1 #a foot #f inches4 ,mus4 ,marbles1 ,,ix41 pl4 #cc1 fig4 #c2 ,synopsis ,no4 #aie 7#bbh72 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #afa4 ,sidenote3 #fib4 ,sepulchral lekythos with relief4 ,an armed warrior1 ,sosippos1 who wears a tunic1 cuirass1 and chlamys1 clasps the hand of a seated woman1 who1 with her left hand clasps the right hand of a small girl standing at her knee4 ,behind the warrior is a boy carrying a large shield2 behind the seated figure is a woman standing with her right hand raised to her chin4 ,inscribed3 ,greek3 ,sosippos4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #b feet2 diameter1 #aa inches4 ,dodwell1 ,tour1 ,i41 p4 #dee2 ,mus4 ,marbles1 ,,ix41 pl4 #ca1 fig4 #c2 ,synopsis ,no4 #bcj 7#bci72 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #afe2 ,c4,i4,g41 #ajjh2 ,c4,i4,a41 ,,ii41 #daef2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxxvii4 ,sidenote3 #fic4 ,stele1 with a sepulchral lekythos in relief1 supported by a winged ,sphinx4 ,on the vase is a relief representing two warriors1 fully armed1 standing with hands clasped4 7,pl4 xi41 fig4 #a47 ,inscribed3 ,greek3 ,archiades ,hagn7o7usios1 ,polemonikos ,athmoneus--,archiades of ,hagnus2 ,polemonicos of ,athmonon4--,formerly in the ,guilford ,collection4 ,presented by ,g4 ,plucknett1 ,esq41 #ahhf4 ,pentelic marble2 height1 #b feet #aa-a_/b inches width1 #a foot #a inch4 ,c4,i4,g41 #eeb2 ,c4,i4,a41 ,,ii41 #agjj4 ,sidenote3 #fid4 ,stele1 with sepulchral relief4 ,a seated woman1 ,xeno1 clasps the hand of a girl1 ,cleo1 who stands before her4 ,behind her1 a bearded man1 ,hermodoros1 leans on his staff and looks downwards4 ,the stele is surmounted by a rounded top as if for a palmette1 which may have been painted4 ,inscribed3 ,greek3 ,xeno1 ,hermodoros1 ,kleo4--,athens8--,elgin ,coll4 ,pentelic marble2 height1 #b feet #a inch2 width1 #a foot #b-a_/b inches4 ,mus4 ,marbles1 ,,ix41 pl4 #cj1 fig4 #d2 ,synopsis ,no4 #cgc 7#bbi72 ,c4,i4,g41 #iha2 ,c4,i4,a41 ,,ii41 #djdb2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxxiv4 ,sidenote3 #fie4 ,sepulchral lekythos with relief4 ,a youth1 ,polystratos1 clasps the hand of a woman1 ,archagora1 who is seated on a chair4 ,a woman1 ,pithyllis1 is seen in the background between these two figures4 ,she stands in an attitude of grief1 with her head bowed and her right hand raised to her veil4 ,inscribed3 ,greek3 ,archagora1 ,pithyllis1 ,polystratos4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #h inches2 diameter1 #aa inches4 ,dodwell1 ,tour1 ,i41 p4 #dee2 ,mus4 ,marbles1 ,,ix41 pl4 #ca1 fig4 #d2 ,synopsis1 ,no4 #ahb 7#bgd72 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #afe2 ,c4,i4,g41 #iif2 ,c4,i4,a41 ,,ii41 #cebd2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxii4 ,sidenote3 #fif4 ,sepulchral lekythos with relief4 ,a bearded man stands before a woman seated on a chair and clasps her hand4 ,there is no trace of an inscription4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #b feet #aa-a_/b inches2 diameter1 #aa inches4 ,mus4 ,marbles1 ,,ix41 pl4 #cc1 fig4 #a2 ,synopsis ,no4 #acb 7,a4 #ej72 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #afd4 ,sidenote3 #fig4 ,sepulchral lekythos with relief4 ,a bearded man stands before a woman seated on a chair4 ,inscribed above the head of the woman3 ,greek3 ,ada4 ,the name of the man may have been inscribed originally1 but it is now obliterated4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #aj-a_/b inches2 diameter1 #a foot4 ,mus4 ,marbles1 ,,ix41 pl4 #cb1 fig4 #b2 ,synopsis ,no4 #ahh 7#aaj72 ,greek ,inscriptions in ,brit4 ,mus4 ,,cxi42 ,c4,i4,a41 ,,ii41 #cdch4 ,sidenote3 #fih4 ,sepulchral lekythos with relief4 ,a man1 ,alkimachos1 stands before a seated woman1 ,hedyle1 and clasps her hand4 ,a girl stands behind ,hedyle1 and another girl of a smaller size stands behind ,alkimachos4 ,inscribed3 ,greek3 ,hedyle1 ,alkimachos4--,probably from ,athens4 ,from the ,earl of ,belmore's ,collection1 #ahdb4 ,pentelic marble2 height1 #a foot #e inches2 diameter1 #a foot #a inch4 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxviii42 ,c4,i4,a41 ,,ii41 #cgfa4 ,sidenote3 #fii4 ,sepulchral lekythos with relief1 much defaced4 ,a woman seated on a chair clasps the hand of a woman standing before her4 ,behind the chair is a girl holding a box in her left hand4--,from a store at ,portsmouth4 ,perhaps from ,smyrna4 ,marble2 height1 #a foot #g inches2 diameter1 #a foot4 ,sidenote3 #gjj4 ,fragment of sepulchral relief4 ,a youth standing clasps the hand of a bearded man1 seated on a chair4 ,only the upper parts are preserved of both figures1 together with the right side of the relief4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #f inches2 width1 #aj-a_/b inches4 ,synopsis1 ,no4 #dbc4 ,sidenote3 #gja4 ,fragment of sepulchral relief4 ,a woman1 seated on a chair1 clasps the hand of a woman standing before her4 ,her left hand appears to have been raised to her veil4 ,the upper parts of both figures are wanting1 and also the left side of the relief4 ,a nude boy with an uncertain object in his hands stands in the right corner4 ,pentelic marble8 ,height1 #a foot2 width1 #aa inches4 ,sidenote3 #gjb4 ,a woman seated to the right1 on a stool1 holds her veil with the left hand1 and clasps the arm of a boy standing before her4 ,behind the boy1 and partly embracing him1 stands a woman1 who holds her veil with her right hand4 ,on the left1 behind the seated figure is a woman standing with the left hand raised to her cheek1 and with the right hand supporting the left elbow4 ,at the foot of the seat are two small female figures1 one standing and one sitting4 ,these six figures are in high relief4 ,in the background are two men confronted in low relief2 one is bearded4 ,two other heads also appear to have been inserted1 and to have been afterwards obliterated4 ,the relief is bounded by two pilasters and an architrave1 with roof tiles above4 ,inscribed3 ,greek3 ,sopatra ,pausaniou4 ,antimachos ,pausaniou4 ,philopatra ,mirylou4 ,pausanias ,andriskou4 ,sopatra and ,antimachos are the children of ,pausanias and ,philopatra4--,pella4 ,fine-grained white marble2 height1 #d feet2 width1 #b feet #f inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,clxxii4 ,sidenote3 #gjc4 ,an elderly bearded man1 seated1 to the left1 clasps the hand of an old man standing before him4 ,both figures appear to be portraits4 ,small figures of boys stand at the right and left4 ,the boy on the left holds an uncertain object4 ,above are a pediment with acroteria1 and two olive wreaths1 and the inscriptions ,greek3 ,ho demos ,demoklen ,amphilochou1 ,greek3 ,ho demos ,demoklen ,demokleous1 recording honorary decrees to ,democles1 son of ,amphilochos1 and ,democles1 son of ,democles4 ,below is a metrical epitaph1 in eight lines3 ,greek3 ,ton pinyton kata panta kai exochon en polietais anera geral7e7ou termat' echonta biou ,aideo nychioio melas hypedexato kolpos eusebeon th' hosien eunasen es klisien4 mnema d' apophthimenoio para trechean atarpon touto pais kedne teuxe syn eunetidi4 xeine1 sy d' aeisas ,demokleos hyiea chairein ,demoklea steichois ablabes ichnos echon4 --,smyrna4 ,presented by ,m4 ,duane and ,t4 ,tyrwhitt1 ,esqs41 #aggb4 ,bluish ,greek marble2 height1 #d feet #e inches2 width1 #a foot #h-a_/b inches4 ,montfaucon1 ,ant4 ,expl4 ,suppl41 ,v41 p4 #be2 ,archaeologia1 ,,iii41 pl4 #aa1 fig4 #b2 ,c4,i4,g41 #cbef2 ,kaibel1 #bcg4 ,sidenote3 #gjd4 ,a man1 ,exakestes1 seated1 clasps the hand of his wife1 ,metreis1 standing before him4 ,she holds a spindle in her left hand4 ,in the right and left corners of the relief are small figures of a boy and girl4 ,the girl holds a casket4 ,in the background of the relief are a stele surmounted by two cornucopiae1 and a candelabrum4 ,above1 two wreaths and the honorary inscription1 ,greek3 ,ho demos ,exakesten ,androboulou4 ,ho demos ,metrein ,hermippou1 ,exakestou de gynaika4 ,the relief is surmounted by a pediment with acroteria and a rosette4--,perhaps from ,smyrna4 ,townley ,coll4 ,greek marble2 height1 #b feet #e-a_/b inches2 width1 #a foot #d-a_/b inches4 ,mus4 ,marbles1 ,x41 pl4 #dc2 ,c4,i4,g41 #cbcb2 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #afe2 ,wolters1 ,no4 #ahjf4 ,this relief was once in the possession of ,dr4 ,richard ,mead 7,mus4 ,meadianum1 ,pars alt41 #agei1 p4 #bci74 ,sidenote3 #gje4 ,a woman seated clasps the hand of a young man who stands before her1 placing his left hand on her shoulder4 ,an older man stands on the left4 ,the stele is surmounted by a pediment4 ,greek marble2 height1 #b feet #b-a_/d inches2 width1 #a foot #b inches4 ,sidenote3 #gjf4 ,a woman1 ,laodike 7871 seated1 clasps the hand of a youth standing before her4 ,the relief is crowned by a pediment4 ,a nearly illegible inscription appears to read3 ,greek3 ,laodike ,herophilou8 444 chaire4 ,pentelic marble2 height1 #b feet #c-a_/d inches2 width1 #a foot #b inches4 ,sidenote3 #gjg4 ,a woman clasps the hand of a warrior1 with short tunic1 cloak and shield4 ,on the left a second warrior1 somewhat smaller1 but similarly attired4 ,above is a pediment with acroteria and rosettes4--,kertch4 ,limestone2 height1 #b feet #d inches2 width1 #a foot #g inches4 ,sidenote3 #gjh4 ,two men1 one bearded and the other a youth1 stand clasping hands4 ,they are father and son1 each being named ,bakchios4 ,above is a pediment with acroteria and rosettes4 ,inscribed3 ,greek3 ,bakchie ,bageos kai hyie ,bakchie chairete4 ,limestone2 height1 #b feet #aa-c_/d inches2 width1 #a foot #h-c_/d inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,clxxxiv42 ,latyschev1 ,,ii41 #gh4 ,sidenote3 #gji4 ,a man and woman stand1 clasping hands4 ,a boy on the right4 ,above is a pediment with acroteria and rosettes4 ,inscribed3 ,greek3 ,gaios ,gaiou kai meter ,basilindina chairete4--,kertch4 ,limestone2 height1 #b feet #f-a_/b inches2 width1 #a foot #g-a_/d inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,clxxxvi42 ,latyschev1 ,,ii41 #ic4 ,sidenote3 #gaj4 ,circular pedestal or altar on a square plinth1 on one side of which is a sepulchral relief4 ,a man stands on the right1 clasping the right hand of a seated woman1 probably his wife4 ,she holds her veil with her left hand4 ,behind the woman stands ,hermes ,psychopompos1 about to conduct her shade to ,hades4 ,he has petasos1 talaria1 chlamys and caduceus4 ,on the right is another male figure standing1 with folded hands1 and beyond is what appears to be an altar4 ,the altar is rectangular1 and is surmounted by a conical object1 round which a serpent is twined4 ,by the side of the altar is the mutilated figure of a boy4 ,on the extreme left behind ,hermes is a sundial1 to which his hand is pointing4 ,at the side of the chair stands a draped female attendant of diminutive stature4 ,this figure is much defaced1 and the lower part is broken away4 ,the head of this figure has been broken off1 and the faces and general surface of all the figures are much eaten away by exposure to weather4 ,this relief occupies about a third of the circle of the pedestal1 the remainder being ornamented by festoons of ivy suspended between three bulls' heads4 ,in the centre of the top of the pedestal is a round hole1 as if to receive a dowel1 and the surface of the marble seems prepared for a joint4 ,the whole may have served as a pedestal for a statue4--,obtained from ,greece by the fourth ,earl of ,aberdeen1 and presented by the fifth ,earl of ,aberdeen1 #ahfa4 ,greek marble2 height1 #c feet #g inches2 diameter1 #b feet #i inches4 ,guide to ,graeco-,roman ,sculptures1 ,part ,,ii41 ,no4 #ge4 ,,reliefs ,,representing ,,the ,,sepulchral ,,banquet4 ,for a discussion of the interpretation of this class of reliefs1 see above1 p4 #bih4 ,sidenote3 #gaa4 ,cast of a sepulchral relief1 sometimes known as the ,death of ,socrates4 ,a man1 bearded1 reclines on a couch1 with a bowl in his right hand1 held out as if to pour a libation4 ,a woman seated on a stool by the foot of the couch1 extends her hands4 ,on the right is a man1 draped and bearded1 and on the left a nude youth who stands with a jug by a large crater4 ,below the couch is a dog gnawing a bone4 ,the original1 of white marble1 was found at the ,piraeus in #ahch1 and is now in the ,national ,museum at ,athens4 ,height1 #a foot #g-a_/b inches2 width1 #b feet #a inch4 ,greek3 ,ephemeris1 #ahci1 ,no4 #bfi2 ,le ,bas1 ,mon4 ,fig41 pl4 #eb2 ,pervanoglu1 ,familienmahl1 p4 #bd1 ,no4 #fj2 ,mitchell1 p4 #ejd2 ,wolters1 ,no4 #ajeb2 ,roscher1 ,lexicon1 p4 #begd4 ,sidenote3 #gab4 ,relief with banquet4 ,two male figures recline together on a couch4 ,one is a bearded man1 the other is a youth4 ,the man holds a bowl in his left hand and places his right hand on the shoulder of the youth who turns his head towards him4 ,before the couch is a table with provisions4 ,on the right is a nude youth with a jug and bowl4 ,on the left is a youth1 wearing tunic and chlamys1 who leads a horse4 ,the relief is bounded by pilasters and an architrave4 ,on the lower margin is the modern inscription ,aesculapio ,tarentino ,salenius ,arcas1 added by some person who supposed that the relief was a votive tablet to ,aesculapius4 ,the inscription1 however1 makes it probable that the relief was obtained at ,tarentum4 ,the type of the horse also agrees well with that on the coins of ,tarentum1 of about the close of the fourth century1 ,b4,c4 ,the relief is perhaps erected to a father and two sons4 ,it is also possible that the two figures of the youth represent the same person1 and that only two persons in all are here commemorated4--,presented by ,w4 ,r4 ,hamilton1 ,esq41 #ahde4 ,marble1 probably ,pentelic2 height1 #a foot #aj-a_/b inches2 width1 #b feet #i inches4 ,the upper right-hand corner is restored4 ,p4 ,gardner1 ,journ4 of ,hellen4 ,studies1 ,v41 p4 #aje1 and plate2 ,wolters1 ,no4 #ajed2 ,roscher1 ,lexicon1 p4 #bege4 ,sidenote3 #gac4 ,relief with banquet1 serpent1 and sacrifice4 ,two men recline on a couch4 ,both have cups in their left hands4 ,one holds up a rhyton terminating in a ram's head2 the other stretches out his right hand to a long table which stands before the couch4 ,a woman1 seated on the end of the couch1 holds a cup in her left hand and stretches out her right hand to the table4 ,below the table is a coiled serpent4 ,on the left of the woman is a nude youth holding up a rhyton4 ,beyond is a square altar1 to which a boy1 who is now almost obliterated1 leads a pig4 ,he holds a bowl in his left hand4 ,on the left are four adult persons and two infants1 and above1 the head of a horse in a frame4 ,the relief is bounded by two pilasters surmounted by an entablature1 above which roof-tiles are slightly indicated4--,townley ,coll4 ,pentelic marble2 height1 #a foot #b inches2 width1 #b feet #b inches4 ,sidenote3 #gad4 ,fragment of relief with banquet and sacrifice4 ,on the right is part of the figure of a woman1 who is seated at the foot of a couch1 most of which is now lost4 ,before her is part of a table4 ,at the foot of the couch is an altar which is approached by a procession of three adult persons and four children1 one of whom leads a ram4 ,above1 a horse's head is seen at a window4 ,the relief is bounded by pilasters and an entablature1 above which roof-tiles are shown4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #c inches2 width1 #a foot #a_/b inch4 ,mus4 ,marbles1 ,,ix41 pl4 #ce1 fig4 #a2 ,synopsis1 ,no4 #bgi 7#id72 ,welcker1 ,alte ,denkmaeler1 ,,ii41 p4 #bgc2 cf4 ,welcker1 loc4 cit41 ,,ii41 pl4 #ac1 ,no4 #bd2 ,pervanoglu1 ,familienmahl1 p4 #dd1 ,no4 #agd4 ,sidenote3 #gae4 ,fragment of relief1 which may be supposed to have been similar to the preceding4 ,sacrificial procession1 including a man1 of whom but little remains1 a woman1 two children1 and one draped figure1 whose sex cannot be distinguished1 carrying a large vessel on the head4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #d-c_/d inches2 width1 #i-a_/b inches4 ,mus4 ,marbles1 ,,ix41 pl4 #cf1 fig4 #c2 ,synopsis1 ,no4 #ahi 7#bhd72 ,guide to ,elgin ,room1 ,part ,,ii41 ,no4 ,f4 #f4 ,sidenote3 #gaf4 ,relief with banquet and sacrifice4 ,a male figure1 who is half draped1 reclines on a couch with a bowl in his right hand4 ,he wears a polos and in type resembles a divinity4 ,before him is a table with food4 ,a woman is seated on the foot of the couch and has a cup in her left hand4 ,on the right a youth draws wine from a crater4 ,on the left a man1 woman1 and boy approach as worshippers4 ,the relief is bounded by two pilasters1 surmounted by an entablature1 above which are roof-tiles4--,townley ,coll4 ,pentelic marble2 height1 #i-a_/b inches2 width1 #a foot #a-c_/d inches4 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #afg2 ,welcker1 ,alte ,denkmaeler1 ,,ii4 p4 #bgh4 ,sidenote3 #gag4 ,relief with banquet and sacrifice4 ,a male figure1 half draped and wearing a polos as in the last relief1 reclines on a couch4 ,he has a cup in the left hand and a rhyton in the right hand4 ,before him is a table with food4 ,a woman is seated at the foot of the couch1 with a cup in her left hand4 ,on the left a boy stands beside a jar of wine1 which is raised on a pedestal4 ,at the left a woman1 and two smaller figures approach as worshippers4 ,above1 the head of a horse is seen looking through an opening4 ,the relief is bounded by two pilasters1 surmounted by an entablature1 above which are roof-tiles4-- ,halicarnassos4 ,presented by ,h4,m4 ,sultan ,abdul ,medjid to ,viscount ,stratford de ,redcliffe1 and by him presented to the ,british ,museum4 ,marble2 height1 #aj inches2 width1 #a foot #a inch4 ,sidenote3 #gah4 ,fragment of relief4 ,a nude male figure who seems to be wearing a ,phrygian cap1 and holds some object in his right hand1 stands with his left hand over an altar4 ,on the right side of the altar was a male figure making a libation4 ,only the right hand with the saucer1 and the right foot remain4 ,on the left a bearded man stands1 with his right hand raised4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #f inches2 width1 #a foot #c inches4 ,synopsis1 ,no4 #chj 7#aja72 ,mus4 ,marbles1 ,,ix41 pl4 #cg1 fig4 #a4 ,sidenote3 #gai4 ,group of persons about to sacrifice2 from the left side of a sepulchral relief4 ,on the right of the fragment is a man with a large amphora1 turned to the right4 ,behind him are two men and two women1 all standing as worshippers4--,mytilene4 ,marble2 height1 #aj inches2 width1 #aa inches4 ,conze1 ,lesbos1 p4 #aj1 ,note #c1 ,no4 #a4 ,sidenote3 #gbj4 ,fragment of relief with banquet and serpent4 ,a man reclines on a couch and pours a libation from a bowl4 ,before the couch is a table with food4 ,a serpent is coiled beneath the table and stretches its head towards the bowl4 ,on the left is the hand holding a casket 7pyxis7 of a woman1 who had been seated at the foot of the couch4 ,the relief is bounded by pilasters1 an entablature and a roof4 ,marble2 height1 #a foot #a inch2 width1 #i inches4 ,sidenote3 #gba4 ,relief with a female figure of the type of the banquet reliefs4 ,a woman seated1 wearing a lofty head-dress 7polos71 holds an ivy-leaf fan in her left hand1 and with the right hand appears to be offering a cup to a serpent4--,athens8 ,elgin ,coll4 ,pentelic marble2 height1 #b feet #c-a_/b inches2 width1 #a foot #e-c_/d inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ch1 fig4 #c2 ,synopsis1 ,no4 #bgh 7#bch72 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #abg1 ,no4 #bgh4 ,sidenote3 #gbb4 ,relief with banquet4 ,a man reclines on a couch with a cup in his left hand4 ,before him is a table with food4 ,a woman is seated near the foot of the couch with her left hand raised to her veil4 ,on the right is a boy in a short tunic1 perhaps holding a kyathos4 ,on the left is a girl who is standing1 and seems to be holding a vase4 ,the relief is surmounted by a pediment4 ,inscribed3 ,greek3 ,hermias ,athanionos4 ,hermias1 son of ,athenion4--,athens4 ,strangford ,coll4 ,pentelic marble2 height1 #a foot #e inches2 width1 #aj inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxvi42 ,arch4 ,anzeiger1 #ahfd1 p4 #afd992 ,pervanoglu1 ,familienmahl1 p4 #ae1 ,no4 #e4 ,sidenote3 #gbc4 ,relief with banquet4 ,a man reclines on a couch1 with a bowl in his left hand2 with the right hand he holds a wreath on his head4 ,before him is a table with food4 ,the legs of the table terminate above in the form of swans' heads4 ,above is an olive wreath1 containing the words ,greek3 ,ho demos2 also a pediment1 having acroteria1 and containing a rosette4 ,inscribed3 ,greek3 ,ho demos ,lenaion ,artemidorou4 kai to prin en polemois teron pyrgon1 parodita1 kai nyn tereso1 hos dynamai1 nekys on4 ,the 'tower' which ,lenaios undertakes to defend in death has been conjectured to be the ,dipylon gate at ,athens1 whence the relief was probably obtained4 ,bluish ,greek marble2 height1 #c feet #aa-a_/b inches2 width1 #a foot #g inches4 ,rhein4 ,mus4 ,n4,f4 #ahdh1 p4 #hb2 ,kaibel1 #aaa4 ,sidenote3 #gbd4 ,sculptured pedestal4 ,on the front is a relief of a banquet4 ,a man reclines on a couch1 with a table of food before him4 ,he holds a bowl in his left hand1 and clasps with his right hand the hand of a woman who is seated at the foot of the couch4 ,a boy stands on the left4 ,a wreath is carved on the pilaster to the right of the relief1 which probably contained the inscription3 ,greek3 ,ho demos4 ,inscribed3 ,greek3 ,hellanion ,tarseus1 ,hellanion of ,tarsus4 ,on the right and left ends the pedestal is adorned with pediments4 ,above1 it is roughly worked to fit the plinth of a statue4--,xanthos8 ,presented by ,j4 ,scott ,tucker1 ,esq41 ,r4,n4 ,bluish-grey marble2 height1 #b feet #a_/d inch2 width1 #b feet #g inches4 ,arch4 ,anzeiger1 #ahea1 p4 #abh2 ,pervanoglu1 ,familienmahl1 p4 #cd1 ,no4 #aac4 ,sidenote3 #gbe4 ,fragment of relief1 with banquet4 ,the upper half is wanting4 ,a man reclines on a couch1 and holds a bowl and a rhyton 7871 which were perhaps of bronze attached1 in the left and right hands respectively4 ,a woman sits on the end of the couch4 ,on the right is a diminutive male figure with the hands clasped4 ,on the left is a girl1 who stands leaning against the foot of the couch1 and holds an ivy-leaf fan in her left hand4--,halicarnassos4 ,marble2 height1 #a foot #b inches2 width1 #b feet4 ,sidenote3 #gbf4 ,relief with banquet and serpent4 ,a man fully draped1 reclines on a couch1 with a bowl in his left hand4 ,before the couch is a table with provisions4 ,a woman is seated on a stool by the foot of the couch4 ,in her left hand she extends a bowl from which a serpent is drinking4 ,the serpent is coiled about the trunk of a tree4 ,on the right is a diminutive male figure standing by a crater2 on the left is a female figure holding a box4--,found in a store at ,portsmouth4 ,probably from ,smyrna4 ,bluish marble2 height1 #a foot #aj-a_/b inches2 width1 #a foot #f inches4 ,sidenote3 #gbg4 ,fragment of a relief with banquet and serpent4 ,a man reclines on a couch holding a bowl in his left hand4 ,a woman is seated on a chair by the head of the couch4 ,a snake issues from under the chair and approaches the woman4 ,one arm of the chair is supported by a figure of a ,sphinx4 ,the heads of both figures are wanting of ,mytilene4 ,marble2 height1 #aa inches2 width1 #aj-a_/b inches4 ,conze1 ,lesbos1 p4 #aj1 ,note #c1 ,no4 #c4 ,sidenote3 #gbh4 ,relief with banquet and serpent4 ,a figure1 apparently that of a man1 reclines on a couch4 ,he has long hair1 and a closely-fitting chiton1 and holds a cup in his left hand4 ,before him is a table with food1 towards which he extends his right hand4 ,a woman is seated on the foot of the couch1 and gives drink from a bowl to a serpent4 ,on the right a boy has drawn wine from a crater with a jug1 and is offering a bowl to the reclining figure4 ,behind is a stair-like series of shelves1 on which stand several vessels4 ,on the left a woman raises her right hand with a gesture as of adoration4 ,above1 a horse's head is seen looking through an opening4 ,the relief is bounded by two ,ionic columns surmounted by a flat arch4--,naucratis4 ,presented by the ,egypt ,exploration ,fund1 #ahhf4 ,limestone1 with traces of red paint2 height1 #a foot #c inches2 width #a foot #h-a_/b inches4 ,gardner1 ,naukratis1 ,,ii41 p4 #bb4 ,sidenote3 #gbi4 ,fragment of relief1 with banquet and serpent4 ,the fragment contains the upper part of a male figure1 wearing a polos1 reclining on a couch1 holding a cup in the left hand1 and having a table before him4 ,a snake is coiled about one leg of the table4--,mytilene4 ,marble2 height1 #a foot #c_/d inch2 width1 #g inches4 ,conze1 ,lesbos1 p4 #aj1 ,note #c1 ,no4 #b4 ,sidenote3 #gcj4 ,fragment of relief1 with banquet4 ,a male figure reclines on a couch4 ,before him is a table with food4 ,he has a rhyton in his right hand and a cup in his left hand4 ,marble2 height1 #aa inches2 width1 #aj inches4 ,sidenote3 #gca4 ,fragment of relief with banquet4 ,a male figure reclines on a couch between two columns1 with a bowl in his right hand4 ,a table with cups stands before the couch4--,thasos4 ,strangford ,coll4 ,marble2 height1 #i inches2 width1 #a foot #b inches4 ,sidenote3 #gcb4 ,fragment of relief with banquet4 ,a male figure1 whose legs alone are preserved1 reclines on a couch4 ,before him is a table with food4 ,a woman1 whose lower limbs are alone preserved1 is seated on a chair at the foot of the couch4 ,a small draped figure of a youth is on the right1 and there are remains of the figure of a girl on the left4 ,marble2 height1 #a foot #g inches2 width1 #b feet #f inches4 ,sidenote3 #gcc4 ,relief with banquet4 ,a man1 bearded1 reclines on a couch1 and holds up a rhyton in his right hand4 ,before him is a table with food4 ,a woman is seated on the couch1 and raises with the left hand a fold of her peplos4 ,on the left a boy draws wine from a large crater4 ,the head of a horse is seen at an opening4 ,a round shield hangs on the wall4 ,the relief is bounded by two pilasters and an entablature4--,excavated by ,mr4 ,wood at ,ephesus4 ,ephesian marble2 height1 #a foot #g-a_/b inches2 width1 #b feet #b-a_/b inches4 ,sidenote3 #gcd4 ,relief with banquet4 ,a portrait figure of an old man1 whose head is bound with a taenia1 reclines on a couch with a two-handled cup in his left hand4 ,before him is a table with pomegranate fruits and other food4 ,a portrait figure of a woman is seated near the foot of the couch1 with her left hand raised to her veil4 ,a boy in a short tunic stands on the right1 and holds a kyathos for drawing wine2 a rhyton and a vase are seen above his head4 ,a girl kneels on the left below the seat of the woman2 a dog lies between the legs of the table4--,townley ,coll4 ,greek marble2 high relief4 ,the upper part is wanting4 ,height #a foot #h-a_/b inches2 width1 #a foot #f inches4 ,mus4 ,marbles1 ,x41 pl4 #di1 fig4 #b4 ,sidenote3 #gce4 ,relief with banquet4 ,a male figure reclines on a couch1 before which is a table with provisions4 ,a woman is seated on a stool at the foot of the couch with her hand raised to her chin4 ,inscribed3 ,greek3 4444nou chaire4--,cyzicus4 ,presented by ,a4 van ,branteghem1 ,esq41 #ahij4 ,marble2 height1 #aj-a_/b inches2 width1 #i-a_/b inches4 ,rev4 ,arch41 #ahia1 p4 #ab1 ,no4 #d4 ,sidenote3 #gcf4 ,relief with banquet4 ,three elderly male figures recline on a long couch1 wearing diadems and holding large bowls in their left hands4 ,before them is a table with two large pomegranates and a basket of fruit4 ,at each end of the couch is a seated woman4 ,the head is lost of the woman on the left4 ,at the left angle in low relief is a diminutive figure of a girl1 with a basket 7calathos72 at the right angle is a diminutive figure of a boy1 with a crater4 ,the relief is bounded by pilasters and an entablature4 ,below is the hull of a vessel in low relief1 and the metrical epitaph of ,dionysodoros1 son of ,pytheas4 ,greek3 ,dionysodorou tou ,pytheou4 a4 ,dionysodore1 chaire2 b4 kai sy ge1 o phile1 to nyn echon geinoske me hode keimenon1 kalon kai agathon kai kalos ezokota1 ,limnagene gegonota1 pasi prosphile4 --,brought from ,cyzicus1 in #ahcj1 by ,h4,m4,s4 ,blonde4 ,found in #ahhj in a store at ,portsmouth4 ,bluish ,greek marble2 height1 #b feet #e-a_/b inches2 width1 #b feet #h inches4 ,c4,i4,g41 #cfhd2 ,kaibel1 #bde2 ,wolters1 ,rhein4 ,mus4 ,n4,f41 #ahhf1 p4 #cdf4 ,sidenote3 #gcg4 ,late relief with banquet4 ,a man and woman recline on a couch4 ,before them is a table with food4 ,the man puts his right arm round the neck of the woman1 who appears to be holding a cup1 or a wreath4 ,on the left a woman is seated on a stool2 beneath the couch are a child and a girl 7the upper part alone seen71 who holds a dish4 ,the relief is bounded by two ,doric columns and a pediment4 ,the monument was erected by one ,alexander for his mother1 his wife ,philippa1 and himself4 ,penalties are prescribed for persons violating the tomb4 ,inscribed3 ,greek3 ,alexandros ,alexandrou ,beithynieus kai ,neikomedeus zon heauto kateskeuasa to mnemeion kai te metri mou kai te symbio ,philippa ,pontianou4 kai boulome meta to tethenai hemas eis ten kamaran medena heteron anoixe2 ei de para tauta poiesei dosei is ton phiskon den4 b1ph 7#b1ejj7 kai is ten polin den4 b1ph 7#b1ejj74 chairete4--,smyrna4 ,presented by ,m4 ,duane and ,t4 ,tyrwhitt1 ,esqs41 #aggb4 ,marble2 height1 #b feet #i inches2 width1 #a foot #h inches4 ,archaeologia1 ,,iii41 pl4 #aa1 fig4 #c2 ,c4,i4,g41 #cbfe2 ,pervanoglu1 ,familienmahl1 p4 #de1 ,no4 #ahj4 ,sidenote3 #gch4 ,sepulchral relief4 ,two men recline on a couch2 a woman is seated on a stool at the head of the couch4 ,the inscribed metrical epitaph1 in which one ,cassiodoros relates his death at the age of twenty-four1 has no appropriateness to the relief4 ,greek3 ,nymphidiou thalamoio lipon dyspenthea kosmon kai goneon oiktron dakryoenta domon keimai es auchmerous kai alampeas ,aidos eunas eikosi tessar' echon ,kassiodoros ete2 aproides nousos me synerpase2 mounoetin de nepiachon kouren lipo hyp' eelion4--,antioch8 ,marble2 height1 #a foot #h inches2 width1 #a foot #c inches4 ,drummond's ,travels 7#aged71 pl4 facing p4 #bbi1 fig4 #ae 7very rudely drawn71 and p4 #bcg2 ,c4,i4,g41 #ddff2 ,kaibel1 #dca4 ,in ,drummond's time the stone was in the ,library of the right worshipful the ,levant ,company at ,aleppo4 ,sidenote3 #gci4 ,stele with reliefs in two panels4 ,in the upper panel is a figure on a couch holding a bunch of grapes4 ,the upper part of the figure is wanting4 ,before the couch are a table with food and three attendant male figures4 ,in the lower panel is a woman seated with a boy standing beside her4 ,most of these two figures is wanting4 ,in front are two warriors standing1 with shields and spears4--,kertch4 ,limestone2 height1 #c feet2 width1 #a foot #i inches4 ,for the collection of sculptures from ,kertch1 see above1 p4 #h4 ,sidenote3 #gdj4 ,relief with banquet4 ,a draped figure1 now for the most part lost1 reclines on a very lofty couch1 holding a two-handled cup in the left hand4 ,on the left are the knees and legs of a woman seated on a lofty throne1 with an arm supported by a series of arches4 ,before the couch is a table with vessels of wine4 ,a boy stands on a stool1 and holds a jug in his hands4 ,on the right is an attendant4 ,on the left is a female figure holding a vase1 and a smaller figure4 ,inscribed3 ,greek3 444 de hyie ,androneikou chaire4 ,hail6 444 son of ,andronicos4--,kertch4 ,limestone2 height1 #b feet #g inches2 width1 #b feet #g inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,clxxxii42 ,latyschev1 ,,ii41 #bab4 ,sidenote3 #gda4 ,lower part of relief with banquet1 of very rude style4 ,a male figure reclines to the right on a couch1 holding a two-handled cup in the right hand4 ,before him is a table1 with vessels of wine4 ,at the end of the couch a woman is seated1 enthroned1 holding a veil with her left hand4 ,a boy with an oinochoe stands on the right by the table4 ,a girl with a pyxis stands on the left behind the throne4 ,there are remains of pilasters4 ,inscribed3 ,greek3 ,isigone gyne ,heraklidou chaire4 ,herakleide g7yne7 b chaire4--,kertch4 ,limestone2 height1 #b feet #h inches2 width1 #b feet #d-a_/b inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxci42 ,latyschev1 ,,ii41 #if4 ,sidenote3 #gdb4 ,sepulchral monument with a banquet relief of very rude style1 contained in a lunette above the inscribed panel4 ,a male figure reclines on a couch1 with a cup in his right hand1 with an uncertain object near the cup1 which may perhaps be intended to represent the snake4 ,a table stands before the couch with food4 ,a woman sits on a stool at the foot of the couch1 and holds her veil with her left hand4 ,a small figure of a boy is at the head of the couch4 ,on each side of the inscribed panel is a vine branch with grapes2 above are a pine cone and two lions' heads to the front in high relief4 ,below are the remains of a relief with a mounted horseman4 ,on the right and left edges of the relief are snakes4 ,the inscription states that the monument is erected by ,timocrates for his wife1 his son1 and himself4--,tomis4 ,limestone2 height1 #f feet #aa inches2 width1 #b feet #h-a_/b inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,clxxvii4 ,sidenote3 #gdc4 ,sepulchral monument with a banquet relief of the rudest style4 ,two male figures1 one being bearded1 recline on a couch1 holding cups in their left hands4 ,before them is a table with food2 beside it a boy with a cup and oinochoe 7871 and a girl with a phiale4 ,a woman is seated on a chair by the head of the couch1 with the right hand raised to her chin4 ,a vine branch with grapes runs round the relief and the inscribed panel4 ,a ,latin inscription states that the monument was erected in memory of a girl1 ,ulpia ,aurelia ,valeria4--,kertch4 ,limestone2 height1 #g feet #a inch2 width1 #c feet4 ,sidenote3 #gdd4 ,late sepulchral relief4 ,a man reclines on a couch4 ,a woman stands at the foot of the couch4 ,the relief is contained in an arch-shaped field below a pediment4 ,inscribed1 ,greek3 ,,lyte 444--,obtained by the ,euphrates ,expedition 7#ahce-ahcg7 and presented by ,sir ,j4 ,c4 ,hobhouse1 ,president of the ,board of ,control4 ,marble2 height1 #b feet2 width1 #a foot #c inches4 ,sidenote3 #gde4 ,sepulchral relief1 with a man seated1 and a man standing holding a scroll in his left hand4 ,the two figures probably joined their right hands4 ,in the right and left angles are diminutive figures4 ,on the right is a horse's head4 ,a tree with a snake is seen above a wall in the background4 ,the relief is surmounted by an entablature4 ,inscribed with the metrical epitaph3 ,greek3 ,oupo nymphidion kradie peplethota lektron ,diphilon aiakto tod' hypenasse tapho gnoton te gnote te panaidoiei ,stratonike ho kai ,alexandron kouron homegenea1 astois kai xeinoisi proseneas1 esthla men eipein esthla de kai rhexai pantas epistamenous3 ,maiogenes1 sy de paidas en heroessi phylassois eusebeon aiei choron eperchomenos4 ,this sculpture1 and the following1 ,no4 #gdf1 have been placed here1 though they do not include the banquet1 because they have some details1 such as the serpent and the horse's head1 similar to those on the banquet reliefs4--,ephesus4 ,excavated by ,mr4 ,wood1 between the ,magnesian ,gate and the ,temple of ,artemis4 ,ephesian marble2 height1 #c feet2 width1 #a foot #g-a_/b inches4 ,wood1 ,ephesus1 p4 #abc2 ,greek ,inscriptions in ,brit4 ,mus41 ,,dcxxva4 ,sidenote3 #gdf4 ,a boy1 ,serapion1 stands between two figures1 probably those of his father and mother4 ,all three are closely wrapped in himatia4 ,behind is a tree1 about which is a serpent2 a bird sits on a branch4 ,the relief is bounded by pilasters1 a circular arch with rosettes in the spandrels1 and a pediment4 ,inscribed3 ,greek3 ,serapion1 chreste kai alype chaire4 ,greek marble2 height1 #c feet #b inches2 width1 #a foot #h-a_/d inches4 ,this stone was formerly at ,venice1 and afterwards in ,london1 apud ,dodd chemicum4 ,boeckh1 ,c4,i4,g41 #fiij4 ,,reliefs ,,with ,,rider ,,and ,,horse1 ,,heroified4 ,in the following reliefs the deceased person is heroified1 and represented as receiving libations or worship4 ,the sepulchral serpent is frequently introduced4 ,for a discussion of the type1 see above1 p4 #cja4 ,sidenote3 #gej4 ,sepulchral relief of a warrior4 ,in the centre of the relief is a bearded male figure1 heavily armed4 ,he wears a helmet1 cuirass1 and greaves1 and has a spear in his left hand4 ,he stands near a trophy which consists of a helmet1 cuirass1 and greaves attached to the trunk of a tree4 ,on the left side of the trophy stands a female figure1 pouring a libation from a jug into a cup4 ,a serpent1 coiled about the trophy1 drinks from the cup4 ,on the right of the relief is the forepart of the warrior's horse and the head of a groom4 ,the relief is bounded by two pilasters and an architrave4 ,the inscription on the upper and lower edges contains a list of names of men in the dative case1 with their cities added4 ,the persons commemorated belonged to various parts of the ,peloponnesus1 ,northern ,greece1 ,thrace and ,macedonia4 ,from the position of the inscription1 it is plain that it is independent of the relief1 and probably it is earlier4--,brought from ,greece by ,mr4 ,topham1 #agbe2 ,presented by ,sir ,joseph ,banks and the ,hon4 ,a4 ,c4 ,fraser1 #aghj4 ,greek marble2 height1 #b feet #a-g_/h inch2 width1 #c feet #h-a_/b inches4 ,mus4 ,marbles1 ,,ii41 pl4 #da2 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #aeg2 ,jahn1 ,de ,ant4 ,minervae ,simulacris1 p4 #bc1 pl4 #c1 fig4 #a2 ,c4,i4,g41 #aicf2 ,wolters1 #dcg4 ,sidenote3 #gea4 ,mutilated relief4 ,a horseman is mounted1 to the right4 ,he has an elaborate skin saddle-cloth1 terminating with an animal's head before the horse4 ,behind on the left is an attendant with a tunic worn over one shoulder 7heteromaschalos71 and with a shield4 ,on the right are an altar and a tree1 about which a serpent is entwined4 ,an uncertain object is seen in the upper left corner of the relief4 ,the relief is very high4 ,the horse originally had reins of bronze4 ,marble2 height1 #c feet2 width1 #c feet4 ,sidenote3 #geb4 ,fragment of sepulchral relief8 ,a figure was represented leading a horse to the right4 ,only one hand and foot1 and parts of the horse remain4 ,before it stand three male figures on a smaller scale1 each figure raising the right hand1 making a gesture as of adoration4 ,the relief was bounded by pilasters and an entablature4--,blayds ,coll4 ,white marble2 height1 #a foot #a inch2 width1 #a foot #a inch4 ,sidenote3 #gec4 ,sepulchral relief4 ,a youth rides on a horse1 to the right1 wearing a short tunic and cloak4 ,he approaches a female figure1 of a larger scale1 who wears a long chiton and himation4 ,she has an oinochoe in the right hand and a phiale in the left hand4 ,behind her is a bearded figure on a smaller scale with the right hand raised as in adoration4--,aphanda1 ,rhodes4 ,marble2 height1 #a foot #e inches2 width1 #b feet4 ,arch4 ,anzeiger1 #ahed1 p4 #dhe1 ,no4 #h2 ,athenische ,mittheilungen1 ,,viii41 p4 #cgj4 ,sidenote3 #ged4 ,fragment of a sepulchral relief1 of a late period4 ,a mounted horseman advances to a flaming altar4 ,on the right of the altar is a pine tree1 about which a snake is coiled4 ,only the head and forelegs of the horse1 and the left hand of the horseman is preserved4 ,the hand holds a double-headed axe4 ,a dog stands below the horse4--,ephesus4 ,j4 ,t4 ,wood4 ,ephesian marble2 height1 #a foot #d-a_/b inches2 width1 #h inches4 ,the figure with the double-headed axe resembles that of the so-called ,greek3 theos sozon on late reliefs from ,asia ,minor 7,journ4 of ,hellen4 ,studies1 ,,viii41 p4 #bce2 ,roscher1 ,lexicon1 p4 #befd74 ,sidenote3 #gee4 ,fragment of a sepulchral relief of a late period4 ,a mounted horseman with a chiton and a cloak flying behind him stands on the left of an altar1 at which a draped youth makes a libation4 ,on the right is a tree about which a snake is coiled4 ,the left side of the relief is wanting4--,ephesus4 ,j4 ,t4 ,wood4 ,ephesian marble2 height1 #a foot #b inches2 width1 #a foot #e inches4 ,sidenote3 #gef4 ,fragment of a sepulchral relief1 with a figure of a mounted horseman wearing a chiton and cloak4 ,the head of the rider1 and the head and hind-part of the horse are wanting4--,ephesus4 ,j4 ,t4 ,wood4 ,ephesian marble2 height1 #aj inches2 width1 #f-a_/b inches4 ,sidenote3 #geg4 ,mounted horseman to the right4 ,before him stands a figure making a gesture of adoration4 ,above is a pediment1 with rosettes4 ,the relief is in very late rude style4 ,inscribed3 ,greek3 ,ezous ,apollonidou tois paragousin chairein4--,from ,phanagoria4 ,limestone2 height1 #b feet #d-a_/b inches2 width1 #a foot #b inches4 ,c4,i4,g41 #babi2 ,greek ,inscriptions in ,brit4 ,mus41 ,,ccvi42 ,latyschev1 ,,ii41 #cgh4 ,,casts ,,of ,,lycian ,,sepulchral ,,reliefs4 ,the following casts are derived from ,lycian rock-cut tombs1 discovered by ,sir ,c4 ,fellows4 ,tombs of the normal type have a facade with architecture imitating wooden construction4 ,behind the facade is a vestibule1 or portico1 often adorned with reliefs on each side4 ,at the back is the door of the actual sepulchral chamber4 ,nos4 #gfj-gfd are derived from tombs of this type4 ,sidenote3 #gfj4 ,cast of relief from the east or left side of the portico of a rock-cut tomb4 ,bellerophon mounted on ,pegasos appears to be thrusting as with a spear at the ,chimaera which is roughly indicated in the right-hand lower corner of the relief4 ,pegasos has the mane tied in a topknot between the ears1 as in the relief from ,xanthos1 ,no4 #hf4 ,the cast is painted in imitation of the original4--,tlos4 ,height1 #c feet #f-a_/b inches2 width1 #c feet #g-c_/d inches4 ,fellows1 ,lycia1 p4 #acf and plate4 ,for general view of the tomb1 see ,benndorf1 ,reisen in ,lykien1 ,i41 p4 #aci1 and pl4 #db 7on the right74 ,sidenote3 #gfa-d4 ,casts of reliefs from the sides of the portico of a rock-cut tomb at ,pinara4 ,the outside of the tomb has an elaborate facade with sculptured pediment1 frieze1 and other ornaments4 7,for general view1 see ,fellows1 ,lycia1 pl4 facing p4 #ada1 and ,benndorf1 ,reisen in ,lykien1 ,i41 pl4 #ai47 ,within the portico1 on each side1 projecting beam ends divide the sculpture into two panels4 ,each of the four reliefs represents a view of a ,lycian city1 but there is no proof that they are four different views of the city of ,pinara1 as ,fellows thought 7,lycia1 p4 #ada74 ,sidenote3 #gfa4 ,cast of the upper relief on the left or west side of the portico4 ,view of part of a city on a hill1 with castellated walls4 ,within are towers1 with windows and connected by a wall1 on which is a relief of three male figures4 ,height1 #c feet #a_/b inch2 width1 #d feet #b-a_/d inches4 ,sidenote3 #gfb4 ,cast of the lower relief on the left or west side of the portico4 ,view of part of a city on a hill with castellated walls and turrets1 a large pylon 787 and several tombs of forms well known in ,lycia4 ,in the lower wall is a relief1 with a draped and bearded man leaning on a staff and addressing a smaller figure4 ,for the triangular arch openings in the wall1 compare ,dodwell1 ,pelasgic ,remains1 pl4 #bg1 view of walls of a city near ,mesolonghi4 ,height1 #b feet #aj inches2 width1 #d feet #b-a_/b inches4 ,sidenote3 #gfc4 ,cast of the upper relief on the right or east side of the portico4 ,view of part of a city on a hill with castellated walls and turrets4 ,a figure1 apparently intended to represent a living man1 and not a sculpture1 as on the other reliefs1 lifts his hand near one of the towers4 ,height1 #c feet #b inches2 width1 #d feet #a_/b inch4 ,sidenote3 #gfd4 ,cast of the lower relief on the right or east side of the portico4 ,view of part of a city with castellated walls and turrets1 built on natural rocks4 ,on the right is a large structure resembling a tomb4 ,on the left is a staircase1 leading up to a door in a turret4 ,height1 #b feet #aj inches2 width1 #d feet #a_/b inch4 ,the four reliefs are engraved1 ,fellows1 ,lycia1 pl4 facing p4 #adb2 ,benndorf1 ,reisen in ,lykien1 ,i41 p4 #ed2 ,synopsis1 ,lycian ,room1 ,nos4 #adh1 #adi4 ,sidenote3 #gfe1 #gff4 ,the following casts are from a portion of the sculptures decorating a tomb1 discovered by ,sir ,c4 ,fellows1 at ,cadyanda4 ,the tomb is cut out of a large piece of detached rock1 and in type somewhat resembles the large ,lycian tombs in the ,british ,museum1 or the tomb of ,xanthos1 shown in the background of pl4 iii41 the principal difference being in the treatment of the roof4 ,at the end of the tomb are two doors4 ,one door is filled with an immovable panel1 with a figure of a draped bearded man holding an oinochoe1 and inscribed ,greek3 ,salas1 and in ,lycian zzala4 ,the second door is believed to have been fitted with a panel1 having the wife of ,salas in relief4 7,fellows1 ,lycia1 p4 #aag47 ,the reliefs1 of which casts are preserved in the ,british ,museum1 formed a frieze immediately below the cornice on each side of the tomb4 ,below this frieze on each side was a combat of warriors on a larger scale4 ,fellows1 ,lycia1 p4 #aaf2 ,petersen1 ,reisen in ,lykien1 ,,ii41 p4 #aic4 ,views and plans of the tomb are included in the ,scharf portfolio of drawings in the ,british ,museum4 ,sidenote3 #gfe4 ,cast of a portion of the relief on the south side of the tomb at ,cadyanda4 ,at the left end of the relief a girl draped in plain long chiton with sleeves1 and a cap with tassel1 stands to the right holding an aryballos and alabastron4 ,on the left of the principal relief is a group of four figures playing with knuckle-bones4 ,in front are a girl seated and a girl kneeling1 both closely draped and having long hair4 ,behind are a youth standing1 wrapped in a mantle1 and a woman who holds an aryballos in her left hand and wears her mantle over her head4 ,all the figures make animated gestures4 ,near the head of the youth is the inscription ,greek3 ,mesos4 ,next on the right is a woman seated1 holding a boy in her hands1 and wearing her mantle over her head4 ,behind her is a female figure1 much mutilated1 standing to the left with her right hand under her chin4 ,the remainder of the relief1 which is not represented by a cast1 appears to have contained either a sacrificial group 7,scharf71 or warriors 7,petersen1 ,reisen in ,lykien1 ii41 p4 #aic74 ,height1 #b feet #c_/d inch2 length1 #d feet #b inches4 ,fellows1 ,lycia1 frontispiece1 and pl4 facing p4 #aaf2 ,synopsis1 ,lycian ,room1 ,no4 #aea2 ,petersen1 ,reisen in ,lykien1 ,,ii41 p4 #aid1 fig4 #hd4 ,sidenote3 #gff4 ,cast of the relief on the north side of the tomb at ,cadyanda4 ,this relief which is much mutilated1 appears to contain a banquet scene1 with four couches1 each having two persons reclining and several attendant figures4 ,two attendants stand near the first couch on the left4 ,one has a wreath in the right hand4 ,near him is the inscription ,greek3 444,a4444,a4 ,a smaller figure plays on the flute4 ,on the first couch are remains of a figure seated1 nearly erect1 and of a figure lying with his head resting on his left hand and having a bowl in his right hand4 ,a portion of the original sculpture is here inserted in the cast4 ,above is the inscription ,greek3 444easob 7871 and below is the bilingual inscription edazzala ,greek3 ,eidassalas4 ,the next group is obscure1 but appears to consist of a figure seated1 with the right hand stretched out1 so as to be seen above the head of the figure last described1 and a figure holding a child which stretches out its arms to a figure on the right4 ,below the first of these two figures is the bilingual inscription mezo ,greek3 ,mesos4 ,on the left of the second of the two figures is the bilingual inscription zzala ,greek3 ,salas1 the ,lycian being also repeated below1 zzal7a74 ,we must1 therefore1 suppose this figure to be ,salas1 the owner of the tomb4 ,the child is named horlar 787 ,on the next couch is a draped figure reclining on the left elbow1 and holding out his right hand to the child4 ,near this figure is the inscription ,greek3 ,,siro 7871 and below it1 remains of an illegible inscription4 ,next on the right is a small draped female figure1 seated on a chair1 with the hands stretched out4 ,behind her is a larger figure standing1 with the bilingual inscription 444katamna ,greek3 ,hekatomnas4 ,on the third couch are two men reclining4 ,above the first is the inscription ,greek3 ,kparamos1 and below kpparama4 ,below the second is the bilingual inscription mola ,greek3 ,molos 7874 ,below the couch is a dog4 ,on the fourth couch are also two men reclining4 ,above the first is the inscription ,greek3 ,seskos1 and below remains of the corresponding ,lycian inscription ze444wwa4 ,below the second is a bilingual inscription1 in which only the ,greek name1 ,greek3 ,kendyomis1 is legible4 ,a dog stands below the couch4 ,at the right end of the relief1 corresponding to the figure at the left end of the north side1 is a nude male figure dancing1 with the bilingual inscription aekatamna ,greek3 ,hekatomnas4 ,height1 #b feet #a inch2 length1 #h feet #h inches4 ,fellows1 ,lycia1 pl4 facing p4 #aaf 7very inaccurate72 ,c4,i4,g41 #dbbe2 ,synopsis1 ,lycian ,room1 ,no4 #aeb2 ,petersen1 ,reisen in ,lykien1 ,,ii41 p4 #aic4 ,,votive ,,reliefs4 ,for an account of ,greek votive reliefs1 of the occasions on which they were dedicated and of the objects represented1 see above1 p4 #cjb4 ,sidenote3 #ggj4 ,fragment of relief4 ,zeus1 wearing a mantle1 is seated on a stool 7diphros74 ,his left arm is raised1 as if resting on a sceptre4 ,the right hand is extended4 ,near him is ,hera1 standing1 with her right arm across her breast and her left hand raised to her veil4 ,the relief which is only complete at the right side1 was bounded by pilasters and an architrave4 ,the missing part may have contained the figures of suppliants4--,athens 7874 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #g inches2 width1 #a foot #b inches4 ,synopsis1 ,no4 #cgf 7#bbg72 ,mus4 ,marbles1 ,,ix41 pl4 #cg1 fig4 #b2 cf4 ,schoene1 ,griechische ,reliefs1 pl4 #be1 figs4 #ajd1 #aje4 ,sidenote3 #gga4 ,relief from the upper part of an inscribed stele4 ,athene1 standing on the right of the scene1 places with her right hand a wreath on the head of a male figure less in stature4 ,on the left is a draped female figure holding out in her right hand a wreath or a cup4 ,the left hand of this figure is raised to the level of the top of her head1 as if resting on a staff4 ,she wears a long chiton1 over which is a diploidion reaching nearly to the knees4 ,a short mantle hangs on her left arm4 ,athene is clad in a long chiton with diploidion2 her left hand rests on the edge of her shield at her side4 ,from a comparison of this relief1 with other similar compositions from ,athens1 it is probable that it is the heading broken off from an honorary decree of the ,athenian people by which a crown was conferred on some city or individual for services4 7,compare above1 p4 #cjc2 ,schoene1 ,griech4 ,reliefs1 pl4 #af1 fig4 #ge1 p4 #da2 and the fragment1 ,no4 #ggb47 ,the figure of ,athene here as on many other reliefs is in its general outlines copied from the ,athene ,parthenos of ,pheidias4 7,compare ,michaelis1 pl4 #ae1 figs4 #f-ag47--;,athens 7874 ,elgin ,coll4 ,pentelic marble2 height1 #aa inches2 width1 #a foot #d-a_/b inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ce1 fig4 #d2 ,synopsis1 ,no4 #cge 7#hb72 ,elgin ,room ,guide1 ,part ,,ii41 ,no4 ,f4 #d4 ,sidenote3 #ggb4 ,fragment of relief from the upper part of an inscribed stele4 ,athene stands on the right2 with her right hand she places a crown on the head of a youth1 who stands facing her on the left4 ,he is clad in a mantle4 ,athene wears a crested helmet and a long chiton1 over which is a diploidion2 on her breast is the aegis2 her left hand holds her shield which rests on the ground on its edge4 ,the relief was bounded by pilasters and a pediment4 ,it is probable that originally a third figure balanced the figure of ,athene1 as in the preceding relief1 ,no4 #gga4 ,this figure of ,athene1 like the preceding1 is in its general outlines copied from the ,athene ,parthenos of ,pheidias4--,athens 7874 ,elgin ,coll4 ,pentelic marble2 height1 #a foot #d inches2 width1 #i-a_/b inches4 ,mus4 ,marbles1 ,,ix41 pl4 #cf1 fig4 #a2 ,synopsis1 ,no4 #cga 7#hi72 ,elgin ,room ,guide1 ,part ,,ii41 ,no4 ,f4 #e4 ,for similar subjects1 see ,schoene1 ,griech4 ,reliefs1 pl4 #bb1 ,no4 #if2 ,wolters1 ,nos4 #aaeg-aaha4 ,sidenote3 #ggc4 ,part of a relief1 from the upper part of an inscribed stele4 ,athene stands on the left1 and with her right hand she crowns a draped male figure1 apparently a bearded man1 who raises his right arm as if in adoration4 ,athene wears a helmet and chiton with diploidion1 and places her left hand on her shield1 of which the inner side is shown4 ,the spear of ,athene rests against her left shoulder1 with its end on the ground inside the shield4 ,the relief is bounded by pilasters1 with entablature and roof-tiles4 ,the figure of ,athene 7like ,nos4 #gga1 #ggb7 is roughly copied from the ,athene ,parthenos of ,pheidias4 ,pentelic marble2 height1 #a foot #f inches2 width1 #i-c_/d inches4 ,sidenote3 #ggd4 ,relief3 ,apollo receiving a libation from ,victory4 ,apollo wears the dress of a ,kitharoedos1 namely1 a long chiton with sleeves1 over which is a diploidion girt at the waist2 a mantle hangs from his left shoulder2 his long hair is looped up in a broad plait behind1 under a diadem2 a single long plait falls over each ear2 he holds out a bowl with his right hand1 while his left strikes his lyre1 which is supported by a broad band passing over the left wrist2 from the lyre hang two ends of ribbons2 he wears armlets and sandals4 ,the ,victory is clad in a long chiton1 over which is a diploidion girt at the waist2 she wears bracelets and armlets4 ,both figures stand with the heels raised from the ground3 at the side of the ,victory is a circular altar1 on which is sculptured in relief a winged female figure between two festoons4 ,this subject occurs on several other reliefs in marble1 for one of which see below1 ,no4 #gge1 and also on a terracotta relief in the ,british ,museum4 7,for a list1 see ,welcker1 ,alte ,denkmaeler1 ii41 p4 #cg47 ,all these sculptures exhibit the same peculiar style of affected archaism1 known as archaistic4 ,on a comparison of the reliefs in which this subject occurs1 it will be seen that the one here described is part of a larger composition in which ,leto and ,artemis follow behind ,apollo1 and a temple is introduced in the background2 a tripod1 a statue on a pedestal1 the omphalos1 a plane tree1 and the ,horae on the altar also occur as accessories4 ,it seems probable that these reliefs are votive1 and that in selecting as their subject the victory of ,apollo in a musical contest1 the dedicator indirectly commemorated his own triumph in a similar exercise of skill4--,hamilton ,coll41 #aggb4 ,marble2 height1 #b feet #a inch2 width1 #b feet #a inch4 ,restored3 the greater part of the body of ,apollo1 lower part of body of ,victory1 column on left1 and lower part of column on right4 ,the parts restored have been copied from more perfect marbles in the ,villa ,albani4 ,mus4 ,marbles1 ,,ii41 pl4 #ac2 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #aac2 ,guide to ,graeco-,roman ,sculptures1 ,i41 ,no4 #afi2 ,wolters1 ,no4 #dbg2 ,welcker1 ,alte ,denkmaeler1 ,,ii41 p4 #da4 ,sidenote3 #gge4 ,fragment of a relief which probably commemorates a musical or dramatic victory4 ,two draped female figures move to the right3 the foremost of these 7,artemis7 holds out in both hands a lighted torch2 she also has a quiver with a bow projecting from it1 behind her shoulder4 ,the second figure1 who is probably ,leto1 holds in her left hand a sceptre1 the head of which is formed by a pomegranate flower4 ,the drapery of both figures is arranged in the archaistic style4 ,both figures wear a long chiton with sleeves1 over which is a long full garment reaching nearly to the feet2 over this again is a diploidion girt at the waist4 ,a mantle falls from the left shoulder of ,artemis1 floating to below her knees2 her companion with her right hand draws forward over her right shoulder the edge of a mantle1 the other end of which falls over her left arm4 ,the heads of both figures are encircled by a diadem1 from beneath which two long plaits of hair fall on each shoulder4 ,these figures are moving beside a plain wall1 beyond which is shown a ,corinthian temple2 the tiles of the roof with the ornamental fronts of the covering tiles are represented1 but in incorrect perspective3 on the extreme left of the scene is a tripod standing on a polygonal pedestal which forms the termination of the wall4 ,in order to understand the subject of this fragment1 it must be compared with similar reliefs in which the remainder of the original composition has been preserved4 7,see above1 ,no4 #gge47 ,we may assume that the fragment here described1 when complete1 had on the right a figure of ,apollo ,kitharoedos leading the procession1 and holding out a bowl to receive a libation from a ,victory4 ,the temple represented in these reliefs may be that of ,apollo at ,delphi4--,elgin ,coll4 ,pentelic marble2 height1 #b feet #d inches2 width1 #a foot #i inches4 ,mus4 ,marbles1 ,,ix41 pl4 #cf1 fig4 #b2 ,guide to ,elgin ,room1 ,part ,,ii41 ,no4 ,f4 #b2 ,welcker1 ,alte ,denkmaeler1 ,,ii41 p4 #dj4 ,sidenote3 #ggf4 ,votive relief representing an offering to ,apollo4 ,on the right1 the god is seated on the omphalos1 holding up his right hand4 ,the object held up in this hand has been broken away4 ,a mantle is wrapped round his body1 and he wears sandals4 ,on the left are three mortals1 clad in ,roman military armour1 who appear to be approaching as if to consult the ,oracle of ,apollo1 and who1 from the difference of stature1 are probably a father and two sons4 ,between them and the god are two female figures1 of colossal proportions1 who stand to the front1 their heads turned towards ,apollo4 ,each wears a diadem1 and the figure on the left holds a box containing incense in her left hand4 ,these two figures are thought to be ,leto and ,artemis1 whose worship was associated with that of ,apollo4 ,the relief is bounded by two pilasters surmounted by an entablature4 ,on the base are the remains of a dedication to ,apollo1 in elegiac verse1 which has been restored as follows1 by ,koehler3 ,greek3 ,soi ,charmos1 basileu ,paian1 hekatebol' ,apollon1 ,hippokratous doron pais anetheke tode4--,townley ,coll4 ,pentelic marble2 height1 #a foot #g-c_/d inches2 width1 #b feet #h inches4 ,presented by the ,duke of ,bedford to ,mr4 ,townley1 in #ahje4 ,mus4 ,marbles1 ,,ii41 pl4 #e2 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #ace2 ,guide to ,graeco-,roman ,sculptures1 ,i41 ,no4 #bjj2 ,wolters1 ,no4 #ahdi2 ,c4,i4,g41 #aidf2 ,c4,i4,a41 ,,ii41 #aebg;b2 ,kaibel1 #gii2 ,rhein4 ,mus4 ,n4,f41 #ahhf1 p4 #cdf2 ,cavaceppi1 ,raccolta d',antiche ,statue1 ,,iii41 pl4 #a4 ,sidenote3 #ggg4 ,fragment of votive relief dedicated by ,asclepiodotos to ,apollo ,tadokomeites4 ,the upper part is missing4 ,on the right is the figure on a colossal scale of ,apollo ,kitharoedos1 preserved only from the knees downwards4 ,on the left a draped male figure kneels by an altar1 holding a ram1 and having a knife in the right hand4 ,behind the altar is a tree4 ,on the left of the relief1 a male figure1 whose head is wanting1 stands holding a conical object in his right hand4 ,inscribed3 ,greek3 ,asklepiodotos ,diphilou ,apolloni ,tadokomeite euchen4--,cyzicus4 ,presented by ,a4 van ,branteghem1 ,esq41 #ahij4 ,marble2 height1 #a foot #a inch2 width1 #aa-a_/b inches4 ,rev4 ,arch41 #ahia1 p4 #ab1 ,no4 #c4 ,sidenote3 #ggh4 ,fragment of votive relief4 ,artemis stands with the right arm on her right thigh1 and leaning on what appears to be a torch4 ,she wears a huntress dress1 with short chiton1 and has a hound standing beside her4 ,on the right is an altar at which a male worshipper appears to be making an offering4 ,on the extreme right is the hand and drapery of a female figure making a gesture of adoration4--,ephesus4 ,j4 ,t4 ,wood4 ,ephesian marble2 height1 #a foot #a inch2 width1 #i inches4 ,sidenote3 #ggi4 ,fragment of relief1 including the upper part of a standing figure of ,artemis1 from the middle of the thighs4 ,at her left side was a stag1 of which the head alone remains4 ,in the centre is a female figure with the right arm extended4 ,on the right is a female worshipper of smaller stature1 who has the right hand raised1 making a gesture of adoration4 ,around the relief is a rudely cut rocky background4 ,greek marble2 height1 #a foot #a-a_/b inches2 width1 #a foot4 ,sidenote3 #ghj4 ,votive relief 7874 ,two youths on horseback1 probably the ,dioscuri1 though the conical cap1 pileus1 by which they are distinguished is wanting4 ,each wears a chiton and chlamys4 ,they are beardless2 their hair is short and bound with a diadem2 the bridles have been painted in red1 which is still faintly visible on the marble4 ,the horses are small and compact1 like those on the frieze of ,parthenon1 and have hogged manes4--,purchased from ,sir ,w4 ,hamilton1 #aggb4 ,marble2 height1 #a foot #e-a_/b inches2 length1 #a foot #i-a_/d inches4 ,mus4 ,marbles1 ,,ii41 pl4 #aa2 ,ellis1 ,townley ,gallery1 ,,ii41 p4 #aaa2 ,guide to ,graeco-,roman ,sculptures1 ,part ,i41 ,no4 #aec4 ,sidenote3 #gha4 ,votive relief4 ,two youthful male figures1 perhaps the ,dioscuri1 stand to the front1 having an altar between them4 ,one is nude1 and the other only has drapery on the left arm4 ,they have spears in their left hands4 ,one appears to be holding an oinochoe in his right hand1 and the other a phiale4 ,they stand between two ,ionic columns1 surmounted by an entablature1 with antefixal tiles1 and festoons of rosettes above4 ,marble2 height1 #a foot #f-a_/b inches2 width1 #a foot #b-c_/d inches4 ,sidenote3 #ghb4 ,votive tablet with relief representing ,kybele seated4 ,she wears a polos1 and has a tympanum in the left hand1 and has a lion by her left side4 ,with the right hand she holds a phiale over an altar2 on the left of the altar is a male worshipper standing4--,cyzicus4 ,presented by ,a4 van ,branteghem1 ,esq4 ,marble2 height1 #g inches2 width1 #d inches4 ,rev4 ,arch41 #ahia1 p4 #ab ,no4 #f4 ,sidenote3 #ghc4 ,votive relief4 ,kybele seated within a distyle temple4 ,on her head is a calathos2 a long tress of hair falls on each shoulder2 she wears a long chiton with sleeves and girt at the waist1 and a mantle4 ,in her right hand she holds a bowl2 at her right side is a lion2 her left hand is advanced as if it had held a sceptre1 probably of metal1 which is now wanting4 ,on each side of the base of the calathos is a hole1 probably for the attachment of a metal wreath4--,elgin ,coll4 ,greek marble2 height1 #a foot #c inches2 width1 #i inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ce1 fig4 #b2 ,synopsis1 ,no4 #bic 7#ig72 ,guide to ,elgin ,room1 ,part ,,ii41 ,no4 ,f4 #g4 ,sidenote3 #ghd4 ,votive relief4 ,kybele seated1 with a recumbent lion in her lap1 its head to the left4 ,in her right hand she has a bowl2 in her left she holds some object1 the form of which cannot be made out4 ,she wears a long chiton1 girt at the waist1 and a mantle4 ,her head is broken off2 on each side of her neck a long tress falls on her shoulder4 ,sculpture late and rough4--,presented by ,j4 ,p4 ,gandy ,deering1 ,esq41 #ahbj4 ,greek marble2 height1 #aa inches2 width1 #aj-a_/b inches4 ,synopsis1 ,no4 #cjj 7#ajc9974 ,sidenote3 #ghe4 ,fragment of a relief1 probably votive1 containing ,hermes1 who wears a short chiton1 chlamys1 and petasos1 and holds out a phiale in the right hand4 ,on his left is a female figure1 also holding a phiale4 ,on the right1 the right arm alone remains of a third figure with a phiale4--,knidos4 ,marble2 height1 #a foot #c inches2 width1 #a foot #a_/b inch4 ,sidenote3 #ghf4 ,relief with three figures4 ,on the left is ,athene1 having long chiton1 peplos1 helmet1 aegis1 spear4 ,beside her is a seated animal1 perhaps a lion4 ,in the centre is ,aphrodite 7871 wearing long chiton1 peplos1 and polos4 ,she has a spear in her left hand1 and a much mutilated ,eros 787 standing by her side4 ,on the right is a figure of the deified ,heracles 7871 half-draped in mantle and lion's skin1 with the club in his left hand and a sceptre or thyrsus in his right hand4 ,he appears to wear the ,egyptian crown4--,presented by ,h4 ,gally ,knight1 ,esq41 #ahci4 ,parian marble 7872 height1 #a foot #a-a_/b inches2 width1 #a foot #a-a_/d inches4 ,wolters1 ,no4 #ahde4 ,sidenote3 #ghg4 ,fragment of a relief1 with a male figure1 heavily draped1 wearing long chiton and himation1 and having long hair falling on the shoulders4 ,the left hand is raised1 and there are marks of the attachment of a metal object1 perhaps a sceptre or thyrsos4 ,the figure also wore a metal wreath4 ,the relief1 which is only complete on the right side1 was bounded by pilasters and an entablature4--,athens 7874 ,elgin ,coll4 ,pentelic marble2 height1 #b feet #e inches2 width1 #a foot #g inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ch1 fig4 #a2 ,synopsis1 ,no4 #agf 7#ajg74 ,sidenote3 #ghh4 ,fragment of a relief1 with a group of gods1 viz43 ,hermes1 with caduceus and petasos2 ,zeus1 with a sceptre2 and ,kybele1 having a polos and sceptre4 ,each of the three holds out a bowl in the right hand4 ,on the left1 in low relief1 is a diminutive figure seated on rocks by a ship2 on the right are two warriors1 seated1 having shields and swords4 ,marble2 height1 #a foot #d inches2 width1 #a foot #aj inches4 ,sidenote3 #ghi4 ,relief1 representing offerings to ,eileithyia 7874 ,a draped female figure is seated on a chair with foot-stool1 turned to the right4 ,with the left hand she holds a part of her mantle which passes over her head4 ,on the right is a draped woman who approaches1 holding a closely-swathed baby on her left arm1 and making a gesture with the right hand4 ,a similar figure stands on the right1 with a baby on her left arm1 and having the right hand raised to her head in a manner expressive of sorrow4 ,behind the chair is a woman advancing1 holding a baby in both arms1 and on the left is a woman who carries a dish 787 on her left hand and has a casket hanging from her right hand4 ,the separate figures would be well suited to a sepulchral relief1 on which the seated figure and a figure with a baby might well be represented4 ,the whole composition1 however1 seems more suitable for a representation of mothers making offerings to some goddess1 perhaps ,eileithyia4--,from ,sigeum in the ,troad4 ,elgin ,coll4 ,bluish marble2 height1 #a foot #d inches2 length1 #e feet #i inches2 width1 #b feet4 ,the marble was probably the sculptured base of a statue or group4 ,afterwards it was roughly converted into a water-basin1 and in modern times it served as a seat at the right side of the door of a church at ,sigeum4 ,the ,sigean inscription formed a corresponding seat at the left side of the door4 ,lady ,m4 ,wortley ,montagu1 ,letter ,,xliv4 7of ,july #ca1 #agah72 ,chandler1 ,travels in ,asia ,minor 7#agge71 p4 #cf2 ,antiquities of ,ionia1 ,i41 p4 i4 7,the original drawing by ,pars is in the ,brit4 ,mus47 ,choiseul-,gouffier1 ,voyage ,pittoresque1 ,,ii41 pl4 #ai2 ,synopsis1 ,no4 #cbd 7#ii72 ,mus4 ,marbles1 ,,ix41 pl4 #aa4 ,sidenote3 #gij4 ,relief3 ,cyrene crowned by ,libya4 ,this relief represents the nymph ,cyrene in the act of strangling a lion1 while1 to commemorate this triumph1 a crown is held over her head by ,libya4 ,inscribed3 ,greek3 ,kyrenen polion metroptolin hen stephei aute epeiron ,libye trisson echousa kleos1 enthad' hyper melathroio leontophonon theto ,karpos1 euxamenos1 megales sema philoxenies4 ,the inscription may be thus translated3 ,here over the architrave1 ,karpos1 making this dedication1 placed ,cyrene1 mother of cities1 slayer of lions1 in token of great hospitality4 ,libya1 who has the glory of being a third continent1 herself crowns her4 ,cyrene stands on the left1 in attire very like that of ,artemis as a huntress4 ,she wears a chiton reaching to the knees1 over which is a chlamys1 and buskins2 her hair is drawn back from her face4 ,both her arms are locked round the lion's neck4 ,libya wears a long chiton girt at the waist1 and a mantle fastened between the breasts and falling down behind2 her hair1 bound with a diadem1 is arranged over her forehead in long1 regular curls1 and falls down her neck2 at her side is an animal couchant1 of which the head is broken off1 and which is perhaps a gazelle4 ,the scene takes place on rocky ground4 ,two vines arch their branches over the group4 ,according to the legend told by ,pindar 7,pyth4 ix4 #bf7 ,cyrene was the daughter of ,hypseus1 king of the ,lapiths in ,thessaly1 whose flocks she guarded against wild beasts4 ,apollo1 seeing her slaying a lion in the valleys of ,pelion1 became enamoured of her1 and carried her off to the part of ,libya which afterwards bore her name4 ,according to another legend 7,scholiast on ,apoll4 ,rhod4 ,argon41 ii41 #dih1 c471 ,eurypylos1 king of ,libya1 had promised a portion of his kingdom to the person who would slay a lion then dreaded for his ravages4 ,cyrene performed this exploit1 and received in reward the promised district4 ,it is probably in connection with this later legend that ,libya is introduced crowning ,cyrene in the relief4 ,aristaeus1 a mythic founder of ,cyrene1 was the son of ,apollo and ,cyrene4 ,the form of the relief suggests that it may have been a metope1 and the words ,greek3 hyper melathroio in the inscription have therefore been translated above the architrave4--,found outside the ,temple of ,aphrodite1 ,cyrene4 ,marble2 height1 #c feet #d inches2 width1 #b feet #c inches4 ,smith and ,porcher1 pl4 #gf1 p4 #ih2 pl4 #hc1 ,no4 #ai4 ,r4 ,c4 ,puckett1 ,de marmoribus tribus ,cyrenaicis2 ,bonn1 #ahfh1 p4 #af1 and ,plate2 ,guide to ,graeco-,roman ,sculptures1 ,part ,,ii41 ,no4 #abi2 ,overbeck1 ,griech4 ,kunstmythologie1 ,,iii41 p4 #dif2 ,atlas1 pl4 #bf1 fig4 #af2 ,wolters1 ,no4 #aiaf2 ,studniczka1 ,kyrene1 p4 #ca4 ,the inscription is given by ,kaibel1 add4 #hdb;a 7in some points incorrectly74 ,for the legends of ,cyrene1 see ,studniczka1 p4 #ci4 ,sidenote3 #gia4 ,fragment from the right side of a votive relief4 ,heracles stands1 nude1 with the lion-skin and club on his left arm4 ,the head and extended right hand are wanting4 ,on the left is a fragment of a draped figure4 ,the relief was contained in pilasters1 surmounted by an entablature4 ,pentelic marble2 height1 #b feet #a_/b inch2 width1 #aj inches4 ,sidenote3 #gib4 ,fragment of a votive relief4 ,a beardless male figure stands to the front1 with a chlamys on the raised left arm1 and with a cup held out in his right hand4 ,on the right is the right arm1 and a portion of the skirt of another figure1 perhaps female1 of equal scale4 ,on the left is the figure1 much defaced1 of a bearded worshipper4--,elgin ,coll4 ,pentelic marble2 height1 #a foot #a_/d inch2 width1 #aj inches4 ,synopsis1 ,no4 #cfa 7#hd72 ,mus4 ,marbles1 ,,ix41 pl4 #ce1 fig4 #c4 ,sidenote3 #gic4 ,votive relief to ,demeter and ,persephone 7874 ,two female figures1 each wearing a chiton and himation1 stand to the front4 ,between them is the stump of a tree1 on which the figure on the right 7,persephone 7877 leans her right elbow4--,castellani ,coll4 ,limestone2 height1 #a foot2 width1 #aj-c_/d inches4 ,restorations3--,upper part of ground and frame of relief with top of tree and right forearm of ,persephone4 ,sidenote3 #gid4 ,fragment of relief1 with the lower part of a draped female figure1 standing on a nude prostrate figure of a boy4 ,on the right is a ,gryphon and on the left a large serpent4--,from ,amphitheatre1 ,gortyna4 ,white marble2 height1 #a foot2 width1 #aa-a_/d inches4 ,the ,gryphon and serpent are attributes of ,sarapis on a relief at ,andriake in ,lycia4 ,petersen1 ,reisen in ,lykien1 ,,ii41 p4 #db1 fig4 #ca4 ,sidenote3 #gie4 ,left side of votive tablet1 on which is sculptured a female figure standing to the front1 holding a bowl in her right hand3 her head and left arm from above the elbow are broken away4 ,some vertical object1 perhaps a censer1 similar to that held by figure ,no4 #ef in the eastern frieze of the ,parthenon1 or perhaps a fold of her mantle1 is sculptured on the right4--,athens4 ,inwood ,coll4 ,pentelic marble2 height1 #g-c_/d inches2 width1 #f inches4 ,elgin ,room ,guide1 ,part ,,ii41 ,no4 ,f4 #ab4 ,sidenote3 #gif4 ,fragment of relief1 containing a part of a half-draped bearded man1 standing as if leaning on a staff1 to the right1 holding what appears to be a flower in his right hand2 and also part of the figure of a woman holding what appears to be a pomegranate4 ,the figures may be those of suppliants with offerings on a votive relief4--,cyrene4 ,white marble2 height1 #f-a_/b inches2 width1 #aa inches4 ,smith and ,porcher1 p4 #ajg1 ,no4 #ach4 ,sidenote3 #gig4 ,fragment of relief containing a half-draped elderly male figure1 and a female figure wearing a long chiton4 ,perhaps a fragment of a votive relief4--,temple of ,aphrodite1 ,cyrene4 ,white marble2 height1 #a foot2 width1 #aj inches4 ,smith and ,porcher1 p4 #ajd1 ,no4 #hh4 ,sidenote3 #gih4 ,votive relief1 with two plaits of formally twisted hair1 dedicated to ,poseidon by ,philombrotos and ,aphthonetos4 ,the relief is bounded by two pilasters and an entablature4 ,inscribed3 ,greek3 ,philombrotos1 ,aphthonetos ,deinomachou1 ,poseidoni4--,from ,phthiotic ,thebes1 in ,thessaly4 ,presented by ,col4 ,leake1 #ahci4 ,marble2 height1 #a foot #a-a_/b inches2 width1 #a foot #b-a_/b inches2 ,millingen1 ,ancient ,unedited ,monuments1 ,part ,,ii41 pl4 #af1 fig4 #b2 ,leake1 ,travels in ,northern ,greece1 ,,iv41 p4 #cfa2 ,greek ,inscriptions in ,brit4 ,mus41 ,,clxiii42 ,daremberg and ,saglio1 ,dict4 des ,antiqs41 s4vv4 ,coma and ,donarium4 ,on the custom of dedicating hair by youths reaching manhood1 see ,daremberg and ,saglio1 loc4 cit41 and ,bull4 de ,corr4 ,hellenique1 #ahhh1 p4 #dgi4 ,see also ,mus4 ,worsleyanum1 pl4 #i4 ,the following votive tablets 7,nos4 #gii-hjh71 with representations of portions of the human body and with votive inscriptions to ,highest ,zeus 7,greek3 ,zeus hypsistos71 were discovered by the fourth ,earl of ,aberdeen1 in #ahjc4 ,excavations were made at the foot of the rock-wall near the rock-cut structure commonly known as the ,bema of the ,pnyx1 and the tablets which were then found1 are presumed to have fallen from niches cut to receive them in the rock above 7,dodwell1 ,tour1 i41 p4 #djb74 ,it has been argued that the spot where the reliefs were found was not the ,pnyx1 but the altar of ,highest ,zeus 7,welcker1 ,der ,fels-,altar des ,hoechsten ,zeus1 c41 #aheb74 ,the inscriptions1 however1 which are here described1 are of ,roman times1 and are of little value for the decision of the question4 7,cf4 ,hicks1 ,greek ,inscriptions in ,brit4 ,mus4 lx47 ,sidenote3 #gii4 ,tablet with votive relief representing a female breast dedicated by ,eutychis4 ,inscribed3 ,greek3 ,eutychis hypsisto euche7n74--,pnyx1 ,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #e-c_/d inches2 width1 #e-a_/b inches4 ,dodwell1 ,tour1 ,i41 p4 #djc2 ,synopsis1 ,no4 #baj 7#bde72 ,mus4 ,marbles1 ,,ix41 pl4 #da1 fig4 #c2 ,c4,i4,g41 #ejd2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aje1 ,no4 #baj2 ,greek inscriptions in ,brit4 ,mus41 ,,lxvi4 ,sidenote3 #hjj4 ,tablet with votive relief representing a female breast1 dedicated by ,isias4 ,inscribed3 ,greek3 ,eisias hypsisto euchen4--,pnyx1 ,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #h inches2 width1 #f-a_/b inches4 ,dodwell1 ,tour1 ,i41 p4 #djc2 ,synopsis1 ,no4 #bji 7#bdg72 ,mus4 ,marbles1 ,,ix41 pl4 #da1 fig4 #b2 ,c4,i4,g41 #eje2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aje1 ,no4 #bji2 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxvii4 ,sidenote3 #hja4 ,tablet with votive relief1 representing a pair of eyes1 dedicated by ,philemation4 ,inscribed3 ,greek3 ,philematin euchen anetheken4--,pnyx1 ,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #c-a_/b inches2 width1 #e-a_/b inches4 ,dodwell1 ,tour1 ,i41 p4 #djc1 with woodcut2 ,synopsis1 ,no4 #bad 7#bea72 ,mus4 ,marbles1 ,,ix41 pl4 #da1 fig4 #e2 ,c4,i4,g41 #ejf2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aje1 ,no4 #bab2 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxviii4 ,sidenote3 #hjb4 ,fragment of a votive relief1 which originally represented a pair of eyes in relief1 but now has little remaining except the left eye and part of the inscription3 ,greek3 hypsisto4--,pnyx1 ,athens4 ,found by the fourth ,earl of ,aberdeen in #ahjc1 and presented by the fifth ,earl of ,aberdeen in #ahfa4 ,pentelic marble2 height1 #c-c_/d inches2 width1 #e inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxix4 ,this relief is perhaps identical with ,c4,i4,g41 #dii4 ,sidenote3 #hjc4 ,fragment of votive relief1 with toes and the forepart of the right foot4--,pnyx1 ,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #f-a_/b inches2 width1 #e-a_/b inches4 ,synopsis1 ,no4 #bag 7#bec72 ,mus4 ,marbles1 ,,ix41 pl4 #da1 fig4 #d2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aje1 ,no4 #bag4 ,sidenote3 #hjd4 ,tablet with votive relief of vulva1 dedicated by ,olympias4 ,inscribed3 ,greek3 ,olympias hypsisto euchen4--,pnyx1 ,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #e-a_/b inches2 width1 #g-a_/b inches4 ,dodwell1 ,tour1 ,i41 p4 #djc2 ,synopsis1 ,no4 #baf 7#bdf72 ,c4,i4,g41 #ejj2 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxii4 ,sidenote3 #hje4 ,tablet with votive relief1 representing a human face from the bridge of the nose downwards1 dedicated by ,tertia4 ,inscribed3 ,greek3 ,tertia hypsisto euchen4--,pnyx1 ,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #h-a_/b inches2 width1 #g-c_/d inches4 ,dodwell1 ,tour1 ,i41 p4 #djd1 with woodcut2 ,synopsis1 ,no4 #bah 7#bej72 ,mus4 ,marbles1 ,,ix41 pl4 #da1 fig4 #g2 ,c4,i4,g41 #eja2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aje1 ,no4 #bah2 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxiii4 ,sidenote3 #hjf4 ,tablet with votive relief1 representing a pair of arms1 within a panel1 dedicated by ,claudia ,prepusa4 ,the hands are wanting4 ,inscribed3 ,greek3 ,klaudia ,prepousa eucharisto hypsisto4--,pnyx1 ,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #f inches2 width1 #g-a_/d inches4 ,dodwell1 ,tour1 ,i41 p4 #djb1 with woodcut2 ,synopsis1 ,no4 #bae 7#bdh72 ,mus4 ,marbles1 ,,ix41 pl4 #da1 fig4 #f2 ,c4,i4,g41 #ejb2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aje1 ,no4 #bae2 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxiv4 ,sidenote3 #hjg4 ,tablet with votive relief1 representing a female breast somewhat broken1 dedicated by ,onesime4 ,inscribed3 ,greek3 ,onesime euchen ,dii hypsisto4--,pnyx1 ,athens4 ,elgin ,coll4 ,pentelic marble2 height1 #d-g_/h inches2 width1 #f inches4 ,dodwell1 ,tour1 ,i41 p4 #djc2 ,synopsis1 ,no4 #baa 7#bdi72 ,mus4 ,marbles1 ,,ix41 pl4 #da1 fig4 #a2 ,c4,i4,g41 #ejc2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #aje1 ,no4 #baa2 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxv4 ,sidenote3 #hjh4 ,fragment of a votive relief1 with part of a thigh1 or perhaps part of the shoulder4 ,inscribed3 ,greek3 4444a theo hypsisto euchen4--,pnyx1 ,athens4 ,found by the fourth ,earl of ,aberdeen in #ahjc1 and presented by the fifth ,earl of ,aberdeen in #ahfa4 ,pentelic marble2 height1 #d-a_/d inches2 width1 #d-a_/b inches4 ,greek ,inscriptions in ,brit4 ,mus41 ,,lxx4 ,sidenote3 #hji4 ,tablet with votive relief representing a left leg from above the knee in relief1 dedicated to ,asclepios and ,hygieia4 ,inscribed3 ,greek3 ,asklepio kai ,hyg7i7eia eucharisterion4--,found in #ahbh1 in a ,shrine of ,asclepios in ,melos4 ,blacas ,coll4 ,parian marble2 height1 #a foot #a-a_/b inches2 width1 #g-a_/b inches4 ,annali dell' ,inst41 #ahbi1 p4 #cda2 ,exp4 de ,moree1 ,,iii41 pl4 #bi1 fig4 #b2 ,c4,i4,g41 #bdbi2 ,greek ,inscriptions in ,brit4 ,mus41 ,,ccclxv4 ,this relief was found together with the fine head of ,asclepios 7,no4 #eej7 and with a votive inscription 7,c4,i4,g41 #bdbh74 ,sidenote3 #haj4 ,tablet with votive relief1 representing a right ear4 ,the right side of the tablet is lost4--,cyrene4 ,marble2 height1 #f-c_/d inches2 width1 #aj inches4 ,smith and ,porcher1 p4 #ajh1 ,no4 #adh4 ,sidenote3 #haa4 ,square votive tablet1 dedicated by ,anthusa1 the daughter of ,damainetos4 ,on the tablet1 within a raised wreath1 the following objects are sculptured in relief3--,in the centre is a bowl 7phiale7 inscribed with the dedication4 ,round this bowl are ranged a mirror1 a torch1 a spindle1 a comb1 a small phial1 a small box with a lid containing three little circular boxes1 which probably held paints2 a pair of shoes2 a small mortar1 containing a pestle1 shaped like a bent thumb2 a knife1 a strigil1 a bottle1 two bodkins1 a small oval box with a lid1 which probably held a sponge2 a pair of shoes1 and a conical object like a cap4 ,the raised wreath which encircles these objects is composed of pomegranates1 ears of corn1 and ivy-berries1 round which a sash is wound4 ,outside the wreath1 on the upper right-hand corner of the tablet1 a situla is sculptured in low relief1 and a small footstool 787 on the lower corner on the same side4 ,the corresponding angles on the left side of the tablet have been broken away1 but the upper angle appears to have contained a situla4 ,the relief is inscribed ,greek3 ,anthouse ,damainetou hypostatria4 ,greek3 ,hypostatria probably denotes some minister of inferior rank in the temple of the goddess to whom the tablet was dedicated4 ,the explanation of the word ,greek3 statria given by ,hesychius 7,greek3 emplektria71 makes it probable that the function of the ,greek3 hypostatria here mentioned was to dress the image of the goddess4 ,this and the tablet ,no4 #hab were found by the ,earl of ,aberdeen built into a ruined ,byzantine church at ,slavochori in ,laconia1 a place which is believed to be the site of the ancient ,amyclae4 ,the combination of pomegranates and ears of corn1 the symbols of ,persephone and ,demeter1 with ivy-berries and fir-cones1 the symbols of ,dionysos1 makes it probable that in the temple in which these tablets were dedicated1 these deities had a joint worship4 ,pausanias 7iii41 #bj1 #d7 mentions a town near ,amyclae called ,bryseae1 where was a temple of ,dionysos which none but women were permitted to enter1 and where women only performed the sacrifices4 ,it is not improbable1 as ,lord ,aberdeen conjectured1 that these votive tablets were originally dedicated in this temple1 and thence brought to ,slavochori4 ,it was a common custom among the ,greeks to dedicate articles of female attire and toilet in the temples of goddesses4 7,see ,greek ,inscriptions in ,brit4 ,mus41 ,no4 xxxiv47--,brought from ,greece by ,george1 fourth ,earl of ,aberdeen2 presented by ,george1 fifth ,earl of ,aberdeen1 #ahfa4 ,marble2 height1 #c feet2 width1 #b feet #i-a_/b inches4 ,this sculpture1 with the following1 was first published1 in a strangely perverted form1 by ,caylus 7,recueil d',antiq41 ,,ii41 pl4 #ea71 from drawings by ,fourmont4 ,lord ,aberdeen published them1 with an engraving in ,walpole's ,memoirs relating to ,turkey1 ,london1 #ahag1 ,i41 p4 #ddf4 ,see also ,c4,i4,g41 #adfg2 ,leake1 ,travels in the ,morea1 ,i41 p4 #ahh1 and ,peloponnesiaca1 pp4 #afc-afe2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxli42 ,wolters1 ,no4 #aheb2 ,guide to ,graeco-,roman ,sculptures1 ,part ,,ii41 ,no4 #aa2 ,mansell1 ,no4 #gbh4 ,sidenote3 #hab4 ,votive tablet1 dedicated by a priestess called ,claudia ,ageta1 on which are sculptured in relief various articles of the toilet4 ,in the centre is a bowl inscribed with the name of the priestess1 ,greek3 ,klau7dia7 ,ageta ,antipatrou1 hiereia2 round it are the following objects3--,on the left of the bowl1 a shell to hold unguents1 two mirrors 7one much smaller than the other71 a small comb1 a hair-pin1 a small bottle for unguents1 a small oval tray with a lid1 containing a sponge1 a larger bottle1 a cylindrical object1 and a circular object like a stud2 above the bowl is a small elliptical box1 a bottle1 and an object which appears to be a net for the hair2 below are a comb1 two bodkins1 and a strigil4 ,on the right of the bowl are two pairs of shoes1 two studs linked together1 a small mortar 7in which is a pestle like a bent thumb71 a spoon1 and a small oblong box with a lid1 into which are fitted six little circular boxes or bottles4 ,round these sculptured objects runs a raised frame richly ornamented with fir-cones1 ivy1 ears of corn1 and pomegranates1 and with a coiled snake in its lower side4--,from ,slavochori in ,laconia 7cf4 ,no4 #haa74 ,presented by the fifth ,earl of ,aberdeen1 #ahfa4 ,marble2 height1 #b feet #c-a_/b inches2 width1 #c feet #f inches4 ,walpole's ,memoirs relating to ,turkey1 #ahag1 ,i41 p4 #ddf2 ,c4,i4,g41 #adff2 ,greek ,inscriptions in ,brit4 ,mus41 ,,cxlii42 ,guide to ,graeco-,roman ,sculptures1 ,part ,,ii41 ,no4 #ab2 ,wolters1 ,no4 #ahea4 ,sidenote3 #hac4 ,fragment of a votive relief dedicated by a victor in a torch race4 ,on the right a youth1 with a whisk for sprinkling1 and a man stand at an altar4 ,the head of the man is lost4 ,three nude athletes1 of whom two are bearded1 stand on the left conversing4 ,above is an entablature with the dedicatory inscription3 ,greek3 ,ho deina lampadi nikesas1 gymnasiarchon anetheken4--,athens4 ,strangford ,coll4 ,pentelic marble2 height1 #a foot #e-a_/b inches2 width1 #a foot #a_/b inch4 ,c4,i4,g41 #beg2 ,greek ,inscriptions in ,brit4 ,mus41 ,,xli42 ,c4,i4,a41 ,,ii41 #abba4 ,sidenote3 #had4 ,votive tablet in commemoration of a victory in the chariot race4 ,a draped charioteer drives a chariot1 drawn by four horses1 which move to the left in spirited action4 ,over them floats in the air a winged ,victory extending a wreath1 now wanting1 towards the charioteer4 ,the left side of the relief and the lower edge have been broken away4 ,the missing portion on the left probably contained a figure running in front of the chariot1 as the end of a staff and traces of the hand which grasped it1 appear at the edge of the slab4 ,the charioteer wears a tunic girt at the waist2 a scarf passing round the back of the head bellies out with the wind1 while the ends1 drawn back under the arms1 float behind4 ,this figure appears to be female1 and in that case would doubtless be a personification1 possibly of the city to which the victorious charioteer belonged4 ,a similar votive tablet mounted on a pilaster is shown outside a house or temple in the composition representing the visit of ,dionysos to ,icarios1 in the third ,graeco-,roman ,gallery 7,guide to ,graeco-,roman ,sculptures1 ,pt4 ,i41 ,no4 #agf71 and such commemorative tablets were often dedicated by ,agonistic ,victors4 ,compare a fragmentary relief at ,athens1 on which a horse is crowned by ,victory4 7,schoene1 ,griechische ,reliefs1 pl4 #ah1 fig4 #hj47--;,from ,consul ,logothetis' house at ,athens4 ,elgin ,coll4 ,pentelic marble2 present height1 #b feet #c-a_/b inches2 width1 #b feet #h inches4 ,mus4 ,marbles1 ,,ix41 pl4 #ch1 fig4 #b2 ,ellis1 ,elgin ,marbles1 ,,ii41 p4 #abf2 ,synopsis1 ,no4 #aig 7#bcf74 ,sidenote3 #hae4 ,fragment of a relief1 perhaps a votive tablet in commemoration of a chariot race4 ,four heads of horses in rapid movement to the right2 the head of the foremost horse has been held by a figure1 of which the right hand only remains4 ,marble2 height1 #aa-a_/b inches2 width1 #a foot #a inch4 ,guide to ,graeco-,roman ,sculptures1 ,part ,,ii41 ,no4 #dg4 ,sidenote3 #haf4 ,votive relief4 ,hecate stands1 turned to the left1 with a large torch in her left hand4 ,with the right hand she places a wreath on the head of a mare standing before her4 ,she wears a chiton1 confined by bands crossing on the breast1 such as are common on figures of charioteers1 ,furies1 and others4 ,behind her is a large dog4 ,the relief is surmounted by a large pediment4 ,this relief appears to have been dedicated by the owner of a successful horse4--,crannon in ,thessaly4 ,presented by ,col4 ,leake1 #ahci4 ,white marble1 with remains of blue paint on the ground2 height1 #a foot #c-a_/b inches2 width1 #a foot #aa inches4 ,millingen1 ,anc4 ,uned4 ,monuments1 ,,ii41 pl4 #af1 fig4 #a4 ,compare a relief at ,athens1 ,schoene1 ,griechische ,reliefs1 pl4 #bf1 fig4 #ajh4 ,sidenote3 #hag4 ,votive relief with three figures standing to the front4 ,on the right is ,apollo wearing the dress of a minstrel1 having a long chiton girt at the waist1 and a himation4 ,he holds out a phiale in his right hand4 ,on the right is an omphalos1 about which a snake is coiled4 ,the central figure1 who is bearded1 wears the dress of ,dionysos with short tunic1 high boots1 and a himation closely confined4 ,he has a torch in the left hand and holds out a phiale in the right hand4 ,on the left is a figure of ,zeus1 with a phiale held out in the right hand1 and a sceptre in the left hand4 ,the relief is bounded by two pilasters surmounted by an entablature and pediment4 ,below is a group of six male figures reclining1 who are sketched out in low relief4 ,before them are four figures3 7a7 on the left a comic figure seated1 playing on double flutes1 and beating time with a kroupezion or scabellum2 7b7 a nude female figure dancing2 7c7 a comic figure running1 wearing a ,phrygian cap1 and having a pair of double flutes in each hand2 7d7 on the right1 a figure with an oinochoe in each hand drawing wine from a large vessel4 ,inscribed3 ,greek3 ,dii hypsisto k7ai7 to ch7o7ro ,thallos eponymos ton telamona apedoka4 ,the relief 7,greek3 telamon7 appears to have been dedicated by a successful dramatic poet1 ,thallos1 who gave his name to the fete4--,cyzicus4 ,presented by ,a4 van ,branteghem1 ,esq4 ,marble2 height1 #c feet #a-a_/b inches2 width1 #a foot #aj inches4 ,rev4 ,arch41 #ahia1 p4 #aj1 ,no4 #a4 ,compare a relief now at ,athens1 from ,nicaea1 in ,conze1 ,reise auf der ,insel ,lesbos1 pl4 #ai2 ,lueders1 ,dionys4 ,kuenstler1 pl4 #b4 ,,london3 ,,printed ,,by ,,william ,,clowes ,,and ,,sons1 ,,limited1 ,,stamford ,,street ,,and ,,charing ,,cross4 ,,plate ,i4 ,illustration3 ,,sculptured ,,column ,,from ,,the ,,archaic ,,temple ,,at ,,ephesus4 ,no4 #bi4 ,,plate ,,ii4 ,illustration3 ,,view ,,of ,,the ,,lion ,,tomb ,,at ,,xanthos4 ,no4 #hj4 7,from a drawing by ,george ,scharf47 ,,plate ,,iii4 ,illustration3 ,,view ,,of ,,the ,,harpy ,,tomb ,,at ,,xanthos4 ,no4 #id4 7,from a drawing by ,george ,scharf47 ,,plate ,,iv4 ,illustration3 ,,sectional ,,view ,,of ,,the ,,east ,,end ,,of ,,the ,,parthenon4 7,g4 ,niemann47 ,,plate ,v4 ,illustration3 ,fig4 #a4 ,,carrey',s ,,drawing ,,of ,,the ,,east ,,pediment ,,of ,,the ,,parthenon4 ,illustration3 ,fig4 #b4 ,,carrey',s ,,drawing ,,of ,,the ,,west ,,pediment ,,of ,,the ,,parthenon4 ,,plate ,,vi4 ,illustration3 ,fig4 #a4 ,,iris ,,and ,,hera4 ,,east ,,frieze ,,of ,,parthenon4 ,nos4 #bg1 #bh4 ,illustration3 ,fig4 #b4 ,,arm4 ,no4 #ccj4 ,,plate ,,vii4 ,illustration3 ,,the ,,north ,,frieze ,,of ,,the ,,parthenon 7,slabs ,i4-,,vii47 ,,restored4 ,,plate ,,viii4 ,illustration3 ,,the ,,north ,,frieze ,,of ,,the ,,parthenon 7,slabs ,,vii4-,,xiii47 ,,restored4 ,,plate ,,ix4 ,illustration3 ,,lusieri',s ,,drawing ,,of ,,the ,,missing ,,group ,,from ,,the ,,monument ,,of ,,lysicrates4 ,no4 #dcj1 #e4 ,,plate ,x4 ,illustration3 ,,view ,,of ,,the ,,temple ,,of ,,apollo ,,at ,,phigaleia4 7,from a ,photograph47 ,,plate ,,xi4 ,illustration3 ,fig4 #a4 ,,sepulchral ,,relief4 ,no4 #fic4 ,illustration3 ,fig4 #b4 ,,monument ,,of ,,xanthippos4 ,no4 #fbh4 ,illustration3 ,fig4 #c4 ,,sepulchral ,,relief4 ,no4 #fbg4 ,,plate ,,xii4 ,illustration3 ,fig4 #a4 ,,fragment ,,of ,a ,,sepulchral ,,relief4 ,no4 #fgc4 ,illustration3 ,fig4 #b4 ,,fragment ,,of ,a ,,sepulchral ,,relief4 ,no4 #fgb4 99 99 99 99 99 99 ,transcriber's note3 ,some illustrations have been moved to the ends of their descriptive paragraphs to allow for freer flow of the text4 ,there are some inconsistencies in the spelling of 7foreign7 proper names throughout the book4 ,in each case1 both forms have been retained4 ,journal numbers 7,x4442 x4442 etc47 appear in both upper and lower case throughout the book4 ,both forms have been retained4 ,there are a few instances of the high dot 41 or ,greek colon1 in the ,greek text1 which have been retained4 ,pages #ajh and #acf3 ,fig4 #i was used twice in the original book1 and both instances have been retained4 ,page #aj3 'donotion' corrected to 'donation' - 444 have been acquired by donation or bequest1 ,page #aa1 ,footnote #db3 '#bad' corrected to '#baa'4 ,numbers '#bab'1 '#bac' and '#bad' do not exist4 ,thus1 '#baa' is the number before '#bae'2 and '#baa' fits the category of the other numbers in this footnote4 ,see ,nos4 #baa1 #fdc1 #feb1 #ffg1 #fhj1 #fic1 #fii1 #gbf1 #gcf4 ,page #df3 ',beechino' corrected to ',beecheno' - ,see also ,solly1 ,memoirs of ,w4 ,j4 ,mueller1 #ahge2 ,beecheno1 ,page #fd3 'real' corrected to 'reel' - 444 but include bead and reel mouldings1