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Text enclosed by underscores is in italics (_italics_).
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A CATALOGUE OF SCULPTURE IN THE DEPARTMENT OF GREEK AND ROMAN
ANTIQUITIES, BRITISH MUSEUM.
by
A. H. SMITH, M.A.,
Assistant in the Department of Greek and Roman
Antiquities, in the British Museum.
VOL. I.
London:
Printed by Order of the Trustees.
1892.
London:
Printed by William Clowes and Sons, Limited
Stamford Street and Charing Cross.
PREFACE.
The present volume by Mr. Arthur Smith, Assistant in the Department
of Greek and Roman Antiquities, includes the sculptures of the Archaic
period: those of the Parthenon and other Athenian buildings; the
remains of the temple at Phigaleia; the Greek reliefs, and some other
sculptures which, though produced in Roman times, yet represent Greek
originals of the great age.
In the section which deals with the sculptures of Athens much has been
retained from Sir Charles Newton's _Guide to the Elgin Room_, Pts.
I.-II. While adding the results of more recent research, Mr. Smith has
contributed on his part interesting material.
The sculptures of the archaic period have of late years been the
subject of much discussion; the results of these discussions, as they
apply to the collection of the British Museum, have now been brought
together and summarized.
The Greek reliefs, which form an important section of the present
volume, belong to a class of sculptures which have produced much
difference of opinion as to the subjects represented by them. Mr.
Smith has stated briefly the principal views, by way of introduction
to the several classes of reliefs.
A. S. MURRAY
_3rd December, 1891._
CONTENTS OF VOL. I.
PAGE
EDITOR'S PREFACE iii
TABLE OF CONTENTS v
TABLE OF ABBREVIATIONS vii
INTRODUCTION 1
PART I.--THE ARCHAIC PERIOD.
MYCENAE, 1-6 12
BRANCHIDAE, 7-21 16
LYDIA, 22, 23 24
EPHESUS, 24-48 24
CARIA, 49-51 40
RHODES, 52-75 41
XANTHOS, 80-98 45
NAUCRATIS, 100-127 61
DELOS, 130 68
SELINUS (casts), 135-139 69
ATHENS AND ATTICA, 150-156 70
AEGINA (casts), 160-183 73
OLYMPIA (casts), 190-192 80
STATUES OF APOLLO (?), 200-211 82
MISCELLANEOUS ARCHAIC SCULPTURES, 215-217 88
PART II.--MYRON AND PHEIDIAS.
MYRON, 250 90
PHEIDIAS AND THE PARTHENON 91
Athene Parthenos, 300-302 96
East Pediment of Parthenon, 303 101
West Pediment of Parthenon, 304 116
Metopes of Parthenon, 305-323 132
Frieze of the Parthenon 145
East Side, 324 152
North Side, 325 165
West Side, 326 178
South Side, 327 181
Fragments of the Parthenon Sculptures, 328-345 193
Architectural Fragments of the Parthenon, 350-358 213
PART III.--THE SUCCESSORS OF PHEIDIAS.
THE TEMPLE CALLED THE THESEION 216
Sculpture (casts) and Architecture, 400-406 220
THE ERECHTHEION 231
Sculpture and Architecture, 407-420 233
TEMPLE OF NIKE APTEROS 239
Frieze and Reliefs of Balustrade (casts), 421-429 242
MONUMENT OF LYSICRATES 248
Frieze (casts), 430 251
MONUMENT OF THRASYLLOS, 432 257
THE PROPYLAEA, 433-435 259
MISCELLANEOUS ARCHITECTURAL FRAGMENTS FROM
ATHENS AND ATTICA, 436-448 261
AGORACRITOS OF PAROS, 460 264
POLYCLEITOS OF ARGOS, 500-504 265
TEMPLE OF APOLLO AT PHIGALEIA 270
Architectural Fragments, 505-509 273
Metopes, 510-519 274
Frieze, 520-542 277
Acrolithic Statue, 543, 544 288
MISCELLANEOUS SCULPTURES OF THE FIFTH CENTURY, 549-560 288
GREEK RELIEFS 293
SEPULCHRAL RELIEFS:
Decorative Stelae, 599-618 304
Domestic Scenes, &c., 619-680 308
Sepulchral Vases, 681-686 324
Figures clasping hands, 687-710 326
The Sepulchral Banquet, &c., 711-746 333
Rider and Horse, heroified, 750-757 347
Lycian Sepulchral Reliefs (casts), 760-766 350
VOTIVE RELIEFS, 770-817 354
PLATES I.-XII.
TABLE OF ABBREVIATIONS.
The following is a list of the works which are most frequently
referred to, in this Catalogue, under abbreviated forms:--
_Annali dell' Inst._ Annali dell' Instituto di Corrispondenza
Archeologica. Rome: 1829-1885. [Superseded by the "Roemische
Mittheilungen."]
_Antike Denkmaeler._ Antike Denkmaeler herausgegeben vom k.
deutschen Archaeologischen Institut. Berlin: from 1886. In
progress.
_Arch. Anzeiger._ Archaeologischer Anzeiger. [A supplement to the
Archeologische Zeitung, and to the Jahrbuch des Archaeologischen
Instituts.]
_Arch. Zeit._ Archaeologische Zeitung. Berlin: 1843-1885.
[Superseded by the Jahrbuch des Archaeologischen Instituts.]
_Athenische Mittheilungen._ Mittheilungen des k. deutschen
Archaeologischen Instituts, Athenische Abtheilung. Athens: from
1876. In progress.
_Brunn, Denkmaeler._ H. v. Brunn, Denkmaeler griechischer und
roemischer Sculptur. Munich: from 1888. In progress.
_Bull, de Corr. Hellenique._ Ecole francaise d'Athenes. Bulletin
de Correspondance Hellenique. Athens: from 1877. In progress.
_Bull. dell' Inst._ Bullettino dell' Instituto di Corrispondenza
Archeologica. Rome: 1829-1885.
_C. I. A._ Corpus Inscriptionum Atticarum. Berlin: from 1873. In
progress.
_C. I. G._ Corpus Inscriptionum Graecarum. Berlin: 1828-1877.
_Gaz. Arch._ Gazette Archeologique. Paris: 1874-1888.
_Greek Inscriptions in Brit. Mus._ The Collection of Ancient Greek
Inscriptions in the British Museum, by C. T. Newton, and E. L.
Hicks. 1874-1890.
_Guide to Elgin Room I._ Synopsis of the Contents of the British
Museum. Department of Greek and Roman Antiquities. The Sculptures
of the Parthenon. Elgin Room, Part I. (Third ed.). 1886.
_Guide to Elgin Room II._ Synopsis, etc.... The Sculptures in the
Elgin Room. Part II. 1881.
_Guide to First Vase Room._ Synopsis, etc.... First Vase Room.
(Last ed.) 1883.
_Guide to Graeco-Roman Sculptures I._ Synopsis, etc....
Graeco-Roman Sculptures. (Second ed.) 1879.
_Guide to Graeco-Roman Sculptures II._ Synopsis, etc....
Graeco-Roman Sculptures. Part II. 1876.
_Jahrbuch des Arch. Inst._ Jahrbuch des k. deutschen
Archaeologischen Instituts. Berlin: from 1886. In progress.
_Journ. of Hellen. Studies._ The Journal of Hellenic Studies.
London: from 1879. In progress.
_Mansell._ Photographs of objects in the British Museum, published
by W. A. Mansell, 271 Oxford Street, W.
_Michaelis._ A. Michaelis, Der Parthenon. Leipsic: 1871.
_Michaelis, Anc. Marbles._ A. Michaelis, Ancient Marbles in Great
Britain. 1882.
_Mitchell._ Lucy M. Mitchell, A History of Ancient Sculpture.
1883.
_Mitchell, Selections._ Selections from Ancient Sculpture.... A
Supplement to A History of Ancient Sculpture. By Lucy M. Mitchell.
1883.
_Mon. dell' Inst._ Monumenti Inediti, pubblicati dall' Instituto
di Corrispondenza Archaeologica. Rome, 1829-1886, and Berlin,
1891.
_Murray._ A. S. Murray, A History of Greek Sculpture. 1880-3.
[Second ed., 1890. The first ed. is quoted, unless otherwise
stated.]
_Mus. Marbles._ A description of the Collection of Ancient Marbles
in the British Museum. 1812-1861.
_Perrot & Chipiez._ G. Perrot and C. Chipiez, Histoire de l'Art
dans l'Antiquite. Paris: from 1882. In progress.
_Prachov._ A. Prachov, Antiquissima Monumenta Xanthiaca. St.
Petersburg, 1871.
_Rev. Arch._ Revue Archeologique. Paris: from 1844. In progress.
_Roehl, I. G. A._ H. Roehl, Inscriptiones Graecae Antiquissimae,
praeter Atticas in Attica repertas. Berlin: 1882.
_Roemische Mittheilungen._ Mittheilungen des k. deutschen
Archaeologischen Instituts, Roemische Abtheilung. Rome: from 1886.
In progress.
_Specimens._ Specimens of Ancient Sculpture ... selected from
different Collections in Great Britain, by the Society of
Dilettanti. London: 1809.
_Stereoscopic._ Photographs of objects in the British Museum,
published by the London Stereoscopic Company, 106 Regent Street,
W.
_Stuart._ James Stuart and Nicolas Revett, The Antiquities of
Athens. London: 1762-1830. [Second ed., 1825-1830. The first ed.
is quoted unless otherwise stated.]
_Synopsis._ Synopsis of the contents of the British Museum.
(Numerous editions.) 1808-1857. [Where a double reference is
given, as 189 (284), the number in the parenthesis was used in
editions of the Synopsis earlier than 1832.]
_Wolters._ Die Gipsabguesse Antiker Bildwerke in historischer Folge
erklaert. Bausteine ... von Carl Friederichs neu bearbeitet von
Paul Wolters. Berlin: 1885.
BRITISH AND METRIC SYSTEMS COMPARED.
1 inch = .025 metre.
1 foot = .304 metre.
3 feet = .914 metre.
1 metre = 39.37079 inches.
INTRODUCTION.
The collection of ancient sculpture in marble, included in the
Department of Greek and Roman Antiquities in the British Museum, may
be said to represent the efforts of more than two centuries, though
the foundation of the Museum itself is of a considerably more recent
date.[1]
The British Museum was established by Parliament in 1753. In that
year, by the statute 26 Geo. II. cap. 22, a trust was created to unite
and maintain as one collection the Museum of Sir Hans Sloane, the
Cottonian Library, and the Harleian Collection of Manuscripts.
Sir Hans Sloane (1660-1753),[2] physician, botanist, and President of
the Royal Society in succession to Newton, had formed in his lifetime
a very extensive museum, consisting mainly of books, natural history
collections, and ethnographical objects. At the same time classical
antiquities were represented by bronzes, gems, vases, terracottas, and
a few sculptures in marble. The examples, however, of Greek sculpture
were few and unimportant, and in most instances they cannot now be
recognized with certainty from the brief entries in Sir Hans Sloane's
catalogue. Such as they were, they were chiefly derived from the
collection of John Kemp, an antiquary and collector early in the
eighteenth century (died 1717). The Sloane Collection included the
sepulchral vase, No. 682 in the present volume; a small relief with
two dogs and a wild boar; a figure of Asclepios, a few heads, busts,
urns of marble or alabaster, and a few Greek and Latin inscriptions.
Three of the pieces of sculpture in the Museum are said by Sloane[3]
to have been derived from the Arundel Collection, which was the first
great collection of classical antiques formed in this country. Thomas
Howard, Earl of Arundel (1585-1646), was the first Englishman who
employed agents to collect for him in Greece and the Greek Islands,
as well as in Italy. The collection thus formed was broken up in the
reign of Charles II. The inscriptions were given by Henry Howard,
afterwards sixth Duke of Norfolk, to the University of Oxford in 1667.
The sculptures were scattered. A part passed through the hands of the
Earls of Pomfret to the University of Oxford, while others were lost,
or dispersed among private collectors.[4] The few examples named
above thus found their way into the original collection of the
British Museum. A more important fragment, however, from the Arundel
Collection was added to the Museum at an early date, namely the bronze
head, formerly known as Homer,[5] which was presented by the
ninth Earl of Exeter in 1760. This head had previously been in
the collection of Dr. Richard Mead,[6] physician and antiquary
(1673-1754), and was sold with his collection in 1754.[7]
Between the foundation of the British Museum in 1753 and the accession
of the Townley Collection in 1805, the collection of sculpture made
but slow progress. The first donor of sculpture was Thomas Hollis
(1720-1774), of Corscombe, in Dorsetshire, a collector, and benefactor
to several branches of the Museum. In 1757 Hollis gave a collection
of antiquities, including several marbles, chiefly small busts and
inscriptions.[8] In 1764 he gave a Greek relief, which cannot be
identified, and in 1765 a marble head of a Faun.
In 1772 Matthew Duane (lawyer and antiquary, 1707-1785) joined in a
gift of sculptures with Thomas Tyrwhitt (1720-1786), a scholar,
who also bequeathed his library of classical authors to the British
Museum. The sculptures in question[9] were purchased by the donors at
an auction in London,[10] in order that they might be put in a place
of safety.
The year 1772 is also noteworthy as the date of the first
Parliamentary grant for the augmentation of the Museum collection. The
House of Commons in that year voted a sum of L8410 for the purchase
of the valuable museum of antiquities which had been formed by Sir
William Hamilton (1730-1803), British Ambassador at Naples, 1764-1800.
The vases formed the most important section, but the collection also
contained several sculptures in the round and in relief.[11] On the
other hand a square altar with reliefs[12] was presented by Sir W.
Hamilton in 1776, and perhaps also a head of Heracles.[13] A colossal
foot of Apollo[14] was given in 1784.
In 1780 an interesting relief, No. 750, was presented by Sir Joseph
Banks, and Col. the Hon. A. C. Fraser, of Lovat (1736-1815). Sir
Joseph Banks (1743-1820), traveller, botanist, and President of the
Royal Society, was a great benefactor to the Library and Botanical
collections, but his gifts of sculpture were limited to this relief,
and to a relief representing Jupiter and Ceres, presented in 1809.
Charles Townley gave two marble fountains[15] in 1786, but his main
collections were not added to the Museum till after his death. A
valuable gift was received from the Society of Dilettanti, about
1795, consisting of the sculptures and inscriptions collected by the
expedition to Ionia which had been sent out by that Society in 1764,
under the direction of Dr. Richard Chandler. The collection included
several Attic reliefs,[16] and some important inscriptions, among them
the well-known report on the progress of the Erechtheion.[17] In 1870
the same Society presented the fruits of its excavations at Priene,
conducted by Mr. R. P. Pullan.
Two Roman portrait statues, of inferior merit, which had passed into
the hands of the British at the Capitulation of Alexandria, in 1800,
were placed in the Department of Antiquities, in 1802.
The collection of sculpture which had thus slowly come into existence
during the first fifty years of the Museum's history, received its
most brilliant accessions during the first quarter of the present
century.
The great collection that had been formed by Charles Townley[18] was
purchased in 1805 by Act of Parliament, 45 Geo. III. cap. 127, for
L20,000, a sum greatly below the value of the sculptures. Charles
Townley (1737-1805), of Townley, in Lancashire, acquired a large part
of his marbles, during a residence in Italy, between 1768 and 1772,
but continued collecting, after his return to England. The chief
sources from which he formed his museum were the following: (1) the
older Roman collections, from which Townley made numerous purchases;
(2) the excavations carried on by Gavin Hamilton, a Scotch painter
living in Rome (died 1797), and by Thomas Jenkins, an English banker;
(3) occasional purchases from older English collections. Thus the
relief of Exakestes[19] was derived from the collection of Dr. Richard
Mead (see above). The relief of Xanthippos[20] had been brought to
England by Dr. Anthony Askew, a physician, who visited Athens and the
East, about 1747, and compiled a manuscript volume of inscriptions,
now in the British Museum (Burney MSS., No. 402). Several pieces[21]
were also obtained from the collection formed at Wimbledon by Lyde
Browne, a virtuoso and Director of the Bank of England, who died in
1787.
The accession of the Townley Collection in 1805 made necessary the
erection of a special building in the garden of the then existing
Montague House, and also caused the creation of a separate Department
under Taylor Combe, for the custody of the antiquities, which had been
previously attached to the Library.
In 1814, the Phigaleian sculptures were purchased of the explorers[22]
in a public auction at Zante, and the Museum thereby acquired its
first series of sculptures from a Greek building. A fragment, which
had been lost during the transportation of the marbles,[23] was
presented by Mr. J. Spencer Stanhope in 1816.
Thomas Bruce, seventh Earl of Elgin (1766-1841), whose collection
was the next and greatest addition to the British Museum, had been
appointed British Ambassador to the Porte in 1799. On his appointment,
he resolved to make his time of office of service to the cause of art,
and accordingly engaged a body of five architects, draughtsmen and
formatori, under Lusieri, a Neapolitan portrait painter, to make
casts, plans and drawings from the remains in Greece, and more
particularly at Athens. While the work was in progress, Lord Elgin
became aware of the rapid destruction that was taking place of the
sculptures in Athens. The success of the British arms in Egypt
having made the disposition of the Porte favourable to the British
Ambassador, a firman was obtained which sanctioned the removal of the
sculptures. The whole collection, formed by Lord Elgin's agents, was,
after long negotiations, and an enquiry by a Select Committee of the
House of Commons, purchased of Lord Elgin for L35,000 in 1816. It
consists of sculptures and architectural fragments from the Parthenon,
the Erechtheion, and other Athenian buildings; casts, which have
now become of great value, from the Parthenon, the Theseion, and
the Monument of Lysicrates; a considerable number of Greek reliefs,
principally from Athens; fragments from Mycenae and elsewhere;
drawings and plans.
The marbles and casts of the Parthenon acquired in the Elgin
Collection, have since been supplemented, not only by casts of
sculptures newly discovered at Athens, but also by the additions of
fragments, removed from Athens by occasional travellers, and acquired
for the Museum by donation or purchase. The gifts include a head of a
Lapith,[24] from the Duke of Devonshire, and pieces of the frieze from
Mr. C. R. Cockerell,[25] and Mr. J. H. Smith-Barry;[26] also from the
Society of Dilettanti[27] and the Royal Academy.[28]
Lord Elgin was actively assisted in the East by his secretary, William
Richard Hamilton (1777-1859), who afterwards became Under-Secretary
of State for Foreign Affairs (1809-1822). From Mr. Hamilton the
Museum received a few sculptures, including a sepulchral relief from
Tarentum.[29]
In 1824 the British Museum obtained by bequest the collections of
Richard Payne Knight (1749-1824), a learned but fanciful antiquarian,
and a leading member of the Society of Dilettanti. Payne Knight's
collection was especially rich in bronzes, gems, and coins, but it
also contained a series of marble portrait busts.
The next addition of importance was the collection of sculptures and
casts brought at the public expense in 1842 from Xanthos and other
sites in Lycia, discovered by Sir Charles Fellows (1799-1860), in the
course of his journeys of 1838 and 1840.[30]
In 1846, permission was given by the Porte to the then British
Ambassador, Sir Stratford Canning, afterwards Viscount Stratford de
Redcliffe (1786-1880), to remove twelve slabs of the frieze of
the Mausoleum from Halicarnassos. These sculptures, long known to
travellers,[31] were taken from the walls of the castle of Budrum, and
presented by the Ambassador to the British Museum.
Ten years later the influence of Lord Stratford de Redcliffe was
exerted to support Sir Charles Newton in his explorations in Asia
Minor. Sir Charles Newton exchanged his position at the British
Museum, in 1856, for the post of British Vice-Consul at Mitylene,
which he held till 1859, and in that capacity he was able, on
behalf of the Trustees, to excavate the sites of the Mausoleum at
Halicarnassos, and of the temple of Demeter at Cnidos. He also removed
the archaic statues of Branchidae, and collected several minor pieces
of sculpture. The excavations on the site of the Mausoleum added four
slabs to the series presented by Lord Stratford de Redcliffe in 1840.
One additional slab was purchased in 1865 of the Marchese Serra, of
Genoa.
While the excavations of the Mausoleum were in progress, the Crimean
campaign afforded an opportunity to Col. Westmacott to form
a collection of sculptures from Kertch and the neighbourhood,
illustrating the later stages of Greek art on the Euxine.
In the years 1860-1861, Captain, now General Sir R. Murdoch Smith,
R.E., and Commander E. A. Porcher, R.N., carried out a series of
excavations on the site of Cyrene, and discovered a considerable
number of sculptures in marble, and an admirable bronze portrait head,
among the ruins of the temples of Apollo, Dionysos and Aphrodite, and
elsewhere.
The excavations which were carried on at Ephesus by the late Mr.
John Turtle Wood,[32] for the British Museum, began in 1863, and
were continued till 1874, the site of the great temple of Artemis not
having been determined before the spring of 1870. Besides excavating
the site of the temple, Mr. Wood obtained inscriptions and sculptures
from the Odeum, the great Theatre, and the road to the temple of
Artemis.
The site of Naucratis in the Egyptian Delta was discovered by Mr. W.
M. Flinders Petrie, and was excavated, partly by the discoverer, and
partly by Mr. E. A. Gardner, at the cost of the Egypt Exploration
Fund in the years 1884-6.[33] The most important objects found were
fragments of pottery, but there were also some architectural remains,
and archaic statuettes of interest.
In 1889 and 1891, various sculptures, including a head of Eros from
Paphos, and a large capital with projecting bulls' heads from the
Cyprian Salamis, have been presented by the Cyprus Exploration Fund.
Besides the proceeds of the systematic researches enumerated above,
the collection of sculpture has been frequently increased during the
present century with the specimens collected by private travellers in
the East. Thus in 1818, H. Gally Knight (1784-1846), an antiquarian
and writer on the history of architecture, with N. Fazakerly,
presented a statue from Athens.[34] In 1820, J. P. Gandy Deering
(1787-1850), an architect who had taken part in the Dilettanti
Expedition to Ionia of 1811, presented sculptures that he had
discovered at Rhamnus in Attica.[35] In 1839, Colonel W. M. Leake, an
eminent traveller and topographer (1777-1860), presented several Greek
sculptures.[36] A small collection of reliefs, and of architectural
fragments from Athens and elsewhere, was purchased from H. W. Inwood,
the author of a treatise on the Erechtheion.
In 1861, the fifth Earl of Aberdeen presented a collection which had
been formed in Greece in 1801 by George, fourth Earl of Aberdeen, a
connoisseur, known to his contemporaries as "Athenian Aberdeen."[37]
In 1864 a collection of sculptures was purchased which had been formed
by Percy Clinton Sydney Smythe, sixth Viscount Strangford (1783-1855),
formerly Ambassador to the Porte, and which included the "Strangford
Apollo."[38]
Amongst purchases that have taken place from time to time we may also
mention that of the Apollo[39] from the collection of the Comte de
Choiseul-Gouffier in 1818. In 1864 several Graeco-Roman sculptures[40]
were purchased from the Farnese Collection at Rome. The museum of the
Duc de Blacas, purchased in 1867, contained the head of Asclepios
from Melos, and the relief discovered at the same time.[41] For
the numerous cases not here mentioned in which sculptures have been
acquired by donation or bequest, the reader is referred to the pages
of the catalogue.
Finally, it may be observed that not a few sculptures in the British
Museum have been found under peculiar circumstances in this country.
Such specimens have been brought to England by travellers, whose
collections have afterwards been broken up, lost or neglected, and
have been rescued by chance from warehouses, gardens, or masons'
yards.[42]
1: For the history of the collections in the British Museum, see
Edwards, _Lives of the Founders of the British Museum_;
Michaelis, _Ancient Marbles in Great Britain_, introduction.
2: There is a portrait of Sloane in the Mediaeval Room, and a bust
by Roubiliac in the Ceramic Gallery.
3: The entries in the Sloane Catalogue are:--"218. A vase of red
and grey marble with green veins, with a cover from the Earl of
Arundel's Collections. 222. A busto of Tully (?) when young.--Arundel.
223. A small Venus (?).--Arundel."
4: Michaelis, _Ancient Marbles_, p. 6.
5: _Mus. Marbles_, II., pl. 39.
6: There is a bust of Mead by Roubiliac in the Ceramic Gallery.
7: _Mus. Meadianum_, Pars altera, p. 219.
8: Cf. _Mus. Marbles_, V., pl. 1, fig. 3; pl. 6, fig. 4;
pl. 7, fig. 1; pl. 12, fig. 4.
9: Nos. 639, 703, 737.
10: _Archaeologia_, III., p. 230.
11: Nos. 774, 780; _Graeco-Roman Guide_, I., No. 140B.
12: _Graeco-Roman Guide_, II., No. 53.
13: _Mus. Marbles_, I., pl. 11.
14: _Graeco-Roman Guide_, II., No. 117.
15: _Graeco-Roman Guide_, II., Nos. 45, 61.
16: Nos. 605, 637, 642.
17: _Greek Inscriptions in Brit. Mus._, No. XXXV.
18: There is a bust of Townley in the Department of Antiquities.
19: No. 704.
20: No. 628.
21: _Mus. Marbles_, III., pl. 6; X., pls. 3, 5; XI., pl. 37.
22: See p. 270.
23: Part of No. 534.
24: 342, _3_.
25: 327, _4_.
26: 325, _75_.
27: 325, _50_.
28: 325, _85_.
29: Nos. 446, 712.
30: See p. 45, for a further account of the travels of Fellows.
31: _Antiquities of Ionia_, II. (1797), suppl., pl. 2.
32: See p. 24.
33: See p. 61.
34: No. 153.
35: Nos. 154, 460; cf. also No. 784.
36: Including Nos. 798, 816.
37: Including Nos. 632, 633, 644, 710, 802, 808, 811, 812.
38: No. 206. See also Nos. 302, 627, 651, 653, 666, 678, 722.
39: No. 209.
40: No. 401; _Graeco-Roman Guide_, I., Nos. 33, 45, 109, 132,
134; II., No. 96.
41: Nos. 550, 809.
42: See Nos. 211, 643, 652, 667, 680, 693, 699, 726, 736.
PART I.
_ARCHAIC PERIOD._
SCULPTURES FROM MYCENAE.
The sculptures contained in the first section of this catalogue are
derived from the site of Mycenae, the first four being fragments of
important works of architecture. There is great uncertainty as to
the date and origin of the Mycenaean monuments. A theory frequently
advanced supposes that they are remains of an old civilization whose
centre was Argolis, and which was swept away by Dorian invaders. If
this view is accepted, Nos. 1-6 are separated by a long interval of
years, and by a time of great political change, from the remaining
sculptures in this volume. From No. 7 onwards we have works produced
during the historical period; but the remains of Mycenae acquire
interest from the consideration that they may be authentic memorials
of a dynasty only dimly remembered in the Homeric Poems.
[Sidenote: =1-4.=]
Fragments of architecture from the building, commonly known as the
'Treasury of Atreus' at Mycenae. This building is a dome-covered tomb
(_tholos_) of beehive shape, approached by a long passage (_dromos_).
It is cut out from the side of a hill, and built of heavy masonry,
covered with earth, so as to form a tumulus. It was partially
excavated by Lord Elgin, and more completely in 1879 by the Greek
Archaeological Society. The fragments Nos. 1-4 are parts of an
elaborately decorated doorway to the tomb. They have been incorporated
in a somewhat fanciful restoration which was made by Donaldson, and
which has been much modified by later investigators.
For plans and views, see Stuart, 2nd ed., IV. pls. 1-5 (with
Donaldson's restoration). Dodwell, _Pelasgic Remains_, pls. 9, 10.
_Athenische Mittheilungen_, IV., p. 177, pls. 11-13 (Thiersch);
Mitchell, p. 143. Donaldson's restoration is based on an earlier
attempt by Lord Elgin's artists, which is now among the Elgin
drawings in the British Museum.
[Sidenote: =1.=]
Fragment from the 'Treasury of Atreus' at Mycenae. The decoration
consists of three bands of the wave pattern, separated by mouldings.
Two of these bands are in low relief; the third is in high relief,
with a hole bored in the centre of each spiral for the insertion of
glass or metal ornaments. Among the tools employed by the artist, the
chisel, saw, and the tubular drill, were plainly included. From the
fact that the end of the fragment is cut at an acute angle, it is
inferred that this fragment was placed above the doorway of the
building, in contact with a relief of triangular form. It is also
possible that it may have formed part of a triangular slab above the
door. A piece of red marble, similarly decorated, which is now at
Athens, exactly fits the apex of the triangular opening (_Athenische
Mittheilungen_, iv., pl. 13, fig. 1, A.).--_Elgin Coll._
Red marble. Height, 1 foot 4-1/4 inches; width, 3 feet 2-3/4
inches. Stuart, 2nd ed., IV., pl. 4, fig. 10; p. 32; cf. pl. 5;
Dodwell, _Tour_, II., p. 232; Murray, I., p. 38; Wolters, No. 3.
[Sidenote: =2.=]
Fragment from the 'Treasury of Atreus' at Mycenae. The decoration
consists of a band of the wave pattern, and a band of lozenges in low
relief, the bands being separated by mouldings of similar character to
those of No. 1. The saw and chisel were used by the artist.
This slab, according to Donaldson, formed a part of the architrave,
over the entrance to the building. According to Dodwell, it was
'found by the excavators of the Earl of Elgin, near the Treasury of
Atreus.'--_Elgin Coll._
Hard green limestone; height, 1 foot 6 inches; width, 3 feet 6
inches. Stuart, 2nd ed., IV., pl. 4, fig. 9; cf. pl. 5; Dodwell,
_Tour_, II., p. 232; Murray, I., p. 39; Wolters, No. 2.
[Illustration: Fig. 1.--Restored Capital from the 'Treasury of Atreus'
(after Puchstein).]
[Sidenote: =3.=]
Fragment from the 'Treasury of Atreus' at Mycenae. This fragment,
which is decorated with a portion of a wave pattern enclosed by two
mouldings meeting at an acute angle, is a part of one of the columns
that flanked the entrance to the building. These columns were
decorated with an elaborate system of ornament, composed of zigzag
bands of the wave pattern, best understood on reference to drawings of
the complete column (_cf._ fig. 1). The tubular drill has been used as
in No. 1.--_Presented by the Institute of British Architects_, 1843.
Hard green limestone; height, 11 inches; width, 9 inches. For
drawings of the restored column, with its capital (formerly taken
for the base) compare Stuart, 2nd ed., IV., pl. 4, figs. 1-5, pl.
5. Dodwell, _Tour_, II., pl. facing p. 232; Murray, I., p. 40;
Puchstein, _Das Ionische Capitell_, p. 50. For fragments of the
capital, see Gell, _Itinerary_, pl. 7; Mitchell, p. 145, fig. 70.
[Sidenote: =4.=]
Fragment from the 'Treasury of Atreus' at Mycenae. This is a part
of the lower member of the capital of a pilaster flanking the great
doorway (_cf._ fig. 1).--_Presented by the Institute of British
Architects_, 1843.
Hard green limestone; height, 3-1/2 inches; width, 10 inches.
Puchstein, _Das Ionische Capitell_, p. 50.
[Sidenote: =5.=]
Fragment of relief. Head and shoulder of rampant lion. From the shape
of the fragment it appears to have been a part of a triangular relief
filling the space above a doorway. (Compare No. 1 and the Gate of
Lions at Mycenae.) The lion's paw is extended as if towards another
lion confronting him. A pattern is drawn in fine lines on the
shoulder. Behind the lion is a branch of laurel.
[Illustration: Fig. 2.--Relief from Mycenae (?), No. 5.]
A part of this relief has been exposed to a corroding influence, which
has acted uniformly on the surface, so that the design is sunk, but
not obliterated.--_Mycenae (?)_ _Elgin Coll._
Limestone; height, 1 foot 10-1/4 inches; width, 2 feet 2 inches.
_Synopsis_, No. 204 (158). Murray (2nd ed.), I., p. 61.
[Sidenote: =6.=]
Fragment of relief. Forelegs and part of body of bull standing to
left. A joint is worked in the stone, in front of the bull.--_Mycenae
(?)_ _Elgin Coll._
Green limestone, closely resembling that of No. 5, but not
identical with it. Both are composed principally of flakes of
mica, which are, however, larger and more abundant in No. 6 than
in No. 5. Height, 1 foot 4-1/2 inches; width, 2 feet 5 inches.
_Synopsis_, No. 224 (160).
[Illustration: Fig. 3.--Relief from Mycenae, No. 6.]
SCULPTURES FROM BRANCHIDAE.
The temple and oracle of Apollo at Didyma, near Miletus, in Asia
Minor, were from time immemorial in the hands of the priestly clan
of the Branchidae, whose name came to denote the place itself. This
temple was destroyed by the Persians--probably by Darius on the
suppression of the Ionian Revolt--about 495 B.C. (Herod. vi., 19. See,
however, Strabo, xiv., p. 634; xi., p. 518.) After its destruction,
the temple was not rebuilt till the time of Alexander. The temple was
connected with the harbour Panormos by the Sacred Way. Along this the
sculptures stood at intervals. They are dedicatory offerings made to
Apollo, probably by the persons represented.
The following are the materials for fixing the period to which the
sculptures of Branchidae must be assigned. It is certain that none of
them are later than the destruction of the temple by the Persians,
and the latest of them (No. 16) appears a generation earlier than
the works associated with that period. On the other hand, there is no
reason to place the oldest before the early part of the sixth century
B.C. Thus these sculptures cover the period of (say) 580-520 B.C.
On epigraphic grounds, the date may be more closely defined. It is
believed that the older form for [Greek: e E (TN: drawn as 2 vertical
boxes)] was changed to H (TN: E =Eta) shortly before 550 B.C. By this
criterion, Nos. 10, 17, belong to an older group, and No. 14 to a
later group. An inscribed base now in the British Museum with the name
of an artist, Terpsicles, also belongs to the older group (Roehl,
_I.G.A._, 484). It has been suggested that Chares of Teichioussa (No.
14) was one of the local tyrants who were established after the
destruction of the kingdom of Croesus (546 B.C.), and this agrees well
with the epigraphical evidence.
The statues of Branchidae are of interest because they exhibit the
process by which the grotesque coarseness of primitive work tends
towards the stiff and formal refinement that marks the later stage of
archaic art. The series in the British Museum breaks off before
the second stage has been completely attained, but it can be well
supplemented by a seated female figure from Miletus, now in the Louvre
(Rayet et Thomas, _Milet et le Golfe Latmique_, pl. 21).
The sculptures of the Sacred Way were discovered by Chandler in
1765 (_Antiqs. of Ionia_, 1st ed., I. p. 46; Chandler, _Travels in
Asia Minor_, 1775, p. 152). They were more accurately examined by
Gell, and the second _Dilettanti_ expedition in 1812 (_Antiqs. of
Ionia_, 2nd ed., 1821, Part I., p. 29, vignette, and ch. III.,
pl. 1; Mueller, _Denkmaeler_, I., pl. 9, fig. 33). A more accurate
sketch was made by Ross (_Arch. Zeit._, 1850, pl. 13). Such of
the sculptures as could be found in 1858 were removed by Sir C.
Newton; Newton, II., p. 527. On the inscriptions see Kirchhoff,
_Studien_, 4th ed., pp. 19, 25.
[Sidenote: =7.=]
Female figure, seated on a chair, with her hand resting on her knees.
The head is wanting, and the upper part of the body is much mutilated.
The figure wears a long chiton, with sleeves, and a diploidion.
The feet of this figure (as of all the other figures) are bare. The
drapery falls down in front of the legs in stiff conventional folds.
The sleeve, however, of the chiton is worked in a more natural manner.
There are remains of a key-pattern on the sides of the cushion of the
chair.--_Sacred Way, Branchidae._
Parian marble; height, 3 feet 9 inches. Mansell, No. 607.
[Sidenote: =8.=]
Male figure, seated on a chair, with his hands resting on his knees.
The head, shoulders, left forearm, and hand are wanting. The figure
wears a long chiton with sleeves and a mantle. The lower part of the
chiton is entirely conventional, but parts of the mantle, and the
outlines of the arms are worked after nature. On the ends of
the cushion there is a pattern of zigzag lines.--_Sacred Way,
Branchidae._
Parian marble; height, 3 feet 11-1/4 inches. Newton, II., p. 534;
Mansell, No. 604 (left).
[Sidenote: =9.=]
Female figure, seated on a chair with hands resting on her knees. The
right hand is wanting, and also the toes and front of the base, which
seem to have been attached separately. The figure wears a long chiton
and a mantle, which passes over the back of the shoulders, under the
right arm, and in both directions across the left shoulder. Neither
garment has indications of fold, and the edges are conventionally
treated. The face, as far as can be seen, was full and thick. The hair
falls in pointed tresses, the undulations of which are indicated in a
conventional manner. The right ear is finished with care. This
chair has no cushion, the drapery of the figure being seen under the
arms.--_Sacred Way, Branchidae._
Parian marble; height, 5 feet 2 inches. Newton, I., pl. 75 (2nd
from right); Rayet et Thomas, _Milet et le Golfe Latmique_, pl.
26 (right); Overbeck, _Gr. Plast._, 3rd ed., I., p. 94, fig. 11c;
Wolters, No. 7.
[Sidenote: =10.=]
Male figure, seated on a chair, with the right hand resting on the
right knee, and the left hand beside the left thigh. The head, and the
fingers of the left hand are wanting. The figure wears a chiton with
sleeves, and a mantle, which passes round the body, under the right
arm, and passes in both directions over the left shoulder, so as
to hang down in folds over the knees. The ends of the cushion, the
sleeves of the chiton, and a part of the chiton seen on the left knee,
are decorated with the key pattern.
On the left arm of the chair is the inscription: [Greek: Eudemos me
epoie(i)n]--"Eudemos made me."--_Sacred Way, Branchidae._
Parian marble; height, 5 feet 1 inch. Newton, I., pl. 75 (right);
pl. 97, No. 71; II., p. 534; p. 783; Kirchhoff, _Studien_, 4th
ed., p. 26; Roehl, _I.G.A._, 485; Roberts, _Greek Epigraphy_, p.
162.
[Sidenote: =11.=]
Male figure, seated on a chair, with left hand on left knee, and
right hand, with palm turned upwards, on right thigh. The head, right
shoulder, and right hand are wanting. The figure wears a chiton with
sleeves, and a mantle. The folds of the lower parts are entirely
conventional, but those of the upper part of the chiton are indicated
by delicate wavy grooves. The hair falls behind in tresses which are
cut off square on the shoulders.--_Sacred Way, Branchidae._
Parian marble; height, 4 feet 4 inches; Newton, I., pl. 74
(right); Mansell, Nos. 603 (left), 604 (right).
[Sidenote: =12.=]
Male figure, seated on a chair, with left hand resting on left knee,
and right hand, with palm turned upwards, by right knee. The head,
shoulders, and breast, and the right hand are wanting. The figure
wears a chiton with sleeves, and a mantle, which passes under
the right arm, while the ends cross the left shoulder in contrary
directions. The artist has attempted to render the fine folds of the
upper part of the chiton.
The four legs of the chair are decorated with a design which appears
to be developed from the lotus bud, and is seen on Assyrian reliefs.
On the back of the top rail of the chair is the late inscription:
[Greek: Nike Glaukou], which is either "Nike, daughter of Glaukos,"
or, perhaps, a formula of the Christian period, "Victory of
Glaukos!"--_Sacred Way, Branchidae._
Parian marble; height, 5 feet. Newton, I., pl. 97, No. 73; II.,
p. 531, fig. 2; p. 787; Kirchhoff, _Studien_, 4th ed., p. 20.
[Sidenote: =13.=]
Male figure seated on a chair, with left hand resting on left knee,
and right hand, with palm turned upwards, by the right thigh. The
head and the right hand are wanting. The figure wears a chiton, and a
mantle which passes round the body under the right arm, and passes in
both directions over the left shoulder, so as to hang down in folds
before the knees. The artist has attempted to render the fine folds of
the upper part of the chiton, and has decorated the front legs of the
chair as in No. 12. The statue has been broken and repaired in ancient
times with lead cramps.--_Sacred Way, Branchidae._
Marble; height, 4 feet 8 inches. Newton, pl. 75 (second from
left); II., p. 531, fig. 1; Mansell, No. 605; Overbeck, _Gr.
Plast._, 3rd ed., I., p. 94, fig. 11b.
[Sidenote: =14.=]
Statue of Chares, a male figure, seated on a chair, with left hand
resting on left knee, and right hand, with palm turned upwards, by the
right thigh. The head and hands are wanting. The figure wears a chiton
with sleeves and a mantle which passes under the right arm, while the
ends pass in contrary directions over the left shoulder. The sleeves
of the chiton are bordered with a key pattern, which is doubled along
the seam.
On the right leg of the chair is the inscription:
[Illustration: [Greek: Chares eimi ho Kle(i)sios Teichio(u)s(s)es
archos . agalma to(u) Apollonos.]]
"I am Chares, son of Kleisis, ruler of Teichioussa. The statue is the
property of Apollo."--_Sacred Way, Branchidae._
Parian marble; height, 4 feet 10 inches. Newton, pl. 74 (left);
pl. 97, No. 72; II., pp. 532, 784; Mansell, No. 614; Rayet et
Thomas, _Milet et le Golfe Latmique_, pl. 25; Dieulafoy,
_L'Art Antique de la Perse_, Part III., pl. 15; Wolters, No.
6; Kirchhoff, _Studien_, 4th ed., p. 19; Roehl, _I.G.A._, 488;
Roberts, _Greek Epigraphy_, p. 163; _Palaeographical Society,
Facsimiles_, I., No. 76.
[Sidenote: =15.=]
Male figure, seated on a chair, with left hand on left knee, and right
hand by right thigh. The head and right hand are wanting. The figure
wears a chiton with sleeves and a mantle which passes under the right
arm, while the ends cross the left shoulder in contrary directions.
The fine folds of the upper part of the chiton are indicated.--_Sacred
Way, Branchidae._
Parian marble; height, 4 feet 2 inches.
[Sidenote: =16.=]
Female figure, seated on a chair, with hands on her knees. The
head and feet are wanting. The figure wears a sleeved chiton with a
diploidion and a veil. The sleeves terminate with long folds. The veil
falls down over the shoulders, in numerous folds.
In attempting to indicate the legs with greater detail than his
predecessors, the artist has rendered them as if they were nude;
but in naturalness and freedom this statue is conspicuously the most
advanced of the series.--_Sacred Way, Branchidae._
Parian marble; height, 4 feet. Newton, pl. 75 (left); Mansell, No.
603 (right); Rayet et Thomas, _Milet et le Golfe Latmique_, pl.
26 (left); Overbeck, _Gr. Plast._, 3rd ed., I., p. 94, fig. 11a;
Wolters, No. 7.
[Sidenote: =17.=]
Lion, recumbent, with right fore-paw passing in front of the body, and
with left paw laid over it. The hind quarters are half turned over,
the animal lying on the right haunch. The head is wanting. The mane
is rendered by stiff pointed locks of hair of conventional form. The
pose, however, of the animal shows careful study of nature.
On the flank is the inscription:
[Illustration]
1. [Greek: Ta agalmata tade anethesan hoi Or-
ionos paides to(u) archego(u), Thales
kai Pasikles kai Hegesandros k[a]i Eu-
bios kai Anaxileos, de[ka]ten to A-
5. pol(l)oni.]
"The sons of Orion, the governor, Thales, Pasicles, Hegesander, Eubios
and Anaxileos dedicated these statues as a tithe to Apollo."--_Sacred
Way, Branchidae._
Marble; height, 2 feet 6-1/4 inches; length, 7 feet. Newton, I.,
pl. 97, No. 66; II., p. 777; Kirchhoff, _Studien_, 4th ed., p. 26;
Roehl, _I.G.A._, 483; Roberts, _Greek Epigraphy_, p. 161; Mansell,
No. 615.
[Sidenote: =18.=]
Sphinx or lion, recumbent. This figure has been called a Sphinx or a
lion-sphinx. The distinguishing marks of a Greek Sphinx are wanting,
as the head is lost, and the figure is wingless.--_Sacred Way,
Branchidae._
Marble; height, 4 feet 2 inches; length, 6 feet 11-1/2 inches.
_Antiqs. of Ionia_, 2nd ed., I., p. 29; Ross, _Arch. Zeit._, 1850,
p. 132; Mueller, _Denkmaeler_, I., pl. 9, No. 33; Newton, II., p.
535; Milchhoefer, _Athenische Mittheilungen_, IV., p. 50.
[Sidenote: =19.=]
Beardless male head, from an archaic statue. The left shoulder
is preserved. The hair falls in tresses, as in the case of No.
9.--_Branchidae._
Marble; height, 1 foot 3 inches; Rayet et Thomas, _Milet et le
Golfe Latmique_, pl. 27.
[Sidenote: =20.=]
Female head (unfinished (?)) from an archaic statue. The figure wears
a veil which covers the whole of the head, except the face. The ears
are indicated beneath the veil.--_Branchidae._
Marble; height, 9 inches.
[Sidenote: =21.=]
Relief, with figures moving to the right, in a dance. It is incomplete
at both ends, and appears to have been part of a frieze formed of
several slabs. On the left are a woman and a man joining hands. On
the right is a woman between two men; of the man on the right only the
right leg is preserved. The right hand of the woman is seen behind,
while her left hand is held by the man before her. The man on the left
of this group has some object, perhaps a cup, in his right hand
which is stretched out behind him. Between the two groups, and in the
background, a woman rushes to the right, holding branches (?) in her
raised hands.
The men are considerably larger than the women. The women wear a plain
chiton, the men a chiton and mantle. All have bracelets, and long
hair, which falls in a peculiar manner over the forehead; one wears
a taenia, the remainder have stephanae. All the limbs are indicated
under the draperies, even those of the figures in the background,
which are seen through their own draperies and those of their
companions.--_Presented by J. Scott Tucker, Esq., R.N. Karakewi
(Teichioussa), near Branchidae._
Marble; height, 1 foot 9 inches; width, 2 feet 11 inches. Rayet et
Thomas, _Milet et le Golfe Latmique_, pl. 27; Brunn, _Denkmaeler_,
No. 101 B.
SCULPTURES FROM LYDIA.
The following sculptures were found in 1882 by Mr. George Dennis,
C.B., in one of the tumuli at Bin Tepe, near Sardes. Perrot (v., p.
904) suggests that they may have been part of a series of reliefs of
a hunting scene, decorating the sepulchral chamber. The date is
uncertain, but the reliefs may well be earlier than the fall of
Croesus.
[Sidenote: =22.=]
Relief. Three horsemen moving to the right. They wear large helmets
and cuirasses, with shoulder plates, and carry spears.
The figures are cut in a narrow panel, and appear to have served an
architectural purpose.--_Bin Tepe, Sardes._
Marble; height, 7-1/4 inches; width, 1 foot 5 inches. Perrot and
Chipiez, V., p. 903, fig. 535; Murray, _Gr. Sculpt._, 2nd ed., I.,
p. 107.
[Sidenote: =23.=]
Relief. Three deer, moving to the right, grazing. From a panel nearly
similar to the preceding.--_Bin Tepe, Sardes._
Marble; height, 6-3/4 inches; width, 1 foot 4 inches. Perrot and
Chipiez, V., p. 904, fig. 536; Murray, _Gr. Sculpt._, 2nd ed., I.,
p. 107.
SCULPTURES FROM EPHESUS.
The great temple of Artemis (or Diana), at Ephesus, which ranked among
the seven wonders of the ancient world, was built in the middle of the
4th century B.C. It was, according to tradition, the latest of a long
series of buildings. Not fewer than eight successive temples have been
enumerated by Falkener (_Ephesus_, p. 214; cf. Pliny, _H. N._, xvi.,
213). The excavations, however, have only produced the remains of two
temples. The earlier of the two, which is here described, is
probably that which was begun early in the sixth century B.C., by
the architects Theodoros, Chersiphron and Metagenes, was in course of
construction during the reign of Croesus (Brunn, _Gr. Kuenstler_, ii.,
p. 382), and was burnt by Herostratos on the night of Alexander's
birth (356 B.C.). The later temple, the remains of which are exhibited
in the Ephesus Room, was then built to replace that which had been
burnt; and the excavations have proved the interesting fact that the
most remarkable features of the later temple were borrowed from its
predecessor.
The extant fragments of the early temple were found by the late Mr.
J. T. Wood, in excavations which he carried on at Ephesus for the
Trustees of the British Museum. These fragments had, for the most
part, been used as building materials, and were extracted from certain
massive piers which rested against the foundations of the walls of the
temple cella. Mr. Wood assigned the piers to the Byzantine period, but
only adduced evidence to show that they were later than the walls of
the temple. It is therefore possible that they may have been added at
an early period, to strengthen the foundations.
Wood, _Ephesus_, pp. 190, 259. For the reconstruction of the
archaic temple, see _Journ. of Hellen. Studies_, X. (1889), p.
1 (A. S. Murray). The material is a finely-grained marble, with
occasional strongly marked blue veins.
ARCHITECTURAL FRAGMENTS.
[Sidenote: =24.=]
Part of a wall-stone from the archaic temple.
Length, 2 feet 7-1/2 inches; width, 1 foot 8 inches.
[Sidenote: =25.=]
Capital of Ionic column. Several fragments have been discovered,
from which it is possible to reconstruct with tolerable certainty the
capitals and necking of the columns of the archaic temple.
_Journ. of Hellen. Studies_, X., p. 8.
[Sidenote: =26.=]
Fragment of volute from cap of column. The groove between two
mouldings is filled with two strips of lead to which gold leaf is
attached.
Length, 7 inches. Wood, _Ephesus_, p. 245; _Journ. of Hellen.
Studies_, X., p. 9.
[Sidenote: =27.=]
Fluted fragment of column. The drum to which this fragment belonged
was 4 feet 3 inches in diameter, and had 40 flutings.
Height, 1 foot 10 inches; width, 3 feet 6 inches.
[Sidenote: =28.=]
Fragment of the base of an unfinished column, with torus moulding and
horizontal flutings only partially carried out.
Height, 1 foot 4 inches; width, 3 feet. _Journ. of Hellen.
Studies_, X., p. 5, part of fig. 3_b_.
[Sidenote: =29.=]
Base of sculptured column. The column has necessarily been
reconstructed from various fragments, which cannot be proved to have
belonged originally to the same column, but the combined fragments
serve to give a general idea of the appearance of the column. (Plate
I.)
[Sidenote: 1.]
The sculpture is surmounted by an egg and tongue moulding 11-1/2
inches high, which is not shown in the plate, _Journ. of Hellen.
Studies_, x., pl. 3. There are considerable remains of red paint.
[Sidenote: 2.]
Immediately below the sculptures is a moulding, which contains
fragments inscribed as follows:
[Greek: BA KR AN EN],
which have been restored as [Greek: Ba[sileus] Kr[oisos]
an[ethek]en.] 'King Croesus dedicated (the column).' It is known
from a statement of Herodotus that Croesus gave most of the
columns of the temple at Ephesus [Herod. i. 92, [Greek: Kroiso de
esti kai alla anathemata en te Helladi polla ... en de Epheso hai
te boes hai chryseai kai ton kionon hai pollai]]. It is probable
that the columns were inscribed with dedicatory inscriptions,
of which we here have fragments. The later temple had a similar
series of inscriptions. The columns offered by Croesus must be
earlier than the date of his fall, 546 B.C. The inscriptions are
no doubt of the same age as the columns, and they may have been
seen by Herodotus (Hicks, _Greek Inscriptions in Brit. Mus._,
dxviii.).
[Sidenote: 3.]
Below the moulding is the restoration of an early Ionic base.
(_Journ. of Hellen. Studies_, x., pl. 3, and p. 8).
The following fragments are inserted in the restoration of the
sculptured base:--
[Sidenote: 4.]
Upper part of male figure in high relief standing to the right,
wearing a close-fitting tunic, with sleeves to the elbows, and
having a lion's skin about the body and with long hair. The upper
part of the face is broken away. The right arm was bent at the
elbow, and crossed the body.
Height, 2 feet. _Journ. of Hellen. Studies_, X., pl. 3.
[Sidenote: 5.]
Lower part of male figure in high relief standing to the right,
wearing what appears to be a himation, falling to the knees.
Height, 3 feet 3 inches. Murray, I., p. 112; _Journ. of
Hellen. Studies_, X., pl. 3.
[Sidenote: 6.]
Female head, to the right, in high relief. The hair is enclosed
by a diadem, and falls down on the shoulders. A large circular
earring in the right ear. There are considerable remains of dark
red paint in the hair. The chin is broken away.
Height, 1 foot 1/2 inch. Murray, I., p. 111.
[Sidenote: 7.]
Middle part of a female figure, to the right, in high relief. The
figure wears a tunic, tied with a narrow girdle, and a diploidion
which fell in long folds at the sides. A key-pattern was painted
on the central fold of the dress.
Height, 1 foot 2 inches.
The following fragments from the bases of the columns, are not
inserted in the restoration:--
[Sidenote: =30.=]
Fragment, in high relief, of the head and shoulders of a figure, from
the drum of a column. The front surface is broken away, but the figure
appears to have looked to the front, with long hair falling on the
shoulders, which are draped.
Height, 1 foot 3 inches.
[Sidenote: =31.=]
Fragment, in high relief, of the right thigh of a draped figure,
standing to the right.
Height, 1 foot 1-1/2 inches. Worked above with a bed for another
drum.
[Sidenote: =32.=]
Middle part of a draped figure to the left in high relief. The figure
wears a tunic with sleeves and himation. The left hand is pressed
close to the thigh.
This fragment is similar in style to the sculptures on the columns,
but must have come from a rectangular base, corresponding to the
rectangular bases in the later temple.
Height, 1 foot 2 inches. Murray, I., p. 113.
[Sidenote: =33.=]
Fragment of a head containing the middle of the face. A straight edge
is worked along the left cheek.
Height, 8-1/2 inches.
[Sidenote: =34.=]
Fragment of the left side of a female head, wearing a band across the
forehead, a veil, and a circular earring. Some red on the lips.
Height, 9-1/2 inches.
[Sidenote: =35.=]
Fragment of the upper part of a head, wearing a close-fitting veil,
with curls between the veil and the forehead.
Height, 4 inches.
[Sidenote: =36.=]
Fragment of the right side of a head, containing the cheek, ear, and a
part of a veil which falls behind the ear.
Height, 8 inches.
[Sidenote: =37.=]
Fragment of a head, containing the left ear, and wearing a veil; hair
falls down at the back of the head.
Height, 6 inches.
[Sidenote: =38.=]
Fragment of a head, similar to the last.
Height, 9-1/2 inches.
[Sidenote: =39.=]
Fragment of the left side of a head, turned to the left, and wearing a
veil. It contains a part of the ear and eye.
Height, 6 inches.
[Sidenote: =40.=]
Fragment from the top of a head, with hair.
Height, 6 inches.
[Sidenote: =41.=]
Fragment from the right side of a head, with part of the neck, and
hair falling down. The hair is coloured red.
Height, 3-1/2 inches.
[Sidenote: =42.=]
Fragment, from the right side of a head, containing the top of the ear
and hair falling over it.
Height, 4 inches.
[Sidenote: =43.=]
Fragment of drapery, terminating in zigzag folds.
Height, 7-1/2 inches.
[Sidenote: =44.=]
Fragment of drapery, with the bottom of several folds. It has an
incised maeander, as in No. 29, 7, and a palmette ornament painted in
red.
Height, 6 inches.
[Sidenote: =45.=]
Fragment of the lower moulding of a sculptured base, with a left great
toe to the right, and the remains of a rectangular object rising from
the moulding.
Height, 6-1/2 inches; width, 1 foot 6-1/2 inches.
THE CORNICE OF THE ARCHAIC TEMPLE.
The restoration of the Sculptured Cornice, which has been built up
from the small fragments excavated by Mr. Wood, is certainly accurate
in its general outlines, although the result is quite unique in form.
In place of the small cornice with floral decorations, common in later
temples (compare the cornice from Phigaleia, No. 505), the archaic
temple of Artemis was surmounted by a lofty cornice, 2 ft. 10-3/4 in.
high. Lions' heads projected at intervals, and drained off the
rain water. The intervals between the lions' heads were occupied by
metope-like compositions, carved in a delicate early style.
The original frieze probably extended along the two long sides of the
temple. The existing remains are small portions of at least thirty
figures. It is therefore impossible to reconstruct the separate groups
with much certainty, although the subjects can, to a certain extent,
be conjectured. An attempted restoration of a combat between a Lapith
and a Centaur is exhibited. The frieze also included chariots and
horses; warriors in chariots, and on foot; and perhaps scenes with
Harpies.
The central group on the cornice with the combat of a Centaur and
Lapith is composed of the following fragments. See _Journ. of Hellen.
Studies_, x., p. 2, for sketches of No. 46, 1-18.
[Sidenote: =46.=]
[Sidenote: 1.]
Fragment with the forelegs, which are human, and the hind hoof of
a kneeling Centaur. In front the greaved left leg of a Lapith.
Height, 7 inches; width, 1 foot 7 inches. _Journ. of Hellen.
Studies_, X., pl. 4, fig. 6.
[Sidenote: 2.]
Hand with branch, from top of cornice, presumed to be the hand of
a Centaur.
Height, 4 inches; width, 5-1/2 inches.
[Sidenote: 3.]
Part of branch, from top of cornice.
Height, 3 inches; width, 8 inches.
[Sidenote: 4.]
Back of head of Lapith, to left, with part of top moulding of
cornice. Short curling hair.
Height, 5 inches; width, 6 inches.
[Sidenote: 5.]
Lower part of cuirass of Lapith worn over a short tunic.
Height, 3 inches; width, 8-1/2 inches.
Two female figures are placed as spectators on each side of the
combat. On the left the remains are:--
[Sidenote: 6.]
Part of a female head, turned to the right, and wearing a taenia.
Height, 4-1/2 inches; width, 4-1/2 inches.
[Sidenote: 7.]
Part of drapery of standing female figure.
Height, 4 inches; width, 6 inches.
[Sidenote: 8.]
Feet of standing female figure, wearing shoes, with slightly
turned-up toes, and three bands across each shoe.
Height, 6 inches; width, 7-1/2 inches.
The remains of the figure on the right of the group are:--
[Sidenote: 9.]
Upper part of female head to the left, wearing a diadem.
Height, 3 inches; width, 5 inches.
[Sidenote: 10.]
Part of middle of female figure, standing to the left, wearing
chiton and himation. The left hand by the side.
Height, 3-1/2 inches; width, 8-1/2 inches.
The following fragments have also been inserted in the restored
cornice:--
[Sidenote: 11.]
Head of youth, to the left, with short hair.
Height, 3 inches; width, 6 inches. _Journ. of Hellen.
Studies_, X., pl. 4, fig. 1.
[Sidenote: 12.]
Upper part of female head, to the left. The chief mass of the hair
is confined by a peaked cap, the ends passing out through the top.
A part of the hair terminates in short curls round the forehead,
and part falls down in front of the ears. A laurel wreath
surrounds the cap.
Height, 4 inches; width, 6 inches. _Journ. of Hellen.
Studies_, X., pl. 4, fig. 2.
[Sidenote: 13.]
Right foot and part of skirt of female figure walking, to the
right.
Height, 9 inches; width, 8 inches.
[Sidenote: 14.]
Right foot of a figure standing, to the left.
Height, 3 inches; width, 4-1/2 inches.
[Sidenote: 15.]
Part of the back of the head and the shoulders of a figure
standing with his back turned to the front. He wears a chiton, and
the hair falls in curls on his shoulders.
Height, 5 inches; width, 5 inches. _Journ. of Hellen.
Studies_, X., pl. 4, fig. 3.
[Sidenote: 16.]
Fragment containing the legs of a figure standing with back turned
to the front, perhaps a part of the figure described in the last
number. The right leg wears a greave. This fragment also contains
the right thigh of a figure kneeling to the front.
Height, 10 inches; width, 1 foot 2 inches.
The restored part of the cornice also contains:--
[Sidenote: 17.]
Lion's head. The front and lower parts of the face are wanting.
Height, 10 inches; width, 1 foot 2 inches.
[Sidenote: 18.]
Lion's head. The front of the upper jaw is wanting. Red paint in
the ears and the mouth.
Height, 1 foot 6 inches; width, 1 foot 7 inches.
The following are the principal fragments, from the cornice, not
inserted in the restoration:--
_Male Figures, turned to the Right._
[Sidenote: =47.=]
[Sidenote: 1.]
Parts of head and breast of figure, with helmet, tunic, and
cuirass (?). Long hair falls over the shoulder.
Height, 7 inches; width, 7 inches. _Journ. of Hellen.
Studies_, X., pl. 4, fig. 5.
[Sidenote: 2.]
Part of helmet, and top edge of cornice; also the fingers of the
right hand of the figure, throwing a spear (?).
Height, 2-1/2 inches; width, 6 inches.
[Sidenote: 3.]
Right shoulder, covered with shoulder plates.
Height, 4-1/2 inches; width, 7 inches.
[Sidenote: 4.]
Left thigh, bent at knee; a corner of drapery falls on the thigh;
wears greave.
Height, 6 inches; width, 7 inches.
[Sidenote: 5.]
Right knee of figure advancing to right; behind, the leg, wearing
a greave, of a fallen warrior (?).
Height, 5-1/2 inches; width, 5 inches.
[Sidenote: 6.]
Knees of a prostrate warrior, wearing greaves, trodden down by a
horse's hoof.
Height, 3 inches; width, 7 inches.
[Sidenote: 7.]
Knee wearing greave, slightly bent.
Height, 4 inches; width, 3-1/2 inches.
[Sidenote: 8.]
Left knee, partly covered with drapery.
Height, 3 inches; width, 3-1/2 inches.
_Male Figures to the Left._
[Sidenote: 9.]
Upper part of helmeted head with vizor raised.
Height, 3-1/2 inches; width, 5-1/2 inches.
[Sidenote: 10.]
Upper part of helmet, with projecting horn.
Height, 2-1/2 inches; width, 5-1/2 inches.
[Sidenote: 11.]
Back of neck and lower part of helmet.
Height, 2-1/2 inches; width, 5 inches.
[Sidenote: 12.]
Hips of a draped male (?) figure.
Height, 4 inches; width, 8-1/2 inches.
[Sidenote: 13.]
Right forearm of a figure lying prostrate, with head to the right
and with the arm bent at the elbow.
Height, 4 inches; width, 8 inches.
[Sidenote: 14.]
Right leg, wearing greave, of a figure striding to the left.
Height, 5 inches; width, 9-1/2 inches.
[Sidenote: 15.]
Right arm, extended, wearing a shield.
Height, 4 inches; width, 7 inches.
_Figures with the Back turned to the Front._
[Sidenote: 16.]
Shoulders and upper part of back of a figure wearing a chiton.
Height, 5 inches; width, 8-1/4 inches.
[Sidenote: 17.]
Shoulders and upper part of back of a figure wearing a chiton
across the right shoulder only.
Height, 3 inches; width, 8-1/2 inches.
_Female Figures to the Right._
[Sidenote: 18.]
Lower moulding of cornice, with the right foot and lower edge of
the drapery of a figure moving to the right.
Height, 8 inches; width, 1 foot 3 inches.
[Sidenote: 19.]
Lower moulding of cornice with the left foot and part of the
drapery of a figure moving to the right.
Height, 5 inches; width, 7-1/2 inches.
_Female Figure to the Front._
[Sidenote: 20.]
Part of the right arm, extended, and wearing a shield (?). A short
sleeve reaches to the elbow, coming from beneath a shoulder plate.
Height, 4 inches; width, 8 inches.
_Female Figures to the Left._
[Sidenote: 21.]
Fragment of a figure turned to the left, with fine delicate
drapery (?).
Height, 3-1/2 inches; width, 6 inches.
[Sidenote: 22.]
Left hand, beside the thigh, holding a fold of drapery.
Height, 3 inches; width, 9 inches.
[Sidenote: 23.]
Fragment of a draped figure, containing the legs between the knees
and the ankles.
Height, 4 inches; width, 4 inches.
_Fragments of Chariot Groups, and Horses._
[Sidenote: 24.]
Left knee and part of the left thigh of a figure stepping to the
right into a chariot. The figure wore a short chiton, probably
under a cuirass, and greaves. Part of the inside of the chariot is
painted red.
Height, 4 inches; width, 9-1/2 inches.
[Sidenote: 25.]
Fragment containing the hips of a male figure, stepping to the
left into a chariot. The figure wears a chiton beneath a cuirass,
and perhaps holds a spear.
Height, 4 inches; width, 7-1/2 inches.
[Sidenote: 26.]
Right hand closed and holding a rein (?).
Height, 2 inches; width, 5-1/2 inches.
[Sidenote: 27.]
Right arm of a youthful nude figure holding the reins of a horse
standing to the left, whose head is half turned to the front.
Height, 7 inches; width, 1 foot 1 inch. _Journ. of Hellen.
Studies_, X., pl. 4, fig. 4.
[Sidenote: 28.]
Part of a horse's head to the left, with ear and mane.
Height, 4 inches; width, 7-1/2 inches.
[Sidenote: 29.]
Back of a horse to the left, with a narrow thong tied about it.
Height, 4-1/2 inches; width, 7 inches.
[Sidenote: 30.]
Part of the hind legs of a horse to the left.
Height, 7-1/2 inches; width, 6 inches.
[Sidenote: 31.]
Two hoofs, side by side, as of the horses in a biga.
Height, 4 inches; width, 5 inches.
[Sidenote: 32.]
Part of lower moulding of cornice, and of chariot wheel. The
moulding and the wheel are painted red, and the ground of the
relief bright blue.
Height, 10 inches; width, 1 foot 6 inches.
[Sidenote: 33.]
Part of a chariot wheel, and of the body of a chariot, painted
red.
Height, 6 inches; width, 8 inches.
[Sidenote: 34.]
Left hand grasping the leg of a horse, or of a Centaur (?). The
ground is blue and red.
Height, 4 inches; width, 6-1/4 inches.
[Sidenote: 35.]
Fragment of a horse's tail, and part of the body of a chariot (?).
Height, 3 inches; width, 3-1/2 inches.
_Figures of Harpies (?)._
Certain fragments, which are not easily deciphered, appear
to belong to groups of winged draped beings, perhaps Harpies,
carrying off diminutive figures. The snakes in Nos. 36-38 suggest
the aegis of Athene; but if No. 38 is correctly interpreted, some
Gorgon-like figure must be imagined.
[Sidenote: 36.]
Neck and chin of a figure to the left, having a large circular
earring, and a fringe of snakes round the neck.
Height, 3-1/2 inches; width, 8 inches.
[Sidenote: 37.]
Fragment with snakes.
Height, 1-1/2 inches; width, 5 inches.
[Sidenote: 38.]
Left hand of the figure No. 36 holding a draped figure under
the knees. The right arm must be supposed to have supported the
smaller figure, near the shoulders. To the right is part of a
pendent wing.
Height, 3 inches; width, 9 inches.
[Sidenote: 39.]
Fragment with extremities of hair, and the beginning of a large
wing, curving upwards.
Height, 3-1/2 inches; width, 5 inches.
[Sidenote: 40.]
Fragment, apparently of the same wing as No. 39.
Height, 3-1/2 inches; width, 6 inches.
[Sidenote: 41.]
Fragment of draped thighs of a figure half kneeling to the left
with the right leg foremost. If the figure above described was
half kneeling in the usual early scheme for the Gorgon, this
fragment may well have belonged to it.
Height, 4 inches; width, 6 inches.
[Sidenote: 42.]
Fragment, perhaps from the same figure as the last.
Height, 3 inches; width, 5 inches.
[Sidenote: 43.]
Fragment of a winged, long-haired figure (?). The hair falls in a
mass on the tip of the wing.
Height, 7-1/2 inches.
[Sidenote: 44.]
Fragment of a Harpy, with a large bird's leg protruding from fine
drapery; behind, a part of a wing. Compare the Harpies on the
Harpy Tomb, No. 94.
Height, 6-1/2 inches; width, 10 inches.
[Sidenote: 45.]
Fragment, with the leg of a Harpy, to the right (?).
Height, 7 inches; width, 1 foot 3-1/2 inches.
_Miscellaneous Fragments._
[Sidenote: 46.]
Fragment of the lower moulding, and two legs of a pig or ox to the
right.
Height, 7 inches; width, 1 foot 1 inch.
[Sidenote: 47.]
Part of the leg of a chair. Traces of blue paint.
Height, 6 inches; width, 4-1/2 inches.
[Sidenote: 48.]
Part of the same leg of a chair as No. 47, and nearly joining it.
Traces of blue paint.
Height, 5-3/4 inches; width, 3-1/2 inches.
[Sidenote: 49.]
Part of the leg and seat of a chair.
Height, 5 inches; width, 5 inches.
[Sidenote: 50.]
Part of the front leg of the chair to which No. 47 belongs.
Height, 2-1/4 inches; width, 2 inches.
[Sidenote: 51.]
Unintelligible fragment, perhaps derived from the cornice.
Length, 1 foot; height, 6 inches; width, 7 inches.
_Fragments of Lions' Heads, from the Cornice._
[Sidenote: 52.]
Left side of lion's mane, with remains showing the attachment to
the cornice.
Height, 1 foot 3 inches.
[Sidenote: 53.]
Lion's head from the cornice(?). The mouth is closed. The lower
part is wanting.
Height, 1 foot 4 inches.
[Sidenote: 54.]
Upper part of lion's head from the cornice. Red paint on the mane.
Height, 11 inches; width, 1 foot 5 inches.
[Sidenote: 55.]
Right side of lion's head, from the cornice, with eye, ear, and
part of mane.
Height, 7-1/2 inches.
OTHER FRAGMENTS FROM EPHESUS.
[Sidenote: =48.=]
[Sidenote: 1.]
Fragment of the head of an ox, apparently projecting from a
background, in high relief. The head is seen in three-quarter face
to the left.
Height, 1 foot; width, 1 foot 5 inches.
[Sidenote: 2.]
Fragment of the head of an ox, including the forehead and eyes.
Apparently the head is seen in three-quarter face to the left, as
in the preceding.
Height, 10-1/2 inches; width, 1 foot 6 inches.
[Sidenote: 3.]
Fragment with part of the flank of an ox (?), springing from a
square base. Two horns intertwined (?) in relief on the side of the
fragment. If the explanation offered is correct, the animal must
have been part of an architectural member, such as occurs in the
temple of Hera at Samos (Stuart, 2nd ed., vol. iv., Kinnard on
Delos, pl. v.), or in the recently discovered bull's-head capital
from Salamis, in Cyprus (_Journ. of Hellen. Studies_, xii., p.
134).
Height, 1 foot 2-1/2 inches.
SCULPTURES FROM CARIA.
[Sidenote: =49.=]
A series of rude figures in stone and marble which are found in
primitive graves in the islands of the Aegean, and in Caria, have been
conjectured by archaeologists to be works of the early Carians. The
figures in question are for the most part utterly conventional and
gross representations of the female form. Male figures have also been
occasionally found, and more elaborate subjects, such as a seated
figure playing on the harp.
The specimens in the British Museum are exhibited in the First Vase
Room with the pottery found in the same deposits. They are described
in the _Guide to the First Vase Room_ (1883), p. 21, and in the
_Journ. of Hellen. Studies_, v., p. 50. Compare Perrot and Chipiez,
v., pp. 334, 905; _Journ. of Hellen. Studies_, ix., p. 82; _Athenische
Mittheilungen_, xvi., p. 46.
[Sidenote: =50.=]
Torso of female figure holding a dove between her breasts with the
left hand, and holding with the right hand a fold of drapery by
her right side. She wears a long dress, girt at the waist, with a
diploidion and sleeves. The head, and the legs from above the knees
are wanting.--_Theangela, in Caria._
Marble; height, 1 foot 3 inches.
[Sidenote: =51.=]
Beardless male head, having a considerable resemblance to No.
19.--_From the Temple of Apollo, Calymna._
Marble; height, 9 inches. Assigned by Collignon (_Gaz. Arch._,
1886, p. 239) to the same school as No. 205.
SCULPTURES FROM RHODES.
[Sidenote: =52.=]
Female head. The hair is parted over the middle of the head, and is
brought in waving ripples to the ears. At the back of the head it
is sketched in conventional lines. The head is bound with a
taenia.--_Rhodes._
Marble; height, 8-1/2 inches.
[Sidenote: =53.=]
Female head broken off at the top of the neck. The hair is brought
forward over each temple in a plait; a piece of linen is wound round
the head, passing under a band or diadem which encircles the head
behind the ear. The head-dress is arranged so as to leave on the top
of the head an aperture, through which the parting of the hair and a
top-knot are shown. Over the upper part of the ear hang what appear
to be three pendants; the lobe below is covered with an earring in the
form of a circular flower of seven leaves. On the fractured edge of
the neck are remains of drapery.--_Rhodes._
Limestone; height, 5 inches.
[Sidenote: =54.=]
Female figure seated in a chair, with footstool.--_Camiros._
Limestone; height, 4-1/8 inches.
[Sidenote: =55.=]
Naked male figure; the legs broken off above the knees. The palms
of the hands are placed against the thighs; the left leg has been
advanced; parts of the arms are wanting. The hair is drawn back from
the forehead in a smooth mass, and falls behind the ears over the nape
of the neck, where it is cut off square. There are traces of red above
the waist.--_Camiros._
Limestone; height, 10 inches.
[Sidenote: =56.=]
Naked male figure standing with the left foot advanced, and holding
with his right hand the right hind leg of a lion, whose tail he grasps
with his left hand. The head of this figure, the right arm and both
feet are wanting. From the waist to the hips the body has been painted
red all round. The lion has his tongue out; there are traces of red
colour about his mouth.--_Acropolis of Camiros._
Limestone; height, 10-1/4 inches.
[Sidenote: =57.=]
Fragment of a male figure from above the hips nearly to the knees.
The arms have been placed along the sides, with a hand on each
hip.--_Camiros._
Limestone; height, 4-1/4 inches.
[Sidenote: =58.=]
Upper part of a naked male figure broken off at the waist. The hair is
gathered into a thick mass behind the ears, and cut off square at the
nape of the neck; on the top of the head is a snake coiled. The arms
are broken away below the shoulders.--_Camiros._
Limestone; height, 5 inches.
[Sidenote: =59.=]
Upper part of female figure broken off above the waist. She wears a
wreath of upright leaves set between two plain horizontal bands; the
hair falls in a thick mass on each side of the neck. The arms are
broken away.--_Camiros._
Limestone; height, 4-3/4 inches.
[Sidenote: =60.=]
Draped male figure broken off below the knees. He wears chiton with
girdle and upper garment. With both hands this figure holds the young
of some quadruped, probably a kid, in front of his breast. His hair is
parted over his forehead, and falls behind the ears in a thick mass to
the nape of the neck.--_Camiros._
Limestone; height, 5-3/8 inches.
[Sidenote: =61.=]
Upper part of male figure from the base of the neck to the waist. In
the right hand this figure holds a small ibex against his breast. His
left arm is broken.--_Acropolis of Camiros._
Limestone; height, 4-1/5 inches.
[Sidenote: =62.=]
Lower part of a draped figure broken off at the waist. The left hand
holds by the forelegs a fawn, on the body of which the right hand
presses. Both arms are broken off below the elbow.--_Acropolis of
Camiros._
Limestone; height, 7 inches.
[Sidenote: =63.=]
Lower part of a draped figure broken off at the waist, and wearing a
chiton, which is bound with a girdle.--_Camiros._
Limestone; height, 1 foot.
[Sidenote: =64.=]
Lower half of draped figure wearing chiton. At the bottom of the skirt
are traces of a red border; the fingers of the left hand are placed
against the left hip.--_Camiros._
Limestone; height, 7-1/2 inches.
[Sidenote: =65.=]
Lower half of draped figure broken off above the knees. The left
hand has held against the side some object too indistinct to be made
out.--_Camiros._
Limestone; height, 6 inches.
[Sidenote: =66.=]
Lower half of draped figure broken off above the knees. In bad
condition.
Limestone; height, 4-1/8 inches.
[Sidenote: =67.=]
Draped male figure playing on the double flute, which he holds with
either hand. The band for strengthening the muscles used in blowing
the flute, _phorbeia_, is indicated by a red stripe; the chiton is
ornamented with a narrow red stripe on the shoulder down each side,
and round the hem.--_Camiros._
Limestone; height, 9 inches.
[Sidenote: =68.=]
Similar draped male figure playing on the double flute. The _phorbeia_
is indicated by a red stripe across the mouth; the headdress, probably
a wig, comes very low on the forehead, and falls in a thick mass on
the back of the neck. On the head-dress, eyebrows, and flutes, are
traces of black colour.--_Camiros._
Limestone; height, 7-3/8 inches.
[Sidenote: =69.=]
Upper part of draped male figure. In his right hand he holds a lotos
sceptre (?); his left arm hangs down by his left side. A thick mass of
hair falls on each side of the neck.--_Camiros._
Limestone; height, 4-1/2 inches.
[Sidenote: =70.=]
Androsphinx seated on a plinth. On the head are the combined crowns of
Upper and Lower Egypt; in front is a collar, or pectoral; on the
crown are traces of red colour. This Sphinx is a pseudo-Egyptian
work.--_Acropolis of Camiros._
Limestone; height, 5 inches.
[Sidenote: =71.=]
Androsphinx seated on a plinth. On the head are the crowns of Upper
and Lower Egypt.--_Acropolis of Camiros._
Limestone; height, 3-1/2 inches.
[Sidenote: =72.=]
Androsphinx seated on a plinth. From the head falls a mass of long
hair over the back and shoulders; the front of the body is covered
with a collar or pectoral; the upper part of the wings is broken
off.--_Acropolis of Camiros._
Limestone; height, 5 inches.
[Sidenote: =73.=]
Lion seated on a plinth. The mouth is open; the teeth are shown; about
the lips and edge of the mane are traces of red colour.--_Camiros._
Limestone; height, 5-1/4 inches.
[Sidenote: =74.=]
Bird standing on a plinth with wings closed. Head broken off; tail
long and spreading.
Height, 3-1/4 inches.
[Sidenote: =75.=]
The Egyptian ram-headed deity, Knef, seated in a chair. He wears a
long chiton bound with a girdle, on each side of which a lappet falls
as far as the knees; a thick mass of hair falls from behind each horn
on to the breast.--_Lindos, in Rhodes._
Limestone; height, 4 inches.
SCULPTURES FROM XANTHOS.
The following sculptures, Nos. 80-97, are the archaic portion of the
collection of sculptures from Xanthos, a town some ten miles from
the sea, in the south-west of Lycia. The people of Lycia were a
non-Hellenic race, but the sculptures of Xanthos are distinctly Greek,
though not without traces of oriental influence (cf. No. 86). In the
most important remains, especially in the Harpy Tomb (No. 94) we find
the characteristics of the Ionian School of Asia Minor.
The sculptures of Xanthos were discovered by Mr. (afterwards
Sir) Charles Fellows in April, 1838. (Fellows, _A Journal
written during an excursion in Asia Minor_, 1838.) The discoverer
revisited Xanthos in 1840, made a more minute examination of
the remains, and published a further account. (_An Account
of Discoveries in Lycia, being a Journal kept during a second
excursion in Asia Minor_, 1840-1841, quoted as "_Lycia_.") In
consequence of this work, a naval expedition, assisted by Fellows,
was employed in Jan., Feb., 1842, to ship the Marbles of Xanthos
for transport to England. (Fellows, _The Xanthian Marbles;
their acquisition, and transmission to England_, 1843. This was
reprinted by Fellows in _Travels and Researches in Asia Minor,
more particularly in the Province of Lycia_, 1852, pp. 423-456.)
Additional sculptures and casts from Lycia were obtained by a
second expedition in 1843. (_Athenaeum_, 1844, pp. 176, 339, 715,
779.) Besides the published material, valuable information may
be obtained from the plans and drawings by Mr. George Scharf,
who accompanied Fellows as draughtsman in 1840. The originals are
preserved in the British Museum, and referred to in this Catalogue
as Scharf's Drawings. See also Solly, _Memoirs of W. J. Mueller_,
1875; Beecheno, _E. T. Daniell, a Memoir_, 1889, p. 40; and
the publication of the Austrian expedition to Lycia, _Reisen in
Lykien_, vol. I. ed. by Benndorf and Niemann, 1884; vol. II. by
Petersen and von Luschan, 1889.
[Sidenote: =80.=]
Sepulchral chest (soros), adorned with reliefs on the four sides. This
tomb was made of a single block of hard coarse limestone. It was found
by Fellows in its original position, on a stele, which appears to have
been about 9 feet high. On the top of the chest there is a rebate to
receive the lid, which formed a separate block and has not been found.
The lower part of the block was sawn off by Fellows, to facilitate
transport. (_Xanthian Marbles_, p. 34.)
Perrot (vol. v., p. 396) is perhaps right in thinking that this is
the oldest of the Xanthian monuments, and represents Lycian sculpture
before the Ionian influence had begun to make itself felt.
The appearance of the monument as found is shown in Scharf's
drawing, here reproduced (pl. ii.), and also in a water-colour
drawing by W. J. Mueller, now in the Print Room of the British
Museum. Solly, _Memoir of W. J. Mueller_, pl. facing p. 216;
Fellows, _Asia Minor_, p. 168.
[Sidenote: 1.]
_South Side._--Lion to the left, recumbent, in high relief.
Between the paws of the lion is seen the head of a bull, which has
been thrown over by the lion, and is seized by the throat. Below
the forepaws of the lion is a tablet, which seems to have traces
of an inscription.
Height, 3 feet 1-1/2 inches; length, 4 feet; height of relief,
10 inches. Fellows, _Lycia_, pl. facing p. 176 (very poor);
Prachov, pl. 1, fig. 1; Perrot and Chipiez, V., p. 392, fig. 277;
p. 395, fig. 280; Dieulafoy, _L'Art. Ant. de la Perse_,
III., pl. 16.
[Sidenote: 2.]
_East Side._--Frieze in low relief, with its right end broken
away. A horseman wearing helmet and cloak rides to the right. He
is followed by an attendant, wearing a short chiton, and carrying
a spear on his right shoulder. Behind, a warrior moves to the
left, wearing a helmet with a large crest, a shield, and spear.
On the left, a shield, supposed to be fastened on a wall. This
relief, with its flat surface, devoid of detail, was probably
painted.
Height, 1 foot 6-1/2 inches; length, 3 feet 3 inches; height of
relief, 1/2 inch. Fellows, _Lycia_, pl. facing p. 176 (very
inaccurate); Perrot and Chipiez, V., p. 394, fig. 279.
[Sidenote: 3.]
_North Side._--Lioness, in high relief, recumbent to right,
playing with cubs. A cub is seen, with its forepaws across the
paws of the lioness, and with its hind quarters to the right; a
second cub lies on its back, over the first. The lower part of the
relief is broken away.
Height, 2 feet 4 inches; length, 3 feet 6 inches; height of
relief, 6 inches. Perrot and Chipiez, V., p. 391, fig. 276.
[Sidenote: 4.]
_West Side._--This side seems to have contained two separate
entrances to the tomb. On right and left were two groups in low
relief. (A.) On the right, a man, nude, with long hair, and armed
with sword, contending with a lion.
Height, 1 foot 10 inches; length, 1 foot 6 inches; height of
relief, 3/4 inch.
(B.) On the left a draped figure seated in a chair; left side
alone remains.
Height, 1 foot 7 inches; height of relief, 3/4 inch. Fellows,
_Lycia_, pl. facing p. 176; Prachov, pl. 1, fig. 1; Perrot and
Chipiez, V., p. 392, fig. 277; p. 393, fig. 278; Dieulafoy,
_L'Art Ant. de la Perse_, III., pl. 16.
[Sidenote: =81.=]
Frieze of Satyrs and animals, found by Fellows, built into the walls
of the Acropolis at Xanthos.
Beginning from the left, the slabs of the frieze contain:
[Sidenote: 1, 2.]
Bearded Satyr in combat with a wild boar. The Satyr, who has
pointed ears and tail, makes a thrust at the boar with a branch
torn off a tree. The strange attitude of the Satyr is due to the
artist's difficulty in dealing with the shape of the slab. Slab 1
has been much injured by dripping water. The two slabs are proved
to be connected by the bough which is seen on both.
Prachov, pl. vi. A, a; vi. B, c; Wolters, Nos. 146, 145; Fellows,
_Lycia_, pl. facing p. 174; Brunn, _Denkmaeler_, No. 104.
[Sidenote: 3.]
Lioness, couching for a spring, but with right paw raised.
Prachov, pl. vi. A, e.
[Sidenote: 4.]
Lion devouring deer. This group is of an established conventional
form.
Fellows, _Lycia_, pl. facing p. 174; Wolters, No. 148; Prachov,
pl. vi. B, d.; Dieulafoy, _L'Art Ant. de la Perse_, III., pl. 16;
Brunn, _Denkmaeler_, No. 104.
[Sidenote: 5.]
Lynx to left, with right paw raised.
Prachov, pl. vi. A, b.; Wolters, No. 147.
[Sidenote: 6, 7.]
Bull contending with Satyr, who appears to be in a position
similar to Satyr on slab 1; but a joint cuts off the right leg,
and the left arm is wanting.