the frieze is 2 feet 6-3/4 inches; the lengths of the slabs are:
(1) 4 feet 9 inches; (2) 6 feet; (3) 5 feet 9 inches; (4) 5 feet
1-1/2 inches; (5) 4 feet 11 inches; (6) 4 feet 9-1/2 inches;
(7) 3 feet 1 inch.
[Sidenote: =82.= 1-8.]
Frieze of cocks and hens. Six cocks and five hens represented as
standing still, picking up food, or fighting. The work is carefully
studied from nature.--_Built into the walls of the Acropolis at
Xanthos._
Coarse limestone; height, 1 foot 4-1/2 inches; combined length of
eight slabs, 28 feet 8 inches; Fellows, _Lycia_, pl. facing p. 174
(two slabs); Wolters, Nos. 136-144; Brunn, _Denkmaeler_, No. 103.
[Sidenote: =83.=]
Part of a tomb (?). From each of two opposite sides, the head and
forepaws of a lioness project. The heads are slightly turned towards
the front.--_Found at the foot of the Inscribed Monument, Xanthos._
Limestone; height, 1 foot 5 inches; length, 4 feet 1-3/4 inches.
Fellows, _Lycia_, pl. facing p. 174.
[Sidenote: =84.=]
Head and neck of a lion, from a tomb (?). Several pieces of the mane
were separately worked and attached.--_Xanthos._
Limestone; height, 1 foot 10 inches.
[Sidenote: =85.=]
Fragment of unfinished relief, with two legs of a seat or couch
(?).--_Xanthos._
Limestone; height, 2 feet 4 inches. Compare Perrot and Chipiez,
V., p. 304, fig. 211.
[Sidenote: =86.=]
A frieze representing a procession moving from left to right. The
figures beginning from the right are:--
[Sidenote: 1.]
An old man, seated in a car, driving two horses. Behind him stood
an attendant, of whose figure a piece of drapery on the next slab
alone remains.
[Sidenote: 2.]
A youth, leading a horse, saddled and bridled. He wears a short
chiton, and carries a whip. Details of the hair were probably
indicated with paint.
[Sidenote: 3, 4.]
A venerable old man, seated in a chair, placed in a war chariot
drawn by two horses. He has long hair, bound with a taenia, and a
long pointed beard. He wears a chiton with sleeves, and a mantle.
He holds a pomegranate flower in his left hand, and a cup (?) in
his right hand. Beside him is a charioteer treated like the youth
of the preceding group. The reins, now lost, were made of bronze.
Youth riding a spirited horse, equipped like the horse of the
second group. The rider wears a chiton with short sleeves, and a
himation. He has long hair falling on the shoulders.
[Sidenote: 5.]
A group of draped persons moving to right, and composed of the
following figures:--
Man (much mutilated) standing to right and turning to front. He
holds a whisk in the right hand, and a spear in the left hand.
Man, carrying a spear over the left shoulder, supporting it with
both hands clasped.
Man moving to right but looking back. He carries a spear on the
left shoulder; right hand holds a fold of the drapery.
Man with spear on left shoulder and whisk in right hand.
Man with spear on right shoulder; left hand holds an edge of the
himation.
Man with spear on left shoulder. The front part only of this
figure is preserved.
The standing figures all wear a long chiton, with long sleeves,
and a himation which is wrapped closely about the body, passing
under the right arm and over the left shoulder.
The size and treatment of the horses on the frieze, and the use of
whisks by the standing figures, show Oriental influences, although
the artistic style is distinctly Greek. The upright crest on the
head of the horse in the fourth group is seen on the horses of
Persepolitan sculpture. Compare the Persepolitan casts in the
British Museum, assigned to 500 B.C., and Fellows, _Lycia_, p.
173. The ends of the horses' tails are also tied with ribbon in
the same way as here. Saddle-cloths occur on early vases from
Daphnae (Petrie, _Nebesheh and Defenneh_, pl. 29, fig. 4), and on
painted sarcophagi from Clazomenae (_Journ. of Hellen. Studies_,
iv., p. 19, fig. 14).
The traces of Persian fashion make it probable that this relief is
later than the Persian conquest of Xanthos by Harpagos (about 545
B.C.).
The architectural disposition of the frieze has not been
ascertained. The slabs were found by Fellows, inserted in a wall
of late date on the Acropolis of Xanthos (Benndorf, _Reisen in
Lykien_, i., p. 86), but it is clear from the square holes that
occur at intervals of 4 ft. 8 in., that stone beams, imitating
wood construction, must once have projected, and from the raised
border round the holes it is seen that this was the intention of
the artist. It is probable that the frieze belonged to a tomb, and
perhaps represented a funeral procession. It is not possible
to say whether it was on the outside or on the inside of the
building. (Compare Nos. 87, 88, and the tomb of Gioel-Baschi.
Compare also the casts of reliefs from Pinara, Nos. 761-4, for the
projecting beam ends.)--_Acropolis of Xanthos._
A similar procession occurs on a sarcophagus from Amathus.
(Cesnola, _Cyprus_, pl. 14.)
Height, 2 feet 9-1/2 inches; combined length of five slabs,
17 feet 4 inches; height of relief, 2 feet 5 inches; but in
parts, upper margin is cut into. Fellows, _Lycia_, pls. facing pp.
173, 177; Prachov, pl. 3; Cesnola, _Cyprus_, pls. 16, 17; Murray,
I., pls. 4-6; Wolters, Nos. 131-134; Wolters in _Jahrbuch des
Arch. Inst._, I., p. 84; Brunn, _Denkmaeler_, No. 102.
[Sidenote: =87.=]
Slab from the left end of a frieze. A woman stands near the foot of a
couch upon which a dead man is laid out. Only the end of the couch
and the left foot of the corpse remain. The woman wears a long chiton,
himation, cap with tassel, and earrings. Behind her stands a male
attendant, wearing a short chiton, drawn up, beneath a girdle. He
holds a small piece of drapery in his left hand.
A groove to the left of the group seems to show that this slab was
at an interior angle of a building. The different dimensions make it
unlikely that it was a part of the same frieze as No. 86.--_Xanthos._
Limestone; height, 2 feet 9-1/2 inches; length, 2 feet 7 inches.
Prachov, pl. 1, fig. 2; Murray, I., pl. 6; Wolters, 135; Wolters
in _Jahrbuch des Arch. Inst._, I. p. 83.
[Sidenote: =88.=]
Slab from the left end of a frieze. A woman wearing a long chiton with
sleeves and a himation stands to right with right hand raised, and
holding a flower(?). She holds a piece of drapery in left hand. Before
her, the remains of another figure.
At the left of this figure is a groove, suggesting that this was an
interior angle stone.--_Xanthos._
Limestone; height, 2 feet 9 inches; length, 3 feet 6 inches.
Prachov, pl. 6 B. _h_; Wolters, _Jahrbuch des Arch. Inst._, I., p.
83.
[Sidenote: =89, 90.=]
Gable end of a tomb. On each side of a doorway is a seated Sphinx, and
above the lintel are two lions.--_Xanthos._
[Sidenote: =89.=]
The Sphinx on the left wears a cap enclosing most of the hair, a
pendant earring, and a narrow taenia. There are traces of red paint
on the cap, and of the markings of feathers on the wings. The head and
fore-quarters of the lion are wanting.
Limestone; height, 3 feet 9 inches; width, 3 feet 1 inch. About 3
inches appear to be wanting on the right of the slab. Prachov, pl.
5, fig. 1 (the head only of the Sphinx); Dieulafoy, _L'Art Ant. de
la Perse_, II., pl. 18, fig. 2; Brunn, _Denkmaeler_, No. 101A.
[Sidenote: =90.=]
The Sphinx on the right of the doorway has her hair confined by a
broad band, and has a pendant earring. The markings of the feathers
may be seen on the wings. When first discovered in 1840, this relief
was brilliantly coloured, as is recorded in a drawing by Scharf. The
ground of the relief was bright blue; the feathers were red, black,
blue, and white. The hair was yellow, and the taenia was painted with
a white pattern on a red ground. The head and fore-quarters of the
lion are wanting.
Limestone; height, 3 feet 4-1/2 inches; width, 3 feet 4 inches.
About 3 inches appear to be wanting on the left of the slab.
Prachov, pl. 5, fig. 2; _Museum of Class. Antiq._, I., p. 251;
Dieulafoy, _L'Art Ant. de la Perse_, II., pl. 18, fig. 2; Brunn,
_Denkmaeler_, No. 101A.
[Sidenote: =91, 92.=]
Gable end of a tomb. On each side of a doorway is a seated Sphinx.
Above the lintel of the door is a space which may have held a relief,
now wanting.--_Xanthos._
[Sidenote: =91.=]
The Sphinx on the left wears a stephane; a tress of hair falls on
the shoulder. There are faint traces of paint on the wing. The
hind-quarters are missing.
Limestone; height, 2 feet 10 inches; width, 2 feet 2 inches. The
joint of the stone is at the left side of the door. Prachov, pl.
4, fig. 2.
[Sidenote: =92.=]
The Sphinx on the right has her hair bound with a narrow taenia. There
are traces of paint on the wing. The hind-quarters are wanting.
Limestone; height, 2 feet 8 inches; width, 3 feet 1 inch. About 3
inches are lost from the left of this slab. Prachov, pl. 4, fig. 1
(the head only).
[Sidenote: =93.=]
Gable end of a tomb. In the centre of the relief is a low column, with
an Ionic capital, of peculiar form. A Siren stands to the front, on
the column. She wears a short chiton, girt at the waist and with loose
sleeves. She has spreading wings and tail, and bird's legs, but human
arms which are extended in front of the wings. The head is wanting.
On each side of the column is a seated male figure. On the left is a
beardless elderly man, wearing himation and chiton, with staff in
left hand and right hand extended. On the right is a bearded old man,
wearing chiton and himation, with staff in right hand and left hand
extended. The back of the head is in part broken away; part was never
represented. The lower part of the relief is wanting. A drawing
by Scharf shows the colouring of the relief when discovered. The
background was blue; the hair, the under side of the Siren's wings,
the drapery of the man on the left, the shaft and part of the capital
of the column were yellow; the drapery of the Siren and of the man
on the right, the seats and part of the capital of the column were
red.--_Xanthos._
Limestone; height, 2 feet 9 inches; width, 3 feet 5 inches.
_Annali dell' Inst._, 1844, p. 150.
THE HARPY TOMB.
[Sidenote: =94.=]
The monument known as the Harpy Tomb was discovered by Fellows among
the ruins of Xanthos on April 19, 1838. It was more carefully examined
and published by him in 1840 (_Lycia_, p. 170, and plate), and was
brought to England in the spring of 1842. The tomb was described by
Fellows in the following terms:--"The Harpy Tomb consisted of a square
shaft in one block, weighing about eighty tons, its height seventeen
feet, placed upon a base rising on one side six feet from the ground,
on the other but little above the present level of the earth. Around
the sides of the top of the shaft were ranged the bas-reliefs in
white marble about three feet three inches high; upon these rested
a capstone, apparently a series of stones, one projecting over the
other; but these are cut in one block, probably fifteen to twenty tons
in weight. Within the top of the shaft was hollowed out a chamber,
which, with the bas-relief sides was seven feet six inches high, and
seven feet square." (Fellows, _Xanthian Marbles_, p. 21; _Asia
Minor_, p. 438.) For views of this tomb see the drawing by Scharf here
reproduced (pl. iii.); also _Mon. dell' Inst._, iv., pl. 2; Benndorf,
_Reisen in Lykien_, i., pl. 26. In Christian times, the tomb was
made the cell of some _Stylites_, or dweller on a column. Traces of
painting and monograms were found on the interior of the chamber.
(Fellows, _Xanthian Marbles_, p. 21; Birch, _Archaeologia_, xxx., p.
186.)
[Sidenote: 1.]
_West Side._--This relief is divided into two unequal parts by a
small doorway which formed the entrance to the tomb. This doorway
may have been filled up with a slab of stone, resembling a funeral
stele, and the idea thus suggested was further carried out by the
sculpture above of a cow giving suck to a calf. (Compare the tomb
on the second frieze of the Xanthian Nereid Monument, _Mon. dell'
Inst._, x., pl. 16, fig. 161.)
On the left of the entrance is an enthroned female figure. She
is large and dignified, and is heavily draped. The left hand
is raised, the right hand is extended and holds a bowl; she
is adorned with stephane and bracelets. The arm of the chair
terminates in a ram's head, and is supported by a seated Sphinx.
On the right is a second enthroned female figure of equal dignity.
She is adorned with a stephane and bracelets. With a graceful,
if affected gesture of the right hand she holds up a pomegranate
flower, and in the left hand she holds a pomegranate fruit.
The back of the throne terminates in a swan's head, and the arm
terminates in the head of a ram.
Three maidens, who are nearly alike, except in the attitudes of
the hands, approach this figure. The first raises her mantle and
chiton with the left and right hands respectively. The second has
a pomegranate flower in her left hand, and a pomegranate fruit in
her right hand. The third holds up an egg with her right hand, and
holds the drapery in her left hand.
[Sidenote: 2.]
_North Side._--An old man, draped and bearded, is seated on a
chair to left; with the left hand he holds a spear, with the right
hand he receives a crested helmet which is offered to him by a
young warrior, who stands before him. The warrior has a short
chiton, and leather cuirass, sheathed sword, greaves, and a large
shield, which he supports with the left hand. Beneath the chair is
a small bear.
At each side of this group, but disconnected from it, are figures
commonly known as Harpies. They are represented as beings with
the head, breasts and arms of maidens, while the lower part of the
body is that of a bird conventionally rendered. It terminates in
oval form with a spreading tail and bird's talons attached. Long
wings spring from behind the shoulders and under the arms. Each
creature wears a stephane and chiton (see below). In their arms
and talons each gently carries a diminutive draped female figure,
that makes a gesture, as of affection.
At the right corner of the relief a draped figure crouches on the
ground in an attitude of deep grief, and looks up to the flying
figure above.
[Sidenote: 3.]
_East Side._--A venerable bearded man is seated on a throne,
to the right. He has a sceptre in the left hand, and holds up a
flower in the right hand. The arm of the throne is supported by
a Triton. Before him is a diminutive figure of a boy offering a
cock.
Behind the enthroned figure are two draped male figures, standing
to right. The first holds a pomegranate fruit in the left hand,
and a doubtful object in the right hand. The second, who is
bearded, holds a portion of his drapery with the left hand; with
his right hand he holds his beard.
On the right of the relief is a youth, accompanied by a dog. He
holds a stick with curved handle in his left hand, and has an
uncertain object in his right hand. Part of it was made of metal,
attached by a rivet. It may perhaps have been a kylix with a tall
stem.
[Sidenote: 4.]
_South Side._--A male figure, not bearded, is seated on a throne
to right. He has a sceptre resting on his right shoulder. In the
left hand he holds a pomegranate fruit, and in the right hand an
apple. Before him stands a male (?) figure, holding a dove in
the left hand by the wings, and having the right hand raised in
a gesture of adoration. On each side of the main group, but
disconnected from it, are the winged figures with their burdens as
already described. With certain differences of detail, chiefly in
the positions of the arms of the figures carried, these groups are
nearly similar to those of the north side.
_Drapery, &c._--All the figures on this tomb, except the
"Harpies," the diminutive figures connected with them, and the
warrior, are draped in chiton, and himation or peplos. The figures
borne by the "Harpies" and the figure crouching in grief wear long
chitons only. The "Harpies" wear chitons, of which the sleeves
alone are indicated. All the principal figures wear shoes or
sandals, so far as the feet are preserved, with the exception of
the second figure behind the throne on the east side. The women on
the west side, and the seated figure on the south side wear shoes
with pointed toes. The remaining figures wear sandals only. All
the figures on the east side had metal taeniae or stephanae, the
holes for the attachment of the metal being still visible. The
youth on the east side, as already stated, held a metal object in
his hand.
_Colouring._--The following indications of colour can be traced.
The ground of the reliefs was bright blue. Part of the colour
remains round the profile of the youth on the east side, and under
the right wrist of the first figure behind the throne on this
side. Birch (_Archaeologia_, xxx., p. 192) states that he has seen
scarlet on the crest of the helmet, and Scharf (_Mus. of Class.
Antiq._, i., p. 252) that there were "traces of red in the hollow
of the shields and upon sandals." Elsewhere the colour must be
inferred from the inequalities of the surface of the marble, due
to the unequal protecting powers of the different colours.
There was an egg and tongue pattern on the lower moulding, and a
maeander pattern on parts of the upper moulding. On the west side
the chair of the figure on the right was painted with palmette
ornament. On the east side there was also a palmette pattern on
the side of the throne.
_Interpretations._--The interpretations of this monument,
that have been proposed, may be divided into three groups--
(1.) According to the first commentators, the subject represented
was the rape of the daughters of Pandareos, king of Lycia, by the
Harpies (Homer, _Od._ xx., l. 66. Gibson, in Fellows, _Lycia_, p.
171; Birch, _Archaeologia_, xxx., p. 185.) The objections to this
view are that the subject is an improbable one for representation
on a tomb, that the "Harpies" evidently stand in a kindly relation
towards the persons whom they carry, and that the reliefs do not
agree well with the literary form of the myth. It is also doubtful
whether the "Harpies" were imagined with bird-bodies at the period
of these sculptures. (Furtwaengler, _Arch. Zeit._, 1882, p. 204.)
(2.) In the second group of theories, the enthroned figures are
deities of the lower world to whom the souls of the dead pay
reverence. On the west side are Demeter (left), and Persephone
(right), and three worshippers who carry symbols of life and
birth, as the egg and the pomegranate. The door of the tomb
signifies death, while the cow and calf, immediately above,
suggest the renewal of life. The three seated figures remaining,
are, according to this system, either Zeus (south), Poseidon
(east), and Hades (north), (Braun, _Annali dell' Inst._, 1844,
p. 151), or Zeus viewed under a triple aspect (Curtius,
_Arch. Zeit._, 1855, p. 10). The symbolic system has been most
elaborately worked out by Curtius (_loc. cit._, and _Arch. Zeit._,
1869, p. 10). Thus he regards the "Harpies'" bodies as intended
for eggs, and so symbolical of life. This view is untenable, as
the bodies are of the form usually given to birds in early art
(Conze, _Arch. Zeit._, 1869, p. 78).
(3.) In the third and most recent group of theories, the seated
figures are not deities, but heroified personages, buried in
the tomb, to whom offerings are made by members of their family.
(Milchhoefer, _Arch. Zeit._, 1881, p. 53; Wolters, p. 75.) This
view is supported by analogies found elsewhere (cf. p. 299), while
it avoids the difficulty of supposing deities to be represented
on a tomb. But no parallel has been adduced for such a scene as
a young warrior giving his arms to the figure of an heroified
ancestor; moreover the dignity and adornments of the enthroned
figures seem most appropriate to deities.
On the whole it seems best to suppose that we have on this tomb
scenes connected with death, though we cannot attempt, for want of
knowledge of Lycian mythology, to assign names to the personages
represented. Maidens make offerings to female deities, and men
to male deities. On the east side a boy makes an offering, on the
north side a young warrior gives up his armour, and on the south
side a man offers a bird. Kindly winged beings bear away the souls
of the dead, and the crouching figure on the north side suggests
the grief of the survivors. (Cf. Brunn, _Sitzungsber. d. k.
bayer. Akad. Phil. hist. Cl._, 1872, p. 523, who points out the
succession of ages among the figures, but does not consider the
idea of death to be implied in the central groups of the north,
east, and south sides.)
_Style and Period._--In the Harpy Tomb we have a fine example
of the work by the Ionian School of Asia Minor, whose chief
characteristic is a certain voluptuous fulness of form, and
languor of expression, contrasted with the muscular vigour of the
Doric sculpture, and the delicate refinement characteristic of a
part of the early Attic work (cf. Brunn, _loc. cit._, p. 205, and
Rayet, _Monuments_, No. 13). It is uncertain whether the tomb is
later than the Persian conquest of Xanthos (545 B.C.). It has
a remarkable resemblance to the tomb of Cyrus at Pasargadae as
described by Arrian (vi., 29) and Strabo (xv., 3, 7), although the
force of the parallel is rather diminished if Fergusson (_Nineveh
and Persepolis_, p. 215) has correctly identified the tomb. The
Harpy reliefs are usually assigned to the close of the sixth
century; but a comparison with the sculptures of Ephesus points to
a date nearer 550 B.C.
The Harpy tomb is of marble. The reliefs measure 3 feet 4-1/2
inches in height; 8 feet 2 inches in length on the east and west
sides; 7 feet 6 inches on the north and south sides. Fellows,
_Lycia_, p. 170, and pl.; Birch, _Archaeologia_, XXX., p. 185;
Braun, _Annali dell' Inst._, 1844, p. 133; _Mon. dell' Inst._,
IV., pl. 3; _Rhein. Mus._, N.F., III., 1845, p. 481; Curtius,
_Arch. Zeit._, 1855, p. 2, pl. 73; Overbeck, _Gr. Plast._, 3rd
edit., I., p. 171; Murray, I., p. 116, pl. 3, and figs. 22-25;
Rayet, _Monuments_, Nos. 13-16; Mitchell, p. 187, fig. 88 (west
and south sides); Wolters, Nos. 127-130.
[Sidenote: =95.=]
Fragment of relief, with parts of two female figures, draped and
having sandals, moving to the right in a dance. The relief appears
to have been on the face of a lintel, panelled on its lower
side.--_Xanthos._
Limestone; height, 1 foot 3-1/2 inches. Prachov, pl. 6B, fig.
_i._; Murray (2nd ed.), I., p. 125.
[Sidenote: =96-98.=]
The following sculptures illustrate the way in which the simplicity of
an archaic statue is sometimes preserved in later sculptures serving
an architectonic purpose:--
[Sidenote: =96.=]
Torso of female figure, wearing a long dress with diploidion, falling
in flat surfaces with few folds. The left leg is advanced, the
right hand gathered up a part of the drapery. The head and arms are
wanting.--_Xanthos._
Marble; height, 4 feet 1/4 inch. Prachov, pl. 2, fig. 5.
[Sidenote: =97.=]
Torso of female figure, nearly similar to preceding, but with surface
much mutilated.--_Xanthos._
Marble; height, 2 feet 4-1/2 inches. Prachov, pl. 2, fig. 6.
[Sidenote: =98.=]
Torso of female figure treated like No. 96, but holding the fold of
drapery with the left hand.--_Xanthos._
Marble; height, 3 feet 10-1/2 inches. Prachov, pl. 2, fig. 4.
SCULPTURES FROM NAUCRATIS.
The remains here described were obtained for the most part from the
site of the temple of Apollo at Naucratis, in the Nile Delta. The
site of Naucratis was discovered by Mr. W. M. Flinders Petrie, and the
remains of the temple were found in the course of excavations which he
carried on, in 1884-5. A few sculptures also were found by Mr. E. A.
Gardner in the excavations of 1885-6. The whole of the collections
from Naucratis in the British Museum were presented by the Egypt
Exploration Fund, which conducted the excavations.
Naucratis was a colony of Greeks, settled in Egypt for purposes of
trade. It is situated to the west of the most westerly or Canopic
mouth of the Nile, and is nearly midway between Cairo and Alexandria.
The date of the foundation of Naucratis has been a subject of
controversy. It is known that the colony owed much to Amasis, King
of Egypt (564-526 B.C.). According to the statement of Herodotus (ii.
178), Amasis showed his friendship to the Greeks by giving, to those
who came to Egypt, the city of Naucratis to live in ([Greek: Philellen
de genomenos ho Amasis alla te es Hellenon metexeterous apedeixato,
kai de kai toisi apikneumenoisi es Aigypton edoke Naukratin polin
enoikesai, k. t. l.]). The question has been discussed whether the
words of Herodotus prove that Amasis was the first to allow the Greeks
to live at Naucratis, or whether the account of Strabo (xvii., 1, 18)
can be accepted, according to which Naucratis was already occupied
by Greeks, especially by Greeks of Miletus. If Amasis introduced the
Greeks to Naucratis, no Hellenic remains on the site can be older than
504 B.C. If an earlier settlement is assumed, it may have dated from
the middle of the seventh century.
In either case the temple of the Milesian Apollo would have been among
the earliest buildings erected. Herodotus states that by permission
of Amasis, the Milesians independently founded a temenos of Apollo
([Greek: choris de ... ep' heouton hidrysanto temenos ... Milesioi
Apollonos]). Messrs. Petrie and Gardner, arguing for the older date,
put the foundation shortly after the middle of the seventh century.
The architectural remains are very scanty. Probably much of the first
temple was built of mud bricks. The stone portions may have been used
again in the building of the second temple, whose ornaments were
of marble. Moreover, all marble and stone is eagerly sought for and
removed by the modern Arab diggers.
_Naukratis_, Part I., 1884-5, by W. M. Flinders Petrie and others;
_Naukratis_, Part II., 1885-6, by E. A. Gardner; G. Hirschfeld in
_Rhein. Mus._, N.F., XLII. (1887), p. 209, and XLIV. (1889),
p. 461; Kirchhoff, _Studien_, 4th edit. p. 43; Roberts, _Greek
Epigraphy_, p. 323.
THE FIRST TEMPLE OF APOLLO.
[Sidenote: =100.=]
_Columns._--The architectural members of the first temple were of
limestone. They are insufficient to fix the dimensions of the temple,
which was, however, small. Mr. Petrie supposes it to have been not
more than twenty-five feet broad. A volute and a complete base of an
Ionic column were discovered, but were immediately destroyed by Arabs.
The following fragments are preserved:--
[Sidenote: 1, 2.]
Two members of an Ionic capital, consisting of two courses of
an egg and dart moulding. The upper course is considerably the
larger. The lower course is worked with a rebate to fit the upper
course. Below the mouldings are the tops of the flutings.
Upper course--height, 5 inches; diameter, 1 foot 7-1/2 inches;
lower course--height, 4-1/4 inches; diameter, 1 foot 4-1/2
inches. _Naukratis_, I., pl. 3.
[Sidenote: 3.]
Fragment of necking of a column, of a different design from the
preceding, and surrounded by a pattern of lotus buds and lotus
flowers.
Height, 11 inches; diameter, 1 foot 8 inches. _Naukratis_, I., pl. 3.
[Sidenote: 4.]
Fragment of necking of a column, somewhat similar to the
preceding.
Height, 4 inches; width, 5 inches.
[Sidenote: 5.]
Drum of a limestone column with flutings.
Height, 4-5/8 inches; diameter, 1 foot 6 inches.
[Sidenote: 6.]
Lower part of the base of an Ionic column.
Height, 4 inches; diameter, 1 foot 9 inches. _Naukratis_, I., pl. 3.
MISCELLANEOUS FRAGMENTS FROM FIRST TEMPLE.
[Sidenote: =101.= 1.]
Upper part of an acroterion, worked below with a rebate.
Height, 3-1/2 inches. _Naukratis_, I., pl. 14A.
[Sidenote: 2.]
Angle piece, with half of a palmette.
Height, 5 inches. _Naukratis_, I., pl. 14A.
[Sidenote: 3.]
Fragment of a plane surface of limestone, with a series of circles
painted in blue, white, and red.
Height, 2 inches; width, 7-1/2 inches.
[Sidenote: 4, 5.]
Fragments of two sculptured rosettes, perhaps intended for the
decoration of mud surfaces, and probably derived from the earlier
temple.
Diameters, 4-1/2 inches and 3 inches. _Naukratis_, I., pl. 18,
figs. 7, 8.
THE SECOND TEMPLE OF APOLLO.
[Sidenote: =102.=]
The remains assigned to the second temple are of marble, instead of
limestone. They are too fragmentary for restoration, but include bead
and reel mouldings, egg and dart patterns, portions of palmette and
lotus patterns of elaborate design. Several of the fragments are
brilliantly painted with red and blue. The second temple probably
belongs to the second half of the fifth century.
Compare _Naukratis_, I., pls. 14, 14A.
MISCELLANEOUS SCULPTURES FROM NAUCRATIS.
[Sidenote: =103.=]
Fragment of the lower part of a draped standing figure. In the middle
of the legs the drapery falls in conventional vertical folds. The
figure is painted white with a red stripe down each side.--_From the
temenos of Apollo._
Limestone; height, 1 foot 5 inches. _Naukratis_, I., p. 13.
[Sidenote: =104.=]
Upper part of an incense burner or small altar with rosettes and
Uraei.
Limestone; height, 4-3/4 inches. _Naukratis_, I., pl. 18, fig. 11.
[Sidenote: =105.=]
Part of a model of an Egyptian building.
Limestone; height, 5-1/2 inches. _Naukratis_, I., pl. 18, fig. 1.
[Sidenote: =106.=]
Model of a shrine.
Limestone; height, 8-1/2 inches.
[Sidenote: =107.=]
Portions of a group of two figures leading a bull to sacrifice. Of the
first figure no part remains except the hands which held a rope round
the bull's neck. The second figure stands beside the bull, and places
his right hand on its back. The head is wanting. An amphora stands on
the ground on each side of the figure. Red colour on the drapery and
on the tops of the vases.--_Temple of Apollo._
Limestone; height, 3 inches. _Naukratis_, I., pl. 2, fig. 21.
[Sidenote: =108.=]
Part of a figure kneading dough in a trough. Of the figure only the
hands and feet remain. Traces of red colour.--_Temple of Apollo._
Limestone; height, 2-1/8 inches. _Naukratis_, I., pl. 2, fig. 19.
[Sidenote: =109.=]
Figure seated on a chair with a box on its lap. Before it a table on
which lie four fish. The head of the figure is wanting.--_Temple of
Apollo._
Limestone; height, 1-3/4 inches. _Naukratis_, I., pl. 2, fig. 20.
[Sidenote: =110.=]
Torso of a male statuette, from the neck to the knees, holding a lion
by the tail and hind legs.
Alabaster; height, 5-3/4 inches. _Naukratis_, I., pl. 1, fig. 1.
[Sidenote: =111.=]
Upper part of a statuette of a warrior(?). The figure wears a peaked
helmet, a close-fitting tunic with sleeves, and armlets.
Alabaster; height, 4-1/4 inches. _Naukratis_, I., pl. 1, fig. 2.
[Sidenote: =112.=]
Vessel for holding ointment (_alabastron_). The upper part is in the
form of a female bust. The right hand holds a necklace on the breast.
The left hand is by the side.
Alabaster; height, 7-1/4 inches. _Naukratis_, II., pl. 14, fig.
11.
[Sidenote: =113.=]
Upper part of an _alabastron_ similar to the preceding.
Alabaster; height, 3-1/2 inches.
[Sidenote: =114.=]
Head, wearing a band across the forehead, and having a headdress with
a veil which is gathered back in folds from the front. Red on the lips
and headdress.
Limestone; height, 4 inches. _Naukratis_, I., pl. 1, fig. 5.
[Sidenote: =115.=]
Head, wearing a band across the forehead, from which lappets hang down
before the ears. Delicately executed archaic work.
Alabaster; height, 2-1/2 inches. _Naukratis_, II., pl. 17, fig.
13.
[Sidenote: =116.=]
Fragment of the rim of a basin, supported by a Harpy-like being,
carrying a diminutive figure at her breast. The figure is female, with
spreading wings. On its left side, the body ends in the egg-like form
of the figures on the Harpy tomb. On the opposite side, the form of
the body is uncertain. The head is wanting.
Alabaster; height, 3 inches.
[Sidenote: =117.=]
Nude female statuette, from the neck to the knees. She has necklaces,
armlets, bracelets, and rings, which are partly in relief, and partly
painted red. She wears also a red girdle, from which symbolic eyes are
suspended, one on the abdomen, and one on the small of the back. The
ends of this girdle fall one in front of each thigh, and finish in
lotus flowers.
Limestone; height, 5-3/8 inches. _Naukratis_, I., p. 33.
[Sidenote: =118.=]
Statuette of a Hunter, standing, with two hares and two young boars
slung over his shoulders. He holds his bow in the left hand, his hunting
knife in the right hand. He wears a close-fitting cap, and tunic girt at
the waist. Inscribed [Greek: Kalli[as aneth]e[ke]].--_Temenos of
Aphrodite._
Limestone; height, 1 foot 7-1/2 inches. _Naukratis_, II., pl. 13,
fig. 5.
[Sidenote: =119.=]
Female statuette, wearing long, close-fitting drapery and head-dress;
she wears a necklace and plays on a tympanum.--_Temenos of Aphrodite._
Limestone; height, 5-5/8 inches. _Naukratis_, II., pl. 14, fig. 9.
[Sidenote: =120.=]
Upper half of female statuette wearing close-fitting drapery, and
headdress. She wears a necklace, and holds a flower in the right hand
between her breasts.--_Temenos of Aphrodite._
Limestone; height, 6 inches. _Naukratis_, II., pl. 15, fig. 5.
[Sidenote: =121.=]
Female figure, standing, wearing a close-fitting dress, necklace and
shoes. She holds a part of the drapery in her right hand, before
her body, and a bird in her left hand between her breasts. Necklace,
armlets, bracelets, shoes, and stripes down her dress are painted red.
The head is wanting.--_Temenos of Aphrodite._
Limestone; height, 7-1/8 inches. _Naukratis_, II., pl. 14, fig.
12.
[Sidenote: =122.=]
Male figure, standing, playing on a lyre. He wears a chiton falling
to the feet, a closely-fitting upper tunic, and boots. Parts of the
tunic, lyre and boots are painted red. The head is wanting.--_Temenos
of Aphrodite._
Limestone; height, 7-1/4 inches. _Naukratis_, II., pl. 14, fig.
14.
[Sidenote: =123.=]
Upper part of a female figure, standing. She wears a closely-fitting
dress with long sleeves, and two necklaces. The right hand holds an
ankh (?) near the thigh; on the left hand sits a goat, before her body.
Red paint at the borders of the drapery, and on ankh.--_Temenos of
Aphrodite._
Limestone; height, 4-3/4 inches. _Naukratis_, II., pl. 14, fig. 8.
[Sidenote: =124.=]
Undraped male figure, standing, holding a lion by the hind legs
and tail. The left arm of the figure and the lion's tail are
wanting.--_Temenos of Aphrodite._
Limestone; height, 8-3/4 inches. _Naukratis_, II., pl. 14, fig.
10.
[Sidenote: =125.=]
Part of a bearded figure, closely draped, holding a goat before his
body by the legs. The head and body from the waist of the figure are
wanting.--_Temenos of Aphrodite._
Limestone; height, 3-1/2 inches. _Naukratis_, II., pl. 15, fig. 1.
[Sidenote: =126.=]
Female figure, enthroned. The left arm is wrapped in the
mantle.--_Temenos of Aphrodite._
Limestone; height, 3-1/2 inches. _Naukratis_, II., pl. 14, fig. 3.
[Sidenote: =127.=]
Isis and Osiris (?). Female figure, enthroned, wearing close-fitting
dress, necklace, and large mantle passing over the back of her head.
She holds a nude figure of a boy at her breast. Red paint on the
veil.--_Temenos of Aphrodite._
Limestone; height, 4-3/4 inches. _Naukratis_, II., pl. 14, fig. 7.
FRAGMENT FROM DELOS.
[Sidenote: =130.=]
Fragment of a foot of a colossal statue of Apollo, together with a
part of the plinth in the same block. The fragment consists of parts
of the four greater toes of the left foot. The plinth has dowel holes
at each side.
Naxian marble (?). Length of great toe, 1 foot 2 inches; height of
plinth, 2 feet 1 inch. This fragment was found by W. Kennard at
Delos, in 1818. Stuart, 2nd edit., III., p. 127; IV., section on
Delos, pl. 4, fig. 2. It is no doubt a part of a colossal statue
which was dedicated by the Naxians to Apollo at Delos, and of
which the base and other parts still remain _in situ_. The base
is inscribed on one side, [Greek: Naxioi Apolloni], and on another
side in archaic letters, [Greek: Tawytou lithou eim' andrias kai
to sphelas]: "I am of the same stone both statue and base." It is
supposed that this is "the great statue of the Naxians" at
Delos, which, it is said, was overturned by the fall of a brazen
palm-tree dedicated by Nicias (Plutarch, _Nicias_, 3).
The first modern traveller who saw the statue was Bondelmonte
(A.D. 1416), who found it prostrate, and says that he made an
unsuccessful attempt to set it up (_Liber Insularum Archipelagi_,
Sinner's edit., p. 92). In 1447 Cyriac of Ancona sketched the base
with one foot still in position (_Bull. dell' Inst._, 1861, p.
182). When visited by Spon and Wheler in 1675, the head, hands and
feet were lost, but the torso appears to have been nearly complete
(Wheler, _Journey_, p. 56). In 1700 Tournefort only found the
lower part of the body, and the thighs (Eng. ed. of 1741, vol. I.,
pl. facing p. 303). The parts seen by Tournefort remain at Delos,
and have been described by several travellers. Welcker, _Alte
Denkmaeler_, I., p. 400; Michaelis, _Annali dell' Inst._, 1864, p.
253; Furtwaengler, _Arch. Zeit._, 1882, p. 329. For the base and
inscription, see Blouet, _Exp. de Moree_, III., pl. 3, figs. 3, 4
_Bull. de Corr. Hellenique_, III., p. 2.
CASTS FROM SELINUS.
The following sculptures, Nos. 135-139, were excavated at Selinus
in 1823 by the architects William Harris and Samuel Angell. They are
divided into two series, derived from different temples.
Selinus, a colony of Megara, in the south-west of Sicily, was founded
about 628 B.C. The temple (commonly known as C), from which the
sculptures, Nos. 135-137, were obtained, is the oldest temple on the
Acropolis, and it is therefore probable that its construction
was begun not long after the foundation of the city. The earlier
sculptures are therefore assigned to the beginning of the sixth
century B.C.
The second series, Nos. 138-139, were obtained from the temple
commonly known as F. This is the third or youngest temple in the group
shown by architectural evidence to be the oldest. An exact date cannot
be assigned, but the sculptures probably belong to the close of the
sixth century. The originals, which are made of a coarse limestone,
are preserved in the Museum at Palermo.
The metopes were drawn on their discovery by William Harris. Harris
died of malarial fever contracted at Selinus, and the work was
published by Angell and Evans, _Sculptured Metopes ... of Selinus_,
1826. For further literature, see Benndorf, _Die Metopen von
Selinunt_.
[Sidenote: =135.=]
Cast of a metope, from the oldest temple at Selinus. Perseus slaying
Medusa in the presence of Athene. Perseus holds the hair of the Gorgon
in his left hand, and cuts off her head with his sword. Athene stands
on the left. The Gorgon is represented as embracing the winged horse,
Pegasos, who sprang from her spilt blood.--_Presented by S. Angell,
Esq._
Angell and Evans, pl. 7; Benndorf, p. 44, pl. 1; Overbeck, _Gr.
Plast._, 3rd ed. I., p. 80, fig. 5; Wolters, No. 149.
[Sidenote: =136.=]
Cast of a metope from the oldest temple at Selinus. Heracles carrying
the robbers named Kerkopes, with their legs tied to the ends of his
bow, or of a yoke.--_Presented by S. Angell, Esq._
Angell and Evans, pl. 8; Benndorf, p. 45, pl. 2; Overbeck, _Gr.
Plast._, 3rd edit., I., p. 80, fig. 5; Wolters, No. 150.
[Sidenote: =137.=]
Cast of a metope from the oldest temple at Selinus. A figure drives a
quadriga to the front; two figures are standing to the front, one at
each side of the chariot.--_Presented by S. Angell, Esq._
Angell and Evans, pl. 6; Benndorf, p. 47, pl. 3; Wolters, No. 151.
[Sidenote: =138.=]
Cast of a fragment of a metope from the third temple at Selinus, in
which a goddess, probably Athene, moves to the right, treading down
a prostrate giant. This metope was formed of two slabs, of which the
upper is wanting.--_Presented by S. Angell, Esq._
Angell and Evans, pl. 4 (incomplete); Benndorf, p. 50, pl. 5;
Overbeck, _Gr. Plast._, 3rd ed., I., p. 158, fig. 30_b_.
[Sidenote: =139.=]
Cast of a metope from the third temple at Selinus. A draped male
figure, apparently Dionysos, is engaged in combat with an armed giant,
who has sunk on his right knee.--_Presented by S. Angell, Esq._
Angell and Evans, pl. 3; Benndorf, p. 52, pl. 6; Overbeck, _Gr.
Plast._, 3rd ed., I., p. 158, fig. 30_a_; Wolters, No. 152.
SCULPTURES AND CASTS FROM ATHENS AND ATTICA.
[Sidenote: =150.=]
Female (?) head. The hair, which is bound by a narrow band, falls in
large waves on each side of the forehead to the ears, and thence
to the shoulders. At the back, the hair is rendered by conventional
undulations, parallel to the band.--_Athens (?)._ _Elgin Coll._
Marble; height, 8-1/2 inches, _Mus. Marbles_, IX., pl. 40, fig.
4; _Synopsis_, No. 251 (115); Ellis, _Elgin Marbles_, II., p. 119;
_cf._ Welcker, _Alte Denkmaeler_, I., p. 399.
[Sidenote: =151.=]
Cast of a torso of a standing female figure, wearing a chiton of fine
texture, and a mantle. The chiton is drawn over the girdle, and has
a short diploidion. The mantle is worn over the shoulders. The hair
falls in three tresses in front of each shoulder, and in overlapping
layers, down the back. The head, forearms and legs from the knees are
wanting. The original, of marble, is at _Athens_.
Height, 1 foot 6 inches. Le Bas, _Monuments Figures_, pl. 2, fig.
2; Sybel, No. 5007; Wolters, No. 112. Further literature is cited
by Wolters.
[Sidenote: =152.=]
Torso of a standing female figure wearing an under-chiton of fine
texture, and an over-chiton with diploidion which is worn so as to
leave the left shoulder bare. The figure appears to have held a vessel
in her lap, with both hands. The hair falls down the back, the
locks terminating below the shoulders. The head and arms are
wanting.--_Athens (?)._ _Elgin Coll_.
Marble; height, 2 feet 10 inches. Clarac, V., pl. 821A, fig. 2069
B, C.
[Sidenote: =153.=]
Torso of a standing female figure, wearing an under-chiton of fine
texture, and an over-chiton with diploidion which is worn so as to
leave the left shoulder bare. The figure held a bowl in the right
hand, and a fold of the skirt in the left hand. Broken off below
the knees. The head, left arm and left hand are wanting. This figure
appears to be of _archaistic_ rather than of archaic workmanship, that
is, the artist has consciously imitated the archaic style.--_Athens._
_Presented by H. Gally Knight and N. Fazakerly, Esqs., 1818._
Marble; height, 1 foot 9 inches. Clarac, V., pl. 821A, fig. 2069A.
[Sidenote: =154.=]
Torso of a standing female figure, wearing under-chiton of fine
texture and over-chiton with a diploidion which is worn so as to leave
the left shoulder bare; the figure also has sandals. The hair falls in
locks on the shoulders, and in a mass at the back. The head, arms
and left shoulder are wanting.--_From the smaller temple at Rhamnus._
_Presented by J. P. Gandy Deering, Esq._
Marble; height, 5 feet. Leake, _Athens and Demi of Attica_, II. p.
110; _Synopsis_, No. 325* (307*); _Athenische Mittheilungen_, XV.,
p. 65.
[Sidenote: =155.=]
Cast of a relief, representing a female figure stepping into a
chariot, holding the reins in her extended hands. The figure is
probably that of a goddess. It has been conjectured, but without
evidence, that the relief belonged to the Pre-Persian Parthenon. The
original, which is of Parian marble, is at _Athens_.
Le Bas, _Mon. Fig._, pl. 1; Overbeck, _Gr. Plast._, I., 3rd ed.,
p. 153, fig. 28; Murray, I., p. 196; Brunn, _Denkmaeler_, No. 21.
For further literature, see Wolters, No. 97.
[Sidenote: =156.=]
Cast of a sepulchral relief, representing a woman enthroned. She holds
a child in her arms. Before her are three figures, probably members of
her family, with offerings.
The original, which is of marble, is in the _Villa Albani at Rome_.
It was erroneously named by Winckelmann "Leucothea nursing the infant
Bacchus."--_From Athens (?)._
Winckelmann, _Monumenti Inediti_, No. 56; Zoega, _Bassirelievi
Ant._, I., pl. 41; Overbeck, _Gr. Plast._, 3rd ed., I., p. 175,
fig. 38. For further literature, see Wolters, No. 243.
CASTS OF SCULPTURES FROM AEGINA.
The temple of Athene at Aegina stands on a commanding plateau in the
north-east of the island. It is of the kind known as Doric peripteral
hexastyle; that is to say, it is of the Doric order, surrounded by a
colonnade, which has six columns at the ends and thirteen columns at
the sides. The site was excavated in 1811 by a party of English and
German explorers, and the sculptures discovered were purchased in 1812
by the Crown Prince of Bavaria. The principal figures were restored
at Rome by Thorwaldsen and J. M. Wagner. In 1817 the collection was
placed in the Glyptothek at Munich.
With the exception of an ivory eye (Cockerell, pl. 12) attributed by
the discoverers to the image inside the temple, the only sculptures
found were those which originally were contained in or surmounted the
pediments of the temple.
The Aeginetan sculptures belong to the latest stage of archaic Greek
art, and are the most important extant works of that period. For
determining the date of the sculptures, political history is only so
far of use that we may assume that they are not later than 456 B.C.,
in which year Aegina was subdued by Athens. From their style they
appear to be considerably older than that date.
A minute analysis of the sculptures (Brunn, _Das Alter der Aegin.
Bildw._ p. 9) shows that the east pediment is distinctly more advanced
than the west in the expression of emotion, in the rendering of
drapery, of the features, the beards, the veins; and in the general
proportions. Brunn assigns the groups to the period immediately
following the battle of Salamis (480 B.C.) and suggests that the
sculptor of the east pediment belonged to a younger generation than
his colleague.
The statues are made of Parian marble. They are attached to plinths
which were let into the upper surface of the cornice, and are cut
out of single blocks, a few small pieces of marble being separately
attached. They showed clear traces of colour throughout, when first
discovered. One shield from the east pediment was painted with a
female figure. There were numerous adjuncts of bronze, such as
arms and ornaments, which have been minutely enumerated by Brunn
(_Beschreibung_, &c., p. 67). The restored pediments in the British
Museum have been partially decorated in accordance with the scheme of
Cockerell, who says: "The members of the entablature and pediment
were discovered often in all their original vividness, which quickly
disappeared on exposure to the atmosphere." (Cockerell, p. 27, pl. 6).
C. R. Cockerell, _The Temple of Jupiter Panhellenius at Aegina_,
&c., 1860; Blouet, _Expedition de Moree_, III., p. 23; Brunn,
_Ueber das Alter der Aeginetischen Bildwerke_ in the _Sitzungsber.
der k. bayer. Akad._, 1867, I., p. 405, and _Ueber die Composition
der Aeginetischen Giebelgruppen_, _ibidem_, 1868, II., p. 448;
Brunn, _Beschreibung der Glyptothek Koenig Ludwig's I._, 4th ed.,
1879; Wolters, Nos. 69-85.
THE WEST PEDIMENT OF THE TEMPLE AT AEGINA.
The subject of the West pediment is a battle, in the presence of
Athene, over the body of a wounded warrior. From the Oriental dress
of the archer on the right, it is inferred that the battle is being
fought between Greeks and Trojans, and that the archer in question
is Paris. The scene represented does not correspond exactly with
any combat described by Homer. Archaeologists have accordingly been
divided in opinion as to the subject. Some hold that the battle is
that waged for the body of Patroclos, which was rescued principally by
Menelaos, and Ajax, son of Telamon of Aegina. (Homer, _Iliad_, xvii.;
Wolters, p. 48). Others have argued that the presence of Paris points
to the fight over the body of Achilles as described in the Aethiopis
of Arctinos. See especially Brunn, _Beschreibung_, p. 79. On account
of the discrepancies between the sculptures and the literary tradition
it is impossible to decide the question.
The arrangement adopted in the British Museum is that of Cockerell
(pl. 16). To complete the group Cockerell supposed that nude figures
similar to No. 178 of the East pediment advanced to the fallen hero
from each side; and that a spearman knelt between the Paris (No. 168)
and the wounded Trojan. Fragments remain of the two youths; but recent
writers have put the spearman (No. 166) next the Paris. The positions
of the spearmen and the archers on each side have also been reversed.
The archers are on this view placed furthest from the combat, and may
perhaps be supposed to be protected by the spearmen. Further changes
have been proposed which are based on fragments not represented by
casts, and which therefore need not here be discussed.
Restorations of the West Pediment. (1) With 11 figures, the bowmen
in front of the spearmen. Cockerell, supplementary plate; Blouet,
_Exp. de Moree_, III., pl. 58, fig. 2; Mueller, _Denkmaeler_,
I., pls. 6, 7; Overbeck, _Gr. Plast._, 3rd ed., I., fig. 19_a_;
Murray, I., pl. 7. (2) With 11 figures, the bowmen behind the
spearmen. Cockerell, plate; Brunn, _Sitzungsber. der k. bayer.
Akad._, 1868, II., plate; Lange, _Ber. der k. saechs. Ges. d.
Wissenschaften_, 1878, pl. 3, fig. 1. (3) With 13 figures.
Cockerell, pl. 16. (4) With 14 figures. Lange, _loc. cit._, pl. 3,
fig. 2; Overbeck, _Gr. Plast._, 3rd ed., I., fig. 19_b_.
The figures beginning from the left of the West pediment are:--
[Sidenote: =160.=]
Wounded Greek, recumbent, disarmed, drawing an arrow from his right
breast.
Restored:--Nose, right forearm, left leg from knee to ankle and
toes. Cockerell, pl. 15, No. 11; pl. 16; Blouet, III., pl. 69,
fig. 2; Brunn, _Denkmaeler_, No. 25.
[Sidenote: =161.=]
Greek advancing with spear. Brunn proposes the name of Ajax, son of
Oileus.
Restored:--Crest, right hand, left forearm and part of feet.
Cockerell, pl. 15, No. 9; pl. 16; Blouet, III., pl. 69, fig. 1.
[Sidenote: =162.=]
Greek archer, armed, kneeling and drawing his bow. This may well be
the Aeginetan hero, Teucer, brother of Telamonian Ajax.
Restored:--Head, arms, several flaps of the cuirass, and left leg
from the knee. Cockerell, pl. 15, No. 10; pl. 16; Blouet, III.,
pl. 66, fig. 1.
[Sidenote: =163.=]
Bearded Greek warrior advancing, with shield extended and right hand
raised to hurl spear. Perhaps Telamonian Ajax.
Restored:--Nose, crest, half right forearm, part of shield, both
legs. Cockerell, pl. 15, No. 3; pl. 16; Blouet, III., pl. 68, fig.
1.
[Sidenote: =164.=]
Wounded hero, leaning on his right hand, which held a sword; the
shield is held out to cover the body. This is either Achilles or
Patroclos according to the chief schemes of interpretation.
Restored:--Neck, right shoulder, fingers and toes. Cockerell, pl.
15, No. 2; pl. 16; Blouet, III., pl. 67, fig. 2.
[Sidenote: =165.=]
Figure of Athene presiding over the battle. She stands erect in the
centre of the pediment, fully armed and wearing her aegis. There is an
archaic formality in her pose and in the composition of the drapery,
which shows that the artist has adopted a traditional type of
temple-image. The earrings, locks of hair, a Gorgoneion, and snakes
bordering the aegis were made of metal, and attached.
Restored:--Nose, right hand, part of left hand. Cockerell, pl. 15,
No. 1; pl. 16; Blouet, III., pl. 67, fig. 1; Brunn, _Denkmaeler_
No. 23.
[Sidenote: =166.=]
Kneeling Trojan, with right hand raised to hurl spear.
Restored:--Head, right armpit and shoulder-blade, three fingers
of right hand; left arm from middle of biceps; right leg from
the knee; left knee with part of thigh, and part of left foot.
Cockerell, pl. 15, No. 6; pl. 16; Blouet, III., pl. 65, fig. 2.
[Sidenote: =167.=]
Warrior advancing with shield extended, and right hand raised to hurl
spear, closely corresponding to No. 163. Perhaps Aeneas.
Restored:--Head (which should probably be bearded), right armpit
and breast, fingers, parts of shield and legs. Cockerell, pl. 15,
No. 4; pl. 16; Blouet, III., pl. 66, fig. 2.
[Sidenote: =168.=]
Archer kneeling and drawing his bow. He wears a Phrygian cap, which
has holes in the front for a metal wreath. (Compare the wreath on the
Ephesian fragment No. 46, _12_); also closely-fitting breeches and
coat of leather. This figure, which is always known as Paris, closely
corresponds with the 'Teucer,' No. 162.
Restored:--Tips of cap, nose and chin; some fingers, and the
forepart of the left foot. Cockerell, pl. 15, No. 7; pl. 16;
Blouet, III., pl. 68, fig. 2; Brunn, _Denkmaeler_, No. 24.
[Sidenote: =169.=]
Wounded Trojan, leaning on the right arm. An arrow may have been fixed
in the left knee between the thumb and forefinger.
Restored:--Head, left arm, part of right forearm and hand; both
legs from the knees. Cockerell, pl. 15, No. 8; pl. 16; Blouet,
III., pl. 65, fig. 1.
[Sidenote: =170.=]
The pediment is surmounted by an acroterion, consisting of a palmette
between two large volutes, which are for the most part restorations.
(Cockerell, pls. 1, 4.)
On each side of the acroterion is an architectonic female figure,
treated in the same designedly archaic style as the figure of Athene.
[Sidenote: =171.=]
Female figure (on the left).
Restored:--Head, right hand and part of sleeve; left forearm with
part of sleeve and drapery. Cockerell, pl. 1.
[Sidenote: =172.=]
Female figure (on the right).
Restored:--Head; lower edge of right sleeve; right hand and
forearm; parts of drapery. Cockerell, pl. 1.
[Sidenote: =173.=]
At each angle are casts of lions' heads, which in the absence of casts
from the originals have been taken from the cornice of the archaic
temple at Ephesus. The lion's head engraved by Cockerell (pl. 13, fig.
4), appears to be his restoration.
[Sidenote: =174.=]
The angles are surmounted by Gryphons, which have been cast from
a single original. The original has been considerably restored,
especially the head.
Cockerell, pl. 13, fig, 4. The hind parts of one Gryphon were
discovered by Chandler in 1765, but they were immediately broken
and stolen. Chandler, _Travels in Greece_, p. 12.
THE EAST PEDIMENT OF THE TEMPLE AT AEGINA.
Of the east pediment only five figures were found, sufficiently
complete to be restored. The fragments leave no doubt that the
composition was as a whole analogous to that of the west pediment, and
that the subject was a battle for the body of a fallen warrior, fought
in the presence of Athene.
The clue to the subject represented is given by the figure of
Heracles, and archaeologists are almost unanimous in thinking that
the scene is a battle in the war which Telamon of Aegina, aided by
Heracles, waged against Laomedon, King of Troy (cf. Apollodorus, ii.,
6, 3, 4).
The arrangement is nearly that of Cockerell. The Heracles, however,
has been placed on the right side of the pediment, because the left
side of the statue is the most carefully finished, and was therefore
intended to be seen.
Restorations of the East Pediment. (1) With 10 figures; wounded
warrior as restored. Prachov, _Mon. dell' Inst._, IX., pl. 57.
(2) With parts of 12 figures; wounded warrior not as restored.
Cockerell, supplementary plate; Mueller, _Denkmaeler_, I., pl. 8;
Blouet, III., pl. 58, fig. 1; Murray, I., pl. 7. For two heads
from this pediment, see Brunn, _Denkmaeler_, No. 121.
The figures beginning with the left end of the pediment are the
following:--
[Sidenote: =175.=]
Warrior lying down, supported by his arm, within the handles of his
shield. He is wounded below the right breast.
Restored:--Crest, part of visor, four fingers of left hand,
four toes of left foot; right leg from the middle of the thigh.
Cockerell, p. 32, pl. 14, No. 4; Blouet, III., pl. 59, fig. 2.
[Sidenote: =176.=]
Warrior advancing, with a shield on the left arm, and a lance (?) in
the right hand.
Restored:--Head, hands, right hip; most of shield, Cockerell,
p. 32, pl. 14, No. 2; Blouet, III., pl. 59, fig. 1; Brunn,
_Denkmaeler_, No. 28.
[Sidenote: =177.=]
Wounded warrior fallen backwards on his shield.
Restored:--Head, arms, shield, right leg, left leg from the knee.
The correctness of the restoration has been doubted. The left side
is most corroded by the atmosphere, and would therefore seem to
have been uppermost. In that case the figure must have resembled
that of the fallen warrior in the centre of the west pediment. It
is thus drawn by Cockerell, in a supplementary plate. Engraved as
restored, Cockerell, pl. 14, No. 1; Blouet, III., pl. 61, fig. 1.
[Sidenote: =178.=]
Figure of a youth leaning forward, to draw away the fallen warrior.
Restored:--Nose, arms, pubis, most of right foot, and left foot;
Cockerell, pl. 14, No. 3; Blouet, III., pl. 61, fig. 2; Brunn,
_Denkmaeler_, No. 26.
[Sidenote: =179.=]
Heracles kneeling, and drawing his bow. He wears the lion's skin on
his head, and had a quiver on the left side.
Restored:--Nose, some flaps of the cuirass, left hand, right
forearm, right foot, part of left thigh and knee. Cockerell,
pl. 14, No. 5; Blouet, III., pl. 60; Rayet, _Monuments_, No. 25;
Brunn, _Denkmaeler_, No. 27; Mitchell, _Selections_, pl. 1.
[Sidenote: =180.=]
The acroterion; (181) the figures beside it; (182) the lions, and
(183) the Gryphons here exhibited, are repetitions of those of the
west pediment. The acroterion, which originally surmounted the
east pediment, was larger and more important than that of the west.
(Cockerell, pl. 13.) The figures which stood on each side of the east
acroterion, are shown by the surviving fragments to have been similar
to those of the western end, but were on a rather larger scale.
CASTS OF SCULPTURES FROM OLYMPIA.
The temple of Zeus at Olympia was being built from about 470-455 B.C.
(cf. Boetticher, _Olympia_, p. 247). It is certain that the metopes
must have been placed in position during the process of construction.
They should therefore probably be dated about 460 B.C. (Boetticher, p.
289).
[Sidenote: =190.=]
Cast of a metope, from the Temple of Zeus at Olympia. Heracles binding
the Cretan Bull.
The original is of marble. The greater part of this metope was
discovered by the French expedition to the Morea, in 1829, and
is now in the Louvre. The face and hind legs of the bull were
discovered in the German excavations, and are now at Olympia. The
parts first discovered are published in Overbeck, _Gr. Plast._,
3rd ed., I., p. 443. For the completed metope, see _Ausgrabungen
zu Olympia_, V., pl. 17; Boetticher, _Olympia_, p. 279; Wolters,
No. 274.
[Sidenote: =191.=]
Cast of a metope from the Temple of Zeus at Olympia. Heracles supports
on his shoulders the vault of heaven, while the Titan Atlas brings him
the golden apples of the Hesperides. Heracles has a folded cushion on
his shoulders to make the burden easier; Atlas stands before him
with six apples in his outstretched hands. A Hesperid or nymph stands
behind and raises one hand as if to share the weight.
The original is of marble, and is at Olympia, where it was
discovered by the German excavators. _Ausgrabungen zu Olympia_,
I., 26; _Athenische Mittheilungen_, I., pl. 11; Murray, II., pl.
13; Wolters, No. 280; Overbeck, _Gr. Plast._, 3rd ed., I., p. 445;
Boetticher, _Olympia_, p. 285. (Boetticher's illustration is most
nearly complete. That of Overbeck gives both hands of Atlas.) For
the female head, see _Journ. of Hellen. Studies_, V., pl. 45.
[Sidenote: =192.=]
Cast of a statue of Victory, by Paionios of Mende, Victory is supposed
to be moving forward through mid-air. One foot rests lightly on the
back of an eagle, beneath which is a rock. The wings and draperies
that were originally spread out behind the figure are now wanting.
The statue stood on a triangular pedestal, about 19 feet high. On the
pedestal was an inscription recording that the Victory was offered as
a tithe of spoil to Olympian Zeus by the Messenians and Naupactians;
and that the author was Paionios of Mende, who made the acroteria of
the temple:--[Greek: Messanioi kai Naupaktioi anethen Dii | Olympio
dekatan apo tom polemion. Paionios epoiese Mendaios | kai takroteria
poion epi ton naon enika.] Mr. Murray (_Gr. Sculpt._, ii. p. 162)
suggests as an explanation of the last clause of the inscription
that the Victory was a replica of the acroteria (or figures above the
pediments) of the Temple of Zeus. These are known to have been gilded
figures of Victory (Paus., v. 10, 2). Pausanias was inclined to think
that the inscription referred to a war of the Messenians against the
Acarnanians (452 B.C.); but the Messenians of his time supposed
that the statue was erected soon after the defeat of the Spartans at
Sphacteria in 424 B.C.
Discovered by the German excavators at Olympia, and now in the Museum
at Olympia.
Marble. _Ausgrabungen zu Olympia_, I., pls. 9-12; inscr. _ibidem_,
pl. 32; pedestal, _ibidem_, II., pl. 34; Overbeck, _Gr. Plast._,
3rd ed., I., figs. 88, 89; Murray, II., pl. 19; Wolters, Nos. 496,
497.
STATUES OF APOLLO (?).
Of the following sculptures, Nos. 200-207 are examples of a somewhat
numerous class of nude male figures, standing constrainedly with the
heads directed straight to the front, having the hands either close by
the sides, or slightly raised, by a bending of the arms at the elbows.
The name of Apollo has been commonly given to sculptures of the type
here described, but doubts have often been raised as to the accuracy
of the title. It seems clear that at the stage of art represented by
these figures one type of nude male figure was made to serve various
purposes. It cannot be doubted that the type was often used to
represent Apollo, for such figures have been found in or near shrines
of Apollo at Naucratis (Petrie, _Naukratis_, i., pl. 1, fig. 4), Delos
(_Arch. Zeit._, 1882, p. 323), Actium (_Gaz. Arch._, 1886, p.
235), and at the temple of Apollo Ptooes in Boeotia (_Bull. de Corr.
Hellenique_, x., p. 66, Brunn, _Denkmaeler_, No. 12). The same type of
Apollo occurs, _e.g._ on a vase in the Brit. Mus. (No. E, 313; _Gaz.
Arch._, 1882, p. 58), on a vase published in _Annali dell' Inst._,
1849, pl. D (cf. _Hamilton Vases_, ii., pl. 6), and on a Pompeian
fresco (_Arch. Zeit._, 1882, p. 58). Compare a relief in the _Palazzo
Corsini_ (Duetschke, ii., p. 114). At the same time, similar figures
served to represent athletes (Paus., viii., 40) and, perhaps, were
placed on tombs, to represent a deceased person.
The series of figures which have the hands by the thighs is older than
that in which the hands are raised, and the invention of the type has
been assigned to the Cretan Daedalid School of Dipoinos and Skyllis
(Furtwaengler, _Arch. Zeit._, 1882, p. 55). For an enumeration and
discussion of the known examples of this series see Overbeck, _Gr.
Plast._, 3rd ed., i., p. 229, note 33; _Bull. de Corr. Hellenique_,
x., p. 67; xi., p. 1; _Gaz. Arch._, 1886, p. 239; Roscher, _Lexicon_,
i, p. 449; Wolters, No. 14. The second series, here represented by
Nos. 206, 207, in which the hands are raised, is developed from the
first, but shows a great advance in all respects. Perhaps it gives the
Cretan type as developed by artists of the school of Aegina.
[Sidenote: =200.=]
Figure of Apollo (?) standing with the right leg drawn back, and
with the hands pressed against the hips. He has a diadem across
the forehead, and the hair falls on the shoulders and down the
back.--_Naucratis._
Alabaster; height, 10-1/4 inches.
[Sidenote: =201.=]
Apollo (?) standing. Torso from the neck to the knees. The right leg
is drawn back, and the hands are pressed against the thighs. The hair
falls down on the shoulders and on the back.--_Naucratis._
Alabaster; height, 4-3/8 inches.
[Sidenote: =202.=]
Apollo. Torso from the neck to the middle of the thighs. The hands are
pressed against the thighs. The hair falls on the shoulders and on the
back. A belt crosses the body under the right arm, and over the left
shoulder.--_Temenos of Apollo, Naucratis._
Marble (?); height, 3-1/8 inches. _Naukratis_, I., pl. 1, fig. 9.
The following figures, Nos. 203, 204, belong to the same series,
though the type is slightly varied, and No. 203, having been found in
the temenos of Aphrodite, probably does not represent Apollo:--
[Sidenote: =203.=]
Male torso from the neck to the knees. The right hand lies across the
breast; the left leg is to the front. The hair is cut square at the
back, and in the front falls down on the shoulders.--_Temenos of
Aphrodite, Naucratis._
Alabaster; height, 6-1/4 inches. _Naukratis_, II., pl. 14, fig.
13.
[Sidenote: =204.=]
Apollo. Male torso, similar to the preceding, but having no hair on
the shoulders.--_Temenos of Apollo, Naucratis._
Alabaster; height, 4-3/4 inches. _Naukratis_, I., pl. 1, fig. 3.
[Sidenote: =205.=]
Figure of Apollo (?) standing, with the right leg drawn back, and with
the hands pressed against the hips. The hair falls on the shoulders,
terminating in a straight line, and intersected with conventional
grooves running at right angles to each other.--_From Greece, probably
from Boeotia._
Marble; height, 2 feet 6-1/4 inches. Murray, I., pl. 2, p. 107;
_Arch. Zeit._, 1882, pl. 4, p. 51; Mitchell, p. 213; Brunn,
_Denkmaeler_, No. 77.
[Sidenote: =206.=]
Figure of Apollo (?) standing, with the right leg drawn back. The hair
is dressed, with the headdress known as the _krobylos_.
Round the taenia are five drilled holes, indicating that a wreath
of bronze was attached. The arms, and the legs from the knees are
wanting.
This figure, commonly known as the Strangford Apollo, is referred by
Brunn to the school of Callon of Aegina.
From the collection of _Viscount Strangford_. Stated in 1864 to be
from _Lemnos_, but said also to have been found in _Anaphe_ (Newton,
_Essays_, p. 81).
Marble; height, 3 feet 4 inches. _Mon. dell' Inst._, IX., pl.
41; _Annali dell' Inst._, 1872, p. 181; Brunn, _Ber. d. k. bayer.
Akad. Phil.-hist. Classe_, 1872, p. 529; Overbeck, _Gr. Plast._,
3rd ed., I., p. 181, fig. 40; Murray, I., pl. 2; Rayet et Thomas,
_Milet et le Golfe Latmique_, pl. 28; Brunn, _Denkmaeler_, No. 51;
Wolters, No. 89; _Arch. Zeit._, 1864, p. 164*.
[Sidenote: =207.=]
Torso of Apollo (?) standing, with the right leg drawn back.
The head, arms, and legs from the knees are wanting; two points
of attachment near the front of the hips, show that the arms were
considerably bent at the elbows.
This figure was found in the _Dromos of a tomb at Marion (Cyprus)_.
Marble; height, 2 feet 5 inches. Herrmann, _Graeberfeld von
Marion_, p. 22. The tomb contained a coin of Idalium, of about
510 B.C., a gold cup with acorns _repousse_, several black figured
vases, one at least of an early character, and no red figured
vases.
[Sidenote: =208.=]
Head of Apollo. The hair is bound with a taenia and falls in short
corkscrew curls over the forehead, and in a flowing mass down the
shoulders. The sharply cut outlines of the features, and the wiry
character of the hair suggest that this head is a copy of an archaic
work in bronze. It has been conjectured that the head is copied from
the Apollo of Canachos at Branchidae, but there is no evidence in
favour of the theory, which has been given up as untenable. (Cf.
Overbeck, _Gr. Plast._, 3rd ed., i., p. 110). A bronze statuette from
the Payne Knight collection, which has a better claim to be considered
a copy of Apollo of Canachos, may be seen in the Bronze Room.
_Brought from Rome by Lord Cawdor, and purchased by Townley.--Townley
Coll._
Parian marble; height, 1 foot 5-1/2 inches. _Specimens_, I., pls.
5, 6; _Mus. Marbles_, III., pl. 4; Ellis, _Townley Gallery_, I.,
p. 321; Mueller, _Denkmaeler_, I., pl. 4, fig. 22; Overbeck, _Gr.
Plast._, 3rd ed., I., p. 109, fig. 14; Wolters, No. 228; _cf._
Rayet et Thomas, _Milet et le Golfe Latmique_, pl. 37; Michaelis,
_Anc. Marbles_, p. 94.
[Sidenote: =209.=]
Statue of Apollo, standing. The chief weight of the body is thrown on
the right leg, while the left knee is bent, and the left foot rests
lightly on the ground. The head is slightly turned to the right. The
hair is dressed with the headdress known as the _krobylos_.
The left hand and right forearm, which appear to have been separate
pieces, are wanting. The left hand held some attribute, perhaps a
branch, for which there is a mark of attachment by the left knee. The
right hand, which rested on the stump beside the right leg, seems to
have held a strap.--_From the Choiseul-Gouffier Collection, 1818._
Marble; height, 5 feet 10-1/2 inches. Restored: tip of nose.
_Specimens_, II., pl. 5; Ellis, _Townley Gallery_, I. p. 194;
Clarac, III., pl. 482B, No. 931A; _Mus. Marbles_, XI., pl. 32;
_Journ. of Hellen. Studies_, I., pl. 4; _Stereoscopic_, No. 143;
Murray, I., pl. 8; Wolters, No. 221.
This statue, commonly known as the Choiseul-Gouffier Apollo,
together with other examples of the same type, has given rise to
much discussion. The chief replica is a statue at Athens, commonly
called the 'Apollo on the Omphalos,' having been associated with a
marble _omphalos_, or sacred cone of Apollo, which was discovered
at the same time. Grave doubts, however, exist as to the
connection of the figure and of the omphalos. (_Journ. of Hellen.
Studies_, I., p. 180; _Athenische Mittheilungen_, IX., p. 248.)
The Athenian statue is published, Conze, _Beitraege_, pls. 3, 5;
_Journ. of Hellen. Studies_, I., pl. 5; Murray, I., pl. 8; Brunn,
_Denkmaeler_, No. 42. For a list of other replicas of the type,
see _Athenische Mittheilungen_, IX., p. 239. The statue is
generally taken to be an Apollo. It has, indeed, been argued that
it is a pugilist, and not Apollo (Waldstein, _Journ. of Hellen.
Studies_, I., p. 182; Overbeck, _Gr. Plast._, 3rd ed., II., p.
414); and if the figure is Apollo, it must be admitted that 'the
proportions are rather suited to the patron of pugilism (_Il._
[Greek: psi.] 660) than to the leader of a celestial orchestra'
(_Specimens_, II., pl. 5; _Athenische Mittheilungen_, IX., p.
244). But the title is established by a quiver attached to the
stump of a replica in Rome (Matz-Duhn, _Bildw. in Rom_, I., No.
179), and of a somewhat similar figure at Cassel (_Athenische
Mittheilungen_, I., pl. 10), and by the fact that a copy (No. 210)
has been found in the temple of Apollo at Cyrene. Moreover, the
head of a similar figure, undoubtedly an Apollo, occurs on
a relief in the Capitoline Museum (Braun, _Vorschule der
Kunstmythologie_, pl. 5). Compare also the figure of Apollo on a
vase at Bologna, _Mon. dell' Inst._, X., pl. 54. There has also
been much discussion as to the school of art to which the type
must be assigned, and as to the character of the original statue.
The statue has been assigned by different writers to Calamis
("Apollo Alexikakos"; Conze, _Beitraege_, p. 19; Murray, I.,
p. 189; Furtwaengler, in Roscher's _Lexicon_, I., p. 456); to
Pasiteles (Kekule, _Menelaos_, p. 30); to Alcamenes (Furtwaengler,
_Athenische Mittheilungen_, V., p. 39; _cf. Journ. of Hellen.
Studies_, VIII., p. 41); to Pythagoras of Rhegium ("Euthymos";
Waldstein, _loc. cit._); and to Callimachos ("Apollo
Daphnephoros"; Schreiber, _Athenische Mittheilungen_, IX., p.
248). It has been variously held that the original statue was of
bronze, and is therefore lost (_Mus. Marbles_, XI., pl. 32; _cf._
Murray, I., p. 191), or that the Athenian statue is the original,
whence other copies are derived (_Athenische Mittheilungen_, IX.,
p. 240).
The _krobylos_ seems to indicate some Attic sculptor of the first
half of the 5th cent. B.C. (Schreiber, _Athenische Mittheilungen_,
VIII., p. 255). The existence of numerous copies proves that the
original was famous, and it is generally supposed that the figure
is an Apollo. It is impossible to make a more definite statement
with confidence, in the present state of our knowledge as to the
Attic sculptors who preceded Pheidias.
[Sidenote: =210.=]
Head of Apollo, a replica of No. 209. The head is broken off in the
middle of the neck. The chin, the tip of the nose, and parts of
the hair are wanting. The author of this copy has misunderstood the
arrangement of the headdress.--Found by Smith and Porcher in the
_Temple of Apollo at Cyrene_.
Marble; height, 11 inches; Smith and Porcher, p. 100 No. 19
Murray, I., p. 190.
[Sidenote: =211.=]
Head of Apollo, a replica of No. 209. The head is broken off below the
chin. The nose and the tip of the chin are wanting.
This copy shows better than either 209 or 210, the arrangement of
the hair in the _krobylos_, the origin of the plaits being clearly
indicated. It chiefly differs from them in the amount of hair falling
down at the back of the ears; in this head there are the remains of
thick tresses, while in the other instances there are only a few
short curls. There is a rectangular hole at the back of the
head.--_Presented by the Hon. E. A. Pelham._
Marble; height, 9-1/2 inches. This head was found in 1882 at
a cottage at Ventnor, built by Sir Richard Worsley. It was,
doubtless, brought by him from Greece.
MISCELLANEOUS SCULPTURES.
[Sidenote: =215.=]
Fragment of lacunar, from a ceiling, with two panels in low relief.
(1) Horse galloping to the right. (2) Gryphon seizing a stag.
Below is a band of rosettes in squares. The whole is surrounded by
remains of a large bead ornament.--_Presented by Algernon, fourth Duke
of Northumberland._
Green limestone (?); height, 1 foot 1-1/2 inches; width, 1 foot 1
inch.
[Sidenote: =216.=]
Fragment of lacunar nearly similar to preceding. The upper
panel is wanting. Below is a Gryphon seizing a stag. Below is a
band of rosettes; between the two panels is a band of maeander
pattern.--_Presented by Algernon, fourth Duke of Northumberland._
Green limestone (?); height, 9-1/4 inches; width, 10-1/4 inches.
[Sidenote: =217.=]
Fragment of relief. On a pedestal is a lion, walking to the left.
Before the lion are three balls. Above were two figures standing to
the front, of which only the feet remain. The figure on the left stood
with feet side by side; that on the right stood with the legs crossed
(Fig. 4). This relief, though undoubtedly archaic, appears not
to belong to the prehistoric period of Mycenae (_cf._ Nos.
1-6).--_Mycenae._ _Inwood Coll._
Green limestone; height, 1 foot 1-1/4 inches; width, 9-1/2 inches.
_Synopsis_, No. 429; Loeschcke, _Athenische Mittheilungen_, IV.,
p. 296; Wolters, No. 53.
[Illustration: Fig. 4.--Relief from Mycenae, No. 217.]